Joseph S Wisniewski

Joseph S Wisniewski

Lives in United States Detroit, MI, United States
Works as a Speech and sensor scientist
Has a website at http://www.swissarmyfork.com
Joined on Jul 12, 2002
About me:

I've been in love with photography for over 40 years.

My favorite form of photography is macro, and much of my gear is of my own design.

I've done professional photography on and off for over 20 years.
Taught 8 years at Midwest Photography Workshops.
Designed 3 scientific digital cameras and 6 lenses.

Author of mImage and (coming soon to the App Store and Google Play) ColorForEveryone.

Comments

Total: 549, showing: 361 – 380
« First‹ Previous1718192021Next ›Last »
In reply to:

Biowizard: I have long beein waiting for a decent camera to be produced with a bare, monochrome sensor. For B&W work, especially when using deep filters (eg red to darken blue skies and accentuate clouds, or blue to do the opposite), such a camera will produce images of 4 times the resolution of images produced by a Bayer-filter camera. Plus, when shooting with pale or no filters at all, such a sensor will be between 3-8 times as sensitive to incoming light.

For those who prefer monochrome work, a camera like this is long overdue. Those hereabout who are sneering at the concept, are simply showing complete ignorance about how their "colour" megapixels are actually generated: by blurring, mixing and and interpolating. Not by recording.

Shame I can't affort the asking price ... but maybe Olympus will come out with something similar now that the precedent has been set.

Brian

There is very little in a typical scene that is so spectrally pure that it doesn't stimulate all three channels of the sensor.

Oh, and the filters have shallow slopes because the sensor makers try to emulate the spectral curves of the eye. That is how you make the colors ""true", or as we say in color science, "colorimetric".

Direct link | Posted on May 14, 2012 at 00:35 UTC
In reply to:

mauro paillex: Another toy for stupid people. Serious photographers don't need this kinda product!

"Another toy for stupid people."

So, you already have one on order, right? Looking forward to your review.

Direct link | Posted on May 14, 2012 at 00:31 UTC
In reply to:

Photato: FINALLY !! Now I just want this in an enthusiast $600 DSLR body.
The only thing that concern me though is the Dynamic Range.

But yeah, this is more sensitive, more resolution, no low pass filter, etc

Would be nice also to see it in a P&S where the extra sensitivity is more needed.

@shaocaholica, imagine, if you will, an interesting part of a scene is mostly green. So, on a color camera, the green sensors pick up a lot of light. They can blow easy, but the extra light gives them a lot of extra shadow detail. Now the red sensors are not picking up as much signal, so they lack shadow detail, but they won't suffer from blown highlights. Put that red and green signal together with a modern Bayer demosaic algorithm, and you've preserved the tonal range of the whole scene. The end result is a wider tonal range than you'd get with a pure monochrome sensor.

Direct link | Posted on May 14, 2012 at 00:29 UTC
In reply to:

NikonScavenger: I've seen black and white photos taken with the old monochrome Kodak DSLR and Black and White modified Canon 30D's--both of which look superior to b&w photos taken with a traditional color sensor camera.

What puzzles me is that the Monochrome Leica's photos look like b&w photos taken with a color sensor DSLR...

Excellent observation.

I put it down to the reviewer's inexperience with monochrome "the old fashioned way". I look at all the dpReview sample pictures, and I can see in my mind's eye exactly which filter I'd have used on each of them.

There was enough variety of shooting situations in the preview that I also got a pretty good feel for the camera's spectral response. Too blue-green sensitive, it needs to be tamed with filters.

Direct link | Posted on May 14, 2012 at 00:25 UTC
In reply to:

vadims: I wonder what will come next... True Grain model? Fixel ISO Limited Edition?

OK, OK, just kidding... I still own (through no longer shoot) several film rangefinders. Just couldn't resist, sorry.

It's important to understand what this camera really is. Leicas are Rolexes of the photography world. This particular one is a Rolex with only one hand. So what? Still gives you lots of tactile pleasure...

(Anyone who thinks that he/she can distinguish a color image turned into grayscale using proper RGB luminosity weights from a "narive" grayscale image need to... well, think again)

"need to... well, think again"

And if you believe that you can't, you need to start thinking, for the first time.

Seriously. A color camera has the filter passbands at two fixed wavelengths, and very shallow slopes to the color filters. With a monochrome sensor, you can use filters with steeper slopes, and have a choice of about 30 cutoff wavelengths. There's a radical difference between the look of monochrom with the steep slope and low cutoff of an R25 or R29 filter and the higher cutoff and shallower slope of a color camera's red channel filter.

And that's just one example.

