Focusing The Camera In Digital Photo Professional

I use this product for photo printing and digital scrapbooks. The ink colors are beautiful and professional-looking. I like the see-through cartridges to check on the ink levels before starting a large printing project.

I use Wacom tables for professional photo retouching for more than five years and see as a reliable product. I also used them for digital painting as part of my business/ hobby and it works very well. I have been using for my job almost every day since 2006, with older models, mostly large and medium sizes since 2006.

I have been an 35mm SLR user since 1964 and an Olympus digital SLR user since 2004. I have eight Oly digital lenses and this 14-35mm f2 lens is the ultimate. Output at all f-stops from 2 -11 at any focal length are spectacular. You will not notice too great a difference on a 4x6 print; but on an 11x14 and 13x19 prints you will notice, as they are phenomonal. Clarity and color accuracy are superb. I thought the 11-22mm lens was excellent; but this 14-35 lens is in a class by itself. Photos with great contrast are easily handled. Indoor low light photos are a piece of cake. Other reviews of this lens have criticized its low light focusing. When I tried the S-AF focus option on the E-3 in low to very low lighting, the focusing was definitely slow; BUT when I switched to C-AF focus option, the focus was dead on and immediate with all focusing and exposure options at all f-stops I tried. In other words, there is no focus problem when you use the camera properly. If you buy this lens, it will be on your camera 80-90% of the time, except when you are shooting wildlife, distance sports, etc. Then you can use Olympus' superb telephoto 50-200mm lens (100-400mm, 35mm equivalent)--couple it with the great Oly 2x extender for a 200-800mm, 35mm equivalent. Folks, don't believe all the negative comments about the small sensor used in the Olympus DSLRs -- when you can print fantastic 13x19 photos (and larger sizes, I'm sure, but 13x19 is the largest my Epson R1800 will print), why bother with a full frame Nikon or Canon beast, unless you'r a professional sports photog and money is no object. For the rest of the camera world, the Olypmus E-system with fabulous digital-specific lenses are way more than adequate. I can't say enough positive comments about this one-of-a-kind lens. You will not be disappointed with this lens.

Amazing lens. Takes a bit of getting used to manually focusing with a digital camera but once you get the hang of it this is a great investment.

Provides professional looking photo's.

The best digital photo paper I've used.

This camera has not only met but also exceeded my expectations. The responsiveness during auto focusing for both photo and video has been second to none. It’s 4K60fps capability has been great and also the ability to shoot FullHD at 120fps is unique in a DSLR although time is limited to 7.5 min. The AF system is superb particularly when using a Canon extender III with an EF lens 100-400 has been critical. Also the 16 FPS shutter speed has been great for action shots using Live View. Is you know what you want with the reliability you expect, you will not be disappointed with this top of the line camera. It has all the functionality, durability and performance of a flagship camera from Canon.

The Black and White Mode is the first real film look i have found in any professional digital camera paired with the metal body, size and overall rangefinder design with the addition of the mode dial have all restored the digital camera back into the long historical evolution of the street photographer's camera.

While digital technologies continue to be perfected with professional camera use and their widespread applications, the latest Sony RX1RII fixed Zeiss lens camera (other cameras allow long-lens variants) exceeds expectations, especially when printing work on a large scale (with the Epson Stylus Pro 9900). While some relatively minor imperfections exist as with all cameras that professionals adjust to, the expansive quality of color, remarkable low-light resolution, extraordinary image quality and virtual unlimited visual potentials provide challenges that move into unchartered territory for artists (see attached site-specific photographic installation of 112x152cm prints). The most problematic issue is not Sony's: Adobe Photoshop has abandoned the long supporting professional community by not making a plug-in for this camera's RAW files (ARW in Sony terms). Two alternatives: 1) join the CC monthly feed of Adobe Photoshop (APS), abandoning the experienced professional use of all former Photoshop versions, or 2) for 99$ purchase the most basic APS Elements software that notes the Sony RX1RII RAW files are supported, at least noted in Elements literature. What a way to treat loyal professionals and Sony over the years, claiming that CC is better without meaningful details justifying the obvious money first, customer second policy for purchasing the CC version. Not mentioning inevitable future rises in CC prices, non-copyright protections in-Cloud, and not allowing printing in your studio with your own APS, even when CC RAW is tiff converted. Sony's RX1RII with Zeiss lens and its internal digital processor chip is remarkable for what the eye can see (numerous professional digital cameras now exceed what can be seen without mention), even with the rare if not unprecedented 600$ additional cost recently by Sony.

I've had 10 different digital cameras. I've done professional video and stills throughout my working life. My G9II (and Gh6) is the best camera I've ever used. The AF on the G9II for BIF and sports is extremely good. The video is a professional grade documentary or B roll cinema camera. Pair it with Panasonic PL grade lenses and it becomes a tool with which you can do your best work. The handheld hires is amazing.