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Recent posts by Lloyd at , :

2019-07-04

2019-07-03

2019-07-01

2019-06-30

2019-06-30

Canon EOS R + Canon RF 85mm f/1.2L

Just mounted the Canon RF 85m f/1.2L on the Canon EOS R. What a high quality flange on both—notably more solid than the L-mount Leica lenses on the Panasonic S1R which have a slight slop (the Panasonic Lumix S PRO 50/1.4 did not, and one other reader reported the same mount slop with Leica SL lenses).

The Canon RF 85/1.2L is huge and clearly built for performance as the priority—none a trace of the Nikon NIKKOR Z compromises. Canon RF lenses (at least the 50/1.2L, 85/1.2L, 28-70/2) feel like serious pro gear. Not one Nikon NIKKOR Z lens can say the same.

If the Canon RF 50mm f/1.2L is any indication, I expect the 85/1.2L to be the world’s best. But what a boat anchor, as in sheer neck-yanking weight. However lovely the images might be, this is a serious chore to heft this thing.

Dr S, this is NOT a rig for you.

Still, Canon should deliver a high megapixel mirrorless camera out, imaging performance should prove out Canon’s distinctive “size and weight be damned, it’s the optical quality” strategy. Which might ultimately sway me to Canon once that body arrives.

I also have on hand the Canon RF 28-70mm f/2L and the Canon RF 35mm f/1.8 Macro STM. The 35/1.8 macro ships without the Canon EW-52 lens hood, which is outrageous because the front lens element is right there out in front, quite exposed.

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Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Rodin Courtyard (Sony A7R III)

This aperture series assesses the Voigtlander Nokton 21mm f/1.4 Aspherical at night from f/1.4 through f/9, looking for sharpness and control of secondary color and overall image rendition, including sunstars and point spread function.

In fun88官网 Mirrorless:

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Rodin Courtyard

Includes images up to full camera resolution from f/1.4 to f/9. Savor the full resolution images by scrolling around, preferably on an iMac 5K or Apple Pro Display XDR.

If you are OK witih manual focus get this lens, right now! (and please use my link). This is the best 21mm f/1.4 I have ever seen, mirrorless or DSLR.

1296 | 2592 | 4320
f2 @ 4.0 sec, ISO 50; 2019-07-03 21:30:21
[Enhance Details, push 0.33 stops, -37 highlights, LACA corrected, +40 shadows]
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical

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Reader Comment: Panasonic S1R “re-think my kit and jump head-long to a new system?”

Dr S writes:

Panasonic S1R

Yesterday was my first opportunity to hold the Panasonic S1R at my local brick and mortar. Despite being invested in Sony and Nikon I made the effort to hold and feel the newest kid on the block because of your glowing comments on multi-shot hi-res mode that yields such wonderful images. Would my visit cause me to re-think my kit and jump head-long to a new system?

The answer, after handing, is a resounding no. Why? Weight and size! For my aging bones (and I am not that old) and my chronic back problems, the S1r is a behemoth. I left the heavy DSLRs awhile ago for the smaller mirrorless and my torso has been happy since. You have shown over time that excellent imagery can come from Sony and Nikon mirrorless with the appropriate lenses, this fact being punctuated with your most recent review of the Voigtlander FE 21mm f/1.4.

Sony is not going to stand idly by and not come out with newer bodies with enhanced image capabilities. And if it is not ultra hi-res as Panasonic has produced, it will still be much more than adequate for me. I cannot speak nor presume to speak for others. Indeed, there is a segment that requires Phase One, Fuji, MF for their work.

However there is large segment out there that don't. I am one of them. And in that group (assuming it exists) smaller, extremely capable mirrorless systems will be the ones I gravitate to. As you stated, I hope Sony issues a firmware that enhances resolution. However, if they have the tech to do so, they may incorporate that into a newer model for the sake of sales. Indeed, they need the appearance of being at the top of the mirrorless FF heap.

fun88官网: the size doesn’t bother me that much (the Sony A7R III is too small), but the weight while not a show-stopper for field use given the unrivalled imaging potential, is nonetheless highly unattractive downside for field usage. OTOH, the S1R feels like the best built mirrorless on the market.

Since Sony’s pixel shift is incompetent for field usage, I do not have much that Sony will achieve the results that Panasonic has with the Multi-Shot High-Res mode, but I hope to be pleasantly surprised. But so far, Sony sees computational photography as shitty toy apps in its dilettante Play Memories store.

As to “excellent imagery”—not so much with Sony and Nikon and Canon, as shown in the pixel shift vs single-shot examples I posted yesterday—the context even just on Sony vs itself shows how crappy image quality really is.

See my in-depth review of the Panasonic S1R in L-mount mirrorless.Subscribe now

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Red Electric Cart — should knock your socks off (Sony A7R III)

This aperture series assesses the Voigtlander Nokton 21mm f/1.4 Aspherical at night from f/1.4 through f/4, looking for sharpness and control of secondary color and overall image rendition.

In fun88官网 Mirrorless:

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Red Electric Cart

Includes images up to full camera resolution from f/1.4 to f/4. Savor the full resolution images by scrolling around, preferably on an iMac 5K or Apple Pro Display XDR—on those displays they should knock your socks off.

Yes, you want this lens, right now! This is the best 21mm f/1.4 I have ever seen. Well, probably the best 21mm lens of any speed (DSLR or mirrorless) that I have seen.

It’s frustrating as hell not having Multi-Shot HighRes mode or a 100MP sensor. The Sony A7R III is making me chafe with frustration, being fresh off high grade 125MP images from the Panasonic S1R. Where’s my firmware update for the A7R III already, Sony?

