subscribe today...🌈
Your support is essential.
2419 page views on 12 different days starting 2019-07-16
Subscriber? Login
Get up to 16x more storage and 2x the speeds of the original drive
Handpicked deals...
$6299 $3899
SAVE $2400

$448 $368
SAVE $80

$398 $278
SAVE $120

$569 $469
SAVE $100

$1299 $1169
SAVE $130

$2998 $2498
SAVE $500

$3399 $2299
SAVE $1100

$748 $598
SAVE $150

$1309 $749
SAVE $560

$1699 $1549
SAVE $150

$440 $240
SAVE $200

$2499 $1739
SAVE $760

$1799 $1399
SAVE $400

$748 $598
SAVE $150

$2195 $1195
SAVE $1000

$1499 $1049
SAVE $450

$2199 $1999
SAVE $200

$3990 $3591
SAVE $399

Reader Comment: Voigtlander FE NOKTON 21mm f/1.4 Aspherical

Roy P writes:

I just sold my Leica 21/1.4, so now my Voigtlander 21/1.4 has replaced all my three 21mm lenses – the Leica 21mm f/1.4 Summilux-M, Leica 21mm f/3.4 Super Elmar-M and Zeiss Loxia 21mm f2.8.

The Voigtlander is not only the best lens in this peer group, but amazingly, it’s also the cheapest and most pleasing to use. I instantly took a liking to the specs of this lens when it was announced and ordered it right away. I have been using it only for street photography and wide angle bokeh shots so far, and not yet for any serious landscapes yet. But based on your review, it looks like this would be a very good landscape lens when I’m not lugging around my Phase One.

fun88官网: good plan. I too like the NOKTON 21/1.4 better than all those lenses.

the Voigtlander FE NOKTON 21mm f/1.4 Aspherical is a gem at an amazingly low price for what it delivers. If manual focus works for you get one now, you won’t regret it!

CLICK TO VIEW: High Performance Voigtlander Lenses

Voigtlander FE NOKTON 21mm f/1.4 Aspherical
OWC Easy SSD Upgrade Guide
MacBook Pro and MacBook Air
iMac, Mac Pro, MacMini, more!

Reader Question: Sigma 35mm f/1.2 DG DN Art, also the Sigma 14-24mm f/2.8 DG DN Art

Roy P writes:

BTW, what do you think of the new Sigma 35/1.2?

Since I have the Sigma 40mm f/1.4 DG HSM Art, I don’t have the need for a 35mm prime, and I don’t know if f/1.2 makes a noticeable difference over f/1.4 at a 35mm focal length. Do you plan to review this lens?

fun88官网: the Sigma 35mm f/1.2 DG DN Art is an all-new optical design optimized for mirrorless. The “DN” designation means that it is designed for mirrorless cameras, meaning Sony mirrorless and L-mount mirrorless for now (unclear if other mounts will follow).

The existing “HSM” designation for Sigma DG HSM Art means the lens is a DSLR optical design, even if some of them are now available in ungainly mirrorless forms—an inch or so of empty tube to take up the the backfocal difference.

The Sigma 35/1.2 will be one of those key lenses I intend using to prove out the Sony A7R IV, because I expect very high performance from it (and I'm hoping for no focus shift too). Similarly, I expect the all-new optical design of the Sigma 14-24mm f/2.8 DG DN Art to excel, probably it will be the best 14-24m ever made. At least I expect so.

I am deferring all lens reviews on Sony until I have my A7R IV in September, as it will be a much more demanding camera with its 61 megapixel sensor than the Sony A7R III.

CLICK TO VIEW: High-performance lenses I intend to use to prove-out the Sony A7R IV

Sigma 35mm f/1.2 DG DN Art for Sony mirrorless or L-mount mirrorless
View all handpicked deals...

Sony Cyber-shot DSC-RX100 Digital Camera (Black)
$448 $368

Canon RF 35mm f/1.8 IS Macro STM Aperture Series: Lichen on Tree Trunk

This series from f/1.8 to f/11 evaluates the Canon RF 35 mm f/1.8 Macro STM at close range on the 30-megapixel Canon EOS R at a reproduction ratio of approximately 1:7.

In fun88官网 Mirrorless:

Canon RF 35mm f/1.8 IS Macro STM Aperture Series: Lichen on Tree Trunk

Includes images up to full camera resolution from f/1.8 to f/11 including a 2-frame focus stack at f/11.

The Canon RF 28-70mm f/2L shows that the focus shift see in Bonsai Over Beaver Pond applies also at macro range.

1296 | 2592 | 4320
f11 @ 1/6 sec, ISO 100; 2019-07-16 10:36:00
[location “Lundy Canyon”, altitude 8300 ft / 2530 m, 70°F / 21°C, LACA corrected, focus stack 2 frames, magnification ~1:7]
Canon EOS R + Canon RF 35mm f/1.8 IS Macro STM
Nikon NIKKOR Z 85mm f/1.8 S

NEW! Please pre-order through this ad....

Portrait lens for Nikon Z6/Z7 mirrorless.
√ B&H Photo PAYS THE SALES TAX FOR YOU More info...

Canon RF 28-70mm f/2L vs Canon RF 35mm f/1.8 Macro STM: Bonsai Over Beaver Pond

This series from wide open to f/11 compares the Canon RF 28-70mm f/2L to the Canon RF 35 mm f/1.8 Macro STM at distance on the 30-megapixel Canon EOS R.

In fun88官网 Mirrorless:

Canon RF 28-70mm f/2L vs Canon RF 35mm f/1.8 Macro STM: Bonsai Over Beaver Pond

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

The Canon RF 28-70mm f/2L really impresses here, and the Canon RF 28-70mm f/2L shows a key behavior that makes it a headache to use, one that rules it out as a general purpose lens as far as I am concerned.

1296 | 2592 | 4320
f4 @ 3.2 sec, ISO 50; 2019-07-16 20:36:03
[location “Lundy Canyon”, altitude 8150 ft / 2484 m, 58°F / 14°C, Enhance Details]
Canon EOS R + Canon RF 28-70mm f/2L USM @ 35mm

Backup, RAID, optimizing performance, workflow.

Fujifilm GFX100 Review: Field Shooting Soon

I’m leaving in a day or two for extensive field shooting with the Fujifilm GFX100. I am eager to see just what is possible at 100 megapixels, including with automated focus bracketing for focus stacking which Fujifilm badly names as "FOCUS BKT"—really confusing terminology.

Fujifilm GFX100

A key goal will be to evaluate which of the Fujifilm GF lenses are up to the job of resolving well enough for 100 megapixels, as well as whether focus shift and unstable lens focus can all be dealt with reliably.

Any lens optical asymmetry will show up like a sore thumb, and it’s asking an awful lot for a lens to resolve to 3.7 micron pixels, the same pixel pitch as the Sony A7R IV. I do not expect all these lenses to make the cut.

The lenses shown below are the ones I’m taking on my trip.

I am hoping in particular that I have a better copy of the Fujifilm GF 23mm f/4 than I had last December—that lens couldn’t resolve well enough for 50 megapixels at the edges.

Looks like the $500 discounts have gone away for now as I write this.


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

Fujifilm GFX100 Charges Via Its USB-C Port Nicely with External Battery or Plugged Into Computer

I wish all cameras could charge with USB-C; it makes for great convenience sometimes plus with two batteries in the Fujifilm GFX100 battery tray, charging by USB-C charges them both overnight. I’m unclear on whether the charge is low battery first then the other, or one battery first by position then the other, or both at the same time (the GFX100 drains one battery at a time when shooting, as is the smart thing to do).

I found that the Anker PowerCore+ 20100 USB-C Charger Battery charges the GFX100. GFX100 batteries are rated at 10.8V X 1250 mAH ~= 13500 mAH or about 13.5 watt hours while the Anker unit is 74 watt hours, so it should be able to charge a GFX100 battery 5 times, or probably 4 times with charge/discharge losses if the batteries are totally drained.

Which means I can take along the Anker battery and a USB-C cable in the field for extra power I have 3 batteries for the GFX100, which likely will not be enough for a day. The Anker battery can also charge the Sony A7R III, so it can do double duty.

See my review of the Anker battery in Anker PowerCore+ 20100 USB-C Charger Battery.

. There are various capacity units, the is probably what I would buy now.

Anker PowerCore 20100 USB-C portable charger

Upgrade the memory of your 2019 iMac up to 128GB

Really Right Stuff L-Bracket for Fujifilm GFX100

I use Really Right Stuff L-Brackets on all my camera. Aside from mounting in the tripod head, they also protect the sides and bottom of the camera—out in the field that matters as I often set down the camera on rocks or sometimes brace it on one, etc. So the bracket takes the scratches—mostly:

We are planning on including small strips of temporary adhesive clear vinyl that can be applied to the camera to protect the anodized metal from scratches due to the L-Plate mounting and use.

Now mounted on the Fujifilm GFX100 is the . Rock solid, it’s good companion to the GFX100 and it allows access to all ports and the battery drawer.

As shown, the bracket is a prototype, but the production version should be available soon.

The Fujifilm GFX 100 is setting a new bar for medium format, mirrorless cameras. With a camera of this value, you should get the best plate to compliment the camera. The answer: the Really Right Stuff BGFX100-L plate.

The bottom of the GFX 100 plate flanges contour the GFX's integrated vertical grip to prevent twisting, and to enhance the ergonomics of the grip itself. The shape and opening of the upright section gives access to all side ports. The structure that ties the base to the upright clears the battery cartridge while minimally protruding.

The GFX 100-L plate can be slid away from the left side of the camera body. This allows tethered portrait shooting while keeping your lens centered atop any Arca Swiss compatible clamp.

Customarily, with the L-plate not slid away, at integrated strap lug anchor can be used as a secondary attachment point between the L-plate and camera. Both the primary 1/4"-20 screw at the base and strap lug anchor are tightened with the same hex key, which is conveniently stored in the L-plate itself.

All BGFX100-L plates are first CNC machined from solid blocks of 6061-T6 aluminum. Every edge and surface is shaped ergonomically and with maximized strength. Afterward they are finished with a smooth matte surface. Finally they receive a Type II black anodizing and laser engraving.

All of our quick-release plates utilize a custom machined ¼"-20 threaded, captive-style mounting screw that threads into the tripod mounting socket of your camera body.

Really Right Stuff BGFX100-L bracket on Fujifilm GFX 100
Really Right Stuff BGFX100-L bracket on Fujifilm GFX 100
Really Right Stuff BGFX100-L bracket on Fujifilm GFX 100
Really Right Stuff BGFX100-L bracket on Fujifilm GFX 100
Nikon NIKKOR Z 85mm f/1.8 S

NEW! Please pre-order through this ad....

Portrait lens for Nikon Z6/Z7 mirrorless.
√ B&H Photo PAYS THE SALES TAX FOR YOU More info...

Canon RF 85mm f/1.2L Aperture Series: Ghostly Aspen Trunks

This aperture series from f/1.2 to f/11 evaluates the Canon RF 85mm f/1.2L on the 30-megapixel Canon EOS R for focus shift, sharpness and bokeh across the range, as well as the effects of diffraction at f/8 and f/11.

In fun88官网 Mirrorless:

Canon RF 85mm f/1.2L Aperture Series: Ghostly Aspen Trunks

Includes images up to full camera resolution from f/1.2 through f/11.

1296 | 2592 | 4320
f1.2 @ 1/60 sec, ISO 50; 2019-07-16 18:51:03
[location “Lundy Canyon”, altitude 8000 ft / 2438 m, 60°F / 15°C, Enhance Details]
Canon EOS R + Canon RF 85mm f/1.2L USM
Apple iPhone 7
Only $799 $295


MN9H2LL/A (USA/Global Unlocked)
Used, Mint Condition, Factory Unlocked

Kudos to Sony Pro Imaging Support—Same Day Turnaround—Can’t Get Better than That!

The day before yesterday, I sent an email to Sony Pro Imaging asking how to send my Sony A7R III in for a checkup. Within 30 minutes I had a FedEx shipping label.

It was too late that day to ship (my fault for asking so late), so I sent it in yesterday. Today, I received this message:

Thanks again for choosing Sony PRO Support Los Angeles to repair your Alpha A7RM3! The repair is now complete and we have shipped your unit back to you via FedEx (tracking number is xxxx xxxx xxxx xxxx); it should be arriving on 8/1.

Please let us know if you have any questions or concerns. Have a great day! Thank you, Jacob Sony Pro Support Los Angeles Material Handler

The only way to improve the turnaround time is same-day shipping. Assuming the inspection did what I asked for (sensor cleaning, check flange/sensor alignment), I could not really ask for anything better.

Compare this experience to the Fujifilm’s obscure process for fixing a brand-new $10K camera.

See also:

Sony has a Pro Service Program

See also Sony A7R II Repaired via Sony Pro Services.

OWC Thunderblade Thunderbolt 3 SSD
Gen 2!

Blazing fast, 1TB, 2TB, 4TB, 8TB.

Lloyd’s all-time favorite SSD!

√ No more slow and noisy hard drives!

Canon RF 85mm f/1.2L Aperture Series: Mules Ears Flowering, Morning Light

This 4-aperture series evaluates the Canon RF 85mm f/1.2L at close distance on the 30-megapixel Canon EOS R, looking for general rendering style and bokeh.

In fun88官网 Mirrorless:

Canon RF 85mm f/1.2L Aperture Series: Mules Ears Flowering, Morning Light

Includes images up to full camera resolution at f/1.2, f/1.4, f/2, f/2.8.

1296 | 2592 | 4320
f1.2 @ 1/500 sec, ISO 50; 2019-07-16 08:08:12
[location “Lundy Canyon”, altitude 8000 ft / 2438 m, 60°F / 15°C, push 0.33 stops, Enhance Details]
Canon EOS R + Canon RF 85mm f/1.2L USM
Thunderbolt Cables
Red or green or blue or black!


Canon RF 85mm f/1.2L Aperture Series: Sunset Glow on Tenaya Creek

This series evaluates the Canon RF 85mm f/1.2L at medium distance on the 30-megapixel Canon EOS R, looking for sharpness and in particular contrast when shot into a bright reflection with nearby deep shadow areas.

In fun88官网 Mirrorless:

Canon RF 85mm f/1.2L Aperture Series: Sunset Glow on Tenaya Creek

Includes images up to full camera resolution from f/1.2 to f/11.

1296 | 2592 | 4320
f2 @ 1/20 sec, ISO 100; 2019-07-11 20:15:51
[location “Tenaya Creek”, altitude 7600 ft / 2316 m, 60°F / 15°C, +80 shadows, pull -0.4 stops, USM{8,50,0}, -46 highlights, Enhance Details]
Canon EOS R + Canon RF 85mm f/1.2L USM

Deals Updated Daily at B&H Photo

Canon RF 28-70mm f/2L vs Canon RF 35mm f/1.8 Macro STM: Tenaya Creek Basin

This series from wide open to f/11 compares the Canon RF 28-70mm f/2L to the Canon RF 35 mm f/1.8 Macro STM at distance on the 30-megapixel Canon EOS R.

In fun88官网 Mirrorless:

Canon RF 28-70mm f/2L vs Canon RF 35mm f/1.8 Macro STM: Tenaya Creek Basin

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

1296 | 2592 | 4320
f4 @ 1/500 sec, ISO 100; 2019-07-11 12:46:57
[location “Tenaya Creek”, altitude 8000 ft / 2438 m, 74°F / 23°C, polarizer=Zeiss, Enhance Details]
Canon EOS R + Canon RF 28-70mm f/2L USM @ 35mm

Upgrade the memory of your 2019 iMac up to 128GB

Canon RF 35mm f/1.8 Macro STM Aperture Series: Creekside Flowers

This series from f/1.8 to f/11 evaluates the Canon RF 35 mm f/1.8 Macro STM at close range on the 30-megapixel Canon EOS R at a reproduction ratio of approximately 1:8.

In fun88官网 Mirrorless:

Canon RF 35mm f/1.8 Macro STM Aperture Series: Creekside Flowers

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

1296 | 2592 | 4320
f4 @ 1/125 sec, ISO 100; 2019-07-11 19:22:19
[location “Tenaya Creek”, altitude 7500 ft / 2286 m, 60°F / 15°C, Enhance Details]
Canon EOS R + Canon RF 35mm f/1.8 IS Macro STM

Our trusted photo rental store

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Last Light on High Peaks

This aperture series at very far distance from f/1.4 to f/4 assesses the Voigtlander Nokton 21mm f/1.4 Aspherical at far distance for sharpness across the field.

A len asymmetry behavior is discussed, along with the optimal aperture for sharpness at distance.

In fun88官网 Mirrorless:

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Last Light on High Peaks

Includes images up to full camera resolution from f/1.4 to f/4.

1296 | 2592 | 4320
f4 @ 30.0 sec, ISO 50; 2019-07-14 20:50:49
[location “Lundy Canyon”, altitude 7600 ft / 2316 m, 58°F / 14°C, LACA corrected]
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical
Nikon NIKKOR Z 85mm f/1.8 S

NEW! Please pre-order through this ad....

Portrait lens for Nikon Z6/Z7 mirrorless.
√ B&H Photo PAYS THE SALES TAX FOR YOU More info...

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Colorful Boulder Island In Beaver Pond

This aperture series at close-medium range assesses the Voigtlander Nokton 21mm f/1.4 Aspherical shows off the outstanding contrast and sharpness which make the Nokton 21/1.4 an outstanding all-arounder including for very dim conditions.

In fun88官网 Mirrorless:

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Colorful Boulder Island In Beaver Pond

Includes images up to full camera resolution from f/1.4 to f/6.3.

1296 | 2592 | 4320
f4 @ 30.0 sec, ISO 50; 2019-07-14 20:46:58
[location “Lundy Canyon”, altitude 7600 ft / 2316 m, 60°F / 15°C, LACA corrected, chroma noise reduction, push 2.5 stops]
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical
Thunderbolt Cables
Red or green or blue or black!


Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Creekside Sapling Pine Amid Boulders

This aperture series at close-medium range assesses the Voigtlander Nokton 21mm f/1.4 Aspherical shows off both the ability to deliver subject separation at 21mm along with outstanding real depth of field and all with ultra smooth bokeh.

In fun88官网 Mirrorless:

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Creekside Sapling Pine Amid Boulders

Includes images up to full camera resolution from f/1.4 to f/8 plus a 2-frame focus stack.

1296 | 2592 | 4320
f1.4 @ 1/80 sec, ISO 50; 2019-07-10 19:09:35
[location “Tenaya Creek”, altitude 7600 ft / 2316 m, 60°F / 15°C, LACA corrected, Enhance Details, polarizer=Zeiss]
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Spring Flowers Along Tenaya Creek

This aperture series assesses the Voigtlander Nokton 21mm f/1.4 Aspherical near Minimum Object Distance (MOD).

A wide angle lens that can focus to close range makes it even more useful, but many lenses break down at close range, so how does the Voigtlander 21/1.4 hold up here?

In fun88官网 Mirrorless:

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Spring Flowers Along Tenaya Creek

Includes images up to full camera resolution from f/1.4 to f/8.

1296 | 2592 | 4320
f2 @ 1/250 sec, ISO 50; 2019-07-10 19:28:46
[location “Tenaya Canyon”, altitude 7600 ft / 2316 m, 60°F / 15°C, Enhance Details, LACA corrected]
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical
Protect Your Phone
NuGard KX Case for iPhones and iPads.
Outstanding protection against drops and impact!
Plus, excellent grip for wet hands, cycling, etc.

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Pywiack Falls

This aperture series assesses the Voigtlander Nokton 21mm f/1.4 Aspherical on landscape distance scene. The performance here is unusually good for a 21mm lens, and unprecedented (as of mid 2019) for an f/1.4 21mm lens.

In fun88官网 Mirrorless:

Voigtlander FE Nokton 21mm f/1.4 Aspherical Aperture Series: Pywiack Falls

Includes images up to full camera resolution from f/1.4 to f/8, in both color and black and white.

Toggle to view black and white image.

1296 | 2592 | 4320
f2.8 @ 1/640 sec, ISO 50; 2019-07-10 18:13:28
[location “Pywiack Falls”, altitude 7380 ft / 2249 m, 70°F / 21°C, LACA corrected, USM{10,50,0}, Enhance Details, polarizer=Zeiss]
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical

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

Shootout: Voigtlander FE Nokton 21mm f/1.4 Aspherical vs Zeiss Loxia 21mm f/2.8: Tenaya Creek and Lingering Ice

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

In fun88官网 Mirrorless:

Shootout: Voigtlander FE Nokton 21mm f/1.4 Aspherical vs Zeiss Loxia 21mm f/2.8: Tenaya Creek and Lingering Ice

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

If you are 'good' with manual focus, then you do want this lens, right now!

Voigtlander 21mm f/1.4 Aspherical about $1199

1296 | 2592 | 4320
f2.8 @ 1/400 sec, ISO 50; 2019-07-10 17:01:38
[location “Tenaya Canyon”, altitude 7600 ft / 2316 m, 70°F / 21°C, LACA corrected, Enhance Details, polarizer=Zeiss]
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical

Our trusted photo rental store

Fujifilm GFX100 Service Advisory: “Notification Regarding Potential Loosening of FUJIFILM GFX100 Side Shutter Release “Lock” Function (Vertical grip control lock)”

Sure enough, the vertical side shutter release on the GFX100 that I am testing with is broken and the serial number is within one of the affected ranges.

For now I’ve used gaffer’s tape to keep it in the locked position. Having planned a 2 week trip with six loaner GF lenses, I’m not exactly in a position to send in the GFX100 and wait a week or two, but I’ve submitted a support form.

