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Various Mac Deals, Storage Deals

Macs

Some of these deals have sold out, because they are in fact fantastic deals.

While of course I would rather have the Apple MacBook Pro M2 Max, the up to $900 discount on the prior model is a heck of a deal considering that the M2 chip is generally not more than 15% or so faster and typically only ~7% faster.

Personally, I hugely prefer a 16" display but maybe you want 14" for travel. For a better long-term value proposition as a workstation-grade machine, get a minimum 2TB internal SSD and preferably 4TB or even 8TB. And 64GB memory strongly preferred over 32GB.

View Discounted MacDeals at B&H Photo...

Storage

Diglloyd MPG tested the Samsung T7 and found it a huge value with wonderful performance.

A test is coming soon on the SanDisk 4TB Extreme PRO Portable SSD V2, but it’s unclear if Macs support USB 3.2 Gen2x2 for twice the speed—and it’s not worth 1/3 higher price IMO.

View Discounted storage...

Discounted Storage

Sony A7R V: Intolerable High-Pitched Whine when Pixel Shift is Enabled — Update — Camera Replaced

re: Sony A7R V: Intolerable High-Pitched Whine when Pixel Shift is Enabled

An update regarding my defective Sony A7R V...

Sony pro services promptly replaced the problem camera.

No explanation was available as to cause, but apparently it was not a simple repair.

I have nothing but praise for Sony Pro services every time I use it (infrequently).

Adrian B writes:

I had the same problem with my A7R5 in the wintertime with temperatures below 5° C and pixel shift enabled. I forced my camera dealer to exchange the camera because it was new then and the new one does not have this issue, at least not at the moment. My guess is it has to do with the new IS unit.

DIGLLOYD: yes, I think it is related to the image stabilization unit.

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Sony FE 20-70mm f/4 G: Going Bonkers Trying to Compare It

Sony FE 20-70mm f/4G
Sony FE 20-70mm f/4G

I’m going bonkers trying to compare the Sony FE 20-70mm f/4 G. It’s bad enough that it biases focus too close, but it also has a very strong forward focus shift, the kiss of death for getting sharpness where you want it. Add in severe field curvature at some focal lengths and the lack (as yet) of distortion correction from Adobe Camera Raw, and it’s a mess.

I’ll probably go reshoot the comparisons I had shot, all of which are problematic for the reasons cited. Frustrating as heck. Experience tells me that I can probably improve the matchup, but with those other issues things diverge anyway. A replay of a bad movie I’ve seen before.

I can’t stand lens designs that make it hard to get intended results.

Vloggers and snapshot shooters may be happy, and it is a sharp lens after all. Just not in a way I can exploit as I need to for landscape or similar—too hard to figure out where that sharpness will land.

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AI Imagery: Starting Now, All Still Or Video Imagery Must Be Assumed Fake By Default

re: artificial intelligence
re: Michael Erlewine

re: Will AI Doom Photography, News, Truth?
re: AI and Photography, Weaponization of AI

Starting this year, all still or video imagery must be assumed fake by default. This has long been the case in the “news” (for many reasons), but it must now be the default for all imagery everywhere.

Credibility can be based on certification of some kind, such as cryptographic signing, along with the past history and crediblity of the certifier. It’s a huge can of worms, nonetheless.

Digital notarization for imagery

Perhaps we need a new requirement for cameras: cryptographically-signed imagery so that you and I can prove cryptographically “I made this image”. And more importantly, so that others cannot claim you or I made an image (eg one that might get you into trouble, or defame you).

And since I shoot RAW format, a similar cryptographic signature would be needed for the images I publish, including author’s comments or testimony as to their manipulation or lack thereof.

Of course, such systems are only as good as the security of the cryptographic key, yet another security challenge.

The legal system

Consider AI imagery that falsely portrays a person in a compromising situation. Presumably this would a form of libel, but that does not stop a reputation from overnight destruction. New laws with harsh penalties are likely needed for such things.

