Please hurry up Sony and release a fixed-lens “medium format” digital camera.

Those of us who place a high value on image quality but prefer to be discreet with our cameras want an alternative to the current gargantuan digital MF offerings.

—Peter.

 

 

Not too long ago, 36MP digital sensors were introduced into 35mm cameras.  Not too long after that, many photographers (including some well respected ones) proclaimed that these pixel-rich 35mm cameras could produce “medium-format quality” images.

I don’t subscribe to this view, at least when it comes to portrait photography.

If you examine the images I’ve taken with the Mamiya RZ67 (6 x 7 medium format film), you will note that they look more “true to life” as compared to images from 35mm cameras (digital or film).   The tonal transitions are subtler, the separation of subject matter from the background is more natural, and the overall rendering is somehow “more grand” than 35mm camera images (like these ones from the Nikon D800E + Zeiss Otus – a supposed “medium-format-quality” producing combination).

Even the Pentax 645D, a camera that possesses a digital sensor that is only a little bit larger than the one in the D800E, somehow produces “grander” images (but not as “grand” or true-to-life as the larger 6 x 7 film “sensor” in the Mamiya RZ67).

As I’ve written before, sensor size matters:

 

So, if you’re looking for a medium format look (at least with respect to portraiture), you will not get it from a Nikon D800E/D810, or Sony A7R, etc.

If you’re looking for medium format resolution, that’s another story…

—Peter.

One of the more frequent questions I receive is:

How do you post-process your images?

My short answer is:

I don’t follow a recipe.

What follows is a more detailed response.  I’ve previously presented some of this information on this site, but this post will serve to amalgamate and edit the content.

—Peter.

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The Software I Use

I use the latest version of Adobe Lightroom (LR).  Within LR, I often use Nik plug-ins (Silver Efex Pro, Color Efex Pro, Viveza).

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The Concept of Pre-Processing

Almost all photographers post-process (i.e., make image-enhancing adjustments, after a photograph is taken).  What many novice photographers fail to recognize is the importance of pre-processing (my term).  Pre-processing involves identifying and harnessing — before an image is taken — naturally-occurring enhancing elements in a scene, such as good light, perspective, etc., that cannot be altered after the fact:

In the case of this image, Boy, the soft light that was present after the sun set was harnessed to achieve a rich palette of colours and tones.  This cannot be achieved in post-processing.  The perspective I’ve chosen to photograph this image from is from down low; this too cannot be achieved in post-processing.

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My Cameras and My Camera Settings

I tend to favour cameras with limited menu options, or no menu options (film cameras).  I prefer to adjust camera settings using external dials/controls.  I limit the variables with which I concern myself to only three: Aperture, Shutter Speed, and ISO.  Hence, I always shoot in Manual mode.  Modern camera “features” such as scene recognition, smile detection, etc., and even not-so-old features such as exposure compensation serve only to clutter my mind and sabotage my shots.

I don’t even use auto-focus (eliminating another variable), choosing instead to manually focus.

Generally speaking, I believe that camera features — even sophisticated ones — can never substitute for photographic vision.

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Post-Process, not Over-Process

Many images on the web today appear “over-cooked” to my eye.  Therefore, I always try to exercise restraint when post-processing.  In fact, as time has gone by, I’ve toned down my manipulation of images.

My goal is to make my post-processing invisible.

On a related note, shooting film helps keep me grounded with respect to what I am trying to achieve with my digital images.

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Finally, My Post-Processing “Process”

I photograph in RAW mode.

Each image is post-processed by eye.  Occasionally I spend many hours honing a single image.  Each photo is processed individually, depending on the subject matter, lighting, and mood.

The adjustments are small, and incrementally applied. My method now differs from what I was doing last year… this will also be true next year — in other words, my approach is constantly evolving.

It is a very personal process, dictated in good measure by artistic license; it is not open to “cookbook” interpretation.

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—Peter.

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Further Reading:

My Photography Workflow – 5 Items I Consider When Creating Images.

My Photography Workflow – Inspiration.

My Photography Workflow – Infusion of Self.

I’d to like see CCD sensors in future Leica M bodies.

Why?

Because I believe CCD is superior (in tonality, micro-contrast, general je ne sai quoi vibe) to CMOS with respect to image rendition at base ISO (you know, the kind of environment in which most of us photograph).

Most of you realize this to be true.  Even those of you who initially disagreed now see there is a difference, and it favours CCD.

Am I splitting hairs in citing such nuances in sensor rendition?

Not any more so than the frequent discussions that take place around lens rendition.

Come on, you know the superior qualities of CCD befit a company like Leica!

So, if you haven’t already, please consider signing my Open Letter to Leica.

(over 270 signatures so far… )

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Related posts:

• About the M240… the image quality is a step down.
• The M9 and CCD sensor.
• Leica M9 vs. M240
• M240: More Thoughts
• Leica M240: Final Verdict
• Leica M9 sharpness vs. Sony RX1R, Nikon D800E, Fuji X100s
• My camera of the year for 2013

Ahhh, that Kodak (now Truesense) sensor in the M9/M-E/Monochrom… is it still the best sensor out there?

My answer:  Yes.

Is there another sensor that conjures up the same level of image quality?

Yes, the one in the M8!

So, I’d to like see CCD sensors in future Leica M bodies.

Would you?

Please consider signing my Open Letter to Leica.

(over 250 signatures so far… )

___

Related posts:

• About the M240… the image quality is a step down.
• The M9 and CCD sensor.
• Leica M9 vs. M240
• M240: More Thoughts
• Leica M240: Final Verdict
• Leica M9 sharpness vs. Sony RX1R, Nikon D800E, Fuji X100s
• My camera of the year for 2013

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Leica is coming to my town on July 19th (that’s less than 5 days away)!

From Leica‘s own promotional email:

“This full day, hands-on workshops are designed to help owners of the latest Leica M model get outstanding results from their game changing, digital rangefinder.”

(The grammatical error above is courtesy Leica.)

Unlike the Leica Akademie workshop of 2012, I won’t be the guest speaker, as I haven’t figured out how to “get outstanding results from their game changing, digital [M240] rangefinder”.

On a related note…

If you haven’t already done so, please consider signing my Open Letter to Leica.

(over 250 signatures so far… )

___

Related posts:

• About the M240… the image quality is a step down.
• The M9 and CCD sensor.
• Leica M9 vs. M240
• M240: More Thoughts
• Leica M240: Final Verdict
• Leica M9 sharpness vs. Sony RX1R, Nikon D800E, Fuji X100s
• My camera of the year for 2013

↑Image courtesy of Sigma Corporation.

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It may be because the Sigma Photo Pro (SPP) converter hasn’t yet been optimised, but the initial RAW/JPG images I’m seeing from the new Sigma DP2 Quattro are somewhat disappointing.

The images are suggesting that image quality has suffered (as compared to the Sigma Merrill) with the re-design of the fabled Foveon sensor.  I hope they haven’t indeed messed things up.

This is reminiscent of the whole Leica M240 vs. M9 business.

—Peter.

Long-time friend and contributor of this site, Andy Gemmell, has just launched his own photography site:

Andy Gemmell Photography

Many of you have seen Andy’s work on my site, and have benefited from his frequent and always thoughtful commentary.

(So, we’re expecting big things from you Andy and you’re off to a great start with your first article!)

Congratulations Andy,

—Peter.