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""Have a Nice Day...Friends,THANKS.""

"The love of money is the root of all evil"

--------

"O amor ao dinheiro é a raiz de todos os males"

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"Time is more valuable than money. You can get more money, but you cannot get more time." - Jim Rohn

 

:copyright: Rui Almeida 2017 | All rights reserved.

 

@ F A H R E N H E I T ...:oncoming_taxi:...

 

i’ve got no money in my hands or my coat or my pocket

wont get to space cos i haven’t got a rocket

but i’ve air in my lungs

eyes in my sockets

and a heart that beats

like a tap that leaks

in the night when you haven’t got a plumber who can stop it

jack in a box without a key to lock it

well this boat may sink but i’m not gonna rock it

cos the sea doesn’t know my name

yeah the boat may sink but i’m not gonna rock it

cos the sea doesn’t know my name...

Passenger - Things That Stop You Dreaming

a Dios lo que es de Dios y al Cesar lo que es del Cesar

♪♫ Money Money • Liza Minelli ♫♪

♪♫ Don Dinero • Paco Ibañez ♫♪

♪♫ Money Money Money • Abba ♫♪

 

Thanks for the visit, comments, awards, invitations and favourites. Please don't use this image on websites, blogs or other media without my explicit permission.

2010©jesuscm. All rights reserved.

... la felicidad es un estado de ánimo... que nada ni nadie os desanime!!!

 

... happiness is a state of mind ... that nothing and nobody discourage you!!!

 

... salud, buenas luces y muchísimas gracias a todos/as, colegas!!!!

 

... health, good lights and many thanks to all, mates!!!!

 

... Series: "Parejas" / "Couples"

 

... Music: "The Loco-motion".... (a) by Little Eva (Goffin & King) + (B) cover by Grand Funk Railroad ... enjoy it!!!!

 

www.youtube.com/watch?v=lNNW0SPkChI

 

www.youtube.com/watch?v=6j_I5ndxI28

IGReeN BoKeHLaND oN BLaCKI

 

HaPPY GoRGeouS GReeN THuRSDaY

 

Ladybug was flying into the green world.

 

She made a short break and enjoyed the gorgeous greens, she was flying through.

    

Thank you all for stopping by

 

Hope your Thursday is as green as mine

      

Miss me

 

Still on holidays

   

Miss you all, my friends and thank you so much for your kind comments

     

Don´t miss this video !!!

 

Turn the volume up and……………..

♪♪♫ L I S T e N ♪♪♫♪♪♫

   

[E X P L O R E D]

 

Okay, so shooting this was really fun, cause of the obvious reason: CHOCOLATE

 

I paid myself after the shoot, not with money, but with chocolate :D

Una delle cose che più odio del mio lavoro, e soprattutto della mia situazione di precariato, è che ogni anno mi spediscono in una nuova scuola, in posti sempre più lontani e sperduti...il che comporta innanzitutto il dispiacere di lasciare gli alunni e i colleghi a cui mi sono affezionata nel corso dell'anno passato, poi cambiare il "solito bar" dove prendevo il caffè....e infine spese maggiori di benzina per raggiungere la nuova sede. :P

Nonostante ciò, questo cambiamento ha anche degli aspetti positivi che amo.

Tutto sommato visito nuovi posti, conosco nuovi bambini, colleghi, gente comune dei paesi in cui vado a lavorare....

La signora nella foto è una delle mie nuove amicizie :)

Qualche giorno fa, durante un'ora libera, ho deciso di esplorare il nuovo paesino in cui trascorrerò il resto dell'anno scolastico e mi sono imbattuta in questa dolcissima donna che sostava sul balconcino di casa sua.

Iniziai a scattarle qualche foto, quando mi notò e mi chiese: "Mi fai una fotografia?"....io ovviamente continuando a scattare le dissi "già fatta signora"! :)

Cominciammo a chiacchierare del più e del meno, cose del tipo "quanti anni hai, di dove sei, cosa fai...." ecc ecc.

Dopo neanche 5 minuti mi abbracciò e mi disse "Ti sento come una mia nipotina!" e quelle parole suonarono alle mie orecchie come se venissero pronunciate da mia nonna :)

Poi mi invitò ad entrare per prendere un caffè...mi mostrò la sua casa indicando con fierezza uno per uno tutti i suoi mobili e dicendomi dove e come li aveva acquistati nel corso degli anni.

Mi parlò di come si svolgevano le sue giornate, facendo le pulizie in casa, ricamando, recitando il rosario aspettando ansiosamente l'ora della messa per andare in chiesa. In quel momento mi assalì un dubbio...mi domandai cosa farei io una volta arrivata a quell'età.....come trascorrerei le mie giornate? E intanto la guardavo piena d'ammirazione per la tenacia e l'attività con cui affrontava il peso dei suoi 87 anni.

Quando presi per andar via, davanti l'uscio si fermò e mi raccontò di suo marito, morto 17 anni fa...mi guardò e disse "io gli voglio ancora bene, gliene vorrò sempre" e i suoi occhi luccicavano come due supernove pronte ad esplodere...mi venne un groppo in gola, l'abbracciai, e dopo averle promesso che sarei tornata a trovarla andai via.

Mi voltai a guardarla un'altra volta, lei mi stava salutando, ci sorridemmo, voltai le spalle e andando via piansi.

  

One of the things I hate most of my work, and especially of my precarious situation, is that every year they send me to a new school, in places increasingly distant and remote ... which means above all the sorrow of leaving pupils and colleagues to whom I have fond during the past year, then to change the "usual pub" where I took my daily coffee....and finally to spend more money for fuel to reach the new venue. :P

Nevertheless, this change also has some positive aspects I love.

After all I visit new places, meet new pupils, colleagues, common people of the villages where I go working ....

The lady in the picture is one of my new friends :)

A few days ago, during a free hour, I decided to explore the new village where I'll spend the rest of the school year and I stumbled on this sweet woman who was stopping on the balcony of her house.

I started taking some pictures when she noticed me and asked: "Can you take picture of me?".... obviously I continued taking shots and said "already done lady!" :)

We began to talk about the more and less, things like "how old are you, where are you from, what are you doing ...." and so on...

After not even 5 minutes she hugged me and said "I feel you as a niece of mine!" and those words sounded to my ears as if they had been said by my grandmother:)

Then she invited me to come in and have a coffee ... she showed me her house, pointing proudly each single furniture and saying where and how they had been bought over the years.

She told me of how she spent her days, cleaning her house, embroidering, reciting the rosary and waiting anxiously for the mass to go to the church. In that moment I felt attacked by a doubt...I wondered what I would have done once I would have reached that age.....how would I spend my days? And in the meanwhile I looked at her with lots of admiration toward the tenacity and the activity with which she was facing the weight of her 87 years.

When I was going away, she stopped in front of the door and told me about her husband, who died 17 years ago ... she looked at me and said "I still love him, I'll always do" and her eyes were sparkling like two supernovae ready to explode ... I felt a lump in my throat, hugged her, and after having promised that I would have come back to visit her I went away.

I turned to look at her again, she was waving at me, we smiled at each other, then I turned my back and whilst I was leaving I cried.

 

View on black

 

Es recomendable ampliarla para ver bien los detalles.

 

This is the photograph I was missing to complete the monastery of Los Jeronimos in Lisbon. Besides, I think it's worth seeing it in detail that would not have been seen if I included it in the whole monastery.

The crowd grouped in front of the door was huge, so I was forced to lift the camera above my head and shoot several photos by eye. Finally in the foreground appeared an infinity of heads, reason why I have been forced to cut half a door. I do not think it matters.

The immense quality and quantity of sculptures that adorn it, well worth it.

In the edition, I have tried to enhance the detail to the maximum so that it can be seen in all its splendidly beautifully preserved beauty.

Some may think that the Manueline style is excessively overburdened, but we should understand that in the days when this style prevailed, money in the hands of absolutist kings did not matter. Dozens of anonymous sculptors could be allowed to work in their buildings for years because they thought history would remind them of their works. And in fact, it is.

This is the penultimate photo of the Lisbon series because I still have the cloister. But that is another topic.

  

---------------------------------------------------------------------------------------

  

It is advisable to enlarge it to see the details.

 

Esta es la fotografía que me faltaba para completar el monasterio de Los Jerónimos de Lisboa. Además, creo que merece la pena verla con detalle que no hubiera salido si la incluyo en el conjunto.

El gentío agrupado frente a la puerta era enorme, por lo que me vi obligado a levantar la cámara por encima de mi cabeza i disparar varias fotos a ojo. Finalmente en primer plano salían una infinidad de cabezas, por lo que me he visto obligado a recortar media puerta. No creo que importe.

La inmensa calidad y cantidad de esculturas que la adornan, bien merece la pena.

En la edición, he tratado de realzar el detalle al máximo para que se pueda contemplar en toda su esplendida belleza magníficamente conservada.

Quizá, algunos opinen que el estilo manuelino es excesivamente recargado, pero deberíamos comprender que en los tiempos en los que este estilo prevalecía, el dinero en manos de reyes absolutistas, no importaba. Podían permitirse decenas de anónimos artesanos escultores trabajando en sus edificios durante años pues pensaban que la historia les recordaría por sus obras. Y en el fondo, así es.

Esta es la penúltima foto de la seria Lisboa pues aun me queda el claustro. Pero esto ya es otro tema.

  

"oggi è il compleanno di keith richards.

se fosse ancora vivo avrebbe 60 anni"

 

Daniele Luttazzi

 

View On Black

Deambulando por Madrid llegué a lo que llamo el Templo del Dinero. Que tétricos fantasmas los que allí habitan.!!! Ciegos ante la crisis que arrasó tantos hogares … Que diferente a la comedia de Aristófanes , donde Pluto es cegado por Zeus para que distribuya de forma más justa la riqueza y la abundancia…Esa noche volví a casa con la mente perturbada por imágenes de vampiros y del chupacabra.!!! F.O.G.

 

English:

 

Wandering around Madrid I came to what I call the Temple of Money. What ghastly ghosts are there. !!! Blind to the crisis that devastated so many homes ... That different from the work of Aristophanes, where Pluto is blinded by Zeus to distribute more just wealth and abundance ... That night I returned home with a mind disturbed by images of vampires and chupacabra.!!! F.O.G.

 

:copyright: Cynthia E. Wood

 

www.cynthiawoodphoto.com | FoundFolios | facebook | Blurb | Instagram @cynthiaewood

 

[11/25/08: This is the 'phone booth' at the Vedanta Olema Retreat Center in Marin County. My friend Alison and I stopped here to look around while we were on a little photo-roadtrip this past weekend. I especially love the jar marked "telephone money." There were about 40 cents in the jar, including a few pennies; I don't get the impression they're doing a lot of talking on the telephone up there...]

Gesucht wird wegen Geldwäsche im großen Stil der Blaue Max, er ist 180 mtr. groß,er hat eine Glatze, trägt meist ein blaues Shirt und rote Hosen. Vorsicht: er ist bewaffnet! Bitte verständigen Sie die nächste Polizeistation, Danke.

 

The Blue Max is looking for money laundering in big style, he is 1,80 m tall, he has a bald head, usually wearing a blue shirt and red pants. Caution: he is armed! Please contact the nearest police station, thank you.

 

Est recherché pour le blanchiment d'argent sur une grande échelle, le Blue Max, il est 1,80 m. grand, il est chauve, porte habituellement une chemise bleue et un pantalon rouge. Attention: il est armé! S'il vous plaît contacter le poste de police le plus proche, merci.

 

es buscado por lavado de dinero a gran escala, el Blue Max, que es de 1,80 m. de altura, es calvo, por lo general con una camisa azul y pantalones rojos. Precaución: está armado! Por favor, póngase en contacto con la estación de policía más cercana, gracias.

 

é procurado por lavagem de dinheiro em grande escala, o Blue Max, ele é 1,80 m. de altura, ele é careca, geralmente usando uma camisa azul e calças vermelhas. Cuidado: ele está armado! Entre em contato com a delegacia mais próxima, obrigado.

 

é procurado por lavagem de dinheiro em grande escala, o Blue Max, ele é 1,80 m. de altura, ele é careca, geralmente usando uma camisa azul e calças vermelhas. Cuidado: ele está armado! Entre em contato com a delegacia mais próxima, obrigado.

 

Vielen Dank für Eure tollen Kommentare und Faves!

 

Thank you for your kind comments, I appreciate every single one, and your faves!

 

Merci pour vos gentils commentaires, j'apprécie chacun, et vos favoris!

Gracias por sus amables comentarios, agradezco cada uno, y sus favoritos!

 

Gracias por sus amables comentarios, aprecio cada uno, y sus favoritos!

Grazie per le gentili commenti, mi rendo conto ogni singolo, ed i vostri preferiti!

the face of a money spider,,,, this guy was about 2mm in size it was a real challenge to get this ultra macro shot of his face. tech,,, mp-e 65mm canon full set of extension tubes canon 6d Canon MR-14EX II Macro Ring Lite Flash

Tarifa, in the southern end of Spain, is a very popular town with windsurfers and kitesurfers. The strong habitual winds in the Strait of Gibraltar are the main basis of its economy at present. Tarifa, en el extremo sur de España, es una ciudad muy popular entre la gente que practica windsurf y kitesurf. Los fuertes vientos habituales en el estrecho de Gibraltar son actualmente la principal base de su economía.

Two of my photos merged together in a double exposure type technique.

Escucha...

Money for nothing

Money for nothing... o sí? o no? Estas son dos fachadas de un banco, llenas de contrastes en el centro de Bilbao.

 

El dinero no da la felicidad, pero procura una sensación tan parecida, que necesita un especialista muy avanzado para verificar la diferencia ( Woody Allen).

 

¡Hay tantas cosas en la vida más importantes que el dinero! ¡Pero cuestan tanto! (Groucho Marx).

 

Mi sueño es el de Picasso; tener mucho dinero para vivir tranquilo como los pobres (Fernando Savater).

Achei esse bonequinhos na loja de brinquedos da minha cidade, quando bati o olho não pude deixar de notar que são quase iguais ao Sonny Angel, obviamente larguei um money e comprei comprei alguns hhuhu

O que eu mais queria era o patinho, que só consegui porque comprei um kit que vinham 3 e dava pra ver que ele vinha, porque assim como os Sonny Angels funciona aquele esquema de "aleatórios" e vem lacrado sem saber qual virá..

Got myself a new toy - my first DSLR!!! I'm so excited. It's an Olympus E-600 and is such fun to play with. I got some extra money by doing a mentoring programme at work and don't often buy myself things these days so thought I deserved it for Christmas! :P

 

LOTS to learn so just mucking around at the mo. The editing on this isn't great but it's just trial and error.

 

Can't wait to see Dan tomorrow!!! Hope you're all having a happy Christmas full of fun, love and laughter. x

  

++++++ from wikipedia +++++++++

 

Biarritz (French pronunciation: ​[bjaʁits]; Basque: Biarritz [biarits̻] or Miarritze [miarits̻e]; Gascon Occitan: Biàrritz [ˈbjarits]) is a city on the Bay of Biscay, on the Atlantic coast in the Pyrénées-Atlantiques department in the French Basque Country in southwestern France. It is located 35 kilometres (22 mi) from the border with Spain. It is a luxurious seaside tourist destination known for the Hôtel du Palais (originally built for the Empress Eugénie circa 1855), its casinos and its surfing culture.

 

Contents

 

1 Geography

2 Etymology

3 History

3.1 Prehistory

3.2 Middle Ages

3.3 Whaling

3.4 18th century

3.5 19th century

3.6 Belle Époque

3.7 After World War II

3.8 The arrival of surfing in Europe

4 Main sights

5 Climate

6 Politics

6.1 Mayors

7 Demography

8 Economy

9 Culture

9.1 Languages

9.2 Museums

9.3 Music and dance

9.4 Theatre

9.5 Cinema

9.6 Civil buildings

9.7 Religious buildings

9.8 Parks

9.8.1 Rocks

9.8.2 Beaches

9.8.3 Gardens

10 Infrastructures

10.1 Sport

10.2 Education

10.2.1 Schools

10.2.2 High Schools

10.3 Transport

11 Notable people and popular culture

12 International relations

12.1 Twin towns/sister cities

13 Festivities

14 References

15 External links

 

Geography

 

Biarritz is located in the Pyrénées-Atlantiques department in the Nouvelle-Aquitaine region. It is adjacent to Bayonne and Anglet and 35 kilometres (22 mi) from the border with Spain. It is in the traditional province of Labourd in the French Basque Country.

Etymology

 

In Basque, its name is Biarritz or Miarritze. Its current Occitan Gascon name is Biàrrits. The name for an inhabitant is Biarrot; Biarriztar ou Miarriztar in Basque. The suffix -itz (cp. Isturitz) is a Basque locative. The name appears as Bearriz in 1170, Bearids in 1186, and Bearritz in 1249.

 

Biarritz appears as Bearids and Bearriz in 1150, Beiarridz in 1165, Bearriz and Beariz in 1170, Bearidz (1186), Bearriz and Beariz (12th century), lo port de Beiarriz and Bearridz in 1261, (cartulaire de Bayonne). Other forms include Beiarid (1199), Bearritz (1249), Beiarriz and Beiarrids (1261), Bearridz (1281), Bearrits (1338), (rôles gascons), Bearritz (1498, chapitre de Bayonne38), Sanctus Martinus de Biarriz (1689, collations du diocèse de Bayonne39), mearritcen (1712), Biarrits (1863, dictionnaire topographique Béarn-Pays basque) et Biarritze et Miarritze au XIXe siècleNote 10.

History

Prehistory

 

Analysis of stones from the Middle Paleolithic show that the Biarritz area was inhabited at that time.

Middle Ages

 

The oldest mention appears in a cartulary, Baiona’s Golden book, from 1186, where it is named Bearids; some years later the name used was Beiarrids. The first urban town was to the south, at the top and at the interior, where the church of San Martin is located. This church is the oldest in Biarritz.

 

In 1152, Eleanor of Aquitaine married Henry II of England, who became suzerain of the Duchy of Aquitaine. Prince Edward, oldest son of Henry III of England, was invested with the duchy, and betrothed to Eleanor of Castile, who brought him rights over Gascony.

 

Two population centers are attested in the Middle Ages. On the one hand, the église Saint-Martin was active in the neighborhoods in the territory's interior, which were:[1]

 

Gardague (mentioned en 1233)

Legure (lac Mouriscot)

Larrepunte and the domains of Silloete-de-Bas and Silloete-de-Haut,

Arretegui,

Chabiague,

Castera,

Suhy,

Itçar (mentioned in 1342),

Monsegur (1335),

Martin Petit,

Chohy,

Maron,

Catalina

Harausta (which would become La Négresse).

 

On the other hand, the château of Belay (first mentioned in 1342), also called château de Ferragus, protected the coast and the current Port-Vieux (old port), while religious life and community assemblies took place at Notre-Dame-de-Pitié (a chapel mentioned in 1498), dominating the Port-des-Pêcheurs, or fishing port.

 

A document dated May 26, 1342 attested to this fishing activity, authorising les Biarrots to "(…) remit to Bayonne all the fresh fish that we and succeeding inhabitantsof Biarritz can fish from the salt sea".

 

Construction of the château de Ferragus was decided by the English, on the foundations of a Roman work, at the summit of the promontory overlooking the sea, named Atalaye, used as a whale-observation post. This château had a double crenulated wall two meters thick, a drawbridge and four towers. Mentions of this château occur as late as 1603, in the letters patent of Henry IV. One tower remained as of 1739, when a daymark was established there, called de la Haille, then de la Humade. The tower disappeared in 1856.

