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Leica 90mm f/2.2 Thambar-M Aperture Series: Sunset for a Dead Pine (M240)

Get Leica 90mm f/2.2 Thamber-M at B&H Photo.

This series assesses the Leica 90mm f/2.2 Thamber-M through f/9 on a far distance scene. results at distance show just how strikingly good today’s $300 lenses are compared to 80-year-old lens designs, although perhaps there were better 90mm lens designs back then, and ones trying to avoid soft focus.

Leica 90mm f/2.2 Thambar-M Aperture Series: Sunset for a Dead Pine

Includes the aperture series f/ 2.2, 2.4, 2.6, 3.2, 4.5, 6.3, 9 at sizes up to full camera resolution.

Sunset for a Dead Pine
f2.2 @ 1/3000 sec, ISO 200; 2018-06-14 19:37:52
LEICA M (Typ 240) + Leica 90mm f/2.2 Thambar-M

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David C writes:

Could it be that you accidentally substituted a jpeg from an old cellphone for the thambar-m image you intended? at least on my screen “soft” doesn’t really go far enough.

DIGLLOYD: a cell phone would be tharper.

Dan M writes in response to my comment “While it is surely a specialty optic, it’s hard to conceive of paying $6500 for a lens designed for inferior performance when world-class performance in a Zeiss Otus costs at most about $4500.”

For those images you posted just now? That’s taking $6,500 out on the front lawn and burning it. Well, maybe pooping on it first, then burning it.

DIGLLOYD: not for Leica collectors—they’re loving it (isn’t that the phrase McDonald’ uses? Which seems appropriate compared to regular Leica glass).

Peter K writes:

This comparison is not completely fair, because in 1930 Leica introduced this LEICA Thambar 90mm/2.2 only as a soft-focus lens and not as a 'normal' lens.

I have to admit that until today I haven’t seen a single picture made with the LEICA Thambar 90mm/2.2 that makes me smile]. In 1931 Leica had a 'normal' LEICA Elmar 90mm/4.0 in their program. You can assume this lens gives different results compared with the LEICA Thambar 90mm/2.2.

DIGLLOYD: also, Leica has single-coated the lens elements on the modern Thamber. Also, an f/4 lens is necessarily better, and indeed the Thambar 90/2.2 improves a lot by f/4, though it is still a very weak performer.

Jason W writes:

I agree with your evaluation of the subject qualities of the Thambar, but couldn't one produce a highly similar diffusion effect with a $20 pro mist filter?

DIGLLOYD: probably the mist filter would be sharper, and different as well, which does not mean less pleasing. I was thinking of vaseline on a filter also.

Leica 90mm f/2.2 Thambar-M Aperture Series: Robust Green Growth in High Mountain Meadow (M240)

Get Leica 90mm f/2.2 Thamber-M at B&H Photo.

This series assesses the Leica 90mm f/2.2 Thamber-M across its entire aperture range, starting with the pronounced dreamy veiling haze effect at wider apertures, on down to f/25.

Aperture Series: Robust Green Growth in High Mountain Meadow

Includes the full aperture series, f/: 2.2, 2.4, 2.6, 3.2, 4.5, 6.3, 9, 12.5, 18, 25 at sizes up to full camera resolution.

These Spring Corn Lilies (Veratrum californicum) are gorgeous and very common at high altitude in the Sierra Nevada, which does not lessen their appeal. This stand of them was particularly robust. As soon as the snow recedes, they pop up out of the ground on cue, sometimes right through a lingering thin layer of snow.

Spring Corn Lilies (Veratrum californicum) in High Mountain Meadow
f2.2 @ 1/180 sec, ISO 200; 2018-06-14 19:29:33
LEICA M (Typ 240) + Leica 90mm f/2.2 Thambar-M

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MacPerformanceGuide.com

Death Valley Eureka Dunes in Infrared

I’ve been pondering trying infrared again because I really like the rendering of some images. So I went back and reprocessed some images from 2007.

Death Valley: Eureka Dunes in Infrared

The 50-megapixel Canon 5Ds R should do nicely (or the Nikon D810 or D850), but for now I need to keep both in color for review purposes, and I can’t afford to buy a 2nd one.

As for myself, I have no interest in shooting anything at less than 24 megapixels (bare, inadequate minimum, 16 megapixels will fill 1/3 of an 8K display, which are coming in a year or two).

If you want the best, convert a Hasselblad X1D to infrared or a high-res Canon or Nikon DSLR. A Sony A7R III would be a fine candidate, but might have infrared bleed issues internally.

See my diglloyd Digital Infrared Photography, still a useful guide and how-to, even if it does not add new cameras—things are pretty much the same, the factors being (a) spectral cutoff, (b) sensor noise, (c) processing techniques. Why don’t I review converted infrared cameras for diglloyd Digital Infrared Photography? Simple—no ROI—it’s a costly exercise and these days I have no wiggle room at all.

At Eureka Dunes, Death Valley National Park
f9 @ 1/200 sec, ISO 200; 2007-02-24 13:35:54
Canon EOS 5D + Canon EF 24-105mm f/4L IS USM @ 24mm

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OWC announces mission with Splash to bring clean water to children

I take clean safe drinking water for granted—well, not all the time and I almost never drink from the tap, which tastes bad, being full of chloramine.

OWC wants to make a difference. Together with Splash, a highly reputable international clean water charity, OWC is looking to make a lasting impact on the lives of kids, their families, and the larger community. OWC's goal of raising $250,000, and commitment to match funds up to $125,000, OWC aims to make clean water, clean hands, and clean toilets a reality for kids living in some of the biggest, toughest cities in the world.

Today, over 1.8 billion people lack consistent access to clean water and 2.4 billion people lack access to improved sanitation. The urban water crisis affects everyone, but with a much harsher impact on kids. Diarrheal disease is the second leading cause of death in children under five years old. But it doesn’t have to be that way. Splash ensures clean water flows from taps, teaches kids the importance of washing their hands with soap, and provides students with access to safe and sanitary restrooms. Join OWC and Splash to empower kids to hold their futures in their own, clean hands, and end the deadly impact of water borne-diseases and viruses. Will you help us bring clean water to kids? Every donation helps to make a Splash! Learn more at www.splash.org
When you make a donation $50 and above, you'll receive an exclusive coupon code via email for your next order on OWC's e-commerce site, www.macsales.com $50 - $499 donation - $10 off $500 > donation - $50 off

ABOUT OWC

OWC is celebrating its 30th year of service by partnering with Splash to raise funds to help a great cause. OWC was founded with the drive to provide solutions for the needs of our customers. After learning about the work Splash is doing to help kids and communities, we knew that this was not just a great cause, but a true solution for one of the most basic needs of all: access to clean water and sanitation. With access to clean water, the lives and health of children and the communities they live in are improved dramatically. Clean water empowers independence and the opportunity to pursue one’s potential. Supporting this cause isn’t a one day “feel-good” event, it’s a solution that has a positive effect for generations.

