Head to Head: Adobe Lightroom Classic vs Capture One Digital Photography Review – BANDOL T2 36 m2 in Villa PRIVATE POOL GARDEN
Not sure whether to use Capture One or Lightroom for your image editing? Both programs have plenty of fans, but which option is best for you? This article aims to give you a clear, unbiased assessment of the pros and cons of Capture One vs Lightroom.
Thanks to its advanced tools, Capture One is often the choice of professional photographers and retouchers. Lightroom is easy to use and includes a fjui of one-click presets to speed up your workflow. While both Capture One and Lightroom offer a near-identical range of basic capture one pro 12 fuji vs lightroom free editing tools, there are some key differences worth considering.
Lightroom is designed to be used alongside Adobe Photoshop, an advanced layer-based editor. Both programs offer lens corrections and profiles, as well as the usual cropping and rotating features, etc.
Capture One and Lightroom can process RAW files, but Capture One does have the caphure here, especially considering the amount of fine-tuning you can do with the fuij and highlights.
Capture One offers high dynamic range editing of your RAW files, which lets you make significant adjustments to the highlights, shadows, blacks, and whites:. While Lightroom offers RAW exposure adjustments of its own, the options are clunkier feee capture one pro 12 fuji vs lightroom free sophisticated compared to Capture One. Color adjustments.
If color grading capture one pro 12 fuji vs lightroom free your thing, Capture One blows Lightroom out of the water; its sophisticated tools are capable of performing even the most demanding of color edits.
Tethered shooting is also where Capture One excels. The Lightroom Library system is also clear and simple, while Capture One makes this unnecessarily complicated. Using presets in Lightroom is easy. Also, Styles packs are expensive, whereas there are plenty of free Lightroom onne on the market. As noted with Capture One, DNG files from all cameras are only supported in the Pro version, whereas all Gs files are supported in Lightroom, regardless of which camera they came from. Lightroom capture one pro 12 fuji vs lightroom free a totally free app for your device, downloadable from both iOS and Android app stores.
Also, note that images and edits from your Lightroom app will ccapture across your Lightroom CC programs — so you can edit on your phone, then see the changes on your desktop and vice versa.
As with all Adobe apps, Lightroom is only vapture as a monthly subscription. Unfortunately, Capture One is quite expensive, and the pricing structure can be confusing, too. You can buy the program outright or rent it via a monthly subscription, по этому сообщению you can buy plans for specific camera brands, such as Sony, Fujifilm, or Nikon these camera-specific plans are cheaper, but can only be used on images from certain cameras.
Ultimately, the software you choose will be a reflection of your preferences, your skill level, and your budget. Therefore, if you are microsoft office 365 activation key 2013 free download professional photographer who requires lgihtroom integrated workflow from tethered shooting through to finished images, then Capture One is the best choice.
That way, you can make an informed decision regarding the best program for your editing needs. Which tree do you like lightroomm, Lightroom or Capture One? Which do you plan to purchase? Share your thoughts in the comments below! Adjustment layers in Capture One. Crop tool in Lightroom. High Dynamic Range tool in Capture One. Color Editor in Capture One. Color Balance tool in Capture One. HSL panel in Lightroom. The Lightroom Library.
Capture one pro 12 fuji vs lightroom free
DxO Photo Lab has a free trial available. Affinity Photo comes with a large set of editing tools. They are designed for creative and professional photographers. It allows simple adjustments and full-blown multi-layered compositions. Correcting and enhancing images is possible. You can use editing tools like Levels, Curves, or White Balance. After using these tools, the software allows you to switch back to the original image easily.
Affinity Photo also provides an advanced lens correction system. And it comes as well with a great noise reduction tool. What makes this great software are its extras. HDR merging, panorama stitching, focus stacking and batch processing are all possible. Affinity Photo is not one of the free Lightroom alternatives out there. But most of the significant updates come with no extra price.
This photo editing software is perfect for processing and managing images. It comes with several tools for finding, organising, and sharing your pictures. It is perfect if you work with RAW files. The software can process all RAW formats from the leading camera manufacturers. It is one of the Lightroom alternatives that has all editing tools in one place.
This makes image editing easier and speeds up your workflow. In addition, the software provides non-destructive editing. You can edit as much as you want and always be able to go back to the original photo. Skylum Luminar is one of the best Lightroom alternatives. And it is an affordable software option. This software comes with valuable artificial intelligence AI features.
They are simplified options to get great results in one click. One of these features is the AI Portrait Enhancer. This tool helps to retouch a portrait photo.
It allows you to fix the skin and whiten the teeth of the subject in seconds. Another great feature is the AI Structure tool. This tool allows you to adjust the detail and clarity variably based on the subject.
Artificial Intelligence helps to avoid overprocessing people, modifying only the objects around them. While Skylum Luminar 4 is not a free Lightroom alternative, it does have a lower price compared to other apps.
It processes RAW files and enables you to add effects to your pictures. But it offers professional tools for photographers and advanced users. This Lightroom alternative also comes with great artificial intelligence AI features. One of them is Sky Swap AI which allows you to replace the sky in a picture. Another one is NoNoise AI. And while ON1 Photo RAW is not one of the free Lightroom alternatives, this image editing software provides excellent value for the price.
