Photoman: Pentax 645Z offers far better value than Blad. You should have stuck to a simple design instead of bling for small markets or rich toffs. Sad to see another camera brand about to go broke.
Well, except that the 645Z doesn't have anything in the way of leaf shutter lenses to offer (there are some virtually-antique lenses on the used market, but they leave a lot to be desired - they were barely "good enough" for ISO 400 colour film, and certainly not up to 50MP) and the back cannot be detached and used on a view camera. Flash synchronization at high shutter speeds (above 1/125, certainly) with real lights (not speedlights) and camera/lens movements are not optional for wide swaths of the professional market. It's a great camera, but among the people most likely to have bought it, the general tone of the conversation has been "what were they thinking?" The detachable back is probably never going to happen (it severely complicates connections), but they need LS lenses to compete with Hasselblad or PhaseOne/Mamiya.
igor_s: I was always sure that the PDAF with third-party lenses was just a matter or marketing. Bravo to Sony for doing this as it will impact the sales of own Sony and Zeiss cameras.
The only global thing I can think of in this area is Z-shift sensor AF that would allow for AF with with fully manual lenses.
And 5mm is a lot, and won't cover much range with many lenses. I get the idea; it's just not practical outside of a *very* limited range, which would approximate what you'd need for focus holding in a focus-and-recompose situation. (In those cases, since the shift you'd need is governed by the field of view of the lens, and the field of view of the lens becomes more restricted as the focal length, and thus the required sensor shift, increases, it would likely be practical at least to a degree.) The camera would need to be thicker by the amount of movement required, and by the basic mechanical overhead of the jacking system, so there's only so far you can go with it before it becomes unacceptable to the vast, vast majority of people who would use the camera.
That might be a little difficult; the required shift can easily get into the centimetres range in a hurry. A helicoid adapter would at least take the jacking mechanism out of the body, but since you'd need to move the entire lens (or the entire camera if the lens itself is tripod-mounted) I'd imagine it would either be terminally slow or require a ginormous battery (once you allow for damping and so forth). A "manual focus maintenance" arrangement - something adequate to keep the focus fine-tuned once you've established it manually on a relatively static subject - might be more practical. (I'm picturing something that works sort of like Hasselblad's True Focus feature, but without having to know the lens characteristics intimately.) It still sounds power-hungry and expensive, though, no matter how I think about it; I'm not sure Sony could go there with an a7. Perhaps an a9?
Class A: Good to see some balanced discussion in the article. DSLRs are by no means the "dinosaur technology" that they are often characterised as.
One point that rarely gets made is that image quality is largely determined by the lens and that lenses that provide high-quality images even in bad conditions tend to be large (that's just physics that no engineering can get around). A tiny mirrorless body more often than not then just provides an inadequate grip for such lenses, yielding a combo that is imbalanced and not well-matched, with the overall size of a quality kit negating the small body size and weight advantage a mirrorless camera offers.
Surely mirrorless cameras have their perfectly matched application areas, but so do DSLRs. This sustained hailing of mirrorless cameras as the future technology that is still misunderstood by customers got old quite a while ago already.
Curved sensors won't do anything for apochromaticity; you'll still need multiple elements with appropriate dispersion characteristics. And then instead of designing to a flat field, you'd need to design to a particular non-flat field curvature, or stick to a fixed (non-interchangeable) lens. Our eyes are lousy cameras; we've just got excellent built-in raw processing (featuring content-aware fill!).
dialstatic: Such negative comments! I think this is an interesting development with potential applications outside the field of (hobby) photography. In any case, such research always makes me marvel at the complexity of the human brain. After all, 99.9% of the time, we have no problems distinguishing reflections from the actual scene (and even 'subtracting' them to some extent in our minds).
It also has a great application in forensics - from both sides. You can clear away reflections OR isolate them (the whole "zoom... enhance" TV/movie deal, modulo reality), depending on which is interesting. But yes, it is disappointing to see people reading the announcement and thinking to themselves, "cool, I can do the whole 'Ansel Adams' trip without even getting out of the car/bus now!" It ain't all about the shutterbugs.
jhinkey: Here I was hoping that this would have even higher capacity than the 405 - which is just barely adequate for my uses and could use having the gearing re-designed to be even stiffer.
The 410 is too light weight and this is even less capable than that.
Heavyweight gear may a**.
It looks cool and that's about it.
I think that there's a major clue in the XPRO nomenclature; it pairs with the 055 and the 190 XPROB 'pods (which are pretty well weight-limited by their articulated centre columns). And compared to a ball head or a non-geared three-way, it will be significantly easier to adjust cameras that are approaching the top end of their capacities. (And if the 405 doesn't cut it, there's always the 400. That works fine with a Sinar P2 8x10, extension rails, 480mm lens and compendium shade. )
oselimg: I'm not a specialist, nobody is specialist, I'm not even a photographer but this camera is a specialist one. It doesn't even have touch-sensitive oled screens. Therefore a bad camera. I hate Canon because they don't recognize me as center of the universe.
