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Speed To Create, Capacity To Dream

Eastern Sierra Fall Color Update

Get Sigma 24-35mm f/2 at B&H Photo.

Fall color is in full swing at 8500 feet elevation on up. A front moved through on Sept 28 (yesterday), bringing with it moderate winds (today also) which is already tearing off the 'gold' in some places. Peak color is already in full force at these higher elevations, with color at lower elevations showing the onset of yellow. With the weather cooling over the next week, peak color in places like lower Lundy Canyon should be the first week of October, probably around Oct 4 to Oct 10. But weather and wind can also tear down the show unexpectedly.

 
Fall Calor, Partially Stripped
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Dusk Glow on High Peaks, but it’s Still a Long Hike Down
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Fishermen on Saddlebag Lakeshore, Passing Cloud Shadow
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Reviewed: Lensbaby Velvet 56mm f/1.6 (on Sony A7R II)

 
Lensbaby Velvet 56mm f/1.6

See my Sony wish list and other wish lists at B&H Photo.

The about $499 Lensbaby Velvet 56mm f/1.6 is available for Sony E, Nikon, Canon, Micro Four Thirds, Fujifilm X, Pentax and more, and in silver and black and copper finish.

Massive uncorrected optical aberrations lend a halo effect to images at wider apertures which are best used for 'classic' special effects purposes. The results can be very pretty, but the look is so distinctive that it can be easily overused. As such, it should be considered a solid but special-purpose tool.

Image sizes up to 28 megapixels pixels, with crops.

 
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USB-C Dock for MacBook

4 USB3 ports, 1 USB-C port, SD card reader, gigabit ethernet, audio ports, HDMK 4K port!

Reviewed: Sony 70-300mm f/4.5-5.6 G OSS

 
Sony 70-300mm f/4.5-5.6 G OSS

See my Sony wish list and other wish lists at B&H Photo.

The about $1098 Sony 70-300mm f/4.5-5.6 G OSS for Sony E mount is an all-arounder telephoto.

Now published are two pages discussing how it performed for me in the field—not well I’m afraid.

Image sizes up to 28 megapixels pixels, with crops.

It’s hard enough to obtain a prime (fixed focal length) lens to show symmetry. But zoom lenses are another can of worms, since it’s not just symmetry with changes in focus, but also with zooming combined with focus. Distance scenes are merciless in revealing problems.

 
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Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aspherical: Aperture Series 'Snow Road' (Sony A7R II)

 
Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aspherical

See my Sony wish list and other wish lists at B&H Photo.

The about $1099 Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aspherical for Sony E mount is the widest full frame lens on the market as far as I am aware. It is also available in M-Mount. Indeed, it is a tweaked rangefinder design.

These examples show a variety of distances to get an idea of overall imaging behavior using images at close range and distance and spanning the range to assess just how capable the lens is.

Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aperture Series Examples: White Mountains Snow and Cabins (Sony A7R II)

Image sizes up to 28 megapixels pixels, with crops.

 
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MacPerformanceGuide.com

NEC EA244UHD Deal

The about $839 NEC EA244UHD is a nice 4K display that I’ve been using for about 18 months; see my review of the NEC EA244UHD 4K display as well as NEC Wide-Gamut Displays for Photographers. It can be calibrated using the NEC Color Sensor and SpectraView II Software Kit.

  • 3840 x 2160 UHD Resolution
  • 99.3% Adobe RGB, 94.8% NTSC, 146.4% sRGB
  • 350 cd/m² Brightness, Contrast Ratio: 1,000:1, 178°/178° Viewing Angles
  • Response Time: 6 ms
  • Human and Ambient Light Sensors
  • ControlSync and 3 x USB 3.0 Ports
  • 2 x DVI-D, 2 x DisplayPort, and 2 x HDMI
  • 100 x 100mm VESA Mount Compatible

Add to cart to see the $839 price at B&H.

deal on NEC EA244UHD 4K display
Which Camera System / Lenses Should I Get?
✓ Get the best system for your needs the first time: diglloyd photographic consulting.

Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aspherical: Aperture Series 'Snow Road' (Sony A7R II)

 
Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aspherical

See my Sony wish list and other wish lists at B&H Photo.

The about $1099 Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aspherical for Sony E mount is the widest full frame lens on the market as far as I am aware. It is also available in M-Mount. Indeed, it is a tweaked rangefinder design.

This scene in my review of the Voigtlander 10mm f/5.6 Aspherical shows what might be a valid use for a 10mm lens: trying to make an image with extreme perspective in a tight space.

Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aperture Series: Wyman Canyon Lower Cabin Interior

Image sizes up to 28 megapixels, with crops from f/5.6 through f/13.

 
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Sleek and Fast SSD
What Lloyd uses for travel backup.

Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aspherical: Aperture Series 'Snow Road' (Sony A7R II)

 
Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aspherical

See my Sony wish list and other wish lists at B&H Photo.

The about $1099 Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aspherical for Sony E mount is the widest full frame lens on the market as far as I am aware. It is also available in M-Mount. Indeed, it is a tweaked rangefinder design.

This scene in my review of the Voigtlander 10mm f/5.6 Aspherical shows the overall performance as well as sunstar behavior in an outdoor extreme contrast environment.

Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aperture Series: Snowy Road

Image sizes up to 28 megapixels, with crops from f/5.6 through f/16.

 
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Nikon AF-S 105mm f/1.4E ED: Best f/1.4 Lens *Ever* from Nikon, Examples

See my Nikon wish list and other wish lists at B&H Photo.

 
Nikon AF-S 105mm f/1.4E ED

The Nikon AF-S 105mm f/1.4E is surely the best-corrected f/1.4 lens that Nikon has ever produced, and by no small margin. If Leica produced this lens, everyone would rave about it and pay 3X the price—but it’s a stop faster than anything Leica has in this range.

I think the examples speak for themselves: supreme sharpness, velvety smooth bokeh rivaling the very best lens in its range:

Nikon AF-S 105mm f/1.4E ED Examples: Initial Evaluation, Backyard and Misc

These examples were chosen to challenge the lens. Instead, I was stunned with not just the technical performance, but the jaw-dropping beauty of the images. Image sizes up to 28 megapixels, with crops.

Don’t blame me if your wallet suffers: the about $2195 Nikon AF-S 105mm f/1.4E ED is worth every penny for what it delivers. This is the first Nikon lens in years that I have lusted over.

 
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Envoy Pro mini - In Motion There Exists Great Potential

Off Topic: Gambrel & Co Craft butchery for Sustainable Meats

Outstanding meat, at least the two grass-fed cuts I ate: bavette steak and tri-tip—and I don’t usually care for tri-tip that much. I can’ take credit for finding it—my wife did that.

It’s a small shop, where the owner takes pride in his offerings.

http://gambrelandco.com in Redwood City, CA.

See the Gambrel & Co blog.

Gambrel & Co Craft butchery for Sustainable Meats

ISO Shootout: Canon 5D Mark IV vs Canon 5DS R (Dolls)

See my Canon wish list and other wish lists at B&H Photo.

The about $3499 Canon 5D Mark IV is just out and this is my first formal look at it.

No doubt it will delight some shooters for its somewhat higher resolution over the Canon 5D Mark II and especially for its dual-pixel autofocus chops, but just how well does it do on noise compared to the Canon 5DS R?

Canon 5D Mark IV ISO Series from 100 to 25600 vs Canon 5DS R (Dolls)

Very large crops are shown from ISO 100 to ISO 12800 (and ISO 50 for the 5DSR and ISO 25600 for the 5DM4).

For comparison purposes, the Canon 5DS R is includes twice: dowsampled to 5D Mark IV resolution, and also at native resolution. This study is really useful I think, because of the relative comparison with the 5DS R.

 
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Which Mac? Storage, Backup, RAID? Color Management?
✓ diglloyd consulting starts you out on solid footing.

September/October Photo Tour on Focus Stacking (or Other Things), Yosemite Area

See my in-depth coverage of focus stacking in MSI and/or my Depth of Field Challenges: Bypass the Limits with Focus Stacking, Near or Far, Macro or Landscape.

