mercer

That FP is just fooling with your emotions at this point 😉
Alternative viewpoint to those excellent images though is that it might just have something to do with the person taking them.

My unfeasibly patient and indulgent wife meeting me outside every 2nd hand lens shop in Tokyo next week when I use that exact same line.

In my previous post, I mentioned that I was going through my lenses and thinning the herd. Well today I have a few samples from the Zeiss ZF Classic 50mm 1.4.
I bought this lens a couple years ago for VERY little money. The body had a little wear, but the price was so good, I decided it was worth it and if I didn't like it, I could EASILY recoup my costs. When the lens arrived, it had a couple issues... the Nikon F to EF adapter that was included (a "bonus!" according to the seller) was stuck on the lens... the lever that is used to release the adapter from the mount was broken off. At the time it wasn't a huge deal because I was using it on an EF camera.
Here's a frame from it on my 5D3 with ML Raw...
So it seemed to be a good sample but when I tried to attach a VND, I quickly realized that the threads were messed up... I could screw the filter in but it definitely wasn't right. By the feel and sound of it, it seems like the lens was dropped in the dirt. Luckily, nothing was affected mechanically, or optically, so it's no huge issue. Eventually, I'll buy a step up ring but for testing purposes, a filter will screw on with enough patience.
Anyway, I bought a Sigma FP last fall and since then I have been testing different lenses with it looking for a simple little set up. So far I like the camera. It has a pretty nice image, but I'm not wowed by the IQ like I was when I first bought my 5D3... but that's a story for another time.
As I mentioned in my previous post, I built a basic set of fast Nikkor ai-s lenses and I plan on selling off everything else. I'll keep a few random lenses that I really like.
Back to the Zeiss... to test it with the FP, I needed to remove that damn bent adapter. Well it was no match for a pair of dykes and some needle nose pliers. In mere minutes I turned the "bonus!" adapter into a pile of metal shards.
So, after enlisting my actor friend, I decided to take the lens out for a test run with the FP.
Here are the results...


As I mentioned earlier, I have a hot and cold feeling toward the FP, but on that day, maybe it was the light, or the beat up, pseudo-modern Zeiss optics, I think I have one of those random keeper lens...
Now I just need to refrain from building a set of Zeiss lenses...
Easier said than done.
Thanks for reading my long, unscientific, anecdotal review.

I used to work out of my little Mazda Bongo camper a lot back in the day.
Same logic regarding the savings and convenience particularly when I had to cover games late at night or be at pressers first thing in the morning.
Great to use it as a mobile office as well to file from too.
The biggest cost savings were covering long multi day events away such as football tournaments and particularly like here when shooting the Tour de France.
Using the camper saved me a lot and meant I could ram it full of boxes gear as well as utilise it as a mounting point for remote cameras !

Its got me quite nostalgic for covering the Tour again to be honest, although these days it would be far more lucrative shooting it as a vanlife vlog than it would as an editorial photographer. 

She didn't compare them with a cinema camera - how am I supposed to watch a review that doesn't do that???
What I concluded from this review (and others) is that: 1) this entire category is half-baked and camera companies are light-years away from providing a solid and slick vlogging experience, and 2) these reviews are like watching people half-way-through the process of getting Stockholm Syndrome....  they clearly don't love them, they clearly don't enjoy the process, they don't like the price, and then their conclusions are positive - like they're saying "please send me the next one to review".
Blink three times if you need help!!

At least it doesn't have vertical audio. 

We're not talking about communism here. We're talking about a product that was designed and manufactured for a specific usage. Most of Canon's products are designed that way. They always were.
I'd imagine in the 70s when most manufacturers/consumers were heavily invested in SLRs, the Canonet line of cameras probably seemed pretty pedestrian, but that didn't stop Canon from putting a pretty spectacular lens on it and marketing it to a specific consumer at a reasonable price point. Even the Canonet line had different entry levels.
As far as this camera goes, the biggest omission is a tripod thread. Otherwise, for sit down, YouTube Vlogs... what more do you need? Only a thoughtful eye can tell the difference between a $500 camera, a $3000 camera or even a phone in YouTube videos.
I mean, they're not marketing it for indie filmmakers.
But... since it shoots 24p, an interesting film could be made with it if someone could see past the limitations and see the possibilities. 

As far as being a fanboy... I don't really care about brands. But I must say that I have always gotten along better with Canon cameras than any other brand. In fact, I am tired of using other brands and being disappointed. I'm probably going to go all in with Canon from this point forward. If that makes me a fanboy... of Gawd... I'm too old to care. 

