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Posts Tagged ‘quite’

Here’s why I’m not quite ready to let the Pixel 3 replace a dedicated camera

18 Apr
Modern architecture abounds in Palm Springs, mid-century and otherwise.
Olympus Pen F ISO 200 | 1/1600 sec | F6.3 | Olympus M.Zuiko 12mm F2.0

On the topic of “When will smartphones make most dedicated cameras obsolete?” I tend to be in the “We’re pretty much there already” camp. In my own day-to-day photography, and even for some special occasions where I expect to take more than a few photos, I’ll stick with my smartphone rather than bringing along a dedicated camera.

That wasn’t the case on a recent trip to Palm Springs. I shot with both the Pixel 3 and a Micro Four Thirds camera (the Olympus Pen F, specifically). Here’s where each of them shine, and why I’m glad I had a dedicated camera at my side.

My photographic priority in Palm Springs was the city’s veritable smorgasbord of mid-century modern buildings. Banks, hotels, liquor stores – all housed in stunning modern buildings that are extremely Instagrammable. You know you’ve hit the architectural jackpot when you’re excited to photograph the town BevMo!.

Literally the roof of a BevMo! liquor store.
Olympus Pen F ISO 200 | 1/800 sec | F5.6 | Olympus M.Zuiko 12mm F2.0

There are obvious benefits to any smartphone, including of course the Pixel 3. It’s always with you, even by the pool, photos are automatically backed up to your image library, everything is immediately shareable. But the Pixel 3 presents a few unique advantages: it handles high-contrast scenes particularly well, and the multi-shot Night Sight mode captures a level of detail well beyond what we’re used to seeing from smartphones, even in the daytime.

The Pixel 3 does a fine job balancing scenes like this one, and its IP68 waterproof rating means it’s safe poolside.
Google Pixel 3 XL ISO 59 | 28mm equiv. | F1.8

There are some disadvantages though, which figured into my decision to bring along the Olympus Pen F and 12mm lens. First, the Pixel’s main camera wasn’t quite wide enough for the kind of photography I wanted to do. Photographing mid-century modern buildings from the sidewalk along a busy road doesn’t make it easy to just back up to get the whole thing in the shot.

Using panorama mode for a wider shot isn’t a great option either – image quality is pretty poor. This year’s smartphones are addressing this problem with wide-angle lenses, so if Google ever decides to add another rear camera, who knows what will be possible!

Stuff like this is just lying around everywhere in Palm Springs!
Olympus Pen F ISO 200 | 1/1250 sec | F4.5 | Olympus M.Zuiko 12mm F2.0

Editing Pixel 3 Raws isn’t my favorite experience at the moment, either. Editing Pen F files is familiar and comfortable to me, while handling Pixel Raw files seems to be a quirky process in its current state. When I use Camera Raw I start with a very flat, overexposed image, and when I edit Raw photos in Snapseed I encounter a couple of bugs along the way (and don’t love the small-screen edit experience). It’s more than good enough for something I’ll post on social media, but I wanted a little more control with my Palm Springs photos.

I also found myself taking advantage of a few Pen F features that were handy, if not necessarily must-haves. A viewfinder really came in handy under the bright mid-day sun. I also like a tilting LCD to compose shots from higher and lower angles. Also, the digital level was pretty huge for me, a person with (apparently) a crooked brain who is unable to keep horizons straight.

If every Bank of America looked like this I’d be a member tomorrow.
Olympus Pen F ISO 200 | 1/1250 sec | F4.5 | Olympus M.Zuiko 12mm F2.0

To be sure, there are some third-party workarounds that would have adapted the Pixel 3 to my purposes better. I could have brought a wide-angle attachment lens along and used a camera app with a level. There are trade-offs when using either of these options, though.

I also prefer the anonymity of the Pixel 3. One morning I walked from the center of town a mile and a half to the visitor’s center, a futuristic-looking building that used to be a gas station and is one of the most recognizable structures in town.

