Zacuto EVF Electronic Viewfinder

I have used the Zacuto Z-Finder Pro optical viewfinder for several years, and I consider it an essential accessory (about $375).

The Zacuto EVF electronic viewfinder (about $641) is an electronic viewfinder targeted at video users, but could prove very useful to still photography as well. Read me review of Zacuto EVF electronic viewfinder. In short, its focus peaking feature is of considerable aid to accurate manual focus in Live View mode.

 

Fujifilm M-Mount Adapter for X-Pro1

Fujifilm has announced its M-Mount Adapter for adapting Leica M mount lenses to the Fujifilm X-Pro1 camera body with its X-Mount.

The adapter is compatible with virtually every Leica M lens and all but one Zeiss ZM lens. See the Fujifilm M-mount adapter compatibility list.

Rangefinder lenses compatible with the mount include Leica M, Zeiss ZM and Voigtlander M lenses. Though lens size could be a bit ungainly, it would be interesting to see Fujifilm offer a Nikon F and Canon EF mount adapter.

Leica vs Fuji

Kudos to Fujifilm for making this product. Isn’t it interesting that Fujifilm can make a mount for Leica M lenses AND provide extensive lens corrections, but Leica itself seems incapable of doing so except for its own lenses and only its own lenses? I wrote Why no Custom Lens Correction on Leica M9? back in January.

At about $1699, the X-Pro provides some healthy competition for $7K Leica M camera bodies (as does the Ricoh GXR with its M-mount back).

Now if we can only persuade Fujifilm to make an X-Pro1M — like the Leica M Monochrom, then black and white shooters out there would have an affordable option!

RAW conversion of X-Pro1 files

As noted in my review of the Fujifilm X-Pro1, I still have reservations about the X-Pro1 until and unless a quality RAW conversion becomes available that delivers the sharpness that ought to result from the sensor. Converting Fuji X-Pro1 RAW files well is apparently difficult and CPU-intensive, due to the oddball sensor design.

Assuming that X-Pro1 RAW file conversion is resolved satisfactorily, the new Fujifilm M-mount adapter allows mounting virtually all Leica M lenses onto the X-Pro1 camera body.

Fuji details

• Overview — A mount adapter that allows the use of a wide variety of M Mount lenses on the X Mount camera body. It is built with a three-part structure that uses optimum materials for each of the components, to accommodate perfect fitting with high precision.

The adapter also features electronic contacts for communicating signals with the camera body and a function button to allow users to easily choose necessary settings and functions (Shoot Without Lens, focal length settings, various image corrections, etc.). *

The bright frame, shown in the Optical Viewfinder mode, changes according to the defined focal length for easy shooting.

• Signal contacts and the new Function Button for easy shooting — When the camera body recognizes the signal contacts of the Mount Adapter, the "Shoot Without Lens" mode is activated automatically.
Users do not have to go to the MENU screen in order to change this setting, enabling them to start shooting instantly.

Pressing the Function Button brings up the Mount Adapter Setting mode instantaneously. This provides ease of operation when registering a new lens to use, entering its settings or changing a lens

• High precision design — The Mount Adapter is designed to maintain the flange back distance of 27.8mm *** for high precision M Mount lenses with advanced planarity.

It is constructed using a three-part structure that employs optimum materials for each of the components.

The contact surface with M Mount lenses features the same high quality stainless steel finish as that used on the X Mount camera body, while the contact surface with the camera body uses an aluminum component similar to that used in XF lenses.

The middle section is made of aluminum to achieve an all-metal construction for a high level of rigidity and durability.

• Three types of detailed image correction settings — Users can fine-tune "distortion", "peripheral illumination" and "color shading" according to individual lens characteristics.

This feature allows users to correct images according to each lens's optical profile, or opt for settings that accentuate a particular lens characteristic in order to enjoy a unique image quality and style

 

Nikon’s 24MP D3200 — Quick Review With Aperture Series, Simulation of 58 Megapixel DSLR

At about $699 with the kit zoom, the 24-megapixel Nikon D3200 looks good on paper, but how does it hold up in practice? My quick review of the D3200 explains how I reacted to the Nikon D3200.

58 megapixels in a DSLR

More interest to me is the idea of scaling up the D3200 sensor to full-frame size, which would yield a 58-megapixel full-frame DSLR.

In search of proof of concept of what a 58-megapixel DSLR might offer, I have posted at full apertures series from ƒ/4 - ƒ/45 from the D3200, along with a simulation of what 36 megapixels downsampled from 58 megapixels might look like.

In other words, the analysis shows exactly what a 58-megapixel DSLR looks like (same pixel density as the D3200), as well as what it would look like downsampled to Nikon D800 resolution.

My conclusion is that a ~60 megapixel full-frame DSLR is not only quite practical and useful, but an inevitable trend to beyond 60 megapixels, in the sense of thinking of a sensor as a sampling device to be used to produce images of exceptional per-pixel quality at somewhat lower resolution than the native sensor resolution, e.g. 36 megapixels from 58 megapixels, or 50 megapixels from 100, etc.

The only question is who will get there first, Nikon or Canon?

See my Nikon gear page for availability status.

D800 / D800E / 5DM3 and Lexar 64GB SDXC Card = “For”

Behavior: the D800 blinks “For” (format).

Format the card, and the camera just continues to blink “For”. The Canon 5D Mark III cannot format the card either (“replace the card”).

I tried formatting the card in the computer via an SD card reader, but this hung, so after a few minutes I gave up.

I like the Lexar cards, but I suppose nothing is perfect— I’ve never had a card go bad like this before, so I’ve sent an inquiry to Lexar.

Reader Chris M writes:

Interesting that this happened with you and and a SD card. I have the exact same problem with my similar 400x CF 32gb card.

It started happening just last week when I took out my D700. I don't know for certain whether this card ever touched my D800E, but I suspect it hasn't. I can't confirm that though.

Sounds like Lexar might have needed some better QC.

DIGLLOYD: I am still waiting to hear something from my Lexar contact.

Roger L writes:

Same issue here with Lexar 1000x 32 Gb CF. Worked fine when the card arrived. Moved the files off the CF card onto a Macbook Air and there was an error when I tried to open one of NEF files.

So formatted the card in the D800; it took basically no time to format, but then kept blinking D800. Wouldn't format on my D700 or on a PC or Mac machine either. Really frustrating, sent the card back for a refund.

DIGLLOYD: Uh oh.

FOR SALE: Nikon D3x, Nikon D3s, Canon 5D Mark II

I use cameras for my testing and reporting as my site demands, then I have to be current with new cameras, so I sell and move on.

All of my camera bodies are in excellent working condition, as they have to be for my reporting on lens performance, etc.

All cameras with box, manual, chargers, etc. All USA models.

• Nikon D3x— $6200. With 2nd battery. About 19,000 shutter actuations.
• Nikon D3s— $4400. About 4,400 shutter actuations.
• Canon 5D Mark II, very lightly used— $1800.

Exploiting the Sensor Resolution: Depth of Field on the Nikon D800E

To obtain full sharpness from the sensor of the Nikon D800 / D800E, one must think in terms of the photosite size when depth of field is considered.

The D800 and D800E have 4.88-micron photosites, which means that to fully exploit the sharpness of the sensor, a 5-micron calculation for depth of field is in order. More than that, and resolving power rapidly falls below the sensor resolution. Which is inevitable for many photographs, but worth bearing in mind when one considers which portions of the subject really need to be sharpest.

The conventional 30-micron circle of confusion used for depth of field calculations is a blur circle 36 times larger than a 5-micron COC, or about 1-megapixel of detail. Which is not exactly 36.

Zeiss 15mm f/2.8 Distagon depth of field

As shown below for the Zeiss 15mm f/2.8 Distagon, observe that at ƒ/8 with the lens focused at infinity, peak sharpness extends from 5.93 meters (19 feet) to infinity. And this is with a 15mm lens, an extreme wide angle! Thus dies the fable of “huge depth of field”.

The notion of the “hyperfocal distance” to balance depth of field is not something I have found to be useful. Rather, it is typically destructive to the intent of the photograph. It is better to give peak sharpness to the most important part of the subject, not to blindly set focus to some random intermediary point, which might not even have anything of interest, or might be thin-air.

The take-away here is simple: precise focus is needed to obtain full resolution from a 36-megapixel DSLR, even stopped down. Consider photographic intent, and focus appropriately, sacrificing sharpness for some portion of the subject in order to emphasize it elsewhere.

Note also that theoretical depth of field is often much less than reality, due to optical aberrations. The Zeiss 15/2.8 Distagon is one lens delivers most of what is promised by calculations.

See Making Sharp Images for much more on similar topics.

Click to view a larger table.

Nikon D800E Doesn’t Have to Be Sharp All The Time

Images taken with the Olympus 50mm f/1.2 at f/1.2. I had it converted to Nikon mount some years ago. It is horrendously aberrated wide open, which gives images a soft glow quality.