Expect convictions in the court system based on falsefied imagery. IMO, courts should not accept imagery as evidence unless it can be proven (using AI or other methods) that it is original and unaltered and not AI generated.

Reader Comments

Michael E writes:

I always sign my Midjourney graphics with this: [Midjourney graphic prompted by me.]

DIGLLOYD: that’s great in informing a viewer. But it is a claim that cannot be certified, eg someone could generate child porn, and instruct the AI to sign it as someone else. It has to be a cryptographic assertion that only the real person could generate.

Reader Comments: AI and Photography, Weaponization of AI Imagery

re: artificial intelligence
re: Michael Erlewine

re: Will AI Doom Photography, News, Truth?

Michael Erlewine, photographer and and experienced user of the Midjourney AI, writes with a lifetime of perspective.

BTW, good luck with Midjourney and its Discord server—after trying for 15 minutes just to create an account and doing 20 or so captchas, I was never able to login. Instead, I got an email saying I was in violation of terms of service. I gave up in frustration.

AI: THE NEW PARADIGM

By Michael Erlewine. Michael’s blog page is at https://www.facebook.com/MichaelErlewine. Emphasis added.

The Spring Equinox is on Monday March 20, 2023 at 5:24 PM EDT. However, winter will manage to bang on here in northern Michigan for another month at least, although the cold will be punctuated by an increasing number of sunny days when the wind is down and walking outside is pleasant or at least tolerable.

The last great paradigm shift was the advent of the Internet. That was when people like me walked in the back door of the establishment, took over, and did what we wanted, and no one stopped us. They were too busy guarding the front door.

The current paradigm shift is AI graphics and similar related imaging changes.

It seems that everything, all of this, compounds on one another with progress, elaboration, etc., and the result leaves little to desire or left for the imagination. The AI Graphics engines are tearing it up as we speak.

Even the not-so-human AI graphics have become creative, certainly doing a better job at creation than most of us on any given day. AI never sleeps.

And we have no real choice but to embrace this new graphics phenomenon, incorporate it, and learn to use it creatively. Does it take the fun out of life?

That’s hard to say, yet certainly it alters everything photographic more than just a little. And this suspiciously looks like we humans will soon be competing with AI creativity if we insist, and with whatever stamina we can work up. As mentioned, AI is tireless.

And this is not the only area of life that is morphing, just one of the most obvious. We are now creating ‘creativity’ outside of ourselves, and it’s up to us to know the difference because it will soon only be us that does that.

AI-generated imagery: Joe Biden eating a hotdog
AI-generated imagery: Joe Biden eating a hotdog

And I see there is no choice but to join in with and manage the AI process or become but an eddy in the stream of time. And this graphic AI has already become weaponized. Soon we will have to look twice (or not even be able to tell) what is a real photo and what is one created by AI graphics. And then the fur will fly, which it already is, but to no avail. This is already a done deal.

And it’s not like we can turn back the clock or stop what has already happened in AI graphics. We can’t put the toothpaste back in the tube any more than we can take AI graphics to court and plead it out of being there. It’s already there and in Midjourney, which I use, it’s in its fifth revision and counting, while moving at exponential speeds.

I watched cell phones eviscerate professional photography, and long before that, back in the 1970s, I watched home computer graphics and word processors close down photographic and typesetting shops almost overnight. As they say, we can’t stop progress. Look what happened with music. The “Spotify” sites of the world have taken almost all of the money away from performing artists who try to eke out an existence.

I already have been corresponding with some well-known graphic artists who are weeping and gnashing their teeth over the advance of AI graphics into commissioned art. The best and brightest artists are good sports and already busy incorporating AI graphics into their own graphic works, but they don’t sound all that happy about it. They plan to surf it rather that fight it. And AI graphic engines, as mentioned, are tireless in their expansion, and it’s a tidal wave that is just beginning.

AI-generated imagery: Donald Trump eating a kale sandwhich
AI-generated imagery: Donald Trump eating a kale sandwhich

Certainly, we are at a point where progress is eating its own children and sucking the life out of more than a few creative artists. Are we powerless to stop it?

