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Top tip: even if it seems to be working fine, don’t put your wet camera away in your wet bag, throw it in the boot of the car and forget it until morning. Currently waiting to see if the dehumidifier

Oh, I know all about big raptors; we have one at home.    

This was just about the first photo of my precious little angel I took with the 90/2 back on December 30, 2019, and I haven't taken a better photo since. When I first got my camera, everything was wor

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It's quite a thing. Max 1/400th mechanical shutter sync is particularly impressive, and I dare not ever try one to see how good that EVF must be. For the money (it's £6500 here for the body) I think I'd still go for a Fuji medium format, but I do really like how serious Sony are about this stuff.

 

I'm personally more intrigued by what an A7IV can bring to the table and the damage that could do to Nikon and Canon.

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My first impression:
The A1 feels like a revelation in an industry where it is commonly suggested that manufacturers intentionally hold back features/performance to maintain consumption cycles. More than the tech, and despite the professional-sized price, it's the first no holds barred development in the camera industry in a very long time.

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Have to say the Fuji GFX 100S, announced today, is a pretty damn great package taking the 102MP sensor and video features from the $10,000 GFX100, slapping it into a smaller body with enhanced features like improved IBIS and battery over its bigger brother but for half the price (it's £5500 here). 

 

This current lockdown in the UK has been getting me down more than the previous ones. I'm so desperate to be out and about photographing people again. I really love the X100V but it's almost one year on from buying the thing and I still haven't had the opportunity to make the best of it. 

 

Speaking of the X100V, the 2.0 firmware was announced today and features:

 

Quote

 

■ FUJIFILM X100V (Ver.2.00)

 

1. Support for FUJIFILM X Webcam
This update adds compatibility with the FUJIFILM X Webcam (X Webcam) software, which allows the camera to be used as a high-quality webcam by installing X Webcam on a computer and connecting the camera to a computer via a USB cable.

 

2. Apply Film Simulations through X Webcam
Apply Fujifilm’s one-of-a-kind Film Simulation modes to provide a personal touch to any web meeting or interaction.*1

*1 This upgrade does not provide the capability to make adjustments to camera settings from a tethered computer.

 

3. Use the built-in ND filter in the video mode
The built-in ND filter can now also be used in video mode, while recording video, which will let image makers use wide apertures in bright light or slower shutter speeds.

 

4.Set the Position of the Bright Frame to its Shifted Location
In optical viewfinder mode, the Bright Frame shifts to the actual shooting area when the shutter button is pressed halfway. This update adds an option to set the camera to remember the Bright Frame’s shifted location. Turning the setting to ON means the camera will not need to readjust the frame’s position every time focus is acquired.

 

5. Expanded Functionality
When using the digital teleconverter function, you can save still images in RAW + JPEG to the memory card.

 

 

 

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  • 2 weeks later...

I'm sure I've gone on this rant before but I can't get over how huge and cumbersome fast 50mm primes are on all these new full frame mirrorless cameras we're seeing these days. Fuji really benefit in sticking to aps-c when it comes to the size of their primes by comparison (it's a shame they're not in a hurry to do new mk2 versions of their 35 and 50mm 1.4 lenses though). 

 

Sony's new 35mm 1.4 GM isn't too obnoxious. I wonder if they'll do a 50mm GM. 

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I'm still keeping an eye on video developments in the camera world and I thought this was interesting. First image of Sony's FX3 cinema camera, widely expected to have the A7sIII video performance but with active cooling and possibly their s-cinetone colour science, but in what looks to be a very robust body.

 

I'd be surprised if it was in fact closer to the A1's video performance vs the A7sIII but who knows. Maybe it'll land somewhere between the two. Alleged price isn't far removed from the A7sIII though, so one would have to assume there are some performance/feature perks over the mirrorless to make up for the absence of things like its high end EVF...etc.

 

Sony-FX3-1536x1264.jpg

 

 

Bildschirmfoto-2021-02-11-um-20.53.56.pn

 

https://www.sonyalpharumors.com/another-sony-fx3-leaked-image-and-unconfirmed-spec-list/

 

I can't see any sign of there being a built in ND filter which would be a shame (it would be a nicer perk over something like IBIS). Very curious to see the actual specs via a formal announcement in a week or so though.

