Black Pearl

One of the most amazing places I have visited in France and you've captured it superbly.

Took a wander around Whitburn Village and then along to Sunderland with my new X-T1 and lenses - really enjoying exploring with the Samyang 12mm... Ps. Milandro - I started my SLR photography with a Konica Autoreflex A which was shutter priority and manual. I recall it went off with one hell clatter and that the 50mm lens was fantastically sharp.

Not quite the same but the EF-S 60mm f/2.8 Macro USM is an outstanding lens with next to perfect resolution figures across the image frame. I do agree that they protect their higher end cameras by not fully supporting those who use the APSC bodies and I'll also add I'm not a Canon fan - I've lost sympathy with Nikon too which I've used for 30+ years for the same reason hence the switch to Fuji. I honestly don't understand the reasoning behind the Big Two and their refusal to see there is a future without a mirror. We'll see how things pan out but we live in interesting times and I love to be shooting at the leading edge of what is possible and not what we are given.

I've got the 35/1.4 and love it to bits but I'm seriously considering the f2 for the WR. When the weather is inclement it would make a great companion to the X-T1 making it possible to just sling over your shoulder and not worry about it getting wet. I do this all the time with my Pentax WR gear and its a hard habit to break.

One of the reason I switched to the Fuji X-T1 was the reputation of their home grown X-Trans sensor - which from initial testing seems to be well founded. It was this one thing that had put me off my Nikon D300s, I loved the camera don't get me wrong but I couldn't live with the output any longer. Below is a jpeg from the camera and a raw file I processed in ACR. The head room is huge with lots of recoverable highlight detail while lifting the shadows does very little to damage the file - preaching to the converted I realise but I have to say I'm hugely impressed. This was taken with the Samyang 12mm f2 which I've applied a little correction to as the verticals were converging dramatically - my fault for pointing a super-wide upwards. Haven't corrected for actual distortions though as it seems good and straight right from the off. Plenty of detail too which baring in mind what is being asked of a £250 lens is remarkable.

I'll second that superb advice!

Couple from this morning - X-T1 + 55-200mm

It would be close with only the difference between the way a 56mm and 85mm renders an image. If you take in the perceived DoF between the two systems you want one stop larger aperture on the crop system to get as narrow a depth of field or one stop smaller on a full frame system to achieve as much DoF.

From the instruction manual: Pictures taken with [sCREEN SET-UP] > [AUTOROTATE PB] are automatically displayed in the correct orientation during playback.

Sort of... A full frame lens throws a circle out the back onto the sensor with a diameter of around a 43mm. On a 35mm camera or a digital camera with a sensor the same size (referred to as Full Frame) you will be using all of that circle - see below - with a cropped sensor you simply use a smaller part of the circle. As you can see from the diagram below a FF lens produces a circle large enough for a FF sensor as well as working fine with smaller sensors which just crop off the edges - a lens designed for a cropped sensor produces a smaller circle that isn't large enough to cover the larger FF sensor. What you can also see is the subject - the mountains in this case - are always the same size as the focal length of the lenses in question are the same. The ONLY thing you change is the field of view due to how big (how much crop) the sensor is. You are not increasing the focal length of the lens by putting it on a crop camera and regardless of which camera you put it on a lens will ALWAYS be the focal length printed on the barrel - same goes for the aperture, it will always be the one you select.

I kept a few random lenses when I recently switched over to Fuji so ordered an adapter to start giving them a go. The smc PENTAX-F 50mm f1.7 which I've had from a film camera way back has wonderfully old fashioned hexagonal aperture blades which give a strong shape to out of focus spectral highlights which in the right shot I absolutely love - tried it today but as its flinging it down with rain I couldn't do much but know it works, know its easy to focus and the X-T1 operated perfectly in Aperture Priory mode making exposure a cinch. From the same lens but taken previously with a K30:

Not quite as you aren't increasing the focal length by putting a lens on a crop body you are simply altering the field of view recorded. If it says its a 35mm f1.8 lens on the barrel then its a 35mm f1.8 lens regardless of what camera you put it on.

An f stop is an f stop is an f stop - well in photographic exposure terms it is where the infinitesimally small differences in light transmission due to the glass don't matter in the same way they do in the movie world where they have lenses marked in t stops which are corrected a little further. Essentially the person you're quoting is wrong, or at least is interpreting things the wrong way. It is very easy to test if you have a Nikon and a few lenses. Put a FX lens on a Nikon FX body and take a shot at (for example) f2.8 then swap it out for a DX lens and set that to f2.8 - the exposure will be the same. You can actually use some DX lenses on FX bodies and get a full frame exposed. The AF-S 35mm f1.8 G DX can just about do this once its stopped down a little and many zooms do the same as you alter the focal length- the Sigma 10-20mm from memory is full frame from about 16mm. I think what the person in the quoted article is misunderstanding is the apparent difference in depth of field between the two systems for a given aperture. If you stood in one spot with a FX body and a 85mm f1.4 and took a picture at f1.4 then did the same with a crop sensor camera using a 56mm f1.2 set to f1.4 you would get about one stop extra depth of field - the exposure would be the same. By opening the 56mm up to f1.2 you would then get a picture with a similar DoF to the 85mm.

We're at crossed interpretations. The front of the 60mm extends out from the main body of the lens as it focuses closer - around 2cm by the look of it. With your method of mounting the hood it too will move 2cm closer to the subject you are shooting. At very close distances (when you have extension tubes on) the shooting distance is only around 10cm so your hood will be 2cm closer to the subject than if it were mounted to the main body. In this shooting situation the OEM method would be advantageous as you would have more room between the from=nt of the hood and the subject to allow for lighting.