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Recent posts by Lloyd at , :

2019-11-24

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2019-11-19

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 focus stack 3 frames Multi-Shot HighRes, ISO 50; 2019-05-30 11:00:49
Panasonic S1R + Zeiss 25mm f/2.8 Distagon
ENV: Lundy Canyon, altitude 8100 ft / 2469 m, 65°F / 18°C
RAW: LACA corrected
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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 focus stack 3 frames, ISO 50; 2019-05-30 11:48:34
Panasonic S1R + Zeiss 15mm f/2.8 Distagon
ENV: Lundy Canyon, altitude 8100 ft / 2469 m, 60°F / 15°C
RAW: LACA corrected


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

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
Panasonic S1R + Zeiss Otus 100mm f/1.4 APO-Sonnar
ENV: Lundy Canyon, altitude 7300 ft / 2225 m, 65°F / 18°C
RAW: Enhance Details, LACA corrected

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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
Panasonic S1R + Leica APO-Summicron-SL 75mm f/2 ASPH
ENV: Lundy Canyon, altitude 7300 ft / 2225 m, 60°F / 15°C
RAW: Enhance Details, LACA corrected, distortion corrected, USM {8,50,0}

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 focus stack 2 frames, ISO 50; 2019-05-31 14:46:55
Panasonic S1R + Leica APO-Summicron-SL 90mm f/2 ASPH
ENV: Lundy Canyon, altitude 7300 ft / 2225 m, 60°F / 15°C
RAW: LACA corrected, distortion corrected, USM {8,50,0}
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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
Panasonic S1R + Zeiss Otus 28mm f/1.4 APO-Distagon
ENV: Lundy Canyon, altitude 7300 ft / 2225 m, 60°F / 15°C
RAW: Enhance Details, LACA corrected
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Computational Photography: PhaseOne Introduces Automated Frame Averaging

Busy day, and so I am behind, but I have a new crown for the disintegrated molar.

Kudos to PhaseOne. I’ve alluded to multi-frame averaging for dynamic range purposes in the past, this includes the possibility of varying exposures across frames. This is another variant.

It is so obvious that I just have to shake my head and wonder WTF Sony/Canon/Nikon are doing (Pentax has done frame averaging for years)—not going full bore on features like this—not going at all—while at least the Panasonic S1R style Multi-Shot High-Res mode is a killer feature (in itself a form of frame averaging with a resolution bonus). Most all cameras today are like iPhones with very few apps burned into firmware and you'd better like it that way.

It looks like PhaseOne has done it right.

Automated Frame Averaging allows for long exposures (e.g. several minutes long) in bright daylight without the use of strong ND filters, reduces (the already very low level of) noise in shadows, and adds interesting aesthetic options to the toolkit of the photographer. It works on any kind of body or camera that the IQ4 can mount to including the world’s only modern medium format SLR, the Phase One XF, and tech cameras such as the Arca Swiss RMD3Di and Cambo Wide RS series. Best of all it’s incredibly simple to use and generates, in-camera, a standard raw file.

Improved Shadow Flexibility in Challenging Scenes: The Phase One IQ4 150mp full-frame-645 sensor has the most dynamic range of any camera available today, but some scenes are so challenging that even the IQ4’s dynamic range is not enough. Frame Averaging drastically decreases shadow noise, allowing even more aggressive shadow recovery without introducing noise or losing highlight detail.

“Total Time” and “Shutter Speed” decoupled: For approximately 193 years of photographic history “shutter speed” and “total time” over which the camera exposed were the same thing. With the IQ4 you can now independently set both attributes; you have another axis along which to manipulate the photographic triangle. Do you want a waterfall with smooth silky water that comes with a multi minute exposure, but find yourself in lighting that calls for 1/8th of a second shutter speed for proper exposure? With the IQ4 Automated Frame Averaging you can select a 1/8th of a second shutter speed for the exposure brightness, but 3 minutes as the Total Time for the blurred rendering of the waterfall.

Replace your Strong ND filters: Many photographers carry a very strong ND filter (e.g. ten stops) to do long exposures in bright light. These nearly opaque filters allow the photographer to drag the shutter speed out to seconds or minutes or even hours long even in broad daylight, creating rivers and ocean that are glassy-smooth (since all waves and turbulence average out), surreal scenes of city streets that appear as a ghosted river (since any cars that flow with traffic average out to a sea of “smoke”), sidewalks that appear empty, and clouded skies that blur with an effect straight out of science fiction. The IQ4 can now do this without strong ND filters.

Special Effects: Multiple Exposure is a time-honored special effect in still photography. This tool will allow you to generate a single raw file in-camera from multiple exposures.

The IQ4 uses its best-in-class sensor-based Electronic Shutter system and generous internal ram to capture frames in immediate succession during frame averaging. In fact, at many shutter speeds the IQ4 Frame Averaging allows successive captures with no meaningful temporal gap. Traditional mechanical shutters (focal plane shutters or leaf shutters) must reset between exposures, so even the cameras with mechanical shutters capable of very high frame rates, cannot have the entire frame exposed all the time, which leads to gaps of time (aka “temporal gaps”) when the scene is not being recorded. For example, in a scene of a car driving across the desert at night, a temporal gap leads to the headlights being rendered as a series of dots rather than a continuous long blurred line. With the IQ4 each capture cycle immediately follows the previous, allowing gapless frame averaging. The ES is also beneficial to frame averaging because it generates zero vibration. With a traditional mechanical shutter (focal plane shutters or leaf shutters) there is a small amount of vibration created each time the camera captures. When averaging several or many captures together that vibration can reduce sharpness and cause visual artifacts. ES creates no vibration, so many captures can be averaged together and retain the same sharpness as a single capture.

 

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Fujifilm GFX-100: Review Coming Soon

Busy day, and so I am behind, but I have a new crown for the disintegrated molar.

Update: I expect th GFX-100 in mid July.

CLICK TO VIEW: Fujifilm medium format System

...

I’m hoping that the Fujifilm GFX-100 I have on order (loaner) ships out tomorrow for arrival Monday. Because I’ll be spending half my day enjoying my four damaged front teeth being ground down for temporary crowns. So I hope to have one bright spot for the day.

Fujifilm GFX-100

No Panasonic S1R style Multi-Shot High-Res mode in the GFX-100 is a bummer, but maybe Fujifilm can fix that in firmware?

My min concern is the omission of a 4-way joystick. Do I have what follows wrong and that tiny little butotn abouve AE-L is a 4-way controller (without 4 way buttons)?

Touchscreen operation is worse than worthless in so many situations, so I hope that little button does not remove the scrolling functionality, namely, forcing the use of a touchscreen requires:

  • Taking the camera away from shooting position and holding it out from the body, shifting hand position.
  • Taking gloves off.
  • Greasing up the screen with sweat or sunblock and it won’t even work with damp hands (my iPhone doesn’t)
  • Near-range vision which is physically impossible for me in dim light
  • No ability to shoot handheld while using touch.

Maybe some guy or gal in a studio with this brick on a tripod and perfect 20/20 close-range (no presbyopia) vision will love touchscreen operation. For me, it’s a clusterfuck.

I wonder how the small-button ergonomics will fare, particularly for cold weather shooting. I have two hands and this imbalanced buttons-on-the right thing bugs me—with that big a body, I just don't get so many buttons have to all be on the right and too small—it forces me to grab the camera with the left hand and reposition my right hand out of shooting-ready position.

As I discussed in my four-part series Maximize Image Quality with Shot Discipline articles at , perfect shot execution and outstanding lenses are going to be needed for the extremely high pixel density of a 100 megapixel 44 X 33mm sensor. Along with focus stacking.

Bottom line though is image quality. Carrying a big brick can be worth it if the images are the reward as the Hasselblad H6D-100C showed me, and the GFX-100 surely is much more manageable—but with a much smaller sensor. It is primarily on the basis of image quality that I will be evaluating it.

CLICK TO VIEW: Fujifilm Medium Format

Fujifilm GFX-100
Fujifilm GFX-100

James K writes:

The Fuji GFX-100 looks like a brick. With pixel shift or Multi-Shot High-Res mode they could have had a more appealing camera.

The smell of a Sony with a Global Shutter is in the wind. This Fall and Winter will tell the tale. The Sony Bear might leave the others like picked clean bones in Yellowstone with no meat for the wolves.

fun88官网: no one should count Sony out, and it makes me hesitate to buy anything right now. Still, if I were just shooting landscape, the appeal of high-grade Zeiss or other lenses on the Panasonic S1R with Multi-Shot High-Res mode is compelling.

Jason W writes:

Enhance Details might not be killer app for the GFX 100S the way it was for the 50R/S. As you point out, many of the GF lenses will fail to out-resolve the sensor which means there just won't be much for Enhance Details to do in terms of recovering aliased detail. The difference may end up truly being nothing.

fun88官网: some of the Fujifilm GF lenses are very sharp and all are sharp in the center, and thus color moiré and spurious detail issues might remain in the strong areas. But for several of the lenses, weak outer zones coupled with the damaging effects of distortion correction means capture of “higher resolution blur”.

However, I saw little benefit when processing Hasselblad H6D-100C and probably because of what Jason mentions: the lenses not being good enough to cause the usual optical issues—and the Fujifilm GFX-100 has far smaller pixels which means its lenses have to be better than the Hasselblad HCD lenses to incur isseus.


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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm, 15.5mm, 17.5mm (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

Topping off my coverage of the Nikon NIKKOR Z 14-30mm f/4 S are three more aperture series.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: View Through Arches

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 15.5mm: Alley View

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 17.5mm: Mosaic

Includes images up to full camera resolution from f/4 through f/11, plus crops.

