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Forum: Flashes, Lighting, and Studio
04-12-2024, 01:37 AM
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To the best of my knowledge, there is only one updater (with various versions).
You don't need the server to work to update a firmware version with the updater, though.
Just place the firmware file (with the ending ".fir") into the directory of the updater.
You should already find respective .fir files in that directory and might need to rename your file so that it matches the name of the original .fir file (which does not contain any version information).
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Forum: Flashes, Lighting, and Studio
02-08-2024, 06:35 AM
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It is possible to use the firmware updater even without an active server. Just copy the firmware file of the version you'd like to use to the directory where the Cactus firmware updater is installed and name it "CactusV6II.fir" for a Cactus V6II. There should be respective .fir files in the installation directory already, which you can use to determine which name is required. After you have done the above, just start the Cactus firmware updater and without asking the server for new firmware versions, simply select "Update" (or similar).
Have a look at the "Cactus Flash Trigger V6 and V6II Firmware Update Server - need help with .fir files" thread for more details.
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Forum: Digital Processing, Software, and Printing
02-08-2024, 07:38 AM
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Since you are printing yourself, coverage of Adobe RGB can be useful (as one can print colours that an sRGB monitor cannot display).
If you get a wide gamut display, make sure it has an sRGB mode, otherwise most content will look wrong (oversaturated colours and incorrect hues), since many applications are not colour managed.
In principle yes, but you should check the capabilities of your integrated graphics.
Yes, definitely.
Modern monitors do not drift as much as CRT monitors used to.
There are Asus and Dell monitors which come with a very good factory calibration. If money is no object, I'd recommend Eizo, but Asus and Dell monitors have a better value/money proposition.
If your monitor is wide gamut but does not offer an sRGB mode, calibration is a must. Otherwise, you can get quite far by using calibration images and using Windows / graphics settings.
FWIW, most monitors are really good these days, but I'd recommend to read reviews and if you are looking for something a bit extra watch out for the ability to use a "uniformity" mode which improves colour uniformity and a hardware LUT, which allows one to calibrate a monitor and use it with other devices that cannot be calibrated and avoid any banding that may occur if the computer has to do too much work to get the colours right via a software LUT.
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Forum: Pentax Full Frame
12-18-2023, 06:10 AM
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Indeed.
Even my dear (but often inept) friends at DPReview know that. Every time a Sony camera model becomes bigger than its predecessor they praise the improved ergonomics. I guess they will keep praising Sony for improving ergonomics even if the camera essentially becomes as big as a K-1 II (which they described as "intimidating" and "obtrusive" <- actual quotes by these jokers).
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Forum: Pentax Full Frame
11-28-2023, 04:52 AM
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This is what I'm wishing for in a K-1 III:- BSI sensor
- no on-sensor PDAF (avoiding loss of or compromised sensor sensels for imaging because they need to focus)
- no mandatory denoising (accelerator unit), make it a user choice
- automated micro AF adjustments (user just to provide AF target)
- improved AF (including option to automatically confirm focus via CDAF after PDAF acquisition, perhaps after stopping down to avoid focus shift)
- automated AF compensation for the "focus and recompose" technique (cf. Hasselblad)
- PixelShift with Flash (trigger flash during PixelShift)
- faster WiFi transfer
- faster USB port (USB3)
- keep D-LI90 battery
- use identical button layout on camera and battery grip
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Forum: Flashes, Lighting, and Studio
11-25-2023, 09:36 AM
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To update a Cactus device with a firmware version, a connection to the Cactus server is not necessary. Just copy the firmware file to the directory where the Cactus firmware updater is installed and name it "CactusV6II.fir" for a Cactus V6II. There should be respective .fir files in the installation directory already, which you can use to determine which name is required.
After you have done the above, just start the Cactus firmware updater and without asking the server for new firmware versions, simply select "Update" (or similar).
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Forum: Pentax News and Rumors
10-07-2023, 03:41 PM
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Thanks a lot to @Mistral75 and @JPT for their posts.
