Really Right Stuff L-Bracket for Fujifilm GFX100 II

2024-05-04 • SEND FEEDBACK |
Related: Fujifilm, Fujifilm GFX100 II, Fujifilm medium format, Fujifilm mirrorless, L-bracket, medium format, Really Right Stuff, tripods and support

On my new Fujifilm GFX100 II is the fantastic about $230 Really Right Stuff FUJIFILM GFX100II L-SET. I have the two-piece variant but there is a unibody variant also.

Also available for the camera with and without the battery grip.

I love the RRS gear; it has served me incredibly well for 15 years or so now. Tripods, brackets, tripod heads, various plates, etc.

CLICK TO VIEW: Fujifilm GFX System Top Picks

Really Right Stuff FUJIFILM GFX100II-LS on Fujifilm GFX100 II

Really Right Stuff FUJIFILM GFX100II L-SET

Elevate your Fujifilm GFX100 II experience with Really Right Stuff's BGFX100II plates, meticulously designed to banish twisting and optimize ergonomics. Crafted from 6061-T6 aluminum, they boast unparalleled strength and a sleek matte finish. Every detail is perfectly tailored with innovative features like slide-away L-components for seamless portrait shooting. Access all side ports effortlessly, thanks to the thoughtfully contoured upright section. The integrated strap lug anchor offers added security, while the hex key conveniently stored in the L-Plate ensures hassle-free adjustments. 

Whether you opt for the two-piece BGFX100II-LS or the unibody BGFX100II-LBG, your camera is in expert hands. Compatible with Arca Swiss clamps, these plates guarantee stability and precision, letting you focus on capturing the perfect shot. Say goodbye to bulky accessories – our plates blend seamlessly with your camera, maintaining its sleek profile. Trust in our custom-machined, threaded mounting screws for quick and secure attachment, allowing you to unleash your creativity without constraints. It's time to unlock the full potential of your GFX100 II with Really Right Stuff. 

Rest assured, all Really Right Stuff products come with a five-year warranty against defects in materials or craftsmanship from the purchase date. We stand by our commitment to quality, offering repair or replacement as needed.

Features

• Crafted with precision from 6061-T6 Aluminum using advanced CNC machining techniques.
• Coated with Type II Black anodizing for a sleek and durable finish.
• Features laser-engraved center marks for precise alignment and calibration.
• Equipped with an integrated Quick Detach (QD) socket for seamless strap attachment.
• Includes a 1/4"-20 threaded accessory mounting socket for versatile accessory compatibility.
• Provides full access to camera accessory ports, ensuring uninterrupted functionality.
• Allows easy access to the battery without removing the plate, for uninterrupted shooting sessions.

Perfect fit and finish with the GFX100 II.

Really Right Stuff FUJIFILM GFX100II-LS on Fujifilm GFX100 II

Sigma’s CEO Wants to Make Lenses for Medium Format Cameras

2024-05-04 • SEND FEEDBACK |
Related: medium format, Other World Computing

re: Fujifilm GFX100 II, Fujifilm GFX100S: Standout Lenses that Nail It

From Petapixel:

Sigma’s CEO Wants to Make Lenses for Medium Format Cameras

In an interview with PetaPixel at the Japanese camera exhibition CP+ in Yokohama, Sigma’s CEO Kazuto Yamaki expressed interest in expanding his company’s support for lenses beyond full-frame cameras, specifically saying that he would like to see Sigma make glass for medium format options.

“I [am] personally very much interested in supporting medium format. Again, it’s a small market, but I have some interest,” he says.

...“Up until now, we have been very busy to have the range of lenses for full-frame mirrorless cameras. So we have to have some kind of regular stuff, like a 24-70mm f/2.8, 35mm f/1.4, or 50mm f/1.4, but now we have these lenses,” Yamaki explains.

“That’s why we started releasing such unique products, like the 500mm f/5.6 or 15mm f/1.4 fisheye,” he continues, referencing both of the optics Sigma debuted at CP+ last week.

Fujifilm GFX100 II

DIGLLOYD: it would terrific to see both Sigma lenses for medium format. This might unleash the platform in a serious way by hugely expanding the ecosystem just as the cost of medium format plunges well below some 35mm-format cameras.

Still, I am less interested in Sigma than in Voigtlander. What I want is ultra-high performance lenses.

CLICK TO VIEW: Fujifilm GFX System Top Picks

In particular, I would like to see Cosina Voigtlander deliver equivalents of its Voigtlander FE 35mm f/2 APO Lanthar, Voigtlander FE 50mm f/2 APO Lanthar, Voigtlander FE 65mm f/2 APO Lanthar for Fujifilm medium format. Though I have some trouble reconciling this idea with the need for manual focus which makes the automated focus stacking of AF lenses impossible. OTOH, the impressively greater real depth of field of the Voigtlander APO lenses would help out.