1296 | 2592 | 4320
f1.4 @ 13.0 sec, ISO 50; 2019-07-03 21:16:12
[push 0.45 stops, LACA corrected, +100 shadows, Enhance Details]
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical

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Shootout: Voigtlander FE Nokton 21mm f/1.4 Aspherical vs Zeiss Loxia 21mm f/2.8: MemChu Oblique

This shootout compares the Voigtlander Nokton 21mm f/1.4 Aspherical to the Zeiss Loxia 21mm f/2.8 on a near-to-far scene from f/1.4 through f/11.

This scene with its oblique viewpoint was chosen to ferret out differences at the edges at far and near areas, in case field curvature might otherwise disadvantage one lens.

In fun88官网 Mirrorless:

Shootout: Voigtlander FE Nokton 21mm f/1.4 Aspherical vs Zeiss Loxia 21mm f/2.8: MemChu Oblique

Includes images up to full camera resolution from f/1.4 to f/11, plus crops.

Yes, you do want this lens, right now!

Voigtlander 21mm f/1.4 Aspherical about $1199

1296 | 2592 | 5112
f2.8 @ 1/400 sec, ISO 50; 2019-07-03 19:48:40 [LACA corrected, Enhance Details]
Sony A7R III + Voigtlander NOKTON 21mm F1.4 Aspherical


Avoid costly mistakes and get the ideal system for your needs: fun88官网 photographic consulting.

Reader Comment: Canon EOS R “has brought the fun and results back”

Brian S writes:

Leica 180mm f/2.8 APO-Elmarit-R

Sensors + focus assist have finally allowed the performance of lenses such as the Leica 180mm f/2.8 APO-Elmarit-R to reach their potential. I bought the lens back in 2009 based on your review.

It's so fun to shoot with now.

I enjoyed with the Canon 5D "Classic" with an alternative focus screen, although the 12MP sensor didn't take advantage of it. When I upgraded to the Canon 5D Mark III the manual focus lens fun ended due to no interchangeable focus screens.

The Canon EOS R has brought the fun and results back. The rendering and bokeh on this lens are so amazing... especially considering how much smaller it is than the Canon 200mm f/2L IS which is the only lens that brings similar results, in my experience.

fun88官网: Yay!

Of course these comments apply to Sony mirrorless and Nikon mirrorless and L-mount mirrorless also.

Mirrorless has made shooting DSLR lenses so much more reliable too—focus can pretty much be guaranteed via magnified Live View and even unmagnified it is probably bettr than today’s horrible DSLR focusing screens.

Regrettably, I had to sell most of my Leica R lenses to raise funds. But I still have the Leica 90mm f/2 APO-Summicron-R ASPH and the Leica 100mm f/2.8 API-Elmarit-R.

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Life, Liberty and the Pursuit of Happiness

Or as good as an approximation as the Supreme Court will allow.

Thank you to all those who served in the armed forces, then and now.

Doesn’t look like any fireworks pictures for me—I have the Voigtlander FE 21mm f/1.4 Aspheric, but close-range access like at Shoreline Ampitheatre doesn’t work—no real cameras allowed.

1296 | 2592 | 4320
f1.4 @ 1.3 sec, ISO 64; 2019-05-05 19:33:59 [Enhance Details]
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar

Apple Pro Display XDR: the Best Viewing Experience in History for Images?

Print may be favored by some, but not me. It’s my repeatedly-confirmed view that those arguing for prints have seen properly presented images on an iMac 5K—when I test for validitu, the response has always been “haven’t actually seen it”, or similar. I present all my work in Retina resolution on this site—it’s beautiful to behold that way.

The 6K Apple Pro Display XDR delivers a drool-worthy combination of resolution and screen size with true professional grade peformance While the , 6K is what is practical for now.

The Apple Pro Display XDR along with the 2019 Mac Pro form a truly high end professional-grade solution. See the and :

  • Retina 6K Display
  • State-of-the-art calibration and a sophisticated algorithm ensure that you get the highest-quality color possible
  • 32-inch (diagonal) IPS LCD display with oxide TFT technology
  • Resolution: 6016 by 3384 pixels (20.4 megapixels) at 218 pixels per inch, aspect ratio: 16:9
  • Brightness: 1000 nits sustained (full screen), 1600 nits peak
  • Contrast ratio: 1,000,000:1
  • Color: P3 wide color gamut, 10-bit depth for 1.073 billion colors
  • Viewing angle: Superwide angle with high-fidelity color and contrast at 89º left, 89º right, 89º up, 89º down Fully laminated; 1.65% reflectivity
  • 2D backlighting system using 576 full array local dimming zones, Apple-designed timing controller (TCON) chip engineered to precisely control high-speed modulation of both 20.4 million LCD pixels and 576 LEDs in backlight for seamless synchronization
  • True Tone technology with dual ambient light sensor (ALS) design to ensure an accurate viewing experience in any ambient lighting condition
  • Reference modes: HDR Video (P3-ST 2084) HDTV Video (BT.709-BT.1886) NTSC Video (BT.601 SMPTE-C) PAL and SECAM Video (BT.601 EBU) Digital Cinema (P3-DCI) Digital Cinema (P3-D65) Design and Print (P3-D50) Photography (P3-D65) Internet and Web (sRGB)

I doubt I’ll be able to afford one, at US$5999 ($4999 + $1000 for optional Pro Stand)—WOW.

The Apple Pro Display XDR has the same downsides for photographers as does the iMac 5K: it will not be a good choice for evaluating image sharpness, due to too-high pixel density, see: Too-High Pixel Density on 5K and 8K Displays Impedes Image Assessment.

But I sure want one—the Apple iMac 5K has by far been the most pleasurable viewing experience ever for my images. Still, I rely on the NEC PA302W for editing decisions.

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Panasonic S1R / Panasonic S1 Lands with a Thud — Competes poorly Against Medium Format (Updated with Reader Comments)

The Panasonic S1R has arrived with all the desirability of a bloated carp floating in the lake during a bass-fishing tournament.