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SonyAlphaRumors updated again and IBIS is apparently there on the FX3 video camera, and a 12mp sensor which really does sound as if it's basically the A7sIII in a rugged body and without the expense of its EVF, but most likely backed by a few set up features lacking on the A7SIII like DCI-4K and Sony's higher end colour space typically reserved for their cinema cameras.

 

https://www.sonyalpharumors.com/news-sony-fx3-image-leaked-and-first-specs-12mp-sensor-and-has-ibis/

 

Might ruffle the feathers of some A7sIII owners but I think this is a shrewd move for Sony to muscle in on the space Canon have with the C70 in a similar price range, and even Black Magic who have cheaper but far less ergonomic or well featured camera bodies (great though those cameras are).

 

I'd have to assume the Pro Res RAW external support will be available here for external recording to an Atomos as is possible with the A7sIII.

 

I don't know if I am surprised or not that Canon are effectively the only company not offering external Pro Res RAW recording, while both Fuji and Sony offer it, and Nikon offer it as a charged software upgrade. My interest in the R5 has warmed a great deal, and overheating issues aren't really a problem if recording externally (you can feed its 4k HQ out to an Atomos for ProRes HQ recording, just not ProRes RAW), so it's a pity to see them allow the competition to offer something that I can only assume Canon won't because of their investment in their cinema cameras. Having said that, the R5 can do internal RAW at 8k, and allegedly soon Canon RAW Lite via a future firmware, so I don't know what the issue would be with also offering RAW output to an external source.

 

 

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Again on the video news... Black Magic seemingly wanted to get a one up on Sony and the FX3 as they've revealed their Black Magic 6k Pro today, a variant of their existing 6k model with some significant improvements (internal ND, support for Sony batteries, a new screen that tilts outwards, optional EVF support).

 

https://www.blackmagicdesign.com/uk/products/blackmagicpocketcinemacamera

 

Incredible value for money as usual from Black Magic. I'd so hoped they'd change the form factor this year though. They're not the easiest things to mount to a typical gimbal.

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I don't mind the Black Magic cams looking ugly, it's just the impracticality of the more rectangular form at that size. They are unbeatable for what they give you for the price though. Quite remarkable. 

 

Apparently Sony are bringing S-cinetone to the A7sIII, which is great news and also guarantees the FX3 will have it. They really do seem to be the same camera internally but with the cinema camera being much more production friendly on the outside and as far as inputs are concerned. I wonder if the FX3 will allow for changing the shutter angle though. That's not something they put on the A7sIII.

 

 

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Some official FX3 images:

 

FX3-10.jpg

 

 

FX3-7.jpg

 

FX3-9.jpg

 

 

https://www.sonyalpharumors.com/leaked-lots-of-new-sony-fx3-images/

 

It'll be interesting to see if the thicker body and active cooling allows them to squeeze even more out of that A7sIII sensor. I am wondering if it will also allow you control over the shutter angle like the other FX cinema cameras allow. It's rare to find that option on mirrorless hybrids, though Fuji, Panasonic and Leica have the option in the video menus for their cameras.

 

 

 

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No DCI-4k or shutter angle on the FX3. How bizarre that really nothing should differentiate the camera from the A7sIII and have those basic things you'd expect from one of the FX Cinema cameras.

 

 

It's £4199 here vs £3799 for the A7sIII (but the difference is roughly made up when you account for buying the XLR audio adapter separately for the A7 should you want it).

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On 2/10/2021 at 9:44 AM, Angry the Clown said:

I'm sure I've gone on this rant before but I can't get over how huge and cumbersome fast 50mm primes are on all these new full frame mirrorless cameras we're seeing these days. Fuji really benefit in sticking to aps-c when it comes to the size of their primes by comparison (it's a shame they're not in a hurry to do new mk2 versions of their 35 and 50mm 1.4 lenses though). 

 

Sony's new 35mm 1.4 GM isn't too obnoxious. I wonder if they'll do a 50mm GM. 

Lens lineup is the only thing that keeps me from leaving Fuji for a full frame AF system. I strongly considered the A7C, but the Sony lenses I was interested in are giants in comparison.

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48 minutes ago, xPieter said:

Lens lineup is the only thing that keeps me from leaving Fuji for a full frame AF system. I strongly considered the A7C, but the Sony lenses I was interested in are giants in comparison.

 

For real and the others are the same:

 

Screen Shot 2021-02-23 at 9.22.18 PM.png

 

Though the Canon isnt as comparable as the Sony and Nikon lense are a part of their top-tier line.

