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Leica T System on the way

I’m unsure if there is Low T here among subscribers, but I’ve delayed my field work (trip to the mountains) because the Leica T system is on the way, expected August 5th. I wanted to cover it along with the Nikon D810 and Pentax 645Z.

Regrettably, the Leica M-adapter T is backordered and so I won’t be able to shoot Leica M lenses on it during this trip unless an adapter shows up in the next day or two.

Also, I’ve pondered this crossover camera placement within the Guides. Being a full-fledged interchangeable Leica lens system and also supporting M lenses, review coverage will go into Guide To Leica along with Leica M and Leica S.

  Nikon D810 + Sigma 50mm f/1.4 DG HSM A @ ƒ/2.8
Leica T (rear)
  Nikon D810 + Sigma 50mm f/1.4 DG HSM A @ ƒ/2.8
Leica T (rear)

 

FOR SALE: eSATA Gear

See my for-sale post over at MPG.

What’s the Best Lens for Micro Four Thirds?

Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH
Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH

Get Panasonic lenses for Micro Four Thirds at B&H Photo.

In my view, the best lens available today for the Micro Four Thirds format is the Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH; see my review of the Panasonic Leica DG Nocticron 42.5mm f/1.2 ASPH in Guide to Mirrorless.

The 42.5/1.2 is now being offered with a $100 instant savings through August 2nd.

Also on my “must have” list for M4/3 are the Panasonic Leica 25mm f/1.4 Summilux and Panasonic Leica 15mm f/1.7 DG Summilux.

Sigma 50mm f/1.4 DG HSM A vs Nikon 50/1.4G and 50/1.8G (Nikon D810)

Get at B&H Photo: Nikon D810, Sigma 50mm f/1.4 DG HSM A, Nikon AF-S 50mm

  Nikon D810
Nikon D810

This 3-way comparison on the Nikon D810 pits the Sigma 50mm f/1.4 DG HSM A against Nikon’s two 50mm autofocus lenses, the Nikon AF-S 50mm f/1.4G and the Nikon AF-S 50mm f/1.8G.

The scene and focus and so on were carefully arranged so as to show off the behaviors.

Sigma 50mm f/1.4 DG HSM A on Nikon D810 vs Nikon 50/1.4G and 50/1.8G (Decorated Fat Bike)

Includes HD and UltraHD images and seven large crops, all across the ƒ/1.4 to ƒ/16 aperture range.

  Nikon D810 + Sigma 50mm f/1.4 DG HSM A @ ƒ/2.8
Nikon D810 + Sigma 50mm f/1.4 DG HSM A @ ƒ/2.8

Nikon D810: Things Yet to be Covered

Get Nikon D810 at B&H Photo.

Several readers have asked about particular areas still to be covered with the Nikon D810. Some of these I have deferred because they involve the D800E, and I want Adobe Camera Raw to be final before engaging in the laborious task of publishing, only to find that ACR final is different from ACR beta (unlikely but possible).

Here are some areas I have planned:

  • Hot pixel evaluation. Credible evidence has emerged that the D810 might suffer unduly from hot (stuck-on bright) pixels. My D800E had some; I had Nikon map them out (all cameras have them and all can map them out).
  • High ISO behavior vs Nikon D800E. The Nikon D810 might be optimized for low ISO and be a little less good at high ISO (e.g., ISO 3200 and 6400). TBD. Again, ACR is an issue here.
  • Sharpness: is the D810 any sharper than the D800E? This is a tricky one requiring exacting and repetitive cross checking. Not looking forward to this for that reason.
  • Shutter shake: is the D810 shutter better damped than the D800E? (for those conditions when the electronic first curtain option of the D810 is not viable).
  • General field shooting and behavior.
  • Dynamic range under extreme field conditions.
  • Night shots.
  • Discussion of the D810 settings and menu options.
  • ... and whatever else is observed in the field.

Purchased the NEC EA244UHD 4K UltraHD Display

Get NEC EA244UHD at B&H Photo.

The NEC EA244UHD 4K UltraHD display became indispensible for my work, so I bought one because it solves certain needs I have for my work.

I use it daily attached to my MacBook Pro Retina for the following:

  • As a preview workstation for all site content, particularly UltraHD images.
  • High resolution (double resolution) screen shots.
  • Its sheer beauty—a 24-inch 3840 X 2160 display has such high pixel density that no pixels can be seen; it’s like a huge 'chrome'. Eye-popping 8 megapixel images aside, text is unbelievably smooth and beautiful too.

See my in-depth review of the NEC EA244UHD 4K UltraHD Display including how I calibrated it and the wide color gamut.

NEC has larger models coming late this year or early 2015 (not sure which), but the EA244UHD is available now at a reasonable price. This is a good way to enjoy 4K quality and for me it actually solves a need too.

At present, only two Mac models support 4K displays: the 2013 Mac Pro and the late 2013 MacBook Pro Retina 'Crystal Well'.

NEC EA244UHD UltraHD 4K display
NEC EA244UHD UltraHD 4K display

Nikon D810 In Stock at B&H

Nikon D810 is in stock at B&H Photo as this was written. I’m told it’s a small batch, so grab one quick if you’re after one.

YAYF: Yet Another Yosemite Fire

Get Pentax 645 and Nikon D810 at B&H Photo.

I had planned to do some field shooting with the Nikon D810 and Pentax 645Z in Yosemite National Park starting late this week, and some trout-eating too, but it surely will have to be the White Mountains and more easterly areas instead (smoke from Yosemite usually does not migrate to the White Mountains, though it does get into Owens Valley—see Dennis Mattinson’s 395 Travel website).

  Smoke over Half Dome in Yosemit, 2014-07-28 at 07:53 AM
Smoke over Half Dome in Yosemite, 2014-07-28 at 07:53 AM

Pentax 645Z vs Nikon D810: Overarching Thoughts on Two Fine Cameras

Get Pentax 645 and Nikon D810 at B&H Photo.

In my review of the Pentax 645Z, I share my overall thoughts on the Pentax 645Z versus the Nikon D810.

  Pentax 645Z   Nikon D810
Pentax 645Z and Nikon D810

The Future of Peak Image Quality Means Fixed-Lens Cameras

I wrote this piece 1 year and one week ago. Here it is again, not quite verbatim but close, since not much has changed..

...

Shown below are five fixed-lens cameras (click on each for more info or review link).

Four of these cameras use an APS-C sensor, and the Sony RX1 is full-frame (130% larger in area). All of them are fixed lens cameras, and all restrain lens speed to keep size and weight down, but are versatile enough for shooting at dusk (with the possible exception of the Leica X Vario).

Discussion continues below.

Get compact cameras at B&H Photo.

Ricoh GR   Sigma DP1 Merrill   Sigma DP1 Merrill   Nikon Coolpix A Nikon Coolpix A
Ricoh GR and Sigma DP1 Merrill and
Leica X Vario and Nikon Coolpix A
Sony RX1

Why a fixed lens?

From my work with these cameras, I can say that all of them set high standards in imaging sharpness that is remarkable (but Leica X Vario I have not tested).

A fixed lens allows:

  • A more compact, more lightweight design.
  • A lens totally optimized for for the sensor*; the rear of the lens can be 1mm from the sensor if need be**; no constraints on internal space or lens shape or diameter. Field use proves this out.
  • No dust intrusion from changing lenses.
  • Less expensive to manufacture and simpler to design (no lens mount to design, no planning for some future higher resolution sensor or different sensor type, etc).
  • Lower market risk; no commitment to a lens line or lens mount, great way to float a trial balloon (seems to be Sony’s approach with the RX1).
  • Very high quality in small size; people want this. Lugging around a DSLR is not something most people want to do or ought to do; DSLRs are bad solutions for most people.

* Based on what I see, no interchangeable lens camera yet offers the high performance one sees in the best fixed-lens cameras. Probably because of design compromises. The only exception being the huge and heavy Olympus SHG lenses.

** Interchangeable lenses in theory could also project all the way into the body cavity, but this would mean a rather awkward rear end “plug” and lens cap and probable risk of damage to lens or camera internals. No vendor designs lenses this way, at least not yet.

Extra lenses, or fixed lens

A fixed lens restricts choices, and that is a good thing: it focuses the creative aspect by simplifying to the essentials. One learns perspective and composition much better with a fixed lens: a zoom makes most people get lazy: standard there and zoom; this is typically a failure. Not saying it cannot work, but I am saying it is likely more a hindrance to good photography than a help (counterpoint: certain tasks make a zoom lens mandatory).

Carrying extra lenses can be more awkward than carrying two small cameras. And two focal lengths cover the majority of shooting situations. More is less in my experience; 3+ lenses becomes a burden and generates creative confusion too much of the time.

I hope to see the fixed-lens trend continue. In particular, I would like to see other focal lengths with the Ricoh GR, perhaps 19mm and 40mm (equiv). Sigma has done this already with the DP Merrill line with 28mm, 45mm, 75mm (equiv) choices. I’d also like to see a 24mm version of the Sony RX1", because 35mm is too narrow a field of view for many of my uses.

Micro Four Thirds

Ironically, the format most suited to the fixed-lens approach (due to the modestly sized sensor)—Micro Four Thirds (M4/3) format—has dropped the ball: the potential exists for fixed-lens M4/3 cameras with perfect image quality at ƒ/2. Will it even survive as a viable format in any mainstream way? I have serious doubts, but the right cameras would allay that concern. Instead, hardly anything interesting happens while APS-C aggressively gets more interesting and raises quality to high levels.

Instead, we get M4/3 lenses that are good but hardly exciting and lag what cameras like the Ricoh GR can deliver—all with a far smaller sensor which itself compromises peak quality. Without compelling fixed-lens offerings (small, lighter, perfect lens performance at ƒ/2, ideally ƒ/1.4), the format loses considerable appeal. The M4/3 format might well wither without this breadth, because the fixed-lens APS-C cameras like the Ricoh GR are compelling in size, weight and image quality. And the build costs do not vary much between formats.

Leica X Vario

Sigma DP1 Merrill
Leica X Vario

What Leica has done with the X Vario is pursue high-grade image quality in a zoom. But to accomplish that quality, the lens speed has been severely compromised, and the camera remains far too large for pocketability.

I would rather see a Bi-Elmarit design with 24mm and 35mm settings (Elmarit = ƒ/2.8); this ought to be achievable in a similar size. The slow speed means that the best light of the day (dusk) is unshootable with the Vario X handheld at ISO 200. And there is greatly reduced opportunity for subject isolation (small aperture), hence creative uses are restricted.

But the real issue is that the X-Vario is essentially a DSLR in awkwardness: cannot be pocketed, on the heavy side and Leica’s idea of usability and features pales compared to a Ricoh GR. And then there is the price: $2850 and that’s before the $500 low-res optional Leica VF-2 EVF.

DSLR

Which brings us to DSLRs: lens design is compromied by a mirror box. Sony is making strides in this area, but no vendor has comitted to a full-frame design with a new wide diameter lens flange along with lenses that seat deep into the body cavity. Hence most lens designs remains compromised for that mirror box offset, making them lower performance, larger and heavier, at least for wide angle designs.

In 2014 this began to change with mirrroless lenses for the full-frame Sony A7/A7R/A7s trio, and more designs can be expected. But as of summer 2014, Nikon and Canon are still in the same rut as ever.

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Leica 50mm f/2 APO-Summicron-M ASPH: $900 Price Rise

Get Leica M at B&H Photo.

Roy P writes:

Wow, the Leica 50mm APO is now $8,250, almost a grand higher...

Thanks for your timely reminder, I ordered one for $7,350 (through your
site
, of course). Still on back order, but my price is locked in!

Geeze. How do you make $7,350 look cheap? Raise prices to $8,250.

DIGLLOYD: My Guide to Leica has an in-depth review of the 50/2 APO, including the severe flare issues with the original production lenses, now resolved with the latest model.

As with my original copy, my replacement copy is *also* skewed left/right (focus is closer on the right side quite significantly). For this pricing I expect perfection not flaws. But my experience with Leica M is that quality control is not at all good (at least half of brand-new lenses have had an issue).

The Zeiss Otus 55mm f/1.4 APO-Distagon is no less good a lens (better IMO), twice the speed, and half the price with tighter quality control, albeit 4X the size and 3.5X the weight.

Victor B writes:

You are so spot on to be more than annoyed with outlandishly expensive lenses showing skewing - even slight - at those price points. I've toyed with purchasing the 50mm f2.0 Apo-Summicron but no more. You have convinced me that even at that price Leica can't control their QC.

I've just sent my second Schneider Digitar lens back to Germany for repair/replacement (60mm f5.6 Apo Digitar - currently $5700.00). It had severe skewing with the right side crisp and the left side mush. The only bright point regarding this is that Schneider is very conscientious regarding these types of repairs/replacements.

As I've written previously my Otus went back to Zeiss and is currently being replaced with a new copy. This is really expensive stuff that shouldn't be subject to these issues. A real shame as it requires all sorts of extra testing/returning/replacing that is time consuming and tries my patients. Keep up the good rant!!

DIGLLOYD: no brand is perfect, but I go by long experience in what I’m saying, not just one-offs.

A conversation with Ming Thein on the Pentax 645Z and Nikon D810 and More

Get Pentax 645 and Nikon D810 at B&H Photo.

Easier to read with black on white, use the Color Scheme control above.

A chat today with Ming Thein of MingThein.com, a professional photographer half way around the world (from me) whose work is excellent and writng is equally solid. He has his own shooting needs, and his The Nikon D810 review: a worthy D800E upgrade? is worth a read.

This chat is a little rough, but it was unscripted and unedited and with chat there is some overlap (out of order) as one person types/responds to a prior.

Perhaps we’ll do more if readers find it enjoyable (update: yes, very positive feedback).

Transcript

diglloyd: My first thought on the 645Z is lenses.

Ming Thein: Same - or rather the lack of?

diglloyd: or rather lens selection. The lack of more than a few (if that) really good lenses. the 90/2.8 macro is really good, but are there others of that grade?

Ming Thein: The SDMs are the best of the bunch - yes, the 90 is outstanding, the 55 is not bad - much better stopped down, and the 25 gets there by f8.

diglloyd: On the 25...

Ming Thein: I would say it probably matches the Zeiss 2.8/21 by f8. But sample variation is a disaster.

diglloyd: My test showed that it cannot match the Zeiss 21/2.8 at any aperture. But I had one sample and you had four? Seems like probability for a mediocre $5K lens is way, way too high. Compared to Zeiss Otus which holds very tight tolerances in manufacturing.

Ming Thein: And that's the troubling thing. The first sample would not focus to infinity and was clearly astigmatic. The second one was astigmatic. The third was not bad. The final one is pretty good.

diglloyd: I’d expect fairly strong astigmatism in it as a wide in any case.

Ming Thein: At least, the one I purchased matches my 2.8/21. I think we have to remember it's a 19mm-e on 44x33 but covering full 645 though. And that's pretty darn wide, even though it doesn't seem to render as such.

diglloyd: But the thing is, where is the 15/2.8 and 25/2 or 25/2.8 equivalent... no T/S, etc. That’s the rub.

Ming Thein: Or leaf shutter lenses.

diglloyd: True enough though the 645Z it’s 21mm equiv exactly across the long side.

Ming Thein: But in all fairness, Hassy and P1 don't have these either. Hassy has the 1.5x HTS, Phase has one Schneider 120 macro TS, and that's about it. My bad, was thinking diagonal.

diglloyd: Heck I’d like to see leaf shutters on a DSLR.

Ming Thein: You can have it. It's called Leica S.

diglloyd: IMO the very best glass is Leica S.

Ming Thein: And then you can also be broke. Well...I think the Otus gives it a run for its money. At least it will when the lineup is complete - and at f1.4 instead of 2.5, and half the price (or less).

diglloyd: The lenses would be OK (buy used), but the S body is an OMG and way beyond me.

Ming Thein: And that really demonstrates relative value, doesn't it? The 645Z is what, one third the price of an S?

diglloyd: Yes, the Otus is faster by more than a stop even in format equivalent terms. Otus is no less good than S lenses that I can see. Frustrating. Yes, GREAT sensor, and Ricoh has those controls (mostly) nailed. Thoughtful design.

Ming Thein: Personally, it seems MF in general is not really there, for any system.

diglloyd: I’d agree. I’d like to see Leica offer S glass for a variety of MF bodies. backfocal distance a problem with current designs though (precludes adapter at least). But that 645Z sensor is a nice piece of work. But results are sensor/electronics + lenses (plus of course the wetware behind the camera).

Ming Thein: I've tried Hassy V film and digital, Hassy H, Leica S, and now P645. Each has some pretty significant drawbacks - V tops out at 1/500s, has no wides and has to deal with a body designed for square and digital backs that are rectangular. Hassy H feels terrible ergonomically and just operates very clunkily. Leica S is eye wateringly expensive, the sensor lets the whole thing down compared to the competition, and the S2 I used had some serious FW bugs - it wouldn't write anything to card subsequently if you changed ISO whilst it was saving. P645 lacks lenses and leaf shutters, but has the best sensor and ergonomics of the lot. Phase One...well, nobody from them ever replied any of my emails, so I wouldn't know. I'd say customer service is a bit of a disaster in Asia...

diglloyd: Seems like Zeiss is the perfect fit for MF like Pentax 645Z: Otus grade for MF. Tiny market though and is it needed? Who *needs* the 645Z.

Ming Thein: Honestly? Very few people could even really maximize the potential.

diglloyd: Agreed on those systems. BUT... Leica S could conceivably go to 50 or even 80 MP and that would start to look more compelling.

Ming Thein: I personally think the 645Z should really be shot like a DSLR, not a MF camera for best results: because it'll give you MF results where you couldn't even come close before. And THAT is interesting, in my book - both pictorially and technically.

diglloyd: Agreed. 645Z feels like a big Nikon to me.

Ming Thein: There's no 80MP 33x44 sensor - yet. And the 50MP sensor would make it equal to the H5D-50C, IQ250, 645Z etc. - but probably at the same price as the P1 or more. Actually...I prefer the 645Z. Nikon still haven't mastered the art of mirror lockup.

diglloyd: There will be... and S glass should hold up.

Ming Thein: Self timer = auto mirror up. What's so difficult about that?

diglloyd: Ricoh did execute really well. It’s so *obvious* so why do so many vendors do it wrong.

Ming Thein: At 80MP on that sensor size, we're talking ~45-50MP on FX - that's diffraction limited by f5.6-8. I don't know how useful that's going to be practically, to be honest.

diglloyd: But Ricoh screwed up like everyone else on one point: why is there a 30 sec limit on exposure time without jumping through hoops when the sensor can do an hour with aplomb.

Ming Thein: Many things are obvious, but laziness, inertia, and design by consortium seem to be the main causes. Ricoh and the GR are a good example of doing it right - there's really *nothing* to fault about that UI. Put the camera in B or T

diglloyd: I see 80MP in that size as debayering cleanup in large part.

Ming Thein: One press to open, one press to close. But yes, timed multi-minute options would be nice. One stop increments at that point would be fine, too.

diglloyd: B doesn’t cut it: who presses the button? I’m in the cold at 30°F the wind is blowing and I’m gonna **#$848#$ stand around to press a button?

Ming Thein: I suppose there's that wireless card + app. I see that as being useful for landscape work. You DID walk out in the cold 30F wind in the first place... I have a Norwegian student who says there's no such thing as bad weather, just incorrect clothing.

diglloyd: Yeah you can always carry extra crap along... that’s what I’m forced to do with the Nikon.. carry an MC-36 whose battery is always low.! Give that Norwegian student 30 more years and a pot gut and we’ll see.

Ming Thein: Speaking of batteries, I'm finding my Nikons seems to be self-discharging of late - all of them. New batteries especially. I wonder what's up with that - down 10% or more after letting them sit for a week. He's 60.

diglloyd: Point is, so EASY to just allow user to select 60 or 90 or whatever: Ricoh GR goes to 5 minutes piece of cake built in.

Ming Thein: And with an ND filter, but that's another thing altogether.

diglloyd: all right, give him 30 more years! :;

Ming Thein: He'll be dead (probably) Speaking of ND filters, the 25mm is a bit of a disaster: ultra thin drop in NDs are required in an odd size - good luck finding them. I haven't been able to.

diglloyd: The lens is supplied with one, isn’t it?

Ming Thein: CPOL.

diglloyd: Well, then you have a 1.5 stop ND that cuts glare huh.

Ming Thein: But sometimes you want a bit of reflection.

diglloyd: Odd that no screw on front. Zeiss can do a 15/2.8 with screw-in front, so it’s a design thing that need not have been done that way. Absolute... “dead” things creepy if too much POL.

