Good news everyone !
This new back not only looks great it is a spectacular performer using the latest Flexcolor software or even as DNG files opened in Adobe Camera RAW (ACR).
Before employing it for wedding work, I took it on vacation with me last week for a shake down cruise. Passed with flying colors. Used a Zeiss 40/4 FLE, 100/3.5CFi, and 180/4 CFi plus a 1.4XE converter (used on the 180).
The biggest and most important thing I discovered was the the tonal range and ability to record shadow detail is extremely contrasty lighting conditions while faithfully holding detail in the brights. The color fidelity of the Zeiss lenses comes through beautifully. Deeply saturated colors even in overhead summer sun at the beach.
I deliberately shot very challenging scenes fully expecting to get some blown highlights, or crushed blacks ... neither of which happened.
Here's where we stayed on the coast of Lake Michigan ... with sun blasting the front of the house and all else in deep shadows ...
This new back not only looks great it is a spectacular performer using the latest Flexcolor software or even as DNG files opened in Adobe Camera RAW (ACR).
Before employing it for wedding work, I took it on vacation with me last week for a shake down cruise. Passed with flying colors. Used a Zeiss 40/4 FLE, 100/3.5CFi, and 180/4 CFi plus a 1.4XE converter (used on the 180).
The biggest and most important thing I discovered was the the tonal range and ability to record shadow detail is extremely contrasty lighting conditions while faithfully holding detail in the brights. The color fidelity of the Zeiss lenses comes through beautifully. Deeply saturated colors even in overhead summer sun at the beach.
I deliberately shot very challenging scenes fully expecting to get some blown highlights, or crushed blacks ... neither of which happened.
Here's where we stayed on the coast of Lake Michigan ... with sun blasting the front of the house and all else in deep shadows ...
