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Aldowski

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  1. Interesting topic. Maybe, just to put some view here. Human eyes are, of course, very different, they do have obvious ability to move, to change focus angle, using muscles. So the focus can be found without head being moved, it may be similar to the (potential) camera having no moves and the lens would be with possibility to change angle in order to find the object of focus. The focused object for eyes is always at the center, the F number is being achieved similar way as the camera lens are doing that, narrowing and minimalizing the amount of light coming to the yellow spot at the back of the eye (or maximizing that in low light). Nearsighted people may get the sharpness of view by looking to objects thru very small holes at the (for example) paper, which is similar to getting more sharpness using F numbers (example) 8 or more at lenses. Human eyes are not using complete sight angle, just the central part of the range (even visibility is really very wide). As moving easily, they're reaching the objects of view to be at the center of the view. Both eyes are making 3D perspective, important for orientation at space, environment, as they are recalculating the view all the time. Fujifilm developed 3D W3 cameras, with nice 3D, "stereo" view, including very interesting rear display which is providing 3D image, combining 2 separate "normal" photos (or 2 videos for 3D video). As the image at the rear screen is processed artificially, human eyes are not being prepared to watch it for longer time, more people may have headache after just few minutes. Even, having that in mind, results are amazing. Again, the topic is very, very interesting, it's even touching "technical" aspects of human eyes view.
  2. This Saturday, had the same 2 times (using A7ii) when taking a photo with huge contrast (2 times, both have two "clicks"). Sun, thru forest, there were 2 "clicks" per shot. Did not press shutter button for longer time, as mentioned, connection between two images is just huge contrast. It may be related to HDR, even DRO Sony Dynamic Range Optimization settings (even, this option is being "leveled"). On A3000 there were more options using multiple shots to create one photo, working automatically. On A7ii is different. Question is if photos created by both "clicks" were saved individually. I did not check that later.
  3. Not sure if anyone made field comparison test for the Sony 28mm F2 to Sony 28-70mm kit lens; anyway, I spent some time outside making 100's of photos using those 2 lenses. Simply to say, the prime one is much, much better, seeing results at 100% (and more) view of photos being taken with same F (I used F8), ISO (200) and shutter speed (1/125+). Prime one does not have OSS, both have very silent AF, color rendering is looking good at both, but, even at F8, sharpness at the zoom one cannot be considered as perfect (for some reason, at few photos it's not bad at all, but others are not good examples). Yes, postprocessing may be applied, but the basic, from-the-camera photos are many times "asking" for more or less retouching. Having the manual Minolta Rokkor 28mm 2.8, have to say that even being vintage, it provides really good result photos, from-the-camera, easily comparable with both Sony ones (color rendition, sharpness, bokeh). Anyone has some others, 28mm lenses compared?
  4. There were a lots of discussions related to the Steadyshot IBIS and OSS at Sony cameras, but for sure; both IBIS and OSS are used to have complete 5-axis image stabilization. Unfortunately, there were issues at the firmware level at the start of implementation (now fixed). Some of those issues explained at Sony community pages. The real value of the stabilization is clearly visible at the viewscreen (and viewfinder), using both types of stabilization with OSS lenses and IBIS body cameras, compared to, for example, manual lenses with IBIS turned off. The IBIS + OSS is not "magical", but it is really helpful, especially when photographing at lower light environments.
  5. It is similar; however, the utility I mentioned was created by German company (at the main view it has URL with ".de"), the look of application is different. I used that app years ago and, it helped to recover few large video files. As visible at this application Help pages, both have similar requirement, a must is to provide sample of the (working) video recorded by the same camera. Honestly, it's clear that there is no big number of good video recovering applications. Yes, I saw that VLC, which is more than just a video viewer, can be used for video recovery, I did not try it for the purpose. In command line, ffmpeg may be used for this, but it is not a simple way, it requires lots of "environment" settings and good combination of parameters.
  6. Sometimes, when talking with colleagues, some of them are, for example (when viewing photos), immediately saying about (slight) vignetting as "issue", even I do not consider that as an issue at all. There are even some photos when the "issue" is helpful. But, I strongly agree that leveling (horizons) can be checked (at camera screen, during photographing) and easily fixed, especially when taking photos at water surface environments. In postprocessing, there are utilities for "lossless rotation" issue fixing as well.
  7. During the preparation of the photosession, there may be a need for spending some time, for better organizing those files and folders. I'll just try to suggest change of the way of creating folders inside Sony menu to date form based names, instead of standard ones. It may be helpful and it's easy. Also, when I am planning to take photos with different (especially manual, classic lenses), I am creating more folders (at SDCard, of course) and renaming them on laptop to names related to lenses which would be used. During photographing, it's easy to change target folder where photos will be saved, based on the lens used. And, finally, there are Sony utilities at one and many other viewing utilities at the other side for reviewing, checking photos later. Related to Canon, have to say that it has long time traditional approach (similar to Nikon), which is sometimes good but sometimes it's standing on the way of new technologies to be adopted (example: mirrorless).
  8. There is an utility for fixing broken video files; at the moment cannot recall the name, but it should be not too hard to find, based on the process for video files recovery. The utility requires broken file(s) and one correct, working video file, created by the same camera, so it may take the necessary adjustments in order to fix issues. The utility is not overwriting the broken file with recovered one, but it's creating folder for saving recovered files.
  9. Already had 2 no-motors; no-electronic camera stabilizers and 2 gimbals for smartphones. Decided recently to find not too expensive gimbal, with good enough specs (including more modes), as portable as gimbal can be and, most important, strong enough to stabilize Sony A7ii with it's lenses (will use it with A3000 as well). Found Zhiyun Weebill S; bought it (already mount A7ii to it and checked that working), will try to spend some time checking capabilities, comparing it with those ones for stabilizing smartphones. I put this to the Video section as it may be most appropriate one, as gimbals are mostly (by far) usable for videos creation.