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6 hours ago, Starhawk said:

 

For real and the others are the same:

 

Screen Shot 2021-02-23 at 9.22.18 PM.png

 

Though the Canon isnt as comparable as the Sony and Nikon lense are a part of their top-tier line.

 

Yes. I expect an RF 35 L to be another chonk when it arrives. The push for more aperture blades and more sophisticated mechanics to drive the AF system, plus stabilisation showing up in more and more lenses, seems to have brought us to where we're at. Still, it brings me back to questioning why even bother to make the bodies smaller. If an R5 and R6 were a little bigger they probably would have been freed from their internal overheating video limitations too. The little RF 1.8 lenses that have been coming out are great, but I hate their crunchy noisy zooming af mechanics.

 

Of course, I rant about all this and nevertheless find myself wondering what I'd ideally pair an R5 with.... and I keep coming back to the 28-70 f2.....

 

Canon_EOS_R5_InHand_2_1.jpeg

 

Obscene to be sure, but quite an engineering marvel and it renders beautifully. Price is eye watering too, but if you are happy with f2 (which is typically my favourite wide aperture) then the 3lb weight of this monster and its price handily cancel out the need and even greater expense for a collection of RF L primes. Now, would I travel for leisure with that thing? I honestly doubt I'd even feel comfortable walking the streets of London with it on an every day lone walkabout, although if someone were to try and steal it I suspect it would double nicely as a blunt instrument of defence. Amazing work lens though. That 95mm filter thread does add even more to its cost of course. Still, I'd love to see one (and an R5) and try one out in person when it's safe to do so as I've seen so many photos and videos on it where sometimes it looks ridiculous and other times it really doesn't seem that impractical. The RF 85 1.2 L isn't far behind it in size I don't think. 

 

I see on the rumour mill this past week that there are patents for an RF 50mm 1.4. It would be nice if that's an L lens as I don't want their quality and weather sealing to be reserved for their most ultra expensive glass, and the difference between 1.4 and 1.2 is inconsequential to me. I'd expect such a lens to be smaller than the 1.2, but I'd be surprised if it ends up being significantly smaller. In fairness the 50 1.2 seems to pair quite nicely with the R bodies once in the hand, at least without the lens hood, and being a 50mm fan I could quite easily leave that lens on the body and never remove it. 

 

It's weird how much I find myself missing a chunkier camera from time to time. I'm delighted with the x100v. It's easily favourite Fuji camera that I've owned, and quite the Swiss army knife of cameras when you consider the quality of its lens, the leaf shutter, the built in ND, the weather sealing, the tilt screen, the ability to mount the wide angle and telephoto adaptors...etc (I plan to get the TCL in the spring). I'm excited to be able to use it a lot more as the world slowly returns to some sense of normality. I wish it were built from heavier and more robust materials and had a faster/quieter af system, but for the price it's really a versatile delight of a thing. I still hate Fujis menus though. If there's one major inspiration any company should be taking from Leica these days it's the menus. 

 

I do also wonder if these companies showing little concern for their lenses getting bigger and bigger has a lot to do with the reality that the cameras themselves are largely ending up in the hands of people working with them in some capacity, where the thought of such things drawing attention to the user are going to be less of a concern. The better our phones gets the more likely it is that mirrorless bodies become things of value only to working professionals and photography enthusiasts, which in turn allows for companies to make these things more and more expensive as we've been seeing. 

 

Going back to lenses in general... It strikes me that Fuji are lagging somewhat on the lens front these days with their interchangeable system though. Am I wrong on that front? Optically they still seem to be delivering the goods at very respectable price points, but mechanically they seem to be falling behind the competition with slower af (not helped by the fact their af algorithm is behind the competition too). I can't help but think a lot of their R&D has gone towards the GFX line lately and I am surprise they still haven't taken the optics from their wonderful 35 1.4 and put it in a new weather scaled enclosure with a better af motor system.

 

I've always largely been a single point focus and recompose type user when it comes to af. I hardly ever used the more fancy settings with my 7D or 5D3 back in the day, likewise when I had the X-Pro2, and the Leicas were all manual of course save the Q which, again, I just would stick to single point and would focus then recompose anyway. It's really taken the latest mirrorless bodies from Sony and Canon to make me sit up and feel like I'm seeing something quite extraordinary with the af face and eye detection that has impressed me enough to convince me that it's not only something that would be useful to me, but something that's finally reliable too. Nikon seem to have been doing well in that department as well, especially with the newer Z6II and Z7II. Aside from video functions, that's probably what has me eyeing these things from a close distance again. 

