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Review coming soon... Reviews of Sony...
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Sony’s Legal Agreement for using Sony Imaging Edge Image Processing Software

Do you really want to have to use Sony’s software for pixel shift, when there is a long laundry list of what information Sony will collect and transmit overseas?

...

3. Information about your mobile device (e.g., model name, manufacturer’s name, OS version, and language and country/region settings)
4. Information about photographed images you upload to VS, including images transferred from your camera to your mobile device via VS (faces, objects, scenes, etc.) and metadata information such as Exif and XMP, metadata information of the images (shooting date, orientation, focus position information, retouch parameter, etc.), information regarding gallery (layout, font, event name, event date, etc.), information regarding photographer that you add to gallery (nickname, email address, URL, hashtags etc. ), tag/label information added to the pictures by detection functions of VS

What other software makes me agree to this kind of informationn collection? None that I know of. Perhaps some of it is needed for the service itself, but I cannot tell. And if I use the software on my machine, why should I have to agree to this shit at all

I’m not saying there is anything nefarious here, but I am saying that I don’t know how to evaluate it in the contexts I might use the software.

Moot?

But... the whole thing is moot, as I cannot figure out how to get the Sony Viewer app to even show files on my desktop, let alone process a set of pixel shift file—dragging raw files into the window does not work, dragging a folder does not work, and the browser shows nothing.

UPDATE: silent failures suck—it was a security/permission error.

UPDATE 2: I had dragged some ARW files into Viewer. That POS Sony Viewer actually *moved* the files to a folder in its windows when I dragged from the Finder, silently. This goes beyond confusing to dangerous (data loss). I took me several minutes to find them, not realizing they had been moved.

UPDATE 3: the software interface is the worst designed piece of garbage on the market. But it did generate a 504.1MB ARQ file (unacceptable size, not compressed), which Adobe Photoshop cannot open. No thanks. Why is there a godamn ARQ file and not a compressed DNG anyway? I have zero interest in using this Sony me-too software that dumps me into its backwater bayou. Who in hell wants to break their workflow for stuff that no pro could ever possibly rely on over time?

UPDATE 4: I used Sony Edit to export a TIF from the ARQ file. Sony Edit is not dealing with pixel shift motion artifacts in any acceptable way. Game over.

Sony and Recommended Lenses (partial list)
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Sony A7R V: In Stock, Why?

To my recollection, no prior Sony A7R prior model has ever been readily in stock at its debut.

Yet here we are a week after release, and the Sony A7R V has been in stock continually, which is unprecedented.

Is it a lack of interest? Is it excellent production volume by Sony? Dunno.

But as Sony’s best all-arounder yet and far less costly than the Sony A1, it does seem odd.

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Sony A7R V: Sony Remote Commander RMT-P1BT Fails to Work After Pairing

Well, this is frustrating...

I’ve successfully paired (according to the Sony A7R V) the Sony Remote Commander RMT-P1BT six times now.

Yet the RMT-P1BT just blinks, indicating that it thinks it is not paired, and does not operate the camera. It has a fresh battery.

I don’t know if this is something peculiar to my RMT-P1BT, or a general issue involving the Sony A7R V.

CLICK TO VIEW: Sony and Recommended Lenses (partial list)


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Sony A7R V: the ARW Raw File Format Has Changed, Incompatible for the Moment with Adobe Camera Raw and PixelShift2DNG

Sony A7R V

CLICK TO VIEW: Sony and Recommended Lenses (partial list)

I did some quick preliminaries and immediately found that I am dead in the water: ACR cannot open Sony A7R V files, not yet.

Adobe Camera Raw does not yet support Sony A7R V files (see Adobe list of supported cameras). I don’t know when it will be supported, but Adobe says “very soon”.

What puzzles me is why Adobe should block opening files whose only difference in format (uncompressed aside, see below) is the camera name. Perhaps there is no way to be sure that a camera name, even with the same file format, might be compatible. But a “try anyway” provision would be welcome.

Sony A7R V support not yet available in Adobe Camera Raw
Note the huge uncompressed raw files for pixel shift 

Whacking raw files to enable ACR to open them...

Reader Glenn K writes to note the tip posted by Albert Dros in How to open your A7RV RAW files, which consists of rewriting the raw files via exiftool (download exiftool here) so that the camera name is ILCE-7RM4 instead of ILCE-7RM5. Yuck, but it is a workaround.

exiftool -sonymodelid="ILCE-7RM4" -ext ARW -r <folder-name>

But... this tip is only partially functional:

File types that ACR can open after camera name change hack:
Compressed (lossy): YES
Compressed, lossless L/M/S: NO
Uncompressed single shot: YES
Uncompressed, pixel shift: YES (but PixelShift2DNG will not accept)
Uncompressed, focus bracketing: NO

Problems with most raw files

With uncompressed raw files (pixel shift or otherwise), exiftool v12.52 gives worrisome warnings, though ACR seems to open things OK:

Warning: [minor] Oversized SubIFD StripByteCounts (122419200 bytes, but expected 107116800) - /out/SonyA7R_V/FullFrame/PixelShift/16-shot/_LLC0013.ARW

With the lossless-compressed formats, there are no warnings, but ACR won’t open them.