My guess is that we are powerless to stop this kind of progress, since it has already progressed and is a ‘fait accompli’. It’s beyond just being present. It’s being loved, championed, and already in revision.

I speak here about AI graphics and mentioned what happened to photography, typesetting, and music. There must be many other areas of interest out there about to (or already going through) radical change and a dramatic shift in direction through AI intelligence. Fortunes will be lost and found.

And just so you don’t think I am against all this; I am not. I love it and millions of people will produce creative graphics where before they were powerless to do so. It just is what it is. Let’s see what we can do with it.

Yet, as mentioned, AI graphics are about to be weaponized. See the enclosed Midjourney image, which is just showing what could be done in the very near future. All I prompted was:

“Donald Trump eats a kale sandwich.”
“Joe Biden eats a hotdog.”

I could revision this until they are relatively perfect, but I won’t bother. You get the idea.

We know Trump lives ‘Big Macs’, not kale. Can you imagine what will appear in a revision or two? You and I will only know the difference by our non-AI intelligence.

I have been doing Midjourney since it first dropped last summer and have completely stopped licensing images for use with my blog from stock graphic sites. I create all my graphics with Midjourney and plan to continue doing so.

Around me, I see all kinds of folks becoming artists and think they are creating art. Be that as it may, my interest in Midjourney AI is purely illustrative. I need illustrations to go with my daily blog to around 11,000 people, and got into because I could capture using Midjourney what I consider emotional content that goes with what I write.

DIGLLOYD: I differ* in only one key point: very soon (maybe already), few people will be able to distinguish what is real and what is fake (assuming skill goes into the AI effort), and then only part of the time. We have to rely upon other technology that makes cryptographically strong legal assertions.

* Michael E wrote to say “We don’t differ on that we won’t be able to tell.’.

Reader Comment: Fujifilm GF Lens Performance

Reader Roy P writes:

Fujifilm GF 45mm f/2.8

I had a chance to test a Fujifilm GF 45mm f/2.8 lens.

I was surprised to see how mediocre this lens is. I have a decent copy in terms of symmetry. But at f/2.8, it is surprisingly soft. I thought this was a sharp lens, compared to the 50mm F3.5. It also has heavy vignetting that takes my slider all the way to the right in Capture One (+4) to clear up. The autofocusing speed / tracking is also sluggish.

It looks like the GFX100S has exactly three lenses worth a damn:  the 20-35 F4, which is always stuck at $2500, since Fuji is very careful to not discount it;  the cheapie 35-70 F4.5-5.6, which punches way above its weight class and is a steal at $500 on sale, and even at $1000;  and the 250 F4, another lens that’s always $3300, never offered at a discount, if you notice.  That’s it.

The old 50 F3.5 is not bad, especially if you bought it for $500.  At least it’s compact and a stop faster than the 35-70, and qualifies as the street photography / walkaround lens for the GFX 100S.  But that’s the entire universe of Fuji GF lenses!

DIGLLOYD: the Fujifilm GF 45mm f/2.8 is a good lens in the f/5.6 - f/8, but not only does it have a strong forward focus shift (see Iced-Over Beaver Pond), it also has some field curvature. It’s not (technically speaking) viable until f/5.6 for landscape and really needs f/8 due to its focus shift and field curvature.

To Roy’s list, I would add the Fujifilm GF 110mm f/2. The Fujifilm GF 50mm f/3.5 is very strong, but while I can imagine an improved lens, but I’ll take it any day over the 45/2.8.

I’ve commented before on how the Fujifilm medium format platform badly needs options similar to the Voigtlander FE 50mm f/2 APO and Voigtlander FE 35mm f/2 APO and Voigtlander FE 65mm f/2 APO. Nothing on the GF platform even comes close, and the difference is so large that much of the gap between sensor resolution is closed (or surpassed, with pixel shift).

IMO, the Fujifilm GF 32-64mm f/4 and Fujifilm GF 45-100mm f/4 are problematic choices—huge and heavy and with serious focus shift and field curvature headaches that guarantee sub-optimal results even if one is trying hard to deal with those behaviors.

