We have just received the goods today (finally!), so I just wanted to let our readers know that both regular and Sony version of the Sensor Gel Stick are back in stock. We received a total of 800 units and it looks like we will have around 300 units left after fulfilling all the backorders. I apologize for all those who have been waiting for a while – we will try to replenish stock sooner next time.
This article is meant to be an extension to the Camera Resolution Explained article that I published back in February of 2015. With the release of high-megapixel cameras such as the Canon 5DS / 5DS R and the Sony A7R II, more and more photographers are getting interested in these tools. They want to understand the advantages and disadvantages that such high resolution cameras bring and what changes they can anticipate to their workflows. In this article, I want to address these concerns and talk about pros and cons of low versus high resolution cameras. Please keep in mind that the term “low resolution” refers to the least resolution we see in modern full-frame cameras. Just a few years back, what I refer to as “low” in this article was considered state of the art. Hence, such terms are relative to the highest resolution sensor available today.
A few months ago we wrote an extensive article on sensor crop factors and equivalence. In that post we covered several topics: the history of the cropped-sensor formats, brightness of the scene, perspective, depth of field, noise and diffraction. In today’s post I want to focus on (if you’ll excuse the pun) and expand on two of these topics:
Having spent quite a bit of time talking to many other photographers, one of the discussions that comes up every once in a while has to do with a “perfect camera”, one that does everything you need. I have been thinking about such camera for a while now and I think I have figured out what would be an ideal choice for me personally – it would be a modular camera. While the concept of a modular camera is certainly not new and we can see a living example of it in Red video cameras, those are largely not relevant to photography for high cost reasons alone. What I have in mind is a modular camera that is primarily aimed at capturing stills, but could also be potentially used for shooting videos, and not the other way around. The point of a modular camera is to be able to serve different needs, from consumer to professional, at varying costs depending on the requirements of the photographer. One should be able to afford the most basic modular camera with a smaller sensor at a comparable price to a modern DSLR or a mirrorless camera, while professional photographers should be able to customize their modular camera with say a medium format sensor, fast processor, high capacity battery and other tools / accessories they need. Like the idea? Let’s take a look at this concept in more detail.
Whether you are just getting into photography or have been shooting for a while, you have probably heard the term “crop factor”. With so many different cameras and camera systems available today, this particular term comes up very often in product specifications, marketing materials, articles, books and you might even hear it in conversations between photographers. If you do not know what it really means or want to get a better understanding of crop factor, this article will hopefully make it easier for you to understand it better. Please keep in mind that this article was written for beginners, so many of the terms and explanations are over-simplified.
It reminds me of Goldoni’s “Servant of Two Masters“; only masters are now more than two and quite often they are not only capricious but they do not know what they want. First, any comparison is open to critics because even in a well-equipped lab it is impossible to repeat the shooting conditions from a year ago, or even from a day before while shooting to compare a newer model to an older one; the criteria for necessary accuracy is not set, or not made public, or not recognized by the community. Second, one single body in the testing opens the door for sample variation questions; and once again tolerances are not brought to the light. Third, using different lenses for different mounts does not help leveling the field. Using lens adapters to shoot with the same lens is often suggested, but it opens another can of worms: adapter alignment problems and different amounts of internal flare added by different adapters skew the results.
The subject of sensor crop factors and equivalence has become rather controversial between photographers, sparking heated debates on photography sites and forums. So much has been posted on this topic, that it almost feels redundant to write about it again. Sadly, with all the great and not-so-great information out there on equivalence, many photographers are only left more puzzled and confused. Thanks to so many different formats available today, including 1″/CX, Micro Four Thirds, APS-C, 35mm/Full Frame, Medium Format (in different sizes), photographers are comparing these systems by calculating their equivalent focal lengths, apertures, depth of field, camera to subject distances, hyperfocal distances and other technical jargon, to prove the inferiority or the superiority of one system over another. In this article, I want to bring up some of these points and express my subjective opinion on the matter. Recognizing that this topic is one of the never-ending debates with strong arguments from all sides, I do realize that some of our readers may disagree with my statements and arguments. So if you do disagree with what I say, please provide your opinion in a civilized manner in the comments section below.
Just wanted to let our readers know that the Sensor Gel Stick for Sony cameras is now available in limited stock. We have already shipped our first batch of pre-orders and now we are ready to accept more orders. We apologize for being a bit late on delivering the product – the manufacturer had some unexpected delays and could not ship the goods our way on time. We are almost out of the regular version of the Sensor Gel Stick as well, hoping to get a new batch within the next 2 weeks. So if you need to clean your sensor, we would recommend to do it sooner than later before the stock completely runs out again.
It has been tough to keep continuous stock for the Sensor Gel Stick, but from now on, the manufacturer promised to deliver within 2 weeks, so we are hoping to be able to have continuous supply of the the product for our readers and customers. We have fulfilled all the pre-orders and if you still have not received any information from us on completing your order, it probably means that your mail server is blocking our emails or perhaps putting them into the spam folder. Since we have plenty of stock now (around 430 units), it might be easier to set up a new order instead. The Sticky Paper is also in stock and we have plenty of it (over 1000 units). The Sony version might have to be pushed back a few weeks per manufacturer, but we will keep our readers posted when we know for sure.
After months of waiting for the manufacturer to modify the chemical properties of the Sensor Gel Stick so that it works perfectly well with the new Sony cameras and heavy testing, we are happy to announce that we will soon be shipping the Sony version of the product to our customers. I have received a couple of sample units last week and I am happy to say that the product worked very well with the Sony A6000 and A7R mirrorless cameras. The manufacturer assured us that the Sony version will work with ALL Sony cameras without problems, but just to be sure, we did perform our own tests and found no problems! If you own a Sony mirrorless camera and would like to use the Sensor Gel Stick, you can now pre-order it from our store.