Roof of the Tramway Gas Station, currently home of the Palm Springs Visitor’s Center.
Olympus Pen F ISO 200 | 1/1250 sec | F6.3 | Olympus M.Zuiko 12mm F2.0

I was quite conspicuous on this journey for several reasons. For starters, nobody walks a mile to get anywhere in 80°+ heat if they can help it. I’m also incredibly pale and probably a danger to motorists walking under a beaming sun on the side of the road. I also had a Real Camera in my hand, and on top of that, am a lady.

Being a lady alone in public doing something out of the ordinary is, in my experience, an invitation for commentary, usually of the harmless “What are ya doin’ there with that big ol’ camera little missy??” variety. Well-meaning I’m sure, but my male colleagues don’t quite experience the same interruptions.

Palm Springs: they aren’t kidding about those palms.
Olympus Pen F ISO 200 | 1/1000 sec | F4.5 | Olympus M.Zuiko 12mm F2.0

I wish I’d been shooting with the Pixel when I saw the Photo That Got Away. Traffic in the street was stopped at a red light, and I was walking parallel to a pickup truck towing a camper van with a majestic purple mountain on the side. Behind it was a backdrop of actual majestic mountains. It was perfect, except the driver was staring right at me staring at him.

Maybe I would have gotten away with it shooting with the phone. As it happened, it just felt too conspicuous, almost invasive, to pull the camera up to my eye and take a picture. The light turned green and I thought about that photo through the rest of the trip.

In any case, I made it to the visitor’s center, which is a lovely building but I actually ended up taking my favorite picture around the back of it. Funny how that happens.

I walked a mile and a half through the desert to take this photo of a bench, I guess.
Olympus Pen F ISO 200 | 1/1250 sec | F6.3 | Olympus M.Zuiko 12mm F2.0

I liked the experience of carrying the Pen F at my side. It put me in a mindset of taking photos that’s harder to get into when I’m using my phone. But I don’t think we’re far from a future where the Pixel 3 satisfies almost all of the photographic needs I had on a trip like that, and there are real benefits to shooting with the Pixel 3 that traditional cameras don’t provide now. The Pixel automatically backed up all of the trip photos I took with it to my Photos library, where they were instantly shareable, searchable and photo-book-printable. The Pen F sure didn’t do any of that.

When I can get 90% of the image quality from a smartphone that I would from a traditional camera, and the experience of using it as a photographic device – from capture through editing – is 90% as good, I’ll be ready to leave the camera at home when I go on a trip like the one I just took. That day probably isn’t far off at all.

Articles: Digital Photography Review (dpreview.com)

 
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Jason Momoa, AKA Aquaman and Khal Drogo, is quite the Leica camera collector

05 Mar

Jason Momoa, better known as Aquaman and Khal Drogo from HBO’s Game of Thrones, is apparently an avid Leica camera collector and working alongside Leica and Red Digital for an upcoming project.

On his Instagram page, under the username prideofgypsies, Momoa shared the below post highlighting a ‘new project and film’ he’s working on. He doesn’t dive into the details of it, but says video is being shot on Red Digital cameras with Leica glass attached while stills are being shot with Leica cameras.

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Excited to start a new project and film. Shooting movies on the @reddigitalcinema @leitzcine and photos on @leicacamerausa #LeicaSummicronM. #M10. living on set I have learned from so many wonderful artists I want to thank Zack Synder @cruelfilms and @wfmft for starting my Leica obsession than @nicholasdominictalvola for always informing me and inspiring and @dennydenn @candytman for setting the bar. @lennykravitz always killing it. @johnson167 best gear. @kiran.karnani for making my dreams come true. Can’t wait to show everyone It’s gonna be a great couple years filled with art #theduneadventures. #pastandpresent #theroots #leicalover. Aloha j

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Based on Momoa’s post, he owns numerous Leicas, new and old, including a 1958 M2 and a newer M10-D with a limited-edition Noctilux lens.