The advisory says to seek out “your local Fujifilm support center/ Fujifilm service center”, but when I do so then click then click , the GFX is not even listed as one of the digital cameras for support. I finally went to the , clicked on , then chose “Pro photo cameras” on this page, which is buried about 150 items down a popup menu list. What a lousy experience.

Update: I contacted Fujifilm via the support form. Two days later I received the following:

For information regarding the service advisory on the Fujifilm GFX100 camera, please contact our Digital Imaging Technical Help Desk for complete assistance by dialing 1-800-800-3854 Option #2 for Pro Digital. We have several agents and it would be their pleasure to assist you.

Fujifilm GFX100

Notification Regarding Potential Loosening of FUJIFILM GFX100 Side Shutter Release “Lock” Function (Vertical grip control lock)

July 25, 2019, FUJIFILM Corporation

To our valued customers

Thank you very much for purchasing and using our products.

FUJIFILM Corporation has become aware that some users of the new FUJIFILM GFX100 have experienced a loosening of the side shutter release “lock” function contained on the built-in vertical grip. The result of this loosening is that the side shutter will no longer effectively lock, and photo capture may be triggered unintentionally. Another result is that tiny parts could become loose within the camera body and potentially interfere with camera functionality.

We anticipate that only a very small percentage of GFX100 cameras that have been shipped to date worldwide (products within the serial number range described below) may be affected by this loosening. Still, we apologize for any inconvenience this may have caused to our loyal customers, and we recommend that any owners of the FUJIFILM GFX100 with the serial number in question promptly reach out to their local Fujifilm support center/ Fujifilm service center to make arrangements for a free examination and repair of the side shutter release mechanism. A production line adjustment has been made such that future shipments of the GFX100 will not be affected by this phenomenon.

The following serial numbers could be affected:
92001001~92001975 (excluding 92001830, 92001832, 92001833)
93001001~93001034, 93001038, 93001039, 93001041, 93001046
92A01001~92A01525
92M01001~92M01027

Please note that some cameras within this range were modified before sale, so please contact your local Fujifilm support center/ Fujifilm service center to reconfirm whether adjustments should be made to your camera, quoting the serial number, which can be found on the back side of the LCD (please see diagram below).

If you have any questions relating to this issue, or otherwise your GFX100, please contact your local Fujifilm support center/ Fujifilm service center. You can rest assured that Fujifilm is absolutely committed to quality and service excellence, with respect to the GFX100, and with respect to all other FUJIFILM products.

Fujifilm GFX100 with taped-down sideshutter release lock switch
Hard drives or SSD.

Fujifilm GF 45mm f/2.8 R WR Aperture Series: Mosaic (Fujifilm GFX100)

This aperture series looks at performance on an exceptionally demanding planar target captured at 100 megapixels. Field curvature is a key concern here, as is focus shift. It gives a definitive idea of what to expect from the Fujifilm GF 45mm f/2.8 R WR at 100 megapixels.

Fujifilm GF 45mm f/2.8 R WR Aperture Series: Mosaic (Fujifilm GFX100)

Includes images up to 100 megapixels from f/2.8 through f/11, plus crops.

1296 | 2592 | 5112
f5.6 @ 1/4 sec, ISO 100; 2019-07-20 20:23:38
[distortion corrected, LACA corrected, Enhance Details, USM{5,50,0}, vignetting corrected, electronic shutter]
Fujifilm GFX 100 + Fujifilm GF 45mm f/2.8 R WR @ 36mm equiv (45mm)

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

Fujifilm GFX Image Quality: Assessing Image Quality from ISO 100 to ISO 12800 on a Real-World Image

The latest sensor technology is extremely impressive!

Consider that the 4.3 micron pixels of the Nikon Z7 are 30% larger in area than the 3.76 micron pixels of the GFX100. And yet the noise performance of the Fujifilm GFX100 sensor cannot fail to impress. It bodes well for the Sony A7R IV.

This page shows real-world quality from ISO 100 to ISO 12800 at dusk in mixed lighting. In fun88官网 Medium Format:

Fujifilm GFX100: Quality at ISO 100 to ISO 12800 (Mosaic)

Includes images up to full sensor resolution from ISO 100 to ISO 12800, plus crops and some 50MP equivalents.

Below (cropped slightly), ISO 1600. This performance makes a compelling case that the Fujifilm GFX100 is the superior camera for the Fujifilm 50-megapixel offerings even if one only wants a final 50MP image—downsample and be very happy!

CLICK TO VIEW: Fujifilm Medium Format

1296 | 2592 | 4320
f4 @ 1/5 sec, ISO 1600; 2019-07-20 20:55:41
[distortion corrected, vignetting corrected, electronic shutter, LACA corrected]
Fujifilm GFX 100 + Fujifilm GF 110mm f/2 R LM WR @ 87mm equiv (110mm)
Apple 15-inch MacBook Pro
Only $4199 $2299

16GB / 2TB SSD / 2.9GHz / 4GB GPU

Apple Refurbished, Factory Sealed
Apple 1 Year Limited Warranty

Fujifilm GFX Image Quality: Crosshatching Pattern Noise (Looks Like Adobe Camera Raw Enhance Details Issue)

Update 29 July: I contacted Adobe and provided the raw file. A bug has been logged and it is being looked into.

Update 30 July: the problem is not restricted to the Fujifilm GFX100. The crop further below shows the behavior with a Sony A7R III file without and with Adobe Camera Raw Enhance Details. It appears that Enhance Details is the key variable.

...

I was preparing an ISO series showing the Fujifilm GFX100 from ISO 100 to ISO 12800 when the peculiar look to the blue sky caught my attention; it had a strangely patterned/textured look to it. Once I saw it, I could not un-see it. Which to me makes it a serious problem.

I deem this image quality defect to be crosshatching pattern noise. The The root cause is unclear (inherent to the sensor vs demosaicing algorithm), but might be related to the horizontal lines seen in the dark frame assessment..

Fujifilm GFX100

To my eye the problematic noise pattern is already present, which various types of contrast and sharpening filters confirm, though not as clearly as the use of Adobe Camera Raw Enhance Details, which by using sophisticated GPU-intensive demosaicing preprocessing, accentuates the latent pattern. In other words, Enhance Details deblurs the image slightly so that details become more visible (which is why I adore Enhance Details for most all images). That said, I cannot rule out a bug in Enhance Details.

For now, I will have to abandon Enhance Details for some images, which is a real shame—it has become a standard part of my workflow and to date I had not found any downsides. I have let Adobe know of the issue and provided a raw file to them for analysis.

Thing is, when I process the Enhanced DNG in Iridient Developer, I don’t see the crosshatching pattern. Which makes me think it’s all about the Adobe Camera Raw demosaicing algorithm. Since Adobe Camera Raw is the dominant digital imaging platform (whether in Lightroom or Photoshop), that means it has much more broad impact than niche raw converters.

I cannot recall seeing it in any other camera I have tested, but to date no other camera has incorporated the latest Sony sensor technology either. Which raises the question of whether the issue could be more broad than the Fujifilm GFX100 and tied to the Sony sensor technology and not just the GFX100, e.g., the Sony A7R IV, which shares the same underlying sensor technology.

f4 @ 2.6 sec, ISO 100; 2019-07-20 20:54:47
[distortion corrected, vignetting corrected, Enhance Details, LACA corrected, electronic shutter]
Fujifilm GFX 100 + Fujifilm GF 110mm f/2 R LM WR @ 87mm equiv (110mm)

Below, same issue with Sony A7R III after using Enhance Details. Zoom in slightly if using a Retina display with its very high pixel density.

Crosshatching patterns after using Enhance Details
f6.3 @ 30.0 sec, ISO 50; 2019-07-14 20:47:39 [Enhance Details]
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical
128GB Memory in iMac 5K

Up to 128GB for 2019 iMac 5K!
Up to 64GB for 2015/2017 iMac 5K

Save nearly 50% over Apple pricing

Fujifilm GF 110mm f/2 R LM WR Aperture Series: Red Electric Cart (Fujifilm GFX100)

This series at f/2, f/2.8, f4, f/6.4 explores the performance of the Fujifilm GF 110mm f/2 R LM WR at night with longer exposures {17, 30, 30, 30} seconds respectively.

The series also shows the behavior of the Fujifilm GFX100 at 30 seconds at ISO 100 when pushed 2.2 stops—hot pixels show up, making a strong case for using EFCS, which can use long exposure noise reduction.

Fujifilm GF 110mm f/2 R LM WR Aperture Series: Red Electric Cart (Fujifilm GFX100)

Includes images up to 100 megapixels.

1152 | 2304 | 3840
f4 @ 30.0 sec, ISO 100; 2019-07-20 21:10:52
[distortion corrected, vignetting corrected, Enhance Details, LACA corrected, electronic shutter]
Fujifilm GFX 100 + Fujifilm GF 110mm f/2 R LM WR @ 87mm equiv (110mm)
Apple 15-inch MacBook Pro
Only $4199 $2299

16GB / 2TB SSD / 2.9GHz / 4GB GPU

Apple Refurbished, Factory Sealed
Apple 1 Year Limited Warranty

Fujifilm GFX100 Dynamic Range Graphs by Jim Kasson

I’m working with a bit with the Fujifilm GFX100, sending him a large set of raw files in both 14-bit and 16-bit capture mode, each with both EFC shutter and electronic shutter.

Below, mouse over the various graphs to see his computed dynamic range for the Fujifilm GFX100 across the ISO range and with electronic first curtain shutter (EFCS, best choice for most stuff) versus electronic shutter (ES).

In summary and speaking only of dynamic range, there is no meaningful difference between 14 bit and 16 bit capture, whether with EFCS or ES. Possibly there are other benefits, as yet unclear.

See also . In particular he states:

The presence of the Aptina-DRPix technology is evident: that’s what causes the jump at the transition from ISO 400 to ISO 500. All four raw channels have th same DR until the ISO gets quite high, at which point the green channels do a little better than the red and the blue. There’s a funny kink in the curve at the transition to ISO 200

EDR = Engineering Dynamic Range: there are several definitions, but the one I’m using is full scale over read noise, unnormalized for resolution.

Fujifilm GFX100 dynamic range as computed by
Fujifilm GFX100 dynamic range per channel as computed by

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

Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Backyard Trees (Fujifilm GFX100)

This series looks at the the Zeiss Otus 100mm f/1.4 APO-Sonnar at medium distance on the 100-megapixel Fujifilm GFX100, which has a 44 X 33mm medium format sensor.

A key and somewhat disappointing behavior seen here is forward focus shift (centering of the zone of focus moves substantially closer with stopping down). This behavior is discussed and shown on the Zeiss Otus 100mm f/1.4 Focus Shift page as well as in Painted Rock.

To obtain optimal results from the Zeiss Otus 100mm f/1.4 APO-Planar, it is essential to compensate for the focus shift in order to place the zone of sharpness ideally for the subject matter.

In fun88官网 Zeiss DSLR Lenses*:

Zeiss Otus 100mm f/1.4 APO-Sonnar Aperture Series: Backyard Trees (Fujifilm GFX100)

Includes images up to 100 megapixels.

It was a joy not to have to deal with flaky autofocus and unstable lens focus as with the Fujifilm GF lenses, but I’ve satisfied myself as to the limits of the Otus with this series.

* As per longstanding policy, lens reviews always go into their native publication.

1152 | 2304 | 3840
f5.6 @ 20.0 sec, ISO 100; 2019-07-25 20:45:58 [Enhance Details, LACA corrected]
Fujifilm GFX 100 + Zeiss 100mm f/1.4 APO-Sonnar

(Gear Acquisition Syndrome)

Fujifilm GFX100 BUG: Sets Mandatory Lens Correction Profile for Unknown Lenses

I’ve long disliked mandatory lens corrections (vignetting, chromatic aberration, and especially distortion because of distortion correction.). Many lens vendors including Fujifilm rely heavily on heavily to make less than ideal optical designs. Nikon even claims claims ultra low distortion with its Nikon NIKKOR Z lenses, many of which have severe barrel distortion.

Adobe Camera Raw contributes to the situation by not offering any way to disable the flagged corrections. Most of the time this is OK because lenses needing correction would visibly suck without it. But there are many cases where all is well without it.

The Zeiss Otus 100mm f/1.4 APO-Sonnar and many other fine lenses do not need corrections.

Showing the folly of such an approach, the Fujifilm GFX100 now shows an outright BUG in setting a mandatory-correction EXIF flag for unknown lenses adapted via a "dumb" adapter. The camera cannot possibly know what lens is attached, and yet it sets the EXIF flag mandating correction! It concerns me that it might actually be creating color fringing—not yet sure. I’ve reported the problem to Adobe, asking them to add a feature to ignore required lens corrections or at least fix this bug on their side

Update: Adobe has responded and tells me that the setting is a “no op” (meaning nothing is done), and that it looks like a bug to be fixed.

Fujifilm GFX100: Sets Mandatory Lens Correction Profile for unknown Lenses

Backup, RAID, optimizing performance, workflow.

Brain-Saver: Sony Noise-Canceling Headphones... will Sony In-Ear Noise Canceling Earphones Also Work Well?

In Brain-Saver: Sony Noise-Canceling Headphones I discussed just how critical the Sony WH-1000XM3 Wireless Noise-Canceling Over-Ear Headphones to me after my concussion last year.

The Sony WH-1000XM3 noise-canceling headphones continue to be very helpful, especially with a house being built from the ground up right next door what with constant pounding, drilling, sawing, buzzing and the drone of equipment. Were it not for the headphones, I’d just have to leave my home for weeks on end in , as I cannot tolerate that kind of sustained noise, though I can tolerate much more than even six months ago.

Noise pollution is a cumulative thing over the course of the day, and if there are other stressors, getting the noise down really is a brain saver. Everyone is wired differently but no one benefits from sustained noise.

Noise is far more of a hazard than most people acknowledge, with studies showing damaging hits to learning of children whose classrooms are in noisy environments. Not that adults outgrow the bad effects of noise! Noise disrupts the ability of the brain to focus and learn, at the least.

See also .

Along come the Sony WF-1000XM3 True Wireless Noise-Canceling In-Ear Earphones (more info at ). I’m not sure they will do the job as well, not having anything over the outer ear, and I tend to have discomfort with in-ear things of any kind, but so useful have the headphones become that I have to try the in-ear version too!

David C writes:

Noise does more than screw up your cognitive abilities at the time, you get cumulative hearing damage that eventually shows itself when, like me, you discover you are reading lips to hear people talking. I don’t know if the damage is latent or if you just don’t notice as your hearing goes away, drip, drip, drip, but I have read that a single exposure to really loud noise may cause permanent damage. I worked in an underground gold mine for five years, so I got plenty; for instance a jackhammer is estimated to be around 130dBA, but that’s on the street, think of the same noise in a small room with stone walls (tunnel face) with a pneumatic rock drill that is a lot bigger than a typical street jackhammer. I wore foam plugs part of the time, but sometimes didn’t have time or inclination (yes stupid, youthful invincibility). all the “old” guys (40+!) at the mine were deaf.

One thing I find odd is most sources list a chainsaw at around 130dBA, but I don’t find them to be very loud. maybe it’s because my high frequency hearing ability is gone (spectrum matters).

An interesting bit of trivia, apparently a lot of older people in the US have become deaf in the left ear because, before AC, they rolled down the car window while driving.

I don’t wear hearing aids yet, mainly because the markup on them amounts to highway robbery (a device bought by millions of people that is mostly electronic shouldn’t cost $thousands). yeah, I know, this isn’t rational; maybe it’s due to hearing damage ;). I *do* wear plugs or headphones running the tractor, lawnmower, grinder, etc now, but too late.

“protect your ears!” is one bit of advice I’d give to all young people if I could; of course they wouldn’t listen.

If you can tolerate them give foam plugs a shot. they are useful sometimes because they are easy to carry, don’t interfere with your head movement and don’t lose their seal as easily by being bumped (e.g. when your head is in the bushes trimming a tree). plugs aren’t sensitive to your head shape, but the size of your ear canals may dictate which plugs will work.

fun88官网: loud noise is bad news indeed. When I mow the lawn, I use earplugs plugs the Sony noise canceling headphones. Foam earplugs can be risky—I've had way too many that don’t quite fully seat. I prefer the soft rubery ones, having ordered a number of different ones to find some that insert reliably and stay in.

Sony WH-1000XM3 Wireless Noise-Canceling Over-Ear Headphones

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

Zeiss Otus 100mm f/1.4 APO-Sonnar: First Look at how it does adapted to the Fujifilm GFX100

The Zeiss Otus 100mm f/1.4 APO-Sonnar is designed for a 36 X 24mm sensor. How does it fare on the 100-megapixel 44 X 33mm sensor of the Fujifilm GFX100, adapted using the Novoflex Nikon F Lens to Fujifilm G-Mount Camera Adapter.

These examples were chosen to show off the strengths and weaknesses of the Otus 100/1.4 (more to come, this is a first look): In fun88官网 Zeiss DSLR Lenses*:

Zeiss Otus 100mm f/1.4 APO-Sonnar Examples: Adapted to Fujifilm GFX100, Various

Includes images up to 100 megapixels.

Also, an aperture series from f/1.4 to f/11 shows off the vignetting behavior on the 44 X 33mm sensor of the Fujifilm GFX100:

Vignetting on the 44 X 33mm Sensor of the Fujifilm GFX100

* As per longstanding policy, lens reviews always go into their native publication.

1152 | 2304 | 3840
f1.4 @ 0.6 sec, ISO 100; 2019-07-25 20:37:02 [Enhance Details, LACA corrected]
Fujifilm GFX 100 + Zeiss Otus 100mm f/1.4 APO-Sonnar
Protect Your Phone
NuGard KX Case for iPhones and iPads.
Outstanding protection against drops and impact!
Plus, excellent grip for wet hands, cycling, etc.

Fujifilm GFX100: Severe Autofocus Errors

I saw repeated autofocus errors I saw on my first shoot. For that, I had used out of date lens firmware on the Fujifilm GF 110mm f/2 R LM WR (camera firmware was up to date).

The firmware was not the issue, rather, the GFX100 has severe AF errors.

Today, seeking a workable solution to the autofocus flakiness I had observed, I set up a Siemens Star target looking to answer a simple question: could the Fujifilm GFX100 autofocus accurately in fully magnified Live View? My thinking was that at least perhaps in magnified Live View, I could count on using the AF-ON to deliver spot-on autofocus, rather than having to manually focus every time.

For this test both the were the very latest firmware ( and ).

Sadly, I am able to reproduce at least 25% of the time major AF errors, whether in magnified Live View or unmagnified. Over and over and over. Which will make it quite tedious to test the camera, since AF is unusable with its present high error rate. I hope Fujifilm can fix this issue quickly, and I’m ready to help them.

Protocol:

  1. Single shot AF or manual focus setting for AF (allows AF-ON to work), with small focus spot.
  2. Enter magnified Live View maximum or any magnification, or don’t magnify (doesn’t matter).
  3. Press AF-ON; observe, repeat.

The only reliable way to focus seems to be manual focus, and that’s not so easy because the resolution is high enough for the image to shake just by pressing on the camera in any way (IBIS off, beefy tripod with Burzinki ballhead ). Alternately, focus and refocus with AF-ON until the image looks optimal in magnified Live View, and then hope it really is. And pray that unstable lens focus doesn’t kick in, whether using AF or manual focus.

Below, the GFX100 indicates autofocus acquisition via the green dot confirmation and the corresponding beep. It is so badly out of focus that f/8 won’t save it.

An image that the GFX100 considers in focus
(green dot and beep signify focus acquisition)

Below, the image should look very sharp as shown (manual focus).

Focus should look like this

 



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

Fujifilm GFX100 and Lenses Firmware Updated, Sloppy Engineering by Fujifilm

Update July 25: severe autofocus error is confirmed on a Siemens Star target.

When I first connected the Fujifilm iOS app to the Fujifilm GFX100, it alerted me to the availability of a firmware upgrade for the GFX100, which I installed—well done.

Problem is, the app did not alert me to the fact that every lens also had a firmware update. Nor did the GFX100 itself once upgraded. Huh?

The camera firmware could easily incorporate knowledge of the minimum required lens firmware for full compatibility—just incorporate that info into a firmware update and warn the user when a lens with old firmware is attached. How freaking hard is that to engineer?!

Since I cannot be sure that my initial work represents the results with the now-current firmware (I updated all lenses), I have to redo most of it. Which means reshooting and then redoing the work of organizing and assessing (much more time than the shooting). Any pros out there love re-shooting jobs?

Fujifilm GFX-100

Given the results so far, I now have to assess whether I can rely on AF for critical work. And even if AF is seen to be reliable with the new firmware, then it remains to be seen how to avoid the killer feature of unstable lens focus (as in killing image sharpness). That must be done before I spend days shooting the GFX100.

It will take me a day or two of boring work to figure out how to reliably get an optimally focused image every time, if that is even possible. Then I can resume my review and share what I’ve learned, saving readers some hair. That said, not all my images were degraded from my initial shoot, so I still have some stuff to show.

Add to that mess the still extant problem that has plagued Fujifilm cameras for years: Play-Delete resets lens focus. Since I frequently check exposure by Play, deleting the file should I need to adjust exposure, this has caused serious usability harm for years. I cannot understand why Fujifilm does not fix this awful behavior. It’s not the only brain-dead thing still remaining, either.

I love the image quality with the GFX100, but it just stinks to put up with half-baked camera behavior. I hope someone at Fujifilm engineering reads this and takes action.

Not just me...

