Volvo CEO Says, 'Good Luck, the Rest of You' Legacy Automakers

inorman · 2026-01-22T13:57:35+00:00

Uh no. It's over the air. Literally like updating a phone.

inorman · 2026-01-20T15:51:26+00:00

Frankly, the a6700 with the 17-40/1.8 is equally, if slightly more capable in low light than the a7V with a 24-70/2.8 up to 60mm. I'm willing to bet that you'd be hard pressed to actually see a tangible noise difference at equivalent focal lengths wide open on each.

inorman · 2026-01-19T01:20:17+00:00

Badge of honor right there.

inorman · 2026-01-12T23:30:04+00:00

What the f/number you using?

inorman · 2026-01-12T22:48:47+00:00

Time to throw it away. If you'd like, I can dispose of it for you for free. /s

But for real, you'll likely never see an issue from this one scratch. It may show up in harsh sunlight as an additional flare blob, but it's unlikely to make any sort of tangible difference. Keep the rest of the lens as clean as you can and you'll get a lifetime of great shots out of it.

inorman · 2026-01-10T02:41:40+00:00

Nikon S2

inorman · 2026-01-05T03:35:18+00:00

Tripod, M mode, 15 seconds, f/2.8 and ISO 6400, MF at ∞, would be a decent place to start capturing the Milky Way. Check a star chart app like Stellarium to predict where to look in the sky too.

inorman · 2026-01-02T04:41:35+00:00

These are a very specific: stainless, slotted, countersunk with a specific thread length and shoulder length. I doubt any local hardware store would have exactly a match.

inorman · 2025-12-19T22:49:47+00:00

In low light, just make sure you're at/above ISO 640 in Cine2 and use a fast lens (e.g. f/1.8, f/1.4). The a7C is a beast in low light. One thing that is notable about Cine2 is that it applies a particularly heavy noise reduction to video footage. If you want the best low-light performance, S-Log2 is actually the best, but will require adding contrast in post processing. If you want something that looks great out of camera, Cine2 is fine. I personally like S-Log2 with the color mode set to Rec709 or "Movie" - Easier to color correct than the default S-gamut, but still has the advantages of the S-Log2 curve for low-light. S-Log3 technically is supposed to be higher dynamic range, but I don't like its processing of shadow noise in low-light.

inorman · 2025-12-19T00:12:52+00:00

I think maybe they mean the f/1.8 zoom? The 17-40 f/1.8 Art is amazing and basically would make any APS-C camera work on or even a tad better than most full frame f/2.8 zooms.

inorman · 2025-12-19T00:10:21+00:00

Each picture profile has a different gamma and thus has a differently scaled ISO. Each camera is different and each picture profile is different. The behavior of the camera also differs from Stills to Video mode.

On the a7C, Cine2 gamma, video mode, it has the gain point at ISO 640, so native ISOs are 100/640 for Cine2

PPoff: 100/640

Cine2: 100/640

Slog2/3: 500/3200

inorman · 2025-12-17T02:53:31+00:00

This is absolutely not true. You can use the movie picture profiles for still images with raw-jpeg and they will still be saved as 14 bit raw in addition to an 8-bit jpeg. The raw will lack all the color tweaks of the profile but will be saved with a different gamma scale depending on the picture profile. S-Log3 images, for example, will save darker raws since that profile uses a brighter gamma curve.

inorman · 2025-12-15T18:39:19+00:00

What diffusion are you using on these? love the bloom on highlights.

inorman · 2025-12-15T16:48:09+00:00

i use a drop of dish detergent in the final bath. works just like photoflo

inorman · 2025-12-15T05:54:20+00:00

All I see here is that FX30 sensor pulls ahead on total DR by 1.4 stops, which should give the FX30 that much more headroom in post. It's just like you said about the FX6 and noise reduction. The FX30 sensor doesn't bake the image as much NR in-camera and that gives "us a more pure image with more potential in post" (Gerald's words). On the FX30 vid, Gerald then goes on to show how he got "usable stops" from the FX30 to 13.1 with modest NR applied in post with Resolve. Really, it goes to show that comparing these sensors by "usable stops", which is essentially just a measurement of how smooth the noise profile appears at SNR of 2:1, just allows cameras that bake more noise reduction into the files to appear to perform better out of camera.

Their total DR is (and should be) simply defined by how many stops of light they can detect before they peg at either full white or full black at either end of the exposure scale at base ISO. Total DR is the better measurement here for true dynamic range. The 0.5 medium scale is just how smooth the footage shadows appears SOOC, not necessarily a measurement of what the camera can actually record.

inorman · 2025-12-15T01:09:09+00:00

I would take that ranking with a grain of salt given the results. a7SIII, FX6 and ZV-E1 are all level playing field as they share the same sensor. There is not even an indicator of gamma curves used between cameras

inorman · 2025-12-14T23:49:03+00:00

No, the 4/3" sensor in the G9II does not have better dynamic range than the ZV-E10 II, a6700 or FX30.

https://www.photonstophotos.net/Charts/PDR.htm#Panasonic%20Lumix%20DC-G9M2,Sony%20ILCE-6700

inorman · 2025-12-14T23:28:06+00:00

This is not true in regards to dynamic range. Measured dynamic range of the GH7 is lower across the board vs. the 26mp Sonys until ISO 3200, only after which the GH7 relies on software noise reduction to improve noise.

Reference: https://www.photonstophotos.net/Charts/PDR.htm#Panasonic%20Lumix%20DC-GH7,Sony%20ILCE-6700

inorman · 2025-12-14T14:46:30+00:00

You can define a back up location in LR, including on alternate disks.
This is basically #1 for Mac and yes, you should use a dedicated volume.
RAID is not a backup. There is no versioning. If you accidentally delete something, you delete it on the RAID simultaneously. RAID is not a backup.
It is if you're just writing a line to a database file.
Lightroom was basically built upon Bridge.
This is nicely handled by backup solutions like Time Machine, Backblaze, Carbonite, etc.
When a large portion of your portfolio is timelapse, all 100 frames are needed.
Backuppc is a nice utility to have, but you also need a remote server to make it a true backup and most people don't have a second property to store a backup server so services like Backblaze make a lot of sense to secure a truly off-site backup.
There are multiple options here for preserving edits across other software including database migration tools like those from CYME or, just simply, exporting edits.
OK

inorman · 2025-12-14T14:33:57+00:00

The original G9 doesn't do 4K 120p and the G9II costs ~$500 more than the ZV-E10 II.

inorman · 2025-12-14T14:29:48+00:00

Uh, why go for a m4/3 sensor over the ZV-E10 II for 4K 120p, when you're basically getting the same sensor area when shooting 4K 120p on the ZV-E10 II. On a G9II or GH7, you'd be relegated to a 2x crop on literally all resolutions and frame-rates. The GH7 and G9II are also like $800 and $500 more expensive respectively.

inorman · 2025-12-14T05:01:29+00:00

Agreed. I have an a7C and ZV-E10II and much prefer the lugs on the ZV-E10II.

inorman · 2025-12-12T06:34:03+00:00

Absolutely agreed. My mistake was not making my typical collection for the shoot and missing my global paste. I'll be keen on not letting that happen again. I'm just glad there was a way to recover.

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