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@leicacamerausa. @leitzcinewetzlar @on_the_roam LOVES YOU #mywifescoolwithit #hallpass #leicaohana mahalo @sethemmons aloha j

A post shared by Jason Momoa (@prideofgypsies) on

In addition to his post, Leica has shared a number of posts on its various Instagram profiles across the globe highlighting Momoa shooting with Leica cameras. We’ve rounded up a few of them below:

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Happy birthday to our favorite Aquaman, @prideofgypsies! Photo: @dennydenn

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On the field with Frontier actor Jason Momoa and the Leica M Typ 240. In the frame: Jason Momoa (@prideofgypsies) Photo by @dennydenn with #LeicaSL #LeicaCameraUSA @cinematicpix @frontier_book #LeicaSL #Leica #JasonMomoa #Photography

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Behind the scene fun with actor Jason Momoa and the Leica SL Photo: @dennydenn In the Frame: Jason Momoa (@prideofgypsies) Project: Shooting for the upcoming #FRONTIER coffee table book from @cinematicpix #LeicaCameraUSA #LeicaSL #Leica #JasonMomoa #Photography

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He also gives a few shoutout to fellow artists for informing and inspiring him along the way, including musician Lenny Kravitz, Nicholas Dominic Talvola and others.

Articles: Digital Photography Review (dpreview.com)

 
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Not quite as good? Nikon D850 versus Nikon D5 subject tracking

01 Oct

Video: D850 versus D5 subject tracking

Photographer Matt Granger’s YouTube channel is chock-full of videos that run the gamut from fairly technical testing to fun challenges and prize giveaways. But we took particular notice when, last weekend, he pitted his new Nikon D850 against his Nikon D5 in terms of autofocus tracking. (What can we say; we’re nerds.)

But why even bother? After all, the D850 and D5 purportedly have the exact same autofocus hardware—performance should be virtually identical. In fact, in our conversations with Nikon, we were told that the D850 includes an additional processor to handle autofocus calculations, just like the D5; they also claimed this processor was omitted from the D500.

More importantly, we were told flat out to expect ‘D5 levels of performance’ from the D850.

So why is it that, during an early shoot with the D850, Granger said, “I felt like I was getting more [images] well-tracked with the D5 than I did with the D850.” Cue the tests in the video below:

Granger performed both low-light and daylight tests. In the former, his subject moved primarily in the X axis (read: across the frame); in the latter, his subject moved in all three dimensions. Both cameras were set to shoot at 7fps (the D850’s max), and shared all other settings as well.

In both instances, Granger concludes that the D850 is simply not as good at tracking moving subjects as the D5.

In the first low-light test, he notes some hesitation: the AF point occasionally lagged behind the subject before catching up (though at 3:00, where he says the D5 does not exhibit this behavior, it looks like the D5 also hesitates a bit, but perhaps not as severely).

We’ve been told to expect ‘D5 levels of performance’ from the D850’s autofocus system.

In the second test, the D850 really struggled to track the subject as she moved between shade and direct sun, seemingly performing better if the subject was initially acquired in bright light.

Of course, Granger concludes that this disparity isn’t really a reason to ignore the D850 or cancel that pre-order. In fact, there have been similar claims across the interwebz of autofocus performance disparities between previous Nikon cameras that are supposed to share the same AF system (the D810 and D4S for example—although we haven’t dug into those). But it’s definitely something worth testing further.

So, given our recent coverage and in-progress full-review, what does the DPReview staff make of all this?

Our experience so far

For white water kayaking, we found the D850’s 3D Tracking to perform very well indeed.

We’ve been shooting a lot with the Nikon D850 over the past couple of weeks, and as with just about any recent high-end Nikon camera, we find subject tracking to work very well. Even though the D850 comes with that excellent AF selection joystick, sometimes we find it preferable to let the camera do some of the work for us.