... and that's not the market they're shooting for with this camera. That will be the 5D Mk IV's territory, and we've yet to see what they'll do there. The expectation will be that this camera's use case will be the more deliberate world of the landscape/architecture shooter or the tethered studio shooter (where the chimping can be done on a gloriously large monitor with greater detail and accuracy than on any back-of-camera monitor). There is nothing wrong with specialty tools, either from a user's perspective (fewer compromises to make) or from the makers' perspective (sales). That won't keep anybody from hoping for the (soon-to-come) shirt-pocketable gigapixel 60FPS 8x10 with a 42-inch touchscreen monitor and sub-megabyte file sizes (along with the 12-600mm-equivalent f/1.4 collapsible zoom lens that will fit in the same pocket) -- at some level, we all want that -- but being able to pick the best tool for the job at hand isn't a bad thing either.
ChrisH37: I played around with LiveView on my D750 this evening, and you know what I was actually pleasently surprised. I've owned mirrorless cameras before (OMD EM5, A7) and obviously shooting with the rear LCD is nowhere near as quick as those, but it's also not that bad and much, much quicker than earlier DSLR implementations of LiveView. I can certainly see myself using it quite a bit with the tilting LCD.
Also, the 3D tracking really is staggering, I tried and quickly stopped using it on a D7000, but after reading this review I figured I may as well move away from Single Point AF for once and try it out, it's next level stuff and genuinely usable.
Just to put that into some kind of perspective: the *metering sensor* on this camera has about 20% greater resolution than the rather expensive (>$1.5K) QVGA camera I was using in the early '90s, and with enough DR to act as a meter to boot. (As if I didn't already have good-enough reasons to feel old.)
Just Ed: My only observation is that for almost the same money you can get a 6D, have had two and love 'em. About to buy a third but only because one was stolen.
Its the final image that counts not who makes the sensor or what the specs are. Honestly that final image mostly has to do with the photographer or lack thereof.
The point of this camera, though, is to be able to cover the high school/college game without having to drop a fortune on the NFL camera (or the lenses for it). You may have no reason to want one for your photography (and may have very good reasons for wanting a full-frame sensor), but the idea that one ought to sacrifice getting the shot or have to purchase lenses twice as long in pursuit of "ultimate image quality" is nonsense - the shot you didn't get is never going to be as good as the one you *did* get, and the tiny crop out of the middle of your sensor (because it saved you $5-6K on the lens) will be no better than the uncropped APS-C shot. Horses for courses and all that. (And no, I have no need of the 7DII either, but the camera I need for my work would REALLY suck for sports or birding.)
Scales USA: I remember when jpeg replaced gif images. It was painful.
Changing over the web browser infrastructure will be much more difficult than it was in the early 1990's. It was a clear choice due to very limited bandwidth, but the image quality suffered due to artifacts.
I'd go for a new standard, but likely won't live long enough to see it.
PNG makes a tremendous amount of sense... just not for photos. For static paletted images, it's a better GIF than GIF. (No animation, though.) And for full-colour images that can easily be losslessly compressed to small sizes (graphics with flat colours or smooth gradients), or that require alpha transparency, it's great. With photos that can stand a little bit of loss (that is, photos for viewing, not for editing) all it gives you is larger files that download slower for no *visible* advantage over optimally-compressed JPEGs (which usually involves saving from an editor at highest quality then running through an optimizer like JPEGmini, which can take full advantage of variable compression so that areas of the image with lower detail get more compression). It's not our fault that the minute fast wired broadband became available, everybody stood up from their desktops and went mobile.
quokka: I am surprised that there appears so little interest in Canon's 400mm II DO lens, and that few have linked the advent of this lens to the 7d II. The combination of these tools should be a BIF shooter's dream, with NO real competition. Furthermore, based on MTF charts, this lens should take the 1.4x and 2x adapter quite well, delivering lightweight, yet very functional 560mm and 800mm capability. Good time for birder's.
...of course, this is all on paper. We shall see.
I seem to recall BIF pictures being "a thing" when, for most amateurs, a 400/5.6 or a freakin' f/8 or f/11 reflex lens was a stretch, focus and exposure were manual, and "spray and pray" meant (if you were lucky, and your camera supported a winder or motor drive) 3.5 FPS with a maximum "buffer depth" of 36 shots -- all of which you had to pay for. (Some of those appeared in photo magazines that featured a youngish photographer/columnist by the name of Peter K. Burian.) Look, nobody appreciates the advantages of current tech over the caveman stuff we used to use more than I do, but I've been reading altogether too much lately about how the latest-and-greatest will finally make something *possible* that people have been doing for decades. You might have to take the time to, say, learn a bit about the behaviour of the animal (or get intimate with the sport, or what have you), and maybe put yourself into more uncomfortable positions, but that stuff still works with the latest tech.
