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2019-05-11

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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 43mm: MemChu Wide View (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/8. Across the frame performance and field curvature are assessed.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 43mm: MemChu Wide View

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

Bravo! The performance here is solid all around, with no obvious weak points.

1296 | 2592 | 4320
f2.8 @ 0.4 sec, ISO 64; 2019-05-09 20:32:11
[distortion corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 43mm
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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: MemChu Wide View (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/8. Across the frame performance and field curvature are assessed.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: MemChu Wide View

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

Bravo! The performance here is solid all around, with no obvious weak points.

1296 | 2592 | 4320
f4 @ 1/50 sec, ISO 64; 2019-05-09 18:46:56
[distortion corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm

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Canon’s Sleeper Strategy: Produce the Best Mirorrless Lenses (by far), with High-Res Pro Body to Come?

Get Canon EOS R system at B&H Photo.

It is now clear having tested all Nikon NIKKOR Z lenses except the 14-30mm that Nikon is producing very good but “high consumer grade” lenses for the Z system. I expect the Nikon NIKKOR Z 14-30mm f/4 S to rely even more heavily on sharpness-damaging distortion correction, and that’s not the only sharpness-damaging optical shortcut. I am disappointed in Nikon serving up lenses that are excellent in many ways, but fall flat on the most important areas: resolving power and micro contrast.

Even Leica uses such tricks with very expensive lenses—a disagreeble trend in the era of high resolution digital.

Canon plans to succeed with discerning pros?

Canon is taking another tack, producing “L” lenses that are true pro grade that are second to none. Canon has stated that very high optical quality is the goal and that size and weight are not priorities. This is a very different approach from Nikon or Leica, with Sony doing some of both, but falling short of Canon’s commitment to excellence.

To wit: the Canon RF 50mm f/1.2L and Canon RF 28-70mm f/2L are extremely impressive performers, and I expect no less of the new Canon RF 85mm f/1.2L*.

Canon’s pro-grade lens strategy makes sense if there is a high megapixel Canon EOS R body coming this year. The top-flight L lenses should make a killer combination.

* The Canon RF 24-105mm f/4L IS is a dud, but every vendor needs a kit lens.

Sharpness and Micro Contrast Losses from Mandatory Distortion Correction with the Nikon NIKKOR Z 24-70mm f/2.8 S

Get Nikon Z system at B&H Photo.

Distortion correction guarantees a loss of sharpness and micro contrast, because some of the pixels in the frame must be stretched apart. With the NikonZ 24-70/2.8, the 45 megapixel sensor of the Nikon Z7 captures as litte as 40 megapixels of detail in the most affected areas, and the losses span nearly all the zoom range, varying by degree. False claims on optical design are found in Nikon’s lens brochure “NIKKOR-Z-Brochure.pdf”:

The ultimate in optical image quality... Less Distortion

Even at their widest apertures, NIKKOR Z lenses show virtually no distortion—flare, ghosting, coma, chromatic, axial and spherical aberration are all greatly minimized.

I call on Nikon to correct the false claim in the PDF. As an additional complaint, shooting aperture is irrelevant to distortion, and conflating distortion and lateral chromatic aberration with other optical aberrations is just poor writing.

Assessing distortion with the Nikon NIKKOR Z 24-70mm f/2.8 S

These pages shows the true optical distortion of the Nikon NIKKOR Z 24-70mm f/2.8 S at 70mm, 50mm, 35mm, 28mm, 24mm. The sharpness and micro contrast losses when distortion correction is used are shown, with and without distortion correction*.

In fun88官网 Mirrorless:

Overview of Distortion for Nikon NIKKOR Z 24-70mm f/2.8 S

Nikon NIKKOR Z 24-70mm f/2.8 S Distortion @ 24mm, 28mm for Nikon NIKKOR Z 24-70mm f/2.8 S

Nikon NIKKOR Z 24-70mm f/2.8 S Distortion @ 70mm, 50mm, 35mm for Nikon NIKKOR Z 24-70mm f/2.8 S

Includes images up to full camera resolution with various crops and comparisons.

* Since Adobe Camera Raw enforces lens correction flags such as for distortion correction, paired images were created from the raw files using Iridient Developer.

It is now clear having tested all Nikon NIKKOR Z lenses except the 14-30mm that Nikon is producing very good but “high consumer grade” lenses for the Z system. I expect the 14-30mm to rely even more heavily on sharpness-damaging distortion correction. Even Leica uses such tricks with very expensive lenses—a disagreeble trend in the era of high resolution digital.

f5.6 @ 1/5 sec, ISO 64; 2019-05-09 19:55:06 [distortion corrected, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm
f8 @ 0.3 sec, ISO 64; 2019-05-09 19:45:14
[distortion corrected, diffraction mitigating sharpening, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 70mm

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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 64mm: View Through Arches to Church Mosaic (Nikon Z7)

Get Nikon Z system at B&H Photo.

This series from f/2.8 through f/8 looks at general performance of the Nikon NIKKOR Z 24-70mm f/2.8 S at 64mm at night. Includes a 3-frame focus stack at f/8 using Zerene Stacker.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/4 S Aperture Series: View Through Arches to Church Mosaic

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

1296 | 2592 | 4320
f8 @ 6.0 sec, ISO 64; 2019-05-09 20:33:52
[distortion corrected, focus stack 3 frames, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 64mm
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Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 48mm: Burghers of Calais (Nikon Z7)

Get Nikon Z system at B&H Photo.

This series from f/2.8 through f/8 looks at the sharpness, contrast and secondary color of the Nikon NIKKOR Z 24-70mm f/2.8 S under artificial night lighting. Includes a a 2-frame focus stack at f/8.

In fun88官网 Mirrorless:

Nikon NIKKOR Z 24-70mm f/4 S Aperture Series: Burghers of Calais

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

1296 | 2592 | 4320
f8 @ 30.0 sec, ISO 64; 2019-05-09 20:28:23
[distortion corrected, focus stack 2 frames, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 48mm

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Sony 135mm f/1.8 GM Examples: Night Shooting (Sony A7R III)

Get Zeiss Otus at B&H Photo.

These examples taken at night evaluate sharpness, contrast, and control of color aberrations at f/1.8.

In fun88官网 Mirrorless:

Sony 135mm f/1.8 GM Examples: Night Shooting

Includes images up to full camera resolution, plus crops.

1296 | 2592 | 4320
f1.8 @ 4.0 sec, ISO 50; 2019-05-09 20:49:15 [LACA corrected, Enhance Details]
Sony A7R III + Sony FE 135mm F1.8 GM
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Sony 135mm f/1.8 GM Aperture Series: One Burgher, Night Lighting (Sony A7R III)

Get Zeiss Otus at B&H Photo.

This series looks at the sharpness of the Sony FE 135mm f/1.8 GM at night on a medium-far target with very fine details from f/1.8 through f/5.6.

In fun88官网 Mirrorless:

Sony 135mm f/1.8 GM Aperture Series: One Burgher, Night Lighting

Includes images up to full camera resolution, plus crops.

f1.8 @ 5.0 sec IS=off, ISO 100; 2019-05-09 20:34:18
[Enhance Details, LACA corrected]
Sony A7R III + Sony FE 135mm F1.8 GM

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Sony 135mm f/1.8 GM Aperture Series: Church at Night (Sony A7R III)

Get Zeiss Otus at B&H Photo.

This series looks at the sharpness of the Sony FE 135mm f/1.8 GM at night on a medium-far target with very fine details from f/1.8 through f/5.6.

In fun88官网 Mirrorless:

Sony 135mm f/1.8 GM Aperture Series: Church at Night

Includes images up to full camera resolution, plus crops.

1296 | 2592 | 4320
f1.8 @ 1.3 sec, ISO 50; 2019-05-09 20:43:26 [Enhance Details]
Sony A7R III + Sony FE 135mm F1.8 GM

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Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Tower at Night (Nikon D850)

Get Zeiss Otus at B&H Photo.

This series looks at the sharpness of the Zeiss Otus 100mm f/1.4 APO-Sonnar at night on a distant target with very fine details from f/1.4 through f/4.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Tower at Night

Includes images up to full camera resolution, plus crops.

1296 | 2592 | 4320
f1.4 @ 1.3 sec, ISO 64; 2019-05-05 19:21:16 [Enhance Details]
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar

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Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: 'The Claw' Fountain (Nikon D850)

Get Zeiss Otus at B&H Photo.

This series looks at the sharpness and bokeh and secondary color of the Zeiss Otus 100mm f/1.4 APO-Sonnar on a scene at medium distance from f/1.4 through f/8.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: 'The Claw' Fountain

Includes images up to full camera resolution, plus crops.

1296 | 2592 | 4320
f2.8 @ 2.5 sec, ISO 64; 2019-05-05 19:14:13 [Enhance Details]
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar

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Zeiss Otus 100mm f/1.4 APO-Sonnar Examples: Campus Dusk and Night (Nikon D850)

Get Zeiss Otus at B&H Photo.

This page shows a variety of ad-hoc examples shot for initial evaluation very late on a flat gloomy lighting day. On such days, lens contrast is an imperative to deliver images that have some snap in spit of the lighting.

Examples were chosen to demonstrate sharpness, bokeh, vignetting, and secondary color at f/1.4. Many examples have dual apertures to compare. Together, I think these give a really solid idea of how the Zeiss Otus 100mm f/1.4 APO-Sonnar behaves.

In fun88官网 Zeiss DLSR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar Examples: Campus Dusk and Night (Nikon D850)

Includes images up to full camera resolution.

As to Otii, I think the about $4990 Zeiss Otus 100mm f/1.4 APO-Sonnar is my favorite Otus yet.

1296 | 2592 | 4320
f1.4 @ 1.3 sec, ISO 64; 2019-05-05 19:33:59 [Enhance Details]
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar
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Selling the 2017 iMac 5K and Buying the 2019 iMac 5K — Compelling Performance Gains for My Work, Plus 128GB Memory

2019 iMac 5K

As shown in my review of the 2019 iMac 5K, performance of the 2019 iMac 5K is so compelling for my uses that I have sold my 2017 iMac 5K and some other gear to fund the purchase (my budget otherwise is bare bones at best).

The 128GB memory will solve a for me.

This is the ideal machine along with :

Apple iMac 5K 3.6 GHz / 8GB / 2TB / Vega 48

  • 3.6 GHz Intel Core i9 Eight-Core
  • 8GB of DDR4 RAM (add )
  • 2TB PCIe SSD
  • AMD Radeon Pro Vega 48 GPU (8GB)

See my and/or to decide on not just the best Mac, but storage and backup and more.

 


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Calling Out Two Great Deals at B&H Photo

The Sigma 40mm f/1.4 DG HSM Art is a terrific performer, and it’s at B&H Deal Zone at $400 off for Nikon or Canon or Sigma SA mount—wow! I’d buy it in a heartbet if my budget wasn’s so tight. It is one of the finest lenses available today—see my review of the Sigma 40mm f/1.4 DG HSM Art. I’m stunned that such a fine lens is being so deeply discounted.

As to the printer, I been using a non-duplex version of the Xerox WorkCentre 6515. I love the print quality—so much better than inket—so at this price I bought the duplex version.

See the other Deal Zone deals also, updated daily.

 


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B&H Photo Introduces Payboo Card, Refunds the Sales Tax for Many States — Game Changer for Retailers?

As a small business, I remit sales/use tax every year on out of state purchases. If I were to buy a camera or computer locally or at Amazon, I remit that immediately—money gone.

Now, if I instead buy it from B&H, the sale tax amount is deducted from the purchase price—an unbeatable value given B&H competitive prices. Plus most of my use tax bill (same amount as sales tax) will go away, the tax already being paid.

B&H Photo loaner gear is crucial to my reviews here—please buy through links on this site, and check out wishlists, top deals and my deal finder page.

B&H changes the online sales model

B&H Photo makes a industry-changing move that builds brand loyalty with its new Payboo credit card, and at least here in California, is equivalent to a 9%+ discount:

Now, with the B&H Payboo Card, save the equivalent to the sales tax you pay on every purchase shipped to eligible states”.

I’d be surprised if this move does not cause other companies to follow. Kudos to B&H for innovating, and I hope they have the margins to make this work and stay financially healthy.

Apply Now for Payboo

B&H Photo Payboo “Save the tax” credit card

The arrangement is a not “points” or saving later, it is instant savings. B&H deserves praise both for this groundbreaking move as well as making it gimmick-free:

What are the B&H Payboo Credit Card benefits?

B&H issues instant Payboo Card Savings on all non-tax-exempt purchases shipped to eligible states paid for with the Payboo Card in the form of a reward concurrently issued and redeemed directly on your order during checkout.

How does the Payboo Card benefit really work?

When you pay for B&H purchases with the Payboo Credit Card, B&H will charge the total of merchandise plus applicable fees and taxes; but we instantly issue and apply a reward on orders made in our SuperStore or shipped to eligible states right in checkout as a form of customer payment. Then, the amount charged to the Payboo Card is net of the benefit applied. \

Am I paying sales tax on my purchase? Do I need to submit anything in my tax filings?

B&H will collect and remit state sales tax in accordance with state sales tax laws and regulations. So, customers do pay required sales tax and do not need to keep track or file anything separately. Is there any limit or cap on the total amount of Payboo Card savings? No. B&H will issue Payboo Card Savings rewards without any upper limit.

...

B&H Photo sells a wide variety of cameras, lenses, electronics and more, and is an Apple authorized reseller. See my B&H Photo wishlists.

Super easy to apply and use

I applied for and received my Payboo card and had made an order in under 5 minutes.

B&H Photo Payboo card used for order, saves sales tax

B&H letter

Nobody likes to pay sales tax, but everyone must pay sales tax! B&H, and only B&H, has the solution to the sales tax issue.

Tomorrow, May 7th, B&H will be making a game-changing announcement, and as a loyal customer, I’d like you to be privy to some inside information in advance that will change your shopping experience forever.

Nearly one year ago, the Supreme Court ruled that out-of-state retailers must collect sales tax on internet sales. This, of course, included B&H. For 46 years we have been committed to providing unparalleled customer service, and so we began the tedious process of implementing a way to eliminate the impact this ruling would have on our customers.

We are now ready to launch “Payboo”, the solution to the sales-tax challenge. Tune in tomorrow for details on how to become a part of “Payboo”!

I know you have many shopping choices for creative gear and consumer electronics, but with “Payboo”, there will only be one best choice: B&H!

I look forward to a continued great business relationship and remember, at B&H, the customer always comes first. That’s why we’ve created “Payboo” to solve the sales tax impact for you.

Sincerely,

Menashe Horowitz CEO

fun88官网: should be interesting to see how it goes. I wish B&H the best, but I wonder how other vendors will response.

Sergey Z writes:

While it is, admittedly, very exciting to expect to avoid paying the Socialist California 9% tax on stuff we buy often and for a lot of money, I think this is a very short-sighted improvement. Akin to the idea of taking Warren Buffet's money and re-distributing it evenly to everyone. In both cases, you get a short-term monetary gain, but the price is the long-term ruin:

1) If B&H is the only one that adopts this system (which I sure hope is what will happen), it will either go out of business, or simply have to raise their prices to compensate for the delta. The market they are in is pretty efficient, and there are no miracles...