Jim Kasson reports similar issues in his work with Fujifilm GFX, and with other lenses, so it appears to be a general problem with Fujifilm GFX gear. See his posts: and . I have observed much worse issues than he has, but the behavior is the same— the lens focus just changes on its own regardless of camera settings and in 8 seconds or less, so it happens quickly.

Reviewing my work with the 63/2.8 a few days ago, I now see that it also suffers from unstable lens focus (a change in magnification is damning evidence). I am now convinced that the unstable lens focus behavior is an issue that applies to all the lenses, debunking my "LM" focusing motor theory.

Jason W writes:

None of your reports shock me. You're dealing with a bleeding edge professional product that's a first to market. It would be a total shock if it worked without issues this soon.

Extremely complex products take years of iteration to perfect. Canon is about the only manufacturer that gets that, and as a result, they're always late to the party. They got screwed waiting to create the superlative EOS R as Sony iterated how many buggy, ill-designed sub-par A7 series cameras and took the whole market. Panasonic's S1R? Best in class and years too late.

Fujifilm was first to market with this sensor, the cheapest 100 megapixel camera in history, and you can tell they were moving fast to get it out there. Back in April a Fuji rep at NAB told me they had firmware issues. I can only imagine the engineering task.

fun88官网: actually, it has been years—2+ years for GFX and many more for Fujifilm X—same genetics, same behaviors. I don’t think there is any evidence that the behaviors I describe are anything new for years now—quite the contrary.


MacPerformanceGuide.com

Fujifilm Focusing Issues in the Fujifilm GFX100 Have Existed for At Least 6 Years in Fujifilm X Series Also

Craig E writes:

As a landscape photographer, I am deeply interested in your ongoing Fujifilm GFX100 testing. Last year, I purchased a Fujifilm XT-30 for the sole purpose of time-lapse photography. After minimal testing, I drove into the wilderness 80 miles and set up the camera, fully enclosed in a steel case. Manual focus, with focus ring taped with gaffers.

A week later I returned, and found that focus had changed sometime during the first night. What I have learned is that switching the camera menu to M, and setting the lens switch to M (if the lens has a switch) is not enough to stop the camera from changing focus.

I’m not sure if there is one or even 3 settings to successfully shut down AF—I went through the menu and turned off everything af related—and I now have a fully manual focus camera. But!—only if I have the shutter button set to focus—if I set the camera to back button focus, the camera autofocuses with the body set to MF. It is all very weird. I have owned several Fujis and always want to love them, but never do.

Fujifilm GFX100

fun88官网: in my experience with Fujifilm cameras, setting the camera to manual focus does nothing for focus stability; the unstable lens focus behavior persists, which is awful for some shooting scenarios. See Fujifilm GFX100: Unstable Lens Focus for what can be done to deal with it—there is no good solution, only time-wasting workarounds that are not guaranteed to work.

Unstable lens focus with Fujifilm cameras could be an unfixable electromechanical design flaw.

Since Fujifilm has not fixed the issue in at least seven years, and it harkens way back to both Fujfilm and Zeiss Touit lenses on the Fujifilm X series, I am forced to conclude that is the case.

Note also that Play then Delete always resets lens focus, regardless of any setting—not that it should be acceptable with any settings (except perhaps Pre-AF enabled). This idiotic and intensely frustrating behavior has dogged me for every Fujifilm camera I’ve used, wasting my time and causing errors so many times. I’ve had to train myself to never delete an image after doing Play until later.

As for AF-ON working with the camera set to manual focus: that’s the way it ought to work. It's just the smart thing to do. Think of it as an override feature: regardless of settings, pressing the AF-ON button initiates autofocus. This is very useful in manual focus mode.

Fujifilm unstable lens focus has been a bug for years

Six years ago, I published Fujifilm X-E1 Focus Creep Kills Sharpness and Fujifilm X-E1 Behaviors That Kill Images. At that time I called it “focus creep” instead of unstable lens focus. Here is what I wrote in July 2013:

The X-E1 exhibits a FOCUS CREEP: it changes focus even in manual focus mode when nothing is done except to change exposure (aperture and/or shutter speed). The Fujifilm X-Pro1 can be expected to have the same bug

Focus at infinity, make one shot at f/2, make another shot at f/4 and chances are that the focus will creep forward substantially. Depth of field will hide the creep in part. In my field use, I typically shoot an entire aperture series, e.g., f/2, f/2.8, f/4, f/5.6, f/8, f/11 all while leaving focus set to manual: focus ought to remain invariant. Instead it creeps forward.

The problem is not limited to any brand lens (happens with Zeiss Touit and with Fujifilm Fujinon).

With some lenses the focus creeps forward (e.g,. from infinity to as close as 1 meter. I observed this type of behavior with the Touit 32mm f/1.8 in particular. With others it creeps rearward, e.g. from 1 meter towards infinity. I observed this behavior with the Touit 12mm f/2.8 Distagon in particular

A subtle manifestation is a slight change in image position and size between apertures; this proves that the lens has moved (somehow). This change can be as little as 1-2 pixels, or as much as 10-12 pixels.

I had myself forgotten the term I used six years ago. But clearly the problem has existed for the better part of a decade, and clear it is a camera design issue (since both Fujifilm and Zeiss Touit lenses are/were affected)!

Professor Glenn K writes:

This is anecdotal, but I bought my daughter a Fuji X-E3 and 18-55mm lens for her study abroad in Scandinavia. I had tested the lens and it was the sharpest kit zoom I had seen.

When she returned, I noticed that a significant number of shots were very soft. I tested the system and found that it often misfocused, particularly when the focus point was very distant. I have examples of successive shots show varying focus accuracy on a distant target.

I have sent the system back to Fuji with samples and await their feedback. The lens is sharp and the colors are great, but at this point I can't trust the system to deliver a well focused image. That's why I rented a Z6 for my trip to Europe.

DIGLOYD: direct evidence of something not right. but whether it is inaccurate AF followed by untable lens focus or just inaccurate AF is very hard to be sure of. Or even if this particular X-E3 is the issue. But given the long history, I don’t suspect this specific camera. I do know that unstable lens focus can occur in 8 seconds or less , but I don’t know much more than that.


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

Reader Comment: Sony Mirrorless Lenses on Nikon Z7 via Techart PRO Autofocus Adapter

John M writes:

Here’s hoping that you’ll be reviewing the TechArt PRO Autofocus Adapter for Sony E-Mount Lens to Nikon Z-Mount Camera.

When it’s available: I would be very interested in your review of the Zeiss 40/2 Batis as well as other of your favorite E lenses on the Nikon Z7.

fun88官网: one of my readers has one and it seems to work well.

The main issue is that I don't own a Nikon Z7, so evaluating it has to wait until I have a Z7 again (or its successor—will Nikon be aggressive in its camera body upgrades as Sony has been?). I'm swamped right now with the Fujifilm GFX100 and not far off is the Sony A7R IV, so it’s a low priority.

With the arrival of the Sony A7R IV, the idea of adapting E-mount lenses to a now out of date camera with lower resolution does not excite me. Still, I’ll likely give it a whirl if I have a Z series camera in my hands this fall.

As much as I prefer the ergonomics/haptics of the Nikon Z7 over Sony, I am increasingly less and less interested in lens adapters—they always involve some degree of hassle, extra parts to break or fail, etc. Also, the Nikon Z7 is 45 megapixels, but the new Sony A7R IV not only has a 61MP sensor, that sensor incorporates the very best/latest sensor technology with no need for an adapter. It’s a big job just to nail down various lenses on that much more demanding higher-res sensor.

Michael E writes:

I now have a number of adapters for mounting Sony E lenses on the Nikon Z7. The TechArt TZE-01, which is NOT a dumb adapter, seems to work well with the Sony E lenses that I have, like the 65mm and 100mm APO Voigtlander lenses.

The Laowa 100mm F/2.8 2X Ultra Macro APO Lens for Sony FE requires a DUMB adapter or the Z7 will not allow the shutter to be released by remote or shutter-button.

I now have the Kipon Adapter and that works well. I have the Pixco Adapter set to arrive, but I read that some used find that the cheap adapter has gritty dust inside that shakes out and gets on the sensor, so anyone using the adapter better spend time shaking out the dust and otherwise cleaning the adapter BEFORE putting it on your Nikon Z camera.

The Laowa 100mm Lens has a VERY short focus throw, so single shots work fine, but for stacking I would want to put it on a focus rail. Otherwise, the lens (which is inexpensive) works well enough. The Sony E version, which I have, has a 13-blade diaphragm. Other mounts do not.

fun88官网: sounds like the TechArt adapter is the way to go for now.

Techart PRO Autofocus Adapter for Sony E-Mount Lens to Nikon Z-Mount Camera

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

Fujifilm GF 110mm f/2 R LM WR Aperture Series: Tower at Night (Fujifilm GFX100)

This series at f/2, f/2.8, f4 explores the peak performance of the Fujifilm GF 110mm f/2 R LM WR, which is astonishing at 100 megapixels. The images show off the sensor with up to 30 second exposures.

Fujifilm GF 110mm f/2 R LM WR Aperture Series: Tower at Night (Fujifilm GFX100)

With one astonishing aperture of three, the issues of autofocus accuracy and unstable lens focus also stun.

Includes images up to full 100MP camera resolution along with crops.

1152 | 2304 | 3840
f2.8 @ 17.0 sec, ISO 100; 2019-07-20 21:36:39
[distortion corrected, vignetting corrected, Enhance Details, LACA corrected, electronic shutter]
Fujifilm GFX 100 + Fujifilm GF 110mm f/2 R LM WR @ 87mm equiv (110mm)

MacPerformanceGuide.com

Shootout: Fujifilm GF 110mm f/2 R WR vs Fujifilm GF 100-200mm f/5.6: Mosaic with Unstable Lens Focus (Fujifilm GFX-100)

This series from f/2 through f/11 compares the Fujifilm GF 110mm f/2 R LM WR to the Fujifilm GF 100-200mm f/5.6 R LM OIS WR on an extremely demanding target uniformly fine detail and texture on a planar target—the acid test for lens performance and one highly relevant to shooting scenes.

Findings on the unstable lens focus with the Fujifilm GFX system as well as peripheral forward field curvature and focus shift are discussed.

Shootout: Fujifilm GF 110mm f/2 R WR vs Fujifilm GF 100-200mm f/5.6: Mosaic with Unstable Lens Focus (Fujifilm GFX-100)

Includes images up to full 100MP camera resolution along with crops.

While there are some issues with unstable lens focus and field curvature, this series shows off the stunning potential of the latest generation of Sony sensors. The new Sony A7R IV uses the same underlying sensor technology, as does the PhaseOne IQ150.

CLICK TO VIEW: Fujifilm Medium Format Cameras, Lenses, Accessories

1296 | 2592 | 4320
f5.6 @ 1/9 sec, ISO 100; 2019-07-20 20:15:41
[distortion corrected, vignetting corrected, Enhance Details, LACA corrected]
GFX 100 + Fujifilm GF 110mm f/2 R LM WR @ 87mm equiv (110mm)

SATA, USB3, Thunderbolt, internal upgrades and PCIe SSD options for Mac or PC.
View All OWC SSDs...

Fujifilm GFX-100: ISO 50 vs 100, Sensor Transit Time, 16-bit vs 14-bit Capture, Unstable Lens Focus

I’ve started my Fujifilm GFX-100 review with some overview pages.

Fujifilm GFX-100: Does ISO 50 offer Any Value vs ISO 100?

Fujifilm GFX-100: Sensor Readout Transit Time for 16-bit vs 14-bit Capture

Fujifilm GFX-100: File Sizes in 16-bit vs 14-bit Capture

One one critical page for anyone using the Fujifilm GFX-100, Fujifilm GFX-50R/S:

Fujifilm GFX-100: Unstable Lens Focus

CLICK TO VIEW: Fujifilm Medium Format Cameras, Lenses, Accessories

 

Fujifilm GFX-100 rear view showing most of the numerous buttons

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

My Top Picks for On-Sale Nikon DSLR and Zeiss DSLR/Mirrorless Lenses I Would use Myself

I often get asked about which lens performs best.

Accordingly, here are my top picks that are on special, lenses that I would buy and use myself (partial list).

ALL deals for Zeiss lenses

CLICK TO VIEW: Top Picks for Zeiss DSLR Lenses for Nikon or Canon

CLICK TO VIEW: Top Picks for Zeiss Lenses for Sony Mirrorless

ALL deals for Nikon DSLR lenses

CLICK TO VIEW: Top Picks for Nikon DSLR Lenses


Deals Updated Daily at B&H Photo

Breakthrough Photography 6-stop ND Polarizer for Motion Blur in Broad Daylight + Reader Comments

My last trip included a lot of Voigtlander FE NOKTON 21mm f/1.4 and Canon RF 85mm f/1.2L and Canon RF 28-70mm f/2L and Canon RF 35mm f/1.8 Macro images. But it’s going to take some time to publish all that as I work through the Fujifilm GFX-100, whose clock is ticking on the loaner period. But I thought I’d show one interesting image here today.

Below, this image is a 4-frame focus stack with a Breakthrough Photography 6-stop ND polarizer. It allows shooting at relatively slow shutter speeds at mid-day, thus allowing motion blur.

CLICK TO VIEW: Breakthrough Photography Filters at B&H Photo

Since B&H Photo has a very limited selection of Breakthrough Photography products, be sure to visit the Breakthrough Photography web site at and specifically the .

Continues below...

Full resolution image available in Canon RF 85mm f/1.2L Examples: Eastern Sierra, more images later.

1296 | 2592 | 4320
Log across Mill Creek, Lundy Canyon
f11 @ 10.0 sec, ISO 50; 2019-07-16 13:05:06
[location “Lundy Canyon”, altitude 7600 ft / 2316 m, 70°F / 21°C, focus stack 4 frames, polarizer=Breakthrough Photography 6-stop ND polarizer, USM{8,50,0}]
Canon EOS R + Canon RF 85mm f/1.2L USM

John G writes:

Breakthrough Photography makes the best ND filters. Incredibly color neutral. But you must buy the X4 version for greatest color accuracy.

All the other filters I’ve tried, and I’ve tried nearly half-dozen brands, have severe color shift by comparison. Would your readers be bored to tears by an ND filter comparison? I would have save a ton of money if I hadn’t had to do the comparisons myself.

fun88官网: agreed—the X4 filters have outstanding coatings—see the and free .

for more:

Our state-of-the-art multi-resistant coating (MRC) is an optical coating applied to both surfaces of the glass disk to reduce reflection and to increase surface durability. Our proprietary MRC coating is structurally harder than the glass itself and the reduced reflections improve the efficiency since less light is lost. The reduction of reflections also improves the contrast of the image by elimination of stray light. The real world result? Better contrast and color.

Low light transmission and green flaring are common problems with uncoated glass. As MRC coatings are added to each side of the optical disk light transmission steadily increases with flaring steadily decreasing. In our lab tests light transmission apexes at about 16-layers of MRC, and slowly decreasing in transmission at 18 and above. 8-layers of MRC are applied evenly to both sides of each optical disk resulting in MRC16.

Transmission spectrum using scan speed of 1200 nm/min at 2.00nm resolution. Analyzed on a Hitachi U-4150

MacPerformanceGuide.com

Sony A7R IV: Which High-Speed and High-Capacity SDXC Cards Are Best?

See my Sony wishlist at B&H Photo.

The new Sony A7R IV has dual SDXC UHS-II card slots. The UHS-II designation means that extra pins are on the card to allow extra high speed reading and writing with cameras that support UHS-II. Cameras lacking that support read/write at slower speed.

Sony A7R IV

Terence M writes this just as I was looking into it!

What are your highly recommended SDXC cards for the Sony A7R IV? What about the Sony Tough cards, are they the best?

File size

Shooting 61-megapixel images is going to demand a lot of storage space and fast write and read times, both for writing and image review.

61 vs 42 megapixels means (61/42) * 86 MB/file ~= 125 MB per uncompressed raw file
61 vs 42 megapixels means (61/42) * 43 MB/file ~= 62 MB per compressed raw file
(assuming the same Sony 11+7 lossy compression format)

Sony 16-shot high-res mode will generate up to 16 * 125 = 2 gigabytes per capture uncompressed and still 16 * 62 = a gigabyte per capture compressed. Unless Sony comes up with a lossless compression format, guaranteed full image quality requires uncompressed format. That’s a storage disaster for both mult-shot and the 10 fps mode.

CLICK TO VIEW: Fast SDXC UHS-II camera storage cards

You’ll need a lot of storage on your computer. for how to do that well and how to .

CLICK TO VIEW: High Capacity Computer Storage

Write speed bandwidth

Plus, 10 fps means 1250 megabytes per second for uncompressed raw, and still a huge storage challenge at 620 MB/sec for compressed raw. You probably won't be fond of uncompressed raw at 10 fps for that reason! The fastest cards seem to write at 200 to 300 MB/sec.

But here are some links that steer you to what look like solid options. It seems that UHS-II at high speed does not come cheap.

I don’t like to count on “up to” write speed as that can be misleading—I want to see “minimum sustained write speed” quoted—many cards don’t say. For example, the SanDisk 128GB card below claims “up to 260MB/sec” but only guarantees that it won’t drop below 30 MB/sec—8 times slower! Similarly, the ProGrade offering guarantees only 90MB/sec, which is good, but far short of its 200MB/sec max speed. The Lexar 128GB offering guarantees a minimum 90 MB/sec which is quite good.

Then there are the Angelbird offerings which confuse the issue by claiming “sustained write speeds of 260 MB/sec” in conjunction with “minimum write speeds of 90 MB/sec”—confusing, but that’s as good a performance as seems to be available—but Sony Tough series matches it.

Below are some hand-picked candidates. I’m inclined to go with Sony SF-G Tough Series UHS-II SDXC card for several reasons: (1) absence of the annoying write-protect tab, (2) almost certain compatibility, (3) guaranteed minimum 90 MB/sec. I would much prefer a 256GB capacity but with dual card slots, dual 128GB cards is perfectly viable.

Please buy using these links—it matters!

Fast 256GB SDXC UHS-II cards

Fast 128GB SDXC UHS-II cards


Upgrade the memory of your 2019 iMac up to 128GB

Sony A7R IV: Serious Doubts About Viability of Sony 16-Shot High-Res Mode for Field Use

See my Sony wishlist at B&H Photo.

Sony A7R IV

The new Sony A7R IV has many appealing improvements, with Sony once again leading the technology race and while improving the ergonomics/haptics too. Just how other competitors can respond without still lagging behind is unclear, especially with Sony controlling the sensor market.zz

CLICK TO VIEW: Sony A7R IV + Highly Recommended Lenses

I will be buying the Sony A7R IV as it is a compelling upgrade in many ways. But I fear that the one feature that most interests me might turn out to be dead on arrival for field shooting: the Sony 16-Shot High-Res Mode feature.

The use of SDXC cards in the Sony 7R IV is disappointing; I vastly prefer XQD cards as used in the Nikon Z7 and Panasonic S1R. SDXC cards are just not robust, with several of my cards disintegrating with use, and the locking pin is frequently being a problem too (self locking upon insertion all too often). There are cards now without the idiotic locking pin, which is all I will buy in the future for SDXC.

How Sony 16-Shot High-Res Mode works as I understand it

Sony has done a poor job of explaining just how the 16-Shot High-Res Mode feature works . The video is a nerd thing showing how pixels and sub-pixels overlap and say nothing about shooting speed, inter-frame time gap (if any), card-write time, or post-processing issues, such as how motion is handled. Or whether Sony’s required computer software processing is better than its prior toy-grade implementation.

Here is what I gather, and I hope I am mistaken about some of these points:

  • The Sony A7R IV makes 16 exposures using pixel shift in various ways to in effect quadruple the number of pixels captured, and with each having full RGB true-color information. In theory, wonderful quality. This is somewhat different than Panasonic S1R, which makes eight (8) exposures. So presumably Sony’s peak quality will be superior.
  • The Sony A7R IV apparently stores sixteen (16) separate files on the camera card, for a whopping gigabyte or more for a single capture. That’s a striking difference in two ways: 16 separate files and a 1000+ megabytes versus the 342MB single raw files of the Panasonic S1R (plus optional single-shot frame)—Sony is a 3X larger hit—a huge nuisance and waste of space and you'd better have a very fast SDXC card.
  • Sony apparently does zero in-camera processing for multi-shot. Compare that to Panasonic which uses sophisticated in-camera processing to produce a single convenient raw file usable immediately in any raw converter.

What’s appears to be unworkable with Sony’s implementation

With those assumptions, here are my concerns, which have many undesirable implications for both capture and processing.

1. Exposure time

Sony’s current pixel shift on the Sony A7R III interposes a minimum 1/2 second delay between exposures (adding 1.5 seconds to the total time required). In the field as a practical matter, this guarantees motion/lighting artifacts resulting in godawful checkerboarding, disgusting me so many times that I gave up on pixel shift on the Sony A7R III. And that is only 4-shot pixel shift! It is why I lauded the Panasonic S1R, which exposes its 8 frames as fast as the exposure time allows and has sophisticated in-camera generation of a single raw file.

The chance of motion/lighting artifacts for 16 vs 8 exposures is in practice not just twice as likely. It is probably 10X higher under so many field conditions. I might be able to time an 8 frame exposure on the Panasonic S1R such that wind or lighting issues are minimized, but it’s drastically harder to do so for twice as long a time—lulls in wind and shifts in lighting are impatient with photographers. Already on the Sony A7R III, 4-frame pixel shift has been proven to be troubled even under ideal conditions.