While I love its Multi-Shot High-Res mode (the best camera feature in years for landscape and similar), few seem to take note. In spite of my in depth reporting on it showing how incredible the image quality is, which is about much more than resolution.

There is so much brand fatigue that no one wants to risk a bet on a new mirrorless platform. Fear is a powerful persuader, and with real legitimacy in this case—fear of investing in a dead end system—Sony has won the mirrorless game as I suggested several years ago given the CaNikon sloth.

Sony presumably will presumably drive the fish truck to the lake soon, and dump several kinds of trophy bass in.

Panasonic S1R blunders into medium format pricing territory, pricing is about the same as 50 megapixel medium format, and with a path to 100 megapixels (Fujifilm medium format). So the lenses carry forward to more and better, including when 100MP costs half what it does now.

I don't have access to sales figures, but I’d be very interested in knowing how many S1R camera bodies have sold versus Nikon Z7 / Canon EOS R / Sony A7R III. Note the aggressive rebates by Canon, Nikon, Sony, and still no rebates for the S1R, aside from a modest trade-in program.

Gordon S writes:

I am not sure about the market but your reports on Hi-rez pushed me over the edge - I got a Panasonic S1R a few months ago when the SanJose camera had a trade in event ( plus the extra 400 bucks for trade in). Could not be happier and recently got the Leica 75mm f/2 APO-Summicron-SL ASPH ( Sold off my Leica Sl and 24-90). I love it ! Hoping to get the Leica 35mm f/2 APO-Summicron-SL ASPH but it seems to made of “unobtainium” :) Typical Leica BS - hard to make, blah blah blah.

Keep up the great work - While the masses are not always you have made lifetime supporters of your work!

fun88官网: the 35/2 APO should be very nice, but I've been waiting for a loaner, like everyone else.

A big thank you to everyone who uses links on my site to buy from B&H Photo.

Voigtlander 21/1.4 for Sony FE

2 aspherical elements, 4 partial dispersion elements, floating elements, manual focus, 12 blade diaphragm, EXIF transfer.

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Cineo Matchbox—a Portable Ultra High Quality Light Source with Optional Battery + new Cineo Lightblade

See Cineo Matchbox: Bought 3 of them for my Mercedes Sprinter Photography Adventure Van, Really Right Stuff BH-25 Attaches Them Almost Anywhere.

Cineo Matchbox LED remote phosphor lighting

It’s on sale, it’s discontinued, I have six of them—I adore the light quality. Three are installed in .

The one catch for battery usage is the overpriced $99 bracket which is needed to attach a Sony NPF battery—it ought to be included. But with that bracket, I can carry the Matchbox in the field, which I used for subtle fill light in this stitched image. Don’t forget batteries.

But I now have a new interest in a newer Cineo offering, more on that below.

Below, this image used the Cineo Matchbox for subtle fill light. The beauty of the Matchbox is in its field portability and battery powered operation and 1% to 100% continuously variable flicker-free light that nearly matches sunlight.

1296 | 2592 | 4320
Old Stump View To Mt Conness at Sunset
f1.8 @ 1/4 sec, ISO 31; 2017-11-08 17:58:07 [focus stack 6 frames]
NIKON D850 + Sigma 14mm f/1.8 DG HSM Art

The new Cineo Lightblade

I wrote to Cineo asking for a demo unit of their new Cineo Lightblade. It looks like something I could really use for for my office and perhaps for my van—I always seem to have too little light when I want it. I have some hope of being able to evaluate one:

Let me talk to the powers that be on my side. Not sure if you heard the news, NBCUniversal acquired Cineo Lighting. Let me see what we can do as we have a lot of changes and process we are managing. I will follow up with you.

Hopefully the new process will sort itself out and get me a Lightblade to evaluate.

Cineo Lightblade remote phosphor lights in 1 or 2 or 4 blade configurations, 2 feet or 4 feet long
Hard drives or SSD.

Reader Comment: “Glad to hear you are back in the thick of things”

James K writes:

You must be fully recovered from your recent crashes if you are carrying the Otus 28mmm in the field.

...Glad to hear you are back in the thick of things. You will have lots of work to do this fall.

fun88官网: I make a point of NOT carrying the Otus 28 very far—it’s just too bulky and heavy. So sad that Zeiss targets video only now, with huge and heavy lenses when f/2 would do great with superior performance and are more field usability.

For the past few days, I’m feeling great again! I rode 81 miles /3000 calories yesterday and felt great, stronger at the end than when I started, based on years of experience a sure sign that my body is working again and ready to accept severe training loads (I’d ride 3+ hours day ~2200 calories @ ~208 watts if time allowed). Still, my strength has returned only in the past week or so. The turnaround started in mid June, after an back in late March and mid April. The cure of antibiotics was worse than the disease (UTI and then prostatis).

For UTI and prostatitis I have learned something: try to —it worked for me after the , which I completed in record-slow time (for me). But I missed 5 other double centuries this year—too weak even for my baseline training rides.

I advise extreme prejudice against antibiotic use unless absolutely necessary. Aside from destroying the (the “2nd brain”), antibiotics can affect muscles and tendons and nerves and just about everything.

I must be sensitive to antibiotics: was my first really bad experience, causing peripheral neuropathy that took two years to recover from. This go-round, I had physical and cognitive effects that hit me hard in April/May both physically and cognitively. The brain part gave me some deja vu with respect to along with ADD* for a few weeks (worse than after my concussion!), with one scary day of a severe inability to concentrate that I have never before experienced. I hope to not have to take antibiotics ever again. For myself, I consider antibiotics the most dangerous types of drugs out there in commonplace usage.

* Atypical Attention Deficit Hypoactivity disorder (not "hyper").

