Wednesday, October 7, 2020

Utstyrsstyr

Dette er intet ringere enn låven på Faarlund, eller furulund, og tilhører selveste friluftslivs-kongen vår, Nils Faarlund på Bilitt.

Må få fotografert flere slike gamle Toten-låver. De gjør seg absolutt best om vinteren, og flottere enn Faarlunds-låven kan det ikke bli:-)

Her er pålagt to filtre fra Nik Collection.

-Wikimedia.

EOS 850D var en stor nedtur, slik at jeg har bestemt meg for å selge alt mitt Canon-utstyr, og kjøpe en Fujifilm X-T200 til jentene som ei felles julegave, hvor dette lille kameraet kan stå i kjøkkenvinduet, slik at hele familien kan delta i å fotografere hverdagen her i engen.

Ei linse jeg nesten hadde glemt er Tamrons 28-200 mm. I dag var en god anmeldelse av den.


Så når det blir reising igjen tror jeg at jeg satser på denne, pluss Samyang 18 mm f2.8 mm og 75 mm f1.8, samt min GM 24 mm f1.4 til miljøportretter og landskap. Kun Samyang 75 mm trenger jeg før det blir tur igjen, når kona finner ut det er tid for dette. I mellomtiden blir det å fotografere Toten og Oppland, da resten av landet er ødelagt.

***




I was hoping for this camera of nostalgic reasons, as I started out with a 550d, but now I sell all my Canon stuff and go for Fujifilm." - PermaLiv

Dette ble nedtur, så nå kvitter jeg meg med alt fra Canon og skaffer meg en Fujifilm med en 24 mm pluss liten blitz til jul, og lar jentene få denne i felles julegave, slik at de kanskje kan få litt interesse for faget de også.




Samlet vil ikke denne investeringen koste mer enn en ny 90D, hvor jeg kanskje i tillegg kan få litt tilbake for mitt gamle Canon-utstyr.


Eneste linsa jeg brenner etter for min a7III nå er Samyangs 75 mm f1.8.

***

En meget bra artikkel av Dan Wells, ligger vel nå bak betalingsmur, men siterer litt av det viktigste her eller her i kommentarfelt. I sammenligning mellom Z-50 mm f1.8 og Sonys 24-105 mm på 50 mm, er det en ubegripelig forskjell med en a7rIV, som vist i eksempel-bilder fra artikkelen. Fikk ikke noe lyst på Sonys 24-105 mm lenger, så får se hvordan jeg griper an det hele i fortsettelsen? Bildene kan ses i artikkelen uten tekst, av murveggen, hvor første murbilde er Nikons Z-50 mm, andre murbilde av Sonys 24-105 mm uten oppskarping, og tredje murbilde samme bilde men med oppskarping. Antar Nokons murbilde er uten oppskarping, men allikevel meget skarpere.

Artikkelen sammenligner Nikon mot Sony - systemet.


"Both images are at 100% (thus the slightly different scale), converted in DxO Photo Lab from uncompressed raw. Both set off with the self-timer from atop the Mighty Robus (a beautiful carbon fiber tripod made by B&H’s Robus store brand with a 55 lb weight capacity).

I know the zoom’s not fair, but I didn’t have a 50mm Sony prime. I chose f4.5 because it was the best looking aperture on the Sony lens.

Another strength of Nikon’s lens line over Sony’s is the consistently high quality of the S line native lenses. The 14-30mm f4 is probably the weakest of the bunch, and it’s still a very good lens. The 50mm f1.8 is the sharpest reasonably priced normal lens in the world – the only sharper option in any mount is the Otus. The Sigma Art is in very much the same category as the little Nikkor, but at a much greater price and weight. The S line lenses range from very good, through many in the excellent range to “wow”. They are a limited, but well chosen range for a compact mirrorless camera. Nikon made the decision to start with high-quality, modest aperture lenses, to keep the system as portable as it is. While none of the lenses except the exotic “look what we can do” Noct are especially fast, only the 24-240mm travel zoom and two inexpensive DX lenses (that are of no interest to Z7 customers) are especially slow.

