aCuria
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 Re: RF-L or FE-GM (No Trolls, Gatekeepers, or Dismissive Responses) | |
gdanmitchell wrote:
aCuria wrote:
johnvanr wrote:
snegron7 wrote:
jojib wrote:
snegron7 wrote:
jojib wrote:
I shoot with both Sony and Canon systems. For Sony I have the A7V and A6700. For Canon I also have the R6MKII and the 5Ds.
You mentioned the classic 24-70/2.8 lens and I have that (RF 24-70/2.8 L IS) and it is an amazing lens. However, it might not fit your criterion of being light. For the Sony side, have you looked at the 40/2.5 G lens? It's pretty light and great for environmental portraits. I do a lot of travelling as well but when I do I often do model shoots thus my MVP lens there is the Sigma 28-105/2.8 DG DN ART. It's the lens I take for street editorial/fashion and then straight to the beach for swimsuit shots. Once again you might find it heavy but if you are considering a 24-70 then you should look at the Sigma as well.
A couple of years ago I owned an A7c with several lenses including the Sony 40mm f2.5 G. Yes, I agree with you, it's a very good compact lens. My only issue with it was that I had to exchange two decentered copies before I git a good one. Same with a Sony 85mm f1.8. Unfortunately I sold that camera and several lenses because I thought I was going to use only Canon gear. Three months later I ended up re-purchasing another A7c plus the 3 Tamron lenses I currently own.
I've only owned Sigma lenses in F mount, so I don't have any FE experience with them. I have read that Sigma produces good lensds; their 24-70mm f2.8 seems good on paper.
Do you print your images? One lens that hardly gets any mention here is the Sony 15/1.4 G. It's an aps-c lens but I tried with my A7V and it works really well. I seldom print but I tried it with the Super Resolution feature in Photoshop and it works really well.
I haven't printed in years except for the occasional prints I get whenever I test out a film camera that I buy.
So, why do you want large files? Is there something wrong with your OM-5 files from Japan?
I am not OP but dynamic range takes a hit on small sensor cameras.
This means its easy to blow out say a white dress.
For example, if the scene needs 7 stops of DR, you wont clip the dress until above ISO 4000+ on A7C but with OM-5 you will clip the dress above ISO 1600
Speaking as someone who shoots multiple formats, I think people make more of this issue than is warranted. It is rarely, if ever, a real world problem for most people.
IT is even less of an issue today than it used to be, given the continuing improvements in sensor performance, camera noise handling, and recently-available post-processing NR tools such as Adobe’s AI Denoise — which, for those of you who havne’t tried it, is nearly miraculous.
If you have a challenging DR subject, you expose to protect the highlights and then, if necessary, lift the lower luminosity values in post.
All gear decisions are trade-offs, and there is no perfect camera. It is true that a larger sensor (for example APS-C compared to MFT, FF compared to APS-C, miniMF compared to FF) can give you even more DR. But the real question isn’t which system has the very most DR — it is whether the system on the camera that interests you — and meets your other needs — has sufficient DR.
 DSC04477-SDR Q100 by acurian, on Flickr
Let me give you another example with a more modern camera. This is A7iii, f/1.4 and ISO 12,800 also Straight out of camera with no editing
The highlights are definitely blown in the Raw file, but I am not going to dial in -2 compensation because that will mess up shadow detail and make the shot worse.
The shot will certainly be improved if a camera comes out with a couple more stops of DR at ISO 12,800.
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