Whaling

Further information: History of Basque whaling

 

Most of the documents, records and official agreements gathered in the archives from Biarritz mention whaling. This was the principal local industry. Consequently, the town's coat of arms features the image of a whale below a rowing boat manned by five sailors wearing berets, one of whom is preparing to throw a harpoon. This inscription is written on it: Aura, sidus, mare, adjuvant me (The air, the stars and the seas are helping me).

 

Biarritz has long made its living from the sea: from the 12th century onwards, it was a whaling town. In the 18th century, doctors claimed that the ocean at Biarritz had therapeutic properties, inspiring patients to make pilgrimages to the beach for alleged cures for their ailments. After the 7th century, Biarritz had many confrontations with Baiona, with the Kingdom of England – Lapurdi was under its control – and with the Bishop of Baiona. Almost all of the disputes were about whale hunting. In 1284, the town's right to hunt whales was reinstated by the authorities of Lapurdi and the Duchy of Aquitaine.

 

From the Middle Ages and Early modern period a watchtower has looked down over the sea at Biarritz, from “La Humade”, waiting for the sight of a whale. Whenever those keeping watch saw a whale, they would burn wet straw, to create a large amount of smoke and thus communicate the news to their fellow countrymen. Eventually, however, the tower disappeared.

 

In the 16th century, as a consequence of the attacks suffered in this area, or for other reasons, the whales migrated to other places. Whale hunters from Lapurdi therefore crossed the Atlantic Ocean in pursuit of them, and they spent some time in the Labrador Peninsula and in Newfoundland (island). Later, instead of hunting whales, they started cod fishing in Newfoundland. A century later, due to the ban on fishing off the coasts of America and the steely competence of English and Dutch fishermen, the number of fishing boats from Biarritz diminished and nowadays, the Biarritz fishing industry in these areas has come to an end.

 

Even though the population from Biarritz was originally Basque, it is hard to assert whether the main language of the village was Basque or French.

 

The first lighthouse of the village was built in 1650.

18th century

The Cape of Biarritz.

 

Biarritz was an independent municipality, until 1784, a clergyman, four sworn and the city was governed by twelve deputies. Deputies were democratically chosen: there were four neighbourhoods (Portua, Bustingorri, Hurlaga and Alto), and three deputies has to be chosen from each of them. However, deputies were chosen by the abbot and sworn. Since they had no Town House, they gathered in a ward near the church. As they did not have place for all the attending people, they made their meetings in the cemetery. That time, Biarritz was composed of around 1,700 citizens.

 

In the mid-18th century, the city began to change into a worldwide known bath-city.

19th century

 

From 1784 onwards, after the French Revolution, taking a bath at the sea was no longer a behaviour of those who were fools; sea-baths were fashionable. In 1808, Napoleon himself broke prejudices and took a bath on the Basque Country’s coastal water.

 

In 1840, the Town House or Municipality of Biarritz started to organize an initiative in order to promote and attract those who loved most the sea.

 

From the 11th century, Biarritz was a village dedicated to whale hunting, until Victor Hugo, found it in 1843. This writer made to Biarritz the following compliments on his book “Alpeak eta Pirinioak” :

 

« I have not met in the world any place more pleasant and perfect than Biarritz. I have never seen the old Neptune throwing joy and glory with such a force in the old Cybele. All this coast is full of humming. Gascony’s sea grinds, scratches, and stretches on the reefs its never ending whisper. Friendly population and white cheerful houses, large dunes, fine sand, great caves and proud sea, Biarritz is amazing. My only fear is Biarritz becoming fashionable. Whether this happens, the wild village, rural and still honest Biarritz, will be money-hungry. Biarritz will put poplars in the hills, railings in the dunes, kiosks in the rocks, seats in the caves, trousers worn on tourists. »

 

Either for good or for bad, Victor Hugo’s prophecy was fulfilled. Biarritz planted poplars, tamarinds, hydrangeas, roses and pitosforuses on the slopes and the hills, set railings on the dunes, covered moats with elegant stairs… and polluted with the speculation of the land and the money-hunger.

 

Humble and proud tourists praise Biarritz’s coast, from the beach at the limit of Bidarte (Plage des Basques), to the cape of San Martin. There it can be found a white lighthouse 44 metres (144 feet) tall, built in 1834 replacing the one Louis XIV ordered to build. Various hotels were made, as well as a municipal casino, the club Belleuve and the casino were opened in 1857, the thalassotherapy house, and wonderful luxury houses. Luxurious store shops from London and Paris were also set up in Biarritz, and 36 small newspapers were published in the village.

Hôtel du Palais, Biarritz, France(2).JPG

Hôtel du Palais, Biarritz, France (2)

 

Biarritz became more renowned in 1854 when Empress Eugenie (the wife of Napoleon III) built a palace on the beach (now the Hôtel du Palais). European royalty, including British monarchs Queen Victoria and King Edward VII (who caused a minor scandal when he called H. H. Asquith to kiss hands at Biarritz in 1908 rather than return to London for the purpose),[2] and the Spanish king Alfonso XIII, were frequent visitors.

 

Biarritz's casino (opened 10 August 1901) and beaches make the town a notable tourist centre for Europeans and East Coast North Americans. The city has also become a prime destination for surfers from around the world, developing a nightlife and surf-based culture.

 

Originally, there were two settlement sites: the neighbourhood that was around the church of San Martin, and the fishing-port defended by Belay or Ferragus Castle. The coat of arms was a whaler, which was a symbol of the town.

 

Opened in June 1893, Biarritz’s salt-baths were designed and built by the architect Lagarde. From the gatzagas of Beskoitz and after passing through a 20-kilometre (12 mi) pipe, water ten times saltier than the sea was used. The baths were closed in 1953 and demolished in 1968.

 

The presence of French Republic’s authorities and the fact of having launched the Paris-Henday train, led Biarritz to become one of the most outstanding tourist areas all over Europe. The queen of the beaches became the beach of the kings: Oskar II from Sweden, Leopoldo from Belgium, tireless traveller, the empress of Russia, Nikolas II’s mother, Elisabeth from Austria, Natalia from Serbia, and her ill son Alexandro, Jurgi V from England, Eduardo VII and England’s Queen Victoria, Alfonso XIII from Spain, aristocrats, rich people, actors, from Europe and South America… In the summer-time, high-status people gathered in Biarritz. Therefore, the number of population remarkably increased, from 5,000 to 18,000. At the end of the 19th century, 50,000 vacationers were gathering in Biarritz.

Belle Époque

Biarritz market.

 

The big store named Biarritz Bonheur, created in 1894, enlarged twice (in 1911 and 1926), and still operating, became the temple of luxury and fashion. At the start of the 20th century, most of its workers spoke in English.

After World War II

 

At the end of World War II in Europe, the U.S. Army's Information and Educational Branch was ordered to establish an overseas university campus for demobilized American service men and women in the French resort town of Biarritz. Under General Samuel L. McCroskey, the hotels and casinos of Biarritz were converted into quarters, labs, and class spaces for U.S. service personnel. The University opened 10 August 1945 and about 10,000 students attended an eight-week term. This campus was set up to provide a transition between army life and subsequent attendance at a university in the USA, so students attended for just one term. After three successful terms, the G.I. University closed in March 1946 (see G. I. American Universities).[3]

The arrival of surfing in Europe

 

In 1957, the American film director Peter Viertel was in Biarritz with his wife Deborah Kerr working on the film The Sun Also Rises. One of his Californian friends came for a visit, and his use of a surfboard off Biarritz is recognized as the first time surfing was practised in Europe. Biarritz eventually became one of the most popular European surfing spots.

Main sights

 

Sights in Biarritz include:

 

The Asiatica Museum houses a significant collection of Asian art primarily from India, Nepal, Tibet, and China.

The Museum of the Sea has 24 aquaria containing sharks and seals.

The annual Biarritz Surf Festival, founded in 1993 at the Côte des Basques, is one of the premier surf events in Europe and longboarding events in the world.[4]

St-Martin's Church, constructed in the 12th century, restored in the mid-16th century.

The Russian Orthodox Church, built in the 19th century for visiting Russian aristocrats, has a famous blue dome.

The Chapelle Imperiale built for Empress Eugenie has an intricately decorated roof interior and elegant wall tiling. She also built a palace on the beach which is now the Hôtel du Palais.

The Museum of Chocolate explains the history and manufacture of chocolate.

Two large casinos, the Barrière and the Bellevue, sit on the waterfront near the Grande Plage.

 

Cliffs and lookouts lie to the west of the main beach.

Climate

 

Biarritz has a temperate oceanic climate, Cfb in the Köppen climate classification.

 

Les baigneuses à Biarritz

 

Biarritz from the Pointe Saint-Martin.

 

La Grande Plage, the town's largest beach.

 

Sainte-Eugénie church.

 

Outdoor cafés.

 

Notre Dame du Rocher.

 

Plage Miramar

 

Railway poster

 

Climate data for Biarritz-Anglet (altitude 69 metres (226 feet), 1981–2010)

Month Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Year

Record high °C (°F) 23.4

(74.1) 28.9

(84) 29.7

(85.5) 32.1

(89.8) 34.8

(94.6) 39.2

(102.6) 39.8

(103.6) 40.6

(105.1) 37.0

(98.6) 32.2

(90) 27.8

(82) 25.1

(77.2) 40.6

(105.1)

Average high °C (°F) 12.0

(53.6) 12.8

(55) 15.0

(59) 16.2

(61.2) 19.6

(67.3) 22.1

(71.8) 24.1

(75.4) 24.7

(76.5) 23.2

(73.8) 20.0

(68) 15.1

(59.2) 12.5

(54.5) 18.1

(64.6)

Average low °C (°F) 4.8

(40.6) 5.0

(41) 7.0

(44.6) 8.5

(47.3) 11.6

(52.9) 14.6

(58.3) 16.7

(62.1) 17.0

(62.6) 14.5

(58.1) 11.9

(53.4) 7.7

(45.9) 5.5

(41.9) 10.4

(50.7)

Record low °C (°F) −12.7

(9.1) −11.5

(11.3) −7.2

(19) −1.3

(29.7) 3.3

(37.9) 5.3

(41.5) 9.2

(48.6) 8.6

(47.5) 5.3

(41.5) −0.6

(30.9) −5.7

(21.7) −8.9

(16) −12.7

(9.1)

Average precipitation mm (inches) 128.8

(5.071) 111.5

(4.39) 103.5

(4.075) 129.7

(5.106) 113.9

(4.484) 87.8

(3.457) 69.3

(2.728) 98.4

(3.874) 119.6

(4.709) 152.1

(5.988) 185.9

(7.319) 150.4

(5.921) 1,450.9

(57.122)

Average precipitation days (≥ 1 mm) 13.4 12.0 11.9 13.6 12.9 10.4 8.8 9.6 9.7 12.5 13.0 12.6 140.5

Average snowy days 0.8 1.0 0.3 0.1 0.0 0.0 0.0 0.0 0.0 0.0 0.3 0.5 3.0

Average relative humidity (%) 77 75 73 77 78 81 80 81 80 78 79 78 78.1

Mean monthly sunshine hours 100.2 114.1 164.4 169.4 193.7 203.3 209.0 206.8 192.8 141.7 103.8 88.3 1,887.3

Source #1: Météo France[5][6]

Source #2: Infoclimat.fr (humidity and snowy days, 1961–1990)[7]

Politics

Mayors

Mandate Name

1788-1789 Pierre Moussempès

1813-1814 Pierre Moussempès

1864-1881 Pierre-Paul Jaulerry

1881-1884 Alcide Augey

1884-1888 Alexandre Larralde-Diustegi

1888-1895 Alcide Augey

1895-1904 Félix Moureu

1904-1919 Pierre Forsans

1919-1929 Joseph Petit

1929-1941 Ferdinand Hirigoien

1941-1944 Henri Cazalis

1945-1977 Guy Petit

1977-1991 Bernard Marie

1991-2008 Didier Borotra

2008-2014 Didier Borotra

2014-2020 Mixel Veunac

Demography

Date of Population

1793 1800 1806 1820 1821 1831 1836 1841 1846 1851

929 1.171 1.188 - 1.082 1.495 1.705 1.892 1.993 2.048

1856 1861 1866 1872 1876 1881 1886 1891 1896

2.110 2.771 3.652 4.659 5.507 8.527 8.444 9.177 11.869

1901 1906 1911 1921 1926 1931 1936 1946 1954

12.812 15.093 18.260 18.353 20.776 22.955 20.691 22.022 22.922

1962 1968 1975 1982 1990 1999 2004 - -

25.231 26.750 27.595 26.598 28.742 30.055 - - -

For the census of 1962 to 1999 the official population corresponds with the population without duplicates according to the INSEE.

Economy

 

Although Biarritz’s economy was based on fishing before, nowadays it has a modern economy due to the metropolitan location of Baiona-Anglet-Biarritz. Together with Baiona and Anglet, Biarritz takes part in the management of the BAB Airport. The most important economic activities are:

 

Spa tourism

Sport (golf, surf and rugby)

Thalassotherapy

Industry. The most important industries are the following:

Séguier, French publishing house

Dassault Aviation, manufacturer of fuselage for Falcon planes.

 

Culture

Languages

 

As Anglet and Baiona, since they are located in the limit of Gascony and Basque Country, it is in doubt if in the Middle Age and the Modern era was Basque or Gascon the main language of the city. According to the book Atlas Linguistique de Gascogne, Biarritz is considered a Gascon town. But in 1863, Luis Luciano Bonaparte located the frontier of Basque in Biarritz, which in some neighborhoods was without any doubt the most used language. However, in the 20th-century French was the official and main language. From the 90th decade on, the Townhall of Biarritz has taken the Basque culture and the Basque language, and also it has promoted it. Nevertheless, the Gascon has been promoted by private institution, for instance the group of Gascon culture Ací Gasconha [19]

Museums

 

Sea Museum. Constructed in 1993 in the rock of Atalaia, it is an Art Déco building. It has a huge collection of sea animals and birds.

Museum of Chocolate

Asiatica, museum of the Eastern art. Art from India, Tibet, Nepal and China can be found

Museum of the History of Biarritz. Located in the Angelican Church of Saint Andrew in the 1980 decade

Cité de l’Ocean et du Surf, opened in 2011.

 

Music and dance

 

The city has the Ballet of Biarritz, which is the choreography location of France. Furthermore, it has the cultural centre Atabal and the chorus Oldarra, created in 1946.

Theatre

 

The emperors Napoleon III and Eugene of Montijo pusieron de moda the sea-theater on the Old Port neighborhood. Nowadays, the light works made by Pierre Bideau can be seen at night in the clift.

Cinema

 

Two film festivals of cinema are celebrated in Biarritz:

 

Festival of Latinoamerican Cinema of Biarritz.

International Festival of Audio-Visual Programs (FIPA)

 

Civil buildings

 

Hôtel du Palais or Eugénie House

Building of the Hotel of England, built in 1870 by Louis Moussempés

Natasha House

Sacchino or Castel Biarritz, house of Natalia of Serbia

Plaza Hotel

Cassino of Biarritz, from Art déco style

Lighthouse, built in 1834 in San Martin cape

Villa Black or Black House. Built by Alphonse Bertrand between 1880 and 1895

Goëland House, which from 2003 on is a hotel

Françon Castle

Boulard Castle

Pavilion of England

Fishermen House, in the port

The formerly health resort in the Old Port

Miremont sweet shop

 

Religious buildings

 

Imperial Chapel

Saint Martin church

Saint Eugene church, built between 1898 and 1903

San Alexandro Nevski (fr) and God’s Mother Protection Church

Synagogue of Biarritz

 

Parks

Rocks

 

Rocks of Biarritz. Every year they have an erosion of 70 centimeters

 

Beaches

 

Biarritz has six beaches: Miramar, Big, Old Port, Coast of the Basque, Marbella and Milady

 

Gardens

 

Biarritz has 120 hectare and two lakes (Marion and Muriskot)

In the centre, in front of the Midi station, apart from the public garden, there are Lahuze and Mazon gardens can be find

 

Infrastructures

Sport

 

Surfing in Biarritz is of a world-class standard and first appeared in 1957.[8] The town has a strong surfing culture,[9] and is known worldwide for its surfing scene and the competitions it hosts yearly, including the Quiksilver/Roxy Jam tournament. In July 2011, Biarritz also hosted the Roxy Pro event, a tournament part of the ASP Women's World Tour.

 

The town is home to a prominent rugby union club, Biarritz Olympique.

 

Basque pelota is a very popular sport of the Basque country. Several local and international competitions take place in Biarritz.

 

The golf course near the lighthouse (Le Phare) was created in 1888 by British residents. In addition, the town has a large circular golf range area on the border with illbaritz.

Education

Schools

 

The city has two public schools (Villa Fal and Jean Rostand) and one private (Immaculée-Conception).

High Schools

 

Malraux High Schools is the only one in Biarritz. There is also a tourism high school in the border of the Western neighborhood of La Négresse.

Transport

 

Biarritz is easily accessible from Paris by France's high-speed train, the TGV, and more regionally from Bordeaux, by TGV or TER. Trains are also available to travel east towards Nice. Night trains regularly depart from Irun, south of Biarritz and pass through the city before heading to Paris during an overnight trip. Many tourists and regulars to the city have begun using the night train to take weekend trips to Biarritz and saving travel time by traveling at night. The Biarritz – Anglet – Bayonne Airport is located about four kilometres (2.5 miles) from the city. It is near N10 road towards Anglet and is served by airlines from France, the United Kingdom, Spain, Ireland and Germany.

Notable people and popular culture

Fishing port, beach, and lighthouse

 

Biarritz was the birthplace of:

 

Ernest Fourneau (1872–1949), chemist

Arnaud Massy (1877–1950), professional golfer

Maurice Hankey, 1st Baron Hankey (1877–1963), British civil servant

Jean Borotra (1898–1994), tennis player

Maurice Journeau (1898–1999), composer

Jacques Bergerac (1927 - 2014), actor

Léopold Eyharts (born 1957), astronaut

 

Other:

 

Eugénie de Montijo (1826–1920), the wife of Napoléon III, built the villa Eugénie, today the Hôtel du Palais.

Aaron Bank (1902–2004), World War II Office of Strategic Services (OSS) agent and co-founder of the U.S. Army's Special Forces Group (later, Green Berets), was a lifeguard and medical (physical) therapist's aide at Biarritz before he enlisted in the army in the late 1930s.

Aimée de Heeren, born Soto-Maior de Sá[10] (1903–2006) mistress of President Getúlio Vargas, owned the villa La Roseraie, 12 rue Martias, where she spent summers for half a century, receiving kings, heads of state, and many famous guests.

Pablo de Sarasate (10 March 1844 – 20 September 1908), who was a well known Romantic Era Spanish composer born in Pamplona, Spain, died in this city.

In 1959, Cadillac Motor Car introduced an upper level trim variant of its Eldorado model, marketed as the Eldorado Biarritz, which remained in production through 1985.

 

International relations

See also: List of twin towns and sister cities in France

Twin towns/sister cities

 

Biarritz is twinned with:[11]

 

United States Augusta, Georgia, United States, since 1992[11]

Portugal Cascais, Portugal, since 1986[11]

Belgium Ixelles, Belgium, since 1958[11]

  

Spain Jerez de la Frontera, Spain, since 1996[11]

Spain Zaragoza, Spain, since 1986

Argentina Mar del Plata, Argentina since 1996

  

Festivities

 

The major festivities are celebrated in November 11, for Saint Martin. That day, the new gentleman of the Confrérie de l’Operne de Biarritz are proclaimed. Barnacle is their logotype and people who work in favor of ecology are chosen Since Biarritz is a city based in tourism, there are acts during the whole summer, such as pelota festivity, equestrian competition, concerts and recitals, folklore festivals, water acrobatic ski, sea trips, performances, rugby competitions, bullfights and night parties.