OWC Founder and CEO Larry O’Connor said “OWC has been committed to green practices since our inception, and as we celebrate 30 years in business, we renew that commitment by supporting Splash, who are bringing clean water and improved sanitation to children across the globe. These solutions will have lasting impact for generations, and empower independence and better living opportunities.”

All funds raised go directly to water, sanitation, and hygiene projects to support kids living in urban poverty. Keep an eye out for exclusive updates on how your donations are being used and the communities we’ve helped.

Leica 90mm f/2.2 Thambar-M: Focusing Challenges, with examples

Get Leica 90mm f/2.2 Thamber-M at B&H Photo.

Focusing the Leica 90mm f/2.2 Thambar-M is exceptionally difficult—this is not a lens that will ever snap into focus. That is ironic because the raison d^etre of the Thambar 90/2.2 is the combination of some sharpness with what I’ll just call a “haze effect” (caused by many optical aberrations and high veiling flare). So getting focus right is critical, or the whole image becomes an unfocused blurry blob.

Focusing the Leica 90mm f/2.2 Thambar-M (with examples)

Two examples are included, one portrait, one landscape. Images up to full camera resolution so the 0% or so MTF for fine details can be seen. I have more stuff coming, including aperture series with and without the center filter.

I’d say, think very hard unless the visual effects are something you must have in your repertoire, Me, I’d be infinitely more interested in the Leica 75mm f/1.25 Noctilux (coming soon for review). Still, there are certain types of portraiture where it might apply (boudoir?), or bucolic/idyllic scenes where the intent is to evoke a sense of timelessness. Not my style, but I am sure some striking images could be made.

On a separate note, it is striking to me just how poor the Leica M240 is for making portraits: the shutter delay and blackout time is unacceptable because it makes capturing the right expression hit-and-miss at best—Sony with Zeiss Loxia (or an autofocus lens with Eye EF to boot) is so much superior it’s not even funny.

Dee Sickles, LMT, MMT
f2.2 @ 1/45 sec, ISO 400; 2018-06-10 20:32:17
LEICA M (Typ 240) + Leica Thambar 90mm f/2.2

[low-res image for bot]
Up to 1527MB/s sustained performance

When it Rains, it Pours: Server Issues Delay Email and Website Updates, Blown-Off Steering Hose in Sprinter

I am deleting all emails over 64K that are sent to me, so please do not send anything other than very small plain text emails. Response to subscriptions likely to be delayed. Reasons follow below.

...

When it rains, it pours, so they say. Only it has been up to 109°F while traveling (Las Vegas).

I had some lingering physical issues from my bike crash that needed addressing: mashed ribs impairing breathing on the right side of my chest, twisted torso (partly from mashed ribs on the right side), and a few other things. That took me 6 days including travel time of a day each way. Much better now, it was time well spent.

Returning towards home yesterday, the power steering hose of my Mercedes Sprinter blew off deep into Wyman Canyon, dumping all power steering fluid across the lower half of the radiator (smells nice too). And eliminating all planned shooting for then and today and tomorrow. I manhandled the Sprinter out of the canyon (quite a workout!) and back from Deep Springs area on Hwy 168 over to Big Pine, then to Bishop. Two hours to determine what kind of power steering fluid to use, and then two grubby hours under the Sprinter underbody getting the hose back on trying to avoid burns, this time with some stainless steel screw camps instead of the toy spring clamp that was on the hose. But the manual did not state how much steering fluid was needed and I could only buy 24 oz of it—half of what is needed. The steering worked again but sounded awful and no more was available in Bishop. This morning I drove to Mammoth Lakes and got a liter of Pentosin Hydraulic Fluid CHF11S (after many phone calls to find the right kind). But I overfilled not knowing the capacity and bled it out with rolled paper towels which took half an hour. Then I headed to Mercedes of Reno (3.5 hour drive with 4 road-work delays) to have my work checked out (better than stock, I think), and the fluid flushed/swapped with official. And while I am at it, a screw clamp on the top hose and 20K service, a bit early at 17K miles, but might as well drive away with confidence.

Well, it’s still raining.

For the past 3 days, my mail and git servers have been almost unusable; these run on a high speed wireless link and are not in the server room along with the web server. It turns out that newly-planted and very fast growing redwood trees* (up to 10 feet in a year) grew just enough in the past months and recently spurted even more, so as to nearly obliterate the wireless signal, rendering my ability to access my mail or git servers nearly zero. I’ll be moving those servers into the server room along with the web server, but this will take a few days.

* Redwood trees grow fast, and my neighbors, knowing exactly their prior Eucalyptus trees were wrecking my signal (I offered to help pay for removal), promptly planted and amply watered very large redwood trees in the same place after removing the Eucalyptus—the same neighbors with that multi-lingual “we welcome everyone” sign out front (meaning undocumented people, I guess)—but it seems that they do not consider neighbors. Though they are within their legal rights of course. Well the redwoods are growing like weeds now.

Bottom line: I am over in Reno with my Mercedes Sprinter being worked on (Merceces of Reno is terrific, very helpful on short notice!) and minimal ability to update my web content or even get email. Almost inoperable, so I apologize for delays in responding to emails or subscrptions. I have material to publish but yesterday I could not even read my email so posting images is problematic. A bit better luck today—I’ll see how it goes.

GoPro Hero 6: Zero Protection for front Lens Cover; Shatters in an Instant

Get GoPro Hero 6 at B&H Photo.

Very first usage, I dropped it onto pavement. It landed perfectly square on the front lens area, cracking the cover glass.

I do not understand why zero protection to the front—absolutely nothing but maybe 0.5mm of cheap plastic—no rubber bumper or nothin'.

Isn’t it a rough-and-tumble sports video camera?! Alas today’s videos are flawed; I shot them anyway on a very fast descent of Rock Creek from Mosquito Flat.

GoPro Hero 6 with cracked front lens cover

I won the Eastern Sierra double, and in under 3 days I have had complete recovery, so I did a 4800 foot climb today. Below, from today’s ride, my Team OWC (MacSales.com) sponsorship bike and wheels, which still needs OWC decals. The Moots Vamoots RSL + Lightweight Meilenstein wheels combo rides like a dream—I was able to do up to 50 mph on the descent and the bike tracks like it is on rails—feels so safe and sturdy compared to the prior bike, just awesome. And it’s even more comfortable for doubles than the old one (for sale).