With sixteen frames instead of four, any delay adds up to a lot of time in terms of subject changes, which includes shadows/lighting as the sun or clouds move!

Even assuming zero inter-frame delay for 16 frames, sixteen exposures is a lengthy duration in which motion artifacts and lighting changes guarantee problems, even under ideal conditions.

Therefore, unless the Sony processing software has exceptionally sophisticated ways of dealing with motion/lighting artifacts that are far superior to the Panasonic S1R, I see no hope for field use.

Checkerboarding with moving water
f6.3 @ 1/160 sec PixelShift, ISO 100; 2019-07-10 19:05:37
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical
Checkerboarding with moving water
f6.3 @ 1/160 sec PixelShift, ISO 100; 2019-07-10 19:05:37
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical

2. Lack of in-camera processing, no raw file, huge file count

Sony’s 4-frame pixel shift on the Sony A7R III is a huge hassle: if I want to delete the single capture, I have to delete 4 separate files one-by-one. With 16-shot mode, will I have to delete 16 frames one-by-one?

Storage needs are problematic. With the Panasonic S1R, 324MB finished raw files on the Panasonic S1R are one thing, but 1000+ megabytes scattered across 16 separate files is quite another.

Perhaps 120 images on a 128GB card = buy a pocketful of expensive storage cards—fast SDXC UHS-II cards are not cheap, and that speed is important.

Because there is no in-camera raw file produced as with the Panasonic S1R, there is no way to determine whether the final assembled image is OK in terms of focus and depth of fieldthis cannot be done satisfactorily at normal resolution but that’s all the A7R IV has—16 separate images at standard resolution.

I know this from extensive field experience with the Panasonic S1R that I have to be able to check the full resolution multi-shot image. With the S1R, the shot discipline demands are the hardest of anything I have ever done with any camera, and the Sony A7R IV increases that substantially over the S1R (16% more resolution, linearly). Yet Sony defeats any ability to verify the essentials of focus and depth of field, by not providing any high-res image in-camera.

3. Workflow

Not being able to review the full resolution image in camera as with the Panasonic S1R is a very serious field-usage flaw with the Sony A7R IV, bad enough on its own.

But consider that Sony’s solution is to require usage of Sony imaging software. That’s a serious headache for workflow, versus just importing into Lightroom or Photoshop. And it might be iterative, meaning, do and redo and redo and redo in the Sony software with various parameters to fix artifacts. Assuming it even can.

In the best case Sony’s imaging software will perform brilliantly and using all CPU cores and GPU power, with sophisticated handling of motion/lighting artifacts accruing from field use. I am not feeling hopeful on any of those points.

It’s also possible that Adobe could do something useful, but that never happened for 4-shot pixel shift, so it seems doubtful.


Upgrade the memory of your 2019 iMac up to 128GB

Reader Question: Zeiss Otus vs Voigtlander APO Lenses for Sony 16-Shot High-Res mode

See my Sony wishlist at B&H Photo.

Stefan I writes:

I’m a long term subscriber and I absolutely appreciate your work. You’ve saved me save money, several times, as your recommendations have been spot-on. The last time I almost bought a Leica 24-90mm SL zoom, planning a transition to the Panasonic S1R, but your well executed review made me reconsider, at the last minute.

I’ve been waiting for the multishot capability to be added to the Sony ecosystem ever since the Sony A7R III came out. For my large gallery prints (2m to 3m wide) there are never enough pixels. Currently I’m doing all sorts of stitching (flat, nodal, mixed) combined with focus stacking or lens tilts / swings. But it’s very time consuming, and I would rather spend my time on composition and light than technicalities.

I have a question: Based on your experience with Panasonic’s multishot implementation, and with all sorts of lenses, will there be a meaningful difference at 200+ true-color megapixels, at f 5.6 / f8, between a Voigtlander FE 65mm f/2 APO and Zeiss Otus 55mm f/1.4 APO-Distagon (or even a Sigma 40mm f/1.4 DG HSM Art for that matter) ? Same thing about the Voigtlander 21mm f/1.4 vs Zeiss Otus 28mm f/1.4 APO-Distagon.

I appreciate the 21mm FOV a lot more than 28mm, but hanging on to my Otus, and lugging it around just for the sake of absolute IQ and resolution. Again, we are talking about optimal shooting conditions: f 5.6 to f8 for all lenses, solid tripod and head, remote etc.

I’m tired of lugging around adapted DSLR bricks, I would really like to trade in my Otuses for Voigtlanders - the 110 APO has already made an excellent impression, but then, again, I haven’t tested any of my lenses on 200MP shots. Your thoughts on this topic would be greatly appreciated. Best regards,

fun88官网: I am more than a little concerned that the Sony 16-shot high-res mode implementation will not be field usable as is the Panasonic Multi-Shot High-Res mode. There are numerous drawbacks in its implementation also.

the Leica 24-90mm f/2.8-4 Vario-Elmarit-SL ASPH OIS was at best a mediocre performer on the Panasonic S1R in multi-shot high-res mode coupled with seriously damaging focus shift—just not a reliable instrument for the purpose. I didn’t publish many results with it, so disappointing was it, which is not to say it’s bad, just that it is way below the results I could get with the primes, or the Leica 16-35mm f/3.5-4.5 Super-Vario-Elmar-SL ASPH.

But to the point: Zeiss Otus lenses did not behave as I expected on the Panasonic S1R. While I was able to achieve high-grade results, field curvature in the outer zones and unexpected focus shift that does not exist on the Nikon D850 caused me some grief. It suggests an interaction with sensor cover glass—high performance lenses can be quite sensitive to relatively small differences in cover glass thickness. Along with the size and weight, this also makes me ponder whether other choices are better.

Accordingly, when I explore the Sony 16-shot high-res mode implementation, I will be paying close attention to how Zeiss Otus lenses behave, and I also intend to test the Voigtlander FE NOKTON 21mm f/1.4 Aspheric, Voigtlander FE MACRO APO-LANTHAR 65mm f/2 APO and Voigtlander FE MACRO APO-LANTHAR 110mm f/2.5. Since they are native-mount and designed fresh for Sony cameras, I expect very high performance. Which is not a statement that color, flare control and other aspects are up to Zeiss Otus levels—just a comment on resolution.

In my view, Zeiss is not taking the mirrorless market seriously: the failure to produce reasonable size/weight lenses for mirrorless with better than Otus-grade performance (quite possible with an f/2 or f/2.8 lens speed) is a strategic mistake IMO, at least if there is any desire to remain relevant. Something half the size of an Otus with Otus+ performance and a stop or even two less speed would be VERY appealing. While the Zeiss Loxia and Zeiss Batis lenses are strong offerings, they can no longer claim to be the best—witness at the least the stellar Sony FE 135mm f/1.8 GM and the Voigtlander FE NOKTON 21mm f/1.4 Aspheric.

CLICK TO VIEW: Sony A7R IV and Highly Recommended Lenses (partial list)

Upgrade Your Mac Memory
At much lower cost than Apple, with more options.
Lloyd recommends 64GB for iMac or Mac Pro for photography/videography.

Fujifilm GFX-100 is Confoundingly Complicated

Get Fujifilm GFX-100 at B&H Photo.

For the first time ever in 11 years of reviewing cameras, I do not feel I can use a camera (GFX-100) without a significant risk of problems/mistakes that would ruin the shoot. The Fujifilm GFX-100 has so many buttons, many tiny, that are easily pressed just by holding or handling the camera, each of which can make a serious change to shooting parameters.

It is the anti-Hasselblad X1D!

As just one example, the front dial was pre-set to change the ISO and it wraps around, making it easy to go from ISO 50 to ISO 32000 without even noticing. Yikes.

Looks like a long read of the manual, which is on par with the average in not really explaining much. It will take hours to sort it all out.

I’m sure I’ll sort it out satisfactorily but there is something badly thought out about the whole idea of so many actively risky buttons sprinkled around the camera in seemingly random positions, all of which one has to actively reprogram or deprogram or at least memorize and remember not to touch. I could not for example figure out how to set aperture priority, meaning that I succeeded eventually, but the logic of how I got there escapes me.

Add in baked-in JPEG-centric settings in the Q menu (totally useless to my raw shooting), and it feels incoherent.

So I am having to methodically go through and deprogram all sorts of things. It's a tedious unnecessary task had it been designed better. The Fujifilm GFX-50S did not have this issue. I don't see this design helping anyone; it's cognitive and haptic overload to make use of all the buttons.

Fujifilm GFX-100 rear view showing most of the numerous buttons

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

A Big Thank You to Those Who Took Action in Response to Last Night’s Email + Reducing Ad Clutter

I’ve long desired to reduce the ad clutter on this site. Note that since subscriber pages have few to no ads* , we’re talking almost entirely about this blog, which is free to all.

Last night I sent an email titled “request from Lloyd Chambers at www.xiaoduboke.com, plus 🔥 Sony A7R IV ordering” to all subscribers.

My appreciation and big thank you to those who responded, and especially to those who purchased the Sony A7R IV. B&H tells me it was a 4-year best sales day—the test worked beautifully. I did that test for a reason!

* A very few subscriber pages have products shown as a convenience out of the way at the very end of the page after all the review content. Out of the way, but handy..

Win-Win-Win

Contact me with feedback.

Would you partner with me to reduce ad clutter by accepting just a few promotional emails? Emails that you act on—clicking through at least, and buying when the product matches plans*.

I’m talking about once or twice a month (on average), with emails especially targeting the release of significant and desirable new products—curated stuff I choose by hand. And/or products that I have found personally excellent and valuable.

Here’s why accepting a few promotional emails can be a win for you, me, and B&H Photo:

  • Reducing ad presence helps readers and subscribers because I can spend more time publishing content, since I would spend less time dealing with ads.
  • Reduced ad presence is a better experience for all.
  • B&H has generously loaned me gear for over a decade now—more important than ever given the huge costs of the latest gear. Prioritized loaners are critical to me covering the gear you all want to hear about. B&H deserves your patronage.

If I can rely on some level of purchasing through these occasional promotional emails, then ads for B&H Photo can take a back seat. Regular blog readers who are not subscribers would be encouraged to join the list.

I would offer some level of control over the emails (on or off to start), but who would want to decline while enjoying the benefits when the vast majority of subscribers are partnering to make the experience better for all?

For now, the OWC (MacSales.com) ads are critical and I am not in a position to make changes there, but the same model might be possible—TBD. My ultimate goal is fewer ads, more content front and center.

* B&H Photo ships overseas, but I realize that some overseas subscribers don’t find this convenient in many countries (customs clearance in particular). Still, just by clicking through and at least considering it, overseas readers can contribute to the benefit of having fewer ads.

EASY and FAST way to steer towards fewer ads

Buy using www.xiaoduboke.com links/ads as follows:

1. Go to www.xiaoduboke.com
2. Click through any link or ad to B&H Photo (or OWC).

- One click-through on any link to B&H attributes sales to www.xiaoduboke.com in that browser session. - No need to click through over and over, unless you quit the browser.
- High-priced items count the most, as total dollar amount is the most important metric.
- click-throughs even without purchase show interest too!
- Does NOT work: adding yourself to a B&H mailing list, and ordering through email link in email from B&H. Love

Thunderbolt Cables
Red or green or blue or black!


Sony A7R IV Takes the Floor

I am sure Sony planned the Sony A7R IV announcement for my drive home from Yosemite followed by my dentist visit for four new front crowns—busy day yesterday! Sony must have an 'in' with someone in Scott’s Simulation.

It’s nice to have real teeth again (six were broken during my Dec 30 bike crash).

I will have a lot to say about the Sony A7R IV in coming days and in my in-depth review. There is much to like, and yet the most important feature of the Sony A7R IV (for me) looks to be dead on arrival for practical use.

Sony A7R IV

I can’t foresee any company overtaking Sony at this point. Mirrorless is Sony. Sony is mirrorless. All the other me-too'ers are there to keep the Sony juggernaut going via a competitive pressure. Sony dominates the sensor business too. Fujifilm has wisely staked out the medium format area with Hasselblad a distant second. The DSLR is dead.

Meanwhile, the Fujifilm GFX-100 is here and I have a backlog on Canon EOS R and the Voigtlander FE NOKTON 21mm f/1.4 Aspheric. I will interleave coverage of the two latter items into my coverage of the GFX-100.

How much better will medium format have to be to beat the advancing 35mm state of the art? Perhaps a multi-shot high-res mode on the Fujifilm GFX-100 with a firmware update?

Sony A7R IV — high demand, pre-order for priority

Due to ship on September 12, we’re 8 weeks away from when I can start reviewing.

Demand 🔥 is likely to be high, pre-order the Sony A7R IV ASAP.

CLICK TO VIEW: Sony A7R IV and Highly Recommended Lenses (partial list)

Help me help you

I need your help.

B&H Photo has generously loaned gear to me for over a decade. Loaner gear is critical to my reviews. But B&H needs something in return: sales originating from www.xiaoduboke.com.

When sales from www.xiaoduboke.com fall off, I must divert time to ads/promotion, which takes time away from my review coverage and blog. Such as this afternoon, when I would have much preferred writing all about the new Sony A7R IV.

I don't like too many ads—they clutter things and distract. If readers can make a habit of buying through links to B&H Photo, over time I hope to reduce the clutter.

EASY and FAST way to help me and you: buy using www.xiaoduboke.com links/ads

1. Go to www.xiaoduboke.com
2. Click through any link or ad to B&H Photo (or OWC).

- One click-through on any link to B&H attributes sales to www.xiaoduboke.com in that browser session. - No need to click through over and over, unless you quit the browser.
- High-priced items count the most, as total dollar amount is the most important metric.
- click-throughs even without purchase show interest too!
- Does NOT work: adding yourself to a B&H mailing list, and ordering through email link in email from B&H. Love

Amazon for other stuff? Bookmark https://www.amazon.com/?tag=fun88官网-20

Thanks!


Deals Updated Daily at B&H Photo

Awesome Deal on Fully Loaded Mid 2018 MacBook Pro — Save $2100

This is the machine I would have lusted over for myself until a few months ago. Well, it doesn’t have the Vega 16 or Vega 20 GPU, but I discount the GPU as of much value for my work. The internal 4TB SSD solves all sorts of travel headaches for storage.

MacBook Pro 15-inch 2.9 GHz Intel-Core i9 six core, 32GB memory, 4TB SSD, Radeon Pro 560X

There is a newer model now, the key difference being that the 2019 model has a 2.4 GHz 8-core versus the 2.9 GHz six-core CPU.

CLICK TO VIEW: Terrific deal on Loaded 2018 MacBook Pro

Thunderbolt Cables
Red or green or blue or black!


Lundy Canyon Resident Beaver Made it Through Winter + Sow and Cub (black bear)

I’ll be home tomorrow with a bunch of material—I got enough and enough variety in spite of being laid low by a back problem for 3 days—can hike again now.

The resident beaver (there are others up and down too) made it through the winter.

I saw a nice healthy sow (female bear) as I drove in at dusk... she stood up on hind legs to check me out when I got out of the car. A beautiful orange colored black bear (not black at all). Coloration looked more like a grizzly than a black bear but fortunately there are only black bears in California.

A bit later while driving out, I spotted a furball of a bear cub. I decided not to photography there that evening, not so much because I was worried about safety for myself, but I prefer the windows and doors on intact rather than lying on the ground torn away. I would advise anyone visiting Lundy Canyon to take appropriate precautions because sooner or later bears discover what an ice chest means. There are no bear boxes at the Lundy Canyon trailhead.

Kudos to Canon’s superb focusing in low light. The Canon EOS R just nails it and the Canon RF 85mm f/1.2L is everything I might hope for in a lens.

1296 | 2592 | 4320
f1.2 @ 1/80 sec, ISO 50; 2019-07-15 19:57:19
Canon EOS R + Canon RF 85mm f/1.2L USM

The tweaked back was OK 4 days later.

1296 | 2592 | 4320
f1.8 @ 1/2200 sec, ISO 20; 2019-07-10 18:12:12 [altitude 7381 ft / 2250 m]
iPhone 7 Plus + iPhone 7 Plus 4.0 mm f/1.8
Nikon NIKKOR Z 85mm f/1.8 S

NEW! Please pre-order through this ad....

Portrait lens for Nikon Z6/Z7 mirrorless.
√ B&H Photo PAYS THE SALES TAX FOR YOU More info...

Three Canon EF 200mm f/1.8L USM Aperture Series: Lee Vining Creek Through Meadow + Young Pine Amid Its Ancestors + Mt Dana, Earth Shadow Rising (Canon 5Ds R)

This series looks at far distance performance of the Canon EF 200mm f/1.8L USM.

The 200/1.8L ceased production around the time DSLRs emerged. Its predecessor, the Canon EF 200mm f/2L IS USM, is 1/3 stop slower and might have better performance in various ways.

So how does the 200/1.8L hold up at 50 megapixels, a challenge never envisioned when the lens was designed?

Canon EF 200mm f/1.8L USM Aperture Series: Lee Vining Creek Through Meadow

Canon EF 200mm f/1.8L USM Aperture Series: Young Pine Amid Its Ancestors

Canon EF 200mm f/1.8L USM Aperture Series: Mt Dana, Earth Shadow Rising

Includes images up to full camera resolution.

1296 | 2592 | 4320
f1.8 @ 1/200 sec, ISO 100; 2019-07-12 18:49:31
[location “Lee Vining Creek”, altitude 9500 ft / 2896 m, 60°F / 15°C, Enhance Details, LACA corrected]
Canon EOS 5DS R + Canon EF 200mm f/1.8L USM
1296 | 2592 | 4320
f2.8 @ 1/6 sec, ISO 50; 2019-07-12 19:54:28
[location “Mt Dana from Saddlebag Lake area”, altitude 10000 ft / 3048 m, 60°F / 15°C, LACA corrected, Enhance Details, USM{8,50,0}]
Canon EOS 5DS R + Canon EF 200mm f/1.8L USM
1296 | 2592 | 4320
f4 @ 1/25 sec, ISO 100; 2019-07-12 19:08:27
[location “Saddlebag Lake area”, altitude 9950 ft / 3033 m, 60°F / 15°C, Enhance Details, LACA corrected]
Canon EOS 5DS R + Canon EF 200mm f/1.8L USM
Protect Your Phone
NuGard KX Case for iPhones and iPads.
Outstanding protection against drops and impact!
Plus, excellent grip for wet hands, cycling, etc.

Snow Levels in Sierra Nevada Appear to Be a Record

With a quite cool May and June and heavy dumps of snow in May, the winter of 2018/2019 might not have brought record snowfall, but to all appearances the July snowpack is the greatest I’ve ever seen it. Below is Mt Dana, still with a hefty covering of snow.

I had planned to hike Glacier Canyon (the canyon at left of this image) today, but a sciatica-like reaction following a long and late hike has been very painful and left me unable to ponder hiking more than a few hundred yards at best. Things just seized up in my lower left back, perhaps no surprise given ongoing issues with it. I’m not looking forward to carrying the Fujifilm GFX-100 around. [Update July 14: as far as I can tell, super tight muscle/tendons are key aspects one of the side effects lingering from antiobiotic use in March/April, so I did two things to address the tightness (cycling and muscle relaxant) and am back to baseline and can walk around again]

1296 | 2592 | 4320 | 6000
f5.6 @ 0.6 sec, ISO 50; 2019-07-12 19:54:41
[location “Mt Dana seen from Saddlebag Lake area”, altitude 9960 ft / 3036 m, 60°F / 15°C, LACA corrected]
Canon EOS 5DS R + Canon EF 200mm f/1.8L USM

Deals Updated Daily at B&H Photo

Canon RF 85mm f/1.2L Aperture Series: Lingering July Ice on Exfoliating Granite (Canon EOS R)

This series evaluates the Canon RF 85mm f/1.2L at far distance on the 30-megapixel Canon EOS R, looking for sharpness, field curvature, color correction.

Canon RF 85mm f/1.2L Lingering July Ice on Exfoliating Granite

Includes images up to full camera resolution from f/1.2 to f/5.6.

1296 | 2592 | 4320
f1.2 @ 1/8000 sec, ISO 100; 2019-07-11 19:50:21
[location “Tenaya Canyon”, altitude 7400 ft / 2256 m, 70°F / 21°C, Enhance Details, polarizer=Zeiss, vignetting corrected]
Canon EOS R + Canon RF 85mm f/1.2L USM

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

Canon RF 85mm f/1.2L: Evaluating White Balance and Tint When Stopping Down

With most if not all f/1.2 and f/1.4 lenses, there can be a significant shift in color when stopping down. The effect can vary with the sensor/camera, being particularly noticeable with the Nikon D850 for example. See the three examples in my review of the Sigma 105mm f/1.4 DG HSM Art.

This page looks at white balance and tint shifts from f/1.2 through f/5.6 with the Canon RF 85mm f/1.2L.

Canon RF 85mm f/1.2L White Balance and Tint Across Apertures

These white balance and tint results differ substantially from the results show in Canon EOS R White Balance and Tint in Adobe Camera Raw. In that article, I noted a “whacky white balance and tint”. It appears that Adobe fixed a bug.

CLICK TO VIEW: Highly Recommended Canon mirrorless


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

Reader Comment: Zeiss Loxia 21/2.4 and Voigtlander FE 21/1.4:

Sebastian TR writes:

Voigtlander FE 21mm f/1.4 Aspherical

Just wanted to say, have really been enjoying your mirrorless lens comparisons of late - in particular the Sony FE mount - absolutely fantastic resource you have built up (and are building up!).