Even if they were 50% larger than the 35mm-format lenses, Voigtlander medium format lenses would still be small. And I’d be very happy with seeing them kept to f/2.8, which in theory could keep them to a similar size: covering a frame 2/3 larger but more squarish (4:3 instead of 3:2) and also dropping a stop of brightness should make that feasible. I’d be pleased with f/3.5 lenses so long as they are as good or better than the 35mm-format ones.

     

Voigtlander APO lenses: 35mm, 50mm, 65mm

Fujifilm GFX100 II

Fujifilm GFX100S II Coming Soon? Features?

2024-05-04 • SEND FEEDBACK |
Related: EVF, Fujifilm, Fujifilm GFX100 II, Fujifilm GFX100S, Fujifilm medium format, Fujifilm mirrorless, medium format

The Fujifilm GFX100 II was released in September 2023.

The rumor suggests that a Fujifilm GFX100S II is due in mid-May (8 months later) at a price of US$5000. Let’s see if that works out better than the mid-February prior claim.

I purchased the $7500 Fujifilm GFX100 II at a nice discount and sold my GFX100S to offset the cost. The EVF issue seems to have resolved. It is by far the best camera Fujifilm has yet produced, much more responsive and with the highest-quality EVF of any camera today.

CLICK TO VIEW: Fujifilm GFX System Top Picks

Features: $5000 Fujifilm GFX100S II have versus a $7500 Fujifilm GFX100 II?

Surely the GFX100S II would have the same sensor and the same IBIS mechanism.

That doesn’t leave much to differentiate without cutting core features. Will we really see a $2500 cost difference for minimal benefits? Or will we see something problemetic cut back?

• Fujifilm GFX100S II presumably will have a built-in EVF (non-detachable), but will it have same fantastic high-res EVF? And even if it does have the same resolution EVF, it is likely to have a lower magnification optical system for the EVF, one visibly less easy on the eyes. Because the optics cost money.
• Smaller/lighter/less robust body?
• Slower frame rate or less fast processing speed?
• Lack of the high performance CFExpress Type B slot and/or a single card slot?
• Drop the top LED panel?

I’m just not seeing a whole lot that Fujifilm can skimp on.

Fujifilm GFX100S

Fujifilm GFX100S

Huge Discounts on Nikon Z8, Nikon Z7 II, lenses

2024-05-01 • SEND FEEDBACK |
Related: deals, Nikon, Nikon mirrorless, Nikon Z7 II

The Nikon Z7 II and Nikon Z8 are deeply discounted.

My #1 pick on the lenses would be the Nikon Nikkor Z 14-24mm f/2.8 S. Along with the Nikon 105mm f/2.8 NIKKOR Z MC VR S Macro and Nikon 70-200mm f/2.8 AF-S NIKKOR E FL ED VR.

See also:

• Sigma deals
• Canon deals
• Fujifilm deals

Nikon Mirrorless

Color Management wish list • Deals on Datacolor

$2997 Nikon Z7 II Mirrorless Camera OUT OF STOCK in Cameras: Mirrorless	$3497 SAVE $500 = 12.0% Nikon Z8 Mirrorless Camera IN STOCK in Cameras: Mirrorless	$2097 SAVE $400 = 16.0% Nikon 14-24mm f/2.8 NIKKOR Z S IN STOCK in Lenses: Mirrorless	$997 SAVE $200 = 16.0% Nikon 17-28mm f/2.8 NIKKOR Z IN STOCK in Lenses: Mirrorless	$897 SAVE $100 = 10.0% Nikon 24mm f/1.8 NIKKOR Z S IN STOCK in Lenses: Mirrorless
$1997 SAVE $400 = 16.0% Nikon 24-70mm f/2.8 NIKKOR Z S IN STOCK in Lenses: Mirrorless	$697 SAVE $150 = 17.0% Nikon 35mm f/1.8 NIKKOR Z S IN STOCK in Lenses: Mirrorless	$1897 SAVE $200 = 9.0% Nikon 50mm f/1.2 NIKKOR Z S IN STOCK in Lenses: Mirrorless	$527 SAVE $100 = 15.0% Nikon 50mm f/1.8 NIKKOR Z S Lens with UV Filter Kit IN STOCK in Lenses: Mirrorless	$847 SAVE $200 = 19.0% Nikon 105mm f/2.8 NIKKOR Z MC VR S Macro Lens (Nikon Z) IN STOCK in Lenses: Mirrorless
$997 SAVE $100 = 9.0% Nikon 16-35mm f/4 AF-S NIKKOR G ED VR IN STOCK in Lenses: DSLR	$1597 SAVE $500 = 23.0% Nikon 24-70mm f/2.8 AF-S NIKKOR E ED VR IN STOCK in Lenses: DSLR	$2347 Nikon 70-200mm f/2.8 AF-S NIKKOR E FL ED VR IN STOCK in Lenses: DSLR	$1447 SAVE $150 = 9.0% Nikon 85mm f/1.4 AF-S NIKKOR G IN STOCK in Lenses: DSLR	$1057 SAVE $340 = 24.0% Nikon 200-500mm f/5.6 AF-S NIKKOR E ED VR IN STOCK in Lenses: DSLR

