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Update on Steelsring EF-GFX adapter
  
 
highdesertmesa
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p.2 #1 · p.2 #1 · Update on Steelsring EF-GFX adapter




Bubble wrote:
and we all need to keep in mind that there is no such thing as "one stop for all". As always, native lens is your best choice. The moment you step out to the "adapting" world, you have to give some to get some. You need to know what you want and go from there.

As of right now, Steelrsing is the only adapter that report the correct focal length through out (prime and zoom lens) in exif and the AF works as advertise.


Have you tested it with a variable-aperture zoom like the 100-400 II and still seen it report the correct apertures?



Dec 03, 2017 at 10:31 PM
Bubble
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p.2 #2 · p.2 #2 · Update on Steelsring EF-GFX adapter


highdesertmesa wrote:
Have you tested it with a variable-aperture zoom like the 100-400 II and still seen it report the correct apertures?


i don't have the canon 100-400 but my 24-70 mkii and 24-105 mkii report the right focal range + f stop.



Dec 03, 2017 at 11:29 PM
Bubble
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p.2 #3 · p.2 #3 · Update on Steelsring EF-GFX adapter


and the adapter is able to drive the motor of canon 400mm DO mkii as if it is mounting on my 1dx mkii. Very happy with this adapter.

















Dec 03, 2017 at 11:35 PM
engardeknave
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p.2 #4 · p.2 #4 · Update on Steelsring EF-GFX adapter


highdesertmesa wrote:
I don’t shoot at f/11, so I couldn’t say. I find f/4-8 plenty for my compositions. I don’t do a lot of near-MFD-to-infinity all in focus type of shots, as I mainly use the 23 to capture cloudscapes above a given scene. If you still have the lens, you may want to try manually focusing and using the electronic DOF scale to see if you notice an improvement in sharpness. Next time I use the lens, I’ll experiment at f/11.


I actually only compared to some raws someone sent me. I'm using the 11-24mm to shoot interiors of things like hotels and big homes. Typically my object is to get what is maybe a meter and beyond in focus. I almost never focus by trying to see where focus is in real time. That will always lead to suboptimal focus when viewed on a big screen. Instead I do dozens of tests whenever I get a lens to find the sweet spots for various scenes. Strictly following DOF scales is not going to be optimal for reasons I don't remember but which can be found online. I have tried this strategy and repeatedly found that DOF scales lie. All that said, even if the GF 23 is better at f/11, it's only going to be a little better, and it's still not wide enough for what I'm doing anyway.



Dec 04, 2017 at 01:02 AM
highdesertmesa
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p.2 #5 · p.2 #5 · Update on Steelsring EF-GFX adapter



engardeknave wrote:
I actually only compared to some raws someone sent me. I'm using the 11-24mm to shoot interiors of things like hotels and big homes. Typically my object is to get what is maybe a meter and beyond in focus. I almost never focus by trying to see where focus is in real time. That will always lead to suboptimal focus when viewed on a big screen. Instead I do dozens of tests whenever I get a lens to find the sweet spots for various scenes. Strictly following DOF scales is not going to be optimal for reasons I don't remember
...Show more

Yeah, if you need the 11-24 for the widest field of view, not much else can substitute for it.

The DOF scale in the GFX viewfinder is not the same as the DOF lens markings from film days. It’s a fairly accurate representation of only what will be in critical focus on a digital sensor. The GFX gives you the option to set the DOF either way: “Digital” (default) or “Film” (much looser definition of in focus). Sounds like what you’re doing is a better way, but thought you might find it interesting that the GFX accounts for the digital platform when reporting DOF.



Dec 04, 2017 at 02:49 AM
highdesertmesa
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p.2 #6 · p.2 #6 · Update on Steelsring EF-GFX adapter




Bubble wrote:
i don't have the canon 100-400 but my 24-70 mkii and 24-105 mkii report the right focal range + f stop.


That’s good to know, thank you.

I was kinda hoping the Canon telephoto primes like the 400 DO wouldn’t vignette as badly as the 100-400, but looks like it does. I think I’m going to wait for the GF 250 and 1.4x instead of adapting Canon glass.



Dec 04, 2017 at 02:55 AM
Bubble
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p.2 #7 · p.2 #7 · Update on Steelsring EF-GFX adapter


For sure..native lens always better. You just don’t go out and buy the 400DO mkii to use with gfx. This thread is more about the ability of this adapter and for guys that still have lots of canon lens (like me)


Dec 04, 2017 at 03:22 AM
Bubble
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p.2 #8 · p.2 #8 · Update on Steelsring EF-GFX adapter


new firmware is out for this adapter. 1.4t


https://www.facebook.com/Steelsring/



Dec 04, 2017 at 05:23 AM
Steve Spencer
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p.2 #9 · p.2 #9 · Update on Steelsring EF-GFX adapter


highdesertmesa wrote:
That’s good to know, thank you.

