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Man, yeah. Lots of complex emotion on this for me over the last week. I’m a white Minnesotan, working 6 days a week even during COVID-19... I thought about photographing/video documenting, and I agree it is incredibly important work and that things must be seen. But my heart is broken. Just straight ripped apart. I just got home from two days In Minneapolis/St. Paul, and I’m glad I didn’t bring a camera, and I left my phone in my bag. There’s a LOT of I guess I’d call it “social justice tourism” going on, and that just sits uneasy with me. Like, people were posing with their friends and signs for selfies, and then leaving the sit-in at the capitol before it was done... even more selfies with the George Floyd mural at Cup Foods. Don’t get me wrong, it is good that those people are at least engaging on some level, but social media is already drowning in this stuff at the moment, that isn’t necessarily an efficient vehicle for change. I don’t need pictures to communicate what I’ve seen with my own eyes. I saw the entire capitol lawn filled to bursting with beautiful peaceful people all afternoon, championing full institutional overhaul of the oppressive system... which by the way was organized and led by FREAKING HIGHSCHOOL STUDENTS, who were all more articulate than yours truly. I worked alongside hundreds of my fellow Minnesotans ALL DAY yesterday as we packed food and household supplies for our neighbors in need. We were tired. We were drenched in sweat. It was beautiful. Emotions, events, words and actions are in the highest contrast in this moment. Sometimes you’ve gotta leave the camera behind and commit your full self to being present. And I must say this: while the news has been reporting both the peaceful protests and the unrest, the time devoted to each is woefully disproportionate to the time Minnesotans have been devoting to each. Yes there has been some destruction and some violence. But there is an immeasurably larger effort of peaceful demand for justice. Heres the only picture from today, snapped by a construction worker on an adjacent building and texted to one of the church food drive organizers. All of those bags of groceries were gone within half an hour. The need is real, but Minnesotans are rising to the occasion, government or no government.

Going beyond full frame with Fuji GFX cameras has many perks. However one of the drawbacks of medium format used to be the amount of money you would have to spend on the lenses - and the size of them, and the slow apertures. With the development of mirrorless medium format cameras with a mechanical focal plane shutter that's all changed. I had no money left for lenses anyway, after I bought my Fuji GFX 100! So I set myself a challenge. What is the CHEAPEST lens I could use for great images on medium format? Here I used my Fuji GFX 50R to shoot the photos you see below, but the same look applies to the GFX 100 in 4K as well. https://www.eoshd.com/lens/best-50mm-lens-for-fuji-gfx-100/

Matching different cylinders glass from different anamorphic scope is equivalent of a cylindrical Galilean telescope running backwards, finding a match with different systems that meet the afocal condition. Here are few prototypes I put together and some sample shots. I hope you like, thanks! .

Photo by Fibonacci Blue Will Smith said recently that racism isn't increasing - the difference is that it's being photographed and filmed - now we realise just how much of it there is. If it wasn't for the filming of George Floyd's murder by a policeman, it may never have come to light in public. All of us who have a camera, smartphone or online presence should keep this flame alive and shine a light on the truth wherever it confronts us. Important photos and videos must never be censored. However when a long-time DPReview forum contributor tried to share his photos of the George Floyd protests in Minneapolis, he was immediately censored. I have also been subject to censorship on the DPReview forum (my URL is banned completely) so I know what it's like to have your voice silenced from a community. New blog post: https://www.eoshd.com/photo/dpreview-censors-frontline-riot-photographer-photos-of-george-floyd-protests/

The last time I’ll visit EOSHD. You’re such a whiny little bitch at this point.

