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Is the 1.4x teleconverter considered a lens?
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Sony A7R V or Fuji GFX 100S/ ii
- Thread starter Johny bravo
- Start date
Rodenmg
Veteran Member
Don't forget the TC.
Reza Raquib
Forum Enthusiast
Whew, I have 9 more to go, lol.
Rodenmg
Veteran Member
I think it is.
Mikhail Kartashov
Well-known member
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Jim,
Found your answer to "why", hence have removed it.
At some point I switched most of my storage to redundant raid1 and raid6 (+back up), including the ones for a regular daily accessed data. Although I thought about buying tb4/10gbe NAS (with ssds or not), it would have been raid 10 or 6.
Regards, Mikhail
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I use RAID 6 for NAS boxes, because I don't want to have to check them all the time, and they are spinning rust, so it doesn't cost much.
I want a flat 32 TB virtual disk appearance for most of my working drives, and I don't know how to do that with mirroring cost effectively with solutions now available to me. In addition, I haven't had a lot of good experience recovering from drive failures or controller failures in some mirrored systems. I'd rather do redundancy through multiple virtual striped arrays.
It's not like I'm operating a airline reservation system and need 100% access to 100% of my data 100% of the time.
Jim
Greg7579
Veteran Member
David, the preservation of edits (catalog and sidecars and their transfer to new drives) is the single biggest topic on any Adobe or LR forum as people set up new boot drives and data drives.
The catalog is a relational data base and has to be re-associated with the image files. I can't help you with Darkroom. You need to find a forum of darkroom users and start begging for help. If you were a LR user, I would refer you to the LightRoom Queen.
By the way, I am about to do this, and every time I build a PC or get a new boot SSD, I sweat the transfer of my 789 bazillion raw files and my LR catalog to the new drive. Everyone sweats that, and it is the single biggest problem with Adobe LR and having a catalog. It is easy, but a slip-up can hurt you. I wish I could help you, but I'm Darkroom clueless.
I think you need to spend 10 bucks a month on LR, but that advice is for another day.
The catalog is a relational data base and has to be re-associated with the image files. I can't help you with Darkroom. You need to find a forum of darkroom users and start begging for help. If you were a LR user, I would refer you to the LightRoom Queen.
By the way, I am about to do this, and every time I build a PC or get a new boot SSD, I sweat the transfer of my 789 bazillion raw files and my LR catalog to the new drive. Everyone sweats that, and it is the single biggest problem with Adobe LR and having a catalog. It is easy, but a slip-up can hurt you. I wish I could help you, but I'm Darkroom clueless.
I think you need to spend 10 bucks a month on LR, but that advice is for another day.
Greg7579
Veteran Member
I don't have the 80 and 63 and never will.
Greg7579
Veteran Member
Jim, my image data is now 6.5 TB.
Do you still like GoodSync for me? You know, where I basically sync (copy) every change I make on my 8TB SSD M.2 SSD on the motherboard to two other 8TB internal SATA SSDs and two external 10 TB spinning 3.5 inch HDDs? That is 4 backups, each on single drives, and one is off-site.
Do you still like GoodSync for me? You know, where I basically sync (copy) every change I make on my 8TB SSD M.2 SSD on the motherboard to two other 8TB internal SATA SSDs and two external 10 TB spinning 3.5 inch HDDs? That is 4 backups, each on single drives, and one is off-site.
When I get a new computer, I make sure the drive letter and organization of the new image disk is the same as the old one. Lr comes right up and rebuilds the previews. If the drive letter is different, have an image in the root of the image directory tree. Point Lr at that and it'll find all the other images.
I like Goodsync for me. And it gets better all the time.
Sounds good. I also back up to BackBlaze and Google Drive and Goodsync knows how to do that.
yogi4fitness
Veteran Member
I don't have the 80 and 63 and never will.
DavidMillier
Veteran Member
No drive letters in Linux, it's Unix really.
darktable makes heavy use of xmp sidecar files. I've done lots of maintenance before. If you remove all your files from the database (files/remove command), then re-import, it rebuilds the database from the xmp files. Done it lots of times. However, what's different this time is I have a fresh install of darktable with an empty database. It looks to me like the import created brand new xmp files so no edits. But I could be mis-interpreting what's happened. I need to come back to it with fresh eyes. It might be that I need to copy across the entire darktable app and config to the new machine. Some research needed.
I'm leaving for Scotland in a few minutes. Just seen the weather forecast: 7" of rain expected over the weekend, trains cancelled, flooding expected. Warnings not to travel.
Great timing
I'm hoping to visit Clatteringshaw and Loch Trool in the Galloway Nat Forest, the English Lake District and find some limestone pavement in the Yorkshire Dales. Hopefully not in pouring rain.
9hr drive ahead first. In a VW Polo!
Loading…
www.motors.co.uk
DavidMillier
Veteran Member
I'm old school.
I do manual backups to 2 separate SSDs using good old basic copy command. No encrypted compressed proprietary backups for me.
Of course, the big weakness is that I keep those two backup drives 3 feet from my computer. Really should find somewhere else to keep one of them.
Greg7579
Veteran Member
Life is good David. Have a safe trip and take some shots and post them. We depart today by car on a one-month road trip from Texas to Arkansas, Tennessee, Kentucky, West Virginia, North Carolins, etc....
Valued Customer
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Accessory like the mcex18g and mcex45g.
