Moose wrote:
> I suspect you've not seen an E-300 shot from AG before, either.
That camera is the big surprise. The E-300 (aka Ghetto Cam) is the
"stance car" of the camera world. I've never liked that camera. Until
now. The sensor is similar to the E-1 in many ways, but yet quite
different. I look forward to exploring it further.
Based on some initial testing and comparative studio shot analysis, as
well as shooting some midday and sunset scenes, I think the E-400 is
going to rapidly become a favorite camera. Funny thing about that
camera is that the images look better from the 14-42 than the 14-54.
On the other cameras, the 14-54 is better (except for the corner
tearing at wide-angle). But on the E-400, it looks like the sensor is
happiest with the 14-42. I forgot just how slow the 14-54 is to focus.
But the feel of that lens is just right.
I did the "pepper test" yesterday. I studio shot a plate of red,
orange, yellow peppers as well as a dried Anaheim. Exact same
settings, exact same lens. Processed in Lightroom. The E-1 and E-400
matched very closely, the E-300 and E-3 were similar to each other.
The L-1 was close to the E-400 in some regards, but a bit different,
but the GX85 was on another planet. I tried to crank the settings
around on the GX85 to match, but the sensor literally did not see the
same colors at all. No amount of knob twisting could get the images to
match. It's not a subtle difference either. I took into account the
ISO differences and bracketted the GX85 pictures.
I sent Moose a picture from my iPhone of the footbridge. That spot is
on the very edge of cell coverage--beyond that point, you evidently
die or something. Anyway, it was snowing to beat the band and the
scene was very monochrome. The wood of the bridge is the only color in
the scene.
AK Schnozz
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