Frontline riot photographer...what is that ? Wedding photographer, I know... but Frontline riot photographer. "...I'm risking my life to cover this story (gunshots, rocks, fire, tear gas, etc.)" I think it's the etc. that pose a problem here. Anyone with a camera "feel the need to document" the riot. So cool, you don't have to travel to war zone like Syria or Yemen to be in the boots of a photojournalist, just go downtown, to get a shot of adrenaline. The smell of tear gas is so exciting my dear ! Do you think I should take a ND filter, because yesterday I couldn't focus well with the flash grenade. No joke, last time I saw on the news, a lady with a gimbal running with the protesters. Next is what ? slow mo with a Phantom ? 360 VR ? The same people are taking pictures of homeless, you know...to document poverty. All of that, to feed social media and get followers. Pathetic. When you introduce yourself saying: Frontline riot photographer. "...I'm risking my life to cover this story (gunshots, rocks, fire, tear gas, etc.)" it's an insult to photojournalist who died, doing their job.

Found one on eBay for £200 so thought I'd give it a go. Got the rusty potato out for a test shoot versus the X-T4. The Voigtlander 17.5mm F0.95 is really nice on it. Did I miss any firmware updates on the Pocket 4K since I last bothered with it?

I saw the image above and thought how nice an image it was, then clicked through to the post and saw it was a Minolta 55/1.7 and thought it was even better, then I read the cost.... these old lenses really are something! Nice images

Anyone doubting the motive of a white man choking a black man for almost nine full minutes should take a moment and think about himself. Can you think of one reason why 9 minutes ? i’ll follow up Andrew’s advice and mail amazon and dpreview about this thread censoring.

Hello everyone, I need your help. I'd like everyone to write to Scott Everett at DPReview about the forum ban on EOSHD URLs and politely ask for them to stop doing this. I think it's been 5 years now. There are users who post in both places and want to reference a topic here, or reference in this forum a topic at DPReview. So it is not nice really, is it? Last year I had a big clear the air talk with Scott, their general manager. Unfortunately since, he has done nothing to stop the ban. So here is the address to email for him... https://***URL removed***/about/staff/scott.everett scottev@dpreview.com Please be polite and ask him to stop censoring you.

Hey, one positive about posts like this: Alt right assholes and Nazi sympathizers have no problem exposing themselves. Don’t let the door (or maybe some riot police?) hit you on the way out guys 🙂

So many examples of that. This scene is from a river rave in Berlin, found on Reddit here https://old.reddit.com/r/berlin/comments/gui77y/peak_slacktivism_i_cant_breath_banner_on_a_party/ I suppose it makes them feel better doing jack shit. There's even now a name for it... Slacktivism! Words must match actions. You are out there packing food and household supplies. A wonderful deed and a reminder that sometimes humans actually do something good without expecting a pat on the head or a lot of social media likes for it. Those who aren't there need the pictures to know what's going on in a different country, the rest of us need those photos and videos. So keep these coming too.

There are some exceptions to the free speech rule actually. Racists or apologists for them, lose their right to a voice. So just so you know why, if I do have to delete posts on this topic it'll be for those reasons. Same with the "America first" MAGA nationalists. Fuck off.

It was. Next thing one says is, this never even happened. I wished your post never happened. The man will never breathe again, nor will he be able to tell us why his murderer didnt let him breathe, instead pushing his knee in his back. Now you take a deep breath and leave it at this please.

Really?

Yep. Exactly. The cop is being charged with 2nd degree murder because he killed a man and you’re still trying to defend him, solely for the reason that he’s a white cop! Get the hell out of here with that. He had 18 prior complaints filed against him.

Sure. I'm curious as well how the new competition is gaining on the a7s ii.

Never been the huge fan of external monitors or HDMI cables that everyone else seems to be Well I have changed my mind. It's a U-turn bigger than any Boris-led government is capable of. It's hypocrisy of the highest order. But it just feels so much better balanced on a larger, heavier camera than it does on a small mirrorless camera. The cage is excellent as well (SmallRig). Very generous to charge £120 for a cage that fits a $10,000 camera. LockCircle would have changed $20,000. If only they would route the video feed up through the smart hot-shoe like they do for the EVF. Cable is ZILR, by an ex-Atomos Brooke-Benton Smith. Monitor mount is also SmallRig. That bit was £35. It's a pity the camera wasn't £35. But this is a 5 year investment for me... Can't see there being much like this coming out! Now to test the ProRes....