The only full-frame file format that ACR will open after this exiftool hack is the classic Compressed format (lossy).

Further, the rewrite of camera name does NOT allow PixelShift2DNG to operate on the files. The LibRaw folks say that an update to PixelShift2DNG is coming soon. If so, shooting in pixel shift mode (when feasible) might be a workaround in that the resulting file is a DNG.

See also: Adobe Camera Raw Mandatory Lens Corrections: How to Bypass by Changing Camera Name.

Glenn K writes:

Ridiculous... Sony could easily provide Adobe/CaptureOne with sample file formats in advance of releasing new models... they would seem to have a vested interest in doing so?

You would think that a robust format would be self-describing... like tags in TIFF. But Sony has not demonstrated much in the way of good programming practice... witness how long it took to get lossless compressed or a safe way of firmware updating.

DIGLLOYD: a botched situation, albeit one that should resolve itself quickly.

Also, the asinine approach of forcing uncompressed raw file format when using pixel shift.

Sony A7R V file sizes, including forced use of uncompressed for pixel shift
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Hasselblad X2D: Conclusions and Summary

Hasselblad X2D

I’ve summarized my impressions on the Hasselblad X2D and the new Hasselblad XCD 38mm f/2.5 V and Hasselblad XCD 55mm f/2.5 V.

Hasselblad X2D: Summary and Conclusion

Reader Phil M writes:

I wanted to thank you for publishing my experience with equipment theft etc. I think while my end result was contrary to most, there is the further risk of retribution by the criminal post facto if I was the cause of their being jailed etc and one should be prepared to act as a witness if asked. For the last year I have had a degree of angst waiting for the next shoe to drop, but thankfully it has been quiet on that front. 

You are an icon on the industry and particularly with Ming’s departure from active reviews, it leaves Jim Kasson as the only real competition. 

I bring up his name in the context of his color evaluation of output using various SW, some with better C delta results as to overall accuracy, surely a less than ideal scoring system.

Furthermore, having used the GFX50 quite extensively, from a purely visual standpoint, my findings follow (some corroborated by your own findings:

1. Artifacts just past 100% enlargement where they are not apparent with say a D850 at the same magnifications.
2. The edge sharpness/contrast at the pixel level is far less than say the D850 and certainly the X2D.
3. While the X2D appears to have more chroma effects at the pixel level, the appearance of more accurate color is uncontested. 
4. DP review and others have tried to “correct” colors of the GFX to that of the X1D with very limited success. The GFX has a more cartoon like color gamut with overall lower contrast than either D850 or X2D. 
5. I have struggled with even approaching more accurate color with the GFX using different SW, and the output with hours of work is at best pleasing but never really approaches what I feel I am seeing visually I a scene.
6. My experience is that the GFX lenses are less flare resistant than most F mount Nikon lenses I own. I am not talking ghosts, but “glare”. When it shoot subjects in fog, the GFX produces less contrast and the results appear like a mild white film over the subject while the Nikon lenses produce more contrast and realistic output. This is very noticeable after many tests. 

I decided after much trial that the GFX colors were so difficult to handle and “off” compared to what my eyes/brain was seeing, I sold the system. The system also seems to want to reduce contrast such that much less adjustment to bringing up shadows is necessary compared to other systems. Think “flat” profile in the Nikon system. 

I am wondering for the sake of those on the fence regarding these various systems, and without potentially violating your relationship with one or more manufacturer, if you could address some or perhaps all of the above points. I think it would be vital to those wanting to invest $$$ in a system. 

Lastly, and if I can express an opinion on your own work, I have found your Leica images  posted in your public blog over the years to be your best work (such as the, perhaps it is serendipity and the fluidity of the small form factor, and world class optics. I frankly would say the same if Ming’s work as well, but I am not here to offend but to relay my own take in the most visually pleasing results - and I neither own or gave wined Leica. 

No response is necessary, but thank you for your tremendous efforts over the years. 

...

On your images; I have always enjoyed all of your Leica images, M, S2, SL2, and APO SL lenses on the Panasonic. Some are branded in my memory such as the M10M B&W images images from the desert dunes and snow, and of course the Sunset images with both 75 and 90mm APO sl lenses. The APO 28 SL samples are without peer (I will say though after 3 copies of the Nikon 28g, all with significantly different coatings, the 2nd, BTW, with ridiculous/extreme curvature of field bit with very high macro contrast and punchy color, the last is in fact comparable to the Leica APO IMO.  I have not found any other Nikkor lens that comes close to this last copy, though longit. CA is still apparent). Very little curvature, micro details are outstanding, and coatings are more complicated with green, blue and purple reflections, whereas copy #2 had a rear element with warm tones. I inquired about this with Nikon Japan with non response. The most refined imaging I have seen in any lens short of the Leica. And I am using neutral profile throughout. Beautiful rendering. 

DIGLLOYD: I discuss these points in my conclusions and summary.