On1 Photo Raw comparison! Exposure X6 is excellent image editing software. Its intuitive interface allows you to use all the editing tools easily. You can improve your workflow and have better results. Exposure X6 comes with several film presets, overlays, and artistic focus effects. It is one of the best alternatives for creating artsy images.
Importing and exporting images in this software is very easy. Another feature we like is the ability to edit images via a cloud-based service. It comes in handy if you are editing images together with a team or work from different devices. This software is a non-destructive photo editing tool. Thanks to this system, you can blend, manipulate and stack photo editing tools. This software allows you to adjust the tones of a black-and-white photo in detail.
Compared to other software, Lightzone is very simple and lacks several features. Advanced asset management, a library of effects, or tone curves are not included. Corel AfterShot Pro is a good alternative if you want photo editing software at a lower price. Its pricing model is a perpetual license. AfterShot Pro offers the basic features, such as colour adjustments or blemish retouching. It also comes with some advanced features like Lens Corrections or Highlight Recovery.
This Lightroom alternative comes with non-destructive editing. It also supports a wide range of RAW file formats.
AfterShot allows you to adjust many images at once using batch processing. This feature comes in handy when you have several photos to process.
Unlike Lightroom, AfterShot Pro supports layers. And it displays all editing tools within one workspace. Apple Photos is one of the most accessible, free Lightroom alternatives out there.
Luckily, it is free with every Apple computer. This editing software has been through many changes and updates over the years. Nowadays, it has become a non-destructive app with advanced editing tools.
It also has a remarkable ability to manage your images in catalogues. This image editor allows you to import and edit RAW images from standalone cameras. Apple Photos uses artificial intelligence to highlight the best photos. Unfortunately, it lacks many advanced editing tools. And while the battery grip will give you better performance it is not a necessary thing for the most photography.
Only 15 minutes in 4K without the grip is curious to me. The Headphone jack is there too. Seems we’ve been having to get a grip on the rest of the camera’s performance. Costs are really the issue for controlling the thermals.
Also sure how to heat sink it. I get it. Looks like there is some opportunity there to manage those stresses. I’m a working Stills photographer on film and TV projects, and can tell you–after years with high end Canon cameras enclosed in Sound Blimps to prevent mirror slaps interfering with audio while rolling–that the Fuji xt2 was a game changer for all of us who do this job.
The e shutter is essential for silence, obviously, and the Fuji lens system optimized for the bodies present spectacular results. What changed the game for you? The game is called “photography”, how do you call it now? The game is called “unobtrusive photography”, and now he can do it without wrapping his camera in a catcher’s mitt.
An obtuse argument if there ever was one. I own both brands and love them both, but to say a Ricoh GR is a professional camera compared to a XT-2 or XH-1 is stretching it by a large margin.
Thanks unless if you think taking all your photos within a 2M distance is possible in a film studio. Al wants a bagel My answer was to GrantBFoto and was a response to getting an unobtrusive camera People always want stuff “cheaper”.
To my mind, the price is correct considering the feature and build. Moreover, in Germany, Fuji already offers some discounts.. When someone here says product XYZ is “overpriced,” it means: 1. He can’t afford it. He owns a competing product.
He really does not understand marketing, product placement, demand. Leica especially brings out the economic experts. Obviously great colour out of the box and silent shooting are not that important to you and no electronic silent mode does not compare, it results in rolling shutter in photos with movement.
Splitting hairs people, there is no such thing as a bad camera today. Next time you are at the mall look at all the photos in the windows. Point is, you can’t. Just buy the system that has the lens you need and the body that is featured the way you want.
You think in the “film days” people argued over the dynamic range and auto focus, they just made good photos. Absolutely true. There are differences in operation and marginally different performance parameters which people are becoming use to picking out which may or may not please them.
I shoot weddings with Pentax and prefer crop camera’s because the A1 prints are faultless AF is another funny subject, because even in sports i generally shoot AF S not AF C therefore with standard photography skills i can get shots the user of a Nikon can get And in the old days, we had similar arguments over tri-x and agfapan or d or Rodinal. People have always loved to take sides and to bloviate. Fine old American slang, meaning to speak loudly, usually from your butt.
An awful lot of that on the net. The reviewer is clearly in favor of the Sony A7 III, but to me there two big wins for Fuji: 1 the film-sim JPEG’s are much nicer than Sony, or, for that matter Nikon which I have used extensively and 2 the Fuji’s are such a joy to use: they inspire me to go out and take pictures, and become a better shooter. Sony’s, too me, are just “tools”: they get the job done very capably , but they don’t exite and inspire me.
Fuji shooters me included do tend to get defensive and emotional over their camera’s – and there is a reason for that. Fuji user here wondering if I should switch to Sony. But not sure about a couple of my use cases. One is I use my a lot for travel, hiking, outdoors, family shots outside.
The Sony is a lot heavier and presumably larger and does not appear weather sealed which is critical for me. Also telephoto for kids sports. I use the equivalent , but am looking at the as the soccer fields get bigger. The Sony is somewhat more expensive than the Fuji I get equivalency for indoors shooting f2.
