can you point us mere mortals to said blocks "all over the frame". I am not able to tell them (except those I've marked). Thanks!(I see blocks all over the frame and not where Thomas circles in red for whatever reason.)
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can you point us mere mortals to said blocks "all over the frame". I am not able to tell them (except those I've marked). Thanks!(I see blocks all over the frame and not where Thomas circles in red for whatever reason.)
This is a very interesting thread for me because I am right in the middle of a gear change cycle. Have hopefully sold my Leica Monochrom and SWC and and am caught in between getting a Pentax 645Z (35, 55, 150) or Sony A7r + 24tS-E or 17 TS-E +16-35. (And update to 50mp Sony when released)
I primarily shoot long exposure water landscapes. Rivers or the sea and want to get serious about selling some prints. I live in NZ and we are surrounded by both. I can see benefits in both systems but would welcome opinions here.
My head tells me the Sony A7r but my heart says go for the big guy. Have owned the A7r before but let it go because because I already had the RX-1, so I understand Sony.
Actually, with the exception of the new Sony sensor, the MF "chips" are CCDs and CCDs are analog, so they don't read out with bits at all...And yes: there is no true 16 Bit file on MF. This is an urban Myth spread by the makers. The chips don´t read out with 16 bit !
DavidThis is a very interesting thread for me because I am right in the middle of a gear change cycle. Have hopefully sold my Leica Monochrom and SWC and and am caught in between getting a Pentax 645Z (35, 55, 150) or Sony A7r + 24tS-E or 17 TS-E +16-35. (And update to 50mp Sony when released)
I primarily shoot long exposure water landscapes. Rivers or the sea and want to get serious about selling some prints. I live in NZ and we are surrounded by both. I can see benefits in both systems but would welcome opinions here.
My head tells me the Sony A7r but my heart says go for the big guy. Have owned the A7r before but let it go because because I already had the RX-1, so I understand Sony.
If you meanTo Jerome M, yes, something along the lines of what you referenced looks great to me.
Mostly film, I would say. Ian Allen references his pictures as "large format", so film and the colors are also typical of film (but that may be emulated).With regards to what Ian Allen is shooting, I guess it is mainly the architecture that is most appealing.. For example Brasilia, Oslo Opera House and Cooper Union.
You mention that some of his pictures seem to be shot on film but I am wondering if this is more labelling than anything else as the second last image in his "Brasilia" series seems to suffer heavily from moire and I am under the impression that shooting large format film does not create such artifacts, as it can with digital and especially when sensors do not have an anti aliasing filter?