 

 

 

 

 

 

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6 hours ago, Angry the Clown said:

I see on the rumour mill this past week that there are patents for an RF 50mm 1.4. It would be nice if that's an L lens as I don't want their quality and weather sealing to be reserved for their most ultra expensive glass, and the difference between 1.4 and 1.2 is inconsequential to me. I'd expect such a lens to be smaller than the 1.2, but I'd be surprised if it ends up being significantly smaller.

 

That's one thing I hate about the Canon lineup is the distance between expensive/huge/quality and cheap/smallish/lower grade. Sony/Nikon are much more well rounded with Sony's G/GM usually at f.1.4 and Nikon's whole line up S-Line f/1.8 Primes under $1000. Not super small but higher grade and seems to be a happy medium.

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It'll be interesting to see what happens whenever Sigma finally rollout RF mount lenses. I've a feeling that inevitability might push Canon to bring some quality weather sealed primes in at 900-1500 price region themselves (indeed it may be the reason behind that patent on a 50 1.4). As I understand it Canon don't share their mount specs with third parties so companies like Sigma have to reverse engineer everything Canon do themselves. 

 

 

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I'm glad to hear you say such nice things about the X100V; I had the F until I sold it for a Q. The IQ, AF, and menus were so much nicer on the Q, but I really clicked with the way the F sat in my hands. And it's probably not cool to say, but I think the X100 line is better looking than the Q's.

 

You must be right about lens size going big because the consumer market is shrinking and pros will use whatever is best, not whatever is most compact. A fair number of YouTubers will say, "I use (insert large system) for work and Fuji for personal." The first one who comes to mind with that mindset is Omar Gonzalez.

 

The last interchangeable body I owned was the first 5D so I can't weigh in about AF these days. I do agree that a quieter, WR 35/1.4 would be a big seller for Fuji.

 

I've spent my year of quarantine playing with a Leica M-D and manual focus to keep my photography mind as sharp as can be. It's been rewarding, but once the world opens back up I'm wondering how long I'll hang on to it. The Q is the "better" camera in my mind. In a perfect world I'd own both :)

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10 hours ago, xPieter said:

I'm glad to hear you say such nice things about the X100V; I had the F until I sold it for a Q. The IQ, AF, and menus were so much nicer on the Q, but I really clicked with the way the F sat in my hands. And it's probably not cool to say, but I think the X100 line is better looking than the Q's.

 

You must be right about lens size going big because the consumer market is shrinking and pros will use whatever is best, not whatever is most compact. A fair number of YouTubers will say, "I use (insert large system) for work and Fuji for personal." The first one who comes to mind with that mindset is Omar Gonzalez.

 

The last interchangeable body I owned was the first 5D so I can't weigh in about AF these days. I do agree that a quieter, WR 35/1.4 would be a big seller for Fuji.

 

 

I must confess the only value I get out of photography Youtubers is that they seem to switch bodies and brands even more than I do which makes me feel ever so slightly less stupid. :)  I really struggle with photo related channels on Youtube. There's not may I like, and even fewer that I love.

 

Anyway, I enjoyed my time with the Q a lot. I ultimately sold it as 28mm just isn't a focal length for me, at least not if I had to choose one focal length to live and work with (a 35 or a 50 would be my preference). It did open my eyes to photographing architecture more though so I got a lot of of personal and creative development out of it. I did consider a Q2 last year as its megapixel count certainly makes its 35mm and 50mm crop modes more useful, but ultimately the X100v was the more versatile, and obviously cheaper, tool (and it quite literally slips easily into a jack pocket or the front pocket of a backpack. It was never quite so easy with the protrusion of that beautiful 28mm Summilux on the Q).

 

I do feel as if the Q and SL get overlooked in the camera world lately due to Leica's historical association to antiquated rangefinders, as those two cameras really marked their firm step into the modern world and (particularly the SL) set a few standards since emulated by other companies producing mirrorless bodies. I think the Q is probably the best camera Leica are making right now. My last Leica's were the M10-P and the SL and I loved both but had to part with the former due to finances, and the latter was perhaps a case of right camera at the wrong time, but I got it at a heavy discount so didn't take a huge loss on it, and I was using it exclusively with my Leica and Zeiss M mount lenses. I also don't feel as though the Q or SL are especially overpriced for what you get and considering they're coming from a very small company.