From my Dec 30 bike crash, two root canals preceded 6 crowns to fix cracked or broken teeth. A root canal on a molar wasn’t bad, but a root canal on a front tooth is not an experience I care to repeat. For a few weeks more, I have 4 plastic temporary crowns on the four front teeth and the durable ones get installed later in July. Even the plastic onese look terrific compared to the hillbilly broken front tooth 'look'. I'm deferring the wisdom teeth extraction until 2020—I’ve had my fill of dentistry, even if expertly done! And my bank account is drained.

My gratitude to all my subscribers who have stuck with me the past 15 months. And hopefully the foregoing will spare at least one person some damage.


Upgrade the memory of your 2018 Mac mini up to 64GB

Voigtlander FE Nokton 21mm f/1.4 Aspherical for Sony Mirrorless

See my Mac wish list.

On the way for testing is the Voigtlander Nokton 21mm f/1.4 Aspherical.

Voigtlander FE Nokton 21mm f/1.4 Aspherical
  • E-Mount Lens/Full-Frame Format
  • Aperture Range: f/1.4 to f/16
  • 2 Aspherical Elements
  • 3 Partial Dispersion Elements
  • Floating Elements System
  • Manual Focus Design
  • Minimum Focusing Distance: 9.8"
  • Manual Aperture Ring Can Be De-Clicked
  • 12-Blade Diaphragm
  • Contacts Transfer Exif Data

The Voigtlander FE Nokton 21mm f/1.4 Aspherical looks to be an all-new design for Sony mirrorless from what I can tell. If so, it might fill an interesting slot.

Most of the Voigtlander FE wide angles have been adapted rangefinder designs and suffer accordingly in the outer zones, but this 21mm might be quite good and it is an alternative to the excellent but two stops slower Zeiss Loxia 21mm f/2.8—I’ll see soon enough how it shakes out. The new designs like the 65mm and 110m are outstanding.


(Gear Acquisition Syndrome)

Got a School Age Kid, or Just Want a Mac for Handy Access Where You Want It?

See my Mac wish list.

Got a school age kid, or just want a Mac for stuff, one for handy email and web access in the kitchen or study or even in your , or similar?

Score a deal on an iMac 5K or iMac 4K—awesome screen, plenth of performance, add when and if needed or a later.

These Macs are not the very fastest, but with a bit more memory they’d be just fine for most photographers. They’re really fast for everyday stuff, way faster than necessary.

And the 4K and 5K screens are just awesome for images—PC users take note of how crappy most PC displays are—these are terrific displays with a free computer included!

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Shootout: Panasonic Lumix S PRO 70-200mm f/4 OIS vs Panasonic Lumix S PRO 24-105mm f/4 OIS @ ~74mm: Painted Rock

Get Panasonic S1R at B&H Photo.

This page looks at performance of the Panasonic Lumix S PRO 70-200mm f/4 OIS versus the Panasonic Lumix S PRO 24-105mm f/4 OIS near 70mm on a highly detailed 3D target at relatively close distance from f/4 through f/11.

In fun88官网 L-Mount Mirrorless:

Shootout: Panasonic Lumix S PRO 70-200mm f/4 OIS vs Panasonic Lumix S PRO 24-105mm f/4 OIS @ ~74mm: Painted Rock

Presented at up to 125 megapixels (shot in 187MP Multi-Shot High-Res mode from f/4 through f/11, with crops.

1296 | 2592 | 4320
f5.6 @ 1/60 sec Multi-Shot HighRes, ISO 50; 2019-05-31 14:38:14
[location “Lundy Canyon”, altitude 7300 ft / 2225 m, 60°F / 15°C, Enhance Details, LACA corrected, distortion corrected]
Panasonic S1R + Panasonic Lumix S PRO 70-200mm f/4 OIS @ 73mm

MacPerformanceGuide.com

Reader Comment: How Much Resolution is Enough?

Chris R writes:

Good work with the recent Zeiss Otus images along with some of your other favorites too, loving all the recent Zeiss lens tests you doing on the Panasonic S1R, it’s certainly giving you some resolution to play with.

I’m really pleased to see you shooting the likes of the Zeiss Milvus 135mm f/2 with the S1R also, just shows how damn good it is and more than assures me that it will never let me down quality wise, not on my mediocre Canon 5DM4 sensor!

But out of all of it, Zeiss seem to have the upper hand on the colour fidelity compared to the likes of Sigma etc, colours just seem richer, I’ve seen other online testers and images can sometimes look cold, magenta or both, Canon are particularly cool with a pinkish look to their lenses, but think we’ve spoken of this previously.

But I ask at the end of the day, how much resolution his enough for real world everyday publications, indeed an A4 front cover only needs a 24mb file and I often get asked to just supply images for web and press release at around 11 MB, I know you love the detail along with the resolution for landscapes which is key, but realistically if you were using imaging on a Billboard, Rip software generally takes an image of 50% up to size.

Yes, I know the extra resolution is handy for cropping if needed and gives you more freedom and less restrictions, but as iv’e said, for most commercial applications I maybe using only about 70% of my 5Dmk4’s full resolution and picture libraries require around a 50mb file minimum.

fun88官网: heck, iPhone images look good on billboards from distance! If the job is magazines, I recommend using 42/45/47 megapixels at least, if only to avoid digital artifacts like moiré and color aliasing and staircasing and noise. It’s about far more than resolution, as the Panasonic S1R so persuasively demonstrates with its Multi-Shot High-Res mode.

The golden age of photography is upon us, but on top of that, the golden age of high visual impact photo-realistic visual immersion is coming soon to a wall near you. 8K displays (7680 X 4320) are not far off, and the new .