Leica SL3: How Does it Manage to Miss with Spot AF?

2024-04-30 • SEND FEEDBACK |
Related: Leica, Leica M, Leica SL3, Spot AF

From a few weeks ago... how can a Spot AF function with a tiny extremely precise crosshair... miss?! The crosshair is on the leading edge of the railing, but the focus ends up in the far distance! Broken half-assed functionality like this really bothers me.

And the Leica SL3 makes it far worse with its “gridded” AF spots—a coarse grid that strictly controls where the precision spot can go, far more coarse than most camera. That’s grid AF, not spot AF, and it’s a bad joke. Short of recomposing, there is no way to better center that crosshair on the subject. Which makes a mockery of a Spot AF function. It is the worst by far in any camera I}ve used, but just one of nearly two dozen failings of the Leica SL3 vs Sony A7R V which make the SL3 the worst value on the market today along with the worst haptics on the market. The SL3 can’t get even the basics right, but they want twice the price. Seriously Leica?

Do you care? Maybe not. But Spot AF is all I use on all my cameras, so it matters a lot to me.

And BTW, while I did not test the focus tracking, a good friend who borrowed the SL3 for a weekend reports that it cannot begin to compete with the Sony A1 or Sony A7R V. If a camera can’t track well, and can’t do Spot AF properly, it’s a serious loser.

f2.2 @ 1/90 sec, ISO 320; 2024-04-06 14:03:06
iPhone 15 Pro Max + iPhone 15 Pro Max 2.2 mm f/4 @ 2.2mm ENV: altitude 683 ft / 208 m

[low-res image for bot]

SHOOTOUT: Sigma FE 50mm f/1.2 DG DN Art vs Voigtlander FE 50mm f/2 APO: Deck and Roof

2024-04-25 • SEND FEEDBACK |
Related: apochromatic, Sigma, Sigma FE, Sigma FE 50mm f/1.2 DG DN Art, Sigma Lenses, Sony, Sony A7R, Sony A7R II, Sony A7R III, Sony A7R IV, Sony A7R V, Sony mirrorless, Voigtlander, Voigtlander FE, Voigtlander FE APO-Lanthar 50mm f/2 Aspherical, Voigtlander Lenses

This f/1.2 - f/8 series pits Sigma FE 50mm f/1.2 DG DN Art against my unrivalled reference lens*, the Voigtlander FE 50mm f/2 APO-Lanthar Aspherical ("CV50/2") on a boring but revealing scene which displays fine-detail sharpness and zone of sharp focus exceedingly well.

The Sony FE 50mm f/1.2 GM is not included because it looked so poor—something wrong with the right 1/3 of the frame. Not worth showing because it clearly has an issue. I am looking into whether I can get it replaced or adjusted.

Sigma FE 50mm f/1.2 DG DN Art vs Voigtlander FE 50mm f/2 APO: Deck and Roof

Include images up to full camera resolution from f/1.2 - f/8 plus crops.

CLICK TO VIEW: 50mm Lenses for Sony

f1.2 @ 1/2000 sec, ISO 100; 2024-04-25 16:56:14
Sony A7R V + Sigma FE 50mm f/1.2 DG DN Art
RAW: Enhance Details, LACA corrected, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Tiny 4TB High Performance SSD: 4TB OWC Envoy Pro Elektron

2024-04-24 • SEND FEEDBACK |
Related: Other World Computing, OWC Envoy Pro, OWC Envoy Pro Elektron, SSD

re: OWC Envoy Pro Elektron

Looking for a great little drive for your travels?

TESTED: OWC Envoy Pro Elektron USB-C SSD, 4TB

Fantastic performance in a tiny package!

CLICK TO VIEW: High Performance SSDs

Sustained transfer speed of 4TB OWC Envoy Pro Elektron SSD, across entire capacity

Fujifilm GFX100 II: Bad EVF or Defective Camera or Firmware Bug?

