Apr 132015
 

title

The NEW Leica Summarit Lenses. 35, 50, 75 and 90 2.4. Part 1.

These lenses were sent to me to review by Leica Dealer Ken Hansen. He has these and many other Leica items in stock, so email him if interested at [email protected].

**This review will be in two parts. This part will mainly focus on the 35 and 50 with a few 75 samples thrown in. I will show many images and talk about the character of the lenses. Part 2 will feature more 75 and 90 and go over my final thoughts on the Summarit line as well as some comparisons. So my conclusion, comparisons, and more images will be in part 2 in about 1-2 weeks. Enjoy!**

1st, a video showing the Summarits with my new Safari Leica M-P 240 

Man, these brand new 2015 Summarit lenses from Leica REALLY surprised me, and these days it takes A LOT to Surprise me. The fit, the finish, the build, the design, the smoothness, the hood’s, the caps, the whole package with these little Summarit line has gotten better than ever before with the new improvements. Optically they are STUNNERS and IMO beat many of the classic Leica lenses. For example, I prefer the new 2.4 Summarit 50 to the older 50 Summicron f/2 (non APO). The 35 Summarit is TINY but STUNNINGLY sharp. The 75 is probably the coolest of the lot with its 2.4 aperture, close focusing distance of .7 and the slim slender profile. I loved the old summarit line (which are not really that old) that Leica introduced at the end of the M8.2’s life as they released them to create a more affordable lens for what would be the M9. They did a great thing with that lens line as they were Semi Affordable in Leica terms and they were fantastic performers. 

The new line is even better with a new design, new metal hood designs, new metal lens caps, new silver or black finish, improved optics, new closer focusing distances, and each lens comes with a real Leica leather case (the old line came with a bag). So the prices have went up from $2000-$2350 but they are still the least expensive REAL Leica lenses made today for the M and they give up nothing in performance to their more expensive siblings.

The 35, 50, 75 ad 90..look at the stunning silver finish. I am not a HUGE fan of the black focusing rings on the silver body but I would still choose Silver for my Safari M-P. 

DSC07665

After shooting with the 35, 50, 75 and 90 I can say that I would love to own the 50 and 75 AND 90, but may end up buying the 50 for now, and one of the other telephoto options later. I own a 35 Summicron so do not need another 35 but man oh man. The details and color..some of these have that old M9 pop that many look for IMO – all from Leica’s latest and most affordable lens line for the M.

Click this image for a larger 1800 pixel size to see the details, and depth. This was with the 50 f/2.4 and it is STUNNING at any price. If Leica packaged this as an all new special 50 with a new name, they could have priced it at $3000. It is crisper than a Summilux, sharper and has better color than the old 50 Summicron, along with a smoother Bokeh and it is smaller and sleeker and looks amazingly beautiful on the camera. Click the image of the Cowboy to see the depth, detail and character of his face. Amazing lens. 

50cowboyc

When you view the above image, you will see that Leica pop and look from the contrast, sharpness, color and the WOW. It is in a class of it’s own. The gentle transitions from focus to out of focus is organic, the color is scrumptious and the glow is here as well. Take a look and click on the image below. From raw, wide open at f/2.4 on the new 50 Summarit.

DSC07669

But let us keep going as I think I want to make this review more image based as the images are what tell the tale.

Click on the image below for a larger sized version. Here, you can see Leica’s color signature, the glow, the detail (see the eyes) and the smooth transition from sharp to butter. :) This 50 2.4 is a smashing lens. Many will feel they need a Summicron or Lux and they will miss out. Today, there is no need to spend more for better. Each Leica lens, the Summarit, Summicron and Summilux each have a different character, but ALL are stellar and better than any DSLR 50 ;) 

50debby

The 35 Summarit inside at ISO 2000. Still crisp, still “leica” in the feeling. Nothing special about the image but it does show that even in dark indoor interiors the 35 Summarit and M 240 can pull it off.

35blackwhite

Always love old doors and this one was taken in Tombstone, AZ at an old abandoned building. The 35 now has a .8 meter close focus distance, is made to a higher standard, has improved optics and again, comes with metal hood, leather case and the full Leica treatment. This 35 goes for $2250, much less than the 35 Summicron or 35 Summilux. This lens feels amazing on the M. Small, solid, smooth focus. Not much more you could ask for. Click images for larger. 

35blue

Another with the 35, right out of the camera (RAW)…

35tt

The 50 has its own unique mojo and character that sets it apart from the Summicron and Summilux. I know of one guy who has ALL of the Leica 50;s and chooses which one he wants to shoot depending on what he is going for in looks. For me, the 50 Summarit provides a crisp and “perfect” style of image while not being analytical or hard in any way. Look at the image below. The man WAS this red as he had a slight sunburn and he was HOT wearing his MARSHALL uniform. The Leica did color here better than my A7II did the same day and place. So Leica has finally got the old color issues settled. Now I see Leica color I remember. 