Ever thought of actually contributing?

Just for information, not showing off, hopefully someone will find it useful? My brief run through of my old lenses on my GXF 50R, like discovering old lost treasure. I have tried my manual Mamiya 645 lenses on my GFX 50R via Mirex Tilt/Shift EF/M645 adapter, then another adapter for EF/GFX. Yes, a round about way, but it seems to works okay. I may get a simpler adapter in the future? - 120/4 macro works great. - 35/3.5 N works great. The 35/3.5 N focuses pretty dang close. - 80/1.9 N works great. - 55/2.8 N works great. - 145/4 Soft Focus works great. Quick test of Contax Yashica Ziess lens with a Canon EOS-EF adapter.via the TechArt Pro EF-GFX adapter, - 35/1.4 CYZ - very slight soft vignette, this lens is also amazing close focus on the 50R. I see this one is going to be another rediscovered treasure gem. Sure to be used often. - 35-70/3.4 Macro CYZ - Starts vignetting anything lower than 50mm. Progresses to total tunnel vision super hard at 35mm. However in macro mode, NO vignette, amazing, also amazing close focus in macro mode. - 100/2 CYZ - non macro model - imperceptible vignette, if any? M mount lenses: - Voigtlander Heliar 75mm f/1.8 works good, just some slight vignetting and dark corners that should be easily corrected. - Voigtlander Nokton Classic 40mm f/1.4 SC hard vignette in the corners, not much soft vignette, still usable. - Canon RF 50mm/0.95 converted to M mount, forgot the vignette. Via Fotodiox Minolta (SR/MC/MD) mount adapter. A quick test shows all my lenses are vignetting almost exactly the same. That's kinda strange, but cool, I'll take it! Not too bad, but definitely visible. - MC W Rokkor-X 28/2 - Zoom 35-70/3.5 - MD Rokkor-X 45/2 - MC Rokkor-PF 58/1.4 - MC Rokkor-PG 58/1.2 - MC Rokkor-PF 85/1.7 - MC Tele Rokkor-PF 100/2 - Minolta MC W Rokkor-HH 35/1.8 in Minolta SR mount, it vignettes the same as rest, slight, but noticeable.I I have two more adapted to Canon EOS-EF mount. 28/2 85/1.7 The Minolta EOS-EF mounted lenses seem to vignette slightly less than the native Minolta SR mount via Forodiox GFX adapter. Oh, and the Minolta 28/2 is super close focusing, I had forgotten about this. All of these works great. Canon FD/FL mounts, Fotodiox FD/GFX adapter... - FL 55/1.2 - heavier vignette than the Minoltas, which were slight but noticeable, still should be easily corrected. - FD 85/2.8 SF - slight vignette, similar to the Minoltas, maybe a touch more? - FD 500/4.5L - similar to the vignette of the FL 55 above. - Konica Hexanon 57/1.2 Using the GFX - LM adapter, then an LM - AR adapter. It seems to vignette more than the Minoltas, similar to the Canon FD 55/1.2 Canon EOS/EF AF lenses via Techart adapter. - 50mm/1.0 AF works, I have forgotten what the vignette was .. - 200mm/1.8 AF works, very slight vignette, I have forgotten? - Contax N 85/1.4 converted to EOS/EF mount, via Techart adapter, AF did *NOT* work, but manual focus works, can't remember vignette. - Faithfully submitted, Douglas C. Niedermeyer...