2024-04-21 • SEND FEEDBACK |
Related: Claude F, Dr S, EVF, Fujifilm, Fujifilm GFX100 II, Fujifilm medium format, Fujifilm mirrorless, medium format

re: Fujifilm GFX100 II

re: Best Configuration for Evaluating ETTR Captures on Fujifilm Medium Format?
re: Fujifilm GFX100 II, Fujifilm GFX100S: Standout Lenses that Nail It

UPDATE 2024-05-04: the issue seems to have resolved. This makes me nervous—will it reappear? Glitches bother me since they usually mean something is coming back, sooner or later. But I can’t demonstrated it as a problem now, so looks like I’ll have to take my chances.

...

I’m not sure what’s going but I’m having trouble with my Fujifilm GFX100 II. I updated it to the very latest firmware version 2.10, and did one shoot, no issues.

But a day later, I turned it on and the EVF is a mess like an old TV set that has no signal—noisy with dancing lines. This has occurred several times when I turned on the camera. I detached and reattached the EVF to no avail.

Whether this is a firmware bug or a defective camera or defective EVF I don’t know. But I never had such issues for over a month last fall when I tested the GFX100 II.

Dr S writes:

I assume you tried all the usual remedies.....clean the contacts of the EVF and the area of the cam it attaches to..... make sure the EVF is secure by removing and reinserting the EVF a number of times... knock the camera into the wall really hard a few times (not really).

Does the cam work normally without the EVF? Obviously if everything does work without the EVF, can you find a cam store with a vertical EVF or an older GFX that had a removable one (forgot which model).... I think the original had one as well as another.... and try that at least to narrow down the issue.

The simple remedy, assuming it is new, is to return the cam to the dealer for an exchange. If you recall, my first GFX had an alignment issue with the sensor. Since there were no replacements available I sent it to Fujifilm back east and I had a new body with 3 days since I am a Pro member.

DIGLLOYD: yes, I did all the usual things that make sense. Yes the camera otherwise works normally including the rear LCD. It is clearly an EVF thing, suggesting something flaky about the contacts between the EVF and the camera. A reason I generally prefer the unibody design of the GFX100S—sealed and no such issus.

Thing is, with an intermittent problem like this, confidence is lost—it might work fine, then the EVF just fails entirely when 500 miles from home for a weeks-long trip. I can't have that.

I’ll test it out every day for a week—today it was fine—and then when B&H Photo is open on May 1, I’ll see about swapping it out.

While it does look like an issue that might relate to electronic contacts, cleaning contacts on a brand-new camera is not something that makes much sense to me—fresh out of the baggies. If it cannot work right out of the box, no amount of cleaning is going to give me confidence of years or even months of reliable use. But that is the only thing that Fujiflm support had to suggest, confirming it wasn't a known issue. Which seems to rule out firmware bugs. And if that actually worked, it would be a bad sign and just leave me guessing as to whether it is a fluke. More likely it would just contaminate pristine electronic contacts. Worse, the problem is intermittent, so it would prove nothing and inspire no confidence.

Claude F writes:

I had a similar problem with my GFX100S. Turned the camera on/off, battery in/out, and problem resolved.

DIGLLOYD: I did both those things, it did not resolve. But since it's a flaky problem, it’s not clear to me that it was causal for solving it in Claude’s case either.

Jean-Luc D writes:

I have a similar issue with the Fujifilm GFX100s, I am not sure is related but a few times I pushed the button inadvertently at the front of the camera to control the improve focus and EVF display performance, I changed the setting to BOOST and the issue disappeared ! In the PDF Fujifilm GFX100 II manual you have this information page 367.

DIGLLOYD: sounds like some initialization condition in the code has a general BUG. It makes sense that if the display mode is switched, that it might rejigger something, by forcing a change in the code flow. That would also explain why powering off/on can sometimes re-establish proper function.

Why I never saw such an issue for a month with the Fujifilm GFX100 II last fall, dunno. I also cannot recall seeing it with my Fujifilm GFX100S for two years.

I am aware of the various settings. I set the camera to BOOST = EVF RESOLUTION PRIORITY, thinking that will give me the best detail for checking focus.

CLICK TO VIEW: Fujifilm GFX System

Fujifilm GF 20-35mm f/4 R WR

FOR SALE: Lloyd’s Fujfilm GFX100S with Really Right Stuff L-Bracket $2900 OBO —  SOLD

2024-04-17 • SEND FEEDBACK |
Related: Fujifilm, Fujifilm GFX100S, Fujifilm medium format, Fujifilm mirrorless, L-bracket, medium format, Really Right Stuff, shutter, tripods and support

With my new Fujifilm GFX100 II on the way, I am selling my Fujifilm GFX100S, which sells new for $4399 ($1600 off).

