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Messages - privatebydesign

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451
The point many of you seem to be missing is product maturity, the phones are a great example, they are getting bigger again now.

The old DCS was never able to print to the sizes we can now with the colour depth and DR levels, we are already at diminishing returns, as for form factor, I don't want a smaller camera than the 1 series, lighter would be nice, but not smaller, I like mirrors, etc etc.

If the camera in our minds, the OP's "truly ultimate" model, can more than produce the output we want and need how much does it matter that a newer better model might come out in five years? My seven year old cameras takes images that pay for my lifestyle every single day, I clearly don't 'need' more than that, it will be nice when I get it, and I will use it to take images I can't at the moment, but when I get the ability to shoot at 10,000 iso I really won't care when somebody else can shoot at 15,000 iso a year or two later, 10,000 is well outside the range that I will need, same with DR, colour depth, fps AF etc etc etc. When more than enough has been easily surpassed we are just into a pissing contest, and I don't need that.

452
For $10K I'm thinking medium format... current Pentax 645Z is "just" $8,500.....
The Z has my attention.
What's it missing and what flash system to switch to that can be radio controlled by Pentax, Canon or whatever?

Put your Canon flashes on Phottix Odin II's.

453
I voted no, not because I wouldn't, but because my personal ultimate camera would be the 1DX MkII if it has >20MP, and that won't cost $10,000.

I have said since I went digital that when they make a digital camera that can replace my 1VHS's I have died and gone to heaven, I believe that is a 24MP, 10fps, full frame, best AF and metering 1 series body.

For me the 1DX MkII is the most important announcement for many years, if it comes next year and hits my personal bullet points I am a very happy camper, if it doesn't I will have to look at options, my 1Ds MkIII's really are showing their age! Maybe I'd have to go 5D MkIII's or IV's, but I can't wait too much longer.

454
EOS Bodies - For Stills / Re: Whats wrong with the 70 D ?
« on: October 27, 2014, 08:19:26 PM »
...the 1DS MkIII is the best camera Canon has made so far for print output.

Really? Didn't know that... What about the 5DIII? :)

Those that have done a lot of detailed work with both RAW files still say that at low iso, and low iso only, the 1Ds MkIII still has a slight edge.

From my experience with around 20 5D MkIII files that I have printed large, and tens of thousands of 1Ds MkIII files many of which I have printed large, there is very little in it, but I wouldn't trade my 1Ds MkIII's for  5D MkIII's but I shoot low iso almost exclusively.

Certainly there are many pros, some very high end (like Annie Leibovitz), for which outright IQ is paramount that are still shooting the 1Ds MkIII.

455
Lenses / Re: Review: PowerShot G7 X via DXOMark
« on: October 27, 2014, 06:04:48 PM »

The 5D MkII was replaced by the 5D MkIII, and it was a massive upgrade in every respect that the MkII got criticized. Indeed it is probably the best general purpose camera made so far.

How do you think your "landscape work" will benefit from a 50MP 135 format sensor? How does the D810 not fill your needs? Why do you think a 50MP 135 format will touch the IQ in big prints of the 645z medium format 50MP sensor? How does stitching let you down currently?

I know there are a very few photographers out there that will get the best out of a 50MP 135 format sensor, but most of us are kidding ourselves if we think we need it.

When people like Jimmy McIntyre can shoot images like this on a daily basis with a D800 and 60D, and I'll bet you can't tell which is from which without big prints in front of you, I think the 'need' for 50mp is just hype for 99.999% of people.

But I'd love you to prove me wrong..........

IMO 50 MPix have the advantage to dig into an image, e.g. landscape, macro, "townscape" to explore details - one photo for everything. On the other hand I see a strong advantage for the binning of 4 sensor pixels into one RGB image pixel with full color information ...

And this is also true for smaller sensors with better light.

So your 'need' for 50MP is so you don't have to carry a long enough lens for the job (just get a current crop camera to do that, they give you an effective 45MP sensor already), and, to down sample to 12MP to get a colour bit depth no device can replicate or print and the human eye can't discern.

Forgive me if I am not impressed with your arguments.

I'm with Maximilian here, you'd have been better off not hijacking the thread.