Sony A7R V: Initial Impressions

Sony A7R V

EVF is lovely. AF is amazing. Brightness of rear LCD sucks (dim) but maybe it can be adjusted. Video button replaces C2, which confuses.

Sony A7R V feels very familiar, but different enough to confuse.

Sony A7R V vs Sony A1: dials and buttons are different enough to clash with critical oft-used habits, including the loss of C2 at camera top as on the A1.

Menus are changed, and will require relearning, and short of a firmware update for the Sony A1 which brings things into conformity with the A7R V (is this even planned and/or did I miss something?), it’s a mistake-provoking time-wasting situation switching between the two cameras.

Lousy continuity of design, ease of use switching between the two is not good, very badly planned. In former days, Nikon and Canon would never screw up professionals with habit-breaking changes. If Sony wants to massively overhaul the menu system, a firmware update ought to be there for prior models, at least the Sony A7R IV and the Sony A1. No pro wants to deal with multiple cameras having quite different user interfaces; it’s an abomination of design.

Will focus bracketing as on the A7R V come to the A1? If so, why not already?

These jarring changes mess with longstanding habits enough to really frustrate. But if you shoot just one camera body, no big deal I suppose.

Focus bracketing and pixel shift

Focus bracketing seems to work, but since I cannot open the raw files (see below), I can only evaluate with JPEGs, far from optimal.

PixelShift2DNG does not yet understand pixel shift sequences from the A7R V. I’ve sent sequences to the LibRaw folks, so support should come quickly.

I’m hugely disappointed that I’m stuck with huge 139MB uncompressed raw files for pixel shift; (see below) this has no technical justification. I can’t even conceive how anyone considers this a good idea. Indeed, pixel shift shooting is the mode most in need of saving space.

Bad design things remain. For example, switch to pixel shift mode and you have to manually change to self timer delay (2 seconds at least), or you will get ruined pixel shift shots by pressing the shutter release. Or did I miss something—the menu system is huge. If so, this is brain dead design. Strangely, focus bracketing has a "Selftimer during Bracket” setting—perfect. So why not so with pixel shift?

CLICK TO VIEW: Sony and Recommended Lenses (partial list)


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SHOOTOUT: Fujifilm GFX100S + Fujifilm GF 20-35mm f/4 vs Hasselblad X2D + Hasselblad XCD 21/4: Huge Laurel at Bend in Alpine Creek

re: Fujifilm GFX100S and Fujifilm GF 20-35mm f/4

The Hasselblad X2D + Hasselblad XCD 21mm f/4 vs the Fujifilm GFX 100S + Fujifilm GF 20-35mm f/4 R WR a— same megapixels, same sensor size — how does an about $3750 prime lens compare to an about $2600 zoom lens?

SHOOTOUT: Fujifilm GFX100S + Fujifilm GF 20-35mm f/4 vs Hasselblad X2D + Hasselblad XCD 21/4: Huge Laurel at Bend in Alpine Creek

Includes images up to full camera resolution from f/4 to f/11, plus crops.

CLICK TO VIEW: Fujifilm Medium Format

f8 @ 1/6 sec electronic shutter, ISO 64; 2022-11-28 13:33:16
Hasselblad X2D 100C + Hasselblad XCD 21mm f/4 @ 18mm equiv (21mm)
ENV: Alpine Creek, altitude 650 ft / 198 m, 55°F / 12°C
RAW: Adobe Color, LACA corrected, vignetting corrected, push 0.38 stops, +50 Shadows, +20 Whites, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]

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Sony A7R V: Focus Bracketing for Focus Stacking

Sony A7R V

Looks pretty similar to other cameras. Offhand I do not see any usability issues here.

  1. Select / (Drive Mode) on the control wheel → [Focus Bracket].
    You can also set the focus bracket by selecting MENU → (Shooting) → [Drive Mode] → [Drive Mode].
  2.  Press the right side of the control wheel and set [Step Width] and [Number of Shots].
    - Step Width: Selects the degree to which the focus is shifted within the range of 1 to 10. The higher the number, the more the focus will shift.
    - Number of Shots: Sets the number of shots taken with one release within the range of 2 to 299 for each position.
  3. Point the cursor at the ones place of the number of shots and press the right side of the control wheel to open [Focus Bracket Settings]. Then select [Focus Bracket Order].
    [0→+]: Shifts the focus from the current focus position toward infinity. When the focus reaches infinity, shooting ends even if the set number of shots has not been reached.
    [0→-→+]: Takes three images in the order of the current focus position, front focus, and rear focus. At this time, the number of shots set in Step 2 becomes invalid.
    You can also set [Focus Bracket Order] from [Drive Mode] → [Bracket Settings] → [Focus Bracket Settings] → [Focus Bracket Order].
  4. Press down the shutter button to shoot.

Disappointing that...

Cannot set a near point and a far point in some straightforward way.

How does it know when INF is reached? In my experience, this is fraught with issues that lead to taking too few or too many images. A far point would solve that.