I originally used your article a year ago before a trip to Japan to help purchase the Zeiss Loxa 21/2.4 and it has been spectacular - really pleased with the decision helped by your article! :)

Just reading about this new Voigtlander - seems to be getting quite a few well received reviews! After this particular comparison, just a couple of questions:

1) Have heard a fair bit about sample variation on Loxias in addition to field curvature effecting things - assume your copy is good / still the same from the original review? Also if due to the field curvature on the loxia - assume this explains why it's not performing as good with this "oblique" perspective / focus point? ( although left @ 2.8 seems to be quite different on the lox

2)The loxia shots look to be taken with a bit less available light / reflective ambient light - just wondering if that could make a difference in lens performance , and explain part of the difference ? Also noticing on the right side (the sandstone bricks) seem to have a bit better highlight rolloff on the Zeiss 21 - wondering if that is a colour rendering thing or again the ambient light changing shifting tone?

3) Would love to see / get your thoughts on how the Loxia compares to the Voigtlander in regards to chromatic aberration , colour control and flare?* *(often use the Loxia for film work as well as photography - so these elements are just as important as resolution / micro contrast to me :)

Zeiss Loxia 21mm f/2.8

Sorry for the long read ! - just really interested & yet have been very happy with the loxia 21 ! I still wish Zeiss would bring out a premium FE / Mirrorless line - perhaps APO 1.8 / 2.0 high performance yet fairly compact primes... one can dream eh! :)

Thanks again & keep up the fantastic work !

fun88官网: I have seen no sample issues with any Zeiss Loxia lenses—highly unusual. However, there is always some variation and no process is perfect.

Lighting with comparisons vs evaluation: I always take this into account and I specifically address field curvature in my MemChu oblique comparison.

All wide angles have some field curvature. Frequently it is pveripheral forward field curvature for wide angle lenses but it can be the reverse, or wave-type field curvature (more common in fast lenses).

I’ll bea addressing these questions above more as I shoot in the field—I’m in the Eastern Sierra as I write this.


MacPerformanceGuide.com

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

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

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

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

Dr S, this is NOT a rig for you.

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

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

CLICK TO VIEW: Highly Recommended Canon mirrorless


SATA, USB3, Thunderbolt, internal upgrades and PCIe SSD options for Mac or PC.
View All OWC SSDs...

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

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

In fun88官网 Mirrorless:

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

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

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

CLICK TO VIEW: Highly Recommended Voigtlander Lenses for Sony Mirrorless

1296 | 2592 | 4320
f2 @ 4.0 sec, ISO 50; 2019-07-03 21:30:21
[push 0.33 stops, Enhance Details, +40 shadows, LACA corrected, -37 highlights]
Sony A7R III + Voigtlander FE NOKTON 21mm f/1.4 Aspherical
OWC Thunderbolt 3 Dock
Ideal for any Mac with Thunderbolt 3


Dual Thunderbolt 3 ports
USB 3 • USB-C
Gigabit Ethernet
5K and 4K display support plus Mini Display Port
Analog sound in/out and Optical sound out

Works on any Mac with Thunderbolt 3

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

Dr S writes:

Panasonic S1R

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

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

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

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

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

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

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

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

CLICK TO VIEW: Panasonic S1R and S1 and Lenses


SATA, USB3, Thunderbolt, internal upgrades and PCIe SSD options for Mac or PC.
View All OWC SSDs...

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

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

In fun88官网 Mirrorless:

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

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

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

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

CLICK TO VIEW: Highly Recommended Voigtlander

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

Upgrade the memory of your 2019 iMac up to 128GB

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

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

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

In fun88官网 Mirrorless:

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

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

Yes, you do want this lens, right now!

Voigtlander 21mm f/1.4 Aspherical about $1199

1296 | 2592 | 5112
f2.8 @ 1/400 sec, ISO 50; 2019-07-03 19:48:40 [Enhance Details, LACA corrected]
Sony A7R III + Voigtlander NOKTON 21mm F1.4 Aspherical
OWC Thunderbolt 3 Dock
Ideal for any Mac with Thunderbolt 3


Dual Thunderbolt 3 ports
USB 3 • USB-C
Gigabit Ethernet
5K and 4K display support plus Mini Display Port
Analog sound in/out and Optical sound out

Works on any Mac with Thunderbolt 3

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

Brian S writes:

Leica 180mm f/2.8 APO-Elmarit-R

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

It's so fun to shoot with now.

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

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

fun88官网: Yay!

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

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

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

Fast and cost effective way to backup!

Life, Liberty and the Pursuit of Happiness

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

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

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

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

MacPerformanceGuide.com

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

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

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

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

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

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

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

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


Backup, RAID, optimizing performance, workflow.

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

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

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

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

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

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

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

CLICK TO VIEW: Panasonic S1R System and Recommended Lenses

CLICK TO VIEW: Medium Format at 35mm Prices

Gordon S writes:

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

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

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

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

Thunderbolt Cables
Red or green or blue or black!


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

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

Cineo Matchbox LED remote phosphor lighting

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

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

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

CLICK TO VIEW: Cineo Matchbox stuff

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

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

The new Cineo Lightblade

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

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

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

Cineo Lightblade remote phosphor lights in 1 or 2 or 4 blade configurations, 2 feet or 4 feet long
Organic Lab Tested Full Spectrum CBD

20% off every day with coupon code fun88官网20 at NuLeafNaturals.com

100% organic non-GMO, no additives or preservatives, lab tested for purity and quality.

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

James K writes:

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

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

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

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

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

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

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

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

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

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

OWC Easy SSD Upgrade Guide
MacBook Pro and MacBook Air
iMac, Mac Pro, MacMini, more!

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

See my Mac wish list.

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

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

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

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

CLICK TO VIEW: Voigtlander Nokton Lenses for Sony FE


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

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

See my Mac wish list.

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

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

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

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

Smile, an save a ton of money with these deals!

CLICK TO VIEW: Terrific Value Macs

Hard drives or SSD.

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

Get Panasonic S1R at B&H Photo.

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

In fun88官网 L-Mount Mirrorless:

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

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

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

Reader Comment: How Much Resolution is Enough?

Chris R writes:

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

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

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

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

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

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

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

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

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

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

See also: Photographic Film Really Was Not Much of a Performer.

Eric B writes:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Emil B writes:

Your points about the overall decrease in need for photographic prints and increase in viewing images on a monitor are well taken.

As a photorealist painter, a few years back I have given up on using photographic prints as references for my painting and have switched to the use of an iPad.

The only time I resort to printing is if a gallery requests to view my print portfolio. At a local society of artists I exhibit along with photographers who continue to show prints as their end product. In world class galleries in San Francisco and Carmel photographic prints continue to be offered for sale. Cultural, technological and economic factors seem to have dramatically reduced interest in purchases of both photographic prints and paintings.

In view of your statement about the irrelevance of prints, how do see the future of photography as a fine art?

fun88官网: the medium does not take away the art, at least for photography. That would confuse vision and persuasion and insight of the artist with the means of presentation.

While certain photographers have for historical reasons become associated with the physical aspects of their work (e.g., Ansel Adams lengendary printing skills), that is not an essential attribute of a fine composition. I was unimpressed (actually disapponted) with Adam's prints I saw in the Adams family house when I visited— an iMac 5K with the contrast and tonal range that Adams could ony dream about woud be better—maybe his work can be retargeted for modern digital displays? Displays will only get larger/better with more pixels for more photorealism? See iMac 5K for Stunning Black and White Images.

Unlike inherently 3D art (e.g. sculpture), photography is 3D rendered as 2D with perceptual tricks to imply 3D. The medium matters little for photography except insofar as it adds some particular characteristic unobtainable otherwise (e.g., platinum printing) or some other sense like touch or smell or hearing—but I don’t touch or smell or hear my prints, and most everyone smothers prints under glass (adding a veil if not outright reflections). The wonderful physically sensual texture of a very fine rag paper is... not touchable upon display! Bastions of art (museums and such) disallow direct contact. Of what merit then is anything but the presentation that best persuades the visual cortex?


Deals Updated Daily at B&H Photo

Recommended: Medium Format Magazine

I write for —great articles and highly recommended.

If you’re shooting medium format, there is a lot of perspective to read with no other publication like it out there. ASAP!

                 
Medium Format Magazine Covers
Hard drives or SSD.

Reader Comment: Lens Adaptability, Lens Adapters

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

Chris R writes:

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

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

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

Flange focal distance

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

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

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

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

Electronics

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

Lens support

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

Physical

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

Optics and sensor cover glass

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

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

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


Deals Updated Daily at B&H Photo

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

brings together experts with those needing the expertise.

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

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

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


Getting started

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

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

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

Areas of expertise

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

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

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

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

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

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

Imagine your body working at its best!

3D Bike Fit

Kevin Bailey, 3DBikeFit.com (San Francisco)

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

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

 

 

 

 

 

Rikki Johansen

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

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

and .

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

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

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

 

 

 


Dee Sickles, MMT, LMT

Dee Sickles, MMT, LMT (Flagstaff, AZ)

See .

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

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

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

Reader comments below

anon writes:

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

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

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

fun88官网: nice outcome.

Mark N writes:

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

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

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

Apple iPhone 7
Only $799 $295


MN9H2LL/A (USA/Global Unlocked)
Used, Mint Condition, Factory Unlocked

Life Gives the Tests Before the Lessons

So many years have passed.

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

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

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

1200 | 2400 | 3912
Degree

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

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

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

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

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

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

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

Deals Not to Be Missed: OWC Sizzling Firecracker Savings

Got an enclosure or computer that can take a 2.5-inch SSD? Dang, 4TB SSD for about $348 is pretty amazing.

My kids are always breaking Lightning cables, so get some at half off.

Check out these other July 4 deals with some great savings.

Hurry, some deals are very limited quantities.

Click through for pricing, might not be up to date here.

CLICK TO VIEW: Independence Day OWC Sizzling Firecracker Savings

OWC Thunderbolt 3 Dock
Ideal for any Mac with Thunderbolt 3


Dual Thunderbolt 3 ports
USB 3 • USB-C
Gigabit Ethernet
5K and 4K display support plus Mini Display Port
Analog sound in/out and Optical sound out

Works on any Mac with Thunderbolt 3

TESTED: OWC Mercury Envoy Pro EX 2TB USB-C SSD: Awesomely Fast! Great Choice for Photographers on the Go and More!

MPG tested the about $430 2TB Envoy pro EX USB-C, sku OWCENVPROC2N20. Available in 0GB, 250GB, 500GB, 1TB, 2TB models.

OWC Mercury Envoy Pro EX USB-C SSD

What a difference a few years make. The USB-A was respectably fast, but the 2019 OWC Envoy Pro EX USB-C SSD races past it and every other USB SSD that MPG has yet tested.

What adds unusual appeal to the OWC Envoy Pro EX USB-C SSD? The combination of relatively compact size and light weight with durability, no driver needed, bus power and insanely fast speed for a device of this type.

√ Highly recommended!

 

Thunderbolt Cables
Red or green or blue or black!


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

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

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

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

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

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

MacPerformanceGuide.com

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

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

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

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

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

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

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

Blazingly fast USB-C SSD!

Up to 2TB capacity, USB-C compatible with Thunderbolt 3.

√ Fastest USB drive MPG has tested!

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

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

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

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

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

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

In fun88官网 Zeiss:

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

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

f1.4 @ 1/1600 sec, ISO 31; 2019-06-28 17:42:18
NIKON D850 + Zeiss Otus 100mm f/1.4 APO-Sonnar

Upgrade the memory of your 2019 iMac up to 128GB

Leica 75mm f/2 APO-Summicron-SL Aperture Series: Painted Rock (Panasonic S1R Multi-Shot High-Res Mode)

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

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

In fun88官网 L-Mount Mirrorless:

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

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

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

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

MacPerformanceGuide.com

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

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

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

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

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

In fun88官网 L-Mount Mirrorless:

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

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

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

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


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

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

Get Zeiss Otus at B&H Photo.

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

In fun88官网 Zeiss DSLR Lenses:

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

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

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

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

Deals Updated Daily at B&H Photo

Computational Photography: PhaseOne Introduces Automated Frame Averaging

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

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

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

It looks like PhaseOne has done it right.

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

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

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

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

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

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

 


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

Fujifilm GFX-100: Review Coming Soon

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

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

...

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

Fujifilm GFX-100

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

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

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

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

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

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

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

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

CLICK TO VIEW: Fujifilm Medium Format

Fujifilm GFX-100
Fujifilm GFX-100

James K writes:

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

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

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

Jason W writes:

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

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

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


MacPerformanceGuide.com

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

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

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

In fun88官网 Mirrorless:

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

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

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

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

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

SATA, USB3, Thunderbolt, internal upgrades and PCIe SSD options for Mac or PC.
View All OWC SSDs...

An 8TB Hyper Fast SSD. Best Drive Ever For Me

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

You can spend $2000 going to a 4TB internal SSD in some Macs. Or you can spend $2679 on an 8TB Thunderbolt 3 SSD which is not quite as fast but won’t matter in the slightest and it has twice the capacity!

Use it on one machine, or move it between machines, or shovel stuff onto it between sites or on the road. And, being external, it carries forward to your next Mac! Copying is so fast it can change the way you think about storing and moving data around.

This is my all time favorite storage device—period. Spinners (hard drives) begone, except for backups! And... the Thunderblade is 100% silent.

  • Up to 2800MB/s Read & 2450MB/s Write
  • Daisy chain up to 6 Thunderbolt 3 devices
  • Rugged portability in a sleek design
  • Includes a custom-fit ballistic hard-shell case
  • 3 Year OWC Limited Warranty
OWC Thunderblade 8TB SSD only $2679
Hard drives or SSD.

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

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

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

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f5.6 @ 1/6 sec, ISO 31; 2019-06-19 20:30:52
[distortion corrected, LACA corrected, Enhance Details]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm
OWC Thunderblade Thunderbolt 3 SSD
Gen 2!

Blazing fast, 1TB, 2TB, 4TB, 8TB.

Lloyd’s all-time favorite SSD!

√ No more slow and noisy hard drives!

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

See my Nikon mirrorless wishlist.

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

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

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

CLICK TO VIEW: Top Notch Gear for Canon Mirrorless


Upgrade the memory of your 2019 iMac up to 128GB

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

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

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

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

In fun88官网 Mirrorless:

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

Includes images up to full camera resolution.

Toggle for black and white.

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

Upgrade the memory of your 2019 iMac up to 128GB

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

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

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

In fun88官网 Mirrorless:

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

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

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

Upgrade the memory of your 2019 iMac up to 128GB

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

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

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

In fun88官网 Mirrorless:

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

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

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

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

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

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

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

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f4 @ 5.0 sec, ISO 31; 2019-06-19 20:52:20
[distortion corrected, LACA corrected, Enhance Details, +100 shadows, -100 highlights, push 1.95 stops]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 15.5mm

Upgrade the memory of your 2019 iMac up to 128GB

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

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

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f4 @ 0.5 sec, ISO 31; 2019-06-19 20:47:38
[distortion corrected, LACA corrected, Enhance Details]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm
Sigma 70mm f/2.8 DG Macro Art

$100 /17% off!

Recommended by Lloyd...
'sleeper' lens with top notch optical quality!


For Sony mirrorless.
√ B&H Photo PAYS THE SALES TAX FOR YOU More info...

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

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

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f6.3 @ 13.0 sec, ISO 31; 2019-06-19 20:58:52
[distortion corrected, +60 shadows, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 24mm
OWC Thunderblade Thunderbolt 3 SSD
Gen 2!

Blazing fast, 1TB, 2TB, 4TB, 8TB.

Lloyd’s all-time favorite SSD!

√ No more slow and noisy hard drives!

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

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

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f5.6 @ 1/6 sec, ISO 31; 2019-06-19 20:22:40
[distortion corrected, LACA corrected, Enhance Details]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 23mm

Our trusted photo rental store

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

See my Nikon mirrorless wishlist.

Top notch gear for Nikon below.

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

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

CLICK TO VIEW: Top Notch Gear for Nikon Z7

 


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

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

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

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

In fun88官网 Mirrorless:

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

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

f8 @ 1/10 sec IS=off, ISO 31; 2019-06-19 20:15:33
[distortion corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 19.5mm
Sigma 70mm f/2.8 DG Macro Art

$100 /17% off!

Recommended by Lloyd...
'sleeper' lens with top notch optical quality!


For Sony mirrorless.
√ B&H Photo PAYS THE SALES TAX FOR YOU More info...

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

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

More about the 2019 iMac 5K.

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

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

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

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

CLICK TO VIEW: Computing


MacPerformanceGuide.com

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

Get L-Mount lenses at B&H Photo.

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

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

In fun88官网 L-Mount Mirrorless:

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

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

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

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

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

Get L-Mount lenses at B&H Photo.

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

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

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

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


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

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

Get L-Mount lenses at B&H Photo.

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

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

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

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

(Gear Acquisition Syndrome)

Leica 75mm f/2 APO-Summicron-SL Focus Stacking in Multi-Shot High-Res Mode, Plus HighRes Exmples (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

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

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

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

Best Deals, Updated Weekly

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

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

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

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

Get L-Mount lenses at B&H Photo.

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

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

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

Concerns about Leica SL lenses

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

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

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

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

Sigma 70mm f/2.8 DG Macro Art

$100 /17% off!

Recommended by Lloyd...
'sleeper' lens with top notch optical quality!


For Sony mirrorless.
√ B&H Photo PAYS THE SALES TAX FOR YOU More info...

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

Get L-Mount lenses at B&H Photo.

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

In fun88官网 L-Mount Mirrorless:

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

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

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

Jason W writes:

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

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

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

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

Zeiss Loxia for Sony Mirrorless
$1349 SAVE $150 = 10.0% ZEISS 21mm f/2.8 Loxia in Lenses: Mirrorless
$1169 SAVE $130 = 10.0% ZEISS 25mm f/2.4 Loxia in Lenses: Mirrorless
$1169 SAVE $130 = 10.0% ZEISS 35mm f/2 Loxia in Lenses: Mirrorless
$837 SAVE $112 = 11.0% ZEISS 50mm f/2 Loxia in Lenses: Mirrorless
$1259 SAVE $140 = 10.0% ZEISS 85mm f/2.4 Loxia in Lenses: Mirrorless

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

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

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

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

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

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

Computational photography with Multi-Shot High-Res Mode

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

Latest thoughts

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

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

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

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

* Either, or, all.

See my April 25 post for more thoughts.

Claude F writes:

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

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

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

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

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

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

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

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

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

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

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

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

In fun88官网 Mirrorless:

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

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

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

Backup, RAID, optimizing performance, workflow.

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

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

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

In fun88官网 Mirrorless:

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

Includes images up to full camera resolution.

I also look at flare shot towards the sun:

Sony 135mm f/1.8 GM Examples: Flare

1296 | 2592 | 4320
f8 @ 2.0 sec IS=off, ISO 50; 2019-06-08 20:24:55
[location “Hwy 120 near Mono Craters”, altitude 7600 ft / 2316 m, 58°F / 14°C, LACA corrected, Enhance Details]
Sony A7R III + Sony FE 135mm f/1.8 GM
Apple 15-inch MacBook Pro
Only $4199 $2299

16GB / 2TB SSD / 2.9GHz / 4GB GPU

Apple Refurbished, Factory Sealed
Apple 1 Year Limited Warranty

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

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

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f4 @ 1/15 sec, ISO 31; 2019-06-19 20:17:13
[distortion corrected, LACA corrected, Enhance Details]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 30mm
Fast and cost effective way to backup!

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

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

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

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

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

In fun88官网 Mirrorless:

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

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

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

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

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

1296 | 2592 | 4320
Distortion (uncorrected) at 14mm for Nikon NIKKOR Z 14-30mm f/4 S
f5.6 @ 1/5 sec, ISO 31; 2019-06-19 20:27:10 [LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm
Lloyd’s Sony Mirrorless Wishlist
Hand-picked items for Sony.

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

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

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f5.6 @ 1/5 sec, ISO 31; 2019-06-19 20:27:10
[distortion corrected, LACA corrected, Enhance Details]
NIKON Z7 + Nikon NIKKOR Z 14-30mm f/4 S @ 14mm

Upgrade the memory of your 2019 iMac up to 128GB

Nikon NIKKOR Z 14-30mm f/4 S Aperture Series @ 14mm: Three Paths at Night (Nikon Z7)

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

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

In fun88官网 Mirrorless:

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

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

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

Upgrade the memory of your 2019 iMac up to 128GB

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

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

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

From lenspire.zeiss.com, February 2016.

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

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

All Lenspire articles by Lloyd.

Below, one of serveral videos from that article.

Video: Introduction to focus and related issues


Best Deals, Updated Weekly

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

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

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

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

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

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

Hard drives or SSD.

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

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

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

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

In fun88官网 Mirrorless:

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

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

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

$100 /17% off!

Recommended by Lloyd...
'sleeper' lens with top notch optical quality!


For Sony mirrorless.
√ B&H Photo PAYS THE SALES TAX FOR YOU More info...

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

Get Hasselblad medium format at B&H Photo.

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

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

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

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

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

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

Hasselblad X1D II 50C, rear

X1D II 50C – AN EVOLVED MEDIUM FORMAT PHOTOGRAPHY EXPERIENCE

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

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

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

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

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

Hasselblad X1D II 50C, top
Hasselblad X1D II 50C, front
Hasselblad X1D II 50C, front oblique
Zeiss Loxia for Sony Mirrorless
$1349 SAVE $150 = 10.0% ZEISS 21mm f/2.8 Loxia in Lenses: Mirrorless
$1169 SAVE $130 = 10.0% ZEISS 25mm f/2.4 Loxia in Lenses: Mirrorless
$1169 SAVE $130 = 10.0% ZEISS 35mm f/2 Loxia in Lenses: Mirrorless
$837 SAVE $112 = 11.0% ZEISS 50mm f/2 Loxia in Lenses: Mirrorless
$1259 SAVE $140 = 10.0% ZEISS 85mm f/2.4 Loxia in Lenses: Mirrorless

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

Get Hasselblad medium format at B&H Photo.

