chriscotec

chriscotec

Lives in Australia Sydney, Australia
Works as a Photographer
Has a website at www.chrisbennettphoto.com
Joined on Jan 2, 2007

Comments

Total: 40, showing: 1 – 20
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On Adobe announces final Camera Raw update for CS6 owners article (461 comments in total)

Just when I thought I couldn't hate Adobe more . . . .

I am sure the competition will improve rapidly as customers flee the Adobe ship. I hope it sinks!

Direct link | Posted on Jul 29, 2015 at 06:31 UTC as 93rd comment
On Sony a7R II has 42.4MP on full frame BSI CMOS sensor article (1268 comments in total)

Canon and Nikon are now lens manufacturers for Sony. They should give up their obsolete DSLR business.

Direct link | Posted on Jun 15, 2015 at 12:15 UTC as 29th comment | 1 reply
On Video Field Test: Tamron SP 15-30mm F2.8 Di VC USD article (92 comments in total)
In reply to:

Bitpimps: if I did not already own the 14-24 i'd probably consider the tamron to be a worthy challenger.
BTW for those who want wide angle lenses that do accept standard filters, Zeiss is an option, just sayin'..
I own a 21mm 2.8 Zeiss, no regrets at all, it's an outstanding lense for landscape work. Zeiss's own engineers consider it to be on par optically with their more expensive lenses under the Otus name.

So much order envy!
Sometimes something better comes along and you just have to swallow it and think about your next choice.
Mine was pretty easy, I had a Canon 16-35mm f/2.8L II. It was o.k. and did the job. My clients were happy enough, but after selling it, it was just a $200 jump to get this beauty. Believe the hype, it is an awesome lens. I has also sold a 21mm CZ Distagon (original Contax/Yashica version), at a big loss. The point is, at the time I bought it Canon and Nikon had no wide angles that came close. To match the IQ I would have needed to go to medium format. It paid for itself while I had it. There will always be a better one. Sometimes you catch the wave, sometimes you don't. Truly bad lenses are getting rarer these days.

Direct link | Posted on Jun 15, 2015 at 12:06 UTC
On Alpha dog: Hands-on with Sony a7R II article (1065 comments in total)
In reply to:

xsamie: For me, this camera is just mocking Canon and Nikon. It's telling them D810, D5s.. Is that all you got?

5 axis and 4k internal? It is adding insult to injury. And Sony is not even trying... Just wait to see the A7s2, their bestseller.

It reminds me of that time I raced against my daughter. She came in second but she was not even trying. I won, but only on the outside, I was broken. Of course I said that I was not trying either. lol

There comes a time when the student surpases the master. That moment has come. RIP Canon, RIP Nikon. Trouble times are ahead.

Scottely
Because there is much more to this camera over Canon and Nikon cameras than just megapixels. (and I am a long term Canon shooter).

Direct link | Posted on Jun 14, 2015 at 14:09 UTC
On Alpha dog: Hands-on with Sony a7R II article (1065 comments in total)
In reply to:

Zoron: I still can't get used to electronic viewfinder.......

Have a go at an A-B test in low light or zoom in on your focus area and you'll see the sort of advantages it has.

I can't see optical viewfinders surviving. Sad, because I have used them for over 30 years and I am kind of clinging to the nostalgia too.

Direct link | Posted on Jun 14, 2015 at 13:51 UTC

Why would we be interested in buying one of these? It is a fine niche market that only Google would have an ongoing need for . . . . . Unless they are looking for subcontractors.

Direct link | Posted on Jun 11, 2015 at 14:01 UTC as 2nd comment | 1 reply
On A look at the Lomography Petzval 85mm F2.2 lens article (170 comments in total)

I have always been a fan of the use of defocused backgrounds but I find the rendering in the picture in this article really quite nauseating. (no offence meant to the photographer).

If you look at archival photos from the 1840's and even before, you will find plenty of examples that don't have the artefacts (I would call them problems) that this lens seems to have. I can only think that something was either intentionally exaggerated, or lost in translation. Maybe it is because film plates at that time were vastly bigger than modern camera sensors. We are looking at a high magnification crop of a primitive optical system's drawbacks, even if an attempt has been made to scale it to the smaller area.

If I could ever find a use for this kind of "effect", I certainly wouldn't use it more than once or twice.

Direct link | Posted on Apr 26, 2015 at 05:24 UTC as 4th comment
On Video Field Test: Tamron SP 15-30mm F2.8 Di VC USD article (92 comments in total)
In reply to:

nikkornikon: I just Rented the Tamron 15-30mm 2.8VC for 10 days. I was not impressed with it as much as others. Here are the known issues.