I wish Pentax all the best with their film camera efforts, but personally I'm not in the market. I hope the long time it takes Pentax to release a K-1 III has something to do with an ambition to make it different to a K-1 II with some of the K-3 III's technology added.
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Forum: Pentax News and Rumors
07-16-2020, 03:10 AM
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A webpage dedicated to explaining "What Pentax Values Most in Future Cameras" has just been released.- We design new cameras through sheer devotion.
It is our intention to produce cameras that will be the preferred choice for photo enthusiasts, because we love photography and have an in-depth knowledge and understanding of cameras.
- Our goal is to produce cameras with the power to capture images that allow for direct communication with the subject.
We intend to design cameras that create memorable images, that make us feel as if we're connecting directly with the subject, capturing our imagination and captivating our senses.
- We design cameras that allow our users to enjoy all the processes involved in taking a picture.
We pursue every essential element involved in the joy of photography. From looking through the viewfinder to composing the image, focusing on the subject and releasing the shutter.
- We pursue a level of quality and performance that can’t be measured by numbers alone.
We produce our cameras not only by pursuing higher performance based on numerical values, but by integrating our designers’ sensory feedback into the design and development.
- We respect and value the photographic experiences of our users and view this as an invaluable asset.
We want to share all the inspiring experiences of our users, from the hardware to the shooting processes, creating and viewing the images.
It is a big committent to optical viewfinders and the principles that led to the FA Limiteds (rendering over benchmark performance).
I like it. :)
At the end of the page, a ~30min video is featured:
You Tube
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src="https://www.youtube.com/embed/-tOfTmF7ahs?controls=1" allowfullscreen>
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Forum: Flashes, Lighting, and Studio
01-24-2020, 08:14 AM
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The Godox AD300 PRO (Flashpoint XPLOR 300 Pro) has been announced to slot between the AD200 and the AD400 in terms of power.
The form factor is a bit of a mix between AD200 and AD400, resembling the latter a bit more and lacking the flexibility to change the head from a bare bulb to a Fresnel or even round head as afforded by the AD200.
Sadly, the mount is the "native Godox" mount, i.e., not a Bowens mount, meaning one will need an adapter to get access to light modifiers using the most ubiquitous mount.
Still, this could be an interesting choice for those who value mobility and want a little bit more than an AD200. In terms of stated power, however, the difference will be only about 0.6 stops, which happens to be exactly the power difference between AD600 and AD400.
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Forum: Flashes, Lighting, and Studio
02-10-2023, 11:21 PM
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People interested in this new Godox trigger should also have a look at the "Flashpoint R2 Pro MarkII 2.4GHz".
Functionally, they should be the same (modulo very minor details, perhaps) and ergonomically, the R2 Pro MarkII is better, in my view.
Plus, it's just $69 (USD), instead of $89 (USD) for the new Godox trigger.
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Forum: Maintenance and Repair Articles
02-11-2009, 04:18 AM
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Do you have a problem with a Tamron Adaptall PK/A adapter whose "A" functionality is not available or only if you do not completely mount the adapter to the camera, i.e., twist it back a little after mounting?
Chances are that it does not index on the body too far clockwise and that you can fix it within a minute.
The culprit may be one of the three screws which are fixed using a glue that electrically insulates them from the camera mount. If this is the cause of your problem then removing the glue from the end of the screw which is closest to the other electrical contacts (i.e., the top rightmost in the image below), e.g., with the tip of a knife, will make establish contact to the body mount again. This made my adapter work and I'm indebted to marvintm whose post "Re: How to fix bad Tamron KA mount" provided me with the solution.
However, since the illustrating images from his post are no longer available, I initially had trouble finding the screws. I finally found them and below is an image showing the location of the screw ends.
Contrary to marvintm's description, the glue on my screw end was not easily discernible by a light blue/green colour. I just lightly scratched on the screw end just in case and the adapter now works like a charm.
Good luck!
