I shot the Hy6 Mod2 with the Leaf Aptus II 12 80-megapixel digital back and several lenses, including the Rolleiflex Schneider-Kreuznach AF 50mm f/2.8 Super Angulon PQS, which is equivalent to about a 33mm lens on a full frame camera.
What can 80 megapixels deliver?
The Hy6 Mod2 comes highly recommended to me from a trusted NYC pro. It can take a wide variety of digital backs as well as film backs (“Hy” = Hybrid).
But PhaseOne seems to be leading the charge on GPU support—
According to Lionel Kuhlmann, R&D Manager at Phase One, a future (2014) version of Capture One will fully utilize all the installed GPUs in the system, whereas version 7.2.1 of Capture One Pro utilizes only 1 GPU.
Two examples are shown, with HD and UltraHD images for each profile variant.
The variances in color saturation and tonal relationships are a handy way to push the image in the preferred direction right off the bat, without tweaking controls.
James H writes:
First off thanks for all your hard work, your site is my gear bible!
You hit the nail on the head with your RX1R review. It is a superb camera that I would put toe to toe with anything on the market(minus fast action scenarios).
My hit rate with the RX1R is better than with any camera I have ever used! The lens on the RX1R has a wonderful rendering style and a certain bite to it that I like more than any other 35mm lens I have ever used. I've done side by side comparison prints between the A7R and RX1R at approx. 24 X 36 inches and I can hardly tell the difference.
DIGLLOYD: the Sony RX1R with EVF and grip was one of the most enjoyable cameras I shot all year and with a very high hit rate. The Zeiss 35mm f/2 Sonnar on the RX1R is optimized for the sensor, and it delivers outstanding results by ƒ/2.8 (and results at ƒ/2 the envy of most all DSLR lenses).
It seems a pity that with is vibration-free leaf shutter the RX1R has not been updated to include the 36MP sensor seen in the Sony A7R. Or better yet, a supersized version with the Sony 50-megapixel 44 X 33mm sensor.
There can be substantial differences in color and contrast that result from a difference choice of Camera Profile when converting raw files in ACR or Lightroom. It’s a feature that can be really useful in interpreting an image to your liking.
Both with HD and UltraHD images for the various profiles.
A similar discussion in DAP is based on the Fujifilm X-T1 series above.
Fujifilm 56mm f/1.2: Aperture Series: California Poppies + Picnic Table + Bench/Grasses (Fujifilm X-T1)
Presented in my review of the Fujifilm Fujinon 56mm f/1.2 are two ƒ/1.2 to ƒ/16 aperture series.
The poppy series gives a good sense of the rendering style and bokeh qualities of the lens at close range.
The picnic table series yields an excellent evaluation of sharpness and control of color aberrations.
The bench series shows the remarkable uniformity and sharpness:
All include HD and UltraHD images as well as large crops across the aperture series.
In the DAP Workflow section, I discuss the radical differences in color and contrast that result from a difference choice of Camera Profile when converting raw files in ACR or Lightroom. It’s a feature that can be really useful in interpreting an image to your liking.
This page has been cross-posted into the Fujifilm X section because it applies to Fujifilm X files, in this case the X-T1.
The Leica 50mm f/2 APO-Summicron-M ASPH is the finest lens in the entire line of Leica M lenses. At its best, can it deliver a superior large print when used on the Sony A7R versus its native Leica M 240?
The discussion has a distinct Leica M rangefinder lens viewpoint, taking into account performance issues applying to M rangefinder lenses in particular.
High quality image scaling was used to assess actual print quality at 36-inch and 45-inch print sizes, using the Canon PIXMA Pro 100 (sections of course, given the size).
How much does 36 megapixels matter for prints of that size? In Guide to Leica:
Includes scaled matched crops from each camera using the Leica 50/2 APO on both under ideal circumstances. This analysis represents the best possible differentation based on the sensor resolution differences.
Image scaling using Photozoom Pro. Includes a general discussion and perspective.