Lloyd at Mosquito Flat (top of Rock Creek road)
f1.8 @ 1/125 sec, ISO 20; 2018-06-06 00:48:40
iPhone 7 Plus + iPhone 7 Plus 4.0 mm f/1.8

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Up to 1527MB/s sustained performance

Arrived: Leica 90mm f/2.2 Thambar-M

Get Leica 90mm f/2.2 Thamber-M at B&H Photo.

Twenty aperture blades make for a nearly circular diaphragm. I’ll be shooting the Thambar-M 90mm f/2.2 over the next few weeks. I want to make some unusual images with it as well as see what it can deliver for quality if pressed into service at f/6.3 and f/9.

I rather wish that other vendors would consider this awesome circular aperture, with its 20 blades. Even holding it, one has to look closely to see that it is not quite circular—very impressive.

Leica Thambar-M 90mm f/2.2: 20 aperture blades make for a nearly perfect circular diaphragm

I’d never use the leather hard case, which also accommodates the center spot filter— a total nuisance in my pack.

Leica Thambar-M 90mm f/2.2, as supplied (internal padded box)
USB-C Dock for MacBook

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

On the Way for Testing: Leica 90mm f/2.2 Thambar-M

Get Leica 90mm f/2.2 Thamber-M at B&H Photo.

I know that reader Roy P has been waiting with bated breath for me to review this lens. That’s better than baited breath, since he does not fish. Sometimes I like non sequiturs.

Is there room in today’s market for “throwback retro” lenses? Leica must think so. But I for one would like to see Leica focus on bringing the M platform into the modern world with a built-in 4MP OLED EVF, no rangefinder at all, 45 megapixel sensor, and lenses totally optimized for the sensor.

The Leica 75mm f/1.25 Noctilux-M ASPH is a totally different animal and it is not yet available to me (waiting for loaner), so I thought I’d take a look at something of a similar focal length but entirely different in design.

At about $6495, the Leica Thambar-M 90mm f/2.2 brings “retro” of the 1930's to the Leica rangefinder platform, complete with single-coated lens elements and a leather case and center spot filter.

Leica Thambar-M 90mm f/2.2
  • Leica M-Mount Lens
  • Aperture Range: f/2.2 to f/25
  • Distinct Soft Focus Image Quality
  • Center Spot Filter for Dramatic Effect
  • Single Coated Glass Elements
  • Manual Focus Design
  • Minimum Focusing Distance: 3.3'
  • Stepless Aperture Ring
  • 20-Blade Diaphragm
  • Based on Original 1930s Design

While it is surely a specialty optic, it’s hard to conceive of paying $6500 for a lens designed for inferior performance when world-class performance in a Zeiss Otus costs at most about $4500. However, that is a feature and not a bug, according to Leica and there is always that hard leather case good for storing in some box or closet. So it seemed an interesting challenge to find something to love in the anti-Otus.

There is little point in comparing its performance to a traditional lens, whose design goals are high performance imagery. Rather, one has to ask whether it can deliver images that are compelling for their classic look, and then decide when and why that look is justified or useful or advisable.

I’ll be testing the about $6495 Leica 90mm f/2.2 Thambar-M on the Leica M240 (I’d prefer an M10 but what I own is an M240).

Specifications

As per Leica.

With 4 elements in 3 groups, the single-coated elements will be prone to flare, but not overly so. Still, with stopping down contrast is likely to degrade to increasingly collimated rays which might interact with the sensor. Presumably Leica has taken steps to preserve the lens characteristics while avoiding undesirable interaction with a definitely non-retro recording medium.

Leica Thambar-M 90mm f/2.2
Focal length: 90mm
Aperture scale: f/2.2 - f/25
Diaphragm blades: 20 blades
Number of elements/groups: 4 elements in 3 groups
Focusing range: 3.3 ft / 1 meter
Angular field: 27°
Image ratio at close range:            na
Filter thread: 49mm
Weight, nominal: 1.1 lb / 500g
Dimensions: 2.2 x 3.5in / 57.0 x 90.0 mm
List price: about $6495
Includes Leica Thambar-M 90mm f/2.2 Lens
Metal Front Lens Cap
Rear Lens Cap for M-Mount Lenses
Metal Lens Hood
Hard Leather Case (Vintage Brown)
Limited 3-Year Warranty

Leica Thambar-M 90mm f/2.2

Leading the way in F1.4 brightness

Featuring the same optical design and distinct image quality as the original version from the 1930s, the Thambar-M 90mm f/2.2 from Leica is an M-mount lens characterized by its unique soft focus look and use of a removable center spot filter to enhance the lens's dreamy qualities.

This portrait-length lens replicates the optical layout of the original, but improves upon its predecessor with single-coated glass elements for greater protection against the elements and corrosion.

This new version also sports a striking black paint finish and dual aperture scales, in white and red, to represent working with and without the removable center spot filter.

Straying from the clean and sharp quality Leica is best known for, the Thambar-M 90mm f/2.2 serves as an homage to the unique and creative lenses that makeup their heritage of producing truly striking and unmistakable imagery.

  • Dedicated to producing soft focus imagery, this unique lens can be used in conjunction with the included center spot filter to increase the drama of the dreamy effect for striking, ethereal image quality.
  • Based on the original Thambar from the 1930s, this updated version uses the same optical layout but features a single protective coating on the glass elements to guard against corrosion.
  • Deliberate under-correction of spherical aberration, along with a 20-blade diaphragm, produce a circular rendition of out-of-focus highlights along with an overall diffuse quality that becomes more exaggerated towards the edge of the frame.
  • Short telephoto focal length and bright f/2.2 maximum aperture are ideal for portraiture and isolating subject matter using shallow depth of field techniques.
  • Dual aperture scales, in red and white, represent working with and without the center spot filter in place. Additionally, the aperture ring is stepless for smooth, precise adjustment that is not limited by click-stops.
  • Manual focus design provides a minimum focusing distance of 3.3'.
  • Included vintage brown hard leather case further reinforces the classic look and nostalgia of this lens, and contains a storage pocket for the included center spot filter in the lid. Additionally, the included specially designed metal lens hood and metal front lens cap are felt lined to protect the metal body of the lens from scratches.
Leica Thambar-M 90mm f/2.2
Up to 1527MB/s sustained performance

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 24mm: Lloyd on Bleached Aspen Log

Get Sigma 14-24mm f/2.8 DG HSM Art at B&H Photo.

This series at 24mm confirms and extends the results seen at 22/23/24mm.

I took this series to see how well the Sigma 14-24mm f/2.8 DG HSM Art performed in terms of subject separation, in a vein similar to what I had done for the Zeiss Loxia 24mm f/2.4 in Zion Kolob Canyons.