Here are a couple of grab shots as I walked back to my car yesterday. Perhaps they give a sense of other possibilities besides striving for razor-sharp images.

But what I’ve also seen with the D800E is that the lack of an optical low pass filter gives an extra boost to the way low performing lenses render. The sharpness (micro contrast) that does get delivered by the lens at ƒ/1.2 is better preserved, and I think it suits the D800E very well. An alternate ƒ/1.2 lens is the Nikon 50mm ƒ/1.2 AI-S, which I recommend for those who like an unusual look.

Below, roundness of subject with soft contours, primary colors.

Sharp subject, soft rendering.

Separation of foreground and background.

Reader Comments on Nikon D800E vs Nikon D800 Definitive Comparison

Unsolicited reader comments from subscribers on my D800E vs D800 comparison.

Benoit D writes:

Lloyd, as you know I have been in my previous life a pro photo equipment reviewer in France, mostly for Reposes Photo and Le Photographe.

I subscribed to your excellent content online about 2 years ago, and I should say that you keep pushing the envelope toward excellent in type of questions you try to answer. The D800/D800E is a pinnacle.

Nobody Worldwide, and I know what I'm talking about since I'm in contact daily with the best digital photography experts in Japan, Europe, and the US has been able to truly assess the pro/cons of the Nikon D800/D800E... except you. Bravo!

DIGLLOYD: My pleasure. It was a lot of work, but I wanted to deliver something definitive for myself and my readers.

I want to thank subscriber Chris M who was kind enough to loan me his D800E, since I still don’t have one of my own due to the supply crunch. The D800E now goes back to Chris, but I hope to buy a D800E of my own sometime soon. If anyone out knows of a brand-new USA one for sale, please reserve it and contact me.

Mark J writes:

Thanks for this fascinating work. To an extent, it's not what those of us who have ordered the D800E want to hear! In a landscape photograph with a D800, will the added sharpening look subtly over-sharpened; will the D800E photograph look more, as one might say, 'at ease with itself'?!

DIGLLOYD: This is a question I hope to address with a visit to Yosemite (high contrast features, e.g. granite faces, etc).

The main issue I see with the D800E is color aliasing (colored speckles on high contrast detail). In this regard, the D800 will look more natural, but since it requires a bit more sharpening, and some lenses might beg for more sharpening than is otherwise desirable, it is not an easy question to answer.

For an idea of color aliasing, see the crops in the aerial view example — on this crop at the very upper left. The effect is a much subdued version of what one might see with the Leica M9 or Leica S2 or other medium format system, none of which uses an optical low pass (anti aliasing) filter, and all of which can exhibit severe color aliasing, especially on certain types of high contrast details (e.g., snow).

Donald C writes:

Well, good work Lloyd. I'm glad someone went through the grief of setting up the D800/D800E test with that level of accuracy.

PS: Perhaps there's a market for a monochrome patterned fabric
with an occasional colored R, G, or B thread running through it.
Or, as above, purple and yellow.

DIGLLOYD: Indeed, the differences are modest when processed appropriately.

David W writes:

Lloyd, after reading your comparison of the D800 vs D800E using the dolls, I believe that I'm now going to purchase the D800.

DIGLLOYD: this is a choice that might be different for different users. My goal was to show the variations as precisely as possible.

Kenneth V writes:

Thank you for the excellent work you do, most recently with the D800/D800E.

DIGLLOYD: My pleasure.

David S writes:

Great comparison of the D800 and D800e. Breaking down the mythology surrounding anti-aliasing filtration is a step forward for all of us.

DIGLLOYD: I took the special care I did because I wanted there to be no doubt of the results, whatever they turned out to be. I am satisfied, but also a bit surprised. As an open question, I am not clear as to whether Nikon’s unusual approach with the D800E is equivalent to a camera like the Leica M9, which has only one thin layer of glass over the sensor. It’s immaterial in the context of D800E vs D800 of course.

Colin W writes:

Thank you for the effort that you put into answering the question; "What are the advantages for each camera; D800 / D800E?"

I decided months ago to pre-order the D800E and have been using mine for a couple of weeks. I was convinced that either would suit my needs/desires and chose the E version because; I just knew that I would want to try the sans AA sensor. I also know the false economy of buying my second choice, sooner or later I end up paying for the item I realy wanted:) I recognise my purchase had an emotional element, truthfully they all do.

After reading your articles I feel very happy with my choice. I realise that if I looked hard at some photos, the D800 might produce a slightly better image but how could I not be happy with the D800E's rendering? And I know that I will rarely, if ever, make the effort to capture an image that would benefiet from being taken with D800 over the D800E or visa versa!

What I already see without much effort is how much I prefer the D800E's images when compared to my other DSLR's including the D4. Mind you I still grab the D4 if the subject is moving:) They are both fine tools and a pleasure to use.

DIGLLOYD: As I show in my D800 vs D3s comparison (resolution and ISO), the D800 makes a very fine 12-megapixel camera which I prefer to the D3s. I would expect the same from the D800/D800E vs D4, though the D4 would do somewhat better. However, the D4 would be a better choice for its pro build, high shutter rates, and various other ergonomic features.

Herb S writes:

Thank you very much for al the hard work done during the past few weeks. Your site has been a very rewarding source of useful information as always.

Although it is not relevant in the D800 versus D800E comparison I would like to make the following observation.

As we know Nikon did not actually remove the AA filter but replaced it for a glass screen without the AA effect for cost reasons.... In the process you proved maybe that Nikons way to "remove" the AA filter is probably not the same as actually remove the AA filter a la Leica.

DIGLLOYD: Whether Nikon’s approach is the same as a single layer of cover glass remains an open question.

If nothing else, Nikon’s approach seems to demand perfect alignment of the glass “sandwich”, and the glass thickness itself can degrade optical performance, at least off-center, due to ray angle issues. So my guess is that the Nikon approach is not the same as the thin cover glass as found on the Leica M9 and most medium format camera.

Filtration for Leica M Monochrom to Improve Image Sharpness and Tonal Separation

The Leica M Monochrom is a quite limited production run, which means get in line now. I expect Leica to sell every body they make, quickly.

I also expect the Leica 50mm f/2 APO-Summicron-M ASPH to be in very high demand, in spite of its prices.

Pre-order the Leica M Monochrom or Leica 50/2 APO-Summicron-M ASPH at B&H Photo.

I’ll be covering both the Leica M Monochrom and the 50mm f/2 APO-Summicron-M ASPH in my Guide to Leica.

Filtration for black and white improves image sharpness

While the newly-announced 50mm f/2 APO-Summicron-M ASPH looks to be the finest lens ever developed for the M and no doubt will be superlative on the Leica M Monochrom, the beauty of shooting in black and white is that appropriate filtration can improve lens performance quite significantly.

Why? Lenses performing with color errors show their limitations in color (lateral chromatic aberration, longitudinal chromatic aberration, secondary longitudinal chromatic aberration, etc.

But in black and white, one can use a yellow or orange or red filter, thus cutting off much of the spectral band. In short, the color divergence can be eliminated by filtering out much of the spectral band, leaving only a narrower band of color (wavelengths) which focus “tightly” without the blur effects of differential color focus. Filtration can also increase tonal separation, almost mandatory for some scenes to avoid a flat low-contrast look.

For example, one can shoot a red or deep red filter, which blocks violet and blue and green light, leaving only red wavelengths— no red and green and blue to each focus a bit differently and cause color halos (longitudinal chromatic aberration) or color fringing (lateral chromatic aberration) or oddball magenta/cyan out of focus areas (secondary longitudinal chromatic aberration).

Lens performance

Using color filters can turn ordinary lenses which might lack something in the color correction department into superb performers. Don’t rule out older and less expensive lenses.

Also, the (relatively) inexpensive Zeiss ZM lenses offer great potential on the Leica M Monochrom— no more off-center color issues due to ray angle (though vignetting remains a potential issue). The 35mm f/2 Biogon is particularly interesting for its zero distortion and flat field, but all of the Zeiss ZM Biogons should be very interesting on the Leica M Monochrom.

Noctilux on Leica M Monochrom

The Leica 50mm f/0.95 Noctilux is as well corrected for color as one might hope for in a super-speed lens, using exotic construction. But it could very interesting with some color filtration applied. I am looking forward to seeing how it will perform with a red filter wide open for landscape photography. Note that a neutral density filter might also be needed to be able to shoot the Leica M Monochrome in daylight at its base ISO of 320.

Filters for tonal separation

In black and white, a color filter can greatly enhance contrast; an orange or red and especially a deep red filter separates those puffy white clouds from a blue sky. A yellow filter is a good all-around filter, while a green filter might be useful for separating bright green vegetation from other subject matter. A blue filter is useful for faking before/after shots for cosmetic beauty snake oil advertisements (use the blue filter for the before-shot only).

