There’s a new mode in the firmware released today for the GFX 50S, 50R, and 100: auto focus bracketing. You set the near distance, the far distance, and the interval, and the camera bangs away between those focal points. But what does it use for a step size? Using a GFX 50R and the 23mm… [Read More]
How focus-bracketing systems work
I’ve done a lot of testing of the focus bracketing (Fujifilm’s name for it), and focus-shift shooting (Nikon’s) on the GFX 50S, the GFX 100, the Z7 and the D850. I expected that the users of these systems with be people who did focus bracketing or focus-shift stacking manually, and they wanted some way to… [Read More]
Metabones 1.26x Expander on GFX 100 with Otus 55
Three or four weeks ago I received a Metabones 1.26x expander for Nikon F-mount lenses on Fujifilm G-mount cameras. This is an adapter with glass — and quite a bit of glass, at that — inside. It increases the focal length of any lens attached to it by a factor of 1.26, and expands the… [Read More]
Camera differences in Adobe Color Profile
In the last post, I showed that, at least in the default general-purpose settings, Lumiriver Profile Designer did not do a particularly good job of producing the same color from raw files from three different cameras, even though with the reproduction defaults (except for 2.5 dimension LUTs) it did pretty well with at least one… [Read More]
Calibrating out the camera when making color profiles
In this test and this one, I showed that you could get the colors of developed files from the Sony a7RIV, the Nikon Z7, and the Fujifilm GFX 100 reasonably close if you used Lumariver Profile Designer, and the reproduction style. The a7RIV and the Z7 were remarkably statistically accurate and even closer to each… [Read More]