For late September and early October I’m offering 1 or 2 day outings concentrating on focus stacking (or other things), including how to best shoot for a “stack” and how to process the images after shooting. We’ll spend part of the day shooting, and part of the day processing. A laptop is not essential as I will have mine along, but bringing your own is the best way to learn. I recommend 2 days because that allows a day for feedback and learning, and then a 2nd day for trying more.

Dates are flexible, but in the range of Sept 27 - Oct 7, when I’ll be in the high country of Yosemite and/or the ancient Bristlecone Pine area of the White Mountains. Group size kept to 1 or 2 people—this is a one on one. Cost is $800 per day, or $600 per day per person for a 2 person arrangement. More info on photo tours. Contact Lloyd.

The composition benefits from having everything sharp near to far. At f/9, there are two unpalatable options: either the tree is badly blurred with focus in the distance, or the tree is sharp with blurred background: the range is too great for to achieve sharpness by stopping down. Stopping down to f/13 would only make a less blurred image, not a sharp one. In the full-res stacked image at actual pixels, a diamond-shaped road sign with a dark symbol inside it can be seen on the road far below along Tuolumne Meadows. View at 50% of actual pixels and see the actual pixels crops.

Pine Growing in Solid Granite, Pothole Dome
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USB-C Dock for MacBook

4 USB3 ports, 1 USB-C port, SD card reader, gigabit ethernet, audio ports, HDMK 4K port!

iOS 10 Supports Color Spaces

Color gamut is going mainstream!

My workhorse display, the NEC PA302W, still has the best gamut and neutral grayscale out there.

Bill C writes:

I’m one of your subscribers, and I’d like to let you know that Safari on iOS 10 is now colorspace-aware. I checked Safari on my iPhone 7 running iOS 10.0.1 against some of your web pages and some at other sites, and all the results showed that it was paying attention to embedded profiles. The pages I checked were:

Web Browser Display of Image Color: Color Space and Gamut

Web Browser Color Display

https://chromachecker.com/info/en/page/webbrowser

http://petapixel.com/2012/06/25/is-your-browser-color-managed/

Not surprisingly, my iPad Air 2, also running iOS 10.0.1, passed too.

As a control, I viewed those pages on an iPhone 5s running iOS 8.1.2, and it clearly failed all of them.

As for display gamut, the iPhone 7 exhibited a larger gamut than that of the iPad Air 2 and of my mid-2014 15” Retina MacBook Pro.

Wide Gamut Displays and Calibration

Color Gamut Example: Green Shirt in Sunlight

Installing the DCI-P3 Color Profile for Use with Photoshop / Lightroom

In the photo of the “NEXT SERVICES” sign on the first of those three pages, the “DIGLLOYD.com” was dimly visible on the iPhone 7 (I recall it being plainly visible on my NEC LCD2690W2). It’s not at all visible on the iPad Air 2 or on the MacBook Pro. It’s slightly more visible on the iPhone 5s / iOS 8.1.2, but that’s no doubt due to the lack of colorspace awareness, and indeed the road sign is distinctly purple rather than blue on that device.

In the green shirt photos, the iPhone 7 shows a clearly richer green in the ProPhotoRGB and AdobeRGB variants (these two appeared the same) than in the sRGB variant. On the MacBook Pro and the iPad Air 2 (I didn’t check on the iPhone 5s), all three variants show the same washed-out sRGB-ish green.

On the last page, the photo of the Golden Trout isn’t strikingly different between the iPhone 7 and the MacBook Pro or iPad Air 2. The iPhone 7 might have some more saturation in the reds, but I’d want to do a careful adjustment of luminances before saying that for certain.

...

Apple has also fixed how Safari on OS X handles untagged images (those without an embedded color space). Checking your article:

Web browser color display, Untagged Images

On my late-2009 27” iMac (OS X 10.11.6, Safari 10.0) with an NEC LCD2690W2, I see no differences between the tagged and untagged sRGB images, on either the built-in display or the NEC display. The NEC does show differences (the built-in shows them only slightly) between the tagged ProPhotoRGB and the tagged sRGB versions of those images in your article:

Web Browser Display of Image Color: Color Space and Gamut

so I’d expect that improper handling of untagged sRGB would be apparent on the NEC.