Black and white filters for Leica M are on the Filters gear page.

If you have a Leica M Monochrom in your future, obtaining filters now might be a good idea, as color filters for black and white are not exactly high volume items, and stocks might sell out quickly and take time to replenish. The 46mm size is the most common for Leica M lenses. But do be aware that some filters won’t fit with with certain lens hoods on some Leica designs (no clearance), and that specialty filters might be needed with certain recent Leica M lenses, such as the 21/1.4, 24/1.4 Summilux lenses (and maybe others).

Filters for shutter speed

With a Leica M Monochrom base ISO of 320, shooting even at ƒ/2.8 could be an overexposure problem in sunny conditions, so consider a polarizer and a neutral density filter (at least 2 if not 3 stops) in order to allow shooting at ƒ/1.4 in daylight.

MTF for the Leica 50/2 APO

This is an ideal MTF chart.

You will not find a better one for a 50mm lens; even at ƒ/2 the lens outperforms most 50mm lenses at ƒ/5.6. By ƒ/5.6, the 50/2 APO is very close to what is theoretically possible, and is far sharper in the extreme corners than many lenses in the center!

See my post on the Leica 50/2 APO-Summicron-M ASPH for details.

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Thoughts on Leica M Monochrom

What I am hearing is that the Leica M Monochrom is a very limited production run, which means get in line now.

Pre-order the Leica M Monochrom at B&H Photo.

 

See my previous notes on the Leica M Monochrom and notes on the Leica 50mm f/2 APO-Summicron-M ASPH as well as my thoughts on the Nikon D800 in monochrome.

I’ve had the chance to review some DNG files from the Leica M Monochrom, some publicly available and others shared with me privately.

The Leica M Monochrom quality is stunning on a per-pixel basis; the tonality is gorgeous in both highlights and shadows, and the sharpness is unbelievably good right down to the pixel level.

While it’s “only” 18 megapixels, it will easily beat out cameras in the 20-24 megapixel range in making high quality black and white prints, with the super-fine detail, exquisite tonality and freedom from most types of digital artifacts. Whether it will beat out a 36-megapixel Nikon D800 or D800E is less clear, but I suspect there will be tradeoffs for each on balance. The D800/D800E can be downsampled to 18MP which I believe will produce even a bit better detail than the Leica M Monochrome, but optimal black and white results from the D800 might require tinkering and might never achieve quite the same look. Which is neither good nor bad per se.

The image sharpness with the Leica M Monochrom is so impressive (on a per pixel basis) that one has to wonder just what might be possible with a 36 or 50 or 60 megapixel monochrome sensor. I hope Leica gets there eventually, and I admit to being disappointed that a 28-megapixel sensor was not used.

As for the cost, well, it is very expensive, but it is also a limited production run of something unique and special. I would rather that such things were made, even if I cannot personally afford the vast majority of such things (I don’t limit my admiration for excellence to cameras or lenses). That such things can and are produced from the genius of the human mind is an affirmation of life.

Which does not mean that all is well with the Leica M Monochrom design. It deserves a 1-2 million pixel grayscale LCD, not a vintage low-res blurry color LCD. How inappropriate.

Reader comments

Herb C writes:

Regarding your comments on the Leica monochrome and filters. If my D800E is used for monochrome, the camera has some provisions for filters. What are your thoughts about that?

DIGLLOYD: A color sensor has 1/4 red, 1/4 blue and 1/2 green photosites. Applying a color filter would blind it to the other colors, e.g., applying a red filter would blind the blue photosites and partially blind the green ones (there is some overlap). The result would be a massive increase in digital noise. When shooting for black and white output with a color camera, the big plus is the ability to “filter” AFTER the image is taken, by mixing the color channels as desired.

Nikon D800E vs Nikon D800 Sharpening Noise Evaluation

As a follow-on to my D800E vs D800 definitive comparison, I’ve added a page showing the subtle noise differences that occurs when sharpening the D800 images to similar sharpness for the D800E.

Nikon D800E vs Nikon D800 Definitive Comparison with Leica 100/2.8 APO

It took me a grueling day to get the images I wanted. One cannot just “shoot a quick comparison”, an incredibly naive idea.

To achieve these results, considerable time and care were required. And don’t think for a minute that just any lens will produce quality this high, or that casual focusing will deliver the outstanding sharpness as shown. The images represent the very best that is possible from the D800 / D800E.

Using a nodal slider, I focus-matched the Nikon D800E to the Nikon D800, using the Leica 100 mm f/2.8 APO-Macro-Elmarit-R at a distance of ~195cm (1mm increments of focus).

The results

Now published in my review of the Nikon D800 / D800E in DAP is a comparison of the Nikon D800E to the Nikon D800.

The aperture series from f/2.8 - f/22 is shown in 1/2 stops for all the actual pixels crops from both cameras, so various types of interesting analysis may be done.

Also posted is a new ACR sharpening evaluation for the D800E and D800 with sharpening values for each camera of 0/10/20/30/40/50/60/70/80/90/100, so that one can assess the relative merits of different levels of sharpening.

The D800 / D800E both have me lusting after a future 50-60-megapixel DSLR. While very few lenses are up to even the 36 megapixels of the D800[E], a few certainly are.

Reader comments

See reader comments.

Nikon D800E vs Nikon D800 Definitive Comparison

It took me a grueling day to get the images I wanted. One cannot just “shoot a quick comparison”, an incredibly naive idea.

But in the end, using a nodal slider, I focus-matched the Nikon D800E to the Nikon D800, using the Leica 100 mm f/2.8 APO-Macro-Elmarit-R. And I have the entire aperture series from f/2.8 - f/22 for both cameras so as to be able to show behavior between cameras and across the aperture range for each.

Surely the D800/ D800E both contain the same stunning sensor, as the actual pixels crop below shows.

But which is sharper? And are there other considerations?

I will soon publish a definitive study of the two cameras in my review of the Nikon D800 / D800E in DAP. I don’t think I can make a better comparison with a better lens. And I think the “answer” as to D800E or D800 will be as clear as it can be.

Unfortunately, the D800 / D800E both have me lusting after a future 50-60-megapixel DSLR. While very few lenses are up to even the 36 megapixels of the D800[E], a few certainly are.

Sale on SanDisk at B&H Photo

A variety of SanDisk cards are on sale with discounts at B&H Photo.

Nikon D800E: Focus Precision Required When Testing Lenses

How precise does focus need to be with a 36-megapixel camera?

To Making Sharp Images, I’ve added a new case study: Focus Bracketing Study (Nikon D800 / Leica 100/2.8 APO).

Nikon D800E: Removing Color Moiré With Adobe Photoshop Lightroom 4

To my review of the Nikon D800 / D800E—

I’ve added a page showing how to remove color moiré with Adobe Photoshop Lightroom 4. Also shown are the Nikon Capture NX2 Color Moiré Reduction results.

Nikon D800E: Worst-case Moiré

To my review of the Nikon D800 / D800E, I’ve added a page showing what I believe to be something like the worst case for moiré on the Nikon D800E. One can probably generate worse cases, but I had to work at it to find this strong an example, which I believe would also affect the Nikon D800 very similarly.

Included is a full aperture series from ƒ/1.4 - ƒ/16 with a very large crop so that the behavior can be seen across varying subject matter.

Reader Asks: Depth of Field

Reader Jim S writes:

I'm finding these articles very instructive. Many thanks Lloyd.

But please would you amplify the comment " (e.g. hardly any depth of field, in terms of sensor potential)."

I am not sure that I understand precisely what you are saying here?

DIGLLOYD: Depth of field (DOF) is an amorphous concept. What I meant is that full sharpness on a 36-megapixel sensor is strictly limited to a a very shallow zone (which is not necessarily a geometric plane). Moving beyond that shallow zone, there is increasingly lower resolution than what is in theory possible with a 36MP sensor.

Please see What Does Depth of Field Mean on a 36 Megapixel Camera?.

Making Sharp Images delves into depth of field and many other important topics.

Nikon D800 + Nikon D800E

Thanks to a generous reader, at long last I have a Nikon D800E on loan for a week or so. I am heading out to shoot, naturally!

See my extensive review of the Nikon D800, with many lens assessments.

I still have my very own D800E on order at B&H Photo, but when it will ship is up to Nikon delivering the goods to B&H. See my list of Nikon gear with in-stock status at B&H Photo.

The additional material I publish with go partly into DAP (camera specific coverage and a bit more), partly into my Guide to Zeiss ZF / ZE Lenses (Zeiss lens specific stuff) and partly into Making Sharp Images (general shooting tips applicable to any brand).

D800/D800E and other high resolution digital users should consider Making Sharp Images essential reading.

UPDATE!

I shot extensively today at Purissima Creek Redwoods open space, enjoying nice foggy overcast lighting. I might give a photo tour here sometime; it’s a very pleasant place to shoot, very soothing.

