March 06, 2015, 09:07:15 PM

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Messages - LetTheRightLensIn

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I'm surprised at how many of you do not like his work. I'm not talking about his business practices, just his landscape photography. My whole family and I think it's awesome. From what I could tell, only one person stated a reason (it's over processed). What are other reasons that you don't like it? The one photo that is just weird to me of his is the moon. I saw that one in the gallery and it just looks fake--mostly all of the others look good to me. Looking at the post your best landscape photos page, very few come close, in my opinion, to creating similar work.

Well on thing is that he insists some of the weird ones like the moon are 100% not composites and he goes on about how he trekked backwards through the snow, fighting off deadly mambas and waited, perched, four 17 straight days without food or water until the perfect moment arrived and then he clicked!!!!!

It just seems a bit over the top and, likely in at least a few cases, over the top plus a few lies.

And plenty of the pics are nice, but it's the business model and his business and personal skills and raw gumption and raw do whatever it takes to maximize bucks to the point of used car salesmanship at times that brings the tens of millions of profits in.

If he would just lay off making it seem like these are top investments bit and not go so over the top and even, almost certainly, outright lie a bit about what went into getting some of the photos it would be more power to him. He made a fantastic business and more power to him. But it seems like he pushes a couple things just a bit too far into the used car salesman level for many.

Is anyone here actually going to buy one of these? I can't see the demand being huge, not with the 5D3 being had for close to $2K. They should have at least given it a better/bigger screen. It's a lot of coin to ask for a few more MPs.

I honestly hope not, otherwise I don't think Canon will ever bother moving to a new sensor fab. Why not just milk away for another ten years if not far longer even. And I bet will see more ridiculous crippling like making the crop mode only work in JPG mode and losing all of the buffer increase, fps increase, storage savings they might have gotten out of it. I don't hope this so Canon will fail, I hope it so they can get back on track and become a leader again and really deliver for our money and get a nice big sales increase.

As you say, $3600+ is a heck of a lot of coin to double MP only. For some that will be enough, but I have to think if it had had also the improved DR and quality and had a RAW crop mode that offered solid buffer and a fps bump and thus made it a real all-around camera like the D810 that it would have gotten a lot more sales. I'd certainly have been chomping at the bit.

But as it is, I mean compared to my current 5D3 camera, I'd be out a lot of net money and end up with likely worse video (at the least compared to ML RAW) and worse video usability (compared to ML), give back 1 fps (it might not sound like much, but 6fps is really the min for it to truly start giving you more of a decent chance to get two key action frames, it's a little low at 6fps already, but just enough to sometimes help). The extra MP would be very nice for reach for wildlife, but without the RAW crop mode the storage would be wasted a ton for distant birds, not the end of the world of course though, the buffer performance I'd have to think will be worse than the 5D3 can manage (again lacking the RAW crop mode) and no truly, from my perspective, exciting things like 4k added or more low ISO DR added.

Honestly I don't see how adding an A7R (II?) to my 5D3 wouldn't be better for me than trading a 5D3+cash for a 5DS (or going all out with a D810, it's a bit costly to switch if your kit also includes suoer-tele as mine does, but I'm very seriously looking into to getting the switch made. I'll prob have to go 5D3+Sony for the time being though. Maybe by some miracle the 5D4 will drop with more DR and 4k and then I can forget about the switch. I seriously doubt it will get a modern sensor though so I really should stop hoping and just stop posting here. I think it's become very nearly clear it's pointless.). I'd rather have 36MP and a lot of DR than just 14 more MP and a few stops less DR at low ISO. And the 5Ds doesn't have enough to quite make it a true all-around body for me.


If your results come out like mine did, colors will be very bright and vivid to the point it almost hurts to look at the brightest and most vivid. LEAVE IT THAT WAY.

I'm a bit confused by this statement. In what context (desktop, web-browsing, photo-editing, videos,etc.)? And are you just talking intense bright saturation or like even whites popping your eyes out because the monitor's backlight is set so high?

