It’s a nice still morning, so I thought I’d test the new Fuji 50 mm f/3.5 on some foliage. For comparison, I chose the excellent Sigma 35 mm f/1.2 Art lens on a Sony a7RIV. Here’s the scene: Making three shots for each variation and picking the sharpest, I exposed at base ISO 100… [Read More]
Fuji 50/3.5 on GFX 100
Early this week, Fujifilm ran one of their sales that got my attention. The kilobuck 50mm f/3.5 for the GFX cameras was knocked down to half that. I didn’t really need the lens, but I bit. I guess I’m the kind of customer that Fuji was thinking about when they decided to do the massive… [Read More]
Balancing real and fake detail — part 3
This is the third post on balancing real and fake detail in digital images. The series starts here. In the last post, in this series, I showed you some plots of a real sharpness metric and an aliasing metric versus f-stop for an ideal diffraction-limited lens and a camera with a 3.76 micrometer pixel pitch… [Read More]
Balancing real and fake detail — part 2
This is the second post on balancing real and fake detail in digital images. The series starts here. In the last post I looked at the amount of aliased and correctly reconstructed image detail in the case of a monochromatic sensor an ideal lens, in combination with some spherical aberration and defocusing. The calculations assumed… [Read More]
Balancing the capture of real and fake detail
It seems to me the most important contribution of the Fujifilm GFX 100 and Sony a7RIV over their immediate predecessors is reduced aliasing, rather than increased sharpness. The GFX 100 is not actually sharper than the GFX 50x cameras, if slanted-edge MTF50 is the sharpness criterion, but the images are dramatically more detailed and more… [Read More]
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