I am forming some D800E impressions, but I wish to shoot the D800 and D800E for at least a few more days before I am comfortable making the kind of firm statements I like to make, the kind that can be used for buying decisions. Also, it is not easy comparing two cameras with such exacting focus precision needed. Actually, it’s not easy comparing a camera to itself! (in terms of getting exactly the same focus).

But in one thing the D800 and D800E are alike: both challenge even the very best lenses, and demand technical perfection to realize their potential. And even then, reality bites (e.g. hardly any depth of field, in terms of sensor potential). It is best to think of both as “oversampling” devices, and to realize that technical perfection is not what makes an image successful. This is not a bad thing. It is simply that the general limit has been reached in the sense of the entire frame, kind of like scanning the best 35mm film at 8000 dpi— grain is all you get, not more detail. When and if we see a “true color” sensor, then another leap can be made in image quality by avoiding the Bayer pattern demosaicing process.

By the way, not a lot is written or said about the Zeiss 28mm f/2 Distagon (seems like it falls into a focal length that is not often discussed), but it is a worthy lens, albeit one with (useful) field curvature. I will be testing the new Nikon 28/1.8G, which is likely to be “different”. And I will of course be adding lots of new material to my Guide to Zeiss ZF / ZE Lenses over the next few months, using the D800/D800E to show the lens limits like never before.

Image below is in the AdobeRGB color space.

Canon Double Rebates w/ Body

There are Canon double rebates on lenses and flashes with a 5D Mark III or other bodies.

Three terrific for Canon (there are others):

• 8-15/4L fisheye zoom ($200 off)
• 85/1.2L II ($200 off)
• 135/2L ($150 off)

Apple iDevices Destroy Image Quality

Read about how Apple’s iPad or iPhone destroy image quality. Yes, including the new iPad with its fancy Retina Display. It’s iOS, so it affects all iDevices.

Example

Mouse-over or toggle the image below to see the version as displayed on the computer compared to the version displayed on the iPad.

The New iPad with its fancy Retina Display has obliterated the image quality (image shown is a portion of an actual screen shot).

Nikon D800 Lens Evaluations— Limitations of a Planar Target

The survey of lenses in my review of the Nikon D800 utilizes a real-world, but planar target, which is also a proxy for landscape photography or similar in which subject matter is all at a similar distance (~infinity).

I urge readers of my lens survey evaluations in the D800 review to carefully read my lens evaluation notes *first*.

Evaluating a lens on a planar target (only) carries limitations of its own, which is why my in-depth lens reviews always use numerous field shots with a variety of subjects, especially near/far “3D” subjects.

There are many good lenses which might not perform so well on a planar target due to field curvature (though my personal criterion is that by ƒ/5.6 such issues should resolve).

For that matter, focus shift is an issue with some lenses too, and there a planar target becomes even more problematic. Focus shift and field curvature are covered in depth in Making Sharp Images.

See my list of Nikon gear with in-stock status at B&H Photo.

Lens evaluated

Can they deliver to a 36 megapixel sensor?

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

18-Megapixel Leica M Monochrom vs Nikon D800 Black & White

Pre-order the Leica M Monochrom at B&H Photo.

Leica has announced an 18-megapixel Leica M camera body with a monochrome sensor, the Leica M Monochrom (spelled “Monochrom” as this is the German spelling of the word). See my previous comments.

First, I don’t think the Leica M Monochrom will appeal to very many shooters, but I think it will appeal to far more than anyone expects. Second, it has a crummy low-res LCD. Third, I really want one.

I confess that after looking at the samples over at dpreview.com that I was (a) not at all happy that Leica did not deem me qualified to receive a pre-release camera, and (b) the images are stunning. So they’re black and white, not color. And that’s just fine for some subjects.

To my eye, the 18-megapixel Leica M Monochrom images have to be considered equivalent to ~30 megapixels with a color sensor, perhaps even 36 megapixels. Ultra-clean and free of Bayer pattern artifacts as with a color sensor.

Wither the D800 in black and white?

Will a 36-megapixel Nikon D800 image downsampled to 18 megapixels and converted to black and white achieve similar effects? Possibly. And maybe not. It is something I plan to explore when I can do a direct comparison.

But for NOW, I present six Nikon D800 images downsampled to 18 megapixels and converted to black and white. They look good. Really good.

So for $3K you can get a superlative black and white camera (the Nikon D800), with $5K left over for several top-notch Zeiss lenses. Or you can buy one Leica M Monochrom camera body without a lens and without Live View and with a low-res LCD and manual focus, etc. Its images will have to be really outstanding to justify the cost and lack of flexibility. And they might well be worth it. I look forward to finding out.

Reader Comments on Nikon D800 Lens Evaluations

Comments regarding my lens evaluations in my review of the Nikon D800.

Don H writes:

Does any lens longer than the Zeiss 100mm Makro-Planar show any promise besides the Leica 180/2.8 APO-Elmarit-R?

Are there any lenses in the 150mm range that could be a contender?

How about an 1.4 teleconverter on the Zeiss 100?

DIGLLOYD: Possible candidates (not tested) include:

• The Voigtlander 180/4 APO (maybe), but it is no longer made, and I was never happy with its lens coatings (contrast).
• The latest Nikon 200/2, 300/2.8, etc.
• The Nikon 135/2 DC might be fairly good, since its sibling the 105/2 DC performed fairly well.
• The Nikon 200mm f/4 macro.
• Teleconverter likely to not satisfy.

Thomas S writes:

Regarding the Voigtlander 90 3.5 for the D800, I have a 24 1.4 and 85 1.4 (Nikon) for my D800, now looking for a macro lens to take out for flowers or occasional close-ups (1:1 not required).

Is the Voigtländer a good contender or should one go straight to the Zeiss 100? Quality & Practicality is of concern ... price also a bit :-)

DIGLLOYD: The 90/3.5 goes to 1:3.6 which isn't terribly close, but the included close-up lens goes to 1:1.8 (I have not tested its performance there). The Zeiss goes to 1:2. When focused closely, effective aperture is darker, so the Zeiss would be easier to focus, with more flexibility. However if one is not going all the way to 1:2 or close to it, the f-number should not be an issue.

David S writes:

I just wanted to thank you for your ongoing lens tests on the D800, and especially your test of the 40mm Ultron. Your hard work will make my lens decisions much more informed.

I'm loving what that tiny little Voigtlander accomplished. Once stopped down, it looks at least as good as the Nikon 50mm G lenses, with less distortion too. It even hangs in there with the 60mm macro. Since most of my hand-held work is done at f5.6 and smaller, and I prefer the 40mm focal length, this is a pretty big deal for me. I'm looking forward to seeing how well the D800/40mm Ultron combo works out in practice.

DIGLLOYD: There are many considerations in choosing a lens, including size and weight, ergonomics, and the style of image rendition. Sharpness isn’t everything for every subject, and the D800 can produce gorgeous results when downsampled.

Nikon D800 Lens Evaluation—
Nikon 45mm f/2.8P

Just posted in my review of the Nikon D800 is an evaluation of the Nikon D800 Lens Evaluation—
Nikon 45mm f/2.8P on the Nikon D800.

The Nikon 45mm f/2.8P is no longer made, so an alternative for those looking for an ultra-compact lens would be the Voigtlander Ultra 40mm f/2 SL-II.

See my list of Nikon gear with in-stock status at B&H Photo.

Lens evaluated or soon to be valuated

I evaluate the performance on the Nikon D800 of these lenses in my review of the Nikon D800. Can they deliver to a 36 megapixel sensor?

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Nikon D800 Lens Evaluation—
Nikon AF-S 70-200mm f/2.8G VR II @ 70mm, 135mm

Just posted in my review of the Nikon D800 is an evaluation of the Nikon AF-S 70-200mm f/2.8G VR II @ 70mm, 135mm on the Nikon D800.

At about $2400, the Nikon 70-200/2.8G VR II is a major investment, the lens to have for certain types of shooting (sports, action, perhaps portraiture). But it’s never been my favorite for landscape or similar and the results on the D800 show why.

See my list of Nikon gear with in-stock status at B&H Photo.

Lens evaluated

I evaluate the performance on the Nikon D800 of these lenses in my review of the Nikon D800. Can they deliver to a 36 megapixel sensor?

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Nikon D800 Lens Evaluation—
Voigtlander Color-Skopar 20mm f/3.5 SL-II

Just posted in my review of the Nikon D800 is an evaluation of the Voigtlander Color-Skopar 20mm f/3.5 SL-II on the Nikon D800.

At about $549, the Voigtlander 20/3.5 is not inexpensive, yet its performance has some severe limitations. It is also available from Stephen Gandy over at CameraQuest.com.

See my list of Nikon gear with in-stock status at B&H Photo.

