Rob de Loe

Rob de Loe

Lives in Canada Canada
Joined on Jul 11, 2019

Comments

Total: 41, showing: 1 – 20
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In reply to:

Chris Crevasse: Re the default noise reduction and sharpening settings: do either ACR or CO change the default settings depending on the ISO of the image?

I don't know about C1, but Lightroom lets you apply settings on import based on camera, ISO, etc. You just have to set it up.

Link | Posted on Apr 5, 2021 at 18:26 UTC
In reply to:

ChelseaPhotographer: My burning question: is there banding in the deep shadows like the GFX 100 or has the issue been solved?

Check out Jim Kasson's website. He tested and concluded it's fixed.

Link | Posted on Mar 26, 2021 at 19:00 UTC
In reply to:

Harold66: The ONE things that does not get mentioned about the FP cameras is the fact that you can have many more ratios than the 3.2 ratio . Credits to Sigma for allowing more creativity by offering ratios which usually are only available on medium format cameras . I think this camera in a way competes with the Fuji GX50r

@peterwr -- Cropping in post is easy enough, that's true. However, I prefer to compose to the whole frame, so that approach isn't a good fit for me,

Link | Posted on Mar 26, 2021 at 12:53 UTC
In reply to:

Harold66: The ONE things that does not get mentioned about the FP cameras is the fact that you can have many more ratios than the 3.2 ratio . Credits to Sigma for allowing more creativity by offering ratios which usually are only available on medium format cameras . I think this camera in a way competes with the Fuji GX50r

Almost the first thing I did when I saw this was check if it can do 4:3. Since switching from an X-T2 to a GFX 50R, I've really come to prefer 4:3. It bothers me to no end that Fuji won't just add 4:3 to its older X cameras.

I really like my lunchbox by the way! The 50R is a superb camera (for how I use it).

Link | Posted on Mar 25, 2021 at 22:51 UTC
In reply to:

Richard Murdey: Me: "This seems like a very welcome announcement, I can't imagine anyone would find a reason to knock it."

[starts to read dpreview comments]

Oh...

It seems to depend on the forum the DPReview Medium Format thread is moderated, so bad behaviour is nipped in the bud. More importantly, it tends not to attract the toxic people. Anything brand-specific naturally trends to unpleasant

Link | Posted on Mar 24, 2021 at 16:48 UTC
In reply to:

Eugene A: How would such a tool handle out of focus areas in case of a very shallow dept of field - would it preserve the intended creativity when a super-fast lens was used ?

That would be the next real challenge to machine learning aided enhancement tools.

The way it handles lettering is not necessarily a deal breaker. I would encourage you to see for yourself if you have the software. I just made a wide-open frame of my messy desk, with lots of papers on it that have lettering. I focused in the centre so there would be increasingly out of focus writing in foreground and background. I then compared to the original.

When the letter is clearly defocused, it leaves it alone. Clearly focused lettering gets the edges tidied up a bit (like sharpening does). It's that transition zone where I noticed some lettering had been enhanced. The result is a pushing out (if I can describe it that way) of the zone of in-focus.

Whether or not someone finds this objectionable will be case-by-case. I can say that in this experiment, I would not have noticed without comparing to the original.

To be honest I have problems with tree branches. In some test images they got unrealistically sharp; they were clearly in the out-of-focus zone, but sharp.

Link | Posted on Mar 20, 2021 at 17:47 UTC
In reply to:

Eugene A: How would such a tool handle out of focus areas in case of a very shallow dept of field - would it preserve the intended creativity when a super-fast lens was used ?

That would be the next real challenge to machine learning aided enhancement tools.

Eugene A, another area where things can get strange with this tool is text. If there's a sign in your picture that isn't sharp, it can enhance each letter to different degrees based on whether or not it can figure out what the letter is. That makes sense because it's easy enough to supply a huge amount of text during training.

You can end up with a mixture of blurry and sharp letters on the same sign, which looks strange. I posted some examples in this thread (scroll down about 1/3rd): https://www.dpreview.com/forums/thread/4560860

Link | Posted on Mar 20, 2021 at 15:42 UTC
In reply to:

Eugene A: How would such a tool handle out of focus areas in case of a very shallow dept of field - would it preserve the intended creativity when a super-fast lens was used ?

That would be the next real challenge to machine learning aided enhancement tools.

It's mixed. Something that is really out of focus stays out of focus. It's the transition zones where it can go to work on things you might want left alone.

There are some sample images here: https://www.dpreview.com/forums/thread/4561112 IMPORTANT: When I posted this thread Adobe had not yet fixed the bug where ACR wrote the original file resolution into the DNG it created rather than the actual x2 in X and Y resolution of the file, so it looked like the DNG had enhancements but not increased pixels. That was a bug that has since been fixed. The pictures in that sample are still relevant though.