Print is irrelevant to me and to most camera users these days. While nothing beats a strong composition, presbyopia means that 8 X 10 magazines are increasingly not enjoyable—National geographic is just too damn small. Even 11 X 14 sucks, since type size is apparently for those under the age of 40. It will only get worse, and close-up glasses don’t really solve the core issue.

I love seeing details in my images that I didn’t even notice firsthand. I love photorealism, I love the unexpected find in an image, and I can’t stand mushy details, as I am so attuned and attentive to the world out there. Faces too interest me that way, well just about everything. Just the way I am wired.

I for one intend to shoot for future enjoyment with 10K (up to 10240 X 6820) an intermediate goal, and 16K (15360 X 8460) perhaps 5-8 years out. That’s my target as I shoot here in 2019. For now, the iMac 5K is the best thing going for viewing, excepting the coming Apple Pro Display XDR.

Eric B writes:

Something you said today alarmed me though, “print is irrelevant to me and to most photographers.”

In my world, here in the Portland, Oregon area, my circle of photographic friends do not consider an image to be finished until it is on paper. As you know there are many wonderful papers available to us now and excellent printers. I do not sit at my computer all day and try to use my phone less. My home and that of most of my friends is adorned with prints, some are mine, some are by colleagues. I am fortunate to have picture molding in my home and can change out images relatively easily with no holes in the wall.

I am well aware that people print less. My monthly group now has more people projecting images than showing prints but often there’s some problem with the projector or computer, delaying the showing; one needs to reduce the ambient lighting, and the images frequently look just awful, even decent ones

With projected images, one is limited to a few moments of viewing, viewing is at a distance, details are not often visible, and a critique is all but impossible. When we show prints, one can linger over a nice one, look at it carefully and closely; critiques have meaning.

I’m not giving up the print, I hope many others agree. I often wonder why we worry about high resolution cameras when the images will be seen only at significantly lower resolution on a screen, or horrors, a phone.

fun88官网: prints will endure of course, and I do enjoy some large prints in my small home—but I have nowhere to store/swap them, nor the money, time or inclination to do so. Each to his own, as it ought to be.

The operative word is "most", as in probably 99% of people shooting a real camera, even ignoring camera phones, which are used for more than 99% of the images made today. Eric’s own words capture that: “my circle of photographic friends...” is surely a tiny circle compared to the millions of people buying cameras today. It’s just not a thing that people make prints anymore, let alone high quality ones or large sizes. I do, my readers most likely do, but I don’t plan to print much anymore, maybe never again. It’s a cost and space issue, and the accumulation of crap over time as I age along with a lousy user experience (unpack a print from storage to view it? Ugghhh).

Images are worthless if they cannot be viewed. There is a ton of pleasure in viewing images which are far too numerous to print and display. There is a ton of pleasure in a photo realistic viewing experience, which prints do not do as well as the best electronic medium already does.

my circle of photographic friends do not consider an image to be finished until it is on paper”: Isn’t this at least a personal preference, if not an outright conceit which has no factual or logical basis? Tradition is not an argument. Preferences are not an argument.

If viewing images electronically looks bad, that's bad execution and/or bad technology. Bad prints look bad also! Neither is a fact of reality or a constant. The dynamic range of prints is inherently inferior to to a good display, because prints are a reflective medium (backlit 'chrome' type prints could improve upon that), while displays are a transmissive medium. I know that some new print techniques on metal and such and/or ultra high gloss paper can be eye popping, but they still cannot compete on dynamic range, and in any home environment like mine, there are always reflections that further diminish print viewing. Still, I do like my coated canvas prints. But a 10K display at six feet wide would be awesomely better and can deal with ambient light by adjusting color and brightness.

I like my large prints (six feet wide preferred, but at least 3 feet wide). IMO, prints under 3 feet wide suffer from “ageism”—smaller ones are a physical hassle (presbyopia) to view for me—I am not interested in reading glasses for enjoying a print in my house, so nothing less than 3 feet will do. Nor do I have the money to make large high quality canvas prints I prefer!

As for detail, I’ll put the visual impact of an iMac 5K up against any similar-size print. The fact is that the human eye responds primarily to contrast, and the iMac 5K kicks the crap out of prints for that. The 32-inch Apple Pro Display XDR arrives this fall, and it will surely be the finest viewing experience ever seen, particularly for black and white and its larger size is just about perfect for general viewing. It offers 6016 X 3384 pixels (20MP) at 218 DPI and I challenge anyone but the youngest people with 20/20 vision to care about higher DPI—the eye responds to contrast down the pixel level on such a display, which a print simply cannot compete with, end of story.

Then there is damage—having kids, all my prints in the hallway have dings.

Of course I understand that physical media have appeal and always will—me too. But that has a limited role to play.

Point is, we will have 8K/10K/16K displays up to 8 feet wide or larger, with 16K within a decade. The possibilities for viewing my images when I want at up to huge sizes I could never print well with full detail and contrast will make prints look like dusty artifacts.

Meanwhile, the iMac 5K is a terrific display that comes with a free computer.

 


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Reader Comment: Lens Adaptability, Lens Adapters

The golden age of photography is upon us, which includes the golden age of lenses. Optical quality has never been better—along with the grunt to make it even better, computational photography.

Chris R writes:

Here’s another observation, in the not so distant future, regardless of which system you use, there will be an adapter for just about every system so that any third party lens, or indeed, camera system will be universally adaptable to any lens so it won’t be as much of an issue which system you settle for.

fun88官网: sort of, but not so much at a practical matter, for many reasons.

I do go to the trouble of adapting lenses in special cases, such as shooting Zeiss DSLR lenses in Multi-Shot High-Res mode, or F-mount lenses on the Nikon Z7 or Canon EF lenses on the Canon EOS R, but it’s far from ideal from a handling perspective (and no EXIF either).