2) Every other internet retailer caves in and adapts this strategy. That will be a major step towards Socialism then -- hidden confiscation, that the government can feel free to ratchet up at will, since consumers will never notice. I mean, consider the difference between:
a) The sales tax doubling overnight today (likely riots)

b) The sales tax doubling overnight when companies comp for it (probably half the country would not even understand this is same as (a), and think: "It's OK, rich B&H will just comp me anyway". Well, admittedly, it's likely the IQ of average B&H customer is higher than populace average, so specifically in case of B&H customers it may not fly, but I think you catch my drift.

fun88官网: when you push on one end of a balloon, the other end bulges—something has to 'give'. If B&H is cutting margins, then it is a bold move. Every year in CA there is another proposal to bump up sales tax for pet projects, but unless the tax diverges for in vs out of state, there is still (so far) enough resistance that we seem to be hovering at 9% sale tax.


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White Balance and Tint for Zeiss Otus 100mm f/1.4 APO-Sonnar in Adobe Camera Raw — Differs for f/1.4

Get Zeiss Otus at B&H Photo.

With modern digital cameras, a substantial tint difference is often seen at f/1.4 with many lenses; see for example how the Sigma 105mm f/1.4 DG HSM Art behaves. This behavior can vary by sensor/camera but the Nikon D850 is prone to it, and presumably the Nikon Z7 also.

Like the Sigma 105mm f/1.4 DG HSM Art, the Zeiss Otus 100mm f/1.4 APO-Sonnar also shows a significant tint difference at f/1.4 versus other apertures. It is readily visible in any aperture series if not compensated for.

This page uses a SpyderCHECKER ® color checker card to evaluate the difference in white balance and tint between f/1.4 and other apertures, using Photoshop Adobe Camera Raw. In fun88官网 Zeiss DSLR Lenses:

In fun88官网 Zeiss DLSR Lenses:

White Balance and Tint at f/1.4 Versus Stopped Down, Datacolor SpyderCHECKR (Nikon D850)

The discerning photographer will want to adjust the color (tint) for f/1.4 versus other apertures by the amount detailed in this report. Exact figures are given for white balance and tint.

Neutral color for f/1.4
f1.4 @ 1/1250 sec, ISO 31; 2019-05-06 12:16:02
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar

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Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Mosaic (Nikon D850)

Get Zeiss Otus at B&H Photo.

This aperture series from f/1.4 through f/8 with the Zeiss Otus 100mm f/1.4 APO-Sonnar looks at sharpness across the field as the sum total of optical performance, field curvature, focus shift and lens symmetry.

This planar target is highly demanding for any lens, intolerant of focus shift and field curvature, mercilessly revealing any lens weakness. Few lenses can deliver full sharpness on this scene wide open or even with stopping down, even very expensive ones.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Mosaic (Nikon D850)

Includes images up to full camera resolution, plus crops.

This might be the finest performance on this subject that I have ever seen.

1296 | 2592 | 5112
f2 @ 1/30 sec, ISO 64; 2019-05-05 18:37:11 [Enhance Details]
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar

(Gear Acquisition Syndrome)

Leica 50mm f/1.4 Summilux-SL ASPH Examples with Panasonic S1R Eye AF: Portraits

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

Results with animal Eye AF were excellent—see Boots the Cat with Eye AF.

In part, this page looks at the effectiveness of Eye AF on the Panasonic S1R for human eyes—not quite good enough, which is a pity given the gorgeous lens performance.

In spite of the failure of Eye AF to nail focus on the iris of the eyes, these examples nonetheless show off the spectacular rendering of the Leica 50mm f/1.4 Summilux-SL ASPH for portrait applications.

In fun88官网 L-Mount Mirrorless:

Leica 50mm f/1.4 Summilux-SL ASPH Examples: Portraits using Eye AF (Panasonic S1R, Eye AF)

Includes images up to full sensor resolution.

1296 | 2592 | 4320
f1.4 @ 1/200 sec, ISO 200; 2019-04-29 19:41:29
[distortion corrected, Enhance Details, LACA corrected]
Panasonic S1R + Leica 50mm f/1.4 Summilux-SL ASPH

MacPerformanceGuide.com

Leica 50mm f/1.4 Summilux-SL ASPH Examples with Panasonic S1R Eye AF: Boots the Cat

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

I had some trouble with the Panasonic S1R Eye AF with human eyes. I wondered how animal Eye AF would do with Boots the Cat.

These examples also show off the bokeh, sharpness, contrast and color of the Leica 50mm f/1.4 Summilux-SL ASPH—really beautiful, and this kind of rendering surely will endear the 50/1.4 to its owners for portrait-style shooting.

In fun88官网 L-Mount Mirrorless:

Leica 50mm f/1.4 Summilux-SL ASPH Examples: Boots the Cat (Panasonic S1R, Eye AF)

Includes images up to full sensor resolution.

1296 | 2592 | 4320
f1.4 @ 1/200 sec, ISO 200; 2019-04-29 19:45:24
Panasonic S1R + Leica 50mm f/1.4 Summilux-SL ASPH

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Leica 50mm f/1.4 Summilux-SL ASPH Examples: Lee Vining Canyon (Panasonic S1R)

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

This page looks at performance under outdoor conditions with various examples in Lee Vining Canyon.

In fun88官网 L-Mount Mirrorless:

Leica 50mm f/1.4 Summilux-SL ASPH Examples: Examples: Lee Vining Canyon (Panasonic S1R, Eye AF)

Includes select ultra high resolution images derived from 187 megapixel Multi-Shot High-Res mode.

1296 | 2592 | 4320
f9 @ 1.0 sec Multi-Shot HighRes, ISO 50; 2019-04-23 19:36:52
Panasonic S1R + Leica 50mm f/1.4 Summilux-SL ASPH

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Leica 50mm f/1.4 Summilux-SL ASPH: Impact of Field Curvature, Grassy Meadow (Panasonic S1R)

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

I had so many disappointments with the Leica 50mm f/1.4 Summilux-SL ASPH in the field; nearly every comparison I made to the the Panasonic 50mm f/1.4 could not really be used. The lens can make really lovely portraits and certain other images. Bought on that basis, it is sure to please.

I previously showed how to exploit the field curvature and focus shift behavior of the Leica 50/1.4 SL in Curved Creek, Using Field Curvature to Advantage.

This aperture series from f/1.4 through f/5.6 looks at the pronounced field curvature of the Leica 50mm f/1.4 Summilux-SL ASPH, showing why the lens is a exceedingly poor choice for landscape work at a distance, or for any planar subject. In fun88官网 L-Mount Mirrorless:

Leica 50mm f/1.4 Summilux-SL ASPH: Impact of Field Curvature, Grassy Meadow (Panasonic S1R)

Includes images up to full sensor resolution, plus crops.

A lens that cannot render sharpness across the frame even at f/5.6 means that it has no versatility, as it cannot be relied upon to perform for any image where sharpness must cover the frame, or for any planar subject, or for astrophotography. The Leica 50mm f/1.4 Summilux-SL ASPH is such a lens, clearly designed for purposes at odd with general purpose photography. Leica calls it a “reference lens”, which is a remarkably warped claim.

Below, a very utilitarian scene in yuck lighting, but excellent at showing lens behavior.

1296 | 2592 | 4320
f2 @ 1/250 sec, ISO 50; 2019-04-27 18:12:58
[location “Lee Vining Creek”, altitude 7400 ft / 2256 m, 58°F / 14°C, Enhance Details, LACA corrected, distortion corrected]
Panasonic S1R + Leica 50mm f/1.4 Summilux-SL ASPH

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Reader Comment: Zeiss Milvus 35mm f/1.4 and “Not found anywhere else is the level of relevant information you provide”

Reader Claude D writes:

I am a new Zeiss subscriber. Just wanted to thank you very much for your very unique work. Nobody analyses lenses as you do, with all the relevant studies and the right perspective required by people looking for beautiful quality images. I particularly appreciate the care you take to analyze focus shift and field curvature. I encourage you to even increase the amount of information you provide for that issue, as it appears to me as being of a paramount importance. As a matter of fact, the warning you gave about the Sigma 40mm was very useful. Also, it would be very interesting to get more detailed analysis about "color rendering" of lenses, specially when comparing Zeiss vs Sigma.

After carefully studying your articles on Zeiss Milvus 35mm f/1.4, I finally decided to buy it. Not found anywhere the level of relevant information you provide.

For the Milvus 35mm 1.4, do you intend eventually to do testing on mirrorless like Nikon Z7 ? I currently use a Nikon D850 (totally satisfied), but eventually I may buy the next generation of Nikon mirrorless (Z8 ?). I wonder what will be the impact on the image quality provided by a "DSLR" lens like the Milvus 35mm 1.4.

Thank you again !

fun88官网: focus shift and field curvature are critical considerations for high-resolution digital since they in essence throw off expected focus—and high-res digital is intolerant of small deviations, even with stopping down, even at f/5.6 and sometimes f/8. With cameras like the Panasonic S1R in 187-megapixel Multi-Shot High-Res mode, there is no margin for error. That is why some lenses, beautiful as they are for portraiture, are shockingly poor for general photography, such as the uber-expensive Leica 50mm f/1.4 Summilux-SL ASPH as shown in Grassy Meadow.

Moreover, the placement of the zone of sharpest focus can influence the visual impact negatively, drawing attention away from the intended target—focus shift and field curvature are very damaging in that regard—too sharp a background or a portrait with blurred nose and sharp ears is never a win if the goal is to set apart the subject.

As to shooting on the Nikon Z7, I intend to show more results on various mirrorless, not just the Z7. All such evaluations go into fun88官网 Zeiss DSLR Lenses, such as Aspen on Sagebrush Hillside Across Creek for the Milvus 35/1.4. In the web browser each the table of contents page for "Z7" for other lenses I’ve done so far with the Z7. The main issue for me is the huge cost of owning all the new mirrorless—I cannot—so I have an availability/time challenge.

Zeiss Milvus 35mm f/1.4

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Leica 50mm f/1.4 Summilux-SL ASPH Aperture Series: Curved Creek, Using Field Curvature to Advantage (Panasonic S1R)

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

The field curvature and focus shift behaviorsof the Leica 50/1.4 SL are serious handicaps for landscape photography.

However, this aperture series from f/1.4 through f/9 looks at how the pronounced field curvature of the Leica 50mm f/1.4 Summilux-SL ASPH can be used to advantage with an appropriately shaped subject. In fun88官网 L-Mount Mirrorless:

Leica 50mm f/1.4 Summilux-SL ASPH Aperture Series: Curved Creek, Using Field Curvature to Advantage (Panasonic S1R)

Includes images up to 125 megapixels, plus crops.

1296 | 2592 | 4320
f6.3 @ 1/5 sec Multi-Shot HighRes, ISO 50; 2019-04-24 18:37:38
Panasonic S1R + Leica 50mm f/1.4 Summilux-SL ASPH
Lloyd’s Sony Mirrorless Wishlist
Hand-picked items for Sony.

Upgraded my 2015 MacBook Pro Retina Apple Flash Drive to the 2TB OWC Aura Pro X2 SSD

Many of us have older Mac laptops that work great and still have handy USB-A ports with no dongle adapters needed, plus a built in SDXC port.

My is working fine but I wanted more space. And with more speed and lower power consumption too, that’s a triple win!

Read about my 2TB SSD upgrade to my 2015 MacBook Pro:

 

Volumes Boot and Master on 2TB OWC Aura Pro X2 SS,
installed internally in the 2015 MacBook Pro Retina,
2TB OWC Aura Pro X2 SSD installed internally in the 2015 MacBook Pro Retina

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In-Depth Review of 2019 iMac 5K Specifically for Photographers

Unsure which Mac to get or how to configure it? .

These tests made possible by loaner gear from B&H Photo and OWC, so please buy your gear at B&H Photo and using any link from this site or MacPerformanceGuide.com, ditto for OWC/MacSales.com.

See also .

2019 iMac 5K

2019 iMac 5K tests so far

Tests so far give a really solid picture of what to expect as a photographer from the 2019 iMac 5K, and I’ll have a conclusions section soon.

Check the over the next week or so, more stuff coming.

* For example, I have not tested with PhaseOne CaptureONE Pro. Please bug PhaseOne about it and have them contact me—every new version voids my license, and I don’t want to spend my time explaining/asking again and again—and I’d rather have them hear it from a customer.

2019 iMac 5K: Convert 100 Sony 7R III 42-megapixel raw flies to JPEG

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Zeiss Otus 100mm f/1.4 APO-Sonnar with Novoflex lens adapter mounted on Panasonic S1R

Get Zeiss Otus at B&H Photo.

The Zeiss Otus 100mm f/1.4 APO-Sonnar can be mounted on Panasonic S1R using the Novoflex Leica M Lens to Leica SL/T Camera Body Lens Adapter.

Its awkward best but I’ll be looking at what I can get out of it at 187 megapixels, having had excellent results with the Zeiss Milvus 135mm f/2.

Zeiss Otus 100mm f/1.4 APO-Sonnar with Novoflex lens adapter mounted on Panasonic S1R

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Zeiss Otus 100mm f/1.4 APO-Sonnar Examples: Flowers, Plants, Ad-Hoc (Nikon D850)

Get Zeiss Otus at B&H Photo.

This page shows a variety of ad-hoc examples shot for initial evaluation. They are chosen mostly to show off bokeh and sharpness at wide apertures, looking for faults—very hard to find.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar: Flowers, Plants, Ad-Hoc

Includes images up to full camera resolution.

1296 | 2592 | 4320
f1.4 @ 1/500 sec, ISO 100; 2019-04-29 18:04:00 [Enhance Details]
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar

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Zeiss Otus 100mm f/1.4 APO-Sonnar: Portrait Example (Nikon D850)

Get Zeiss Otus at B&H Photo.

The gorgeous velvety-smooth bokeh of the Zeiss Otus 100mm f/1.4 APO-Sonnar is awesome for portraits and the high grade color correction leads to nearly neutral out of focus backgrounds.

The trick is focusing, because even if focusing is perfect, movement of a few millimeters of the subject or photographer can throw focus off the eyes. See Focusing Zeiss DSLR Lenses For Peak Performance, PART ONE: The Challenges and Focusing Zeiss DSLR Lenses For Peak Performance PART TWO: Tips and Best Practices for Sharply Focused Images.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar: Portrait Example

Includes images up to full camera resolution.

f1.4 @ 1/250 sec, ISO 100; 2019-04-29 18:33:00
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar
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Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Flowers Backlit by Window (Nikon D850)

Get Zeiss Otus at B&H Photo.

This series looks at the sharpness and bokeh and vignetting and secondary color of the Zeiss Otus 100mm f/1.4 APO-Sonnar on a scene at MOD (minimum object distance) from f/1.4 through f/4.

In fun88官网 Zeiss DLSR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Flowers Backlit by Window

Includes images up to full camera resolution, plus crops.

1296 | 2592 | 4320
f2 @ 1/500 sec, ISO 64; 2019-04-29 17:39:58 [Enhance Details]
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar

Quick Take: the Nikon D850 Looks Very Noisy Compared to Panasonic S1R

Get Panasonic S1R at B&H Photo and see my L-Mount wishlist.

I have not processed Nikon D850 raw files for a while, but doing so today, I am impressed by how noisy the D850 seems compared to the Panasonic S1R. Really striking. And with Multi-Shot HighRes mode, it’s like looking at medium format vs APS-C in terms of noise.

I might have to compare the two directly with the same lens to show just how much different/better it is. I suppose I should do so with Sony also.

But no matter what the Multi-Shot HighRes mode of the Panasonic S1R just blows away Sony and Nikon and Canon for both noise and detail.

What to buy

I do to go over all the many considerations in choosing a camera system (or computer system). So the following is not a statement of "best" for everyone or even most, but just best for the kind of testing and photography I do.

I relish that Multi-Shot HighRes mode so much that I am willing to look past the issues with the S1R. No other camera can deliver the quality I can get out of the S1R, not yet.

