Joined on Jun 20, 2015


Total: 33, showing: 1 – 20
« First‹ Previous12Next ›Last »

Focus breathing was never a problem when doing close-ups with my focussing rail. A macro lens corrected for focus breathing is indeed a simpler way and not restricted by cumbersome equipment.
I don’t do video but I can sure see the advantage of a steady picture angle.
Thanks guys for reminding me of these new lenses.

Link | Posted on Dec 21, 2020 at 20:14 UTC as 2nd comment

It may be your personal settings but the images in your article do not look like anything I would like to see. The pictures are great but the contrast and colours are pretty poor. I like a flatter curve to my images. Maybe as a pro I would prefer the Fuji Color’s and tones with the option to alter it afterwards.
The camera does show its great portability and 28mm sure beats the 35mm of past fixed lenses. With this sharp a sensor 24 would not be out of line. Cropping afterwards is not a problem.
I might mention that Ricoh was my first camera as a kid with a Golden Ricoh 16 in the early sixties. 😂

Link | Posted on Dec 5, 2019 at 17:09 UTC as 32nd comment | 1 reply

Hi Chris, I am very impressed with your reviews. The latest APC review pretty much tells a fairly complete story.
On minor issue is that it should be mentioned if the touch screens are a problem with gloves. I can see three joysticks but the fourth, I believe the Sony lacks that. I am in a climate where it is no problem but can Use this at -35 like in your home town?
Again, Congrats with your fantastic career.
Rinus (from Calgary but now in Kelowna)

Link | Posted on Nov 27, 2019 at 18:12 UTC as 10th comment

Well, nobody asked an established professional wedding and portrait photographer if it would work for them.
Looking back to the 500C or CM this camera is much the same.
The sync with leaf shutters was always greatly superior and easy to apply on its LV (light value) indicates lenses. Just couple the two and sync for that bridal shot under the trees with flash is simple and requires no relearning!
Has any of you ever heard of Monte Zucker? No?
Back to school for the entire dpreview crew!
PPofA members are trained with this type of equipment that is so much like a roll film camera!
Shame on you for deliberately leaving out what it was made for!

Link | Posted on Aug 11, 2018 at 00:16 UTC as 29th comment
On article Fujifilm GF 23mm F4 sample gallery (90 comments in total)

I looked at the gallery and saw how well this lens performed. There is little if any pincushion/barrel distortion. In a wide lens that is paramount. The lack of flare is also very well controlled.
The only issue I see is the lack of understanding of the photographer by insisting to shoot many of the keystoned images to illustrate this lens. It clearly shows that this effect is a photographer's issue, not the lens. These look like the pictures I took when I shot my first film with the first wide I owned. As a pro I would be embarrassed.

Link | Posted on Aug 10, 2017 at 18:09 UTC as 3rd comment
On article Fujifilm GF 23mm F4 sample gallery (90 comments in total)

Comparing lenses with other formats is pretty much confusing to most people that never owned any film cameras. Kodak had a book in the seventies that had a comparison wheel in it to compare lenses of different formats of film. The angle was then calculated in degrees. This would still be better even today as angles in degrees can be used for any format and would make sense to everyone.
I shot 5x7" 6x9 6x7 6x6 645 127 film Rollieflex 35mm half frame 16 mm and the minox. Be my guest figuring equivalents!
This lens is wide and performs accordingly. Distortions included. Period.

Link | Posted on Aug 10, 2017 at 17:50 UTC as 4th comment

Regardless of shutter differences it seems to me that flash photography is still severely punished. I hope that a mirrorless camera in APS-C can help by building an auxiliary leaf shutter in the camera body right behind the lens. The APS-C size would certainly allow for this. This would be like the leaf shutter lenses that were available for focal plane cameras. There is a reason the new Hasselblad still uses leaf shutters!

Link | Posted on May 25, 2017 at 16:07 UTC as 12th comment | 3 replies
On article Analog gems: 10 excellent, affordable film cameras (932 comments in total)

Hard to answer the question of what makes a great analog camera. I had an Olympus OM1 and OM2 it was my dream platform but I changed to the best Nikon ever made the Nikon F3 high point because of my needs of certain lenses. The motor winder/drive made it fit my hands real good. The penalty was weight. We did not have zooms and that made the camera bag very heavy. An Olympus Pen F half frame would have been a great travel camera but not for pro use of course.

Link | Posted on May 25, 2017 at 15:13 UTC as 113th comment | 1 reply
On article The Leica Summaron 28mm F5.6 is old-fashioned fun (201 comments in total)

For those of us shooting an old Leica IIIG back in the day, this lens was just great for shooting off the hip. The DOF at 5.6 at the infinity setting was pretty much always sufficient. The controls are in the same place as they had always been. So with film the sunny f-16 rule required no touching of the settings anyways except an f stop to match the weather. On that IIIG or IIIF you would treat it like a 35mm box camera. Point and shoot. We never used a lens shade or filter but like the collapsing 50 Elmar and the 90 Elmarit it sure was a compact little package on a holiday or Sunday walk.
Now for the price. Leave it in the box as an oddity for collectors. Really?

