November 28, 2014, 07:31:37 AM

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Messages - sdsr

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1

Pentax users are often quite avid about their equipment and I can often see why from the results I've obtained with my gear. (Tho I'm wondering about the results I'd get using a Sony A72 with K-mount adapter instead)

Rather nice, I expect - I haven't a clue how Pentax AF lenses (if that's what you have) work via adapters (can you change apertures?), but I love the images I get from my elderly Pentax/Super-Tak lenses on my A7r; it doesn't hurt that they're superbly made, a pleasure to look at and handle and inexpensive to boot.  With IBIS, so much the better. 

2
Street & City / Re: Famous icons in your city
« on: November 23, 2014, 10:26:02 AM »
Independence Hall, Philadelphia

3
Also, am I going to have to look at trying to upgrade my outdated camera body every year?

Why would you upgrade if your current model does what you need it to do?

Just because a new model comes out does not make the previous model "out dated".  Of course that is what the camera manufacturers want you to believe.  ;)

Right, though in this particular case the addition of OM-D style IBIS is, as far as I'm concerned, much more than a minor tweak of the sort that tends to distinguish camera lines that get regular updates; I seldom use anything but primes on my mirrorless Sonys and, aside from two Canon primes, none of the ones I own has IS.  As others have said, it's helpful to have stabilization as good as Olympus's best for whatever lens you attach (presumably, as with Olympus, if you attach a lens with IS you choose which version of stabilization you want to disable the other; you don't use both together).  I'll certainly buy one.

4
Third Party Manufacturers / Re: Would you get Zeiss 135 f2?
« on: November 19, 2014, 11:16:36 AM »
It's one thing to "not mind" manually focusing, another to have no choice but to manually focus and, what's more, to do so on a camera body that doesn't make it easy to do so (I really like, and perhaps even prefer, manually focusing, but only on mirrorless bodies, which make it easy via in-viewfinder magnification & focus-peaking).  I would suggest you rent the Zeiss as well as the Canon 135mm L and see which you prefer using - even if it were true that the Zeiss is, under ideal conditions, a better lens, you might get better results from the Canon because of its autofocus (esp. wide open), and save money in the process.... 

5

Also, I'm fairly familiar with the A7 series on paper and the Focus Peaking is looking like a promising next-best-thing to Canon AF - I'll likely still have the 5D3 along for the ride for choosing AF vs Pixel Density... I think my Wildlife shooting is often more Reportage-like than most in my aporoach - and I'm shooting the 400mm f/5.6L for now, maybe I could consider the FD 500mm (around f/4.5L, right?) to use with the a7r and focus peaking.. thoughts?!


Focus peaking is extremely useful, though in my experience it's best used in combination with magnification (you get 10x and 15x magnification in the EVF), though this can vary with how close the subject is to you and how shallow the depth of focus is. It's not as fast as AF, of course, but sometimes the difference in speed, if you do AF with single point and need to move the focus point around a lot, is less than you might fear.  Done right, accuracy is fantastic, and of course it beats AF most of the time if you're dealing with tricky conditions (shooting a subject through branches etc.).  Manual focusing can never have been easier.

As for telephoto lenses on A7x bodies, you may find this interesting/useful - he used an A7 rather than an A7r, but I wouldn't be surprised if the A7r results were at least as good:

http://phillipreeve.net/blog/canon-fd-300mm-4-l-review/

Presumably there are similar reviews out there using an A7r.  I've been very pleased with the results I get from my 70-300L on my A7r (I can't remember whether AF works with this lens - I use MF with it exclusively), though I've yet to meet an AF lens which is as nice to focus manually as a MF lens (mainly because the latter usually have a longer throw, making it easy to effect very small changes in focus).

6
Lenses / Re: Selling 200-400
« on: November 03, 2014, 03:02:38 PM »
Will the Sigma 150-600 sports not be good enough for once a year Africa trips for the kind of photos on website?