Accordingly, I think my very limited money for cameras is going to have to go with the S1R—just hoping it will drop in price before the loaner has to go back. The image quality in Multi-Shot HighRes mode is just incredible, and I can use all my Zeiss DSLR lenses on it, some of which just are incredible.

Just look at the incredible mirrorless selection of highly credible cameras we now have to choose from! And later this year, presumably Sony will have an A7R IV.

Mirrorless Camera Choices
$1999 SAVE $300 = 13.0% $99 FREE ITEMS Canon EOS R Mirrorless in Cameras: Mirrorless
$2797 SAVE $600 = 17.0% Nikon Z 7 Mirrorless in Cameras: Mirrorless
$2798 SAVE $400 = 12.0% Sony a7R III Mirrorless in Cameras: Mirrorless
$2997 SAVE $300 = 9.0% Nikon D850 DSLR in Cameras: DSLR

Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Orange Poppies (Nikon D850)

Get Zeiss Otus at B&H Photo.

This series looks at the razor sharpness and luscious bokeh of the Zeiss Otus 100mm f/1.4 APO-Sonnar on a scene at MOD (minimum object distance) from f/1.4 through f/9.

By "razor sharp" I mean this image tells me that (I saw something amazing at a glance), and the MTF chart shows performance at f/1.4 that few lenses every reach at any aperture, and which f/4 scarcely improves upon—this is the best MTF behavior I can ever recall seeing from any lens. It is far superior to the Leica 50mm f/1.4 Summilux-SL ASPH for example, even if you believe the computed (not measured) graphs of Leica versus the measured Zeiss MTF charts. The Otus has a flat field with flatline MTF with virtually no astigmatism. I cannot think of a better behaved lens.

My immediate impression having shot so many superb lenses in the past few years is that there is something very special and rare going on here, which I’ll summarize as the total rendering style making a synergistic whole. There is certain look to it that just feels 'Zeiss'. See also Micro Contrast and the Zeiss 'Pop'.

In fun88官网 Zeiss DLSR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Orange Poppies

Includes images up to full camera resolution, plus crops.

1296 | 2592 | 4320
f1.4 @ 1/1250 sec, ISO 100; 2019-04-29 17:48:59 [Enhance Details]
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar

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Zeiss Otus 100mm f/1.4 APO-Sonnar

Get Zeiss Otus at B&H Photo.

I’m totally overloaded with stuff to review... months of “drought” followed by monsoons—a bit frustrating with limited time loaner gear.

I will be interleaving work on the Zeiss Otus 100mm f/1.4 APO-Sonnar and Nikon NIKKOR Z 24-70mm f/2.8 S and L-Mount gear. Plus reviewing the and more.

1296 | 2592 | 4320
f1.4 @ 1/1250 sec, ISO 100; 2019-04-29 17:48:59 [Enhance Details]
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar

Panasonic Eye AF Looks Like 'FAIL'

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

Sony Eye AF has a near perfect hit rate for me.

The Leica 50mm f/1.4 Summilux-SL ASPH delivers beautiful and luscious images for portraits. And it was about time to show some portraits.

Tonight I shot 18 portrait images with the Panasonic S1R + Leica 50mm f/1.4 Summilux-SL ASPH, intending to present images that the lens is best at. A few were very nice.

Out of 18 images, maybe 1/3 had acceptable focus on the eye, sort of. Well, not really—the iris needs to be razor sharp, not a touch off with sharp eyelashes. The ones which are just sharp enough to be usable most all had sharp eyelashes and an iris almost but not quite there. Which means that the camera allocated sharpness in front of the iris of the eye. For many, it looks like it went for eyelashes.

As it stands, I call this a total fail. I'll check all camera settings and try again and with the Panasonic 50mm f/1.4 to see if that makes a difference.

Below, many of my shots looked like this, with a blurry iris. Some are better with sharp lashes and a sort-of-sharp iris. That’s not good enough—the iris should be razor sharp—at f/1.4 at close range a few millimeters off is a disaster.

f1.4 @ 1/200 sec, ISO 200; 2019-04-29 19:41:29
Panasonic S1R + Leica 50mm f/1.4 Summilux-SL ASPH

Shootout: Leica 50mm f/1.4 Summilux-SL ASPH vs Panasonic Lumix S PRO 50mm f/1.4: Rotten Log (Panasonic S1R)

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

Why am I shooting a rotten log? Well, it’s a nice 'ol log and the background is useful for bokeh. But mainly because I had to shoot a lot of comparisons to get one that works—the Leica 50/1.4 is giving me fits in the field as to focus and focus shift and field curvature.

This series shows much of what has confounded me. I’ll be showing more examples with the Leica 50/1.4 SL that show why it’s so difficult to make a sharp image—and I’ll show a series that exploits its field curvature for beautiful results. Leica 50/1.4 SL owners should find this very useful indeed (and what's to come).

This is a very detailed study of both lenses. In fun88官网 L-Mount Mirrorless:

Shootout: Leica 50mm f/1.4 Summilux-SL ASPH vs Panasonic Lumix S PRO 50mm f/1.4: Rotten Log (Panasonic S1R)

Includes images at up to 47 and 125 megapixels, all downsampled from the 187MP Multi-Shot High-res mode images, plus crops.

1296 | 2592 | 4320
f1.4 @ 1/100 sec Multi-Shot HighRes, ISO 50; 2019-04-23 18:18:07
[location “Lee Vining Canyon”, altitude 7800 ft / 2377 m, 50°F / 10°C, distortion corrected, LACA corrected]
Panasonic S1R + Leica 50mm f/1.4 Summilux-SL ASPH

Panasonic Lumix S PRO 50mm f/1.4 Aperture Series: Pines by Creek (Panasonic S1R)

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

This aperture series evaluates the Panasonic Lumix S PRO 50mm f/1.4 on a far distance scene, looking for lens skew, focus shift, field curvature, and correction for lateral chromatic aberration, and control of secondary color. The Panasonic 50/1.4 relies on distortion correction, so sharpness at the edges is of particular interest. This series reveals a lot.

Because the sharpness warrants it, the images are presented at sizes up to 143 megapixels. All images are downsampled variants from the 187 megapixel Multi-Shot High-Res mode images.

This is a very detailed study. In fun88官网 L-Mount Mirrorless:

Panasonic Lumix S PRO 50mm f/1.4 Aperture Series: Pines by Creek

Includes images at 47 and 143 megapixels, plus crops.

1296 | 2592 | 4320
f1.4 @ 1/8 sec Multi-Shot HighRes, ISO 50; 2019-04-23 19:41:37
[location “Lee Vining Creek”, altitude 7900 ft / 2408 m, 50°F / 10°C, LACA corrected, distortion corrected, USM{8,50,0}]
Panasonic S1R + Panasonic Lumix S PRO 50mm f/1.4

Backup, RAID, optimizing performance, workflow.

Thoughts on Ultra High Resolution Imagery with Multi-Shot High-Res Mode

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

I have been seeing terrific improvements in resolution and ultra low noise with the Multi-Shot High-Res mode of the Panasonic S1R, covered and shown in detail in fun88官网 L-Mount Mirrorless. The sheer quality of the images is something new. One thing has emerged as a disappointing limiting factor: lens performance well below the demands of 187 megapixels.

My perspective changed today: the images shown in Zeiss Milvus 135mm f/2 Examples @ 187 Megapixels: Lee Vining Canyon show more detail than I have ever seen in a digital image. And with ultra low noise and no moiré and no color aliasing and moving water usually works great. This is oversampling done very very well.

Most incredible of all: Multi-Shot High-Res mode works under field conditions, making it a real feature for real images outdoors under many (not all) conditions—unlike pixel shift—whoohoo! Wind is still a challenge, as it can potentially move the camera, as well as preventing full capture detail on leaves and grass. Single shot mode is not the end of the world when needed... and again done the smart way—Panasonic records a single shot frame along with MultiShot—perfect!

Which leads me to these thoughts:

  • Cameras without a Multi-Shot High-Res mode feature suck as an 'investment' in two ways: (1) they are already obsolete given the huge quality gap, and (2) the same effort on my part yields a far more detailed image with no moiré and lower noise—far better ROI. Now that I see what is possible, there is no going back. And I can still shoot conventional single frames where that is needed.
  • Optics are everything. Only with the best lenses can peak results be obtained. Lenses that rely on distortion correction offer less than full potential guaranteed, since distortion correction invariably damages sharpness by stretching pixels apart in some areas of the frame. I don’t want to buy any lens that cannot perform well at 187MP.
  • DSLR lenses like Zeiss Milvus are just as useful now as they ever were. Awkward to use with a lens adapter, but for the image quality the right lenses deliver, the results are rewarding.
  • The need for medium format is still there, but greatly reduced—Multi-Shot High-Res mode offers more detailed imagery and lower noise than any medium format camera I’ve used, including the 100 megapixel Hasselblad H6D-100C. Of course, a medium format camera with the same feature would be welcome.

I don’t want to buy a Canon or Nikon or Sony camera without Multi-Shot High-Res mode. Instead of a Nikon Z7, I’ll likely buy the Panasonic S1R, because I can get far superior image quality from all my Nikon F-mount images. Plus for lens evaluations, nothing beats the increased resolution.

Actual pixels crop from 187 megapixel image
f8 @ 1/4 sec Multi-Shot HighRes, ISO 50; 2019-04-24 19:21:57
[location “Lee Vining Canyon”, altitude 7400 ft / 2256 m, 60°F / 15°C, LACA corrected]
Panasonic S1R + Zeiss Milvus 135mm f/2

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Zeiss Milvus 135mm f/2 Examples @ 187 Megapixels: Lee Vining Canyon (Panasonic S1R)

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

I have been seeing rewarding improvements in resolution along with ultra low noise using the Multi-Shot High-Res mode of the Panasonic S1R, covered and shown in detail in fun88官网 L-Mount Mirrorless. And I have finally found the well hidden way to get the magnification I need for manual focusing.

Last night I wondered if I could obtain HighRes images at the 135mm focal length. My concern was that such long focal lengths magnify the tiniest movement. There was a light breeze and it concerned me that even the wind could also be an issue, in the sense of its pressure moving the camera a fraction of a pixel or so while exposing (I shield the camera whenever possible but I can’t shield the tripod also). Those concerns are surely valid under some conditions, but on this occasion I was able to make some incredibly detailed images.

The Zeiss Milvus 135mm f/2 performs so well that I am showing examples at the full 187 megapixels. I recommend viewing on an iMac 5K at full resolution.

I assess the lens performance of the Zeiss Milvus 135mm f/2 in fun88官网 Zeiss DSLR Lenses:

Zeiss Milvus 135mm f/2 Examples @ 187 Megapixels: Lee Vining Canyon at Dusk

Includes images at sizes up to 47, 100, 187 megapixels.

Below, this image when viewed at 187 megapixels clearly defines the fuzz on the aspen flowers (where in focus).

1296 | 2592 | 4320
Ancient Dead Aspen in Aspen Grove
f8 @ 1/4 sec Multi-Shot HighRes, ISO 50; 2019-04-24 19:21:57
[location “Lee Vining Canyon”, altitude 7400 ft / 2256 m, 60°F / 15°C, LACA corrected]
Panasonic S1R + Zeiss Milvus 135mm f/2
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Leica 16-35mm f/3.5-4.5 Elmarit-SL ASPH: Severe Flare Issues on Panasonic S1R

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

In field work I noted some unusual and highly destructive flare behavior with the Leica 16-35mm f/3.5-4.5 Elmarit-SL ASPH. Accordingly, I assessed the Leica 16-35 across the focal length range on the Panasonic S1R.

More than ordinary flare is at issue.

This piece is essential reading for anyone considering the Leica 16-35mm f/3.5-4.5 Elmarit-SL ASP—I would say worth the subscription price by itself for anyone considering the 16-35—make any buying decision after reading.

In fun88官网 L-Mount Mirrorless:

Lens Flare for Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH (Panasonic S1R)

Includes pairs of images at various focal lengths, shaded to block sunlight versus unshaded. Each pair can be toggled for comparison. Lens hood in use for all.

I can’t be certain that my analysis will apply to all L-Mount cameras, but since they all share the same flange focal distance and all digital sensors are reflective, it seems likely.

More than ordinary flare
f8 @ 1/100 sec, ISO 50; 2019-04-25 10:17:07
[location “Lee Vining Canyon”, altitude 7500 ft / 2286 m, 65°F / 18°C, distortion corrected, LACA corrected]
Panasonic S1R + Leica 16-35mm f/3.5-4.5 Super-Vario-Elmarit-SL ASPH @ 29mm

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Shootout: Zeiss ZM 35mm f/1.4 Distagon vs Leica 16-35mm f/3.5-4.5 Elmarit-SL ASPH vs Leica 24-90: Downed Aspen in Lee Vining Creek (Panasonic S1R)

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

In Zeiss ZM 35mm f/1.4 Distagon Aperture Series: Mosaic I stated:

This series shows that the Zeiss ZM 35mm f/1.4 Distagon can nonetheless outperform native lenses (!) when stopped down, in spite of the serious damage to its performance caused by ray angle effects of the sensor cover glass. See MTF on Mirrorless Cameras for just how serious the damage is. One wonders what Zeiss could do for a native design.

This series is remarkable in that by f/5.6 to f/8, total performance across the field stomps on the performance seen with native lenses for the Panasonic S1R, albeit with the downside of accentuated field curvature. It is by far best total performance I have yet seen of any lens yet tested on the S1R, including two Panasonic LUMIX S and three Leica SL lenses (April 2019). Which is astounding, to say the least.

Actually, field curvature does not turn out to be that much of an issue, the ZM 35/1.4 still delivering a better edge-to-edge sharpness where intended. At least one reader took my comments out of context, to be clear: wider apertures suck on the ZM 35/1.4 due to ray angle, and I’m talking about edge-to-edge in the nominal plane of focus at f/5.6 and f/8, which incorporates all factors.

Skepticism can reasonably be expected from Leica SL shooters, both from cognitive commitments to Leica optical prowess as well as from dumbing-down the lens resolution to a 24 megapixel sensor.

As I strictly avoid assertions I cannot back up with proofs, I now present a 3-way field shootout in fun88官网 L-Mount Mirrorless:

Shootout: Zeiss ZM 35mm f/1.4 Distagon vs Leica 16-35mm f/3.5-45 Elmarit-SL ASPH (Panasonic S1R)

Includes images at 24, 47 and 124 megapixels, all downsampled from the 187MP Multi-Shot High-res mode images, plus crops and black and white renditions.

This example is a prime example of what is possible in Multi-Shot High-Res modeblack and white shooters should take special note of the incredible detail and image quality and total freed0m from noise. From what I can tell, the results here are better than (single shot) medium format quality of any size.

Cognitive dissonance can make heads explode, so Leica fans are forewarned as to the findings. However, the comparison has nuances and more than one consideration, and there are good things to say about the Leica 16-35mm f/3.5-45 Elmarit-SL ASPH at 35mm. The Leica 24-90... not so much.

Zeiss ZM 35/1.4 was mounted on the Panasonic S1R using the Novoflex Leica M Lens to Leica SL/T Camera Body.