Ming Thein: I admit I'm mostly just being difficult because I've never used an ND much before on wides, but I could see experiments I'd like to try - especially with 1h exposures.

diglloyd: Did this piece and many others... definitely do not want too much polarizer off. diglloyd.com/blog/2014/20140120_1-polarizer-choices.html

Ming Thein: Agreed.

diglloyd: Haven’t tried but does the 645Z have a (non) ISO 50?

Ming Thein: No, 100 is the lowest. Let me double check.

diglloyd: I do like ISO 64 on the D810. Very impressive quality. ISO 31 (non ISO) is soft though, not appealing.

Ming Thein: Yes. 100 is the lowest. Is 64 better than 100 on the D800E?

diglloyd: I keep wondering if Nikon went to a mirrorless design accepting current F lenses and made a 36 X 32 sensor... many lenses would work quite well I bet. Otus 55/1.4 would.

Ming Thein: Trouble is, other than for long exposure work or video or extremely fast lenses and tropical noon, I can't imagine wanting less shutter speed - especially given more shutter speed = less shake...

diglloyd: YES, 64 is definitely better. Not that 100 is bad, but the first inklings of noise show up at 100.

Ming Thein: Are we talking the D810 or the D800E here?

diglloyd: ISO study of D810: http://diglloyd.com/blog/2014/20140720_2318-NikonD810-noiseISO-fruit.html

Ming Thein: 30x30 square!

diglloyd: Along with chroma noise reduction: http://diglloyd.com/blog/2014/20140723_0900-NikonD810-noiseISOChroma-fruit.html Yes, that too. Or maybe 32 X 32 to push it. D810

Ming Thein: Would you say it's a noticeable step up over the D800E? As in: given what you're likely going to lose selling a D800E, and have to pay to upgrade...

diglloyd: Well, D810 high ISO superb too up to 3200 or so, and one must keep in mind reproduction size which relates to number of pixels. Yes, D810 step up... both operationally already saving me time and image quality a notch higher too. Hard to quantify though.

Ming Thein: If you keep doing this I'm going to send you a bill later.

diglloyd: I’m gonna sell my D800E and buy the D810.

Ming Thein: The thought of doing the mirror realignment dance doesn't excite me though.

diglloyd: Tear the mirror out and use LV only with that EVF non option?

Ming Thein: I've spent so long making manual focus usable on my D800E pair that I am really loathe to sell and do it again.

diglloyd: It’s time to lose the mirror as one option.

Ming Thein: I'd go for that. But I don't know if Nikon has the balls, frankly.

diglloyd: Don’t sell it then. D800E remains a strong camera. My needs involve precision so I have to have the best Live View and no vibration electronic shutter and so on. Not the same as street. Nikon is female. The quiet shutter is a big plus on the D810.

Ming Thein: Well, most of what I shoot commercially is stopped down on a tripod with controlled lights. The street-urban type work is mainly for teaching and personal entertainment.

diglloyd: then you want a D810 for its operational behavior in LV.

Ming Thein: Mirror/ shutter vibration was and is a big deal on the D800E. Does the D810's mirror buy you any extra handholdability?

diglloyd: Massively better Live View on D810: http://diglloyd.com/blog/2014/20140719_2030-NikonD810-LiveView.html

Ming Thein: I must be the only person who's never had an issue with the D800E's LV. I honestly view the mirror as a much bigger impediment to IQ

diglloyd: Well, see my actual photos of both. D800E = hideous mangled blurred view. D810 = clear.

Ming Thein: That's significantly better.

diglloyd: Mirror handheld shooting? Cause on a tripod not involved with MLU.

Ming Thein: It's a wonder I could make sharp photos at all with LV!

diglloyd: Have a drink or two first for tharp pictures.

Ming Thein: No, the mirror mechanism - Nikon claimed less vibration, which should theoretically improve handholdability. Tripod is academic.

diglloyd: Have not evaluated that... but the D810 seems nicely quiet.

Ming Thein: I'm finding 1/125s is the borderline for consistently sharp hand-holding with the Otus, but my hands aren't that steady.

diglloyd: Maybe that quietness is the mirror damping you refer to.

Ming Thein: Yes and no. Cameras like the F6 have a loud mirror but surprisingly good damping.

diglloyd: I can shoot down to 1/15 and with 3 or 4 frames get one tack sharp. I call it mass coupling: http://diglloyd.com/index-msi.html#LiveView

Ming Thein: Others have a loud mirror and poor damping (Sony A850, for instance) 1/15 is on a tripod or handheld + LV?

diglloyd: Agreed... but one expects some correlation with similar era design.

Ming Thein: I think if one used an LCD magnifier + LV you could probably get much lower than with the finder.

diglloyd: handheld: couple the camera to the slow-moving body.

Ming Thein: Actually, I think the correlation is all cost related... The F6 was/ is expensive. And has no digital bit, either. So all that cost has to go somewhere...and I doubt it's margin, given the lowish volume.

diglloyd: possibly, but it’s all about eliminating high frequency vibes... and mass coupling (holding technique) can do that. It can’t damp the mirror I suppose. Some canon bodies better that way I think. Makes sense. Mass market era even at $3K.

Ming Thein: Talking about high frequency - to me, that remains a problem with mirrorless: all of them still have this shutter shock problem.

diglloyd: and half of cost is electronics so physical stuff gets shorted.

Ming Thein: Precisely. EFC solves it to some extent, but introduces other compromises like rolling shutter artefacts or no drive modes.

diglloyd: Sony A7 in EFC mode has no shutter shock. Nor Sigma Merrills, etc. leaf shutters (all). But you know that.

Ming Thein: Sigmas use a leaf shutter. The A7 would still have rolling shutter issues, no?

diglloyd: Yeah but Sony A7 does not and can be shot all the time in EFC mode. Rolling shutter issues for still frames? That’s a real concern?

Ming Thein: At high shutter speeds/ fast moving objects, yes

diglloyd: Sure... one can pop out to regular mode I suppose. But dusk in an alley....

Ming Thein: I can think of several situations in which I'd have had very strange results from a sequential readout shutter Also true Question is why didn't they put that EFC mode into the A7R, which needs it more...

diglloyd: Better to have option than not and hard vibrations (Sony A7R). CPU speed? or sensor limitation?

Ming Thein: The A7R has other issues, like data compression. And again lack of lenses.

diglloyd: Leica M has same problem as A7R, only somewhat less severe. Ruined all my long tele shots in the field. But that might change soon. 😊

Ming Thein: I wouldn't use an M for tele work. The EVF is silly, the RF useless above about 75mm, and that leaves you on a tripod. It seems that body hardware is progressing much faster than lens choices though. Lots of new systems, only M4/3 and Fuji seem to have fleshed everything out so far.

diglloyd: EVF is immensely useful to me on M (focus accuracy).

Ming Thein: True - but why bother with an RF at all then? You might as well use a D610 and live view. Or an A7/7R.

diglloyd: Back to D810: I see it as a workhorse. It’s not great by any means (so many “could have done this right”), but it is a true workhorse. Because red dot stickers are cheap.

Ming Thein: Isn't that pretty much true of most pro Nikons? I seem to always come back to one for serious work

diglloyd: M lenses are kinda nice at times.

Ming Thein: Because all of the system bits are there, and they get the job done. But I find them very difficult cameras to love

diglloyd: Kudos to Nikon for making something solid.

Ming Thein: It's only the Zeisses that give them some magic

diglloyd: Nikon makes too many easy things too hard. like it has always been. But need not be.

Ming Thein: Out of curiosity, is there any Nikon glass you like at all?

diglloyd: That’s a good point: today’s lab test for lenses are just a spreading malaise. Nikon glass... yes...

Ming Thein: A lot of photographers have forgotten how to use their eyeballs and brains.

diglloyd: Points to the 14-24 for an incredible zoom for when you need it (focus shift sucks at close range though).

Ming Thein: I actually don

diglloyd: eyeballs applied to web page charts. :;

Ming Thein: don't like the corners on that thing. And yes, I've used three of them, too.

diglloyd: Corners are good on 14-24. It has differential focus shift. http://diglloyd.com/index-msi.html#CaseStudiesFocusShift

Ming Thein: And some field curvature and CA too

diglloyd: Took me 2 years to figure out the friggin’ 14-24 behavior. See my differential focus shift case studies. It will clear up a lot. But... not that much I care to shoot on Nikon: not much magic.

Ming Thein: I find it easier and cheaper to mount my 21...

diglloyd: (Nikon lenses). Some very good, none great.

Ming Thein: I'm inclined to agree. I tested a 200/2 VRII recently - one was going second hand at my usual dealer - and was a little disappointed, especially compared to the 2/135 APO.

diglloyd: Well, the 14-24 has very low distortion in the 21-24mm range. Zeiss 21/2.8 I prefer also, but has wave distortion... all depends on subject I guess.

Ming Thein: That's what ACR profiles are for.

diglloyd: 200/2 is way overrated on sharpness. Good in central 1/2, then doggin’ it and f/5.6 - f/8 required. ACR can help but that micro contrast gets whacked by correcting. And that’s part of the Zeiss magic. Well, D810 sensor I’m not so sure is ideal yet.

Ming Thein: Oh? Personally, what I'm increasingly finding is that I'm matching one or two lenses to a body/ system and working that way - it seems necessary to get the best across the board. There's no longer a one-size-fits-all system as the pixel counts keep climbing.

diglloyd: Sensor cover glass non optimal.

Ming Thein: Interesting. What's the giveaway? Flare?

diglloyd: That works. I had to have my D800E bodies gone over special 2 years ago to get the sensor/mount aligned.

Ming Thein: And that's one of the reasons I'm loathe to get an 810 - QC seems so bad these days that I really don't want to go through that again. But maybe that's a working pro's standpoint: it works, it's reliable, clients are happy - why spend more to change?

diglloyd: Not flare... just less than peak sharpness that ought to be there. Otus is designed to all but eliminate it, but many lenses seem less good than I’d expected (e.g. older Nikkors). B&H Photo: 30 day returns. 😊; http://diglloyd.com/gear-nikon.html But easier here in USA.

Ming Thein: Older Nikkors just don't seem that good to me in general. Even my 58/1.2 NOCT really needs f2-2.8, and even then, it isn't even close to the Otus. It is smaller and cheaper though, I guess.

diglloyd: Yeah that’s part of it—just not that great. But I think some of the Zeiss wides are impaired slightly. NOCT need f/5.6! Had a cherry picked one... order of magnitude under Otus. But ‘style’ lens of course.

Ming Thein: I wonder if this pairing thing is just something we're going to have to get used to. GR for wide, D800E + Otus for the midrange or P645Z and 55/2.8, then back to Nikon again for anything over the 90

diglloyd: MF suffers badly in that regard.

Ming Thein: I bought it as an investment to go with my F2 Titan.

diglloyd: Keep it. I wish I had mine. Sharpness is not everything.

Ming Thein: That's the plan. I shoot that combination for fun and to decompress.

diglloyd: The Nikon 28/1.4 is not all that great either, but I loved the way it draws. Sold that too. Darn.

Ming Thein: And to remind me what a real camera should feel like. I actually came across a couple of those recently - I really don't like it, surprisingly. I prefer the 2/28 Distagon or the GR's rendition. The GR's lens-sensor combo is something very special too, I think.

diglloyd: Pentax 645Z is a “real” camera. My arm got tired shooting these portraits in 20 minutes http://diglloyd.com/blog/2014/20140708_1542-Pentax645z-examples-portraits.html

Ming Thein: None of the Leica 28 options I've used can touch it (but not tried the new 28/1.4 ASPH, I should ask Sean Reid about it). I started doing weights. It helps.

diglloyd: Agreed, Zeiss 28/2 I prefer to. Different.

Ming Thein: Technically terrible though - field curvature and all - but the rendering is glorious.

diglloyd: Ricoh GR lens is really good but I bet it’s all hardware corrected... and so what, it’s a killer combo. Fixed lens cameras the answer to your “matching” thing. http://diglloyd.com/blog/2013/20130718_4-future-is-fixed.html

Ming Thein: I agree - too bad there aren't many options other than the Sigmas, which have terrible workflow.

diglloyd: Yeah, Zeiss 28/2 is classic design, but gorgeous for close/mid range environmental and such.

Ming Thein: For the quantity of throughput I have...workflow trumps that last 5% in IQ. I actually have concerns that a future Otus wide may be too clinical.

diglloyd: That DP2 Quattro... disappointed. Smearing. Ends the Merrill line. Maybe it’s software though (faint hope).

Ming Thein: I was told from an inside source that new SW and DPP are coming in the next week that should fix it.

diglloyd: I have not been successful in processing even one image on my Mac Pro with SPP 6. Every edit window pops up off screen.

Ming Thein: Played with one last couple of days - my printmaster here works with Sigma for various things - I was surprised by how slow it was and how noisy it was, too. Not much improvement over the Merrills that I can see, other than blue color accuracy.

diglloyd: I have some nice martian rocks for you.

Ming Thein: Now I've lost you.

diglloyd: SPP 6 leaves developer hooks in... sleep system... hang with password dialog to debug... shoddy work. Last comment on skepticism of “all will be fixed”. Two years of sending bug reports leaves me very cynical here.

Ming Thein: Is it just me, or do you feel like the first round of consumers are increasingly becoming beta testers these days?

diglloyd: increasingly?

Ming Thein: Yes. D800/D4 left AF issues, E-P5/M1 shutter shock, Leica M240 QC - lugs falling off (!) etc

diglloyd: Product = hardware + software. Vendors don’t get that. I meant that “increasingly” happened a few years ago. Absolutely! Except perhaps Nikon and maybe Canon.

Ming Thein: It just never seemed to be that way in the past. I didn't feel like the whole workflow was 'fragile' and things were broken/ needed fixing. My D200s just worked. My D2x just worked.

diglloyd: Well, I separate some things from manufacturing “surprises”.

Ming Thein: I didn't have to take the damn camera apart just to make it focus properly. I was surprised that my 645Z's mirror was aligned AND needed almost no AF fine tune.

diglloyd: Agreed. But I think we’re talking manufacturing tolerances on very high res here. Tolerances not upgraded to match resolution Nikon AF simply incapable of precision, period.

Ming Thein: I also don't hear as many issues with consumer grade cameras, though whether that's because of tighter automated machining tolerances or the users being less discriminating, I have no idea. Maybe it's worth buying a D3300 or something to find out.

diglloyd: Good results with 645Z focus, when it can actually focus and not hunt.

Ming Thein: That's also a possibility.

diglloyd: Could be lens designs made for higher tolerances for variation and not so good to begin with (in part).

Ming Thein: it also definitely seems like resolution has outstripped the ability of most tolerances to match it. I'm thinking of bodies, not just lenses

diglloyd: Yes. To see that, shoot Otus 55/1.4 on a D7100 or similar, focus with LV. Even that is not easy. Agreed: AF, planarity of sensor/mount (including many lens mount/unmount cycles, etc).

Ming Thein: Speaking of Otus and QC - I'm very, very impressed with how consistent they are. Leica are a bit of a disaster in that regard - as bad as Pentax. I've had 6 copies of the 50 Summilux ASPH, and only two were decent. Coatings separated off my 21/1.4 and 50/0.95. I gave up after that.

diglloyd: Leica M constant battle 3/4 lenses “off”. Ridiculous. Had to wait 2 months for my 18/3.8 SEM, still has same color fringing on left side only.

Ming Thein: I've had the chance to test three Otus 55s - they're identical in every way, as far as I can tell. Sounds like that's not just me, then.

diglloyd: Don’t get me started on 50/2 APO. My replacement is also skewed left/right (on another brand new body).

Ming Thein: I'm actually starting to think handmade is NOT a good thing. There's no way hand tolerances can consistently match or better a machine. Flare flare flare!

diglloyd: I’d agree. Zeiss Otus quality control very, very high. Probably best in industry. Regular Zeiss very good, but some variation. Still, much better than CaNikon.

Ming Thein: I cannot justify paying the $16,000+ (at least here) that an M240 and 50/2 APO would cost. Not when I could get an Otus AND a 645Z for the same money.

diglloyd: Not just flare: left/right skew too. Both copies, original and “hand picked” replacement. Go figure. Don’t forget the special edition version you really really want.

Ming Thein: I didn't see skew in my sample, but the flare was definitely there. The RF alignment...was a disaster. I was taking my camera apart in the middle of a market in Yangon. The red one?

diglloyd: I would like to see that new 28/1.4 though.

Ming Thein: Agreed - but only because I'm a sucker for 28mm. To be honest, my GR gives me better results than any Leica 28-e combo did.

diglloyd: Both 50/2 APOs have focus skewed forward on right. On two bodies for the first, one (brand-new replacement body for the 2nd).

Ming Thein: Leica must love you.

diglloyd: Any 28/1.4, I don’t care about the special edition.

Ming Thein: I can wait for the Otus version.

diglloyd: That’s why Leica always tell me “sure we can loan you X... in 9 months”. (for review).

Ming Thein: Hah! Nikon here do not loan me anything - which is why I've got so many questions on the D810. Apparently I do not merit loaners.

diglloyd: Otus will kick it’s ass anyway. Leica M designs have rampant field curvature for the f/1.4 designs. eg f/8 for the 35/1.4 Summilux at distance and be there. Nor me. No one wants to talk to honest reviewers. Zeiss IMO has the highest integrity in this regard. I have huge respect for them.

Ming Thein: I think part of that is deliberate - the field curvature - because otherwise you can't edge focus accurately with the RF; you've got to center focus and recompose.

diglloyd: what’s a rangefinder? :; (I use the crappy toy-grade EVF on the M240)

Ming Thein: Well, they're just shooting themselves in the foot long term: if everything is awesome, then credibility becomes an issue The Olympus one...

diglloyd: 50/2 APO is the right approach. They need to apply that idea across the line. But then I will have to abandon Leica (cost).

Ming Thein: I already have for cost and reliability. $8000 or whatever they're asking now for a 50/2 is madness. To bring things somewhat full circle again...what's your verdict on the 645Z and D810? Buy, or not buy? Upgrade, or not? Then the bigger, more interesting question is: does anybody really need either?

diglloyd: I am not buying the 645Z but I want to be very clear why...

Ming Thein: Personally, I'd give the 645Z a recommended rating with the qualification that the 'good' lenses need to work for you The sensor is utterly epic though

diglloyd: First, the cost. And for me, there is no ROI on buying one. Second the lens line. Third the D810 serves my particular needs for my site; the 645Z serves no purpose (I run though gear constantly, it would sit there with no purpose). Absolutely I rate the 645Z high. I’d *love* to have one with the 90/2.8 and a good 21/2.8 and something dunno in between.

Ming Thein: Diminishing returns

diglloyd: 90/2.8 alone would be OK. But spend $14K.... ?

Ming Thein: I admit the 'want' factor trumped most other considerations for me; I sold my CFV-39 to pay for it, and have an upcoming project that could use the resolution. But still...it's a tough justification.

diglloyd: Other problem: where would I shoot it? It fills my entire daypack, it’s a beast. Just no fun at all in the mountains. the Live View on the 645Z is a huge plus for any precision work, I would think that would dovetail with some stuff you do.

Ming Thein: Ironically I find it very difficult to justify the D810, even though the D800Es have been my workhorses. Mainly because the ergonomic changes are enough to annoy me (I use that metering switch a lot); I'd have to buy two, spend days sorting out mirrors and focusing screens, and on top of that...well, the D800E still does the job just fine.

diglloyd: No EVF on the 645Z is a problem too... presbyopia increasing nuisance so rear LCD requires loupe, etc. I agree with you, but my needs are quite different...

Ming Thein: Hah. I plan to shoot the 645Z handheld for corporate/ industrial documentary mainly. The D800Es are what I use for precision because of the macros and TS lenses. How is the D810 better with no EVF either? :P

diglloyd: D810 already reducing my error rate (Live View quality, faster turnaround on LV shots, no risk of vibration with the EFC shutter). It is not, but it is smaller and with far superior lens selection in quality and size. 😊 http://diglloyd.com/blog/2014/20140626_2006-NikonD810-thoughts.html

Ming Thein: I think it's actually a very interesting sign that the market is moving this way: both of us would probably be served just fine by either if we had no choice; and the image quality is still miles beyond anything from several years ago. But there's so much choice it makes me wonder how camera makers are going to survive...

diglloyd: It’s about ergonomics, controls, operation, hit rate. In this regard, the Sony RX1R really nailed it for me.

Ming Thein: Didn't at all for me.

diglloyd: (with a Really Right Stuff grip)

Ming Thein: Actually, my highest hit rate cameras are...an Arca Swiss 4x5 and sheet film, and the GR.

diglloyd: In the field error rate for ad-hoc extremely (very very high hit rate). Gotta have the EVF and grip on the RX1R. Then it’s almost error free for me for ad-hoc shooting fun.