Now I am nervous and feel like stopping the sale. :(

You may find this encouraging:

http://www.lenstip.com/index.php?test=obiektywu&test_ob=417


7
If you look at Nikon, the lenses that were mediocre with the D700 are S___ with the 3x higher resolving D810...
I believe that for instance the 17-40 or the 24-105 will perform badly on a high MP body.

I keep reading that only a very select few Nikon lenses make the most of their 36mp ff cameras, along with comments like yours, but based on my experience attaching a wide range of lenses to my Sony a7r I don't believe it.  It may be true that, when you view an image made with such a sensor at 100%, the resulting increase in magnification you get (compared with viewing an image made with a 20MP sensor at 100%) reveals more clearly any flaws a lens (not to mention the user) may have.  And, conversely, it may be true that the very best lenses (and techniques) yield even better results on such a sensor. 

But I'm constantly amazed at just how good the images are than I get via my a7r, not just via the two excellent Sony/Zeiss primes but also current L primes, such "lesser" lenses as the EF 50mm 1.4 and EF 85mm 1.8, and even a whole raft of cheap old manual lenses (with one exception which, for all I know, may simply be because it's a bad copy).  As well as the two zooms you mention - the images they produce on my a7r look at least as good as they do on my FF Canon bodies (not that I use them much - I've been developing a fondness for manual primes).  Sharpness, clarity, detail, etc. are fantastic - as, I'm sure, they will be when Canon gets around to similar sensors of their own.

(I'm also skeptical of the oft-encountered contention that you will need to use a tripod and can't use very fast lenses.  I never use a tripod and often use very fast lenses wide open with my a7r and don't think my success rate is noticeably different; I doubt there's anything special about my hand-holding technique.)

Of course, Nikon & Canon etc. would like us to believe that we need to buy new lenses when we buy cameras with higher MP sensors, but we don't have to play along....

8
The grass is always greener on the other side, and it is still greener on the other side after you changed the sides:
http://money.cnn.com/2014/10/30/technology/sony/index.html?iid=TL_Popular

There is not everything better with another camera system or manufacturer; Sony also has its problems.

Right.  For now I'm rather enjoying being on three sides of the fence (or three sides of two fences, or something), owning Olympus m43, Sony mirrorless & Canon dslr.  I enjoy using Sony mirrorless the most, but if Canon were to release a high MP mirrorless camera that could accommodate via adapters at least the range of lenses a Sony mirrorless body can - well, one can hope - Sony's camera business might vanish overnight.

9
Lenses / Re: Canon 6d vs 24-70mm mark ii
« on: October 31, 2014, 04:01:13 PM »
For the reasons given by others already, I would go with the 6D too; superb image quality and you will likely appreciate the high ISO performance.  What's more, all your lenses will suddenly provide a much much wider angle of view, providing significantly different ways of looking at the world - it's rather like replacing everything at once.  And since you already have 17-40 and 70-200, you might want to consider selling both your 7D and your 24-70 (much of whose angle of view on your 7D will be covered by your 70-200 on the 6D) and buying a decent prime or two to fill in the gap and/or allow you to play around with even shallower focus (if that's of any interest to you) - a fast 50mm, or an 85mm portrait lens, say.  Or you may decide that the gap doesn't need filling....

10

It's always been curious to me how mirrorless lovers just assume that everyone wants something uber-tiny, or to give up their OVF for an EVF, or what an electronic shutter, or anything like that.


I think you forgot to put "some" before "mirrorless."  Most of that doesn't apply to me, and it presumably doesn't apply to those who buy near-dslr-size mirrorless bodies made by Olympus & Panasonic; and more than a few of us prefer EVFs to OVFs (esp. those of us who like using manual lenses).  If my preferences put me in a tiny minority, that's fine with me!