Assuming both go to the same base ISO, then there’s scope for opening the ff camera up to f2. Other than this, though, when you’re light limited and working within the region where both can offer equivalent settings ie having to stop the ff sensor down to get enough depth-of-field there’s not necessarily any advantage to one over the other in IQ terms. Equivalence tells you where systems perform similarly, not just where they’re different. So if the Fujifilm lenses give the results you want and you wouldn’t regularly shoot the Sony wider-open in equivalent terms , then you wouldn’t necessarily see any advantage.
Also on the Fuji versus Sony, the Fuji is the same weight as the more expensive Sony but a lot longer effective focal length. With the Sony I barely get more focal length than over the dirt cheap yet pretty decent Fuji What are you talking about of course a FF sensor receives more light.
Larger bucket. Same light per unit area but more light, more light by all means of more light. Exactly, so exposure is the same. There is not more light per sq mm on FF than there is on APS-C, therefore FF sensors do not get better signal noise ratio because of the size of the sensor itself. FF sensors gather more total light than S35, just not per square area.
A 1″ cut out of a FF chip have identical light per square area. No they’re identical. I mean why can’t all the manufacturers make fast FF primes and slap a Focal Reducer at the end of the optical formula?
The main attribute of mirrorless, to me, is smaller and lighter and Fuji seems to be going the wrong direction with this design. Others may simply like the fact that it’s built like a tank but for me Tried one out yesterday, and also the Sony A7 and A9, the Oly EM1 and the Nikon D – I’m looking for an upgrade to my Nikon kit and seriously considering jumping ship for something lighter.
So far, it’s between Fuji and Olympus. Sonys were ergonomically poor and the lenses so heavy I may as well stay with Nikon. The Oly fits my hand nicely, the 2×2 control system rocks and the lenses are tack-sharp, light and compact.
For the best all-round solution in a pro context, though, the Fuji just pips it. Slightly higher res than Oly, better colorimetry, and access to decent video and those lovely new MK lenses. Plus more client cred than MFT. For pro work, I reckon the XH, the and the would be a solid kit, with a couple of primes added later and MKs rented as needed. If I was worried about every last ounce, I’d go for the XT2 the Oly if I didn’t have to make a living , but practically there’s not much in it.
The X-H1 is not meant as a travel camera or a daily carry with you camera. It’s a camera for professional use great video features, silent mechanical shutter, top display, all size grip. The X-H1 succeeds brilliantly on its own terms. No – It doesn’t. Where did you get such a notion. I would really enjoy reading an article that scientifically demonstrates your statement. Um no. Great camera but it struggles to match Sony apsc so pretending it comes close to Sony and nikon ff is just not true.
Actually, it’s very close. No need to be a fanboy – I don’t care for either brand. It’s objectively close. So for the nay-sayers, please have a look at this:. I just wonder why this is so big with IBIS in it. Pro chose ergonomics, reliability, service, lens selection. Amateur can go for spec only. How many pro bought the A9? Xh1 is designed for pro. Well most “pro” are heavily invested in CaNikon gear and are very much unlikely to go out an buy an A9. What will they do without lenses?
And once you add that into the mix you’re looking at a large fortune already. There are those who do Presidential media conferences, concerts, golf tournaments and weddings with strict noise requirements who fully appreciate the silent shooting and great eye focus.
Those people have switched in the first week already. I considered this for my travel camera system. In the end, I decided the EM-1 Mk2 would better suit my needs. It’s all about what works for you personally, not what a faceless reviewer says or what Joe Bloggs in the pub says. Too many people these days seem incapable of evaluating things on their own, relying far too much on the thoughts and opinions of others. Of course, ask questions and research, but if I read one more plaintive post saying “Which camera should I get to take photos of my cat – help me” I shall probably explode.
In other words, you’ll explode if this comments section on this camera review site works as intended for people who search out “camera review” and “camera comparisons”. Maybe you should find another website to lower your stress level. Both are excellent for taking pictures of my cats. And now thanks to the Fuji, I can capture them in 4K. Looks like another great addion for Fuji users. I high quality choice for those of us who dont want m43 mirrorless, or don’t like Sony cameras.
Is the new procedure on camera reviewing like: If it has good dynamic range, give that its own page and measure it. If it doesn’t have competitive dynamic range, don’t even mention it.
No, but we’re more likely to devote a page to it on a higher-end camera. It should be covered and our tests linked to in pretty much all our reviews. Though I have always thought the Silver and Gold labels are silly and are meaningless to me. Why not just give a score? OK, I know that’s been debated I’m thoroughly enjoying my X-H1, which I purchased for it’s video, sports and wildlife shooting capabilities.
Also, the intent of the X-H1 isn’t to be a general, carry-around, and travel camera. That’s why I also own the X-E3. I’m still shaking my head at all of the negative feedback on the X-H1 and by many who have yet to handle the X-H1. The bottom line is that Fujifilm will sell a boat-load of X-H1s. Granted, the X-H1 is a very capable pro grade camera, especially for video shooters, and it should be judged on its own merit. But the negative response is because we’d like for a Fuji mirrorless with IBIS, but still maintaining the size and weight advantages of a mirrorless.
Sony managed to pull it off with their a, and even the full frame A7II is smaller and lighter than the X-H1. Like the Pro 2, the X-H1 is too specialized for everyone. Professional shooters who do a lot of video might snap it up.