Flange focal distance

First, the flange focal distance governs whether a lens adapter can be inserted between a lens and the camera. For example, the 16m flange focal distance of the Nikon Z7 lets (in priniciple) all other mirrorless and DSLR and rangefinder lenses mount via a lens adapter.

That’s because the flange focal distance of other camera present camera systems range are 18mm or greater, thus allowing at least a 2mm gap for an adapter to be inserted between lens and camera. While 2mm is iffy for support/stability reasons, it already exists for Nikon DSLR lenses (46.5mm FFO) to Canon DSLR (44.0mm FFO). Thi

The foregoing is why just about any lens can be mounted on the Nikon Z7, but Nikon NIKKOR Z lenses cannot be adapted to any other system, at least not without inserting additional optics (yuck) or dubious into-camera-throat designs.

Fujifilm lens mount schematic: implies 3.1mm thick sensor cover glass, 26.7mm flange focal distance

Electronics

Most lenses these days lack an aperture ring, so a lens adapter has to, at the least, provide electronic translation from the camera to the lens for aperture control. And when it comes to autofocus support, good luck with many adapters—poor AF performance.

Lens support

Camera brand X does not support lens correction of random Camera brand y lenses—so distortion correction and chromatic correction and vignetting correction are all off while shooting. This is sometimes OK, but sometimes a serious problem in that framing becomes difficult for a lens with significant distortion. Worse, most raw convertes including ACR do not provide any selectable lens profile support for Lens Y on Camera X, recognizing the len properly only when shot natively.

Physical

Many lenses are too heavy and too awkward to be practical and increase the risk of damage to both lens and camera flange (bumps, sheer weight). There are also two additional mounting surfaces which have significant risk of having planarity deviations versus a single mounting interface of a native lens.

Optics and sensor cover glass

The variations in sensor cover glass* thickness can be small to large, but high performance lenses can be very sensitive off-axis to differences. Thus performance of a lens designed for 0.8mm thick Leica M sensors is most often degraded massively on mirrorless—no exceptions so far—see MTF on Mirrorless Cameras of the Zeiss ZM 35mm f/1.4 Distagon for the huge losses (although it can offer stunning performance by f/8).

* Total effective filter stack thickness includes the sensor cover glass and its index of refraction, plus additional layers such as an IR-blocking layer.

Differing sensor cover glass thickness vs design parameters causes light rays to diverge inappropriately, killing performance


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Expert Advice from Lloyd at a Bargain Price via WhenHub.com — Limited Time Offer

brings together experts with those needing the expertise.

For a limited time, I am offering my at a greatly reduced rate for first-time consulting clients versus my usual $280 first-hour fee, because I want to try the WhenHub experience for usefulness to me [20% off for continuing clients e.g., $160/hour].

Like a doctor, my fee is not so much about time as the deep reservoir of experience so that can cut right to the key issues and solve them for you, saving you both time and money and mistakes, which are far more expensive.

The second reason for this offer is that I want to accumulate some WHEN crypto tokens. And that’s the catch: you do have to pay me in WHEN token, which can be bought easily at WhenHub.com. No minimum time of engagement.


Getting started

The interaction is via an app on your phone or table, with video/sound.

  1. Purchase some WHEN tokens.
  2. Contact lloyd in advance* so I can alter the pricing appropriately, prior to our connection.

* WhenHub.com does not allow me (at least not yet) to set pricing differently for different areas of expertise,

Areas of expertise

Choose any of these areas, or anything you'd like, presumably stuff you’ve read in my blog over the years.

$70/hour for up to first hour (75% off). Price in dollars below means the equivalent WHEN tokens at time of engagement.

  • Photography: which system to choose, lenses, cameras, technique, post-processing, etc. Maybe you want to discuss a whole system choice, or maybe just which 85mm lens—anything.
  • Computers for photographers: model, memory, CPU, GPU, to optimize Photoshop or Lightroom.
  • Data organization, backup, , fault-tolerance, best practices for this and more. Oriented towards those who don’t want to ever lose their Stuff at home/office or traveling.
  • Considerations in features and design, including state of the battery/electrical.
  • Where/when to shoot in Yosemite or the White Mountains, what to wear/take/best time, etc.
  • — my perspective and findings based on my own journey might help you or add hope! [always confer with your doctor, I do NOT give medical advice]. Even a little perspective might help you! Nominal fee of $10/hour for discussion up to an hour, $50/hour thereafter. I’m doing this to help others, not to make any meaningful money, that’s so the first hour is cheap.

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Off Topic: Three Top Notch Professionals to Help Your Body Health and Cycling Performance

Here are three individuals that I am very impressed with, and highly recommend.

Imagine your body working at its best!

3D Bike Fit

Kevin Bailey, 3DBikeFit.com (San Francisco)

Kevin at 3DBikeFit.com (see ) gets bike fitting right, with the most meticulous attention to detail I’ve seen—the very best. Kevin is the reason I can ride double centuries without pain. I also ride a , the best I have ever found (and I have half a dozen other ones in a box!).

Kevin also makes which are awesome—I rode a double century two days after he made my pair, with zero issues—that’s amazing, and a proper footbed means better power transfer and no pain.

 

 

 

 

 

Rikki Johansen

Dr. Rikki Johanseen CCSP, DACBSP, DACBR (Palo Alto, CA)

Also, certified triathlon coach and a USA Cycling, Level II certified cycling coach.

and .

When I have any injury or problem with my body (muscular, tendon, left/right imbalance, and related pains or similar injuries), I go see Rikke first because she knows how to fix it, and fix it quickly—including casese that bothered me for weeks that improve immediately.

Rikki knows hers stuff and is not any ordinary “crack your back” chiropracter; she’s a cut way above that. She likes to fix things in one visit if possible (for me, that has been true with most injuries!).

