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Prepare for the CFA Program Level II exam by reviewing the exam format, question format, study session outlines, and exam tips. What is 'Deadweight Loss' A deadweight loss is a cost to society created by market inefficiency. Mainly used in economics, deadweight loss can be applied to any.
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Keto OS came out with the new new Orange Dream 2.1 version in April 2016 which is a newer, more optimized version. Here’s a picture of the Orange Dream Ingredients. Ethics and Standards 2. Quantitative Methods 3. Global Economic Analysis Taxes reduce both demand and supply, and drive market.
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X- M1: the Shootout. Mastering the X- PRO1 and X- E1: book here and Kindle edition (AVAILABLE) here)Fujifilm X- A1 in stock check. USA: Amazon. US (black in stock)/ e. Bay / BHphoto (blue in stock)/ Adorama (black in stock)/ Pictureline / Digital. Rev EUROPE: Amazon. UK (via DR) Digital.
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Rev / e. Bay. Fujifilm X- M1. USA: Amazon. US (save $7. BHphoto / Adorama / Pictureline / e. Bay ($7. 0 price drop) / Digital. Rev. EUROPE: e. Bay / Digital. Rev / Amazon. DE (via DR) / wexcameras. DE / Amazon. UK (via DR) / PCHstore.
X- A1 shooutout set (private Flickr set, MUST use this link!) – Original X- A1 & X- M1 shootout RAW files for download (incl. Lightroom XMP files) – Mastering the Fujifilm X- Pro. Pre- order my very soon to be released NEW book: Mastering the Fujifilm X- E1 and X- Pro. Edit: I have updated the shootout with Photo Ninja samples, please read this separate article.
Welcome to this weekend edition of X- Pert Corner! Comparing the X- A1 and X- M1 is pretty popular these days. Since the hardware of both cameras is pretty much identical, such comparisons usually boil down to an X- Trans vs. Bayer color filter array (CFA) pissing contest. Since we are on the Internet, it is a fact of life that much of what has been and will be written on this issue is inaccurate or just plain wrong, mostly due to flawed methodology. For example: Instead of comparing the output of different sensor CFAs, many “reviewers” are simply showing differences between the two cameras’ JPEG engine default settings.
X- M1. There are indeed visible differences between the X- A1’s and X- M1’s default JPEG processing: The X- A1 is targeting entry- level customers who prefer sharp, clean, brilliant, contrasty and noise- free JPEGs straight out of the box (at least that’s what Fuji thinks), and this preference is mirrored by the camera’s default JPEG engine calibration at its factory settings. In other words: With everything set to factory defaults, the X- A1 delivers sharper (aka more sharpened) results with a bit more contrast and stronger noise reduction than the X- M1. It is however possible (and advisable) to change the default JPEG settings in both cameras to achieve different results that are much harder to distinguish. This is where things become more interesting, but this is also where most “expert comparisons” come to a frustrating halt. X- A1. In any real- world scenario, it is impossible to compare the performance of different sensor CFAs without processing the RAW images on which we want to base such a comparison. The processing can either be performed in- camera or with an external RAW converter.
It is very difficult to remove this processing part from any sensor comparison equation, because different CFAs require different processing in order to achieve the same or at least similar results. Using identical RAW converter settings on comparable images from the X- A1 and X- M1 won’t do the job, quite to the contrary. In order to get comparable results, one has to apply different parameter settings that correspond to the unique qualities and properties if each sensor’s CFA. X- A1. Please forget comparisons that are based on factory default settings of cameras and RAW converters. They are a waste of our time, because they won’t tell us how each camera performs with optimized real- world settings that most of us would choose to achieve specific precessing results, such as revealing “maximum detail”. The Setup. In order to compare both cameras (and CFAs), I shot several different subjects in manual mode, each with exactly the same exposure settings and the same lens.
This setup made sure that each camera’s sensor was exposed with the same amount of light, at least in theory. Practically, there may still be subtle brightness differences due to the fact that corresponding shots had to be taken in sequence (exchanging cameras and the lens on a tripod and reframing the shot could take a minute or two). X- M1. Using this setup, I found that my X- A1 production camera produced slightly darker images than my pre- production X- M1. The difference (somewhere around 0. EV) is within specifications and could easily be adjusted by moving the exposure slider in the RAW converter.
By the way: The reason why I couldn’t get my hands on an X- M1 production sample for this shootout is that Fujifilm Germany has 2. X- M1 roadshow workshops held in Germany, Austria and the Netherlands. X- A1. In order to achieve optimal input quality, all four sample subjects were shot with optically corrected Fujinon XF1. XF2. 3mm prime lenses.