References

 

INSEE commune file

 

Eugène Goyheneche (1979). Le Pays basque : Soule, Labourd, Basse-Navarre (in French). Pau: Société nouvelle d’éditions régionales et de diffusion. p. 590.

Lee, Sidney (1927). King Edward VII: A Biography. London: Macmillan. pp. 581–582.

George P. Schmidt and J. G. Umstattd. "The American Army University at Biarritz, France." Bulletin of the American Association of University Professors. Vol. 32, No. 2 (Summer, 1946): 303-316.

Encyclopaedia of Surfing. Books.google.com.au. 2005. ISBN 0156032511. Retrieved 2013-05-11.

"Données climatiques de la station de Biarritz" (in French). Meteo France. Retrieved December 28, 2015.

"Climat Aquitaine" (in French). Meteo France. Retrieved December 28, 2015.

"Normes et records 1961-1990: Biarritz-Anglet (64) - altitude 69m" (in French). Infoclimat. Retrieved December 28, 2015.

Last Updated: 5:28PM BST 13 Aug 2007 (2007-08-13). "Biarritz: summer nights – Telegraph". Telegraph. Retrieved 2009-05-05.

"News from Biarritz – France". Biarritz.fr. Archived from the original on 2008-11-19. Retrieved 2009-05-05.

Aimee de Heeren Archived 2015-01-10 at the Wayback Machine..

"Twin towns, Biarritz official website". Biarritz.fr. Archived from the original on 2013-07-29. Retrieved 2013-05-11.

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A chance spot last year, not that I could miss it. A somewhat modified Mini City E. I wonder how much money the owner has wasted on this? I suppose if it makes him happy then it's all good...

Why m43 is doomed 11.

When was the last time you actually spotted any Nikon camera in the field?

I am really shocked to realize we do no longer see any Nikon any more and even in a big anti Nuclear demo I encountered near Roppongi station no PJ guys using Nikon due to the poor LV and video performance of all Nikon FX bodies. Also many many guys shooting the demo told us the excessively loud shutter sound of Nikon DSLRs would make the cops really irritated or even angry.

I guess Nikon is rapidly becoming kind of an irrelevant player here in Japan , no longer a rival of Canon but seems really like a rival of Ricoh Pentax.......Nikon really needs serious fast APS-C mirrorless system with silent shutter, or Nikon may have to go bankrupt very soon, as all other divisions of Nikon INC are now losing some big money(the camera division is still profitable, now posting 21 consecutive profitable years).

 

Now Nikon has released the D7500 and I have tested it a several times at our shop basement(very dark)........ and I confirmed its LV AF speed is a tiny bit faster than the D500 or anything from Nikon since 2011, but still no where near the level of Canon dual Pixel AF or Fuji X-T2 or Panasonic G85, let alone the GH5 or the current fastest LV AF champion the Olympus EM1 MK2.

 

We all know that just a few months back, no Nikon users admitted the fact Nikon might be losing the game and they all insisted on there would never be a mirrorless camera that would rival the D500 in AF and overall speed, etc............but now it seems all changing rapidly. The game has changed and Nikon seems unable to adapt to the new rules set by Sony, Olympus, and Fuji..........it seems like Nikon has been and will be the most vulnerable one of the major consumer camera makers if not the all time biggest loser of this industry.

 

Typical camera forum experts do not understand how serious the LV AF issue is since they are mostly over 50 kind of old men and never carefully study how young boys of their sons' age shoot their cameras. They say most of them use Smartphones, yeah that is what they think, but there are many young guys coming to our shops to actually buy a SERIOUS camera system. They just do not get Nikon any more since they feel it as an obscure brand and they see how slow its AF in LV mode is and that is what they care since none of those smartphone generation boys shoot their camera through the OVF. To them(even to me) the ancient OVF feels really anachronistic, and the mirror slapping noise,etc, feel very annoying, kind of cranky junk.

 

Nikon fanboy experts like Kevin Raber and Tony Northrup do not get true value of fast LV AF system, but the main reason why Nikon is doomed and Canon is not is that Canon has already solved poor LV AF issue of their D-SLRs with the DP-AF tech but Nikon hasn't developed anything similar to that.

 

Nikon never learns to ignore all the annoying self-proclaimed experts such as Tony Northrup, Kevin Raber, and the guy runs Photography Life. They are simply ignorant narrowminded DR fanatics......to them every camera has a high DR sensor is outstanding.......

I think Mr.Hogan is an exception. He is more realistic and understanding the industry more broadly and therefore he sees it clearly that the so-called Mirrorless won't be the long term future that will ultimately save Nikon.

However, he clearly points out the so-called mirrorless is also important for the short term future......but it is not the long term solution....and many of us dealing with boys in his 20's know he is right.

  

As I said many times already the so-called mirrorless will not be the final answer to the manufacture, but they at least have to try designing a camera system that actually entice some of young boys and girls who are still interested in learning serious camera, and I think there are many of them out there, just the manufacture do not know how to market at them.

 

Nikon should listen to the young smartphone generation photographers instead of the annoyingly condescending self-proclaimed experts online.

 

I really think the excessive D800 popularity among the internet forum gave Nikon an wrong impression that was the direction Nikon would have to be focusing on......But out side of the internet DR freak community, no one cares about a camera like the D800......with lots of design and mechanical flaws.......

  

The current style of so-called mirrorless fans always write about the death of D-SLRs, or it's already too late for CN to get in the game, but is it really so?

 

Well I think Canon and Nikon simply have extreme wealth of existing users to pull from, so they stand less of a chance of customer upgrade exhaustion, versus smaller mount marketshare such as Fuji and m43, and so they will still have some time to prepare for the best possible way to play the game. Well, I know if I write this kind of thing, then m43 fans get furious and tell me," but then so did GM in cars until their loyal customers smelled the coffee and walked away in droves for better value and features. And as with GM, their loyal base is, based on what we see in the field, increasingly graying."

I think that's stupid, mixing up camera market with car market is really wrong. Camera business works more like PC or Mac than car. If you have too many Windows only programs that you must need, you can not easily cross over the fence to go Mac, or vice-versa..........Camera system works in similar way to that. Many of us have too many lenses for a particular mount or mounts to move out of the eco- system/s easily as Thomas Davis pointed out a few weeks back. Who is Thomas? He is our friend and customer.

So, Canon Nikon Sony do not become like GM or Kodak, but they are kinda MS of camera world. All that said, I think it is wrong to put Canon with 45 percent of the market share and Nikon with just 27.5 percent of the market share in the same league, but it is another issue.

Plus, GM is not dead as many GM haters believe it is, it is still a much better company than most of European car manufactures at lest in my area. I love Corvette ZR1 and that is the greatest sports car to me. So GM is nothing like Kodak or Toshiba, I mean GM is still a great company.

Then, m43 fans argue: Then, why do you think mirrorless got to be this popular? older people that couldn't handle the weight of DSLR at first and slowly moving in to m43, that is why!

On paper, it was maybe correct at the very beginning of mirrorless boom movement, but in reality that's too much of a generalization..and many of the early m43 adapters moved to a bigger sensor mirrorless system such as Sony E or Fuji X as they matured.

I know from walking around and observing in many places .. and also tourist places in Japan, Thailand and Korea.. DSLR's are being used by all generations, and I rarely see a mirrorless in the field. In fact, I have never met any m43 users in real world out side of forums or my camera mall. I saw a several Fuji, a couple of Sony A6000 guys in my last summer trip with my Chinese friend, but did not see any m43 at all. I also never saw any A6300 user in any where I have been to.........Many forum pundits exaggerate the number of the MILC sales or the switchers to it from the D-SLR world, but the actual recent trend in the real market place we have been observing is just opposite. In many occasions, I find myself only one mirrorless user every where I go to.

Many many guys mostly serious young guys going back to Nikon or Canon from Sony and Fuji.Or ditching m43 for a bigger sensor mirrorless or for one of the smaller One sensor cameras.

I thought it was only a trend at out shop, but seems every shops and internet used camera dealers agree with us that they are seeing the same trend.

So it seems to me is m43 is the true loser and will lose more and more customers as Sony E, Fuji X and Canon EF-M get more matured.

I know many mirrorless fans especially the most avid m43 fans do not believe the trend and still believe they are on the winning camp, and tell us, "This is like saying that if any manufacturer produces a truly great product, people will buy them and then never another. Seriously? Tell it to Apple about the iPhone, I'm sure it will have them shaking in their boots."

Well,actually it makes a lot of sense. Even reading through these forums, more and more you see / hear people saying......."what I got is good enough."6+ years ago, that was not as much the case. Camera equipment for a particular image / view size has become in most case, diminishing returns.Canon and Nikon try to extend this usually by extending the product life-cycle, and waiting longer than in the past to build up more pent up need to upgrade (age of camera, more features that they can add in over time,etc). However the fact remains that most cameras today are good enough to last through two generations of upgrades. And many many people realizing it and they now buy an used camera..........

If you only print / view at 20" and your AF is fast enough, and your images look good, and you like your camera.

Then why would you upgrade to the next one every year?

Camera companies and Sony fanboys think more MP always sale better but our houses or rooms sizes on average are not getting bigger, the printing size or displaying size of images is always the same for most of us. So why is more resolution needed if you already own a decent FF or APS-C camera with at least 20mp sensor?

And, as system capability is more serious concern now than a body alone spec sheet feature comparison for many serious use cases, many many photogs- especially serious users are realizing even their old D600 or 6D system was more capable than any latest greatest mirrorless from Fuji, Panasonic, Sony and Olympus(except A7 line). If you need a flash and decent power for it then you need a big body. Or, if you need a long lens, then you need a proper body to support it. So the current form of the puny toy-like mirrorless cameras will become less and less popular among the serious shooters who care about "system performance" rather than just a sensor alone performance in a lab.

And honestly in terms of IQ, no mirrorless out side of the A7 series keeping up with the best D-SLRs such as the 5DMK4, the D810 and the D750, and for IQ to IQ comparison the mirrorless cameras are a lot more epensive than the D-SLRs.

To be fair to the mirrorless companies, many many mirrorless are still playing the catching up game to the best D-SLRs in AF and ergonomics departments, and so they need to be replaced every year or so to keep enticing those must-have-the-latest kind of guys..........However, the writing is certainly on the wall with mirrorless that they will start facing the market saturation(above good enough issue) issue sooner than later(I think many logical guys and girls have already realized it and thus selling their m43 or Fuji and going back to Nikon, Canon or Sony).

I think this is why many many MILC shooters going back to Nikon or Canon recently and this trend is becoming more and more glaring every year. The peak sales for mirrorless guys was achieved in 2012 and then gradually going down, but most of the rumors sites do not want to bring this up, rather want to hide it, and I guess you guys already know why?

Actually, as opposed to a common forum myth-phone killing all ILCs, phone sales has nothing to do with poor camera sales, and even in that industry, they are seeing the supposed to be dramatic sales figures start to slow down dramatically because older phones are actually .. pretty good, or good enough now for many people. Only extremely foxy dishonest reviewers did not see it and blame everything on the phones. Honestly we sell a lot fewer phones at our mall than we did in a couple of years ago. And most of guys just buy iPhone or cheap Chinese phones no in-between products sell well. And even iPhone is now difficult to sell......

This is also why it would be corporate suicide for Canon or Nikon to wholly switch over to a new mount and ecosystem from their existing EF and F mount ecosystems now.

There are simply not enough people waiting for it. Remember, only those speak out loud about their requests for gear in gear forums are gear obsessed armchair pundits who prefer every newest and most hyped toys but in reality, the supposed to be amazing newest gimmicky cameras do not sell well..because there are not many armchair experts in real life and the most hyped toys are often overpriced, therefore many price sensitive buyers shun them..

In addition to that, in reality, for Canon and Nikon, the stable sales of their lenses, the majority older designs with long ago paid down R&D costs, is too much of a cash cow, so again, it is very very unrealistic to expect we see their "serious" mirrroless anytime soon.

The last three years or so many people have believed It's only the m43 system that may actually take full advantage of the format with the current line of extensive small lenses..to be actually small enough to be appealing to many light users.

But is the supposed to be cheaper and more compact system size with the extensive lens line up really helping m43 system sales wise? Most likely no.

As an example of m43 sales performance, we see Olympus' camera-imaging division has lost money for six straight fiscal years. And they are in trouble .. AGAIN this year.

 

www.nytimes.com/2016/04/10/business/international/olympus...

Further more,it's assumed that Olympus has around a 60 or so % of the m43 market - which would be reasonable and probably even under the actual share of their system considering Panasonic has fallen much off in Japan and in Asia. This is quite shocking, isn't it?

We're talking about around 510,000 / 60% or 850,000 units per year for mFT. let's round that up to 1 million just for giggles.

The total World Wide camera market shipped is around 13 million units .. mFT makes up around 1/3 of mirrorless, E mount makes up around another 1/3 .. and the rest of the vendors (Fuji, Nikon, Canon) make up the remaining 1/3. The Olympus and Sony share seems huge if we look it this way, though,m43 plus E mount share only make up around 14% of the entire ILC(Mirrorless + D-SLR) market is the sad reality for them.

It strikes me as puzzling that ANYONE would think that mFT is anything but niche when the most successful (sort of) mFT vendor can only ship out 510K units PER YEAR, and it only has about 7 percent of the entire ILC market share. Canon, on the other hand, has been always criticized by forum marketing experts but they've actually owned and still owns about 45.2 percent of the entire ILC market and it is actually increasing up to 47.4 percent.

Thom Hogan projected Sony at 1.1 million ILC last year. However that may be too high because Sony's again playing games with the numbers.

Canon, Nikon, Olympus and others will TELL you how many units they ship. But Sony and Fuji .. have just obfuscated that data for the longest of times.

Why? Probably because it's not as good as what they want people to believe or what they feel comfortable to reveal to us. You only hide something if it doesn't look good, and you find stats that make it look better than it is, but still be technically accurate.

What are they doing? they are reporting marketshare based upon "value" and including ILC's and lenses value combined and not reporting marketshare based upon units sales.

Now considering that Sony and Fuji do not really ship out any mass quantity cheap ILC's anymore AND their lenses tend to be overpriced and to the high end of the money spectrum, the 11% marketshare claims of Sony and the 8.1 percent of Fuji seem dubious at best, we suspect it much lower than that in terms of unit sales. So those losing sells are not just m43 guys but also Sony and Fuji.

Even IF we take Sony's 11% number as being accurate .. the interesting element here to note, is that Sony has LESS of a marketshare than before they went on this lovely E mount adventure.

What's probably more accurate is that Sony's actual mount marketshare is declining on a YoY basis .. but it's hidden by the fact that they are now selling more expensive units.......

As for Fuji, I cannot comment anything more than I already did since it does not have long enough history with the X system yet.........but I am not very optimistic about that either.

So where is the successful mirrorless maker? And I cannot help but I have to ask: May Sony/Olympus be the next Kodak? I guess Samsung knew it away ahead of the time and therefore they called it quits just like IBM was smart enough to know the upcoming PC market crash...........I guess Samsung was the only one MIC maker realistic enough to see through this miserable fail of the so-called mirrorless camera industry.

Who will pull out from this next? I think it will be Olympus or Pentax but they are not really logical companies, so they may continue it for their egoistic corporate pride even though they will continue to lose a lot of money every year.

In the end, I must conclude that the current safest choicees are Canon, Nikon and Sony E mount with adapted lens solution. In that way, even if Sony E mount fails, you can re-use your lenses with adapters on a new system.

But most likely, in the long run, the mirrorless version of current EF and F cameras will become the next decade standard for serious or more action/hybrid related market.

The recent focus on the E series lenses from Nikon is their way of saying they will use the F mount for their serious mirrorless camera and therefore keep your lenses.

I think Canon already showed that with all the new series of STM lenses.

And the E mount, the EOS-M mount will take the rest of the market.

  

UPDATE: At CP+ show I tried the EM1MK2 and GH5 and compare them to the XT20, and to my own Sony A6500.

I was very impressed with all of these, the sensor is much better than the previous version at least in the area of read noise and pattern noise. But still, it is not quite as good as the sensor in the A6500. But the gap is definitely narrowed with this new sensor, and IMHO, it may already be better than the Canon 80D sensor or the Fuji XT20 sensor which only has ISO 200 and crippled by the terrible Fuji X-Trance filtration tech. I think Fuji definitely needs to ditch the horrible X-trance thing and the terrible film-like U.I., which all the current Fuji X-Trance cameras share, and they definitely need to produce some really usable RAW developer.

I think Fuji is already worse than the best m43 in terms of IQ and speed, real-life usability,etc, and definitely much worse than the best Sony APS-C.

 

Fuji guys claim that their X-Trance bodies are already almost as good as the 36mp FF sensor, and it definitely better than any other APS-C sensor out there due to the better X-Trance filtration combined with elimination of the AA filter.

But in reality the Fuji 24.3mp sensor resolves about 14mp or less , while the normal Sony or Nikon 24.3 mp APS-C without the silly X trance resolves about 17-18 mp with a good lens, so it is much worse than the normal 24mp APS-C with copper wiring tech used in the A6300 and the A6500, let alone the A7R sensor.

But I like the XT20 for its very intuitive touch screen and very fast and easy menu system, but it is not enough to make me actually buy it in addition to my Sony and m43 kit.

If I have to choose a EM1MK2 or a XT2 or XT20, I would definitely choose the EM1MK2. The IS of it is incredible, nothing short of truly outstanding, it allows me to shoot at 1/2th at 100mm f4! It has really perfect dust reduction system as Olympus CEO himself describes it as one of the best (but most underrated)feature of any Olympus camera to Dave Etchells of IR. It is truly incredible and I also agree it is really underrated. I always wish my Sony cameras had it too, then I no longer need to worry about annoying 45 or more dust spots appear on my A7R2 and A7M2 sensors.

The Panasonic GH5 also have incredibly effective dust reduction system, and it is a blazingly fast camera both in AF and in operation. The DF-D really works inredibly well and its low light AF is nothing short of amazing.

As I already wrote about it a few times I think it is the best hybrid camera currently available under 3k. The A7R2 is a better camera for stills but it is not a good video camera, so not a very good hybrid camera and I am tired of cleaning its sensor every month and I also hate its very erratic slow lowlight AF.

I think the A6500 is the best Sony camera to date but I prefer to have the A7R2 sensor or A7R sensor in it, however, if Sony gives us the FE level of strong lens line for the APS-C E mount, I will definitely prefer the APS-C E mount for the size and deeper DOF at any given F number reason.

I am still debating to go all APS-C or keep so-called FF for a while , but I am tired of the dust issue and traveling with a huge camera bag I need for it.

Now I am busy and I do not have much time to write about detailed hands-on experience or detailed comparison the Fuji XT20vs the EM1M2 vs the GH5 vs the A6500 vs the XT2.

But I think I will write about it as soon as I get the Voiklander 40mm f1.2 for my A6500.

In any case , for the modest size and price, the A6500 is a great camera, very versatile, very fast with a huge buffer that is about two times better than the buffer of the A7M2 and about 45 percent better than the buffer of the A7R2 , it records the best looking 4k of all Sony consumer cameras, and it has a decent touch screen and touch AF feature.