Direct link | Posted on May 14, 2012 at 00:21 UTC
In reply to:

TimR-Niagara: waste of 8 grand... have you seen the samples from this camera? some photos blacken some white people's faces..

http://www.stevehuffphoto.com/2012/05/11/my-one-hour-with-the-new-leica-monochrome-by-steve-huff/

It's a fact of black and white photography that "some photos blacken some white people's faces."

This has been known for nearly 200 years. Photographs taken with a blue filter or a blue sensitive film darken faces, photos with an orange or red filter lighten them, and with a green filter, you pretty much preserve the tonal relationships seen by the eye.

Same rules apply to B&W conversions from a color digital camera, too.

It looks like it's time for old rules to be rediscovered by people who either never learned them or forgot about them. ;)

Direct link | Posted on May 14, 2012 at 00:17 UTC
In reply to:

Biowizard: I have long beein waiting for a decent camera to be produced with a bare, monochrome sensor. For B&W work, especially when using deep filters (eg red to darken blue skies and accentuate clouds, or blue to do the opposite), such a camera will produce images of 4 times the resolution of images produced by a Bayer-filter camera. Plus, when shooting with pale or no filters at all, such a sensor will be between 3-8 times as sensitive to incoming light.

For those who prefer monochrome work, a camera like this is long overdue. Those hereabout who are sneering at the concept, are simply showing complete ignorance about how their "colour" megapixels are actually generated: by blurring, mixing and and interpolating. Not by recording.

Shame I can't affort the asking price ... but maybe Olympus will come out with something similar now that the precedent has been set.

Brian

@Biowizard, the Bayer filters are not as sharp as an R25, there's significant overlap in the RGB responses. That's why an R25 on the M9m would produce more of a high contrast sky effect than using the red channel on a Bayer sensor. So, no, they're nowhere near the 3 stop filter factor of an R25.

And, that 3 stops is only right on film, and not on all films, at that (because light meter calibration is based on photopic green). Think of a silicon sensor as a red-sensitive film, like Tech Pan. Silicon sensors are the opposite of film, sensitivity rises in the red, instead of falls.

Judging by the posted examples, there's a blue-green filter in the camera to compensate a bit, to keep faces from looking too "chalky" due to the red sensitivity.

On the other hand, using software to separate colors gives you the advantage that all the pixels on the Bayer pattern are contributing to resolution.

Direct link | Posted on May 11, 2012 at 20:47 UTC
In reply to:

hlritter: Prediction: the announced price of $7195 for the new apo aspheric Summicron 50mm (!) will prove to be erroneous. The price is completely unreasonable--higher than any other M lens except the $10,995 Noctilux, more even than the exotic 21mm f/1.4--and almost twice that of the 50mm f/1.4 Summilux, which would mean no market position at all for it!

And yet B&H just listed it--for, yes, $7195!

Aside from what Petka says...

It's a rangefinder. If you put a strong color filter on the lens, you'll have focusing errors if the lens has chromatic aberrations. Hence, another need for APO lenses.

Direct link | Posted on May 11, 2012 at 13:19 UTC
In reply to:

IcyVeins: You can't fix STUPID!

You stand as living proof.

Direct link | Posted on May 11, 2012 at 13:15 UTC
In reply to:

Zvonimir Tosic: I guess I've missed it somewhere: what's the actual sensor?
What model / type / manufacturer / more info about it?

Technically, it's not Kodak, any more. Kodak sold the sensor division to Platinum Equity, who renamed it "Truesense Imaging, Inc."

Direct link | Posted on May 11, 2012 at 13:14 UTC
In reply to:

scott_mcleod: "World's first"?

How about the Kodak DSC Pro 14n from way back in 2003? 24x36mm, 4,500 x 3,000 pixels, and also available as a monochrome version?

I am sure the M-M will be a very nice camera and it's also a relief to see the price has not blasted off into the stratosphere like the new APO-Summicron. But I would really like to see one of the mainstream mfrs to bring out a dedicated monochrome DSLR. Like Canon, for example, who already have the 60Da... wouldn't it be nice to have a "60Dm" for under $2k?

"wouldn't it be nice to have a "60Dm" for under $2k?"

Nice, but untenable. By the time you set up a sensor run without the Bayer masks, add a different QA procedure, different main board runs, etc. you'll triple the price of the camera. It's an electronic part, so you also have to rerun EMC testing.

The current Da is just a matter of an optical component substitution, no new sensors, no new testing. So, it's cheap.

Direct link | Posted on May 11, 2012 at 13:08 UTC
In reply to:

scott_mcleod: "World's first"?

How about the Kodak DSC Pro 14n from way back in 2003? 24x36mm, 4,500 x 3,000 pixels, and also available as a monochrome version?