 

I'm very interested in the SL2-S, particularly once it gets its major firmware in the coming months, and it's on my shortlist of larger bodied cameras to consider next year. The rollout of Sigma lenses for the L mount has really made the SL more of a practical proposition, however Leica are lagging behind on the autofocus front. The big SL2-S firmware is said to add a range of new enhancements to its af system, but I'm sadly not expecting great things as they are effectively piggybacking off of Panasonic's R&D in that department and weirdly a company like Panasonic has still managed to trail behind Canon and Sony when it comes to designing their autofocus algorithms. We'll see how it plays out whenever the firmware is available. 

 

A big problem for me continuing to use Leica products exclusively has been Brexit, which has introduced all manner of headache inducing issues surrounding tariffs and customs declarations. With Leica having no repair service presence in the UK it was always a tedious and lengthly procedure to send products to their HQ in Germany (they also have a base in Portugal) even at the best of times, and now it stands to be even more tedious with the threat of being more costly on top once the, admittedly generous, warranty period on new Leica purchases expire. Many Q issues can be examined and repaired by the service technicians at their UK stores, but M's and SL's have to go back to the continent if something goes wrong with them. Another issue with Leica is that bizarrely, despite firmly making a mark with cameras like the S and SL and targeting them at working photographers, they still don't have a Professional Services organisation as Canon, Nikon, Fuji and Sony do. 

 

 

Quote

I've spent my year of quarantine playing with a Leica M-D and manual focus to keep my photography mind as sharp as can be. It's been rewarding, but once the world opens back up I'm wondering how long I'll hang on to it. The Q is the "better" camera in my mind. In a perfect world I'd own both :)

 

My attraction to Leica's has always been the tactile nature of using them, and how unfussy they are in terms of design. There's no reason any other company could not streamline their designs as much as Leica do, or indeed offer manual lenses that are such a joy to handle as M lenses are. It's strange that Fuji have never quite gone so far in either respect. Funnily enough I even think Leica's own SL2/SL2-S take set backwards from the original in some ways as I loved the two flat rectangular buttons either side of the LCD on the original SL and there being no writing or icons anywhere on the buttons. Clean and customisable. It was brilliant. Now on the SL2/SL2-S they've ditched that and put three square buttons to the left of the LCD and marked them with text mimicking the Q layout somewhat. I will say that those responsible for the menus on modern Leica cameras deserve a medal though as they are damn near perfect. 

 

The M10-P was definitely the best digital M I've owned of the three I've been lucky enough to have over the last twelve years or so. I'd have a digital M again (it took me a while to warm to them again after my terrible time with the M240 and Leica's the terrible customer service experience I endured), but various aforementioned circumstances make it difficult to ever think of having one as my only camera like I've had before. I think with Leica being the kind of company they are you benefit from the security of a backup, whether it's another system or a duplicate body because they're just not well placed to support you when things go wrong, at least in my experience. The stupidest thing I've done with camera gear is move on as quickly as I did from the 5D3 and M9 combo that I ran with for a while. Since then I've sadly been stuck in an either/or situation when choosing what cameras to work with (larger more sophisticated bodies vs smaller more discrete) and I've made a lot of silly and irrational decisions which have held me back in numerous ways.

 

I do have to think cautiously about my next steps. I had a solid business plan several years ago and a clear idea of the things I wanted to achieve... then the shock of Brexit in 2016 and turned practically everything upside down. I was just starting to figure some things out again three years later by the end of 2019 too... and then 2020 happened and the consequences of the pandemic has effectively robbed me of another two years. If the pandemic and endless lockdowns has taught me anything it's how much I love the practice and the art of photography though. I've spent much of the past year pouring over my absurd collection of monographs, and buying even more of them, and it's almost as if it's only just now hitting me quite what photography means to me and how it has benefitted my health and general wellbeing over the years. In a way I've always known. I've had that sense of that in the back of my mind for a long time, but I'm rather sad that only now has that realisation become clearer than ever to me at a point where I know it's going to be of an even greater struggle to do what I want to do when ten/fifteen years ago I was a better age to be trying to do it, and the world and the industry was in a better place to support my interests.