Canon only exists to make a profit. That is their, and every other company's, sole purpose. They make a profit by providing products that the market wants/needs.
It's really quite simple.
As far as 'going against nature' or science, I can only assume you're referring to vertical video... based on your previous statement. I agree with you... I despise it. Luckily, in its natural form, this PowerShot camera shoots 16:9 video but you can turn it if you want vertical video.
That seems fairly acceptable to me. As much as I hate it, I understand that, due to smartphones' inability to make 16:9 shooting simpler and peoples' inherent laziness, there is a desire for vertical video and since Canon isn't in the smartphone business, they need to offer that possibility.
But out of box, this vlogging  camera shoots 16:9 in its natural form factor.

I didn't say it's good...  just that it's designed for vlogging!
The Canon PowerShot V10:
Pocketable, flip-up screen, integrated stand 19mm equivalent FOV, and the EIS crop isn't that much Everything else is just like a PowerShot though.....  1" CMOS sensor, Contrast AF, low bitrate, etc

It's a sad day when simply combining an ergonomic chassis and a wide enough lens counts as innovation, but it does.  I've seen at least one camera YouTuber say that if they keep the form factor and improve the specs then this might tempt them away from the high-end S35/FF cameras they currently use.

Yes you are right, the same goes for here, certain churches don't allow flashes during weddings, many events/venues don't let you bring anything even resembling a professional camera on their property or in their venue unless you get approval first which of course is nearly impossible to get. For places that are that bad, I just tell my client that I refuse to film there. These days I don't really do the tourist thing anymore but if I did even the R7 would probably be too big for venues like that. 
I didn't even think about the smaller size of the venues there. I have been to Europe a few times and each time, the smaller size of everything was the first thing I had to get used to. By comparison most things in America seem large to the point of being wastefully excessive. Events are the same way, most events are in huge venues with large crowds and the zoom lenses really help close those gaps. I think with smaller venues I would be more likely to consider primes or something like the 24-70 F2.8. I guess that's why it was hard for me to even imagine some of the lens choices that people were making here when I was thinking about the amount of space I need to cover in my typical event. I have even used the 70-200 on occasion because things were just so far away or so high up that the 105 wasn't long enough for me to capture the level of detail that I wanted. BTW the 70-200 RF F2.8 is incredibly stable handheld even at 200mm way more so than the EF version ever was.
Its funny, I don't look at them as compromises at all as long as you deliver something the client is willing to pay for. At the end of the day it is just photos and video footage, to me it's only a compromise if you compare it to something else you could have done or some other equipment you could have used, but if the client is pleased with the final product then I consider that as having picked the right equipment for the job even if that client happens to be yourself.
Sure you could have picked a sharper lens, shot with a higher resolution camera, used a gimbal instead of handheld, etc. etc. but none of those things mattered in the end so I don't consider not using those things to be a compromise.

Yes, this can be an absolute killer...
I filmed a friends birthday party on a GoPro once, which was in a nightclub, and edited it up as a sort of birthday present for her.  I put it on a handle and in it's waterproof case (it was an older one that wasn't water resistant when naked) and let them pass it around and sort of crowd-source shots.  The footage I got back was great from the perspective of angles and content, and the noise was obviously an issue being that it was an older GoPro and the nightclub was almost pitch black in-between the light pulses/flashes, but the colour rendering from the various "white" light sources was spectacular, and not in a good way.  This combined with the GoPros 709 colour science was an incredibly difficult challenge to colour grade, because so many shots were close-enough to neutral to need to be balanced but were so far from proper that it was a real challenge.
I see similar things in street markets etc where every vendor has their own brand of 70 CRI LED lights that are all different colours to each other, with some vendors even having a mixture of several different colours just in their own booth.  Or even string lights where you can tell which bulbs they're replaced and not matched the existing ones.
It's like stepping into an alternative universe where you can see all sorts of colours, but not in a good way.
I think this is potentially the most significant factor that defines what focal lengths you need.  For my own videos of my family I worked out that what I wanted was environmental portraits, and I wanted to shoot them from where I was standing, which was generally at a comfortable distance from them (here in Australia the personal space distance is on the larger side) but without having other people in-between us.
I settled on 35mm equivalent, as I felt that the 28mm that smartphones used at the time was too generic a look, but on my last trip I used the 14mm on the GX85, which works out to be a 31mm in 4K mode and I didn't mind or even notice that it was much wider, so I think I might have gotten over my phobia of the 28mm look.  Certainly there are situations where it's too crowded for the 35, and in some situations (for example in a crowded local market in India where you were pressed up against at least two other people at all times) I had to film by using my phones wide angle and do it from above, as if I held my phone at eye height it might have been touching both my head and also my wife's at the same time!
For my work I like to get the perspective that the video is from my own individual perspective, so I shoot the things I see from where I am when I'm seeing them, but within the confines of what lenses I have.  Obviously this is counter to @mercers point about zooming with your feet, but I find that human vision can easily be "zoomed" in that you can easily narrow your attention when looking at a far away object, so I think there's some flexibility if you're trying for the perspective a human might have rather than just watching events and not being in them (as you are in most narrative work).  Yes, your eyes are still a wide-angle lens and light from the table you're sitting at and from the people sitting next to you is still hitting your retina but because you're staring at the sailboat out on the water you're no longer aware of the people and the table, you've kind of zoomed in cognitively.
Absolutely.  My experience has mostly been that I'm experiencing all of them at all times!