1296 | 2592 | 4320
f8 @ 1/4 sec Multi-Shot HighRes, ISO 50; 2019-04-23 18:38:43
[location “Lee Vining Canyon”, altitude 7600 ft / 2316 m, 55°F / 12°C, Enhance Details, LACA corrected, distortion corrected]
Panasonic S1R + Leica 16-35mm f/3.5-4.5 Super-Vario-Elmarit-SL ASPH @ 35mm
1296 | 2592 | 4320
f8 @ 1/4 sec Multi-Shot HighRes, ISO 50; 2019-04-23 18:38:43
[location “Lee Vining Canyon”, altitude 7600 ft / 2316 m, 55°F / 12°C, Enhance Details, LACA corrected, distortion corrected]
Panasonic S1R + Leica 16-35mm f/3.5-4.5 Super-Vario-Elmarit-SL ASPH @ 35mm

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Leica 24-90mm f/2.8-4 Vario-Elmarit-SL ASPH Aperture Series @ 46mm: Downed Aspen Trunks in Creek (Panasonic S1R)

See my L-mount mirrorless wishlist

This near-to-far scene evaluates the Leica 24-90mm f/2.8-4 Vario-Elmarit-SL ASPH OIS at 46mm on a finely detailed scene with an excellent near/far range. Detail is evaluated in the context of pronounced focus shift.

In fun88官网 L-Mount Mirrorless:

Leica 24-90mm f/2.8-4 Vario-Elmarit-SL ASPH Aperture Series @ 46mm: Downed Aspen Trunks in Creek

Shot in Multi-Shot High-Res mode, it includes images at 24, 47, and 105 megapixels from f/3.6 to f/8.

1296 | 2592 | 4320
f5.6 @ 1/6 sec Multi-Shot HighRes, ISO 50; 2019-04-23 18:46:05
Panasonic S1R + Leica 24-90mm f/2.8-4 Vario-Elmarit-SL ASPH OIS @ 46mm

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

Panasonic S1R Fails with Write Errors with Two Different-Brand QXD Cards

The Panasonic S1R has a serious bug with XQD cards which results in loss of images. The camera warns of a write error then cannot be used any more until power cycling the camera or pulling/reinserting the card. At this point, I do not know if the same bug occurs with SDXC cards (much slower so I prefer not to use SD).

Although my rigorous verification of the Sony 256GB XQD Card as reliable was compelling evidence the S1R was at fault, I wanted to give the Panasonic S1R a chance to prove itself with a different card. Accordingly, I started using a Lexar 128GB XQD card., formatting it in camera first of course (as I’ve done repeatedly with the Sony XQD card).

The very first day shooting with the Lexar XQD card, the S1R reported write errors numerous times over 3 hours, destroying the exposure every time. Typically, truncated RW2 raw files remain on the card, e.g., 4MB or 17MB or whatever (random file size, aborted recording). These files are of course useless.

A side effect when a write error is reported by the S1R is the need to power cycle the camera or pull and reinsert the card. Either resets the lens focus—disruptive and time-wasting when shooting a series or in HighRes mode. As if loss of camera operation were not disruptive enough. Still, that the S1R warns when the problem occurs is a good thing, even though it is inconvenient—better than silent errors.

Reader Benoit D writes:

Yes, the S1R is prone to card writing errors with my 3 QXD cards (different brands and capacity). Sequences are exacerbating the issue. No issues so far with SD cards.

fun88官网: a bug that Panasonic needs to fix ASAP. The times I have seen the issue is when shooting several frames in succession, which is what Benoit is saying too.


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Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH Aperture Series @ 35mm: Bikes and Tower at Dusk

See my L-mount mirrorless wishlist

This aperture series from f/4.4 to f/11 evaluates the performance across the frame and near to far at 33mm. Shot in single shot mode on the Panasonic S1R (too dark for multi shot). It complements the mosaic series at 35mm.

In fun88官网 L-Mount Mirrorless:

Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH Aperture Series @ 35mm: Bikes and Tower at Dusk

Includes images up to 47 megapixels from f/4.4 to f/11.

1296 | 2592 | 4320
f8 @ 5.0 sec, ISO 50; 2019-04-18 20:00:55
[distortion corrected, Enhance Details, LACA corrected]
Panasonic S1R + Leica 16-35mm f/3.5-4.5 Super-Vario-Elmarit-SL ASPH @ 33mm
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Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH Aperture Series @ 35mm: Mosaic

See my L-mount mirrorless wishlist

This aperture series from f/4.5 to f/8 evaluates the performance across the frame at 35mm. Shot in Multi-Shot High-res mode on the Panasonic S1R, to allow for maximum possible quality including mitigation the effects of distortion correction.

In fun88官网 L-Mount Mirrorless:

Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH Aperture Series @ 35mm: Mosaic

Includes images at 47 and 106 megapixels from f/4.5 to f/8.

I am delighted to see solid performance at the 35mm zoom setting.

1296 | 2592 | 4320
f8 @ 1/6 sec Multi-Shot HighRes, ISO 50; 2019-04-18 19:16:14
[Enhance Details, distortion corrected, USM{8,50,0}, LACA corrected]
Panasonic S1R + Leica 16-35mm f/3.5-4.5 Super-Vario-Elmarit-SL ASPH @ 35mm

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3-Way Shootout: Leica 50mm f/1.4 Summilux-SL ASPH, Panasonic Lumix S PRO 50mm f/1.4, Panasonic Lumix S 24-105mm f/4 (Mosaic)

See my L-mount mirrorless wishlist.

This 3-way shootout compared the Leica 50mm f/1.4 Summilux-SL ASPH to the Panasonic Lumix S Pro 50mm f/1.4 and Panasonic Lumix S 24-105mm f/4.

This subject is extremely demanding for lens performance. It is a highly detailed planar target and thus intolerant of focus shift and field curvature, revealing any lens weakness. Examined in this comparison are lens symmetry (e.g., build tolerances), sharpness particularly in outer zones, focus shift (!), field curvature, and total imaging performance.

In fun88官网 L-Mount Mirrorless:

Shootout: Leica 50mm f/1.4 SL vs Panasonic LUMIX S PRO 50mm f/1.4 vs Panasonic LUMIX S 24-105mm f/4 (Mosaic)

Includes images at 47 and 93 megapixels, downsampled from the 187MP Multi-Shot High-res mode images, plus crops from the 93 megapixel images, all from f/1.4 through f/8.

This comparison is unusually compelling—recommended reading for all and even if these lenses are not of specific interest.

1296 | 2592 | 4320
f4 @ 1/40 sec Multi-Shot HighRes, ISO 50; 2019-04-18 18:54:38
[Enhance Details, USM{8,1.0,0}, distortion corrected, LACA corrected]
Panasonic S1R + Leica 50mm f/1.4 Summilux-SL ASPH

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Panasonic LUMIX S PRO 50mm f/1.4: How Distortion Correction Affects Sharpness in both Single Shot and Multi Shot High Res Mode

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

I am not a fan of the sharpness-robbing approach to lens design of allowing distortion that requires distortion correction, be it Leica, be it Zeiss, or be it Panasonic. And when manufacturers present MTF charts of optical performance for a lens flags distortion correction in the EXIF as mandatory, one has to wonder if the deception is intentional, because the claimed MTF in the negatively-affected areas is impossible to achieve with distortion correction.

See also Leica 50mm f/1.4 Summilux-SL ASPH: Sharpness Losses from Distortion Correction.

The Panasonic Lumix S PRO 50mm f/1.4 relies on software distortion correction to deal with its pronounced optical distortion. This page shows distortion with and without distortion correction, and also shows much sharpness is lost to distortion correction, both for single shot mode and Multi-Shot High-Res mode.

In fun88官网 L-Mount Mirrorless:

Distortion for Panasonic Lumix S PRO 50mm f/1.4

Includes crops from both 93-megapixel and 47 megapixel images.

f8 @ 1/10 sec, ISO 50; 2019-04-18 18:50:10 [LACA corrected, Enhance Details]
Panasonic S1R + Panasonic Lumix S PRO 50mm f/1.4

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Zeiss ZM 35mm f/1.4 Distagon Aperture Series: Mosaic (Panasonic S1R)

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

Performance at wider apertures of Leica M lenses and Zeiss ZM lenses is generally miserable on all mirrorless cameras to date (~April 2019) including the Panasonic S1R as used here.

However, this series shows that the Zeiss ZM 35mm f/1.4 Distagon can nonetheless outperform native lenses (!) when stopped down, in spite of the serious damage to its performance caused by ray angle effects of the sensor cover glass. See MTF on Mirrorless Cameras for just how serious the damage is. One wonders what Zeiss could do for a native design.

This series is remarkable in that by f/5.6 to f/8, total performance across the field stomps on the performance seen with native lenses for the Panasonic S1R, albeit with the downside of accentuated field curvature. It is by far best total performance I have yet seen of any lens yet tested on the S1R, including two Panasonic LUMIX S and three Leica SL lenses (April 2019). Which is astounding, to say the least.

In fun88官网 Leica M:

Zeiss ZM 35mm f/1.4 Distagon Aperture Series: Mosaic (Panasonic S1R)

Includes images up to 93 megapixels, 47MP sensor-resolution images, and 24MP images, all downsampled from the 187MP Multi-Shot High-res mode images, plus crops from the 93 megapixel image.

Zeiss ZM 35/1.4 was mounted on the Panasonic S1R using the Novoflex Leica M Lens to Leica SL/T Camera Body Lens Adapter.

Below, bottom 1/4 of frame was cropped off.

1296 | 2592 | 5112
f5.6 @ 1/13 sec Multi-Shot HighRes, ISO 50; 2019-04-18 19:10:49 [LACA corrected, Enhance Details]
Panasonic S1R + Zeiss ZM 35mm f/1.4 Distagon

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Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH Aperture Series @ 16mm: Mosaic

See my L-mount mirrorless wishlist

This aperture series from f/3.5 to f/8 evaluates the performance across the frame at 16mm. Shot in Multi-Shot High-res mode on the Panasonic S1R, to allow for maximum possible quality including mitigation the effects of distortion correction.

In fun88官网 L-Mount Mirrorless:

Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH Aperture Series @ 16mm: Mosaic

Includes images up to 93 megapixels from f/3.5 to f/8, plus crops.

1296 | 2592 | 4320
f3.5 @ 1/20 sec Multi-Shot HighRes, ISO 50; 2019-04-18 19:27:39
[distortion corrected, Enhance Details, LACA corrected]
Panasonic S1R + Leica 16-35mm f/3.5-4.5 Super-Vario-Elmarit-SL ASPH @ 16mm

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Panasonic S1R: Improvement in Noise Level Using Multi-Shot High-Res Mode vs Single Shot

See my L-mount mirrorless wishlist

In Panasonic S1R: True ISO 50, not a Faux ISO — Kudos to Panasonic, I discussed noise and and the signal/noise ratio derived from images I had taken from ISO 50 to ISO 51200 in 1/3 stops (RawDigger folks analyzed the images). That series was not ideal and not shot for the goal of showing the true S/N ratio because it was shot in-focus, which means that standard deviation calculated on the gray patch is increased by subject detail, including dust.

I re-shot part of that series in whole stops, this time defocusing the image so that subject detail would be blurred away. I was interested in seeing how much the S/N ratio would improve using Multi-Shot High-Res Mode versus single shot. I concluded two things:

  • Visually and with careful inspection at enlarged size, I determined that there is a subjective 1.5 stop improvement in noise level by using Multi-Shot High-Res Mode versus single shot. This matches the theoretical improvement in noise from 8X the exposure: √8 = 2.8 which is 1.5 stops (2^1.5 = 2.83).
  • Multi-Shot High-Res Mode really only makes sense at ISO 50, is marginal at ISO 100, and no point at ISO 200 on up. Given the time and space required, this can be summarized as “in terms of noise alone, High-Res mode at ISO 50 is the only ISO that makes sense”. At ISO 100, you’re dealing with an 8 exposures huge file hassle for a 1/2 stop gain in noise performance at most—pointless since a single shot at ISO 50 is so close; The S/N graph suggests ISO 50 single shot is as good as ISO 100 MultiShot, but visual inspection repudiates that idea; ISO 100 MultiShot is slightly better.

I expand upon my comments in Panasonic S1R: Signal/Noise ratio for Multi-Shot vs Single Shot, ISO 50 to ISO 1600.

Signal/Noise ratio of Panasonic S1R with single shot and Multi-Shot from ISO 50 to ISO 1600

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Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH Aperture Series @ 16mm: Pescadero Creek, Upstream

See my L-mount mirrorless wishlist

This aperture series from f/3.5 to f/11 evaluates the performance across the frame at 16mm. Shot in single shot mode on the Panasonic S1R.

This series confirms the poor edge performance also seen in View over Bike Path to Tower.

In fun88官网 L-Mount Mirrorless:

Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH Aperture Series @ 16mm: Pescadero Creek, Upstream

Includes images up to full camera resolution from f/3.5 to f/11, plus crops.

1296 | 2592 | 4320
Pescadero Creek, Upstream
f3.5 @ 0.8 sec, ISO 50; 2019-04-16 19:24:17
[location “Pescadero Creek”, 58°F / 14°C, Enhance Details, distortion corrected, LACA corrected]
Panasonic S1R + Leica 16-35mm f/3.5-4.5 Super-Vario-Elmarit-SL ASPH @ 16mm


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Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH Aperture Series @ 16mm: View over Bike Path to Tower

See my L-mount mirrorless wishlist

This aperture series from f/3.5 to f/11 evaluates the performance across the frame at 16mm. Shot in single shot mode on the Panasonic S1R.

In fun88官网 L-Mount Mirrorless:

Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH Aperture Series @ 16mm: View over Bike Path to Tower

Includes images up to full camera resolution from f/3.5 to f/11, plus crops.

1296 | 2592 | 4320
f3.5 @ 2.0 sec, ISO 50; 2019-04-18 20:04:03
[distortion corrected, Enhance Details, LACA corrected]
Panasonic S1R + Leica 16-35mm f/3.5-4.5 Super-Vario-Elmarit-SL ASPH @ 16mm

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

Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH: Assessing Distortion at 16mm, 25mm, 28mm, 35mm, plus MTF

See my L-mount mirrorless wishlist

The Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH relies on software correction for distortion, including a jaw-droppingly huge amount at the 16mm setting—perhaps taking a cue in optical design from the extreme distortion of the Leica Q.

Distortion correction required for
Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH

The degrading effects of distortion correction in both single shot mode and especially Multi-Shot High-Res mode are well worth understanding for anyone thinking of high resolution capture.

I take a close look at distortion and the effects of distortion correction in fun88官网 L-Mount Mirrorless:

Distortion correction relates directly to MTF: I also discuss MTF in depth, noting two points that make the Leica MTF charts misleading at best:

MTF for Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH

I’m stunned that an about $5500 lens with an exceptionally dark f/3.5 to f/4.5 maximum aperture relies upon sharpness-robbing distortion correction to combat extreme distortion at 16mm that seems more fitting for a consumer-grade APS-C kit lens.

Below, the uncorrected distortion at 16mm with the Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH. Image processed with Iridient Developer, which allows raw conversion with or without “mandatory” distortion correction—Adobe Camera Raw in either Photoshop or LIghtroom provides no option to disable correction for built-in lens profiles (those that the camera writes into the EXIF).

Uncorrected distortion at 16mm
f8 @ 1/4 sec Multi-Shot HighRes, ISO 50; 2019-04-18 19:28:37
Panasonic S1R + Leica 16-35mm f/3.5-4.5 Super-Vario-Elmarit-SL ASPH @ 16mm
Hard drives or SSD.

Leica 50mm f/1.4 Summilux-SL ASPH: Sharpness Losses from Distortion Correction

See my L-mount mirrorless wishlist

The Leica 50mm f/1.4 Summilux-SL ASPH sets an EXIF flag that requires software correction for both color fringing and distortion. For a lens claimed by Leica to be a “reference lens”, requiring distortion correction seems dubious at best because a requirement for distortion correction guarantees reduced performance in some part of the frame, since pixels have to be stretched apart to correct the distortion. And yet the distortion is strong enough that it really has to be corrected.