Lens evaluated or soon to be valuated

I evaluate the performance on the Nikon D800 of these lenses in my review of the Nikon D800. Can they deliver to a 36 megapixel sensor?

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Nikon D800 Lens Evaluation—
Voigtlander Nokton 58mm f/1.4 SL-II

Just posted in my review of the Nikon D800 is an evaluation of the Voigtlander Nokton 58mm f/1.4 SL-II on the Nikon D800.

At about $489, the Voigtlander 58/1.4 might be worthwhile for those looking for a classic portraiture or similar lens, but it’s not going to win any converts in the sharpness department. If anything the Nokton 58/1.4 is the “anti Summilux”. It is also available from Stephen Gandy over at CameraQuest.com.

See my list of Nikon gear with in-stock status at B&H Photo.

Lens evaluated or soon to be valuated

I evaluate the performance on the Nikon D800 of these lenses in my review of the Nikon D800. Can they deliver to a 36 megapixel sensor?

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Reader Comments on Nikon D800 Lens Evaluations

Comments regarding my lens evaluations in my review of the Nikon D800.

Mikko H writes:

Are you planning on testing Nikon 24/3.5 PC-E on D800?

There has been mixed feelings about that lens performing badly on D800.

DIGLLOYD: I might get to the 24/3.5D ED (would have to rent it), but I never found it to be a good enough performer when shifted to be interesting to me, even on the 24MP megapixel D3x (see the test of the 24/3.5D ED on the Nikon D3x in DAP). I also never liked its build quality, the reasons which I document in my shift lens reviews of Nikon (build quality is “ok” but well below what is possible, e.g. Canon and Schneider).

To expect the 24/3.5D ED to be interesting in terms of performance on the D800 is not realistic (in terms of getting D800 resolution).

But those are my considerations, and its tilt/shift functionality might make it perfectly worthwhile for some shooters. The 24/3.5D ED is a quite expensive lens (about $1999). For my purposes, I’d much rather use those funds towards the superlative Zeiss 15mm f/2.8 Distagon (about $2950), and crop if need be.

Graham L writes:

I see similar problems on the right of my 70-200 VRII. I wonder if these issues are influencing the way the AF is performing?

DIGLLOYD: The asymmetry I see with some lenses like the 70-200/2.8G VR II is an almost inevitable fact of life with a lens having 21 elements in 16b groups. I had to get a 2nd sample with Nikon because the first one was really bad, with Canon’s 7-200 it was 4 samples.

The 70-200 zooms are fine for what they are intended to be— sports and action lenses. Whether the symmetry seen on a planar target is a factor in autofocus, I don’t know, though I’d expect the AF to focus wherever it is set; the resulting slightly skewed plane of focus would simply be skewed forward or back as it happens.

Murray O writes:

After reading your results from the 70-200 @ 185 and the 180 ED, you've kind of boxed yourself into bringing out the Leica 180/2.8 Elmarit-R APO for a spin before your 800E arrives.

DIGLLOYD: I have a D800E coming on loan this coming week and the Leica 180/2.8 APO-Elmarit-R is on the menu to compare the D800 to the D800E.

Nikon D800 Lens Evaluation—
Voigtlander Ultron 40mm f/2 SL-II

Just posted in my review of the Nikon D800 is an evaluation of the Voigtlander Ultron 40mm f/2 SL-II on the Nikon D800.

At about $449, the Voigtlander 40/2 might be worthwhile for those looking for an ultra-compact pancake lens. It is also available from Stephen Gandy over at CameraQuest.com.

See my list of Nikon gear with in-stock status at B&H Photo.

Lens evaluated or soon to be valuated

I evaluate the performance on the Nikon D800 of these lenses in my review of the Nikon D800. Can they deliver to a 36 megapixel sensor?

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Nikon D800 Lens Evaluation—
Nikon AF-D 180mm f/2.8D ED-IF vs Nikon AF-S 70-200mm f/2.8G VR II

Just posted in my review of the Nikon D800 is an evaluation of the Nikon 180/2.8D ED-IF vs 70-200/2.8G VR II on the Nikon D800.

It’s clear how both lenses perform on the D800. Bummer. Makes a good case for the lower resolution Nikon D4 for sports shooter.

See my list of Nikon gear with in-stock status at B&H Photo.

Lens evaluated or soon to be valuated

I evaluate the performance on the Nikon D800 of these lenses in my review of the Nikon D800. Can they deliver to a 36 megapixel sensor?

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Nikon D800 Lens Evaluation—
Voigtlander 90mm F/3.5 SL II APO-Lanthar

Just posted in my review of the Nikon D800 is an evaluation of the Voigtlander 90mm F/3.5 SL II APO-Lanthar on the Nikon D800.

Anyone looking for a very high performance lens at relatively low price which is compact and lightweight should take a look at the 90/3.5. It is a manual focus lens, but is “chipped” for electronic aperture control.

At about $549, the Voigtlander 90/3.5 offers tremendous value in terms of image quality and compactness and size/weight. It is also available from Stephen Gandy over at CameraQuest.com.

Get one while you can, because it is apparently discontinued.

Given its high performance, this is one lens I’m likely to re-test on the Nikon D800E.

See my list of Nikon gear with in-stock status at B&H Photo.

Lens evaluated or soon to be valuated

I evaluate the performance on the Nikon D800 of these lenses in my review of the Nikon D800. Can they deliver to a 36 megapixel sensor?

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Reader Comment: Nikon D800 Lens Testing

David W writes:

Thanks for the thorough testing of the Nikon primes on your new D800. It's very interesting to see how these lenses stack up against each other on the camera, and to also see how capable they are of withstanding the torture of having 36MP of resolution sitting behind them.

Now that the Nikon primes are largely complete, when do you expect to start producing results for the Zeiss and Leica APO lenses, and also (hopefully) the Nikon 14-24?

Thanks again for your continuing great work and non-biased objective testing - it's much appreciated by many.

DIGLLOYD: It’s been a bit exhausting doing all these, but I figure it’s worth the investment to give a really good sense of how the D800 behaves.

I hope to add most of the following lenses. Zoom lenses are like testing 3 lenses; they need testing at short/medium/long focal lengths. Thus, they are triple the work of a prime.

• Voigtlander 40/2 SL II
• Voigtlander 58/1.4 SL II
• Voigtlander 90/3.5 APO
• Nikon 45/2.8P
• Nikon AF-D 180/2.8 ED-IF
• Nikon 14-24/2.8G (requires special attention due to the headache of focus shift as documented in the case study in Making Sharp Images).
• Nikon 24-70/2.8G
• Nikon 70-200/2.8G VR II

As for Zeiss, the results with the 100/2 Makro-Planar are already clear from the comparison of the Leica S2 to the D800. It is my intention to use the Nikon D800E for testing the Zeiss line, as I expect the higher micro contrast of the Zeiss lenses is best shown by the D800E. But I might have to ditch that idea if a D800E doesn’t show up sometime soon. I will test the entire Zeiss ZF.2 line, with the possible exception of the 18/3.5, which I do not have. And I might have to test the 15/2.8 differently, simply because it is so wide a field of view.

I also intend to add many field shot examples with the D800/D800E with Zeiss lenses, but these will take time over some months and will go into my Guide to Zeiss, not DAP (DAP has a huge amount of coverage already, and general Zeiss work belongs in my Guide to Zeiss).

Finally, I have a lot more planned that I have not yet presented. The D800 and D800E present some new and unique opportunities for exploration, especially for my Making Sharp Images, which is essential reading for anyone using high resolution digital of any brand or format.

Nikon D800E: RAW File Support Still Pending with Aperture, Lightroom 4

RAW file support for Nikon D800E files is still shaky. I’ve had no issues using any form of D800E RAW files in ACR within Photoshop CS5 or CS6, but there are apparently some limitations elsewhere.

Apple Aperture

According to reader McLean A, Apple Aperture does not support D800E files, though my understanding is that it does support D800 files.

Adobe’s tech note about Lightroom 4:

This is a strange one that affects Lightroom 4. From the tech note:

Issue

When attempting to import camera raw files from the Nikon D800, D800E, or D4 into Lightroom, you receive the following error message: "The file is from a camera which is not recognized by the raw format support in Lightroom."

Solution

Do not shoot images with "Live View" mode enabled on your camera.
This causes the raw files to use a special image compression method which is not readable by Lightroom. Please review your camera's documentation for information about enabling and disabling "Live View" mode.

DIGLLOYD: why would the D800E use a different image compression with Live View? This seems at odds with the compression choices made by the user. I shoot 14-bit Lossless-compressed NEF.

Eric C writes:

FYI, the tech note is limited to version 4.0 only.

I strongly encourage users of these models to use the latest Lightroom 4.1 Release Candidate (RC) 2 version available from Adobe Labs. It can read these files.

