BTM_Pix

I suppose the first step is to eliminate the light variation aspect and do a different test under artificial continuous lighting. If you include a greyscale chart then you will be able to evaluate a bit more objectively what is happening from shot to shot with differing apertures. You can download and print these from a gazillion places if you haven't got one but here is an example site. http://www.kozco.com/calibrat/gray.html Use the grey background to set white balance and also use the spot meter to set exposure from it too. With the camera in aperture priority mode you should then have a consistent exposure across every shot as you change aperture. I would do a shot at every aperture not just the two that you were originally using just to see if and where the change begins. When you are done you should be in a better position to start delving into what is happening by comparing RGB values of the different swatches on the chart at different apertures and also things like from the EXIF data note any shutter speed differences that don't align with what you might expect with a one stop change of aperture etc And then when you've done all of that go and buy the Samyang

The thread for it is here.

When Nikon do a mid generation upgrade of their pro cameras they suffix it with an S so the D3s followed the D3 before they switched up to the D4 etc. Olympus really dodged a bullet by not following that example between the Pen1 and Pen2....

I had considered the lighting change but I couldn't see any difference in the spread of highlights on the bottom of the piano keys where I would have expected them in that situation. Its that inconsistency that set me against the Petri as I don't mind the lower contrast of it per se

A bit of a crisis here. So I thought that my addiction/collection was six so I'd figured out a way to have a tournament where they were seeded so that the Nikkor, the Leica and the Contax Zeiss would be automatically in the semi-finals and the fourth one to join them would be the winner of a preliminary round. I have just got them all out to line them up to give them a bit of a clean before doing it tomorrow and can you spot the flaw in that plan ? It strikes me that with having seven then the only fair way to do this would be to have an eighth one to make it four seeds and four non-seeded lenses so there would be four quarter finals and then the semi-finals and the final. This is clearly the Lord's way of telling me to buy that Samyang isn't it?

I agree with this. I'm very curious about the contrast difference between the f3.5 and f8 shots on the Petri @kye I'm presuming its a difference in a post correction rather than the lens causing it ?

Here is a scan of the user guide. Page 74 onwards details the operation of the light meter. http://www.cameramanuals.org/leica_pdf/leica_m6_ttl.pdf With regard to exposure control in general, depending on the conditions you are shooting in, you may find the 1/1000th shutter speed to be a limitation if you are using ISO800 film and shooting at f2 as you are describing. In that case you would have to either carry some ND filters with you to keep the correct exposure within those fixed parameters or pull (overexpose) by setting the ISO lower on the camera for the metering and then have the overexposure corrected during development. For the opposite problem where you do not have enough light you would push (underexpose) by setting the ISO higher on the camera for the metering and then have the underexposure corrected during development. A guide to pushing and pulling is here https://thedarkroom.com/pushing-and-pulling-film/

Just a bump about compatibility with the v3.1 firmware for Metabones Smart Adapters.

Confirming that 3C is fully compatible with the new v3.1 update for the Metabones Smart Adapter so you can now use all of the focus control functions with your adapted EF lenses. I've been testing it today with a broad range of different types of EF lenses (Canon primes, Canon EF-S wide zoom, Canon long L zoom, Tamron superzoom and the Sigma ART18-35mm) and I have to say that the focus transitions are generally actually smoother than they are with most of the native MFT lenses.

The takeaway from that thread really from the response is that proof that they were Samyangs or not would have to be forthcoming in the way of a complex process of teardowns, bills of sale, paper trails of supplier meetings and on and on. It is pretty informative that that proof hasn't come in the way of someone saying "of course they are Samyangs, look at how shit the images are from them". So from that backhanded compliment @Kisaha maybe you will have your answer I'd pick them up used if you can though as they tend to be part exchanged into dealers at low prices due to them not being a particularly loved brand. Definitely get them in EF mount as it is the best intermediary mount anyway and as I'm presuming you predominantly want these for a Pocket 4K then with cheap EF spedboosters (as no smart AF aspect needed for manual!) you get the extra speed obviously but also that bit of sharpening if you are concerned about them being soft wide open.

