New Monochrome camera from Pentax

[pschlute]

Launched today, Pentax have brought out a monochrome version of the aps-c format K-3 III.

As I understand it, by having no Bayer filter array, each pixel on the sensor records what it sees, without any interpolation.

This should lead to more accurate tones, effectively increased resolution, and better high ISO performance.

I am not sure how much "better", and whether it will tempt me, but there seems to be demand for it especially from Pentax users in Japan.

[odds]

...without any interpolation.

And no photons absorbed ("stolen") by the filter.
--
OddS.

[Manfred M]

It looks like the Leica Monochrom finally has some competition.

I have spoken to a Monochrom shooter who told me that the B&W images were "cleaner" than ones converted from a colour sensor and this does make sense from a technical standpoint, as Odd has pointed out, more photons will be captured. I don't see a local price yet, but given how reasonable the K3-III is, it should prove to be something B&W shooters will be interested in.

[inkista]

Launched today, Pentax have brought out a monochrome version of the aps-c format K-3 III.

As I understand it, by having no Bayer filter array, each pixel on the sensor records what it sees, without any interpolation.

Also that each sensel on the sensor can be an individual pixel, instead of a one of a group of four sensels to get the RGB value for an image pixel. You can quadruple the resolution if you want to. Looks like Ricoh/Pentax didn't want to. They may be pixel binning for even better high ISO noise performance and dynamic range.

This should lead to more accurate tones, effectively increased resolution, and better high ISO performance.

If you've got Netflix, you may want to take a look at the David Fincher film, Mank, which was shot completely on the "Monstrochrome" where they took a RED Monstro and removed the Bayer filter. It's kind of astounding what taking the sunglasses off can do to a sensor's B&W response. Mank does actually look like it was shot on B&W film; only with higher dynamic range. (Also, it's just fun. I damn near giggled myself to death when the reel change marks started blipping up in the corner and the DP sets up tons of deep-focus shots ala Gregg Tolund... Total love letter to Citizen Kane).

Color-shot footage that's been desaturated always looks a little muddier because of the Bayer filter; whites never seem completely white or blacks completely black with digital video that was originally shot in color then desaturated no matter how much contrast pushing there is (e.g., the B&W version of Guillermo del Toro's Nightmare Alley never fooled me into thinking it was shot as B&W.)

[odds]

Mike Johnston on the topic for a lazy Sunday read: https://theonlinephotographer.typepa...log_index.html (check out the B&WDay! link on the left hand side if it is not on the index page)
--
OddS.

[bralk]

With the dedicated BW sensor you loose the ability to recover overexposed highlights.
You also can’t use virtual colour filters during raw conversion to create bw tonal effects.

But the files are cleaner with a bw sensor and you can use colour filters on the lens to create tonal effects.
As there are no colour channels blown highlights are lost.

[pschlute]

With the dedicated BW sensor you loose the ability to recover overexposed highlights.

Overexposed highlights are always irrecoverable.

Also worth mentioning that a mono camera like this has a wider DR to start with, so less chance of blown highlights.

[pschlute]

You also can’t use virtual colour filters during raw conversion to create bw tonal effects.

Hahahah... very astute.... not

[DanK]

Hahahah... very astute.... not

Not fair, I think. It may be obvious to us, but I have been in several conversation with people enthusing about monochrome cameras who hadn't thought of this. I think it was appropriate for the poster to point this out.

Personally, that factor alone is enough to rule out monochrome-only cameras for me. Even with a set of filters, one would have much less flexibility than adjusting in editing. And in editing, one can do more than push individual colors up and down in the conversion. You can also edit the R, G, and B channels separately. I've not tried it myself yet, but I've seen some very interesting and effective work done that way.