#Iridient developer fuji full#
#Iridient developer fuji iso#
#Iridient developer fuji series#

Conditions almost perfect, apart from the fact that I have not used the tripod.

The scene that I have chosen is a handheld photo done with the Canon 17TS-E. Let me bring my impressions compared to the best output quality in terms of details. I omit intentionally here yet another disquisition on the pros and cons of each software. One issue that has always seemed to me of interest, as I have already written several times on The Visual Experience, is finding which RAW processor allows you to get the most out of this camera. Frankly speaking I haven’t experienced the issues DPReview reported on A7-A7r JPEGs. The images that come out are excellent from all points of view, tone, and (non existing) noise. A setting that I use a lot, which I assigned to “M2” for “snapshots”, is JPG extra fine 16Mpixel. I thought Fuji X100/X100s JPGs were insuperable but Sony did at least the same. If you’re interested in the RAWs please ask.

#Iridient developer fuji iso#

It also seems that you can mitigate the effect by using two different anchor points ( click here for details on the workaround).Īnd, to try, I also mounted my Canon 70-200 F4 L (metabones adapter) with Gitzo GH2780QR Head, Tripods Velbon carbon lens mounted on collar – 20 sec f5.6 ISO 100, developed with IRIDIENT DEVELOPER, no processing nor sharpening except what has been done, by default, by Iridient developer. I refer to their websites for further considerations: I can say that in my normal use on tripod I’m always within 50 mm, and, hence, I have NEVER seen a visible effect of this problem on my pictures (also because the problems seems that there are mainly between 1 / 80 sec and 1/125 and then magically disappear on long exposures).

#Iridient developer fuji series#

Jim Kasson is studying, with an in-depth series of articles (the last, for today is here), the issue and noted an influence, especially on long lenses, induced by the shutter “slap”. Many, with Lloyd Chambers, found that the camera suffers from vibrations induced by the (noisy) shutter mechanism. Of course the option to have an uncompressed RAW would be a nice to have in a future firmware release. RAWs are compressed: I’ve never seen an issue out of this (questionable) technical decision from Sony. DxOMark assigns the same score to the A7R and the D800E sensors. The files that the camera produces are really very good.

In this post I will only focus on some interesting impressions of use, mainly on tripod and with Tilt Shift lenses(especially the Canon 17mm TS-E), with my experience in the field (I actively use the camera from about three months). To get an idea given a look at this link on. There are also forums, among other things, overflowing with images taken with any A7/A7r in combination with all possible lenses, vintage and not. For details on the camera, I would suggest you to read the various sites that have already detailed at length all the pros and cons, from DPReview to SLRLounge.

#Iridient developer fuji full#

So, in latest years, I have been forced to make a series of compromises: extensive use of medium format (film), various post processing techniques: strategies, which inevitably always have lengthened the time of processing of each single photograph.Īnd now Sony comes out with a new camera, full frame, 36 million pixels that, with some adapters, you can use with many lenses, including my Canon TS. In my experience CCD response was difficult to recover in post-production. But the night is not the ideal playground for Medium Format Digital, not so much for the high ISO (generally insufficient) but, more importantly, for the way CCD sensors render artificial lighting. I have tried, over time, some digital backs. For this reason, from the photographs to the scans to, finally, to the prints my workflow has always been long, arduous and, at times, tedious. My prints have always been of big size, so resolution has always been a factor to be taken into account when selecting a camera. Being primarily a photographer who loves the night, almost all of my work is based on tripods and long exposures. At the end of the day picture quality is definitely the most important thing for me: quality means not only definition but, more importantly, three-dimensional look which I’ve always found on medium format cameras or, with some limitations, on special lenses like the my beloved Canon Tilt Shifts. Of course, as I have written several times, I have always used for my “important” works heavy and bulky tools. From the early Panasonic attempts with the “venerable” LX3, to the Fuji X100 and X100S, I have always been attracted by small traveling companions to take always with me. Whoever follows me knows what has always been interested on small cameras with great image quality.