DIGLLOYD: this is awesome news. Now the images I present will have the right color, even if iOS still mangles them by resampling (TBD).

Mouse over to compare; if a web browser manages color, the images will look the same.

Bill C continues:

I’ve done some examination of the metadata in photos shot by the iPhone 7 / iOS 10, using both the native Camera app and the ProCamera third-party app. The native app doesn’t offer raw shooting (yet), but ProCamera does take advantage of the new API. When set to shoot raw, ProCamera records both a DNG file and a rendered file in your choice of JPEG, TIFF uncompressed, or TIFF LZW, saving both in the normal iOS photo albums.

Using the third-party PhotoSync app to send some photos from the 7 to my MacBook Pro and running exiftool (http://www.sno.phy.queensu.ca/~phil/exiftool/) on them, I see that JPEGs from the native camera app and from ProCamera are tagged as “Display P3,” which I take to mean DCI-P3. The DNGs from ProCamera do not have an embedded profile (makes sense).

And, I’m happy to see that transport via Apple’s iCloud Photo Library leaves the JPEGs’ embedded profiles intact (at least for the P3 profile) according to exiftool. I tested with photos shot on the iPhone 7, which then showed up on my iPad Air 2 (iOS 10.0.1) via iCloud Photo Library, and then sent by PhotoSync from the iPad to my MacBook Pro. In fact, the Mac’s (UNIX) ‘diff’ and ‘cmp’ commands show that the versions sent to the MacBook directly from the iPhone and via the iPad are bit-for-bit identical.

Apple is being quite civilized about color management!

DIGLLOYD: more good news! I don’t know what ProCamera is as yet, but I assume it is this app.

MacPerformanceGuide.com

Canon 5D Mark IV: Adobe Does Not Support Dual Pixel RAW

 
Canon EOS 5D Mark IV

See my wish lists at B&H Photo including my Canon wish list.

Adobe Camera Raw 9.7 now supports the Canon 5D Mark IV raw files, but NOT the dual pixel raw format.

In Limitations with Canon Dual Pixel raw files in Camera Raw and Lightroom, Adobe provides a ridiculous confusing mess of an explanation that just leaves me scratching my head:

Adobe Camera Raw and Adobe Photoshop Lightroom offer standard support for all Canon 5D Mark IV CR2 files. Please note that Canon’s Digital Photo Professional software is required for users that want to take advantage of Canon’s new Dual Pixel raw adjustments.

Note: Canon CR2 files generated with Dual Pixel raw enabled require that the “Embed Original Raw File” option be checked when converting to DNG. For this reason, converting to DNG on Import in Lightroom is disabled for Canon Dual Pixel Raw files.
Use Canon Digital Photo Professional with Adobe Camera Raw or Lightroom

  1. Open the Dual Pixel raw CR2 file in Canon Digital Photo Professional.
  2. Adjust the image using the specific Dual Pixel raw functionality.
  3. Adjust the white balance.
  4. Create a TIFF file with your adjustments.
  5. You can now import or open the resulting TIFF file in Adobe Camera Raw or Lightroom

Translation:

  • I have confirmed that a Canon 5DM4 dual pixel raw file can be opened in Photoshop/ACR, but that there is no support for the dual pixel layer.
  • When importing into Lightroom, dual pixel raw files will go as-is (not converted to DNG), which is my recommended/preferred way to operate anyway.
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Reader Comments: Leica S System Promises

See my Leica SL wish list and Leica M wish list B&H Photo.

NEW! the Leica 50mm f/1.4 Summilux-SL ASPH is available for pre-order.

See my review of the Leica S system.

Reader Bob H from the UK asked me to publish the letter that follows

Hot on the heels of Photokina, I decided it time to write the attached “Open Letter” to Leica and wonder if you would be interested in publishing it given that they appear to be on the brink of complete annihilation by the likes of Fujifilm and about to abandon the S system much as they did in 2009 to the R system?