456
Canon General / Re: Slick City Kit?
« on: October 27, 2014, 05:57:08 PM »
I'll certainly look. Anyone have feedback on the rest of the kit? Solid choices? Swap 135 for 85? Bring flash? Is a nodal slide needed/worthwhile for the TSE? Would I be better off leaving the 24-70 at home and grabbing a prime?

I suppose a better question would be: What is the perfect kit for shooting architecture, people, cityscapes, night and the like that I might encounter in NYC (or Paris, Rome, Bucharest, etc) that is easy to carry and includes a light tripod? If you were doing it, with a 5D3, what would you bring if you could use anything?

With regards the rest of the kit, it really is so personal it is impossible to say. I, personally, would take the 17 TS-E, the 1.4TC, tripod, and a 24-70 f2.8, indeed I have traveled with that combination on many occasions. If I had longer inclinations I'd swap the 24-70 for a 70-200 and get a 35mm f2 IS. My tripod of choice is a Manfrotto 055CXPRO3 with an Acratech GP head, I use a ThinkTank Retrospective 10 bag. I don't travel with flash as a rule but if I did it would be one 600 and an ST-E3-RT with a few gels and a small foldable softbox large Rouge FlashBender.

As for a nodal rail, no, they are of very limited value with the 17 because you can't combine shift and rotate because software does a very bad job of stitching the results.

457
Canon General / Re: Slick City Kit?
« on: October 27, 2014, 03:04:45 PM »
If you like Ona take a look at Billingham, they have a tripod strap kit that fits into holes already in the normal straps.

458
Lenses / Re: Review: PowerShot G7 X via DXOMark
« on: October 27, 2014, 01:01:11 PM »
Canon, do you hear us? We want a 50MP high DR Sony sensor in a 6DII body for 2500$. It doesn't need many focus points, it doesn't need the best low light performance, it doesn't need to be fast. We want many good pixels at ISO64 and an EF mount.

I don't.

What do you need 50mp for in a cheap camera?

So $2500 is a cheap camera???  Anyway, I know exactly what he is looking for...a 2014 version of the 5D2 but with 50Mp for landscape work.

The 5D MkII was replaced by the 5D MkIII, and it was a massive upgrade in every respect that the MkII got criticized. Indeed it is probably the best general purpose camera made so far.

How do you think your "landscape work" will benefit from a 50MP 135 format sensor? How does the D810 not fill your needs? Why do you think a 50MP 135 format will touch the IQ in big prints of the 645z medium format 50MP sensor? How does stitching let you down currently?

I know there are a very few photographers out there that will get the best out of a 50MP 135 format sensor, but most of us are kidding ourselves if we think we need it.

When people like Jimmy McIntyre can shoot images like this on a daily basis with a D800 and 60D, and I'll bet you can't tell which is from which without big prints in front of you, I think the 'need' for 50mp is just hype for 99.999% of people.

But I'd love you to prove me wrong..........

459
Lenses / Re: Review: PowerShot G7 X via DXOMark
« on: October 27, 2014, 10:34:06 AM »
Canon, do you hear us? We want a 50MP high DR Sony sensor in a 6DII body for 2500$. It doesn't need many focus points, it doesn't need the best low light performance, it doesn't need to be fast. We want many good pixels at ISO64 and an EF mount.

I don't.

What do you need 50mp for in a cheap camera?

460
EOS Bodies - For Stills / Re: Whats wrong with the 70 D ?
« on: October 27, 2014, 09:26:13 AM »
My photography, is purely artistic. I shoot in full colour, print 16bit grey-scale + 1 32bit primary-colour, and crop to 19:7. I push contrast and saturation also.

You will get noticeably better prints from a secondhand FF camera for your specific output. The 5D MkII can be had for around the same money as the 70D, but if you can find a little more money the 1DS MkIII is the best camera Canon has made so far for print output.


461
Lenses / Re: Review: PowerShot G7 X via DXOMark
« on: October 26, 2014, 08:40:17 PM »

462
Software & Accessories / Re: Ballhead for Gitzo 2542L
« on: October 26, 2014, 07:59:45 PM »
BH55 would be overkill in my opinion.

I got an Arcratech GP and think it is the best medium capacity general photography head out there, if I lost mine tonight I'd order another from B&H tomorrow.