The problem I have always had with zooms is that I was either compromising the shot for the luxury of not moving my setup, or I kept moving to get the sweet spot (pop) of the specific focal length I was zoomed in/out to... so the old saying about primes... Zoom with your feet... was still necessary to hit the sweet spot.
Of course, time was still saved because I didn't have to change lenses, but I also found that I was mostly using a small portion of the zoom range... usually between 40-65mm. At that point it's easier to split the difference and swap out the heavier zoom for a 50mm, and use my feet to zoom.
But then I was losing IS, so I needed a monopod or I wasn't able to hit that lens' sweet spot, so I started going a little wider, but then I'm compromising my specific style for the mechanics of the shot...
Point being... there are always compromises with run and gun. 

I've been running some tests over the past 6 months or so with different cameras and lenses trying to simplify my entire workflow and gear. Over the years, in search of the perfect camera/lens(es) combo(s) I've become a slave to the gear that collects dust in my closet.
Anyway, I feel like I know which direction best suits me, but I figured I'd share some of my results.
Here are a couple frames from the Sigma FP and Nikkor 24mm f/2 ai-s lens. I've never really been a huge fan of wide angle lenses but there is a good reason to have one in my kit. On other cameras, I have found the Nikon lens to be lacking and it's flaws show, but I could always recognize that there is something funky and great about the lens, especially wide open. It wasn't until I shot it with the FP that I saw its true potential...

My color work probably needs some tweaks, as they look a little too contrasty for my normal tastes.

Sucks cause the image produed by the lens is really solid!  I may try to snag one in better condition.

I know you're in school, but is it your end goal to be a videographer or a filmmaker?
Camera choice aside, if your end goal is to make films... either as a cinematographer or a director, or both, you may want to consider building a collection of manual focus/aperture lenses. The Nikon F mount is a great option with a long history of amazing lenses. I recommend trying to get the fastest lenses you can. They're a bit more money, but in the end, when you've decided you need them, you'll be happy you didn't waste any time with the slower lenses. To start out, the 28mm f/2 and 50mm f/2 are great lenses that can be found pretty cheap if you go with the non-ai or ai versions.
If you decide not to stick with Nikon cameras, Nikkor lenses will adapt to any camera you may upgrade to.
With that said, if you are considering filmmaking (narrative or other) you may want to look for an inexpensive camera that you can experiment with for short films, music videos, docs, etc... perhaps an OG BMPCC or even a P4K as it seems the prices for them are coming down on the used market.
Good luck with your choice. 

The Z9/Z8 are different cameras for a different purpose to the Z6II.
If you need a camera for that purpose (predominantly professional sports/photojournalism and/or 8K video or 4K handoff of ProRes) then the advances in development are obvious and are directed to support the performance of those roles.
As such, the developments are about functionality rather than being frivolous trinkets.
The stacked CMOS sensor providing a zero blackout EVF when shooting bursts because readout speeds are fast enough to negate a mechanical shutter being a prime example.
If you don't need any of the functionality that these advancements support for what you are doing then it doesn't mean the development has gone in the wrong direction, it just means its not a direction you need because you have no specific need for the target use of these specific cameras.
For everyone that does, though, the development effort has absolutely gone in the right place.