• Fujifilm GFX100S with box and original stuff that comes with
• Really Right Stuff L-bracket
• Sony TOUGH 128GB SDXC card 300MB/sec

This is the same GFX100S that has done all my work for the past 3 years—a known-good reliable camera.

Some people wonder about "shutter count" eg a worn physical shutter. I don’t know what the count is, but it’s essentially new, since 99% of my images are/were taken with the electronic shutter (ES), no physical shutter actuation at all, so zero wear. I don’t think I’ve taken more than 10K frames, nearly all of them ES. But if this is the right EXIF field, then it’a 8K or less:
Image Count                     : 7240
BTW, I have verified that this counter counts all frames (ES or otherwise) and is thus complete bullshit as to actual shutter usage. All some online sites do that give you the number is extract this number. They are equally BS.

$2900 OBO. Contact Lloyd SOLD

Buyer pays insured FedEx shipping speed of choice.

Fujifilm GFX100S

Fantastic LED Lighting $1000 = 50% Off

2024-04-17 • SEND FEEDBACK |
Related: none

I own the Luxli Taiko 2x1 RGB LED Light Panel, and it is the best lighting I have ever had. I’d love to have a 2nd one because a pair of these can provide ultra-even illumination on a subject.

And it’s now 50% off.

• CRI 95 / TLCI 98 (varies slightly with color temperature, can be up to CRI 98)
• Smooth diffuse light, not the ugly glare as from most LED lighting.
• Lghts up a whole room even when bounced off ceiling.
• Dimmable from 1% to 100%.
• Silent, no fan.
• Color temperature is variable to just about anything and you can even do garish colors—just about any color you want.
• Very low power draw relative to light ouput (250W max)—like having 2000W of halogen.

It’s a large light, so I would not call it easily portable, but for a studio or similar, one of these (or a pair!) would be fantastic.

It is the lighting I used for some of my studies last month using art work.

Lighting

Color Management wish list • Deals on Datacolor

$1999 Luxli Taiko 2x1 RGB LED Light Panel IN STOCK in Lighting: LED

$2198 Luxli Taiko 2x1 RGB LED Light Panel (Complete Kit) OUT OF STOCK in Lighting: LED

$4455 Luxli Taiko 2x1 RGB LED Light Panel Accessories Kit OUT OF STOCK in Lighting: LED

f7.1 @ 1.0 sec, ISO 100; 2024-03-01 12:22:15
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 42.6mm equiv (51.8mm)

[low-res image for bot]

Fujifilm GF 20-35mm f/4 is $500 off, first-ever discount on it

2024-04-15 • SEND FEEDBACK |
Related: Fujifilm, Fujifilm GF 20-35mm f/4 R WR, Fujifilm GFX100S, Fujifilm Lenses, Fujifilm medium format, Fujifilm mirrorless, medium format

re: Fujifilm GFX100 II

re: Best Configuration for Evaluating ETTR Captures on Fujifilm Medium Format?
re: Fujifilm GFX100 II, Fujifilm GFX100S: Standout Lenses that Nail It

For the first time ever, the Fujifilm GF 20-35mm f/4 is discounted, and by $500.

The GF20-35 is an outstanding lens. I have used at least 3 samples. All were good, but one was noticeably outstanding, and I wish I had bought it.

Fujifilm GFX System

Fujifilm Medium Format wish list • Deals on Fujifilm

$7499 FUJIFILM GFX 100II Medium Format Camera IN STOCK in Cameras: Medium Format	$4399 SAVE $1600 = 26.0% FUJIFILM GFX 100S Medium Format Camera IN STOCK in Cameras: Medium Format	$2999 SAVE $1000 = 25.0% FUJIFILM GFX 50S II Medium Format Camera IN STOCK in Cameras: Medium Format	$1999 SAVE $500 = 20.0% FUJIFILM 20-35mm f/4 GF R WR OUT OF STOCK in Lenses: Medium Format	$3999 FUJIFILM 30mm f/5.6 GF T/S Lens (FUJIFILM G) PREORDER in Lenses: Medium Format
$999 FUJIFILM 35-70mm f/4.5-5.6 GF WR IN STOCK in Lenses: Medium Format	$999 FUJIFILM 50mm f/3.5 GF R LM WR IN STOCK in Lenses: Medium Format	$2299 FUJIFILM 55mm f/1.7 GF R WR Lens (FUJIFILM G) IN STOCK in Lenses: Medium Format	$2299 SAVE $500 = 17.0% FUJIFILM 110mm f/2 GF R LM WR IN STOCK in Lenses: Medium Format	$3499 FUJIFILM 110mm f/5.6 GF T/S Macro Lens (FUJIFILM G) PREORDER in Lenses: Medium Format
$3299 FUJIFILM 250mm f/4 GF R LM OIS WR IN STOCK in Lenses: Medium Format	$300 OWC 1TB Atlas Pro UHS-II SDXC Memory Card IN STOCK in Accessories: Memory Cards	$680 OWC 2TB Atlas Ultra CFexpress 4.0 Type B Memory Card IN STOCK in Accessories: Memory Cards	$100 OWC Atlas CFexpress 4.0 Type B Card Reader IN STOCK in Accessories: Memory Cards