463
EOS Bodies / Re: It's just me but...
« on: October 26, 2014, 02:38:06 PM »

Anyone else feel this way.



No.

Personally I am waiting patiently for a 1Ds MkIII replacement (I often require more than 18MP), a 45 and 90 TS-E (the 45 I can get around with the 24 TS-E and a 2xTC and the 90 is being worked around with the 100L Macro). I'd like a higher quality and wider ultrawide fast zoom (I never saw that much difference between the 16-35 f2.8 MkI and MkII for my use to 'upgrade').

But these are personal things that will make my life easier, not my output particularly better. In the mean time there are a million and one things that have made my life easier that are not Canon products, things like a CamRanger, TetherTools table, Wonderpana CPL for the 17TS-E, etc, or Canon products like the 600-EX-RT's.

The cameras are good and almost all limitations are in ourselves, make a choice to be a photographer or a gear hound, it doesn't matter which you are, but photographers have the best opportunities ever to make amazing images, gear hounds, by definition, will always feel a little lost with every gear cycle.

464
....
Then, compare the light blue swatch on the color checker card at say ISO 6400 RAW, the one just above the black swatch in the lower right corner. Also, make sure you are in print mode. I've been comparing the 7D II and the D7100. The difference should be pretty obvious.
....
Noticeable, certainly - but again, it varies with where you look - if you move up and compare the four squares above that the relative slight advantages seem to flip - especially the pale turquoise/cyan square at the top right, which is clearly much noisier on the D7100 than the 7DII, so much so that the noise almost hides the splotchiness. 

Agreed...and that highlights the issue of personal bias in observations.  If you think Canon sensors have 'blotchy' and 'nasty' noise, you'll go looking for it...and most likely find it (even if you have to ignore observations which would lead to the opposite conclusion in the process).

As another demonstration, if you are shown what you believe to be an Exmor file, and you have a love of them, then they will exhibit 'fantastic gradation and tonal values'* even when they are Canon files. Personal bias is displayed with remarkable regularity here, often from both sides in the same thread.

What pixel peeping has done now is 'jumped the shark', which, as a saying I believe has also jumped the shark. Back in the days when we had low pixel counts and regular pixelation from sub 10mp cameras there was a genuine interest and 'need' for knowing where the pixel limits were, and pixel peeping became a quaint badge that was worn to demonstrate better understanding and knowledge to fellow photographers and anybody too immobile to move.

Well with our 1080HD displays, and even our 'I want 4K now' and 'bring on the new Apple screens' attitude, we still can't see a fraction of the pixels captured on full screen, even when we crop hard, we can print to never before printed sizes with ease, and the peepers became a bore.

Pixel peeping has lost it's relevance to the output image. The files from pretty much everything nowadays are so good, so clean, so sharp, and so rich it is obscene, put those files into a copy of any decent RAW editor and the only image limitation most of the time is you. Sure we will always have needs we can't personally meet, a single shot might need a 600 f4, or a 17TS-E, or need 1/250 sec at f4 and 10,000 iso, but we are so spoilt now it is ridiculous, worrying about the noise patterns by swatch colour is crazy.

Enjoy the tech for what it is but don't take this kind of super over analysis seriously, and certainly don't let it impact your purchasing decisions. The 7D MkII will create some world class images by people not reading gear forums but by people actually out there making images, just as the now derided 7D has.

• This is a paraphrase because the original was taken down.........

465
The answer is obvious for people who take their photography seriously, you need every camera made on you at all times.

Then, if the scene contains mainly books you can use the appropriate camera and lens, if the scene happens to contain a person, then again, you will have the right tool for the job. Those that take the 'art' particularly seriously can even base their camera use choice on the colours of the books, as clearly (apparently) Nikon's wipe the floor with Canon on yellow, orange, green, and blue, so Canon would be OK for red, pink and mauve spectral scenes.

Simple really.......
DARN!
I wanted a camera for taking pictures of red canoe against a green background....

Don, don't be obtuse, the answer is obvious. Shoot the canoe with the Canon and the greenery (and water) with the Nikon, then merge in PS, it is automatic and only takes a few seconds, you can then apply a Nik or whatever effect to get that authentic natural look.  :)

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