I don’t bother going to doctors for sports injuries and similar anymore because they really don’t know how to fix things (expensive brief visits just result in a PT referral)! Unless it’s a broken bone or torn ligament or other true medical surgery-type issue, go so Rikke first.

 

 

 


Dee Sickles, MMT, LMT

Dee Sickles, MMT, LMT (Flagstaff, AZ)

See .

There is massage, there is medical massage, and then there are gifted hands with medical massage. If you have a seemingly intractable physical issue that doctors say is “impossible” to fix without surgery, think again, because what do you have to lose? All feedback from people I’ve recommended Dee to has been enthusiastic.

In 2018, after my 25 mph crash into an embankment with moderate-to-severe , a twisted spine and torso and mashed-in ribs were not going to go away on their own, but . I’ve had both injuries and massage before but never fixes like that. Problems solved.

Dee’s uncanny ability to zero in on the issue was startling to me. Pains I had for weeks after my crash were solved for good.

Reader comments below

anon writes:

I can attest to the importance of having a good massage therapist.

This past month, I was driven to near madness by mysterious tension headaches, neck discomfort and weird sensations. I attributed it all to job stress and started worrying if I'd be able to continue to work or even worse, that I had a serious health condition. Turns out it was just bad posture.

After a visit to a skilled massage therapist with myoskeletal experience, I learned I had Upper Cross Syndrome- pairs of weak and tense muscle groups caused by years of texting on a cellphone and hunched office work. After 3 hours of intense back and neck work my symptoms were 70%+ alleviated, permanently. Massage therapy saved my job, and sanity.

fun88官网: nice outcome.

Mark N writes:

Thank you very much for your post about the products at 3DBikeFit. I am interested in their bike seat and would like to know which seat you use. Either the Throne GT or RS. It appears we have a similar body habitus.

fun88官网: great to hear it’s useful—such stuff is why I bother—hoping someone can profit from sharing my experience. I ride the 3DBikeFit “Throne GT” saddle. As per Kevin Bailey of 3DBikeFit.com:

Lloyd has the , and now we have another revised new version of it with a larger cut out. It’s same foam but front has longer channel. Looks better is more refined and has longer rails and new atoms base where cover raps under top base at front and back.


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Life Gives the Tests Before the Lessons

So many years have passed.

I am emjoying perspective, but it is bittersweet since life gives the tests before the lessons. And I keep learning things I wish I had learned 36 years ago.

My first experience with Yosemite was on the way to Stanford. It was quite an eye opener, even having climbed a dozen Colorado 14ers as a teen.

I graduated 10 years late due to several startups along the way... so much hard work so many years and a degree did not make me smart enough to retain the money—2008 had other ideas. Onward! And I have a much better tripod.

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Zeiss ZF.2 25mm f/2.8 Distagon Aperture Series: Dead Pines in Defunct Beaver Pond

An “oldy but goody”? The Zeiss ZF.2 25mm f/2.8 Distagon is no longer made, but has appealing qualities. I wondered how it might hold up to the 187 megapixel challenge.

This aperture series looks at imaging performance of the Zeiss ZF.2 25mm f/2.8 Distagon 187MP Multi-Shot High-Res mode shot on the Panasonic S1R. Sharpness and field curvature are the key areas of interest.

Zeiss Milvus 15mm f/2.8 Aperture Series: Dead Pines in Defunct Beaver Pond

Images presented at up to 93 megapixels in color, plus a 3-frame focus stack at f/8 in color and B&W.

1296 | 2592 | 4320
f8 @ 1/100 sec Multi-Shot HighRes, ISO 50; 2019-05-30 11:00:49
[location “Lundy Canyon”, altitude 8100 ft / 2469 m, 65°F / 18°C, focus stack 3 frames, LACA corrected]
Panasonic S1R + Zeiss 25mm f/2.8 Distagon

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Zeiss Milvus 15mm f/2.8 Aperture Series: Dead Pines in Defunct Beaver Pond

This series looks at imaging performance of the Zeiss Milvus 15mm f/2.8 in 187MP Multi-Shot High-Res mode shot on the Panasonic S1R. Sharpness and field curvature are the key areas of interest.

The discussion should be extraordinarily helpful for anyone looking to get the best from the Zeiss Milvus 15mm f/2.8 Distagon shooting for total sharpness.

Zeiss Milvus 15mm f/2.8 Aperture Series: Dead Pines in Defunct Beaver Pond

Images presented at up to 93 megapixels in color, plus a 3-frame focus stack at f/8 in color and B&W.

1296 | 2592 | 4320
f8 @ 1/125 sec, ISO 50; 2019-05-30 11:48:34
[location “Lundy Canyon”, altitude 8100 ft / 2469 m, 60°F / 15°C, focus stack 3 frames, LACA corrected]
Panasonic S1R + Zeiss 15mm f/2.8 Distagon

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Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Painted Rock (Multi-Shot High-Res Mode, Focus Shift)

This series looks at the sharpness of the Zeiss Otus 100mm f/1.4 APO-Sonnar at medium distance in 187 megapixel Multi-Shot High-Res mode, evaluating focus shift in the process. It shows how a focus shift can work out to advantage in the right circumstances by good luck. But it can go the other way too—a loss of sharpness by displacing the zone of sharpness out of its ideal position.

Zeiss Otus 100mm f/1.4 APO-Sonnar about $4990

Here, I got lucky, and what had been puzzling me suddenly became clear. This single evaluation is is worth the entire subscription price of fun88官网 Zeiss DLSR Lenses by itself, at least if you want top results from the Otus 100/1.4 regardless of which camera is used—I figure if it puzzled me, it’s not going to be obvious to most. It makes no sense to buy a $4990 lens and then get less than it can deliver.

Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Painted Rock

Images at up to the full capture resolution of 187 megapixels, so that the full imaging performance can be scrutinized at a ridiculously demanding resolution. Plus crops.