The S Typ 007 was introduced at Photokina 2014 and there has been no new hardware since then. I took delivery of mine in the second half of 2015 but it was rolled out as the new, cutting edge Leica product at Photokina in September 2014. I suspect the delay in actual release was because it was not the "real deal" at the time of Photokina 2014 and needed further testing and refining despite images of it and images taken by it were on display at Photokina 2014.

My “beef” is that Leica has not carried out what they said they would do 8 years ago when the system was launched and make it a true “system” camera with the lenses mentioned.
They appear to be doing what they did with the R system in 2009.

Here is the letter:

An Open Letter to Leica [by Bob Hamilton]

Dear Leica,

It’s no coincidence that I compose this letter to you hot on the heels of a disappointing Photokina, itself the culmination of an increasingly bemusing and frustrating period of years as a Leica S system owner.

I have been a user and lover of Leica imaging equipment for many years and moved to the “Pro Format” S system following a period of ownership of a Hasselblad H3D-50 and H4D-50 system remarkable only for the fragility of the equipment which, despite being cared for lovingly and treated with kid gloves, refused repeatedly to function – usually, as per Murphy’s Law, at the most inopportune moment when a memorable image was developing in front of my eyes. A series of such events, in late 2010 and early 2011, along with the “promise” made by Leica at the S system’s launch at Photokina 2008, of the development of the system to truly make it a “system”, persuaded me that a move to a system which was much more robust and suited to my needs would be the best way forward and, at no small cost, I sold off my Hasselblad system of digital camera and 7 lenses and purchased an S2 along with the 35mm, 70mm, 120mm macro and 180mm lenses.  The 30mm soon followed and, when the 30-90mm zoom lens, which had been on the advertised development list since 2008, became available in December 2012, I acquired it and sold off my 30mm and 35mm lenses. Two further lenses were acquired as soon as they became available – the 24mm and the 120mm PC – and the S2 body was replaced by the S Typ 006 and S Typ 007 as soon as they became available, both of which I still own.

And that’s where this story ends or, should I say, the kernel of my increasing frustration grows into something which has made me pen this letter.

Since Photokina 2014, other than the occasional firmware update, most of which I would describe as essentially “cosmetic” and akin to “moving the deck chairs around the Titanic”, the S system has seen no development at all while it would appear that the lion’s share of the R&D budget has gone towards developing the new kid on the block – the SL system - which is in grave danger, after, in Leica terms, a “mere” 2 years or so of life since its announcement in October 2015, of becoming a true “system” with a raft of lenses covering the needs of most amateur and professional users.

To put it bluntly, Leica made “promises” at the S system’s launch in September 2008 which have not been kept and, in doing so, lured loyal, long-term customers into a system which appears, ultimately, to have gone only part of the way to meeting those “promises” and their customers’ needs. I wonder how many S system owners bought into the system, as I did, on the back of the September 2008 promise of lenses such as a 30mm tilt and shift and a 350mm telephoto, the promise of which even included serial numbers in the images of the lenses published at the time. Needless to say, neither of these lenses has been forthcoming and no further mention has been made of them. My (several) pleas made over the last couple of years to Leica UK and Germany to, at the very least, produce an APO tele-converter matched to the superb 180mm lens, to give S owners access to a native focal length longer than the current maximum of 145mm full frame equivalent, have fallen on deaf ears.

Come on Leica, treat your loyal S customers fairly and either advise them honestly that the S system is no longer central to the corporate strategy and has entered its “end of life phase” or do as other manufacturers, such as Fuji, do and give us a road map of system development which you intend to honour.

Yours sincerely,
Bob Hamilton

DIGLLOYD: I have more severe gripes of how Leica has dead-ended my M240, offering no useful firmware updates, no improved EVF and the system is wedged at 24 megapixels . I have no idea of whether the M system is history or not and I don’t see the modernized SL as a suitable platform.

The M system was the biggest investment in camera gear I ever made. As Leica rapidly devalued my investment with lens discounts lasting over a year and failed to offer any value over several years, I began to feel that I had bought into a dead system, all while Leica produces boutique special run editions for collectors along with assorted trinkets, ignoring the M system (and S system, where is the mirrorless S?).