Ming Thein: The D800 is abysmal mainly because of shake and focusing. I'd rather have the GR. But I've never been a 35mm person. I'd probably be all over it if it was a 28, though

diglloyd: I’d like Ricoh to make a full-frame GR with 28mm f/2.8.

Ming Thein: Oh yes.

diglloyd: Me too. RX1R should have been 3 focals.

Ming Thein: With the D800E/810's sensor. Like the Sigmas? That approach actually makes a lot of sense. And the FL choices were sensible.

diglloyd: Well, matched lens to 56MP sensor and built in EVF, leaf shutter, built-in flash.

Ming Thein: Too many pixels.

diglloyd: Yes, like the Sigma Merrills. 56MP as 36 output or so will eliminate Bayer issues. Pixels aren’t just about detail.

Ming Thein: Or even half, down to 28MP. Yes, I know. Tonal information, DR and noise, too.

diglloyd: Yes. Any size you want: full, 3/4, 2/3, 1/2, 1/3, 1/4.

Ming Thein: Processing speed issues...

diglloyd: That’s the rub. 11+7 bit IMO no match for D810 14-bit

Ming Thein: I'd actually like to see a 100MP sensor with 4:1 binning - RGB and ND for extended dynamic range.

diglloyd: Not really. D810 files just fine for me. 645Z too. http://macperformanceguide.com/index_topics.html#MacPro2013

Ming Thein: On a full 6x6 chip for Hassy V, while we're at it.

diglloyd: Should be 36 X 2 X 2 (Sony RX100 density) http://diglloyd.com/blog/2013/20130307_3-oversampling-RX100.html

Ming Thein: Try that with the 645Z. It makes my D4 look rubbish at 51,200. In fact, I honestly cannot think of a good reason why I still own the D4 at all. Other than because I like the ergonomics.

diglloyd: Or the Sigma DP Merrills. http://diglloyd.com/blog/2013/20130221_2-stitching-the-SigmaDP2Merrill.html D4 has a velvety look to its images. Very nice. But I don’t want a measly 16MP.

Ming Thein: The D4 has surprisingly high acuity given it still has an AA filter. 16MP was more than enough 5 years ago...our output forms haven't really changed, for the most part. Most people are still using them for social media or small prints.

diglloyd: seems to matter less on lower res cameras.

Ming Thein: I'm probably the only one resolution limited at 10x15" print area with the 645Z.

diglloyd: I personally enjoying seeing things I could not see while there. It’s just plain rewarding and fun.

Ming Thein: Not everybody is like us In fact, most aren't. Or we'd have that EVF 33x44 mirrorless camera with Otus AF lenses...

diglloyd: six feet wide with sigma as your printer knows works well I think. http://diglloyd.com/blog/2013/20130802_3-SigmaDPMerill-printing-really-big-is-awesome.html could be Otus quality a lot smaller as a mirrorless

Ming Thein: True. Curved sensor too perhaps We can dream...

diglloyd: 44 X 33 ml would be hot. Wonder why Pentax does not do it (Ricoh GR MF!) Would be hot, hot, hot seller. Sony is the only vendor likely to do I think.

Ming Thein: Hmm...probably cost? At $5-7000 for a body, hmm. That said, I'd buy one. Good thing photographers are provided with two kidneys and other subdividable, transplantable organs.

diglloyd: which would be a bargain at $7K given what it is (lens + camera) compared to a 645Z

Ming Thein: True. Not a system though. And I was speculating at 7k - it may well be more like 10.

diglloyd: Two focals: 21mm and 28mm.

Ming Thein: I'd rather 28 and 40 or 55

diglloyd: Anyway, D810 great camera, 645Z terrific too, but so huge that it’s not for many: 645Z will just be left behind too often for me. What I’m hearing from readers is that D810 upgrade is worth it to them. It is for me, but maybe not for everyone—all depends on what and how you shoot.

Ming Thein: Looks like I'm going to somehow have to get my hands on one. I really enjoy the 645Z though. And the IQ is another notch up.

diglloyd: Me too. But I call it a “car or house camera”!

Ming Thein: But I agree: size and lenses mean more often than not I just bring one. You don't have 200% import tax on your cars, that's why.

diglloyd: BUT if all I were doing was landscapes or such stuff, and no other systems, I might go with one. That is not my situation. I buy my cars used too.

Ming Thein: Even if used. New has huge tax...used prices are commensurate. A two year old Honda Civic goes for about $30-35k here.

diglloyd: Couple of 645Z things bug me: the modal image review constant waste of time for me. A few others. 645Z has also failed to record images several times. Seems to happen after card format. wow! (car)

Ming Thein: I think there are options as to what you can access in image review - pretty much everything except browse others. No write issues here. Cameras by comparison are tax free...

diglloyd: no options without 3/4 chimping operations to get there and then back to histogram.

Ming Thein: Win some, lose some.

diglloyd: D810 cycles between 1/2/3/4/5 screens, your choice. 645Z cannot.

Ming Thein: I honestly think it's the way you have your playback options set. I can have my basic info + flashing highlights + single button zoom just fine It remembers my last playback info state on review

diglloyd: Fixable in firmware. But K3 has same headache. Big time waster for my shooting. Any flavor you want as long as its vanilla. Problem is cannot get to alternate info without menus presses. Then repeat that to go back to histogram. Too hard to describe here. Does not do it.

Ming Thein: You might be asking it to do something more complicated. Vanilla is fine for me.

diglloyd: I want to be able to cycle between RGB histogram, uncluttered view, basic info, flashing highlights. AFAIK cannot be done.

Ming Thein: Not easily, no. You can have one of those but not all easily.

diglloyd: Nikon D810 does it. And not complicated.

Ming Thein: So does every other Nikon since the D2H

diglloyd: Yes.

Ming Thein: Playback is the one thing they got right. A lot ...fail. Canon especially.

diglloyd: Not a show stopper. Just an annoyance. Every camera has its share.

Ming Thein: Well, if they didn't, we would stop buying and they'd all go out of business. In any case...it's been great chatting with you, but I'm going to have to call a halt because have to head out to meet a client shortly.

diglloyd: Worth noting: 645Z can Live View most anywhere in frame. That is not a given these days (center only on Leica M, fixed modal on Sigma, etc).

Ming Thein: The Nikons do anywhere also

diglloyd: Fun time! Bye Ming! And Canons and many others. But not Leica M. 😟 See ya. 😊

Ming Thein: It's handmade. Perfection. Just like the RF ;) Until next time! Thanks for the great chat.

diglloyd: Thank you too. 😊 Bye

Pentax 645Z: Underexposing and Pushing by Up To Six Stops

Get Pentax 645 at B&H Photo.

  Pentax 645Z
Pentax 645Z

This extensive real-world evaluation of noise includes:

  • HD and UltraHD entire-frame images ISO 100 to ISO 204800 in RGB.
  • HD and UltraHD entire-frame images ISO 100 to ISO 204800 in RGB, gray gamma 2.2, and red/green/blue color channels.
  • Four large actual pixels crops ISO 100 to ISO 204800 in RGB, gray gamma 2.2, and red/green/blue color channels.

In my review of the Pentax 645:

Pentax 645Z Pushing Up to ~6 stops (Fruit Arrangement)

Intermediate exposure values for pushes of 1/3/4/5/6 stops are shown along with two large crops that include RGB, gray gamma 2.2, red/green/blue color channels.

  Pentax 645Z at normal exposure vs 5 stops underexposed
Pentax 645Z at normal exposure vs 5 stops underexposed

Pentax 645Z: ISO and Noise from 100 to 204800

Get Pentax 645 at B&H Photo.

  Pentax 645Z
Pentax 645Z

This extensive real-world evaluation of noise includes:

  • HD and UltraHD entire-frame images ISO 100 to ISO 204800 in RGB.
  • HD and UltraHD entire-frame images ISO 100 to ISO 204800 in RGB, gray gamma 2.2, and red/green/blue color channels.
  • Four large actual pixels crops ISO 100 to ISO 204800 in RGB, gray gamma 2.2, and red/green/blue color channels.

In my review of the Pentax 645:

Pentax 645Z ISO 100 to 204800 (Fruit Arrangement, Natural Light)

  Nikon D810 at ISO 800
Pentax 645Z at ISO 800

Nikon D810: Chroma Noise Reduction Study from ISO 1600 to 12800

Get Nikon D810 at B&H Photo.

  Nikon D810
Nikon D810

Thanks to reader Sebastian B for suggesting this topic.

This study of chroma (color) noise is instructive and of excellent practical use for anyone shooting at high ISO (any camera).

In my review of the Nikon D810:

Chroma Noise Reduction ISO 3200 to 12800 (Otus Fruit)

Included are large RGB crops along with the red/green/blue color channels, gray gamma 2.2 as well as further revealing analysis of what chroma noise reduction does, using the L/a/b channels of Lab color mode.

The Adobe Camera Raw (ACR) setting used is also shown.

  Chroma noise reduction at ISO 12800, Nikon D810
Chroma noise reduction at ISO 12800, Nikon D810

Dr. S writes:

Your study/article of chroma noise reduction in the D810 is superb and so darn helpful. In the past I have dealt mostly with luminance reduction to remove noise but your images tell a different story, one that will change the way I process nearly all files.... and, BTW, your sharpening levels are higher than I would use....but not any more. My ways will change!

For those who would comment and be proud to proclaim they wouldn't pay for info on a blog..I say.......%^&%^! This one article is worth 2 years of admission!... but don't let my comment go to your head -:)

DIGLLOYD: I learned from it myself. Thanks are due to reader Sebastian B for suggesting this topic. And I will let it go to my head this way: to keep seeking out useful things to write about for my readers. :)

What Does Nikon Picture Control Do?

Get Nikon D810 at B&H Photo.

In my review of the Nikon D810 I discuss the Nikon D810 Picture Control feature and what it affects (and does not affect). Is the new Flat profile useful?

Judging by reader email, Picture Control is an utter failure in terms of user understanding of its very important effects and non-effects. Yet understanding its effects is critical, even for raw shooters, but perhaps not for the reasons one might assume.

Nikon D810 Picture Profiles: What is Affected, JPEG Examples

Shown with HD and Ultra HD images and and histograms.

  Nikon Picture Control = Flat
Nikon Picture Control = Flat

Reader Comments: Lenses for Sports Photography

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Reader Andrew P writes:

It just occurred to me that you don't use examples pertinent to sports photography that much (or at all) in your blog. I like to shoot close-range sports when I get the chance but don't know of any sites that provide the kind of image quality reviews you give, but with sports photography concerns considered as a built-in part of any testing.

For instance, this weekend I did my first-ever paid shoot (hooray) of an international basketball competition in Amsterdam. I bought the Zeiss ZA 135mm 1.8 to complement my Nikkor 85mm 1.4G for the shoot, and took the Otus along for a couple of portraits of players if the opportunity presented itself. As it turned out, I shot most of the 2 day event with the Otus, barely used the 85, holstered the 135mm after a couple of hours, and then on the second day brought a 35mm Summilux and a 15mm Distagon to do about half the work on that day.

The reason this is meaningful to me is that I wound up using MF lenses for almost all of the best shots. The reason is that the AF lenses were a pain in the neck to use. The 85mm 1.4G, though perfectly fine when zipping to focus on a person standing still for a portrait, focusing on moving basketball players was just about impossible. The ZA 135mm was better at focusing quickly than the 85mm, but it was harder to deal with because of its length. When players zipped in and around each other, the lens kept losing focus and then wouldn't take a picture. On the other hand, the Otus, Summilux, and 15mm Distagan (ZF) always fired when I wanted them to and were more often in focus than the AF lenses.

When I read about sports photography on the Internet, I see a lot of people recommending high speed large aperture AF lenses like the 85mm and 135mm that I actually used as being very good for sports. The other two I see mentioned a lot are the Nikkor 200mm f2 and 300mm f2.8. Am I missing something about AF sports photography? Or are these lenses as bad at focusing as they seemed? If this is what AF is like, I'd just as soon stick with MF. Could it be because the sport I was shooting (basketball) allowed me to be very close to the action (literally on the foul lines)? It would be interesting to see a review of MF and AF lenses that compared their near focusing capabilities against moving subjects.

DIGLLOYD: Evaluating a lens for sports photography is radically different than anything else: it’s about handling and autofocus and anti-shake support (or not) and one couldn’t say a lot about optical performance under such conditions. Or the skill of the evaluator.

Even the sports-fame Nikon D3s and D4 failed miserably for me on runners coming at the camera when I last shot cross country; they could not track focus head-on. But at the right distance and angle, autofocus rocks.

At close range I completely agree on the manual focus thing: pre-focus with anticipation is the game; try photographing a rower on an erg at close range! Manual focus is the only way to go, autofocus is completely useless under those conditons, and I would agree with the basketball situation. OTOH, out on a body of water at a regatta, autofocus with a Nikon 70-200mm f/2.8 VR II is my approach of choice.

Autofocus introduces a whole set of new problems at closer range for me, so I agree on the manual focus lens thing. But I think that it comes down to style and technique and distance and so on—no fixed answer.

Quick Look: Adobe Camera Raw vs Nikon Capture NX-D

Get Nikon D810 at B&H Photo.

I took a quick look at Nikon Capture NX-D in my review of the Nikon D810.

The image below was shot with Nikon D810 and Sigma 50mm f/1.4 DG HSM A. It was processed with Adobe Camera Raw and Nikon Capture NX-D (both).

Processing NEF: a Quick Look at Adobe Camera Raw vs Nikon NX-D

Shown with HD and Ultra HD images and large crops, the settings for each program, commentary included.

  Nikon D810 + Nikon 45mm f/2.8P
Nikon D810 + Sigma 50mm f/1.4 DG HSM A

Reader Comments: D810 Review, Lenses, etc

Get Nikon D810 at B&H Photo.

  Nikon D810
Nikon D810

Reader Bjørn J writes:

Thank you for your ongoing review of the D810.

The stunning documentation of the exposure latitude, and the much improved LiveView, convinced me to place a D810 on order today.

I trust your reviews because of your extremely thorough real-world approach to practical use of camera equipment. Your example photos are worth far more than any lab-testing.

DIGLLOYD: Though I can’t think of everything, my core operating premise is “what would I want to know about this gear for my own work in all sorts of conditions before I plunk down my money”.

Reader Herb S writes:

I am happy to have renewed my subscriptions. The quality of your reviews has always been to a high standard and it is still improving regarding your effectiveness to show us all the relevant issues with the gear involved.

Might I suggest a good compact standard lens for the D810? It is the Voigtlander 40 mm SL-II. Of course it is not a Zeiss Otus. But good and compact it is.
Now we have to know how effective the D810 ground glass is for manual focus lenses not of the Otus calibre.

DIGLLOYD: [If I can’t do it a little better each year, I’d get bored.] Like the Nikon 45mm f/2.8P, the Voigtlander Ultron 40mm f/2 SL II is a diminutive option for a “light carry”. It is a good optic but like all other small lenses has various compromises to be that small. See the review coverage of the Voigtlander lenses in DAP.

Peter W writes:

I've never been more gobsmacked in my life as by your 5.5 stop push from nothing - nothing! - to a totally acceptable image. Absolutely incredible!

D810 ETTR and pulling up the shadows offers tremendous appeal and usefulness.

It's incomprehensible why Canon continues to bring out inferior sensors (noisy, banded blacks) when the Nikon benchmark is in plain sight.

I would be very interested in your comparison of the Sony A7/s/r sensors with their D810 counterparts.

DIGLLOYD: Canon has insisted on building their own sensors, and this has hurt them so far. But maybe Canon has something really great coming at Photokina. As for pattern and streaking noise in particular, this is a Canon thing for sure: Nikon D800E vs Canon EOS 5D Mark III as well as the Canon 5D Mark III noise pages and Canon EOS 1D Mark IV noise pages in DAP.

As for Sony, I’m done with the Sony A7R, having borrowed one 4 times now (I won’t waste my money on a $2000 camera which can’t make a sharp image at some shutter speeds and will rapidly decline in value—it has ruined far too much work from its shutter vibration, making it a frustrating PITA in spite of its helpful EVF. Moreover, the Sony 11+7 bit compression just doesn’t cut it and the too-thick sensor cover glass just kills it for Leica M wide angle short of at ƒ/8 or even ƒ/11 (and it affects even 50mm). The Nikon D810 is a solid and robust workhorse with good controls that takes a wide range of lenses with no adapters—and no goofy tripod mount workaround needed for heavy lenses and it won’t be worth 1/2 or 1/3 of what I paid for it in 6 months.

John W writes:

Hello, again. I've now had my D810 for 48 hours, and I don't have anything to report that is inconsistent with or materially adds to what you have published so far, so I'll keep this short. But, I did want to say three things at this point:

1. Thank you, thank you, thank you for your ongoing, detailed D810 analysis and review. In addition to providing reassurance that my early purchase of the camera was not a mistake, it has also already given me several tips and ideas that will help improve my own photography. And, I know that there is much more to come. Great stuff.

2. Different things are important to different people. For me, the quieter shutter and improved LCD and Live View alone are definitely enough to justify the upgrade costs. I do a lot of work inside cathedrals and churches. In those environments, the shutter noise of the D800 was frequently an issue and sometimes inhibited me from taking a shot at all. So, the quieter D810 shutter is much more than a minor improvement for me.

3. I replicated your 5.5 stop push test and got essentially the same results you did. Wow!

DIGLLOYD: my main issue with the D810: it’s very good but falls short of greatness due to some really dumb mistakes in various places (nothing fundamental, but like having a good dinner with bad wine and no dessert).

John H writes:

Just sending a thanks about your detailed and continuing coverage of the 645Z- being a 645D owner with a number of compatible lenses (67, 645, and other brands with adapters) I greatly appreciate the information and critical testing you’ve been doing- it’s part of what makes your subscriptions so valuable compared with the limited depth of conventional photography sites.

While upgrading to the 645z soon is likely a given, your reviews and comments will go a long way towards boosting me up the learning curve of getting the most out of this new model, and help me make constructive decisions about what additional lenses to consider (such as the 90mm macro) to expand the shooting and usability envelope.

DIGLLOYD: more coming, though I might have to ask B&H Photo for an extension of the loaner camera time.

Sebastian B writes:

First, many thanks for your fine work on the 645Z, Sigma Quattro, and D810 (and countless others as well). Your reviews are so concise that I have virtually stopped reading anything else.

I observed with the D810 and also the 645Z and A7s noise series that you seem to leave chroma noise (at least partially) uncorrected. I don’t object to this per se, but it’s not very helpful for me from a practical point of view since chroma noise with modern sensors is corrected so easily. For example, when playing with a 645Z RAW ISO series provided by Ming Thein, I discovered that, in Lightroom, a color noise setting of just 8 (out of 100) sufficed to eliminate the chroma noise component at all ISOs (up to 204.800), without any detrimental effect on acuity — which is the same thing I see with my Pentax K-5 and just about any recent camera I have had a chance to test. (Actually, Lightroom is even shipped with a default of 25, so that is what many users are using anyway.)

I assume the correction is just as trivial to accomplish in ACR, so I was wondering if you might consider adding a “chroma corrected” series to the respective pages (or future pages, for that matter). I feel this would be of considerable practical value for many readers.

As an aside, are you planning to review the Sony FE 70-200/4?

DIGLLOYD: Chroma noise reduction added for the Nikon D810.

Sony FE 70-200mm f/4: I am not planning to review at this time. Given the shutter vibration of the Sony A7R, it is a nightmare job to test, where any results are suspect, especially with the lens mounted in seesaw fashion on the tripod. I will wait until Sony delivers a 36MP camera (or higher) free of the work-destroying vibration. That said, the Sony A7R and A7s have vibration free options (electronic first curtain) and the lens is better suited to those cameras.

Nikon Capture NX-D: “D” for Dimwits?

Get Nikon D810 at B&H Photo.

I took a quick look at Nikon Capture NX-D. After noting the failure to code-sign it for OS X, the non-integration into the App Store, the lovely file name I could not find later (“S-NXD___-010000MF-ALLIN-ALL___.dmg”), the installer errors (in the install log), the installation of crapware without notice or choice (Nikon background notification yuck), spelling errors, grammatical errors, modal operation, non-standard command key shortcuts, the failure to associate NX-D with NEF files—I’m persuaded that this warmed over turd emits more or less the same aroma as its its predecessors. And that Nikon and Sigma must have some secretly guarded source of software engineers simply unavailable to companies like Apple. Still, it’s a big step up from Sigma Photo Pro 6, which won’t work at all on my Mac Pro.

As for what NX-D excretes (please forgive the expression), I didn’t get beyond the hassles and I’m not sure I want to try. Maybe tomorrow or next week.