Fujifilm GF 20-35mm f/4 R WR

Leica SL3: Unstable Lens Focus with 4 of 5 Leica APO-Summicron-SL lenses

2024-04-14 • SEND FEEDBACK |
Related: apochromatic, botched design, imcompetence crisis, Leica, Leica 35mm f/2 APO-Summicron-SL ASPH, Leica 50mm f/2 APO-Summicron-SL ASPH, Leica 75mm f/2 APO-Summicron-SL ASPH, Leica 90mm f/2 APO-Summicron-SL ASPH, Leica APO-Summicron, Leica APO-Summicron-SL, Leica M, Leica SL lenses, Leica SL3, Leica Summicron, Leica Summicron-SL, unstable lens focus

re: botched design

UPDATE: I now have proof of the same unstable lens focus behavior on the 24MP Leica SL2-S, showing that it is not a camera-specific problem. It could be a single-sample problem except that both the 75/2 and 90/2 both show the same bad behavior. So it is not just one lens. Moreover it’s erratic/flaky. OTOH, so far it appears that the 28/2 APO, 35/2 APO, 50/2 APO are free from the issue, or at least I cannot be sure.

UPDATE 2: unstable lens focus is also seen with the 35/2 APO and 50/2 APO. The issue also manifests with the Leica SL2-S, so it is not camera specific either, and looks to be a system deficiency that makes the Leica SL system dead on arrival for numerous types of photography—any work where more than one frame is taken without refocusing.

UPDATE 3: the 28/2 APO might also have the issue. Less frequent and less common but I have two series that show a change in one of the apertures. In other words, the issue is systemic at least for the vaunted APO-SL lenses.

...

I was puzzled at the extra-strong focus shift of the 75/2 APO as shown in Deck and Roof, strong to the point of ridiculous. This seemed wrong optically, yet it was consistent with the the direction of the focus shift and the field curvature in Yellow House at Dusk. Seemingly bearing no explanation other than optical focus shift.

And yet, I now have proof that the focus shift is largely the result of unstable lens focus, making it unreliable to take more than one frame without the focus glitching to the distance with each frame (but sometimes/often and not always). Flaky and erratic. At least with the 75/2 APO and 90/2 APO and 35/2 APO and 50/2 APO.

Leica SL3: Unstable Lens Focus

Leica 90mm f/2 APO-Summicron-SL ASPH Apeture Series: Deck and Roof

A camera this unreliable is an unprofessional toy. Stay away from the Leica SL3 until Leica fixes this problem is my advice. If it can be fixed—what if it is lens electromechanical issue and not fixable? The good news would be a firmware fix, if that is possible. However, my expectation based on past experience working with Leica is for Leica to ignore the issue.

Below, unstable lens focus: these are both f/2 and focus should be identical! 12 foot / 3.6 meter focus drift.

f2 @ 1/2500 sec electronic shutter, ISO 100; 2024-04-11 11:30:03
LEICA SL3 + Leica 90mm f/2 APO-Summicron-SL ASPH
RAW: Enhance Details, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

100 Megapixels coming to a Sony A7R VI ?

2024-04-14 • SEND FEEDBACK |
Related: diffraction, digital sensor, field curvature, Fujifilm, Fujifilm medium format, medium format, optical focus shift, Sony, Sony A7R, Sony A7R II, Sony A7R III, Sony A7R IV, Sony A7R V, Sony mirrorless

re: Sony’s New 19200 X 12800 = 247-Megapixel Sensor IMX811-AAQR Implies 108 Megapixels for 35mm Format

Very interesting sensor developments! Sony has recently announced 2.9 micron photosite sensors also.

NewShooter: Blackmagic Design URSA Cine & URSA Cine 17K

The 17K (17520 X 8040) camera with its 50.8 X 23.3mm 141-megapixel 17520 X 8040 sensor with its 2.18:1 aspect ratio may find a home only in high-end video cameras, but it would make an incredible mirrorless wide-aspect-ratio camera too. Then again 17520 X 13140 would be better, with a 4:3 aspect ratio. It appears that one of the 17K camera mounts uses the Hasselblad XCD mount.