The Fujifilm GF autofocus focusing motors are stone-age vs Sony’s ultra high speed motors. IMO, the GF lineup is yesterday’s technology and due for a makeover/upgrade both optically and in terms of AF motors and overall design.

My list of the top lenses for Fujifilm medium format

Obviously if you are shooting portraits or such, you might want other lenses for the wide aperture look. This list is for landscape, for technical performance.

  • Fujifilm GF 250mm f/4. I don’t like its design with internal clunking noises, but it is a superb performer.
  • Fujifilm GF 110mm f/2. Beware of its focus shift and mild field curvature, but otherwise it is beatifully sharp.
  • Fujifilm GF 20-35mm f/4. An impressive optical accomplishment with a price to match but not better than the equivalents for the 35mm format.
  • Fujifilm GF 50mm f/3.5. Still my favorite lens overall.
  • Fujifilm GF 35-70mm f/4.5-5.6. So good in the midrange that it contests with the 50/3.5. Acceptable but not great at the long end, pretty good at wide end but too much distortion. Wide sample variation but generally best from 35mm to 55mm. Overall superb value proposition.
  • Fujifilm GF 120mm f/4. I hesitate to recommend this razor-sharp lens because I don’t know if its unstable lens focus issue was ever resolved. And I cannot standing its internal clunks when transporting it.
Iced-Over Beaver Pond View to Mt Warren
f11 @ 1/20 sec, ISO 100; 2017-12-07 15:09:17
GFX 50S + Fujifilm GF 45mm f/2.8 R WR @ 37mm equiv (45mm)

[low-res image for bot]

Reader Jason W writes:

Having owned and sold the 45mm GF I agree it is an odd bird. Just like with people, sometimes lenses with good traits lack charm. I find the 45 and 120 to both have the same clinical draw style that is artificial and non-cohesive.

Alternatively, the 110 and the 50 have a pleasant roundness that doesn't offend and paints in a pleasing way. The 35-70 is somewhere in the middle. I bought it to replace the 50 but I'm still not sure I made a good decision. I can execute more ideas with the zoom but the 50 is such a pleasure operationally and the final images truly have image quality, which is not MTF as much as the emotional sum of everything going on optically.

The 250 is kind of a third thing. I find it is neither artificial or elegantly round, more along the lines of the "more real than reality" look of the 20-35.

DIGLLOYD: sounds about right. With regards to the 50/3.5, I see it as a case of less is more. The 35-70mm zoom at 50mm seems to be about as sharp (1 to 4/3 stop down from wide open), but whether its other qualities are as good, I am as yet unsure.

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Rain and Wind Redouble the Trouble

The rain and wind started last night, and have only increased in intensity. Standing water in my yard is now deeper than all winter. Three four inches of rain in 24 hours and it’s coming down harder than ever. It’s no hurricane, but it’s a bleeping crazy winter. An earthquake now, and the liquified soil would be devastating all over the place.

You get up for your day, and you never know whether it will be your last, and that’s worth remembering each and every day.

One worker was just trying to do his job, driving down Alpine Road today in my town, and the wind threw a huge tree across the roading, killing him instantly. A tragedy for his family, a seriously raw deal.

By some miracle, we’ve had electricity all day with only sporadic fractional-second hiccups.

Tigger our natural-born killer cat been eating his natural diet the past few nights, but it’s funny as hell to see him race inside after insisting on going out for night patrol. But he keeps going out and somehow in the pouring rain he had a bird dinner tonight. We do not encourage his bird eating, but cat gonna cat.

f1.8 @ 1/20 sec, ISO 40; 2023-03-21 18:55:27
iPhone 7 Plus + iPhone 7 Plus 4.0 mm f/1.8 @ 28mm equiv (4mm) ENV: altitude 484 ft / 148 m

[low-res image for bot]

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Will AI Doom Photography, News, Truth? + Reader Comments, the Weaponization of AI

re: artificial intelligence

The world is changing faster than ever before, with the photography industry not least affected. The corner store (as a metaphor) is disappearing. Fewer and fewer things are non-generic. And whatever is not supported by you/us fades away, like mist in the sun.

