I attended the first Vintage at Goodwood on Sunday. Lots of bands, cars, and dressed up people. As darkness fell I was experimenting with my flashgun. I took this Mustang using “2nd Curtain flash” set with a button on the Canon Speedlight 580EX, and zoomed the lens during the 2 second exposure.
UPDATE: THe 6 Core Apple Machine can take up to 32GB RAM. See my article about building a high end photo editing workstation.
Apple launched their new MacPro models today, including the 12 and 6 core models. The 6 core 3.33Ghz is the one to choose for a high end photo editing workstation, with fastest clock speed and memory speed, without the system overhead of the 12 cores / 2 processors that most applications will not use. However Apple appear to have limited the maximum amount of RAM available for the single core processors to 16GB. The single processor machines have 4 memory slots, the dual processor machines 8 slots. Apple say that the 8GB modules will not work in these machines.
Two of the biggest companies selling after market RAM are disagreeing about whether it is possible to get around this. OWC are currently saying they think it does have a 16GB limit, but in a conversation with Crucial earlier it seems that they are guaranteeing that their modules will work up to 32GB! Great!
Here is the conversation:
Welcome to Crucial Technology’s Expert Online. An Expert Online agent will join you in a moment… Please do not begin typing until you have been connected to an agent.
Hello, my name is Sean . How may I help you?
Wayne Grundy: I have just ordered a MacPro 6 core from apple. I am looking for the memory to take it to 16GB. I was expecting to see 4x4GB modules for this machine – as recommended by Apple. Apple say that this machine has a limit of 16GB, but on your site you are selling 8GB SIMMS, and say that it can go to 32GB RAM – I think this must be wrong???
Sean : One moment, please, while I review your inquiry.
Sean : Okay Wayne, looking at a Mac Pro 6-core system’s memory specifications. I see that it has four slots and that each slot can definitely handle 8GB each for a maximum memory of 32GB total. We guarantee that for that particular system. I’m sorry if I cannot draw you a comparison from what Apple say’s in reflection to what our website say’s but we definitely guarantee that system maxing out at 32GB. If you are still too concerned about that then my absolute best suggestion would be that once you receive that Mac Pro 6-core, you run our Crucial system scanner on it. It’s right on our home website and is a free download, what it does is scan that system’s information and gives you a list of all of the guaranteed compatible memory based off of that scan result.
Wayne Grundy: OK I will do that – I know that OWC are saying that the max is 16GB too see here MacPerformance Guide
Wayne Grundy: I think you need a definitive answer otherwise people will be ordering from you and they may not work!
Sean : That’s the best answer I can give you above Wayne. If for some apparent reason the configuration would not work for you a return can definitely be setup for the memory because it would be under warranty. But it still stands that we guarantee the 6-core going to 32GB. We wouldn’t guarantee that if that did not work.
So there you go!! – You read it here first!
6 cores, 3.33Ghz, 1333Mhz memory up to 32GB – Lightroom will fly!
Crucials 8GB SIMMS
Following on from my quality compact cameras article, I have noticed that Getty Images have for the first time approved a compact camera for submitting images. No surprise that it is the Leica X1, which has an APS-C size sensor.
I went to the Goodwood Festival of speed last Friday, for a full day of petrol head nirvana.
Highlights of the day was seeing a Ferrari 458 in the flesh, and photographing it from all angles, and seeing an attractive Audi hybrid prototype, which was really well lit, and ideal for photographs.
I also met Anna Louise Felstead, a brilliant painter of all things military and motoring, see her website and photograph below.
If you have calibrated your screen, printer and paper and inks, and are still not getting accurate colour, the only step remaining in the process is to calibrate your camera. It is remarkably easy to do.
Step 1. Take a photograph of a known calibrated colour chart such as the Xrite chart below.
Step 2. Open this with Adobe’s free DNG profile editor, click on the “chart” tab, and move the 4 circles that appear onto the four corner colours.