(The technical issue is that in LV Video Mode, the NEF file that is written is 16:9 aspect ratio, not 3:2 aspect ratio. So the actual # of pixels recorded is different than normal LV Stills mode, or non-LV mode.)

There are two Live View modes on these models: a stills mode, and a video mode. I'm guessing you've only tried the former ... which makes sense, as it's for taking still images. That is indeed in 3:2 mode, and works correctly with Lr 4.0 and 4.1. However, if you set the camera to "video mode" for Live View, the aspect ratio changes to 16:9. You can take both videos and still images (e.g., NEFs) while in video Live View mode, but these NEFs are 16:9 and will not open in 4.0 (but will open in 4.1). Just FYI.

DIGLLOYD: would be helpful if Adobe mentioned 4.1 RC1 in the technote.

Jeroen B writes:

I can report that D800E-files are fully supported by CaptureOne Pro 6.4, I've found no issues yet.

DIGLLOYD: all variants?

Nikon D800 Lens Evaluation—
Nikon AF-S Micro-Nikkor 60mm f/2.8G ED

Just posted in my review of the Nikon D800 is an evaluation of the Nikon AF-S Micro-Nikkor 60mm f/2.8G ED on the Nikon D800.

See my list of Nikon gear with in-stock status at B&H Photo.

Lens evaluated or soon to be valuated

I evaluate the performance on the Nikon D800 of these lenses in my review of the Nikon D800. Can they deliver to a 36 megapixel sensor?

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

 

Fun With Squares

Remember the Mamiya 7 II anyone? Well, it was a pretty awesome film camera, with a huge image size (56 X 70mm actual image on film). And the camera was incredibly compact for what it was. I still consider it a masterpiece of the film era.

Why not that in digital?

Namely, a digital rangefinder utilizing an EVF like the Sony NEX-7, but with a 42 X 42 square sensor of about 40-50 megapixels. Classic Hasselblad type square format. Along with four prime lenses equivalent to 18mm, 25mm, 40mm and 80mm.

Mike writes:

I use NEX for my "small format" digital system, but still use my Mamiya 7 and Hasselblad cameras for commercial work in LA or when I go off to Death Valley or some vista-spot. One thing you may want to note in your article - the Mamiya 7 has _unparalleled_ ergonomics.

DIGLLOYD: Yes, the ergonomics of the Mamiya 7 II are very nice.

Billy J writes:

Ideally with native EOS mount, so that practically every brand of lenses will fit via adapters.

DIGLLOYD: Lenses designed for a 36 X 24mm frame won’t cover a larger sensor. Only medium format lenses would (some), and those aren’t EOS mount. And the beauty of the Mamiya 7 II is its compact high performance lenses for a highly portable very compact camera.

Sale on SanDisk at B&H Photo

A variety of SanDisk cards are on sale with discounts at B&H Photo.

One day sale.

SKU: SAECF16GB SAECF32GB SAEPCF128GB SAEPCF16GB SAEPCF32GB SAEPCF64GB SAEPSDU16GB SAEPSDU32GB SAEPSDU64GB SAESD128GB SAESD16GBQ SAESD32GBQ SAUSDU32GB

Reader Comment: Arca Swiss Cube Geared Tripod Head

Michael writes:

Just a quick thank-you for your well written and researched articles. I have been reading a lot of your reviews in DAP lately.

After discovering the Arca-Swiss Cube on your site and reading even more reviews I purchased one through your link yesterday.

The Arca Swiss Cube is exactly the tripod of head I have been looking for. It will go on my Really Right Stuff tripod which I purchased after reading your articles. As well as their ballhead and pano gear.

Even though I'm in Australia I buy a lot of gear through B&H and will make sure all purchases go through your links from now on.

DIGLLOYD: Yes, B&H ships overseas, and I really appreciate use of my B&H links.

The Arca Swiss Cube (about $1699) remains my all-time favorite tripod head. I use it a great deal, using something else only when I want a smaller and lighter tripod setup.

I use a Really Right Stuff clamp on my Cube; the Arca Swiss clamp is not only fiddly and wimpy, but incompatible with some camera plates.

Jeff s writes:

Just wanted to mention I liked the Cube head as well from Arca Swiss when I got it a year ago, but returned it and ordered the D4 new head from Arca Swiss at the time. It took almost a year to get to me, but got it through Rod Klukas the US rep here. I have had it for a couple of months now, and can say it is the finest head I have ever used-being 1.7lbs, geared, and yet free movements-it's awesome! think you will love it, if you haven't had a chance to use it yet??

DIGLLOYD: I have not tried the Arca Swiss D4 head. Sounds interesting. B&H does not seem to carry it.

Rod Klukas (US rep for Arca Swiss) writes:

You are correct that it requires adjustment for plates from various companies. However if the owner is consistent, buying all one companies plates, they will have no problems once adjusted. Anyway, also the price is $1739.00.

DIGLLOYD: Great tripod head with a wimpy and badly designed clamp, and not just because of plate compatiblity (and I am not interested in throwing away plates I already have); the Cube clamp design literally fell apart on me as I tried to adjust it. If that happened in the field, the head would become useless. Therefore, I cannot advise anyone to use the Arca Swiss clamp, as there seems to be no mechanical prevention of this fatal flaw. Only one caveat to that: I have the original version of the Cube. The current version looks the same, I suppose the design could have been changed, I don’t know.

I advise my readers of what makes sense. Being forced into a limited selection of lens plates serves no one well. To my knowledge, only Really Right Stuff offers the depth and breadth of selection and the quality that I am looking for.

I quote the street price at B&H. MSRP is not my interest, nor that of my readers, except perhaps in a formal press release.

Leica Stuff

A Nikon D800/D800E is not a Leica S2. But it also costs about $10K for a very nice kit with Zeiss lenses, compared to $50K for an equivalent Leica S kit. There are a lot of Leica S2 bodies showing up for sale. I wonder why. Oh well, I had the S discussion with Leica 18 months ago. I have Served.

But that’s just the beginning. If we don’t see a 50-megapixel or more full-frame DSLR within a year, well then I promise to drink Chardonnay instead of Cabernet once or twice. Which might reduce my spelling eerrors.

Meanwhile, Leica wants $8K for a Leica M Monochrom camera body, with no lens. Wait— I can get a good 50/2 for $7200. OK, problem solved, I’ll just sell one of my kidneys on a trip over to China.

Earth to Planet Leica: make your money on your world-class lenses, and stop charging the price of a good used car for a camera with a shitty 2005 LCD that is inferior to a $129 point and shoot camera LCD. WTF. Still, I want an M Monochrom (great idea to omit that 'e'). It’s just that the retro LCD really irks me. I want leather to smell like leather, not a diaper, if you know what I mean. Especially for $8K. Maybe Leica got confused on the Euro vs US$. Or maybe there is a stock of those vintage LCDs that needs to be used up, or maybe that’s part of the Leica mystique to have a low-res display, heck maybe they should just omit a display. Oh well, I’m such a whiner.

PS to Leica: please send me the press release BEFORE I read about it on dpreview.com (I did ask a month ago).
PPS to Leica: I’ve helped sell a ton of your gear. Would be nice to see the Leica M Monochrom before 20 other reviewers.

Scott M writes:

When I read the specs of the M-M, it struck me that putting a
*sapphire* cover over the same old 230,000 dot monitor (when they had a chance to upgrade it without pissing off M9 owners by introducing it in a "new" model) is evidence that either:

a) the guys at Leica have a somewhat warped sense of humor, or
b) the guys at Leica have little respect for their customers' intellect, or
c) the guys at Leica exist in a different world to all other camera
designers and users.

Either way sticking with this screen is, as they say on Facebook, an "Epic Fail".

The specs and MTFs for the new Summicron look amazing... but the
price... eye-watering. Which leads me back to a), b) and c) - though
at least if this is really the ultimate normal lens it ought to be
actually *worth* something (unlike the sapphire cover over the LCD).

DIGLLOYD: The LCD screen can be a serious aid for serious photography. But not at 230K pixels and not when zooming produces a badly enlarged image anyway, which it does on the M9.

Alfred writes:

Well said, even with spelling errors ...

I threw in the Leica M towel yesterday. Enough is enough. Not buying the MM ... D800E plus SFX-2 = magic, comfortable, fast, versatile, rugged, "cheap" magic.

The only good news to me, being the owner of ALL H-Lenses was the fully functioning adapter for the S-System. First because I thought it must be possible to manufacture one, second because now, with hopefully a 60Mp S-3 coming, I can re-use some of my gear and complete where Leica Lenses do make a huge difference.

DIGLLOYD: [SFX-2 = Nick Filters Silver EFX 2] When Leica M fans with a closet of Leica gear say such things about Leica M, Leica had better pay attention.

Leica S customers do have some things to celebrate. But it’s hard to justify buying a new Leica S body at 36MP.