The extreme prices that Leica charges represent poor value, both in the immediate term and in the long term committment to maintaining system viability and value.

Gary M writes:

First, the S System will get a lot of pressure over the next year. With the continuing sales of the Pentax 645, the new Hasselblad X1 and maybe something from Fuji (showing a mule and selling a product are two different things… Fuji has their work cut out). The next year will be a make or break year for the S System. At the very least, Leica will need to update the sensor size to stay competitive. And a few f4 lenses to shave some weight would be nice.

Next, I was dismayed at the SL lens road map. Not until sometime in 2018 will a 35mm f2 lens become available?!? Leica has been making lenses for 100 years… even for a small boutique operation such as Leica you’d think they would have the lens thing more or less down by now. The SL lens road map was nice, but four lenses over nearly 2 years does not make a professional system… it makes a tiny little camera family, NOT a system (think Canon EOS M or Nikon 1)!

Finally, you will NEVER have an updated, higher resolution EVF for the M240. First and foremost, I was told (and also saw this in print) that the processor in the M240 could not handle the throughput of the little EVF that was produced for the now discontinued T. The M240 would have to have an updated processor (the Maestro II) to work with the T, EVF. At that point, it would be a new camera (M250?). My beef with the M240 (and it’s derivatives) is that at the very least, the optical viewfinder should have a diopter adjustment and maybe a built-in magnifier (the focus patch is pathetically small). Currently it has nothing. I don’t think that would be too much to ask (Leica has the whole Oskar Barnack mojo going and if Oskar did not need a diopter adjustment, then neither do you).

Overall, after reading the press releases from most of the exhibitors (Fuji, Olympus, etc.), I find the 2016 version of this show underwhelming. I guess the demise of the point and shoot and is cheap and easy revenue and the rise of the cell/mobile phone has really cut into revenue so much that there is little money left (once salaries are paid and earthquake damage repaired) for any company to do big stuff.

DIGLLOYD: the SL lenses have to be all-new designs with AF, so there is real R&D cost there and Leica is probably trying to spread out the costs.

The truth about the M240 is that a higher-res EVF is possible, but would probably be something like 15 fps (I got this directly from an engineer over at Leica some time ago). So it's a misleading statement from Leica to say it’s not possible. 15 fps would be just fine with me, but Leica's attitude is that if it can't be 30 fps, it's not worth doing. Leica is clueless about the needs of eyes over 40 years old, a subject near and dear to my decade-older than that eyes.

Photokina: two mirrorless medium format cameras with 9 total lenses between them sounds pretty good to me. Some good Sigma lenses, a Loxia 85/2.4, one all-new Zeiss Milvus 18/2.8 — there is a fair amount of good stuff. Presumably Sony was delayed in some announcements by the factory earthquake last spring.

World of Sigma and especially Sigma ART Lenses

Reader Comments: Really Right Stuff TFA-01 Ultra, Gimbal Head

 
Right Stuff TFA-01 Ultra Pocket Pod

See my discussion of the Really Right Stuff TFA-01 Ultra Pocket Pod.

Roy P writes:

BTW, after dragging my butt for a year on the Really Right Stuff TFA-01 mini tripod, I finally decided to get one. I hated the fact that it just splayed open to ground level, so I also bought the MTX Multi Tool that I thought I could use as a stem to raise the tripod. The MTX Multi Tool is handy and useful, but I still disliked the TFA-01.

Then as soon as I got back from Kenya, I saw you mentioned the Really Right Stuff TFA-01 Ultra Pocket Pod. I instantly called RRS. I was a tad over my 30-day return window, but they agreed to let me send back my TFA-01 and get the ultra for $22 more. The Ultra just arrived, and I love it! There are a lot of different ways I could use it.

Also, before my Kenya trip, I got the RRS PG-02 LR Pano-Gimbal head with the Really Right Stuff B2-LR-II clamp. This is exceptionally good, and it worked wonderfully well. I highly recommend it to anyone interested in wildlife photography.

