Sony Lounge Thread MKIII (All Sony cameras welcome)

rantercsr wrote in post #18590586
is it just me , or are firmware updates a scary experience..

just updated the 7r3.. and at the end it said , failed. use safe hardware disconnect. i did.. and then red light on camera would not go off even after i shut off..
pulled battery , put back in and it did upgrade and all working fine..

Yeah it's always nerve racking with Sonys....but I've gone through many and not bricked one yet.
I always pull up Brian Smiths step-by-step, go slow and do it step-by step.

You guys(gals) are my social media. We have no TV cable, no FB, no Instagram.
I did Twitter once or twice, mainly to get in on a B&H talk about a new body.

Couple things.
1. a bird for David Arbogast
2. If you were adding a lens just for sunstars which would it be?
Small and light would be nice. Manual is fine. I bet the answer
will be Loxia 21mm
3. Surely I shared this vid I made with you all long ago? The old thread maybe? Well today I hiked to a waterfall. It was pouring rain when I left, more at the trailhead, and torrents at the falls. I took my Olympus M1ii
But again I'm thinking about my weather. You all have heard me whine about it forever. It is snowing now. Of the last 60 days 46 have been with precipitation. This lead me to go back in time (4 years) to re-watch this.
Interesting for me all Sony now that I made all the clips with Sony gear before my Canon era (forgot how to imbed)

IMAGE LINK: https://flic.kr/p/25mt​Y8n

MedicineMan4040 wrote in post #18590616
You guys(gals) are my social media. We have no TV cable, no FB, no Instagram.
I did Twitter once or twice, mainly to get in on a B&H talk about a new body.

Couple things.
1. a bird for David Arbogast
2. If you were adding a lens just for sunstars which would it be?
Small and light would be nice. Manual is fine. I bet the answer
will be Loxia 21mm
3. Surely I shared this vid I made with you all long ago? The old thread maybe? Well today I hiked to a waterfall. It was pouring rain when I left, more at the trailhead, and torrents at the falls. I took my Olympus M1ii
But again I'm thinking about my weather. You all have heard me whine about it forever. It is snowing now. Of the last 60 days 46 have been with precipitation. This lead me to go back in time (4 years) to re-watch this.
Interesting for me all Sony now that I made all the clips with Sony gear before my Canon era (forgot how to imbed)

IMAGE LINK: https://flic.kr/p/25mt​Y8n BB with a mouthful by MedicineMan4040, on Flickr

Point of the video, well this is our cloudy area when the weather is good

Beautiful bluebird! I love the smaller birds. Nuthatches are my absolute favorite, so I’m making my image request known right here and now.

Great sunstars: Pick anything from Voigtlander: 10, 12, 15, 21 (new), 40, 65, or 110 (new), or anything from Zeiss Loxia: 21, 25, 35, 50, 85. Amazing sunstars from everyone of those. Making an assumption on the new releases of course, but Voigtlander and Zeiss Loxias have been completely consistent with ten-point sunstars thus far.

I think my favorite sunstars are from the Voigtlander 10 and 12. Not sure why...maybe the sunstar just looks extra cool in an extreme wide angle view. I always look for something to partially block the sun to tame the sunstar into ten thin laser beams...love it! That said, my Loxia 21mm and 35mm get way more use.

BTW, I’ll be watching with interest to see how the new Voigtlander 21mm performs. I just absolutely love the Voigtlander lens design...the handling is outstanding. Tempted to switch out from Loxia 35 to CV 40, and could do the same at 21 if the IQ is equal. Man, I’d love to just have every single CV lens except the new 35, which has s*!t bokeh.

For Pixel shift users...

For those of you with the Sony a7r3, here is a beta software that will convert your pixel shifted sets into a single .dng file where you can continue editing in LR or PS. This means you don't have to do the raw editing in Sony's free but very limited editor which converts the merged sets to tif. The program will also convert any existing .arq file you have created in the Sony edtor already to .dng format.

While it's in beta, it is free to use but has a time limit and will expire on 6/1/2018

Here's the link and I'd be interested in what others think about it.

https://www.fastrawvie​wer.com/SonyPixelShift​2DNG

navydoc wrote in post #18590629
For Pixel shift users...

For those of you with the Sony a7r3, here is a beta software that will convert your pixel shifted sets into a single .dng file where you can continue editing in LR or PS. This means you don't have to do the raw editing in Sony's free but very limited editor which converts the merged sets to tif. The program will also convert any existing .arq file you have created in the Sony edtor already to .dng format.