X-Pro users are in a completely different demographic altogether, and the hybrid viewfinder is of key importance. All reports say the Fuji’s IBIS mechanism is larger than their regular one so currently it isn’t possible for it to be in the existing bodies without increasing their sizes; possible in the Pro3 because it is their largest non-IBIS body.
Not to H1 size, which was designed to be a lot larger, but somewhere in between. Thermidor while I am a fan of Canon Panny and Sony cameras, I am not a fan of heat disspation due the diminutive size factor of panasonic and Sony MILC when used in video, the increased size may be to avoid overheat issues which plague small form MILC.
I’m not asking for the level of stabilization of the X-H1 to be replicated across their existing lines. The X-H1 will be its own flagship, and I respect that. I’m just saying people would really like some form of IBIS onto smaller bodies. Even if it’s a 3-axis stabilization, or up to stops as compared with 5. Agree on that aspect. I have a Pro 2, and it gets hot even for stills shooting, so I can’t imagine myself shooting 4k on it much. But at the same time, most casual users aren’t doing serious video work, so heat isn’t as much of a problem as shakiness, which is why some form of IBIS would help them.
Whatever our ‘equipment allegiances’, warm congratulations to the D P reviewers for having the fortitude to ‘tell it as they see it’. All strength to your corporate elbows! If it missed gold, not by much. Fujifilm is moving in the write direction and they listen to the users. How may companies do that.
The format is the new light high speed cameras. Look at the Nikon D vs the D5. This is no means a low score! Bet you the X-H2 is a killer. Is this disadvantage meant as general the difference between APS-C and full frame or is it about the specs and features? I know the theory of that one stop advantage. Did never sound too significant to me. The question is , do you need this extra image quality and can you appreciate it?
In fact , the truth is, except for special cases, apsc delivers enough image quality and especially when used with good fast prime lenses into a smaller package vs full frame. Fuji pricing for apsc is rather aggressive, based on the fact that the masses will never print large and mostly use internet sharing, Fuji has said that apsc is as good as full frame, this is not true but commerically speaking their strategy works very well because more users will buy it and will never see the difference between aspc and ff at small enlargement.
As Ansel Adams said, the best format is the largest you can carry with you. As for one stop not making a difference I have based buying decisions based on one camera being half a stop better than another. When scrabbling about to get usable files from indoor events it very much pays for itself.
And I’m talking about real difference, not cooked raw files and ‘waxy’ skin tones. It’s the price issue. Xt2 was already an expensive Aps c and the xh1 takes it to another level.
It’s a very good camera, well balanced but without leading feature. Gh5 for example priced the same, but it has a killer video features so the price is excusable. A7iii is an all-around tool like the xh1, but with better Image quality, DR, battery life and low light capability. I am sure soon we will start to see interesting bundles for the xh1.
That is totally illogical! Will someone from this site, explain to me how that can even be explained? X-H1 does everything that X-T2 can but also delivers lot’s of new in terms of video. If a new model raises the expected performance level for a class of camera, then that’s the one you need to match to get a Gold. In other words, simply doing as well as a camera that got a Gold in the past may not be sufficient. Re-reading the review, it appears DP Review treated the X-H1 as either a camera in a different category than the X-T2 or inserted at the top end of the same category.
Comparing the two reviews, it’s pretty clear DPR was very impressed with the performance improvements delivered with the X-T2. While they’re also impressed with the improved performance of the X-H1, the elevated price tag puts the X-H1 in more direct competition with more accomplished bodies.
DPR may not consider the X-H1 to be best-of-the-best but the Silver Award is only given to very good-to-excellent gear. It’s hardly a snub and definitely not an insult. The present score is always in relation to the present competition. XH1 did not earn gold award is because of its higher selling price and steep competition thanks to Sony A7iii.
Having briefly played with this camera, Fuji X-H1 is one solid product! Wonderful shutter. Compared to X-H1, my Pentax K-1 is boxy. On a travel trip, I will feel more confident that the X-H1 will withstand harsh weather better than my Sony.
On the Sony forum, we occasionally hear sad stories about cameras dunked in rogue waves and when toppled off a tripod onto granite rocks. Like some people hate Apple, some people hate Sony Unfortunately for the nay-sayers, both Apple and Sony have tremendous technologic firepower.
The idea was to highlight some of the strengths of X-H1. I have a Sony A9, so fully understand what you mean — and I have the Sony 28mm, 50mm macro and 85 lenses. I am not looking for weatherproofing, but the sturdiness of a camera like X-H1 stands out, compared to Sony FF variety..
But, staying on the topic at hand, i. And so I had to point out some things that really stand out, like the Shutter quietness, not to mention the simplicity of Fuji user interface, though some would disagree with me My cameras get used outside.
A lot. So weather sealing and in the case of my plucky little E-M5 taking a full on hit when camera and cyclist hit the ground during a crash, and still comin’ up shooting-is an important consideration. I’ve damaged non-weather sealed cameras over time, so I will pay extra Olympus E-M5 versus 10; Fuji X-H1 versus X-E3 for the magnesium durability and survivability during a downpour on a long ride. Yeah before preordering the X-H1, I considered this.
That FE glass is nooooot cheap. Ebrahim, do you think the price of the camera is only based on sensor size? All this items are not free and they cost more than the sensor itself. Fox: yes of course with any investment into a Fuji lens line up, the XH1 is definitely the way to go. Vignes: no it’s not just sensor size, but it IS a big part of it.