Cannot choose N images (not just 3). I would want a very fine focus tweak, say 3 images in front of, 1 at focus, 3 behind, so I could pick the one that is the very best for the scene. This is often a challenge given focus shift, field curvature, etc in combination with the actual 3D scenery.

Thank you for for ordering your Sony A7R V and all gear all the time these links or any link on this site. It helps fund my work, and it also means that B&H Photo can make loaner gear available for review.

Sony and Recommended Lenses (partial list)
$2998 SAVE $500 = 14.0% Sony a7R IVA Mirrorless Camera IN STOCK in Cameras: Mirrorless
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Sony A7R V: Costly Bad Design for Pixel Shift —  Disallows Lossless Compressed RAW

Sony A7R V

Amazing —  Sony still won’t shoot lossless compressed raw for pixel shift mode, wasting a huge amount of storage space on card and computer and backups for no reason at all other than bad design.

From the Sony A7R V user manual page 238:

In [Pixel Shift Multi Shoot.], some settings are locked as follows:
[ [RAW File Type] under [Image Quality Settings]: [Uncompressed]

For those unfamiliar with lossless compression, there is no difference in raw data vs uncompressed. Not one digital bit. It makes no sense to foist huge files on users for no benefit whatsoever.

This asinine approach literally costs you money. You will need camera cards, main computer storage, and backup storage that is at least 60% larger (see below), depending on your mix of pixel-shift vs single-frame shooting.

In other words, if a 4TB internal SSD was enough for you, you might need an 8TB SSD instead, for another $2000 or so. Plus larger camera cards, and larger backup drives. This can cost you $thousands of dollars. Of course, if you don’t shoot with pixel shift, then lossless compressed raw can be used. In other words, if you are happy with inferior results when better results are possible, you pay the $$$ penalty, thank to Sony’s bad design.

A firmware update could fix this lousy design choice, but Sony hasn’t done so with the A1 for 1.5 years now, and now the same poor design is now replicated in the A7R V.

Sony A7R V file sizes, including forced use of uncompressed for pixel shift

Not just for pixel shift

Pixel shift is useful for more than pixel shift: it is a way to automate exposures for frame averaging, albeit a costly one in space requirements. But when I pay a storage cost 4 frames X 1.6X larger frames = 6.4X greater than a single frame, it discourages me from doing either pixel shift or frame averaging.

* Why has Sony not automated frame averaging? It is trivial to implement: shoot N frames and record a single frame (optionally) plus an averaged frame. Incredibly accessible low-hanging fruit left rotting.

Thank you for for ordering your Sony A7R V and all gear all the time these links or any link on this site. It helps fund my work, and it also means that B&H Photo can make loaner gear available for review.

CLICK TO VIEW: Sony and Recommended Lenses (partial list)


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SHOOTOUT: Fujifilm GFX100S + Fujifilm GF 20-35mm f/4 vs Hasselblad X2D + Hasselblad XCD 21/4: Colorful Leaves on Still Pool

re: Fujifilm GFX100S and Fujifilm GF 20-35mm f/4

The Hasselblad X2D + Hasselblad XCD 21mm f/4 vs the Fujifilm GFX 100S + Fujifilm GF 20-35mm f/4 R WR a— same megapixels, same sensor size — how does an about $3750 prime lens compare to an about $2600 zoom lens?

SHOOTOUT: Fujifilm GFX100S + Fujifilm GF 20-35mm f/4 vs Hasselblad X2D + Hasselblad XCD 21/4: Colorful Leaves on Still Pool

Includes images up to full camera resolution from f/4 to f/11, plus crops, plus a 6-frame focus stacked at f/9 for the GFX100S.

CLICK TO VIEW: Fujifilm Medium Format

This color was wiped out in just 2 days, turning all to brown, bummer!

f9 @ 1/6 sec electronic shutter focus stack 6 frames, ISO 100; 2022-11-28 14:01:35
Fujifilm GFX100S + GF20-35mmF4 R WR @ 17.5mm equiv (21.2mm)
ENV: Alpine Creek, altitude 600 ft / 183 m, 55°F / 12°C
RAW: Camera PROVIA/Standard, LACA corrected, vignetting corrected, +10 Whites, +10 Clarity, diffraction mitigating sharpening, SmartSharpen{35,0.7,20,0}

[low-res image for bot]

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Sony A7R V Tomorrow

See previous notes on the new features of the SonyA7R V.

The Sony A7R V arrives tomorrow. I wasn’t expecting that; I thought I had two more weeks to work on the Fujifilm GF 20-35mm f/4. Looks like some interleaving of effort needed.

But it’s good timing: how might the Fujifilm GF 20-35mm f/4 on the 100MP Fujifilm GFX100S perform against the Sony 12-24mm f/2.8 GM on the 60MP Sony A7R V?

Many thanks to B&H Photo for getting me a loaner camera so soon.

vs Sony

Key differentiators vs the Sony A1 and/or Sony A7R IVa are the new AI-based autofocus, and at long last, the support for focus stacking via what Sony calls “focus bracketing”, and improvements in IBIS. Not to mention a vastly improved EVF and all sorts of other goodies.