Nikon D800 Lens Evaluation—
Nikon AF-D 105mm f/2 DC

Just posted in my review of the Nikon D800 is an evaluation of the Nikon AF-D 105mm f/2 DC on the Nikon D800.

See my list of Nikon gear with in-stock status at B&H Photo.

I evaluate the performance on the Nikon D800 of these lenses. I hope to do more soon.

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Nikon D800 Lens Evaluation—
Nikon 105mm f/2.8G ED-IF VR Macro

Just posted in my review of the Nikon D800 is an evaluation of the Nikon 105mm f/2.8G ED-IF VR Macro on the Nikon D800.

See my list of Nikon gear with in-stock status at B&H Photo.

I am evaluating the performance on the Nikon D800 of these lenses, more to follow.

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Leica 50mm f/2 APO-Summicron-M ASPH

A 50mm lens with these specs for Leica M has been a dream of mine for quite some time— it looks like Leica has gone all-out with the new 50/2.

An ƒ/2 lens is technically easier to design and build than an ƒ/1.4 lens, so the extreme price of around $7K suggests that the new 50/2 APO might well sit in a class by itself, with no expense spared to produces truly the world’s best 50mm. Or so I hope.

Certainly the MTF at ƒ/5.6 is stunning, and the performance at ƒ/2 looks to be superior to most 50mm lenses at ƒ/5.6. The distorton is essentialy zero except for a tiny bit in the extreme corners. This is the lens I want to shoot at 50mm, as its color correction and low distortion and ultra high contrast and sharpness should provide an incredibly natural image rendition.

Of course I intend to report on the 50/2 APO in my Guide to Leica.

If you want to see hideously ugly and gruesome photography with the new 50/2 APO on the M Monochrom, including what looks like a dead woman on the cover (this must make it “art”) , take a look at the May/June LFI (Leica Fotografie International).

Technical data

From Leica, nominal.

Technical Data for Leica 50mm f/2 APO-Summicron-M ASPH

Focal length:	50mm (nominal)
Aperture scale:	ƒ/2 - ƒ/16, 11 iris blades
Focusing range:	0.7 m to infinity
Angular field, diagonal / horizontal / vertical	47° / 40° / 27°
Coverage at close range:	217 × 407mm
Image ratio at close range:	1:11.3
Number of elements/groups:	8 / 5
Filter thread:	E39
Weight:	300g (nominal)
Dimensions (with caps):	53 × 47mm (2.09 x 1.85 in)
Price:	estimated $7399 street price

MTF

Extremely impressive performer!

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Description from the Leica data sheet

More than 30 years after the launch of Summicron-M 1:2/50 mm, which is still available, the Leica APO Summicron-M 1:2/50 mm ASPH. represents a totally new development.

With its compact body - only marginally longer and slightly heavier than the Summicron-M 1:2/50 mm, and with an almost identical diameter, it provides visibly higher image quality.

On the Leica APO Summicron-M 1:2/50 mm ASPH. the exceptional correction enables all aberrations to be reduced to a minimum level that is negligible in digital photography.

Its key features include excellent contrast rendition, all the way to the corners of the image, even with a fully open aperture. The use of a “floating element“ ensures that this is retained, even for close-up shots.

Vignetting is limited to a maximum - i.e. in the corners of the image - of just 2 stops at full aperture in 35 mm format, or around 1 on the Leica M8 models. Stopping down to 2.8 visibly reduces this light deterioration towards the edge of the image, with practically only the natural vignetting remaining.

Distortion is very low at a maximum of just 0.4 % (pin cushoin), which is practically imperceptible.

A total of eight lens elements are used to achieve this exceptional performance. To realize the apochromatic correction (resulting in a common focusing plane for three light wavelengths), three are made of glass types with high anomalous partial color dispersion, while two of the others have a high refractive index.

The aspherical surface of the first lens in the rear group helps to reduce spherical aberration and flatten the image field. While the optical construction in front of the aperture is a Gaussian type, the arrangement of the lens elements behind it is similar to that in the Summilux-M 1:1.4/35 mm ASPH. This group comprises a “floating element“, which is moved independently of the rest of the construction during focusing.

Summary: The Leica APO Summicron-M 1:2/50 mm ASPH. delivers exceptional picture quality and sets new standards in 35 mm digital photography.

LEICA APO-SUMMICRON-M 50 MM F/2 ASPH.: THE NEW MILESTONE IN LENS CONSTRUCTION

Solms, Germany (May 10, 2012) - Leica Camera AG presents a new milestone in the history of lens construction: the Leica APO-Summicron-M 50 mm f/2 ASPH. With the goal of creating a lens that fully achieves the opportunities offered by high-resolution camera systems, Leica engineers have successfully redefined the limits of what is technically possible. The result is an extremely high-performance lens that sets entirely new standards and currently stands as an exceptional talent amongst the standard lenses of the Leica M portfolio.

This new reference lens achieves the best test results ever seen in the Leica M-Lens program. The MTF curves of the Leica APO-Summicron-M 50 mm f/2 ASPH. that describe the contrast of fine details and, in turn, the image sharpness, confirm its outstanding performance. Even the finest details are resolved with more than 50% contrast across the entire image field. This previously unattained value confirms the exceptional positioning of this lens.

All images captured with the Leica APO-Summicron-M 50 mm f/2 ASPH. in any photographic situation show extreme sharpness and resolution of details from corner to corner of the image. Additionally, the apochromatic correction of the lens minimizes chromatic aberration on sharp edges to ensure natural rendition of every detail. As a result, photographers benefit from the best possible reproduction results at any print size.

The outstanding performance of the Leica APO-Summicron-M 50 mm f/2 ASPH. is founded on the perfect interaction of all its design and construction parameters, from optical calculation and choice of materials to the sophisticated and elaborate manufacturing and finishing of the lens. Together with more than 150 years of experience in the design and construction of optical instruments, Leica’s reputation as the manufacturer of the world’s best lenses is once again emphasized.

The new design of the Leica APO-Summicron-M 50 mm f/2 ASPH. is based on the optical design of its predecessor that has been on the market since 1979 and is the oldest lens represented in the Leica M portfolio. The classical specifications, 50 mm focal length and a maximum aperture of f2, offered an ideal starting point for further development. As such, Leica’s expert lens designers were able to concentrate exclusively on the improvement of imaging quality within these standard specifications.

In its optical design, the Leica APO-Summicron-M 50 mm f/2 ASPH. is oriented on particular features of the Summilux-M 50 mm f/1.4 ASPH. and the Summilux-M 35 mm f/1.4 ASPH. lenses. For instance, the Leica APO-Summicron-M 50 mm f/2 ASPH. also incorporates a floating element. The lens group behind the diaphragm is designed as a floating element that changes its position relative to the front group during focusing, ensuring that the lens achieves outstanding imaging quality throughout its focusing range, including at closer focusing distances.

The realization of the apochromatic correction of the Leica APO-Summicron-M 50 mm f/2 ASPH. involved the use of specially formulated glasses based on original developments from the former Leitz glass laboratory. The use of such glasses requires great effort and many years of experience. As a result of the consistent advancement of optical processes, working with these high-quality glasses has been refined to such a fine art that they are integrated in the best possible quality into Leica lenses as evidenced today in the Leica APO-Summicron-M 50 mm f/2 ASPH.

As a particularly reliable product with enduring value and made in Germany, the Leica APO-Summicron-M 50 mm f/2 ASPH. is manufactured from only the best materials and is assembled in an elaborate process completely by hand at Leica’s factory in Solms. The combination of cutting-edge technologies and painstaking manufacturing procedures guarantees the consistently excellent quality of every single Leica lens.

The Leica APO-Summicron-M 50 mm f/2 ASPH. in black finish will be available from Leica dealers including the Leica Store Washington DC from late July 2012.

Leica M Monochrom — 18-Megapixel Monochrome Sensor

Pre-order the Leica M Monochrom at B&H Photo.

Leica has announced an 18-megapixel Leica M camera body with a monochrome sensor, the Leica M Monochrom (spelled “Monochrom” as this is the German spelling of the word).

I plan on covering the Leica M Monochrom as part of my Guide to Leica just as soon as I can get one to test. It’s due out in July, and it’s unclear as yet whether Leica will offer me anything to test prior to then, or even in July.

The Leica M Monochrom is a groundbreaking camera. While there have been a few ill-fated monochrome cameras made (e.g. by Kodak), this is the first time that a high resolution monochrome sensor will be available as a mainstream product. Yes, there are monochrome (and expensive) medium format cameras, but those are hugely costly and not readily available.

The image quality of a black and white sensor should be incredible. With no Bayer matrix and no anti-aliasing filter, the 18MP resolution should be considered roughly equivalent to the very best 24-36 megapixel color sensor. But no color, no color aliasing, no digital artifacts from the demosaicing process, etc.

