Here’s an informal test of the Nikon 500 mm f/5.6 phase Fresnel lens on a Nikon Z7. Here’s the scene, with the blooming bay tree target about 30 meters away: Note the minimal illumination falloff. Making three shots for each variation and picking the sharpest, I exposed at base ISO 100 for both cameras. I… [Read More]
Fuji 50/3.5 on GFX100, Sigma 35/1.2 on a7RIV
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]
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