Camera tech is a fascinating thing. What will companies provide us as customers, in hopes of luring us into their systems? I mentioned in my previous article that I’d been awaiting announcements on the update to Sony’s full frame mirrorless cameras before deciding on my own upgrade path, and chose to jump on the discounted a7RII deal as an update to my longstanding a7II.
My main interests were gaining an upgrade to image file quality in resolution, dynamic range and then overall performance upticks on the hardware side of things.
(*I’m selling a bunch of Sony FE gear! Have a look HERE)
After a few months with the R, here is what I’ve found out…
It has been a pretty long time since I’ve purchased a new camera body, which is somewhat surprising to me considering the amount of rambling on about gear I do around here. I’ve pretty much abandoned the idea of upgrading my Canon full frame body as they’ve been so far behind the curve for me in offering a realistic upgrade in spec and performance for the ever increasing cost, that I’ve just decided to hold onto my legendarily ancient 5DmkII as a full frame backup. The 5DmkIII and mkIV are both solid cameras. I just never saw the asking price as justified when my 5DmkII still compared favorably, spec wise for my shooting. When investing in a new camera body, (which hopefully is never out of physical necessity) I want something new, or seriously upgraded to provide me with a new tool, not just an expensive, shiny version of what I’ve already got. I’ve long been waiting for a new Panasonic GXx model to be announced, as well as waiting to see what Sony would do with an a7III. When Sony recently announced the new a7RIII (see here at B&H), I realized I’d be waiting for a while longer yet to see what they’d be offering in their more budget friendly a7 series upgrade, and seeing what they’re doing to the “R” line, it seems a fairly linear upgrade mostly geared to speed and video, neither of which I’m horribly in need of upgrading. Don’t get me wrong, I think the proposed claim of 15 stops of dynamic range and the ability to shoot 10fps with AF and AE capabilities at 42mp is certainly notable, it’s just a hard sell for me, considering it’s going to be launched for nearly a thousand dollars more than its predecessor is going for with the current rebates. (I can use that near grand toward a GX9 *cough* c’mon Panasonic *cough*)
Be warned, this article is merely me justifying my purchase to myself. It may read as if I’m a little crazy, talking in sporadic, half baked thoughts as I convince myself of this purchase. It’s a good exercise I find, and one that through it, may benefit others who may be in a similar position, so I hope it will aid any of us looking at the recent Sony fire sale in that way.
This led me to the new rebates on the a7RII, which has, since its launch long been (literally, it’s almost 2.5 years old!) one of, and for a long while THE highest performing sensor on the market, only recently displaced by the new Nikon D850 sensor, which was then quickly usurped by the new medium format Hasselblad X1D-50c sensor which may even be leapfrogged by the new a7RIII once all the testing is done. That’s saying something considering that many other full frame (and Medium Format!) cameras have been released in that time frame. I’ve been both a fan and critic of my Sony a7II over the last few years, and if you’re a Sony fanboy and new to this site, be warned as I will have some constructively critical things to say, but I’ve decided to stick with them for at least one more (personal) upgrade cycle, and here’s why…
Topaz has just released version 6 of their DeNoise software. It may seem like I’m plugging a lot of software of late, but it just so happens that the software that I have chosen to use is getting updated, and offered on sale which is pretty awesome.
I have used most all noise reduction (NR) plugins out there over the years, and while DAM software like Lightroom and Capture One do a good to decent job for a lot of NR tasks, I have never found better noise reduction anywhere than I have with DeNoise. So, what has changed with version 6? I’ve been testing version 6 against version 5 all week to see if I can really tell where they’ve improved it, and I feel that comes in the way of interface primarily, a huge boost to developing, saving and grouping presets specific to cameras, and further allowing those of us using this plugin to streamline our workflow when batch processing.
Topaz DeNoise 6 is on sale now, $30 off through March 20th HERE at Topaz Labs Website for $49.99 (normally $79.99) or as a FREE UPGRADE (as seems to always be the case with Topaz) for DeNoise owners! Use code “NOISEFREE” at checkout to get the sale price, and do so knowing that future upgrades will very, very likely be offered as a free upgrade as well. You can always try it out for free too. You can download a full free trial HERE if interested to see if it makes sense for you.
I chose DeNoise years ago because it beat the pants off of NIK Dfine for me (especially when correcting for noise banding), which I’d switched to after using Noise Ninja for years. I’ve yet to see anything outdo DeNoise, and the new version is an upgrade to an already stellar program.
If you’d like to see a side by side comparison between DeNoise 5 and 6, along with my thoughts on what has been improved upon, come on in…
Well, my friends, I have been enjoying the comparison between these two great cameras, and in this article I would like to present my opinions and findings regarding how they directly compare to each other in regards to performance and file output, once and for all (for my purposes, anyway). Here’s my disclaimer… I don’t work for Panasonic. I’ve always researched and purchased my own gear, and do these tests in an attempt to help others like myself see what I wish that I could have seen in cases before buying stuff. Enjoy and I hope this shows you something you’ve not yet seen.
I’ve been looking at the comparison from the angle of one who is curious about replacing my historically favorite micro 4/3 camera in the GX7, with it’s intended upgrade in the GX8. I’ve now had the GX8 for a couple months and have shot a few thousand images with it, so I have been able to get a good feel for how it handles, performs and how the files look when digging into them. With the GX8, Panasonic has given us an increase in size, resolution and features, which have all looked good on paper, and I’m now wanting to really see that come through in practice, which in most cases, it has.
Here is what I’ve seen, and what I’ve found…
Stabilization. A term that, before a handful of years ago meant “tripod,” or physical bracing technique, has grown to provide various hardware solutions within our camera system of choice. We as consumers have been lucky to have stabilization options within most all digital camera systems, and while image stabilization isn’t going to remedy all problems, it is certainly a nice feature to have.
I’m awaiting a new Panasonic GX8 to arrive within the next couple weeks which will boast a new, dual IS system incorporating both an on sensor IS and lens based IS solution, but before that time, I wanted to really see how the first full frame, 5 axis on sensor/in body image stabilization (IBIS) system from Sony compares to a very good lens based image stabilization (IS) system in the Canon EF lenses, and a better than often credited 2 axis IBIS system from Panasonic’s first foray into on sensor stabilization, in the GX7.
Come on in to see my three different comparisons between these three different offerings, and see if there is a clear winner.
Since purchasing the Olympus MC1.4x Teleconverter to couple with the Oly 40-150mm f/2.8 lens, I’ve been curious to see if the extra reach provided me by my Panasonic 100-300mm lens is really necessary. The 100-300 is a great lens in its own right, and for the price, provides an option that no other system can boast, so needless to say, I do think highly of it. That said, the 100-300 can soften up a bit on the long end (and to stop anyone who may suggest the Oly 75-300, I still feel the Lumix is the better overall lens and optically up to snuff, so, no) the question is, do I really get much from the extra reach?
Well, come on in for my findings and decision…
Choice is good, and unless it is an important, multiple choice test, the more choices, the better I feel. In this constantly growing camera system, we are continuing to get quality choices in the lens game. From semi-wide through standard focal lengths, the micro 4/3 system boasts quite a few options and those options are increasing.
So, with the recent addition of the new Panasonic Leica Summilux 15mm f/1.7 lens, it begs the question, why? With quite a few other comparable focal lengths in the lineup, why this lens? Panasonic has already provided two, pretty comparable, adequately performing focal lengths in this space. Come on in for a comparison between these three lenses to see which might be most deserving of your adoration and hard earned money.