Reader Question: Smaller, Lighter “slow” Aperture Lenses for Nikon D810?

Get Nikon D810 at B&H Photo.

  Nikon D810
Nikon D810

Reader Cecelia C writes:

I love the good news about the D810. If you don't care about 1.4 apertures, but you do care about across-the-field sharpness and micro-contrast what lenses would you recommend?

I am hoping for some smaller and lighter options. I was thinking of the f1.8G Nikon lenses...but even 2.8 lenses would be ok with me, especially after seeing your comments on the higher ISO performance.

DIGLLOYD: Major camera vendors have not been keen on bringing relatively slow designs to market (except for crummy plastic zooms). Canon is an exception, making a stab at it with the 24/2.8 IS and 28/2.8 IS but failing to realize the blunder of not making them really good in an apparent attempt to keep the price down. Averaging out low price and very high quality to average price and average quality is not a winning idea.

Even Zeiss has not seen fit to bring out ultra high quality f/2.8 lenses (I would like to see “near perfect” 24/4, 28/2.8, 35/2.8, 50/2.8 and 90/2.8 designs). The Otus line rocks, but oh the size and cost for those two stops.

Prime lenses (fixed focal lengths) at ƒ/2.8 are just not “sexy” and the video crowd wants T/1.5 or at least T/2.1. Besides, entire web discussion forum would crash overloaded with irate fanboys complaining about a $1500 f/2.8 lens, even it it were near perfect wide open, or so the camera companies seem to think (I think there is a good untapped market there).

For want small and light (and cheap), the Nikon 50mm f/1.8G is a good choice. For manual focus, the Zeiss 50mm f/1.4 Planar or the Nikon 50mm f/1.2 or the smallest and really diminutive choice: the Nikon 45mm f/2.8P.

Which led me to a thought and experiment: just how well does a simple and classic 4-element Tessar design perform on the Nikon D810?

Aperture Series: Nikon 45mm f/2.8P on the Nikon D810

  Nikon D810 + Nikon 45mm f/2.8P
Nikon D810 + Nikon 45mm f/2.8P

Nikon D810: How Much Underexposure Can It Take?

Get Nikon D810 at B&H Photo.

  Nikon D810
Nikon D810

This evaluation of sensor quality speaks to the versatility and value of a camera/sensor that can accept gross underexposure and still produce a good image, and/or the ability to give a severe boost to dark areas while retaining color quality and detail.

These real world attributes will appeal to anyone who has worked under difficult field conditions such as high dynamic range scenes.

Canon had better have something really good to announce at Photokina, because while the D800E already embarrassed the 5D Mark III, the D810 wins my praise as best ever.

In my review of the Nikon D810:

Pushing Nikon D810 at ISO 64 up to 5.5 Stops

Several intermediate exposure values and pushes are included.

Shot with the Zeiss Otus 55mm f/1.4 APO-Distagon.

  Nikon D810 range of exposures
Nikon D810 range of exposures

Peter W writes:

I've never been more gobsmacked in my life as by your 5.5 stop push from nothing - nothing! - to a totally acceptable image. Absolutely incredible!

D810 ETTR and pulling up the shadows offers tremendous appeal and usefulness.

It's incomprehensible why Canon continues to bring out inferior sensors (noisy, banded blacks) when the Nikon benchmark is in plain sight.

I would be very interested in your comparison of the Sony A7/s/r sensors with their D810 counterparts.

DIGLLOYD: Canon has insisted on building their own sensors, and this has hurt them so far. But maybe Canon has something really great coming at Photokina. As for pattern and streaking noise in particular, this is a Canon thing for sure: Nikon D800E vs Canon EOS 5D Mark III as well as the Canon 5D Mark III noise pages and Canon EOS 1D Mark IV noise pages in DAP.

As for Sony, I’d done with the Sony A7R, having borrowed one 4 times now (I won’t waste my money on a $2000 camera which can’t make a sharp image at some shutter speeds and will rapidly decline in value—it has ruined far too much work from its shutter vibration, making it a frustrating PITA in spite of its helpful EVF. Moreover, the Sony 11+7 bit compression just doesn’t cut it and the too-thick sensor cover glass just kill it for Leica M lenses. The Nikon D810 is a solid and robust workhorse with good controls that takes a wide range of lenses with no adapters—and no goofy tripod mount workaround needed for heavy lenses and it won’t be worth 1/2 or 1/3 of what I paid for it in 6 months.

Gene F writes:

Canon has way too many professional users not to catch up quickly to Nikon. Their operating system and design ethic and really everything but the sensor are better too, imo, which is why pros love them. But maybe I'm just comfortable with them; they seem to me more well-conceived and navigable.

Leica, on the other hand, might be quitting photography in favor of jewelry-making.

DIGLLOYD: Well, they’ve had 2+ years to catch up. And I bet Canon will, and maybe as soon as early 2015 (following an announcement at Photokina). And maybe not. I also like a number of things about Canon DSLRs and I think the autofocus is superior with fast lenses.

Nikon D810: Adobe Camera Raw Support

Get Nikon D810 at B&H Photo. If you’re not quite up for the Zeiss Otus 55mm f/1.4 APO-Distagon, the Sigma 50mm f/1.4 DG HSM A for Nikon is fantastic.

See also recommended SDXC and Compact Flash cards for Nikon D810.

  Nikon D810
Nikon D810

Michael E writes:

How are your reading the .NEFs? Lightroom does not recognize them.

DIGLLOYD: most all of my examples show the ACR version and conversion settings on the review page. Download Adobe Photoshop Camera Raw 8.6 RC for CC & CC 2014.

ACR 8.6 RC features

Improve performance when batch processing images (via the Save button in Camera Raw) and when converting images to DNG (via DNG Converter). This performance improvement is only available on 64-bit systems.

New Camera Support

  • Nikon D810
  • Panasonic LUMIX AG-GH4
  • Panasonic LUMIX DMC-FZ1000
  • Added Camera Matching color profiles for the following camera models:
  • Sony DSC-RX100 III
  • Sony A7S (ILCE-7S)
  • Sony Alpha SLT-A77 II (ILCA-77M2)

New Lens Profile Support

GEAR SALE: Canon 50/1.2L, Canon 35/1.4L, Pentax K3, Olympus SHG Zooms,

This site moves through a lot of gear. Most items are tested as loaners, but some gear has to be bought, and that means spinning off gear no longer needed.

Buyer pays 3-day UPS or FedEx shipping and/or supplies own shipping label (no USPS) and/or picks up locally. California buyers responsible for any applicable sales tax. USA only, no overseas shipments.

Contact me (please use an appropriate email subject)

Canon lenses

Canon 50mm f/1.2L, perfect glass, hood caps in excellent condition $1150.

Canon 35mm f/1.4L, perfect glass, hood caps in excellent condition $1050.

Pentax K3 premium silver edition

Very lightly used (under 1000 actuations) Pentax K-3 premium silver edition (details) in box like new as shipped. $800.

Olympus Super High Grade (SHG) zooms

These are reference-grade lenses for Four Thirds (Micro Four Thirds with Olympus MMF-3 adapter). Terrific choices for video users in particular (ultimate build and image quality, but these are large and heavy lenses best used for video rigs).

The SHG designation is not marketing hype; these are absolutely outstanding lenses that are reference lenses for all other Four Thirds and Micro Four Thirds lenses. See reviews in Guide to Mirrorless.

Sale of the three as a set preferred but will consider selling singly also. Also have three unmarked/unopened extended Olympus 4-year extended warranty cards (not registered) for lenses; will include (though unsure of warranty status for 2nd buyer). One Olympus MMF-3 adapter also. LIKE NEW IN BOX.

  • Olympus SHG 7-14mm f/4 Zuiko ED: $1400
  • Olympus SHG 14-35mm f/2 Zuiko ED: $1900
  • Olympus SHG 35-100mm f/2 Zuiko ED: $2000
  • All three take $400 more off and MMF-3 adapter gets included.

Pentax 645Z: Various Notes

Perfect for the Pentax 645Z.

  Pentax 645Z
Pentax 645Z

In my review of the Pentax 645Z:

In general, the Pentax designers did an outstanding job; your author picked up the camera and was using it within 5 minutes without even cracking the manual. Things like mirror lockup are better done than any other camera, period. But to see the CARD NOT FORMATTED bug still present a year after I first saw it with the Pentax K3 is disappointing; it’s a general bug afflicting both.

Memory Cards: Big discounts on high capacity SDXC and Compact Flash

Perfect for the Nikon D810.

  Recommended Storage cards
Recommended Storage cards

Memory cards have deep discounts right now.

Memory cards I prefer to use myself.

The one card that has performed flawlessly for me since day one is the Toshiba Exceria Pro 64GB. It is the only card I have used that has never had a glitch. I also use SanDisk and Lexar, but the Toshiba has never disappointed me unlike those two brands.

I like the 64GB (or larger) sized because out in the field it means I can generally leave files on the card as backups even after downloading*.

 

* Unless it’s Pentax which has a nasty “card is not formatted bug” even on the 645Z (the K3 first made this stupid bug plain)—if anything disturbs the format, such as merely renaming a folder, you’re hosed and have to reformat or hike back to the car for another card.

Nikon D810: Study of Image Quality from ISO 31/64/100, ..., 12800

Get Nikon D810 at B&H Photo.

  Nikon D810
Nikon D810

This extensive real-world evaluation of noise includes:

  • HD and UltraHD entire-frame images ISO 31/64/100 to ISO 12800 in RGB.
  • HD and UltraHD entire-frame images ISO 31/64/100 to ISO 12800 in RGB, gray gamma 2.2, and red/green/blue color channels.
  • Three large actual pixels crops ISO 31/64/100 to ISO 12800 in RGB, gray gamma 2.2, and red/green/blue color channels.
  • ACR processing settings and histogram for the image as conveted to ProPhotoRGB.

Shot with the Zeiss Otus 55mm f/1.4 APO-Distagon.

In my review of the Nikon D810:

Nikon D810 ISO 31/64/100 to 12800 (Fruit Medley)

The appearance of noise depends on the character along with its magnitude, and especially the degree of enlargement. For that reason, a downsampled evaluation to match Sony A7s actual pixels is also provided, from ISO 31/64/100 to ISO 12800 in RGB, gray gamma 2.2, and red/green/blue color channels.

  Nikon D810 at ISO 800
Nikon D810 at ISO 800

Ashish V writes:

Just wanted to say that the colour reproduction in this image looks just stunning!
My guess is that it's better than 800e.

Did you need to do much work on this image to get the colours so good?

DIGLLOYD: That’s the beauty of it: total “work” was to shoot one frame with a WhiBal card (a separate frame). Using that frame, click to neutral in ACR, then use that setting for the others in the series. Piece of cake, scarcely any work at all. I like the WhiBal White Balance G7 Pocket Kit because it is inexpensive, durable and compact.

Nikon D810 Image Quality

Get Nikon D810 at B&H Photo.

  Nikon D810
Nikon D810

Image quality of the Nikon D810 is sensational. My D800E workhorse now has a worthy replacement in the D810, and the operational improvements are already proving their worth to me.

As for the Sony A7R, its clunky shutter generating loads of shutter vibration has been a constant work destroyer that undermines its raison d^etre, a “stop ship” that wasn’t.

The Nikon D810 avoids all that with its electronic first curtain shutter option (Canon has had EFC for years). What a relief! With Zeiss lenses, particularly the APO-Distagon and the APO-Sonnar and the coming Otus 85/1.4, the system picture makes a ton of sense—much smaller rig than a Pentax 645Z along with far superior lens selection (to both Pentax and Sony). And no “you’re fired blurry pictures you idiot” Sony thing. The D810 is what I call a realistic workhorse platform. Classic Nikon sensibility.

Low ISO and stuff

To my eye the D810 images are free of the odd look that I noticed immediately with the A7R. Full 14-bit lossless compressed at ISO 64 looks to be my new game. The Sony 11+7 bit lossy compression never made sense to me as having any worth in a $2K plus camera (well, $1K or so now, no even medium term resale value in those small Sony bodies).

I’ll be showing low ISO quality at 31/64/100/200/400 soon.

Pentax 645z: Long Exposures

Get Pentax 645z and Pentax 645 lens at B&H Photo.

  Pentax 645Z
Pentax 645Z

I wanted to evaluate the Pentax 645Z image quality with long exposures for two reasons. First, medium format has often suffered with long exposures (most though not all cameras), and second, the 645Z establishes a reference for the Nikon D810.

I evaluate a 32 minute exposure with +0.4 stop push in my review of the Pentax 645Z:

645Z Long Exposures

Includes HD and UltraHD images in RGB and with the red/green/blue and gray gamma 2.2 channels and two large crops with same.

This test scene won’t last long as I have dibs on those blueberries.

  Dynamic range assessment, Pentax 645Z + 90mm f/2.8
Pentax 645Z + 90mm f/2.8, 32 minute exposure

Nikon D810: Live View Quality vs Nikon D800E/D800

Get Nikon D810 at B&H Photo.

  Nikon D810
Nikon D810

I photographed the Nikon D810 and Nikon D800E rear LCDs on the same test target to evaluate Live View quality

Wow. In my review of the Nikon D810:

Nikon D810 vs D800E Live View quality

Nikon D810: Real-World Dynamic Range

Get Nikon D810 at B&H Photo.

  Nikon D810
Nikon D810

Real-world dynamic range is a major plus when the camera has it.

As a mid-2014 full-frame DSLR sporting the latest Sony sensor, the Nikon D810 brings high expectations for dynamic range, particularly at its new true ISO 64 value (previous minimum was ISO 100, the “Lo” settings not being true ISO).

Kicking off my review of the Nikon D810:

Nikon D810 Real-World Dynamic Range

Includes HD and UltraHD images in RGB and also R/G/B/Gray color channels in same, plus large crops. All toggle between as-shot. Processing settings and histograms and RawDigger info also shown.

  Dynamic range assessment, Pentax 645Z + 90mm f/2.8
Dynamic range assessment, Pentax 645Z + 90mm f/2.8

Pentax 645z: Real-World Dynamic Range

Get Pentax 645z and Pentax 645 lens at B&H Photo.

  Pentax 645Z
Pentax 645Z

Real-world dynamic range is a major plus when the camera has it. As a medium format camera, the 645Z brings very high expectations for dynamic range.

Who needs HDR with a sensor like this?

In my review of the Pentax 645Z:

645Z Real-World Dynamic Range aka Faux HDR

Includes HD and UltraHD images, and large crops that toggle between as-shot and adjusted as well as the processing settings and histograms for each.

  Dynamic range assessment, Pentax 645Z + 90mm f/2.8
Dynamic range assessment, Pentax 645Z + 90mm f/2.8

Nikon D810, Sigma 50/1.4, Pentax 645Z, Sigma dp2 Quattro

Get the Nikon D810 at B&H Photo. Also, LensRentals.com rents the Nikon D810.

The Nikon D810 is here.

To answer a few reader inquiries:

  • I will be covering the salient differences with the Nikon D810 vs D800E: operational aspects, image quality, etc.
  • I do intend more Pentax 645Z coverage, but I’ve deferred that for the arrival of the Nikon D810 (for comparisons), and I want to now make field shots in the mountains.
  • I intend to cover the Sigma 50/1.4 DG HSM A Nikon-mount version. I’ve had it for about ten days now, but I deferred coverage until the D810 arrives.
  • I intend more work with the Sigma dp2 Quattro, but it’s time for field shots now, just as with the Pentax 645Z.

Shootout: Sigma 50mm f/1.4 DG HSM 'Art' vs Canon 50/1.2L and 50/1.4 (5D Mark III, Decorated Bike)

Get Sigma 50/1.4 DG HSM at B&H Photo: Nikon, Canon, Sony A-mount, Sigma SA-mount

It isn’t much of a fight—more like a beating. This medium range comparison includes all apertures from ƒ1.2/ƒ1.4 through ƒ/16 with HD and UltraHD images and large crops.

In my review of the Sigma 50mm f/1.4 DG HSM A:

Sigma 50mm f/1.4 DG HSM A vs Canon 50/1.2L and 50/1.4 (Decorated Bike)

Additional coverage of the Sigma 50/1.4 DG HSM is likely; on Nikon D810.

     Decorated Moots FrosTi Sigma 50mm f/1.4 DG HSM @ ƒ/1.4
Decorated Moots FrosTi
Sigma 50mm f/1.4 DG HSM @ ƒ/1.4

Nikon D810: Enroute

Pre-order the Nikon D810 at B&H Photo. Also, LensRentals.com rents the Nikon D810.

The D810 is enroute; I expect to have it Friday July 18th. Testing to follow. See previous discussion.

Nikon D810: can it compete with Pentax 645Z?

Pre-order the Nikon D810 at B&H Photo. Also, LensRentals.com rents the Nikon D810.

My expectation is that the Nikon D810 sensor will be of the same generation and quality as the Pentax 645Z sensor, both being made by Sony is my understanding. With only a slightly smaller photosite size (4.88 microns vs 5.3 microns, ~20% in area), I’d expect the D810 to offer per-pixel quality not too far off from the 645Z. Elecronics matter too, as does the quality grade of the sensor, so that is all a little rough. But what really does matter is lenses, and there, Zeiss Otus on Nikon has few if any equivalents on Pentax. Lenses are big deal for any system.

So I hope to get out in the field with both by the end of this month, and do some field work side by side. But first, I’ll nail down some stuff on my temporary home-grown test scene, which offers an effective proving ground. The main issue is how to match field of view; there is no good equivalent focal length match for a 90mm on the Pentax 645Z. Reader Andrej K points to the Sigma 70mm f/2.8 EX DG Macro, but it’s no match either (66mm needed for a D810 crop to 4:3 or 75mm needed for a width match). Testing for a 4:3 match shows an 8% difference—too much.

Nikon D810 About to Ship

Pre-order the Nikon D810 at B&H Photo. Also, LensRentals.com rents the Nikon D810.

It appears that the Nikon D810 should ship on July 17. I’ll be looking at it very closely over the next few weeks.

See previous discussion:

One concern I have is what appears to be a restricted scenario use for the electronic first curtain (EFC) shutter, as per the manual. It appear to be available only in M-up mode, which would make it useless for executing the shot at just the right moment in Live View. Also, an EFC shutter available in Live View mode means no shutter-bang from exiting Live View mode, if indeed the D810 requires that procedure. But that worry is probably unfounded as per Tom S below.

The strange note on “lines or fog” is also worrisome (I dont’t understand what it means).

Nikon D810 EFC shutter
Nikon D810 EFC shutter

Tom S writes:

That freaked me out too but the official Nikon press release states:

“Additionally, the electronic front curtain can now act as an electronic front shutter when using live view or first composing through the optical viewfinder in mirror-up mode", under "Refined Controls and Construction”

Would be nice if the manual did not appear to contradict that by omission!

DIGLLOYD: this sounds very hopeful.

Nikon D810
Nikon D810

Sigma Photo Pro Color Management: Does Not Exist

Get Sigma DP Merrill digital camera and Sigma dp2 Quattro at B&H Photo.

Confused by color rendition in Sigma Photo Pro? Or the camera itself also (Sigma dp2 Quattro or Sigma DP Merrill). So am I. It has been a longstanding issue for me (years). Now I've documented some findings of what I’m seeing with Sigma Photo Pro 6 and the dp2 Quattro. I don’t document all the issues, that being a time sinkhole to approach.

The only thing clear is that something is broken in terms of color management (apparently several things):

  • SPP (5.x or 6.x) do not display color properly while processing images (no support for color management for the display), making it difficult to evaluate color. Does not support retina displays either (goes blurry pixel doubled).
  • The Sigma cameras and the SPP software cannot agree on color even when using the same processing settings.
  • The camera-generated JPEGs are wrong, with over saturated “hot” color and too-strong contrast; this appears to be caused internal processing in sRGB r/g/b/ numeric values, saving as such, then tagging the image with the AdobeRGB color profile (when the camera is set to AdobeRGB).
  • Both the camera and SPP appear to clip color internally to sRGB regardless of working space designation or output color profile (no combination of working space and color profile shows increased gamut).

These issues are obvious on a calibrated wide gamut display.

There are many other bugs and performance and behavioral misdeeds, but those are not color management issues.

Every Sigma Photo Pro user should read the following pages:

Colorspace bugs also affect the Sigma cameras, including the DP Merrill colorspace bug and dp2 Quattro colorspace bug.

Sigma Photo Pro does not support color management for displays
Sigma Photo Pro does not support color management for displays

Andrew H writes:

So glad you published this as I was getting a frustrated with what I was seeing in SPP and then on opening in LR things looked ok. The Highlight clipping is a pain as well one thinks that the image is blown out in the highlights and again on opening in LR there is quite a lot of recovery possible.

