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FOR SALE: Lloyd’s Fujfilm GFX100S with Really Right Stuff L-Bracket

With my new Fujifilm GFX100 II on the way, I am selling my Fujifilm GFX100S, which sells new for $4399 ($1600 off).

This is the same GFX100S that has done all my work for the past 3 years—a known-good reliable camera.

$3400 OBO. Contact Lloyd

Fujifilm GFX100S

Fantastic LED Lighting $1000 = 50% Off

I own the Luxli Taiko 2x1 RGB LED Light Panel, and it is the best lighting I have ever had. I’d love to have a 2nd one because a pair of these can provide ultra-even illumination on a subject.

And it’s now 50% off.

  • CRI 95 / TLCI 98 (varies slightly with color temperature, can be up to CRI 98)
  • Smooth diffuse light, not the ugly glare as from most LED lighting.
  • Lghts up a whole room even when bounced off ceiling.
  • Dimmable from 1% to 100%.
  • Silent, no fan.
  • Color temperature is variable to just about anything and you can even do garish colors—just about any color you want.
  • Very low power draw relative to light ouput (250W max)—like having 2000W of halogen.

It’s a large light, so I would not call it easily portable, but for a studio or similar, one of these (or a pair!) would be fantastic.

It is the lighting I used for some of my studies last month using art work.

f7.1 @ 1.0 sec, ISO 100; 2024-03-01 12:22:15
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 42.6mm equiv (51.8mm)

[low-res image for bot]
View all handpicked deals...

FUJIFILM GF 20-35mm f/4 R WR Lens
$2499 $1999
SAVE $500

Fujifilm GF 20-35mm f/4 is $500 off, first-ever discount on it

re: Fujifilm GFX100 II

re: Best Configuration for Evaluating ETTR Captures on Fujifilm Medium Format?
re: Fujifilm GFX100 II, Fujifilm GFX100S: Standout Lenses that Nail It

For the first time ever, the Fujifilm GF 20-35mm f/4 is discounted, and by $500.

The GF20-35 is an outstanding lens. I have used at least 3 samples. All were good, but one was noticeably outstanding, and I wish I had bought it.

Fujifilm GF 20-35mm f/4 R WR

Leica SL3: Unstable Lens Focus with 4 of 5 Leica APO-Summicron-SL lenses

re: botched design

UPDATE: I now have proof of the same unstable lens focus behavior on the 24MP Leica SL2-S, showing that it is not a camera-specific problem. It could be a single-sample problem except that both the 75/2 and 90/2 both show the same bad behavior. So it is not just one lens. Moreover it’s erratic/flaky. OTOH, so far it appears that the 28/2 APO, 35/2 APO, 50/2 APO are free from the issue, or at least I cannot be sure.

UPDATE 2: unstable lens focus is also seen with the 35/2 APO and 50/2 APO. The issue also manifests with the Leica SL2-S, so it is not camera specific either, and looks to be a system deficiency that makes the Leica SL system dead on arrival for numerous types of photography—any work where more than one frame is taken without refocusing.

UPDATE 3: the 28/2 APO might also have the issue. Less frequent and less common but I have two series that show a change in one of the apertures. In other words, the issue is systemic at least for the vaunted APO-SL lenses.

...

I was puzzled at the extra-strong focus shift of the 75/2 APO as shown in Deck and Roof, strong to the point of ridiculous. This seemed wrong optically, yet it was consistent with the the direction of the focus shift and the field curvature in Yellow House at Dusk. Seemingly bearing no explanation other than optical focus shift.

And yet, I now have proof that the focus shift is largely the result of unstable lens focus, making it unreliable to take more than one frame without the focus glitching to the distance with each frame (but sometimes/often and not always). Flaky and erratic. At least with the 75/2 APO and 90/2 APO and 35/2 APO and 50/2 APO.

Leica SL3: Unstable Lens Focus

Leica 90mm f/2 APO-Summicron-SL ASPH Apeture Series: Deck and Roof

A camera this unreliable is an unprofessional toy. Stay away from the Leica SL3 until Leica fixes this problem is my advice. If it can be fixed—what if it is lens electromechanical issue and not fixable? The good news would be a firmware fix, if that is possible. However, my expectation based on past experience working with Leica is for Leica to ignore the issue.

