damien.murphy
Damien
Hi,
I'm strongly considering an M8, should I be able to find the funds.
I've done a fair bit of research of late, and am ok with most of the quirks, but have one or two questions for M8 users.
1) A 21mm lens would seem to be the closest field of view equivalent on the M8 to a 28mm on film, but the widest frameline on the M8 is 24mm yielding a 32mm equivalent field of view. How have 28mm shooters found this, and do you use a 21mm or 24/ 25mm to fill this need with the M8. Is there sufficient room around the 24mm framelines to accurately approximate things should you choose to use a 21mm lens ?
2) Am I right in saying there are still only 8-bit DNG files available from the M8 ? I only just discovered this idiosyncracy in the course of my research, and to be honest am quite surprised. I'm a black and white shooter (but want to shoot colour with the M8), and wonder how do M8 B&W shooters find the limited bit depth - surely more bits = more tonality ?
I'm strongly considering an M8, should I be able to find the funds.
I've done a fair bit of research of late, and am ok with most of the quirks, but have one or two questions for M8 users.
1) A 21mm lens would seem to be the closest field of view equivalent on the M8 to a 28mm on film, but the widest frameline on the M8 is 24mm yielding a 32mm equivalent field of view. How have 28mm shooters found this, and do you use a 21mm or 24/ 25mm to fill this need with the M8. Is there sufficient room around the 24mm framelines to accurately approximate things should you choose to use a 21mm lens ?
2) Am I right in saying there are still only 8-bit DNG files available from the M8 ? I only just discovered this idiosyncracy in the course of my research, and to be honest am quite surprised. I'm a black and white shooter (but want to shoot colour with the M8), and wonder how do M8 B&W shooters find the limited bit depth - surely more bits = more tonality ?