Will there be stupid stuff retained, like pixel shift failing to use lossless compressed raw? For that matter, will pixel shift possibly be made a hassle, and not made better? I will find out tomorrow.

Thank you for for ordering your Sony A7R V and all gear all the time these links or any link on this site. It helps fund my work, and it also means that B&H Photo can make loaner gear available for review.

Sony and Recommended Lenses (partial list)
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See also:

Sony and Recommended Lenses (partial list)
$2998 SAVE $500 = 14.0% Sony a7R IVA Mirrorless Camera IN STOCK in Cameras: Mirrorless
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Fujifilm GF 20-35mm f/4 Aperture Series @ 26mm: Huge Laurel at Alpine Creekbend

re: Fujifilm GFX100S and Fujifilm GF 20-35mm f/4

This series from f/4 to f/11 looks at total imaging performance of the Fujifilm GF 20-35mm f/4 R WR at the 26mm zoom setting, including a 6-frame focus stack at f/9 that shows of the full potential of the lens.

Fujifilm GF 20-35mm f/4 Aperture Series @ 26mm: Huge Laurel at Alpine Creekbend (GFX100S)

Includes images up to full camera resolution from f/4 to f/11, plus crops, plus a 6-frame focus stacked images at f/9.

CLICK TO VIEW: Fujifilm Medium Format

f9 @ 1/5 sec electronic shutter focus stack 6 frames, ISO 100; 2022-11-28 12:50:27
Fujifilm GFX100S + GF20-35mmF4 R WR @ 21mm equiv (25.5mm)
ENV: Alpine Creek, altitude 650 ft / 198 m, 55°F / 12°C
RAW: Camera Pro Neg Hi, LACA corrected, vignetting corrected, +10 Whites, +10 Clarity, diffraction mitigating sharpening, SmartSharpen{35,0.7,20,0}

[low-res image for bot]

Fujifilm GF 20-35mm f/4: Evaluating Lens Performance and Potential via Focus Stacking

re: Fujifilm GFX100S and Fujifilm GF 20-35mm f/4

Aperture series are very good at showing lens performance across the aperture range, but depth of field is typically limited even at f/11, so that often peak potential in some parts of the frame cannot be understood in that series.

Here on this page, focus stacking examples are shown. These are practical and actionable demonstrations of what the lens can deliver across the frame when depth of field is full-range. And practical in terms of real-world photography: what the lens can actually deliver on that demanding 100-megapixel sensor using appropriate technique.

Fujifilm GF 20-35mm f/4 Examples: Examples: Focus Stacking (GFX100S)

Includes images up to full camera resolution, corrected for distortion and not, and single shot vs focus stacking—4-way comparison of each image.

CLICK TO VIEW: Fujifilm Medium Format

f9 @ 1/10 sec focus stack 25 frames, ISO 100; 2022-12-02 09:25:52
Fujifilm GFX100S + GF20-35mmF4 R WR @ 28.8mm equiv (35mm)
RAW: Camera ASTIA/Soft, +60 Shadows, -100 Highlights, +30 Whites, +10 Dehaze, +10 Clarity, SmartSharpen{35,0.7,20,0}

[low-res image for bot]
f8 @ 1/12 sec focus stack 16 frames, ISO 100; 2022-12-02 10:10:54
Fujifilm GFX100S + GF20-35mmF4 R WR @ 17.2mm equiv (20.9mm)
RAW: Camera PROVIA/Standard, push 0.5 stops, +10 Whites, +10 Clarity, diffraction mitigating sharpening, SmartSharpen{35,0.7,20,0}

[low-res image for bot]

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Fujifilm GF 20-35mm f/4 Examples: Early Morning Ad-Hoc, Backyard

re: Fujifilm GFX100S and Fujifilm GF 20-35mm f/4

These images shot handheld with IBIS using small-spot AF in order to evaluate general lens performance.

Fujifilm GF 20-35mm f/4 Examples: Early Morning Ad-Hoc, Backyard (GFX100S)

Includes images up to full camera resolution, plus commentary on how well the lens delivers to the 100 megapixel sensor.

CLICK TO VIEW: Fujifilm Medium Format

f8 @ 1/50 sec handheld IBIS=on electronic shutter, ISO 100; 2022-12-02 10:12:24
Fujifilm GFX100S + GF20-35mmF4 R WR @ 16.5mm equiv (20mm)
ENV: 34°F / 1°C
RAW: Camera ASTIA/Soft, LACA corrected, vignetting corrected, +10 Whites, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]
f9 @ 1/35 sec handheld IBIS=on electronic shutter, ISO 100; 2022-12-02 10:19:57
Fujifilm GFX100S + GF20-35mmF4 R WR @ 28.8mm equiv (35mm)
ENV: 34°F / 1°C
RAW: Camera ASTIA/Soft, LACA corrected, vignetting corrected, +10 Whites, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]

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Accessories


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Fujifilm GF 20-35mm f/4 Aperture Series @ 20mm: Pumpkins on Deck

re: Fujifilm GFX100S and Fujifilm GF 20-35mm f/4

This series from f/4 to f/11 looks at performance of the Fujifilm GF 20-35mm f/4 R WR on a deep 3D scene. Focus stacked images are included in the series to assess where the performance limitations are to be found, including notes on just how much distortion correction affects the finished focus stack.