That’s something. Image quality. And your claim on build quality, I am not buying it unless I see it tested. They look the same size and overall built to me. And you can check the size and weight, there is no advantage in crop optics. However, if you use their smaller bodies, primes, and zooms there is an advantage to mirrorless APSC. Go figure Do you realize that small, slow, cheap FF lenses are not very popular, due to the same kind of superstitious silliness?
I mean, people want the best and the largest “bazookas” for their big cameras, because the majority are too lazy to learn stuff before making any expensive buying decisions. Probably, 9 out of 10 think that F2. Demand dictates supply, and photography market is being dumbed down and vandalized by customer ignorance and manufacturer’s greed.
The problem is that small crop cameras with small lenses cannot compete with the image quality from just a little bigger FF combo. Unless you are not going to appreciate the FF potential anyways, because even MFT is too much for your needs which is often the case actually.
So that it is all the same to you, for your level of tolerance. I find funny the price comparison between Sony and Fuji lenses based on aperture equivalence. For instance take the Fuji f4, should it really be f2. Comparing the mm 2. However I agree when it comes to longer lenses like the mm f2. Finally, I agree with some comments above: Fuji has cheap primes that are sharp wide open. Let’s take the Fuji 50mm f2 for instance, is there an equivalent that is that sharp, small, light, and cheap did I mention WR on Sony’s side??
It should be F2. Fuji 50mm f Just for a smaller package? Photography isn’t about putting small cameras in your pockets. Or keep the original, which is equivalent to XF35F1. Yes, that camera costs a lot, but it makes up for not having to buy the whole bunch of small, slow, overpriced crop toy lenses. In that regard f4 is f4, no matter what the sensor behind the lens is. To me it’s like saying I won’t be the Olympus mm f2.
You see what I’m getting at? Ok, we’ve heard it many times, Fuji lies, etc I’ll do another test, just for sake of arguing Despite having a much smaller sensor the scene was brighter on the Sony. The only difference would be the noise at higher ISO. Photography is about results not numbers However, that only says that each sq mm of both sensors will receive the same amount of light. As such, both are looking at the same view of the scene through the same sized hole.
That hole has different f-numbers on each lens, so the light per sq mm will differ, but the same element in the scene will be made up from the same amount of light projected over a larger region of the larger sensor. From what I read, different sensor size, equivalent f-stop on lens, same aperture diameter, same amount of light.
But what does it tell us? It is overall equivalence in every aspect, which allows you to reproduce an image via a different format camera. Because it is all about the image after all. Math doesn’t change, only some relative and made up numbers change, while the amount of light stays the same. And that’s the whole point of equivalence. But to me it makes less sense to buy only into FF considering the size, weight and price when alternatives are available and good enough for what I’m intending to do with it.
For instance I don’t see the point in dragging the FF on a city break where I’ll be walking all day with my camera. With the weight I gain I can bring a couple more lenses even bodies with me About ISO-equivalence, I don’t think it exists, simply because it is too much dependant on technology.
I did a quick test yesterday and I’ll give you one thing : if I shoot with the same ISO into a light, there seems to be more light or less DR? Otherwise I don’t see much difference, either noise or brightness considering exposure is maybe not the correct word in the scene. There is no size, weight and price advantage in crop systems.
There are only compromises that can make things smaller, for any system. Just stop ignoring it. If there was a huge, heavy and I imagine crazy expensive XFF1. The fact that there is a FF F2. Fuji just doesn’t have the option, there is no XFF1. There are no separate equivalences for each and every button on your camera. There’s only one equivalence and it works for everything simultaneously.
And you can’t apply it for just one thing like focal length while ignoring the rest. Well, you can believe it if you want, and please try any recent APS-C body with a decent lens.
I’m shooting both FF and crop, and M43 for that matter, and my experience is that FF is not the one answer that answers all for me. No, I would not buy a XF f1. But I have however a Sigma mm f1. Of course I could sell all and get a GM lens but do I need it? About equivalence I suggest you read the article made by DPR on the topic. I agree it gives, as a whole, a notion of how the system will perform, but when it comes to ISO it can’t work as a rule. Therefore this can’t be a rule. It’s not a belief, it’s logic.
Why do you believe that crops improved a lot and FF did not? Makes no sense. They are both getting better and the gap between them isn’t any smaller than before. It’s your viewing method that’s lacking. I have no fetish for using toys, but I can see all the reasons for not using them in the sample images. If you can’t see that, then please try using a larger UHD monitor before suggesting that sensor size doesn’t matter.
If some cameras have better sensor tech, it doesn’t break the equivalence principle. Because it is about the amount of light used to create an image. You shouldn’t expect similar results from half the amount of light.
And one full stop is a lot. Boosting all of my lenses by a stop compared to APS-C is enough to justify the price of FF, which, for me, makes the crop system an overpriced scam.
Feels like you’re not even reading what I’m saying. And once more, I agree that top lenses on crop are too expensive. However I don’t see that much of a difference between pictures taken by my A7 II and my X-T20 for the use I have, which is mainly landscape photography. And yes, I do have a 32″ UHD monitor. And how is half the light on a smaller sensor making that much difference?