 

I'm not expecting to acquire a new camera this year as I need to budget for a new computer first, but I am paying close attention to developments. There's the SL2-S as I say, but then I have also warmed greatly to the R5 having done a lot of reading up on it, and am eager to finally be able to get to a store to handle one. It does genuinely seem to be their best '5' series camera to date and I'm keeping an eye on what future firmwares throughout 2021 might do to improve and enhance the camera further. I also want to see whether Sigma finally roll out some native L mount lenses as I don't think I would immediately dive in on spending on Canon's own RF L glass. I know Sigma's EF mount lenses work well with the EF/RF adapter and the camera's amazing af system, but if there's chance to have something mounting natively rather than adapted (which makes lenses seen ever larger/longer when attached), then all the better.  

 

I'm also keen to see Sony unveil the A7IV which I have to assume will get released at some point in 2021. That could really hit a price>performance sweet spot as I'd expect it to come in at under £2500 (vs £4100 for the R5 and £3900 for an SL2-S), and I know it will deliver the goods on autofocus, have decent internal video options for the price, and probably better external video options. Rumours suggest to expect nothing fancy from the EVF on an A7IV, but considering the tier that model sits in that's no surprise (I was truly spoilt by the EVF in the original SL, and the EVFs in the R5 an SL2/SL2-S are better still). The remaining option is Fuji's X-T4, or to see what becomes of an X-H2 announcement. I know you can get the best video af performance from Fuji with their handful of linear motor lenses like the 16-55 2.8 and the beautiful 90mm f2, but they're still behind whatever witchcraft Sony and Canon are delivering on that front. I wouldn't be wholly against manual focus options mounting a cinema lens to an X-T4 though, so I'd have to see how costs balance out when comparing everything that's available when I'm ready to make the choice. *edit* I'm still only just getting round to researching in detail what Nikon could offer me with the z6II too, so I don't want to sound like I'm dismissing them as another option. 

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6 hours ago, Angry the Clown said:

I'm also keen to see Sony unveil the A7IV which I have to assume will get released at some point in 2021. That could really hit a price>performance sweet spot as I'd expect it to come in at under £2500 (vs £4100 for the R5 and £3900 for an SL2-S), and I know it will deliver the goods on autofocus, have decent internal video options for the price, and probably better external video options. Rumours suggest to expect nothing fancy from the EVF on an A7IV, but considering the tier that model sits in that's no surprise (I was truly spoilt by the EVF in the original SL, and the EVFs in the R5 an SL2/SL2-S are better still). The remaining option is Fuji's X-T4, or to see what becomes of an X-H2 announcement. I know you can get the best video af performance from Fuji with their handful of linear motor lenses like the 16-55 2.8 and the beautiful 90mm f2, but they're still behind whatever witchcraft Sony and Canon are delivering on that front. I wouldn't be wholly against manual focus options mounting a cinema lens to an X-T4 though, so I'd have to see how costs balance out when comparing everything that's available when I'm ready to make the choice. *edit* I'm still only just getting round to researching in detail what Nikon could offer me with the z6II too, so I don't want to sound like I'm dismissing them as another option. 

 

I'm really curious as to how the A7IV turns out as well. If there'd be anything to make me switch before I get too invested in a system, it might be that. Better color science would be nice.

 

I did upgrade and buy a Z 6II and the new firmware just came out yesterday. I've not tested it much, but the eye-detection is a huge improvement. Much faster and stickier. 

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43 minutes ago, Starhawk said:

 

I'm really curious as to how the A7IV turns out as well. If there'd be anything to make me switch before I get too invested in a system, it might be that. Better color science would be nice.

 

The colour science debate is interesting. I personally think with a bit of work one can basically get the colours from any camera to match if working from a RAW file, but at the end of the day you want to be spending as little time at the computer as possible (I know I do anyway) so there's certainly value in starting with a base image that you like.

 

I continue to cheer Capture One for their exemplary dedication to camera profiling which still beats Adobe from everything I've been reading, and while I haven't upgraded to Capture One 21 the new ProStandard Profiles takes everything to another level entirely (they're gradually rolling that out for more and more cameras and brands, but so far the most recent Canon, Nikon and Sony bodies are supported alongside the Leica S3, SL2 and SL2-S, and obvious the Phase One cameras. No Fujis as yet) . Sony's files, pretty much like every other manufacturers files, do seem to fare better straight out of camera in C1 as a consequence. 