The Blackmagic Design URSA Cine 12K Camera at only $14995 has a new sensor that might be appropriate for a Sony A7R VI. Or at least a sensor using similar tech. As it stands the sensor is most appropriate for video (eg a low pass filter and other features), and is RGBW so it’s not ideal for a still camera.

That said, the core technology for a 100-megapixel 35mm format camera is now in production. Or soon will be. The sensor is just a little bit cropped from the usual 35.7 X 23.8mm (eg Sony A7R V) but perfectly fine.

• 35.63 x 23.32mm
• RGBW (NOT a Bayer sensor)
• 12288 X 8040 resolution = 98.8 megapixels
• 2.90 micron pixel pitch (1.3X smaller than Sony A7R V or Fujifilm GFX100 II)
• Claimed 16 stops of dynamic range.

The sensor is “BlackMagic designed” but I’m guessing it’s fabbed by Sony.

100 megapixels for 35mm format, 170MP for medium format

Sony A7R V

The pixel pitch of 2.90 microns is a factor of 1.30X vs the 3.76 microns of Sony A7R V and Fujifilm GFX100 II. This is hard core, equating to 172 line pairs per mm. Contemplate that vs the 40 lp/mm MTF charts still in popular usage.

The pixel pitch of both the 17K and 12K sensors imply a future ~170-megapixel Fujifilm GFX100 III or Hasselblad X3D 170-C.

Sure would be nice to see Sony enter the medium format game to keep Fujifilm alert and aggressive.

At a time when Nikon and Canon remain at ~45 megapixels and the 60MP Leica SL3 has only just debuted*, can we say game-over if Sony moves quickly and before the others?

* Presumably, Leica would promptly follow suit with a Leica SL4 by 2028 or so. And who knows about Nikon or Canon.

Image quality

The extra pixels are much more about total image quality than resolution. About eliminating digital artifacts like moiré and staircasing and spurious detail, at least with most lenses and by f/5.6. About smoother/cleaner edges and tonal transitions.

Sharpness gains on a 100MP will be minimal and not just from lenses. Two factors are at loggerheads with respect to gains in sharpness on a 100MP 35mm-format sensor. A squeeze from both ends.

Pixel pitch vs depth of field

The 2.9 micron pixel pitch means requires about 2/3 stop more in terms of depth of field eg f/10 instead of f/8. In practical terms, this is unworkable.

Even on the existing 60MP Sony A7R V f/8 is noticeably degrading micro contrast and resolution startingg, with the effects of f/10 much more severe. This is easy to see just by comparing f/5.6 to f/8 using a top-grade lens. Using f/10 on even tinier pixels will just look like mush even if the lens is the best available.

Pixel pitch vs diffraction

re: diffraction

Diffraction dulling at any specified aperture is the same regardless of sensor or format. However, the effects are relative to the size of the photosites. The smaller the photosites, the lower the micro contrast and the lower the resolving power. At some point this is de facto zero resolving power due to too-low contrast.

Diffraction with 2.9 micron pixels occur 2/3 of a stop earlier eg f/6.3 instead of f/8. Using f/8 on a 100MP sensor will not produce more detail than with a 60MP sensor with its 3.76 micro pixels. You will be forced to use f/6.3 and that is right on the edge of tolerable.

And that’s assuming a world class lens, the very best.

Below, diffraction spot size (Airy Disc diameter) relative to the photosite size of the sensor demands less and less stopping-down to minimize the blur effect relative to the photosite. On a 100MP sensor (35mm format), an f-stop of f/4.5 is needed for similar per-pixel blur effects as with f/5.6 on a 60MP sensor.

Approximate diffraction spot size (Airy Disc) relative to photosite size on 45/60/100 MP sensors

Practical gains in detail?

Those two challenges leave negligible room for resolution gains except of with very thin DoF requirements. And if sharpness is desired outside a small area, the lens had better have nil field curvature and negligible focus shift.

Yet serious performance problems from those two factors are readily and obviously seen in a laughably poor performance with $5K top-of-the-line lenses like the Leica 75mm f/2 APO-Summicron-SL ASPH.

CLICK TO VIEW: Sony Mirrorless + Credible Lenses for 100 Megapixels

Sensor Sizes

Leica SL3 + Leica 75mm f/2 APO-Summicron-SL Aperture Series: Deck and Roof

2024-04-13 • SEND FEEDBACK |
Related: apochromatic, Leica, Leica 75mm f/2 APO-Summicron-M ASPH, Leica 75mm f/2 APO-Summicron-SL ASPH, Leica APO-Summicron, Leica APO-Summicron-M, Leica APO-Summicron-SL, Leica Lenses, Leica M, Leica M lenses, Leica SL lenses, Leica SL3, Leica Summicron, Leica Summicron-M, Leica Summicron-SL

UPDATE: unstable lens focus looks to be a severe problem with the Leica system.