I had not intended to publish this series, but it is a striking demonstration that to the extent the Sigma 14-24mm f/2.8 DG HSM Art is outstanding at 14mm, it falls to pieces at 24mm, so much so that it is the best demonstration of all the series in the 22-24mm range at showing the weakness of the lens at 24mm.

In my review of the Sigma 14-24mm f/2.8 DG HSM Art:

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 24mm: Lloyd on Bleached Aspen Log

Includes images up to full camera resolution from f/2.8 to f/16.

Lloyd on Bleached Aspen Log
f2.8 @ 1/2000 sec, ISO 64; 2018-04-22 08:13:06
NIKON D850 + Sigma 14-24mm f/2.8 DG HSM Art @ 24mm

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Zeiss Milvus 35mm f/1.4 Aperture Series: Backlit Bare Aspen Trunks

Get Zeiss Milvus at B&H Photo.

I wanted something a bit more unadulterated here in terms of sky and lighting, but the cloud-cover actually makes it more challenging and a better demonstration. The backlit brilliance of the scene caught my eye directly, and then I wondered how the Milvus 35mm f/1.4 would deal with it—it seemed just the right fit.

The series looks at total imaging quality under difficult mid-day morning lighting: high contrast a very bright background sky, and white against black subject matter sure to call out any chromatic issues. My commentary revolves mainly around the total aesthetic of the lens rendering and the strikingly refined balancing of all optical tradeoffs, which transitions into world-class performance with stopping down.

In my review of the Zeiss Milvus 35mm f/1.4:

Zeiss Milvus 35mm f/1.4 Aperture Series: Backlit Bare Aspen Trunks

Includes up to full resolution images from f/1.4 through f/16.

What a pity that in 2018 with DSLR cameras in decline, the lenses are by far the best ever (that is, that we had to wait this long). But what other people buy won’t stop me from preferring my DSLR of choice for landscape (Nikon D850 as I write this). That’s not to say I don’t also enjoy the Sony A7R III too, particularly with lenses like the superlative Zeiss Loxia 25mm f/2.4, but when actually shooting landscape with my usual care, the D850 rules in operational ways, and the lens selection is second to none. For many uses the A7R III rocks of course, as it does for quick grab shots while hiking and similar. Circumstances dictate the choice.

Shot near Bryce Canyon National Park in the nearby national forest. There are very large lava fields in the area that are less than 1000 years old, and are all but entirely barren. Yet pockets of trees like this exist among the fields, where the lava did not intrude. Camping (free) all over the many numerous roads, with quiet and peace, at lest here in late April.

Dead brush in Cottonwood Canyon wash, Death Valley National Park
f1.4 @ 1/8000 sec, ISO 64; 2018-04-22 07:52:23
NIKON D850 + Zeiss Milvus 1.4/35 ZF.2

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NuGard KX Case for iPhones and iPads
Outstanding protection against drops and impact!
Excellent grip for wet hands, cycling, etc!

Web Server Version Upgrade

I’ve upgraded the server to a new version, Tomcat 9.08. The change should be transparent to site visitors with no change in behavior, so please report any unusual behavior—noting that I might be bouncing the server repeatedly tonight (stopping and restarting) to check functionality.

FYI, I write all the backend code myself to make this website have its special features, such as Retina-grade images—I was a leader years ago in doing so, maybe the first site in the world to actually do it regularly and well.

....

For nerds, the Tomcat 9 <UpgradeProtocol>inside a <Connector> is unreliable, overwriting a ByteBuffer sporadically, and also generating errors in Safari sporadically (two distinct issues that appear to be unrelated). I’ve had to disable org.apache.coyote.http2.Http2Protocol, and after doing so, I’ve seen no further issues using HTTP/1.1. I might reenable it from time to time for testing now and then, but please contact me if you see unreliable behavior like Symptom #1.

<Connector ...
    <UpgradeProtocol className="org.apache.coyote.http2.Http2Protocol" />
</Connector>

While it tests OK if/when I enable HTTP/1.2, it just doesn’t work reliably over time. What a shame, since it should improve performance.

I cannot understand how the Tomcat team can ship a feature that shows itself to be unreliable with only 5 minutes of testing (well, then it goes away for an hour as well, so maybe that explains it). I had the same problem with Tomcat 8.5, but this is Tomcat 9.0.8 and JDK 10 (latest). I use a simple configuration, nothing oddball. Perhaps it is specific to my server’s operating system, but this seems doubtful.

Symptom #1:

Safari can't open the page. The error is: “The operation couldn’t be completed. kCFErrorDomainCFNetwork error 303” (kCFErrorDomainCFNetwork:303)

Symptom #2:

<will post when I reproduce the problem again — it involves an out of bounds access to a ByteBuffer inside the nio connector >

Up to 1527MB/s sustained performance

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 23mm: Dead Brush Closeup in Cottonwood Canyon Wash

Get Sigma 14-24mm f/2.8 DG HSM Art at B&H Photo.

This series at 24mm expands upon the results seen at distance in three other series at 22/23/24mm. Close-range is often a weak point for lenses, prime or zoom.

In my review of the Sigma 14-24mm f/2.8 DG HSM Art:

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 23mm: Dead Brush Closeup in Cottonwood Canyon Wash

Includes up to full resolution images from f/2.8 through f/13.

This series and others are important to understanding how to get the best out of the Sigma 14-24mm f/2.8 DG HSM Art, just as my review coverage of the Sigma 12-24mm f/4 DG HSM Art was and is. A lens can be bought and used, but unless its behavior is understood, sub-optimal results are virtually guaranteed on 36/42/45/50 megapixels even with the best lenses. That is one goal I strive for in my reviews, which aim for practical working knowledge.

Dead brush in Cottonwood Canyon wash, Death Valley National Park
f2.8 @ 1/80 sec, ISO 31; 2018-03-30 17:32:24
NIKON D850 + Sigma 14-24mm f/2.8 DG HSM Art @ 23mm

[low-res image for bot]

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Many more items discounted than those shown below.

Terrific for external storage on any Mac with Thunderbolt 3 are the Envoy Pro EX series SSDs.

MPG has two key recommendtions about hard drives:

  • Buy hard drives the next size up than need seems to call for, because larger hard drives are faster as they fill up (not an issue for SSDs).
  • Consider a drive a goner at 4+ years because the chances of failure rise dramatically—better to replace it with a newer (and much faster) drive.
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Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 24mm: Flowering Creosote Bush

Get Sigma 14-24mm f/2.8 DG HSM Art at B&H Photo.