I am sure the M-M will be a very nice camera and it's also a relief to see the price has not blasted off into the stratosphere like the new APO-Summicron. But I would really like to see one of the mainstream mfrs to bring out a dedicated monochrome DSLR. Like Canon, for example, who already have the 60Da... wouldn't it be nice to have a "60Dm" for under $2k?

They said "the world’s first digital camera exclusively for full-frame, 35 mm black-and-white photography."

We call those "weasel words". There have been B&W APS cameras like the DCS-630m (there was never a monochrome 14n, sorry) and monochrome medium format backs (Megavision, Sinar, Kodak, and Phase One. Phase One still makes one, if you've got $33,000). So, they can say "first full-frame" but it doesn't have much impact once you defang the weasels...

Direct link | Posted on May 11, 2012 at 13:05 UTC
In reply to:

nawknai: I always wondered why another camera-maker didn't think of doing this earlier.

No colour filter array means:

1. Images with far better detail and resolution.
2. Much greater light sensitivity, and consequently, far lower noise, and higher ISO capabilities.

3. I may be wrong, but an AA filter wouldn't be necessary to reduce moire, because moire would be minimal, or non-existent.

It was such a simple idea, but I guess it took Leica to release it.

OK, first, you talk about what it "means", but you use a lot of hyperbole and exaggeration, so that's not what it "means", at all.

Resolution and detail aren't "far better", sensitivity isn't "much greater" and noise isn't "far lower". That probably explains this:

Other camera makers did do it earlier, and it always flopped.

Kodak did it 15 years ago, with several monochrome models in their DCS-400 and 600 series. They're chapter 11 and out of the camera business.

Megavision did in a series of medium format backs. They're out of business.

Jenoptik did it in a series of Sinar medium format backs. Sinar is bankrupt, Jenoptik is out of the camera business.

Phase One is still doing it with one medium format back. Sales are unimpressive, and virtually no one has heard of them.

Mad Max did a monochrome conversion on two Canon models. Although they're still on his website, they're such old models that I can't imagine sales are brisk.

So, overall, it's not a success recipe.

Direct link | Posted on May 11, 2012 at 13:01 UTC
In reply to:

arigato_12: It sure is a brilliant camera but Tri-X at 2,50 bucks a roll means that $8,000 buys me a lot of Tri-X. rolls, yep.-:)

Figure developing costs (and if you're doing it yourself, figure your time as a "cost").

Direct link | Posted on May 11, 2012 at 12:52 UTC
In reply to:

Biowizard: I have long beein waiting for a decent camera to be produced with a bare, monochrome sensor. For B&W work, especially when using deep filters (eg red to darken blue skies and accentuate clouds, or blue to do the opposite), such a camera will produce images of 4 times the resolution of images produced by a Bayer-filter camera. Plus, when shooting with pale or no filters at all, such a sensor will be between 3-8 times as sensitive to incoming light.

For those who prefer monochrome work, a camera like this is long overdue. Those hereabout who are sneering at the concept, are simply showing complete ignorance about how their "colour" megapixels are actually generated: by blurring, mixing and and interpolating. Not by recording.

Shame I can't affort the asking price ... but maybe Olympus will come out with something similar now that the precedent has been set.

Brian

@Biowizard, you overestimate the sensitivity increase. It's more like twice, not 3-8 times. Oh, and resolution is proportional to the square of pixel count, so it doubles on a deep red filter shot, not quadruples.

@Ivan, the cost advantage only happens when the sensors are fabricated in equal volumes. Reduce the volume, and suddenly a second line, new test plan, etc. drives the price up higher. Look at PhaseOne, they charge an extra $10,000 for their monochrome medium format.

@Biowizard, again. An IR filter is necessary for most photography, otherwise, you get grays on a lot of things that should be black, weird views of veins in skin and "blotches" from dilated capillaries, extra flare because anti-reflection coatings aren't effective for IR, and resolution loss due to CA. So, either build one in the camera or use one with all lenses.

Direct link | Posted on May 11, 2012 at 12:47 UTC
On Shooting with the Leica M9-P article (648 comments in total)
In reply to:

RBFresno: HI!

What I have a hard time understanding, is why Leica, which is obviously committed to the highest standards for the mechanical construction of their cameras and terrific lenses, doesn't match these with a sensor that competes with the best from those found in DSLR's, particularly with respect to high ISO performance. It can't be because some folks wouldn't pay for it. Most the time when I go into camera stores, many of the Leica lenses are out of stock and there are often waiting lists for the camera bodies.

The concept of the Leica system appeals to me. But even though I can afford it, my sense (or at least pretense!) of fiscal sanity holds me back.

@HowaboutRAW, you just go right ahead believing that.

People who know how to measure know it's bunk. Even the Leicaphiles know it in their hearts. Maybe the famed "Leica lens colour quality" is the reason most of the shots posted in Leica forums are converted to B&W first.