Below, unstable lens focus: these are both f/2 and focus should be identical! 12 foot / 3.6 meter focus drift.

f2 @ 1/2500 sec electronic shutter, ISO 100; 2024-04-11 11:30:03
LEICA SL3 + Leica 90mm f/2 APO-Summicron-SL ASPH
RAW: Enhance Details, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

100 Megapixels coming to a Sony A7R VI ?

re: Sony’s New 19200 X 12800 = 247-Megapixel Sensor IMX811-AAQR Implies 108 Megapixels for 35mm Format

Very interesting sensor developments! Sony has recently announced 2.9 micron photosite sensors also.

NewShooter: Blackmagic Design URSA Cine & URSA Cine 17K

The 17K (17520 X 8040) camera with its 50.8 X 23.3mm 141-megapixel 17520 X 8040 sensor with its 2.18:1 aspect ratio may find a home only in high-end video cameras, but it would make an incredible mirrorless wide-aspect-ratio camera too. Then again 17520 X 13140 would be better, with a 4:3 aspect ratio. It appears that one of the 17K camera mounts uses the Hasselblad XCD mount.

The Blackmagic Design URSA Cine 12K Camera at only $14995 has a new sensor that might be appropriate for a Sony A7R VI. Or at least a sensor using similar tech. As it stands the sensor is most appropriate for video (eg a low pass filter and other features), and is RGBW so it’s not ideal for a still camera.

That said, the core technology for a 100-megapixel 35mm format camera is now in production. Or soon will be. The sensor is just a little bit cropped from the usual 35.7 X 23.8mm (eg Sony A7R V) but perfectly fine.

  • 35.63 x 23.32mm
  • RGBW (NOT a Bayer sensor)
  • 12288 X 8040 resolution = 98.8 megapixels
  • 2.90 micron pixel pitch (1.3X smaller than Sony A7R V or Fujifilm GFX100 II)
  • Claimed 16 stops of dynamic range.

The sensor is “BlackMagic designed” but I’m guessing it’s fabbed by Sony.

100 megapixels for 35mm format, 170MP for medium format

Sony A7R V

The pixel pitch of 2.90 microns is a factor of 1.30X vs the 3.76 microns of Sony A7R V and Fujifilm GFX100 II. This is hard core, equating to 172 line pairs per mm. Contemplate that vs the 40 lp/mm MTF charts still in popular usage.

The pixel pitch of both the 17K and 12K sensors imply a future ~170-megapixel Fujifilm GFX100 III or Hasselblad X3D 170-C.

Sure would be nice to see Sony enter the medium format game to keep Fujifilm alert and aggressive.

At a time when Nikon and Canon remain at ~45 megapixels and the 60MP Leica SL3 has only just debuted*, can we say game-over if Sony moves quickly and before the others?

* Presumably, Leica would promptly follow suit with a Leica SL4 by 2028 or so. And who knows about Nikon or Canon.

Image quality

The extra pixels are much more about total image quality than resolution. About eliminating digital artifacts like moiré and staircasing and spurious detail, at least with most lenses and by f/5.6. About smoother/cleaner edges and tonal transitions.

Sharpness gains on a 100MP will be minimal and not just from lenses. Two factors are at loggerheads with respect to gains in sharpness on a 100MP 35mm-format sensor. A squeeze from both ends.

Pixel pitch vs depth of field

The 2.9 micron pixel pitch means requires about 2/3 stop more in terms of depth of field eg f/10 instead of f/8. In practical terms, this is unworkable.

Even on the existing 60MP Sony A7R V f/8 is noticeably degrading micro contrast and resolution startingg, with the effects of f/10 much more severe. This is easy to see just by comparing f/5.6 to f/8 using a top-grade lens. Using f/10 on even tinier pixels will just look like mush even if the lens is the best available.

Pixel pitch vs diffraction

re: diffraction

Diffraction dulling at any specified aperture is the same regardless of sensor or format. However, the effects are relative to the size of the photosites. The smaller the photosites, the lower the micro contrast and the lower the resolving power. At some point this is de facto zero resolving power due to too-low contrast.

Diffraction with 2.9 micron pixels occur 2/3 of a stop earlier eg f/6.3 instead of f/8. Using f/8 on a 100MP sensor will not produce more detail than with a 60MP sensor with its 3.76 micro pixels. You will be forced to use f/6.3 and that is right on the edge of tolerable.

And that’s assuming a world class lens, the very best.