Yet they do, and if you take a picture with the same parameters, let’s say 24mm f2. Of course there will be less noise on the bigger sensor depending again on technology and size of photosites. I am reading it The way I see it, crops are not really smaller or lighter, or cheaper, or better I really don’t care about fancy F-numbers or “pro” designations on overpriced toys. You think that nobody needs better cameras than you do.
The amount of light has little to do with image brightness. When you zoom in and out images on your monitor, the image brightness doesn’t change, but in reality it is impossible to crop into disperse a beam of light without losing any light intensity. It’s physics, no way around it. Please just take a look at dpr’s studio scene and you’ll see that A, for instance, is at least on par with the original A7 when it comes to noise.
I won’t even talk about Fuji since we were all fooled and have underexposed shots Why the MFT f2. I preferred the mm f4 IS that allows for a 5s handheld shutter speed at 24mm eq. As with all ‘toys’ fun is part of the experience On the other end you focus on the shots where FF does make a noticeable difference denying any experience others might have. I don’t care if it is ISO 1bn as long as two pictures from different cameras look the same.
Besides, Richard established above that the light per sq mm received is the same, so there shouldn’t be any loss. The a7 sensor underperforms while the a and X-T20, since it’s likely to be essentially the same sensor performs very well. This will narrow the 1. Light per unit area is the same at matched exposure but if two sensors have different areas then they get different amounts of total light.
Though it’s worth noting that small sensors tend to be more efficient, since they tend to have more advanced technology than large sensors which inherit older technologies as the fabrication lines are replaced with finer-scale ones for the next-gen of smartphone sensors.
Large sensors can get away with being a bit more wasteful of light. It’s a spectrum of things leading to a higher or lower amount of correct information the image contains. Honestly, talking about high quality at high ISOs is really funny. If you want quality – don’t use high ISO, seriously :. Why don’t you download the studio RAW files and compare the actual image quality after you remove all the noise. You said “for the use I have” because you think that nobody needs better cameras than you do.
Otherwise you wouldn’t be arguing. It’s just a logical conclusion. I mean, it’s good enough for your needs, fine, why should I keep my needs below the capabilities of your favorite camera? If you want it to be as same as it gets you must use equivalence. Noise not the same, DoF not the same, quality not the same, contrast not the same, price not the same, DR not the same, etc.
FF 50F1. And yes, the light intensity per sq mm is the same, but there is a different amount of different size pixels in each sq mm of let’s say 24mp FF and 24mp APS-C. However, that’s not even the case. FF wins either because of larger pixels or because there’s more of them. It’s a win-win situation. And you can use crop lenses on FF a7 series in crop mode.
You may use whatever cameras you prefer, but FF is just better. I’m not trying to convince you to buy my camera. When you talk about logic I’m sure you understand that “not everyone needs to put that kind of money for DoF and, depending on the body and lens, better IQ” is not the same as “nobody needs that”.
When you say “It’s a spectrum of things leading to a higher or lower amount of correct information the image contains. It’s like, “ok, some crop camera can handle the noise as well as FF, with the same DR, but still any FF must be better because it’s logic”. Finally, no, you’re wrong, the FF50mm 1. So no, it’s not that the signal is weaker and needs to be more amplified, it’s just that the photosites are bigger on the FF and as a consequence there is less noise.
Then on A7r II for example they used back illumination to gain a little light and copper wiring to have less noise. DoF is just a side effect, no need to put money there. You cannot really control the DoF independently.
You can control the amount of light and the DoF changes accordingly. So, basically, when the amount of light isn’t the same, DoF is different too. Equivalence makes them both the same. Because most likely this crop camera got pixel density similar to FF camera’s pixel density meaning it’s a much higher res FF. Now, if you down-sample the FF image 2.
Half of the light from FF 50F1. It doesn’t hit the sensor at all. I see you have absolutely no idea how it actually works. You need to re-learn the whole thing from the beginning. FF can have even smaller pixels than crop sensor, but much much more of them. Which could still produce better image quality.
What you’re saying next is only what I said earlier “I’d rather say the light outside the sensor is lost” only in a more patronizing tone. Even with larger sensors they can’t increase the density forever. Why do you think that A. A7s has only 12mpix? And the same technology used on the A7 III with less density gives again less noise. Yes downsampling will make the pictures look better than crop at the same mp but you forgot to mention one advantage of FF which to be able to print larger ;.
Because a7S is meant to shoot 4K at native sensor resolution, which happens to be mp. So perhaps 12 was just close enough, with an acceptable amount of cropping. The ability to print larger comes from the larger amount of data in the image. The amount of light the light intensity the exposure the image brightness – they are all different things.
Unfortunately, not in your head. You can turn a completely black frame into white frame, no problem. A 50mm F1. However, as soon as you relate it to photography where you’re presumably composing a specific framing , it becomes more complex. Mount a FF 50mm F1. Move further back with the APS-C camera if you can and you change the perspective. Ultimately, the larger sensor ‘sees’ a larger proportion of the imaging circle. And, since you’re getting the same number of photons per sq mm, the sensor with more sq mm of surface area gets more photons.
This occurs regardless of pixel size and is the main reason larger sensors are able to take cleaner images. I agree but I still don’t understand why larger sensor would have an advantage in any given situation. Considering that in both cases no light is lost because the lens is made for the sensor behind it, I only see two differences: DoF and sensor performance in terms of sensitivity, dynamic range maybe.