I've done enough double blind tests with Leicaphiles. For most lenses, it was basically a 50/50 split, as far as whether the Leica were correctly picked out. The lens that was most frequently guessed as Leica was a Nikon 105mm f2.5 Ai-S from around 1975.

Direct link | Posted on May 9, 2012 at 13:07 UTC
On Shooting with the Leica M9-P article (648 comments in total)
In reply to:

Jim Evidon: Note to Kodachrome 200 and others who do not see the sense of what they believe is an obsolete camera.
When I use my M8u while traveling' the deliberate shooting method imposed by the manual rangefinder followed by re-composition before shooting results in fewer shots over all and many more "keepers".
So don't be so fast to knock a RF digital camera. They have their place even if that is not in your place. I'll continue to use my faithful M8 because I cannot spend $9000 on an M9 since I prefer to retain domestic tranquility in the household. But Leica RF cameras are a superior product built like a tank and guaranteed to be a precision picture taking instrument long after other and less well built cameras have gone to their Chinese junkyard for recycling. They truly last forever which should satisfy any owner except those who need to buy the latest thing on the market every 6 to 12 months. So, maybe in the long haul, those who spend the $9000 really come out ahead, money wise.

Sorry, Jim, but if you require a camera with flawed ergonomics to slow you down, then the problem isn't the more sophisticated cameras in the market, it's your lack of discipline.

Learn to slow yourself down, and you'll not only take better pictures with any camera, but you'll live a better life.

Direct link | Posted on May 8, 2012 at 13:31 UTC
On Shooting with the Leica M9-P article (648 comments in total)
In reply to:

RBFresno: HI!

What I have a hard time understanding, is why Leica, which is obviously committed to the highest standards for the mechanical construction of their cameras and terrific lenses, doesn't match these with a sensor that competes with the best from those found in DSLR's, particularly with respect to high ISO performance. It can't be because some folks wouldn't pay for it. Most the time when I go into camera stores, many of the Leica lenses are out of stock and there are often waiting lists for the camera bodies.

The concept of the Leica system appeals to me. But even though I can afford it, my sense (or at least pretense!) of fiscal sanity holds me back.

First of all CCD does not give "the better quality at low ISO". The reason Leica and "the Medium Format Cameras therefore also have CCD´s" is the same reason they're used in a lot of industrial and scientific applications: the vendors who will sell in small quantities (and, sorry to burst your bubble, Leica and medium format only represent small quantities) are years behind and only have CCD. Look at the recent side-by-side comparisons between D800 and S2, and D800 and IQ180.

"I have heard that these high angle rays are easier to catch with an CCD than with a CMOS."

Are you sure you didn't just make that up? I've heard pretty much every bit of sensor related misinformation to make the rounds, and that one's new on me. Canon actually started using offset microlenses, the tech that lets a camera work better with rangefinder style lenses, on their CMOS cameras before Kodak put it on a CCD for Leica.

Direct link | Posted on May 8, 2012 at 13:29 UTC
In reply to:

waitformee: actually i really wonder who uses these...???

Maybe can consider gigapan for hi-resolution images...

D800 is 36mps and Leaf Credo 80 is 80mps... the jump is not really big but leaf lose a lot of agility.

"There's a physical limit to what optics can resolve."

That is true. It's based on aperture and diffraction. So,while it is true that "enlarging everything a step up will achieve higher quality in every aspect", the MF companies have not enlarged the lenses. In fact, they're typically a stop slower than the scaled aperture, so...

Direct link | Posted on Apr 24, 2012 at 14:08 UTC
In reply to:

BDTROUT: A freind of mine who has a business archiving movie film in Hollywood has told me that these med format cameras are used a lot in movie productions.They can achieve better resolution for set backdrops digital and stage, also for billboard prints.There must be a market for them or no one would make them.I will just stick with my lowly ol 4/3 Olympus format.
Bill

Interesting concept "There must be a market for them or no one would make them."

10 years ago, there were 4 viable sensor makers, and 20 companies making medium format digital backs or bodies. Today, there are 2 sensor makers, both of which are currently in financial difficulty (Kodak's sensor division having been bought by a private equity company, and DALSA having been bought by Teledyne for what I estimate to be three times their market value, in something that reminds me of the recent Oly scandal). There is one viable camera, company, Phase One, who owns the assets of the defunct Mamiya and Leaf. There's also Hasselblad, recently bought by another equity company, Pentax, who appears to have saturated their market, and Leica doing incomprehensible things with S2.

Direct link | Posted on Apr 24, 2012 at 14:05 UTC
Total: 549, showing: 361 – 380
« First‹ Previous1718192021Next ›Last »