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

Hasselblad CFV II 50C digital back on Hasselblad 907X

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

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

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

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

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

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

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

Our trusted photo rental store

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

Get Hasselblad medium format at B&H Photo.

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

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

Hasselblad XCD 35-75mm f/3.5-4.5

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

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

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

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

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

Hasselblad XCD 35-75mm f/3.5-4.5
OWC Thunderblade Thunderbolt 3 SSD
Gen 2!

Blazing fast, 1TB, 2TB, 4TB, 8TB.

Lloyd’s all-time favorite SSD!

√ No more slow and noisy hard drives!

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 24mm: Bonsai View Down Lundy Canyon (Nikon Z7)

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

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

In fun88官网 Mirrorless:

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

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

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

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

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

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

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f6.3 @ 20.0 sec IS=off, ISO 100; 2019-06-07 20:43:19
[location “Mono Craters”, altitude 7600 ft / 2316 m, 60°F / 15°C, LACA corrected, distortion corrected, focus stack 4 frames]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 54mm
Apple iPhone 7
Only $799 $295


MN9H2LL/A (USA/Global Unlocked)
Used, Mint Condition, Factory Unlocked

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series and Focus Stack @ 24mm: Dead Trees in Defunct Beaver Pond (Nikon Z7)

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

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

In fun88官网 Mirrorless:

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

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

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

Deals Updated Daily at B&H Photo

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

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

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

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

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f8 @ 1.0 sec IS=off, ISO 31; 2019-05-29 20:05:34
[location “Lundy Canyon”, altitude 8250 ft / 2515 m, 55°F / 12°C, LACA corrected, Enhance Details, distortion corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 32mm
OWC Thunderblade Thunderbolt 3 SSD
Gen 2!

Blazing fast, 1TB, 2TB, 4TB, 8TB.

Lloyd’s all-time favorite SSD!

√ No more slow and noisy hard drives!

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

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

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

In fun88官网 Mirrorless:

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

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

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

Upgrade the memory of your 2019 iMac up to 128GB

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

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

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f4 @ 0.8 sec IS=off, ISO 31; 2019-05-29 20:14:24
[location “Lundy Canyon”, altitude 8250 ft / 2515 m, 55°F / 12°C, LACA corrected, Enhance Details, distortion corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm

MacPerformanceGuide.com

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

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

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

In fun88官网 Mirrorless:

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

Includes images up to full camera resolution.

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

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

See my Sony mirrorless wishlist.

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

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

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

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

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

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

 

128GB Memory in iMac 5K

Up to 128GB for 2019 iMac 5K!
Up to 64GB for 2015/2017 iMac 5K

Save nearly 50% over Apple pricing

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

See my Sony mirrorless wishlist.

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

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

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

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

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

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

 

Protect Your Phone
NuGard KX Case for iPhones and iPads.
Outstanding protection against drops and impact!
Plus, excellent grip for wet hands, cycling, etc.

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

Get L-Mount lenses at B&H Photo.

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

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

In fun88官网 L-Mount Mirrorless:

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

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

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

1296 | 2592 | 4320
f2 @ 1/200 sec Multi-Shot HighRes, ISO 50; 2019-06-09 18:39:01
[location “Ellery Lake”, altitude 9600 ft / 2926 m, 65°F / 18°C, distortion corrected, LACA corrected, Enhance Details]
Panasonic S1R + Leica 75mm f/2 APO-Summicron-SL ASPH
Protect Your Phone
NuGard KX Case for iPhones and iPads.
Outstanding protection against drops and impact!
Plus, excellent grip for wet hands, cycling, etc.

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

Get L-Mount lenses at B&H Photo.

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

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

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

In fun88官网 L-Mount Mirrorless:

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

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

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

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

The 2019 iMac 5K that I Use is Already Discounted at B&H Photo

TIP: Bookmark my top deals pages, which are updated daily with all specials.

View all Father’s Day deals at B&H Photo and see irresistible deals on Macs and iPad..

Best Mac ever...

More about the 2019 iMac 5K.

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

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

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

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


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

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

Get L-mount system at B&H Photo.

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

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

In L-Mount mirrorless:

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

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

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

Crops from 93 megapixel images
f2 @ 1/250 sec Multi-Shot HighRes, ISO 50; 2019-06-08 14:37:53 [Enhance Details]
Panasonic S1R + Leica 75mm f/2 APO-Summicron-SL ASPH
Nikon NIKKOR Z 85mm f/1.8 S

NEW! Please pre-order through this ad....

Portrait lens for Nikon Z6/Z7 mirrorless.
√ B&H Photo PAYS THE SALES TAX FOR YOU More info...

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

Get L-mount system at B&H Photo.

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

In L-Mount mirrorless:

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

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

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

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

Blazingly fast USB-C SSD!

Up to 2TB capacity, USB-C compatible with Thunderbolt 3.

√ Fastest USB drive MPG has tested!

Particularly Good Deals at B&H Photo

Here are some particularly good deals at B&H Photo, many of which are Father’s Day Specials.

TIP: Bookmark my top deals pages, which are updated daily with all specials.

View all Father’s Day deals at B&H Photo.

Save your ears and brain

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

CLICK TO VIEW: Noise-canceling headphones

Deep discounts on mirrorless cameras

There are aggressive discounts on mirrorless cameras at B&H Photo. Expect this to continue as competition intensifies, and again later this year when Sony is likely to drop a few bombshells.

CLICK TO VIEW: Computing

Deep discounts on Macs, iPad

See irresistible deals on Macs and iPad.

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

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

CLICK TO VIEW: Computing


Upgrade the memory of your 2019 iMac up to 128GB

Yosemite: Hwy 120 / Tioga Pass Road Status

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

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

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

...

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

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

1296 | 2592 | 5112 | 6192
Snow blocking one lane near Olmstead Point
f1.8 @ 1/6800 sec, ISO 20; 2019-06-09 13:19:34
[location “Just east of Olmstead Point”, altitude 8200 ft / 2499 m, 68°F / 20°C, panorama, altitude 8406 ft / 2562 m]
iPhone 7 Plus + iPhone 7 Plus 4.0 mm f/1.8
1296 | 2592 | 5112
Just east of Tenaya Lake
f1.8 @ 1/3000 sec, ISO 20; 2019-06-09 13:02:49
[location “Hwy 120 near Tenaya Lake”, altitude 8327 ft / 2538 m, 68°F / 20°C, panorama]
iPhone 7 Plus + iPhone 7 Plus 4.0 mm f/1.8
1296 | 2592 | 5112 | 7360
Tioga Lake area, iced-over Tioga Lake
f1.8 @ 1/5700 sec, ISO 20; 2019-06-09 15:05:25
[location “Tioga Lake area”, altitude 9696 ft / 2955 m, 58°F / 14°C, panorama]
iPhone 7 Plus + iPhone 7 Plus 4.0 mm f/1.8
1296 | 2592 | 4998
Meltwater on Granite
f2.8 @ 1/1100 sec, ISO 20; 2019-06-09 13:48:50
[location “Tenaya Lake”, altitude 8117 ft / 2474 m, 68°F / 20°C, panorama]
iPhone 7 Plus + iPhone 7 Plus 6.6 mm f/2.8

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

Back from the Mountains

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

A mystery solved

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

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

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

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

(Gear Acquisition Syndrome)

Shooting Challenges

Get L-mount system at B&H Photo.

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

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

1296 | 2592 | 4320
f8 @ 1/8 sec, ISO 50; 2019-06-05 20:20:46
[location “Off Hwy 120 east”, altitude 7050 ft / 2149 m, 60°F / 15°C, LACA corrected]
Panasonic S1R + Panasonic Lumix S PRO 70-200mm f/4 OIS @ 200mm

Deals Updated Daily at B&H Photo

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

Get Nikon Z system at B&H Photo.

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

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

In fun88官网 Mirrorless:

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

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

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

Upgrade the memory of your 2019 iMac up to 128GB

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

Get Nikon Z system at B&H Photo.

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

In fun88官网 Mirrorless:

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

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

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

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

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

Upgrade the memory of your 2019 iMac up to 128GB

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

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

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

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

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

Is it for photographers?

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

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

Don C writes:

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

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

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

Barton T writes:

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

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

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

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

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

Upgrade Your Mac Memory
At much lower cost than Apple, with more options.
Lloyd recommends 64GB for iMac or Mac Pro for photography/videography.

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

Get Zeiss Loxia and Sony 24mm f/1.4 GM at B&H Photo.

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

In fun88官网 Mirrorless:

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

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

1296 | 2592 | 4320
f4 @ 1/1000 sec, ISO 50; 2019-05-31 12:44:21
[location “Lundy Canyon”, altitude 7800 ft / 2377 m, 65°F / 18°C, Enhance Details, LACA corrected]
Sony A7R III + Sony FE 24mm f/1.4 GM
Upgrade Your Mac Memory
At much lower cost than Apple, with more options.
Lloyd recommends 64GB for iMac or Mac Pro for photography/videography.

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

Get Nikon Z system at B&H Photo.

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

In fun88官网 Mirrorless:

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

Includes images up to full camera resolution plus crops.

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

Blazingly fast USB-C SSD!

Up to 2TB capacity, USB-C compatible with Thunderbolt 3.

√ Fastest USB drive MPG has tested!

Mirrorless Price Wars Offer Terrific Value, but No System Pulls It All Together

A technology surge glacier has calved-off mirrorless offerings over the past half year, which is now putting downward price pressure on all brands.

Sony mirrorless is by far the leader, and shock waves lie over the horizon for Nikon and Canon and Panasonic, or already do, judging by the discounts, with the expected v3 offerings of the A7/A7 II/A7 III.

Check out the aggressive discounts already being offered further below. This surely reflects both slow sales of all brands but particularly Canon, Nikon, Panasonic, which fall way short in lens offerings.

There is something appealing in every brand. But none of them do more than get it more than 3/4 right, no vendor pulling it all together. For example, I want the optical prowess of Canon RF "L" lenses and some of the Sony/Zeiss lenses with the excellent ergonomics/haptics of the Nikon Z7 body with Panasonic S1R Multi-Shot High-Res mode. I also want a camera that makes computational photography a priority, to raise quality and eliminate errors that need never again be a factor (exposure, resolution, dynamic range, perfect focus, etc).

Canon is very serious about delivering the best possible lenses, the Canon RF 50mm f/1.2L and Canon RF 28-70mm f/2L awing me with their performance. This doesn’t make sense unless Canon has a high megapixel camera coming.

Whereas Nikon seems intent on boring me with their lenses, though the Nikon NIKKOR Z 24-70mm f/2.8 S is the best of the lineup yet, and a very good one, but it requires f/4 for brilliance, very disappointing for an f/2.8 zoom. OTOH, the Nikon NIKKOR Z 14-30mm f/4 S may be one of the best walk-around lightweight lenses out there for easy carefree shooting and the pair of them is very appealing on a size/weight/ergonomics basis with the Z7.

Panasonic S1R wows with its Multi-Shot High-Res mode, but it is a heavy beast of a camera sure to put off any one looking for reasonable size especially since getting the most out of HighRes mode means expensive and heavy lenses. Sigma has yet to deliver its true-color L-Mount offering.

Sony has a very broad lens line at this point, including many 3rd parties with lens lines such as the Zeiss Loxia and Zeiss Batis lines. And new lenses like the Sony 135mm f/1.8 GM are stunningly good. The wisdom that Sony shows in encouraging 3rd party lenses seems lost entirely on Canon and Nikon—a fundamental failure to understand customer perspective.

Panasonic has yet to discount the Panasonic S1R, but how long can that be? I hear that S1R sales are slow.

CLICK TO VIEW: Mirrorless Camera Rebates

John G writes:

I completely agree with your blog titled "Mirrorless Price Wars Offer Terrific Value, but No System Pulls It All Together."

Canon, Nikon, and Sony's systems all offer an enticing combination of virtues, but each also has maddening deficiencies. The Sony is the most complete, but even that system falls short of the Nikon in both IQ and ergonomics. Canon's lenses look to be revolutionary, but you'd have to put them on that POS R. The Nikon body's performance is higher, and its ergonomics much more sensible, but thus far the lenses have been upper-consumer grade at best. And so it goes.

Only Sony's A-system and Fuji's X system's (the only viable APS-C long-term play right now) long-term acceptance seems assured. They are the only two with followers who continue to buy new products and support the respective systems. For Canon and Nikon, the jury is still out. Panasonic and Leica's S system is almost certainly doomed to failure. And the investment dollars before any of these company's mirrorless entries gain real acceptance, let alone turn a profit, is enormous and daunting.

fun88官网: is a year enough to see which “horses” are in the lead?

James K writes:

Apparently store owners are reporting the the new Panasonic cameras are a flop...

Another nail in the coffin: Sony will be partnering with Microsoft to develop AI solutions for advanced photo gear. Now that is a powerful and intelligent move.

fun88官网: Sony has a big lead in mirrorless and a huge R&D budget. If other companies want to be player, they need to redouble their efforts, and bring something new to the table. In my, a key art of that is computational photography: software can move much faster than hardware.

Things that ought already to be available but most are not or are weakly implemented with issues in practical use:

  • iPhone style real-time panoramas, including multi-row and supporting smooth panning on a tripod head for jawdropping resolution and quailty (all without a bang-bang shutter).
  • Automated focus stacking support for both autofocus and manual focus lenses, including support a composite raw image and support for near/far focus points and ultra-fast shooting to minimize motion issues.
  • At least 18-bit dynamic range support via ultra-fast sequential exposures, along with intelligent “rolloff” of highlights and shadows so as to look entirely natural. I limit this to 18 bits because most lenses won’t have much more than 14 bit dynamic range; 18 bits will allow full lens dynamic range along with fine gradation.
  • Multi-Shot High-Res mode should be a standard feature one just assumes is present. And it should be supported in conjunction with focus stacking.
  • Automatic exposure mode that occurs only when the camera detects zero vibration.
  • ... many more things.

MacPerformanceGuide.com

Reader Comment: Zeiss ZF 25mm f/2.8 Distagon

See my Zeiss DSLR lenses wishlist and fun88官网 Zeiss DSLR Lenses.

Reader Ed M writes:

I recently pulled out a Nikon FM2-T from my dry box, bought new back in 1995 and recently CLA’d. A Zeiss ZF 25mm f/2.8 Distagon came up for sale at a reasonable price (<$500) and I decided to take a chance on it as an interesting companion to a NOCT Nikkor bought ages ago. You were one of the few to laud the Zeiss' unique but creative character.

What a fantastic lens! The ‘pop’, vivid colors and close focus is just crazy good. If you take the time to learn the optic, it will reward you for the patience. Tragic shame Nikon never made optional a split-screen or microprism focusing screen for the DSLR line, at the least for the Dƒ, the only new body compatible with non-AI glass. Counter-intuitive that a new but archaic Nikkor 24/2.8 AIS sells for more.

The diminutive Zeiss is a truly misunderstood ‘sleeper’.

fun88官网: the Zeiss ZF 28mm f/2 Distagon has similar qualities and is also lovely.

The Zeiss ZF 25mm f/2.8 Distagon was never offered in Canon EF mount, so it’s a bit of an oddball and easily forgotten.

Both and more are on my to-do list to take a fresh look at lenses like the Zeiss ZF 25mm f/2.8 Distagon in Multi-Shot High-Res mode on the Panasonic S1R.

Zeiss ZF 25mm f/2.8 Distagon

 


MacPerformanceGuide.com

Leica 90mm f/2 APO-Summicron-SL Aperture Series: Mosaic, Focus Shift (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

This aperture series at f/2, f/2.8, f/4, f/5.6 shows off the world class performance wide open at f/2 of the Leica 90mm f/2 APO-Summicron-SL ASPH on the Panasonic S1R shot in 187-megapixel Multi-Shot High-Res mode.

It also shows a focus shift such that f/2.8, f/4, f/5.6 are all substantially degraded from f/2, even down to sizes as small as 24 megapixels.

In fun88官网 L-Mount Mirrorless:

Leica 90mm f/2 APO-Summicron-SL Aperture Series: Mosaic, Focus Shift Evaluation

Images at up to 187 megapixels for f/2 and f/4 plus crops at f/2, f/2.8, f/4, f/5.6 in various places from the 187 megapixel resolution.

I loathe doing field work with a lens having focus shift when I have no means of compensating for, that is wasting my effort by never knowing until day’s end back at the computer whether I have made a fully sharp image, and only by always shooting also at f/2, for a baseline gauge of sharpness. I am not aware of any reliable method on the Panasonic S1R to ensure optimal focus for a specific aperture, something that would compensate for the focus shift.

1296 | 2592 | 4320
f2 @ 1/30 sec Multi-Shot HighRes, ISO 50; 2019-05-22 20:07:15
[distortion corrected, vignetting corrected, Enhance Details, LACA corrected]
Panasonic S1R + Leica 90mm f/2 APO-Summicron-SL ASPH

Deals Updated Daily at B&H Photo

My Experience with the 2019 iMac 5K So Far

See my Mac wish list at B&H Photo and .

I thought I would shared a few quick notes on my experience with the 2019 iMac 5K, having

switched to it from the 2017 iMac 5K about a month ago.

Throughout 2018 the 2017 iMac 5K was a solid performer and excellent for field work (along with the NEC PA302W) in my Mercedes Sprinter photography adventure van.

However, over time I kept running into slowdowns in my work, some small, some moderate, and some disruptive; see .

  • The small and moderate slowdowns are solved— the 2019 iMac 5K is substantially faster for most things. Indeed it might be the most significant time-saving upgrade in many years for my work. There remains one key task that takes longer than I like because the task is largely single-threaded (scripted task), but there is nothing for it.
  • Having 128GB memory has eliminated issues when working with aperture series (multiple layers in Photoshop) of high pixel count. Especially for lens comparisons, 64GB had its limits; those slowdowns are now gone.
  • I can backup and work at the same time without running out of CPU cores. With the 2017 iMac 5K, half the cores could be sucked up, so the machine become sluggish and unresponsive at times. The 8 CPU cores of the 2019 iMac 5K have done away with that.
  • Raw conversion is substantially faster, which is very helpful especially for interactive use when I adjust and compare conversion settings.
  • Enhance Details is about 25% faster with the Vega 48 GPU—very nice though since the Vega 48 GPU upgrade is $450 and it doesn’t do much of anything else for me, probably not worth it.
  • I can run CPU-intensive tasks in the background like with little impact on my other work.
  • Working off the internal SSD and the 8TB has eliminated all delays from disk I/O and all noise from spinning hard disks. That’s more important than ever with 8 CPU cores.
2019 iMac 5K

Check out my .

Please engage me in for any questions on your specific situation on choice of computer, backup, RAID, SSDs, etc, and thank you for buying your Macs and other stuff through B&H Photo and MacSales.com, which make most of my computer and related gear reviews possible, via loaners.

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

Our trusted photo rental store

Focus Shift, a General Discussion

Get L-Mount lenses at B&H Photo.

I thought I would make a few points about focus shift, since it is poorly understood, even by very experienced photographers, and yet it is an increasingly important issue for optimal results with high resolution digital. See Focusing Zeiss DSLR Lenses For Peak Performance (parts one and two) for more as well as pages mentioning focus shift.

Without understanding focus shift and adjusting appropriately, photographers are guaranteed to have sub-optimal results on a regular basis. It is about the odds, which are affected by and mitigated by a variety of factors. Add in the pixel density of an iMac 5K, and it can “disappear”. when photographers evaluate their work.

Focus shift is a serious challenge at 36 megapixels or more (even at 24MP with some lenses) and can be massively destructive of image sharpness using 187 megapixel Multi-Shot High-Res mode, which has focus tolerances twice as tight as at 47MP.

What focus shift is, what it does, what causes it

Focus shift is a change in distance of the center of the zone of sharp focus associated with stopping down. Focus shift can be rearward (more distant) or forward (closer) or both in the same lens in the same frame, e.g., rearward shift in the center and forward shift in the outer zones, varying by degree and by position in the frame.

The effects of focus shift can be:

  • Mild — the gain in depth of field with stopping down exceeds the shift enough to make it subtle;
  • Troublesome to visual impact — partially canceling out the gain in depth of field, resulting in subject matter at the wrong distance being favored (e.g., ears instead of nose when focusing on eyes). What can be confusing is that coarse and medium structures improve even while fine detail degrades;
  • Sharpness damaging — the shift exceeds gains in depth of field for the first stop or two, so that even three stops down the losses are scarcely regained.

The foregoing applies mainly to the first three apertures, but once the zone shifts, it really applies to all apertures because the entire zone of focus has shifted. Depth masks focus shift strongly by three stops down, which is one reason it is so confusing.

The root cause of focus shift is/are balancing aberrations introduced as part of the optical design to solve other issues—various kinds of spherical aberration typically. These aberrations rapidly disappear with stopping down—half gone one stop down, 3/4 down two stops down, etc. That is, peripheral rays are increasingly cut off with stopping down, leaving only central rays. Because central rays come to dominate and these focus at a slightly different distance than peripheral rays, the center of the zone of sharpest focus can be significantly different wide open than one or two or three stops down. Incidentally, the elimination of peripheral rays is why lenses tend to improve in performance with stopping down; rigorous efforts of optical design and build tolerances are required for high performance at full aperture.