1296 | 2592 | 4320
f9 @ 2.0 sec, ISO 31; 2019-06-19 20:45:04
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm
RAW: Enhance Details, LACA corrected, distortion corrected, push 1.2 stops, +100 Shadows, -63 Highlights, diffraction mitigating sharpening
1296 | 2592 | 4320
f9 @ 10.0 sec, ISO 31; 2019-06-19 20:50:54
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 15.5mm RAW: Enhance Details, diffraction mitigating sharpening
1296 | 2592 | 4320
f5.6 @ 1/5 sec, ISO 31; 2019-06-19 20:28:26
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 17.5mm
RAW: Enhance Details, LACA corrected, distortion corrected
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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: MemChu Wide View (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The 14mm focal length of the Nikon NIKKOR Z 14-30mm f/4 S is an important one for my usage at least, and so I’ve been studying it to fully understand it. This series puts the matter to rest definitively as to the across-the-frame performance at distance.

The series assesses the Nikon NIKKOR Z 14-30mm f/4 S at 14mm on a far distance scene. It offers a look at the best possible results from the lens at 14mm. Also included is an assessment of diffraction losses at f/8 and f/11 with and without diffraction mitigating sharpening.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: MemChu Wide View

Includes images up to full camera resolution from f/4 through f/11, plus crops.

1296 | 2592 | 4320
f5.6 @ 1/6 sec, ISO 31; 2019-06-19 20:30:52
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm
RAW: Enhance Details, LACA corrected, distortion corrected

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My Recommendations for a Core Canon Mirrorless System, Some with Deals

See my Nikon mirrorless wishlist.

Following my recommendations for a Nikon mirrorless system, here is my recommendation for a Canon mirrorless system whose lenses rock. The Canon EOS R is a good camera, but only 30 megapixels, but I expect Canon to offer high megapixel camera before long.

The DSLR lenses can be shot on the Canon EOS R with the Canon Mount Adapter EF-EOS R (currently included with the Canon EOS R along with the discount).

At this point the Canon RF lenses below are so impressive that I am not recommended any other lenses yet. The Canon EF 11-24mm f/4L is an excellent lens but I hope an RF version is coming. In the meantime, it covers the wide end superbly.

CLICK TO VIEW: Top Notch Gear for Canon Mirrorless

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Nikon NIKKOR Z 14-30mm f/4 S Examples: Night Shooting (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

This page shows examples night shooting with the Nikon NIKKOR Z 14-30mm f/4 S. I love working with a ultra-wide zoom (11-24mm would be preferred though), and it seems particularly fun at night.

The Nikon Z7 does well focusing at f/4 at night—much better than the Panasonic S1R for example—the Z7 is smart enough to take its time and do it right and I felt that I could rely on its focus in most cases where it was too dark to make manual focus even feasible.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Examples: Night Shooting

Includes images up to full camera resolution.

Toggle for black and white.

1296 | 2592 | 4320
f9 @ 30.0 sec, ISO 31; 2019-06-19 21:32:48
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 21.5mm
RAW: Enhance Details, LACA corrected, distortion corrected, push 2.15 stops, +100 Shadows, USM {8,50,0}, diffraction mitigating sharpening

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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 30mm: Burgher (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses performance of the Nikon NIKKOR Z 14-30mm f/4 S at 30mm at full body portrait range.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 30mm: Burgher

Includes images up to full camera resolution from f/4 through f/11, plus crops.

f5.6 @ 2.5 sec, ISO 31; 2019-06-19 20:40:22
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 30mm
RAW: Enhance Details, LACA corrected, distortion corrected

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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 30mm: Library at Dusk (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses medium and far performance of the Nikon NIKKOR Z 14-30mm f/4 S at 30mm for overall performance at dusk.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 30mm: Library at Dusk

Includes images up to full camera resolution from f/4 through f/9, plus crops.

I have to give the about $1297 Nikon NIKKOR Z 14-30mm f/4 S a lot of credit for outstanding visual impact—it reminds me of the Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL—the NIKKOR has a lot to offer even if it outer-zone sharpness is not quite as high as I would like. It is also a heck of a nice lens to work with in terms of size/weight and balance on the Nikon Z7.

1296 | 2592 | 4320
f6.3 @ 13.0 sec, ISO 31; 2019-06-19 20:55:58
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 30mm
RAW: LACA corrected, distortion corrected, pull 0.2 stops, +90 Shadows, USM {8,50,0}

Deals Updated Daily at B&H Photo

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 15.5mm: Palm Tree (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses close to medium range performance of the Nikon NIKKOR Z 14-30mm f/4 S at 15.5mm for overall performance at dusk with garish artificial lighting mixed with cool daylight.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 15.5mm: Palm Tree

Includes images up to full camera resolution from f/4 through f/9, plus crops.

1296 | 2592 | 4320
f4 @ 5.0 sec, ISO 31; 2019-06-19 20:52:20
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 15.5mm
RAW: Enhance Details, LACA corrected, distortion corrected, push 1.95 stops, +100 Shadows, -100 Highlights
Upgrade Your Mac Memory
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Lloyd recommends 64GB for iMac or Mac Pro for photography/videography.

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Courtyard View to Tower (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses near-far performance of the Nikon NIKKOR Z 14-30mm f/4 S at 14mm for overall performance on a near-to-far scene typical of landscape use.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Courtyard View to Tower

Includes images up to full camera resolution from f/4 through f/11, plus crops and some interesting analysis about the behavior at 14mm.

1296 | 2592 | 4320
f4 @ 0.5 sec, ISO 31; 2019-06-19 20:47:38
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm
RAW: Enhance Details, LACA corrected, distortion corrected

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

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 24mm: Fountain by Library and Tower (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses near-far performance of the Nikon NIKKOR Z 14-30mm f/4 S at 24mm for overall performance on a near-to-far scene typical of landscape use.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 24mm: Fountain by Library and Tower

Includes images up to full camera resolution from f/4 through f/9, plus crops.

1296 | 2592 | 4320
f6.3 @ 13.0 sec, ISO 31; 2019-06-19 20:58:52
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 24mm
RAW: Enhance Details, LACA corrected, distortion corrected, +60 Shadows
128GB Memory in iMac 5K $679

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Nikon NIKKOR Z 14-30mm f/4 S vs Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm: Mosaic (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses the Nikon NIKKOR Z 14-30mm f/4 S at 24mm on a demanding planar target against the Nikon NIKKOR Z 24-70m f/2.8 S for comparison.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S vs Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm: Mosaic

Includes images up to full camera resolution from f/2.8 through f/11, plus crops.

1296 | 2592 | 4320
f5.6 @ 1/6 sec, ISO 31; 2019-06-19 20:22:40
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 23mm
RAW: Enhance Details, LACA corrected, distortion corrected
Upgrade Your Mac Memory
At much lower cost than Apple, with more options.
Lloyd recommends 64GB for iMac or Mac Pro for photography/videography.

My Recommendations for a Core Nikon Mirrorless System, Some with Deals

See my Nikon mirrorless wishlist.

Top notch gear for Nikon below.

These DSLR lenses can be shot on the Nikon Z7 with the Nikon FTZ lens adapter. I recommend goimg with the Nikon Z7 versus the Nikon D850 at this point, unless the goal is shooting only DSLR lenses.

The Sigma 28mm f/1.4 DG HSM Art is a stronger lens than the Nikon AF-S 28mm f/1.4E but a chore to carry. The Nikon 28mm is much more manageable in size and weight, and has a very nice rendering style. Ditto for the Nikon AF-S 105mm f/1.4E vs the Sigma 105mm f/1.4 DG HSM Art.

CLICK TO VIEW: Top Notch Gear for Nikon Z7

 


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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 19.5mm: MemChu (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses near-far performance of the Nikon NIKKOR Z 14-30mm f/4 S at 19.5mm. It affords a good sense of the overall quality and depth of field achievable for this near/far scene, but also demands lens performance on a planar subject for half the frame.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 19.5mm: MemChu

Includes images up to full camera resolution from f/4through f/11, plus crops.

f8 @ 1/10 sec IS=off, ISO 31; 2019-06-19 20:15:33
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 19.5mm
RAW: Enhance Details, LACA corrected, distortion corrected
Lloyd’s Sony Mirrorless Wishlist
Hand-picked items for Sony.

At a Glance: Why the 2019 iMac 5K Rocks for my Photo Work, and Why the GPU is Much Less Important than 8 Fast CPU Cores

on configuring a high performance system including data integrity and backup and workflow practices.

More about the 2019 iMac 5K.

The 2019 iMac 5K I bought about 8 weeks ago is the best Mac for photography and my other work that I have ever used. Simply terrific! I don’t know yet, but I suspect that for my usage, it will be competitive with the new Mac Pro and maybe even faster, at a fraction of the price.

2019 Apple 27" iMac 5K 3.6 GHz / 8GB / 2TB / Radeon Pro Vega 48 with .

Below, one can see at a glance that a GPU is a waste of money for much of my work—it hardly gets used except when doing Enhance Details and that usage is intermittent. What do get used are the eight CPU cores (16 virtual cores). This graph over 10 minutes or so of my work in Photoshop and Zerene Stacker.

2019 iMac 5K that Lloyd uses for photography and everything (plus 128GB OWC memory)

CLICK TO VIEW: Computing

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Leica 90mm f/2 APO-Summicron-SL Aperture Series: Huge Pine Among Aspen (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

See also this Huge Pine Among Aspen with the Leica 75mm f/2 APO-Summicron-SL ASPH.

This series is with the 90/2 APO. This series was shot after I (finally) understood the focus instability problem with the Leica 75/2 and achieves as good a result as possible.

In fun88官网 L-Mount Mirrorless:

Leica 90mm f/2 APO-Summicron-SL Aperture Series: Huge Pine Among Aspen

Images at up to 125 megapixels plus crops along with extensive commentary. The imaging quality is spectacular. I’d love to own this extraordinary about $5150 lens in spite of its focusing instability.