In particular, when shooting white water kayaking in Oregon, 3D Tracking performed admirably. That shouldn’t be too much of a surprise, though, considering these are fairly distinct subjects, particularly in terms of color, when compared with their surroundings.

As with Matt Granger, though, we’ve been surprised by some of our own experiences while shooting with the D850. With both the D5 and even the D500, we’ve become accustomed to being able to initiate 3D Tracking on a subject’s eye for a tight headshot, and have the camera track it remarkably well as either the camera or subject moves.

This sort of candid kid shot is a situation in which accurate 3D Tracking or Sony’s Eye AF both come in very handy.

With the D850 though, we’ve noticed it is more apt to be ‘jumpy,’ in that it will jump from our subject’s eye to another portion of their face. Further complicating our assessment of this sort of behavior is that it seems to be inconsistent—sometimes the D850 will track perfectly, other times it gets distracted by something else in the scene.

We also noticed some inconsistency in a situation where we’ve historically been able to rely solely on 3D Tracking, namely: motocross. With the D850, we were able to get a ton of keepers using 3D Tracking, but sometimes, when we looked through our bursts and found that one perfect moment, it would be slightly out of focus because the AF point had jumped from one part of the rider or motorcycle to another.

When we switched to a type of zone focusing called D25, we came away with a better hit rate, so long as we kept the zone over our subject (Note: you would expect this result from just about any camera with advanced autofocus).

3D Tracking on the left nailed focus in this instance, but D25 on the right nailed focus more reliably, more often.

So what’s next?

More photos. Lots more photos.

We’ll be doing our standard autofocus treatment on the D850, including our bicycle tests and our close-range, low-light autofocus evaluation. We’ll also be seeking out sporting events in the Seattle area to see if we can draw some parallels between our usual evaluations and real-world shooting situation performance.

We should also note that, in both Granger’s testing and our own experience, we haven’t yet been able to use Nikon’s new battery grip for the D850. For it to be as even a comparison as possible, we’ll be looking to add the grip and the much more powerful EN-EL18a battery if at all possible.

Only more time and more testing will tell if the D850 can truly stand up to the D5’s autofocus performance, though we should reinforce that D5-level subject tracking is an awfully lofty benchmark to reach for. In our experience, it’s a benchmark that has remained out of reach of any camera to date, and whether or not the D850 measures up will be revealed in our full review.

Articles: Digital Photography Review (dpreview.com)

 
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7Artisans teases 50mm F1.0 lens, in case the 50mm F1.1 isn’t quite fast enough

18 Jul
Look closely on the 7Artisans website, and you’ll see an as-yet unannounced 50mm F1.0 lens front and center.

Chinese lens manufacturer 7Artisans made some waves two weeks ago when they quietly revealed four affordable and fast lenses for various mirrorless mounts. Those lenses are available on Amazon and eBay, but one lens is being shown off on the 7Artisans website that doesn’t appear anywhere else online: a super-fast 50mm F1.0.

Unfortunately, all we have is this photograph. The lens looks a lot like the company’s 50mm F1.1, but you can see that lens next to the F1.0 in the lineup, so it’s not some CGI typo. The lens diameter is even different—55mm vs 52mm for the F1.1.

No, this is its own lens, we just don’t know what mount it will be made for or, just as importantly, why the heck a company would choose to make both a 50mm F1.1 and 50mm F1.0—seems a bit silly. Here’s a close look at the lens:

Admittedly, the 50mm F1.1 lens announced a few weeks back is only available in Leica M mount. People would no doubt be thrilled by an equally affordable ($ 370 USD) lens available for the Sony E, Fuji X, or MFT mounts.

As soon as this lens becomes official or pops up on Amazon alongside the other 7Artisan lenses, we’ll let you know.

Articles: Digital Photography Review (dpreview.com)

 
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