Soon already , it will be is difficult to impossible to distinguish real photographs from real ones, or real video from AI-generated video. At least not without careful study, meaning computerized assessment meaning AI detectors for AI.

Like everything else, there is upside and downside

AI cannot give me memories (or can it?). The images you and I make come with the memories of being there including all our senses and our personal timeline. We take/make images not because we can make a better image than a pro, but because it’s experienced personally, giving it lasting personal meaning, versus eye-grabbbing entertainment a la Instagram. This is why those boring photos that excite your neighbor/relative/friend shows you rarely if ever have emotional impact.

But what if you are skilled with an AI like MidJourney—will you fake your own memories, perhaps by “improving” an image you captured, for a new fake reality? This is already possible and being done. Moreover, false memories are the norm. What happens when you can not only falsify an image, but do so based on your own images. It will take on a reality of its own in your mind, but it won‘t be real. Take care as to what goes into your brain.

On the really dark side, gaslighting and psyops as tools of social control via images and video is a huge threat. You cannot trust a photograph or video—you must establish crediblity from the track record of the person or organization presenting it. Which is a herculean task in everyday life. The only rational operating assumption is to assume a fake.

Why the new #midjourney V5 AI imaging tool just changed 90% of your photography business

2023-03-19

The new Midjourney V5 update has been released. And the AI imaging tool is now capable to match realistic photography. This will have deep impact on most photography businesses. In this video I will share my thoughts on this revolution. There are risks, but there are also new opportunities!

90% of images you see on the web will be AI generated...

Uncanny Valley will fade

The video still has a bit of “uncanny valley” to it, though the immediate impact it’s more about the juxtaposition of beauty vs aggressiveness.

That said, AI is barely emerging from infancy, and it appears to me that the effects here are by intention, not by technology weakness. If it’s not persuasive to you now, give it a few years months.

Consider the use of such technology for any form of persuasion in any venue. And then consider robot bodies that are difficult to distinguish from humans.

Click to watch the video. To be clear: this is a “deep fake” video, it is not real.

Or, Goblin Adam Schiff.


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Amazon.com’s DPReview.com to Close

The world is changing faster than ever before, with the photography industry not least affected. The corner store as a metaphor is disappearing, but now even large sites too?

...

DPReview.com has been an industry icon for over two decades.

About the Site

Digital Photography Review's mission is to provide the most authoritative coverage of digital photography gear in the world, including news, articles and expert reviews. We have built the most comprehensive database of consumer digital cameras on the Internet, and we provide an open, active forum and useful tools for our community.

Digital Photography Review was founded in December 1998 and over the years has grown to include a vast digital camera databasetimelineforumimage sample galleriesreviewsvideosphoto challenges and much more.

...

DPReview.com is a wholly-owned, editorially independent subsidiary of Amazon.com.

DIGLLOYD: I only learned recently that Amazon had acquired dpreview.com way back in 2005.

DPReview.com to close

After nearly 25 years of operation, DPReview will be closing in the near future. This difficult decision is part of the annual operating plan review that our parent company shared earlier this year.

The site will remain active until April 10, and the editorial team is still working on reviews and looking forward to delivering some of our best-ever content.

Everyone on our staff was a reader and fan of DPReview before working here, and we’re grateful for the communities that formed around the site.

Thank you for your support over the years, and we hope you’ll join us in the coming weeks as we celebrate this journey.


Adobe Camera Raw Still Lacks Distortion Correction for Sony FE 20-70mm f/4 G

I’m feeling a little frustrated... my brand-new Sony A7R V is on its way to Sony Pro Services to deal with a high-pitched whine.