1296 | 2592 | 4320
f2.8 @ 1/8 sec Multi-Shot HighRes, ISO 50; 2019-06-09 19:49:07
Panasonic S1R + Leica APO-Summicron-SL 90mm f/2 ASPH
ENV: Lee Vining Canyon, altitude 6800 ft / 2073 m, 63°F / 17°C
RAW: Enhance Details, LACA corrected, distortion corrected, push 0.1 stops, +25 Shadows

MacPerformanceGuide.com

Leica 75mm f/2 APO-Summicron-SL Examples in Mountains (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

These examples explore the world-class optical performance of the Leica 75mm f/2 APO-Summicron-SL ASPH when used on the Panasonic S1R in Multi-Shot High-Res mode. I wanted to see if I could obtain high sharpness images near dusk, and just how much detail could be captured in subjects that have more detail than the camera can normally faithfully record.

Leica 75mm f/2 APO-Summicron-SL Examples: Mountains

Images at up to 141 megapixels. Prepare to be impressed.

1296 | 2592 | 4320
f2.8 @ 1/100 sec Multi-Shot HighRes, ISO 50; 2019-06-05 20:12:15
Panasonic S1R + Leica APO-Summicron-SL 75mm f/2 ASPH
ENV: Hwy 120 East, altitude 7050 ft / 2149 m, 60°F / 15°C
RAW: Enhance Details, LACA corrected, distortion corrected, push 0.8 stops, +100 Shadows, USM {8,50,0}

Deals Updated Daily at B&H Photo

Leica 90mm f/2 APO-Summicron-SL Examples at Dusk in Multi-Shot High-Res Mode (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

These examples explore the world-class optical performance of the Leica 90mm f/2 APO-Summicron-SL ASPH when used on the Panasonic S1R in Multi-Shot High-Res mode. I wanted to see if I could obtain high sharpness images near dusk, and just how much detail could be captured in subjects that have more detail than the camera can normally faithfully record.

Leica 90mm f/2 APO-Summicron-SL Examples: Natural Subjects at Dusk

Images at up to 141 megapixels. Prepare to be impressed.

1296 | 2592 | 4320
f2 @ 1/250 sec Multi-Shot HighRes, ISO 50; 2019-06-05 20:17:14
Panasonic S1R + Leica APO-Summicron-SL 90mm f/2 ASPH
ENV: Hwy 120 East, altitude 7050 ft / 2149 m, 60°F / 15°C
RAW: Enhance Details, LACA corrected, distortion corrected, push 1.45 stops, USM {8,50,0}
1296 | 2592 | 4320
f2 @ 1/6 sec Multi-Shot HighRes, ISO 50; 2019-06-07 19:43:38
Panasonic S1R + Leica APO-Summicron-SL 90mm f/2 ASPH
ENV: Mono Craters, altitude 7600 ft / 2316 m, 60°F / 15°C
RAW: Enhance Details, LACA corrected
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Leica 75mm f/2 APO-Summicron-SL Focus Stacking in Multi-Shot High-Res Mode, Plus HighRes Exmples (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

These examples explore the world-class optical performance of the 75mm f/2 APO-Summicron-SL ASPH when used on the Panasonic S1R in Multi-Shot High-Res mode for focus stacking.

Leica 75mm f/2 APO-Summicron-SL Examples: Focus Stacking in Multi-Shot High-Res Mode

1296 | 2592 | 4320
f8 @ 1/30 sec focus stack 2 frames, ISO 50; 2019-06-07 13:26:22
Panasonic S1R + Leica APO-Summicron-SL 75mm f/2 ASPH
ENV: Mono Lake, altitude 6400 ft / 1951 m, 75°F / 23°C
RAW: LACA corrected, distortion corrected, USM {8,50,0}

Deals Updated Daily at B&H Photo

Several Leica SL Lenses are Second to None and Ideal for Multi-Shot High-Res Mode, but...

I am finishing up my coverage of the Leica 75mm f/2 APO Summicron-SL ASPH and the Leica 90mm f/2 APO Summicron-SL ASPH in the next few days. I cannot afford them (I do want them) but there has been little reaction among my readership, so I don’t know if I’ll cover them again for a while.

Speaking in optical terms, I say without any reservation that the Leica 75/2 APO SL and Leica 90/2 APO SL are among the finest lenses I have ever tested.

While I expect the same of the Leica 35mm f/2 APO Summicron-SL ASPH, I have not yet tested it, as it is back-ordered. If it behaves like the 75mm and 90mm it will be a big winner, if like the 50/1.4 SL then it would be problematic.

Get L-Mount lenses at B&H Photo.

Were I shooting for myself at this juncture, and were money a non-issue, I’d be buying all three and shooting them on the Panasonic S1R for landscape and all static subjects as my go-to system, because when shot in Multi-Shot High-Res mode, everything else on the market today looks like a crappy downgrade. The Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH also for its range, though I have reservations about its performance at the wide end. The Leica 50/1.4 SL no—too many behavioral issues.

Please buy through links on this site when you buy anything!

CLICK TO VIEW: Lenses for Panasonic S1R — Lloyd’s Suggested Kit

Concerns about Leica SL lenses

Image quality aside , I have serious concerns about Leica SL lenses.

First, the unstable focus issue discussed in Unstable Focus: Orange Pine Tree Trunk is a concern. Perhaps Leica can fix it in firmware (but how does one update lens Leica SL lens firmware on a Panasonic S1R?). But since I now know how to deal with the unstable focus as explained in Panasonic S1R: Notes on Focusing in HighRes Mode, I can work with the lenses, and the results are stunning in HighRes mode. I still blanche at the wasted time and effort and damaged images from the problem but that’s water under the bridge.

Second and more worrisome*, reliability and build quality make me frown with concern, particularly internal parts and AF motor, which necessarily implicates service response time and cost, and warranty. I would like to see the quality of of the Leica SL internal parts are (teardown), and I’d like to see at least a five (5) year full warranty along with US facilities for rapid turnaround (or a loaner while being serviced).

* Multiple highly credible sources have told me incroyable things about Leica S build quality and repairs, and my own experience makes me wary.

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Leica 75mm f/2 APO-Summicron-SL Aperture Series: Natural Bonsai Above Beaver Pond (Panasonic S1R) [updated with reader comments]

Get L-Mount lenses at B&H Photo.

This aperture series looks at imaging performance from f/2 through f/8 on the Panasonic S1R in Multi-Shot High-Res mode. It was shot before understanding the unstable focus behavior, but is still impressive nonetheless. It is less about analysis than about showing off the potential of the Leica 75mm f/2 APO-Summicron-SL ASPH for ultra high resolution imaging.

In fun88官网 L-Mount Mirrorless:

Leica 75mm f/2 APO-Summicron-SL Aperture Series: Natural Bonsai Above Beaver Pond

Images at up to 125 megapixels. The lighting was lousy, but the detail and freedom from digital artifacts is spectacular.

1296 | 2592 | 4320
f8 @ 0.5 sec, ISO 50; 2019-05-29 19:50:08
Panasonic S1R + Leica APO-Summicron-SL 75mm f/2 ASPH
ENV: Lundy Canyon, altitude 8250 ft / 2515 m, 55°F / 12°C
RAW: Enhance Details, LACA corrected, distortion corrected

Jason W writes:

Even though I consider myself openly hostile to Leica's antics, the High Res Bonsai image on the 75mm f2 APO is the definition of excellence in draw style. Smooth while still being detailed. It's what I always liked about large format and it's a look different look vs the Zeiss lenses. A lot of Leica stuff I see looks frothy but this is superb.

fun88官网: indeed, the Leica 75mm f/2 APO Summicron-SL ASPH and the Leica 90mm f/2 APO Summicron-SL ASPH I can say without an reservation whatsoever (but speaking optically only!) two of the finest lenses I have ever used. I expect the same of the Leica 35mm f/2 APO Summicron-SL ASPH, which I am eager to test, but my order/loaner at B&H has been back-ordered a long time. Perhaps it will show up in August with a little luck, or if Leica is reading this and cares to send me one.

I have several concerns about Leica SL lenses: the unstable focus issue discussed in Unstable Focus: Orange Pine Tree Trunk is a concern, but I now know how to deal with it as explained in Panasonic S1R: Notes on Focusing in HighRes Mode.

A key concern about Leica SL lenses , and based on too many credible sources telling me incroyable things about Leica S build quality as well as my own experience, reliability over time should be a concern, particularly internal parts and AF motor, which necessarily implicates service response time and cost, and warranty. I can see pending $5K on a Zeiss Otus which should last forever barring physical damage, but Leica SL lenses make me frown with reliability concerns. I would like to see the quality of of the Leica SL internal parts are (teardown), and I’d like to see at least a five (5) year full warranty along with US facilities for rapid turnaround (or a loaner while being serviced).

Hard drives or SSD.

Nikon/Canon/Sony Image Quality SUCKS vs Multi-Shot High-Res Mode — Golden Age of Photography Makes me Gripe that Best Ever Cameras Could be Way Better!

See my L-mount mirrorless wishlist and Leica M wishlist.

We are in the golden age of photography, which naturally makes me so eager about what can be achieve with computational photography that an existence proof of field-usabble computational photography makes me frustrated that it exists on only one camera.

For some, the golden age of photography means the ease of the iPhone and its computational photography including panoramas, multi-lens integration into one image, and other super easy-to-use goodies. The iPhone disapoints severely unless I shoot RAW/DNG where it does quite well for what it is, but it falls flat as a general tool for numerous reasons.

For me, the golden age of photography excites because of technologies Multi-Shot High-Res Mode in real cameras, and because so much more is possible. I chafe at the delay and sparse 'delivery'.

* iPhone JPEGs are garbage (this need not be so!), with massive smearing-away of detail and outrageous posterization which makes images hyper brittle for 'post'—fine for Instagram of course, at postcard size.

Computational photography with Multi-Shot High-Res Mode

Back in late April in Thoughts on Ultra High Resolution Imagery with Multi-Shot High-Res Mode, I was feeling enthusiastic about Multi-Shot High-Res mode. This post updates my thoughts.