Below, diffraction spot size (Airy Disc diameter) relative to the photosite size of the sensor demands less and less stopping-down to minimize the blur effect relative to the photosite. On a 100MP sensor (35mm format), an f-stop of f/4.5 is needed for similar per-pixel blur effects as with f/5.6 on a 60MP sensor.

Approximate diffraction spot size (Airy Disc) relative to photosite size on 45/60/100 MP sensors

Practical gains in detail?

Those two challenges leave negligible room for resolution gains except of with very thin DoF requirements. And if sharpness is desired outside a small area, the lens had better have nil field curvature and negligible focus shift.

Yet serious performance problems from those two factors are readily and obviously seen in a laughably poor performance with $5K top-of-the-line lenses like the Leica 75mm f/2 APO-Summicron-SL ASPH.

CLICK TO VIEW: Sony Mirrorless + Credible Lenses for 100 Megapixels

Sensor Sizes

Leica SL3 + Leica 75mm f/2 APO-Summicron-SL Aperture Series: Deck and Roof

UPDATE: unstable lens focus looks to be a severe problem with the Leica system.

...

This page looks at just how damaging the focus shift and field curvature can be on a planar subject. These behaviors of the Leica 75mm f/2 APO-Summicron-SL ASPH must be understood to use it well for subject matter all at the same distance(a “planar” subject), be it landscape or a group portrait. I did not set out to show those so amazingly well, but it’s highly informative.

Leica SL3 + Leica 75mm f/2 APO-Summicron-SL Aperture Series: Deck and Roof

Include images up to full camera resolution from f/2 - f/8 plus crops.

If you are shooting any kind of planar subject (distance scene, straight-on flat subject, group portrait, etc), it is essential to understand the lens behaviors shown here.

CLICK TO VIEW: Leica SL3 + APO-Summicron

f2 @ 1/2500 sec, ISO 100; 2024-04-11 11:34:21
LEICA SL3 + Leica 75mm f/2 APO-Summicron-SL ASPH
RAW: Enhance Details, WB 5300°K tint 21, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Organizing Digital Camera Files for the Long Term

re: post processing

My 2013 article in Making Sharp Images was prescient, and remains just as relevant and even more important as 11 years ago:

Organizing Digital Camera Files for the Long Term

It will be just as relevant 10 and 20 years from now. Unless somehow AI can do it all, but I am not a fan.

We create images and think we are organizing them. Usually that means some program like Lightroom. But what are the odds that it will be useful in 10 or 20 years? Or that it will even operate properly (see below)?! Or even bear a remote resemblance? Maybe it’s will all turn out well, and maybe not. But what I know is that the KISS principle will never go out of style.

Years ago, I had consulting clients that didn’t even know where their files were located on disk, let alone even the most basic measures to name or organize them.

That IMO is the classic mistake made by almost every Lightroom user: using a tool that results in a disastrously disorganized file structure. You are now dependent on a tool that might or might not be around, and might or might not function properly, requiring payment every year... forever. All that effort and you are now locked-in, with an unusable mess under the covers. And that’s the best case scenario.

Michael Erlewine is facing a daunting task:

The TIFs are the result of focus stacks…. many layers, which is why it is not easy to regenerate. Also I am considering getting rid of all the layers. Do you keep all your stacks after have a resulting TIF?

Also, for the last 6 hours my Adobe Bridge has stopped being consistent with adding ratings or keywords. I have reinstalled Bridge. Entered all the keywords in again. And anything else I can think of. If you have any ideas what could be messing up the ratings and keywords, let me know.

I tried working in Lightroom Classic, but that program is so poor, considering what they charge and how long they have to work on it.

I abandoned that and Photo Mechanic, and the FastRawViewer….and anything else I have around.

I am at a standstill. With still thousands of TIF images to sort through and label. It helps a lot to break that file [folder] into pieces, which I was aware of, but didn’t want to do it if anything else worked.

And now Bridge stopped working and I tried everything I can think of. I was hoping I could march through all these many stacked TIFs, get the past organize and jump more into Hasselblad X2D work, but now not sure what to do.

My approach is the only the very best images are worth allowing to go public, not the good one or pretty-good ones. However to do that is very painstaking at this point.

DIGLLOYD: no matter what, it’s going to be a lot of work.

My advice is really simple:

1. Name folders and/or images well. This is your core facility, critically important. f there are associated files, create a folder for that image and its files.