This series at 24mm expands upon the results seen at 22mm in Across the Canyon View of Checkerboard Mesa, Zion and at 23mm in Sandy Wash in Side Canyon, Zion. All three series are inter-consistent in showing the lens behavior and performance. I chose this scene because the sand shows plainly what the lens can and cannot achieve in outer zones. This is an important series which unequivocally shows a behavior that is critical to understand.

In my review of the Sigma 14-24mm f/2.8 DG HSM Art:

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 24mm: Flowering Creosote Bush

Includes up to full resolution images from f/2.8 through f/13.

This series and others are important to understanding how to get the best out of the Sigma 14-24mm f/2.8 DG HSM Art, just as my review coverage of the Sigma 12-24mm f/4 DG HSM Art was and is. A lens can be bought and used, but unless its behavior is understood, sub-optimal results are virtually guaranteed on 36/42/45/50 megapixels even with the best lenses. That is one goal I strive for in my reviews, which aim for practical working knowledge.

Flowering Creosote Bush, Mesquite Dunes, Death Valley National Park
f2.8 @ 1/250 sec, ISO 31; 2018-03-31 06:22:05
NIKON D850 + Sigma 14-24mm f/2.8 DG HSM Art @ 24mm

[low-res image for bot]
Up to 1527MB/s sustained performance

Leica 75mm f/1.25 Noctilux-M ASPH

Get Leica 75mm f/1.25 Noctilux-M ASPH at B&H Photo.

At about $12795, the Leica 75mm f/1.25 Noctilux-M ASPH offers a breathtaking price point with a rendering style one hopes to offer a unique rendering to match. It’s out of my price range, but I’m looking forward to getting one to shoot and review. The loaner request is in, but when it will arrive, I just do not know.

  • Leica M-Mount Lens
  • Aperture Range: f/1.25 to f/16
  • 2 Aspherical Elements
  • One Anomalous Partial/Low Dispersion Glass, all other elements of low chromatic dispersion glasses
  • Floating Elements System
  • Manual Focus Design
  • Minimum Focus Distance: 2.8'
  • Filter Thread: 67mm
  • 11-Blade Diaphragm
  • Built-In Extendable Lens Hood

It looks that Leica has gone all-out on the optical design, hence the stratospheric price.

It’s a beautiful lens (I always did like my 50mm f/0.95 Noctilux-M ASPH) and given the 75mm focal length, might actually perform reasonably well adapted to Sony since ray angle issues will be minimal (see in MTF terms how ray angle destroys performance of wider lenses).

Its specifications state that it comes with a tripod adapter, so that might solve the tripod and lens mount stress issue (“A tripod adapter is included to facilitate easy and secure use of this lens when shooting from a tripod.”). Leica’s weight limit for M bodies to avoid lens mount stress is around 700 grams, and it easily exceeds that limit.

Leica 75mm f/1.25 Noctilux-M ASPH
Leica 75mm f/1.25 Noctilux-M ASPH
Leica 75mm f/1.25 Noctilux-M ASPH
Leica 75mm f/1.25 Noctilux-M ASPH
Leica 75mm f/1.25 Noctilux-M ASPH
Leica 75mm f/1.25 Noctilux-M ASPH

Leica 75mm f/1.25 Noctilux-M ASPH

Leading the way in F1.4 brightness

Rivaled in speed only by its legendary 50mm sibling, the Noctilux-M 75mm f/1.25 ASPH. from Leica is a high-speed portrait-length prime characterized by its ability to isolate subject matter, render subjects in a unique way, and perform admirably in low-light conditions.

Beyond the wide maximum aperture, this 75mm f/1.25 is also distinguished by its sophisticated optical composition that solely utilizes anomalous partial dispersion and low chromatic dispersion glass to suppress color fringing and chromatic aberrations for high clarity. Two aspherical elements are also featured to ensure notable sharpness and low dispersion, and a floating element system is employed at the rear of the design to maintain consistent image quality throughout the focusing range from 2.8' to infinity.

Additionally, this lens has an 11-blade diaphragm to produce an especially pleasing, rounded bokeh quality and a built-in lens hood helps to prevent lens flare and ghosting.

  • Extremely fast f/1.25 maximum aperture affords notable control over depth of field for selective focus shooting, and also benefits working handheld in low-light conditions.
  • Short-telephoto 75mm focal length offers a slightly compressed image quality that is well-suited to portraiture and close-up images, especially when used in conjunction with the shallow depth of field afforded by the bright maximum aperture.
  • Nine elements in six groups optical design is comprised entirely of anomalous partial dispersion and low chromatic dispersion glasses in order to significantly reduce color fringing and produce imagery with a high degree of clarity.
  • Two large-diameter aspherical elements are also used to control spherical aberrations for improved sharpness and reduced distortion.
  • A rear floating element system is employed to maintain consistent image quality throughout the focusing range, even at the minimum focusing distance of 2.8'.
  • An 11-blade diaphragm produces a rounded and pleasing bokeh quality.
  • Built-in extendable lens hood shades and protects the front element to reduce lens flare and ghosting. Additionally, the front of the lens is threaded to accept 67mm screw-in filters.
  • A tripod adapter is included to facilitate easy and secure use of this lens when shooting from a tripod.

Specifications

As per Leica.

Leica 75mm f/1.25 Noctilux-M ASPH
Focal length: 75mm
Aperture scale: f/1.25 - f/16
Diaphragm blades: 11 blades
Number of elements/groups: 9 elements in 6 groups
all elements are anomalous partial dispersion and low chromatic dispersion glasses
2 aspheric elements
Focusing range: 2.8 ft / 85 cm
Angular field: 32°
Image ratio at close range:            1:8.8
Filter thread: 67mm
Weight, nominal: 2.3 lb / 1055 g
Dimensions: 2.9 x L: 3.6 in / 74.0 x L: 91.0 mm
List price: about $12995
Includes Leica Noctilux-M 75mm f/1.25 ASPH Lens
Metal Front Lens Cap
Clip-On Front Lens Cap
Rear Lens Cap for M-Mount Lenses
Soft Leather Lens Case
Tripod Adapter
Soft Leather Tripod Adapter Case
Limited 3-Year Warranty

Roy P writes:

I was looking at the MTF more closely last evening, and this looks like an amazing lens. At f/5.6, it’s a flat line stuck to the ceiling. I was thinking of ordering one, notwithstanding its insane price, and I just decided to push the button.

I sold my 50 Noctilux, in large part because I already had (and still have) the 50 Summilux-M and 50 APO, and the Nocti became expendable.

The 75 Nocti looks like a very unique, one of a kind lens. If it delivers the sharpness the MTF promises, I’d be very thrilled with it, and I’d probably get rid of a lot of other stuff.

DIGLLOYD: my entry line was a personal joke to Roy P, and here the joke is on me—he ordered one.