Its AF is really good in day light and decent even in bad light, this is the first Sony camera that's actually able to focus well in decent lowlight, but in real lowlight like minus 4 EV light level, it cannot touch the Panasonic or Nikon, and even a bit worse than the Fuji XT20. And it really needs the best FE lenses to really shine, however , if you are like me already have a full set of FE lenses, then it is a great camera.

 

UPDATE2:The last two weeks or so, I have been testing my Batis 85mm f1.8 (I have 2 copies of it and I have access to 6 extra copies of it at my shop) vs the new Sony FE85mm f1.8.

And surprisingly enough I found the Sony cheap lens actually quite a bit sharper at f1.8 and probably throughout all f stops.

The bokeh or out of focus area rendition of the Batis seems to be a bit smoother, it has a bit less lateral CA, but it seems to be softer, actually obviously so. It is not a copy issue since I have also tested 6 extra Batis we have at our store.

Another big con of the Batis vs the Sony FE 85mm f1.8 is that the Batis has noticeably more pincushion distortion , if you turn off the in camera lens correction, you will see it in the EVF of any Sony A7X camera.

The color tone is also different, the Batis produces a bit warmer color than the Sony and many say they prefer the look of Zeiss, but honestly if you objectively blind test it you will soon realize the Sony renders everything more naturally with a bit more neutral tone. Many Zeiss fanboys just say it is a Zeiss, so it is a special lens, well really? Not all Zeiss lenses are great, only a very few Zeiss are actually great, and these days everything is designed with computer with using the same software, so every lens in the same size range is actually identically sharp, no dramatic difference there, really..

The Tamron 85mm f1.8VC, the Batis 85mm f1.8E, the Sony FE85mm f1.8, are all similarly sharp wide open, and from f2.8 the Sony is noticeably better than the Batis and the Tamron.

I also prefer the cooler out of the camera color of the Sony lens over the Tamron and the Zeiss Batis.

Now, we all know that Zeiss is not a better lens designer than Sony or Tamron , or any one..........maybe this fact is really hard for the fanboys to admit, but it is the reality.

IMHO, the only one minor drawback of the new Sony FE85mm f1.8 is the a bit harsh out of focus area rendition in strong back lit scene, and I think almost all Sony FE lenses share this issue.

The AF of the FE85mm f1.8 is much faster than the AF of the Batis 85mm f1.8E, so for shooting my cats indoor, I think the Sony is a much better lens. For weddings, I think the Batis may be a bit better since it renders our of focus area a bit smoother in extreme back lit scene. However, I do not like the warmer color signature of the Batis and many Japanese Zeiss lenses. I suspect the actual lens designer for the Batis series is Tamron, and therefore they share very similar look to the Tamron 85mm f1.8VC. I may be wrong here but I think I am right since the look Batis series lenses share is quite different from my MF Zeiss lenses including my Loxia lenses and ZF ZE lenses.

It is sad but I have to admit that almost all Zeiss Batis and Loxia lenses are just ok , nothing really special about these, except the 25mm, which is my favorite lens, and Loxia 21mm f2.8 and may be also the 50mm f2 Loxia.

The 18mm f3.5 Batis is a poorly designed lens, really should not carry the Zeiss blue badge. The Batis 85mm f1.8E was a great lens, at least I thought so until I compared it to the new cheap Sony 85mm f1.8, but now it is the softest 85mm in the current Sony E mount lens line up. The FE85mm f1.8, the Tamorn 85mm f1.8VC, the Sigma 85mm f1.4 Art, the Sony 85mm f1.4GM are all sharper than the overpriced plastic coated bulky Batis 85m f1.8.

I am selling the Batis and get the Sony FE50mm f1.4 soon to replace my Loxia 50mm f2 and Sony Zeiss 55mm f1.8.

 

But the most important change that this very humble Sony FE85mm f1.8 has induced in this industry is that it has kind of killed all charms of the m43 system and the Fuji X system.

The Fuji 56 f1.2 and the m43 fake Leica 42.5 mm f1.2 lens are great optically, but as a whole system, they are a much less capable system than a cheap Sony lens on a FF body.

280m high, 360 degree view over Tehran and mountains. Including antenna, the Milad is 435m high and the tallest tower in the Middle-East. Finished in 2009. Fee is 350k Rials (=EUR 10) to go up (April 2017). With this ticket you can also get into the Skydome, the closed observation deck, a museum and the revoloving restaurant. There is also a cheaper ticket which only allows you onto the Open-Air Observation Deck not sure what the price of that is. This is, with clear views, very well worth the money!

 

tehranmiladtower.tehran.ir/

E X P L O R E MAY 04,2010 pAGE # 26

www.flickr.com/explore/interesting/2010/05/04/page26/

 

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Turn miles into money. Drive with Lyft.

 

headpin.zujad.us/got/ham/MTYwOXwzOXw0Nzk2/land/iZ2l2ZXM5M...

 

Preferences

perceptibly.zujad.us/got/ham/MTYwOXwzOXw0Nzk2/unsub/iZ2l2...

 

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OLYMPUS DIGITAL CAMERA OM-D E-M1 with lens Olympus M.Zuiko 12-40mm f/2.8 PRO. HDR from 3 exposure bracketed pictures taken hand held at f/5.6, ISO 400.

I have learned through experimentation and experience that a compelling color image is created mostly by working with light and colors and not so much by investing tons of money in the sharpest lenses or the most advanced cameras. That is good news for my wallet because I have spent unreasonable amount of my hard earned money into photographic gear with diminishing returns on my final images. My images improved significantly when I started to post-process them learning from various tutorials.

Since I could learn through the generosity of others who posted their free advice, I will share with you the technique I used to produce an image like this one, using the split toning function of Lightroom.

 

**************************************************************************

 

In addition to the now classic HDR technique used to exploit the full dynamic range of the scene, I reinforced the blue colors captured by the white balance setting of the camera by using the split toning function of lightroom. Instead of making the entire image bluish by affecting all colors/tones, I made the dark tones bluish while keeping the highlights warm/orange. Then on the final image I increased the saturation of the red and orange colors by using the saturation slider of the HSL panel while decreasing the Luminance of the blue channel which saturates the blue color more naturally than the saturation slider.

 

This post processing technique is commonly used in the cinema industry where the trend of modern thriller movies is to have dark tones greenish (Bourne Supremacy) or bluish (Mission Impossible Ghost Protocol) while the skin tones or highlights are warm/orange: in the Transformers movie you will notice that the skin tones are too much orange, This is how you transform a video image into a cinematic image in post production and it is called color grading.

if you watch the first 2-3 minutes of the great video tutorial of this link below, you will understand quickly how every movie is color graded nowadays to create this cinema look. This is a good base to understand the parallel between cinema and photography using the split toning function (only 2 splits shadows/highlights in Lightroom vs the more complex 3 splits in Davinci Resolve with shadows/mid-tones/highlights).. Ignore the rest of the tutorial which is designed for movie experts.

juanmelara.com.au/the-summer-blockbuster-colour-grading-t...

 

I tried to accomplish something similar here to create this picture which seems to be extracted from a crime/thriller movie.

 

If you need instructions on using the split toning function of lightroom to create a cinematic look, here is a short and simple video tutorial I found on the internet:

www.youtube.com/watch?v=ihPJn2pxi68

 

If you do not use Lightroom but have photoshop, you can use Camera Raw to accomplish the same result. Here are a few examples before/after when you move your mouse over and outside of the image:

www.perfectphotoblog.com/how-to-make-film-look-photos-in-...

This specific image was made with Sony A7R

 

Now amazing Capture One pro 10 is out, and for Sony users the express version is free.

The Capture One 9.4 before it was simply outstanding RAWC, much better than anything from Adobe or Raw Therapy.

 

Unfortunately, the free version of C1 does not handle Canon, Nikon or Olympus RAW, only Sony or DNG(Pentax and Leica).

 

So I guess It is another big reason for many of us to choose Sony over anything else. If you use Sony, you can get a full copy of Capture One pro 10 for just 50 USD.

AS far as I am concerned, this is an incredible deal, great Christmas gift for us from Phase One, the greatest company in Photography ever.

 

I think both Capture One 10 Pro and DXO 11 produce a bit better color than LR CC or LR6 for Sony, Canon,Olympus, or Nikon.

 

I suspect that Adobe programs are optimized for Canon but even for Canon CR2 files, LR6 and CC are not good enough, never produce the amazing amount details that Capture One 10 or DXO 11 does.

 

Seriously C Oen 10 pro for just 50 US is an amazing deal. nothing beats it for that price.

Capture One 10 is a much better more serious program than the LR crapware, and the biggest deal here is not need to deal with the Adobe subscription stuff. Many many Adobe users used the license and repaid it to re-activate it, it is really terribly unstable. I had one time could not use it when I was editing my images on site in a mountain area and they say my account is just trial although I paid it for full CC version.

So after coming back from the mountain, I decided to cancel all Adobe CC crap, and I just got Capture One express 8.32 for Sony free,then later in the same month (last April)I upgraded it to the pro version. I could not be happier.

Now, also DXO is offering me a copy FULL copy of DXO 11 Pro version for just 99 USD. I will get that too.

Honestly, there are still times we need Photoshop but I do have full copy of CS6, so I do not need CC anymore, and I've found life without Adobe CC crap is really much more relaxing and easier.

  

The new race:

 

Now we got another APS-C E mount camera supposed to be the flagship camera for Sony E mount but lacks many key features and I ordered it a few days ago and got it last night. I am talking about the A6500 here.

 

I've owned a7II, a7R, a7,A6000,A6300,A6500,NEX5n, NEX6,NEX7, A100, A350, A700,A99V and A900.You may not easily find a bigger Sony camera supporter than me.....So I am obviously not an anit-Sony or mirrorless kind of person. I think I was one of the very first Emount adapters in the world, and I have probably spent more money than most of just temporarily moved to Sony because of the A7RMK2 kind of guys out there. But I am realistic and know the Sony system is still incomplete, on many levels it is not comparable to Nikon and Canon D-SLR systems and even not comparable to Sony's own A mount system just yet.Yes, the EMount cameras produce great images in right conditions.But they have ignored maybe minor but actually very important subtle evolutions that larger cameras earned through decades of camera companies listening to their customers, including pros.

 

Please do not be overly defensive about Sony, and definitely not deny or ignore the facts, ignoring or denying it,or overly defending Sony just spoils Sony and stops the potentially the most interesting and advanced arguably almost universal mount system from fully developing its full potential. I honestly believe the E mount is an almost universal hybrid mount system that might replace all of the current camera mount systems to make it just simple one mount if Sony listens to its customer base..

The EMount system would be better for everyone if Sony listened to a few annoyingly loud but honest professionals like Ming, Thom and Michael,who raise valid issues/points. No one will be hurt if Sony engineers understand it some subtle nuances that many photographers have actually relied on for decades for their real life work projects in the filed, and only way for Sony engineers to be able to get it correctly is to listen to likes of Ming or Thom or like that even if they are not Sony fan. Only listening to likes of Michael Reichemann,who seldom criticize about Sony or any camera, just spoil the E mount and stop it from fully development.

Some of us are really crippled by Sony ignoring these minor but important features.

Face it and see the reality, Sony is not listening, but rather mean to its user base.

Try not to express strong opinion on Sony or Mirrorless l keep that to myself and just write about the facts of the current state of the E mount system and its main issues in real life use:

 

1>Even the most avid Sony enthusiast has to admit that Sony really screws their customers over with a new model in every few months

far as depreciation. This is as opposed to Canon, say the 5D3

loosing 2/3rds of an A7 resale value in 14 months is just hard to stomach. Ming is right that wait a year for the R3 and the R2 will be way way down probably 1200-1500 used. And even now, at least in Japanese market there a quite few used A7RMK2 floating around the internet.

thats a tough bite in a year for all but the professionals. wait 2 years, and its likely under a grand...and there is no serious FW update to any of the original A7X cameras,I mean there were a few FW updates but they were all minor bug fixes not like Samsung adding many super new features to its NX1 every time Samsung updates it.

 

I think this is a very important point, and I think this actually hurts Sony not helps in the long run since this really scares those who buy the"system" rather than just a body kind of guys away from the E mount system, and those buying into the system not a camera actually spend much more money in the long run for Sony. I still have the original A7, along with the a7R, A7M2 and A6000 just because it is almost impossible to sell my A7 without losing too much money, and sheer IQ wise, none of newer A7X cameras is a huge upgrade to my ancient A7 and A7R(I know in a lab they are much better tested,but I mean in real life)

I actually have NEX5n andNEX6 too, although I haven't even touched them for a couple of years or so.

I tried to sell my NEX6 and NEX5n,which I hate but I could not get any significant money for them,so I just kept it for days I would have to shoot in intense rain, or in risky or dangerous places.

I know the a7M3 is coming very soon, and I'm already preparing for it, but I have feeling that I might just avoid it even if it is a great camera, I just hate Sony keeps depreciating every single body it releases in a matter of a few months, most of Sony cameras do not even have a couple of years of life even the expensive A7RM2 will have just a year of life, it is really silly.

2>The widely reported promise of adapted lenses working as well as their native mounts is a big marketing lie. In reality even with Sony's own LAEA 1, 3, 4 adapters, AF-C is incompatible with Continuous High bust mode. Must use Cont Low at 2fps, and it's about as accurate as an old Sony A100 focus system. Also, no Sony/Minolta tele-converters are compatible. It is not a replacement for DLSR or SLT tracking. I'd be interested to know if Canon teleconverters work with Metabones adapter,though. Yes native EMount lenses focus better. But the selection doesn't present itself as a full DSLR replacement. Where is SEL70-400 mm SSM?

3>In my rent studio shoot comparison, two A7M2 with the external battery grip got 710 shots writing RAW only. One D750 without the external battery grip got 1560 writing RAW+JPG on two cards. The A7M2 required computer/hard drive backing up, lens adapter, battery grip, making it the larger system to carry around than any Nikon or Canon or even Sony's own A mount camera such as the A99V,which I had a year ago.

And even more serious problem for studio shooting is the external vertical grip with two batteries will not transfer power to second battery when tethering. Sony Remote Camera Control software shuts down with low battery warning at 20% left on battery one. Will not clear until first battery replaced, regardless if second battery is present. Second batt is useless in tethering mode.Less power, less shots, more tether software startups. Same thing happens when installing software from Play Memories App Store. a99/900 transfer VG battery power smoothly for tethering.

So,Sony can actually do proper tethering for the A, but for E mount system Sony chooses not to do it properly, this is extremely odd to me.

4>EMount really complicates its AF usability with at least minimum two button push for AF selector points. No diagonal scrolling available to get there faster,... the same usability issue for magnifier and playback for manual focus. Two hurdles which make it slower than regular DLSR joystick instant control with horizontal scrolling for AF selector, magnifier, and magnified playback viewing.

For small bodies like the A7X, there may be no space for the simple joystick UI of the DSLRs, but at least Sony can put some sort of touch-AF feature in the A7X.

It is a big mystery to me that Sony always refuses to put touch screen UI in the A7X and A99X cameras.

As Tony Northrup says, touch screen U.I is really practical,especially for small cameras.

As an Olympus and Panasonic user, I know this very well.

I think every EVF camera needs touch AF feature and even better touch pad featre of the latest Olympus EM10M2.

5>The dumb metal thumb bracket accessory for RX1 has a lock for so-called muti interface shoe fit... but the flash adapters and microphones of any Sony A7X don't have any locks. Should that be the other way around? CaNikon have full metal locking sleds on their flashes, yet Sony has four plastic toes... not even full sleds.

It may get some unwanted water or any kind of liquid in side of the main board of the camera. So I taped it with some vinyl tape.

6>Sony actually fixed the plastic lens mount flexing with a A7m2 and R2, but never actually bother to recall the A7R and A7 to fix that issue. Even worse when it used with lens adapters, the mounting points are doubled, causing rotational wobbles when the bigger lenses are zoomed, even the size of my relatively small SAL 85 mm f1.4 ZA.. and, the adapters the only way for any A7X to use any f 2.8 zoom or f1.2 prime, that is really annoying.

7> there are many features that would cost nothing to implement and are clearly better in pro cameras but Sony tends to ignore those,as far as I remember Sony seldom adds new features with FW updates, but forces us to buy a new minor update or even worse just some annoying usability issue fixed model like the A6000 or the A7M2. All Sony cameras are not weather sealed, I think neither are all Sony lenses. I am sure assemblance of real water resistance isn't that expensive as the myriad of inexpensive water resistant consumer products proves these days. A hot shoe lock is simple and effective. Why would Sony decide their cameras shouldn't have one? What possible advantage is there eliminating it? Speaking of flash, why can't Sony implement real slow sync fill flash or real ring flash for proper macro shooting? It is beyond my understanding, and really shocks me how careless some of so-called pro camera designers are, I am sure they are not ignorant or obtuse people but careless, choose not to listen to the real user base. This kind of arrogance is always found anything Asian electronics company produce, they do not listen because of their silly egoistic pride, especially Japanese.

 

10> Sony cameras may switch raw bit rate to 12-bit output,which actually has about 11.9 bit of info to deal with, in a few specific shooting modes;in continuous, in bulb mode, and I think also in silent shutter mode..Actually,this really odd phenomenon/behavior of the A7X cameras is much more annoying and a serious issue than the lossy compressed 11-7 RAW that always criticized by likes of Loyd Chamber, Thom Hogan, and Ken Rockwell,because the sudden bit change in silent, continuous,bracketing and bulb modes may actually cause visible compression artifacts. The 11-7 raw compression actually does not cause any visible artifact except in extremely harsh bright high contrasty scene or super long exposure image.

 

In addition:

 

•Rear dial is horrible. Cheap and fiddly.

•Sony's menu system is confusing. Things are not grouped logically even for a guy like me having used almost every single Sony camera since about 2006.

•Shutter button is mushy, and makes the shooting experience feel slightly laggy, sometimes even slow.

•Startup is inconsistent. Sometimes it is almost instant, but most times, it takes a few seconds to get going, especially once it goes sleep or needs to format the card.

•Back button focus is very poor, because the button around the AEL switch is small and fiddly, even for my relatively small hands it is too small and awkward to navigate..

•Flash system is limited compared to Canon/Nikon, and it feels old dated without proper radio control mode.

To me, the slow formatting time is a really annoying problem, and Sony cameras cannot share the same card with some other brands cameras in a shooting session. It is really annoying for a person like me who shoot many brands camera systems at once.

Last week I was shooting macro with my Olympus EM5M2 and Sony A7 and A7M2(my A7R and A6000 are at Sony for sensor replacement service), I tried to use the card I was using in the Olympus in my Sony, my Sony A7,A7M2 and NEX5n rejected the card with saying something like this card needs to be re-formatted since it has corrupted files.

I put it back into my EM5M2, it then worked properly and properly read at least jpeg files although they were not Olympus but Sony files.

I found all other manufacture cameras can share one SD cards for one shooting session if forced to, but Sony, Sony cameras require dedicated cards that are formatted in the PC or Sony cameras.

This is really really annoying, sometimes SD cards used in the Sony become full, and sometimes take out the card from my Oly or Nikon and use it in my Sony, then Sony tries to format it every time. This never happens in other brand cameras, so the cards can be shared between Canon, Nikon and Olympus safely without any issue, but need some dedicated cards for Sony.

And, I do not know what my A7,A7M2,A6000 and A7R doing but every time I try to format a card in them, they take a several minutes or at least a couple of minutes to do it. Because of this I've missed a several shooting opportunities in last week.