While the front of the Tamron is weathered sealed.the back is not. A potential problem of moisture and dirty could easily rendered the Lens useless quickly. When you have the lens off.you can actually see the electronics of this lens. And A mishap of water and dirt could damage the lens.

When the lens was delivered to me...The Lens was on 15mm..but would not focused. Stayed out of focused. Not until I started moving around the lens..manually. Then it snapped into Auto Focus.

Picture Quality? I was not impressed. While yes..it took a good picture with my Nikon D810.mostly centered. the other areas where not as sharp as Granger..others have said. While I did like the VC..and it would helpful on this lens.if you were held holding it.

I would Highly Suggest to others, Rent First. Then decided. And this might be chalked up to...I might of gotten a Bad Copy!

The rear elements of many lenses retract into the body when zooming. When any lens is detached from a body it will always be vulnerable to dust and moisture. It is good practice to change lenses in a clean environment where possible, but always cap both the lens and body (or swap lenses) as soon as possible. I would be much more concerned about contaminating the sensor and, if your camera is a reflex type, the mirror and focusing screen.

I have this lens and there is a good seal on the mount. Also, the image quality of my lens is outstanding, not just in sharpness but in contrast and resistance to flare. It is a significant upgrade from my Canon EF 16-35mm f/2.8 L II and many other Wide angle lenses I have owned in several formats. I have only seen a few prime lenses that are in the same league. I know there are others, which I don't own, but not many.

I suspect that if you are not immediately impressed with the image quality of this lens, the one you have is probably faulty.

Direct link | Posted on Apr 24, 2015 at 00:37 UTC
On Manfrotto unveils Digital Director for iPad Air article (46 comments in total)

I have been looking for something like this to use with my handheld gimbal but I shoot all video with Panasonic a GH4 camera. This is an interesting looking system but I wonder if it will eventually have more camera options. I currently have an iPhone 6 mounted to the gimbal, connected by WiFi but this is small and slow at refreshing. The LCD on cameras is next to useless as a framing device when used on gimbals. Something like this would be a great help. I want one in Lumix, thanks.

Direct link | Posted on Apr 14, 2015 at 00:55 UTC as 26th comment | 4 replies

I love the drama in this shot and really appreciate the work that went into it, but that is nothing compared to the amazing short film about Danny MacAskill, that you can see from the blog link above the picture. To my mind he is one of the most talented athletes on the planet. The great thing is he works with an equally talented film maker. I was blown away by "The Ridge". Please trust me, follow the story above.

Direct link | Posted on Mar 27, 2015 at 00:09 UTC as 4th comment | 1 reply
On Rishi-DSC09884-Edit-11mm-F11 photo in dpreview review samples's photo gallery (5 comments in total)
In reply to:

DenisBBergeron: What I love about the A7R is with thi system wht ever company that create a new super doopper lens, we can use it. Yes we can ;-)

I use Canon, Nikon, Carl Zeiss and actual micro four-thirds lenses on my Lumix cameras, as can Olympus users. I think what you should be saying DenisBBergeron is, "There are a few systems that can use a lot of different lenses". My Canon EOS cameras can use Nikon, Contax/Yashica, Leica, Olympus and screw mount lenses. Adapting lenses is not unique or new, there are many examples.

Direct link | Posted on Mar 24, 2015 at 13:05 UTC
On photo in sample gallery (5 comments in total)
In reply to:

DenisBBergeron: What I love about the A7R is with thi system wht ever company that create a new super doopper lens, we can use it. Yes we can ;-)

I use Canon, Nikon, Carl Zeiss and actual micro four-thirds lenses on my Lumix cameras, as can Olympus users. I think what you should be saying DenisBBergeron is, "There are a few systems that can use a lot of different lenses". My Canon EOS cameras can use Nikon, Contax/Yashica, Leica, Olympus and screw mount lenses. Adapting lenses is not unique or new, there are many examples.

Direct link | Posted on Mar 24, 2015 at 13:05 UTC

It looks like an impressive breakthrough to me, but, as it works by a patterned surface of the element I can't help wondering how that will affect the lens's resolving power. If it does, I would like to know what resolution they have it at currently. Presumably the aim is to match the resolution of the sensor it is aiming the light at. They are getting pretty high in resolution these days.

Canon's refractive optics had issues with artefacts from the shape of the fresnel shaped element surface. I am sure the miniaturisation process must be the key to pulling this off successfully. I wish them luck with it. It sounds like a great idea.