11
EOS Bodies / Re: Where are the Canon fun Pentaxian colors?
« on: October 26, 2014, 10:12:03 PM »

And read the Pentax press statement: these special editions will "make digital SLR photography even more fun." Well how am I supposed to have fun now with my black Canon? They are sucking the joy of photography right out of me!  :o


Funnily enough, Pentax recently added a fair amount of joy to my photography - in the form of a 40+-year-old 50mm 1.4 lens which I attach to my Sony a7r.  Both of which are, of course, jet black, as they should be.   :P

12

....

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.  (And there seems to be something seriously wrong with whatever was done to the D7100 file if you look at the fake ferns to the right of there - the olive tint of the top layer of ferns is exaggerated and carries half way down into the emerald green of the finer-textured fake ferns below until there's a clean dividing line, almost as though a square of yellow film had been placed there - odd; it doesn't happen in the patch of fake greenery in the lower left corner.)  So it still seems to me that, viewed at print size, the differences among all four cameras in the OP's link, as revealed in this test at least, are trivial and not consistent.  (That's not to say, of course, that *you* should find them trivial, but perhaps you could agree that they're small enough not to matter to many/most others....)

13

it's not possible to select the 7D in their new comparison tool on DPR.


?  If you click on the OP's link, it's one of the three cameras selected to compare with the 7DII (it's right next to it).

14
On the digital photography review site targeting the jack of hearts, and his "hair" and the text below him, the sony is head and shoulders better than any of the other sensors in raw at least.

You can see the hair and read the text in all samples. The difference in sharpness you observe is probably equal to moving the detail, sharpening, and/or clarity sliders a bit.

In any case, this would be invisible outside of pixel peeping. "Head and shoulders better", in my book, means you can clearly and reliably see the difference at normal, or least large, print sizes.

Isn't the difference in detail viewing it full size largely a resolution issue?  There's effectively greater magnification, so it's not surprising that the two 24mp sensors reveal a bit more detail no matter where you look (the Sony looks a bit better to me than the Nikon in that regard, but who knows to what extent that's because of the sensor).  But it's not what I would call a head-and-shoulders difference either, and when you view the "print size" option you could go blind trying to spot any but microscopic differences which wouldn't ever be noticeable in real life.  Differences among lenses, user competence, lighting, processing, etc. are all going to make a much bigger effect on images created with these cameras than differences among their sensors.

They all seem pretty close regarding noise as well if you choose the print-size option - though the 7DII seems impressive in that regard viewed full-size too.  As for the blotchiness issue, this seems to vary from camera to camera, depending on where you look on the test, doesn't it?  It seems to me that in some areas one performs better than the others, but in another a different camera does.  (To make things more interesting in a different direction, toss into the mix at print size one of the Olympus OM-Ds at 1600 or lower - not much difference there, either.) 

I'm not sure how much one can learn from this comparison tool (one could probably assume before seeing it that a slightly higher resolution sensor would reveal a bit more detail on close inspection), but it does seem to support the proposition that the 7DII's impressive-sounding high-tech/pro-level features don't come at the cost of a sensor that's uncompetitive with other APS-C cameras.  (Other tests elsewhere may suggest otherwise, I suppose, but I suspect they won't.)  If I were interested in an APS-C camera with such features I wouldn't hesitate to buy one.

15
Lenses / Re: why there are no new L primes
« on: October 25, 2014, 12:55:43 PM »

I use the 50mm macro not for real macro (a 100mm or even the 180mm are more practical), but for the specifications of any 50-60 macro lens : ultra sharp , zero distortion, perfectly flat field and the ability to focus close. It has a use in (art) reproduction, studio photography, landscape and architecture. I used Nikon for 20 years before switching to Canon and the 55mm AI-S, then 60mm AF-D were the best lenses I had. They both could easily replace the 50mm of their time for general use, if you did not need 1.x aperture. I just cannot say the same with the 50mm Compact Macro (a 27 year old lens).

That's why I like c. 50mm macro lenses too, and that 55mm AI-S Nikkor is one of my favorite lenses - the best $125 I've ever spent and one of the reasons I'm glad to have a FF mirrorless camera (my lens is second hand, but I understand you can still buy new copies from Adorama or some such).

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