Ken Rockwell goes on a tear with his new camera, a medium format digital.
As his habit, Ken Rockwell exhibits a bad case of . For example, let’s take this quote from the first article:
All the 35mm rangefinders and DSLRs look pretty much the same, and the point-and-shoot is the worst.
I’ve also shown the fallacy of falling for claims of 12-bit, 16-bit or 24-bit image processing in-camera.
As those of us who have done this for a living since the 1980s know, the noise level of any of these sensors is much larger than even 12-bit processing. Throwing more real bits at the ADC only serves to quantize the noise more accurately; there isn’t any meaningful image data needing that precision.
Well anyone can see from his sample the 35mm cameras are not the same: the Nikon D3 exhibits tonality better than the Canon 5D Mk II and the Leica M9, . And those aren’t even —I will bet you’ll get nearly the same result as the Mamiya DM33 in the Nikon D3X (). He does of outcome bias in order to get the result he is wants to get before hand in his high ISO test.
Continue reading about Ken Rockwell after the jump
More Aperture presets
Aperture Presets are not new to Aperture 3. Before this however, you had to apply them by using the lift-and-stamp tool and share them by generating an Aperture project. It was never a very good solution. But my recent post on presets, made me look into our archives for some Aperture 2 settings to add to my Preset Library.
Download the presets here. Current version at time of this writing is 0.3b.
Without further ado, here they are: (Remember to mouseover the images to see the pre-preset versions…)
The Bay Bridge — Graeme’s Sky Enhancer
Embarcadero, San Francisco, California
1/320sec @ ƒ7.1, ISO160, 4mm (24mm), panoramic video
This photo was a sweep panorama of the Embarcadero to the Bay Bridge was done by the amazing Sony WX1 on my walk home from the San Francisco Farmer’s Market.
Graeme Smith came up with this setting darken and saturate the sky. When coupled with a brush and other enhancements, this should be a pretty good start for landscape photography.
Everybody’s Happy Man — Bakaris Outdoor Contrast
Chinatown, San Francisco, California
1/250sec @ ƒ7.1, ISO250, 4mm (24mm)
On a street corner in Chinatown there’s a guy yelling, “Happy! Happy! Happy! Everybody’s happy!”
Bakari finds this levels tweak adds some much-needed contrast to outdoor photos.
Music at the Ferry Building Farmers Market – heber’s Cross Process
Ferry Building, Embarcadero, San Francisco, California
1/125sec @ ƒ4.5, ISO80, 18mm (100mm)
These band was playing at the Farmer’s Market. I think they’re from the Haight normally.
Aperture now has two cross-process presets, but I thought I’d bring in the one created by heber vega also. Cross-processing probably started with a mistake from dipping films in the wrong chemical bath during development… now it creates an interesting recognizable effect.
This is an old trick from the video camera world. One way to get video, in Final Cut, to get a look resembling a movie was to adjust the output curve of the finished video to resemble film’s characteristic curves. You do this by creating an slanted S bend in the curve. Since Aperture 3 finally has curves, it was time to create a “film look” preset, which I did.
Hope you enjoy the presets, and contact me if you have other suggestions for more.
(Article continued from part 2)
I wrote an article about purchasing an entry dSLR four years ago. is how much of it has stood the test of time—only small details and features have changed: Nikon autofocus now has more points than Canon (as well as better coverage and ); Olympus no longer is the only company with Live View (even does it), nor the only company with dust shake (all the others, starting with Canon, now offer it); Sony is not the only company with sensor-shift image stabilization.
Still, the essence is still true: Canon and Nikon remain among the last three holdouts adamantly against sensor-based image stabilization. Canon settings are still bulletproof; Nikon still is light focused: with the best autoexposure system and the best high ISO performance. Olympus and Panasonic are still , Sony is , and Pentax is still putting photographic value first.
Nikon D5000 w/AF-S Nikkor 50mm f/1.4G
South of Market
, San Francisco, California
Olympus E-P2, M.ZUIKO Digital ED 14-42mm 1:3.5-5.6
1/6sec @ ƒ5.2, iso 800, 36mm (72mm)
It’s still best to forego the kit and stick a fast-wide-cheap prime on your camera. This Nikkor 50mm f/1.4 lens is not cheap, but Nikkor 35mm f/1.8 DX lens is the 50mm equivalent for Nikon APS-C and costs about the same as a kit lens. I’ll talk about lenses in a later section.
The rounded right side of the camera is actually an extremely well thought out way for resting smaller these smaller cameras in your palm. It’s a tiny detail, I’ve not seen in the other Nikon models, but it’s just one of the reasons why people rave about Nikon small body dSLR ergonomics.
The advice hasn’t changed: When you buy a first dSLR, it is still the best to forgo the kit lens and plaster on a cheap, fast prime. Lenses still get more expensive, and bodies still get cheaper. Every manufacturer makes a camera for your budget with a negligible price difference…
And the problem is all the cameras are still too good.
In fact, the most significant difference from four years ago is only that the “entry level dSLR” has dropped below $700 for an entire kit, (in addition to) the $1000 “body-only” category—redefining the latter as an “enthusiast” category. Not only that, in many cases, manufacturers have issued multiple models in this sub $700 category, all offering at least one full kit below $550. Three of these sell kits for less than a Canon G11 pocket camera!
Continue reading about The mistake not mentioned after the jump