DIGLLOYD: indeed, my workflow is (1) save as TIF from SPP, (2) open in Photoshop, judge color/brightness/etc, (3) make changes in SPP, (4) repeat ad-nauseum until I gt it just-so, all while waiting 20-50 seconds each iteration. 5-10 iterations X 10 files = black-hole time sink.

Sony A7s: Moiré + Relative Image Size vs A7 and A7R

Get Sony A7 cameras at B&H Photo.

  Sony Alpha A7s
Sony Alpha A7s

In my review of the Sony A7s are added two new pages:

Sony A7s vs Sony A7R: ISO and Noise

Get Sony A7 cameras at B&H Photo.

  Sony Alpha A7s
Sony Alpha A7s

This elaborate real-world evaluation of noise includes:

  • HD and UltraHD entire-frame images ISO 100 to ISO 410K in RGB comparing the Sony A7s to A7R, matched accordingly.
  • HD and UltraHD entire-frame images ISO 100 to ISO 410K in grayscale gamma 2.2 comparing the Sony A7s to A7R.
  • Two large actual pixels crops from the Sony A7s, ISO 100 to 410K showing RGB, gray gamma 2.2, and individual red/green/blue color channels from ProPhotoRGB.

In my review of the Sony A7s:

ISO 100 to 410K (Decorated Bike, Natural Light)

The appearance of noise depends on the character along with its magnitude, and especially the degree of enlargement. Discussion on this topic is included.

  Sony A7s and Sony A7R ISO noise evaluation from ISO 100 to ISO 410K in RGB and grayscale
Sony A7s and Sony A7R ISO noise evaluation from ISO 100 to ISO 410K in RGB and grayscale
  Sony A7s noise evaluation from ISO 100 to ISO 410K for RGB, red/green/blue channels, gray gamma 2.2
Sony A7s noise evaluation from ISO 100 to ISO 410K for RGB, red/green/blue channels, gray gamma 2.2

Pentax 645z: Shutter Vibration / Shutter Shock Analysis at 90mm

Get Pentax 645z and Pentax 645 lens at B&H Photo.

  Pentax 645Z
Pentax 645Z

Medium format cameras have large shutters and a natural question to ask is whether the shutter can cause loss of image sharpness. The Pentax 645Z does not have an electronic first curtain shutter option (EFC shutter).

In my review of the Pentax 645Z:

Shutter Vibration: Landscape and Portrait Orientation, 90mm

Includes actual pixels crops from 2 seconds to 1/250 second in both landscape and portrait orientation, with analysis.

Two Really Right Stuff B645D plates were attached to the camera (one on bottom, the other on the side) for mounting into the Arca Swiss Cube head on the very substantial Really Right Stuff TVC-44.

  Actual pixels Pentax 645Z + 90mm f/2.8 @ 1/250 sec @ f/4
Actual pixels
Pentax 645Z + 90mm f/2.8 @ 1/250 sec @ f/4

Sony A7s vs A7R

Time for a reshoot. My entire batch of work comparing the Sony A7R to the Sony A7s was wrecked by shutter vibration of the Sony A7R (see in depth review coverage of Sony A7R shutter vibration / shutter shock in my review). At 50mm. I feel really dumb having bothered to shoot the A7R in the danger range, knowing full well what I’ve documented for my readers. A foolish effort, but it drives the point home: the Sony A7R cannot be relied upon for sharp images over a wide range of shutter speeds. By the way, don’t even think about using the A7R for things like focus stacking unless you’re doing very fast or very long exposures. The Sony A7S and A7 offer a vibration-free electronic first curtain shutter (EFC shutter); cameras like the Sony RX1R offer a vibration-free leaf shutter.

The real 36MP workhorse* looks to be the new Nikon D810, with its vibration-free electronic first curtain shutter option (EFC shutter). (Canon has had an EFC option for years with its Mode I or Mode II Live View modes). An EFC shutter is a big deal for long telephoto lenses or high magnification macro work. So while the D800E has served me well as a solid and problem-free workhorse for years (best ever camera in this regard), and I expect the D810 will only make it better.

* The Sony A7R being the workhose.

Definitive Shootout: Sigma dp2 Quattro vs Sigma DP2 Merrill (Decorated Bike)

Get Sigma DP Merrill digital camera and Sigma dp2 Quattro at B&H Photo.

This eclectic scene offers fantastic insights into the image quality differences between the Sigma dp2 Quattro and the Sigma DP2 Merrill. In my review of the Sigma dp2 Quattro:

dp2 Quattro vs DP2 Merrill (Decorated Bike)

This is a absolute must-read for any Sigma DP Merrill or Sigma dp2 Quattro user.

Decorated Moots Frosti
Decorated Moots Frosti

Gerner C writes:

I wish to thank you for an incredible walk through your dp2 Quattro test. I made my mind up even before you came to the conclusion, but I am even more happy about that choice after I saw your decorated bike scene. Halleluja..

Again your site and work has helped me a lot since I subscribed.

DIGLLOYD: I work hard to show everything that *I* would want to know before investing in any camera or lens. That desire (for my own needs) was the genesis for this site.

Axel P writes:

So true - your investigation about the DP2 M as well as the DP2 Quattro is more then worth the price of the subscription! Sometimes „In dubio pro neo“ is not valid…

Waiting until i can afford a MF system - the new Leica S 2014 is Unobtainium for me for the time being - iIordered now a DP3 Merill. Thanks for the clarifications and please many more of your deep dives!

DIGLLOYD: :)

Philip S writes:

Thank you very much for this. More than worth the price of admission. I’ve had the DP2 and DP3 Merrills for some time. I was holding off on the DP1M in order to see how the Quattro sensor would perform.

Email Notifications for Site Content

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B&H Photo Now Offers Free Expedited Shipping (1/2/3 days depending on location)

See the diglloyd gear pages with handy button links to recommended items.

When shopping at B&H Photo, thank you for using any link from this site to get there—gear page buttons, B&H ad, etc (add to cart *after* using the link).

Here on the west coast that means 3 days for me. But 3 days is way better than ground shipping, which can take 5 or 6 days.

  Free expedited shipping at B&H Photo
Free expedited shipping at B&H Photo

Pentax 645z: Detail Rendition and Image Quality on Variety

Get Pentax 645z and Pentax 645 lens at B&H Photo.

  Pentax 645Z
Pentax 645Z

Image quality of the 645Z + Pentax 90mm f/2.8 is sensational, which translates to very high per-pixel quality, minimial artifacts, consistent color, ultra low noise and high resolution.

I set up this eclectic scene, including a variety of challenging items for any camera to record faithfully. In my review of the Pentax 645Z:

Decorated Bike on the 645Z with 90mm f/2.8

This series should yield a really good sense of just how good the 645Z really is.

Includes the usual HD and UltraHD entire-frame images along with many crops and commentary.

  Pentax 645Z + 90mm f/2.8 @ ƒ/8
Pentax 645Z + 90mm f/2.8 @ ƒ/8

Pentax 645z Image Quality

Get Pentax 645z and Pentax 645 lens at B&H Photo.

  Pentax 645Z
Pentax 645Z

Image quality of the 645Z + Pentax 90mm f/2.8 is sensational.

I shot a controlled scene today with the 645Z and also the Nikon D800E and Sigma dp2 Quattro and Sony A7R and Leica M Typ 240, and I was very impressed with just how good the 645Z looked compared to all of them.

Unless the new Nikon D810 has some tricks up its sleeve in per-pixel quality (it might), it looks like the 645Z is a great choice for someone looking for high grade images that clearly go beyond what is possible from a 36 X 24mm full-frame camera. Image quality has multiple dimensions, and I speak not of resolution so much (though the 645Z delivers there), but of total image quality.

Pentax 645z: Handheld Portraits with the Pentax 90mm f/2.8

Get Pentax 645z and Pentax 645 lens at B&H Photo.

  Pentax 645Z
Pentax 645Z

Image quality of the 645Z + Pentax 90mm f/2.8 is sensational.

In my review of the Pentax 645Z I show a variety of portraits using the 90mm f/2.8.

Portraits on the 645Z with 90mm f/2.8

Includes the usual HD and UltraHD entire-frame images along with crops and commentary.

  Pentax 645Z + 90mm f/2.8 @ ƒ/5.6
Pentax 645Z + 90mm f/2.8 @ ƒ/5.6

Pentax 645z: Noise from ISO 100 to ISO 204800 with RGB, Channels, Grayscale

Get Pentax 645z and Pentax 645 lens at B&H Photo.

  Pentax 645Z
Pentax 645Z

This elaborate evaluation of noise includes:

  • HD and UltraHD entire-frame images ISO 100 to ISO 204800 in RGB.
  • HD and UltraHD entire-frame images ISO 100 to ISO 204800 in grayscale using gray gamma 2.2.
  • One high-key and one low-key actual-pixels large crop ISO 100 to ISO 204800 showing RGB, gray gamma 2.2, and invididual R/G/B color channels.

The Pentax 645Z handles noise supremely well, and this series should be exceptionally useful to 645Z shooters in seeing just where the limits are for their own shooting style. It is also useful for black and white shooters in seeing how black and white rendition might fare at very high ISO values. The 645Z sensor is a breakthrough for medium format in noise terms.

In my review of the Pentax 645Z: ISO 100 to 204800 (Red Tomato, Natural Light)

  Pentax 645Z noise evaluation from ISO 100 to ISO 204800 in RGB and grayscale
Pentax 645Z noise evaluation from ISO 100 to ISO 204800 in RGB and grayscale
  Pentax 645Z noise evaluation from ISO 100 to ISO 204800 in RGB and individual color channels and gray gamma 2.2
Pentax 645Z noise evaluation from ISO 100 to ISO 204800 in RGB and individual color channels and gray gamma 2.2

Sigma dp2 Quattro Aperture Series 'Transit Bus'

Get Sigma dp2 Quattro at B&H Photo.

This series shows off just how good the DP2 Quattro can be in fine textural details. Dynamic range and noise behavior is also explored. In my ongoing review of the Sigma dp2 Quattro:

Sigma dp2 Quattro Aperture Series 'Transit Bus'

Sigma dp2 Quattro @ ƒ/5.6
Sigma dp2 Quattro @ ƒ/5.6

Sigma DP2 Merrill Aperture Series 'Mosaic'

Get Sigma DP2 Merrill and Sigma dp2 Quattro at B&H Photo.

This piece follows and complements the similar one with the dp2 Quattro.

This extremely demanding planar target tolerates no errors from a camera system or lens, mercilessly revealing every flaw, but the Sigma DP2 Merrill handles it with ease. In the review of the Sigma DP2 Merrill:

Sigma DP2 Merrill Aperture Series 'Mosaic'

Commentry included on DP2 Merrill vs dp2 Quattro relative performance. Regrettably, the framing did not allow a direct A/B comparison, but the relative results are clear.

Sigma DP2 Merrill @ ƒ/4
Sigma DP2 Merrill @ ƒ/4

Sharpness Fans, Your Ship Has Come In: Sigma dp2 Quattro Aperture Series 'Mosaic'

Get Sigma dp2 Quattro at B&H Photo.

This extremely demanding planar target tolerates no errors from a camera system or lens, mercilessly revealing every flaw, but the dp2 Quattro handles it with stunning sharpness and real depth of field hard to achieve in a DSLR.

In my ongoing review of the Sigma dp2 Quattro:

Sigma dp2 Quattro Aperture Series 'Mosaic'

Sigma dp2 Quattro @ ƒ/4
Sigma dp2 Quattro @ ƒ/4

Pentax 645z + 25mm f/4 Aperture Series: Blue Beater Bike

Get Pentax 645z and Pentax 645 lens at B&H Photo.

  Pentax 645Z
Pentax 645Z

In my review of the Pentax 645Z:

Aperture Series: Blue Beater Bike (645Z + 25mm f/4)

This example is shot at a distance that might be typical for many a landscape scene. It also involves high contrasts and a deep 3D scene for evaluating lens performance near to far and across the frame.

Includes HD and UltraHD images from ƒ/4 to ƒ/22 along with large crops.

  Pentax 645Z + Pentax 25mm f/4
Pentax 645Z + Pentax 25mm f/4

Sigma dp2 Quattro: Lens Hood and Lens Flare

Get Sigma dp2 Quattro at B&H Photo.

In my ongoing review of the Sigma dp2 Quattro I discuss the differences between the lens hood and its effectiveness on the dp2 Quattro vs the Sigma DP2 Merrill. And how to prevent it.

Sigma dp2 Quattro Lens Flare and Green Smearing

Sigma dp2 Quattro
Sigma dp2 Quattro

Pentax 645z + 25mm f/4 Aperture Series: Mosaic

Get Pentax 645z and Pentax 645 lens at B&H Photo.

  Pentax 645Z
Pentax 645Z

In my review of the Pentax 645Z:

Aperture Series: Mosaic (645Z + 25mm f/4)

This example shows off what the Pentax 645Z sensor can record with a high performing lens.

Includes HD and UltraHD images from ƒ/4 to ƒ/22 along with large crops.

  Pentax 645Z + Pentax 25mm f/4
Pentax 645Z + Pentax 25mm f/4

John P writes:

My thanks for how quickly you jumped on the 645z! Sounds like your expectations were fulfilled, for better or worse. Now we need the Sigma 645 Art series...

I am always impressed with your energy and thoroughness. You earn your subscription fee many times over!

DIGLLOYD: lots of positives with the 645Z, but lenses are the weak point of the system.

Pentax 645z + 90mm f/2.8 Aperture Series: Mosaic

Get Pentax 645z and Pentax 645 lens at B&H Photo.

  Pentax 645Z
Pentax 645Z

In my review of the Pentax 645Z:

Aperture Series: Mosaic (645Z + 90mm f/2.8 Macro)

This example shows off what the Pentax 645Z sensor can record with a high performing lens.

Includes HD and UltraHD images from ƒ/2.8 to ƒ/22 along with large crops.

See also the prior review of the Pentax 645D and lenses.

A crop from the test scene is shown below.

  The Big Black Box from Pentax (645z) with one of the smallest lenses
Pentax 645Z + Pentax 90mm f/2.8 Macro (crop)

Is 50 Megapixels Sharper than 36 Megapixels?

Get Pentax 645z at B&H Photo.

  Pentax 645Z
Pentax 645Z

In my review of the Pentax 645Z.

Is 50 Megapixels Sharper than 36 Megapixels? (Matched)

Hint: 'glass' matters.

Gotta run, time for fireworks.

UPDATE: an additional page has been added which includes crops at actual pixels for the two cameras.

50 vs 36 Megapixels (25mm / 21mm, Actual Pixels)

Reviewed: 50-Megapixel Pentax 645z

Get Pentax 645z at B&H Photo.

  Pentax 645Z
Pentax 645Z

Just published is a variety of material on the Pentax 645Z. As usual, it is much more than a review and includes tips and considerations. In my review of the Pentax 645Z:

More to come, including the 25mm f/4.

See also the prior review of the Pentax 645D and lenses.

  The Big Black Box from Pentax (645z) with one of the smallest lenses
Pentax 645Z + Pentax 90mm f/2.8 Macro

Sigma 50mm f/1.4 DG HSM A: Best Autofocus Lens, In Stock for Canon

Sigma 50mm f/1.4 DG HSM A
Sigma 50mm f/1.4 DG HSM A

Get Sigma 50/1.4 DG HSM at B&H Photo: Nikon, Canon, Sony A-mount, Sigma SA-mount

Get Zeiss Otus 55mm f/1.4 APO-Distagon.

The Sigma 50mm f/1.4 DG HSM A is the best optical performer with autofocus for Canon or Nikon, exceeded only by the manual focus Zeiss Otus 55mm f/1.4 APO-Distagon.

See the review of the Sigma 50mm f/1.4 DG HSM A in DAP.

Now in stock at B&H Photo as this was written (for Canon).

 

Pentax 645z: 50 Megapixels Arrives

Get Pentax 645z at B&H Photo.

The Pentax 645z arrives tomorrow (July 3) for testing. I’m overloaded, what with the Sigma 50/1.4 DG HSM A for Nikon arrived, the Sigma dp2 Quattro, the Canon 16-35mm f/4L IS and the Sony RX100 III.

See Pentax 645z: Hitting the Bullseye on Which Target? and Pentax 645Z 51-Megapixel Medium Format DSLR, 13 Pentax Lenses Now Avail in USA and Pentax 645Z: Does Not Have EFC Shutter (Electronic First Curtain).

Also my review of the Pentax 645D and lenses.

It’s a shame that the Nikon D810 is a month or so off, because I’d like to compare it (using the Zeiss Otus 55/1.4 APO-Distagon!) with the 645Z. The 645Z sensor is notably larger, but 50 megapixels is only marginally more than 36 in linear resolving power terms.

  The Big Black Box from Pentax (645z) with one of the smallest lenses
The Big Black Box from Pentax (645z) with one of the smallest lenses

Sunstars and Flare with the Canon 16-35mm f/4L IS USM

Get Canon 16-35mm f/4L IS at B&H Photo.

My review of the Canon 16-35mm f/4L IS now includes a study of sunstars and flares with the Canon 16-35mm f/4L IS USM .

Sunstar with Canon 16-35mm f/4L IS USM
Sunstar with Canon 16-35mm f/4L IS USM

$299 for a DSLR with Lens, also Sony A7s in stock

Canon EOS Rebel T3 with lens for $299
Canon EOS Rebel T3 with lens for $299

Canon EOS Rebel T3 DSLR Camera and 18-55mm IS II Lens Kit.

Good for a teenager or someone looking to get started?

Hard to beat at $299 and free shipping too.

 

 

 

 

Sony A7S is in stock also. Should be a superb low-light camera as well as full-frame 4K video (with external recorder).

Sony A7s
Sony A7s

Reviewed: Canon 16-35mm f/4L IS USM

Get Canon 16-35mm f/4L IS at B&H Photo.

Canon’s new 16-35mm f/4L IS looks to be a standout performer.

My review of the Canon 16-35mm f/4L IS has started:

Canon 16-35mm f/4L IS USM
Canon 16-35mm f/4L IS USM

NEC EA244UHD 4K UltraHD Display

Get NEC EA244UHD at B&H Photo.

I’m really loving the NEC EA244UHD 4K UltraHD display. I use it daily attached to my MacBook Pro Retina as a preview workstation for all site content.

It’s like the Retina display in a MacBook Pro—only better because it’s 3840 X 2160 (way bigger than 2880 X 1600). Text is unbelievably smooth and beautiful and images are eye-popping in their 8 megapixels of detail.

See my in-depth review of the NEC EA244UHD 4K UltraHD Display including how I calibrated it and the wide color gamut.

NEC has larger models coming shortly, but the EA244UHD is available now at a reasonable price. Larger 32-inch displays are much more expensive; this is a good way to enjoy 4K quality.

NOTE: at present, only two Mac models support 4K displays: the 2013 Mac Pro and the late 2013 MacBook Pro Retina 'Crystal Well'.

NEC EA244UHD UltraHD 4K display
NEC EA244UHD UltraHD 4K display

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The Effect of Focus Shift on Image Sharpness

Nikon 45mm f/2.8P
Nikon 45mm f/2.8P

Focus shift causing a loss of image sharpness with many lenses by shifting the zone of focus, typically rearward, but it can also be a differential shift (central areas vs peripheral).

The Nikon 45mm f/2.8P happens to have a pronounced focus shift (relatively rare in ƒ/2.8 lenses)—its 4-element design is very simple and cannot correct very many aberrations, certainly not the one responsible for focus shift, spherical aberration. So it makes an excellent case study.

For this study, dual aperture series are used to show focus optimal wide open at ƒ/2.8 and how it degrades with stopping down, as compared to focus optimal for ƒ/5.6, and how ƒ/2.8 is then inferior.

Regardless of brand, understanding focus shift and the compensation approach can be critical to getting peak sharpness, particularly with digital SLRs of increasing megapixels.

Focus shift is already a problem with ~22 or 36 megapixel cameras, but when we see a ~56 megapixel camera, dealing with focus shift will become a truly critical part of shot discipline.

This series has been cross posted in both MSI and DAP.

Reader Question: Which Canon Normal Lens For Travel?

Get Canon lenses at B&H Photo.

Canon 40mm f/2.8 STM
Canon 40mm f/2.8 STM

Reader Grzegorz G writes:

Focal Length 50 mm FF is that I rarely used and the size and weight of the Sigma 50/1.4 DG HSM A for me is not acceptable, unlike in the case of the lens such as 24/1,4, 15/2,8 or 17/4 shift that certainly would be my
inseparable companions in future (especially because of the capture of the night sky and architecture)

For the convenience and low-light situations which to choose 50mm 1.4 or 1.8 from Canon or maybe 40mm f/2.8 STM which you rated really high and may play role “in emergency”.