Latest thoughts

Here in June when I see a Nikon Z7 or Sony A7R III image now, as I have over and over with recent published images, I am gobsmacked that by comparison, the standard Bayer matrix capture quality with Nikon/Canon/Sony is CRAP compared to what is possible with Multi-Shot High-Res mode. It doesn’t matter to me that some images need to be taken in single-shot mode; I can do that when necessary. The point is that so many images I make could benefit tremendously from Multi-Shot High-Res mode. Except that Nikon and Canon and Sony have no such mode. Sony’s pixel shift is worthless in the field; every time I try it the checkerboarding ruins the image.

These Sony/Nikon/Canon cameras lacking HighRes mode grate on me in delivering images with all sorts of digital artifacts free of real per-pixel detail—the images they produce are noisy, pixellated, brittle, artifacted approximations of what is actually possible. They suck.

Panasonic has figured out computational photography well enough to deliver the most stunningly useful feature (in terms of image quality) that I have ever seen in a digital camera. So I hope it is not patented somehow, precluding these other players from implementing it.

I don’t really want to buy a Panasonic S1R because it’s all about the lenses. What I want is or* Nikon and Canon and Sony to get their shit together and implement Multi-Shot High-Res mode as good or better than Panasonic. Nor will this feeling change if we see a 70MP Sony A7R IV—it is just not going to compete.

* Either, or, all.

See my April 25 post for more thoughts.

Claude F writes:

I’ve been reading the Multi-Shot High-Res mode reviews. Your observations regarding detail, in my case Sony, are spot on. The disappointment with the current crop of camera and lenses is just that a disappointment.

Multi shot interests me but I can’t see buying a camera that does not have the glass to go with it. If I take a single shot backup and have to use the single shot and the single shot does not cut it quality wise due to an inferior lens, that’s something I’m not going to trust and certainly not going to purchase. If camera, lens, multi shot worked reliably that would be a hands down game changer. Until then, stitching, take a look at the new Hasselblad.......

fun88官网: based on past conversations, Claude prefers something in the ~35mm range. On the assumption that the Leica 35mm f/2 APO-Summicron-SL ASPH will satisfy like its 75mm and 90mm siblings, and that the focus instability workaround* applies as with the 75mm and 90mm, the Panasonic S1R Multi-Shot High-Res mode ought to please Claude like no digital camera beyond measure.

The S1R does have the glass to go with it—the Leica SL lenses. If a lens can deliver for Multi-Shot, then it delivers just as well for single shot, to the extent that that the single-shot Bayer matrix capture delivers. If the lens is disappointing in single shot, then it’s a non-starter for MultiShot.

I can say without an reservation whatsoever that in optical terms the Leica 75mm f/2 APO Summicron-SL ASPH and the Leica 90mm f/2 APO Summicron-SL ASPH are two of the finest lenses I have ever used. I expect the same of the Leica 35mm f/2 APO Summicron-SL ASPH, which I am eager to test, but my order/loaner at B&H has been back-ordered a long time.

A key concern about Leica SL lenses , and based on too many credible sources telling me incroyable things about Leica S build quality as well as my own experience, reliability over time should be a concern, particularly internal parts and AF motor, which necessarily implicates service response time and cost, and warranty. I can see pending $5K on a Zeiss Otus which should last forever barring physical damage, but Leica SL lenses make me frown with reliability concerns. I would like to see the quality of of the Leica SL internal parts are (teardown), and I’d like to see at least a five (5) year full warranty along with US facilities for rapid turnaround (or a loaner while being serviced).

* See Unstable Focus: Orange Pine Tree Trunk and how to deal with it in Panasonic S1R: Notes on Focusing in HighRes Mode.

Actual pixels crop from 187 megapixel image
f8 @ 1/4 sec Multi-Shot HighRes, ISO 50; 2019-04-24 19:21:57
Panasonic S1R + Zeiss Milvus 135mm f/2
ENV: Lee Vining Canyon, altitude 7400 ft / 2256 m, 60°F / 15°C
RAW: LACA corrected
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Sony 135mm f/1.8 GM Aperture Series: Rotten Tree Trunk (Sony A7R III)

Get Sony 135mm f/1.8 GM at B&H Photo.

This series looks at the Sony FE 135mm f/1.8 GM from f/1.8 through f/11 at close range. At this range there is very little depth of field even at f/11, so the series includes a 7-frame focus stack at f/9, showing off what is possible with this world-class performer.

In fun88官网 Mirrorless:

Sony 135mm f/1.8 GM Aperture Series: Rotten Tree Trunk (Sony A7R III)

Includes images up to full camera resolution from f/1.8 through f/11.

1296 | 2592 | 4320
f5.6 @ 0.8 sec IS=off, ISO 50; 2019-06-08 19:59:26
Sony A7R III + Sony FE 135mm f/1.8 GM
ENV: Mono Craters, altitude 7600 ft / 2316 m, 58°F / 14°C
RAW: Enhance Details, LACA corrected
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Sony 135mm f/1.8 GM Examples: Mono Craters (Sony A7R III)

Get Sony 135mm f/1.8 GM at B&H Photo.

This page puts the Sony FE 135mm f/1.8 GM to use for outdoor images. The 135mm focal length offers excellent perspective compression which stacks up near/far detail for an effect that shows the curves in road or landscapes.

In fun88官网 Mirrorless:

Sony 135mm f/1.8 GM Examples: Mono Craters (Sony A7R III)

Includes images up to full camera resolution.

I also look at flare shot towards the sun:

Sony 135mm f/1.8 GM Examples: Flare

1296 | 2592 | 4320
f8 @ 2.0 sec IS=off, ISO 50; 2019-06-08 20:24:55
Sony A7R III + Sony FE 135mm f/1.8 GM
ENV: Hwy 120 near Mono Craters, altitude 7600 ft / 2316 m, 58°F / 14°C
RAW: Enhance Details, LACA corrected

Upgrade the memory of your 2019 iMac up to 128GB

Nikon NIKKOR Z 14-30mm f/4 S vs Nikon NIKKOR Z 24-70mm f/2.8 S @ 30mm: Mosaic (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses the Nikon NIKKOR Z 14-30mm f/4 S at 30mm on a demanding planar target against the Nikon NIKKOR Z 24-70m f/2.8 S for comparison.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S vs Nikon NIKKOR Z 24-70mm f/2.8 S @ 30mm: Mosaic

Includes images up to full camera resolution from f/2.8 through f/11, plus crops.

1296 | 2592 | 4320
f4 @ 1/15 sec, ISO 31; 2019-06-19 20:17:13
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 30mm
RAW: Enhance Details, LACA corrected, distortion corrected

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Nikon NIKKOR Z 14-30mm f/4 S Distortion at 14mm, 19.5mm, 30mm

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

Requiring software distortion correction guarantees that the final image can never achieve full sensor resolution in at least some areas of the frame, damaging sharpness and micro contrast in the critical central area for pincushion distortion, and damaging it in the outer zones for barrel distortion. Is that the “ultimate in optical image quality”, as per Nikon’s brochure?

When the distortion is strong enough, it isn’t even viable to find a raw conversion workflow that can (somehow) disable the EXIF flag that requires distortion correction; it’s just too awful. Such as at 14mm, below.

The page looks at optical distortion for the Nikon NIKKOR Z 14-30mm f/4 S at 14mm, 19.5mm, and 30mm, showing the uncorrected and corrected image from distortion correction, along with analysis of the loss in sharpness and micro contrast.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Distortion

This performance of the 14-30mm f/4 along with that of all the other Nikon NIKKOR Z lenses shows that Nikon has made an intentional systematic tradeoff in optical design for excellence in most areas (particularly color correction) by sacrificing the most important area of all for many uses: sharpness. All while claiming optical excellence including near-zero distortion. From Nikon’s PDF lens brochure “NIKKOR-Z-Brochure.pdf”, this non-sequitur:

The ultimate in optical image quality... Less Distortion
Even at their widest apertures, NIKKOR Z lenses show virtually no distortion...

I don’t have an issue with a company making design decisions. But I find outright falsehoods unacceptable.

Contrast that to the Canon RF 50mm f/1.2L, Canon RF 85mm f/1.2L and the Canon RF 28-70mm f/2L designs, which have extremely low optical distortion along with ultra high performance—clearly pro-oriented. The two strategies are far apart; Canon’s design approach is forward-looking and results in lenses of higher cost but of long-term satisfaction, but Nikon seemingly is not targeting professional use.

1296 | 2592 | 4320
Distortion (uncorrected) at 14mm for Nikon NIKKOR Z 14-30mm f/4 S
f5.6 @ 1/5 sec, ISO 31; 2019-06-19 20:27:10
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm RAW: LACA corrected
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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Mosaic (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses of the Nikon NIKKOR Z 14-30mm f/4 S at 14mm on a demanding planar target. The main point of interest here is sharpness, but color rendition is also a concern.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Mosaic

Includes images up to full camera resolution from f/4 through f/11, plus crops.

1296 | 2592 | 4320
f5.6 @ 1/5 sec, ISO 31; 2019-06-19 20:27:10
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm
RAW: Enhance Details, LACA corrected, distortion corrected
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Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Three Paths at Night (Nikon Z7)

Get Nikon NIKKOR Z 11-30mm f/4S and Nikon NIKKOR Z lenses at B&H Photo.

The series assesses near-far performance of the Nikon NIKKOR Z 14-30mm f/4 S at 14mm. It affords a good sense of the overall quality and depth of field achievable for this near/far scene.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Three Paths at Night

Includes images up to full camera resolution from f/4 through f/11, plus crops.

1296 | 2592 | 4320
f6.3 @ 15.0 sec, ISO 31; 2019-06-19 21:07:42
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm
RAW: Enhance Details, LACA corrected, distortion corrected

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Focusing Zeiss DSLR Lenses For Peak Performance, PART ONE: The Challenges

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

One thing striking to me is the concern with gear, particularly lens performance, but the elephant in the room sees much less attention and interest: shot discipline and general ways of making sharp images. With high-resolution digital, shot discipline and technique and focus stacking are more important than most lens differences.

