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Messages - funkboy

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Lenses / Re: Looking for advice
« on: March 22, 2012, 09:49:28 PM »
awesome bracketed shot :-)

EOS Bodies / Re: Canon 7Dmk2 any rumors??
« on: March 19, 2012, 12:22:38 PM »
I dont think wedding togs would like that at all.

Consider me smoten :-)

EOS Bodies / Re: Canon 7Dmk2 any rumors??
« on: March 19, 2012, 11:31:16 AM »
1. 7D is hardly a wedding grade camera
Uhm, I didn't say anything about the 7D & weddings; I was talking about the X-Pro 1:

Right now, the X-Pro 1 is the smallest, least expensive, and sexiest camera with wedding-photographer grade image quality, and Fuji still has plenty of other tricks up their sleeves to roll out over the next year or so.
I certainly wouldn't use it as my only camera, but with the 3 lenses they're shipping at release I think most professionals would be perfectly comfortable shooting a wedding with the X-pro 1 and 18/35/60mm trio (and maybe an adapted Nokton for posed portraits).  I'd want another body like a 5D with an ultrawide on it and maybe a zoom in the bag just in case, but that would pretty much do it for me.

2. There isn't the range of lens to shoot a wedding.  Fujifilm will be a bit player for some time
AF lens options will be limited for another year or so perhaps...  You can be sure that there are a lot of wedding/artistic/street/travel shooters out there without the dosh for a digital Leica M that own M glass that are looking very keenly at moving up to the X-pro 1.  The best adapted mirrorless options up 'till now (pana, oly, sony, ricoh, etc.) have been OK but none of them feel or handle like a rangefinder like the Fuji does, and the image quality speaks for itsself.  The fact that Fuji's AF lenses cost half as much as their Canon L or Sony/Zeiss counterparts will certainly push adoption as well.

EOS Bodies / Re: Canon 7Dmk2 any rumors??
« on: March 19, 2012, 05:58:45 AM »
Nobody ( here on this thread ) has taken into consideration the Nikon D300S replacement.

Not since the first page anyway... :-)

But you're right.  The 7D (& the forking of the "prosumer" lineup to 7D & 60D) was basically Canon's response to the Nikon D300 (the 60D could be seen as a response to the D90) & the demand for a more professional crop camera.  In a way, ever since the D3 and D300 came out Nikon has been calling the shots on what the market segments should look like, & it's been up to Canon to try to beat them at their own game.  It certainly took a while for them to react but I think that with the 5DII and 7D they were pretty much there, & they'll certainly continue that strategy for quite a while longer.  The industry is just on the tail end of the recovery from Fukushima, the banks breaking the economy, and the Thai floods; no one can afford a shakeup right now...

...Which is why they're both scared of Fujifilm.  Right now, the X-Pro 1 is the smallest, least expensive, and sexiest camera with wedding-photographer grade image quality, and Fuji still has plenty of other tricks up their sleeves to roll out over the next year or so.  I wouldn't be surprised at all if in a year's time we have a Fuji camera in the same size class and price bracket as the X10 with image quality as good as the current 7D.

Software & Accessories / Re: sRGB vs Adobe RGB
« on: March 18, 2012, 09:12:43 PM »
Agree completely with each of Mt. Spok's statements.  Read the color management guides at Northlight, and if you want to go further, read Real World Color Management by Bruce Fraser.  It's really the definitive guide for understanding digital color workflow.

Lightroom natively works in Prophoto RGB, and anything given to a print shop or output to a printer should be maintained in that color space (if the lab supports it of course).  If you have to downconvert to Adobe RGB or SRGB for a lab or the web then it's the last step that you want to take in your workflow.  Personally I find that the Relative Colormetric method with black point compensation works well for most photographic needs.

Personally I shoot with cameras set to Adobe RGB, but would love to see Prophoto RGB available as an option.  IIRC at least with the older Firewire 1D cameras you could actually load your own custom color profiles into them.  Also, the Adobe DNG converter tool has a camera profiling tool that opens up a lot of possibilities for customizing the way Lightroom handles the color of your images.  Keith at Northlight has a good article on how to use it & why it's useful.

To answer your question as to why you want to do use the widest color space available for your device, the answer is simply to allow it to record the widest range of colors possible.  Why would one want to work in Prophoto RGB when the images coming out of the camera are defined in AdobeRGB?  Because once you get the image into Lightroom you start shifting around things like exposure, white balance, and all the other controls that affect color.  Manipulating the data in the image can easily push its gamut outside the range of the original color space.  When that happens, clipping & loss of detail like the magenta roll of thread in this image are the result.  This article has another good example of an image with colors that don't clip in Prophoto but do in AdobeRGB & are even worse in SRGB.

Definitely looking forward to trying out LR4's soft proofing like Photoshop has.

It's worth pointing out that having a good monitor and calibration device (& knowing how to use them) are paramount to getting your color workflow close to doing what you want it to do.