 

I completely understand about the trepidation over investing too much in a single system. It's a big reason I've set myself a red line that if I were to invest in an R5 or A7IV, Z6II...etc to pair them with Sigma's 50mm 1.4, see whether I can actually start to get the ball rolling on the work I want to be doing, and only then think about investing in native glass. Again, I don't think I'd have the Leica SL2-S on a shortlist were it not for the fact Sigma's lenses are available for the L mount too. 

 

 

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I did upgrade and buy a Z 6II and the new firmware just came out yesterday. I've not tested it much, but the eye-detection is a huge improvement. Much faster and stickier. 

 

I was a little surprised that the mkII still needs to be sent away for a hardware adjustment to enable output for ProResRAW (and now Black Magic Raw). It's a $200 add on cost, but on reflection maybe Nikon are actually being smart as I see a lot of R5 users commenting on how little its video functionality means to them, and that they were sour on how it was primarily promoted on the basis of its video overshadowing the fact that it is a phenomenal photographer's tool.

 

So I guess Nikon made the right choice to walk a finer line in marketing their mirrorless hybrid, plus it's a feature only the A7sIII/FX3 and Fuji GFX100s offer out of the box, and a feature Canon do not support/offer at all, so I guess I can't really look down on Nikon for offering it as a paid add on. It seems you can also buy the camera with the update installed, but only if you buy the "movie kit" which is actually a well put together ensemble of parts including the camera, small rig cage components, extra batteries, the Atomos Ninja V recorder...etc. Everything you need basically. All for under £3000.

 

How do you find the EVF on the Z, Cam? I seem to remember some criticism of the blackout time. Is that just in burst modes or what? (I don't do anything that warrants use of burst mode on any camera).

 

I do know that I'd be perfectly at ease with a 24mp camera. The 45 mp of the R5 isn't really the big attraction for me, but more the quality of its sensor (which seems better than the one of the R6 in a variety of areas), that EVF, and the sense that ergonomically and menus wise there's always going to be a familiarity with Canon that I know I'd be at ease with, which I can't say for Sony having had no experience using their cameras before. 

 

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51 minutes ago, Angry the Clown said:

The colour science debate is interesting. I personally think with a bit of work one can basically get the colours from any camera to match if working from a RAW file, but at the end of the day you want to be spending as little time at the computer as possible (I know I do anyway) so there's value in starting with a base image that you like.

 

I've been experimenting with more OOC jpegs lately, mainly for how they look out of the Nikon and because most of my use lately lends itself to jpegs instead than RAWs that im ever going to edit. 

 

And to be honest, I've never personally tried to edit a Sony RAW file or tried to shoot a jpeg a Sony. I've just heard complaints about this enough times it definitely seemed like the Sony weak spot.

 

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I was a little surprised that the mkII still needs to be sent away for a hardware adjustment to enable output for ProResRAW (and now Black Magic Raw). It's a $200 add on cost, but on reflection maybe Nikon are actually being smart as I see a lot of R5 users commenting on how little its video functionality means to them, and that they were sour on how it was primarily promoted on the basis of its video overshadowing the fact that it is a phenomenal photographer's tool.

 

So I guess Nikon made the right choice to walk a finer line in marketing their mirrorless hybrid, plus it's a feature only the A7sIII/FX3 and Fuji GFX100s offer out of the box, and a feature Canon do not support/offer at all, so I guess I can't really look down on Nikon for offering it as a paid add on.

 

Sort of related to this, the main complaint I've seen a few times about the Z 6II is the lack of 10-bit internal. But that's been about it. 

 

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How do you find the EVF on the Z, Cam? I seem to remember some criticism of the blackout time. Is that just in burst modes or what? (I don't do anything that warrants use of burst mode on any camera).

 

I might not be the best person to review this because I don't have as much experience with others, but in general the EVF is great. I've had other people use my camera and gotten unsolicited responses about it. Granted, they were using lower end cameras.

 

I remember the EVF on my older Z6, when in video mode, had enough lag that it would give me motion sickness if I looked at it while I was moving around. The newer II seems improved there. But the EVF in stills mode has always been fine in both cameras. 

 

Blackout seems "normal" to me but I'm not sure how it compares. If I take a single photo, the blackout seems to be the same as I've seen of other cameras. There's a slight blackout in Continuous (burst) mode, but there's also a mode called Continuous H (extended) that gives a slight stop-motion effect instead of blackout. I think the Sony a9(?) has a mode where there's no blackout or stop-motion at all.

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