![]() ![]() A slim lens hood rounds out the compact design. The lens is 23.5mm (0.93") thick and 125g (4.4 oz) in weight, making it the first lens that Nikon says is thin and light enough to be considered a true pancake for the Z-mount. The other lens announcement today is the new Nikkor Z 26mm F2.8 pancake lens. This helps the lens deliver a close focus distance of 0.85mm (2.8ft), and faster focus because each focus group has less far to move. It has 11 rounded diaphragm blades which, according to Nikon, produce clean round and soft circles, and it says the optical design has been arranged to minimize 'onion-ring' effects in the bokeh.ĪF performance is also promised to be quite and fast, with minimal breathing, which Nikon says is made possible by using two stepping motors (STM) moving two focus groups. It sits next to the 85mm F1.8 S in Nikon's lineup. ![]() ![]() It features magnesium alloy construction and is claimed to be weather sealed. The Nikkor Z 85mm F1.2 S is a portrait prime in the company's premium 'S-line' of lenses. If you prefer a stronger rendering, simply adjust one image to how you like and then save the adjustments as a custom preset, which you can then apply to future images.Nikon has released the promised pair of new lenses for its Z-mount system: the Nikkor Z 85mm F1.2 S, which the company says is a professional-level ultra-fast prime lens, and the Nikkor Z 26mm F2.8 pancake lens which is Nikon's slimmest and lightest full-frame AF lens ever. Why you see stronger colours in the jpeg is because they have been “compressed” from 16,384 levels into only 256 levels, losing a lot of subtlety and detail on the way. This essentially means that jpeg images can only render 256 different levels of tonality or colour, whereas a 14-bit RAW image can have 16,384. Jpeg images are limited to 8-bits whereas a RAW image can be 12 or 14-bits. PhotoLab, or other RAW software, is not creating different colours, it is simply stripping out the processing that your camera did to the image to create a jpeg preview that you can see on the back of the camera or Windows explorer. I tryed about every possible option (from testing every photolab color rendering settings, to adjusting any other parameter) but I can’t get those colors back. Nikon codec result ?.Ģ - Is there a way, or what would be ideally needed, to keep them because most of the time they are way more realist and more pleasing than the more saturated and contrasted ones “created” by photolab (photolab is not the only one to “create” them). I know Photolab converts colors in Adobe rgb as working color space, and displays them in either sRGB or Adobe RGB (set by user in preferences) and I understand this process.ġ - What are really those first colors ? I need to be sure what they are. I think windows uses a nikon Codec for creating its icons from NEF. Those first colors seems to be exactly the same as those I see in windows explorer (when set to Icon and not list of course). Then, few seconds later, those colors change (generaly a lot), and those new colors become the color that photolab keeps forever (If I don’t make any editing). ![]() When I look a new image for the first time (I mean when I click on it in the image brower for the first time), this image opens in Photolab main window with some colors. I use photolab4 with NEF nikon format on 2 different windows 10 workstations (different graphic chips and brand so graphic card seems obviously irrelevant here). ![]()
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