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03-22-2016, 08:07 PM   #931
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QuoteOriginally posted by Alizarine Quote
I doubt any price drop in Canikon is because of the K-1; most likely it's to make room for their upcoming new cameras
I agree. Everybody seem to be upgrading their system. Here in the Philippines, the D7200 is sold at a much cheaper price than the the K-3II. Maybe the price drop is due to the coming of the D500 and probably more.

03-22-2016, 08:34 PM - 1 Like   #932
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QuoteOriginally posted by totsmuyco Quote
I agree. Everybody seem to be upgrading their system. Here in the Philippines, the D7200 is sold at a much cheaper price than the the K-3II. Maybe the price drop is due to the coming of the D500 and probably more.
There are a lot of 'maybes' in this thread. The situation is likely a culmination of a lot of these factors (currency valuation, customer system upgrades, new products, manufacturers attempting to increase/create growth/profit/appease the shareholders, etc). These days, buying cameras and lenses seems to be more like commodity trading where you must guesstimate the right time to buy (at the lowest price) based on the health of the market, cost of freight/shipping, financial rates.. etc haha.

OT: Sometimes I think about it and find it odd the resources (time and money) invested in photography on a non-commercial level that some of us take (myself especially).
But then I think of the alternative and it would likely be one of pointless gaming, movie watching, or mindless tv viewing. At least we have something we can point to and show for our time+money spent. Movies, tv shows, and most gaming I'd say is based on observing someone elses ideas and thoughts. But we create new ones... and memories that we can much more easily share with others. So.. we have that.
03-27-2016, 09:35 AM   #933
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New challenges info on the K-1 site: Challengers | PENTAX K-1 Special site | RICOH IMAGING
03-27-2016, 10:44 AM   #934
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QuoteOriginally posted by D1N0 Quote
New challenges info on the K-1 site: Challengers | PENTAX K-1 Special site | RICOH IMAGING
QuoteQuote:
A dramatic blue sky and lively green trees in scenic photography: the PENTAX K-1 inherits PENTAX Blue, a term affectionately used by Pentaxians (PENTAX camera enthusiasts). A technician in the image-processing team explains: “We are trying to create memory colors, rather than faithfully reproducing original colors. In particular, blues and greens are the colors that decide the impression of scenery. That’s why we work hard to reproduce rich, dramatic tones of these colors.”
Challengers | PENTAX K-1 Special site | RICOH IMAGING

Hmmmm Is this just in JPEG or does it affect RAW? I'd sooner they concentrated on reproducing colours accurately leaving the user to decide which colours to pop in post processing. They mention blue and green, how about red and specifically detail in reds?

03-27-2016, 11:00 AM   #935
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Shooting modes don't affect raw just jpeg. You can use them for in camera processing. You will see the processed jpeg on you're camera screen when using a certain mode, but the raw is unaffected by that. (shoot in monochrome raw mode and import the pic in lightroom. It will revert to colour.)
03-27-2016, 11:04 AM   #936
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QuoteOriginally posted by D1N0 Quote
New challenges info on the K-1 site: Challengers | PENTAX K-1 Special site | RICOH IMAGING
I visited this link and found it to be very informative. Pentax engineers really proved their mettle on this camera by using a lot of technical innovations to overcome traditional limitations. I recommend that everyone check this out to appreciate the hurdles that Ricoh/Pentax jumped in creating the K-1. Although due to financial limitations I will probably be late to the K-1 bandwagon and stick with my K-3 for a bit longer, I really do appreciate the effort to produce it. Down the road, it's definitely on my "must list."

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03-27-2016, 12:46 PM   #937
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QuoteOriginally posted by D1N0 Quote
Shooting modes don't affect raw just jpeg. You can use them for in camera processing. You will see the processed jpeg on you're camera screen when using a certain mode, but the raw is unaffected by that. (shoot in monochrome raw mode and import the pic in lightroom. It will revert to colour.)
Yes, with one (for some) important point... as well as the effects appearing in the embedded JPEG visible on the camera screen, the settings get passed with the raw file and Pentax's Digital Camera Utility picks them up so you can reproduce them when processing the raw image.
03-27-2016, 12:58 PM - 1 Like   #938
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QuoteOriginally posted by BigMackCam Quote
Yes, with one (for some) important point... as well as the effects appearing in the embedded JPEG visible on the camera screen, the settings get passed with the raw file and Pentax's Digital Camera Utility picks them up so you can reproduce them when processing the raw image.
So Ricoh should make a lightroom plug-in that can do that as well.

03-27-2016, 01:03 PM - 1 Like   #939
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QuoteOriginally posted by D1N0 Quote
So Ricoh should make a lightroom plug-in that can do that as well.
That would be a very neat idea
03-27-2016, 02:51 PM   #940
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QuoteOriginally posted by PALADIN85020 Quote
I visited this link and found it to be very informative. Pentax engineers really proved their mettle on this camera by using a lot of technical innovations to overcome traditional limitations. I recommend that everyone check this out to appreciate the hurdles that Ricoh/Pentax jumped in creating the K-1. Although due to financial limitations I will probably be late to the K-1 bandwagon and stick with my K-3 for a bit longer, I really do appreciate the effort to produce it. Down the road, it's definitely on my "must list."