Step 3. Click “Create colour table”
Step 4. Export the profile “recipe” created for your camera.
Step 4 In Lightroom, choose this profile from the drop down list in “camera profiles” function of the Develop module.
It took less than 15 minutes, and the results were good, with the resulting on-screen image closely matching the Xrite colour chart.
A comprehensive set of instructions from Adobe can be seen here
Yesterday I visited a Park Cameras open day in Burgess Hill, Sussex where a number of camera manufacturers had representatives and equipment to sample, and there were some seminar sessions, including a talk by fashion photographer Jon Gray who demonstrated a photoshoot with fashion model Katie Green (Who famously campaigns against size zero).
I had the chance to play with the new Sony Nex3 and 5 which have APS-C sensors in a body that is unbelievably small body. Samsung EX1 image samples- new compact camera, Sigma 50mm f1.4, Zeiss 85mm 1.4 AF for Sony Alpha, Sony 500mm Mirror lens and the Canon 7D!
Mirror lenses, which are also known as ‘catdiotropic’ or ‘reflective,’ were all the rage in the ’70’s, and 80’s but dropped out of favour in the ’90’s . In the digital age do they have a purpose? This article tests several mirror lenses from different manufacturers, explains the advantages and disadvantages compared to conventional (refractive) lenses and shows how most of the disadvantages can be overcome in the digital darkroom. There are plenty of test pictures throughout and sample images taken in the years since I carried out the test all available in a Flickr album at up to full size.
Up until around 6 years ago, Tamron, Nikon, Zeiss and Minolta all still had mirror lenses in production. Now of the big brands only Sony have one available, and this is the previous Minolta model rebranded. There are some other cheaper makes such as Kenko, Vivitar and Centon new. There are plenty of lenses to choose from on ebay, and I bought 4 of them to evaluate, eventually selling all but one.
My first digital camera was the Canon D30 from 2001, a DSLR with a 3 Mega Pixel APS-C sensor, I just found this comparison with 100ISO film, and it wins! No wonder I didn’t shoot a roll of film after buying it! My latest camera is the 21MP full frame 5D mk2, I regularly print A2 images which look sharp even when viewing from inches away. It’s hard to imagine how far we have come in 9 years of digital camera technology, looking at my film prints from several years BD (Before digital) they look soft and grainy. (if you like that effect, it is easy to replicate using Photoshop and/or plugins like Nik Silver Effects Pro).
Imagine if cars had advanced so much in that time!
It is interesting that when scanning a 35mm slide, it is possible to obtain a simply huge file, – bigger even that a 21mp digital file, but the file size is so big because of the intricate detail of the film grain. This larger file contains no actual extra useful resolution, which is why the D30 managed to deliver such an an unexpected result in 2001.
There are only a small number of compact cameras capable of delivering a high quality image. In this article I discuss the design, technology and recommend some to try.
The May 2010 edition of B&W Photography has the following Zeis lenses on test by Lee Frost.
21mm f2.8 Distagon, 28mm f2.0 Distagon, 50mm f2.0 Makkro Planar, 85mm f1.4 Planar
Frankly it is a pretty lightweight article with no printed comparisons, but it does come to similar conclusions to my article and testing. The 21mm is the pick of the bunch as it is a unique lens, incredibly sharp and comfortably outperforms the Canon 17-40 f4.0. The 50mm Macro lens is useful, sharp and excceds the quality of the Canon L24-70 f2.8 zoom. (No comparison is made with a Canon 50mm lens). The 28mm f2.0 did not outperform the Canon 24-70L and the 85mm similarly was not noticably sharper than the Canon 70-200 f4L.
No testing or mention was made of focus shift issues with the 85mm lens, where the plane of focus moves away from the camera as the lens is stopped down from f1.4 to around f2.8, making precise focussing almost impossible unless using depth of field preview and live view simultaneously, which is not too convenient for a portrait lens!
I have uploaded many examples taken with the Zeiss 21mm f2.8 to the Flickr Zeiss Distagon Group.