I am debating between the Sony 28mm f2 and the Viltrox 28mm f1.8, mostly for street photography; shooting on Sony A7cii. price and aperture differences not an issue, just overall image quality. Suggestions? Thanks.
Don

Thanks to everyone for some helpful comments.

When I use the in-camera settings in my Sony A7R5, such as Creative Style, I know it affects my JPG image, but does it also affect the RAW (uncompressed) file that I create at the same time, or is RAW created regardless of any in-camera settings? Thanks in advance.
Don

Thanks, but that wasn't my question. I am shooting mostly in JPG, not RAW, so I want to be able to create these simulations directly in the camera, and not in post.

I have read about how Fuji digital cameras have built-in film simulations in JPG, allowing a photographer to select, for example, a Velvia-like appearance. Does anyone know, or have, recipes for creating similar simulations in Sony digital cameras? I have the A7CR and A7R4, and they allow me to select a "creative look", such as Vivid, and then to select a wide range of variables in contrast, highlights, shadow, saturation, and sharpness. Of course, this only works in JPG. But since I shoot mostly in JPG, and like playing around witih the Creative Looks, I wonder if there are some recipies for creating specific films looks using those adjustable parameters. Thanks in advance.

Good question. I haven't had a chance to print them yet. On the screen, I see only a small distinction, so I need to print them large to find out. Thanks.

I recently bought a camera capable of 61 MP, and also capable of two lower settings, 36 and 19. I normally use the 61 MP setting; that is why I bought the camera. But I have noticed that when I am shooting in a very low light situation (hence the need for high ISO), the ISO (set to Auto) my camera comes up with is higher at 61 MP than if I lower my resolution to 36 or 19, with the aperture and SS the same. What exactly is happening? Is there a trade off between the high resolution and the ISO noise? Should I lower my MP setting if I know I am going to be shooting in a very low light situation (a theater, for example)? What are the tradeoffs here?

Thanks in advance for the usual wise information.

Don

Thanks

i just bought a Q3, and I think I have most of the menu options figured out. But I don't understand the optical zoom (28, 35, 50, 75, 90) feature. I am shooting JPG, and if I select 50mm, for example, it will show a 50mm outline in the EVF. But will it actually shot at that framing, or will it still shoot at 28 and the 50mm outline is just for illustrative purposes only?

Second, the camera came with a very thin ring, which matches the threading on the lens. What is this ring for?

Thanks in advance.

Don

Guys, I received some very helpful responses (and a couple of snarky ones that I ignored). Let me clarify - I do not want to shoot B&W photos of colorful items, like red roses. If I want to shoot a photo of a red rose, it will be in color. The reason I am attracted to monochrome is for shots of things that have little color: old derelict buildings in the evening, nightime downtown shots, desert scenes, night clubs and concerts. I grew up shooting grainy gritty B&W shots on a Leica (Tri-X, D76 1:1) of nighttime street scenes, and that is what I want to recreate. Given that, does any have different suggestions and ideas than posted earlier? Thanks again.

Gosh, that was a helpful response.

Thanks, that is sound advice

I am thinking about having one of my digital cameras coverted to monochrome. Before I do that, (1) does anyone have experience having that done and any warning cautions; and (b) has anyone experimented with the difference in image quality between a color image converted into B&W (Lightroom or PhotoShop) and an image originally shot in monochrome? Is it really worth it to convert to pure monochrome? I am willing to do it if there is a discernbile different in resolution, sharpness and overall image quality. thanks.

I believe that is part of the equation. Then there is some advantage to removing the color filter arrays that also contributes to clearer high-ISO files. I have seen many comparisons between monochrom and color cameras at normal lighting conditions, and the differences are subtle. Apparently the differences in low-light situations are more apparent, which is one reason why it is the street photographers who are buying the Leico monochroms, despite the cost. I don't know who else makes a monochrom camera, other than conversion jobs.

F8Lee, your argument may be right on a theoretical level, but the shots that GWilliams showed here are gorgeous. Great tonalities and sharp as a razor.
Here is another twist to the debate. One thing I have read in several places is that the real advantage of a monochrom over a color file is in very low light high-ISO situations, like street photography at night, or in bars and theaters. Supposedly, monochrom sensors excel in high-ISO with less noise. Any truth to that?