Kater Karlo: Can anyone tell me from experience what kind of computer (preferably PC) I would need to develop such big RAWs and the resulting Tiffs / JPGs? I guess it must be a pretty fast machine, but what is the most important? Processing power, RAM, graphics card?Thanks...
If you were processing heaps of raw video, that would be one thing, but files from a 50mp camera? naththo is 100% correct, virtually any off-the-shelf computer with an i7 processor and a decent amount of ram will be more than sufficient.
SSD will make things run a bit faster, but it isn't a must have for photo processing. Decent processor and a lot of ram is all you really need… only spend more money after that if your system isn't adequate for your needs.
Keep in mind that a 50mp camera isn't generally considered "taxing" to an average appointed, modern desktop computer with even i7 and only 32 gig ram and no SSD.
ali alriffai: Everything in this camera is hot but flash syn @ 1/125 is a big downside :-(
Hasselblad has a faster sync., Mamiya has a faster sync where you can use leaf shutter lenses, or not. I think this is an area where Pentax dropped the ball. If Pentax had current leaf lenses or at least a 1/500th sync… at least they'd be somewhat up-to-speed in that regard.
1/125th sync is just nuts…. forcing people to pull out various Neutral Density filters just to be able to shoot on the beach without running the aperture down to the size of a gnat's bottom!
Brigcam: Might be better call this 55mm, the term medium format is getting a bit to nebulous
Actually, the Pentax (like the lowest costing MF Hasselblads) have a VERY noticeable amount of "crop" compared to the larger MF sensors.
ArcaSwiss: It would cost me $16,000 to upgrade my IQ140 back to IQ250. Same sensor. Need I say more ?
Legacy glass, using an adapter, etc… all boils down to Pentax not having any current lens/leaf shutter lenses, and still having a ratty sync speed that borders ridiculous in my mind if you're wanting to shoot portraiture outdoors with flash ** in many situations that wouldn't be an issue with a common DSLR or with other MF systems with much faster sync speeds **.
Such a slow sync speed becomes detrimental if you want to artistically explore the many possibilities of controlling action and background exposure using shutter speed.
That said, it looks like the new Pentax is a winner over all.
iae aa eia: I think it was supposed to be already mirroless, with a nice EVF, and its sensor 56 x 41.5mm, as it was the 645 film frame area. 33 x 44mm looks like what the APS format is to the 135 full-frame, a cropped sensor to cut their investment some slack. Not a true medium-medium. Just medium.
MF sensor sizes are so varied that there practically isn't any standard other than the more money you pay, the more sensor you get the play with.
A P65 is about 40x54; in comparison the cheap Hasselblad's are about 32x43 like the Pentax and the difference in what you can frame in the viewfinder of a particular scene between cheap sensors and expensive ones is considerable!
gsum: This camera isn't medium format - it is MFDX. To describe it as MF is misleading. Looks good though and is almost free of the usual useless 'features' that afflict modern cameras.
Let's be cognizant of the real bottom line here, which is that the difference between two MF sensors can be considerable when you look through viewfinder; meaning one digital back may shot a very noticeably larger amount of a particular scene, than another digital back aimed at the exact same scene; same lens; same distance.
I think that's what (some) people are bummed about when discussing Pentax- others are bummed about the less-than-notable sync speed, which is fine for the studio/static work, but horrible for outdoor work as it doesn't give the photographer much in the area of artistic latitude at all… and I'm being nice. I wish Pentax would better the sync speed.
The new crop of MF CMOS sensors (Hasselblad and Pentax) are basically the same size, however a CCD of the same resolution camera by, say, Hasselblad has a size of 36x49, compared to the noticeably smaller 32.8x43.8 of the cheaper Hasselblad/Pentax.
Noticeable in real-world shooting.
Sounds like a nice camera.
Ray Chen: Love it that I can compare it directly to its primary competitor, the Canon 1D X, NOT!
You're not the only one raising an eyebrow at the obvious. Though the 1Dx is considerably older- it just makes sense to compare the two bodies because exactly HOW much better one sensor is over the other makes a difference to a lot of photographers looking to purchase either body.
steelhead3: This is a very good camera...the trouble is that it has to use Nikon glass, a step behind Canon and a big step behind Sony. Look at their newest 58 1.4, price wise their highest achievement.