Link | Posted on Mar 20, 2021 at 15:20 UTC
In reply to:

tinternaut: Has Lightroom CC been updated to make use of ACRs new Super Res feature?

A minor friendly amendment to Charles Hull's approach (for Windows anyway): In your Lightroom catalogue, right click the file you want to process and choose "Find in Explorer". Right click on the file in Explorer and Open with Photoshop. Run Enhance, and then click "Done" without saving. ACR dumps the enhanced file in the same folder on creating it so you don't have to save. Then do the Synchronize Folders trick to bring the new DNG into your catalogue.

If you want to apply Super Resolution after you developed a file, you have to copy or sync settings manually. Don't forget to check whether or not you need as much Texture, Sharpening, Detail, etc. You might not.

Link | Posted on Mar 17, 2021 at 23:31 UTC
In reply to:

Edenhurst: Lightroom is garbage. I HATE that I have to pay for this crap to get Photoshop and STILL PAY FOR CAPTURE ONE—because crappy Lightroom can’t do everything I need it to, and Lightroom Classic is an old, buggy, piece of trash that was coded about ninety years ago. How can they charge for a tool that can’t even show you two images SIDE BY SIDE. You can’t do that in the new version of Lightroom!!!! You can’t compare two images!!!

You can compare two images side-by-side in Lightroom. It's called Compare view. You can develop one image and have a different image beside it.

What are you talking about?

Link | Posted on Mar 17, 2021 at 23:22 UTC

So fun fact, but it doesn't quite work as described here.

While trying out the new Enhance tool in ACR I noticed it dumps a new DNG into the folder where my source file was. This DNG has the resolution of the source file, but it has been enhanced with the machine learning secret sauce. I can import the file into Lightroom as a DNG. If I export the file from LR with x2 X and Y resolution and create a TIFF file, that TIFF file is exactly the same as the TIFF that is created by ACR if you save after using the Enhance tool. In other words, the enhancements seem to be in the DNG and the x2 X and Y resolution TIFF is completely unnecessary.

To be sure I wasn't imagining things, I compared the TIFF I made from the DNG ACR created, and the one created by ACR. They're the same. I also checked to see if the "enhanced with Super Resolution" DNG ACR created was the same as what I'd get by using the existing Enhance tool in Lightroom on the source RAW file. They're not the same.

Link | Posted on Mar 14, 2021 at 03:06 UTC as 9th comment
In reply to:

Nicolas Det: @Fujifilm. A suggestion to gain a lot of architecture/landscape photographers on board:

Produce a shift zoom lens for APS-C: XF 11-22 F5.6 R S
- at around 2000€.
- S for shift
- Manual focus
- Record the shift value and corrections in the raw.
- compact, slow but sharp wide opened.

It would unique and it is 100% doable on APS-C. Shift only mechanism ist not very complicated but need to be robust. The bigger image circle with a zoom is challenging but there are already such formula for FF (with F4).

Regards.

Nicolas, I mostly used primes on my APS-C outfit. I had good results from the old Olympus OM 28-48 zoom, but that's not very wide. You want to find a full frame lens that has manual aperture, covers your desired focal length, and has an adapter for the lens mount and camera mount.

Link | Posted on Mar 8, 2021 at 14:38 UTC
In reply to:

Nicolas Det: @Fujifilm. A suggestion to gain a lot of architecture/landscape photographers on board:

Produce a shift zoom lens for APS-C: XF 11-22 F5.6 R S
- at around 2000€.
- S for shift
- Manual focus
- Record the shift value and corrections in the raw.
- compact, slow but sharp wide opened.

It would unique and it is 100% doable on APS-C. Shift only mechanism ist not very complicated but need to be robust. The bigger image circle with a zoom is challenging but there are already such formula for FF (with F4).

Regards.

If you can live with manual everything, many full frame zoom lenses exist that will work very well as tilt-shift lenses on APS-C with a dumb adapter. Medium format lenses will work too, but there's little point because there's more image circle than you can use, and they won't be wide enough.

Link | Posted on Mar 8, 2021 at 12:42 UTC
In reply to:

Nicolas Det: @Fujifilm. A suggestion to gain a lot of architecture/landscape photographers on board:

Produce a shift zoom lens for APS-C: XF 11-22 F5.6 R S
- at around 2000€.
- S for shift
- Manual focus
- Record the shift value and corrections in the raw.
- compact, slow but sharp wide opened.

It would unique and it is 100% doable on APS-C. Shift only mechanism ist not very complicated but need to be robust. The bigger image circle with a zoom is challenging but there are already such formula for FF (with F4).

Regards.

That would be an interesting lens. I'd want tilt because I use tilt more than zoom, but I can see the attraction.

