@@mikemuizebelt from Q2 mono and D800 Mono, the light sensitivity is about 1 stop better, which means iso 50 on a monosensor can match the shutter speed and aperture of a RGB sensor at iso100.
I don’t think ‘seeing in colour’ and recording in monochrome is any advantage at all. Colours ( hues) that are easily separated viewing in colour can be very similar in monochromatic tonalities. One would see this when checking the back screen, but another stage to go through. The merging would be immediately visible with a mono mirrorless camera.
So was I! When you view the images at 100% the difference from a colour converted file is so apparent. Not only in gradation but in high-iso the grain stays really pleasing as well.
Many of my favourite personal DSLR images are the ones I have converted to monochrome. I can't wait to see the output from this camera, which I have pre-ordered today.
Hi Sandy, great that you took the plunge. I'm 110% confident that you will love the images that it produces. The details and tonality are unlike anything I've ever seen from full colour RAW files. It really resonated with me and I trust it will with you as well! Enjoy :-)
Before this video I would have said what's the big deal. As I have seen other videos that weren't really showing how good this camera is. However in the right hands. Wow. I was wrong. What a awesome camera and the results. Thank you for showing what this camera can do. Awesome.
Thank you Mike! Excellent video as always! I would love to take this K3 monochrome to a place like Louwman classic car museum in The Hague, with al the chrome on the cars and classic lines...
Great video Mike. Looks like a great addition to the line-up. I'm loving my silver K-3 mark III a lot. I was amazed at how much better IQ I got from it compared to my K-3 II, so I can imagine that having all cells on the sensor dedicated to the same task (luminosity) and no interpolation going on, can get you into yet another IQ category. In terms of comparison to converting color images to B&W, I would miss the color information to develop B&W images in post. Most specifically the possibilities the color mixer provides, i.e. localized targeting of specific colors in the image to brighten or darken them. I guess you could use filters to achieve this on the general image. OTOH, I had my old K-3 II converted to full spectrum about two years ago (replacing the low pass IR/UV blocking filter by a clear glass), and have been using it to photograph various styles of infrared photography, by using different types of filters on my old K and M generation lenses. I'm sure the experience with that camera comes close to what you would get with a monochrome camera (even if results can be very different). There's a lot more previsualization required, and that's always great for improving one's eye. Tx!!
Hi Wim, great to hear that you are exploring the world of monochrome photography as well! I'm also using a full spectrum 645Z IR currently and love to work with it as well. As you say, previsualising without the distractiojn of colour is so nice to develop yourself and become a better photographer.
Really enjoyed this review. Thank you. And I have to say, other reviews I've watched regarding the Monochrome, featured terribly disappointing photographs. The photographer matters. I still have the 1st generation K3, and it's still amazing. It's been everywhere with me, most recently, during my last trip to Cuba. Pentax image quality is second to none, and I say that as someone who also shoots Leica. I'm already adding this Monochrome to my budget, and I'm looking forward to using it with my wonderful and classic Pentax glass. Cheers!
You will love it Preston! And I have to agree, the camera is just a tool, but the image is after all made by the person behind it. And luckily we are not all created equal otherwise I could say my profession goodbye ;-)
Great photographs Sir , and always good to watch your videos. This camera will be a god send to a lot of photographers, and I say good luck Pentax in your future projects.
Thanks B. Much appreciated! I'm positive the camera will get a lot of B&W photographers exited. The images are so nice to look at. I also did some prints and they look very good!
Thanks for posting - lovely shots! Regarding highlights, I have seen other photographers complaining that its easy to do clip them with the monochrome. That said, to my eyes, with black & white you can get away more with clipping highlights than with colour (colour is more obvious as it get saturated as it goes from the colour to full white!). I'm getting really interested in this camera because I like B&W photography but don't do enough and this camera would really focus me on the task while also getting the most out of the image.
Without any disrespect for the other photographers, I do think it's a exposure fault from their side. I've yet to find any clipping of the highlights that has an affect on the perceived quality of the images. Photography is about being on the right place and the right time, and if we are off, it could mean we have deep shadows and bright sunny spots. There is no sensor out there that can capture this dynamic range
I love the images you made - as a B&W film photographer they made me think about buying this camera. I must admit I wish Sony made a monochrome digital camera.
I know this one just came but the big brother coming out as a monochrome would really be exciting to me. As a Pentax ambassador do you know if a full frame monochrome is on the way? I really hope so. The K1 would be killer as a monochrome!!!!