Sigma 105mm f/1.4 DG HSM Art

Get Sigma 105mm f/1.4 DG HSM Art for Canon, Nikon, Sony mirrorless at B&H Photo.

The Sigma 105mm f/1.4 DG HSM Art debuts in June 2018, and is available for Nikon, Canon, Sigma SA, and Sony mirrorless for about $1599. It offers very high lens speed at the 105mm focal length while claiming outstanding performance.

  • Full-frame for Nikon, Canon, Sigma SA and Sony mirrorless.
  • Aperture Range: f/1.4 to f/16
  • Three FLD Elements, Two SLD Elements
  • One Aspherical Element
  • Super Multi-Layer Coating
  • Hyper Sonic AF Motor, Manual Override
  • Weather-Sealed, Protective Front Coating
  • Rounded 9-Blade Diaphragm
  • Removable Rotating Arca-Type Tripod Foot
  • Compatible with Sigma USB Dock

The Sigma 105/1.4A looks like another effort from Sigma that sets the new standard among autofocus lenses, both for lens speed and performance. Indeed, it may be the best effort yet among the Sigma Art lens line. Quite possibly this will be an “Otus grade” lens. The very large 105mm front element surely serves more purposes than just keeping vignetting minimal.

I’m looking forward to shooting the new Sigma 105mm f/1.4 DG HSM Art, which should become available in mid-June, first for Nikon and Canon with a Sony mirrorless version coming later. Sigma states that the optics are identical.

Since I’ll be testing it in Nikon mount, I’ll be reviewing it in diglloyd Advanced Photography; late when the Sony version arrives I may give it a go on Sony.

Sigma 105mm f/1.4 DG HSM Art

Sigma 105mm f/1.4 DG HSM Art

Leading the way in F1.4 brightness

The flagship of the F1.4 Art series—

Since introducing its first SIGMA Global Vision F1.4 lens in 2012, the 35mm F1.4 DG HSM | Art, SIGMA has been adding wide-aperture F1.4 options to the lineup. Now, with the introduction of the new 105mm F1.4 DG HSM | Art, SIGMA offers a total of nine lenses with F1.4 brightness, including six for full-frame cameras and three for APS-C cameras.

SIGMA has designed all of these lenses to offer minimal optical aberration and deliver incredible resolution and stunning contrast. Boasting the longest focal length of the F1.4 Art line lenses, the new lens combines outstanding resolution with a beautiful bokeh effect. Designed with great care to ensure that both the in-focus and out-of-focus areas of the photograph are equally satisfying to the eye, this lens is truly a “bokeh master.”

The SIGMA 105mm F1.4 DG HSM | Art has earned its place as the flagship of the F1.4 Art line lenses, prioritizing image quality above all to fulfill the promise of the line, delivering truly amazing optical performance.

Optical performance TBD, but is expected to be extremely high, as with the Sigma 135mm f/1.8A.

Specifications

In what might be a first, Sigma has built in the dovetail required for mounting in a Arca-Type clamp (tripod head). Kudos to Sigma; this is something I’ve been noting for years as really dumb from Nikon and Canon and Sony.

Nominal except as noted. Sigma offers a 3-year warranty extension on top of the 1 year warranty for USA users—excellent, at least if one is in the USA.

The Nikon mount version of this lens includes an electromagnetic diaphragm mechanism.

Specifications for Sigma 105mm f/1.4 DG HSM Art
Focal length: 105mm
Aperture scale: f/1.4 - f/16
Diaphragm blades: 9 blades, rounded
Number of elements/groups: 17 elements in 12 groups
3 FLD and 2 SLD elements, rear aspherical element
Focusing range: 100cm / 39.4in
Angular field: 23.3°
Image ratio at close range:            1:8.3
Filter thread: 105mm
Weight, nominal: 1,645g / 58oz
Dimensions: 115.9 × 131.5㎜ / 4.6 5.2in
List price: about $1599
Includes LH927-02 Lens Hood
Lens Case [Sigma’s cases are the best of any manufacturer,and included]
Limited 1-Year North and South America Warranty
Limited 3-Year U.S.A. Warranty Extension

Description

As per Sigma’s Feb 2017 announcement.

SIGMA 105mm F1.4 DG HSM Art

Leading the way in F1.4 brightness

The flagship of the F1.4 Art series: Since introducing its first SIGMA Global Vision F1.4 lens in 2012, the 35mm F1.4 DG HSM | Art, SIGMA has been adding wide-aperture F1.4 options to the lineup. Now, with the introduction of the new 105mm F1.4 DG HSM | Art, SIGMA offers a total of nine lenses with F1.4 brightness, including six for full-frame cameras and three for APS-C cameras.

SIGMA has designed all of these lenses to offer minimal optical aberration and deliver incredible resolution and stunning contrast. Boasting the longest focal length of the F1.4 Art line lenses, the new lens combines outstanding resolution with a beautiful bokeh effect. Designed with great care to ensure that both the in-focus and out-of-focus areas of the photograph are equally satisfying to the eye, this lens is truly a “bokeh master.”

The SIGMA 105mm F1.4 DG HSM | Art has earned its place as the flagship of the F1.4 Art line lenses, prioritizing image quality above all to fulfill the promise of the line, delivering truly amazing optical performance.

Optical system delivering unsurpassed F1.4 performance

Ideal for portrait and astro photographies In order to combine outstanding wide-aperture, mid-telephoto performance with F1.4 brightness at maximum aperture, this lens incorporates 17 optical elements in 12 groups—an uncommonly large number of elements for a prime lens. By including three FLD glass elements, two SLD glass elements, and one aspherical lens element, the optical system minimizes axial chromatic aberration to deliver extremely high resolution along with ample peripheral light volume. The area in focus is extremely sharp, while the area out of focus features a beautiful bokeh effect with highly natural colors, making this lens a powerful choice for portrait photography. The optical system also minimizes sagittal coma flare, making this lens excellent for capturing starry skies.

Exceptional peripheral brightness

The most effective method of ensuring ample light is to maximize the diameter of the first element of the optical system. With its large filter diameter of 105mm, the SIGMA 105mm F1.4 DG HSM | Art delivers a significantly greater volume of peripheral light than other lenses in its class. Minimizing vignetting while offering a beautiful bokeh effect, this lens is ideal for portrait photography. 

Exclusive low-dispersion glass

The degree to which light is refracted by glass depends on the light's wavelength. This fact causes different colors of light to focus at slightly different points. The result is chromatic aberration, the color fringing that is particularly noticeable in telephoto lenses. Most chromatic aberration can be removed by combining a high-refractivity convex lens element with a low-refractivity concave element. Yet residual chromatic aberration known as “secondary spectrum” may still remain.