2. Add a sidecar “.txt” file with keywords and whatever you like us, using a name-value pair for information eg "keywords=...". Later, a Java program or Python or whatever could parse these files and auto-generate whatever. For example, I put this in place for all my screencast videos:

url=<https://>
patreon=<https://>
title=ETTR: Overcome Noise with Optimal Exposure, plus AI Denoise
keywords=Photoshop, Adobe Camera Raw, Sony A7R V, RawDigger
links=<links text goes here>

summary=<summary text goes here>

3. Generate corresponding JPG from each TIF as a sidecar. Organize based on JPG using a tool that won’t include the TIF for viewing, but will properly work on all associated files.

Folder and file naming as basic yet essential organizational tool

Fujifilm GFX100 II: Upgrading Soon

re: Fujifilm GFX100 II
re: Sony A7R V

re: Best Configuration for Evaluating ETTR Captures on Fujifilm Medium Format?
re: Fujifilm GFX100 II, Fujifilm GFX100S: Standout Lenses that Nail It

Fujifilm GFX100 II
Fujifilm GFX100 II

Back in January I wrote:

...the GFX100 II pixel quality and noise level seems notably better at ISO 100 than the Sony A7R V. This doesn’t make sense given essentially identical sensor technology and same-size photosites (3.7 microns), but with a special ISO 80 mode on the GFX100 II, there may be some secret sauce there.

... it was/is also my distinct impression that Fujfilm GFX100 II image quality for the first time makes me feel like I am getting real medium format quality—a feeling I did not and do not have with the GFX100S—the GFX100S feels like more pixels vs Sony, and not much more [than more pixels] (albeit far superior camera profiles, no small thing).

I am excited that I should have a Fujifilm GFX100 II of my own soon, which will allow me to do all future assessments on it.

I’ll be selling my Fujifilm GFX100S soon since I do not need two camera bodies, and those funds need to go into the GFX100 II. Contact me if interested, and it will include a Really Right Stuff L-Bracket with it.

The GFX100 II should be the ideal platform for the new Fujifilm GF 110mm f/5.6 TS Macro and image of Fujifilm GF 30mm f/5.6 TS Related image Fujifilm GF 30mm f/5.6 TS.


Three New SSDs from OWC: OWC Envoy, Envoy Pro Elektron, Envoy Pro Mini

re: SSD

My favorite SSDs for desktop work are the high performance OWC Thunderblade and OWC Thunderblade X8, and the 8TB OWC Express 1M2.

But for on-the-go purposes, size and weight are a huge plus for most of us.

New OWC SSDs

OWC Envoy SSD
OWC Envoy Pro Elektron
OWC Envoy Pro Mini

RawDigger Now Supports Nikon HE/HE* files + Olympus 14-bit (public beta)

re: RawDigger

RawDigger

RawDigger is an esssential tool for any photographer looking to get the best image quality in that it provides a rigorous check on your shot discipline, namely exposure. See my instructional screencast video and more:

IMO, the beta is beta only with respect to its new features. These guys do a very solid job on things.

Download the public beta...

Alex Tutubalin of RawDigger writes:

Camera/RAW format support

  • Nikon HE/HE* compression support (note: not supported in Windows/32 bit and macOS/Legacy builds)
  • Olympus/OM System 14-bit files (OM-1 Mark II HighRes shots)


NEW! OWC Atlas Pro CFExpress Type A Camera Cards for Sony A7R V, Sony A1

Sony A1 + OWC Atlas Pro CFExpress Type A

The Sony A7R V and Sony A1 and other newer Sony cameras have dual card slots. One slot accepts a CFExpress Type A card.

Until now there has been little or no competition, but that is now all changed with the arrival of the OWC cards. Or least when they start shipping in May.

More about OWC Atlas Pro CFExpress Type A at MacSales.com...

CLICK TO VIEW: OWC Atlas Pro CFExpress Type A

I use OWC Atlas Ultra and OWC Atlas Pro cards exclusively in all cameras that I own and/or test—'bulletproof' in every camera I’ve used them in.

Until now OWC had not offered a Type A card. So I hope to get the OWC Atlas Pro CFExpress type A card very soon, to put to permanent use in my Sony A7R V.

Note that OWC conveniently includes a Type A to B adapter, so that the same card reader can be used to read either type of card eg the super speedy OWC Atlas USB4 CFExpress Card Reader.