One might reasonably wonder if a Nikon D800E image were downsampled to 18 megapixels and converted to black and white— would it be comparable to the Leica M Monochrom? That’s hard to say, but downsampling that much does tend to eliminate nearly all digital artifacts, and a color camera is much more versatile for choosing a tonal approach in black and white after shooting, whereas a monochrome sensor demands careful choice of filtration when making the image.

The main disappointment I see with the Leica M Monochrom is its ultra-low-resolution 230K pixel color screen. This hardly seems fitting for a groundbreaking camera.

LEICA M MONOCHROME: THE FUTURE OF BLACK-AND-WHITE PHOTOGRAPHY

Solms Germany (May 10, 2012) - Leica Camera AG presents the Leica M Monochrome, the world’s first digital camera exclusively for full-frame, 35 mm black-and-white photography. Featuring a sensor designed specifically for this purpose, the new addition to the Leica portfolio enables photographers to capture images in outstanding black-and-white quality, setting entirely new standards. The latest camera in the flagship Leica M-System, the Leica M Monochrom continues the successful story of the Leica rangefinder system, which has written numerous chapters in the history of innovative photography.

“Black-and-white photography is more popular than ever before. Even today, it has lost none of its fascination as an expressive medium, not even for younger generations of photographers. This is confirmed by the numerous monochrome images shown by members of the M-Community, who we are in constant contact with,” said Jesko von Oeynhausen, Product Manager for the M-System at Leica Camera AG. “For the first time ever, we are offering an opportunity to consistently and authentically explore black-and-white photography with the M Monochrom, a tool that is unique in the digital world. The camera’s exclusively black-and-white sensor brings an enormous technical benefit that is reflected in the amazing imaging quality it delivers.”

The 18 MP image sensor of the M Monochrom is perfectly matched to the unique properties of the Leica M-System and the superior performance of Leica M-Lenses. As the sensor does not ‘see’ colors, every pixel records true luminance values – as a result, it delivers ‘true’ black-and-white images that are significantly sharper than comparable exposures from a camera with a color-sensitive sensor.

To allow precise control of tonal values, the Leica M Monochrom offers a raw data histogram display to exhibit original, unprocessed and unmodified raw data. This, combined with a configurable clipping display, allows precise correction or optimization of exposures.

At the touch of a button, images captured by the M Monochrom can be converted with characteristic toning effects from black-and-white film photography (sepia, cold or selenium toning). All users need to do is save the image in JPEG format and select the desired toning effect – simply and conveniently, with no need for post-processing.

The classic, iconic design of the Leica M-cameras is carried forward by the Leica M Monochrom. The matte-black finish of the chromed top deck allows the camera to be an unobtrusive tool. Only an engraved script on the accessory shoe reveals the product name. The camera features particularly soft leather trim with ideal grip that perfectly complements the camera’s discreet character. The camera package also includes a genuine leather carrying strap in premium full-grain cowhide.

The M Monochrom is supplied complete with Adobe Photoshop Lightroom, a professional digital workflow solution. The software is available to customers as an online download after product registration. Adobe Photoshop Lightroom offers a wide range of functions for the management, processing and presentation of digital images. For example, this software allows for the creation of simple print layouts, slide shows and photo books.

A full-version of Silver Efex Pro 2, the world’s leading black-and-white image processing software, is also included in the package. Silver Efex Pro 2 offers an impressive collection of unique and powerful, darkroom-inspired tools for the creation of high quality black-and-white images. Silver Efex Pro 2 emulates over 20 different types of black-and-white film to recreate the glory of classical black-and-white film photography. The emulation of each film type is based on the analysis of many rolls of the respective type and guarantees perfect reproduction of the characteristic look of many popular films from ISO 32 to ISO 3200.

For the production of high-quality black-and-white prints, Leica Camera AG also offers a unique service in collaboration with Whitewall. After registering their Leica M Monochrom on the Leica website, customers can have their digital images from the M Monochrom printed on premium-quality baryte paper. These prints can be ordered from Whitewall through a personal link.

From photojournalism and available light photography to discreet, artistically aesthetic, creative compositions – the Leica M Monochrom adapts flexibly to every application and enables the expression of personal photographic style and consciously creative composition. The enormous potential performance of the current M-Lens portfolio, with focal lengths from 16 to 135 mm, is also fully accessible. In line with Leica’s renowned commitment to extreme system compatibility, almost all lenses of the Leica M range built since 1954 can still be used on the M Monochrom.

All characteristic properties of the Leica rangefinder system are also present in the new Leica M Monochrom. This, for instance, also includes the system’s intuitive and discreet handling. Its manual focusing based on the combined viewfinder and rangefinder concept and aperture priority exposure mode is an aid to photographers rather than placing undesired limitations on their creative freedom. In combination with the monitor display on the back of the camera, the simple menu navigation needs only a few control elements to enable rapid access to the entire range of camera functions. Together with its compact construction, the camera’s almost silent shutter benefits discreet and unobtrusive photography. Photographers can even select the appropriate moment for re-cocking the shutter. When longer exposure times requiring an extremely steady camera stance are essential, a slight pressure on the shutter release button in ‘soft release’ mode is sufficient.

All functions of the Leica M Monochrom are constructed with extreme robustness and a long working life in mind. Its one-piece, full-metal housing, made from a high-strength magnesium alloy, and the top deck and bottom plate, machined from solid brass blanks, provide perfect protection for its precious inner mechanisms. The digital components and shutter assembly of the M Monochrom are similarly constructed with a view to a lifetime of endurance. For photographers, this provides absolute reliability over decades of use. The experienced hands of Leica technicians at the factory in Solms are responsible for the assembly and calibration of M Monochrom bodies and the precise testing of all mechanical and electrical components. Leica Customer Care has decades of experience in repairs and maintenance and therefore creates a solid foundation for long life and enduring value. Even today, the service department maintains and repairs all M-Cameras built since 1954.

The Leica M-System has played a significant role in the development of the company’s performance in recent years. The annual figures have been correspondingly positive since the launch of the Leica M9 in September 2009 and are now registering record revenues.

The Leica M Monochrom in black chrome will be available from Leica dealers including the Leica Store Washington DC beginning in late July 2012.

Nikon D800 Lens Evaluation—
Nikon 50mm f/1.4G vs 50mm f/1.8G

Just posted in my review of the Nikon D800 is an evaluation of the Nikon 50mm f/1.4G and 50mm f/1.8G on the Nikon D800.

See my list of Nikon gear with in-stock status at B&H Photo.

I am evaluating the performance on the Nikon D800 of these lenses, more to follow.

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• 70-200mm f/2.8G VR II at 185mm, 135mm, 70mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Nikon D800 Lens Evaluation—
Nikon 85mm f/2.8D PC-Micro-Nikkor

Just posted in my review of the Nikon D800 is an evaluation of the Nikon 85mm f/2.8D on the Nikon D800 (the original version, not the PC-E version).

Prospective purchasers should of course look at the lateste PC-E version, which offers electronic aperture control and improved lens coatings.

I’ve been writing and talking about diffraction for years. Examine the ƒ/16, ƒ/22, ƒ/32, ƒ/45 crops to see how horrific the results can be!

See my list of Nikon gear with in-stock status at B&H Photo.

I am evaluating the performance on the Nikon D800 of these lenses, and all will appear in my review of the Nikon D800 over the next few days.

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar

Still Looking for Nikon D800E

I’ve obtained a D800, thanks to a local reader who received an extra one.

I am still looking for a USA Nikon D800E.

Find one for me to buy, and I’ll reward you with 2 years of everything on this site. No questionable dealers or ebay, only reputable Nikon authorized dealers. And USA warranty camera only.

Nikon D800 Lens Evaluation—
Nikon AF-S 85mm f/1.4G

Just posted in my review of the Nikon D800 is an evaluation of the Nikon AF-S 85mm f/1.4G on the Nikon D800.

See my list of Nikon gear with in-stock status at B&H Photo.

I am evaluating the performance on the Nikon D800 of these lenses, and all will appear in my review of the Nikon D800 over the next few days.

• AF-S 24mm f/1.4G
• AF-S 35mm f/1.4G
• PC-E Micro Nikkor 45mm f/2.8D ED
• AI-S 45mm f/2.8P
• AF-S 50mm f/1.8G
• AF-S 50mm f/1.4G
• AF-S 60 mm f/2.8G macro
• AF-S 85mm f/1.4G
• PC-Micro-Nikkor 85mm f/2.8D.
• AF-S 105mm f/2.8 VR macro
• AF-D 105mm f/2 DC
• AF-D 180mm f/2.8D ED-IF
• AF-S 70-200mm f/2.8G VR II and versus the 180/2.8D @ 185mm.
  
• Voigtlander 20mm f/3.5 Color-Skopar
• Voigtlander 40mm f/2
• Voigtlander 58mm f/1.4 Nokton
• Voigtlander 90mm F/3.5 SL II APO-Lanthar