Mister Joseph: I don't get "high budget" shoots. They use super high-powered lights during broad outdoor daylight then stack a bunch of ND filters on their lenses.
Not nearly as much as you'd think. Of course, I only have actual experience to go by, but...
solarider: Can do the same combining 50 mp raw files with the Pentax 645Z while saving ~$12,000 on the body alone. I'm sure the Hasselblad is quite the camera nonetheless.
Have fun moving your Pentax exactly one pixel, then exactly half a pixel. Just the four-shot mode (50MP image that's de-Bayered by full-pixel shifts) does more than super-rezzing a huge stack of random images; the extra half-pixel moves provide enough to give the added luma detail. I'm not calling the 'Blad a bargoon by any means, but you can't get the same picture out of the Pentax without a precisely controlled mechanical rig that will pretty much make up the price difference (and will also subtly shift the POV, which will produce parallax smearing on anything that isn't flat).
Ellis Vener: There are some pretty stringent limitations on multi-step backs-the camera cannot move, even a tiny amount, between frames.-same thing with subject: absolute stillness required.- the lighting needs to be absolutely consistent exposure to exposure, during the sequence.
So is this camera for?
If you photograph fabrics , especially carpet and rugs;, or certain types of products including furniture, sculpture, and artwork.
And there's always single-shot mode for when multishot can't work. Of course, you'll have to settle for crappy old everyday 50MP images, but it saves you having to have a second camera.
The "super high-powered lights", by the way, are for continuity. Do you think people won't notice when a single scene, after editing, seems to flash back and forth between several obviously different times of the day? Even an hour's difference can mean a huge change in shadow direction.
Lukas Gal: Little mistake RAID = redundant array of independent disks not Inexpensive.
Yep. Thinking (or reading) "independent" rather than "inexpensive" is just an indicator of excess youth (or pathological pedantry combined with a willingness to accept Minitrue's new version of history).
NiklaiN: Use Nikon software for Nikon RAW files. You will see miracles!
It's not a particular mystery - it's Google's patent (from Nik), as is the control point idea that's used in Viveza and CaptureNX 2. Google isn't licensing it to anyone else (which is why Nikon can't further develop CaptureNX 2).
LJohnK2: - No mask function- No blemish removal - No CCP- No generic clarity slider- No, No, No,
Hey Nikon com'on up here to Canada.... we have Community College Programs that have 2nd year Co-op students that can produce better than this.
What the hell is Nikon thinking !!!....seriously Nikon just open source your ADL algorithm so real programs like Lightroom can include it and be done with this.
That "years ago" is less than two years, and any updates to CaptureNX 2 were just Bayer extraction matrices (database stuff, not software changes). Look, Nikon lost the rights to the technology (after a reasonable transition time) with Nik's acquisition because Google wanted Snapseed and an improved feature set in Picassa, and Google just can't be outbid. It's not like Nikon has deliberately played a rotten trick on you (us, since I'm a Nikon shooter too).
qwertyasdf: I had been using the PS I bought like some 5 years ago, I don't even know if it's a CS 5 or 6. No issues, no subscription crap.
Does having the latest (not necessarily the greatest) PS matters so much to a real photographer?Aren't there many great photos created before PS even existed?
Sorry guys, if you think that having this CC is so important to your pictures, you might just not be a good enough photographer.
Yes, they did - and they make better software now, with fewer work-arounds and kludges needed to do the same work we've always done, and with better results to boot. Do you need the latest and greatest? Only if you want to do a better job faster, with more immediate feedback. Don't romanticize a past that never was; the REAL past was expensive, smelly, seriously hard on the eyes, took days to perfect a single "straight" photo, and involved a lot of swearing.
Complain about the licensing if you want to - I pretty much agree with that - but not about the software. It's necessary for "real" photography, and CC 2014 is a significant step up from CS 5.5.
G Sciorio: It's a beautiful lens. Shame they don't make one with a native M43 mount. I ended up buying the parts and built my own which cost me about $150 and a few days of time. Mine is not as pretty, nor does it have aperture control but the bokeh rocks like nothing else.
No, you don't want a native mount - you want a nice cherrywood-and-brass cabinet-sized housing for the MFT that has a Canon or Nikon mount up front. With a dark cloth, of course so you can see the LCD "ground glass", and matching sticks. And to really do it up right, you'll need to have your subjects hold very still for a second or twelve after the exposure is complete. The film holder would just be a frame holding a dark slide, but if you're going to do it, might as well go whole hog, right?