From lenspire.zeiss.com, February 2016.

Focusing Zeiss DSLR Lenses For Peak Performance, PART ONE: The Challenges

Focusing Zeiss DSLR Lenses For Peak Performance PART TWO: Tips and Best Practices for Sharply Focused Images

All Lenspire articles by Lloyd.

Below, one of serveral videos from that article.

Video: Introduction to focus and related issues


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Third-Party Lenses for Nikon Z Mirrorless and Canon EOS R Mirrorless

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

Sony has won the mirrorless wars—I think it’s game over given how things stand and unless/until Nikon and Canon dish out some strong persuasion that would break their modus operandi.

Still, Nikon and Canon have heartbeats and third parties are showing up with some lenses, as below. Not one reader has expressed interest in such lenses, but maybe that will change.

Where are Zeiss and Sigma with respect to Nikon Z and Canon EOS R?

CLICK TO VIEW: Third-Party Lenses for Nikon Z Mirrorless and Canon EOS R Mirrorless


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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Shift Evaluation @ 31mm: Huge Old Pine, Its Needles and Cones (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

When I shot this scene, I did so partly to check for focus shift, which proved prescient. The field curvature and focus shift behaviors of the Nikon 24-70; must be understood for optimal results.

This series looks at a quite pronounced focus shift of the Nikon NIKKOR Z 24-70mm f/2.8 S at 31mm from f/2.8 through f/11. It confirms the findings of a moderately strong focus shift also seen in Natural Bonsai over Beaver Pond and details how much shift and how to compensate for it.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Shift Evluation @ 31mm: Huge Old Pine, Its Needles and Cones

Includes images up to full camera resolution from f/2.8 through f/11, plus crops. I would have shown a stacked image, but for the first time, the Nikon Z7 “focus stack” features failed, generating incompatible images—dunno what happened.

1296 | 2592 | 4320
f2.8 @ 1/20 sec IS=off, ISO 31; 2019-06-07 18:45:08
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 31mm
ENV: Mono Craters, altitude 7600 ft / 2316 m, 60°F / 15°C
RAW: Enhance Details, LACA corrected, distortion corrected

Announced: Hasselblad X1D-50C II, all-new Hasselblad CFV II 50C Digital Back and Hasselblad 907X

Get Hasselblad medium format at B&H Photo.

Hasselblad has announced the medium format Hasselblad X1D-50C II priced at about $5750, along with the first zoom for the Hasselblad X system, the Hasselblad XCD 35-75mm f/3.5-4.5 zoom (about $5175).

Also announced is the Hasselblad CFV II 50C digital back on the all-new Hasselblad 907X.

With respect to Hasselblad X1D-50C II, at least two issues have been addressed: the ability to use menus within the EVF, and cutting the startup time in half. No word on battery life however. Ergonomics have been one frustration, and I had hoped to see the inclusion of a 4-way controller as found on most cameras; the lack of one is a usability problem for me in so many circumstances that makes for slow operation, particularly scrolling through an image when reviewing or focusing—“minimalistic” design with form before function is flawed thinking—I don’t sit around admiring the camera with my eyes; I operate it with my hands! With the best camera designs (Nikon D850, Nikon Z7), I can operate a camera much more efficiently with appropriate design for two hands, which is a big deal in some shooting conditions. Ditto for buttons and gloved hands. It is possible to satisfy a wider range of usage scenarios by attending to such things in the design phase without disrupting the sleek look—one can have svelte form with function.

2019-06-19 HASSELBLAD EXPANDS REACH OF MEDIUM FORMAT IMAGING FOR EVEN MORE CREATIVE VERSATILITY

Introducing the X1D II 50C, XCD 35-75 zoom lens, Phocus Mobile 2, and revealing details of the upcoming CFV II 50C digital back and 907X camera body.

Following the revolutionary introduction of the world’s first mirrorless medium format digital camera, the X1D-50c, Hasselblad introduces new additions to its product portfolio that bring the joy of medium format photography to image makers with the capabilities to support their creative endeavours. This includes the evolved X1D II 50C camera, the eagerly awaited XCD 3,5-4,5/35-75 Zoom Lens and Phocus Mobile 2. In addition, Hasselblad reveals the development details of the upcoming CFV II 50C digital back and 907X camera body. Hasselblad’s newest offerings yet again expand the potential of medium format photography with modularity and flexibility, all while offering the brand’s renowned, stunning image quality.

Hasselblad X1D II 50C, rear

X1D II 50C – AN EVOLVED MEDIUM FORMAT PHOTOGRAPHY EXPERIENCE

In the pursuit to continue the journey of taking medium format outside of the studio, Hasselblad is pleased to announce the next installment of the X System – the X1D II 50C Mirrorless Medium Format Digital Camera. Dedicated to optimizing the X System for a wider audience of creatives, Hasselblad has listened to user feedback and improved upon the first generation with enhanced electronics for a quicker and more intuitive medium format experience.

Continuing in the legacy of being the most portable and lightweight digital medium format camera, the X1D II 50C lets you take the power of medium format in a footprint smaller than most full frame DSLRs in a beautifully designed, compact package. Its large, high resolution 50-megapixel CMOS sensor (43.8 x 32.9 mm) is 1.7 times larger than 35mm full format sensors, packing in huge pixels (5.3 x 5.3 μm) for capturing images with superb tonality. With outstanding colour depth and an impressive dynamic range of 14 stops, which allows for capturing immense details in both shadows and highlights, the photographer is left with plenty of room for adjustment in post-processing.

With Hasselblad Natural Colour Solution (HNCS) technology integrated into the camera’s system, exceptional, true-to-life tones are delivered that match what the human eye sees. Building upon the award-winning first generation, the X1D II 50C blends form and function with minimalistic, Scandinavian design aesthetics with a graphite grey exterior and a smooth handling experience with its ergonomic grip. The new X1D II 50C continues to provide creatives with incredible Hasselblad image quality, with 16-bit RAW images and now full resolution JPEGs, in a compact, lightweight design.

Developing upon the first generation of the X System, the X1D II 50C’s upgraded electronic platform includes a higher resolution 3.6-inch 2.36-million-dot touch display, which is physically the largest LCD display currently available on a digital medium format camera. Additionally, the X1D II 50C features a higher resolution enhanced OLED electronic viewfinder (EVF) with 3.69-million dots and a high magnification of 0.87x, letting you see the bigger picture. The much higher resolution of the rear display screen (1024x768) gives a more vivid, true to life image viewing experience. The X1D II 50C’s live view features a faster refresh rate, reduced shutter lag and black out time between frames, an improved continuous capture rate, and a startup time cut almost in half from the first generation. Building upon the highly-intuitive Hasselblad User Interface (HUI) of the previous model, further refinements have been made to the X1D II 50C to improve the camera’s handling experience, including the ability to access the menu system when looking in the EVF, giving greater usability in the sunniest conditions.

Enabling an even more portable medium format workflow, Hasselblad’s post production solutions now include the new Phocus Mobile 2. Connected via USB-C and Wi-Fi, photographers can transfer RAW and full quality JPEG files directly from the X1D II 50C and edit RAW images on their iPad Pro or iPad Air (2019) while out on the field.

Hasselblad X1D II 50C, top
Hasselblad X1D II 50C, front
Hasselblad X1D II 50C, front oblique

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Announced: Hasselblad CFV II 50C Digital Back and Hasselblad 907X V Camera Body

Get Hasselblad medium format at B&H Photo.

Along with the update Hasselblad X1D II 50C, announced is the modernized V system: Hasselblad CFV II 50C digital back along with the Hasselblad 907X.

Hasselblad CFV II 50C digital back on Hasselblad 907X

In some ways the 907X may be more appealing to me—I hope to test it at some point.

THE CFV II 50C AND 907X CONNECT HASSELBLAD’S PHOTOGRAPHIC HISTORY INTO ONE SYSTEM

Hasselblad proudly announces the development of the modernised CFV II 50C digital back and the brand new 907X camera body, which together will connect Hasselblad’s photographic history into one system.

The CFV II 50C digital back, which will have an outstanding medium format 50-megapixel CMOS sensor (43.8 x 32.9 mm), will enable use with most V System cameras made from 1957 and onwards in addition to third party technical or view cameras. Improving upon the user experience of the previous generations, the CFV II 50C will feature a brilliant tilt screen with full touch support and Hasselblad’s renowned user interface for settings, image review, and menu navigation.

Users of previous CFV digital backs will appreciate a new fully-integrated battery, the same used on the X System, which will reduce overall size and with the option to recharge in-camera via the USB-C port. Combining its iconic aesthetics with modern technology, the CFV II 50C gives a nod to Hasselblad’s history combined with the brand’s world-renowned image quality.

Coupling the CFV II 50C with Hasselblad’s smallest medium format camera body ever, the 907X, creates a highly compact package. This combination will offer a truly distinct photographic experience, including the classic waist-level shooting style of the V System enabled by the CFV II 50C’s tilt screen. With the 907X, the photographer will gain access to all of the high-quality X System Lenses in addition to a vast range of Hasselblad optics via adapters, including the H System, V System, and XPan Lenses. In addition, the 907X will enable compatibility with a wide range of third-party adapters and lenses. Planned accessories to beautifully complement the combination include the 907X Control Grip and 907X External Optical Viewfinder.

Hasselblad 907X with Hasselblad CFV II 50C Digital Back and XCD lens
Hasselblad CFV II 50C Digital Back

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Hasselblad XCD 35-75mm f/3.5-4.5 Zoom Lens Announced

Get Hasselblad medium format at B&H Photo.

Hasselblad has announced the Hasselblad XCD 35-75mm f/3.5-4.5 zoom along with the updated Hasselblad X1D, now the Hasselblad X1D-50C II.

