Sharpest Light Limited posted that new video shot on the Commlite Nikon F autofocus adapter:
Commlite Nikon F to Sony E Electronic adapter will be shipped out of the factory in next week. The adapter firmware to be launched will be version 2.0 rather than version 1.0 currently on our hand. Commlite promises that focus performance for the long range lens will be improved. The supporting list will be finalized in this week.
Brianandcamera created that illustration to show the resolution difference between the new Phase One 101 Megapixel Sony sensor and the rest of the digital world. Brian writes:
I had a bit of trouble wrapping my head around it. I currently shoot on a 24MP body and the difference between their old camera and the new (80 -> 100) was basically my camera. I wanted a frame of reference, so I dug up some filesize information and created the guide below. I grabbed one of the 100MP tiffs and compared the dimensions:
Did some test pictures and process of unpacking. Impression: Well build, good quality pictures. On downside -very short, narrow turn for focusing. Also my copy has small mark/dot inside metal part that not affect optic.
Focal Length: 25mm
Aperture Range: F1.8-16
Focusing Range: 18cm-Infinite
Dimensions: Ф60mm X 33mm
Materials: Multi-coated Optical Glass / Metal body
Available on eBay
Today Phase One has announced the XF 101 megapixel back. The CMOS sensor was developed by Sony and uses a similar Sony A7RII sensor design. Phase One says this is a “Full Frame” sensor. What they mean is that it has the real field-of view size of 53.7 x 40.4mm. It means unlike previous Phase One backs there is no crop.
Original Phase One 101 MP file (left) and 4.5 stop overexposure (right). Image courtesy by Ori Cohen
Our reader Ori Cohen made a short test with the files available for download at Phase One’s website:
“The XF 100MP boasts at being the “ultimate camera system”, powered by the world’s first 100MP sony sensor. Phase One generously gave us a few TIF sample files to inspect, and they are simply stunning. This much detail is every photographer’s dream, but it comes at a high cost of not just money, but also processing power. My system can handle huge files, but editing a 500MB TIF demands more than an I7 and 32GB of memory. I was excited to see that one of the files was under-exposed. The image in question is the dramatic mountain that was shot at ISO100, and its histogram is leaning to the left, with the help of LR I recovered the shadows and blacks in order to see if there was any noise in the shadows. In fact, the majority of the image’s pixels are dark blue\gray. Recovery of the shadows and blacks to 100% did not show any noisy pixels. In a second attempt to force the noise to appear, I pushed the “exposure” slider by +4.5 stops, and there was still no noise! obviously the highlights and whites were blown, but with a small amount of highlights and whites recovery they stayed within the histogram. The only reason I did not add +5 FULL stops of exposure was because the highlights and whites recovery sliders’ range is too narrow for this 16 bit file and can’t push the over exposed pixels to the left of the histogram. Although this observation was done at the optimal ISO, as a comparison I could not recover a similarly under-exposed A99 RAW file without seeing noise at ISO 100. I believe that this camera can recover shadows by more than 4.5 stops without showing noise artifacts, but in order to do that Adobe needs to give us the ability to dial in more than 5 stops in each direction, and extend the shadow/darks/highlights/whites recovery range.”
All lenses are a compromise, but the Tamron has a good balance, with high central sharpness wide-open and sharpness improving across the frame on stopping down, and with generally good control of chromatic aberration. On the downside, it has some slight field curvature at 30mm and it has quite high levels of both barrel and pincushion distortion that are more noticeable than the Nikkor equivalents. However, at least the Tamron doesn’t exhibit complex distortion, so it should be relatively easy to correct with software. In physical terms, the lens is large and heavy and doesn’t cover the popular 35mm focal length, but as a 24-47mm equivalent on an APS-C-format DSLR, it remains a versatile offering. Combined with its good performance and the lure of built-in stabilization, at around $1,200 it looks very tempting.
Although the Sony has good center sharpness throughout much of the range, the exception is at 50mm, where field curvature can be problematic and stopping down doesn’t help. It also has quite noticeable chromatic aberration at the edges of the frame at 16mm and when stopped-down mid-range (24-35mm), making it look like a somewhat problematic lens. On balance, however, after taking the high speed aperture, stabilization, sonic type motor and price into account, it remains an attractive option for Sony users. But if brand loyalty isn’t a concern, potential buyers could look at the offerings from Sigma or Tamron.
I did some tests today as I have been getting some poor focus at 70mm on my 24-70FE I mainly do landscapes but play around with some portraits and wildlife when I get the chance, but recently a bird shot came out tack sharp on my partners RX100 and my carefully manually focussed shots on […]
Hi guys! I am fairly new at this. (Beginner) so please bear with me. Anyway, I'm searching for good guides for my new cameras. Can you guys point me to the right direction. There are quite a lot of websites that discusses the a7 series but I dont know which ones are good. […]
I came from DSLR and have black rapid that was great for bulky DSLR but now on the A7 it feels a little too big and not very comfortable to work with. I was wondering what you guys are using/suggesting and why? Thanks. Sent from my iPhone using Tapatalk
Hi guys— Is there a way to control the iris/aperture on the A7sII via LANC (I know it doesn't have a Lanc port, but Movcam has a USB to LANC adapter) and some type of controller remotely? I know I can use the iOS app to control it but it's not reliable as a […]
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Etymology: Middle English rumour, from Anglo-French, from Latin rumor clamor, gossip; akin to Old English rēon to lament, Sanskrit rauti he roars
Date: 14th century
1: talk or opinion widely disseminated with no discernible source
2: a statement or report current without known authority for its truth
3 archaic : talk or report of a notable person or event
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