I understand that it’s not very realistic to use lenses that cost about twice as much as the X- A1 camera body, but using a less expensive kit zoom lens could at least theoretically obscure some image detail. The fact that I actually had to use expensive primes is a testament to the similarity of both cameras’ output quality. This is major pixel peeping territory. While X- Trans output certainly looks different from Bayer output at 1. I am unable to say which CFA’s output looks better. It may well depend on the specific subject and can quickly boil down to your personal tastes and RAW processing skills. Of course, it will also make a difference which RAW conversion software you are using to process a particular image file.
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In my opinion, these factors are more important in determining the final quality of processed images than a sensor’s CFA, but hey, that’s just me trying to inject some sanity in this often quite emotional discussion. X- M1. That said, there’s no reason for you to trust my opinions or processing skills. Please make up your own mind! Click here to access a Dropbox folder containing the RAW files that I used for this little shootout, complete with the respective XMP files, so you can open the RAWs in Lightroom with the settings I have used to process each image. I am sure that you will soon find different settings that you like better. X- M1. Click here to access a private Flickr set with SOOC JPEGs and processed Lightroom versions of these RAWs.
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In Flickr, you can inspect and download full- size (1. Just pick “Original” as a viewing option when right- clicking on an image. You can also look at the EXIF information by clicking on the “show more” link next to the “Additional info” text below each Flickr image. X- A1. The SOOC JPEGs in the Flickr set come in two versions: Version 1 (named “JPEG standard” in the respective image titles) are renderings using each camera’s default settings for sharpness and noise reduction. Version 2 (named “JPEG custom” in the respective image titles) are custom renderings with noise reduction set to - 2 for the X- A1 and X- M1, plus an additional sharpness setting of +1 only for the X- M1.
Setting the in- camera noise reduction to a minimum reveals and preserves as much detail as possible, while the additional sharpening for the X- M1 partly compensates for the stronger default sharpening of the X- A1’s JPEG engine. The Shootout. Our first test subject is a common scenario with plenty of dynamic range (the cameras were set to DR2. ISO 4. 00) and an abundance of detail: Camera ACamera BClick on one of the images to access the Flickr set with several full- size versions of this shot. First observation: The white balance tint of X- M1 files is always leaning more towards magenta than the white balance tint setting of corresponding X- A1 files.
I assume this is to compensate for the relative overweight of green pixels in the X- Trans CFA compared to the Bayer CFA. That’s why you should never compare X- A1 and X- M1 images by choosing identical white balance tint settings in a RAW converter. You may well choose the same color temperature, but do keep the differences in the tint settings.
They are there for a reason. Second observation: The default colors of the X- A1 and X- M1 are similar, but not identical. This applies to both the internal JPEG engine and Adobe Lightroom.
It may also apply to other RAW converters (at the time of this writing, only Lightroom/ACR offered support for both camera models), but it’s eventually up to the makers of each RAW converter to determine the default color gradation when importing RAW files of a specific camera model. As for Lightroom, it’s possible to achieve a pretty accurate color match between both cameras by properly adjusting the Camera Calibration sliders. Third observation: Since in- camera noise reduction appears to work selectively, dark areas (shadows) lose significantly more detail than midtones and highlights.
This effect is particularly pronounced in the X- A1. Using Lightroom, I feel that I was able to extract more (shadow) detail from both sensors than with the cameras’ respective built- in JPEG engines. X- M1 vs. X- A1 Lightroom 5. So again, not the sensor CFA but the processing is the major contributing factor for revealing maximum detail and eliminating noise. It’s an open secret that X- Trans RAWs require “different” RAW processing parameters, especially in Lightroom/ACR. For example, X- Trans needs less chroma noise reduction than Bayer, so Lightroom’s default color noise reduction setting of 2. Depending on your subject and your ISO settings, a value of 0, 5 or 1.
In a similar fashion, X- Trans cameras require less luminance noise reduction. Luckily, Lightroom’s default setting for luminance noise reduction is zero, and you can usually keep it like that even up to ISO 6. Not so with Bayer RAWs, where high- ISO shots will often require at least some luminance noise reduction in order to look pleasant. Another frequently discussed issue is detail sharpening. With X- Trans, I usually crank up the detail slider (sometimes to the maximum), but I am quite conservative using the sharpness slider. With Bayer, my sharpening approach is more conventional.
Of course, these are just a few examples telling you how I like to process my images, so feel free to think that I’m an idiot. You may find completely different settings far more suitable.