1296 | 2592 | 4320
f8 @ 1/160 sec Multi-Shot HighRes, ISO 50; 2019-05-31 15:16:00
[location “Lundy Canyon”, altitude 7300 ft / 2225 m, 65°F / 18°C, Enhance Details, LACA corrected]
Panasonic S1R + Zeiss Otus 100mm f/1.4 APO-Sonnar
Hard drives or SSD.

Zeiss Otus 100mm f/1.4 APO-Sonnar: Focus Shift

Update June 29: I've added some tips and discussion.

Cognitive commitments affect us all and I am no exception, though I push back pretty hard on my own assumptions, a habit developed by years of coding and for the past decade, gear testing.

Having tested all previous Zeiss Otus lenses in depth and finding them remarkably excellent in being free of focus shift in central areas (edges do have some), my initial tests of the Zeiss Otus 100mm f/1.4 APO-Sonnar were not up to snuff in sniffing out focus shift.

Zeiss Otus 100mm f/1.4 APO-Sonnar about $4990

It was 187MP Multi-Shot High-Res mode that had me scratching my head in puzzlement, as focus shift altered more than one field series to a degree not to my liking. I have now rectified that oversight with proofs on the Nikon D850 (only 45 megapixels).

In fun88官网 Zeiss:

Zeiss Otus 100mm f/1.4 APO-Sonnar: Focus Shift

I’ll be following up with a more interesting field example.

f1.4 @ 1/1600 sec, ISO 31; 2019-06-28 17:42:18
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar
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Leica 75mm f/2 APO-Summicron-SL Aperture Series: Painted Rock (Panasonic S1R Multi-Shot High-Res Mode)

Get L-Mount lenses at B&H Photo.Leica 75mm f/2 APO-Summicron-SL about $4750

This aperture series looks at imaging performance from f/2 through f/11 on the Panasonic S1R in Multi-Shot High-Res mode. It was shot before understanding the unstable focus behavior, but is still impressive nonetheless.

In fun88官网 L-Mount Mirrorless:

Leica 75mm f/2 APO-Summicron-SL Aperture Series: Painted Rock

Images at up to 125 megapixels. The imaging quality is spectacular.

What an incredible waste of effort to shoot at 24 megapixels or even 47 megapixels—check out the stunning quality of the 47MP image as downsampled from the 187MP capture with its total freedom from all digital artifacts and near-zero noise. That kind of image qualitiy cannot even be approached with the best 35mm cameras today, it’s in a league by itself.

1296 | 2592 | 4320
f4 @ 1/200 sec Multi-Shot HighRes, ISO 50; 2019-05-31 14:27:26
[location “Lundy Canyon”, altitude 7300 ft / 2225 m, 60°F / 15°C, distortion corrected, USM{8,50,0}, Enhance Details, LACA corrected]
Panasonic S1R + Leica 75mm f/2 APO-Summicron-SL ASPH

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Leica 90mm f/2 APO-Summicron-SL Aperture Series: Painted Rock (Focus Stacked, Panasonic S1R Multi-Shot High-Res Mode)

Get L-Mount lenses at B&H Photo.Leica 90mm f/2 APO-Summicron-SL about $5150

This aperture series looks at imaging performance from f/2 through f/8 on the Panasonic S1R in Multi-Shot High-Res mode.

I had shot this scene two ways: one series focused on the eye and the other on the leading edge of the rock, doing so because I knew that the focus instability problem would damage sharpness across the series; I thought that one series might be usable.

In total, neither series was satisfactory for all apertures. Later, I decided to make lemonade out of two lemon series: for each aperture, I used focus stacking, tedious but well worth the results—the series speaks for itself as stunningly high in detail, even at f/2.

In fun88官网 L-Mount Mirrorless:

Leica 90mm f/2 APO-Summicron-SL Aperture Series: Painted Rock

Images at up to 125 megapixels plus crops. The imaging quality is spectacular.

What an incredible waste of effort to shoot at 24 megapixels or even 47 megapixels—check out the stunning quality of the 47MP image as downsampled from the 187MP capture with its total freedom from all digital artifacts and near-zero noise. That kind of image qualitiy cannot even be approached with the best 35mm cameras today, it’s in a league by itself.

1296 | 2592 | 4320
f2.8 @ 1/400 sec, ISO 50; 2019-05-31 14:46:55
[location “Lundy Canyon”, altitude 7300 ft / 2225 m, 60°F / 15°C, distortion corrected, USM{8,50,0}, LACA corrected, focus stack 2 frames]
Panasonic S1R + Leica 90mm f/2 APO-Summicron-SL ASPH

(Gear Acquisition Syndrome)

Zeiss Otus 28mm f/1.4 APO-Distagon Aperture Series: Painted Rock (Panasonic S1R, Multi-Shot High-Res Mode)

Get Zeiss Otus at B&H Photo.

The series is an ultimate test, with up to 125 megapixel images from f/1.4 through f/8 on a 3D target at close-medium range, showing off depth of field behavior and sharpness as well as outer-zone bokeh and secondary color.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Otus 28mm f/1.4 APO-Distagon Aperture Series: Painted Rock

Includes images up to 125 megapixels from f/1.4 to f/8, plus crops.

Shot on the Panasonic S1R in 187MP Multi-Shot High-Res mode. The Otus 28/1.4 was mounted on the Panasonic S1R using the Novoflex Nikon F Lens to Leica SL/T Camera Body Lens Adapter.

1296 | 2592 | 4320
f4 @ 1/250 sec Multi-Shot HighRes, ISO 50; 2019-05-31 15:58:11
[location “Lundy Canyon”, altitude 7300 ft / 2225 m, 60°F / 15°C, Enhance Details, LACA corrected]
Panasonic S1R + Zeiss Otus 28mm f/1.4 APO-Distagon

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