Adobe Camera Raw: Optics / Lens Profile lacking for; Sony FE 20-70mm f/4 G
Adobe Camera Raw: Optics / Lens Profile lacking for
Sony FE 20-70mm f/4 G

Meanwhile, the funhouse mirror distortion of the Sony FE 20-70mm f/4 G still has no correction in Adobe Camera Raw, making any images or comparisons thereof non-viable. One can attempt distortion correction manually of course, but that is never quite right and I do not want to produce sorta-right images, certainly not for comparison.

BTW, typically I do not like to compare lenses using distortion correction. But if lens A de facto requires distortion correction, and lens B has reasonably low distortion, I deem it the most fair/reasonable comparison to do what’s necessary for each lens—correct only the lens(es) that requires it. Because that’s the way I would capture and process and nothing else matters to real photography.

Adobe: it would be helpful to maintain some web page detailing a approximate timeline for supporting new cameras and lenses. No one is going to hold you to a specific date, but it would sure be nice to know if it’s a day/week/month away.

It’s clear that Sony intends for distortion correction to be mandatory with the 20-70mm, because the corners are nearly black (lens is not covering the entire frame) and quite soft—that area of the capture is not suitable for the finished image. A similar but more extreme cheater game is played by Leica with the Leica Q; I can give Sony a pass based on cost and intended market but lame beyond belief for Leica.

Below, the extreme barrel distortion (actually subtle wave-type distortion) can be disguised by the scene, but I am not happy with such a heavily distortion of reality—see the planks below.

f4 @ 1/80 sec electronic shutter, ISO 100; 2023-03-18 13:34:11
Sony A7R V + Sony FE 20-70mm f/4 G @ 20mm
ENV: Alpine Creek, altitude 650 ft / 198 m, 58°F / 14°C
RAW: LACA corrected

[low-res image for bot]
f4 @ 1/40 sec pixel shift, ISO 100; 2023-03-18 13:47:05
Sony A7R V + Sony FE 20-70mm f/4 G @ 20mm RAW: LACA corrected

[low-res image for bot]
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Sony A7R V: “Unable to Magnify” Image

I sold my rock-solid Sony A1 to raise funds for the A7R V, so I do not have the A1 as a backup.

I first reported this issue way back in December, so Sony has had three months to fix it. But it is not fixed, and it is a very serious impediment to my work. I am not the only one to see this issue.

Sony A7R V: “Unable to magnify.”
Sony A7R V: “Unable to magnify.”
  • I thought it related to the last frame of a focus bracketing series, but it happens with still frames also.
  • Happens with both lossless compressed and regular compressed images.
  • Happens with both the Sony FE 12-24mm f/2.8 GM and Sony FE 20-70mm f/4 (which does not rule out other lenses).

Semi-randomly and as shown, the Sony A7R V fails with an Unable to magnify error.

And once this occurs, the image is forever corrupted and can never be magnified in the camera. You can pull the battery,power the camera on/off—makes no difference.

Otherwise (on the computer), the taken image can be processed normally.

This is a very serious impediment to my work when I am trying to evaluate focus, depth of field, etc. It’s a disaster because I have no way to verify that the shot I captured is acceptable or not.

As of 2023-03-19, there no firmware update for the Sony A7R V. Which is pretty sad, because there are plenty of other issues Sony could address besides bugs like this.

Cause = RAW+JPEG?

I generally shoot RAW+JPEG (max quality) because then when I magnify I get a notably higher quality magnified image, which is very helpful when checking things.

But I tried an experiment: on the computer, I moved all the JPG files into a subfolder so that the camera could not see them. I the reinserted the card back into the camera and... no problems. So it appears that it is a bug that that relates to shooting RAW+JPEG.

George P writes:

I only shoot .jpg on my Sony A7R V and from time to time I have the same error.

It happened on safari using the Sony 100-400.

Cannot specify the exact circumstances but I shoot only .jpg with parallel storage on two Sony CF Express A with 80 gb each.

The high pitched noise does not happen to me (followed your specifications)

Camera was bought in early January 2023 here in Canada (sold my Fuji GFX100S because I love the Sony AF and needed a longer lens)

DIGLLOYD: I agree it appears to be JPEG related, and clearly a bug.