I'm not quite sure what you describe is necessarily how it should always be.

One last question: do you think that the available colorspace is as relevant for a B/W development workflow as it is for a color development workflow? Can you suggest me a good book on color theory related to photography development?

For a pure B&W color workflow definitely not. I mean for the very first ACR RAW step you might still want ProphotoRGB to avoid clipping before conversion to B&W, but after that it doesn't matter and the monitor's gamut doesn't matter at all either.

The more i study the matter, the more it gets complicated.  ;D

It seems like using AdobeRGB would make the workflow a little more cumbersome in case one wants to share photos online. Is there an obvious difference between prints based on sRGB and AdobeRGB? Since i'm not going to print that often, it needs to be worthwhile for me to invest money an time into the technology.

The problem with 'studying' things like this from places like that is that they are not formally educated and often talk a lot of rubbish.

Do you shoot RAW or jpeg?

If you shoot RAW it doesn't matter which colour space you assign in your camera because the RAW file doesn't honour either, if you then carry on and work in Adobe Lightroom it works in an even bigger colour space that contains all the information your camera captured, you don't assign a colour space until you actually export the image and assigning whatever colour space you want is no more time consuming or difficult than telling it to be full sized or 1200px.

If you shoot jpeg and are editing and printing from that then it doesn't matter as you have comparatively little editing latitude anyway and you have already thrown away most of the information your camera captured.

Thank you, your explanation gave me a better view on the subject. There's still one thing i can't grasp. If i edit my images in a large color space, and then set the software to export the picture in a narrower color space, how do i know in advance which colors will be "discarded"? Is there an export preview mode like Lightroom 5?

You can use soft-proofing in LR5 to estimate colour loss...

And you can also flip it into sRGB emulation mode (and it gives a truer sRGB mode than 99% of regular gamut monitors).

Looks like OP already chose a display, but a note for anyone interested in the Dell 24" 2160P panels- looks like they just released a new model, the P2415Q. The specs are identical to the UP2414Q that I own except for 99% sRGB instead of 99% Adobe RGB, but the price is now under 500$. I would imagine this is the version with the fixed firmware, re-released under a new name to distance it's self from the messed up model.

I think there are a lot more differences than just the gamut.
It seems like it drives 60Hz UHD under SST without needing MST perhaps, which is nice, and probably a newer firmware also nice (as you noted) but:

it has a much smaller gamut (as you noted)

appears to lack an internal 3D LUT

appears to lack a screen uniformity compensator

probably used PWM to dim the LED instead of advanced direct current methods

so I'd say it's definitely considerably downscale

the UP2414Q was just on sale at Dell for $699 too

You might not be buying any more of their stuff, it seems they don't care, meanwhile they have come out with world leading optics like the 11-24, the much more modest but very high performing 16-35, the 100-400 MkII, along with world class 24-70 f2.8, 70-200 f2.8, accessories like the 600-EX-RT, and bodies like the 7D MkII, the 5DS and 5DSR. There are plenty of people that want those products despite your belief that Canon are so far behind.

I will be very interested to see how many D810 and 14-24 users swap over to the 5DSR and 11-24, they might not get as much DR, but they get tons more everything else! I am really looking forwards to a resolution test between the two systems to see how many of those pixels are delivering good detail from the matched lenses.

Yes they do make good lenses, which is why it's a shame they feel like they don't have to bother with the sensors and some other stuff. But don't worry with all the Canon users as yourself clapping and cheering whatever they deliver at whatever price, don't worry, you won't have to likely suffer with a new type sensor or basic body items not being crippled any time soon, so cheer away, sadly for others, you probably have nothing to fear and won't have to face the horror of improved DR or basic video usability features or a usable crop mode or whatnot any time soon.

How about putting some funds to a new fab so you can build modern sensors?

They have proven there is no need at this point, that is why. Besides, what do you think they made the 120MP APS-C sensor on?