Might sound like a Samyang fanboy but its worth bearing in mind that its MY far more expensive lenses its making me a look a bit silly with by more than competing with them in these tests The 24mm was up against a bona fide ten times the price cinema prime lens in that last test and it wasn't exactly getting humiliated wide open. Cinema lenses are great for continuity of performance across a set etc but for the rest of us the cost of those diminishing optical returns even on ONE lens are way better invested in other areas in my view.

You'd think I was fanatical about them considering how many of them I've got but its just a legacy of being old enough where you started with a 50mm with your SLR, then got a 24/28 and then a 135mm. And then stopped buying lenses Over time my needs changed (tricky to shoot football with a 135mm) so I don't actually own an AF one and my collection are all old and cheap ones that I have picked up along the way. I'd have to say that I don't really have a favourite as most 135mm lenses are pretty good but they are all usurped by the Nikon 105mm f2.5 that I re-bought last year. We'll know more after the World Cup next week though The fisheye one does, not unexpectedly ! The 14mm too when the conditions are right (ie wrong) but no more so than my Nikon 14-24mm so its always been something I've shot around anyway. I'll do a bit of a test next week.

I'm not sure I'm going to get that used Samyang 135mm tomorrow after all. After discovering two, admittedly pretty old, 135mm lenses that I forgot that I had in an old camera bag I realise that I may have a slight addiction problem with 135mm lenses. So much so that I am going to have to do a World Cup playoff tournament next week to eliminate at least half of them before I can bring another one home !

You are a braver man than me ! It's not really my area but with regard to the vibration reduction, the Rigwheels Cloud Mount seems to be one isolation solution that is well regarded. ProAim make something for a lot less money that appears to have been, erm, "inspired" by the original. https://www.proaim.com/proaim-grip-master-vibration-isolator-magnetic-car-mount.html This video shows a self built version of a similar concept.

We had a thread about this that didn't get much action but I put a link in it to a UK company that does a large array of affordable mounts for car shoots.

This one is less picky about sending to his own country https://www.ebay.es/itm/Anschlusskabel-passt-zu-Fujifilm-HS50EXR-fur-Kabelausloser-Auslosekabel-RR-80A/272844853447?hash=item3f86d210c7:g:i2kAAOSwng9ZuEii

I was tempted to say that its because the prototype is a rehoused Nikon mount lens and my guess was going to be a Tokina as they are a popular brand to re-house and are also much cheaper than Nikkors. Then I saw the that it was 20-70mm rather than 24-70mm. I can't actually think of a 20-70mm lens. I then thought that perhaps it was something like the Sigma 17-70mm f2.8-4 and they were limiting the wide end to 17mm as it is only constant aperture at 20mm onwards but I would say that was too slow to be T3.1. Very curious. Maybe it is not a re-housed lens after all. DZO only make one DSLR lens but they do make a lot of other lens types for industry so it doesn't rule it out being a completely original new design. The one DSLR lens they do make is no slouch by the way https://www.dzoptics.com/en/35mm-slr-lens

If it is an RR80 then this is a compatible one with a less prominent shell (which I'm presuming are for for the resistors) and a coiled cable which you should be able to cable tie up if you want it shorter. https://www.ebay.co.uk/itm/Cable-Met-K-Compatible-with-the-Remote-Release-Fujifilm-RR-80/352279060053?hash=item520577de55:g:peIAAOSwD~FbwLjF If you want to make it permanently shorter then just cut and splice after the housing like this

Sekor C lenses were for their medium format 645 system and CS lenses were for their 35mm system.

I haven't used any of the other ones to be honest but at first glance I would say the preset memories for camera/focus settings and joystick integration would be a couple of differences. Hope that helps.

Yep, its the current winner. I do feel morally obliged as a fully paid up member of the remoaning liberal elite to take a Leica though

Yeah, my acceptance of whatever will happen has reached the point where I'm returning to go on the march on Saturday but I'm more exercised about what camera to take to document it with than fretting over whether a million people marching through the streets of London will influence the outcome whatsoever !

Well there is a connection between her and I... We're both from Liverpool, her name is Comer and thanks to Brexit I often feel like I'm in one.

Sounds uncannily familiar. Did it rain a lot there too ? I love Escape Room places. Played one in Madrid recently that was based on a Cold War scenario having to find evidence in a spy's flat (with perfect period decor) of a plot to launch a first strike that culminated in having to enter a code into a Commodore PET to send the abort codes to the missiles. I killed us all, sadly.

Ooh that was me, that was me !