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05-18-2022, 06:19 AM   #61
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Showing up late to this party and I see lots of very good explanations and tips. If this were for film cameras I wouldn't have much to say as the little instamatic 126 or 110 cameras(or that awful disc one) I used had no controls.

Unless I'm in extreme conditions like night sky or astrophotography(AP), I usually prefer to let the camera sort out the best combination of exposure and iso within the limits I set, usually 100-800 on my k50 and k5, and set the dial to "A" aperture mode, which lets me use the iris to set depth of field as needed for the shot, while letting the computer figure out the hard stuff. I also use the exposure offset in tougher light conditions like winter time low sun. You can preview the result with the manual iris button or post shot previews if the action doesn't allow setup time. Low light or indoors usually requires a bit more compromise but this setup has served me well most of the time.

I consider my digital cameras to be computer instruments, like all my other tech. By researching the sensor and experimenting with raw output long exposure shots at different iso/gain settings that the imx071 sensor used in the k5 and k50 that lower gain has better dynamic range and less noise and that given a fixed(ground subjects) or tracking(night sky) mount, I found that longer exposures at lower iso worked better with less noise and better colors than combining(stacking) more shots at high gain and shorter exposures. While this doesn't translate directly to daytime photography, which often doesn't allow for a tripod, it did show me that it's easier to not introduce error/noise in the photo than it is to fix it once it's there.

My takeaway from this thread is the realization that I too have been needlessly wearing out my encoders(knobs) with 1/3 stops. :P


Last edited by blues_hawk; 05-18-2022 at 06:24 AM. Reason: thought process...
05-18-2022, 01:49 PM   #62
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QuoteOriginally posted by BigDave Quote
Another thing to keep in mind, with memorizing f stops. Just remember two of them, f4 and f 5.6. Then you double every other one (or half going down) so f4, f5.6, f8 (double 4), f11.2 (the actual f stop, double 5.6), f16, f22.4 (rounded to 22), f32 and f45 (actually 44.8, rounded to 45). Going down from f4 gives f2.8 (half of 5.6), f2, f1.4 and then f1 (a very rare bird!).
I remember seeing a Canon f .95 in a photo history book. Is this even possible, or just a gimmick??
05-18-2022, 02:39 PM   #63
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QuoteOriginally posted by que es tu Quote
I remember seeing a Canon f .95 in a photo history book. Is this even possible, or just a gimmick??
Absolutely. Even F0.7 is out there in the wild. F0.95 is not nearly as hard.
05-18-2022, 02:53 PM   #64
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QuoteOriginally posted by que es tu Quote
I remember seeing a Canon f .95 in a photo history book. Is this even possible, or just a gimmick??
I have one (sort of). It was removed from a TV camera. It doesn't have any focusing and I think its flange distance is not adaptable to K-mount, so I've never used it.

05-18-2022, 07:51 PM   #65
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QuoteOriginally posted by que es tu Quote
I remember seeing a Canon f .95 in a photo history book. Is this even possible, or just a gimmick??
I would think the camera mount would limit it at some point. A Pentax mount has a 42mm opening. A 300mm lens would need an entrance pupil of 315mm diameter. I can't imagine the opening at the back big enough.
05-18-2022, 08:26 PM   #66
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QuoteOriginally posted by swanlefitte Quote
I would think the camera mount would limit it at some point. A Pentax mount has a 42mm opening. A 300mm lens would need an entrance pupil of 315mm diameter. I can't imagine the opening at the back big enough.
True to a point but remember that the entrance pupil size is not directly linked to the physical aperture only. The apparent size can exceed the actual. And the exit size isn’t part of the formula.
05-19-2022, 03:12 AM   #67
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QuoteOriginally posted by que es tu Quote
I remember seeing a Canon f .95 in a photo history book. Is this even possible, or just a gimmick??
As I recall this lens was made for the rangefinder camera.

05-19-2022, 03:51 AM   #68
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In a circle, the surface is a comma, it's not as simple as a quadrilateral - Lxl. That's why the diaphragm story seems complicated and, in most cases, useless. It is important to know the basic values ​​that double or halve the exposure - 1 stop. These are 1 and 1.4. If you double them, you get the diaphragm string (stops). Ex: 2, 2.8, 4, 5.6, 8, 11, 16, 22, etc. All others are 1: 2 or 1: 3 stop fractions.
05-19-2022, 04:58 AM   #69
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QuoteOriginally posted by Peanut Quote
As I recall this lens was made for the rangefinder camera.
Correct. There are also tv lens versions converted to Leica M mount and perhaps native m Mount versions. Several mirrorless cameras models has f/0.95 lenses made for them as well.
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