Me too, I miss the magic light rendered in DP2 pics.I am struggling with the loss and lack of Foveon look from the original DP2 moving up to my Merrills even....
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Me too, I miss the magic light rendered in DP2 pics.I am struggling with the loss and lack of Foveon look from the original DP2 moving up to my Merrills even....
Ute - you must explain! Can you post a link?I would really like to get my hands on one of those Xitek EVF's for the Merrills but they site is written in Chinese and I can't figure out how to order one.
Tim, I totally agree about the A7. I bought a DP2M and then shortly afterwards I bought a Sony RX1. It was obvious to me from day one that although the DP2M outresolved the RX1 the actually 'look' of the RX1 images was superior. Because of the quality of the RX1 look I then invested in the A7. I actually hope that the next version of the A7 is one with the OLP removed like the RX1R. However, when it comes to printing - the DP2M is the one which can easily go to 30x20 without any fuss.The Quattros seem to my eyes to be something different again in look. For me I prefer the colour look of what the Sony A7 series can do. Its not that the Quattros are bad, just... different and maybe not for me.
Printing is key. I bet the DP2Q will still print extraordinary detail at large sizes.Do they look at it as a print or on the computer screen? When it's the screen you are talking about 100% views, arent you? I cant really tell a difference in downsized files, cause there is a lot of approximation going on, by downsizing an image.
As much as I enjoy DP2M files and applaud Sigma for bringing Foveon to the masses, I doubt Quattro is going to compete well with MLCs from Sony, Fuji & Olympus that offer way more shooting flexibility (in-camera EVF/OVF, wider ISO range, faster lenses, stabilization, responsiveness, AF accuracy, and ergonomics are just a few to name) and lens selection/adaptability.The Quattros are I am sure intended to expand the appeal to a wider audience and increase sales, and thus profits.
Neither do I, but Sigma do, and that is the point.So, Quentin, I do not care about business propositions for SIGMA.
I hope you are right in your feeling and that the proposition will come from a clever brand thenNeither do I, but Sigma do, and that is the point.
Quentin
Hi,Do they look at it as a print or on the computer screen? When it's the screen you are talking about 100% views, arent you? I cant really tell a difference in downsized files, cause there is a lot of approximation going on, by downsizing an image.
Ha ! I've got burned on public place on Dpreview because I dared to say that the Q was not what the SIGMA marketing tend to sale. I defend SIGMA products since ages now and this how you are welcome after all those years of fight.I am not a *forumer* and I am only here and very short time actually. This site is very sympathetic due to the kind and serious tone among the members.
I wonder how other forums have received the DPQs? Likely like most does here.
I've just agreed with my photo pusher to have a DP3M on trial. I have to after all this
I agree.I'm w those who thought that Sigma should have just "refined" what they already had.
i.e. they should have kept the sensor the same and maybe added an EVF, etc.
Exactly my problem. Can't manage the weight of heavy MF gear any longer.What a nice Image LouisB. The rendering is dream like But the clarity is gone.
Sony A7S is sort of showing us that's it's not merely a question of MPs, but rather how fat those pixels are. This is of course no news. The same reason made my choice of Canon 6D which pixels are quite fat. The 6D were deselected due to troubles lugging around with 5 fat primes in my age.
I think you nailed something here. I tryed the Zeiss 35mm f/2.0 on Nikon D700, and there was really a certain touch about clarity and special rendering, but I could never get it quite as good with another camera - Nikon D3x or Nikon D7100.Sony A7S is sort of showing us that's it's not merely a question of MPs, but rather how fat those pixels are.