What is really great about this gimbal head is, it has a slot at the top that you can plug a camera like a Sony RX10M3 that you can use to take 4K video, while you’re shooting stills with your Canon 1DX or Nikon D5 and some Ubertelelenz. I highly recommend this to anyone interested in safari / wildlife, both still and video. See the image below that shows the setup, from the RRS site. As you know, it is REALLY hard to switch from still to video in real time, or use the same camera for both still and video. This gimbal head is a terrific solution.

Last, but not least, I also highly recommend the RRS Multi Clamp, either with the flat surface adapter. If you NEVER, ever used it, it’s still worth getting it for the sheer enjoyment of how brilliantly this thing has been designed and engineered, a testament to human creativity!

DIGLLOYD: yup, the about $221 Really Right Stuff TFA-01 with BC-18 head is excellent. There are other variants available with different tripod heads or no head at all.

I prefer the screw-knob clamps for my work, particularly in cold weather, such as the Really Right Stuff B2-Pro-II. But each type has its pluses.

 
Really Right Stuff PG-02 LR: Pano-Gimbal Head w/ B2-LR-II

Fujifilm GFX 50S: Reader Comments/Questions

Get Hasselblad X1D and Fujifilm GFX at B&H Photo.

I’ll post an update when B&H has a price for the GFX—thank you for ordering using my links at B&H when buying—NOT email notification from B&H—so I get credit.

See yesterday’s posts Thoughts on the Fujifilm GFX 50S and Fujifilm GFX 50S Disrupts the Medium Format (and 35mm) Marketplace.

Michael E writes:

Excuse my ignorance, but will this new camera take Nikon-mount lenses?

DIGLLOYD: potentially, once lens adapters exist. The flange focal distance between the Fujifilm GFX and Nikon F lenses is:

46.5 - 26.7 = 19.8mm

In other words, a lens adapter has 19.8mm off width between lens and camera. This should be ample thought it won’t easily allow a tripod foot for big/heavy lenses.

Image circle on some lenses is big enough to deliver beyond between 35mm full frame, but with extreme corner vignetting (in most cases) on the larger GFX sensor. However, since macro lenses (some) might produce a much larger image circle at close range, macro work holds better potential, at least for lenses that don’t play focal-length-shortening tricks, e.g. the Zeiss Milvus 50/2M, Zeiss Milvus 100/2M and Zeiss Milvus 135/2 APO (goes to 1:4). Possibly the Otus lenses also project a larger image circle at MOD.

The Fujifilm GFX has a focal plane shutter (EFC shutter unknown as yet), so anything that can be attached can be shot. By comparison, the Hasselblad X1D has no focal plane shutter, relying entirely on the leaf shutters in the lenses, so it cannot do any DSLR or medium format lenses, excepting lenses with manual Copal shutters or similar, and it is unclear how to do such an exposure except in bulb mode or long exposure, even if the lens can be mounted (and ray angle issues are not a problem).

Roy P writes:

Does it look like a Leica S lens adapter could be built for the Fuji?!

DIGLLOYD: I’m unsure of the flange focal distance, but it surely is much greater than for Nikon, so there should be ample space to build an adapter, which would have to be electronic to be able to control aperture and/or CS lenses.

Knut writes:

I'm extremely excited about using the Otus lenses on the new Fujifilm GFX. The 1,4/ 85mm as well as the Zeiss 2,0/135 may well nearly cover 33x44mm.

There is no perceivable technical limitation for the Fuji (it will not work with the Hasselblad due to the lack of an in body shutter).

DIGLLOYD: extreme dark corners at infinity focus, but yes, they may fully cover the sensor approaching MOD (minimum object distance).

Glenn K writes:

While I share your excitement about this camera, I can't help but wonder if it will really produce images that are enough better than a FF Sony sensor behind Zeiss glass to justify a likely 2x price, particularly if Sony delivers a 50+ MP sensor with lossless compression. It will be interesting to see.

DIGLLOYD: I also wonder. There is a good chance that the Pentax K1 SuperRes pixel shift mode will outperform both the Hasselblad X1D and Fujifilm GFX (in the limited conditions in which SuperRes mode can be used). But outstanding lenses for the Pentax K1 are a serious handicap—there are none, barring conversion or certain discontinued Zeiss ones.