Link | Posted on Mar 30, 2017 at 17:47 UTC as 13th comment

For years I used 6x7 for studio, wedding, and portraits. We used vignettes, soft focus lenses and much more. None of those were adaptable to 35 mm. Phisical size and way too much depth of field at studio apertures like f11.0 for groups simply did not work.
This camera, Fuji or Hasselblad is great to bring that routine back to classic shooters. Your comparison is valid for engineers, not most professional studio and wedding photographers. All I need now is a shift wide and the system is complete. Auto focus is useless in a studio or wedding. I need to focus myself. Works for me.

Link | Posted on Mar 24, 2017 at 20:42 UTC as 97th comment | 3 replies

Now please build me a 10 mm wide in a shift mount for my DX body. No tilt needed with that depth of field. Any wide full frame lens will suffice! Maybe a 10-20 or 12-24.

Link | Posted on Mar 2, 2017 at 15:08 UTC as 7th comment

Finally Nikon got the shift mechanism right. The original tilt was fine but for front back depth of field you had to shoot vertical only. The mount could be rotated 90 degrees by a service person but the you could only shoot horizontally. Finally you get to choose what's best for you. 19 mm is a good wide even for my D300. The only complaint, is the protruding lens not allowing any type of filter. Great lens for the working pro.

Link | Posted on Mar 2, 2017 at 14:58 UTC as 8th comment

I am a portrait photographer and this shot looks like it was shot on medium format portrait film like the old Kodak VPS. However, it is clear that the window shots far exceed the dynamic range of film or other cameras. The skin color is beautiful and reminds me of the Fujifilm cameras. Limited shots here but the way it handles the window the skin and shadow fill it looks very promising! He ultimate wedding camera. Finally the dress and tux have detail again.

Link | Posted on Jul 13, 2016 at 20:20 UTC as 11th comment

The indian people are very entrepreneurial so lack of drive is not the reason for its closure. Maybe the times are shifting just like they say. Digital diluted the pro's earnings enough to close shops everywhere. It is sad but there is an end to everything. Film bit the dust so the skill to use that medium is no longer employable. I started in the time of large sheet film. Retouched pretty much did every shot that was taken. Now software is instant and any kid can learn to use it. Sad but it is history at its best.

Link | Posted on Jun 22, 2016 at 03:50 UTC as 8th comment

For those with plug-ins it is always best to wait and check with the plug-in people for their updates. I actually kept my old copy of CS6 so my plug-ins will remain available.

Link | Posted on Jun 22, 2016 at 03:25 UTC as 23rd comment

A very worthy collector's item. The triplet was the beginning of modern lens design. The 2.8 was very fast back then.

Link | Posted on Jun 22, 2016 at 02:22 UTC as 8th comment

I think I died and gone to heaven. One of my photographs had a person's head at the very edge. It was the best frame I had. I used the cropping tool to select the full image and them moved the image outside the boundaries. This gave me a canvas that had a white edge beyond the actual picture. By selecting the content aware button at the top bar I now selected enter to let Photoshop build more background into the white. It did so and totally ignored the head. It built the wall and floor detail only. A perfect picture!

Link | Posted on Jun 22, 2016 at 00:48 UTC as 25th comment | 1 reply
On article Sony warns against use of unauthorized third-party apps (185 comments in total)

Typical SONY! Restrictions by Sony are always going to be part of that brand. I remember copyright embedded software on Sony CDs. I remember Beta. So glad that they are not the only brand out there. I will gladly buy any other camera that works the way I want it to work. Oh, I already did.

Link | Posted on Jun 22, 2016 at 00:36 UTC as 34th comment | 17 replies

Wonderful lens! Regarding some comments here. The 1.4 aperture is pretty much a desired speed for a lot of low light photography. The purple fringing is not a problem in today's world. Pretty much all software, including the camera itself, removes it. I see software as an integral part of lens design. You should see what I can do with some older lenses in Photoshop or DxO. I would say the price of this lens stops me from buying it but in my pro days this would have been a no-brainer.
For the other poster, 2.8 is 2.8! Equivalency is theoretical mumbo jumbo and according to my lightmeter there is no equivalent!

Link | Posted on Jun 21, 2016 at 23:57 UTC as 12th comment
On article Video: Meet the Nikon D500 (181 comments in total)

I for one am not too worried about noise but many in the digital race are. I came from a grainy film background. Today many images from the masters of time still show that grain. I work very hard to kill the "digi look". My commercial work is better off with the new low noise imagers but my artistic stuff gets grain added to give it a film look. This D500 is nice for many things but the super high ISO is extremely limited in my world. It reminds me of a V10 engine on a 55 mph road. In a studio this camera body is total overkill. Still, congrats to Nikon for making such a capable camera. This will last me for the next decade.

Link | Posted on May 28, 2016 at 01:20 UTC as 4th comment
Total: 33, showing: 1 – 20
« First‹ Previous12Next ›Last »