Note that DAP has two comparisons in a similar vein but comparing formats:
See previous notes as well as the initial discussion in review of the Sigma 50mm f/1.4 DG HSM 'Art'.
I’ll be testing the new Sigma 50/1.4 DG HSM A just as soon as it arrives from B&H.
This particular scene caught my attention for its potential to show a number of optical behaviors—and it does so quite well; it is deceptively simple but quite difficult to render well.
This ƒ/2 - ƒ/8 aperture series includes HD and UltraHD images as well as large crops across the aperture series.
Shooting the mosaic with its ultra-fine details with (the same lens), I was struck by just how much better the Sony EVF is than the Leica VF-2 on the M240.
The extra resolution of the 36-megapixel Sony A7R means that at 14X there is more to be seen than with the 24-megapixel M240 at 10X.
But it’s about a lot more than sensor resolution: the Leica VF-2 just looks blurry by comparison to the Sony EVF regardless of what it is displaying, and its contrast is inferior. Which means that the ability to discriminate accurate focus is impaired using the Leica VF-2, in all cases.
The Leica VF-2 is 1.4 megapixels; the Sony built-in EVF is a much crisper 2.4-megapixels. With the M240 + VF-2, grout lines between the tiny tiles all but disappear; with the Sony A7R, grout lines pop into focus when the focus is perfect. Still, it’s fair to say that something around 4 megapixels would be even better.
Moreover, my extensive field work with both cameras tells me that the Leica VF-2 resolution can be a source of errors: it often leads to front-focus errors particularly with slower lenses. It just does not have adequate resolution, so one is forced to use focus peaking, which is a poor solution for optimal focus (close but no cigar).
Leica should support a high-res EVF option, even if the CPU in the M240 can only deliver 10 or 15 frames per second refresh rate. The VF-2 offering feels hugely inferior in comparison to current EVF technology, degrading the M experience.
The Leica 50mm f/2 APO-Summicron-M ASPH is the finest lens in the entire line of Leica M lenses. With esentially perfect performance by ƒ/2.8, almost no field curvature and exceptional color correction, it sets the standard for the M lens line.
Thus it seems fitting to test it on the most demanding test subject of all: a planar subject with extraordinary fine detail, a true stress test that reveals the slightest weakness no matter how fine the lens.
A dyadic approach in Guide to Leica:
This ƒ/2 - ƒ/16 aperture series includes HD and UltraHD images as well as large crops across the aperture series.
This particular 50/2 APO is a replacement directly from Leica Germany received late in 2013. It incorporates improvements that adddress (in part) the flare issues that troubled the “rev A” lens.
With the Pentax 645z 50-megapixel medium format camera due in June, I wanted to refresh my memory of how the 40-megapixel 645D performs (I distinctly remember the fabulous sensor, but other details about lens performance had become fuzzy 3 years later).
Accordingly, my review of the Pentax 645D has been updated to redo many images in UltraHD size with vastly larger crops. I did this anticipating that the 645z will be at least as demanding as the 645D in terms of lens performance.
See the DAP chronological index for pages that are now updated.
To my review of the Pentax 645D is added an aperture series with the Pentax-D FA 55mm f/2.8 AL[IF] SDM AW, which is the normal lens for the 645D and the coming 645z.
A digital image requires a high quality sensor and a lens that can deliver.
I’ve communicated with Zeiss USA, and the following is now official:
We confirm the Otus 1.4/85 lens and our intention to introduce sometime in the near future.
Details about the specifications, pricing or actual sales data are as yet unofficial.
Shown below is the Zeiss Otus 55/1.4 APO-Distagon, the best lens ever produced for a DSLR, as shown in the in-depth review in Guide to Zeiss. I would expect an Otus 85/1.4 to be of similar construction.
An electronic first curtain shutter (EFC shutter) is needed for vibration-free exposures.
According to Pentax, the Pentax 645Z does not have an electronic first curtain shutter. The 645z does have the the same excellent mirror lockup feature as the 645D, and its shutter is generally well-damped (quite possibly no medium format camera has an EFC shutter). But a focal plane shutter is not and cannot be vibration free.