 

I, like Michael and Kevin,see real advantages to many features in the A7 series and other mirrorless cameras vs. DSLR's. And I strongly believe EVF is the future, and that is the main reason why I use Sony and Olympus.I would have totally adopted them by now and sold all my DSLR gear if it weren't for the above mentioned idiocracies in design.

As I wrote above,proper weather sealing is quite cheap to apply these days, but Sony refuses to use it even for the flagship A7RMK2 that costs about 2 times more than the Nikon's real pro camera D810 in its home market Japan. Again, it is really beyond my comprehension, and quite stupid. If Sony listens to its users and fix all above issues, I am sure they will outsell Nikon, maybe not Canon, but at least beat Nikon.

All my Nikon cameras are sealed, and I think some of my Canons are too, If Nikon and Canon had it covered , professionals or any one shooting in harsh environment would not deal with the idiosyncrasies and broken U.I of Sony cameras to use them even if they actually prefer the EVF and mirrorless design of Sony.

 

I think It will be the new race contest.Will Sony actually listen to its user to fix its terribly awkward UI, general usability of the E system first, or will CaNikon loosen their silly pride guard down to answer to Sony with some more sophisticated true pro grade mirrorless camera first.

  

UPDATE:Another serious issue all the camera makers will have to face but I did not really realize before is that all ILC cameras are big to most of NORMAL non-photographer people, and they are very intimidating to most of NORMAL people(I mean regardless of mount type or sensor type).

I never realized it before but while walking around down town Fukuoka with one of my long time friends here forced me to understand it. A friend of mine told me that he thinks all interchangeable lens cameras are huge and intimidating to most of average people regardless of sensor size or format, it's just simply annoying!

I guess a big lens scares or annoys people more than a big body......I never saw it his way but I got his point and I decided to carry my tiny Canon G5X when I just walk around the city area with other people. If I am alone shooting something, then I usually carry my big camera, and I think it does not matter it's a m43, a FF, an APS-C, it is all big to most of NORMAL people, anyway.

Then why not just go all the way up to FF or MFDB, or at least APS-C?

 

So maybe the one really doomed is not Nikon F or Pentax K or Sony A but m43?

Nikon and Pentax have historically had very enthusiastic and even fanatic core shooters and they are usually too old to adapt themselves fast to new EVF based gear even if they understand it is the more logical thing for them as they are aged. So D-SLRs may survive as antique cameras, but m43 or Nikon One?

  

Update2:now, I think FF mirrorless is, like self-driving car, it is the future, definitely, but not really mature enough to be practical for many real life tasks, and they are both still immensely overpriced just because newer tech relatively to their older more practical rivals.

The Sony a7R2 should be cheaper than the D810 considering it does not have the complex mirror and proper weather sealings on the shutter. The X-T2 should be as cheap as the D7200 or the 80D. The A6300 should be as cheap as its predecessor(about 650US), no more than that, it is a great camera but still not able to shoot from a fast running car or train like the 7DMK2 or the D500, and so if you were a paparazzi or anything like that, you would not choose the A6300 as your main camera.

When I wrote my previous A6300 vs D500 hands-on experience,I was very very impressed with the A6300 AF, especially with the FE55mm f1.8Z. But now I am sure if my work is completely relying on the best AF in the game, I'd definitely choose the D500, not the A6300, which could not focus well on a super fast moving thing from a fast running train or a car unless the light level is perfectly ideal.

In last week,I tried to shoot street snaps from a fast running super express train with my A6300, A7M2 and A7R2, none of my Sonys could focus on anything moving from a 300km/h fast running train, I was really glad I also brought my D750 with me for my last short train trip.

Like Thom Hogan said, the Sony Alpha E mount cameras are too slow for anything moving fast, I mean their single AF speed is very fast, but it cannot track fast, especially when the light level is not really ideal.

Plus, the general operation speed of the Sony is just painfully slow, even the most expensive A7SMK2 is very slow. I mean it takes about 30 seconds to format a card, about 5 seconds or more to wake up from a long sleep, etc, and is too slow for anything unpredictably moving or decisive once a life time kind of shot. Another big issue of the Sony FE system is terribly short battery life. I know if I bring this up, many Sony fans would tell me after adding a couple of extra batteries it is still lighter than any of Nikon Canon FF D-SLRs. Maybe so, but the real issue here is because we need to change the battery almost every couple of hours, we would miss many decisive moments, and it is really annoying.

 

Now, it is obvious this is the most difficult time to spend some serious amount of money into any of these already existing camera system since they all suck in some ways and all the camera companies are too arrogant or stupid to listen to the actual users.

 

The FE50mm f1.4Z is an amazing lens that may change the direction of the entire industry but it is a huge lens, honestly, if I knew where Sony were heading to at very first place in 2013, I would not have spent this much money into Sony FE system......I wanted it to be small, light and simple, but now it is a big, heavy, expensive and very complex system.

Really, why every new lens must be AF and this huge is beyond me. It is just making the system impractical with the terribly oversized lenses. I have never seen any 50 this big(except my Otus 55 and the old Sigma Art I hated both of those huge 50 primes), seriously it is as big as the 85mm f1.4 GM and is an ugly looking lens, too.

Sony should not try a D-SLR replacement system with the A7 system, but a great RangeFinder replacement system.

Hope they wake up soon.

  

UPDATE3: now I am 95 percent sure the A7M2 will be replaced in next April NBA show in USA.

There is a small chance we will see it in the next CP+ show but I doubt it now.

I never thought the A7M3 comes late, I thought the A7M2 would have only 12months of life but it already lived more than 18 months. Now we are sure the A7M3 is finally coming but in next year not in this year.

Those who attended Sony dealers meeting know it is coming very soon but not exactly when it will be announced, just yet. I think it will be either at NBA show or next CP+.

I think the A7M3 will get the improved version of the 36mp chip first used in the D800E in 2012 as it is the base model line of the A7X series. But Sony may use the new 24mp sensor or the 42.4mp chip since it is already getting cheap as it is clearly seen in the A99MK2 pricing in the US and in Asia(including Japan).

Sony says now the cost of producing the 42mp BSI chip is about 30 percent cheaper than that of the last year 2015.

And we all know that Canon's new FF mirrrorless camera will be announced very soon, we do not know exactly when it will be announced but everybody knows it will be in next year 2017.

  

So it looks like Nikon is finally dying, if not already dead yet.

  

UPDATE 4: after I got the prices for the new Nikon PCE lenses a few days ago, I realized that I was too hard on Sony and Olympus. I think Nikon's recent lens pricing is even worse.

The PCE19mm f4 is a bit too late and it is a much more expensive lens than the Canon 17mm f4 TS lens although it is much easier to design than the Canon. So this one is definitely a bad deal. The new 70-200mm f2.8 E FL VR lens is definitely the worst value 70-200mm ever that instantly makes the Sony 70-200mm f2.8GM and especially the Canon 70-200mm f2.8L IS MK2 lens look like super bargain lenses.

So I really think Nikon is doomed and now it is really difficult to justify the incredible amount of price hike in just a few months in Nikon system. And Nikon system seems to have the worst warranty policy especially if you get some grey market deals.

So for now maybe it is wiser to keep multi mount system, Sony FE and Olympus or Panasonic m43, or Fuji APS-C system.

I realized that I do not have to get a whole set of lenses for all camera systems I have. I guess I keep my Sony for just wide to normal range use and then add some Olympus or Fuji for long shot use since Sony and Nikon over 200mm lenses are huge and ridiculously expensive.

But for me the biggest issue with the recent trend of super gigantic oversized lenses in FF land is that they are often rejected by budget airlines. So as airline regulation is getting more and more strict these days, the much lighter and compact m43 system may survive for foreseeable future...at least 5 more years.

 

It really looks like Nikon is the real loser in this business since it has nothing to support its ever contracting camera business.

Olympus has very strong medical division and portable audio business. Fuji is a very diversified company, Fuji owns Fuji Xerox , Fuji medical, Fuji industrial scientific lab, Fuji semi conductor, Toyama pharmaceutical corp,etc.

Panasonic is also a very diversified company with core investment in house and automobile electronics industry.

Sony is also a very diversified company and its main business is insurance and realestate.

Canon is also a far more diversified company than Nikon.

Even Ricoh is more diversified than Nikon is.

So Nikon seems to be the most vulnerable one and I bet it will be the first to go out of the camera market.

  

UPDATE 5: as I said A7M3 will not come until next year..........

However, Sony will announce FS8 or FS7MK2 at Inter Bee 2016......not at Photo Plus NY. So SAR was wrong again.

The FS7 successor will have APS-C sized sensor multi aspect sensor for super 35 output. It has the new processor Sony calls "Front side LSI", which was recently introduced in A99MK2 and A6500.

 

UPDATE6: Many people including myself thought Nikon is dying, if not already dead by now, but in reality Nikon still sells many many more units than Sony and Nikon is now working on new type of sensor design and they may collaborate with Pentax and Olympus to set up a new sensor company. If this plays out well, then Sony will be the loser since they will have no one to sell their mediocre so-called Fullframe sensors any more. And as a result their highend camera prices will go up significantly.

And now Sony has just announced they've just decided to spin off their imaging division and now it is an independent business under Sony corp's supervision, just like their sensor group.....

This means now Sony imaging is not a part of Sony but their subsidiary, and therefore, to Sony device group, the imaging group is just a customer,nothing special, in fact,considering its size of market share in relation to that of Nikon, Sony imaging group is a lower class customer to the device group.

So there is no more reason for Sony device technology to keep the best sensor for in-house use. In fact now Sony device tech must compete with the new sensor company Nikon Olympus Ricoh have just established here and some European sensor designers such as CMOSIS, who makes the Leica SL sensor and M sensor.

And do not forget there is always Canon if Sony does not sell anything to Nikon.........Canon will start selling it and there will be Panasonic and Tower Jazz also........so Nikon will not have any problem choosing sensor suppliers any more.

Sony must sell their best sensors to Nikon, Olympus, and Pentax , or Sony will lose them, Sony cannot choose customers any more.

If Sony is smart, it will not compete with Nikon or Olympus in camera market. After all, Nikon is the biggest customer of Sony.......but Sony also buys steppers from Nikon anyway. So Sony is not dominating the sensor market, or controlling Nikon as many Sony fanboys think..........and the just announced Spun-off of their imaging division makes Sony camera business less trust-worthy........... Sony thinks every business as a short term investment and runs it to make it temporarily profitable and then spins it off.

After that? of course sells it to anyone willing to buy it.........like Sony did with the Vaio PC business, TV business, etc,etc.

That is why no one really trust Sony in the long run, we long term Sony users just use its cameras but always know it is a back-up plan or step-gap solution......

After all no serious camera buyers are as obtuse as many spec-chasers and review sites think they are. None one buys into a big expensive camera system just for an amazing set of features in a body or two...................there are many many more important aspects to a system camera than just a set of great features...

  

UPDATE7: Now my first 2 copies of FE16-35mm f4 suddenly died and I just bought my 3rd copy of it.........and sadly found it terrible this time.

It is obvious buying any Sony Zeiss FE lens is like picking up an extremely difficult to win lottery ticket..........it might be great but most of times you get mediocre copies of it.

My first 16-35mm f4 was excellent , the second one was even better-almost outstanding, then this third one is literally lousy. I am returning it and get a new copy but I am not expecting to get a better one, I guess I was extremely lucky with my first two copies of this lens........I guess I will force the dealer to exchange my FE16-35mm f4 for the Voiklander 15mm f4.

 

Sony QC is just terrible, and it is not worth any premium over other cheap off-brand lens maker like Samyang, Tamron and Sigma. In fact, Sony is even worse than Tamron and much worse than Sigma Art series with respect to QC. I have had 4 Tamron VC lenses in EF and F mount and they performed fairly consistent....

I really miss Tamron 90mm macro, now I guess a brand name means nothing when it comes to QC and general after sales support. In fact, Tamron and Voiklander provided me the best service of any lens maker I have ever dealt with. It is extremely frustrating every time I spend more than 110000 yen or 1075 USD, I still have to worry about terrible sample variations.

I think we have to appreciate Roger Cicala's excellent site. He is the only one guy testing more than 5 copies of any given lens. All other reviewers just merely test one copy of each lens.........useless.

         

A shot from the Glasgow Gallery of Modern Art. This exhibit "Brazilian Bank" by Meschac Gaba centred around the display of banknotes of various colours and nations. The colour and array of mixed bills was unusual so I took a few shots, trying to isolate the notes in the foreground will retaining some information about what was going on behind.

:copyright: Cynthia E. Wood

 

Instagram @cynthiaewood

www.cynthiawoodphoto.com | facebook | Blurb

 

...then it wouldn't be money anymore!?

...then again, someone would have undoubtedly found a way to horde it and fuck everything up for everyone else.

...there would probably be NO trees left on the planet.

...so never mind.

 

Let's think of another way to redistribute the wealth more evenly.

Don`t take it too personal; but I did write it for you.

So, you overlooked a tiny detail? Every time you spend MONEY you cast a vote for the kind of world you want? Nothing takes lives like poverty. Ever noticed? Poverty is man-made. You should drop whatever it is you`re holding in your hands right know, move on to civilized behavior, taking care of your next. What do I mean by that? You are my greatest responsibility in life, and I hope to be yours. Taking care of your next is taking care of yourself, being "ego +". You don`t have life where survival is non-existent. We`re an organism at war with itself, and a such organism is dying. Would you please go home and look up: FASCISM? You`re behaving like a prick, and although fascists got table manners too they`re not cool to have around.

 

What you did not know until now: Survival through a physical currency is not po$$ible. Even better: there simply is no actual need to do so. At best it is following the idea of a crazy mind. Why bother then? Nowadays flies live longer than we do. Talk about a sick culture.

How about a look in the direction of feeling? You`ll eventually get there, intuition says. That`s your currency for perfect survival right there, life itself. Too cryptic?

 

To Bertolt Brecht it is not:

 

"It is easier to rob by setting up a bank than by holding up a bank clerk."

 

"The law was made for one thing alone, for the exploitation of those who don't understand it, or are prevented by naked misery from obeying it."

 

“In the dark times

Will there also be singing?

Yes, there will also be singing.

About the dark times.”

 

“Nowadays, anyone who wishes to combat lies and ignorance and to write the truth must overcome at least five difficulties. He must have the courage to write the truth when truth is everywhere opposed; the keenness to recognize it, although it is everywhere concealed; the skill to manipulate it as a weapon; the judgment to select those in whose hands it will be effective; and the running to spread the truth among such persons.”

 

“Denn die einen sind im Dunkeln

Und die anderen sind im Licht.

Und man sieht nur die im Lichte

Die im Dunkeln sieht man nicht.”

 

“Das Volk hat das Vertrauen der Regierung verscherzt. Wäre es da nicht doch einfacher, die Regierung löste das Volk auf und wählte ein anderes?”

 

>> "Die Schriftsteller können nicht so schnell schreiben, wie die Regierungen Kriege machen; denn das Schreiben verlangt Denkarbeit.“ <<

 

"Mad, følgende derpå: moral!"

 

“The worst illiterate is the political illiterate, he doesn’t hear, doesn’t speak, nor participates in the political events. He doesn’t know the cost of life, the price of the bean, of the fish, of the flour, of the rent, of the shoes and of the medicine, all depends on political decisions. The political illiterate is so stupid that he is proud and swells his chest saying that he hates politics. The imbecile doesn’t know that, from his political ignorance is born the prostitute, the abandoned child, and the worst thieves of all, the bad politician, corrupted and flunky of the national and multinational companies.”

 

"Though the rich of this earth find no difficulty in creating misery, they can't bear to see it."

 

"The man who laughs has simply not yet had the terrible news."

 

"When crimes begin to pile up they become invisible. When sufferings become unendurable the cries are no longer heard. The cries, too, fall like rain in summer."

 

"If art reflects life, it does so with special mirrors."

  

And the list goes on.

The new race:

 

I've owned a7II, a7R, a7,A6000,A6300,NEX5n, NEX6,NEX7, A100, A350, A700,A99V and A900.You may not easily find a bigger Sony camera supporter than me.....So I am obviously not an anit-Sony or mirrorless kind of person. I think I was one of the very first Emount adapters in the world, and I have probably spent more money than most of just temporarily moved to Sony because of the A7RMK2 kind of guys out there. But I am realistic and know the Sony system is still incomplete, on many levels it is not comparable to Nikon and Canon D-SLR systems and even not comparable to Sony's own A mount system just yet.Yes, the EMount cameras produce great images in right conditions.But they have ignored maybe minor but actually very important subtle evolutions that larger cameras earned through decades of camera companies listening to their customers, including pros.

 

Please do not be overly defensive about Sony, and definitely not deny or ignore the facts, ignoring or denying it,or overly defending Sony just spoils Sony and stops the potentially the most interesting and advanced arguably almost universal mount system from fully developing its full potential. I honestly believe the E mount is an almost universal hybrid mount system that might replace all of the current camera mount systems to make it just simple one mount if Sony listens to its customer base..

The EMount system would be better for everyone if Sony listened to a few annoyingly loud but honest professionals like Ming, Thom and Michael,who raise valid issues/points. No one will be hurt if Sony engineers understand it some subtle nuances that many photographers have actually relied on for decades for their real life work projects in the filed, and only way for Sony engineers to be able to get it correctly is to listen to likes of Ming or Thom or like that even if they are not Sony fan. Only listening to likes of Michael Reichemann,who seldom criticize about Sony or any camera, just spoil the E mount and stop it from fully development.

Some of us are really crippled by Sony ignoring these minor but important features.

Face it and see the reality, Sony is not listening, but rather mean to its user base.

Try not to express strong opinion on Sony or Mirrorless l keep that to myself and just write about the facts of the current state of the E mount system and its main issues in real life use:

 

1>Even the most avid Sony enthusiast has to admit that Sony really screws their customers over with a new model in every few months

far as depreciation. This is as opposed to Canon, say the 5D3

loosing 2/3rds of an A7 resale value in 14 months is just hard to stomach. Ming is right that wait a year for the R3 and the R2 will be way way down probably 1200-1500 used. And even now, at least in Japanese market there a quite few used A7RMK2 floating around the internet.

thats a tough bite in a year for all but the professionals. wait 2 years, and its likely under a grand...and there is no serious FW update to any of the original A7X cameras,I mean there were a few FW updates but they were all minor bug fixes not like Samsung adding many super new features to its NX1 every time Samsung updates it.

 

I think this is a very important point, and I think this actually hurts Sony not helps in the long run since this really scares those who buy the"system" rather than just a body kind of guys away from the E mount system, and those buying into the system not a camera actually spend much more money in the long run for Sony. I still have the original A7, along with the a7R, A7M2 and A6000 just because it is almost impossible to sell my A7 without losing too much money, and sheer IQ wise, none of newer A7X cameras is a huge upgrade to my ancient A7 and A7R(I know in a lab they are much better tested,but I mean in real life)

I actually have NEX5n andNEX6 too, although I haven't even touched them for a couple of years or so.

I tried to sell my NEX6 and NEX5n,which I hate but I could not get any significant money for them,so I just kept it for days I would have to shoot in intense rain, or in risky or dangerous places.

I know the a7M3 is coming very soon, and I'm already preparing for it, but I have feeling that I might just avoid it even if it is a great camera, I just hate Sony keeps depreciating every single body it releases in a matter of a few months, most of Sony cameras do not even have a couple of years of life even the expensive A7RM2 will have just a year of life, it is really silly.