Hi Euline, I have no idea to be honest. But I understand the reasoning to make K-3 monochrome version. At this point it's the most advanced camera in the line-up
First I liked your video and images. (to me, having shot b&w nearly 5 decades, there’s a difference between images and photos) anyway, done pontificating. Next, that is a GREAT alternative to Leica’s Monochrome. I’ve been fortunate enough to own the 1st and 2nd iterations of the monochrome, and had the 3rd generation (something about it I didn’t like and sent it back) and loved shooting in b&w with these cameras. This made post both easier and better; for me at least. Lastly, I like your way of describing and using the camera; practical, informational, and “easy going”. Sidebar: a lot of your images reminds of Harry Callan. Again, Thank you for the video.
@@mikemuizebelt Thank you. I was blessed by not being taught many years ago, but mentored by Roger Mertin (publish in Time-Life books, MOMA, 1 man show at the Eastman House of Photography 22-24 for his series, “Plastic Love Dream”. He in turn was mentored by Minor White. All three of us lived in Rochester, NY. Never got a chance to meet Minor; he passed before I met Roger. You may want to look them both up. Roger Mertin, Minor White. Cheers
Interesting video. For me, this camera could be the reason to get a Pentax camera again. But first I would like to download two raw files of the same subject. One made with a K-3 Mark III Monochrome, and the other with the K-3 Mark III. The examples ricoh-imaging has on the site are useless.
That would indeed be very good for those interested. Unfortunately I personally have the rule that my raw files never leave my possession. I tried to show it in the video as best as I could, but In understand the need to see and fiddle with them yourself.
I love this concept, I want one, it ought to have drastically higher resolutio and sensitivity than a bayer sensor. Think about it, if you were shooting a subject under blue lighting, you're only going to get around a third of the nominal resolution of an RGB sensor. With a monochrome sensor, you record the luminance, all of it. There will never be moire or colour fringing, there will be no colour noise, and little noise period. It stands to reason that you'll get lett latitude to recover highlights in RAW files, but, it also stands to reason that if you can get the exposure right, there may be little need to shoot RAW, other than for archival purposes. I'm also interested in the possibiity of colorizing the photos, either with software, "AI," or by actually recording three frames with different coloured lights or lens filters, it could be possible to produce very high resolution colour photos, I believe they do something similar in some kinds of astrophotography, not sure if anything of the sort would work with this, but its an interesting idea. Anyway, I bought a lottery ticket when this was anounced lol, I want it.
I am color photographer too, hard not to be when plane spotting. Still monochrome looks tempting, not for now, I need money for airshow travels, but if it is available at fall or winter then who knows. With 21 Limited it could be nice replacement for Spotmaitc with 35mm lens for some documentary photography I am now doing with film.
I'm positive you will love to have this camera in your backpack. Personally I found that working in B&W also gave me a new look to the world around me.
Hi Mike, great Video and lovely Photos. Did you test the monochrom in combination with the limited 20 to 40mm? I am intrested in these combi for street and people photografie. Thanks for sharing your experience and thoughts. Mario
Why not a B&W viewfinder with a B&W sensor? A viewfinder with color makes no sense for me here. I would also like, and above all, to be able to see in the viewfinder what the finished result out of the camera might look like and how changed settings immediately affect it. I`m not a fan of using only the monitor.
On the information I have seen on the internet, there's a white balance setting on the contrast (shadow) page. I am quite surprised to see it on a monochrome camera. What does the white balance setting do?
That’s one of the downsides to a monochromatic sensor. The highlights are a bit fragile, and it seems like underexposing compared to a Bayer sensor is worthwhile. But since it’s so much easier to push the shadows, the results work out in the end.
@@thebitterfig9903 That's the issue though, isn't this a bit like one step backwards one step forwards? If looking for an even exposure and have to underexpose MORE than you would need to with a regular camera, then are the shadows still retaining IQ benefits over the colour version seeing as it needed to be pushed more?! You might need -1EV for a shot with the colour cam, and -2.3 with the mono, its needing more lifting in the dark areas than the colour, so is it all just swings and roundabouts to the same kinda IQ for high contrast scenes? Right now it feels like the benefits would be there for flat lighting, but HC 🤔... hmm
@@mikemuizebelt Sorry Mike, I was just meaning to say that after watching 2-3 videos on this camera, it looks like the highlights are being blown easily on many sample images. For a YT video where we're gonna lose out via compression to appreciate the finer things, the trained photographic eye just gets drawn to the blown highlights and that's a shame, I can't get past it... Are you using 3rd party conversion software for the RAWs before taking them to LR? My limited understanding says that LR might still be treating these files like they have a bayer filter and the full potential is not unlocked yet?
Hi Eddy, that's not my experience while I was working and editing them. Highlights are very well controlled due to the dynamic range. It may be due to the way film works (or images are edited). I opened the DNG RAW files in photoshop and went from there. I've been shooting in overcast days mostly so I had no strong contrasts in shadow and sunlight. Any way, my personal experience is that images have loads of detail, also in the highlights. The pelican in my video should be a good example as it holds both detail in the white feathers and the dark eye.