I am looking forward to testing the new Hasselblad XCD 35-75mm zoom on the new Hasselblad X1D-50C II, along with the Hasselblad XCD 80mm f/1.9 and Hasselblad XCD 135mm f/2.8, neither of which I also have not yet tested.

Hasselblad XCD 35-75mm f/3.5-4.5

THE NEW XCD 3,5-4,5/35-75 – PRIME LENS PERFORMANCE IN A COMPACT ZOOM

The ninth addition to the X System lens range is the eagerly awaited XCD 3,5-4,5/35-75 Zoom Lens. Delivering the same superb image quality from edge-to-edge as the XCD prime lenses, this extremely high performance, compact mid-range zoom covers moderate wide angle to short telephoto focal lengths.

Its internal focusing keeps the lens’ dimensions constant, delivers quick autofocus and additionally keeps the overall weight down. Ideal for shooting anything from wide angle landscapes to portrait images, this lens is perfect for photographers who are looking to keep the amount of equipment they carry when travelling to a minimum but don’t want to compromise on image quality.

“This really is the best lens Hasselblad has developed – its performance is extremely high, competing with our prime lenses. I can even go as far to say that it’s probably the best zoom lens currently available on the market,” says Per Nordlund, Hasselblad Lead Optical Designer.

Like the rest of the XCD lens range, the XCD 35-75 features an integral central lens shutter, offering exposure times from 68 minutes to 1/2000s with full flash synchronisation throughout.

Hasselblad XCD 35-75mm f/3.5-4.5
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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Bonsai View Down Lundy Canyon (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

This series looks at general performance from near to very far of the Nikon NIKKOR Z 24-70mm f/2.8 S at 24mm from f/2.8 through f/11, with a focus on sharpness. The results here are among the best I have seen at 24mm, and impressive.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Bonsai View Down Lundy Canyon

Includes images up to full camera resolution from f/2.8 through f/11, plus crops.

1296 | 2592 | 4320
f11 @ 10.0 sec IS=off, ISO 31; 2019-05-29 20:19:48
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm
ENV: Lundy Canyon, altitude 8250 ft / 2515 m, 55°F / 12°C
RAW: Enhance Details, LACA corrected, distortion corrected, diffraction mitigating sharpening

Upgrade the memory of your 2019 iMac up to 128GB

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Stack @ 54mm: Old Gnarled Rootball (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

This series looks at general performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S at 54mm from f/2.8 through f/9, and includes a 4-frame focus stack*. The usage case here is landscape field shooting using the Nikon Z7 “focus shift” feature versus conventional stopping down, with commentary on same.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Stack @ 54mm: Old Gnarled Rootball

Includes images up to full camera resolution from f/2.8 through f/9, plus a 4-frame focus stack at f/6.3.

1296 | 2592 | 4320
f6.3 @ 20.0 sec IS=off focus stack 4 frames, ISO 100; 2019-06-07 20:43:19
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 54mm
ENV: Mono Craters, altitude 7600 ft / 2316 m, 60°F / 15°C
RAW: LACA corrected, distortion corrected
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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Stack @ 24mm: Dead Trees in Defunct Beaver Pond (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

This series looks at general performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S at 24mm from f/2.8 through f/11, and includes a 5-frame focus stack. The usage case here is landscape field shooting using the Nikon 7 “focus shift” feature versus conventional stopping down, with commentary on same.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Stack @ 24mm: Dead Trees in Defunct Beaver Pond

Includes images up to full camera resolution from f/2.8 through f/11, plus a 5-frame focus stack at f/8.

1296 | 2592 | 4320
f8 @ 1/125 sec IS=off focus stack 5 frames, ISO 31; 2019-05-30 10:40:48
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm
ENV: Lundy Canyon, altitude 8400 ft / 2560 m, 65°F / 18°C
RAW: Enhance Details, LACA corrected, distortion corrected, diffraction mitigating sharpening

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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 32mm: Natural Bonsai over Beaver Pond (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

Shown already at 24mm and at 70mm, this 3rd composition is my favorite of the three and the best for lens evaluation edge-to-edge.

This series looks at performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S at 32mm from f/2.8 through f/8. Overall performance including secondary color, sharpness in central areas, field curvature, and background bokeh are assessed, with detailed commentary.

This series is particularly useful for the photographer looking to optimize total sharpness near the 32mm zoom setting; the field curvature and focus shift behaviors must be understood to do so.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 32mm: Natural Bonsai over Beaver Pond

Includes images up to full camera resolution from f/2.8 through f/8, plus crops.

1296 | 2592 | 4320
f8 @ 1.0 sec IS=off, ISO 31; 2019-05-29 20:05:34
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 32mm
ENV: Lundy Canyon, altitude 8250 ft / 2515 m, 55°F / 12°C
RAW: Enhance Details, LACA corrected, distortion corrected
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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 70mm: Natural Bonsai over Beaver Pond (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

This series looks at performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S from f/2.8 through f/8 at 70mm. Overall performance including secondary color, sharpness in central areas, and background bokeh are assessed, with commentary

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 70mm: Natural Bonsai over Beaver Pond

Includes images up to full camera resolution from f/2.8 through f/8, plus crops.

1296 | 2592 | 4320
f4 @ 1/4 sec IS=off, ISO 31; 2019-05-29 19:59:03
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 70mm
ENV: Lundy Canyon, altitude 8250 ft / 2515 m, 55°F / 12°C
RAW: Enhance Details, LACA corrected, distortion corrected

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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Natural Bonsai over Beaver Pond (Nikon Z7)

Get Nikon NIKKOR Z 24-70mm f/2.8 S and Nikon NIKKOR Z lenses at B&H Photo.

This series looks at performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S from f/2.8 through f/8 at 24mm. Overall performance including secondary color, sharpness in central areas, and background bokeh are assessed, with detailed commentary

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Natural Bonsai over Beaver Pond

Includes images up to full camera resolution from f/2.8 through f/8, plus crops.

1296 | 2592 | 4320
f4 @ 0.8 sec IS=off, ISO 31; 2019-05-29 20:14:24
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm
ENV: Lundy Canyon, altitude 8250 ft / 2515 m, 55°F / 12°C
RAW: Enhance Details, LACA corrected, distortion corrected
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Sony 135mm f/1.8 GM Aperture Series: Ancient Pine at Mono Craters (Sony A7R III)

Get Sony 135mm f/1.8 GM at B&H Photo.

This series looks at the Sony FE 135mm f/1.8 GM from f/1.8 through f/11 for sharpness, field flatness, secondary color and bokeh.

In fun88官网 Mirrorless:

Sony 135mm f/1.8 GM Aperture Series: Ancient Pine at Mono Craters (Sony A7R III)

Includes images up to full camera resolution.

1296 | 2592 | 4320
f4 @ 1/30 sec, ISO 50; 2019-06-07 18:59:00
Sony A7R III + Sony FE 135mm f/1.8 GM
ENV: Mono Craters, altitude 7600 ft / 2316 m, 62°F / 16°C
RAW: Enhance Details, LACA corrected

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Sony FE 24mm f/1.4 GM Aperture Series: View Through Pines to Mono Lake (Sony A7R III)

See my Sony mirrorless wishlist.

This aperture series from f/1.4 through f/11 explores the performance of the Sony FE 24mm f/1.4 GM on a near-to-far composition in which the background is thrown strongly out of focus due to the steep near-to-far perspective. A 7-frame focus stack at f/8 included.

In my review of the Sony 24mm f/1.4 GM in fun88官网 Mirrorless:

Sony 24mm f/1.4 GM Aperture Series: View Through Pines to Mono Lake

Images up to full camera resolution. A 3-frame focus stack is included along with crops.

The lack of automated focus stacking (“focus shift”) in the Sony A7R III is quite the nuisance for a scene like this. Nikon has that functionality nailed down in the Nikon D850 and Nikon Z7.

1296 | 2592 | 4320
f8 @ 1/6 sec focus stack 7 frames, ISO 50; 2019-06-08 20:10:09
Sony A7R III + Sony FE 24mm f/1.4 GM
ENV: near Mono Craters, altitude 7600 ft / 2316 m, 58°F / 14°C
RAW: LACA corrected, diffraction mitigating sharpening

 


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Sony FE 24mm f/1.4 GM Aperture Series: Spreading Pine and Its Needles and Cones (Sony A7R III)

See my Sony mirrorless wishlist.

This aperture series from f/1.4 through f/11 explores the performance of the Sony FE 24mm f/1.4 GM on a near-to-far composition.

In my review of the Sony 24mm f/1.4 GM in fun88官网 Mirrorless:

Sony 24mm f/1.4 GM Aperture Series: Spreading Pine and Its Needles and Cones

Images up to full camera resolution. A 3-frame focus stack is included along with crops.

The main disappointment is the camera: my perspective in shooting the Panasonic S1R in Multi-Shot High-Res mode is that the pixel quality and sharpness are decidedly inferior with the Sony A7R III. But that is a capture issue, not a lens issue. It would be wonderful if Sony implemented a HighRes mode that can be used in the field; I did shoot some pixel shift frames here which were an abject failure of checkerboarding problems, which is why I rarely ever bother to use it.

1296 | 2592 | 4320
f1.4 @ 1/200 sec, ISO 100; 2019-06-07 18:28:45
Sony A7R III + Sony FE 24mm f/1.4 GM
ENV: Mono Craters, altitude 7600 ft / 2316 m, 60°F / 15°C
RAW: Enhance Details, LACA corrected

 


(Gear Acquisition Syndrome)

Leica 75mm f/2 APO-Summicron-SL Aperture Series: Decrepit Green Building at Ellery Lake (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

This aperture series looks at imaging performance from f/2 through f/8 on the Panasonic S1R in Multi-Shot High-Res mode. The oblique angle through the building reveals puts a premium on depth of field, and reveals a lot about imaging performance, including sharpness, bokeh, and secondary color.