...

This page looks at just how damaging the focus shift and field curvature can be on a planar subject. These behaviors of the Leica 75mm f/2 APO-Summicron-SL ASPH must be understood to use it well for subject matter all at the same distance(a “planar” subject), be it landscape or a group portrait. I did not set out to show those so amazingly well, but it’s highly informative.

Leica SL3 + Leica 75mm f/2 APO-Summicron-SL Aperture Series: Deck and Roof

Include images up to full camera resolution from f/2 - f/8 plus crops.

If you are shooting any kind of planar subject (distance scene, straight-on flat subject, group portrait, etc), it is essential to understand the lens behaviors shown here.

CLICK TO VIEW: Leica SL3 + APO-Summicron

f2 @ 1/2500 sec, ISO 100; 2024-04-11 11:34:21
LEICA SL3 + Leica 75mm f/2 APO-Summicron-SL ASPH
RAW: Enhance Details, WB 5300°K tint 21, +10 Whites, +10 Clarity, AI Denoise 10, +10 Vibrance

[low-res image for bot]

Organizing Digital Camera Files for the Long Term

2024-04-13 • SEND FEEDBACK |
Related: Adobe, FastRawViewer, LibRaw, Lightroom, Michael Erlewine, post processing

re: post processing

My 2013 article in Making Sharp Images was prescient, and remains just as relevant and even more important as 11 years ago:

Organizing Digital Camera Files for the Long Term

It will be just as relevant 10 and 20 years from now. Unless somehow AI can do it all, but I am not a fan.

We create images and think we are organizing them. Usually that means some program like Lightroom. But what are the odds that it will be useful in 10 or 20 years? Or that it will even operate properly (see below)?! Or even bear a remote resemblance? Maybe it’s will all turn out well, and maybe not. But what I know is that the KISS principle will never go out of style.

Years ago, I had consulting clients that didn’t even know where their files were located on disk, let alone even the most basic measures to name or organize them.

That IMO is the classic mistake made by almost every Lightroom user: using a tool that results in a disastrously disorganized file structure. You are now dependent on a tool that might or might not be around, and might or might not function properly, requiring payment every year... forever. All that effort and you are now locked-in, with an unusable mess under the covers. And that’s the best case scenario.

Michael Erlewine is facing a daunting task:

The TIFs are the result of focus stacks…. many layers, which is why it is not easy to regenerate. Also I am considering getting rid of all the layers. Do you keep all your stacks after have a resulting TIF?

Also, for the last 6 hours my Adobe Bridge has stopped being consistent with adding ratings or keywords. I have reinstalled Bridge. Entered all the keywords in again. And anything else I can think of. If you have any ideas what could be messing up the ratings and keywords, let me know.

I tried working in Lightroom Classic, but that program is so poor, considering what they charge and how long they have to work on it.

I abandoned that and Photo Mechanic, and the FastRawViewer….and anything else I have around.

I am at a standstill. With still thousands of TIF images to sort through and label. It helps a lot to break that file [folder] into pieces, which I was aware of, but didn’t want to do it if anything else worked.

And now Bridge stopped working and I tried everything I can think of. I was hoping I could march through all these many stacked TIFs, get the past organize and jump more into Hasselblad X2D work, but now not sure what to do.

My approach is the only the very best images are worth allowing to go public, not the good one or pretty-good ones. However to do that is very painstaking at this point.

DIGLLOYD: no matter what, it’s going to be a lot of work.

My advice is really simple:

1. Name folders and/or images well. This is your core facility, critically important. f there are associated files, create a folder for that image and its files.

2. Add a sidecar “.txt” file with keywords and whatever you like us, using a name-value pair for information eg "keywords=...". Later, a Java program or Python or whatever could parse these files and auto-generate whatever. For example, I put this in place for all my screencast videos:

url=<https://>
patreon=<https://>
title=ETTR: Overcome Noise with Optimal Exposure, plus AI Denoise
keywords=Photoshop, Adobe Camera Raw, Sony A7R V, RawDigger
links=<links text goes here>

summary=<summary text goes here>

3. Generate corresponding JPG from each TIF as a sidecar. Organize based on JPG using a tool that won’t include the TIF for viewing, but will properly work on all associated files.

Folder and file naming as basic yet essential organizational tool