Compression: Sony has had lossless compression since October 2015. It doesn’t matter for much vs lossless, only in extreme conditions where Sony 11+7 lossy compression can’t handle the jump in value.

With Sony, the pixel quality is “cooked” — clearly pre-processed. As one example of evidence for this (aside from what my eyes tell me), Sony A7R II images cannot take anywhere near the sharpening of a D810 file without rapidly breaking down into an ugly mess. I think there is far more going on with image quality than compression or nominal bits per pixel or whatever.

With a little luck the Hasselblad X1D will show up in 10 days or so and I can see for myself in the field. Let’s just see what medium format mirrorless can deliver.

Michael Earlewine writes:

Any idea what size photosite are in the new Fujifilm GFX 50S sensor? Looks interesting. I am still getting the new X1D.

It looks like we will see a flurry of 50mpx sensors in the near future. If only Nikon would give me one, so I can use all my lenses.

I am willing to try the X1D, which I can always return. Right now, what I need is 50 Mpx and some stability. I returned the A7RII, the K1, and am selling off the Novoflex (poorly-designed) bellows, both the CASTBAL and the BALPRO. What were they thinking?

The Cambo Actus Miniv View Camera is great, and the Rollei X-Act 2 is huge, but works.

The inaction of CaNikon has forced me out of the mainstream and I find myself in a little eddy or sidebar to the industry, as mentioned, looking for a little stability and a chance to shoot some photos instead of endlessly testing these things out. Or is the whole industry imploding?

DIGLLOYD: the photosite size in the Hasselblad X1D and Fujifilm GFX are identical, about 5.3 microns. The fact that two new medium format mirrorless cameras says to me that the industry still sees there are risks worth taking. CaNikon are conservate committee-drive companies lacking entirely in leadership, hence kudos to Sigma. But the basic problem is that real innovation is happening in the 3rd-tier players (Pentax, Hasselblad, Fujifilm) while CaNikon explore dark recesses with their thumbs.

An interesting comment: “out of the mainstream”. The 35mm DSLR has absolutely come to a dead-end in innovation. Hence the interest in Sony mirrorless and medium format.

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Pentax to Add EFC Shutter to Pentax K1 for Single Exposures via Firmware Update

See my Pentax K wish list at B&H Photo.

See my in-depth review of the Pentax K1.

A key disappointment with the Pentax K1 when I reviewed it back in June was the lack of an EFC shutter, which causes loss of sharpness with telephoto lenses.

While the K1 always has utilized an EFC shutter in SuperRes pixel shift mode, that was the only case in which it did so, which was a bizarre and ill-considered design choice given the potential for loss of sharpness with telephoto lenses.

The 2016-09-20 Ricoh Imaging (Pentax) press release states that EFC shutter for single exposures will become available soon via a firmware update.

Release of the function expand Firmware version 1.30 for PENTAX K-1

RICOH IMAGING COMPANY, LTD. is pleased to announce the release of the function expanding Firmware version 1.30 for PENTAX K-1 digital SLR camera (launched on April, 2016) on September 29, 2016.

The function expand firmware is to add new function or increase number of setting for currently used PENTAX K-1 camera, so that improve the function, easy handling and update to the latest function.
You can download the free function expand firmware at the official website.

Enhanced functions (PENTAX K-1 V1.30)
Release date : September 29, 2016

*The Electronic Shutter at Live View mode
The Electronic Shutter can be selected at the Menu to reduce camera shake from the mechanical shutter when shooting with Live View mode.

*Add the [1:1] format at the Crop mode
Added and selectable [Square format (1:1)] size at the Crop mode.

*Add [2 frames bracketing] for the [AA Filter Simulator bracketing]
Addition to the current [3 frames bracketing (OFF, TYPE1, TYPE2)], the [2 frames bracketing (OFF, TYPE2)] is added and selectable for the [AA Filter Simulator bracketing]

*Smart Function
At the [BKT] setting, the bracketing range [±0 (=single frame)] can be selected.

[Others]
*Improved stability for general performance.

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