While it's in beta, it is free to use but has a time limit and will expire on 6/1/2018

Here's the link and I'd be interested in what others think about it.

https://www.fastrawvie​wer.com/SonyPixelShift​2DNG

And (I wrote the developer) this software will allow me to input 40 x 4 sets (say doing a big macro stack) and it will spit out 40 completed pixel shift DNGs

That's good because I've pre-ordered the new Laowa 25mm super duper macro, so later --maybe first of Summer if it ever gets here--- I can have a go with a bug's eye.

David Arbogast wrote in post #18590623
Beautiful bluebird! I love the smaller birds. Nuthatches are my absolute favorite, so I’m making my image request known right here and now.

Great sunstars: Pick anything from Voigtlander: 10, 12, 15, 21 (new), 40, 65, or 110 (new), or anything from Zeiss Loxia: 21, 25, 35, 50, 85. Amazing sunstars from everyone of those. Making an assumption on the new releases of course, but Voigtlander and Zeiss Loxias have been completely consistent with ten-point sunstars thus far.

I think my favorite sunstars are from the Voigtlander 10 and 12. Not sure why...maybe the sunstar just looks extra cool in an extreme wide angle view. I always look for something to partially block the sun to tame the sunstar into ten thin laser beams...love it! That said, my Loxia 21mm and 35mm get way more use.

BTW, I’ll be watching with interest to see how the new Voigtlander 21mm performs. I just absolutely love the Voigtlander lens design...the handling is outstanding. Tempted to switch out from Loxia 35 to CV 40, and could do the same at 21 if the IQ is equal. Man, I’d love to just have every single CV lens except the new 35, which has s*!t bokeh.

Thanks David! I googled Voigtlander 21mm and found the M-mount, so the E-mount is forthcoming I assume. Size and weight of the M-mount look very nice; I'd expect the E-mount to be close?
Overall it looks like Voigtlanders are around $2-300 less than the Loxias, sound about right?

MedicineMan4040 wrote in post #18590632
Thanks David! I googled Voigtlander 21mm and found the M-mount, so the E-mount is forthcoming I assume. Size and weight of the M-mount look very nice; I'd expect the E-mount to be close?
Overall it looks like Voigtlanders are around $2-300 less than the Loxias, sound about right?

Yeah, Voigtlanders are a bargain!

The new 21mm is a slower lens than the Loxia, so it should be smaller and less expensive. It was just recently announced, so not shipping yet. Here’s the info on Fred’s site: http://www.fredmiranda​.com …007/0?keyword=2​1#14382703

David Arbogast wrote in post #18590636
Yeah, Voigtlanders are a bargain!

The new 21mm is a slower lens than the Loxia, so it should be smaller and less expensive. It was just recently announced, so not shipping yet. Here’s the info on Fred’s site: http://www.fredmiranda​.com …007/0?keyword=2​1#14382703

Colar Skopar!

digital_AM wrote in post #18590559
I tried some off camera flash earlier using my magmod and V860IIS. I’m not sure if I did it right. I was in manual mode on the flash and camera. I’ll share some samples soon. Are you guys shooting in TTL in aperture mode?

My method (99% of the time) its keep everything in manual, both camera and flash. Expose for the ambient, often a little under. Then add the flash to taste. Work it for a couple sessions and you'll quickly get good at "guessing" how much flash to start with and won't have to spend a lot of time adjusting the flash power. Stick with using one flash for a while. I use TTL on rare occasions that I nee to get a shot fast OR if we are in a completely uncontrolled environment....think on the go. Then again, I still usually stick to manual flash. I never shoot flash in aperture mode.

I don't think i posted this one here.

IMAGE LINK: https://flic.kr/p/FHj4​t6

digital_AM wrote in post #18590577
Thanks Gene for the feedback. I have so much to learn.

Here are some initial test shots. Not great I know. I think I'll stick to ETTL for now. I believe the 2nd and last shot were in HSS. I wanted to see what that would do. I don't think it was needed. I do like the light quality from the magmod though.

IMAGE LINK: https://flic.kr/p/25mW​TMp magmod test 1 by Alfredo Mora, on Flickr

IMAGE LINK: https://flic.kr/p/23ZV​DwR magmod test 2 by Alfredo Mora, on Flickr

IMAGE LINK: https://flic.kr/p/23ZV​DAP magmod test 3 by Alfredo Mora, on Flickr

So for outdoor stuff with an external flash it helps to think of the shot as two exposures:

1. environment exposure, which is exposed by ambient light and the settings on the camera

2. subject exposure, which is exposed by the power settings on your flash.