Distortion correction required for
Leica 50mm f/1.4 Summilux-SL ASPH

The degrading effects of distortion correction in both single shot mode and especially Multi-Shot High-Res mode are well worth understanding for anyone thinking of high resolution capture. In fun88官网 L-Mount Mirrorless:

Distortion for Leica 50mm f/1.4 Summilux-SL ASPH, with Examples

I also discuss MTF in depth, noting two points that make the Leica MTF charts misleading at best:

MTF for Leica 50mm f/1.4 Summilux-SL ASPH

Based on working with both the Leica 50mm f/1.4 Summilux-SL ASPH and the Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH, I would say that any assumption that Leica SL lenses are a magic bullet for resolving power on the Panasonic S1R is a poor assumption at best. Stay tuned for lens comparisons!


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FOR SALE: Canon EF 200mm f/1.8L

I'm selling this lens on behalf of a friend.

As some readers might know the Canon EF 200mm f/1.8L is a beautiful supertele long lusted over that has become a collector’s item—not many were made.

  • Glass looks perfect front and rear and through, lens is not mint but looks close to it.
  • Includes Canon lens hood and hardcase and warranty card (out of warranty, USA).
  • Circular drop-in filter.
  • Includes original lens foot and Really Right Stuff LCF-40 Foot.

Local sale (San Francisco Bay Area) preferred so buyer can inspect lens, Reno NV area might be possible next week. Contact Lloyd. $5500 or best offer.


(Gear Acquisition Syndrome)

Off Topic: Longer Term CBD Experience

Preface—I post health-related issues from time to time, because this results in direct benefit to some readers, which is always a goal, photography or otherwise—skip such posts if you object. Judging by positive feedback, they’re nice intermission once in a while. Most such posts are

Everyone ought to read about an emerging danger in .

CBD — real merit, but also hype and quality concerns

CBD (cannabidiol, a non-psychoactive hemp compound) is all the rage, which means the world is now filled with bogus claims and charlatans, and low quality or even dangerous product. The dumbest thing is food infused with CBD—CBD is expensive and the digestive tract metabolizes away 2/3 or so of it so it’s just a waste to eat it—see .

The smart move is sticking only with lab-tested brands grown organically*. I’ve read the independent lab reports for (use code fun88官网20 for 20% off every day) and asked many questions of the company both in phone and email. I have satisfied myself that they are the up and up, and so I use their product exclusively.

* Any concentrated extract such as CBD carries the risk of concentrating contamination also.

More experience with CBD

I am not a doctor, and none of what follows is medical advice! Consult your own doctor before using CBD.

NuLeaf Naturals CBD
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Get 30% off NuLeafNaturals CBD through April 21 using code 3DAYS30. Remember and use code fun88官网20 for 20% off every day of the year.

Last year I wrote about how CBD helped my asthma by keeping small airway spasms down in CBD (Cannabidiol)—Eliminated My Small Airway Impairment (Asthma). A number of readers wrote to confirm that NuLeaf Naturals CBD was the real deal, and helped them.

Here is some followup on what I think works for me with CBD.

Small airway impairment (asthma)

I’ve concluded that CBD is effective for some but not all types of small-airway bronchospasms, and not a substitute for an inhaler for rapid-onset issues. However, I use my prescription asthma inhaler far less than before.

Heavy breathing while exercising in cold air can cause exercise-induced asthma—has been an issue for me for years. CBD might damp-down the issue, but it’s not a solution when it happens—the inhaler is still needed though it too is not fully effective.

Where CBD really seems to help is when there are ongoing environmental insults such as bad air, pollen, etc. I’ve concluded that CBD moderates things so that days where I notice impairment are both fewer and less noticeable. The allergy season is picking up big time, so this year should be a tough test of that theory.

Back pain

I have a lower back pain that comes and goes (this might sound odd, but a double century usually eliminates it 80 miles or so into the ride, presumably from blood flow). One particular day while working at the computer, this pain had plagued me half a day to the point of being distracting. I took a triple dose of CBD (about 75 mg) and all pain was gone 30 minutes later and stayed gone that day. It was an experiment, one I will repeat when the need arises. Doctors might scoff, but pain meds are serious business, so I’ll scoff back at the costs and risks.

Hand pain

My elderly father injured his hand and had chronic pain in it for weeks. Being a natural skeptic and frugal too, it’s not easy getting him to try anything and I expected a firm “doesn’t work, won’t buy it again”. But he gave CBD a try and believes it has helped the pain—a ringing endorsement from him. In his case he applied it topically to his hand. So far I have not persuaded him to follow my recommendation of an oral dose also.

Relaxation

There are all sorts of claims out there as to mental health benefits but I think these may be overreaching considerably. Still, I’m going to give the claims of “calming” and “relaxing” some credence based on my experience and my daughter’s—but the effect is mild for me.

The placebo effect

Applies to prescription drugs too, and many marginally beat placebo. If my brain thinks it works, then it works, period.

Dosing

Each person surely responds differently.

My daughter has a incurable health condition that causes muscle pain and fatigue. She uses it 3 times per day, 10-12 drops = 24mg CBD each dose.

As far as I can tell, 25mg is a better dosing for me, just on the threshold of noticing a relaxing effective, and what I’ve been using for my asthma. I’ll use more if I feel particularly stressed or if asthma creeps up.


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Sony 256GB XQD Card Tests Good Twice with fun88官网Tools DiskTester, Puts Suspicion of Data Loss Bug Squarely on Panasonic S1R

Update April 23: although verification of the Sony 256GB XQD Card (remainder of post below) was compelling evidence that the card was good and the Panasonic S1R was/is at fault, I swapped cards to a Lexar 128GB XQD card. The first day shooting with the Lexar card, the S1R alerted me to write errors 5 or 6 times over 3 hours.

In other words, the Panasonic S1R looks to have a very serious problem, failing to work correctly with two different XQD cards of two different brands.

Loss of images is the kiss of death for any camera, and the S1R has destroyed about 20 images now. For what I’ve been shooting, I can shoot the frame again, but that’s not the case for many types of photography.

...

About two weeks ago in Panasonic S1R: Data Loss with Sony XQD Card, I reported card errors but I wasn’t sure of the cause—camera or card. Since then I had card write errors 2 or 3 more times. I give credit to the Panasonic S1R for reporting the errors instead of silently failing. The card has been formatted many times in the camera, but the problem recurs.

I should have done this sooner, but I today tested the card in an XQD card reader using the of my software (see also ) The fill-volume command (which I use frequently for testing and ) writes to 99% of the card capacity and then reads it back and verifies it byte-for-byte.

The tests ran to completion, and showed no errors. While not an absolute proof (could be a compatibility issue?), the rock-solid reliability of this exact-same card over the past year in the Nikon D850 and Nikon Z7 implicates the Panasonic S1R as the root cause.

Reader James K (NYC pro photog) writes:

This kind of problem is to be expected on a new top to the line system. Probably caused by not enough company testing under real world conditions. Not only could this affect you reputation but also your pocket book. If models are involved on a commercial advertising shoot you might be responsible for model fees and production costs. A pro would have to have at least two and possibly three bodies to feel halfway secure on a big money shoot. It also means that there are probably other hidden problems that will take 6 months of continuous use to uncover. Your readers should thank you for finding these significant errors. “Abandon all hope ye who enter here."

Lloyd you are really something. Why don’t the high end camera companies hire you to test their products BEFORE they unleash them on consumers? No one tests equipment like you, no one.

fun88官网: one camera and one card do not make a pattern, but it is worrisome.

Test results from fill-volume command of fun88官网Tools DiskTester

Speed using a USB port on the 2018 Mac mini is rocking fast! Zero errors.

llcMini:fun88官网 lloyd$ disktester fill-volume SonyXQD
DiskTester 2.2.14 64-bit, fun88官网Tools 2.2.15, 2017-12-24 18:12
Copyright 2006-2017 fun88官网 INC. All Rights Reserved
Use of this software requires a license. See http://macperformanceguide.com/Software-License.html

OS X 10.14.4, 6 CPU cores @ 3000 MHz, 8192 MiB memory Thursday, April 18, 2019 at 09:28:12 Pacific Daylight Time
Volume: SonyXQD Num files: 1000 Space to fill: 232.4 GiB File size: 237 MiB Transfer size: 131072 KiB Fill with: "0x0000000000000000" Free space to remain: 1.40 GiB = 0.60%
Creating up to 1000 files of size 237 MiB on volume "SonyXQD" Speed shown includes file system create/open/allocate/write-- real world time. TARGET FOLDER: "/Volumes/SonyXQD/disktester-blobs"
Elapsed File# Qty 2sec 5sec 15sec 1min 2min 5min 15min 30min 60min 2s:15s 1m:5m ClockAvg 5s 4 1.05 GiB 226 219 219 219 219 219 219 219 219 1.03 1.00 212 10s 9 2.21 GiB 230 230 225 225 225 225 225 225 225 1.02 1.00 221 15s 14 3.37 GiB 232 231 227 227 227 227 227 227 227 1.02 1.00 224 20s 19 4.52 GiB 229 230 230 228 228 228 228 228 228 0.99 1.00 226 ......................... 754s 994 230.2 GiB 317 315 316 314 313 315 312 312 312 1.00 1.01 312
1000 files of size 237 MiB created in /Volumes/SonyXQD/disktester-blobs Total data written: 231.4 GiB Slowest write speed: 175 MiB/sec Average write speed: 312 MiB/sec Fastest write speed: 325 MiB/sec Average write time per file: 758.50 milliseconds .........................
Read 1000 files totaling 231.4 GiB in 681.08 seconds @ 348 MiB/sec MiB/sec write/read for fill-volume on SonyXQD   Mean: 312 MiB/sec 348 MiB/sec StdDev: 17.2 MiB/sec 2.90 MiB/sec
1200 | 2400 | 5112
;

On the 2017 iMac 5K

Speed on a USB 3.1 port through a hub on the 2017 iMac 5K is severely impaired, but no errors.

# using SonyXQD card reader on 2017 iMac 5K, USB 3.1 gen 1
fun88官网-iMac:fun88官网 lloyd$ disktester fill-volume SonyXQD
DiskTester 2.2.15b 64-bit, fun88官网Tools 2.2.16 beta, 2018-01-24 07:42
Copyright 2006-2019 fun88官网 INC. All Rights Reserved
Use of this software requires a license. See http://macperformanceguide.com/Software-License.html
OS X 10.13.6, 8 CPU cores @ 4200 MHz, 65536 MiB memory 2019-04-17 at 22:24:31
Volume: SonyXQD Num files: 1000 Space to fill: 232.4 GiB File size: 237 MiB Transfer size: 131072 KiB Fill with: "0x0000000000000000" Free space to remain: 1.40 GiB = 0.60%
Creating up to 1000 files of size 237 MiB on volume "SonyXQD" Speed shown includes file system create/open/allocate/write-- real world time. TARGET FOLDER: "/Volumes/SonyXQD/disktester-blobs"
Elapsed File# Qty 2sec 5sec 15sec 1min 2min 5min 15min 30min 60min 2s:15s 1m:5m ClockAvg 5s 0 128 MiB nan nan nan nan nan nan nan nan nan nan nan 25.1 13s 1 365 MiB nan 25.7 25.5 25.5 25.5 25.5 25.5 25.5 25.5 nan 1.00 27.9 20s 2 602 MiB nan 35.9 31.4 29.5 29.5 29.5 29.5 29.5 29.5 nan 1.00 29.6 ........................ 6734s 995 230.4 GiB nan 35.6 35.6 35.6 35.6 35.6 32.6 34.1 34.8 nan 1.01 35.0 6740s 996 230.6 GiB nan 35.7 35.6 35.6 35.6 35.6 32.6 34.1 34.8 nan 1.01 35.0 6747s 997 230.9 GiB nan 35.7 35.6 35.6 35.6 35.6 32.6 34.1 34.8 nan 1.01 35.0 6754s 998 231.1 GiB nan 35.7 35.6 35.6 35.6 35.6 32.6 34.1 34.8 nan 1.01 35.0 6760s 999 231.3 GiB nan 35.7 35.6 35.6 35.6 35.6 32.6 34.1 34.8 nan 1.01 35.0
1000 files of size 237 MiB created in /Volumes/SonyXQD/disktester-blobs Total data written: 231.4 GiB Slowest write speed: 21.3 MiB/sec Average write speed: 35.0 MiB/sec Fastest write speed: 37.2 MiB/sec Average write time per file: 6.76 seconds
........................
Read 1000 files totaling 231.4 GiB in 6411.88 seconds of clock time @ 37.0 MiB/sec MiB/sec write/read for fill-volume on SonyXQD
Mean: 35.0 MiB/sec 37.0 MiB/sec StdDev: 1.89 MiB/sec 0.67 MiB/sec
File# Write Read 1 25.5 36.6 2 35.0 36.9 ............ elided ............ 997 35.5 37.0 998 35.6 37.0 999 35.6 37.0 1000 35.6 37.0
Wrote results summary to: /Volumes/Boot/Users/lloyd/Documents/fun88官网Tools/2019-04-17_22.24.31.80671633-fill-volume-SonyXQD.txt /Volumes/SonyXQD/2019-04-17_22.24.31.80671633-fill-volume-SonyXQD.txt
Command "fill-volume" executed in 13175.78 seconds on 2019-04-18 at 02:04:07

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Panasonic S1R: Moving Water Image Defects with HighRes Mode2

See my L-mount mirrorless wishlist

The Single-Shot vs Multi-Shot High-Res Mode2 Motion Correction page looked at image quality using Motion Blur Processing = MODE2, showing excellent results, as did Multi-Shot High-Res MODE1 vs MODE2 with Moving Subject Matter.

This page shows that even using Mode2 for Panasonic S1R Multi-Shot High-Res mode, moving water can generate intolerable artifacts of at least two kinds: (1) patchy areas that show abrupt discontinuation from other areas, and (2) pixellation.

In fun88官网 L-Mount Mirrorless:

Panasonic S1R: Moving Water Failures with HighRes Mode2

Includes images up to full camera resolution for HighRes vs single-shot, plus crops.

1296 | 2592 | 4320
f4 @ 1.0 sec Multi-Shot HighRes, ISO 50; 2019-04-16 19:48:21 [push 3.5 stops, Enhance Details]
Panasonic S1R + Leica 50mm f/1.4 Summilux-SL ASPH

Get up to 16x more storage and 2x the speeds of the original drive

Panasonic S1R: a Way to get 2X more Magnification in Manual Focus

See my L-mount mirrorless wishlist

Just quick note, I’ve added a tedious but usable workaround for magnified Live View focusing that achieves 2X greater magnification.

Magnified Live View Magnification Precludes Reliable Manual Focus + Workaround

The workaround has serious drawbacks that make it worthwhile only in limited circumstances., but you do get 2X larger (4X in area) magnification for manual focusing.

The workaround is proof that Panasonic could easily fix the issue in a firmware update. And that someone in Panasonic engineering has poor judgment shipping the S1R with such an arbitrary magnification cutoff.