EOS Bodies / Re: 5D MKIII ISO Test (Controlled Lighting - Studio)
« on: March 18, 2012, 12:04:45 PM »
First of all, thanks very much for posting this, stageshoot.  It looks like you've got a long way towards providing a controlled environment for your testing.  A few suggestions, if I may:

  • Clearly you've set out to provide examples of noise at various ISO settings, but it's difficult to judge noise performancealone without being able to also see detail retention.  Your images only seem to have about an inch of depth of field (focused on the rolls of thread) and thus don't have as many exposure zones for judgement of detail retention as they could.  Next time you may wish to stop down enough to make sure that the whole scene is in focus (I assume you're shooting this on a tripod with mirror lock-up to minimize vibration).  Arranging the props in such a way as to ensure that they're all in the same focal plane will make this easier.  Just don't overdo the stopping-down as e.g. f/22 will lower potential maximum resolution due to diffraction.
  • You might check the three-color histogram; it seems like you're blowing out the red channel on the magenta thread as there's significant loss of detail there.  This may be an issue of being almost blown in 14-bit RAW/prophoto color space & getting clipped when converting to jpg/srgb; using perceptual rendering intent when converting colorspaces may help if this is the case as color faithfulness to the subject is not of concern in this particular example.
  • It would be nice to have objects in the scene that provide the full range of exposure zones (all the way from solid black to solid white) in order to get an idea of performance across the full dynamic range capability of the camera.  The DPReview standard test scene is an extreme example of this, but it doesn't have to be anywhere near that complicated in order to be useful.

Thanks again for posting the test images, they're certainly interesting as shot already.

Site Information / Re: Karma is gone?
« on: March 18, 2012, 05:38:46 AM »
I think the tipping point may have been when EdMika got his first smite from a crazy adapter buyer.  He's doing a great service to EOS & FD shooters everywhere and the smite he got seems to have added to the disgust he had with the situation I believe he was 22/0 before that incident).

Site Information / Re: Karma is gone?
« on: March 17, 2012, 11:51:15 AM »
I failed to see the purpose in the smite, it seemed to add a negative spin to the forum. I am going to look into a "like" feature, as I think that would bring more positive discussion and reward the folks that have good ideas and points.

Smite is dead!  Thanks Craig!

A +1/like feature on comments would be welcome.

Site Information / Re: Karma is gone?
« on: March 17, 2012, 10:38:58 AM »
The forum host service installed an add-on a couple of weeks ago, and it apparently messed up several things in the background.  The add-on was just removed, but the removal resulted in several forum features being reset.  We'll see if karma gets turned back on...

Thanks for the info, Neuro.  Personally I thought the positive karma system was fine but use of the smite button was out of control :-).

Agree that the smite button needs to be done away with...  Positive karma is cool though.

EOS Bodies / Re: Canon 7Dmk2 any rumors??
« on: March 14, 2012, 05:54:17 AM »
...and yet another thread starts out interesting & descends into useless drivel after the first few pages...

Lenses / Re: Rumored 10 new lenses, 5 of which (CR) mentioned...
« on: March 11, 2012, 06:33:25 AM »
Due to popular user request, I think they should switch to a yearly cycle just like in software: 50mm/1.4/2011, 50mm/1.4/2012, ... so people will have plenty to rumor and discuss about. Or they could do it like car manufacturers: change the color, tweak the design of the af-mf button and so on :-p

Of course that would be nice, but how much do you think changing the design and tooling of all 60+ lenses in the lineup every year would add to the cost?  My guess is at least double...

Lenses / Re: Rumored 10 new lenses, 5 of which (CR) mentioned...
« on: March 11, 2012, 06:30:51 AM »
This shows where the 135mm f/2L MTF chart stands against the MTF chart of Canon's top performing prime the 400mm f/2.8L IS II. Two completely different lenses, of course, but it shows just how remarkable Canon's current lens technology is, and how much the 135 could be improved. In simplified terms... the higher the lines and the closer they track each other the better the quality of the lens.

Unfortunately, that's a bit of an oversimplification.

Here's the MTF chart for the 14mm f/2.8L II:

Does it mean that the 14L II is a hunk of junk compared to the 400L II?  Of course not.  It's one of the best 14mm SLR lenses available today.  Basically, MTF charts are very useful for comparing lenses of the same focal length, but comparing the 135L's MTF to the 400L II's is apples & oranges.

Luminous Landscape has a very good tutorial on reading MTF charts.

To quote Michael's article:

Keep in mind that the black lines show the lens wide open while the blue lines show the lens stopped down to f/8, so the closer these sets of lines are to each other the better the performance of the lens when used wide open. The very best lenses will have the black and the blue lines close together.

Generally speaking a lens whose thick lines (10 LP/mm) are above .8 on the chart should be regarded as having excellent image quality. Above .6 is regarded as "satisfactory". Below .6 is, well, below.

[...] The closer [the dotted meridonial and sagital] lines are to each other the more pleasing the bokeh of the lens. Fascinating, huh?

The meridonial and sagital lines are also used used to evaluate astigmatism and field curvature — subjects which are beyond the scope of this brief essay.

It's also worth mentioning that anything after the 16mm mark on the X-axis is irrelevant on APS-C cameras...

Lenses / Re: Rumored 10 new lenses, 5 of which (CR) mentioned...
« on: March 10, 2012, 05:15:56 AM »
The 85L's AF is slow because it's an f/1.2 telephoto with a huge hunk of glass to move around.  Not much getting around that; I don't think it'd be updated any time soon.

I'd love IS on my 135L, but otherwise it's hands down the best performing optic of Canon's older lineup.  Likely not a big seller for them though, so don't expect an update any time soon.

IS and an optical revision of the 85 f/1.8 would be brilliant.  Probably also the same price as the new 24 & 28...

But what's still sorely missing from the lineup is an under-$500 fast "normal" EF-s prime from this century, à la Nikon, Pentax, Sigma, Sony, 4/3, etc...

Oehling has sites in Germany and France.  Very professional folks & nice prices.

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