DIGLLOYD: I really like the way the 40/2.8 STM draws wide open. See the review of the Canon 40mm f/2.8 STM in DAP.

While it’s no threat to the optical quality of the Sigma 50/1.4A, it is ultra compact and at about $146, it’s a no-brainer for travel ($50 instant rebate and 2% rewards and free shipping bring real price down to $146).

Sigma dp2 Quattro vs DP2 Merrill: Size and Weight with Mounting Plate, Grip

Get Sigma DP Merrill digital camera and Sigma dp2 Quattro at B&H Photo.

I discuss the weight and dimensions differences of the Sigma dp2 Quattro versus the Sigma DP2 Merrill when used with a grip on the DP Merrill. Such things can be serious considerations for travel purposes.

Really Right Stuff: BDP2 Set: Base + L-Plate + Grip for Sigma DP Merrill
Really Right Stuff: BDP2 Set: Base + L-Plate + Grip for Sigma DP Merrill

Shootout: Sigma dp2 Quattro vs Canon 5D Mark III (Dolls)

Get Sigma DP Merrill digital camera and Sigma dp2 Quattro at B&H Photo.

In keeping with my approach of doing initial testing to establish expectations and context within the existing camera systems, I offer another very practical decision-making comparison.

Can the Sigma dp2 Quattro match or exceed the image quality of the 22-megapixel Canon 5D Mark III using the best autofocus normal lens on the market (Sigma 50/1.4 DG HSM A)? * In Guide to Mirrorless:

dp2 Quattro vs Canon 5D Mark III (Dolls)

* Comparison also includes the Nikon 45mm f/2.8P, a 4-element Tessar design, thus showing best and worst case lens performance on the 5D Mark III.

Leica M Typ 240 Firmware Update

Leica has released firmware update 2.0.1.5 for the Leica M Typ 240. I updated my M240 without incident.

The thing I noticed immediately was the Horizon option for Live View—no more need for 14 button presses into the menus.

Reader Gen F writes:

If you update it restarts your shot count. If you take one shot andchange the file name in the Finder to the next number in your pre-updated sequence the camera starts counting at that number. I'm sure you knew this already but I was glad someone else told me so I figure it wouldn't hurt to repeat to you.

DIGLLOYD: that works, and it could be used any time. It also resets the filename prefix.

But of much greater concern is that the update resets the file format to JPEG. A bit nasty if you don’t notice. Check ALL settings after the firmware update.

Improvements – Leica M (Typ 240) Firmware Version 2.0.1.5.

  • Improved description of the lens type in Exif-Data
  • Live view is now possible with every lens (including older screw lenses via an adapter) using “manual lens detection”
  • A “Video off” option is now available in the Set menu (see submenu item “Video recording”)
  • The M-Button on the Top-cover is deactivated when this option is chosen.
  • The Horizon (level) is now visible in Live View, overlaying the live image. This additional info screen is enabled using the menu item “Horizon”
  • Exposure simulation -> Permanent: Live View accurately shows image brightness according to the shutter speed and aperture set in manual exposure (as long as the chosen exposure time is shorter than 1/30s).
  • Exposure simulation -> Release button half-pressed: Image brightness in live view is adjusted for best visibility, regardless of the actual exposure. Half pressing the shutter button shows the actual exposure.
  • Extended Auto ISO options: All Auto ISO options are now visible using the ISO button and extra options for “Maximum Exposure Time” - 1x, 2 x, or 4x focal length - can be selected
  • To help avoid camera shake when using auto ISO and long lenses.
    o “Auto ISO in M mode” is now offered as an option. This varies ISO sensitivity for correct exposure when shutter speed and aperture are set manually.
  • Alternatively the camera chooses the previous manually-chosen ISO speed
  • Crop marks—in Live View, new crop marks for 3:4 / 6:7 / 1:1 / and 16:9 aspect ratios can be displayed. By pressing the up/down keys, the crop marks are superimposed on the live view screen (without additional information)
  • During video recording, 1/25s is now used instead of 1/24s. This reduces flicker effects with 50Hz mains voltage
  • Exposure bracketing settings are now saved when the camera is switched off
  • Direct exposure correction: An “EV correction” option in the menu enables direct adjustment. So EV compensation can be altered by turning the thumb wheel, without having to press additional buttons.
  • New Light Metering Mode “Classic / LV disabled”: In this mode, only Classic light-metering is possible; the LV button is disabled to avoid the activation of live view by accident.
  • New menu item “Focus Peaking”: For improved visibility, the color of focus peaking can now be set to red, green or blue.
  • Better display of GPS location data. Position is now shown for JPG files in Adobe Lightroom®. Where the GPS signal is weak, the last position is now deleted after 5min instead of 24h as in previous firmware versions.
  • Bugfix in Live View at high temperatures: Occasional malfunction of Live View at high temperatures has been fixed.
  • Bug fix in light metering (Live view).
  • Bug fix regarding sensor cleaning function

Sigma dp2 Quattro: Portraits

Get Sigma DP Merrill digital camera and Sigma dp2 Quattro at B&H Photo.

Portraits shot at dusk. Some include raw conversion settings.

dp2 Quattro Portraits

Eyes  Sigma dp2 Quattro, ƒ/2.8 @ 1/30 sec handheld, ISO 100
Eyes
Sigma dp2 Quattro, ƒ/2.8 @ 1/30 sec handheld, ISO 100
Long Hair  Sigma dp2 Quattro, ƒ/2.8 @ 1/100 sec handheld, ISO 100
Long Hair
Sigma dp2 Quattro, ƒ/2.8 @ 1/100 sec handheld, ISO 100

Definitive Shootout: Sigma dp2 Quattro vs Sigma DP2 Merrill (Dolls)

Get Sigma DP Merrill digital camera and Sigma dp2 Quattro at B&H Photo.

My review of the Sigma dp2 Quattro now includes a head-to-head shootout between the dp2 Quattro and DP2 Merrill. It took 3+ hours just to shoot (reshoot, reshoot, ...) because I wanted everything just right. I succeeded.

This might be the finest camera comparison I have ever done. The breadth and depth of what is revealed upended several of my expectations in unequivocal ways. I am proud to offer this piece.

Anyone considering the dp2 Quattro or DP Merrill cameras will find this comparison alone worth the entire subscription cost of Guide to Mirrorless.

dp2 Quattro vs DP2 Merrill (Dolls)

Dolls
Dolls

Sigma dp2 Quattro: Comparison Coming

My review of the Sigma dp2 Quattro has begun.

I’m preparing an excellent comparison, but delays due to software issues have exacted a considerable toll on my efforts. But I finally have settled into something that works and produces acceptable color (color space bugs were very confusing, I’ll be documenting how to use SPP without being baffled).

The comparison is coming, perhaps tonight. Update: here it is.

Image from raw X3F file with white balance and tint neutralized near center of ruler. Click for larger image.

Dolls Sigma dp2 Quattro @ ƒ/4 from raw
Dolls
Sigma dp2 Quattro @ ƒ/4 from raw

Site Changes Now Stable

This site underwent some internal changes that would cause erratic response late Saturday and to mid-afternoon on Sunday.

The changes are now in place and things should be operating normally. Please contact me if there are odd things.

Sigma Photo Pro: Alters X3F Files so that SPP v5 Cannot Use Them

I just discovered that using Sigma Photo Pro 6 and saving settings to the X3F file modifies the X3F file so that SPP 5 can no longer work with it.

Ditto for RawDigger: it appears that the change is a re-save in a new file format. Writing over an original is bad enough (carries a real risk of data loss), but to rewrite the file format and make the file incompatible is a serious matter.

Worse, SPP 6 won’t deliver the color I want with Sigma DP2 Merrill files (something is badly wrong both for viewing files and for saving them in terms of color spaces). But I’ve figured out a workaround flow.

I want to be clear that I think the camera (dp2 Quattro) has huge potential for image quality. To my eye, it outperforms the Canon 5D Mark III for image quality. It’s the Sigma Photo Pro software that’s the issue.

SPP 6 also gets the prize for the world’s slowest and most buggy raw converter, by an order of magnitude. I still cannot use it on my Mac Pro, because opening an image for editing opens a window somewhere off both screens, out of sight and inacessible. And believe it or not, SPP 6 is *still* a 32-bit program on OS X, years after virtually every program on the market is 64-bit. If it continues to work in OS X Yosemite it will be a surprise. Might be a good idea to shoot RAW+JPEG. It’s also a very serious long term concern for anyone archiving X3F files for future use.

UPDATE: for whatever bizarre reason, placing the folder containing the images onto the desktop offers a substantial speedup for some operations. This was a suggestion from Sigma.

UPDATE 2: I expect a version of SPP with some bug fixes soon.

SPP 6 also has the curious behavior of displaying a great-looking JPEG at retina resolution on a 4K display—until it processes the raw mañana, at which point it does not support high-res displays, and the image now looks awful at its pixel-doubled blur.

Update: I’ve discovered a process that is totally wrong and nonsensical, but ultimately delivers a TIF that looks just like a camera-generated JPEG in terms of color. SPP is completely and utterly broken in terms of color management, so one has to look for ad-hoc workarounds. Not that SPP 5 worked for color management either.

Sigma dp2 Quattro: Huge Step Up From Sigma DP Merrill, and More

My review of the Sigma dp2 Quattro has begun.

Update: working on comparison between the DP2 Merrill and the dp2 Quattro. It’s a terrible slog working with Sigma Photo Pro 6. I’m liking the dp2 Quattro image quality a lot.

My context has been extensive field work with the DP Merrill predecessors. My review will bring that context to bear on ergonomics and operational characteristics, best practices and of course, image quality.

I also plan to evaluate the dp2 Quattro against some DSLRs, because from what I see already, DSLRs short of 36 megapixel ones will be challenged to deliver this kind of detail.

Some very quick impressions, much more detail in my review:

  • Camera operation is considerably faster than DP Merrill cameras.
  • Rear LCD is far sharper and clearer than the DP Merrill cameras.
  • The 5424 X 3616 JPEGs from Raw + JPEG are incredibly good, perhaps the best in-camera JPEGs I’ve ever seen. I was shocked at how good they look, and I am most definitely not a fan of JPEG from most cameras. So good I’d be tempted to shoot JPEG (supersize JPEG yet to be evaluated).
  • The sensor has a different look from the DP2 Merrill sensor (not just color), something to be evaluated.

I am starting my coverage with controlled shots and comparisons in order to fully understand the range of the camera, then I will move on to field work

The dolls scene was chosen because it has seriously challenged the Sigma DP Merrill cameras (blues and greens).

This image from JPEG is slightly blue due to auto white balance being slightly off. Click for a larger image.

Dolls Sigma dp2 Quattro @ ƒ/4 from camera JPEG
Dolls
Sigma dp2 Quattro @ ƒ/4 from camera JPEG

Sigma Photo Pro 6

I’m sorry to say that Sigma Photo Pro 6.0.1 (OS X version) is unusable on my Mac Pro. If it isn’t hanging, it’s crashing or putting windows off both screens. Sigma documents certain issues which are problematic, but there are about 20 more problems (I gave up counting).

I was unable to process even a single X3F file on my 2013 Mac Pro; any attempt to open an X3F file hangs for a time then typically posts an error 14 “reboot Sigma Photo Pro” dialog. The window also shows up almost entirely off the the screen except for a small bottom portion, at least on my dual display system.

I had better luck on my late 2013 MacBook Pro (4K display attached: SPP does not properly support screen scaling modes as Photoshop and other programs do, so images are blurred on screen, making editing difficult). I was able to save a TIF from SPP however.

Sony A7s In Stock

Get the Sony A7s at B&H Photo.

I plan to review the A7s in the next few weeks. See the in-depth review of the Sony A7/A7R in Guide to Mirrorless.

Apple to End 'Aperture' Support

Discussion over at MacPerformanceGuide.com: Apple to End 'Aperture' Support

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Sigma dp2 Quattro: Review Starts Tomorrow

The Sigma dp2 Quattro should arrive in my hands Saturday morning (tomorrow).]

My initial coverage will take as its priority the Sigma DP2 Merrill vs the dp2 Quattro for resolution, color and dynamic range under controlled conditions. Field work to follow.

See preliminary coverage of Sigma dp2 Quattro in Guide to Mirrorless as well as the extensive coverage of the existing Sigma DP Merrill lineup.

Past blog coverage Sigma DP Merrill line.

This is an exciting camera to me; its sensor holds promise for eclipsing the detail possible with even 22 megapixel DSLRs. Might it emphatically surpass DSLRs like the Canon 5D Mark III? It might even approach the Nikon D800E in real detail. I expect improved image quality and longer battery life over the DP Merrill series.

Sigma dp2 Quattro
Sigma dp2 Quattro

“D810 Live View is Good”

Pre-order the Nikon D810 at B&H Photo.

Marcel J writes to say:

Just tried the D810 in the Nikon center in Ginza, Tokyo. The Live view looks much better. See attached photos of the D800e and D810 screen I took with my phone (sorry, I was in a hurry and didn't think about taking a picture with my D800e).

In any case, none of the triple pixel nonsense, and much less noise in the Live View display. The screen seemed whiter and brighter as well.

I didn't check any other features, but the cleaner Live View is enough for an upgrade for me.

DIGLLOYD: that’s terrific news—the rear LCD is as high a resolution as any camera now, and without the every-3rd-line mangling, the rear LCD should be a pleasure to work with (use a focusing loupe for a glare-free magnified view).

See also:

Nikon D810
Nikon D810

Thoughts on Nikon D810

Pre-order the Nikon D810 at B&H Photo.

Some of my thoughts were captured yesterday in the Nikon D810 announcement with commentary.

The lack of an EVF option is a gross tactical and strategic error, because it is the EVF that can bridge the gap to mirrorless! Seen in that light, it’s borderline suicidal in today’s camera market, what with Sony encroaching fast. The EVF makes a DSLR into a larger mirrorless-like camera, which is half the battle. Mirrorless is about size (sure), but it’s also about the EVF and its many benefits.

See Why an Electronic Viewfinder (EVF) is Not Optional, and Not Sufficient Either and Old Geezers Need an EVF: the Rear LCD and Presbyopia are a Bad Combination For Aging Eyes. The EVF solves so many issues that an optical viewfinder does not that its omission is a big let down.

Nikon D810
Nikon D810

I am hoping that the D810 is the end of the line in the sense that all future DSLRs from Nikon (and Canon) will have an EVF option. At some point (end of 2014), it’s beyond stupid to not offer this valuable feature.

Regarding image quality, a true 14-bit file with excellent electronics means that the game is all about lenses for the D810, notwithstanding Nikon’s hyperbole about amazing NIKKOR lenses (hint to Nikon: buy Sigma).

Nikon NIKKOR lenses are certainly very good (some are excellent), but all ƒ/1.4 Nikon lenses have relatively low micro contrast, which impairs autofocus accuracy (or focus by eye), regardless of how good the AF system is. Which is why I am looking forward to seeing how the Zeiss 55mm f/1.4 APO-Distagon benefits from a better sensor and (presumably) better sensor cover glass design. And also the autofocus Sigma 50mm f/1.4 DG HSM A, due soon.

The D800E has always been a workhorse camera for me, so a D810 that raises its game in several key respects is welcome. Proven design proven results. But it’s far from enough to stave off the onslaught of mirrorless cameras; Nikon (or Canon) cannot afford to see market share eaten away steadily.

Nikon Announces D810

Pre-order the Nikon D810 at B&H Photo.

Official announcement. See also the comparison sheet and diglloyd commentary that follows.

Tonight, Nikon announces the newest FX-format camera, the D810, bringing the best in DSLR image quality, video features and performance to professional photographers and cinematographers.

Featuring a new 36.3-megapixel full frame sensor without an OLPF and boosted by Nikon’s EXPEED 4 image processor, the Nikon D810 is the ultimate multimedia marvel with enhancements to image quality, speed and workflow.

  • A multimedia HD-SLR for photographers and cinematographers
  • New FX-format 36.3-megapixel CMOS sensor with no optical low pass filter (OLPF). Extremely high-resolution, broad dynamic range and stellar sharpness
  • Bolstered by EXPEED 4 Image Processor that offers enhanced image quality and a 30% overall boost in performance
  • Overall performance enhancements (white balance, reduced false color/moiré)
  • Wider ISO range (64-12,800) for improved low-light performance (expandable to ISO 32 and 51,200)
  • Advanced Scene Recognition System, Picture Control Profiles, Highlight weighted metering options all contribute to enhancing image quality and resolution for all types of photographers
  • Powerful video features for cinematographers: Full HD 1920 x 1080 video at 60/30/24p and versatile FX and DX crop modes. Uncompressed digital video HDMI output to an external device while recording to SD or CF.
  • Zebra stripes for over exposed areas, full manual controls and full time AF
  • Enhanced 51 point Multi-Cam 3500 FX Autofocus system
  • New RAW Size Small format (12 bit) provides increased flexibility in workflow
  • Engineered for versatility and performance with bright viewfinder and 3.2-inch LCD screen.
  • “i” button added for quick access to commonly used settings
  • Available in late July for a suggested retail price (SRP) of $3,299.95 (Body Only) and in multiple kit configurations

A very nice upgrade, but I really wish an EVF option had been offered (hot shoe mount). Still, practical features hold promise: a sensor delivering 14-bit images that is as good or perhaps better than the Sony A7R sensor (see limitations) will be welcome, as will the vibration-free EFC shutter and (hopefully) improved Live View.

Apparently the D810 uses the same sensor as found in the Sony A7R. But it would be an error to think that “same sensor” means the same quality grade and defect rate (might be better or might not) and/or to assume that the supporting electronics and algorithms don’t play a substantial role.

Continues below...

Nikon D810
Nikon D810

Excerpts from the press release

With diglloyd commentary.

The Nikon D810 is the pinnacle of D-SLR image quality, continuing to rival medium format cameras thanks to a variety of Nikon technologies engineered for professional image capture.

At the core of the D810 is a brand-new, 36.3-megapixel FX-format (7360 x 4912 resolution) CMOS sensor that lets photographers wield the benefits of extremely high resolution, with rich tonality and a broad dynamic range.

This super-high resolution gives professionals the power to capture with stellar sharpness, make massive prints or crop liberally with confidence. The OLPF has been removed to maximize the potential of every pixel, resulting in outstanding resolution and sharpness, yielding images that render subtle details with striking fidelity.

Sounds exciting (the sensor), but since “amazing imaging capabilities of NIKKOR optics” is also stated, we will have to wait and see if the sensor measure up to the hyperbole. It seems likely that it ought to meet or exceed the Sony A7R sensor quality, but with a real 14 bits, and that would indeed mean the best sensor on the market.

Image quality further benefits from the application of Nikon’s exclusive EXPEED 4 image processing engine, which also provides enhancements to overall performance while suppressing instances of false color and moiré. Photographing in the field or in the studio, users will see the difference with the ability to create stunning images with unprecedented clarity in gradation rendering, expanded dynamic range and high accuracy white balance.

Additionally, EXPEED 4 enhances noise reduction performance, and helps to achieve a wider ISO range, from 64 to 12,800, to improve low-noise image capture in a variety of lighting conditions. The ISO range is also expandable from 32 (Lo-1) to 51,200 (Hi-2) letting the photographer shoot with maximum fidelity under studio lighting or confidently capture a faintly-lit wedding reception or other subjects in even the most challenging light.

For me at least, a super high quality ISO 64 is most appealing.

With the ability to brandish the results of such staggering resolution, accuracy and precision become paramount as the need for razor-sharp focus is critical.

The D810 renders every subtle detail and nuance in epic clarity, with the enhanced Multi-Cam 3500-FX AF sensor module that utilizes new AF algorithms for fascinating precision, even in challenging light. The focus system also has 15 cross-type AF sensors for enhanced accuracy, and works with the Advanced Scene Recognition System to provide accurate face detection even through the optical viewfinder.

The camera also utilizes 11 cross-type sensors that are fully functional when using compatible NIKKOR lenses and teleconverters (aperture value up to f/8), which is especially useful for wildlife photography. In addition to normal, wide area, face tracking and subject tracking modes, the D810 also features the new Group AF mode for enhanced accuracy, even while tracking subjects.

The hyperbole is wearing thin here (“brandish the results of such staggering”). And I’ll be checking on that “fascinating precision” thing, since precision (in the scientific meaning of the word) has been a serious problem with all Nikon DSLRs to date. All NIKKOR ƒ/1.4 lenses suffer from disappointing to modest contrast wide open), so they come to mind as tough challenges for a focusing system (or the human eye). Lenses like the Sigma 50mm f/1.4 DG HSM seem much more promising.

Despite the D810’s immense imaging power, it will astound with its rapid response and speedy performance, thanks to the implementation of the EXPEED 4 image processing engine.