I was kinda hoping the Canon telephoto primes like the 400 DO wouldn’t vignette as badly as the 100-400, but looks like it does. I think I’m going to wait for the GF 250 and 1.4x instead of adapting Canon glass.


Depending on what you shoot and the price you are willing to pay, the Leica R 280 f/4 APO with the 1.4X is a fantastic combo that totally covers the sensor even at infinity and even wide open. It is a super performing lens. The combo will cost you about $5,000, however, perhaps a little less if you shop carefully. I don't know how that will compare to the GF 250 and the 1.4X TC in price or performance, but I will be shocked if the GF can match the performance of that lens and it would make a nice fairly light combo as well.



Dec 04, 2017 at 02:21 PM
highdesertmesa
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p.2 #10 · p.2 #10 · Update on Steelsring EF-GFX adapter


Steve Spencer wrote:
Depending on what you shoot and the price you are willing to pay, the Leica R 280 f/4 APO with the 1.4X is a fantastic combo that totally covers the sensor even at infinity and even wide open. It is a super performing lens. The combo will cost you about $5,000, however, perhaps a little less if you shop carefully. I don't know how that will compare to the GF 250 and the 1.4X TC in price or performance, but I will be shocked if the GF can match the performance of that lens and it would make a
...Show more

The GF 250 and 1.4x won't be released until 2018, so right now, no one knows. Given that FujiFilm's achieved goal thus far with the GF lenses has been to resolve for a 100mp sensor (they are amazing even viewed at 2:1 zoom), it's probably fair to assume the GF 250 will at least match the Leica. I'm not sure what the price will be, but I would think it would be well under $5K. Where the GF lens is going to outmatch the Leica will be the fact that it will be autofocus and have stabilization. I might be tempted to get the Leica if it has a hard stop at infinity like the Zeiss ZF/ZE lenses I've used (and if I can make sense of all the different versions of these Leica's 280s – seemed like an overwhelming number of variants last time I looked at that focal length).




Dec 04, 2017 at 10:35 PM
 

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Steve Spencer
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p.2 #11 · p.2 #11 · Update on Steelsring EF-GFX adapter


highdesertmesa wrote:
The GF 250 and 1.4x won't be released until 2018, so right now, no one knows. Given that FujiFilm's achieved goal thus far with the GF lenses has been to resolve for a 100mp sensor (they are amazing even viewed at 2:1 zoom), it's probably fair to assume the GF 250 will at least match the Leica. I'm not sure what the price will be, but I would think it would be well under $5K. Where the GF lens is going to outmatch the Leica will be the fact that it will be autofocus and have stabilization. I might be
...Show more

The Leica R 280 f/4 APO definitely has a hard stop at infinity and more than a handful of people on the Alt lens board consider it to be the very finest lens every made for the FF 35mm format. It will be an outstanding achievement if Fuji can match its quality. That said you are absolutely right that the Fuji will have autofocus and image stabilization and Fuji thus far has made very good lenses. I think a big issue is what you want to shoot. I think the Leica makes sense if you are a landscape shooter and shoot off a tripod, which would describe a lot of people, but certainly not everyone and probably not even close to a majority of folks. If you want to shoot handheld and you shoot a variety of things then the Fuji may serve your needs much better. That is why I said initially depending on what you shoot, and of course I said depending on what you are willing to pay to indicate that yes like many Leica lenses the R 280 f/4 APO is a very expensive lens.



Dec 05, 2017 at 04:48 AM
highdesertmesa
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p.2 #12 · p.2 #12 · Update on Steelsring EF-GFX adapter


Steve Spencer wrote:
The Leica R 280 f/4 APO definitely has a hard stop at infinity and more than a handful of people on the Alt lens board consider it to be the very finest lens every made for the FF 35mm format. It will be an outstanding achievement if Fuji can match its quality. That said you are absolutely right that the Fuji will have autofocus and image stabilization and Fuji thus far has made very good lenses. I think a big issue is what you want to shoot. I think the Leica makes sense if you are a landscape shooter
...Show more

Yes, it is a lot of money to spend, particularly considering the risk of it possibly getting stuck to or damaged by a third party adapter. And yes, it will indeed be an achievement for Fujifilm to match a world-class lens that didn't have to compromise its design to accommodate autofocus and IS – but so far they seem to be hitting high marks with the GF line (minus the 23mm, which is still dang sharp at 1:1, but doesn't match the others at 2:1).