Fujifilm GF 20-35mm f/4 Aperture Series @ 20mm: Pumpkins on Deck (GFX100S)

Includes images up to full camera resolution from f/4 to f/11, plus crops, plus two focus stacked images at f/9.

CLICK TO VIEW: Fujifilm Medium Format

f9 @ 1/40 sec, ISO 100; 2022-12-02 10:31:21
Fujifilm GFX100S + GF20-35mmF4 R WR @ 16.5mm equiv (20mm)
RAW: distortion corrected, vignetting corrected, +60 Shadows, -30 Highlights, +10 Whites, +10 Clarity, diffraction mitigating sharpening, SmartSharpen{40,0.7,20,0}

[low-res image for bot]
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Fujifilm GF 20-35mm f/4 Distortion Evaluation from 20mm to 35mm

re: Fujifilm GFX100S and Fujifilm GF 20-35mm f/4

This page looks at distortion and distortion correction across the focal length range of the Fujifilm GF 20-35mm f/4 R WR, at 8 different focal lengths. It gives outstanding insight into what to expect over the zoom range.

Fujifilm GF 20-35mm f/4 Distortion Evaluation from 20mm to 35mm

Includes corrected and uncorrected images at 8 different focal lengths, plus an additional example at 35mm using focus stacking.

CLICK TO VIEW: Fujifilm Medium Format

f9 @ 1/15 sec, ISO 100; 2022-12-02 09:37:53
Fujifilm GFX100S + GF20-35mmF4 R WR @ 16.5mm equiv (20mm)
RAW: vignetting corrected, +10 Whites, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]

It’s Getting Dangerous for Photographers in California

Readers might wonder why I have not shown any photographs from the San Francisco area for many years now. Or for that matter, the Purissima Creek Redwoods.

It’s simple: I began to feel unsafe even five years ago. Vehicle break-ins are now guaranteed within an hour or two for a van like mine, let alone the personal danger. A 'street' photographer is taking his/her life into their hands, and ironically, the risks are from the authorities too—legal risks if one dares to defend oneself.

Anon writes (names also changed)

Bridge to San Franshithole, CA

I sent this to my contacts at the Leica SF store 12 days before their armed robbery / break in.  I didn’t get a response back from either AAA or BBB, but they only work there, and presumably, they passed it on to the owner(s).

My worry was people walking out of the store would be robbed at gun point.  I’ve had a couple of warranty repairs done at this store, and I didn’t fancy stepping out of the store and getting mugged.  Clearly, the robbers were more ambitious.

...

It’s getting more and more dangerous for photographers in the Bay Area.  This one was in broad daylight outside the palace of fine arts in SF.  A wedding photographer taking engagement photos of a couple is pistol-whipped and robbed of his gear:

 2 PHOTOGRAPHERS ATTACKED IN SEPARATE INCIDENTS SAME DAY OUTSIDE PALACE OF FINE ARTS

Elections do have consequences, and this is what Californians have voted for.

I assume you are aware of incidents like this.  It could be dangerous to walk out of your store with a bag in hand.  You may want to think about putting up some security cameras at the front and back of your store so you can keep an eye on parked cars or any unsavory characters hanging out within a 300 feet radius.

... People need to be aware of the dangers in the SF Bay Area.  Not just photographers with cameras, but anyone with any visible, expensive-looking items like jewelry.  The California state also just released from jails over 7,000 pedophiles who spent less than a year of their prison terms, some as little as two days.  It’s completely insane.

DIGLLOYD: your only safe option is to never go to places like San Francisco, a haven for criminals and drug addicts and the morally depraved politicians and the people who vote them in: your rights mean nothing, and the rights of criminals, now often in organized gangs, take precedence.

Just this week, the Leica Store in SF was violently robbed, but it’s not just a a property crime, traumatizing salespeople and customers. IMO, such actions should be first degree felonies, minimum 20 years. Full Sharia maybe.

While we are extremely grateful that no one was physically injured, all of us feel that some time is needed for the staff to fully process this traumatic event and have an opportunity to decompress.

See discussion below on what a bad idea a gun can be...
“I’ve heard a number of professional photographers say ”we never go on shoots without a gun”...”

Even in the genteel bastion of woke enlightenment of Palo Alto CA (2nd only to Menlo Park on wokeness), armed robberies and shootings and stabbings—once unheard of—are now happening with discomfiting frequency. My wife doesn’t feel fully safe there anymore. Yesterday, the Apple Store on University avenue was robbed. No one tried to stop them, which is the smart move for just about everyone, but a sad commentary on the lawlessness and feeling of helplessness sweeping the nation. My bet is that if someone took down the robbers physically (eg tackling/punching/etc), the feckless powers-that-be in Palo Alto would prosecute the good Samaritan!