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Panasonic S1R: Best Practices When Shooting in Multi-Shot High-Res Mode

See my L-mount mirrorless wishlist

This page discusses best shooting practices for obtaining the very best possible results from Panasonic S1R Multi-Shot High-Res mode. In fun88官网 L-Mount Mirrorless:

Panasonic S1R: Best Shooting Practices for Multi-Shot High-Res Mode

See also:

Panasonic S1R: Workflow for Multi-Shot High-Res Mode Images in Adobe Camera Raw

Panasonic S1R Multi-Shot High-Res mode


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

Panasonic S1R: Multi-Shot High-Res MODE1 vs MODE2 with Moving Leaves and Water

See my L-mount mirrorless wishlist

Hey, if you’re reading this, subscribe now—you can’t get the stuff I do anywhere else. Help me keep doing it—not tomorrow or next month, but right now—thanks!

In Single-Shot vs Multi-Shot High-Res Mode2 Motion Correction, I showed that MODE2 of the Panasonic S1R Multi-Shot High-Res mode was the way to go for movement.

This page look at fast moving water and foliage moving around willy-nilly on a moderately windy day, the kind of thing I encounter all the time in field shooting and for which just 1/2 of one percent of the motion used here is the kiss of death for conventional pixel shift.

In fun88官网 L-Mount Mirrorless:

Panasonic S1R: Multi-Shot High-Res MODE1 vs MODE2 with Moving Subject Matter

Includes HighRes image crops from Mode1 and Mode2 along with the corresponding auto-recorded standard-res crops.

Bad juju with Panasonic S1R Multi-Shot High-Res MODE1
f5.6 @ 1/15 sec Multi-Shot HighRes, ISO 50; 2019-04-13 17:44:29 [Enhance Details]
Panasonic S1R + Zeiss ZM 35mm f/1.4 Distagon

Testing on Panasonic S1R: Panasonic LUMIX S PRO 50mm f/1.4, Leica 50/1.4 Summilux-SL ASPH, Leica 16-35/3.5-4.5 Super-Vario-Elmar-SL ASPH

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

It is my goal to cover all the the Leica SL lenses on the Panasonic S1R as well as all of the Panasonic LUMIX S lenses too, and later the Sigma DG HSM Art lenses for L-Mount.

The following lenses should be in my hands by April 17:

Coverage will go into fun88官网 L-Mount Mirrorless, currently included as part of fun88官网 Mirrorless. I hope to also have the Leica 24-90mm f/2.8-4 Vario-Elmarit-SL ASPH OIS in time to compare it in the 24-35mm range against the 16-35. Subscribe to fun88官网 Mirrorless....

     
Panasonic LUMIX S PRO 50mm f/1.4 and
Leica 50mm f/1.4 Summilux-SL ASPH and
Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH

Get up to 16x more storage and 2x the speeds of the original drive

Reader Comment: Panasonic S1R Multi-Shot High-Res Mode vs PhaseONE IQ4 150MP

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

Background: see Panasonic S1R Multi-Shot High-Res Mode: the Largest Advance in Image Quality in a Decade and It Works with Motion = OMG and Panasonic S1R Multi-Shot High-Res Mode: the Largest Advance in Image Quality in a Decade?.

For the best possible results with Panasonic S1R Multi-Shot High-Res Mode, see Panasonic S1R: Best Shooting Practices for Multi-Shot High-Res Mode.

Panasonic S1R HighRes mode

Reader Roy P writes about Panasonic S1R Multi-Shot High-Res mode:

Hi Lloyd,

I downloaded an RMA from B&H to return the Panasonic S1R and almost shipped it back on Friday, but my gut said I should play with it some more over the weekend, and especially check out the multi shot high res mode.

I’m glad I did. I took a bunch of test shots of the same scenes with both my PhaseONE IQ4 150MP + Schneider 80mm f/2.8 (~55mm equivalent) and the S1R with my Leica 50mm f/2 APO-Summicron-M ASPH, the only HQ lens I have that could work well with the S1R without introducing significant complications of its own. I tested both Mode 1 and 2 on the S1R. All my P1 shots were at f/11 (~f/6.8) and the S1R were at f/6.3.

While I’m not ready to declare medium format is dead, I think the high res mode in the S1R is for real and must be taken very seriously. For static scenes, it looks nothing less than spectacular, and at least on my iMac 5K 27” monitor, the images look every bit as good as my PhaseOne IQ140 images, but with even more pixels. The HR images from the S1R look slightly darker and more saturated than my P1 images, but it’s not a problem.

I have tried pushing the exposure up by 4 stops (the max that Capture One will allow), and maxing out the shadows, and nothing is breaking down: the S1R files appear to be holding up just as well as the P1 files. I don’t know if there might be a noticeable difference in print quality, but at least on my monitor, I see no issues at all.

Extremely precise focus is a problem with both cameras, so if you have an uneven surface with some features in the scene a little closer to the camera and some a little farther away, you can see the differences between the two cameras – different parts of the image are at the sharpest focus on the two images. From a distance of about 10 feet, a difference of ±2 inches proximity to camera seems enough to make a difference.

You almost need another merge that could combine the S1R and IQ4 images that could produce the perfect image! Of course, that would be impossible with two different lenses.

It looks like the S1R HR mode works best when you can contain all of the subject to within a fairly narrow DOF. It looks ideal for flat subjects, the flatter the better. In scenes with a lot of depth, the fall off from best focus is much more rapid in the HR composite image than either individual S1R images or P1 images. So if you have a lot of depth to a scene, maybe focus stacking HR images would be the ultimate! I am going to try this next.

So far, in Mode 2, I haven’t had the success you did, with features like leaves swaying with the wind even sharper in the composite image – the best result I’ve got is that there are no motion blurs, but without the sharpest focus either. The worst results I’ve seen are HR images with a bizarre patch that is badly OOF. [fun88官网: moving things will be blurred more or less depending on circumstances].

This maybe a premature guess, but I suspect the two best focal lengths to use with the HR mode maybe very wide (so movements are less perceptible, and the focal length buys you a great deal more DoF), and long (so the field is small enough that you can dodge movements, and the DoF is compressed to a relatively narrow range). A more normal focal length range (say 35mm to 70mm) is probably the most challenging to work with the HR mode.

[fun88官网: focal length is mainly about magnification, focal length applying mostly at close distance: a 70mm lens makes CoC blurs twice as large at the same aperture and distance to subject, but at twice the distance (which it must be for the same FoV), the CoC will be the same size as a 35mm lens at half the distance]

Net-net, I agree with your assessment, the HR mode has got to be considered as a breakthrough technology. Considering this is the very first generation of this technology, the results are already very impressive and highly usable, albeit with the proper selection of subject matter and careful technique (many opportunities to create new best practices using the HR mode!). It can only get better over time, with more compute power in cameras and other camera makers trying to one up Panasonic.

It makes it a bit messy for me personally, since I am already neck deep-committed to Sony and P1, and I expect I will have a hard time resisting a Sigma Foveon FF camera, and possibly a Leica M11 camera if it comes out with a high quality EVF. So the last thing I need is one more camera, and other than the HR mode, I have no use case for the S1R, and I don’t want to invest in L mount glass, if I can help it. So I need to figure out what I’m going to do with the S1R.

I can’t see how every other camera maker can afford to not provide it as a standard feature. All prior innovations from one camera maker have been copied by others in time (e.g., Live View, PDAF, AF points embedded in a sensor, focus peaking, IBIS, etc.) So unless Panasonic has some kind of a death grip IP ownership on this, I would expect the other camera makers to be working overtime to introduce their own versions in their next cameras. (Besides, the Japanese have a way of sorting out their IP issues). A Sony A7R IV with similar HR mode would make all my headaches go away! No speculations from any of the rumor sites yet. I suspect most of the photography world hasn’t quite woken up to the potential of the HR mode in the S1R.

fun88官网: depth of field is critically important in HighRes mode. And yet Panasonic has made critical focus with manual focus impossible, or I should say it this way: I am not able to nail focus even a third of the time using magnified Live View. Never has any digital camera delivered a magnified Live View feature that is so destructive to need. So the #1 issue with the Panasonic S1R is its magnified Live View implementation—see Panasonic S1R: Magnified Live View is Fundamentally Flawed. Yet the flaw is fixable with a firmware update, so there is some hope that Panasonic will wake up.

See Panasonic S1R: Best Shooting Practices for Multi-Shot High-Res Mode.

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Zeiss ZM 35mm f/1.4 Distagon Aperture Series: Moots MTB by Creek in Forest (Panasonic S1R)

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

Performance at wider apertures of Leica M lenses and Zeiss ZM lenses on all mirrorless cameras to date (~April 2019) is poor in outer zones. This series from f/1.4 through f/11 confirms that finding with one of the best M-mount lenses, with the key point being at which aperture the lens starts being nicely sharp.

In Walkway Through Grass at Night as well as the nighttime examples, the Zeiss ZM 35mm f/1.4 Distagon fails to impress in the outer zones, with f/4 the minimum aperture for performance to the edges. In other words, it is impaired substantially by the sensor cover glass at f/1.4, f/2, and f/2.8 and somewhat impaired at f/4. See MTF on Mirrorless Cameras for the huge loss of MTF caused by the sensor cover glass.

In fun88官网 Leica M:

Zeiss ZM 35mm f/1.4 Distagon Aperture Series: Moots MTB by Creek in Forest (Panasonic S1R)

Includes images from f/1.4 through f/11 at up to full camera resolution including an frame at f/5.6 in Multi-Shot High-Res mode. Also includes intermediate 24 megapixel size for perspective vs Leica M10.

The Zeiss ZM 35/1.4 was mounted on the Panasonic S1R using the Novoflex Leica M Lens to Leica SL/T Camera Body Lens Adapter.

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f5.6 @ 0.8 sec, ISO 50; 2019-04-13 18:24:06 [Enhance Details]
Panasonic S1R + Zeiss ZM 35mm f/1.4 Distagon

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Panasonic S1R Multi-Shot High-Res Mode: the Largest Advance in Image Quality in a Decade and It Works with Motion = OMG

See my L-mount mirrorless wishlist

Update: while this example with moving water is impressive, moving water can be a problem.
...

Cameras with pixel shift are prone to severe and prominent artifacts like checkerboarding that are just about impossible to deal with, making pixel shift pretty much useless for field shooting, a finding from long experience and true of Pentax and Sony pixel shift (I have probably 50GB of ruined Pentax and Sony pixel shift files).

But the Panasonic S1R uses an 8-frame multi-shot high-res mode approach that performs in-camera merging of those 8 frames into single raw file with size equivalent to four frames. A smart merge, not a dumb-recording science fair project like Pentax and Sony.

Can the Panasonic S1R Multi-Shot High-Res mode be used without unwanted digital artifacts with subject motion? Here HighRes mode 2* is used and compared to a single-shot frame.

*Mode 1 = “Motion blur appears as afterimage in the picture.”
 Mode 2 = “An afterimage of motion blur is minimized.”

In fun88官网 L-Mount Mirrorless:

Panasonic S1R: Single-Shot vs Multi-Shot High-Res Mode2 Motion Correction (Alpine Creek)

Includes HighRes and StdRes images along with crops.

Holy crap! For the first time besides an iPhone, I’m seeing a pro-grade field-usable computational photography feature. Huge kudos to Panasonic for unf**king what the other guys could not get right.

What a shame that Panasonic has screwed up magnified Live View manual focus. Someday a camera vendor will get it all right, maybe.

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f5.6 @ 1.0 sec Multi-Shot HighRes, ISO 50; 2019-04-13 18:17:38 [Enhance Details]
Panasonic S1R + LENS_NA
Zeiss ZM 35mm f/1.4 Distagon

Panasonic S1R: True ISO 50, not a Faux ISO — Kudos to Panasonic (UPDATED: “true ISO” is not a thing for RAW)

See my L-mount mirrorless wishlist

Update April 17: the question of ISO is quite confusing and even forbidden in the latest ISO specification. See update towards end with comments by Alex Tutubalin of RawDigger.

...

The Panasonic S1R has a real ISO 50—not a faux ISO "Lo" mode. That is established by the RawDigger analysis as well as the identical match to ISO 100 (except for lower noise).

In fun88官网 L-Mount Mirrorless:

Panasonic S1R: ISO Series 50 to 51200 (Dolls)

The bonus is that the Panasonic S1R Multi-Shot High-Res mode has the noise of ISO 6.25 and that it is actually usable in the field even with motion and that image quality is improved.

Seriously? A REAL ISO 50? Dang!!!

I shot and provided raw files in 1/3 stop ISO from ISO 50 to 51200 to the RawDigger folks. The signal/noise analysis is shown below. ISO 50 has an SN of ~64 versus ~57 for ISO 100, showing that ISO 50 is notably superior to ISO 100 which is in turn much superior to ISO 200—which I showed directly in Poppy by Window.

Note the nice smooth curve even with these 1/3 stop ISO changes—true ISO at all settings.

Signal/noise ratio on target that had some dust—values would be somewhat higher if dust were removed and target defocused to eliminate image detail as source of “noise”.

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Panasonic S1R signal/noise ratio from ISO 50 to ISO 51200, 1/3 stops

Slight brightness variation at +1/3 ISO values at higher ISO

While shooting, I noticed a slight fluctuation at ISO values 1/3 stop higher than whole ISO, starting at ISO 800 (e.g., the exposure bumps up at ISO 1000). This was consistent as shown, is visible right in the viewfinder, all this graph below does is verify what can be seen directly. The variation is also seen the the S/N graph above.

ISOs 1000, 2000, 4000, 8000 are really ~1100, 2200.... (assuming 800 is real 800), while in-camera metering meters exposure for formal '1000, 2000,...' So, this is results in slightly better exposure (minimal overexposure) at these ISOs and so better S/N ratio.

Panasonic S1R Green average vs ISO from ISO 50 to ISO 51200, 1/3 stops

What is “true ISO”

I asked Alex Tutubalin of Lib Raw (RawDigger) “what is true ISO?”:

To make things more complicated:

- ISO Sensitivity is defined in ISO 12232 standard

- Latest Edition of ISO 12232:2019, released this year, explicitly *forbids* ISO determination for RAW shots. It is defined only for JPEG (so shot + 'development').

So, to be completely correct, 'true ISO' means nothing for RAW.... according to standard.

Meanwhile, it is possible to use at least two measurement methods (out of three) described in standard:

- Saturation based method (because RAW saturates at some point /unless full-well limited at lowest ISO/
- Noise based method.

The third method (gray point) is not directly applicable to RAWs because RAW gray point is not fixed (and vendor may vary it, to get more/less room in highlights).

However (and not standard conformant), we may assume that RAW gray point should be at 3 stops from saturation point (or 3.5 stops, it does not matter, the main thing is always the same value) and use graypoint-based ISO estimation method for RAWs.

Of course, this is not ISO-standard conformant, because standard explicitly forbids to measure 'ISO sensitivity' for RAW files.

Also, it is possible to use some 'standard RAW developer' (like D76 or D23 in film days) and measure sensitivity for sensor + developer combo. The main thing here: avoid any hidden exposure compensation if these adjustment are different for different cameras (so, Adobe tools should not be used as standard developer, because Adobe adjusts graypoint to match in-camera JPEG)

I also asked why ISO 50 values go only to about ~8900:

My guess: camera sensor is 'full well' limited at ISO setting less than 100.

That means:

- sensor pixels are not get saturated (really: values are cut) at same value for all pixels, but results in bell-like histogram in highlights.

- because all pixels are different, this results in some highlight (output) non-linearity

- so Panasonic opted to cut all output values below lowest possible pixel saturation point, to avoid such non-linearity.

This will result in less 'highlights headroom', so ETTR exposure for ISO 50...80 should be corrected for this phenomenon. Apparently Panasonic opted to cut out non-linear part of pixel(s) response, to avoid bell-like histogram at very highlights (instead of usual 'hit the wall') This nonlinearity results in pink-colored highlights, so it should be cut either in camera or in RAW developer.

So what does all this mean for practical photography?