Even without the FTZ, there is a relatively complete set of primes from 20mm to 85mm, all f1.8 and very high quality. Add two excellent normal zooms at f2.8 and f4, both constant aperture, and a very good constant f4 ultrawide zoom and you have a system whose huge weakness is telephoto. Below the telephoto range, the Z system is not glaringly incomplete counting only native lenses – a few faster lenses, especially a fast 85 or 105mm ”bokeh special” portrait lens, would be nice, and a 105mm Micro-Nikkor would be very welcome. Nikon is about to release a native 70-200mm f2.8, which will help in the moderate telephoto range.

They certainly need a more compact telephoto option than a 70-200mm f2.8, and eventually to start transitioning the longer telephotos to Z mount. Nikon has a huge advantage in the telephoto range– they have released two very successful compact telephotos in the F-mount using their Phase Fresnel (PF) technology. Canon played with something similar, but neither of their lenses was a great success, and both were discontinued. Both the 300mm f4 PF and the 500mm f5.6 PF Nikkors are a great deal smaller and lighter than one would expect for their specifications – the 300mm f4 looks like a 24-70mm f2.8, and is actually lighter than most of them. The 500mm f5.6 PF looks like a 70-200mm f2.8, and is around the same weight. Both are superb performers, and both work very well on the Z7 with the FTZ."

"The most important weakness is that there is no high-quality, compact midrange zoom. The 24-105mm f4 is a very good lens, and the 24-70mm G Master is by all accounts an excellent one – but the 24-105mm is 1.5x the size and weight of the little 24-70mm f4 Nikkor, and the G Master is rapidly approaching twice the weight of the f4 Nikkor (Nikon’s 24-70mm f2.8 is only a little heavier than Sony’s 24-105mm f4). Yes, one Sony lens is longer and the other is faster – of course they’re bigger and heavier (and Nikon could use a 24-105mm f4).

Unfortunately, Sony’s 24-70mm f4 “Zeiss” is a mediocre lens from the very earliest days of the A7 system, badly in need of replacement – it’s a decent performer on 24 MP bodies, badly outclassed at 60 MP. The 28-70mm f3.5-5.6 is worse. Since these are compact bodies, Sony needs a compact, high-performance midrange zoom (a 24-70 f4, or maybe f3.5-4.5). The most important lens that is missing from the lineup entirely is a 300mm f2.8 – the most common of the exotic teles. There is an A-mount 300mm f2.8 that is one of the few cases where the adapter to Sony/Minolta A-mount might make sense, but it’s an older lens, not nearly up to the speed of the new G Masters. If you have an A-mount 300mm f2.8 around, or can pick one up cheaply used, of course get the adapter for it, but it’s very worth waiting for the inevitable G Master before buying a new lens.

Several third-party manufacturers make lenses for the Sony FE mount, while there is relatively limited third-party support for Nikon Z. At the present time, every third-party Z-mount lens is an inexpensive manual focus lens that lacks electronic communication with the body. Sigma, Zeiss, Tamron, Samyang/Rokinon and Tokina all make electronically linked AF lenses for Sony FE. Many of these are “stretched” DSLR lenses that include an extra piece of lens barrel to account for the shorter flange distance. Stretching an existing DSLR lens is no different from putting a Nikon F-mount version of the same lens on the FTZ adapter (and essentially all of the modified DSLR lenses also come in F-mount, so they’re actually available for both systems – the only difference is whether it gets a factory stretch or the photographer stretches it with their own FTZ). There are a small, but growing number of dedicated third-party mirrorless lenses available for Sony FE – these are new designs not equivalent to using an adapter. So far, those lenses haven’t made it to Nikon Z, and that could be an important difference.

