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Pentax K-1 Mark II
Pentax HD FA 50mm f/1.4 SDM AW

Aperture Series: Backlit Bristlecone at Sunset

This aperture series shows from f/1.4 through f/13 puts the Pentax HD FA 50mm f/1.4 SDM AW into a tough shooting situation, taxing its flare control and contrast, and color correction. Observations are made on why a really highly corrected lens is preferred versus just “good” correction as in the Pentax 50/1.4.

Backlit bristlecone at sunset

Adobe Camera Raw 11.2.0.135. View ACR Settings. Camera Profile = Camera Vibrant. Trace amounts of lateral chromatic aberration corrected. No diffraction mitigating sharpening was used.

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Diglloyd DAP is DSLR-oriented, but also contains workflow and other topics. Much of the focus is on Canon and Nikon but also Pentax and Pentax medium format.

Special emphasis is placed on lens evaluation, focusing on Canon and Nikon and Sigma lenses, but with a few others like Rokinon/Samyang.

  • Make better images by learning how to get the best results right away.
  • Save money by choosing the right lens for your needs the first time, particularly some of the new Sigma Art lenses vs Nikon and Canon.
  • Workflow discusses image organization, raw conversion and post processing. Many examples show processing parameters for direct insight into how the image was converted.
  • Jaw-dropping image quality found nowhere else utilizing Retina-grade images up to full camera resolution, plus large crops [past 2 years or so].
  • Real world examples with insights found nowhere else. Make sharper images just by understanding lens behavior you won’t read about elsewhere.
  • Aperture series from wide open through stopped down, showing the full range of lens performance and bokeh.
  • Optical quality analysis of field curvature, focus shift, sharpness, flare, distortion, and performance in the field.

Want a preview? Click on any page below to see an excerpt as well as extensive blog coverage, for example on Nikon or on Canon or on Pentax.

Aperture series 1.4,2,2.8,4.5,6.3,9,13 available in full article

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