Dec 05, 2017 at 08:55 PM
highdesertmesa
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p.2 #13 · p.2 #13 · Update on Steelsring EF-GFX adapter


gdanmitchell wrote:
I'm still unclear about how many Canon lenses (aside from the TS lenses*) will give you full image frame coverage with excellent performance to the corners.



Many more lenses cover the GFX sensor, but only at closer distances. At infinity, I have not seen a single example of a non-tilt/shift EF lens that does not vignette – even the 40mm vignettes. There is also the weird swirly bokeh around the edges of the frame at close distance with wide apertures that I find distracting, sometimes even nauseating (as the swirly bokeh can imply motion).

When I tried shooting the 100-400 at infinity (and others that have considerable vignetting), I had to crop either to:

16:9 or narrower
1:1 square
35mm-format size

I wish the GFX had the option for a 35mm format zoomed crop in the EVF/display, which would effectively allow me to shoot an adapted 35mm lens as a 35mm lens at near 5D MkIV resolution.

Edit: the biggest issue is even properly manually focused, a lens like the 100-400 is sharper on the 5DsR. The GFX's glass sensor cover being thicker and further away from the sensor may be keeping some EF lenses from reaching their full potential.



Dec 07, 2017 at 07:13 PM
gdanmitchell
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p.2 #14 · p.2 #14 · Update on Steelsring EF-GFX adapter


So, tell me again why the plus/minus calculation comes out in favor of the current iteration of this miniMF system for those whose needs aren’t met by the currently available Fujifilm lenses?

I remain intrigued by this system, but the current positives do not outweigh the current negatives for me. I hope and expect that this will evolve in the next year or two and tend to shift the balance more in favor of the Fujifilm miniMF system... and I suspect Fujifilm is also thinking along these lines.

YMMV,

Dan

highdesertmesa wrote:
Many more lenses cover the GFX sensor, but only at closer distances. At infinity, I have not seen a single example of a non-tilt/shift EF lens that does not vignette – even the 40mm vignettes. There is also the weird swirly bokeh around the edges of the frame at close distance with wide apertures that I find distracting, sometimes even nauseating (as the swirly bokeh can imply motion).

When I tried shooting the 100-400 at infinity (and others that have considerable vignetting), I had to crop either to:

16:9 or narrower
1:1 square
35mm-format size

I wish the GFX had the option for a 35mm
...Show more



Dec 07, 2017 at 07:53 PM
highdesertmesa
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p.2 #15 · p.2 #15 · Update on Steelsring EF-GFX adapter


gdanmitchell wrote:
So, tell me again why the plus/minus calculation comes out in favor of the current iteration of this miniMF system for those whose needs aren’t met by the currently available Fujifilm lenses?

I remain intrigued by this system, but the current positives do not outweigh the current negatives for me. I hope and expect that this will evolve in the next year or two and tend to shift the balance more in favor of the Fujifilm miniMF system... and I suspect Fujifilm is also thinking along these lines.

YMMV,

Dan



Funny you would ask (perhaps rhetorically), but my third time with the 5DsR is at hand, and it arrives today. The GFX is not yet a full system solution with the longest lens being 120mm. Even with the future GF 250 and 1.4x converter, the 400mm range is out of reach unless you want to consider adapting a Pentax MF lens (there are probably others, but Pentax seems like a good deal and the recent ones are designed for the same sensor), but you will lose autofocus and stabilization and have to use a tripod at all times.

And aren't your needs even less suited to the GFX than mine? If I recall, you also shoot wildlife, birds, etc. I can't imagine shooting BIF with the GFX.

So why am I shooting the GFX you may wonder? Well, because despite the lack of meaningful differences in sharpness in large prints, it does two things for me:

1. Allows me to make a more dynamic image. Some things may be equal between the GFX and 5DsR even at large print sizes, but at any size, and whether on-screen or printed, the end result from the GFX can be more aesthetically pleasing, more forgiving of difficult lighting scenarios, etc. There are images I can produce with the GFX files that simply cannot be done by the 5DsR before the file "falls apart" (gets gritty, shows too much grain, looks artificial, etc.) – there is more usable image data in the GFX RAW files that make a meaningful difference in the end result.

2. Clarity of the image at 1:1 and 2:1 on screen. If you owned and used a GFX for a while, it makes it painful to go back and pixel peep the 5DsR images. You may or may not care about this, but for me, viewing my images at 1:1 and even 2:1 on screen is a cathartic experience and one of the most unfairly-maligned joys of digital photography. No one was ever ridiculed for looking at a 6x7 negative on a light table with a high-powered loupe.