The addition of EXPEED 4 allows for an overall 30% boost in performance, as well as a faster burst speed and enhancement to overall energy efficiency. Now the D810 is capable of shooting at 5 frames-per-second (fps) at full resolution and 5:4, 6 fps in DX or 1.2x modes, (15.4-megapixel, 25.1-megapixel, respectively), and 7 fps in DX mode (15.4-megapixel), with battery pack. For full workflow versatility, the D810 also gives users the option to shoot in full resolution 14-bit RAW/NEF file format or the new RAW Size Small format. This 12-bit file format is half the resolution and approximately 1/4 the file size of full RAW files, for increased flexibility when speedy downloads are desired or memory space is at a premium.

Extends versatility. It is smart to to build on DSLR strengths.

From all day in the studio to an extended assignment in the field, the D810 has been engineered for superior comfort and operability. When looking through the wide and bright viewfinder with 100% coverage, users will see shooting data displayed on an organic EL display element for maximum visibility. The viewfinder now also features a prism coating for enhanced clarity. In addition, the grip has been refined for comfort and ergonomics, and the “i” button has been added for quick access to common mode-dependent settings.

Little things can add up to comfort and enjoyment. But an EVF option is missing.

Both photographers and videographers will clearly see the benefits of the new high-resolution (1229K-dot) 3.2-inch LCD screen, which makes it simple to check focus, review images or compose a scene.

The color space of the LCD screen can now also be fully customized, a feature that is useful for matching monitor or print calibration settings.

Using the high-resolution LCD screen, users can also activate the new Split Screen Display Zoom function. This new mode magnifies two separated points on the same horizontal line, making it easier to confirm the two points are both level and in focus; a true advantage for architecture, industrial and landscape photographers.

Excellent, but is it still a mangled Live View or not, Nikon?

Inside the durable magnesium alloy structure of the D810 improvements have also been made, including the use of a redesigned mirror sequencer / balancer unit, which minimizes vibration during shooting to increase sharpness during multiple frame bursts.

Additionally, the electronic front curtain can now act as an electronic front shutter when using live view or first composing through the optical viewfinder in mirror-up mode. This new feature is useful to attain exacting sharpness when shooting slow-shutter landscapes or astrophotography.

The shutter unit has also been tested to 200,000 cycles for years of maximum reliability. For further durability, the body of the D810 has been thoroughly sealed and gasketed to resist the elements, reinforcing this camera’s role in extreme production environments.

Deference to the serious practical challengs of extracting 36 megapixels of real resolution undamaged by small vibration deserves kudos. Sony A7R anyone? I’m looking forward to a serious workhorse camera with no undermining of my own efforts.

Capture NX-D is Nikon’s new software for processing and adjusting RAW images captured with Nikon digital cameras. Capture NX-D is a free software application that will replace the current Capture NX 2 program, and adds interface and performance enhancements.

In addition to RAW images, the program can also be used to adjust JPEG and TIFF files. This new software will support many functions needed by professional photographers, including batch image processing, filtering and an enhanced user interface with a variety of displays and floating palettes that are ideal for multiple monitors. Additionally, photographers will also have the ability to adjust parameters including exposure and white balance in RAW files, and can adjust tone curves, brightness and contrast, as well as functions for correcting lateral color aberration and vignetting in JPEG and TIFF files. The software also features a new “sidecar” format, which retains and saves the adjusted image as a separate file.

I’ll settle for a useable user interface. The ability to adjust JPEG and TIF files speaks to a lack of focus, but maybe that’s OK. Nikon color has always been excellent, and the sharpening has always been awful in Nikon raw converters. TBD.

The Nikon D810 will be available in late July for the suggested retail price (SRP) of $3299.95.* The MB-D12 battery pack is currently available for $616.00 SRP. The new Capture NX-D software package will be available mid-July for download at no additional cost. For more information about these products, NIKKOR lenses or to download the new Capture NX-D software, please visit www.nikonusa.com.

Holding the line on price (relative to the original D800E pricing) is a good thing.

Additionally, Nikon will be offering two kits designed for videographers and filmmakers; the D810 Filmmaker’s Kit consists of the D810 body, AF-S NIKKOR 35mm f/1.8G, AF-S NIKKOR 50mmm f/1.8G, AF-S NIKKOR 85mm f/1.8G lenses, 2 additional EN-EL15 batteries, ME-1 Stereo Microphone, Atomos Ninja-2 External Recorder, and Tiffen® 67mm and 58mm Variable Neutral Density Filters (8-Stops). For stop motion applications, the D810 Animator’s Kit features the D810 body, AF-S Micro-NIKKOR 105mm f/2.8G ED VR lens, EH-5b Power Adapter, EP5B Power Supply Connector and Dragonframe™ Stop Motion Software plus Dragonframe USB Keypad Controller. For more information and pricing for these kit configurations, please visit www.nikonusa.com.

Well, 1080p (no 4K video) and autofocus lenses are hard to take seriously for video work, but the 50/60 fsp feature is of value. 4K video is stunning and makes far superior 1080p output, so get a Panasonic GH4 and be happy.

Leica 50mm f/2 APO-Summicron-M ASPH to Rise in Price by $900?

Pricing on Leica M lenses.

Leica 50mm f/2 APO-Summicron-M ASPH
Leica 50mm f/2 APO-Summicron-M ASPH

The Leica 50mm f/2 APO-Summicron-M ASPH is apparently set to rise in price by a whopping $900 on July 1st.

Leica pricing is a rarefied world which seems to be increasingly driven by collectors (works of art of a sort), but as Leica’s best M lens, Leica M fans who wish to make images with a 50mm might one to order one at the old price before it goes up.

On the other hand, the Zeiss Otus 55mm f/1.4 APO-Distagon is half the price, at least as good, a stop faster (no mean feat), and definitely better in some respects.

But given its diminutive size and ƒ/2 speed, the 50/2 APO is quite an optical achievement.

Were I to own just two Leica-brand M lenses, the 50/2 APO would be first choice, then the Leica 24mm f/3.8 Elmar-M ASPH. A nice pairing given the focal length difference, and extremely compact. Still, Leica’s M Typ 240 seems badly in need of forward progress (sensor resolution and EVF and speed of operation and reliability).

On the Way for testing: 16-35mm f/4L IS

Canon EF 16-35mm f/4L IS USM is at B&H Photo.

Canon 16-35mm f/4L IS (June 2014)
Canon 16-35mm f/4L IS (June 2014)

On the way for testing.

Since the 35mm end is often weak, testing it against the Sigma 35mm f/1.4 DG HSM seems like a useful perspective.

 

 

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Nikon D810 Leaked Specs: Improved Sensor, EFC Shutter

Leaked specs from the internet (assuming true COULD BE WRONG).

  • All-new sensor with no anti-aliasing filter and Expeed 4 image processing engine. A lot can be done with sensor design and not just noise: sharpness could improve too. The sensor in the D800/D800E is at least two if not three years old; a newfangled Sony sensor could be hot.
  • Higher resolution 1229K dot rear LCD. Presumably the ugly mangled Live View is fixed, but that is to be seen. Where is the Apple-style Retina display though?
  • ISO from 32 to 51200 (ISO 32 particularly interesting... I’ve long lusted after ultra high quality low ISO, but it seems to be the the usual Nikon “Lo” mode non-ISO one nominal stop below a true base ISO of 64).
  • Electronic first curtain shutter for ZERO VIBRATION exposure mode in Live View (Canon already has this in the 5D Mark III). Maybe Sony can take a lesson here. A zero vibration shutter is a big deal for super teles and high magnification macro work.
  • Still no 4K video., but 50/60p video.
  • Quieter stronger shutter with kevlar good for 200K cycles.
  • (glaring omission) Apparently no EVF or even EVF option. Quaint.
  • Same focusing system as Nikon D4S: multi-cam 51- point. Configurable in 9/21/51-point coverage settings. AF points clustered towards the centre of the frame; so DX offers nearly 100% coverage.
  • Faster frame rates.

A nice upgrade, but disappointing for the lack of an EVF, my #1 wish.

Still, practical featurs hold promise: a sensor delivering 14-bit images that is as good or perhaps better than the Sony A7R sensor (see limitations) will be welcome, as will the vibration-free EFC shutter and (hopefully) improved Live View.

How good will the Nikon D810 rear LCD be, and will the mangled Live View of D800/D800E be fixed?  Nikon D800/D800E camera rear
How good will the Nikon D810 rear LCD be, and will the mangled Live View of D800/D800E be fixed?
Nikon D800/D800E camera rear

Big Storage for Video or Photography: OWC Ships Thunderbolt 2 Thunderbay

See discussion of the Thunderbolt v2 OWC Thunderbay IV over at MacPerformanceGuide.com.

There is also a RAID-5 version ideal for storing large amounts of video footage. One can also partition the RAID-5 version for photography purposes.


This is my unit of choice for my own storage; I have three Thunderbay units.

OWC Thunderbay 4-drive solution, Thunderbolt v2
OWC Thunderbay 4-drive solution, Thunderbolt v2

Sigma 50mm f/1.4 DG HSM A: Dual-Focus Aperture Series: Tuolumne River Cascade (Canon 5D Mark III)

Sigma 50mm f/1.4 DG HSM A
Sigma 50mm f/1.4 DG HSM A

Get Sigma 50/1.4 DG HSM at B&H Photo: Nikon, Canon, Sony A-mount, Sigma SA-mount

This scene includes a dual-focus aperture series from ƒ/1.4 through ƒ/16 with include HD and UltraHD images for all, an UltraHD crop and other generously sized crops.

It is also instructive in how the choice of focus affects sharpness, aberrations (point spread function), color aberrations, visual impact—near and far.

Nikon or Canon or any brand, this dual-focus study is worth viewing.

Sigma 50mm f/1.4 DG HSM A: Aperture Series: Tuolumne River Cascade (Canon 5D Mark III)

Nikon and Canon surely have some homework to do on their normal lenses, which can at best be said to be mediocre in the context of the Sigma 50mm f/1.4 DG HSM A.

     Tuolumne River Cascade Canon 5D Mark III + Sigma 50mm f/1.4 DG HSM @ ƒ/1.4
Tuolumne River Cascade
Canon 5D Mark III + Sigma 50mm f/1.4 DG HSM @ ƒ/1.4

Sigma 50mm f/1.4 DG HSM A: Aperture Series 'Wyman Canyon Cabin' (5D Mark III)

Sigma 50mm f/1.4 DG HSM A
Sigma 50mm f/1.4 DG HSM A

Get Sigma 50/1.4 DG HSM at B&H Photo: Nikon, Canon, Sony A-mount, Sigma SA-mount

The Sigma 50mm f/1.4 DG HSM A is a pleasure to work with in the field.

This aperture series from ƒ/1.4 through ƒ/16 offers a wide range of subject matter with very fine detail and near/far arrangement.

Sigma 50mm f/1.4 DG HSM A: Aperture Series Wyman Canyon Cabin' (5D Mark III)

Includes the usual HD and UltraHD images and large crops.

This series also includes ƒ/9 and ƒ/13 crops, as these show diffraction effects; high grade lenses “suffer” from this more, while mediocre ones just aren’t good enough to make it worth noting.

     Wyman Canyon Cabin  Canon 5D Mark III + Sigma 50mm f/1.4 DG HSM @ ƒ/2.8
Wyman Canyon Cabin
Canon 5D Mark III + Sigma 50mm f/1.4 DG HSM @ ƒ/2.8

Tilt / Shift Lens Coverage Overhauled, Updated

Subscribers to DAP might note that coverage of tilt/shift lenses has been reorganized and updated.

Nikon 85mm f/2.8 PC-E Micro Nikkor
Nikon 85mm f/2.8 PC-E Micro Nikkor

Sigma dp2 Quattro Arrives Soon for Testing

The Sigma dp2 Quattro should arrive in my hands by early next week. See preliminary coverage of Sigma dp2 Quattro in Guide to Mirrorless as well as the extensive coverage of the existing Sigma DP Merrill lineup.

This is an exciting camera to me; its sensor holds promise for eclipsing the detail possible with even 22 megapixel DSLRs. Might it emphatically surpass DSLRs like the Canon 5D Mark III?

It might even approach the Nikon D800E in real detail. I expect improved image quality and longer battery life over the DP Merrill series.

Search for past blog coverage of the Sigma DP Merrill line.

Sigma dp2 Quattro
Sigma dp2 Quattro

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Sigma 50mm f/1.4 DG HSM A: Aperture Series 'Backlit Bristlecones' (5D Mark III)

Sigma 50mm f/1.4 DG HSM A
Sigma 50mm f/1.4 DG HSM A

Get Sigma 50/1.4 DG HSM at B&H Photo: Nikon, Canon, Sony A-mount, Sigma SA-mount

Out in the field, how does the Sigma 50mm f/1.4 DG HSM A perform?

This aperture series from ƒ/1.4 through ƒ/16 investigates a variety of behaviors with the Sigma 50/1.4A.

Sigma 50mm f/1.4 DG HSM A: Aperture Series 'Backlit Bristlecones' (5D Mark III)

Includes the usual HD and UltraHD images and large crops.

     Backlit Bristlecone Relics Canon 5D Mark III + Sigma 50mm f/1.4 DG HSM @ ƒ/2
Backlit Bristlecone Relics
Canon 5D Mark III + Sigma 50mm f/1.4 DG HSM @ ƒ/2

Nikon 85mm f/2.8D PC-E Micro Nikkor Aperture Series: Wyman Canyon Cabin (Nikon D800E)

Nikon 85mm f/2.8D PC-E Micro Nikkor
Nikon 85mm f/2.8D PC-E Micro Nikkor

Get Nikon PC-E Tilt-Shift lens at B&H Photo.

Now added to the Tilt / Shift section in DAP is an aperture series with the Nikon 85mm f/2.8D PC-E Micro Nikkor.

Wyman Cabin Cabin (PC-E 85/2.8D Micro-Nikkor, D800E)

Includes the usual HD and UltraHD images and large crops.

 

Wyman Canyon Cabin Nikon D800E + Nikon 85mm f/2.8D PC-E Micro Nikkor
Wyman Canyon Cabin
Nikon D800E + Nikon 85mm f/2.8D PC-E Micro Nikkor

Leica 50mm f/2 APO-Summicron-M ASPH: Evaluating Flare with Late 2013 Production Sample

Leica 50mm ƒ/2 APOpSummicron-M ASPH    
Leica 50mm ƒ/2 APO-Summicron-M ASPH

Get Leica M lenses at B&H Photo.

In 2013 from April through August, I reported extensively on flare with the Leica 50mm f/2 APO Summicron-M last year, using two samples from the initial production runs, both of which had troublesome flare issues unworthy of a super premium lens.

In late summer 2013, Leica acknowledged the issues and took steps to address the flare issue.

Returning my lens in early September 2013, I received a replacement in late November 2013.

Now I evaluate the improved and updated lens:

50/2 APO ASPH Flare (Nov 2013 Sample)

There is more evaluation to do, but the revised lens certainly seems improved over the original.

Flare control shaded and unshaded with Leica 50mm f/2 APO-Summicron-M ASPH (Nov 2013 version)
Flare control shaded and unshaded with Leica 50mm f/2 APO-Summicron-M ASPH (Nov 2013 version)

Shootout: Leica 50/2 APO vs 50/1.4 Summilux vs 50/0.95 Noctilux

Get Leica M, Zeiss ZM, Voigtlander M lenses at B&H Photo.

This 3-way shootout shows the behavior of the three top Leica M 50mm lenses. It is a particularly fine comparison, perhaps the best one I’ve yet achieved in showing the relative performance.

Wyman Canyon Cabin (Leica M240)

Includes the usual HD and UltraHD images and large crops from wide open through ƒ/16.

Wyman Canyon Cabin Leica M Typ 240 + Leica 50mm f/2 APO-Summicron-M ASPH
Wyman Canyon Cabin
Leica M Typ 240 + Leica 50mm f/2 APO-Summicron-M ASPH
Leica 50mm ƒ/1.4 Summilux-M ASPH Leica 50mm ƒ/1.4 Summilux-M ASPH Leica 50mm ƒ/2 APOpSummicron-M ASPH    
ƒ/0.95 Noctilux-M ASPH
ƒ/1.4 Summilux-M ASPH
ƒ/2 APO-Summicron-M ASPH
(not to scale)

Canon TS-E 17mm f/4L Aperture Series: Wyman Canyon Lower Cabin (5D Mark III)

Canon TS-E 17mm f/4L
Canon TS-E 17mm f/4L

Get Canon TS-E Tilt-Shift lens at B&H Photo.

The Canon TS-E 17mm f/4L is huge fun to shoot outside or inside. Ditto for the Canon 8-15mm f/4 zoom.

This interior with the Canon TS-E 17mm f/4L is instructional in multiple ways, including distortion, a discussion of peak aperture and aperture tradeoffs, depth of field, and expectations for lens performance in context of its angle of view and purpose. It is as much instructional for 17/4L users as it is a lens assessment.

Wyman Cabin Interior (TS-E 17mm f/4L, Canon 5D Mark III)

Includes the usual HD and UltraHD images and large crops.

Wyman Canyon Cabin Interior Canon 5D Mark III + Canon TS-E 17mm f/4L
Wyman Canyon Cabin Interior
Canon 5D Mark III + Canon TS-E 17mm f/4L

Canon TS-E 45mm f/2.8 Aperture Series: Wyman Canyon Lower Cabin (5D Mark III)

Canon TS-E 45mm f/2.8
Canon TS-E 45mm f/2.8

Get Canon TS-E Tilt-Shift lens at B&H Photo.

Added to the similar shot with the Canon TS-E 90mm f/2.8 is a new aperture series with the Canon TS-E 45mm f/2.8. The similar scene lends some shared context for the two lenses.

Wyman Cabin Lower Cabin (TS-E 45mm f/2.8, Canon 5D Mark III)

This series shows two serious concerns with the TS-E 45/2.8, one of which is correctable and the other more problematic, indeed unacceptable.

Includes the usual HD and UltraHD images and large crops.

Wyman Canyon Cabin Canon 5D Mark III + Canon TS-E 45mm f/2.8
Wyman Canyon Cabin
Canon 5D Mark III + Canon TS-E 45mm f/2.8

Canon TS-E 90mm f/2.8 Aperture Series: Wyman Canyon Lower Cabin (5D Mark III)

Canon TS-E 90mm f/2.8
Canon TS-E 90mm f/2.8

Get Canon TS-E Tilt-Shift lens at B&H Photo.

Revised and reorganized, the Tilt Shift section in DAP sees a new aperture series with the Canon TS-E 90mm f/2.8.

Wyman Cabin Lower Cabin (TS-E 90mm f/2.8, Canon 5D Mark III)

Includes the usual HD and UltraHD images and large crops.

Also updated are some Canon TS-E 17mm f/4L images as well as general commentary on which Canon TS-E lens to choose.

During my trip, I shot all four Canon tilt/shift lenses, and each will see some attention. The Canon TS-E lenses not only work natively on Canon bodies, they work well on mirrorless cameras like the Sony A6000, using the Metabones SpeedBooster.

Wyman Canyon Cabin Canon 5D Mark III + Canon TS-E 90mm f/2.8
Wyman Canyon Cabin
Canon 5D Mark III + Canon TS-E 90mm f/2.8

Back from Mountains Trip

Just back from my mountains trip, I shot material with all four Canon tilt/shift lenses, the Nikon 85/2.8 PC-E tilt/shift, the Zeiss Otus 55/1.4 APO-Distagon (Canon), the Sigma 50mm f/1.4 DG HSM A, and various Leica M and Zeiss ZM lenses. And more.

Lots to cover, and can’t all happen immediately, but I did get some good material.

Passing Cloud Moderates Harsh Mid-day Sun on Twisted Bristlecone Canon 5D Mark III + Zeiss ZE 55mm f/1.4 APO-Distagon
Passing Cloud Moderates Harsh Mid-day Sun on Twisted Bristlecone
Canon 5D Mark III + Zeiss ZE 55mm f/1.4 APO-Distagon

Metabones SpeedBooster: 9.8mm f/2 Ultra Wide on Sony A6000

Looking for a 9.8mm f/2? Or maybe a 11.9mm f/2.8 or 16.8mm f/2.5?

The Metabones SpeedBooster reduces focal length from full frame to APS-C, and increases f-stop by one stop (a natural result by definition of f-stop). So a 14mm lens (full frame) becomes 9.8mm on APS-C with the same field of view on both. Format equivalence.

The Canon 14/2.8L II, 17/4L TS-E, 24/3.5L II are the lenses that produce the stated focal lengths above, using the SpeedBooster.