Focus shift can vary a little by lens sample (build tolerances), but in my experience it never changes between good samples in any significant way. And a “bad sample” has other problems that jump out.

Consider a 90mm lens focused 3.00 meters away at f/2 with the depth (thickness) of the zone of critical sharpness of ±0.01 meters on a high resolution sensor (roughly 1 cm before and behind plane of focus). It might be that by f/4, the center of its zone of sharpness shifts to 3.03 meters, with the depth of the zone of critical sharpness of ±0.02 meters. Thus the point of sharpest focus goes out of focus by 1cm and the entire zone of sharp focus moves to an unintended distance, such as the interior of a solid wall versus its surface. While 1cm does not sound like much, on a high-resolution digital sensor a world class lens at f/2 might now perform like a mediocre one at f/4 at the intended focusing distance. See the example below.

For an example of focus shift that makes a lens all but unsuitable for landscape work, see Sharpness Losses from Field Curvature at Distance: Grassy Meadow and the other examples. Or see all the pages with focus shift content.

Observations about focus shift made over a decade of lens evaluations

Evaluating focus shift properly is a non-trivial exercise. It is not always obvious, for various reasons and thus quite confusing, but after a decade, I’ve tested so many lenses that I usually spot it quickly because it is so destructive to lens comparisons in particular, and to lens evaluation in general.

It is rare to hear from anyone who understands focus shift and knows how to test for it. Typically I am admonished with “my lens is tack sharp”, “my test shows no shift”, etc. In such cases, I’ve always found a methodology error, suggested how to evaluate better, and gotten an affirmative response. Why should that be? There are various reasons, some technical, and some psychological. The tolerance for optimal versus pretty-good varies with people.

Here then are some key points I have found to be truisms, some obvious, some less so:

  • Anyone shooting wide open won't notice, as there is no focus shift wide open, since the lens is focused at the shooting aperture (or usually is, there are exceptions). Similarly focusing and shooting stopped down eliminates the issue, but may induce other errors if focused too-far stopped-down.
  • Few photographers will notice focus shift when shooting at f/8 or f/11, since things will be sharp where focused—shrugging off the subtle oddity of things being sharper at distance (or closer) in the center (or outer zones) than expected—perhaps the thought “weird, I must have focused a little wrong” is likely the most that will occur even from observant photographers.
  • Handheld shooting is rife with error potentials (focus error, movement of the photographer or subject) that it just becomes a matter of odds—blind squirrels find acorns and those with one good eye might still get 70% of the acorns.
  • It takes only a few razor sharp shots from a high performance lens to form a cognitive commitment that the lens is perfect—all contrary evidence thereafter gets excluded. Often this is also a psychological commitment tied to one’s choice of brand. At least two things result from this: (1) a cognitive blindness develops, making it impossible to consider contrary evidence, and (2) impaired ability to consistently obtain optimal results, since technique is not adjusted appropriately.
  • If the camera tends to frontfocus wide open and the lens has rearward focus shift, then the shift cancels it out at least partly. See my notes in Lundy Canyon Portraits and related pages for examples of that.
  • Less than optimal sharpness is written off as focusing errors, often followed by Fine Focus Adjust, which cannot address focus shift except for one aperture, but thereafter sets up a cognitive commitment that all is well with good odds of subsequent cognitive blindness, as discussed above.

I greatly prefer lenses with strictly controlled focus shift, meaning that I need take no special steps to work with the lens—I can focus wide open and shoot stopped down with confidence. Lenses with focus shift can offer world-class performance but it becomes challenging to reliably capture that performance.

Zeiss goes to great pains to avoid focus shift in its Zeiss Otus line and very strong efforts in the Zeiss Milvus line. Zeiss understands that in a practical working sense that a lens is only as sharp as it can be accurately focused at the shooting aperture. Zeiss has thus adapted to the high resolution digital age in a practical and important way. Other lens manufacturers (most) seem to have ignored the point entirely—rather shocking since accurate focus is the single most important aspect of image sharpness.

In the image below, the lens was focused once at f/2 with world-class sharpness as shown (crop from 187 megapixel image). I was shooting an aperture series at f/2, f/2.8, f/4, f/5.6. Even at f/5.6, the sharpness is inferior to f/2. The cause is focus shift, as cross-confirmed in several ways. The shift looks to be about two meters at a distance of about 30 meters, which at 187 megapixels (or 47MP) is enough of a shift to seriously degrade the quality, let alone improve upon f/2.

Focus shift can seriously affect sharpness on planar subjects
Actual pixels crop from 187 megapixel image

Roy P writes regaring the Leica 90mm f/2 APO-Summicron-M ASPH:

Hi Lloyd, your mosaic comparison at f/2 and f/4 was quite surprising. I would not have expected that, and I could not recall having seen that kind of behavior before. But then I realized I had never done a systematic comparison. As you said in your excellent article, you can’t shoot hand-held and expect to flush out focus shift issues.

So I thought I’d take a few test shots with my 90 APO and see how my lens fared. I was bracing for bad news, but I was very pleasantly surprised. As far as I can tell, everything is as it should be. I don’t see any focus shift at all. See crops from one of my test shots attached.

Center sharpness improves noticeably from f/2 to f/2.8, then further marginally at f/4 and f/5.6. Corner sharpness improves more dramatically from f/2 to f/2.8, and again strongly at f/4, reaching peak sharpness at f/5.6. At f/5.6, sharpness is at a max and uniform across the field. There is very little further improvement from f/5.6 to f/6.3 or f/8, but no degradation either.

I checked all four corners, in case the sensor plane was not parallel to the subject plane. My setup is fine – I see exactly the same behavior at all four corners, and I randomly picked the top right corner to send you.

The only inexplicable thing is the exposure time at f/2. I don’t understand why it was reported as 0.8s and not 0.6 or 0.7s. But apart from that little bit of mystery, everything else looks good! Maybe I lucked out with a very good copy of the lens??!

fun88官网: I wrote back:

Lenses don't change by sample unless there is something way off.

Looking at the center, what I see is an out of focus image to start (or one badly sharpened), and one that gets worse at f/4, but has attributes that are fooling you. Remember that it is fine detail we are talking about and that coarse and medium structures will “clean up” with stopping down.

What I see is that f/4 has greatly enlarged the blur spots vs f/2. The area at left looks sharper but it just has more crisply defined blur spots (less aberrational softness) with no more detail, and the area at right is notably more blurred at f/4 than at f/2.

To which Roy P replied:

I’ll be darned! You’re absolutely right. See the attached f/2 vs. f/4 comparison. The little white dots at f/2 are printing as tiny circles at f/4, like bokeh, for crying out loud!

Well, it is bokeh, anyway. These tiny circles created enough additional bogus structure that at a lower magnification as in my screen capture with four images, that the f/4 shot looked sharper than the f/2. But at actual pixels, it’s clear what’s really going on!

And it’s also easy to see the solid areas in the patterns (easily seen in the red, green and orange areas) are mushy at f/4 compared to f/2. I know the title for your next article: “Can you ******* see?” Sigh.

BTW, no sharpening was applied. Focusing at f/2 is really tough with this pattern. I should probably start using a newspaper as my test subject, instead of this rug hanging on the wall.

Thanks for the clarification.

fun88官网: there are various visual traps and methodology errors in assessing focus shift—it’s hard to get it right. But when blur circles in non-vignetting areas stay the same size or increase in size or change only a little with stopping down, that is absolute proof of focus shift—because stopping down one stop should always cut the blur circle diameter by 1.4X, by definition.

The mosaic shot is really good for showing focus shift without any ambiguity provided that the shift is large enough. The foreground brick pavers also show the transition from unsharpness to sharpness, very useful for confirmation. The problem with most focus shift evaluations is that many lenses shift, say, 1/2 or 2/3 or 3/4 or even a full stop (in DoF terms) at one stop down. In such cases, a 2/3 stop shift still means a 1/3 stop gain in DoF—but the entire zone has moved rearward. So a planar target like the mosaic can be really good for troublesome cases (as above), or it can mislead because the sharpness (just) holds. Typically though, some area of the frame degrades enough, which is grounds for further investigation.

In magnified Live View it is possible with some lenses on some subject matter for a slightly defocused image to look better than ideal focus, typically with lenses not well corrected for secondary color. Stopping down can eliminate the secondary color, which can sometimes look very similar to focus shift, which it is in a way (differential focus by color). But most modern lenses now control violet fringing and secondary color really well.

Newspapers don't work very well for focus shift tests unless at just the right size, because the eye responds to acutance, which typically improves with stopping down, and there is not good fine detail in printed newspaper unless the paper itself is resolved. It can work, it all depends on size and texture.


Best Deals, Updated Weekly

Leica 90mm f/2 APO-Summicron-SL Examples: Dusk and Night Shooting (Panasonic S1R)

Get L-Mount lenses at B&H Photo.

This page shows examples at dusk and night with the Leica 90mm f/2 APO-Summicron-SL ASPH on the Panasonic S1R. Images have been chosen to demonstrate the lens at its best.

In fun88官网 L-Mount Mirrorless:

Leica 90mm f/2 APO-Summicron-SL Examples: Dusk and Night Shooting

Presented at up to 187 megapixels, because sharpness at f/2 is spectacular.

1296 | 2592 | 4320
f2.8 @ 1.0 sec Multi-Shot HighRes, ISO 50; 2019-05-22 21:00:01
[distortion corrected, Enhance Details, push 2.4 stops, LACA corrected]
Panasonic S1R + Leica 90mm f/2 APO-Summicron-SL ASPH

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

Panasonic Lumix S PRO 70-200mm f/4 OIS Aperture Series @ 87mm: Mosaic (Panasonic S1R, High-Res)

Get Panasonic S1R at B&H Photo.

This page looks at performance of the Panasonic Lumix S PRO 70-200mm f/4 OIS at 87mm on a demanding planar (flat) target at medium distance. This particular subject lays bare all lens weaknesses, but particularly micro contrast and sharpness the frame.

I shot this scene as a comparison against the Leica 90mm f/2 APO-Summicron-SL, which looked fantastic at f/2, but it exhibited a pronounced focus shift that made f/5.6 worse than f/2!

In fun88官网 L-Mount Mirrorless:

Panasonic Lumix S PRO 70-200mm f/4 OIS Aperture Series @ 87mm: Mosaic (Panasonic S1R, HighRes)

Presented at up to 93 megapixels (1.414X linear reduction from 187MP) using an approach similar to that documented in Workflow for Multi-Shot High-Res Mode Images in Adobe Camera Raw.

1296 | 2592 | 4320
f5.6 @ 0.6 sec Multi-Shot HighRes, ISO 50; 2019-05-22 20:17:02
[distortion corrected, LACA corrected, Enhance Details]
Panasonic S1R + Panasonic LUMIX S PRO 70-200mm f/4 OIS @ 87mm
Nikon NIKKOR Z 85mm f/1.8 S

NEW! Please pre-order through this ad....

Portrait lens for Nikon Z6/Z7 mirrorless.
√ B&H Photo PAYS THE SALES TAX FOR YOU More info...

Panasonic Lumix S PRO 70-200mm f/4 OIS Aperture Series @ 200mm: Mosaic (Panasonic S1R, High-Res)

Get Panasonic S1R at B&H Photo.

This page looks at performance of the Panasonic Lumix S PRO 70-200mm f/4 OIS at 200mm on a demanding planar (flat) target at medium distance. This particular subject lays bare all lens weaknesses, but particularly micro contrast and sharpness across the frame.

In fun88官网 L-Mount Mirrorless:

Panasonic Lumix S PRO 70-200mm f/4 OIS Aperture Series @ 200mm: Mosaic (Panasonic S1R, HighRes)

Presented at up to 93 megapixels (1.414X linear reduction from 187MP) using an approach similar to that documented in Workflow for Multi-Shot High-Res Mode Images in Adobe Camera Raw.

1296 | 2592 | 4320
f5.6 @ 1/15 sec Multi-Shot HighRes, ISO 50; 2019-05-22 19:57:11
[distortion corrected, LACA corrected, Enhance Details]
Panasonic S1R + Panasonic Lumix S PRO 70-200mm f/4 OIS @ 200mm

Panasonic Lumix S PRO 70-200mm f/4 OIS Aperture Series @ 135mm: Mosaic (Panasonic S1R, High-Res)

Get Panasonic S1R at B&H Photo.

This page looks at performance of the Panasonic Lumix S PRO 70-200mm f/4 OIS at 135mm on a demanding planar (flat) target at medium distance. This particular subject lays bare all lens weaknesses, but particularly micro contrast and sharpness the frame.

In fun88官网 L-Mount Mirrorless:

Panasonic Lumix S PRO 70-200mm f/4 OIS Aperture Series @ 135mm: Mosaic (Panasonic S1R, HighRes)

Presented at up to 93 megapixels (1.414X linear reduction from 187MP) using an approach similar to that documented in Workflow for Multi-Shot High-Res Mode Images in Adobe Camera Raw.

1296 | 2592 | 4320
f4 @ 1/13 sec Multi-Shot HighRes, ISO 50; 2019-05-22 20:02:45
[distortion corrected, LACA corrected, Enhance Details]
Panasonic S1R + Panasonic Lumix S PRO 70-200mm f/4 OIS @ 135mm
Apple 15-inch MacBook Pro
Only $4199 $2299

16GB / 2TB SSD / 2.9GHz / 4GB GPU

Apple Refurbished, Factory Sealed
Apple 1 Year Limited Warranty

Nikon Z7 Eye AF: Does it Focus on Eye or Eyelashes?

Terence M writes:

For what it’s worth, a YouTube review using a 105mm F/1.4 close up at F/1.4 the Eye AF focused on the eyelash instead of the iris and the eye was out of focus.

Maybe you could find a 85mm F/1.4 or 105mm F/1.4 for your review?

DIGLOYD: my first tests with the Nikon NIKKOR Z 24-70mm f/2.8 S show that the Z7 has a strong preference for eyelash and eyebrow focus, which suggests that Eye AF is a failure on the Nikon Z7. I tested at 70mm primarily.

I need to test the Z7 some more, but I am not hopeful. Between Eye AF on the Nikon Z7 and Eye AF on the Sony A7R III and Eye AF on the Panasonic S1R, I now have several hundred portraits with out of focus eyes, and I feel discouraged in wasting my time further. It all seems like one big lie shared by all the vendors. The emperor has sharp eyes—just look at those lashes!

If a camera cannot focus sharply on the iris of the eye at f/2.8, then it is a disaster at f/1.4, which has half the depth of field of f/2.8.

OWC Thunderblade Thunderbolt 3 SSD
Gen 2!

Blazing fast, 1TB, 2TB, 4TB, 8TB.

Lloyd’s all-time favorite SSD!

√ No more slow and noisy hard drives!

Leica 90mm f/2 APO-Summicron-SL: Stopping Down Gets Worse at f/2.8 and f/4.

So yesterday I shot the Leica 90mm f/2 APO-Summicron-SL rigorously, and by chance got the most beautiful lighting I had seen in years.

What does the Leica 90mm f/2 APO-Summicron-SL do? Degrade excellence at f/2 into softness at f/2.8, more softness at f/4, recover (almost) at f/5.6 to f/2 quality. Looks like a very bad focus shift, but I now have to go prove that out, to rule out other oddball potential causes (operator error is NOT one, as I have already confirmed).

But one thing is clear: the size (magnification) of the image shrinks slightly with each stop, which means focus is shifting rearward (towards the distance). In past testing this has always meant optical focus shift, with the exception of the electronic focus-changing glitches with the Fujifilm GFX-50S and the Fujifilm GF 120mm f/4—and in that case there was no consistent pattern. A consistent pattern as with the Leica 90/2 SL has always meant strong focus shift.

It’s not a single series thing, but repeatable, though not always obvious or clear—could it have something to do with Multi-Shot High-Res mode, where the losses are plain to see? Either it’s a major focus shift or some weird mechanical or electronic glitch. I am furious that my work is toast, in terms of showing what the lens can do. If it’s optical, then I deem the lens useless. If not... I don’t yet know.

The Leica 90/2 SL can deliver truly outstanding images, but this behavior has me frustrated beyond printable words. And maybe the portrait focusing errors can be explained in part too, if it is indeed optical focus shift—that would surely screw the pooch for portraiture, as was the case.

I now have to research the problem and figure it out. I assume its 75mm sibling will behavesimilarly.

Given the atrocious field curvature and focus shift of the “reference lens”* Leica 50mm f/1.4 Summilux-SL ASPH, maybe it’s just normal (see Sharpness Losses from Field Curvature at Distance: Grassy Meadow and other series).

Could the Leica SL build in some kind of compensation for severe focus shift that the Panasonic S1R does not? If so, it must be new because it did not when I last tested the Leica SL. Compensation is NOT a solution for many shooting scenarios: how does one focus in dim conditions except at full aperture? That’s one of my most common use cases!

* “Reference lens” is Leica-speak for “a lens demonstrating pronounced field curvature and focus shift that would make any other manufacturer would blush”.

James K writes:

You are in photo hell. One way of providing some insight into the mystery would be to shoot the Leica 50mm f/1.4 on the Leica SL and see if it behaves the same as on the Panasonic. If it does not exhibit the extreme focus shift on the SL you will have determined that there is a software issue. The idea of the common L mount might not be working with lenses using compensation programs to address optical flaws.

DIGLOYD: Leica gear has been the most problematic of all camera systems over the years.

I don’t intend to borrow the Leica SL as it’s pointless at this juncture—I’m not into 24 megapixels and crappy ergonomics/haptics, so it’s a non-starter camera as far as I’m concerned. I’ll have to run some more tests and I now also have the Leica 75mm f/2 APO-Summicron-SL ASPH along with the 90/2.


(Gear Acquisition Syndrome)

Fujifilm GFX-100 Announced, Review Planned (updated with comments)

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

Fujifilm has announced the Fujifilm GFX-100. That’s exciting—100 megapixels in a single shot “reasonably” priced camera.

But where is pixel shift and Multi-Shot High-Res mode? Bummer.

I’ll keep a hopeful outlook but traditionally “more pixels” means ”more hassles”, and Fujifilm looks to be upholding that principle: the ergonomics/haptics look really awful on the new brick-with-buttons. I see design by engineers here, not design for photography. It looks like the Fujifilm GFX-50R, whose ergonomics and haptics became quite irritating in the cold last winter. Anyone use a left hand for operating a camera? I do, a lot on Nikon cameras. Fujifilm should get a clue that people have two hands (usually). Ditto for other brands, not just picking on Fujifilm.

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

The one Fujifilm sample landscape shot with the GF 23/4 is laughably bad— it is very blurry and would not hold up at 50 megapixels and could be done with far superior results using a 35mm camera. Indeed my December shooting with the Fujifilm GF 23mm f/4 shows poor results at 50 megapixels in the outer zones. Fujifilm also has no clue how to make a good image from raw (technically speaking), judging by the image quality on its web site for the climbing photo. If that’s an out-of-camera JPEG, I want no part of it.

Manufacturers try very hard to make themselves look bad at product intro. So I am looking past that—I am looking forward to shooting the Fujifilm GFX-100 in raw to see what it can do. My concern is that some of the Fujifilm GF lenses are scarcely up to the task of 50 megapixels (23/4 and the 32-64mm zoom). Not in the central areas, but edges and corners are a serious letdown. Try harder, Fujifilm. I don’t want a $1200 lens on a $10K camera giving me 1/3 resolution at the edges. And I worry about the focus shift I have already documented, and any camera glitches that alter focus.

Bottom line though is image quality. Carrying a big brick can be worth it if the images are the reward as the Hasselblad H6D-100C showed me, and the GFX-100 is much more manageable. It is primarily on the basis of image quality that I will be evaluating it. Then again, the Panasonic S1R with the right lens and appropriate subject can work wonders beyond 100 megapixels.

Fujifilm GFX-100
Fujifilm GFX-100

James K writes:

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

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

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

Jason W writes:

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

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

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

Lloyd’s Sony Mirrorless Wishlist
Hand-picked items for Sony.

L-Mount Lenses in my Review Pipeline: Leica 75mm f/2 SL, Leica 90mm f/2 SL, Panasonic 70-200mm f/4

Here or arriving soon are three L-Mount lenses, to be tested on the Panasonic S1R:

Leica 75mm f/2 APO-Summicron-SL ASPH

Leica 90mm f/2 APO-Summicron-SL ASPH

Panasonic Lumix S PRO 70-200mm f/4 OIS

I’ll also be doing more with the Zeiss Otus 100mm f/1.4 APO-Sonnar, the Nikon NIKKOR Z 24-70mm f/2.8 S, and the Sony 24mm f/1.4 GM and Sony 135mm f/1.8 GM. Whew!

It’s hard to do so much so quickly, so there will be some similar material from each, but I do hope to get out in the field in the next week or so, for a change of pace.

Fast and cost effective way to backup!

Two Fun Days at the Dentist: Root Canal #1 and a Crown

I might slow down a bit over the next few days, tomorrow and the next day.

As a result of , my molar (tooth #30) has disintegrated in half, necessitating a root canal followed by a crown. The break is just high enough that maybe I won’t have to also see a periodontist to carve off gum tissue also. Plenty of other teeth (five) also need crowns from crash damage. Oh, and I need my wisdom teeth removed.

I’m told that a root canal is no big deal but for some reason it makes me nervous.

Dental work is not my favorite thing, and the total costs with orthodontia (coming off in 3 weeks) and wisdom teeth approaches $18K. I never thought that the dental work would greatly exceed the medical expenses. Well, it’s a damn site better than a broken neck.