Outdoors during the golden hour is tricky in terms of lighting because the sun is setting so fast so I automate things as much as possible and shoot in AV mode and ettl. So in AV mode with ettl, the exposure compensation dial manipulates the exposure of the environment, and the FEC manipulates the exposure of your subject. With that in mind, since everything is pretty much automated, the main thing you need to consider is the spread between the cameras exposure compensation, and the flash exposure compensation. The greater the spread, the more contrast between your subject and the background. The ambient light also acts as a fill light, so the bigger the spread, the harder the fall off of the shadows on your subject.

I typically like a 2 stop spread, so my camera exposure compensation dial is set at - 2, and my flash exposure compensation at 0. Of course I'll adjust in the field based on how things look when gimping.

advanced level stuff

In terms of exposing the ambient, the same concepts used when shooting landscapes apply, so if you want to retain the highlights in the background (usually color in the sky), you'll want to use ETTR method. I usually look at the scene like a landscape first, then add my subject and consider the subject exposure second.

Even if you adjust the camera exposure compensation to retain ambient highlights, keep the spread in mind. So if you want to keep a 2 stop spread between your subject and environment, if you end up needing a -3ev on the camera to retain the highlights, you'd set the flash to -1. When you push the exposure in post, you'll still see the contrast between the subject and background, but can pull back the highlights to get detail in things like the sky.

idsurfer wrote in post #18590770
My method (99% of the time) its keep everything in manual, both camera and flash. Expose for the ambient, often a little under. Then add the flash to taste. Work it for a couple sessions and you'll quickly get good at "guessing" how much flash to start with and won't have to spend a lot of time adjusting the flash power. Stick with using one flash for a while. I use TTL on rare occasions that I nee to get a shot fast OR if we are in a completely uncontrolled environment....think on the go. Then again, I still usually stick to manual flash. I never shoot flash in aperture mode.

Thanks Cory for the information!

mystik610 wrote in post #18590823
So for outdoor stuff with an external flash it helps to think of the shot as two exposures:

1. environment exposure, which is exposed by ambient light and the settings on the camera

2. subject exposure, which is exposed by the power settings on your flash.

Outdoors during the golden hour is tricky in terms of lighting because the sun is setting so fast so I automate things as much as possible and shoot in AV mode and ettl. So in AV mode with ettl, the exposure compensation dial manipulates the exposure of the environment, and the FEC manipulates the exposure of your subject. With that in mind, since everything is pretty much automated, the main thing you need to consider is the spread between the cameras exposure compensation, and the flash exposure compensation. The greater the spread, the more contrast between your subject and the background. The ambient light also acts as a fill light, so the bigger the spread, the harder the fall off of the shadows on your subject.

I typically like a 2 stop spread, so my camera exposure compensation dial is set at - 2, and my flash exposure compensation at 0. Of course I'll adjust in the field based on how things look when gimping.

advanced level stuff

In terms of exposing the ambient, the same concepts used when shooting landscapes apply, so if you want to retain the highlights in the background (usually color in the sky), you'll want to use ETTR method. I usually look at the scene like a landscape first, then add my subject and consider the subject exposure second.

Even if you adjust the camera exposure compensation to retain ambient highlights, keep the spread in mind. So if you want to keep a 2 stop spread between your subject and environment, if you end up needing a -3ev on the camera to retain the highlights, you'd set the flash to -1. When you push the exposure in post, you'll still see the contrast between the subject and background, but can pull back the highlights to get detail in things like the sky.

Thanks Carlo! Yes the light was fading fast and I had to keep adjusting the shutter speed for the ambient while adjusting the flash output. I should have started with bounce flash indoors to practice before moving up to OCF at golden hour. It's fun learning something new though.

Black on black

I had fun experimenting with shooting a black object in a black background. The object is my new sake warmer which I haven't even had the chance to try out yet.

This is a pixel shifted image processed using the beta version of "SonyPixelShift2DNG". The utility was able to select the 4 shifted raws from other non-shifted exposures and merge them into a .dng file for further editing using the Adobe Camera Raw editor in PS CC 2018 rather than the Sony editor which only outputs a merged image as a .tif file. It worked perfectly as far as I can tell.

IMAGE LINK: https://flic.kr/p/25j6​gFs

I shamelessly used landscape pro to swap out the sky in this image. I was happy with the photo itself, but it was ruined by a cloudless late afternoon sky, and because the sky is such a dominant part of the frame at this focal length, it made the whole thing look drab.

IMAGE LINK: https://flic.kr/p/241N​Edt

mystik610 wrote in post #18590928
I shamelessly used landscape pro to swap out the sky in this image. I was happy with the photo itself, but it was ruined by a cloudless late afternoon sky, and because the sky is such a dominant part of the frame at this focal length, it made the whole thing look drab.

IMAGE LINK: https://flic.kr/p/241N​Edt EPCOT by Carlo Alcala, on Flickr

Glad to see others are using LandscapePro as well as me.