"Sony glass is from Carl Zeiss…" Which is meaningless. That 's like saying a Nikon lens with a gold ring, or Canon "L" glass is excellent when that isn't true. The only thing true with lenses is that you have to base each lens on its own merits.
There are "gold ring" Nikkors that aren't that great; same with some Canon "L" glass… and the same goes for Zeiss. Just because its Zeiss glass doesn't put it heads above a premium lens from Nikon or Canon by default. In fact, a smart photographer will see whether or not the smidgen of difference (if it even exists for a particular Zeiss lens) is worth the premium cost over a comparable Canon/Nikon lens.
Depending on the lens, some Canon glass is better than Nikon and vice versa. Most professional photographers figure that out early on.
Heaven is for real: It shows the favoritism of DPReview. I don't recall other unboxing post of other brands!
By the way, camera is too damn big!
Too big? Nikon and Canon make smaller cameras that might be more to your liking and to the liking of photographers like you who want smaller bodies. On the other hand, Large cameras are more my liking and to the liking of photographers like me who'd rather have various features arranged in easy-to-reach array.
Cameras are like shoes- if it doesn't fit you, don't wear it. :)
owenleve: seriously. people watch someone open a box? are there no more cat videos or something?
(((chuckle))) So I'm not the only one after all who doesn't get the whole "unboxing" thing. So ridiculous. I just want to see the camera; looking at a box that reads D4s with packing peanuts on top just doesn't do anything for me.
Worse is on youtube where people sssslllllooowwwwlllyyy open the box as if they're about to reveal a 1,00,000 carrot, professionally cut white diamond.
It's a camera in a box people. So what. Just rip the packaging off and use it and give us a well-written user's opinion ;)
Shunda77: You gotta laugh at people suggesting 16mp is not enough, like blind little lambs following fast in the marketing departments wake.Run little lambs, there's a paddock full of megapixels just up ahead.....
Having spent years shooting a Nikon pro 4mp body (D2hs), which I still occasionally use, and 12mp Nikons + Canon 5D2, it is plain as day to me that 16 measly mp is NOT enough for large print work on smooth substrate that doesn't give canvas-like latitude. I was VERY unimpressed with 16mp for large print work back from Canon 1Ds II. Even 20mp is nice, but isn't close to being "ideal" for large, colour, artistic renditions for many photographers- and 16mp is puny for large landscape work, irrespective of the camera's format (35mm based system or MF digital back).
Fact is that some people actually use a lot of res, and many more people aren't affected by the lack of it. I remember when people opined that 12mp was "overkill" which was nuts to anyone with a brain in their… head… who wanted to print 20x30 and northward, especially after cropping to the client's taste.
For those looking for a MF substitute, the D4s isn't even remotely close to being the "it" camera.
fenceSitter: "50 Mpixel CMOS sensor with almost twice the physical size of the largest 35 mm DSLR sensor."
On which planet are 1.67 "almost 2"?
"50 Mpixel CMOS sensor with almost twice the physical size of the largest 35 mm DSLR sensor. On which planet are 1.67 "almost 2"?."
Let's see…. if you won 1.67 million dollars on this planet; the reality is that you won only $330k shy of $2.0 million bucks… on this planet ;)
SDPharm: Here's my question: take an identical scene with this new Hassy and a Nikon D800, process them to the best one can, then print each to a reasonable size, say, 5 ft wide. Then hang them in a gallery with controlled lighting. Will I be able to tell which one is which when viewing them from a comfortable viewing distance of 3-5 ft?
It's not just about the resolution with MF cameras/digital backs, it's also about how much more of the scene is in your viewfinder and resulting photograph. Take a wide angle shot in your bathroom at home with a FF camera from nikon/canon… now from the same vantage point, take a shot using a MF camera and you'll realize that using a relatively cheap MF body like the HD31 series (crop) you get more subject matter in each shot than using a smaller sensor camera… couple that with higher sync speed when using strobes during daylight hours, etc., and you'll quickly see how MF comes into its own.
misolo: "sensor with almost twice the physical size of the largest 35 mm DSLR sensor"Hasselblad math: 1.67=2
1.67 is for all practical purposes 1.7, which is indeed "almost" 2. Regardless of petty semantics, the bottom line is that the new CMOS back is still noticeably larger than a measly 26x36 'ish, full frame 5d2 sensor in practice, but not as wide/large as an old P65 digital back (about 41x55) in practice.