Update: 5 hours in the dentist’s chair (root canal one day, crown the next) resulted in a perfect crown to replace the disintegrated lower molar. Amazing what scanning and 3D sculpting of porcelain can do. Five more crowns to go, and orthodontia off then a retainer. But it’s better than a broken neck.

128GB Memory in iMac 5K

Up to 128GB for 2019 iMac 5K!
Up to 64GB for 2015/2017 iMac 5K

Save nearly 50% over Apple pricing

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 28mm, 35mm, 50mm: Mosaic (Nikon Z7)

Get Nikon Z system at B&H Photo.

See also the assessment of distortion and its implications for sharpness after distortion correction in Distortion @ 24mm, 28mm for Nikon NIKKOR Z 24-70mm f/2.8 S.

I wanted to thoroughly document behavior over the zoom range of the Nikon NIKKOR Z 24-70mm f/2.8 S because it is a key lens in the lineup that Nikon is offering. That is now done for 24mm, 28mm, 35mm, 50mm, 70mm on this demanding target.

These series looks at the performance of the Nikon NIKKOR Z 24-70mm f/2.8 S from f/2.8 through f/8 at 28mm, 35mm, 50mm on a highly demanding detailed planar (flat) target.

In fun88官网 Mirrorless:

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

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 28mm: Mosaic

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 35mm: Mosaic

Nikon NIKKOR Z 24-70mm f/2.8 S Aperture Series @ 50mm: Mosaic

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

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

1296 | 2592 | 4320
f2.8 @ 1/15 sec, ISO 64; 2019-05-09 19:55:51
[distortion corrected, vignetting corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 35mm
Hard drives or SSD.

Leica 90mm f/2 APO-Summicron-SL ASPH Examples: Portraits using Panasonic S1R Eye AF

Get Panasonic S1R at B&H Photo.

This page puts the Leica 90mm f/2 APO-Summicron-SL ASPH to use for portraits on the Panasonic S1R using Eye AF focusing mode. A reflector was used for fill lighting. The 90/2 performs beautifully, but Eye AF was a sad story.

In fun88官网 L-Mount Mirrorless:

Leica 90mm f/2 APO-Summicron-SL ASPH Examples: Portraits with Panasonic S1R Eye AF

Images at up to full camera resolution. Some images are pairs of apertures for comparison.

As in previous portrait attempts, I had trouble with the Panasonic S1R Eye AF. Too often the S1R Eye AF focuses on eyelashes or nose in front of the iris. Many shots were discarded from this page with about 12 usable shots out of 40, 2 or 3 ruined by motion blur and the rest ruined by the failing of Eye AF. I was thus left with only a small fraction of the best poses.

1296 | 2592 | 4320
f2 @ 1/250 sec handheld, ISO 50; 2019-05-20 17:53:31
[distortion corrected, LACA corrected, Enhance Details]
Panasonic S1R + Leica 90mm f/2 APO-Summicron-SL ASPH

 


Best Deals, Updated Weekly

Panasonic S1R Eye AF: Hit and Miss at Its Best

Get Panasonic S1R at B&H Photo.

When you get the shot you want and the camera screwed the pooch with incompetent Eye AF, what does it feel like? Like a total waste of time and anger at shots lost.

Below, there are sharp eyebrows, lips and nose, but blurry iris of the eye. How hard can it be with a high-grade 90mm f/2 lens to nail focus on the iris of the eye? Half (at least) of my shots did not nail focus on the iris of the eye and of the other half, half of those succeeded only because of depth of field.

Eye Sensor AF = ON
Shutter AF = ON
AF Mode = Face/Eye/Body/Animal Detect
AF-S

I watch the focus indicator thing light up in the right area and all looks right when pressing the shutter. Am I missing something and it’s RTFM? I can’t see how.

How could any pro put up with this dogshit Eye AF? Screwing up the wrong job might mean screwing up a reputation which could mean career over. Better use f/8 and pray. Or buy Sony, assuming its Eye AF still works.

1296 | 2592 | 4320 | 6144
f2 @ 1/400 sec, ISO 50; 2019-05-20 17:52:57 [Enhance Details]
Panasonic S1R + Leica 90mm f/2 APO-Summicron-SL ASPH

NYC pro photographer James K writes:

What’s up doc?

You are a fussy guy. What do you want for around $8000? You want a camera that actually does Eye Auto Focus. Imagine explaining to a beauty client that it “was the cameras fault”. Next photographer please.

Sometimes in life “there are no second chances.” There are at least ten guys around the corner happy to take your place at the table. Somebody has to shake the tree and it seems that job has fallen to you. Thank the Photo Gods. Keep up the good work.

fun88官网: and there is the rest of my life and hers that this shot might never happen again—life is not a dress rehearsal. Personal or professional, most opportunities never come again. I might photograph my daughter today or tomorrow, but it might be months before I do so again—she’s busy and not always cooperative. A camera that f****s it up is on my shit list, at least for that feature.

As to reviewing a lens, having to shoot and reshoot so I can get (at best) 1 in 3 perfectly focused images, and of those, hope and pray that some of the best expressions and poses are included.

What I don’t follow is how camera companies seem to monitor sites like mine—surely they’d like to address such issues, ideally by explaining the voodoo setting that I apparently forgot to turn on in order to make things work well, or by fixing the software algorithms if I am doing everything right. I suppose they just watch Twitter and Facebook and Instagram? I don’t have any contacts at Panasonic, and I’m not about to waste my time on Beginner Tech Support.

Below, a 2nd Eye AF failure. Most of the images in my shoot were ruined in this manner—sharpness on the eyebrows or nose, blurry eye or eyes. How hard can it be to get one eye sharp at this range at 90mm at f/2?!

1296 | 2592 | 4320
f2 @ 1/250 sec handheld, ISO 50; 2019-05-20 17:53:17 [LACA corrected, distortion corrected]
Panasonic S1R + Leica 90mm f/2 APO-Summicron-SL ASPH

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

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

Get Nikon Z system at B&H Photo.

See also the assessment of distortion and its implications for sharpness after distortion correction in Distortion @ 24mm, 28mm for Nikon NIKKOR Z 24-70mm f/2.8 S.

This series looks at the performance of the Nikon NIKKOR Z 24-70mm f/2.8 S from f/2.8 through f/8 at 24mm on a highly demanding detailed planar (flat) target.

In fun88官网 Mirrorless:

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

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

Notably better results than at 70mm.

1296 | 2592 | 4320
f2.8 @ 1/20 sec, ISO 64; 2019-05-09 19:54:54
[distortion corrected, vignetting corrected, Enhance Details, LACA corrected, USM{6,60,0}]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 24mm
Upgrade Your Mac Memory
At much lower cost than Apple, with more options.
Lloyd recommends 64GB for iMac or Mac Pro for photography/videography.

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

Get Nikon Z system at B&H Photo.

See also the assessment of distortion and its implications for sharpness after distortion correction in Distortion @ 70mm, 50mm, 35mm for Nikon NIKKOR Z 24-70mm f/2.8 S.

This series looks at the performance of the Nikon NIKKOR Z 24-70mm f/2.8 S from f/2.8 through f/8 at 70mm on a highly demanding detailed planar (flat) target.

In fun88官网 Mirrorless:

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

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

I’m not impressed, and had hoped for more.

1296 | 2592 | 4320
f2.8 @ 1/15 sec, ISO 64; 2019-05-09 19:55:31
[distortion corrected, vignetting corrected, Enhance Details, LACA corrected]
NIKON Z7 + Nikon NIKKOR Z 24-70mm f/2.8 S @ 70mm

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

Shootout: Sony 24mm f/1.4 GM vs Zeiss Batis 25mm f/2 (Mosaic, Sony A7R III)

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

This page compares the Sony FE 24mm f/1.4 GM to the Zeiss Batis 25mm f/2 from f/1.4 through f/8 on a demanding planar (flat) target with extremely fine details.

In fun88官网 Mirrorless:

Shootout: Sony 24mm f/1.4 GM vs Zeiss Batis 25mm f/2 (Mosaic)

Includes images up to full camera resolution with crops and extensive analysis.

There are interesting (and confounding) differences between these two lenses; anyone contemplating either should take note.

1296 | 2592 | 4320
f2 @ 1/10 sec IS=off, ISO 50; 2019-05-17 20:06:14
[vignetting corrected, Enhance Details, LACA corrected]
Sony A7R III + Sony FE 24mm f/1.4 GM

Deals Updated Daily at B&H Photo

Shootout: Sony 135mm f/1.8 GM vs Sigma 135mm f/1.8 DG HSM Art (Mosaic, Sony A7R III)

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

This page compares the Sony FE 135mm f/1.8 GM to the Sigma FE 135mm f/1.8 DG HSM Art from f/1.8 through f/8 on a demanding planar (flat) target with extremely fine details. Focus shift and field curvature are assessed along with sharpness through the aperture series.

In fun88官网 Mirrorless:

Shootout: Sony 135mm f/1.8 GM vs Sigma 135mm f/1.8 DG HSM Art (Mosaic, Sony A7R III)

Includes images up to full camera resolution with crops and extensive analysis.

There are important differences between these two lenses; anyone contemplating either should take note.

1296 | 2592 | 4320
f1.8 @ 1/200 sec IS=off, ISO 50; 2019-05-17 19:10:08
[vignetting corrected, Enhance Details, LACA corrected]
Sony A7R III + Sony FE 135mm f/1.8 GM

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

Sony FE 24mm f/1.4 GM Aperture Series: Burghers and Rising Moon (Sony A7R III)

See my Sony mirrorless wishlist.

This aperture series from f/1.4 through f/11 explores the performance of the Sony FE 24mm f/1.4 GM on a near-to-far composition with reflective subjects at varying distances. Sharpness, depth of field, focus shift and color correction are examined.

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

Sony 24mm f/1.4 GM Aperture Series: Burghers and Rising Moon

Images up to full camera resolution.

1296 | 2592 | 4320
f4 @ 15.0 sec, ISO 50; 2019-05-17 20:54:07
[LACA corrected, Enhance Details, vignetting corrected]
Sony A7R III + Sony FE 24mm f/1.4 GM

 


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

Has Sony Broken Eye AF with the Latest Firmware Update?

See my Sony mirrorless wishlist.

Update: see reader comments after original post further below. I’ll need to retest, paying attention to the new requirements for how to use it, which have changed. I have not confirmed what is found in . There are several variables involved, a key one being the size of the AF spot, but also whether Eye AF is used with a custom button or via shutter press—crazy confusing and why Sony does not have a white paper explaining all this I dunno. I’ll have to explore and test this all.

This is in the overview. It pretty much looks like one should use wide-AF area when using Eye AF. The instruction manual as I it today is terrible—I cannot even find anything on Eye AF in it (page 37 mentions focus area but no mention of Eye AF).

Reliable eye tracking, in all conditions

Catch the eye for superb portraiture. Eye AF uses Sony’s remarkable wide AF area and accurate eye detection to open up unimagined freedom of composition, so you can explore creative expression like never before(1).

Enhanced Real-time Eye AF(1)

A subject's eyes can be detected as soon as the shutter button is half-pressed, then tracked continuously in AF-C mode with outstanding accuracy.

Choose your subject's left eye or right eye(1)

Now you can choose Left Eye, Right Eye, or Auto from the menu in advance, leaving you free to pay more attention to composition. These selections can be assigned to custom buttons, allowing you to quickly toggle between choices while mid-shoot.

(1) Eye AF may not always work as intended, depending on the shooting scene and conditions. Function availability and detection performance may vary by models (software version). Tracking available only in AF-C mode.

There is a which raises some interesting questions.

Original post plus comments

I on my Sony A7R III a few days ago and then configured the camera for Face/Eye AF (it is disturbing that Eye AF is now lumped together with "face", the two being radically different when working at wider apertures or close range), and "human".

The next day I shot 14 portrait images with the Sony FE 24mm f/1.4 GM at close range. Of those one (1) image had a sharp iris of the eye. The other 13 were all junk-focused—very blurry iris of the eye, with sharp eyelashes and eyebrows or similar. The subject had eyeglasses on, if that somehow matters.

Possibly I am doing something wrong, but how? If the camera is set for Eye AF and "human" what else am I supposed to do?

If it’s configured correctly, I now have to rate Sony Eye AF as total garbage.

Reader David B writes:

Its changed configuration in various ways.

If you have it set it to time face/eye and you are not using wide area, if will only work under the movable focus point you have chosen (unless you go with wide area) You don’t have to find the eye if you have it set this way; you just have to move the AF point over, roughly, the area where you want eyes found. By setting focus to wide area for these purposes it will find eyes everywhere. Using an AF override button may make sense if you want to use it this way.

It’s possible to set it so that it has the previous behaviour, working when you press a dedicated button only... previously, Eye AF was assigned to a button, and it only looked for eyes while the button was pressed. With the new firmware, by default - if it’s turned on - it scans for eyes continuously and will focus on them with a half press of the shutter. If you prefer the old behaviour (and I do for some purposes) it can be turned on.

fun88官网: nice of Sony to do a terrible job explaining it. I will have to retest. It’s all well and good with a programmable button on GM lenses, but on others, switching between Eye AF on/off also means changing the size of the focus area—what a hassle. When I shot initially as per above, I used the smallest focus spot and put it near the eye, which might explain why only 1 of 14 images had a sharp eye—if the camera doesn’t look outside the spot it’s not going to find an eye.

Terence M writes:

I was planned on doing the firmware update next week on my Sony A7RIII but since your recent comments on the updated Eye AF, its on hold. Any plan to test the Eye AF with a portrait lens?

fun88官网: yes, when I can corral a suitable 'victim'.

Reader Dr S writes:

Could you be clear about what settings you use when you do your Eye AF on the Sony? After reading your comment about issues w/FW 3.00 or .01 I tested my upgraded cam w/few lenses.

One could put the cam on a tripod, VR off, and eye'AF AF-S or AF-C. So far I have tested without a tripod but with solid technique (yeah right!) to minimize camera shake and a very steady model. I have found with hand-holding the hit rate w/Af-S is abysmal but high with AF-C. Again please either tell me or direct me to a link on your site that describes your "portraiture" technique.

Thanks and your daughter must be getting pretty tired being your model. My wife quit long ago.

I responded saying:

I have always use AF-S with Sony with high hit rate (until current firmware). Eye AF ought to lock on and a fraction of a second later the picture is taken, so AF-C should not be needed. But if you say it is so, perhaps it is. Sony has not updated their manual and I could not even find Eye AF in the one I downloaded 2 days ago.

1. Place the (fairly large) focusing spot on the subject face

2. Half press the button, watch the camera indicate it found the eye

3. expose.

There should be no special technique needed!

Dr S continues:

Yup.... prior to the FW upgrade I used AF-S with a high, almost uncanny hit rate. New FW sucks.

Got out my old A7r2 and it behaved quite well in AF-S. Sony's got to fix it! They had a winner and the workaround w/AF-C doesn't cut it. I wonder what will happen when the Z7 is upgraded. Film at 11!

fun88官网: I guess I'll have to set it to AF-C and see what happens. But that's a disaster when doing mixed shooting; can't be consantly switching 3 or 4 settings to configure back/forth.

Upgrade Your Mac Memory
At much lower cost than Apple, with more options.
Lloyd recommends 64GB for iMac or Mac Pro for photography/videography.

Sony FE 24mm f/1.4 GM Aperture Series: Quadrangle Shadows and Rising Moon (Sony A7R III)

See my Sony mirrorless wishlist.

This aperture series from f/1.4 through f/11 explores the performance of the Sony FE 24mm f/1.4 GM on a near-to-far composition typical of landscape shooting. The point spread function and sagittal coma flare behavior are also explored.

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

Sony 24mm f/1.4 GM Aperture Series: Quadrangle Shadows and Rising Moon

Images up to full camera resolution.

The about $1398 Sony FE 24mm f/1.4 GM is a very fine lens—clearly designed from scratch for Sony mirrorless—highly recommended along with the jaw-dropping about $1898 Sony FE 135mm f/1.8 GM.

1296 | 2592 | 4320
f1.4 @ 2.0 sec IS=off, ISO 50; 2019-05-17 20:48:19
["long exposure noise reduction NOT used", LACA corrected, push 0.6 stops, Enhance Details]
Sony A7R III + Sony FE 24mm f/1.4 GM

 

128GB Memory in iMac 5K

Up to 128GB for 2019 iMac 5K!
Up to 64GB for 2015/2017 iMac 5K

Save nearly 50% over Apple pricing

Zeiss Otus 100mm f/1.4 APO-Sonnar at 187 Megapixels: Church Mosaic Straight-On (Panasonic S1R Multi-Shot High-Res Mode)

Get Zeiss Otus at B&H Photo.

Here, the Zeiss Otus 100mm f/1.4 APO-Sonnar is put to the ultimate test using the 187 megapixel Multi-Shot High-Res mode on the Panasonic S1R. This scene is difficult enough at sensor resolution, so this is a severe test of a lens performance headroom.

I’ve added a second example to the first one. In fun88官网 Zeiss DSLR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar Examples: Multi-Shot High-Res Mode (Panasonic S1R)

Includes images at up to 47, 93 125, 187 megapixels.

As with the previous example, the detail level is astonishing, even at full resolution. Subtleties smeared away for the past decade shooting this target at lower resolution pop out: individual tiles have their own distinct color, nor is there any detectable noise. The grout itself is cleanly delineated. Defects within each tiny tile can be seen. There is no reason that the 187 megapixel version could not be used directly for a print.

If high resolution is a priority (along with superior color purity, ultra low noise, freedom from digital artifacts), it is hard to justify buying a conventional Sony mirrorless or Nikon mirrorless or Canon mirrorless camera as there is just no comparison. This is way WAY better than all but the most exotic medium format cameras. Of course, lots of photography has other priorities, handholding being the most obvious. But for sheer awesome imaging power with a suitable subject, no other 35mm camera can touch the Panasonic S1R with a high-grade lens.

1296 | 2592 | 4320
f8 @ 1/8 sec Multi-Shot HighRes, ISO 50; 2019-05-17 19:30:41 [Enhance Details, LACA corrected]
Panasonic S1R + Zeiss Otus 100mm f/1.4 APO-Sonnar

(Gear Acquisition Syndrome)

Full MTF Series for Zeiss Otus 100mm f/1.4 APO-Sonnar

Get Zeiss Otus at B&H Photo.

I have published a full MTF series for the Zeiss Otus 100mm f/1.4 APO-Sonnar: {f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16}, along with my commentary on performance. Aperture f/1.4 is on balance nearly as good as f/8—dang!

Based on my field usage, its incredible flat-field resolving power, strict control of all aberrations, the Otus 100 is now my reference lens.

In fun88官网 Zeiss DSLR Lenses:

MTF for Zeiss Otus 100mm f/1.4 APO-Sonnar

128GB Memory in iMac 5K

Up to 128GB for 2019 iMac 5K!
Up to 64GB for 2015/2017 iMac 5K

Save nearly 50% over Apple pricing

Zeiss Otus 100mm f/1.4 APO-Sonnar at 187 Megapixels: Church Mosaic (Panasonic S1R Multi-Shot High-Res Mode)

Get Zeiss Otus at B&H Photo.

Only a very few lenses can faithfully render this mosaic to full sensor resolution (42/45/47/50 megapixel cameras as of 2019), with many “cheater” lens designs utilizing software distortion correction that makes that impossible.

Here, the Zeiss Otus 100mm f/1.4 APO-Sonnar is put to the ultimate test using the 187 megapixel Multi-Shot High-Res mode on the Panasonic S1R. This scene is difficult enough at sensor resolution, so this is a severe test of a lens performance headroom.

In fun88官网 Zeiss DSLR Lenses:

Zeiss Otus 100mm f/1.4 APO-Sonnar Example: Multi-Shot High-Res Mode (Panasonic S1R)

Includes images at up to 47, 93 125, 187 megapixels.

This is the finest capture I have ever made of this mosaic. The detail, color nuance and freedom from noise are astonishing.

1296 | 2592 | 4320
f5.6 @ 1/13 sec Multi-Shot HighRes, ISO 100; 2019-05-17 20:02:22 [LACA corrected, USM{8,50,0}]
Panasonic S1R + Zeiss Otus 100mm f/1.4 APO-Sonnar

Best Deals, Updated Weekly

First Look at Sony 24mm f/1.4 GM, Examples

See my Sony mirrorless wishlist.

These initial examples were shot handheld (without IBIS) to look at sharpness and bokeh and overall rendering style near MOD (Minimum Object Distance) of the Sony FE 24mm f/1.4 GM.

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

Sony 24mm f/1.4 GM Examples: Close-Range Shooting

Sony 24mm f/1.4 GM: Violet Fringing and Secondary Color Bokeh, Point Spread Function

Images up to full camera resolution. Some images have dual aperture toggles for comparison.

1296 | 2592 | 4320
f2 @ 1/320 sec handheld, ISO 100; 2019-05-17 09:26:52
[LACA corrected, Enhance Details, vignetting corrected]
Sony A7R III + Sony FE 24mm f/1.4 GM

 

Upgrade Your Mac Memory
At much lower cost than Apple, with more options.
Lloyd recommends 64GB for iMac or Mac Pro for photography/videography.

Our trusted photo rental store

fun88官网 Inc. | FTC Disclosure | PRIVACY POLICY | Trademarks | Terms of Use
Contact | About Lloyd Chambers | Consulting | Photo Tours
RSS Feeds |
Copyright © 2019 fun88官网 Inc, all rights reserved.