2>The widely reported promise of adapted lenses working as well as their native mounts is a big marketing lie. In reality even with Sony's own LAEA 1, 3, 4 adapters, AF-C is incompatible with Continuous High bust mode. Must use Cont Low at 2fps, and it's about as accurate as an old Sony A100 focus system. Also, no Sony/Minolta tele-converters are compatible. It is not a replacement for DLSR or SLT tracking. I'd be interested to know if Canon teleconverters work with Metabones adapter,though. Yes native EMount lenses focus better. But the selection doesn't present itself as a full DSLR replacement. Where is SEL70-400 mm SSM?

3>In my rent studio shoot comparison, two A7M2 with the external battery grip got 710 shots writing RAW only. One D750 without the external battery grip got 1560 writing RAW+JPG on two cards. The A7M2 required computer/hard drive backing up, lens adapter, battery grip, making it the larger system to carry around than any Nikon or Canon or even Sony's own A mount camera such as the A99V,which I had a year ago.

And even more serious problem for studio shooting is the external vertical grip with two batteries will not transfer power to second battery when tethering. Sony Remote Camera Control software shuts down with low battery warning at 20% left on battery one. Will not clear until first battery replaced, regardless if second battery is present. Second batt is useless in tethering mode.Less power, less shots, more tether software startups. Same thing happens when installing software from Play Memories App Store. a99/900 transfer VG battery power smoothly for tethering.

So,Sony can actually do proper tethering for the A, but for E mount system Sony chooses not to do it properly, this is extremely odd to me.

4>EMount really complicates its AF usability with at least minimum two button push for AF selector points. No diagonal scrolling available to get there faster,... the same usability issue for magnifier and playback for manual focus. Two hurdles which make it slower than regular DLSR joystick instant control with horizontal scrolling for AF selector, magnifier, and magnified playback viewing.

For small bodies like the A7X, there may be no space for the simple joystick UI of the DSLRs, but at least Sony can put some sort of touch-AF feature in the A7X.

It is a big mystery to me that Sony always refuses to put touch screen UI in the A7X and A99X cameras.

As Tony Northrup says, touch screen U.I is really practical,especially for small cameras.

As an Olympus and Panasonic user, I know this very well.

I think every EVF camera needs touch AF feature and even better touch pad featre of the latest Olympus EM10M2.

5>The dumb metal thumb bracket accessory for RX1 has a lock for so-called muti interface shoe fit... but the flash adapters and microphones of any Sony A7X don't have any locks. Should that be the other way around? CaNikon have full metal locking sleds on their flashes, yet Sony has four plastic toes... not even full sleds.

It may get some unwanted water or any kind of liquid in side of the main board of the camera. So I taped it with some vinyl tape.

6>Sony actually fixed the plastic lens mount flexing with a A7m2 and R2, but never actually bother to recall the A7R and A7 to fix that issue. Even worse when it used with lens adapters, the mounting points are doubled, causing rotational wobbles when the bigger lenses are zoomed, even the size of my relatively small SAL 85 mm f1.4 ZA.. and, the adapters the only way for any A7X to use any f 2.8 zoom or f1.2 prime, that is really annoying.

7> there are many features that would cost nothing to implement and are clearly better in pro cameras but Sony tends to ignore those,as far as I remember Sony seldom adds new features with FW updates, but forces us to buy a new minor update or even worse just some annoying usability issue fixed model like the A6000 or the A7M2. All Sony cameras are not weather sealed, I think neither are all Sony lenses. I am sure assemblance of real water resistance isn't that expensive as the myriad of inexpensive water resistant consumer products proves these days. A hot shoe lock is simple and effective. Why would Sony decide their cameras shouldn't have one? What possible advantage is there eliminating it? Speaking of flash, why can't Sony implement real slow sync fill flash or real ring flash for proper macro shooting? It is beyond my understanding, and really shocks me how careless some of so-called pro camera designers are, I am sure they are not ignorant or obtuse people but careless, choose not to listen to the real user base. This kind of arrogance is always found anything Asian electronics company produce, they do not listen because of their silly egoistic pride, especially Japanese.

 

10> Sony cameras may switch raw bit rate to 12-bit output,which actually has about 11.9 bit of info to deal with, in a few specific shooting modes;in continuous, in bulb mode, and I think also in silent shutter mode..Actually,this really odd phenomenon/behavior of the A7X cameras is much more annoying and a serious issue than the lossy compressed 11-7 RAW that always criticized by likes of Loyd Chamber, Thom Hogan, and Ken Rockwell,because the sudden bit change in silent, continuous,bracketing and bulb modes may actually cause visible compression artifacts. The 11-7 raw compression actually does not cause any visible artifact except in extremely harsh bright high contrasty scene or super long exposure image.

 

In addition:

 

•Rear dial is horrible. Cheap and fiddly.

•Sony's menu system is confusing. Things are not grouped logically even for a guy like me having used almost every single Sony camera since about 2006.

•Shutter button is mushy, and makes the shooting experience feel slightly laggy, sometimes even slow.

•Startup is inconsistent. Sometimes it is almost instant, but most times, it takes a few seconds to get going, especially once it goes sleep or needs to format the card.

•Back button focus is very poor, because the button around the AEL switch is small and fiddly, even for my relatively small hands it is too small and awkward to navigate..

•Flash system is limited compared to Canon/Nikon, and it feels old dated without proper radio control mode.

To me, the slow formatting time is a really annoying problem, and Sony cameras cannot share the same card with some other brands cameras in a shooting session. It is really annoying for a person like me who shoot many brands camera systems at once.

Last week I was shooting macro with my Olympus EM5M2 and Sony A7 and A7M2(my A7R and A6000 are at Sony for sensor replacement service), I tried to use the card I was using in the Olympus in my Sony, my Sony A7,A7M2 and NEX5n rejected the card with saying something like this card needs to be re-formatted since it has corrupted files.

I put it back into my EM5M2, it then worked properly and properly read at least jpeg files although they were not Olympus but Sony files.

I found all other manufacture cameras can share one SD cards for one shooting session if forced to, but Sony, Sony cameras require dedicated cards that are formatted in the PC or Sony cameras.

This is really really annoying, sometimes SD cards used in the Sony become full, and sometimes take out the card from my Oly or Nikon and use it in my Sony, then Sony tries to format it every time. This never happens in other brand cameras, so the cards can be shared between Canon, Nikon and Olympus safely without any issue, but need some dedicated cards for Sony.

And, I do not know what my A7,A7M2,A6000 and A7R doing but every time I try to format a card in them, they take a several minutes or at least a couple of minutes to do it. Because of this I've missed a several shooting opportunities in last week.

 

I, like Michael and Kevin,see real advantages to many features in the A7 series and other mirrorless cameras vs. DSLR's. And I strongly believe EVF is the future, and that is the main reason why I use Sony and Olympus.I would have totally adopted them by now and sold all my DSLR gear if it weren't for the above mentioned idiocracies in design.

As I wrote above,proper weather sealing is quite cheap to apply these days, but Sony refuses to use it even for the flagship A7RMK2 that costs about 2 times more than the Nikon's real pro camera D810 in its home market Japan. Again, it is really beyond my comprehension, and quite stupid. If Sony listens to its users and fix all above issues, I am sure they will outsell Nikon, maybe not Canon, but at least beat Nikon.

All my Nikon cameras are sealed, and I think some of my Canons are too, If Nikon and Canon had it covered , professionals or any one shooting in harsh environment would not deal with the idiosyncrasies and broken U.I of Sony cameras to use them even if they actually prefer the EVF and mirrorless design of Sony.

 

I think It will be the new race contest.Will Sony actually listen to its user to fix its terribly awkward UI, general usability of the E system first, or will CaNikon loosen their silly pride guard down to answer to Sony with some more sophisticated true pro grade mirrorless camera first.

  

UPDATE:Another serious issue all the camera makers will have to face but I did not really realize before is that all ILC cameras are big to most of NORMAL non-photographer people, and they are very intimidating to most of NORMAL people(I mean regardless of mount type or sensor type).

I never realized it before but while walking around down town Fukuoka with one of my long time friends here forced me to understand it. A friend of mine told me that he thinks all interchangeable lens cameras are huge and intimidating to most of average people regardless of sensor size or format, it's just simply annoying!

I guess a big lens scares or annoys people more than a big body......I never saw it his way but I got his point and I decided to carry my tiny Canon G5X when I just walk around the city area with other people. If I am alone shooting something, then I usually carry my big camera, and I think it does not matter it's a m43, a FF, an APS-C, it is all big to most of NORMAL people, anyway.

Then why not just go all the way up to FF or MFDB, or at least APS-C?

 

So maybe the one really doomed is not Nikon F or Pentax K or Sony A but m43?

Nikon and Pentax have historically had very enthusiastic and even fanatic core shooters and they are usually too old to adapt themselves fast to new EVF based gear even if they understand it is the more logical thing for them as they are aged. So D-SLRs may survive as antique cameras, but m43 or Nikon One?

  

UPDATE2 : Now once again, it's proven that Sony and its E mount fanboys are all bark but never actually bite kind of dogs. Thanks to DXO for proving this, the over hyped, expensive, almost ridiculously huge Sony FE24-70mm f2.8G-Master is really just as good or a tiny bit better than the infamous so-called Zeiss fisheye zoom FE24-70mm f4Z even at the huge cost of the oversized barrel with the 82mm filter thread design. In fact , the expensive oversized FE24-70mmf2.8 G-Master(WTF is the G master anyway) is optically much worse than the Canon EF24-70mm f2.8L MK2 that all mean, ill-spirited Sony A7 fanboys despised a few months back(when the G master line was announced). And even sadly, the Sony G master is even worse than the equally huge but a bit lighter Nikon AF-S24-70mm f2.8E VR. Yeah Sony has again proved the E mount means overpriced trendy toy for old men, it might be taken as cool fashion item or cool old man's toy for the silly mount adapter game for a while(at least).

But for cost effective real world solution, Sony is not the answer to most of us. I am not anti mirrorless but becoming anti-Sony, and I am tired of all their immature products coming with their extremely condescending marketing.

 

Hope Red or someone like that will challenge the A7X line with better video minded ergonomics design.

  

Update3:now, I think FF mirrorless is, like self-driving car, it is the future, definitely, but not really mature enough to be practical for many real life tasks, and they are both still immensely overpriced just because newer tech relatively to their older more practical rivals.

The Sony a7R2 should be cheaper than the D810 considering it does not have the complex mirror and proper weather sealings on the shutter. The X-T2 should be as cheap as the D7200 or the 80D. The A6300 should be as cheap as its predecessor(about 650US), no more than that, it is a great camera but still not able to shoot from a fast running car or train like the 7DMK2 or the D500, and so if you were a paparazzi or anything like that, you would not choose the A6300 as your main camera.

When I wrote my previous A6300 vs D500 hands-on experience,I was very very impressed with the A6300 AF, especially with the FE55mm f1.8Z. But now I am sure if my work is completely relying on the best AF in the game, I'd definitely choose the D500, not the A6300, which could not focus well on a super fast moving thing from a fast running train or a car unless the light level is perfectly ideal.

In last week,I tried to shoot street snaps from a fast running super express train with my A6300, A7M2 and A7R2, none of my Sonys could focus on anything moving from a 300km/h fast running train, I was really glad I also brought my D750 with me for my last short train trip.

Like Thom Hogan said, the Sony Alpha E mount cameras are too slow for anything moving fast, I mean their single AF speed is very fast, but it cannot track fast, especially when the light level is not really ideal.

Plus, the general operation speed of the Sony is just painfully slow, even the most expensive A7SMK2 is very slow. I mean it takes about 30 seconds to format a card, about 5 seconds or more to wake up from a long sleep, etc, and is too slow for anything unpredictably moving or decisive once a life time kind of shot. Another big issue of the Sony FE system is terribly short battery life. I know if I bring this up, many Sony fans would tell me after adding a couple of extra batteries it is still lighter than any of Nikon Canon FF D-SLRs. Maybe so, but the real issue here is because we need to change the battery almost every couple of hours, we would miss many decisive moments, and it is really annoying.

 

Now, it is obvious this is the most difficult time to spend some serious amount of money into any of these already existing camera system since they all suck in some ways and all the camera companies are too arrogant or stupid to listen to the actual users.

 

The FE50mm f1.4Z is an amazing lens that may change the direction of the entire industry but it is a huge lens, honestly, if I knew where Sony were heading to at very first place in 2013, I would not have spent this much money into Sony FE system......I wanted it to be small, light and simple, but now it is a big, heavy, expensive and very complex system.

Really, why every new lens must be AF and this huge is beyond me. It is just making the system impractical with the terribly oversized lenses. I have never seen any 50 this big(except my Otus 55 and the old Sigma Art I hated both of those huge 50 primes), seriously it is as big as the 85mm f1.4 GM and is an ugly looking lens, too.

Sony should not try a D-SLR replacement system with the A7 system, but a great RangeFinder replacement system.

Hope they wake up soon.

 

The real reason why mirrorless cameras are not already successful replacing supposed to be primitive D-SLRs is they are bad value for our buck. Maybe it is newer better tech, but still very bad value.......almost all current mirrorless cameras are overpriced considering the fact most of them are still playing the catching-up game, every year they are replaced.

The A7MK2 was the first mirrorless camera to have stayed in the market for longer than a year. And the A7R2 seems to follow that trend.

 

Money can buy everything except L.O.V.E... but we still need it for our cameras and lenses =) LOL

 

Vrrroooooooooooooooomm Vrooooooooooooooom!

 

Woah! So happy my street photo got EXPLORED! www.flickr.com/photos/ertamayo/6203587714/ INKED CAR. weeeeeeeeeeeee =)) Thanks everyone!

  

see also the coins:)))

 

Rabbit Island - St. Petersburg, Russia

for Giulia

 

video Neva River Cruise

 

Rabbit Island, right off to the Peter and Paul fortress, it is called Rabbit Island because there is a small statue of a white rabbit, that people throw money at for good luck.

 

L'Isola del Coniglietto bianco, si trova vicino alla Fortezza di Pietro e Paolo, si chiama Isola del Coniglio perché li si trova un coniglietto bianco in pietra, a cui la gente butta delle monete, come nella Fontana di Trevi, augurandosi che porti loro fortuna:))).

 

The new race.

I've owned a7II, a7R, a7,A6500,A6000,A6300,NEX5n, NEX6,NEX7, A100, A350, A700,A99V and A900.You may not easily find a bigger Sony camera supporter than me.....So I am obviously not an anit-Sony or mirrorless kind of person. I think I was one of the very first Emount adapters in the world, and I have probably spent more money than most of just temporarily moved to Sony because of the A7RMK2 kind of guys out there. But I am realistic and know the Sony system is still incomplete, on many levels it is not comparable to Nikon and Canon D-SLR systems and even not comparable to Sony's own A mount system just yet.Yes, the EMount cameras produce great images in right conditions.But they have ignored maybe minor but actually very important subtle evolutions that larger cameras earned through decades of camera companies listening to their customers, including pros.

 

Please do not be overly defensive about Sony, and definitely not deny or ignore the facts, ignoring or denying it,or overly defending Sony just spoils Sony and stops the potentially the most interesting and advanced arguably almost universal mount system from fully developing its full potential. I honestly believe the E mount is an almost universal hybrid mount system that might replace all of the current camera mount systems to make it just simple one mount if Sony listens to its customer base..

The EMount system would be better for everyone if Sony listened to a few annoyingly loud but honest professionals like Ming, Thom and Michael,who raise valid issues/points. No one will be hurt if Sony engineers understand it some subtle nuances that many photographers have actually relied on for decades for their real life work projects in the filed, and only way for Sony engineers to be able to get it correctly is to listen to likes of Ming or Thom or like that even if they are not Sony fan. Only listening to likes of Michael Reichemann,who seldom criticize about Sony or any camera, just spoil the E mount and stop it from fully development.

Some of us are really crippled by Sony ignoring these minor but important features.

Face it and see the reality, Sony is not listening, but rather mean to its user base.

Try not to express strong opinion on Sony or Mirrorless l keep that to myself and just write about the facts of the current state of the E mount system and its main issues in real life use:

 

1>Even the most avid Sony enthusiast has to admit that Sony really screws their customers over with a new model in every few months

far as depreciation. This is as opposed to Canon, say the 5D3

loosing 2/3rds of an A7 resale value in 14 months is just hard to stomach. Ming is right that wait a year for the R3 and the R2 will be way way down probably 1200-1500 used. And even now, at least in Japanese market there a quite few used A7RMK2 floating around the internet.

thats a tough bite in a year for all but the professionals. wait 2 years, and its likely under a grand...and there is no serious FW update to any of the original A7X cameras,I mean there were a few FW updates but they were all minor bug fixes not like Samsung adding many super new features to its NX1 every time Samsung updates it.

 

I think this is a very important point, and I think this actually hurts Sony not helps in the long run since this really scares those who buy the"system" rather than just a body kind of guys away from the E mount system, and those buying into the system not a camera actually spend much more money in the long run for Sony. I still have the original A7, along with the a7R, A7M2 and A6000 just because it is almost impossible to sell my A7 without losing too much money, and sheer IQ wise, none of newer A7X cameras is a huge upgrade to my ancient A7 and A7R(I know in a lab they are much better tested,but I mean in real life)

I actually have NEX5n andNEX6 too, although I haven't even touched them for a couple of years or so.

I tried to sell my NEX6 and NEX5n,which I hate but I could not get any significant money for them,so I just kept it for days I would have to shoot in intense rain, or in risky or dangerous places.

I know the a7M3 is coming very soon, and I'm already preparing for it, but I have feeling that I might just avoid it even if it is a great camera, I just hate Sony keeps depreciating every single body it releases in a matter of a few months, most of Sony cameras do not even have a couple of years of life even the expensive A7RM2 will have just a year of life, it is really silly.

2>The widely reported promise of adapted lenses working as well as their native mounts is a big marketing lie. In reality even with Sony's own LAEA 1, 3, 4 adapters, AF-C is incompatible with Continuous High bust mode. Must use Cont Low at 2fps, and it's about as accurate as an old Sony A100 focus system. Also, no Sony/Minolta tele-converters are compatible. It is not a replacement for DLSR or SLT tracking. I'd be interested to know if Canon teleconverters work with Metabones adapter,though. Yes native EMount lenses focus better. But the selection doesn't present itself as a full DSLR replacement. Where is SEL70-400 mm SSM?

3>In my rent studio shoot comparison, two A7M2 with the external battery grip got 710 shots writing RAW only. One D750 without the external battery grip got 1560 writing RAW+JPG on two cards. The A7M2 required computer/hard drive backing up, lens adapter, battery grip, making it the larger system to carry around than any Nikon or Canon or even Sony's own A mount camera such as the A99V,which I had a year ago.

And even more serious problem for studio shooting is the external vertical grip with two batteries will not transfer power to second battery when tethering. Sony Remote Camera Control software shuts down with low battery warning at 20% left on battery one. Will not clear until first battery replaced, regardless if second battery is present. Second batt is useless in tethering mode.Less power, less shots, more tether software startups. Same thing happens when installing software from Play Memories App Store. a99/900 transfer VG battery power smoothly for tethering.

So,Sony can actually do proper tethering for the A, but for E mount system Sony chooses not to do it properly, this is extremely odd to me.

4>EMount really complicates its AF usability with at least minimum two button push for AF selector points. No diagonal scrolling available to get there faster,... the same usability issue for magnifier and playback for manual focus. Two hurdles which make it slower than regular DLSR joystick instant control with horizontal scrolling for AF selector, magnifier, and magnified playback viewing.