Half the time most of you decriers seem to confuse your 'need' with a business need, Canon rarely seem to do that, they are extremely conservative and cautious in their camera strategy, if you don't like that or have a need for features Canon don't sell buy something else.

I sure as heck am not buying it any more at this point. They want tons of my money, they need to try.

And you make it sound like they have proven they don't need to bother is actually a good thing for Canon shooters. Sadly, it's likely true. But sadly.

P.T. Barnum's motto is alive and well.

Instead of thinking of these photos as art, think of them as cars....

So I am a Mazda dealer.... Mazda ships me 1000 identical cars, I put fancy rims and race tires onto them, and I start selling them for $100,000 each.... except for 50 of the cars that I put floor mats into,  call them special, and sell them for 3 times as much. With the regular stock, once I get down to 200 left, I jack the price up to 5 times as much. Once the stock gets down to 100, I double the price again.... and somehow people keep buying them.

Why doesn't someone go to another Mazda dealer... or a ford... or Honda... or whatever????

There is one born every minute....

Yeah especially since the after market is sooooo weak for them.
It's one thing where the prints rise after market and then the whole artists prints and last few and so on make some sense, but here yeah P.T. Barnum. I mean not that you can blame him, it's gotten him tens of millions in riches and it's not like he his shooting people or preying on the downtrodden (although I do wonder if he is not directly suckering some people, which is wrong).

...Funny, the first few times in a camera shop I felt the same way.....
Only the first few times?
I still get that too often even when walking in with an "L" bracketed 6D over my shoulder.
You still have photography shops?  Also, I have to say, I never got that feeling even when I was a 20-something, but Wolf Camera in downtown Atlanta was known as one of the best camera shops around.  They always looked at me funny when I wanted my Velvia or Tri-X developed but not cut (for my scanner, of course).  Now I'm in the sticks with no camera shops anywhere nearby.

One gigantic one, one large one and two small ones just in my area alone still (within 20 miles). More if you to 40miles.

Lik's mortal sin was succeeding without going to art school or licking the boots of critics.

Typical sucess envy informs the entire article.
Well said, and so what about the secondary market or whether or not his photos are museum-worthy or serious enough?  I think the worst part of these articles is that they paint his customers as idiots.  It's like you have to be qualified to buy "art".  I know I've felt that way when I've walked into some galleries - like who are you and how dare you come in here?  Profiting while thumbing your nose at the establishment is a win in my book, and personally, I like a lot of his work.

Paying $200,000 for a print straight from his gallery that you could buy for $1000 after market.... doesn't seem that smart to me.

This is beyond awesome.

Canon General / Re: 5Ds R Moire and Bird Feathers
« on: March 03, 2015, 03:11:11 AM »
Any birders getting the 5Ds R and worried about moire with the feathers?

I'd go for 5Ds were I getting one.

Canon General / Re: Spartans, What is your profession?
« on: March 02, 2015, 01:41:23 PM »

Lenses / Re: First Tests: Canon EF 11-24mm f/4L a Winner
« on: February 28, 2015, 06:29:50 PM »
It's a shame that most of the LR tests are done wide open only, since the tests are so good there. Let's face it. For the most part, people don't shoot 16-35 IS, 11-24, 14-24, etc. at wide open, but more likely f/5.6-f/11, so I'd love to see the lenses tested at say f/7.1 (enough to avoid too much diffraction but also to get more of a sense of landscape shot performance). (and when you do shoot f/4 and faster and especially f/2.8 and faster, wide open, you are not as often caring about the edges corners as when stopped down a bit)

True, they will likely be closer at f7/8.  But obviously the 11-24 is going to be bad-ass whatever, and likely better than the 16-35 f4 for instance.

It depends though. Its a myth that they all do the same at more typical landscape apertures. The 24 1.4 Mark I vs. Mark II vs 24-105 vs 24-70 II vs 24 T&S vs 24 T&S II etc. show a LOT of differences at landscape apertures. That's why it's too bad LR mostly tests stuff at wide open.

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