  10. Having Canon FD 50mm 1.8 and FD 35-70 F4; using both in Manual mode, of course, there is no electronic connectivity between lenses and the camera body. When used at Full Frame A7ii, the FL is the same as named, but at the A3000 (APS-C), FL is same as well, but lens is covering different sensor surface, image, light, is being dispersed to the and around the APS-C sensor. In some cases it may provide some benefits, as lots of FF lenses do have best sharpness at the center at the widest aperture, so the APS-C will take that best part, central part. And, again, the manual aperture ring at the lens is to be used, anyway, the camera software will create the F number by some default (as it's not possible to get it electronically from the lens), it may be "1", which is not showing the correct value.
  11. Not using A7ii, neither A3000 for videos (or to say, using it rarely), but, there are significant differences between those two (photos compared to videos), in terms of noise. For videos, I am using JVC camcorders, which are constructed, prepared for videos. Results are, to say, great. Have to say one (other) example, about Fujifilm W3 3D (bought it years ago, for both 3D photos and videos). What is interesting, I returned few cameras, till I got one with the (close to) none, inactive and dead pixels. Very strange, there are lots of users complaining about it, as photos are having some near pixels fix for that, but videos are having visible white pixels at the videos ()for example, creating video at dark room, shows all of them easily . Camera has 2X 10MP sensors and it has many options, but still, one or both sensors may already have or "develop" pixels issues, of course, not at the same exact place at the matrix. That shows a need for video utilities to fix that, so I used many of those, including Virtualdub (probably not the fastest, not the best, but works). There are two main types of noise and noise removal. Time (frames) based, which works by blending few frames together (specifically at the most noisy places, which are to be marked), that is (mostly) for the noise on dark, night, low light videos. For Fujifilm W3 3D, obviously, that would not work as the problematical pixels are at all video frames, same position. So, there is other type, blending pixels around, based on space, not time, to make the bad pixel looking as it's neighboring pixels, having similar / same colors. That solved the issue. If the noise is the first mentioned type; there is significant number of plugins, utilities for different programs, most important is not only to fix the noise, but to avoid blurring, desharping, defocusing as well, so the plugin needs to have some AI to achieve the goal. Again, for camera (photography) companies, seems that it's still much more important to work on algorithms for dealing with photos than with videos, it is, of course, not exclusive, but still, it seems to be that way.
  12. Have to make some update related to those macro adapters. Tested on Full Frame lenses, works as expected. I just made some tests using APS-C 18-55 lens (kit lens for A3000), with both macro adapters together (10mm + 16mm) at Sony A7ii. I changed settings at A7ii, related to APS-C Size Capture to Off, so, camera is not changing the image size to 10MP instead of 24MP. Zooming, moving FL from 18mm to ~50mm (looks it works best when zooming more), then making manual focus to the specific place. Even the lens is APS-C, and the camera is Full Frame, those adapters and zooming are repositioning FL and PoC (mathematically correct, of course) to avoid vignetting. Better to say, seems that there's no vignetting at all, photos crisp clear, sharp. And the APS-C lens are represented as Full Frame lens (usually, the only option to use them is to allow Size Capture to "fix" the Photo; which degrades resolution from 24MP to 10MP, as mentioned already). All three options for Lens Comp are set to Auto. Hope this may be useful for users having APS-C lens and macro adapters, trying to use them at Full Frame camera.
  13. The lens has to be Sony FE C 16-35mm T3.1 G Cinema Lens. 5.5K$+ Anyway, almost sure you found that already.
  14. Must ask, please, are you using adapter transferring electronical data from lens to the the body (I believe, yes, that should be the one)? Which adapter is it? I would suggest trying completely manual focus MF testing, without any autofocus, then testing with autofocus AF and then with DMF direct manual focus as well. Next step would be testing the different settings with AF, there is number of those, best would be to test as much as possible. Some of those settings are really great, can position the focus at some exact place of the photo during photographing, regardless of the contrast and / or phase based focus. Cannot be sure if the camera has some lens correction for focusing (recalibrating), but it must be written and explained at manuals. There may be even possibility to fix it in some relatively simple procedure.
  15. Recently, bought those two, clearly, very different vintage lenses. I did not have enough time yet to use thos a lot, just made few test photos. First one, Canon 35-70mm F4, zoom one, must say is having very strange rings, filter thread placements and movement. Not just unusual but more, it's somehow making problem when using filters, or when attaching hood (filter thread one), to the lens. I will have to make some hundreds of photos related, having in mind the reviews, telling the sharpness of the lens is great. Not the fastest lens, but, if the sharpness is good, it really has it's value. And seems, it has. Jupiter 21M 200mm F4. Heavy one. I already have the Pentacon 200mm F4, which may be very, very similar optically. Of course, for this lens FL, Sony IBIS, even being properly set ate Steady shot menu, cannot make some great magic. Tripod is to be used. Okay, I made few photos, probably, I would need more light, bright day outside, the definition of colors is looking good (color contrast), sharpness looking good as well. If someone would say that those are old lenses, not perfect, with many minuses, I would say that some of those lenses imperfections are making the images unique and less artificial-like. Some other also may say, those imperfections are providing specific lens-character and I would strongly agree. Both of those are F4, means, not very fast, anyway, already having number of those "slow" lenses, technically not advanced but with very good image results. I already put some Helios 44M images at gallery here and that lens is great example.
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