I built a robust tilt-shift outfit around an X-T2 and Olympus OM lenses. The image circle was plenty large for as much shift as the adapter could provide (with most lenses).

Zoom lenses are interesting because it's quite common for the image circle to be quite a bit larger in the middle of the zoom range than it is at either end; the wide end tends to be the smallest, with the long end larger than wide but not as large as the middle.

Link | Posted on Mar 7, 2021 at 23:17 UTC
On article Leica introduces APO-Summicron-SL 28mm F2 L-mount lens (256 comments in total)
In reply to:

Horshack: "Its maximum aperture can be used without any loss of image quality"

That's an extremely bold assertion to make for a fast lens. I'm looking forward to seeing full-sized aperture-series samples that back it up.

If the MTF chart for this lens is to be believed, it's better at f/2 than f/8. That's astonishing.

Link | Posted on Feb 19, 2021 at 00:16 UTC
On article Hands-on with the new 100MP Fujifilm GFX 100S (197 comments in total)
In reply to:

MinAZ: Fuji markets this camera as a large format camera, but also uses "more than full frame" as a marketing line. And here, DPR says medium format. Looks like no one can make up their minds - is this large format, medium format, or full frame+?

I shot 4x5 film until recently. The 8x10 people always looked down on me and my "mini large format" camera. ;)

Mind you the 11x14 people didn't have time for the 8x10 folks, and the 16x20 shooters, well, they didn't have time for anyone!

Link | Posted on Jan 30, 2021 at 00:02 UTC
On article Hands-on with the new 100MP Fujifilm GFX 100S (197 comments in total)
In reply to:

entoman: A truly stunning camera, but for my usage (landscape, macro and wildlife), I have a few reservations.

The fairly large size of the smallest AF square, would make it difficult to position the AF point accurately on small "non-eye" subject elements.

The AF speed looks to be pretty slow in the video, and will be even slower with long focal length glass. The system may be fast, but the lenses can't keep up.

The EVF, at 3.69K, is simply too coarse to visually judge sharpness of fine details in fur, feathers, insect scales etc. A 5.76K EVF wouldn't have added hugely to the cost.

The lenses, compared to FF equivalents, are simply too large and heavy to be carried around all day, especially the longer focal lengths.

Those points aside, it's superbly designed, and it will be a fantastic tool for people who like to work slowly and methodically, and tend to use short focal lengths.

@entoman, my GFX 50R has the same screen resolution. I have no trouble at all getting very precise focus. I used to use focus peaking as an aid, and still do occasionally, but in most situations I can now tell at a glance when it's in focus.

One quirk that people often miss is that you only get the highest level of magnification when you're shooting RAW if you also shoot largest JPEG. It's a very minor pain to have to delete all the JPEGs before import, but worth it to get that extra magnification.

Link | Posted on Jan 29, 2021 at 23:58 UTC
In reply to:

QuarryCat: For me the real fault of the Fuji GFX System:
It is no square format.
No need to turn a square camera.
4:3 is good but 1:1 would have been better for photos (not for Video).
Today it is much easier to crop to the right demension and show it in the viewfinder.
And it would be fantastic to see Pentax with mirrorless medium format...
Wishful thinking...

So why not set your GFX camera to shoot 1:1... What am I missing?

You see 1:1 in the viewfinder/LCD, you compose precisely for 1:1, and when you bring the RAF into Lightroom (or whatever), it's pre-cropped to your 1:1 aspect ratio. It's true that the the full 4:3 RAF is lurking in the background. Is that your issue?

Link | Posted on Jan 29, 2021 at 23:49 UTC
On article Fujifilm GFX 100S initial review (582 comments in total)
In reply to:

pascal b: @Richard Butler:
Still not the mention of the 6:7 aspect ratio... (despite my mail some days ago).

Indeed. However, if you like composing for the aspect ratio you want to use (which is how I work), you can choose a different aspect ratio in the 50R, like 6x7, and that's what you see when you're shooting. Fuji then tags the RAF with that aspect ratio so when you open it in a program like Lightroom, it's "pre-cropped" to 6x7 or whatever you used. The whole 4:3 RAF is still there of course, and you can undo the pre-crop with a click.

If you're shooting JPEG, it's cropped to the chosen aspect ratio and that's that.

Link | Posted on Jan 28, 2021 at 13:31 UTC
On article Fujifilm GFX 100S initial review (582 comments in total)
In reply to:

pascal b: @Richard Butler:
Still not the mention of the 6:7 aspect ratio... (despite my mail some days ago).

Can you clarify what your concern is? The 50R has that aspect ratio available. Is it missing from the 100S? Or are you excited to discover it there too?

Link | Posted on Jan 28, 2021 at 03:17 UTC
Total: 41, showing: 1 – 20
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