The police have become a clean-up crew, affording you no protection. A privileged class who can protect themselves on and off duty and even when retired‚ but not you or I without special dispensation from the State. But I don’t blame the police in these matters—it’s the DA and progressive ideology that keep them from doing their jobs. So we all have to live with the breakdown of civilization... and people keep voting for that.

It is de-facto impossible to protect yourself within incurring huge risks: skilled criminals will laugh and take away your pepper spray @AMAZON or stun gun @AMAZON. If you carry a firearm (even legally with CCW permit), the government will spare no expense trying to incarcerate you for life even if you did everything by the rules, after you put a bullet into the piece of shit waving that Glock in your face—such a nice boy, he had only 23 felonies and his family loved him. And good luck with not getting shot even if you have a gun. And if you emerge from the horrifying legal miasma after defending yourself against criminal charges, then if you have any money left you’ll spend it all defending a civil suit from the family of said criminal—instead of a medal for improving the world. Which is why (firearm or not), you should belong to USLawShield.com or similar and be very, very afraid of carrying or using a firearm (because of the legal repercussions). Women are especially screwed by this immoral and broken system, having little to no recourse against larger attackers.

ADA and Use of a Cane

That’s what California has become today. Protect yourself and you become the criminal. The law says one thing (see page 39) and then does another almost without exception (prosecutes a victim daring to defend him/herself). And don’t even think about deadly force (knife, gun, baton) for protecting property of any kind (camera, dog/cat, etc)—legally impermissible. You will be prosecuted almost without exception. In today’s progressive legal climate, all honest people are losers. You are cannon fodder for the ideology that deems you unworthy of meaningful self defense.

Don’t even think of a gun unless you are committed to doing so legally, and at least 2000 rounds of live-fire practice and at least an 8-hour classroom course on the legal aspects plus a legal membership like USLawShield.com, plus a willingness to deal with years of legal headaches as well as the trauma of killing a human being. Anything else is, IMO, irresponsible. The photographers in the news saying they “carry a gun” in San Francisco situation are taking a major legal risk that could land them in jail very easily. The cure can be worse than the disease, given the legal climate.

Want something fully legal even on an airplane? Get a defensive cane and train to use it. Hardened criminals know what they are, and will steer clear.

Below, I will never photograph here again; I’d not only have to park out of sight and sound and come back to a damaged/looted vehicle, but at dusk you’re a sitting duck for thievery or worse.

Bridge to San Franshithole, CA
f2.8 @ 1/30 sec, ISO 320; 2010-07-18 20:51:32
Leica S2 + Summarit-S 70 @ 70mm

[low-res image for bot]

Dr S writes:

First, agree with everything you say.  Even dangerous where I live.  There have been 8 home invasion robberies  in my greater upscale neighborhood area in the last 6 months.

One additional problem of the San Francisco robberies is the press it receives gives the criminal element new ideas of what to go for.  Yes, now photographers whether pro or amateur are the newer targets.  Scenes of people in broad daylight in LA getting robbed of their Rolex watches are becoming commonplace. The criminals won't concern themselves with serial numbers when perpetrating the crimes.  That's what they do and it is shameful there isn't a more effective system of apprehension and punishment to deter such activity.

Maybe the future of outside pro photography is a capable mobile phone.  Less conspicuous and everyone seems to have one.  It hurt to say that.

DIGLLOYD: I’m sure a phone is much less subject to theft than a fancy camera, but phones get taken by force, being quite valuable. Either way, the risk of injury dwarfs the loss of the camera or phone.

Laws are no deterrent. Unless a criminal knows that 1 in 5 victims might yield a Really Bad Day (as in fatal), this sort of thing will only get worse.

Roy P writes:

One of my friends told me six months ago that a photographer standing on a beach somewhere in the Lands End area in San Francisco was shot dead from the back as he was peering through his camera on a tripod.  The poor guy never knew what hit him, and they quickly ran away with his gear and camera bag.  The killers were never caught.

In September 2019, there was a sailboat race in the SF Bay, and a group of six photographers had gotten together to photograph the boats.  They had made arrangements to meet at a specific time at a parking lot near Fisherman’s Wharf.  Shortly after they all arrived and pulled out their gear from their cars and assembled together to plan their day, a parked car pulled out and drove up to the photographers and stopped.  A gang of four hooded men jumped out with guns drawn and grabbed all the equipment, then quickly jumped back into the car and drove away.  Apparently, the photographers had set up a group on Facebook to plan their meet up, and the exact place and time were precisely described!  Somebody else had also noticed that.

So going out on a photo shoot even as a group is not safe.  Two punks with guns can overwhelm a half dozen people and steal their gear.

What I don’t understand is, how the thieves dispose of their stolen goods.  Eventually they have to sell it for cash, and I don’t know who they sell it to.  Most likely, there are other criminals who front all this equipment, but then, even they have to sell it to get paid, and I don’t know where and whom they sell it to. 

Maybe they sell them on eBay, Amazon or Craigs List as used equipment at hugely discounted prices.  Anyone who buys equipment like this for a bargain price should also realize that the same thieves now know exactly who bought it and the buyer’s home address.