I've been running some tests over the past 6 months or so with different cameras and lenses trying to simplify my entire workflow and gear. Over the years, in search of the perfect camera/lens(es) combo(s) I've become a slave to the gear that collects dust in my closet.
Anyway, I feel like I know which direction best suits me, but I figured I'd share some of my results.
Here are a couple frames from the Sigma FP and Nikkor 24mm f/2 ai-s lens. I've never really been a huge fan of wide angle lenses but there is a good reason to have one in my kit. On other cameras, I have found the Nikon lens to be lacking and it's flaws show, but I could always recognize that there is something funky and great about the lens, especially wide open. It wasn't until I shot it with the FP that I saw its true potential...

My color work probably needs some tweaks, as they look a little too contrasty for my normal tastes.

I've been running some tests over the past 6 months or so with different cameras and lenses trying to simplify my entire workflow and gear. Over the years, in search of the perfect camera/lens(es) combo(s) I've become a slave to the gear that collects dust in my closet.
Anyway, I feel like I know which direction best suits me, but I figured I'd share some of my results.
Here are a couple frames from the Sigma FP and Nikkor 24mm f/2 ai-s lens. I've never really been a huge fan of wide angle lenses but there is a good reason to have one in my kit. On other cameras, I have found the Nikon lens to be lacking and it's flaws show, but I could always recognize that there is something funky and great about the lens, especially wide open. It wasn't until I shot it with the FP that I saw its true potential...

My color work probably needs some tweaks, as they look a little too contrasty for my normal tastes.

Oh, and thanks to my friend Glenn @mercer for "making me" get this lens. This lens has given so much joy like no other one has before. And images to see and to film! Thank you, my friend for this and for so much more. See you in the next Eoshd filming rally! best, Marty

I've been running some tests over the past 6 months or so with different cameras and lenses trying to simplify my entire workflow and gear. Over the years, in search of the perfect camera/lens(es) combo(s) I've become a slave to the gear that collects dust in my closet.
Anyway, I feel like I know which direction best suits me, but I figured I'd share some of my results.
Here are a couple frames from the Sigma FP and Nikkor 24mm f/2 ai-s lens. I've never really been a huge fan of wide angle lenses but there is a good reason to have one in my kit. On other cameras, I have found the Nikon lens to be lacking and it's flaws show, but I could always recognize that there is something funky and great about the lens, especially wide open. It wasn't until I shot it with the FP that I saw its true potential...

My color work probably needs some tweaks, as they look a little too contrasty for my normal tastes.

I've been running some tests over the past 6 months or so with different cameras and lenses trying to simplify my entire workflow and gear. Over the years, in search of the perfect camera/lens(es) combo(s) I've become a slave to the gear that collects dust in my closet.
Anyway, I feel like I know which direction best suits me, but I figured I'd share some of my results.
Here are a couple frames from the Sigma FP and Nikkor 24mm f/2 ai-s lens. I've never really been a huge fan of wide angle lenses but there is a good reason to have one in my kit. On other cameras, I have found the Nikon lens to be lacking and it's flaws show, but I could always recognize that there is something funky and great about the lens, especially wide open. It wasn't until I shot it with the FP that I saw its true potential...

My color work probably needs some tweaks, as they look a little too contrasty for my normal tastes.

Time for me to post some Tevidon 25mm love. Finally got to film a clip, got to like it, grade it and post it. First one is in the big and mighty GX85 thread. Lovely, quirky and most of all such a satisfying lens and combo. cheers 🙂
 
 

Ricoh just announced a monochrome version of the Pentax K-3 Mark III DSLR.
Evidently, it is 25.73MP, and it shoots up to 4K 30P video.
Here is a video showing footage and stills from the camera.

Hey sorry I just noticed this. I still have a few Minolta lenses. I can't use many with my 5D3, but there are a couple that can be easily modified. I believe the one you're referring to from the harbour is the 58mm 1.4. It's a great lens, especially what I paid for it. It's an older model so the coatings aren't as good as some of their MD lenses, but it has a specific look, like most Minolta lenses.
I started shooting some film stills and got a great deal on an old XD11 that had a 35mm 1.8 attached to it. I recently used the lens with the Sigma FP and got some pretty good results. I think the older MC version may be a bit better but the MD versions are so tiny and light that they're hard to not like if you can find one for a good price. Another one I always liked, but don't own anymore was the 28mm f/2. I had the new MD version and it was excellent. I like a lot of the new MD version for their smaller size and more modern coatings.
With that said, I have been building a set of Nikkors so my Minolta obsession has been put on hold. I also don't know how much longer I'll have a camera that can use my MDs.
Here's a shot from the 35mm 1.8 MD on the FP...