They mention here that they have not test DR yet so there is hope that they will https://***URL not allowed***/canon-1d-x-mark-iii-review-and-sample-footage/

Thanks very much, In short, what I do is experimenting with anamorphic glass using the 35mm and 16mm projector scopes. Once the glass has been extracted out its original body from different anamorphic lenses I combine and mix them, finding a match with different systems that meet the afocal condition. That is parallel light in/ parallel light out, ending up with a completely different scope in terms of compression ratio, IQ, character, multi-colors in the horizontal artifacts and structure (dimensions). The process is quite tiring and time-consuming. The first photos show 3 Schneider Cinelux-based hybrid prototypes fixed at infinity, without focus ring. These hybrids will fit inside a FVD focusing now is possible from minimum to infinity. I have made other interesting combinations with very large front glasses such as front 35Nap and front HI FI 2 which have been cut to the right diameter matched with the right rear glass re-housed and ready to enter the FVD. There is much more to say but I don't want bore you. I am on full frame sensor 5D3.

What are you talking about? Every review is very positive, yes it has limitations as every camera but what are you expecting a C500 ii merged with an Alexa in a rather small weather sealed body at 1/3 or 1/5 of the price? Is a FF 5.5k RAW with a great AF alternatives? C500 II, Fx9 (no raw)

You're not "fighting the power" when you're on the side of every Fortune 500 company and media outlet you fucking nerd. You're such a normie but think you're transgressive. You and McDonalds are taking on the man together to stop "racism"! LOLOLOL You're exactly the kind of virtue signaling, lecturing chode we need less of. You're an obnoxious bully, not a freedom fighter.

Pentax 67 adapts to Pentax 645 so you just buy that adapter tube, and stick it on the Kipon speed booster. So there is the Kipon full frame one for S1 and Nikon Z6... I have the Nikon version from them. And there is the monstrous GFX speed booster for Pentax medium format lenses too And that's the one I want next Kipon doing an amazingly wide range of adapters at the moment.

So far I find the image not a HUGE step up from 1D C, while very good in 4K and 5.5K RAW especially, the 1D C MJPEG 4K 8bit stands up well today. The 1080p is pretty naff and not any better than the original 1D X and 1D X II 120fps. No 4K crop though, and H.265 offers much more manageable file sizes. The 10bit is better for Canon LOG. I found myself with a lot of the recent mirrorless cameras 'hankering' for my 1D C. Not very rational! But I love the chunky DSLR build quality, OVF and the 1D C's thick chunky image, big files, amazing colour, so cinematic. Maybe the 1D X Mark III will be thought of in the same way once I've finished comparing it to the Sony A9, A7 III, Leica SL2 and Fuji X-T4. I'll have to keep giving it the benefit of the doubt for now. It replaces quite a lot of my stills cameras so may justify itself that way too. Don't forget to add £500 per 512GB CFexpress card to the price though.

@Snowbro Love your post above! Out of likes for today. Spending too much time on the net on my free day. cheers:) boss! Thx!

Awesome! Now if you could explain a bit more to the clueless:) Beautiful images. What camera did you use? Out of likes for today.

So going back to the original topic. DPReview forum mod locked and censored posts with photos of anti-racism protests. You could ask yourself why? And what do you think about that? On the front page, the headline about the police targeting photo journalists was misleading. In the article, the photographer had their lens broken by a protester. Do you think this is acceptable - to vilify the police and then use two completely false examples of police brutality? Americans need to start questioning more. No. And by the way, I am not a "rabid liberal" whatever that is. I have a mixture of complicated views, some of them socially liberal, some of them agreeing with Joe Rogen's podcast a lot of the time, some of them fiscally conservative, it's a big old mix. This is why it is so stupid we are putting people into tribes of far left and far right. It is way more complex. However, capitalism selects for extremes so this is the result. A fading away of any middle ground, and two tribes battling it out for supremacy and control.

To be fair, the main advantages of the BRAW codec isn't in the pixel peeping. Film anything well and its gonna look good with modern cameras these days. For me, the advantage of BRAW is A) Altering ISO and white balance in post production. Not for every shot, but for some, its quick, simple and for some shots, can place less stress on filming. For some shots last year, it was a life saver. B) Its so much smoother to edit than H264 and H265 in Resolve. Thumbnails load quicker. Less quirks or crashes. Plays back well. Factor in, I prefer the colour science, at least to that seen in my GH5 and this is why I favour the Pocket over the more functional GH5.