DIGLLOYD: beware of prices too good to be true, sellers who cannot show proof of purchase, etc.

Anon writes:

I am in trigger finger mode, not shutter finger mode. Fine art and pleasures such as photography have taken a back seat to firearms practice. No matter what, if you believe you will suffer death or grave bodily harm, you MUST pull the trigger. Better to be alive and fight them later in the courts. There are go fund me ways to cover the expense, but no expense is worth being too intimidated to shoot if you have to. We live under exponentially increasing tyranny and we must each do our part to either fight it or lose our freedom to it. I choose to fight. Any scum bag trying to kill or maim me or my family will be judged by St Peter within seconds of his attack.

DIGLLOYD: if enough people had this viewpoint, the crime would halt overnight.

Anon writes:

I had a clear cut case of stolen property being sold on eBay. I had 28 pages of police docs from Baton Rouge, I had a dozen or so from San Diego. I had a pawn shop identify the guy who stole the item worth $800 and then sold it to the pawn shop. The pawn shop then sold it on eBay. Proof proof proof!

I bought the unique collectible item back for $800. eBay would not debit the account of the seller of the stolen item, nor would they reimburse me. They said it was my choice to buy it back. And the police did nothing though they had the name and address of the perp!

eBay is as corrupt as can be.

DIGLLOYD: I stopped using ebay years ago except for buying generic things like auto fluids or similar. And I won’t things priced “too good to be true” — stolen property.

Dennis M writes:

A year ago I had my car broken into and 2 lenses stolen from the central console. Just Prior to this, I had been stalked by an individual as I was photographing birds. I went into dense briars and took out a hunting knife just in case. After 15 minutes the predator left but then broke into my car near a refuge Maryland area.

Using the serial numbers of both lenses, I was able to find one listed on eBay by a reseller in Idaho who was not the perpetrator.

With the help of a local detective, my doing all the work supplying him with all copies of box serial number, bill of sale etc, he contacting the reseller, i received the more expensive lens back and in perfect condition. It was sent to the detective, and I gifted a print to him for his efforts. Btw, ebay was unwilling to get involved.

If you take the financial benefit out of these thefts, and with the potential claim against a reseller for sale of stolen goods, perhaps there will be less incentive for thefts as the market for stolen goods is undermined by fastidious victims.

DIGLLOYD: perseverence pays off, but how many of us would be that determined?

EBay.com has become a disreputable place today—lots of stolen goods, and seller-antagonistic policies that let any buyer lie and cheat without any repurcussions. They have no interest in policing their site. Avoid ebay except perhaps for generic goods.


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Fujifilm GF 20-35mm f/4 Aperture Series @ 29mm: Half-Bare Big Leaf Maple, Alpine Creek

re: Fujifilm GFX100S and Fujifilm GF 20-35mm f/4

This series from f/4 to f/11 looks at total imaging performance of the Fujifilm GF 20-35mm f/4 R WR at the 29mm zoom setting. A similar series at 25mm lends context—it seems that performance is quite consistent over the zoom range.

Fujifilm GF 20-35mm f/4 Aperture Series @ 29mm: Half-Bare Big Leaf Maple, Alpine Creek (GFX100S)

Includes images up to full camera resolution from f/4 to f/11.

CLICK TO VIEW: Fujifilm Medium Format

f8 @ 1/9 sec, ISO 100; 2022-11-28 13:37:27
Fujifilm GFX100S + GF20-35mmF4 R WR @ 23.6mm equiv (28.6mm)
RAW: vignetting corrected, push 0.66 stops, -20 Highlights, +10 Whites, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]

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Fujifilm GF 20-35mm f/4 Aperture Series @ 25mm: Half-Bare Big Leaf Maple, Alpine Creek

re: Fujifilm GFX100S and Fujifilm GF 20-35mm f/4

This series from f/4 to f/11 looks at total imaging performance of the Fujifilm GF 20-35mm f/4 R WR.

Fujifilm GF 20-35mm f/4 Aperture Series @ 25mm: Half-Bare Big Leaf Maple, Alpine Creek (GFX100S)

Includes images up to full camera resolution from f/4 to f/11.

CLICK TO VIEW: Fujifilm Medium Format

f8 @ 1/8 sec electronic shutter, ISO 100; 2022-11-28 13:49:40
Fujifilm GFX100S + GF20-35mmF4 R WR @ 20.4mm equiv (24.8mm)
ENV: Alpine Creek, altitude 650 ft / 198 m, 55°F / 12°C
RAW: vignetting corrected, push 0.3 stops, -50 Highlights, +10 Whites, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]
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Click through for current pricing; some items may be lower than shown.

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Flash Deals at B&H Photo

See also:

Flash deals good until midnight, Jan 26. Prices shown may change after that. Click through for some items to see coupon applied in cart.

CLICK TO VIEW: Voigtlander for Sony FE

CLICK TO VIEW: Fujifilm GFX100S System

CLICK TO VIEW: Zeiss for Sony FE

CLICK TO VIEW: Sony

Other Deals
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