 

See also: OWC UNVEILS 4 NEW PRODUCTS FOR NAB 2024 SHOW

High-performance, highest quality memory card for professional filmmakers, photographers, and videographers using Sony Alpha and FX cameras

OWC Atlas Pro CFExpress Type A
  • Pro-Speed: Up to 1700MB/s write and 1850MB/s read speeds for the most advanced uses cases of professional content creators including fast burst RAW image sequences and high bitrate video recording up to 8K1
  • Dependable: Delivers 400MB/s minimum sustained write speed
  • Compatible: Designed for use in Sony Alpha and FX cameras including a1, a7SIII, a7IV, a7rV, a9III, FX3, FX6, FR7, and FX30; as well as CFexpress Type A memory card readers and reader slot equipped devices
  • Supportive: VPG200 certified to work with all Sony camera modes and enable the highest allowable settings in Sony Alpha, FX and FR7 cameras
  • Compliant: Fully compliant with CFexpress Type A 4.0 specification and meets Type A 2.0 specifications
  • Versatile: Includes Type A to Type B adapter to obtain maximum speed when paired with an OWC Atlas USB4 CFexpress 4.0 Card Reader
  • OWC Atlas Pro CFExpress Type A to B
  • Tough: Impact, bend, shock, ESD, UV ray, and x-ray resistant
  • Complete: includes Innergize™ health, performance, and field upgrade management tool for OWC Atlas Memory Cards
  • 3 Year OWC Limited Warranty

The Atlas Pro CFexpress 4.0 Type A cards are now available for pre-order and will ship in May on Macsales.com at $319.99 for 480GB and $519.99 for 960GB. Atlas CFexpress Type B readers are also available at a starting price of $79.99 on Macsales.com.


Leica SL3 + Leica 50mm f/2 APO-Summicron-SL Aperture Series: View from Russian Ridge to South Bay

Nothing beats a distance scene for showing lens problems. I wasn’t sure what was going on with the 50/2 APO in Deck and Roof, but this scene delivers the needed insights.

This f/2 - f/8 series looks at the Leica 50mm f/2 APO-Summicron-SL ASPH on a far distance scene and reveals a lens that is not feeling well.

Leica SL3 + Leica 50mm f/2 APO-Summicron-SL Aperture Series: View from Russian Ridge to South Bay

Include images up to full camera resolution from f/2 - f/8 plus crops.

CLICK TO VIEW: Leica SL3 + APO-Summicron

f2.8 @ 1/2000 sec electronic shutter, ISO 100; 2024-04-01 12:10:42
LEICA SL3 + Leica 50mm f/2 APO-Summicron-SL ASPH
ENV: Russian Ridge, altitude 2000 ft / 610 m, 58°F / 14°C
RAW: Enhance Details, WB 5700°K tint 18, +10 Whites, +40 Dehaze, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Leica SL3 + Leica 28mm f/2 APO-Summicron-SL Aperture Series: View from Russian Ridge to South Bay

This f/2 - f/8 series looks at the Leica 28mm f/2 APO-Summicron-SL ASPH on a far distance scene, looking at sharpness across the field and near-to-far, along with focus shift.

Leica SL3 + Leica 28mm f/2 APO-Summicron-SL Aperture Series: View from Russian Ridge to South Bay

Include images up to full camera resolution from f/2 - f/8 plus crops.

CLICK TO VIEW: Leica SL3 + APO-Summicron

f2.8 @ 1/3200 sec electronic shutter, ISO 100; 2024-04-01 11:59:20
LEICA SL3 + Leica 28mm f/2 APO-Summicron-SL ASPH
ENV: Russian Ridge, altitude 2000 ft / 610 m, 58°F / 14°C
RAW: Enhance Details, LACA corrected, distortion corrected, push 0.66 stops, +10 Whites, +40 Dehaze, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

The Ultimate Mac Buyer’s Guide Parts 1/2/3/4/5/6

re:OWC articles by Lloyd

If you’ve missed my articles over at OWC the past few months, here are the most recent ones, parts 1 through 6 of The Ultimate Mac Buyer’s Guide.

CLICK TO VIEW: Macs and Related

The Ultimate Mac Buyer’s Guide Parts 1/2/3/4/5

Leica SL3 + Leica 35mm f/2 APO-Summicron-SL Aperture Series: View from Russian Ridge to South Bay

The Leica 35mm f/2 APO-Summicron-SL ASPH should nail down this distant landscape with finesse, showing off its superb performance? The Leieca SL3 should easily nail the focus too? Piece of cake. But sometimes do not go according to plan. Distance scens are actually the most merciless subject of all when evaluating lens performance.