In terms of seeking peak image quality for RAW, the ISO value is irrelevant—all that matters in terms of exposure is not blowing highlights (except speculars) while also minimizing noise. In other words, preserving the range of detail by not obliterating it by blowing highlights or by obscuring detail by noise in dark areas.

So the only useful question to ask is whether ISO 50 is superior to ISO 100 for high dynamic range scenes. That ISO 50 is best is shown decisively in Poppy by Window: equally good highlights but visibly superior noise control at ISO 50, that is, superior dynamic range.

In essence, ISO 50 on auto exposure allows exposing (almost) a stop more, which inherently increases dynamic range by creating cleaner blacks. The trick is that there is no so-called “headroom” for error as with ISO 100—but all ISO 100 is doing is cutting the exposure in half and then scaling up to larger numbers. Assuming ISO 100 and ISO 50 as shot do not blow highlights, ISO 50 always wins because more exposure means lower noise.

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f5.6 @ 1.0 sec Multi-Shot HighRes, ISO 50; 2019-04-11 19:19:52
Panasonic S1R + Zeiss Milvus 35mm f/1.4

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Panasonic S1R Multi-Shot High-Res Mode: the Largest Advance in Image Quality in a Decade?

See my L-mount mirrorless wishlist

Hey, if you’re reading this, subscribe now—you can’t get the stuff I do anywhere else. Help me keep doing it—not tomorrow or next month, but right now—thanks!

I went out to do some motion assessment studies with the Panasonic S1R Multi-Shot High-Res mode, both Mode 1 and Mode 2. Finishing up, I took the shot below, which turned out to be so compelling that I’m showing it first.

Is Multi-Shot High-Res mode 2 a partial or total 'win' or something else? Is moderate subject motion an issue?

What are the real differences in the field at f/8 (where diffraction is a serious factor for HighRes mode), given that f/5.6 really is not enough depth of field for many real images, and f/11 mostly obliterates gains in HighRes mode*?

* Depth of field at 187 megapixels is two stops less on a per-pixel basis (e.g., in terms of resolving to the pixel level, f/11 is needed for 187MP pixels versus f/5.6 for 47 megapixels). And yet, f/11 obliterates most of the extra detail in Multi-Shot High-Res mode due to diffraction.

And the $50K judgment call: is this as good as a 100 megapixel medium format camera, in terms of detail, pixel quality, noise? For 1/10 the cost it certainly bears looking into.

This page looks at a detailed outdoor shot at f/8 which includes motion that would render the pixel shift mode of Pentax an Sony unusable by awful checkerboarding. But here, the Panasonic S1R Multi-Shot High-Res mode 2 is used. In fun88官网 L-Mount Mirrorless:

Panasonic S1R: Standard vs Multi-Shot High-Res Mode (Moots by Creek)

Includes HighRes and StdRes images up to 125 megapixels along with numerous crops.

I’d say that Nikon and Canon and Sony have some catching up to do. Dang! Ever see noise effectively ZERO, undetectable to the eye? Multi-Shot High-Res mode is essentially ISO 6.25.

How does an just decide to bulge out after sitting around for a few years at 5 PSI? Shame on Easton for a shitty defective product—I’m pissed off that the wheel is now unrideable—warranty long gone.

1296 | 2592 | 4320 | 7680
f8 @ 1.0 sec Multi-Shot HighRes, ISO 50; 2019-04-13 18:34:44
Panasonic S1R + Zeiss Milvus 35mm f/1.4

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Zeiss ZM 35mm f/1.4 Distagon Examples: Night Shooting (Panasonic S1R)

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

I’ve long said that the Zeiss ZM 35mm f/1.4 Distagon is the best lens available for Leica M cameras, and I stand by that, so I thought I had better show its pedigree in spite of the degrading effects of ill-suited sensor cover glass.

Can a lens impaired by sensor cover glass still produce satisfying images? This page shows examples at various apertures in night shooting. The Zeiss ZM 35mm f/1.4 Distagon is such a gorgeous performer that even though it is technically impaired at wider apertures, its core rendering style is still rewarding.

In fun88官网 Leica M:

Zeiss ZM 35mm f/1.4 Distagon Examples: Night Shooting (Panasonic S1R)

Includes images up to full camera resolution at various apertures, including 6000 pixel width for perspective versus the Leica M10/Leica M240.

The Zeiss ZM 35mm f/1.4 was mounted on the Panasonic S1R using the Novoflex Leica M Lens to Leica SL/T Camera Body Lens Adapter.

1296 | 2592 | 4320
f2 @ 1.0 sec Multi-Shot HighRes, ISO 100; 2019-04-09 20:25:56 [Enhance Details]
Panasonic S1R + Zeiss ZM 35mm f/1.4 Distagon

Zeiss ZM 50mm f/2 Planar Aperture Series: Mosaic (Panasonic S1R)

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

This page evaluates performance of the Zeiss ZM 50mm f/2 Planar on the 47-megaixel Panasonic S1R from f/2 through f/8.

In fun88官网 Leica M:

Zeiss ZM 50mm f/2 Planar Aperture Series: Mosaic (Panasonic S1R)

Includes images up to full camera resolution from f/2 through f/8, including 6000 pixel width for perspective versus the Leica M10/Leica M240.

1296 | 2592 | 4320
f5.6 @ 2.5 sec, ISO 100; 2019-04-09 19:50:25 [Enhance Details]
Panasonic S1R + Zeiss ZM 50mm f/2 Planar
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Leica 28mm f/2 Summicron-M ASPH Aperture Series: Mosaic (Panasonic S1R)

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

This page evaluates performance of the Leica 28mm f/2 Summicron-M ASPH on the 47-megaixel Panasonic S1R from f/2.8 through f/8.

In fun88官网 Leica M:

Leica 28mm f/2 Summicron-M ASPH Aperture Series: Mosaic (Panasonic S1R)

Includes images up to full camera resolution from f/2.8 through f/8, including 6000 pixel width for perspective versus the Leica M10/Leica M240.

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f5.6 @ 0.4 sec, ISO 100; 2019-04-09 19:35:03 [LACA corrected, Enhance Details]
Panasonic S1R + Leica 28mm f/2 Summicron-M ASPH

Leica 18mm f/3.8 Super-Elmar-M ASPH Aperture Series: Mosaic (Panasonic S1R)

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

With each new mirrorless camera system, hope springs eternal even as basic physical facts are ignored (sensor cover glass). No, micro lenss do not fix sensor cover glass issues. Leica M lens performance is always impaired by ray angle when the sensor cover glass of a mirrorless camera has differing (greater) thickness than the optical path designed for the lens. The negative effects increase with distance from optical center and can include sharpness losses and amplification of field curvature and astigmatism.

This page evaluates performance of the Leica 18mm f/3.8 Super-Elmar-M ASPH on the 47-megaixel Panasonic S1R from f/3.8 through f/11. We should expect poor performance at f/3.8, but what about f/8 and f/11?

In fun88官网 Leica M:

Leica 18mm f/3.8 Super-Elmar-M ASPH Aperture Series: Mosaic (Panasonic S1R)

Includes images up to full camera resolution from f/3.8 through f/11, including 6000 pixel width for perspective versus the Leica M10/Leica M240. Also includes the f/11 frame with distortion correction.

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f5.6 @ 1.6 sec IS=off, ISO 100; 2019-04-09 19:45:57
[Enhance Details, LACA corrected]
Panasonic S1R + Leica 18mm f/3.8 Super-Elmar-M ASPH

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Panasonic S1R: Image Quality Gains at ISO 50, 100, 200 Plus ISO 50 in Multi-Shot High-Res Mode (Poppy by Window)

See my L-mount mirrorless wishlist.

When I shoot indoors or outdoors, I strive to achieve the best possible image quality. That means base ISO and an optimal ETTR exposure. But what of ISO 50 versus ISO 100—does it matter much? For that matter, is Multi-Shot High-Res mode worth the bother versus ISO 50? It would be easy to come to an erroneous conclusion for some average scene, but when it matters, it really matters. Namely in high dynamic range images, as here.

This page evaluates how image quality at ISO 50 compares to ISO 100 and ISO 200 as well as ISO 50 in Multi-Shot High-Res mode, showing compelling results that any Panasonic S1R user should be aware of.

In fun88官网 L-Mount Mirrorless:

Panasonic S1R: Quality Gains with ISO 50 (Poppy by Window)

Includes images up to full camera resolution plus crops at ISO 50, 100, 200, plus ISO 50 HighRes mode.

Panasonic S1R readers should read this page— worth the price of admission methinks.

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f5.6 @ 1.0 sec Multi-Shot HighRes, ISO 50; 2019-04-11 19:19:52
Panasonic S1R + Zeiss Milvus 35mm f/1.4

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Panasonic S1R Noise / ISO Series from ISO 50 to ISO 51200

See my L-mount mirrorless wishlist

This page evaluates digital noise from ISO 50 through ISO 51200. Exposure was an optimal ETTR exposures which thus represents a best possible result.

In fun88官网 L-Mount Mirrorless:

Panasonic S1R: ISO Series 50 to 51200 (Dolls)

Includes several series including two crops showing the performance in color as well as each individual color channel plus a Gray Gamma 2.2 conversion. The individual channels and gray gamma may be of particular interest to black and white shooters.

Noise vs ISO from ISO 50 to ISO 51200 for color and individual color channels
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Novoflex Nikon F Lens to Leica SL/T Camera Body Lens Adapter with Zeiss Otus 55/1.4

Update: this looks like user error—I goofed. The Novoflex adapter has a ring that can force the diaphragm open and this ring has a range of turning. If that is off just a little distance the wrong way, the lens does’t stop down fully—I had it maybe 1/4 of the way to "open". I wish there were a lockout mechanism, because I prefer to control the aperture using the aperture ring.

...

I don’t yet know if this is true of my other Zeiss F-Mount lenses (Zeiss Milvus, Zeiss Otus) as I have as yet only used the Zeiss Otus 55mm f/1.4 APO-Distagon on the Panasonic S1R.

Issue: the Novoflex Nikon F Lens to Leica SL/T Camera Body Lens Adapter cannot reliably stop down the lens past f/8, and even f/8 might be iffy once in a while.

The coupling for the adapter is purely mechanical and since it is hard to believe that my Otus is at fault (zero issues for years on Nikon cameras), I blame the Novoflex adapter. But whether it is this particular sample of the Novoflex adapter or a general issue, I don’t know.

Jason W writes:

If the Novoflex adapter doesn't work I'm inclined to throw out all ideas of purchasing a Panasonic S1R.

fun88官网: the Nikon Z7 is a better platform with far superior lens adapter; I would go with the Z7 if the goal is Zeiss DSLR lenses.


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Notes on the Panasonic S1R RAW RW2 File Format

First, I am not entirely happy with the file sizes from the Panasonic S1R; they are larger than need be as compressing with zip shows.

Every photographer keen on exposing optimally should be using RawDigger by LibRaw. .

RawDigger will be supporting the Panasonic S1R file formats. Notes from the RawDigger folks on the Panasonic S1R raw file formats:

Panasonic S1R Multi-Shot High-Res mode and the (optional via settings) single-shot images associated with the multi-shot image: lossless, uncompressed 14-bit.

Panasonic S1R single shot mode: delta encoding, 14-bit base, 10-bit delta, same idea as in other Panasonic cameras, though older cameras are 12-bit base/8bit delta. Delta is scaled separately for each 3 pixels. Formally, this is lossy compression, but this will give precise results on smooth details, in worst case compression-related errors will be less than photon noise (and no Sony-style artifacts).

All crops are really same resolution, 8392x5620 visible area. The crop is performed via EXIF tags (instructing software to crop).

Lack of good compression in some formats aside, it looks like Panasonic has done well what Sony did and does not so well (see Sony raw file format and lossy compression).

Zeiss Otus 100mm f/1.4 APO-Sonnar
NEW!
Nikon F or Canon FE mount, use with lens adapter on Sony, Panasonic, Canon, Nikon mirrorless.

Reader Question: eGPU for Photoshop and Lightroom?

Reader Darren K writes:

Long story short is I had a failure and got me thinking about all of my old-ish gear (chain below if you’re inclined to read). Considering selling for a .

Read your article about the issue. My friend Bob is a video guy, and doesn’t know about whether eGPU is available in Photoshop or Lightroom. Would be good to know if you find that out at some point, but bailing on the Mac Pro might be wise.

fun88官网: using RAID-5 is plenty fast these days and the best way to avoid RAID issues as it offers . For most uses, the modest performance gains with RAID-0 striping (no fault tolerance) is not going to be worth the risk of drive failure (at least with hard drives).

For RAID, use in an since failure of a hardware RAID can be a very painful experience when the enclosure fails—it might not even be available any more and with the drives for hardware RAID using proprietary formatting they are useless in any other enclosure without reformatting. Not so with SoftRAID—any enclosure will do. And as a daily losing proposition, hardware RAID has long had inferior performance compared to SoftRAID.

eGPU for Photoshop and Lightroom.

I think that some readers are missing important information at the top of this bloge.g., headlines from are shown for a week or so in smaller type.

Put another way: the eGPU is used for Photoshop and Lightroom if and only if that eGPU is driving the main screen. At least that is what Adobe online support says, an what I found when testing the 2018 Mac mini with macOS Mojave 10.14.2.

There might be one exception for an eGPU when not driving the main screen—the Adobe Camera Raw Enhance Details feature. :

Enhance Details heavily uses the available GPU and can use an external GPU (eGPU) if available

Adobe states:

1. We tested with a MacBook with an Intel integrated GPU, both with and without an eGPU plugged in. Enhance Details ran much faster with the eGPU plugged in. We've not tested all eGPU scenarios, however. 2

2. At present, Enhance Details only uses a single GPU. The choice of GPU is actually determined by the operating system.

3. Enhance Details uses only one GPU at a time. In the built-in GPU + eGPU scenario, only one of these would be actively used to run Enhance Details (and the OS should be choosing the eGPU to do so).

See also: Adobe Camera Raw Enhance Details Feature: Integrated into my Workflow... How Much Does it Use the GPU?

Stephen G writes:

I'm puzzled by your finding that eGPU's aren't recognized by Photoshop CC and /or Lightroom. I have a newish 2018 Mac mini with 64GB of Apple memory and the 3.2 GHz Intel Core I7.

Below are details of the EGPU Thunderbolt 3 I use every day with these programs and the Radeon Card etc. I only use the one monitor on the Thunderbolt 3 Bus with HDMI. Both of these Adobe programs use the EGPU simultaneously and without fail. They are fast and reliable. Mac OS X 10.14.4

fun88官网: the post links to the Adobe support pages which confirm what I’ve stated: an eGPU is used for Photoshop and Lightroom if and only if that eGPU is driving the main display. Stephen G is driving the main display using the eGPU, hence it does get used by Photoshop/Lightroom.

At the time I tested the 2018 Mac mini, there were still bugs in macOS Mojave (since fixed, apparently) that made using the NEC PA271Q with the eGPU not work. With the Mac mini and an eGPU it is defensible that using the eGPU to drive the main display is the best choice. With a machine with a built-in display (iMac 5K, MacBook Pro), it gets iffy since the built-in display can only be driven by the built-in GPU.


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Zeiss ZM 35mm f/1.4 Distagon Aperture Series: Walkway through Grass at Night (Panasonic S1R)

See my L-mount mirrorless wishlist

I have been tip-toeing up to the bad news that Leica M and Zeiss ZM lenses suck on the Panasonic S1R, notwithstanding the hallucinations surely being repeated yet again as with all prior mirrorless cameras. The special micro lenses on the S1R sensor are surely fodder for that—much ado about nothing in truth. Leica M land Zeiss ZM lens owners will have to hold out for an M11 with a 47MP sensor it seems, one tuned with sensor cover glass less destructive for image sharpness from ray angle.