P.S.: This explanation of the KA-mount contains all the information required to know for which lens (minimum and maximum f-ratio) the pins should be shorted to the ground by the adapter. This should help troubleshooting if the camera doesn't use the correct aperture range. Note that the adapter does not fully support lenses with a minimum f-ratio slower than f/4 if the maximum f-ratio is f/22 and there is an "AE" setting or f/32 and there is no "AE" setting. Alternative explanations of contacts are Mark Roberts matrix metering mods page and this detailed explanation of the adapter contacts.
P.P.S.: You may want to try to convert a P/K adapter to one that supports P/KA functionality for a specific lens.
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Forum: Pentax K-1 & K-1 II
02-27-2021, 07:24 AM
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My hands are not small but I can still comfortably fit all my fingers on the K-1 grip, i.e., unlike the K-5 II, the K-1 (II) does not need a battery grip to accommodate less than small hands.
In terms of battery life, a K-1 II without grip should be fine for almost all applications.
Having said all of the above, I would not want to be without my D-BG6 for shooting in portrait orientation. Holding the camera with the battery grip is so much more relaxed compared to the usual way of shooting in portrait orientation. Note that the K-1 II is not a particularly light camera, so if you are shooting in portrait orientation quite a bit, I'd recommend getting the battery grip.
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Forum: Flashes, Lighting, and Studio
05-13-2021, 08:58 AM
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You can't.
No user issue here, the Godox triggers don't support it. RIP, Cactus.
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Forum: Flashes, Lighting, and Studio
03-22-2023, 03:30 PM
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Pentax released a microsite on flash photography.
Not a lot too see, but some useful advice for beginners.
Personally, I am not a fan of on-camera flashes, but it is great that Pentax is still actively promoting their products.
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Forum: Pentax K-1 & K-1 II
03-28-2023, 08:39 PM
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... and a cinematic one at that!
The view one gets through a loupe on the back-LCD is quite spectacular, AFAIC.
@jcdoss It's not that one cannot manually focus with a K-1 but mirrorless cameras don't need a (somewhat bulky) loupe to allow manual focusing when lighting conditions may interfere with using the back-LCD or one would prefer a more stable grip on the camera. They also have all sorts of aids like dynamically zooming into an area in addition to zebra stripes, etc. and I'd be very surprised if these aids wouldn't work better compared to the K-1's back-LCD.
Note that your O-ME53 viewfinder magnifier will be limited by the focusing screen which is designed to be used with AF, i.e., optimised for brightness, not ultimate precision for focusing. That's why people used to buy focusing screens dedicated to manual focusing as the stock ones do not really support reliable focusing at apertures like f/1.4. I'm sure you manage fine and I don't want to contest that the K-1 (II) supports manual focusing; all I'm saying is: credit where credit is due, regarding some aspects, the modern mirrorless cameras are just better. Still wouldn't trade my K-1 with one of those things ever. I just like too much what it does well (and better than mirrorless cameras).
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Forum: Pentax News and Rumors
09-12-2016, 03:38 PM
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I'd be happy to pay full price for a PK-A lens.
Given that they announced a follow up lens with PK-A mount quite a while ago, they should be able to offer an Mk II version of the STF 105mm with a PK-A mount, right?
@dcshooter: I take it, it would exceed your abilities to convert the current STF 105mm version into one supporting an "A setting"? I think the biggest challenge would be to get the electronics that deliver focal length, etc.
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Forum: Flashes, Lighting, and Studio
02-25-2023, 02:18 AM
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To the best of my knowledge, there are no wireless triggers that support the old TTL system.
The closest would probably be the Aokatec AK-TTL triggers as they just convert an optical signal into a radio signal and then back again. However, they would only be helpful to you, if you had an on-camera flash (not necessarily using its output) and the latter were able to instruct other flashes optically. I don't know if the old TTL system supports such optical remote control. The P-TTL system does and refers to that kind of control as "wireless" control, but unlike radio triggers, it uses infrared optical signals.
I'm furthermore unsure whether the Aokatec triggers would properly convert signals from the old TTL system -- but the probability should be high -- and whether they are still obtainable from somewhere.