John

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The bit about the IBIS design is impressive.

03-28-2016, 12:34 AM   #941
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QuoteOriginally posted by HopelessTogger Quote
Challengers | PENTAX K-1 Special site | RICOH IMAGING

Hmmmm Is this just in JPEG or does it affect RAW? I'd sooner they concentrated on reproducing colours accurately leaving the user to decide which colours to pop in post processing. They mention blue and green, how about red and specifically detail in reds?
Many people buy Pentax lenses just for that you know and many users want some brand just because of the type of color rendering... I have head of the Canon and Fuji color rendering too. People buy the brand for that.

Back in time people were choosing a specific film to get specific rendering. A Kodak portra doesn't behave the same at all as a Fuji Velvia.

If you really care of perfect color reproduction, you should calibrate your cameras and lenses as well as your printer and screen. Remember that the room you work receive different light from outside because of weather or time of the day it change color rendering and also overall contrast. If you put artificial light, that change again... So you'd want a room with a north window or no window if possible...

If you finally do all of that, you'll discover that 99.99% of people don't so if you share on the net, people will see it very differently depending of their monitor, ambiant light... and even if you bring your own print, the overall feeling of it would be impacted heavily by the ambiant light of were the print is to be seen . For me it is enough to see the different in rendering from the monitors I have at work and also the difference at home depending of the day light to see this is far from simple issue.
03-28-2016, 02:52 AM   #942
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QuoteOriginally posted by Nicolas06 Quote
Many people buy Pentax lenses just for that you know and many users want some brand just because of the type of color rendering... I have head of the Canon and Fuji color rendering too. People buy the brand for that.

Back in time people were choosing a specific film to get specific rendering. A Kodak portra doesn't behave the same at all as a Fuji Velvia.

If you really care of perfect color reproduction, you should calibrate your cameras and lenses as well as your printer and screen. Remember that the room you work receive different light from outside because of weather or time of the day it change color rendering and also overall contrast. If you put artificial light, that change again... So you'd want a room with a north window or no window if possible...

If you finally do all of that, you'll discover that 99.99% of people don't so if you share on the net, people will see it very differently depending of their monitor, ambiant light... and even if you bring your own print, the overall feeling of it would be impacted heavily by the ambiant light of were the print is to be seen . For me it is enough to see the different in rendering from the monitors I have at work and also the difference at home depending of the day light to see this is far from simple issue.
I've had colour calibration problems with the new 4K Clevo laptop and LG 31" monitor, Seems to be the Nvidia software for the GTX980 graphics card. Tempted with a Spyder5Pro, wonder if that will sort it.out.
03-28-2016, 03:34 AM - 1 Like   #943
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I have a color calibration device for my (expensive) monitor. Problem: when I show the images at my local camera club, the projector used is not calibrated the same way, nor is the big TV in our living room, and the printer is different still. When I put those images on my laptop, they look different again, and any effort to get laptop, big monitor, printer, etc. exactly the same has failed. And also, if the laptop screen is tilted slightly forward or back, the image changes dramatically. So, I've more-or-less given up worrying about color-calibrating the monitor, and certainly not doing it every time the software tells me I should have done it several months earlier. It was not that way with chromes. Aside from the extreme difficulty of altering color balance after film is processed, the Kodak projectors used at home and at the camera club pretty much gave identical color balance to a projected image. The only exception I encountered was when visiting another club where they used an ancient ceiling-mounted screen probably installed in the era of glass-mounted lantern slides. The fabric had yellowed substantially, and the reflectivity was poor, so every image was dark, dull and yellowed.
03-28-2016, 03:51 AM   #944
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QuoteOriginally posted by WPRESTO Quote
I have a color calibration device for my (expensive) monitor. Problem: when I show the images at my local camera club, the projector used is not calibrated the same way, nor is the big TV in our living room, and the printer is different still. When I put those images on my laptop, they look different again, and any effort to get laptop, big monitor, printer, etc. exactly the same has failed. And also, if the laptop screen is tilted slightly forward or back, the image changes dramatically. So, I've more-or-less given up worrying about color-calibrating the monitor, and certainly not doing it every time the software tells me I should have done it several months earlier. It was not that way with chromes. Aside from the extreme difficulty of altering color balance after film is processed, the Kodak projectors used at home and at the camera club pretty much gave identical color balance to a projected image. The only exception I encountered was when visiting another club where they used an ancient ceiling-mounted screen probably installed in the era of glass-mounted lantern slides. The fabric had yellowed substantially, and the reflectivity was poor, so every image was dark, dull and yellowed.
Frustrating, isn't it. Yellow has been my problem. It looks terrible and whatever adjustments I make do little to solve it.
03-28-2016, 06:58 AM   #945
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QuoteOriginally posted by HopelessTogger Quote
Frustrating, isn't it. Yellow has been my problem. It looks terrible and whatever adjustments I make do little to solve it.
I find that transferring the image file from LR to PS, then hitting the "AUTO TONE" will sometimes give decent results. It has generally given better results with old color-shifted chromes that I've scanned than I can get by fiddling with the LR sliders. I always send it back to LR and experiment a bit with those controls if I don't quite like the "AUTO" rendering. BUT, some scanned chromes are hopeless, for which the next step is B&W.
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