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Feb 25, 2018 15:11:33   #
CO wrote:
The Nikon Df would be another great camera to consider. It's the lightest Nikon full frame FX format camera. You would have a huge selection of lenses to choose from.


The Df is still a tank compared to the Fujis, and since it is a so-called "Full-Frame" the lenses are bigger and heavier than the eguivalent Fuji lenses. Fuji also offers an adaptor for Leica lenses. And, Fuji offers just about any lens 99% of people need, with the exception of ultra long lenses for birds & African safaris. I have kept a few long Nikkors for the very rare situation where I might need one. I have been shooting with Fujis (and MFTs) for 5 + years, and since getting my XT1, the D800 has been gathering dust.
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Feb 21, 2018 17:19:11   #
Feiertag wrote:
I know that Kodak came up with this idea/method but why not 0%? You shoot white subjects, you have to keep the gray factor in mind. Why not design a camera that gives you the option, that meters at 0%, not 18% gray?


The 18% grey card was a valuable tool back in the film era, and can still be useful with digital. Auto exposure systems in cameras (and light meters) are easily fooled when you are shooting something that doesn't have a mixture of brightness values that conform to the "average" scene that the meters are calibrated for. The classic examples are shooting a polar bear on the snowfield on a sunny day or the black cat in a coal bin (or vice-versa). Those are the extremes, but there are also a lot of more complex scenes that will trick the metering system and/or the photographer. When you recognize one of those tricky situations or you don't have time to experiment , you can meter on the gray card, which guarantees your exposure will be at least in the ballpark. Of course, with digital, you can chimp and adjust until you get it right - if the subject waits around for that. Your 0% (or 100%) meter wouldn't give you what you need - the actual luminance value of the light falling on the subject. That is the beauty of the gray card - it takes the subject's variablility out of the equation and tells you how much light there really is.
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Feb 20, 2018 19:11:42   #
Foozer wrote:
Is there a good all around versatile prime lens?


A lot of photographers (I am one of them) prefer a "shorter" lens for an all-around prime - such as 35mm for "full Frame", 23 or 24mm for "crop" cameras, and 17 or 20mm on Micro-4/3rds.
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Feb 20, 2018 18:34:49   #
Royce Moss wrote:
Hey Hoggers, looking for a Macro lens for my 7100. I was trying to decide between Tonkia 100mm, Tamron 90mm or Nikon 105. researched all three and have narrowed down to the Tonkia or the Tamrom then I discovered a Sigma 70mm Macro and have read glowing reviews about it. Anyone have experience with the 70? It is more of the focal length I want. Thanks


My favorite is the Nikkor 60/2.8 - I do mostly close-in work. If I was a bug shooter, I would probably use the 105 or 180 depending on how skittish your subjects are.
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Feb 16, 2018 16:35:37   #
racerrich3 wrote:
Hopefully going to Italy in October and decided on my "walk around" ? Lens I'm going to buy at Summer's end since I need to save up for it. It's Nikons 18-300 f/3.5-6.3 $700. I would like to hear hogs thoughts on this lens those who have and have not used it. And how it compares to Nikons same lens f/3.5-5.6 version. I'm using my D3300. Thanks to all in advance.


I recommend concentrating on the wide-angle end for a travel lens - we do a lot of traveling and walking city streets - my favorite cameras for that are Fuji APS-C cameras, which are the same size/format as your Nikon 3300. My favorite lenses for the Fujis are 10-24, 18-55 and 18-135mm zooms. When I was still shooting Nikons, my travel lenses were 12-24 along with the 18-200 mm for APS cameras and the same 12-24 along with a 24-120mm and 80-200 for "Full-frame" (D700/800). Today, if we were traveling light, I would take only the 18-135 for the "crop" camera and the 24-120 for the "Full-frame". The bottom line for me after 50+ plus years of shooting just about any and all subjects (with the exception of birds in flight), I can count maybe 5 or 6 instances of using lenses longer than 200mm - and 90% of all of the rest were taken with lenses shorter than 135mm.

Having said all that, if I were starting out fresh now,, I would get a Nikkor 16-85 or, if I was a birder, a Tamron 16-300 for my "everyday" lens. Believe it or not, that 2mm extra on the wide-end is really great to have. And, I would look hard at Sigma and Tamron when shopping for superzooms because they get significantly higher ratings at DXO Mark than the Nikkors, especially the 300's. I bought a 28-300 Nikkor along with my D800, and sent it back because it just didn't meet my standards, and I figure the 18-300's have to be even worse.
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Feb 14, 2018 01:29:43   #
LolaPL wrote:
Can I use a memory card formatted for a Canon 70d in a Panasonic ZS40 if I format it in the camera?