Direct link | Posted on Mar 22, 2015 at 13:16 UTC as 3rd comment
In reply to:

Papi61: This is an amazing recorder, but I'm pretty sure that in a year or so there will be many more similar products on the market for a lot less money (Shogun is clearly overpriced, lots of room to make something with the same specs a lot cheaper.) 4k has just started what looks like a big boom, and it's not going to stop any soon...

I love it when the line between big-bucks "pro" and (true) "indie" gets blurred more and more. Power to the people! Give anyone who has the talent the chance to use tools that can approach or equal big-budget productions and I assure you that Hollyweird will go belly up in just a few years. Couldn't happen a minute too soon...

The nearest competitors to this now is the Convergent Design ODYSSEY 7Q. That costs much more to buy and to upgrade. The really expensive part is licensing the editing codecs (Apple ProRes, Avid etc.) I doubt there will be "many more similar products on the market for a lot less money" any time soon. I bought my Shogun because it is a bargain, it helps my workflow on shoots massively and Atomos are continuously improving it on a firmware level.

Direct link | Posted on Mar 20, 2015 at 12:12 UTC
In reply to:

HowaboutRAW: Ambitious!

Wonder if Atomos has a simple way for reversing this firmware "upgrade" if it doesn't work or causes problems.

It's never a good idea to simply install a new operating system without first testing the new OS on a back up clone or blank drive. And this sure looks akin to that kind of leap.

No the firmware notes on the website don't really inform--there's a video.

I am pretty sure it will be fine. Atomos are very thorough with their development.

I did a shoot with my Shogun on the day before 6.2 was released and it was already a great device to use. I have put in quite a few hours of testing with my Panasonic GH4s and the new firmware (for both the Shogun and the GH4) and I can say that, for me, the setup has been rock solid. I wish I had had it for the shoot.

I was an early adopter and got my Shogun in late December 2014. Back then a lot of the features were not yet implemented in the firmware. Atomos were also a little late on their promised release dates, but when they did arrive they were solid. This is a monitor/recorder/playback device, with no real peers (anywhere near its price point, at least). For my 2¢ it is the gift that keeps on giving. The features in the last firmware update make an already impressive production tool something I would now be lost without. (No, I don't work for Atomos).

Direct link | Posted on Mar 20, 2015 at 11:56 UTC
In reply to:

Androole: I've always wondered why people are so obsessive about having a lens that's rectilinear "in-the-glass" in this focal range. The perspective distortion is already so radical and surreal in the 11-15mm range that you might as well just digitally de-fish (using an open-source program like Hugin) and get an even wider image.

I guess the rectilinear lens has somewhat higher resolution in the corners, and makes framing easier. But for a 10x higher pricetag, I can deal with those compromises, thanks...

Yes, you're right in your second paragraph.

A huge amount of interpolation is needed by the time you get to the corners of a fisheye to make it appear rectilinear, spreading the pixels very thin. That is not to say it is easy to do it optically, but that's where the size, weight and money comes in. A lens like this is literally seeing around corners. Very impressive!

Direct link | Posted on Mar 19, 2015 at 14:21 UTC
In reply to:

Txoni: It looks nice, but how does fringing compare to similar lenses? I see quite a bit of purple fringing on both sides

What similar lenses?

Direct link | Posted on Mar 19, 2015 at 14:10 UTC
In reply to:

matthias jurisch: € 3000.00 for this lens...no thanks...I`ll gladly stick with my Tokina 11-16mm 2.8...for about € 550.00...

Yes, but this one is louder because it's full frame.

Direct link | Posted on Mar 19, 2015 at 14:06 UTC
In reply to:

Txoni: It looks nice, but how does fringing compare to similar lenses? I see quite a bit of purple fringing on both sides

What similar lenses?

Direct link | Posted on Mar 19, 2015 at 14:03 UTC
On Canon 7D mirror box filmed at 10,000fps article (175 comments in total)
In reply to:

Robert Zanatta: That was very educational.

The shutter is always moving down. When does the shutter return back to the top?

It would have been interesting to see slow motion of the camera shooting at its max fps.

The shutter is always moving down while the exposure is happening. You have an opening shutter blade, which moves down first, exposing the sensor (or film), followed by a closing blade, which covers it up, stopping the exposure after the amount of time corresponding to the set shutter speed. When they reach the bottom the camera resets the shutter by moving both blades back to the top. When it does this, they are both together so they don't let light through. This was important in the days of film, which would be double exposed by any gap between the blades, but doesn't matter with digital as the sensor is not recording while the shutter is resetting.

I hope that explains the last chapter in the journey of a focal plane shutter.

Direct link | Posted on Mar 3, 2015 at 05:53 UTC
Total: 40, showing: 1 – 20
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