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Sony A7R V: Intolerable High-Pitched Whine when Pixel Shift is Enabled

I sold my rock-solid Sony A1 to raise funds for the A7R V, so I do not have the A1 as a backup.

UPDATE March 21: Sony received my camera (Sony Pro Services is excellent), and isn’t sure what’s wrong. They will be sending me a replacement camera.
UPDATE March 23: Sony pro services promptly replaced the problem camera. No explanation is available as to cause, but apparently it was not a simple repair. I have nothing but praise for Sony Pro services every time I use it (infrequently).

....

I sent back my original loaner Sony A7R V; it operated flawlessly.

The brand-new one I received has a serious problem...

When I turn on the A7R V, it generates a high pitched hum, like some straining transformer. Never heard anything like it with a Sony camera before.

The problem seems to be prompted by having pixel shift enabled; I can repeat the behavior at will by disabling pixel shift and powering the camera off/on

I took a video with sound but am not posting it here, at least not yet.

  1. Set the camera to pixel shift (4 or 16 shot).
  2. Turn the camera off.
  3. Turn the camera on... high pitched whine continuously.
  4. While the whine is happening, turn off pixel shift and the whine goes away. Turn pixel shift back on and no whine, but power the camera off/on and it whines all over again.

I had no such problem with the previous A7R V or any previous Sony A7R series camera. But I guess all brands can have their issues. Now it seems I have to put things on hold to either get this camera repaired or replaced.

Is it a hardware issue or perhaps some software bug? Dunno, but as of 2023-03-19, there no firmware update for the Sony A7R V. Which is pretty sad, because there are plenty of other issues Sony could address besides bugs like this.

Voigtlander APO Lenses for Sony Mirrorless
$599 SAVE $200 = 25.0% Voigtlander 35mm f/1.4 Nokton Classic OUT OF STOCK in Lenses: Mirrorless

Adrian B writes:

I had the same problem with my A7R5 in the wintertime with temperatures below 5° C and pixel shift enabled. I forced my camera dealer to exchange the camera because it was new then and the new one does not have this issue, at least not at the moment. My guess is it has to do with the new IS unit.

DIGLLOYD: yes, I think it is related to the image stabilization unit.

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The Best Value for Sony Bar None? Voigtlander FE 65mm f/2 Macro APO-Lanthar

Fantastic as a distance lens, landscape lens, but also a macro lens.

Fantastic color correction for tight portrait head shots.

Super build quality.

Nil distortion.

Better focusing and apereture ring haptics than a Leica M lens costing 10X as much.

A ridiculously great value at full price; a steal at $150 off, best value on the market today. The 50/2 and 35/2 APO are fantastic too. Buy 'em all and you won't regret it.

Storage Deals and an elusive lens
$599 SAVE $200 = 25.0% Voigtlander 35mm f/1.4 Nokton Classic OUT OF STOCK in Lenses: Mirrorless
f2.8 @ 1/80 sec, ISO 100; 2017-08-30 19:29:38
Sony A7R II + Voigtlander FE Macro APO-Lanthar 65mm f/2 Aspherical

[low-res image for bot]

Ideal Stuff for Photography/Video Storage: Samsung T7 2TB SSD + 20TB/22TB Hard Drives

There are higher-performance 2TB SSDs out there, like the OWC Envoy Pro FX or the diminutive OWC Envoy Pro Elektron.

But you cannot go wrong for just $139.99 for the 2TB Samsung T7. And the 4TB model is the same price per GB. For the vast majority of purposes, 2GB nails it, though of course 4TB has a better long term use case (eg you get a new laptop with a 4TB SSD).

I’ve used the Samsung T5 for 3-4 years now (4 of them)—bulletproof. And the Samsung T7 for a year or so now—no issues at all.