Regarding the resistance of radio triggers against higher voltages: The triggers should specify the trigger voltage they can manage. The very cheap Cactus V4 could handle 300V and I'm sure that are more triggers that can, e.g., like the Cactus V6.
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Forum: Pentax News and Rumors
02-11-2023, 12:06 AM
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All this sounds awesome!
A K-1 III in 2023 would be fantastic.
As for the profiles that are limited to only certain lenses, I struggle to relate to the criticism. These are JPEG profiles and I while I shot JPEG in the very beginning, it did not take me long to fully move on to raw files.
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Forum: Pentax K-1 & K-1 II
01-23-2023, 03:58 AM
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Was it a very high ISO shot?
A combination of extremely high ISO, brightening in post, and strong cropping could produce some banding (might be better referred to as "quantisation issue" in this case).
It could also be a camera profile issue. If you can, try another camera profile (in a RAW developer).
If the image was shot as a JPEG, you shouldn't wonder at all since that format does not support smooth colour gradations, in particular not after cropping and brightening.
Just to be clear, this issue has nothing to do with APS-C vs FF (or KP vs K-1).
Perhaps you have used a slightly problematic camera profile for the K-1?
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Forum: Digital Processing, Software, and Printing
12-07-2022, 06:19 PM
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It is a PR catastrophe for sure.
There is a significant backlash against the announced changes with many announcing to switch (back) to LR.
Most of the negative reaction is an overreaction, in my view, since not much will actually change.
They just made perpetual licenses less attractive by- significantly shortening the period in which a version receives bug fixes. This is a problem since bugs in C1 are not exactly a non-issue.
- removing upgrade discounts. The future "loyalty scheme" is unlikely to be attractive because differences between future "versions" will be so small that many will not upgrade every time, meaning they won't be getting much out of a loyalty scheme. Customers are already not upgrading annually which is probably the reason why Capture One wants to push everybody into a subscription. Upgrading every year has been more expensive than paying a subscription so if perpetual license holders were upgrading annually, Capture One would be ill-advised to push them into subscriptions that resulted in less income for Capture One.
I'm concerned that making perpetual licences less attractive is just one move in a planned series of moves to get rid of perpetual licences all together.
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Forum: Travel, Events, and Groups
12-24-2022, 09:07 AM
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Merry Christmas and a Happy New Year to all of you!
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Forum: Digital Processing, Software, and Printing
12-19-2022, 06:03 AM
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A wide gamut panel (covering Adobe RGB, for instance) can be very useful, in particular if you want to print your images.
However, I'd recommend to get a wide gamut panel that has an sRGB emulation mode, unless you want to use the monitor exclusively for photo editing. In case you are using it for other purposes, e.g., watching videos on YouTube, it is important that you can switch to an sRGB emulation mode, otherwise you'll see an oversaturated image with false hues. That's an important advice for Windows users, anyhow, since on Windows most applications are not colour-managed. This is most likely different on your Mac, but I'd make sure you'll be fine with a wide gamut display.
A uniformity control to compensate for uneven brightness and colour hues (even offered by some DELL models) can be very useful as most panels are not very uniform out of the box. You'll lose some contrast, but the extra accuracy should be well worth it.
Finally, I'd try to get a model with a hardware LUT so that the calibration is effectively performed by the monitor rather than the graphics card. This not only means that the monitor will show accurate colours and tones for any device you connect to it, but more importantly that it will not show any banding. If a panel requires some less than mild calibration and the latter is performed via the graphics card (as is the case with the vast majority of affordable monitors) then chances are that some tones will be lost, resulting in banding and/or lack of smoothness in smooth gradients. On Windows, this will mean that you'll have to use calibration software dedicated to your monitor, as the former will have to upload the LUT data to the monitor. Not sure how that works with Macs.
If you can afford an EIZO, go for it.
P.S.: Note that 4K will raise the requirements on your hardware (CPU, graphics card) as more pixels have to be generated for a 4K display. A good RAW converter only calculates the parts of an image that are displayed for the resolution required at a particular magnification. As long as you do not see any individual pixels on a 2K monitor (depends on its size and your viewing distance), it will provide you with all the resolution you need without being as demanding on the hardware as a 4K monitor is.