Is there anything else? At its most simple, it’s because the same F-number gives the same number of photons per sq mm, so if you can project a larger version of the image onto a larger sensor, while maintaining the same number of photons per sq mm, then you get more photons describing every element in the scene.
Just to make the maths easier, let’s assume your APS-C chip is exactly a 1,5x crop. You set your lens to 18mm on the full frame camera and 12mm on the APS-C camera. Both will see the same view of the scene, if shot from the same location. Set them to the same F-number let’s say F4.
The full frame sensor sees the world through a 4. Let’s say it receives x photons per sq mm eg you’re pointing at a featureless grey sky. The APS-C sensor sees through a 3mm dia aperture. That example was for a uniformly lit scene but it works similarly well for any real scene. If given a lens with the same angle of view so both ‘see’ the same scene , then every element in the scene is recorded over a larger area larger in proportion to the increased sensor size.
Since F-number dictates light per unit area, this means each element is made up from more light since it takes up a larger area of the sensor. This explains the better low light performance at the same F-number, ISO and shutter speed, a larger sensor gets more light. And hence is less noisy. It also helps explain the great dynamic range: if both sensors can tolerate the same number of photons per sq mm before clipping, then the large sensor still records more light about each object, before clipping.
This means every tone will be cleaner, so your darkest tone that’s distinguishable before being swamped with noise so long as your sensor isn’t contributing too much noise , will be a darker tone. More DR. And yes, with the larger physical aperture for any given F-number, comes shallower depth-of-field.
Which is a double-edged sword. There may be a limit to how little depth-of-field you can tolerate. Of course, in these situations you could simply stop down until you’re using the same aperture diameter as the smaller sensor camera, and get essentially the same result.
However you lose much of the benefit of a larger sensor once you have to stop it down into the realm that a smaller sensor camera can match. Sensor performance is something of a red herring, by the way.
Most modern sensors perform fairly similarly with the latest small sensors usually getting the newest technology, so performing slightly better per sq mm. However, the size differences between most common sensor types are much larger than the difference that technology changes tend to yield. So often last-gen large sensors can to produce better images than the latest tech small sensors, it’s just that the difference is smaller than size alone would lead you to expect. Sometimes I tend to overlook the fact that more light makes it easier for the bigger sensor to deliver cleaner images.
What I mean is that there is a base rule that larger sensors will make it easier to deliver the expected IQ, smaller sensors might beat them on some aspects, not all of them obviously, and even if the bigger sensor is better there is a big range of pictures where the disadvantages of the smaller sensor won’t matter.
This discussion started more or less with that argument, saying that one needs the “PRO” lenses on APS-C to match the consumer lenses on FF, and considering the cost and weight it’s not worth it. But it does mean, for instance, that you could buy an APS-C camera and then a fast portrait lens, if portraits are the main time you want shallow DOF ie: it lets you understand when and how to gain most of FF capability, without having to spend FF money on every lens, or carry FF weight with you, all the time.
And yes, equivalence only tells you about potential for image quality. The specific lens characteristics and the specific sensor performance will affect how much of that potential you can get. As you say, the BSI 1″ chips did a good job of catching up with some of the sensors a size bigger.
However, you’re also right to recognise that this may only ‘in some respects. Thank you Richard. Why not just get smaller FF lenses then? Each system is a spectrum of things, only FF one is wider, and it covers the APS-C almost entirely with some minor exceptions like a few hundred grams lighter body.
While with FF I could push it almost two stops farther. Not because of the ISO performance alone it really isn’t two stops better, more like one stop , but because of the better bit of everything – ISO, optics better sharpness, contrast, lower aberrations , crop-ability, hand-hold-ability perhaps due to larger pixels. To take an example, FR mm f4 seems to be quite average, some are even recommending the kit lens over it, considering the price.
FE mm f4 seems to be better than FE mm f4 but more expensive than both. GM mm f2. On another topic, I bought a D in the meantime. Putting the most expensive crop lenses against the top FF lenses doesn’t make them equal, not even close. There are no issues with FF sensors having pixel densities similar or lower than crops. It’s not that it doesn’t bother me, it is just that it is not worse all the time, so when I can use the benefits of lighter gear with excellent performance wide open I’m not really concerned my shots could have been so much better with a FF camera.
Whenever I buy a lens for any system I test it against my other systems with lenses covering the same focal length. I’ve tested a while ago the Sony FE mm against Fuji mm and for nature landscape, Sony was a winner. In other cases I couldn’t see much difference, at least not in sharpness.
These days I’m testing the Fuji 16mm 1. If you can’t believe me even though I shoot with both formats and smaller sensors even I invite you to take a look at what people have done with that lesser APS-C gear.
To get similar results from a crop camera you must buy some ridiculously overpriced toys. Maybe it wasn’t really possible to make those for the DSLR, but for mirrorless the only issue is greed. Same size, same weight, same production costs. Why is that XF 35F1. You are right, if it’s good enough, it’s good enough and that’s what matters the most. But it’s not good enough for everything and everyone. Let’s be honest, size matters and it makes a difference expensive one.