This distance series from f/2 - f/8 series shows the unlikeable focus shift and field curvature behavior of the Leica 35mm f/2 APO-Summicron-SL ASPH. Is this a “bad sample”?

Leica SL3 + Leica 35mm f/2 APO-Summicron-SL Aperture Series: View from Russian Ridge to South Bay

Include images up to full camera resolution from f/2 - f/8 plus crops.

CLICK TO VIEW: Leica SL3 + APO-Summicron

f2 @ 1/4000 sec, ISO 100; 2024-04-01 12:06:13
LEICA SL3 + Leica 35mm f/2 APO-Summicron-SL ASPH
RAW: Enhance Details, WB 5650°K tint 18, +10 Whites, +40 Dehaze, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Astounding Deals: 2020 iMac 5K or 2019 MacBook Pro M1 Max 16-inch

iMac 5K 32GB

A 5K display costs $1300 too $1900... take a look.

Ummm....

The 2020 iMac 5K screen has a fabulous 5K display with an excellent free computer built-in.

You can’t find a better value on a Mac than this.

And with a 1 year Apple warranty.

Get one while they last!

CLICK TO VIEW: New and Used Macs at OWC

Or get a very nice MacBook Pro.

This is the same model I use for my field work (well, 4TB vs 2TB SSD), and it is superb. yes, the M2 Max and M3 Max are faster, but you’ll pay thousands more.


Leica SL3 + Leica 35mm f/2 APO-Summicron-SL Aperture Series: Deck and Roof

I’ve cracked the code of the 35/2 APO. Meaning that the puzzling behaviors shown in Redwood Trunks and Mossy Bridge are now seen to be fully consistent with this additional series. The Leica 35/2 APO is no easy lens to understand, nor is it straightforward to use, but I now lay it all out. If you use this lens, this should be very helpful when shooting other than wide open.

...

This f/2 - f/8 series shows the pronounced central forward focus shift behavior of the Leica 35mm f/2 APO-Summicron-SL ASPH. Understanding this behavior and the corresponding/resulting peripheral rearward field curvature is essential for placing focus so as to land optimally on the subject matter when stopped-down eg any image in which the zone of sharp focus matters. The intermediate donut of softness is also discussed.

Leica SL3 + Leica 35mm f/2 APO-Summicron-SL Aperture Series: Deck and Roof

Include images up to full camera resolution from f/2 - f/11 plus crops.

CLICK TO VIEW: Leica SL3 + APO-Summicron

f2 @ 1/400 sec, ISO 100; 2024-04-07 13:45:47
LEICA SL3 + Leica 35mm f/2 APO-Summicron-SL ASPH
RAW: Enhance Details, pull 0.33 stops, +10 Whites, +20 Dehaze, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]
OWC Thunderblade Thunderbolt SSD

Blazing fast, up to 32TB.

YEE HAH!



√ No more slow and noisy hard drives!

SHOOTOUT: Leica SL3 + Leica 50/2 APO-Summicron-SL vs Sony A7R V + Voigtlander 50/2 APO-Lanthar: Deck and Roof

This f/2 - f/8 series pits Leica SL3 + Leica 50mm APO-Summicron-SL ASPH against the Sony A7R V + Voigtlander FE 50mm f/2 APO-Lanthar Aspherical ("CV50/2") on a boring but highly revealing scene which displays fine-detail sharpness and zone of sharp focus exceedingly well.

SHOOTOUT: Leica SL3 + Leica 50/2 APO-SL vs Sony A7R V + Voigtlander 50/2 APO: Deck and Roof

Includes images up to full camera resolution from f/2 - f/8 plus crops.

WOW. It’s not even close to a contest.

CLICK TO VIEW: Sony A7R V + Voigtlander

CLICK TO VIEW: Leica SL3 + APO-Summicron

f2 @ 1/400 sec, ISO 100; 2024-04-07 13:47:29
LEICA SL3 + Leica 50mm f/2 APO-Summicron-SL ASPH
RAW: Enhance Details, +10 Whites, +20 Dehaze, +10 Clarity, AI Denoise 10

[low-res image for bot]
OWC Thunderbolt 3 Dock
Ideal for any Mac with Thunderbolt 3


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

Works on any Mac with Thunderbolt 3

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