The first thing I am filming is to do a codec test vs the latest 10bit LOG cameras like X-T4 and to figure out whether the codec in the Blackmagic is actually worth losing so much other functionality for.

Here is the ZOOM MASTER! No vignette. Here is the Minolta A mount 85mm F1.4. Truly beautiful with the larger sensor. In full frame terms, the image is a 68mm F1.1 with that. If we really want to get into Kubrick NASA territory though we pop the Canon FD 85mm F1.2L on there. 68mm F0.95 I think I have that right anyway. * 0.8x vs full frame?! Or is it even larger? (44 x 33) Oh yeah forgot about that. I want one! However the fast sensors on medium format compared to P645 glass really give you the "even larger" sensor look anyway. F4 on speed booster on 44 x 33 or full frame F1.2 on 44 x 33? The F1.2 would look more 3D I think.

Nope, that is censorship Andrew, do not delude yourself. Respectfully.

With that combo, you have some kind of obligation to film something, anything, right! @Andrew Reid

I don't know when you last updated, but the recent ones only add features for use with the ATEM Mini, turning it into an unmanned studio camera if you need it. There was also an update that adds a horizon level cross. Other than that, if you have Braw, you've had the last major update. EDIT: that's not true - they've also added 120fps in 2.6k - 75fps at 4096 x 1720 - and 2.8k anamorphic up to 80fps Have you had time to test the real world battery life with the grip? Is there any improvements on letting you know when the battery will die? I've been using a v-mount which has its own indicators, so pay little attention to what the camera tells me.

The Panasonic/Leica cameras don't support the lens being driven externally to a specific position so everything must be done with offsets. This is manageable of sorts but it only has two values to move the lens by which are by single steps or by 10 steps which makes trying to provide a smooth transition difficult. You can see how rough this is by using their own ImageApp to control the camera over wifi. Over time, it may be that they provide a better way to do this (and also by Bluetooth LE rather than wifi as its a better way to do it) but I wouldn't hold my breath.

I think I'm still getting to grips with changes in the way people shoot in the last few years, during which I've been obliviously getting on with shoots paying no attention to any changes in tech - to my detriment. As a result the idea of using auto focus for video work is still quite foreign to me. I wouldn't think to use auto focus if shooting out a train window, I'd just check focus before I record. I have a lot of practice with manual focus and trust myself to get this right. But maybe the difference is that I'm imagining a slightly more slow-paced shoot rather than a fast moving run and gun situation. I actually think that a manual focus cine camera is more what I'm after, in which case maybe the S1 is right for me. Am I also correct in assuming it offers a considerable improvement in low light capabilities? With regards to the auto focus stuff I'm also wary that I may be missing a trick - I've never used good AF and perhaps I just don't realise how helpful it is. The kind of documentary content I produce would probably be best described as festival fare. Do other cinematographers shooting this kind of documentary content use AF?

Sadly yes. It's why I left. The change was unbearable.

Filters make the bokeh dirty, usually add nasty flare, that not really desirable, and everything they do can be done in Resolve quite easily. The bokeh , natural looking flares and complex distortions are really the only thing you cannot recreate in post easily. The issues I have with vintage lenses is that a lot of them have a strong color cast and poor color separation that make them look muddy. ( I have tested a lot of different sets/brands, only the Contax Zeiss don t suffer too much from it) Vintage wide angles ( usually from 25mm ) also tend to have very large amount of chromatic aberration and I find that often problematic. Overall I like using the 35mm to 85mm for fashion work and full sets for black and white work, and I usually go for Russian glass wide open, as they have the most extreme bokeh. But a sigma 18-35 with some distortion + vignetting + exponential glow + a film stock emulation will give you a nice vintage look if you want it, without all the issues of using vintage glass. ( and with much better colors )

Get the Tokina 11-20. It's pretty close color wise and gets the wide angle you want.