This series and the others should be very helpful to anyone shooting the Panasonic S1R in Multi-Shot High-Res mode with any high performance lens, as I speak to the challenges in general. Top-notch shot discipline is required to extract the jaw-dropping image quality, which I deem as good or better than the Hasselblad H6D-100C (single shot), albeit with the requirement of HighRes mode.

In fun88官网 L-Mount Mirrorless:

Leica 75mm f/2 APO-Summicron-SL Aperture Series: Decrepit Green Building at Ellery Lake

Images at up to 124 megapixels plus crops along with extensive commentary.

See also: Panasonic S1R: Notes on Focusing in HighRes Mode.

1296 | 2592 | 4320
f2 @ 1/200 sec Multi-Shot HighRes, ISO 50; 2019-06-09 18:39:01
Panasonic S1R + Leica APO-Summicron-SL 75mm f/2 ASPH
ENV: Ellery Lake, altitude 9600 ft / 2926 m, 65°F / 18°C
RAW: Enhance Details, LACA corrected, distortion corrected

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Leica 75mm f/2 APO-Summicron-SL Aperture Series: Huge Pine Among Aspen (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

See also this Huge Pine Among Aspen with the Leica 90mm f/2 APO-Summicron-SL ASPH.

This series was shot after I (finally) understood the focus instability problem with the Leica 75/2 and achieves as good a result as possible.

This aperture series looks at imaging performance from f/2 through f/8 on the Panasonic S1R in Multi-Shot High-Res mode. Sharpness, bokeh, and secondary color are looked at.

In fun88官网 L-Mount Mirrorless:

Leica 75mm f/2 APO-Summicron-SL Aperture Series: Huge Pine Among Aspen

Images at up to 125 megapixels plus crops along with extensive commentary. The imaging quality is spectacular. I want this extraordinary $4750 lens in spite of its focusing instability, but I don’t see it ever being in my budget.

1296 | 2592 | 4320
f4 @ 1/8 sec, ISO 50; 2019-06-09 19:37:29
Panasonic S1R + Leica APO-Summicron-SL 75mm f/2 ASPH
ENV: Lee Vining Canyon, altitude 6800 ft / 2073 m, 63°F / 17°C
RAW: Enhance Details, LACA corrected

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Best Mac ever...

More about the 2019 iMac 5K.

The 2019 iMac 5K I bought about 6 weeks ago is the best Mac for photography and my other work that I have ever used. Simply terrific! I don’t know yet, but I suspect that for my usage, it will be competitive with the new Mac Pro and maybe even faster, at a fraction of the price.

2019 Apple 27" iMac 5K 3.6 GHz / 8GB / 2TB / Radeon Pro Vega 48 with .

on configuring a high performance system including data integrity and backup and workflow practices.

2019 iMac 5K that Lloyd uses for photography and everything (plus 128GB OWC memory)

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Leica 75mm f/2 APO-Summicron-SL ASPH: Focus Instability

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My review of the Leica 90mm f/2 APO-Summicron-SL ASPH and Leica 75mm f/2 APO-Summicron-SL ASPH were severely impacted by a problem which I document in this analysis. It was very confusing, and cost me irreplaceable time and effort to diagnose, damaging hundreds of my images and forcing me to shoot and reshoot with the same crappy results until I worked out an imperfect work-around. I first noted the issue in Leica 90mm f/2 APO-Summicron-SL Aperture Series: Mosaic, Focus Shift.

This series confirms that the Leica 75mm f/2 APO-Summicron-SL ASPH shares exactly the same problem as the Leica 90mm f/2 APO-Summicron-SL ASPH.

In L-Mount mirrorless:

Leica 75mm f/2 APO-Summicron-SL ASPH: Unstable Focus: Pine Tree Trunk

Anyone using Leica SL lenses would be well advised to read this piece. I suspect that it affects all or at least most Leica SL lenses.

Below, two frames at f/2. The lens focus was not changed by me. This behavior can be reproduced at-will.

Crops from 93 megapixel images
f2 @ 1/250 sec Multi-Shot HighRes, ISO 50; 2019-06-08 14:37:53
Panasonic S1R + Leica APO-Summicron-SL 75mm f/2 ASPH RAW: Enhance Details

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Leica 90mm f/2 APO-Summicron-SL ASPH: Focus Instability

Get L-mount system at B&H Photo.

My review of the Leica 90mm f/2 APO-Summicron-SL ASPH and Leica 75mm f/2 APO-Summicron-SL ASPH were severely impacted by a problem which I document in this analysis. It was very confusing, and cost me irreplaceable time and effort to diagnose, damaging hundreds of my images and forcing me to shoot and reshoot with the same crappy results until I worked out an imperfect work-around. I first noted the issue in Leica 90mm f/2 APO-Summicron-SL Aperture Series: Mosaic, Focus Shift.

In L-Mount mirrorless:

Leica 90mm f/2 APO-Summicron-SL ASPH: Unstable Focus: Orange Pine Tree Trunk

Anyone using Leica SL lenses would be well advised to read this piece. I offer an imperfect work around prone to repeated sub-optimal results in some conditions, though usually successful. The same issue applies to the Leica 75mm f/2 APO-Summicron-SL ASPH and I will soon publish a similar series showing that. I suspect that it affects all or at least most Leica SL lenses.

Below, two frames at f/2. The lens focus was not changed by me. I can reproduce this behavior at will.

Crops from 93 megapixel images
f2 @ 1/640 sec Multi-Shot HighRes, ISO 50; 2019-06-08 11:39:59
Panasonic S1R + Leica APO-Summicron-SL 90mm f/2 ASPH

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Save your ears and brain

As I still have intermittent and unpredictable issues from , the Sony WH-1000MX3 headphones are a brain saving no-brainer for me. I use them all the time as my tolerance for noise since my concussion can fatigue me suddenly and severely, though it has improved greatly since last year.

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There are aggressive discounts on Macs at B&H Photo. Some of these machines are ample for even fairly demanding needs (with enough memory added), but the least expensive iMac 4K is a great family/home/dorm computer for adults or students.

Add to make the $899 Apple 21.5" iMac with Retina 4K Display into a first class Mac for high schoolers or college students, if a laptop is not required.

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Yosemite: Hwy 120 / Tioga Pass Road Status

I was bummed to have to leave to go back for dental work. Lots of cyclists were riding a traffic-free Hwy 120 from Tioga Pass. Because I rode 50 miles and 5000 vertical feet,

I would guess that Tioga Pass road should open very soon—the road is clear and open except for the snowbank by Olmstead Point.

Just to the east, the White Mountains have a heavy snow load, about as heavy as I have seen this time of year.

...

I did not carry a real camera with me this day, with severely degraded fitness and 12 pounds too heavy* since two different antibiotics screwed me up good back in April.

* I the this year, but I was very slow at an hour and a half slower than last year in spite of much more favorable conditions this year (won it last year).

1296 | 2592 | 5112 | 6192
Snow blocking one lane near Olmstead Point
f1.8 @ 1/6800 sec panorama, ISO 20; 2019-06-09 13:19:34
iPhone 7 Plus + iPhone 7 Plus 4.0 mm f/1.8
ENV: just east of Olmstead Point, altitude 8406 ft / 2562 m, 68°F / 20°C
1296 | 2592 | 5112
Just east of Tenaya Lake
f1.8 @ 1/3000 sec panorama, ISO 20; 2019-06-09 13:02:49
iPhone 7 Plus + iPhone 7 Plus 4.0 mm f/1.8
ENV: Hwy 120 near Tenaya Lake, altitude 8327 ft / 2538 m, 68°F / 20°C
1296 | 2592 | 5112 | 7360
Tioga Lake area, iced-over Tioga Lake
f1.8 @ 1/5700 sec panorama, ISO 20; 2019-06-09 15:05:25
iPhone 7 Plus + iPhone 7 Plus 4.0 mm f/1.8
ENV: Tioga Lake area, altitude 9696 ft / 2955 m, 58°F / 14°C
1296 | 2592 | 4998
Meltwater on Granite
f2.8 @ 1/1100 sec panorama, ISO 20; 2019-06-09 13:48:50
iPhone 7 Plus + iPhone 7 Plus 6.6 mm f/2.8
ENV: Tenaya Lake, altitude 8117 ft / 2474 m, 68°F / 20°C
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Back from the Mountains

I’m back home from my trip to the Eastern Sierra, with a large backlog of work, but my week is chunked by catch-up and dental work for broken teeth. I ran into some challenges that slowed me down considerably—some technical, some health (unpredictable post issues, plus after-effects from antibiotics), and some weather challenges (high winds on the wrong days).

A mystery solved

Readers interested in L-Mount mirrorless and particularly Leica SL lenses might remember my focus shift findings for the Leica 90mm f/2 APO-Summicron-SL (and it's 75mm sibling). Well, there is a focus shift just as I showed, but it’s not optical—on a hunch I finally solved the mystery, and I now have a compelling evidentiary series of images from both the 75mm and 90mm. I wish I had understood the problem from the get-go and avoided a lot of frustration and ruined images.

Bottom line is an electro-mechanical brain-fart which I can reproduce at will; I’ll be documenting it soon. This Leica SL lens fault is a serious problem for the way I shoot and well worth the year’s subscription price just for this one “gem”, since the behavior guarantees sub-optimal results with a $5000 lens when shooting more than one frame without refocusing. Many of my images were damaged, costing me inordinate effort and time to shoot and reshoot. That means my review has been damaged too—I am out of time: the lenses and camera are now due back. I am thoroughly disgusted with Leica, since the optical designs are among the best I have ever seen. I don’t understand why users should have to beta test Leica gear—but sadly that has been my experience over and over, over the years. I observed no issues with Panasonic lenses when shooting them concurrently.

Maybe Leica can address the issue, and maybe not. But I would not be a buyer given the issue.