That said, sharpness is not everything and there may be uses for lenses that have appealing rendering qualities, or cases where stopping well down is fine.

A goal of this series is to show that while impaired, the results can nonetheless be appealing for some types of images, and with stopping down the results can become quite strong, at least with lenses like the Zeiss ZM 35mm f/1.4 Distagon.

In fun88官网 Leica M:

Zeiss ZM 35mm f/1.4 Distagon Aperture Series: Walkway through Grass at Night

Includes images up to full camera resolution from f/1.4 through f/5.6, including 24 megapixel size as relating to the 24MP resolution of the Leica M10/Leica M240.

1296 | 2592 | 4320
f5.6 @ 30.0 sec IS=off, ISO 100; 2019-04-09 20:41:22
[Enhance Details, USM{8,50,0}, LACA corrected]
Panasonic S1R + Zeiss ZM 35mm f/1.4 Distagon

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Panasonic S1R: Magnified Live View with its Gorgeous High-Res EVF = Total FAIL

See my L-mount mirrorless wishlist

When I see a 100% failure rate that destroys a night’s work, I get pissed off.

Which is what happened late last night when I reviewed focusing accuracy for my images from four f/1.4 and f/2 Leica M/Zeiss ZM lenses shot that evening. “Pretty close” is 100% useless for my work—and demonstrably inferior to what I obtained with the pathetic low-res Leica M240 EVF shot side by side with the S1R.

Panasonic S1R: Magnified Live View is Fundamentally Flawed

A firmware fix would address the issue, but who knows if that will ever happen.

Peter K writes:

So I read you have the same [bad] experience as I had with LEICA M-glass mounted on the new PANASONIC DC-S1R...something is strange with the ‘Gorgeous” High-Res EVF of the PANASONIC DC-S1R.

When I checked my files for focus accuracy I saw that a lot of my picture were not spot-on. And I am sure that Focus-Peaking told me that my subjects were in focus. Working with a LEICA M10 with a Visoflex I have nearly 100% perfect results [and I know focus is more critical with a higher megapixel camera!] Focus-Peaking with the LEICA M10 with a Visoflex works wonderful. Even better with the same lens mounted onto a LEICA SL! The viewfinder of the LEICA SL has a higher resolution than the Visoflex, but maybe this is the problem?

.Of course I do not know how Panasonic makes Focus-Peaking technical working. But something goes strange if I see the [different] results I have got with the Panasonic DC-S1R compared to the LEICA M10 [and LEICA SL].

fun88官网: as I don’t use focus peaking (not quite good enough for critical work in my experience) I cannot say, but I can say that Panasonic has screwed the pooch for magnified Live View in general.

Panasonic LUMIX S 24-105mm f/4 Macro OIS Aperture Series @ 35mm: Mosaic (Panasonic S1R)

See my L-mount mirrorless wishlist

Whenever feasible, I like to cover the zoom range with some reference set of evaluations, because the use of a zoom lens usually involves compromises somewhere. The 99mm focal length fills out that picture for the Panasonic LUMIX S 24-105mm f/4 Macro OIS, completing the series.

This page looks at performance of the Panasonic 24-105mm f/4 Macro OIS at 99mm on a demanding planar (flat) target at medium distance. This particular subject lays bare all lens weaknesses, but particularly micro contrast across the frame.

In fun88官网 L-Mount Mirrorless (included in subscription to fun88官网 Mirrorless):

Panasonic 24-105mm f/4 Aperture Series @ 99mm: Mosaic

Includes images up to full camera resolution from f/4 through f/11, along with large crops showing the behaviors.

1296 | 2592 | 4320
f5.6 @ 0.6 sec, ISO 100; 2019-04-04 19:36:53 [Enhance Details]
Panasonic S1R + Panasonic Lumix S 24-105mm f/4 Macro OIS @ 99mm

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Panasonic LUMIX S 24-105mm f/4 Macro OIS Aperture Series @ 35mm: Mosaic (Panasonic S1R)

See my L-mount mirrorless wishlist

This page looks at performance of the Panasonic 24-105mm f/4 Macro OIS at 35mm on an extremely demanding planar (flat) target at medium distance. This particular subject lays bare all lens weaknesses, but particularly micro contrast across the frame.

In fun88官网 L-Mount Mirrorless (included in subscription to fun88官网 Mirrorless):

Panasonic 24-105mm f/4 Aperture Series @ 35mm: Mosaic

Includes images up to full camera resolution from f/4 through f/8, along with large crops showing the behaviors.

1296 | 2592 | 4320
f5.6 @ 4.0 sec, ISO 100; 2019-04-04 19:49:52 [Enhance Details]
Panasonic S1R + Panasonic Lumix S 24-105mm f/4 Macro OIS @ 35mm

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Adobe Camera Raw Enhance Details Feature: Integrated into my Workflow... How Much Does it Use the GPU?

Update: my testing shows that a slow integrated chipset GPU versus fast GPU makes a huge difference, about 8X slower on the with its built-in Intel UHD Graphics 630 GPU versus the . This argues strongly against the 2018 Mac mini for photographers and argues in favor of getting a fast GPU, but it does not really clarify how much a "good/better/best" GPU choice on high-end machines impact performance.

...

The Adobe Camera Raw Enhance Details feature is now a core part of my image processing pipeline—always a win, never a loss seen yet.

What I am wondering and without a good answer yet is just how much a (claimed) faster GPU can benefit things. Shown below, CPU usage is modest and GPU usage is substantial (roughly 70%), but far from maximal. That implies a bottleneck such that a faster GPU would not be able to contribute as much s one might hope for.

My understanding is that the (), which might mean that upgrading the GPU is worthwhile. Or it might not. Until I can get a faster GPU and a slower one in the same type of machine, I cannot quantify the advantage or lack thereof. I suspect a small benefit (no more than 30%), but it quite possibly could be less than 10%.

Note that “GPU intensive” might not include the surrounding context (CPU and disk I/O), so gains in GPU speed do not necessarily translate into similar gains in time required to complete a task. Put another way, a GPU that is 30% faster might correspond to gains of 30%, or it might correspond to gains of 10%, in terms of the actual time saved.

See my discussion of recommended features in and also .

Continues below...

Shown below are GPU and CPU history usage on the 2017 iMac 5K 4.2 GHz with Radeon Pro 580 8192 MB while converting 97 Panasonic S1R raw RW2 files to enhanced versions.
CPU utilization averages about 1.5 CPU cores and GPU utilization averages roughly 70%. Why are CPU cores not utilized better (complicated to code for CPU cores and GPU also?) and why is the GPU not utilized at 100% ? Good I/O algorithms can eliminate I/O as a factor, and ideally both GPU and all CPU cores could be put to use as computational resources.

Adobe Camera Raw Enhance Details: CPU core usage and GPU Usage history processing 97 raw files
2017 iMac 5K 4.2 GHz with Radeon Pro 580 8192 MB

Below, the GPU and CPU utilization on the 2018 Mac mini. GPU utilization is 100%, excepting blips which are presumably inter-file blips to read and write data. The runtime per raw file on the 2018 Mac Mini with Intel UHD Graphics 630 GPU is approximately 8 times slower than on the 2017 iMac 5K.

Adobe Camera Raw Enhance Details: CPU core usage and GPU Usage history processing raw files
2018 Mac mini 3 GHz Intel Core i5 with Intel UHD Graphics 630

Robin D writes:

Lloyd you comments about GPU load are topical for me. The enclosed is a copy of my GPU load monitor which shows an approximate 96-100% load on my NVIDIA GeForce GTX i1070 - a highly rated GPU - for around 5 seconds on a 43MPix ARW file. Processing 1000 of such files is a significant bottleneck, especially as LR seems to bog down on batch processing. CPU load was low at around 14%. Friends told me I bought a GPU that was too powerful. Obviously not.

fun88官网: the load makes sense to me given what Adobe has said about GPU usage for this feature, and the observations above.

But it does not necessarily follow that Robin’s choice of GPU is a better choice than another—to do that one has to compare actual performance to get the task done. For example using the , the +$450 AMD Radeon Pro Vega 48 versus the AMD Radeon Pro 580X. Is there a 5%, 10%, 30%, some other difference? I hope to have an opportunity to test and see.

Panasonic LUMIX S 24-105mm f/4 Macro OIS Aperture Series @ 24mm: Mosaic (Panasonic S1R)

See my L-mount mirrorless wishlist

This page looks at performance of the Panasonic 24-105mm f/4 Macro OIS at 24mm on an extremely demanding planar (flat) target at medium distance. This particular subject lays bare all lens weaknesses, but particularly micro contrast across the frame.

In fun88官网 L-Mount Mirrorless (included in subscription to fun88官网 Mirrorless):

Panasonic 24-105mm f/4 Aperture Series @ 24mm: Mosaic

Includes images up to full camera resolution from f/4 through f/8, along with large crops showing the behaviors.

1296 | 2592 | 4320
f5.6 @ 5.0 sec, ISO 100; 2019-04-04 19:52:43 [Enhance Details]
Panasonic S1R + Panasonic Lumix S 24-105mm f/4 Macro OIS @ 24mm

Zeiss ZM 35mm f/1.4 Distagon on Panasonic S1R: Evaluating Applicability for Environmental Portraiture

See my L-mount mirrorless wishlist

This page is an exploratory probe into whether the Zeiss ZM 35mm f/1.4 Distagon can deliver good quality for close-range environmental portraiture when focused somewhat off-center. Used that way, the issues of field curvature and corner to corner performance are largely of little import. The issues of bokeh and color shading and secondary color are of perhaps more interest than sharpness.

In fun88官网 Leica M:

Zeiss ZM 35mm f/1.4 Distagon Examples: Portraits (Panasonic S1R)

Includes images up to full camera resolution, but also 24 megapixel images downsampled from 46.7 megapixels. The 24MP variants are the same resolution as what can be captured on a Leica M240 or Leica M10, helping to provide perspective versus the rangefinder option.

1296 | 2592 | 4320
f2 @ 1/320 sec handheld, ISO 100; 2019-04-08 11:56:09 [Enhance Details]
Panasonic S1R + Zeiss ZM 35mm f/1.4 Distagon
1296 | 2592 | 4320
f2 @ 1/500 sec handheld, ISO 100; 2019-04-08 11:53:47 [Enhance Details]
Panasonic S1R + Zeiss ZM 35mm f/1.4 Distagon

Leica 50mm f/1.4 Summilux-M ASPH on Panasonic S1R: Evaluating Applicability for Environmental Portraiture

See my L-mount mirrorless wishlist

This page is an exploratory probe into whether the Leica 50mm f/1.4 Summilux-M ASPH can deliver good quality for close-range environmental portraiture when focused somewhat off-center. Used that way, the issues of field curvature and corner to corner performance are largely of little import. The issues of bokeh and color shading and secondary color are of perhaps more interest than sharpness.

In fun88官网 Leica M:

Leica 50mm f/1.4 Summilux-M ASPH: Portraits Examples (Panasonic S1R)

Includes images up to full camera resolution, but also 24 megapixel images downsampled from 46.7 megapixels. The 24MP variants are the same resolution as what can be captured on a Leica M240 or Leica M10, helping to provide perspective versus the rangefinder option.

1296 | 2592 | 4320
f1.4 @ 1/800 sec handheld IBIS=on, ISO 100; 2019-04-08 11:57:51
[Enhance Details, LACA corrected]
Panasonic S1R + Leica 50mm f/1.4 Summilux-M ASPH

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

Panasonic S1R Multi-Shot High-Res Mode: Evaluating How Diffraction Affects Captured Detail and Micro Contrast

See my L-mount mirrorless wishlist

For years I’ve written about the damaging effects of diffraction versus high-resolution imaging but the Multi-Shot High-Res mode of the Panasonic S1R offers an interesting opportunity to verify the limits that I have observed for 42/45/50 megapixel full frame cameras shot at native resolution, which are as follows:

  • f/6.3 is the smallest aperture at which diffraction can be ignored.
  • f/8 shows subtle but consistent dulling versus f/5.6.
  • f/11 and f/13 invariably cause obvious dulling that damages macro and micro contrast, but the negative effects can be partially offset with diffraction mitigating sharpening.
  • f/16 is so marginal as to be a very poor choice with virtually all image, while f/22 is an unmitigated disaster showing major damage to macro and micro contrast and loss of resolving power.

How about the limits for Multi-Shot High-Res Mode which in effect uses pixels 1/4 the size (1/2 linearly)?

This page looks at the the limits imposed by diffraction for Multi-Shot High-Res mode as well as standard resolution mode. In fun88官网 L-Mount Mirrorless,

Panasonic S1R: Panasonic S1R: Diffraction Limits for Multi-Shot High-Res Mode

Along with the Panasonic S1R HighRes mode workflow page, this page is essential reading for anyone using Panasonic S1R Multi-Shot High-Res Mode.

Same image, different apertures = major quality loss from diffraction

Upgrade the memory of your 2019 iMac up to 128GB

Leica 28mm f/2 Summicron-M ASPH on Panasonic S1R: Evaluating Applicability for Environmental Portraiture

See my L-mount mirrorless wishlist

This page is an exploratory probe into whether the Leica 28mm f/2 Summicron-M ASPH can deliver good quality for close-range environmental portraiture when focused somewhat off-center. Used that way, the issues of field curvature and corner to corner performance are largely of little import. The issues of bokeh and color shading and secondary color are of perhaps more interest than sharpness.

In fun88官网 Leica M:

Leica 28mm f/2 Summicron-M ASPH: Portraits Examples (Panasonic S1R)

Includes images up to full camera resolution, but also 24 megapixel images downsampled from 46.7 megapixels. The 24MP variants are the same resolution as what can be captured on a Leica M240 or Leica M10, helping to provide perspective versus the rangefinder option.

1296 | 2592 | 4320
f2 @ 1/320 sec handheld, ISO 100; 2019-04-08 12:00:40 [Enhance Details]
Panasonic S1R + LENS_NA @ 0mm equiv (28mm)

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Panasonic S1R: More Examples of Multi-Shot High-Res Mode vs Standard Resolution

See my L-mount mirrorless wishlist

Panasonic S1R High Resolution Mode

This page looks at the results when using the Panasonic S1R Multi-Shot High-Res mode.

Comparisons include standard vs HighRes mode images at native resolution as well as resampled to 125 megapixels (native sensor resolution is 46.7 megapixels)

In fun88官网 L-Mount Mirrorless:

Panasonic S1R: Standard vs Multi-Shot High-Res Mode (Various)

Image can be toggled for A/B comparison to standard resolution.

At the least, studio shooters have an amazing new tool to work with! Anyone shooting products, artifacts, artwork, etc should be taking a hard look at this capability, but be sure to use only the very best lenses.

Below, I left the dust on this carved-stone Japanese storage box cover. At 125 megapixels (0.82X linear downsample from 187 megapixels), the detail is incredible. See my workflow for getting this kind of result.

Actual pixels crop from 125 megapixel image
f8 @ 1.0 sec Multi-Shot HighRes, ISO 100; 2019-04-06 19:15:33 [Enhance Details]
Panasonic S1R + LENS_NA @ 0mm equiv (55mm)
Zeiss Otus 100mm f/1.4 APO-Sonnar
NEW!
Nikon F or Canon FE mount, use with lens adapter on Sony, Panasonic, Canon, Nikon mirrorless.

MacPerformanceGuide.com

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