Velocity of Sound
Veteran Member
I am a hobbyist photographer who used to engage in all sorts of photography (loved birds and bugs the most, aspired to do portraiture). Then I had kids, and now I'd say 99% of my photography is of my own family. I don't really deserve to be a part of this forum - I don't even pretend to have the artistic or technical expertise of the regulars here. I count myself fortunate to be able to afford the price of admission and then some. But I can answer OP's question: with the GFX 50S (my first GFX body) the camera struggled a bit to keep up with my kids, but it was workable. The GFX 100s, paired with native lenses, allows me to not need to think about it too much. I have an adapted Sigma 40mm f/1.4 and the combination of shallow DoF and slightly slower autofocus speed means that lens still requires a bit more thought. But if the 100s can keep up with my kids, I don't think you have anything to worry about.
However, I do have one more bit of advice. It relates to this:
Here's the spoiler: I could not reliably tell the difference. I would think to myself that there was some key feature that showcased how amazing the GFX system was, only to discover that it was actually my E-M1 Mk2. That happened a fair bit. It was pretty rare that I'd criticize a photo, feeling that it must have been the µ4/3 sensor, only to find that it was the 50S - but it did happen a small number of times. The placebo effect is strong with our eyes.
That's not to say that the GFX system does not have its advantages. ISO noise offered about a two-stop advantage on the GFX system (not that it mattered at the time - with my µ4/3 f/1.2 lenses, IBIS, and low-light EVF mode (slowed refresh rate to offer "night vision") Olympus remained my low-light camera over the GFX 50S). And as others have alluded to, the files are massively more malleable - although you can still blow highlights. Depth of field control, coming from µ4/3, has been a lot of fun. And of course, there's more.
For the types of shooting OP mentioned, the GFX system could probably suffice. Yet I keep my µ4/3 system and continue to buy lenses for it because the GFX system is less versatile. Some of it is in the current lens selection, and some of it is in the nature of working with a larger sensor. Telephoto shooting is an obvious example. Dumping the Sony kit in favor of going all-in with GFX could work, but it seems like you're specializing and in the process are giving up some versatility. Maybe the GFX system will gain more versatility in the future, but Sony has it now.
Personally, I think µ4/3 and GFX are a perfect pair. Aside from sharing the 4:3 aspect ratio, you can better utilize the strengths of different sensor sizes. I'm not sure you'd get the same benefit of going dual-system with a "full frame" system and GFX. OP can probably safely make the jump, but to other "full frame" users looking to dump their systems for GFX, I'm a bit nervous about making the recommendation.
However, I do have one more bit of advice. It relates to this:
I did this once before. When I was brand new to the GFX system it seemed as if every shot with the 50S was gold, and suddenly my other system (Olympus µ4/3) was utter trash. For fun, I challenged myself: each day I went for a walk with my then-toddler son, choosing a different camera. At the end of the week I ingested the memory cards from both cameras, but then blinded myself. Usually I see the focal length, aperture, file name, and so on in Capture One, but I turned those off so that I was only seeing the images. Because our usual walking path was the same and my son wore the same jacket, I also couldn't easily tell where one day ended and another began.
Here's the spoiler: I could not reliably tell the difference. I would think to myself that there was some key feature that showcased how amazing the GFX system was, only to discover that it was actually my E-M1 Mk2. That happened a fair bit. It was pretty rare that I'd criticize a photo, feeling that it must have been the µ4/3 sensor, only to find that it was the 50S - but it did happen a small number of times. The placebo effect is strong with our eyes.
That's not to say that the GFX system does not have its advantages. ISO noise offered about a two-stop advantage on the GFX system (not that it mattered at the time - with my µ4/3 f/1.2 lenses, IBIS, and low-light EVF mode (slowed refresh rate to offer "night vision") Olympus remained my low-light camera over the GFX 50S). And as others have alluded to, the files are massively more malleable - although you can still blow highlights. Depth of field control, coming from µ4/3, has been a lot of fun. And of course, there's more.
For the types of shooting OP mentioned, the GFX system could probably suffice. Yet I keep my µ4/3 system and continue to buy lenses for it because the GFX system is less versatile. Some of it is in the current lens selection, and some of it is in the nature of working with a larger sensor. Telephoto shooting is an obvious example. Dumping the Sony kit in favor of going all-in with GFX could work, but it seems like you're specializing and in the process are giving up some versatility. Maybe the GFX system will gain more versatility in the future, but Sony has it now.
Personally, I think µ4/3 and GFX are a perfect pair. Aside from sharing the 4:3 aspect ratio, you can better utilize the strengths of different sensor sizes. I'm not sure you'd get the same benefit of going dual-system with a "full frame" system and GFX. OP can probably safely make the jump, but to other "full frame" users looking to dump their systems for GFX, I'm a bit nervous about making the recommendation.
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Greg7579
Veteran Member
Great post and very well written. What monitor were you doing the comparison viewing on? Go shoot some landscapes and city scenes. If you are close and chase shooting your kids, you should probablu use the MFT system. Good that you have both!
DavidMillier
Veteran Member
Enjoy!
I'm back now, didn't quite manage the itinerary I had planned but managed 1 visit to Galloway National Forest and 2 visits to The Lakes including a walk around Buttermere in the rain and the dark. Note to self: start earlier!
yogi4fitness
Veteran Member
I didnt shoot these images but can you tell which image was shot with which camera. GFX100II vs A7RV
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