Why is that a full stop faster lens deserves the higher price tag and respect for the extra image quality that comes with double the amount light it gathers. But when it comes to FF vs APS-C, then suddenly people forget that it gets over twice as much light from all of the lenses you put on it.
It’s like stitching. If you combine 3 vertical shots into 1 landscape image and then down-sample it to match the original resolution, you will see that the image quality improves a lot. Because that way you are adding more information to the image, making it Identical chip. And again you’re using strict equivalence to make your point, I’ll call it theory, without at any point considering what a system can actually deliver.
You said it well, it’s all about money and whether or not someone would put the cash on the table for the extra stop, extra resolution, extra weight.
One needs to ask themselves what they are using the camera for, if they tend to shoot sports, landscapes or portrait? Taking your example, the 40mm is one of a kind, but still on a FF body the total will be what, g at best with a 6D vs g on a X-E3. If you add a few lenses you can see why people are buying expensive toys. Obviously the gain is not there for all lens, especially if you need the aperture equivalence. Fory clients nothing tops that FF sensor at 1.
And That’s video! I tried and tried pushing the look to a sharper, wide, more composition-oriented look but no You have to “discover” it by yourself. Perhaps you are not ready for it yet. Sometimes not seeing the problem is the problem. What’s next?
MFT vs 1″? Actually, 1″ can be perfectly fine for many things. Now, I see no reason other than manufacturer’s greed and customer’s ignorance why crop toys cost so much. All that “smaller size” mythology is ridiculous. I see lots of people using F2. Why don’t you put some equivalent crop vs FF optics side by side and realize that the only difference is that you pay the same or even more for the crop system and get only a few hundred grams less weight per whole system and considerably lower image quality, while giving up a big part of FF potential that is unachievable with crop.
Like that F1. The glass itself has its limits. You cannot magnify the projection by using smaller sensor without sacrificing quality. So, that’s why Don’t you know there FF mirrorless cameras too? I guess next step is me taking two pictures and you telling me what differences there are and why they matter. With MFT you don’t even have the option of F2. You think how much would such F1. The answer is – just as big and heavy as these F2. And for the record, there are plenty of decent FF lenses that don’t cost thousands of dollars.
Why don’t you start from something simple, like 50F1. Honestly, why do you people always need the biggest lens compatible with your camera. And how does the biggest lens from one system being smaller than the biggest lenses from other systems make it a better system?
But the funniest part is that when they make a truly small system like the Pentax Q , you don’t buy it, because then you start seeing what’s the problem with going smaller. I guess we just see things differently, regardless of the difference.
I just told you buying a f1. But to answer your question I think if there is a market for those lens it’s because, like you with FF, some people think they should put all their eggs in one basket and that it would too troublesome, or too expensive to buy into another system for a few interesting lenses. Honestly, pictures like that do not require IBIS :. But the file numbering and time delays show that you’ve shot like 3 of each and then picked the least smeared ones.
Unfortunately, the 3. Just admit it, this is not a solution. If you think that it is impossible to shoot a 2s exposure of a static scene on a FF with IBIS and stuff, then you are wrong.
The electronic shutter makes it perfectly possible. Plus the extra mass of a bigger and more comfortable to hold camera adds extra steadiness inertia.
Nothing FF couldn’t do. Yup I agree image stabilization isn’t exclusive for any format and will probably be all the same on every camera from a cellphone to MF backs in a few years. So yes while amazing, not really a strength for one format over the other. I have tried some F2. And, honestly, for the price, they suck. On APS-C its image quality is really no better than of a decent kit lens. While on FF I’d rather have F4 with more zoom range or a couple of primes, even for occasional event photography.
Same with the F2. I’d rather have a mm instead. With UWA prime a few steps back or forth cannot really affect the landscape framing or perspective. Therefore zooming seems to be a handy feature. But the F2. That 40F2. I agree with most of your findings. Especially the part about UWA prime vs. I just wonder how I could shoot an UWA without some framing leverage.
I can’t. When I stop down the from 2. That’s it? Ebrahim Saadawi Exactly. When I want true bokeh, I reach for a fast prime anyways, like mm F2 or a fast 50 or even my 28F1.
The F2. But then why bother with such expensive “bazooka” zoom, when I can have a twice smaller and 3 times cheaper F2. But for travels I would most definitely pick the F4. I just don’t travel that much :.
We can change the requirements forever, and obviously on each sides of the discussion, to match the point we’re trying to make Anyways it seems we’re just different users with different needs. Strangely we agree about the stupid rule among amateurs that says that you need f2.
I think I’ve had arguments longer than this one trying to justify that f4 lens can be very sharp on FF and are reason enough to own that FF camera instead of buying the APS-C counterpart. Yes we are different. For me, IBIS cannot handle long exposures handheld. Well, maybe 1s is the safe limit for some, which is great. But it’s not a solution.
Capture one pro 12 fuji vs lightroom free.12 Best Lightroom Alternatives in 2022 (Paid & Free Software!)
Adobe products are the industry standard for photographers all around the world. Have you ever wondered, though, what the best Adobe Lightroom alternatives are? It is user-friendly, holds all your images in its library, and meets most of your editing needs. Yet, there are other lgihtroom if you are looking for free Lightroom alternatives. Perhaps prk want to try a different photo editing software. Product links on ExpertPhotography are referral links.
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