Yes, absolutely - and you can probably move the card without re-formatting if you already have some images from another camera that you haven't downloaded yet. My Better Half and I often go on long photo expeditions, and we do a lot of camera swapping, usually with at least 4 cameras. We always have about a dozen numbered 8GB cards for stills, along with sets of 32 and 64 GB High-speed cards for doing performance video, which are moved from camera to camera as we go along, with the cards filled up sequentially by number and date. We also take a laptop each and a couple of Passport USB3 portable drives that we use to backup each day's shoot every evening.

We don't ever format (ERASE) a card unless we have 3 copies of it - a copy on each portable drive and another copy on a PC. We very seldom erase a card while on the road. When we get back home we copy all of the new images to the Data Drive in my main PC, which is exclusively for processing media - stills, video and music. I do the required pp on the new stuff in the Data Drive, then copy the changes to the two backup drives as I go along. At the end of each work day, an off-line SATA is fired up and the day's work is added to it, then it is disconnected. We have some really spectacular lightning here, and the normally disconnected 4th drive copy is the fail-safe.
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Feb 13, 2018 23:52:10   #
rgrenaderphoto wrote:
You will have to reformat the card (in the camera) in each camera when you swap, so what's the point?


In the roughly 14 years I have shot digital exclusively, I have constantly moved cards frrom camera to camera, and I have never had an issue with doing so, with the sole exception of the first generation Fuji x-100 - that camera would not share no matter what, and it almost demanded in-camera formatting every time the card was removed and replaced even if the memory card hadn't ever been anywhere else. However, all of the 3 later Fujis I own are just like the Canons, Nikons, Minoltas, Panasonics, Sonys, and even an early Pan-Leica in that I have never had an issue with camera memory hopping, and most of the times I have formatted in camera was to get rid of a bunch of old images quickly. I often have images from 4 cameras in the same card simultaneously.
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Feb 13, 2018 20:33:06   #
amfoto1 wrote:


Rangefinder film cameras and the lenses for them are considerably more compact... but the selection of lenses for rangefinders was always quite a bit more limited than what was available for SLRs. Both systems commonly had 20/21mm, 24/28, 35/40, 50, 75/85/90 and 135mm... but 200mm and longer lenses for rangefinder were unusual... as were specialty lenses such as ultrawides, fisheye, tilt shift, macro. All those were impractical on cameras relying upon separate viewfinders, rather then the "through the lens" viewing SLRs provide. This difference goes away with mirrorless, because they're TTL, just like SLRs/DSLRs. But are the small cameras practical to use on big lenses? Hard to say. There aren't a lot of "extreme" lenses for mirrorless. We'll see!
br br Rangefinder film cameras and the lenses fo... (show quote)


I have a large collection of Nikon lenses from my film days that I use on my MFT and Fuji APS cameras - one lense I especially enjoy is the 50-300 Nikkor, which is a 100-600-e on the GX7 - a great combo when shooting birds and swamp critters in the southern bayous. I love holding that beautiful old lense while framing and focusing the shots in the great EVF's of the Lumix and/or my Fujis. As for "Balance" - that is no more a consideration than it was pre-digital on my Nikons - the camera/lens combo is either balanced on a tripod or balanced with the lense supported with the left hand ~ in either case, the camera body is just going along for the ride.


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Feb 10, 2018 10:53:35   #
leftj wrote:
The reason most people dislike taxes is because of the wasteful government spending of our money. Aid to foreign countries that hate us, grants for the study of the sex life of a housefly and other such nonsense.


Not to mention the trillions down the rathole of endless wars.
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Feb 9, 2018 18:00:47   #
Cdouthitt wrote:
x-a3 doesn't...which is were the confusion is probably coming from.




Look again - that black blob in that corner is the thumb rest
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Feb 9, 2018 17:58:51   #
jdm wrote:
Just saw the Fuji X-A5 announcement. Looks like a powerful little mirrorless, especially for the price of $599 with kit lens. Has anyone handled one yet? I'd be interested to hear your thoughts! Thanks in advance.