To minimize this secondary spectrum, which can be a serious issue with conventional lenses, SIGMA lenses feature up to three types of exclusive low-dispersion glass offering superior performance: ELD (Extraordinary Low Dispersion), SLD (Special Low Dispersion) and FLD (“F” Low Dispersion). In particular, FLD glass offers ultra-low dispersion in combination with high transmittance and the anomalous dispersion characteristics of fluorite. Meticulous deployment of these types of exclusive low-dispersion glass and optimization of power distribution gives SIGMA lenses superlative image rendition undiminished by residual chromatic aberration.

Designed to minimize flare and ghosting

From an early stage in the lens design process, flare and ghosting have been measured to establish an optical design resistant to strong incident light sources such as backlighting. SIGMA’s Super Multi-Layer Coating reduces flare and ghosting to help photographers produce sharp and high contrast images even in backlit conditions. The included lens hood can be attached to block out extraneous light, which can have a negative effect on rendering performance.

Compatible with Canon Lens Aberration Correction

The Canon mount version of this lens is compatible with the Canon Lens Aberration Correction function.* Matching the optical characteristics of the lens, this function performs in-camera corrections of peripheral illumination, chromatic aberrations, distortion, and more, to further enhance image quality. * Function not available on all Canon cameras. Available corrections may vary depending on the Canon camera model.

Professional specifications

Allowing photographers to work in all types of weather Like SIGMA’s Sports line lenses (Move to our YouTube page), the 105mm F1.4 DG HSM | Art features a highly effective dust- and splash-proof structure with special sealing at the mount connection, manual focus ring, zoom ring, and cover connection, allowing photographers to work in all types of weather. In addition, the front of the lens is protected by a water- and oil-repellent coating that makes cleaning easy. The high-speed, high-accuracy autofocus helps photographers react in an instant to get those special shots.

Ease-of-use specifications

Instead of conventional ABS plastic, the exclusive lens hood features CFRP (carbon fiber reinforced plastic), a light but strong material used in the interior and exterior fittings of aircraft, among many other applications. The removable Arca-Swiss tripod socket is compatible with Arca-Swiss platforms and clamps, and its exclusive protective cover makes the lens easier to carry and use when shooting hand-held.

Fast AF with full-time manual focus

Full-time manual focus function allows the lens to be switched to manual focus simply by rotating the focus ring.

High-precision, rugged brass bayonet mount

The brass mount combines high precision with rugged construction. Its treated surfaces and enhanced strength contribute to the exceptional durability of the lens.

Rounded diaphragm

The 9-blade rounded diaphragm creates an attractive blur in the out-of-focus areas of the image.

Compatible with Mount Converter MC-11*

SIGMA and Canon mount lenses Mount Converter MC-11 allows you to use your SIGMA SA mount and SIGMA EOS mount (Canon-compatible) interchangeable lenses with the Sony E-mount camera body.

Compatible with full-frame Sony E-mount cameras

he version of this lens compatible with Sony E-mount mirrorless cameras contains the same optical system as for SLRs. SIGMA MOUNT CONVERTER MC-11 is not required, as the lens performs the same functions as the converter, including in-camera image stabilization and in-camera lens aberration correction. In addition, the lens is compatible with Sony’s Continuous AF, which is not addressed by MOUNT CONVERTER MC-11. SIGMA plans to offer over time Sony E-mount versions of every full-frame prime lens currently available in the Art line, from 14mm to 135mm.

SIGMA USB DOCK makes customization and flexible adjustment possible*

* Not available for Sony E-mount lens

SIGMA USB DOCK for SIGMA GLOBAL VISION lenses (optional) . With the optional SIGMA USB DOCK, you can update your lens firmware and adjust the focus position and other settings. Simply connect the lens to the SIGMA USB DOCK and the dock to a computer to use the dedicated SIGMA Optimization Pro software and perform various types of customization and adjustment.

Available for the Mount Conversion Service that enables lenses to be long term assets (charges apply)

Continue using your favorite lens with a different camera body. An experienced lens manufacturer offering a diverse range of interchangeable lenses, SIGMA provides the innovative Mount Conversion Service, in which we change the mount of a lens in one of our new product lines to another mount of your choice (charges apply). This service can give new life to your favorite lenses when you wish to use them with a different camera body.

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Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 19mm: Snake Tracks On Rippled Dunes

Get Sigma 14-24mm f/2.8 DG HSM Art at B&H Photo.

This series is about the overall visual impact first, sharpness second. It also discusses and shows field curvature particularly well.

In my review of the Sigma 14-24mm f/2.8 DG HSM Art:

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 19mm: Snake Tracks On Rippled Dunes

Includes up to full resolution images from f/2.8 through f/13, plus a black and white rendition at f/2.8.

This series and others are important to understanding how to get the best out of the Sigma 14-24mm f/2.8 DG HSM Art, just as my review coverage of the Sigma 12-24mm f/4 DG HSM Art was and is. A lens can be bought and used, but unless its behavior is understood, sub-optimal results are virtually guaranteed on 36/42/45/50 megapixels even with the best lenses. That is one goal I strive for in my reviews, which aim for practical working knowledge.

Toggle for black and white version.

Rattlesnake Tracks On Rippled Dunes, Mesquite Dunes, Death Valley National Park
f2.8 @ 1/250 sec, ISO 31; 2018-03-31 06:13:23
NIKON D850 + Sigma 14-24mm f/2.8 DG HSM Art @ 19mm

[low-res image for bot]
Rattlesnake Tracks On Rippled Dunes, Mesquite Dunes, Death Valley National Park
f2.8 @ 1/250 sec, ISO 31; 2018-03-31 06:13:23
NIKON D850 + Sigma 14-24mm f/2.8 DG HSM Art @ 19mm

[low-res image for bot]
Up to 1527MB/s sustained performance

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 23mm: Sandy Wash in Side Canyon, Zion

Get Sigma 14-24mm f/2.8 DG HSM Art at B&H Photo.

Confirming conclusions about lens performance is best done by shooting numerous scenes and seeing that all is in accord. The less than satisfying performance seen in Across the Canyon View of Checkerboard Mesa at 22mm is here evaluated at 23mm in a more complex 3D scene, to rule out field curvature as an explanation for the disappointing results.

In my review of the Sigma 14-24mm f/2.8 DG HSM Art:

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 23mm: Sandy Wash in Side Canyon, Zion

Includes up to full resolution images from f/2.8 through f/11 plus a 3-frame focus stack at f/9.

It is important when testing a zoom to test it across the zoom range, and also with near focus and far focus. I am not nearly so happy with performance at 22mm as at 14mm.