For small bodies like the A7X, there may be no space for the simple joystick UI of the DSLRs, but at least Sony can put some sort of touch-AF feature in the A7X.

It is a big mystery to me that Sony always refuses to put touch screen UI in the A7X and A99X cameras.

As Tony Northrup says, touch screen U.I is really practical,especially for small cameras.

As an Olympus and Panasonic user, I know this very well.

I think every EVF camera needs touch AF feature and even better touch pad featre of the latest Olympus EM10M2.

5>The dumb metal thumb bracket accessory for RX1 has a lock for so-called muti interface shoe fit... but the flash adapters and microphones of any Sony A7X don't have any locks. Should that be the other way around? CaNikon have full metal locking sleds on their flashes, yet Sony has four plastic toes... not even full sleds.

It may get some unwanted water or any kind of liquid in side of the main board of the camera. So I taped it with some vinyl tape.

6>Sony actually fixed the plastic lens mount flexing with a A7m2 and R2, but never actually bother to recall the A7R and A7 to fix that issue. Even worse when it used with lens adapters, the mounting points are doubled, causing rotational wobbles when the bigger lenses are zoomed, even the size of my relatively small SAL 85 mm f1.4 ZA.. and, the adapters the only way for any A7X to use any f 2.8 zoom or f1.2 prime, that is really annoying.

7> there are many features that would cost nothing to implement and are clearly better in pro cameras but Sony tends to ignore those,as far as I remember Sony seldom adds new features with FW updates, but forces us to buy a new minor update or even worse just some annoying usability issue fixed model like the A6000 or the A7M2. All Sony cameras are not weather sealed, I think neither are all Sony lenses. I am sure assemblance of real water resistance isn't that expensive as the myriad of inexpensive water resistant consumer products proves these days. A hot shoe lock is simple and effective. Why would Sony decide their cameras shouldn't have one? What possible advantage is there eliminating it? Speaking of flash, why can't Sony implement real slow sync fill flash or real ring flash for proper macro shooting? It is beyond my understanding, and really shocks me how careless some of so-called pro camera designers are, I am sure they are not ignorant or obtuse people but careless, choose not to listen to the real user base. This kind of arrogance is always found anything Asian electronics company produce, they do not listen because of their silly egoistic pride, especially Japanese.

 

10> Sony cameras may switch raw bit rate to 12-bit output,which actually has about 11.9 bit of info to deal with, in a few specific shooting modes;in continuous, in bulb mode, and I think also in silent shutter mode..Actually,this really odd phenomenon/behavior of the A7X cameras is much more annoying and a serious issue than the lossy compressed 11-7 RAW that always criticized by likes of Loyd Chamber, Thom Hogan, and Ken Rockwell,because the sudden bit change in silent, continuous,bracketing and bulb modes may actually cause visible compression artifacts. The 11-7 raw compression actually does not cause any visible artifact except in extremely harsh bright high contrasty scene or super long exposure image.

 

In addition:

 

•Rear dial is horrible. Cheap and fiddly.

•Sony's menu system is confusing. Things are not grouped logically even for a guy like me having used almost every single Sony camera since about 2006.

•Shutter button is mushy, and makes the shooting experience feel slightly laggy, sometimes even slow.

•Startup is inconsistent. Sometimes it is almost instant, but most times, it takes a few seconds to get going, especially once it goes sleep or needs to format the card.

•Back button focus is very poor, because the button around the AEL switch is small and fiddly, even for my relatively small hands it is too small and awkward to navigate..

•Flash system is limited compared to Canon/Nikon, and it feels old dated without proper radio control mode.

To me, the slow formatting time is a really annoying problem, and Sony cameras cannot share the same card with some other brands cameras in a shooting session. It is really annoying for a person like me who shoot many brands camera systems at once.

Last week I was shooting macro with my Olympus EM5M2 and Sony A7 and A7M2(my A7R and A6000 are at Sony for sensor replacement service), I tried to use the card I was using in the Olympus in my Sony, my Sony A7,A7M2 and NEX5n rejected the card with saying something like this card needs to be re-formatted since it has corrupted files.

I put it back into my EM5M2, it then worked properly and properly read at least jpeg files although they were not Olympus but Sony files.

I found all other manufacture cameras can share one SD cards for one shooting session if forced to, but Sony, Sony cameras require dedicated cards that are formatted in the PC or Sony cameras.

This is really really annoying, sometimes SD cards used in the Sony become full, and sometimes take out the card from my Oly or Nikon and use it in my Sony, then Sony tries to format it every time. This never happens in other brand cameras, so the cards can be shared between Canon, Nikon and Olympus safely without any issue, but need some dedicated cards for Sony.

And, I do not know what my A7,A7M2,A6000 and A7R doing but every time I try to format a card in them, they take a several minutes or at least a couple of minutes to do it. Because of this I've missed a several shooting opportunities in last week.

 

I, like Michael and Kevin,see real advantages to many features in the A7 series and other mirrorless cameras vs. DSLR's. And I strongly believe EVF is the future, and that is the main reason why I use Sony and Olympus.I would have totally adopted them by now and sold all my DSLR gear if it weren't for the above mentioned idiocracies in design.

As I wrote above,proper weather sealing is quite cheap to apply these days, but Sony refuses to use it even for the flagship A7RMK2 that costs about 2 times more than the Nikon's real pro camera D810 in its home market Japan. Again, it is really beyond my comprehension, and quite stupid. If Sony listens to its users and fix all above issues, I am sure they will outsell Nikon, maybe not Canon, but at least beat Nikon.

All my Nikon cameras are sealed, and I think some of my Canons are too, If Nikon and Canon had it covered , professionals or any one shooting in harsh environment would not deal with the idiosyncrasies and broken U.I of Sony cameras to use them even if they actually prefer the EVF and mirrorless design of Sony.

 

I think It will be the new race contest.Will Sony actually listen to its user to fix its terribly awkward UI, general usability of the E system first, or will CaNikon loosen their silly pride guard down to answer to Sony with some more sophisticated true pro grade mirrorless camera first.

  

UPDATE: Now, I just confirm that Nikon DL series actual shipment date would be next January 17th as planned in last Nikon conference at Nikon D3400 launch. But it may delay even further to next CP+ show in Yokohama Japan(in Feb 2017).

 

So it is already promised to be a failed product line before the actual launch. I think Nikon is really stupid, I mean I don't think phones or mirrorless killing Nikon but itself, it obtuse marketing killing it.

  

UPDATE2: I find Fuji's "Kaizen" policy very very attractive and their repair service seems excellent. I also like the new Joystick AF selector. So I may test my X-T2 a bit longer than I expected. However, I find the X-Pro 2 still a bit better body than the XT2 in terms of build and ergonomics.

The X-T2 Joystick is sometimes unusable when I look into the EVF since my nose sometimes touch the Joystick.

The quality of the body is obviously worse than that of the X-Pro2. The X-Pro2 is generally faster(I don't mean AF speed, but general operation speed). But when using a tele photo zoom or any big lens I think the X-T2 is better since it has the external grip option that counterbalances the weight of a big lens better.

The Sony A6300 really needed a similar grip to really take all its AF and speed advantages over the A7X series.

So I always saw the Sony A6300 as a halfhearted effort of Sony that was carefully deigned not to invade the A7X territory. It is a shame, since the A6300 has the potential to be the best camera for the most majority of ILC users.

In the end, for now, I decided to keep Canon, Fuji, Sony and Nikon and eventually pick one and sell all the others.

IMHO, Canon EF and Sony E seem to be the most future-proof systems, but I have feeling I may be happier with Fuji than either Canon or Sony in the long run.

In my mind, Nikon is ,like Leica's CEO kindly points out , already one leg in the grave kind of system, and I do not think they are any relevant now unless they some how just really immediately come up with a serious F mount mirrorless camera that takes full advantage of the F mount eco system.

I think until I get comfortable with the Fuji AF system, I keep my D750, but once I get hang of it, I do not need Nikon any more.

So in near future, I will be using just 3 system rather than 4 systems.

  

UPDATE3: Many people including myself thought Nikon is dying if not already dead by now, but in reality Nikon sells many many more units than Sony and Nikon is now working on new type of sensor design and they may collaborate with Pentax and Olympus to set up a new sensor company. If this plays out well, then Sony will be the loser since they will have no one to sell their mediocre so-called Fullframe sensors any more. And as a result their highend camera prices will go up significantly.

And now Sony has just announced they've just decided to spin off their imaging division and now it is an independent business under Sony corp's supervision, just like their sensor group.....

This means now Sony imaging is not a part of Sony but their subsidiary, and therefore, to Sony device group, the imaging group is just a customer,nothing special, in fact,considering its size of market share in relation to that of Nikon, Sony imaging group is a lower class customer to the device group.

So there is no more reason for Sony device technology to keep the best sensor for in-house use. In fact now Sony device tech must compete with the new sensor company Nikon Olympus Ricoh have just established here and some European sensor designers such as CMOSIS, who makes the Leica SL sensor and M sensor.

And do not forget there is always Canon if Sony does not sell anything to Nikon.........Canon will start selling it and there will be Panasonic and Tower Jazz also........so Nikon will not have any problem choosing sensor suppliers any more.

Sony must sell their best sensors to Nikon, Olympus, and Pentax , or Sony will lose them, Sony cannot choose customers any more.

If Sony is smart, it will not compete with Nikon or Olympus in camera market. After all, Nikon is the biggest customer of Sony.......but Sony also buys steppers from Nikon anyway. So Sony is not dominating the sensor market, or controlling Nikon as many Sony fanboys think..........and the just announced Spun-off of their imaging division makes Sony camera business less trust-worthy........... Sony thinks every business as a short term investment and runs it to make it temporarily profitable and then spins it off.

After that? of course sells it to anyone willing to buy it.........like Sony did with the Vaio PC business, TV business, etc,etc.

That is why no one really trust Sony in the long run, we long term Sony users just use its cameras but always know it is a back-up plan or step-gap solution......

After all no serious camera buyers are as obtuse as many spec-chasers and review sites think they are. None one buys into a big expensive camera system just for an amazing set of features in a body or two...................there are many many more important aspects to a system camera than just a set of great features...

  

UPDATE4: Now my first 2 copies of FE16-35mm f4 suddenly died and I just bought my 3rd copy of it.........and sadly found it terrible this time.

It is obvious buying any Sony Zeiss FE lens is like picking up an extremely difficult to win lottery ticket..........it might be great but most of times you get mediocre copies of it.

My first 16-35mm f4 was excellent , the second one was even better-almost outstanding, then this third one is literally lousy. I am returning it and get a new copy but I am not expecting to get a better one, I guess I was extremely lucky with my first two copies of this lens........I guess I will force the dealer to exchange my FE16-35mm f4 for the Voiklander 15mm f4.

 

Sony QC is just terrible, and it is not worth any premium over other cheap off-brand lens maker like Samyang, Tamron and Sigma. In fact, Sony is even worse than Tamron and much worse than Sigma Art series with respect to QC. I have had 4 Tamron VC lenses in EF and F mount and they performed fairly consistent....

I really miss Tamron 90mm macro, now I guess a brand name means nothing when it comes to QC and general after sales support. In fact, Tamron and Voiklander provided me the best service of any lens maker I have ever dealt with. It is extremely frustrating every time I spend more than 110000 yen or 1075 USD, I still have to worry about terrible sample variations.

I think we have to appreciate Roger Cicala's excellent site. He is the only one guy testing more than 5 copies of any given lens. All other reviewers just merely test one copy of each lens.........useless.

      

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© Rui Almeida 2014 | All rights reserved.

 

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Il più importante non l'ho raggiunto col denaro. E neanche nessuno è riuscito a comprarmi.

There were about 45 dust spots on this image when I opened the RAW file in Photoshop and had to carefully remove them all before converting the RAW.

I think it is a big issue of any interchangeable lens system camera(both ILC and DSLR).

 

Why the Sony FE system is doomed 1: Is Sony the final loser as usual in the ILC market too?

 

Everybody in a camera forum claims MILC,especially the Sony FE system is winning this ILC game over the rest, Canon Nikon are really stupid losing all their market to the Sony, is that really true?

 

Between 2006 and 2008 Sony was the fastest growing company on the DSLR market, reaching about 13% market share in 2008(in unit sales) to become the third largest DSLR company in the world.

But then Sony switched to SLTs and dropped DSLRs. After that they switched to focus more on their new E mount and the 'NEX' APSC mirrorless system, which I personally loved and supported with my own money. After that they dropped the 'NEX' name and quit releasing new APSC mirrorless lenses while solely focusing all their effort on FF mirrorles-the 'FE' mount(Fullframe E mount)...........

The results? Sony now commands about a 11% market share for ILC cameras, so despite of the common forum myth that Sony is taking over this industry with the series of the quick A7X camera launches, Sony is actually losing their sales and market share-they have been losing more A mount guys to CN than they have been taking CN guys with the FE series plus the obscure adapter strategy.

So Sony still remains the 3rd largest ILC (DSLR, SLT and Mirrorless) company in the world but not by unit sales any more, by value. This is significant because they are no longer selling as many affordable cameras as they used to be , and most of their sales loss coming from younger gen market because many of young new photogs no longer afford Sony ILC cameras or like many of our friends here, they cannot justify the prices(even the supposed to be lowend A6300 costs over 1k).

 

Now, the question we might want to ask to Sony is, if they stuck with DSLRs or SLTs, could they have done the same or better? Or would just the simple mirrorless A99 type body without the SLT have actually done any better than over hyped but awkward A7X series? I actually think so. Sony has never tried to advertise the A mount properly, never promoted it seriously at their sites or via DPR, LL ,etc, but the A mount line has been just doing as well or slightly better than the E mount. So if they seriously advertise and promote the A mount line, I think they will sell better than the E mount line.

 

Please do not get me wrong I am a A/E mount user and definitely not a DSLR fan any more. I am a big EVF fan, so I am not DSLR biased. In fact, IMO, high resolution EVF is one of the most important features-almost a must-have feature in any camera system. So I will never go back to OVF camera myself, to me it feels very awkward and even anachronistic.

 

But I have to be realistic and honest, the E mount seems to be a failing effort, and it is clearly seen in the sales number. The A mount is not as insignificant as it supposed to be to Sony sales.

Now, despite of crazy shill marketing and internet promotion for the FE system,Sony only has about 11 percent or less of market share which is about 8 percent and 3 percent of MILC and D-SLR market respectively. If you read the numbers superficially it seems like the E is selling much better, but is it really so? No. Because the MILC market is about 1/3rd of the D-SLR market size, so the 8 percent sales in MILC market is about identical to 3 percent sales in D-SLR market.

 

The reality is the E mount share is getting worse and worse every year as the prices going up every new generation, and it is expected to become much worse than what Sony has presented it would be in their recent presentation to the dealers throughout the world, because Sony now thinks "market share" is ILC's+lenses+accessories and "by value" to obscure the data. They seem to be deliberately ignoring the negative unit sales numbers.

 

So again, despite of the common forum myth the FE is not a very successful mount system in terms of sales. I am a FE mount user and I use it for now(there is no better choice for me) but I am not committed to it, and in fact, I much prefer the A6300 plus the A99vMK2 combo if they are fully supported with a good lens lineup by Sony(and Zeiss and Tamron). Actually, the only one reason why I still have to use my FE A7X series is the lens line, mostly the Batis line and that is all. If it is not for the Batis, I am not using it. IOW, if there is proper lens support from Zeiss, Sony and Tamron for the original APS-C E mount, then there is no reason for me to use the overpriced over-hyped, awkward FE mount system.

 

Many of dealers(except big US online sellers like Amazon or B&H) throughout the world actually not very happy about Sony and their stupid policy of forcing all potential E mount buyers to the FE by intentionally disabling the APS-C lens line.

Many of dealers think the FE system will fail in the long run ,the FE system will not win, it is a temporal success, in deed a very short time success........and it is even an euphemism..........to put it polite.

 

What's hilarious about Sony camera business is that if you read the numbers carefully, you quickly realize Sony's SLT to MILC focus shift in ILC market has not actually improve anything in terms of their overall camera sales, but their E mount MILC has just deprived some serious sales from their A mount. And the even sadder fact is their MILC sells overall, regressed significantly in the past 4 or so years. The year 2013 was the peak year for them and after that it has been steadily declining.

 

What's really sad is that they failed to gain anything on their forceful focus shift from the A to the E to the FE and probably cost them a significant amount of momentum. By forcefully shifting their marketing focus from the A to the E to the FE in a very short time,they've created many many disappointed Sony haters.......just like they did with the Vaio PC business a few years back.

 

Despite of all the purported success Sony supposed to have got, Sony is still a small player in the ILC business, and probably even less significant after this year because only those well-heeled rich guys or spec-obsessed landscapers buy their FE cameras due to their unfair sudden price hikes.

 

Even domestically(here in Japan), as of last year, they are 4th for market share in ILC's, and actually further losing sales to CNFO.. And Japan is supposed to be the most mirrorless friendly market.

 

After all, maybe Canon Nikon Fuji were not as stupid as they always thought to be by those armchair camera market experts?

 

Unlike Sony and Fuji,Canon Nikon have not wasted much of their very limited RD money on quickly contracting current consumer camera market, but they have effectively invested that in something more important for their future such as medical imaging, automobile camera system, and surveillance camera tech. For us gearheads, maybe being mirrorless or mirrored is a very important issue, but for most of NORMAL people it is not important at all, and the A7 form of camera is not really disruptive in any way. It will not change the way we use our cameras or anything: It is not connected, It is not programmable, It is not dust-free(most important issue to me), It is not significantly lighter than Canon or Nikon fullframe system as opposed to how Sony has originally marketed it to be, It is not a true hybrid system. The FE FF has just made the great NEX extremely awkward, if not useless.

I mean many E mount users have bought into it for the promised smaller SYSTEM size(it was a lie) and extremely affordable lens system(another lie), not for the oversized overpriced FE lenses.

Again if not for the Batis, I am even not writing this crap about the A7X since there is nothing else interesting about the FE mount system.

I guess I will give a few more months for Sony to see if they are actually serious about the APS-C line E mount lenses and how they treat the A mount and the user base. It is very important because I know the future of the A mount will also be the future of the E mount and FE. Sony throws anything against the wall to see what will actually stick and they will keep replacing everything even those commercially successful ones, as they always do in all markets they enter.

This really exhaust users and this is why Sony has so many haters.

 

Honestly, now I think only three real pros for Sony FE system are below:

1 DXO 11 support

2 cheap Capture One 9.4 Pro for Sony(50US)

3 Zeiss Batis line lenses.

   

UPDATE: There are many articles that explain about A mount license contract here in Japan.

It seems to be the type of odd contract is the reason why Sony has not really serious about the A mount development any more.

Many dealers here already reported Sony has already finished the A99V successor, but the management still want to hold on the announcement.

The problems are:

1 Sony has to pay license fee to Konika Minolta.

2 All Sony G and GM lenses are Konika Minolta designs and they want to or already raise design and production fee.

3 Technically, the A mount license is still owned by KM not by Sony.

4 if Sony quits the A mount business or quits supporting the mount, KM will charge 5 years of the annual license fee for it.

So even if the A99 successor sales really well, it may not be a very profitable product for Sony, and therefore, they want to be careful about it. Also, they have to calculate the risk of quitting it. Even if Sony has to pay 5 years of annual license fee to KM, it is still better terminate the A mount business.