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Forum: Travel, Events, and Groups
11-05-2022, 03:06 AM
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There are two different ways of performing "white balance":- Manually instruct the camera about the colour temperature of the light source.
- Sampling an area that is supposed to be neutral and (automatically) setting the white balance such that the area is reproduced neutrally (without any tint or looking "warm" or "cold").
The former ensures (if the right setting is chosen) that the image will look similar to how the brain perceived the scene when it automatically corrected for a certain colour temperature. Hence, this type of white balance, which is effectively a light source compensation, aims at achieving what you described.
The latter is meant to achieve technically accurate colours. Any tint in the light source or any deviation from neutral in the area which was used for white-balancing will produce a technically correct neutral tone for that area, but the image typically won't look like the scene was perceived at the time.
My philosophy is that I choose the white balance and tint adjustments that achieve the look and feel I want the image to have. I never care about technical accuracy. The same holds true for exposure. One can define a "technically correct" exposure, but I'll always choose the exposure that will create the mood I want to achieve.
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Forum: Travel, Events, and Groups
10-12-2022, 04:32 AM
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@GUB
You have to distinguish between- the working colour space (used internally by the processing software), and
- the output colour space (chosen when exporting the image), and
- the display colour space (determined by the output device).
What zkarj initially referred to is a working colour space.
Having a wide internal (underlying colour space) when editing images is advantageous to- avoid clipping during editing. Some image editing operations may move some colours out of some colour space (say sRGB) but later ones then pull those colours back into the colour space. The "later" can refer to temporally spaced editing operations (with potential saves between them) or to a processing position within an image pipeline that always applies editing operations in the same order regardless of when they were made (many non-destructive editors like Lightroom take the latter approach). A small working colour space would mean that one loses data every time colours are pushed outside the working space (even if only temporarily so).
- allow preparing images to be viewed on wide-gamut media (e.g., prints or on wide-gamut monitors).
The output colour space (typically sRGB for the web or AdobeRGB for printing) determines what the image colours will be mapped to. Most intended output devices will not be able to reproduce the full gamut of colours that can potentially be recorded in a DNG file or an edited image. By choosing AdobeRGB for a print, for instance, one instructs the software to map all out-of-gamut colours into the AdobeRGB colour space. Various methods exist (e.g., "relative colorimetric" vs "perceptual") and the person operating the software must decide which so-called "rendering intent" the best for a particular purpose.
The display colour space is determined by the device producing the image. Ideally, it is at least as large as the chosen output colour space so that the image can be viewed as intended, but often it is not. Typically the display colour space is sRGB (e.g., enforced by using an sRGB monitor) and then ideally the displaying application (e.g., a browser) and the operating system perform so-called "colour management" to convert the image on the fly so that its colours are compressed into the display colour space. Ideally a monitor profile exists (typically as a result of a device calibration) that details how a device renders colours and then the image's colours are transformed such that they are displayed as intended (to the extent possible on the device), taking all the device's flaws into account.
So whatever zkarj does to the image, colours will always be capped by the capabilities of your monitor. In that sense, you are right that "his yellows" won't be able to exceed "your yellows". However, he- may edit to his heart's content without butchering colours in the process, and
- may produce an image that -- if viewed through a wide-gamut device -- shows deeper greens and/or reds than your monitor can produce. AdobeRGB is not a spectacularly wide colour space but even in this colour space the reds and greens are much more impressive than what sRGB can represent. In comparison the sRGB "red" looks like "orange" and the sRGB "green" looks like a "yellowish green".
I hope that makes sense. Let me know if you have any remaining questions.
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Forum: Pentax K-1 & K-1 II
09-25-2022, 08:09 PM
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A response given by Pentax years ago was "25V".
BTW, personally, rather than buying a device like the "Wein Safe Sync", I'd buy a pair of radio trigger transmitter and receiver. This achieves the same effect (protect the camera) and allows one to move the flash off-camera, for better images.
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