Finally, the Nikon Z mount is technically superior to the FE mount. When Sony introduced the original A7 and A7r, perhaps not aware of what a game-changing system they were building, they recycled the E mount from the APS-C NEX cameras. It was designed for APS-C lenses, especially to fit on the tiny early NEX bodies, and is much smaller in diameter than the Z mount (or Canon EF). The smaller the diameter of the mount in relation to the sensor diagonal, the harder it is to design lenses, especially faster or wider lenses. The lens design issues become worse with digital sensors, both because of the much higher acuity (resolution per area – these full-frame sensors resolve like 4×5” or larger film) of digital sensors and because digital sensors are only sensitive to light entering close to perpendicular to the sensor, while film accepts light at odd angles. The FE mount is cramped – no more so than the similarly-sized, 60 year old Nikon F mount – but nobody would design the F mount for full frame today. Canon has used the much larger EF mount to design lenses that simply wouldn’t work on an F mount camera. Nikon, learning from Canon’s fast and wide lenses, built the Z mount even wider than EF (it’s close in diameter to some of the smaller medium format mounts), giving themselves a great deal of lens design flexibility.

By recycling the APS-C E mount, Sony gave themselves the struggle that Nikon finally escaped. There was no compatibility reason to keep the E mount – most of the APS-C E mount lenses are inexpensive, modest performers that few photographers would accept the crop factor to use on full-frame bodies. My suspicion is that the A7 and A7r were seen as curiosities within Sony at first. Photographers were asking for a version of the RX1 full-frame compact with a lens mount, so someone concocted a parts-bin project that took an existing RX1, threw an existing NEX mount on the front and permanently attached the viewfinder (from the NEX-7 parts bin) that was optional on the RX1. Early A7 series cameras really do look like that’s how they were designed. Note the oddly placed shutter button on the top deck instead of the grip and the nearly identical top (minus the finder) and rear plates between an early A7 and the RX1. Sony was then caught by surprise when the A7 line took off and became far more popular among serious photographers than the NEX line. They’ve mostly fixed A7 series ergonomics since then, but they’re still stuck with the NEX mount they originally duct-taped to the RX1."

"Company and mount stability – Nikon (both are very likely to survive, but read on)

Of course, Sony is a much larger company than Nikon, and far less likely to be bought, so the obvious answer is “Sony is the more stable choice”. To begin with, I wouldn’t be afraid to buy into EITHER of these systems. If there’s a contraction in camera manufacturers from seven or so to as few as three, both Nikon and Sony are going to be among the survivors – a three player market is Canon, Nikon and Sony, while four players is all of the above plus (probably) Fujifilm. In the much less likely case of a TWO player market, it could be either Canon and Nikon or Canon and Sony. Conventional wisdom is that Canon and Sony is the more likely two player configuration, but I actually think that the more likely of these two unlikely scenarios is Canon and Nikon.

Canon and Nikon are both camera companies, and Japanese national treasures AS historic camera companies. Any buyer for Nikon (or less likely, Canon) knows they are buying a camera company, and they want a camera business. Sony, on the other hand, is a conglomerate with a comparatively small camera business (including everything from point and shoots to CineAlta cinema cameras, it’s about 8% of their total business). Half of Sony’s revenue is entertainment (PlayStation, Sony Pictures and its myriad divisions, and Sony Music). The rest is divided among financial services (Sony is a bank in Japan and a life insurance company in much of Asia), TVs and other home electronics and semiconductors. Each of these businesses is individually larger than the combined still and video camera businesses. On the front page of their most recent Corporate Report, Sony calls themselves “A Creative Entertainment Company with a Solid Foundation in Technology”, while Nikon’s Our Vision statement is “Unlock the future with the power of light”. Which of these sounds more like a camera company?

If somebody buys Nikon, they’re interested in making cameras. The buyer could be a larger electronics company like Samsung or a tech giant like Apple or Google/Alphabet, but whomever it is, they would want to make cameras. Nikon is one of the small number of optical companies in the world with the expertise to formulate their own optical glass (Sony buys glass, although they do grind lens elements). Nikon’s camera business includes a huge number of professional users who are loyal to the brand and buy expensive equipment to keep current. Nobody is going to spend the money to buy Nikon and then discard that. If somebody like Apple were to buy Nikon, their reason would be “we make a ton of money on photography, but have nothing for people who want something more creatively flexible than an iPhone”. They would integrate Nikon deeper into their software, but would keep making distinctively Nikon hardware with Nikon’s two mounts."


***

Her var den første virkelig profesjonelle analysen av Tamrons nye 70-180 mm:


Hvor den får en virkelig flott omtale!