I would be curious to see the difference if you already have screen captures handy, thanks! X-T3, I wouldn't have guessed. It looked really good.

@BTM_Pix Looking forward to using the with my manual lenses and Tilta Nucleus. I have the zoom motor as well. I would be interested in having it automatically adjust the zoom based on the distance of the subject form the lenses, so it could do and automated Zolly. Basically keep the framing the same and the subject in focus when the subject moves closer of future from the camera. Just for fun for those who might want to watch a few Zollys

The lens control protocols of those cameras don't lend themselves particularly well to direct positioning but having said that neither does the Pocket6K and we managed to develop a solution for that in the PBC so it will happen but not immediately. A universal version that supports motors would be ahead of it in the queue as it can be used for both manual lenses on cameras that don't have particularly appropriate external control like the Panasonic but also of course for manual lenses on BM cameras.

@tupp Thanks for the info! Ubuntu studio looks cool. Never used Xfce before (always Mate, Cinnamon or Enlightenment when I fooled around with Bodhi Linux a while back).

Here is a collection of shots I took the last few days with Kowa Inflight 1.75x + Voigtländer 40mm f2. + Rectilux HCDNA + Redstan and Fujinon achromatic diopters. Tokina Cinema PRO IRND. All shot at f2.8 https://www.youtube.com/watch?v=mostLsNXB8U

Yeah, totally agreed! But there is something about this lens, it renders so nicely. It really looks 3D in certain shots (I know that the lens is only part of the equation, but it's still a big part!)

Yikes, I'd recommend you at least get this instead: https://www.aliexpress.com/item/32814668466.html Yes, it isn't entirely unusual for me to show up to an indie shoot with more gear than the camera dept has! The Rode Blimp is pretty cheap compared to the others on the market, if it makes you feel better, check out the pricing of these: https://www.gothamsound.com/product/cyclone-windshield-kit-w-windjammer-large https://www.trewaudio.com/product/cinela-pia-1/ I should really get one of them myself in the near future, but for now I'm surviving with a Rode Blimp v2 and an older Rycote Supershield. You should check out the Marantz Blimp: https://www.bhphotovideo.com/c/product/1302687-REG/marantz_professional_zp_1_blimp_style_microphone_windscreen.html I personally have no experience with it, but it is priced ridiculously cheap, and it seems to perhaps be a clone of the Rode Blimp v1? (which one of the negatives of it is that the shock mounts in it are not as good as the Lyres in the Rode Blimp v2, but for your purposes on a C Stand, this shouldn't be a deal breaker) In the long run, perhaps a boom buddy and shock mount (which are each very cheap) will save you money vs how much duct tape you must surely be using up??

Yeah I just got the battery grip for my Fuji. I think it will be a relevant camera for a long time especially because they are going for $900 on the used market. Its an insane price/quality ratio similar to the Blackmagic offerings only using a Fuji is much more practical(tilt screen, AF, etc..) I agree though its always a pain to have to mix cameras in productions. Though if you are shooting RAW on your A cam its not as hard to match up. I am hoping SAGE gets an URSA mini Alexa LUT and XT3 lut out soon. That might be my go to for color matching.

XT3 is in the plans, indeed. At this moment, its down to documenting the process of adding a camera to the server, and then streamlining the Pdf writing process as best I can (later today). This will make a camera cycle as efficient as possible. From the LogC alone, V4 isn't that different from V3 for the average image. When saturation becomes more extreme, V4 is quite a bit better (much, much more accurate to Alexa). And when using V4 on unintended formats (i.e. Rec709 footage), V4 holds up, while V3 doesn't. Here is a comparison with one of the more saturated images I've got (most notable shift), using Soft (most equivalent variation between 3 & 4): V3 V4

I just shot my first short in BW, love the way it captures light. So glad my camera LCD could show BW when shooting. Straight from timeline (proxies, so very heavily compressed) and a simple BW LUT.