This series and others are important to understanding how to get the best out of the Sigma 14-24mm f/2.8 DG HSM Art, just as my review coverage of the Sigma 12-24mm f/4 DG HSM Art was and is. A lens can be bought and used, but unless its behavior is understood, sub-optimal results are virtually guaranteed on 36/42/45/50 megapixels even with the best lenses. That is one goal I strive for in my reviews, which aim for practical working knowledge.

Sandy Wash in Side Canyon, Zion
f9 @ 1/160 sec, ISO 64; 2018-04-18 09:54:28 [focus stack 3 frames]
NIKON D850 + Sigma 14-24mm f/2.8 DG HSM Art @ 23mm

[low-res image for bot]
Up to 1527MB/s sustained performance

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 22mm: Across the Canyon View of Checkerboard Mesa

Get Sigma 14-24mm f/2.8 DG HSM Art at B&H Photo.

Published in my review of the Sigma 14-24mm f/2.8 DG HSM Art, this aperture series looks at far-field sharpness at 22mm from f/2.8 through f/9: can the lens make a sharp image across the field, at least when stopped down a bit?

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 22mm: Across the Canyon View of Checkerboard Mesa

Includes full resolution images from f/2.8 through f/9.

It is important when testing a zoom to test it across the zoom range, and also with near focus and far focus. I am not nearly so happy with performance at 22mm as at 14mm.

This series and others are important to understanding how to get the best out of the Sigma 14-24mm f/2.8 DG HSM Art, just as my review coverage of the Sigma 12-24mm f/4 DG HSM Art was and is. A lens can be bought and used, but unless its behavior is understood, sub-optimal results are virtually guaranteed on 36/42/45/50 megapixels even with the best lenses. That is one goal I strive for in my reviews, which aim for practical working knowledge.

“Home” lies below—my silver Mecedes Sprinter Photography Adventure van. The day was a bit of a struggle still being concussed, but by moving slowly and with long experience, I made my way up a class 4 slope to take this image. This eastern section of Zion makes a fantastic bike ride.

Checkerboard Mesa, Zion National Park
f6.3 @ 1/250 sec, ISO 64; 2018-04-18 15:23:30
NIKON D850 + Sigma 14-24mm f/2.8 DG HSM Art @ 22mm

[low-res image for bot]
Up to 1527MB/s sustained performance

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 17mm: Cracked Mud Patterns in Sand Dunes to Distant Peaks at Sunrise

Get Sigma 14-24mm f/2.8 DG HSM Art at B&H Photo.

Published in my review of the Sigma 14-24mm f/2.8 DG HSM Art is a look at performance at 17mm, the middle of the zoom range; it has distinctly different behavior than at 14mm:

Sigma 14-24mm f/2.8 DG HSM Art Aperture Series @ 14mm: Cracked Mud Patterns in Sand Dunes to Distant Peaks at Sunrise

Includes full resolution images from f/2.8 through f/13, plus a 3-frame focus stack at f/8.

This series and others are important to understanding how to get the best out of the Sigma 14-24mm f/2.8 DG HSM Art, just as my review coverage of the Sigma 12-24mm f/4 DG HSM Art was and is. A lens can be bought and used, but unless its behavior is understood, sub-optimal results are virtually guaranteed on 36/42/45/50 megapixels even with the best lenses. That is one goal I strive for in my reviews, which aim for practical working knowledge.

Cracked mud patterns amid sand dunes around sunrise, Mesquite Dunes, Death Valley National Park
f8 @ 1/80 sec, ISO 31; 2018-03-31 06:28:24 [focus stack 3 frames]
NIKON D850 + Sigma 14-24mm f/2.8 DG HSM Art @ 17mm

[low-res image for bot]
MacPerformanceGuide.com

My Recommended iMac 5K for Photographers is now $400 Off

See my top deals lists and also deals of the day and various wishlists for cameras and computers. Or, search for deals by category or search for deals by brand, filter by percent savings and search. All updated daily, bookmark these pages!

My recommended iMac 5K is now $400 off through May 25. One caveat: for my own needs I need a 2TB SSD and that one is not on sale. But most users will find a 1TB SSD more than adequate plus many high performance external Thunderbolt 3 SSDs are now available. Add 64GB OWC memory, and this is as good as any iMac Pro for most photographic tasks, and sometimes faster.

For iMac Pro deals, 32GB memory and 1TB SSD will serve most users very well, and 8 cores are the sweet spot for price/performance.

For 2017 MacBook Pro deals, I recommend no less than a 512GB SSD (1TB for photographers), but for some users 256GB is enough, and OWC has a very nice and relatively inexpensive 1TB Thunderbolt 3 SSD for under $500.

With the 13-inch MacBook Pro, I prefer it without the trackbar nuisance. An 8GB / 256GB model is fine for school use, and a bargain at $1099.

The 2017 iMac 5K that Lloyd works on every day as his main machine (with 64GB and 2TB SSD)

 

 

Up to 1527MB/s sustained performance

If a Panasonic Camera or Lens Needs Repair after the Warranty Expires, does Panasonic Refuse to Repair It? Panasonic’s Response.

BOOKMARK the B&H deals of the day page! See also my hand-picked B&H Photo wishlists and OWC wishlists or search B&H deals by brand/price/category or search for OWC deals by brand or category or price.

Following up on my May 17 post which apparently generated some hubbub, I spoke at length yesterday with a Panasonic USA representative who assures me that Panasonic *does* repair lenses past the warranty period.

Here is the statement from Panasonic USA in Newark, NJ as of today:

First and most importantly, Panasonic Lumix repairs its lenses and cameras, whether they are within the warranty period or beyond it.

Certain lenses can only be serviced by our lens factory in Japan due to the equipment and expertise that is required. Any repair that deems the lens to be disassembled requires that mechanical and optical alignment need to be done. The time required time to disassemble, repair, reassemble and align the lens is a very manual process that can take several hours. A final decision as to if the lens can be repaired comes only after it’s been disassembled and evaluated. For these reasons, parts for the lens were never made available to 3rd party servicers who are not capable of servicing the lens.

For a professional photographer, time is money. The turnaround time to have a lens serviced in Japan was far too long, so from day one we decided that a lens received for qualified in warranty service would be replaced with a factory recertified lens. These lenses go through the factory assembly line and receive the same calibration and inspection as new units receive. Using this system our in-house turnaround in Texas is typically 2-3 days from delivery, often faster. In consideration of all of the above, an out of warranty repair may also be done by replacing the lens with a recertified lens.

DIGLLOYD: note that companies like Leica and Zeiss also cannot repair certain lenses in the USA; they have to go to Germany

MacPerformanceGuide.com
Durable and fast, up to 1800MB/s

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