All considered, I'd rather have a 50'ish mp, FF, pro body Canon with excellent video features, wifi, gps, and other goodies for under $8k… lenses that don't cost $4k or more each, and the ability to use lenses well over 300mm, and a bevy of specialty lenses.
Medium format better do better than CMOS and 6400 iso at $30k.(yawn).
jon404: I'm out of touch. Could someone tell me why, in this digital age, we need detachable backs? Don't you just swap out memory cards? Or, do these backs include a hard drive -- and , if so, do you actually need one... with the high-capacity memory cards that are available now?
My question is just the opposite… I wonder why, in this digital age, manufacturers (Nikon/Canon) haven't made swappable sensor units as opposed to us having to buy camera bodies and add to landfills… oh wait, I remember now, more money selling an entire new body even if you just want nothing but the updated sensor ;)
RStyga: A new brick on the block. I can't see this DSLR having much marketing success outside the professional photographer's community.
I prefer the brick bodies compared to the tiny bodies that don't offer the same functionality. I got used to the Nikon pro bodies and when I got a 5d2 (canon), it didn't, and still doesn't feel as good in my hands, nor is it as easy for me to do things (custom wht balance, flash comp, bracketing, etc). All quicker and easily accessible on the pro bodies.
Jake64: I am going to make predictions: 24 MP sensor, either more focus points ,more cross type or both. Slight body modifications, faster FPS.
I would say expect 16mp, a deeper buffer, maybe a FPS speed bump that will be more academic than mind-blowing, perhaps new processing engine (like they did with the D2hs) and a host of other internal electronic tweeks that don't involve the photographer.
Look at the D70/D70s, D300/D300s, D2h/D2hs, D2x/D2xs and D3/D3s comparisons and you'll get an idea what to expect unless Nikon goes "off the reservation" and surprises everyone... ((chuckle))... don't hold your breath on that note.
I think usually the "s" models are cameras that benefit new buyers buying into that particular model number for the first time, the most.
One thing for sure, just seeing a new pro body from either of the big two will be something neat/interesting to peek and poke over and read all about.... Someone go wake Canon up, the more products/lenses to read about the better ;)
Josh152: Sorry but I have to say there is so much good info on flash photography for free online, especially the basics, that to pay $57 for a video like this is just foolish. Simply go on you tube and search for Mark Wallace and you'll find a bunch of good stuff.
That's like saying there's so much good information on bleeding your brakes on your motorcar, that it doesn't make sense to pay a mechanic (which for many people that is true). . . However, for many others who don't fancy scooting all over the internet to find what they want, they're quite content in buying a book that fits their personal needs.
I think reading the booklet that came with your flash, buying a pocket wizard and experimenting is one of the best (and quickest) ways to learn about your flash on/off camera... but many people aren't like me (or you) and may find Fro's book worth their time. So? Good for them, and good for Fro.
kimchiflower: I used to watch his videos, but after some of his 1-hour clips, I started to realise he could really do with editing his disposable teen humour chit-chat down.
Besides, who pays for online info these days?
"Besides, who pays for online info these days?"
Many corporations and individuals wanting specific training at a faster pace do... as well as the hundreds of thousands of people paying thousands of dollars in tuition to take for-credit online courses from national universities.
saralecaire: Only good for entertainment to watch on YouTube. Once you scratch the surface you'll realize that he doesn't have any real insights on photography technique, style or artistic creativity. Just a bunch of his personal opinionated ideas on things that are more often than not, plain senseless. Just like a pushy salesman.
"... doesn't have any real insights on photography technique, style or artistic creativity..." That's just ridiculous. It's even more ridiculous to think that a professional photography instructor at ABC Art School, has the corner market on "insight" and or "creativity".
The bottom line is that we can all learn from another photographer, whether that photographer has been shooting for a lifetime or 3 months. The fact of the matter is that a lot of relative newbies are making it in photography when many self purported "wiser, more experienced, more skilled, etc.." photographers are failing in their pursuits.
I look at it this way- Either "Fro" is making money or he isn't... and by the looks of things, he's at least positioning himself to reap a profit w/out a day job outside of photography, which is more than many "professional" photographers can say. If many photographers spent as much time on their own projects as they do bashing others, they'd actually make a profit ;)