I’ll be reporting on various Canon lenses as used with the Metabones SpeedBooster on the Sony A6000 later this month. See existing Metabones SpeedBooster coverage.

Ancient Bristlecone Pines Sony A6000 + Metabones SpeedBooster + Canon 14mm f/2.8L II
Ancient Bristlecone Pines
Sony A6000 + Metabones SpeedBooster + Canon 14mm f/2.8L II
Ancient Bristlecone Downed Tree Sony A6000 + Metabones SpeedBooster + Canon 17mm f/4L
Ancient Bristlecone Downed Tree
Sony A6000 + Metabones SpeedBooster + Canon 17mm f/4L
Ancient Bristlecone Pine Sony A6000 + Metabones SpeedBooster + Canon 17mm f/4L
Ancient Bristlecone Pine
Sony A6000 + Metabones SpeedBooster + Canon 17mm f/4L

Up in the Mountains

Up in the mountains shooting various gear.

Sigma 35mm ƒ/1.0 for Sony A6000 (via Metabones SpeedBooster)

The Metabones SpeedBooster reduces focal length by √2 and increases lens speed by the same. So a 50mm f/1.4 becomes a 35mm ƒ/1.0. Keeping in mind that those numbers are the same thing in format-equivalent terms.

Naturally the unusual strong performance of the Sigma 50mm f/1.4 DG HSM made me wonder what an ƒ/1.0 could look like on the Sony A6000, an idea that seemed worth at least some play. Perhaps even on a curved wine bottle. The result* is really quite incredible. No haze or nasties are seen; the image focusing at 11.7X looks crisp and contrasty (dark edges are the lighting).

This crop sections measures 80mm in width while curving around the bottle, thus presenting quite a challenge to a lens to do more than just blur most of it. As shown, it is actual pixels from the Sony A6000 at ƒ/1.0. Detail and micro contrast are far beyond what I would expect at the format-equivalent ƒ/1.4 aperture from the Leica Noctilux or Summilux. For about 1/8 to 1/15 the cost. The world changes.

* Shot handheld at 1/125. All that extra mass of the Sigma 50/1.4 is a big plus when shooting handheld. One wonders why not just design a lens of the same size for APS-C with essentially the SpeedBooster built-in, rather than trying to make the lens smaller? This goofy idea that image quality should be sacrificed to keep lens size down needs to be extirpated by some vendor.

  Actual Pixels Sony A6000 + Metabones SpeedBooster + Sigma 50mm f/1.4 DG HSM A
Actual Pixels
Sony A6000 + Metabones SpeedBooster + Sigma 50mm f/1.4 DG HSM A

Heading to Yosemite and White Mountains: Open Slots for Photo Tours, and Gear List

I’m heading out tomorrow for my first mountains shoot of the year.

There is an open photo tour slot on June 18/19 and possibly 20/21/22 and later as well—ask. Come shoot Zeiss Otus and Zeiss APO lenses in the field, learn tilt/shift, rangefinder lenses, Sony mirrorless, Bighorn Sheep, even computer setup—whatever you like—my tours are to Serve my clients however they prefer. Contact me.

I’ll have along these Zeiss lenses for client use:

  • In both Nikon and Canon mount: Zeiss Otus 55/1.4 APO and Zeiss 135m f/2 APO-Sonnar. Zeiss 25/2.8 in Nikon mount.

I’ll be testing this gear in particular:

  After the Storm Canon EOS-1D Mark III + Zeiss ZF 25mm f/2.8 Distagon
After the Storm
Canon EOS-1D Mark III + Zeiss ZF 25mm f/2.8 Distagon

Shootout: Sigma 50mm f/1.4 DG HSM 'Art' vs Canon 50/1.2L and 50/1.4 (5D Mark III, Dolls)

Get Sigma 50/1.4 DG HSM at B&H Photo: Nikon, Canon, Sony A-mount, Sigma SA-mount

I wanted to get a quick sense of the new Sigma 50/1.4 DG HSM Art, as my mountains trip is coming very soon. Thus a controlled scene shortly after the UPS truck delivered it.

The new Sigma 50mm f/1.4 DG HSM A is a breakthrough in image quality. But many lenses often show their limits at closer range, so how does it hold up against the Canon EF 50mm f/1.2L and Canon EF 50mm f/1.4? In DAP:

Sigma 50/1.4 vs Canon 50/1.2L and 50/1.4 (5D Mark III, Dolls)

Includes HD and UltraHD/4K entire-frame images, as well as an UltraHD/4K central crop series (particularly nice for those with a 4K display). Also various other large crops, all across the full aperture series from wide open to ƒ/16.

This comparison is illuminating, capturing many useful points in one fell swoop. It should be interesting not only as a comparison, but also of practical use in understanding just what to expect from the Sigma 50/1.4 DG HSM A.

There can be no doubt that the Sigma 50mm f/1.4 DG HSM A is the finest 'normal' autofocus lens on the market today. Existing Canon or Nikon normal lenses in the 40mm to 60mm range simply cannot compete with the Sigma 50/1.4 DG HSM A. The Zeiss Otus 55/1.4 APO-Distagon merits distinction beyond the Sigma in several ways, but the Otus is manual focus, so case closed for shooters who need autofocus.

Click for a larger image.

     Dolls Sigma 50mm f/1.4 DG HSM @ ƒ/1.4
Dolls
Sigma 50mm f/1.4 DG HSM @ ƒ/1.4

Zeiss ZF.2 / ZE Distortion: 15/2.8, 18/3.5, 21/2.8 Distagons

Examples and discussion of distortion with the Zeiss 21mm f/2.8 Distagon have been updated. See 21/2.8 Distortion and Distortion vs Nikon 14-24/2.8G.

Similarly, see the 18/3.5 Distortion and Distortion vs Nikon 14-24/2.8G.

And 15/32.8 Distortion and 25/2.8 Distagon.

The above distortion pages above now have corrected + uncorrected toggles in HD and Ultra HD.

Nikon and Canon Lens Rebates

Nikon lens rebates are in effect. My pick of the latest as the best value/performance would be the Nikon AF-S 85mm f/1.8G($100 off).

Canon has various lens rebates also, such as on the Canon TS-E Tilt-Shift, and others.

Guide to Zeiss: Interests?

See the reverse-chronological index page for recent changes.

Tell me what you’d like to see in Guide to Zeiss (subscribers please login first).

Please see the reverse-chronological index. It seems that some subscribers are unaware of recent coverage, particularly for Sony A7/A7R.

Sigma DP3 Merrill  
Guide to Zeiss

Voigtlander 21mm f/1.8 Ultron for Leica M?

Get Voigtlander 21mm f/1.8 Ultron at B&H Photo.

Any subscriber interest out there in the Voigtlander 21mm f/1.8 for Leica M? (or for mirrorless, with adapter). Let me know.

See the existing review of the Voigtlander 50mm f/1.1 Ultron and review of the Voigtlander Nokton 35mm f/1.2 II ASPH.

Update: interest is significant here, the lens is on the way.

Voigtlander 21mm f/1.8 Ultron M-Mount Lens
Voigtlander 21mm f/1.8 Ultron M-Mount Lens

Canon Tilt/Shift Lenses: Review?

Get Canon TS-E Tilt-Shift at B&H Photo.

Let me know. Tilt/shift workshops also later in June and this summer.

Any subscriber interest out there in the Canon tilt/shift lenses?

It has been some years since I last did my review of the Canon TS-E 17mm f/4L and review of the Canon TS-E 24mm f/3.5L II. I might cover them in some more detail on my upcoming mountains trip and/or add to the coverage with the 90mm and perhaps the 45mm.

But these tend to be specialty-use optics, and since reader interest seemed light on the tilt and depth of field piece I did, I’m wavering on whether to cover them.

Update: interest is significant here, the 17mm, 45mm and 90mm are on the way courtesy of B&H Photo, the 24mm was out of stock.

Canon TS-E 17mm f/4L Tilt-Shift Lens     Canon 24mm f/3.5L II Tilt-Shift Lens
Canon TS-E 17mm f/4L and 24mm f/3.5L II Tilt-Shift Lens
Canon TS-E 45mm f/2.8   Canon TS-E 90mm f/2.8  
Canon TS-E 45mm f/2.8 and Canon TS-E 90mm f/2.8

Sony A6000: Outsize Value with Instant Savings — and is the A6000 an Enabling Platform for Zeiss ZM Lenses?

Get Sony A6000 at B&H Photo.

The Sony A6000 (see diglloyd review of the Sony A6000) is hardly a month old, but there is already $50 instant savings bringing the camera down to about $598, and more if lenses are added to the order.

That pricing is a reflection on the camera market not the A6000, because its 24-megapixel sensor is sensational, and the camera with its built-in EVF is a steal, costing hardly more than the astounding $499 that Leica charges for an EVF alone for the M240, yet combined with the Zeiss 35mm f/2 Biogon, it rivals a $15K Leica system in my testing. Even better in some ways. And that is not hyperbole in the slightest. Just the facts. You can print out a red dot and tape it over “SONY” if feelings of inadequacy set in. I might have to do that myself.

So pick up a Sony A6000 with Zeiss 35mm f/2 Biogon and Novoflex Adapter for Leica M Lens to Sony NEX Camera, and you’ve got a pretty amazing little system. I’m actively pondering the investigation of how the Zeiss ZM 18/4, 21/2.8, 25/2.8, 28/2.8 lenses fare on the A6000, which would also make an interesting comparison to the new Leica T, which has a 16-megapixel APS-C sensor.

My guess is that the Sony A6000 at 1/5 the price will easily surpass the Leica T on image quality at longer focal lengths, and downsampling 24 megapixels to 16 can mitigate ray angle issues. Still, ray angle issues might or might not be acceptable on APS-C for 28mm or wider lenses, so better to pick up the outstanding Zeiss Touit lenses for an amazing Deal. The Touit 12mm f/2.8 is an outstanding wide angle designed for digital sensor, and the Touit 32mm f/1.8 has far better bokeh than the full-frame Sony 35mm f/2.8 Sonnar.

Sony A6000
Sony A6000
(skip the zoom lens )

Various Updates in Guide to Zeiss

Various pages tweaked in Guide to Zeiss: charts, discussion, mouse-overs for bokeh, etc.

See the reverse-chronological index page.

 

Sigma 50mm f/1.4 DG HSM: Discussing Optical and Autofocus Expectations, LOCA

Get Sigma 50/1.4 DG HSM at B&H Photo: Nikon, Canon, Sony A-mount, Sigma SA-mount

I discuss implications and expectations of the optical design for contrast and focusing with the Sigma 50mm f/1.4 DG HSM A in my review:

     
     Sigma 50mm f/1.4 DG HSM A optical construction
Sigma 50mm f/1.4 DG HSM A optical construction

Sigma 50mm f/1.4 DG HSM 'Art' On the Way for Testing

     
     Sigma 50mm f/1.4 DG HSM
Sigma 50mm f/1.4 DG HSM

Sigma 50/1.4 DG HSM A for Nikon
Sigma 50/1.4 DG HSM A for Canon
Sigma 50/1.4 DG HSM A for Sony A-mount
Sigma 50/1.4 DG HSM A for Sigma SA-mount

The new Sigma 50mm f/1.4 DG HSM A is on the way for testing. I’ll be testing it on my upcoming mountain trip, with reporting to follow later in June in DAP.

Initially I have the Canon mount version to be tested on the Canon 5D Mark III, with the Nikon version to follow. I suspect that the Canon 50/1.4 and 50/1.2L will be hard pressed to keep up with the Sigma 50/1.4A.

Sigma has taken an aggressive strategy of making some very high quality lenses lately, the color correction being particularly impressive (especially longitudinal chromatic aberration aka violet/purple fringing).

The 35/1.4 DG HSM A set the pace (excellent lens) and now the 50/1.4 DG HSM Aarrives. The Sigma Super Tele Varifocal 120-300mm f/2.8 DG OS HSM S also offers a very high level of color correction. Could a 24mm and 85mm be far behind?

Specifications

Specifications for Sigma 50mm f/1.4 DG HSM Art series
Focal length: 50mm (nominal)
Aperture scale: f/1.4 - f/16, rounded diaphragm blades
Focusing range: 40cm / 15.7in
Angular field: 46.8°
Image ratio at close range:            1:5.6
Number of elements/groups: 13 elements in 8 groups
Filter thread: 77mm
Weight (nominal): 815g /28.7 oz
Dimensions: 85.4mm x 99.9mm / 3.4in. x 3.9in
List price: about $949

Bruce Z writes:

Bruce shoots ballet and similar.

... anyway, my main point is that your reviews and in depth discussions (e.g. The Merrill series of cameras, etc. ... You do not just review and test, and then leave them to yesterday’s news, you are on-going with your updates and comparisons. Making for REALLY informative timelines of details.) I was able to come-up with the notion of asking for the Sigma 120-300 F2.8 because of the exposure you have given this line of Sigma lenses ...among other things as well.)

Just keep doing what you are doing, because nobody else is hitting it like you are!. Thanks, and Thank you to Sigma, a really fine company. Could you imagine a Foveon sensor capable of high ISO performance! That would be the end of the story for every Bayer sensor camera in this odd-ball market of digital imaging!

DIGLLOYD: there may yet be some surprises in the camera market, or so I hope. And I love doing what I do, so long as readers continue to support me in that effort.

All the Sigma DP Merrills are now $699

Get Sigma DP Merill or Ricoh GR at B&H Photo.

All the Sigma DP Merrills are now $699 with 4% reward and free expedited shipping, making the effective price $671. The Ricoh GR (another favorite) is also $699.

See Reader Comment: Travel Cameras (Sigma DP Merrill, etc) and Reader Comment: 14.75MP True-Color Sigma DP Merrill vs 36MP Sony A7R.

Sigma DP3 Merrill  
Sigma DP3 Merrill

Shootout: Sigma 35/1.4 DG HSM A vs Nikon 35/1.4G (D800E, Summit Building)

Get Sigma 35mm f/1.4 DG HSM lens at B&H Photo.

Head to head comparison with Nikon’s flagship 35mm f/1.4G:

Shootout: Sigma 35/1.4 DG HSM A vs Nikon 35/1.4G (Summit Building)

Also added is a distortion page for the Sigma 35/1.4 DG HSM A.

With the usual HD and UltraHD images and large crops.

Summit Building Nikon D800E + Sigma 35mm f/1.4 DG HSM @ ƒ1.4  
Summit Building
Nikon D800E + Sigma 35mm f/1.4 DG HSM @ ƒ1.4
Sigma 35/1.4 DG HSM for Canon      Nikon AF-S 35mm f/1.4G
Sigma 35/1.4 DG HSM A1, Nikon AF-S 35mm f/1.4G

4-Way Shootout + Matched Comparison: Nikon 58/1.4G, 50/1.4G, 50/1.8G, 50/1.2 AIS (D800E, Beaver Dam Dawn)

Get Nikon 50mm and Nikon 58mm at B&H Photo.

Which is the “best” Nikon normal lens? A 4-way comparison in DAP:

Shootout: 58/1.4G vs 50/1.4G, 50/1.8G, 50/1.2 AIS (D800E, Beaver Dam)

Also done matching the 58/1.4G to the 50/1.4G for the same geometric perspective to compare bokeh and so on:

Matched Comparison: 58/1.4G vs 50/1.4G (D800E, Beaver Dam)

With the usual HD and UltraHD images and large crops. See also the previous DeChambeau Sidelit Barn comparison.

Lundy Canyon Beaver Dam Nikon D800E + Nikon 50mm f/1.8G @ ƒ/5.6  
Lundy Canyon Beaver Dam
Nikon D800E + Nikon 50mm f/1.8G @ ƒ/5.6
Nikon AF-S Nikkor 58mm f/1.4G and Nikon NOCT-Nikkor 58mm f/1.2 AIS   diglloyd image   diglloyd image
58/1.4G, 50/1.2 AIS, 50/1.4G, 50/1.8G

SanDisk Extreme Pro SDXC UHS-II Card: Does Not Perform (45 ≠ 280)

SanDisk Extreme Pro SDXC 64GB UHS-II
SanDisk Extreme Pro SDXC
64GB UHS-II

SanDisk claims up to 280MB/sec read speed for the SanDisk 64GB Extreme PRO SDXC UHS-II card. That speed sounded appealing as a primary card for testing new cameras, fast downloads, etc.

But surprisingly, the card runs at half the speed of my SanDisk ExtremePro 95 MB/sec cards, e.g this 64GB SanDisk card (highly recommended).

Those older and much cheaper cards download at ~90 MB/sec in a fast USB3 card reader whereas the “faster” card maxes-out at 45MB/sec!

I tried two fast USB3 card readers as well as the built-in slot on the late 2013 MacBook Pro Retina. I also tested the entire card capacity for reads and writes and reliability. While reliable, the card would not go faster than ~45MB/sec for reads or writes. Whereas the “slower” 95 MB/sec cards always hit 90+ MB/sec.

Perhaps the card performs in some special way in some specific UHS II device but as I would use it, my download speeds are half as fast as the older cheaper cards I already have. A reader reports similarly disappointing results with the SanDisk UHS-II card, even with the SanDisk Extreme Pro SDHC/SDXC UHS-II Card Reader/Writer (which has its own issues).

Card standards have changed over time, and “faster” has meant “slower or incompatible” in the past. In this case, it just means slower in all my usage scenarios. Claims and specifications are one thing, actual results are another, so unless a camera and card reader actually benefit, there is no point to paying more than twice the price for half the performance.

Some readers report faster operation in the Fujifim X-T1, but none have as yet confirmed any comparison with the 95MB/sec SanDisk card. Many cameras are limited by things other than card speed. As the 95MB/sec cards provide all the camera performance I need, my main interest is download speed.

Specifications

As per SanDisk.

  • 64GB Storage Capacity
  • UHS Class 3
  • Optimized for UHS-II Devices
  • Max. Read Speed: 280 MB/s
  • Max. Write Speed: 250 MB/s
  • Water / Shock / X-ray Proof
  • Built-in Write-Protect Switch
  • Supports Advanced Shooting Modes
  • Downloadable RescuePRO Recovery Software

Axel P writes:

I had the same experience four weeks ago—no benefit in reducing the transfer speed, round about 45mb/s max! Half of the older Extreme Pro. P.S. I hope that this post will prevent disappointment for other readers !

DIGLLOYD: this kind of post is one of those things I very much like to do when I’m not writing for my subscribers, who make it possible. It’s a juggling act (time).

Tilt Shift Field Workshop June 12

Details.

  Nikon D800E + Nikon 45mm f/2.8 PC-E Micro Nikkor set at ~3° of tilt
Nikon D800E + Nikon 45mm f/2.8 PC-E Micro Nikkor set at ~3° of tilt

Data Loss or Fault Tolerance?

What happens when a drive fails? Data loss or fault tolerance?

Whether you’re a videographer or photographer, choose the solution that keeps you working with no data loss and always keep backups too.

Awesome: SoftRAID with RAID-5 rebuild

Personalized advice.

SoftRAID 5 making a 35TB RAID-5 using dual OWC Thunderbay units (8 drives)
SoftRAID 5 making a 35TB RAID-5 using dual OWC Thunderbay units (8 drives)

Zeiss 35/1.4 Distagon versus Sigma 35/1.4 DG HSM A1: Boulder Logjam (D800E)

In Guide to Zeiss

An outdoor landscape scene evaluates the Zeiss 35/1.4 Distagon against the Sigma 35/1.4 DG HSM A1.

Zeiss 35mm f/1.4 APO-Distagon vs Sigma 35/1.4 (Nikon D800E, Boulder Logjam)

A full aperture series from ƒ/1.4 through ƒ/16 with includes HD and UltraHD sizes along with large crops also.

Sigma 35/1.4 DG HSM for Canon Sigma 35mm f/1.4 DG HSM A1     
Zeiss 35mm f /1.4 Distagon and Sigma 35mm f/1.4 DG HSM A1
Zeiss 35mm f/1.4 Distagon @ ƒ/1.4
Zeiss 35mm f/1.4 Distagon @ ƒ/4

HUGE $800 off Zeiss Touit Lens Bundle (Sony NEX/E mount or Fujifilm X mount)

See the in-depth reviews of the Zeiss Touit lenses, which also work on full-frame Sony A7/A7R camera bodies over much more than the rated APS-C size, as shown in detail in my reviews.

B&H Photo has $200 rebates (each) on the Zeiss Touit lenses for Sony or Fujiflm.

But here’s the kicker: buy the two lens kit bundle for Sony E or Fujifilm X and get a whopping $800 off. Essentially getting one lens free.

Zeiss Touit 50mm f/2.8M and siblings
Zeiss Touit 50mm f/2.8M and siblings
Zeiss Touit 50mm f/2.8M and siblings
Zeiss Touit 50mm f/2.8M and siblings

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