Allikevel, nå har jeg skaffet meg min 100-400 mm GM, så nå får jeg holde meg til denne. Eneste problemet med denne er at den ikke har zoom-lås, bare en stramme-ring, som ikke strammer tilstrekkelig.


Skal prøve å få Sony til å stramme denne. Uansett må jeg få meg en liten foto-sekk hvor jeg kan bære med meg denne linsa liggende, ikke hengende, da den da vil krype ut under vandringen. Kanskje denne:


Utover dette kansellerer jeg videre linse-investeringer inntil videre, og fortsetter med min trofaste Tamron 28-75 mm. Denne har en slarkete, irriterende solblender, men denne dropper jeg og skaffer meg heller et skikkelig, anti-refleks beskyttelsesglass.



Ble også litt usikker på om jeg skal investere i 850D for hverdags-foto etter denne videoen, men tror allikevel fordelene for veier tyngre. Hvis Fiji kommer med HEIF vil jeg virkelig være fristet til å droppe RAW og kun gå for Fujis film-simuleringer.


"Aurora Aperture Introduces a Next-Generation Rear Mount Filter System"

Dette var underlig, reverserer artikkelen til kladd, og når jeg åpner den får jeg opp en gammel versjon jeg slettet for lenge siden. Men ingen skade skjedd, da utstyrs-styret stadig må revideres. Ovenfor er et nytt munnings-filter til min nye Sigma 14-24 mm, men tror det greieste er å heller få lange lukkertider ved å fotografere med lite lys, i alle fall for landskaps-fotografi. Uansett et interessant konsept.

Min nye GM 100-400 mm er meget bra, med et unntak, linsekryping, selv når man setter justeringen på det strammeste. Trolig kan man ikke klage på dette, men skal prøve. Forstår ikke hvorfor man ikke har en låseknapp? Uansett finnes ikke noe alternativ, Tamrons 70-180 mm ble altfor svak på den lange enden.

Illustrasjon: Phoblographer


Fikk svar på hvordan å sjekke desentrering:
Det er vanskelig å si utifra en jpg-fil med så mye oppskarping, men det ser ikke umiddelbart ut som om det er snakk om en desentrering her. Den enkleste måten å undersøke dette på uten å involvere testplansjer og verksted er å ta bilde av en jevn murvegg og se etter forskjeller fra side til side - helst med en råfil som utgangspunkt. Send oss gjerne en råfil (gjerne med et slikt motiv) om du har mulighet. Du kan f.eks. bruke filemail.com for å sende store filer.

Med vennlig hilsen,
Foto.no / Interfoto AS

Relatert


Etekcity 24" (60cm) 5-in-1 Portable Collapsible Multi-Disc Photography Light Photo Reflector for Studio/Outdoor Lighting with Bag - Translucent, Silver, Gold, White and Black

One of Western Digital’s New SanDisk Cards Can Hold 1TB of Photos (Tenk å ha to slike minnekort i kameraet:-) Da kan man være flere år på Filippinene, uten å gå tom for lagringsplass!)

Color Balance: Understanding It, Achieving It, and Using It Creatively

Best Photo Printer in 2019 | Print Stunning Quality Photos at Home

A properly calibrated monitor is an essential part of colour management

Kids’ Photography | 18 Tips On How To Get Beautiful Pictures

3 Common Landscape Photography Mistakes and How to Avoid Them

How to Maximize Image Quality in Photography

Upload Videos To Instagram From PC (2019)

RawTherapee (Leonidas09 benytter Raw Therapee, så det kan være interessant å prøve ut ved anledning)

20 Travel Photography Tips | How To Get The Best Travel Photos

Nic Collection Webinars

15 Best Sites to Sell Photos Online and Make Money

at
Labels: ,

No comments:

Post a Comment

Note: Only a member of this blog may post a comment.

Subscribe to: Post Comments (Atom)

Featured Post

Dagens demokrati kan ikke redde oss fra klimakrisen

Politikerne tror at løsningen på klimakrisen er å forsterke naturkrisen, ved å grave i filler naturen vår, for å plassere vindkraftverk på h...