You can buy a very good midrange XE2S with the excellent 18-55 f/2.8-4 Kit Lens AND a very excellent viewfinder for just $39 more at Adorama. The XE2S is about 3/4" wider, but the other dimensions and weight are about the same. You might just as well use a high end cell phone if you are willing to spend $600 on a camera without a viewfinder.
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Feb 9, 2018 15:16:24   #
Gene51 wrote:
But you can resize a higher MP image to a smaller screen size, without resampling. If you take an image from a D800 that is 7,360×4,912 and crop it, without resizing, to 1920x1200, it will "fit" a standard WUXGA HD display, which is also 1920x1200 in resolution, with no resampling needed. In this case Adobe's dpi specification is just a metadata tag without meaning or application.

Also, if you send a higher resolution or lower resolution image to a printer, most printer drivers (or raster image processors) will up/down sample the image to fit the image on the paper at the given resolution. A 6 mp image from a NIkon D70 is 6000x4000. At a desired print resolution of 300 ppi, you can print, without resampling, a 20x13.3 image. Without resampling the image, you can print a much larger image, like 60x40, but at a lower printer resolution of 100 ppi, with the print driver or RIP handling the "resizing" without resampling. However, if you need a higher resolution than the image has provided, say 200 ppi, then you have the option to resample the image to 12,000x8,000 px using an image resizing program, or the resizing algorithms in Photoshop, Lightroom or other image editing software, or let the printer driver/RIP resample it - so that you will be able to have enough "pixels" in the image to meet your image resolution requirement. The issue with up-sampling is that software is used to expand the individual "pixel" spacing, and it uses interpolation to take a good guess at what should be placed to fill in the new space between the old pixels. Resizing software NEVER increases resolution, but the better software will increase the edge contrast, or microcontrast, to give the viewer the perception of greater sharpness.

So, though I usually agree with you, Scotty, on this on I don't agree 100% - you can crop to resize to a given pixel count. It doesn't always have to be resampling.
But you can resize a higher MP image to a smaller ... (show quote)


Erm, to pick a rather large nit - you state in the second paragraph "A 6 mp image from a NIkon D70 is 6000x4000. At a desired print resolution of 300 ppi, you can print, without resampling, a 20x13.3 image" - which of course, is incorrect, as are all of the following math samples based on a D70. A 6000x4000 sensor contains 24 million pixels - the antique D70 produces only 3000x2000 pixel images. Maybe the camera reference should have been a D750 or D7100/7200?
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Feb 6, 2018 09:25:41   #
BebuLamar wrote:
I wonder why they don't put the DOF scale in the viewfinder or on the back LCD. The camera knows which distance the lens is focused at, it knows the focal length, it knows the aperture so it should be able to calculate the far and near distance.


My Fuji-X cameras have a depth of field scale in the viewfinder when in manual focusing mode. Another reason to love the Fujis!
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Feb 1, 2018 09:58:06   #
DirtFarmer wrote:
I probably crop 90% of my images. Frequently it's just one edge (or one edge pair) because I don't like to be limited to a given aspect ratio. Frequently my lens is too short and I have to crop to get the subject I want. (I shoot events so I don't always have time to change lenses, or sometimes even turn the zoom ring). Frequently I leave some room for cropping because then I can take my time to crop the way I want it rather than stand there while a shot evaporates in front of me while I'm trying to decide just how to compost it in the viewfinder.
I probably crop 90% of my images. Frequently it's ... (show quote)


I second that! And when I'm out of the city doing landscapes, I almost always flip my D800 into portrait mode and do about four to 8 shot panos keeping in mind multiple conventional images that can be pulled out of the big panos. The intention to crop is what makes me keep on keeping that big beast of a camera.

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Jan 27, 2018 23:25:18   #
[quote=dylee8]Yes the lineage of dslr traces to 35mm cameras and inherits the 3x2 aspect (not exact, varies by manufacturer, but close enough). Mirrorless, at 4x3, is better suited for todays wider format. As an example, a 24 mp camera, at 4x3 sensor, yields a maximum of 20.25 mp for 16x9. While the same megapixel camera with 3x2 only yields a maximum of 18mp.

You have your 16:9 cropped sensor sizes swapped - the 24 mp 4/3 sensor cropped to 16:9 would have about 18mp and the cropped 3:2 would have the 20+ mp. And, since there aren't any 24 mp 4/3 cameras as yet, the best 16:9 you could get from the current 20 mp 4/3 sensors would be 15mp. However, the mythical 24mp 4/3 sensors would have the advantage when the more squarish crops come into.play, but still lose to the 3:2 at 20mp.
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