1296 | 2592 | 4320
f2 @ 1/250 sec Multi-Shot HighRes, ISO 50; 2019-06-05 20:17:14
Panasonic S1R + Leica APO-Summicron-SL 90mm f/2 ASPH
ENV: Hwy 120 east, altitude 7600 ft / 2316 m, 60°F / 15°C
RAW: LACA corrected, distortion corrected

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Shooting Challenges

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It has been a bit of a frustrating trip so far, what with high wind many days, dull cloudy lighting to start, and most of all: lens performance that is giving me fits trying to produce top quality images.

Last night was beautiful. I got a few good shots by placing myself behinds some rocks out of the wind.

1296 | 2592 | 4320
f8 @ 1/8 sec, ISO 50; 2019-06-05 20:20:46
Panasonic S1R + Panasonic Lumix S PRO 70-200mm f/4 OIS @ 200mm
ENV: off Hwy 120 east, altitude 7050 ft / 2149 m, 60°F / 15°C
RAW: LACA corrected
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Hand-picked items for Sony.

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Beaver-Gnawed Log by Lichenized Boulder (Nikon Z7)

Get Nikon Z system at B&H Photo.

This series looks at performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S from f/2.8 through f/11 at 24mm on a very near to very far scene. Total sharpness and the point spread function are assessed. Some very unexpected behavior is noted.

Commentary includes thoughts versus results on the 42-megapixel Sony A7R III for performance with the Sony 24mm f/1.4 GM and the Zeiss Loxia 25mm f/2.4.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Beaver-Gnawed Log by Lichenized Boulder

Includes images up to full camera resolution plus crops and a 5-frame focus stack.

1296 | 2592 | 4320
f4 @ 1/1000 sec, ISO 50; 2019-05-31 12:44:21
Sony A7R III + Sony FE 24mm f/1.4 GM
ENV: Lundy Canyon, altitude 7800 ft / 2377 m, 65°F / 18°C
RAW: Enhance Details, LACA corrected
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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Reedy Beaver Pond Meadow (Nikon Z7)

Get Nikon Z system at B&H Photo.

This series looks at performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S from f/2.8 through f/11 at 24mm. Across the frame performance, field curvature are assessed, along with one curious behavior that degrades sharpness.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Reedy Beaver Pond Meadow

Includes images up to full camera resolution plus crops and a 5-frame focus stack.

I’m definitely not ready to use a zoom lens for landscape photography.

As an aside (independent of the lens), having worked so much with Multi-Shot High-Res mode images recently—, the image quality of Bayer Matrix sensors when detail approaches sensor resolution is so disappointing.

1296 | 2592 | 4320
f4 @ 1/1250 sec IS=off, ISO 31; 2019-05-31 13:30:11
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm
ENV: Lundy Canyon, altitude 7800 ft / 2377 m, 65°F / 18°C
RAW: Enhance Details, LACA corrected, distortion corrected, vignetting corrected

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Apple 2019 Mac Pro: Everything I Want... but Truly High-End and Unaffordable for Most

Apple has announced the 2019 Mac Pro, a beast of a machine along with and (for me) the “killer app”: the about $5999 32-inch 6K display (6016 X 3384 = 20 megapixels), claimed to be the best in the world, and with sophisticated hardware calibration. It is by leaps and bounds the most powerful system Apple has ever delivered. Kudos to Apple for what looks to be an extraordinarily robust and quiet ultra-high end pro-grade workstation.

  • 1.4 kilowatt power supply to support the massive potential power draw (1280W maximum continuous).
  • Advanced cooling system claimed to keep noise to a minimum.
  • 8/12/16/24/28 core Intel Xeon W CPU options with “support for up to 2TB memory” on the higher core-count CPUs.
  • SSD options up to 4TB (odd to not see 8/16TB options).
  • 12 DIMM slots accepting up to 1.5TB of 2933 MHz memory for 24/28 core CPUs, 1TB for the others.
  • One or two MPX modules (GPU and more) with three choices including the AMD Radeon Pro Vega II Duo with support for up to four 5K displays and with 64GB memory, Infinity Fabric Link connection between the GPUs, four DisplayPort connectors, four Thunderbolt 3 ports.
  • Eight PCI Express expansion slots including extra power support (some slots used for MPX modules, if installed).
  • Afterburner ProRes and ProRes RAW accelerator card supporting playback of up to 3 streams of 8K ProRes RAW or up to 12 streams of 4K ProRes RAW.
  • I/O card installed in the half-length PCIe slot with 2 USB-A ports, two Thunderbolt 3 ports, two 10GB ethernet ports.
  • Two Thunderbolt 3 ports built into the top of the machine.
  • Built-in speaker with headphone jack.
  • WiFi, Bluethooth, keyboard, mouse.
  • Relatively compact at only 20.8 X 17.76 X 8.58 inches.
  • Optional wheels for rolling within a studio or similar work situation.

A basic system with Pro Display XDR costs at least US$13000 (plus tax = ~$14000 here in California). But it would be silly to buy one with 256GB SSD and 32GB memory, so more realistically it’s at least $18K for a machine suitable for my needs (memory and SSD).

My rough guess is that a maxed-out 2019 Mac Pro with 1.5TB memory / 4TB SSD / dual Vega II GPU cards / MPX accelerator card is likely to cost around $40,000. Worth every penny for video producers, presumably.

Is it for photographers?

Looking at the specifications, it’s not clear that the 2019 Mac Pro will be faster than 2019 iMac 5K—the Mac Pro might be slower, particularly with the entry-level 8-core CPU. That’s because for most tasks in Photoshop and Lightroom, only a few CPU cores are used and so what matters is clock speed for the cores actually used—and the Xeon processors run about a gigahertz slower.

My prediction is that it will be a mixed bag with the 2019 Mac Pro much faster for a few tasks (and only if configured-up on CPU/GPU), and slightly slower for many tasks.

Don C writes:

I can confirm your suspicion that the VFX post-production world is all a-twitter over the new Mac Pro. At the Dog and Duck in Soho (the original Soho) some lads even arrived late on Monday night so as not to miss any of the WWDC keynote. It will be a significant boost for the use of ProRes as an intermediate compression format, and the 1600 nit capability of the new display fills a need for a lower cost HDR-capable 4K+ monitor. It’s almost like someone asked their (high-end) customers what they wanted and then built it. Remarkable.

For us still photographers, it’s always good to have something unattainable to aspire to.

fun88官网: setting aside the appeal of a presumptive long-term reliability of the 2019 Mac Pro (and future expansion options), I can’t think of any meaningful benefit for my photographic work as compared to my well-configured 8-core . While things like the Vega II GPU option will speed up Enhance Details, in the context of my workflow it's just not much of a factor—and I suspect that the Vega II option will run $3K or so. I’d expect that a 2019 iMac 5K configured with 2TB SSD and 128GB memory and Vega GPU and 8-core CPU will cost at 2X to 3X what my maxed-out 2019 iMac 5K did (about $5K total, with memory)—and I suspect that the iMac 5K would outperform.

Barton T writes:

Curious to read your take on this. I see it as quite good value over the long term (considering I’m running a 2010 machine and with the latest firmware it can now boot off the latest and greatest NVMe SSD). I was considering a new Mac Mini, but there’s a performance hit (and hassle and extra cost) as far as the eGPU, the kind of memory it uses is generally more expensive (it’s quite cheap to pick up used/overstocked server memory in contrast), and the lack of internal PCIe slots. The Mac Pro never throttles either which can be an issue with the Mini, iMac, etc. not to mention noise.

I’d probably go for the minimum storage, it’s enough for the system and then put a couple of NVMe blades in PCIe adapters — so cheap: and now we’ll have faster performance on them with the newer PCI standard — and RAID them, plus a few spinners (there will be adapters, I can already see the Promise options). Then memory and most likely CPU can be upgraded over time.

fun88官网: it’s doubtful that CPUs will be upgradeable—Xeon CPUs don't get refreshed often and almost certainly need new motherboard support.

2018 Mac mini is a bad plan due to the toy built-in GPU and poor eGPU support and its general irrelevance to most photographic taskes.

BYO SSDs in adapters make no sense to me given products one can rely on such as the OWC Thunderblade and a built-in SSD up to 4TB that will outperform reliably. Problems and headaches are anti-professional builds— buying a Mac Pro to then do BYO makes no sense to me. The 2019 iMac 5K is ample power for my needs (which are greater than most) and without any hassles.

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Shootout: Sony 24/1.4 GM vs Zeiss Loxia 25/2.4: Beaver-Gnawed Log by Lichenized Boulder (Sony A7R III)

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This page compares the Sony FE 24mm f/1.4 GM to the Zeiss Loxia 25mm f/2.4 from f/1.4 through f/11 on a near-to-far landscape scene. Sharpness near to far and across the frame is assessed for total imaging potential in terms of detail capture, as well as secondary color.

In fun88官网 Mirrorless:

Shootout: Sony 24/1.4 GM vs Zeiss Loxia 25/2.4: Beaver-Gnawed Log by Lichenized Boulder

Includes mages at up to full camera resolution from f/1.4 through f/11, plus crops and extensive commentary.

1296 | 2592 | 4320
f4 @ 1/1000 sec, ISO 50; 2019-05-31 12:44:21
Sony A7R III + Sony FE 24mm f/1.4 GM
ENV: Lundy Canyon, altitude 7800 ft / 2377 m, 65°F / 18°C
RAW: Enhance Details, LACA corrected

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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Downed Aspen (Nikon Z7)

Get Nikon Z system at B&H Photo.

This series looks at performance from near to far of the Nikon NIKKOR Z 24-70mm f/2.8 S from f/2.8 through f/11 at 24mm, including an 8-frame focus-stacked image at f/8 using the Nikon Z7 automated “Focus Shift” feature. Overall performance including secondary color, sharpness, bokeh are all looked at.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Downed Aspen

Includes images up to full camera resolution plus crops.

1296 | 2592 | 4320
f4.5 @ 1/640 sec, ISO 31; 2019-05-30 16:12:28
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm RAW: Enhance Details


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