Interesting to note that 22TB hard drives are now on the market, one specialized offering for video capture (should be fine for backup but I have not tested it). The industry seems to be struggling to get much past the 20/22TB point... something like 32TB in a single drive would be very helpful but it looks like that’s a few years away. Stick one in a about $49 OWC Mercury Elite Pro USB 3.2 enclosure and you are good to go for a huge but simple backup.

BTW, 20TB for only $360 is fantastic for large backups. Put 4 of them in an OWC Thunderbay 4 and you have 80TB on tap, or 8 of them for 160TB in an OWC Thunderbay 8. That’s an incredible amount of storage that not that long ago was a data center.

Hard drives can be as slow as 1/2 speed vs when empty (π*r^2 circumferential data density), making a 20TB drive an outstanding choice for high performance for up to 14TB or so of actual storage usage. You can of course fill it up, but it will be a lot slower for the last 30% of its capacity.

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Lens Sharpness, and Why Optical Focus Shift is the #1 Suckiest Lens Compromise

re:Sony FE 20-70mm f/4G

For a landscape photographer or similar, artistic vision aside, it’s all about sharpness.

As the coin-operated youtubers will attest, any lens they can get their hands on is freaking ridiculously sharp. Now please “like” and click that link.

Let’s look at the various aspects of sharpness. You thought it was simple, didn’t you? Not.

Inherent sharpness

This is defined by how many clicks the review gets, or how many “likes” that tiny Instagram image the model picture gets. Just kidding.

The peak detail a lens resolves at a specified contrast and resolution, eg 50% MTF at 40 line pairs/mm is a standard reference, downgraded by most companies to computed fantasy MTF at 30 lp/mm. A very low bar for today’s high-resolution cameras. You really need 60% MTF at 40 lp/mm for a lens to look snappy. IMO.

Designed sharpness

Inherent sharpness is subject to intentional design tradeoffs. For example, the new Sony FE 24-70mm f/2.8 GM is outrageously sharp in the central 1/2 of the frame or so. It’s a very fine lens. But its field curvature is problematic for landscape—a strongly curved zone of focus can be dealt with in the 12-24mm range as with its sibling, but in the 24-70mm range it’s a bridge too far.

Build sharpness

Inherent sharpness includes build quality (adherence to optical design specifications) vs optical design potential. Build sharpness always falls short of potential. And potential sharpness is generally false advertising, as most any computed fantasy MTF chart will prove vs a real lens you can buy, even if funhouse distortion does not hugely degrade the sharpness of the final corrected image.

Aperture sharpness

Sharpness varies by aperture and across the frame, at first due to inherent sharpness (limits imposed by optical aberrations), but also field curvature which focuses at different distance in different parts of the frame so much with some lenses that f/8 is required to overcome it but that only smooths out a rough ride. And with stopping down sharpness inexorably degraded by diffraction, with f/8 already degrading things noticeably vs f/5.6 on high-res sensors.

Execution sharpness

What distance to focus at for the 3D scene at hand, the focus shift and field curvature behaviors, the f-stop in use, etc? Shot discipline includes that but also having no camera movement, using pixel shift when possible, and using focus stacking for overcoming otherwise impossible depth of field needs.

Predictable sharpness

Does the lens center its zone of sharpness where focused, or does it undermine you by landing focus somewhere else? As the lens is stopped-down, optical focus shift can substantially move sharpest zone of focus forward or back and/or both (in different parts of the frame).

If you cannot focus and expose and know that you will have optimal sharpness where focused, you are guaranteed inferior results much of the time. Over 15 years of objectively evaluating lenses, I can state with confidence that few photographers deal with this issue (or at all), let alone mitigate it. But you must deal with it, or you will consistently get sub-optimal results.

The often nasty sidekick to focus shift is often field curvature, which focuses at different distance in different parts of the frame. Worse, it can increase and accentuate with stopping down, along with focus shift. The Sony FE 12-24mm f/2.8 GM is a great example of increasingly pronounced field curvature by f/8. The key is understanding it so as to mitigate it by appropriate focus. And it’s not like there are superior alternatives, if any—in spite of its behaviors, it is all but unbeatable if you use it properly.

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