For me, owning the GFX means having a two-camera system. If this something you're not comfortable with or would cause too much overlap in equipment, then that is a completely understandable reason to not buy a GFX. I will only be using my 5DsR for the 100-400 – to get what I cannot get with the GFX. You may have a huge collection of EF glass you don't want to part with, though.

If you really are interested in seeing if you want a GFX, join the Facebook user group owned by the Fujirumors people and find the $5200 deal for the body and the various discounts on lenses (above what you get directly from B&H, Adorama, etc.). It may actually be Adorama that sells you the equipment and gives you a receipt as if you bought it directly. This third-party broker system has to be used if an authorized seller is going to circumvent a manufacturer's price controls. Anyway, add perhaps the 45mm 2.8 lens, the 63mm 2.8, or the 120mm f/4 and try shooting it like a big Leica Q for a few weeks. I guarantee you'll love the results you get from it. You'll be stunned by them, by the insane range for adjustments you will have in Lightroom, by the sharpness at 1:1/2:1, by the noiseless things you can now see in the shadows you never did before, and by the color – and even you, a naysayer of sensor-related color results, will notice the increase in the color IQ of your images. You simply cannot adjust a 5DsR file to match a GFX file, no matter how much you move your Lightroom adjustment sliders around. And if you find the GFX is not for you, you can recover your purchase because you bought it at such a steep discount. Even if you lost a few hundred dollars, it would be like an inexpensive rental.

YMMV back atcha.

Edit: I have to add:

3. Having a screen full of focus points, never having to focus and recompose, and never having to use a button press to activate the joystick to move the focus point.

4. Never having to worry about nailing focus at wide apertures.

5. Being able to have a digital DOF scale in the viewfinder while shooting. This is not a film-based DOF estimation, this is what will be in sharp focus on the sensor. You can even change the option back to show the DOF in the old-school film scale in case you don't care about pixel-level sharpness in all areas of consequence.



Dec 07, 2017 at 08:27 PM
engardeknave
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p.2 #16 · p.2 #16 · Update on Steelsring EF-GFX adapter








Has anyone noticed the red cast in the corners yet?



Dec 07, 2017 at 11:23 PM
Bubble
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p.2 #17 · p.2 #17 · Update on Steelsring EF-GFX adapter


i can't seem to duplicate the red corner you mention about. Here is the shot with 85 ART.




  GFX 50S    85mm F1.4 DG HSM | Art 016 lens    85mm    f/4.0    1/80s    5000 ISO    0.0 EV  




Dec 10, 2017 at 05:42 AM
gdanmitchell
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p.2 #18 · p.2 #18 · Update on Steelsring EF-GFX adapter


I've written elsewhere about my thoughts on the miniMF versus FF question and my reasons for my own decisions. Rather than posting a long reply here, you can read more about it at the link. (BTW, I am not primarily a wildlife photographer — I photograph a wide range of subjects, but most people probably think of me primarily as a landscape photographer.)

Dan

highdesertmesa wrote:
Funny you would ask (perhaps rhetorically), but my third time with the 5DsR is at hand, and it arrives today. The GFX is not yet a full system solution with the longest lens being 120mm. Even with the future GF 250 and 1.4x converter, the 400mm range is out of reach unless you want to consider adapting a Pentax MF lens (there are probably others, but Pentax seems like a good deal and the recent ones are designed for the same sensor), but you will lose autofocus and stabilization and have to use a tripod at all times.

And aren't your
...Show more




Dec 10, 2017 at 03:55 PM
engardeknave
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p.2 #19 · p.2 #19 · Update on Steelsring EF-GFX adapter


Bubble wrote:
i can't seem to duplicate the red corner you mention about. Here is the shot with 85 ART.


There is at least one other person who doesn't have the problem either. There are some who do have it. You can see it in their photos. I'd really like to know how to not reproduce this issue anymore myself.

I'm pretty sure it's a firmware issue since the problem goes away when the lens is electronically disconnected. However, I'm using the lastest firmware (1.4). Here's a video:



(I mistakenly say that the vignette goes away when the lens is disconnected, but I mean that the red color cast goes away.)



Dec 10, 2017 at 05:47 PM
Bubble
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p.2 #20 · p.2 #20 · Update on Steelsring EF-GFX adapter


The image I posted above have exit info show on the bottom. So far only you report this issue. You might have a defective unit? Regardless, seem like your only option now is to use the kipton adapter.


Dec 10, 2017 at 06:52 PM
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