It is again all about politics nothing else.

Many forum people tend to think Sony has bought KM business, but it is not that simple. It looks like much more complicated legal issues there. If you check the biggest customers list for KM optical business, Sony has always been listed there. And it looks like KM is charging quite significant amount of money annually for the A mount license.

 

UPDATE2: now, I think FF mirrorless is, like self-driving car, it is the future, definitely, but not really mature enough to be practical for many real life tasks, and they are both still immensely overpriced just because newer tech relatively to their older more practical rivals.

The Sony a7R2 should be cheaper than the D810 considering it does not have the complex mirror and proper weather sealings on the shutter. The X-T2 should be as cheap as the D7200 or the 80D. The A6300 should be as cheap as its predecessor(about 650US), no more than that, it is a great camera but still not able to shoot from a fast running car or train like the 7DMK2 or the D500, and so if you were a paparazzi or anything like that, you would not choose the A6300 as your main camera.

When I wrote my previous A6300 vs D500 hands-on experience,I was very very impressed with the A6300 AF, especially with the FE55mm f1.8Z. But now I am sure if my work is completely relying on the best AF in the game, I'd definitely choose the D500, not the A6300, which could not focus well on a super fast moving thing from a fast running train or a car unless the light level is perfectly ideal.

In last week,I tried to shoot street snaps from a fast running super express train with my A6300, A7M2 and A7R2, none of my Sonys could focus on anything moving from a 300km/h fast running train, I was really glad I also brought my D750 with me for my last short train trip.

Like Thom Hogan said, the Sony Alpha E mount cameras are too slow for anything moving fast, I mean their single AF speed is very fast, but it cannot track fast, especially when the light level is not really ideal.

Plus, the general operation speed of the Sony is just painfully slow, even the most expensive A7SMK2 is very slow. I mean it takes about 30 seconds to format a card, about 5 seconds or more to wake up from a long sleep, etc, and is too slow for anything unpredictably moving or decisive once a life time kind of shot. Another big issue of the Sony FE system is terribly short battery life. I know if I bring this up, many Sony fans would tell me after adding a couple of extra batteries it is still lighter than any of Nikon Canon FF D-SLRs. Maybe so, but the real issue here is because we need to change the battery almost every couple of hours, we would miss many decisive moments, and it is really annoying.

 

Now, it is obvious this is the most difficult time to spend some serious amount of money into any of these already existing camera system since they all suck in some ways and all the camera companies are too arrogant or stupid to listen to the actual users.

 

The FE50mm f1.4Z is an amazing lens that may change the direction of the entire industry but it is a huge lens, honestly, if I knew where Sony were heading to at very first place in 2013, I would not have spent this much money into Sony FE system......I wanted it to be small, light and simple, but now it is a big, heavy, expensive and very complex system.

Really, why every new lens must be AF and this huge is beyond me. It is just making the system impractical with the terribly oversized lenses. I have never seen any 50 this big(except my Otus 55 and the old Sigma Art I hated both of those huge 50 primes), seriously it is as big as the 85mm f1.4 GM and is an ugly looking lens, too.

Sony should not try a D-SLR replacement system with the A7 system, but a great RangeFinder replacement system.

Hope they wake up soon.

 

UPDATE3: I think I must correct some terrible lies spread by so called reviewers here:

1 Fuji X-Trans3 is just the same sensor design or some variant of the A6300 sensor. A lie. The Fuji 24mp sensor is Toshiba design, Sony produced sensor. Last year Toshiba sold out some of their CMOS plants to Sony, they made some specific contract conditions that they would continue to design core sensor designs and produce prototypes of them themselves, albeit a small number of each sensor they design, and then they take that to main fab process and Sony would mass produce that in Kumamoto Tech and Nagasaki tech.

And the Fuji X trans 3 sensor is the first practical case of this Toshiba Sony sensor business collaboration. So it is definitely not a Sony sensor. If you have both the A6300 and the X-Pro2 or X-T2 , you can easily tell that. The specs are very different and even the base ISO value is so dramatically different, I say the a6300 sensor is the better one here.

2 Nikon D7200 sensor is also Toshiba sensor but some similar variant of the X-Trans 3 sensor. No. Lit is another lie spread out by the so called reviewer community.

The D7200 sensor was initially produced at Toshiba Kyushu plant, and then moved to Renesas Mie plant.

Now it is produced at Sony Kumamoto or Kagoshima tech.

So it is definitely a Toshiba sensor used Renesas IP, and the 20mp Sony sensor used in the D500 seems also share the same tech used in the D7200 Toshiba sensor.

And they are nothing to do with Sony tech. Just now produced by Sony since Toshiba sold out their main CMOS factories to Sony last year. But it is a pure contract work and nothing like Sony designs it for others.

3 The Nikon D5 uses old Toshiba tech. No, wrong again. The Nikon D5 sensor is designed by Nikon and Renesas, produced by Renesas. All the high-speed read-out sensors from Nikon are designed by either Aptina or Renesas, nothing to do with Sony.

4 Canon does not sell sensors, it is another lie. They sell their industrial design sensors such as automobile and airplane sensors.

5 Renesas now has no their own CMOS factory. Wrong again, they still have 3 and 2 of which are small car use sensors but the last one in Mie still produces big sensors for Nikon. But their CMOS production capacity is not large enough for Nikon consumer grade bodies sold under 3k. So the D810 and the lower grade cameras use either Toshiba or Sony sensors produced at either Sony Kumamoto or Nagasaki, or some rare cases at Kagoshima.

 

6 Nikon is now completely dependent on Sony. Again, a big lie who want to promote Sony over Nikon or anything.

Nikon is now seeking another contract sensor producer who has large enough production capacity for their consumer grade camera sensors. And they are probably choosing Tower Jazz as their next sensor producers. Now, Panasonic, Tower Jazz and Sony are competing for that and I am sure Nikon will not use Sony for this. As fool as the current Nikon management is, they at least understand how risky to give Sony all prior info about all their upcoming cameras, so they want to go against Sony. But the sad part is Nikon cannot be 100 percent independent from the Sony tie since Aptina one inch sensor choice is now no longer available as they are now a part of On Semi.

  

Nikon crisis 7:Keep the F or not for better long term future.

 

Should Nikon keep the F or ditch it ?

 

A short registration distance has some advantages for some lenses but disadvantages for others.

 

For example if light rays from the exit pupil strike the sensor at an extreme angle, such as happens with various wide angle lens designs, you can have problems of vignetting and colour fringing. Leica experienced this with their early digital M bodies with certain of their lenses which had been excellent on film, and needed an special designed set of micro lens arrays.

 

This was a problem with some Leica film lenses on older sensors, such as the one in the NEX-7. It is not a problem with lenses designed for digital sensors, or for recent sensors with BSI. IOW, if the E mount had slightly wider mount diameter design or a bit longer registration distance,then the A7RMK2 would not have needed the special designed expensive microlens arrangement, and thus could have been a lot cheaper than it is now.

 

That's an important point - lenses that are specifically designed for digital sensors. A short registration distance doesn't automatically make this easier.

 

There are various ways of correcting this - a curved sensor being one; or a sensor with angled micro lenses at the periphery being another(this is the tech the A7R2 and the A6300/X-Pro2 sensors use). But both of these have a potential disadvantage when used with lenses that do not require correction. Alternatively software correction could be employed with the compromises that that involves.

Or the manufacturer could re-design lenses so that light rays are as near to parallel as possible when they strike the sensor, which in the case of some wideangles means utilising a retrofocus design. But if you do this your lenses are then back to the size of those used with DSLRs, so unfortunately you have lost most of the potential advantage of the short registration distance here already........this is why all the great E mount fullframe lenses are huge...........in fact, on average bigger than Canon Nikon Tamron equivalent lenses.

  

Sigma seem to be going down this line, and I don't think they will do well.

The big optical advantage is that almost any lens can be used.

That might be an advantage to some users but I'm not sure it's an 'optical' advantage.

  

A second one is that there is more space for tilt-and-shift adapters, bellows or other devices to go between lens and camera. You couldn't use the Cambo Actus with a DSLR.

But the hypothetical mirrorless A or F mount can take this and so able to get a better quality set of TS lenses than the current DSLR TS lenses from Canon, Nikon or Zeiss.

A marginal advantage for most people frankly. But for architecture photographers it is a huge advantage over the short flange distance mount design of the E mount.

And at least, it is a way better more practical design than the short registration mount design with an adapter option.

However, if your main point to have a mirrorless camera is to get better non-native lens adaptability, then it must have short registration distance which accepts more lenses from many different eras.

But I doubt there are many many mount adapter freaks in the FE mount world any more, since most of us already know adapted lenses do not perform very well, and adapters add extra weight, and deprive some serious amount of potential IQ of lenses adapted.

IMO, the main point of mirrorless is reducing mechanical and optical complexity and thus being able to increase profit margins; and to use an EVF for both the same visual experience for stills and video.

The optical advantages are for a very, very, very limited range of focal lengths and fields of view. As pretty much all MILC systems demonstrate, lens size is mainly driven by focal length, image circle, and max F number, if you doubt it look at the Panasonic Leica 12/1.4, is it really tiny? No, it is bigger than the Batis 25mm f2 or the Fuji 16mm f1.4......And then, you look at Sony FE glass... barring the 28/2 & 35/2.8 all the lenses are about the same size as their DSLR equivalents. No magic here.

You look at E glass... 20/2.8 is the same size as the EF 24/2.8. 16/2.8 is small but really bad. If there are advantages they haven't been realized or capitalized on.

Also the optical benefit is only for lenses under around 44mm-50mm in the case of Canon or Sony A , and actually you gain that back for longer focal lenses. for instance Olympus made some pretty small and good primes for the OM mount which was even longer then the EF mount. So small lenses are indeed possible even without short registration distance as opposed to many tiny mirrorless fans claim.

Also while there is some optical advantages (not really major because the lenses have to be designed for the sensor stack), there's also counters which has to worry more about sensor reflections, vignetting and color casting,etc that don't occur with a more relaxed registration distance. This is a big part of reason why Nikon F mount cameras using the same sensor usually have less sensor reflection or color casting issues than the Sony E mount rivals using the same sensor. But no reviews talk about this since they do not want to displease Sony and its fanboys........

So, if the size potential reduction is not the main point for Nikon to go mirrorless, then why not just keep the very popular F mount with excellent lens line?

I used to be agaist this idea-keeping the venerable F mount, but now I am kind of supporting it since I have learned the only one real advantage of going really short with flange distance is better legacy lens adaptability.

I think keeping the F makes more sense as Thom Hogan and others say, because, by now, most of people already using mirrrorless(especially the FF ones) already understand the short mount registration distance does not make FF lenses really small unless seriously compromising on max F number or edge sharpness.

  

UPDATE:Another serious issue all the camera makers will have to face but I did not really realize before is that all ILC cameras are big to most of NORMAL non-photographer people, and they are very intimidating to most of NORMAL people(I mean regardless of mount type or sensor type).

I never realized it before but while walking around down town Fukuoka with one of my long time friends here forced me to understand it. A friend of mine told me that he thinks all interchangeable lens cameras are huge and intimidating to most of average people regardless of sensor size or format, it's just simply annoying!

I guess a big lens scares or annoys people more than a big body......I never saw it his way but I got his point and I decided to carry my tiny Canon G5X when I just walk around the city area with other people. If I am alone shooting something, then I usually carry my big camera, and I think it does not matter it's a m43, a FF, an APS-C, it is all big to most of NORMAL people, anyway.

Then why not just go all the way up to FF or MFDB, or at least APS-C?

 

So maybe the one really doomed is not Nikon F or Pentax K or Sony A but m43?

Nikon and Pentax have historically had very enthusiastic and even fanatic core shooters and they are usually too old to adapt themselves fast to new EVF based gear even if they understand it is the more logical thing for them as they are aged. So D-SLRs may survive as antique cameras, but m43 or Nikon One?

    

Update2:now, I think FF mirrorless is, like self-driving car, it is the future, definitely, but not really mature enough to be practical for many real life tasks, and they are both still immensely overpriced just because newer tech relatively to their older more practical rivals.

The Sony a7R2 should be cheaper than the D810 considering it does not have the complex mirror and proper weather sealings on the shutter. The X-T2 should be as cheap as the D7200 or the 80D. The A6300 should be as cheap as its predecessor(about 650US), no more than that, it is a great camera but still not able to shoot from a fast running car or train like the 7DMK2 or the D500, and so if you were a paparazzi or anything like that, you would not choose the A6300 as your main camera.

When I wrote my previous A6300 vs D500 hands-on experience,I was very very impressed with the A6300 AF, especially with the FE55mm f1.8Z. But now I am sure if my work is completely relying on the best AF in the game, I'd definitely choose the D500, not the A6300, which could not focus well on a super fast moving thing from a fast running train or a car unless the light level is perfectly ideal.

In last week,I tried to shoot street snaps from a fast running super express train with my A6300, A7M2 and A7R2, none of my Sonys could focus on anything moving from a 300km/h fast running train, I was really glad I also brought my D750 with me for my last short train trip.

Like Thom Hogan said, the Sony Alpha E mount cameras are too slow for anything moving fast, I mean their single AF speed is very fast, but it cannot track fast, especially when the light level is not really ideal.

Plus, the general operation speed of the Sony is just painfully slow, even the most expensive A7SMK2 is very slow. I mean it takes about 30 seconds to format a card, about 5 seconds or more to wake up from a long sleep, etc, and is too slow for anything unpredictably moving or decisive once a life time kind of shot. Another big issue of the Sony FE system is terribly short battery life. I know if I bring this up, many Sony fans would tell me after adding a couple of extra batteries it is still lighter than any of Nikon Canon FF D-SLRs. Maybe so, but the real issue here is because we need to change the battery almost every couple of hours, we would miss many decisive moments, and it is really annoying.

 

Now, it is obvious this is the most difficult time to spend some serious amount of money into any of these already existing camera system since they all suck in some ways and all the camera companies are too arrogant or stupid to listen to the actual users.

 

The FE50mm f1.4Z is an amazing lens that may change the direction of the entire industry but it is a huge lens, honestly, if I knew where Sony were heading to at very first place in 2013, I would not have spent this much money into Sony FE system......I wanted it to be small, light and simple, but now it is a big, heavy, expensive and very complex system.

Really, why every new lens must be AF and this huge is beyond me. It is just making the system impractical with the terribly oversized lenses. I have never seen any 50 this big(except my Otus 55 and the old Sigma Art I hated both of those huge 50 primes), seriously it is as big as the 85mm f1.4 GM and is an ugly looking lens, too.

Sony should not try a D-SLR replacement system with the A7 system, but a great RangeFinder replacement system.

Hope they wake up soon.

  

UPDATE3: I think I must correct some terrible lies spread by so called reviewers here:

1 Fuji X-Trans3 is just the same sensor design or some variant of the A6300 sensor. A lie. The Fuji 24mp sensor is Toshiba design, Sony produced sensor. Last year Toshiba sold out some of their CMOS plants to Sony, they made some specific contract conditions that they would continue to design core sensor designs and produce prototypes of their own sensors themselves, albeit a small number of each sensor they design, and then they take that to main fab process and Sony would mass produce that in Kumamoto Tech and Nagasaki tech.

And the Fuji X trans 3 sensor is the first practical case of this Toshiba Sony sensor business collaboration. So it is definitely not a Sony sensor. If you have both the A6300 and the X-Pro2 or X-T2 , you can easily tell that. The specs are very different and even the base ISO value is so dramatically different, I'd say the a6300 sensor is the better one here.

2 Nikon D7200 sensor is also Toshiba sensor but some similar variant of the X-Trans 3 sensor. No. Lit is another lie spread out through internet by the so called reviewer community.

The D7200 sensor was initially produced at Toshiba Kyushu plant, and then moved to Renesas Mie plant.

Now it is produced at Sony Kumamoto or Kagoshima tech.

So it is definitely a Toshiba sensor used Renesas IP, and the 20mp DX sensor used in the D500 seems also share the same tech used in the D7200 Toshiba sensor.

And they are nothing to do with Sony tech. Just now produced by Sony since Toshiba sold out their main CMOS factories to Sony last year does not mean they are Sony chips. It is a simple contract work and nothing like Sony designs it for others.

3 The Nikon D5 uses old Toshiba tech. No, wrong again. The Nikon D5 sensor is designed by Nikon and Renesas, produced by Renesas. All the high-speed read-out sensors from Nikon are designed by either Aptina or Renesas, nothing to do with Sony or Toshiba.

4 Canon does not sell sensors, it is another lie. They sell their industrial design sensors such as automobile and airplane sensors to Toyota or some other car airplane manufactures in Japan.

5 Renesas now has no their own CMOS factory. Wrong again, they still have 3 and 2 of which are small car use sensors but the last one in Mie still produces big sensors for Nikon. But their CMOS production capacity is not large enough for Nikon consumer grade bodies sold under 3k. So the D810 and the lower grade cameras use either Toshiba or Sony sensors produced at either Sony Kumamoto or Nagasaki, or some rare cases at Kagoshima.

6 Nikon is now completely dependent on Sony. Again, a big lie.

Nikon is now seeking another contract sensor producer who has large enough production capacity for their consumer grade camera sensors. And they are probably choosing Tower Jazz as their next main sensor producer. Now Panasonic, Tower Jazz and Sony are competing for that and I am sure Nikon will not choose Sony for their main sensor producer this time. As obtuse as the current Nikon management is, they at least understand how risky to give Sony all prior info about all their upcoming cameras, so they want to go against Sony. But the sad part is Nikon cannot be 100 percent independent from the Sony tie since Aptina one inch sensor choice is now no longer available as they are now a part of On Semi.

 

UPDATE4: Now, I just confirm that Nikon DL series actual shipment date would be next January 17th as planned in last Nikon conference at Nikon D3400 launch. But it may delay even further to next CP+ show in Yokohama Japan(in Feb 2017).

 

So it is already promised to be a failed product line before the actual launch. I think Nikon is really stupid, I mean I don't think phones or mirrorless killing Nikon but itself, it obtuse marketing killing it.

        

Leaded by a Diablo VT Affolter LeMans and a beautifull LP640

Cuanto más vivo, más me doy cuenta de las repercusiones de la actitud de la vida. Attitude, to me, is more important than facts. Actitud, para mí, es más importante que los hechos. It is more important than the past, the education, the money, than circumstances, than failure, than successes, than what other people think or say or do. Es más importante que el pasado, la educación, el dinero, que las circunstancias, de fracaso, de éxitos, que lo que otros piensan o dicen o hacen. It is more important than appearance, giftedness or skill. Es más importante que la apariencia, giftedness o habilidad. It will make or break a company... Que hacer o deshacer una empresa ... a church... una iglesia ... a home. un hogar. The remarkable thing is we have a choice everyday regarding the attitude we will embrace for that day. Lo notable es que tenemos una elección diaria con respecto a la actitud que adoptará el de ese día. We cannot change our past... No podemos cambiar nuestro pasado ... we cannot change the fact that people will act in a certain way. no podemos cambiar el hecho de que las personas actúen de cierta manera. We cannot change the inevitable. No podemos cambiar lo inevitable. The only thing we can do is play on the one string we have, and that is our attitude. Lo único que podemos hacer es jugar por una cadena que tenemos, y que es nuestra actitud. I am convinced that life is 10% what happens to me and 90% of how I react to it.” ~Charles R. Swindoll Estoy convencido de que la vida es 10% lo que me pasa a mí y el 90% de cómo reaccionar ante él. "~ Charles R. Swindoll

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