50marshall

Another with the 50, which became the most used Summarit for me while having them all. I shot with the 90 the least as I never use 90 but it is beautiful none the less. Look again at the detail the Summarit gives as well as the overall character of the rendering. 

50cowboy

A quick grab shot this guy was a blast. He hung around all day dancing and playing his finger instruments. Never hounding anyone for money, just smiling for all who passed by. I used the 50 here again. 

50man

These two were on the street in the harsh AZ sun and I thought there is no way this image would come out OK. Usually these harsh sun images lead to faces in shadow, uneven exposure, etc. When I arrived home I was able to easily pull out the shadows on the faces while retaining highlights. 

50ladiestombstone

RICH reds here with the 50

50rd

Again, the 50 shooting a happy young man on the Trolley Tour. LOVE the way the 50 renders images..so crisp and so colorful..with ACCURATE color. I think Leica enhanced these for use on the M 240 as the color that comes from these lenses is superb. 

50trolley

The 75 is a lens I have a love hate relationship with. Not because it is a bad lens, because it is SO GOOD and SO gorgeous, I want it. Problem is, I rarely use anything above 50. Even so, I will own this lens one day. I loved the old version of the 75 Summarit and this one is even better. Retains the Summarit look of crispness, great color, smooth transitions and this time with the new 75 we get .7 meter close focus, which is AWESOME. 

75dress

Horse with the 75 in the direct sun. Look at how it handles the harsh light. Contrast is a but high but that is what gives these lenses the pop and 3D separation. 

75horse

The local high school band from Nogales Mexico in Tombstone. They sounded great! The 75, even from across the street gave me detail, snap and pop. Color is spot on and the M handled the harsh light VERY well.

75nogalesband

I saw this lady having a BLAST watching the parade..she had her bubble machine and was getting the biggest kick out of it. She was enjoying life with a smile. I snapped this one with the 50..

bibbles50

One more with the 50..love the dog ;) 

L1000228

Just a simple shot to show the detail and the Bokeh of the 75mm at 2.4

L1000175

…and a shot with a 100% crop from the 75 inside my home, no special light. Wide open at f/2.4. 

75crop

It is safe to say that I am enjoying these Summarit lenses. I will be shooting over the next few days with the 75 and 90 more so my next report, which will be part 2, will go over these lenses more as well as a couple of comparison like the 35 Summarit vs the 35 Summicron vs the Zeiss 35 Loxia on the A7II.

REFERENCE: My old 35 Summarit review is HERE. My old 50 Summarit review is HERE. My old 90 Summarit review is HERE.

So that is all I have for now on these fantastic new lenses from Leica. ALL are stunning in their build, performance, styling and included accessories (Hood, caps, leather case, etc). The Summarits are now better than ever and are in no way handicapped by the more expensive line besides being a tad slower at f/2.4 vs f/2 or f/1.4.

If you want to save some cash and some weight, you will still get that Leica quality from the entire line of Summarit lenses. Watch for part 2 SOON which will have more on these beauties. Again, these came from Ken Hansen, email him and mention me for a GREAT buying experience ;) His email is [email protected].

MORE SOON!

Steve

DSC07675

DSC07676

DSC07673

DSC07674

Apr 102015
 

JB Designs Leica M 240 Grip & HoldFastGear Roamographer Mini in the house!

It’s Friday and what a great beautiful sunny mid 80 degree day here in Phoenix AZ! Also a great day as I had several surprises in the mail today. First up, a slew of new hand-made in the USA grips for my Leica M 240, my A7II, the Olympus E-M5II and the Olympus E-M1, and JB Designs has been stepping up their game lately with BEAUTIFUL new designs. The Leica M 240 Grip is FANTASTIC and beats Leica’s own grip at a much lower price! It fits perfect, it looks beautiful and it feels so natural and smooth. The smell is amazing to boot. I also received the new Roamographer Mini bag from Hold Fast Gear. WOW, what a stunning bag. A work of art.

Up 1st…

JB DESIGNS LEICA M 240 GRIP

I was sent a slew of new designs from JB Designs and have to say, I love the M 240 and E-M5II grip the most. Gorgeous. But do not take my word for it, take a look for yourself and see what it looks like on my Safari M…

jb240bags

mwin

240grip2

jb240floor

240bottonplate

Makes the M feel so much nicer. The best part? He sells these on Amazon for $85 and each one is hand made in the good old USA.

You can see it or buy it on Amazon HERE.  

At the time of this writing he has 6 in Bamboo left. The version you see here is his latest creation, with the darker Brazilian Chestnut wood. Stunning. You can see more at the JB Website HERE.  If you own an M 240 and want a unique, great feeling and beautifully made wooden grip, this is IT and it is a GREAT price for a wonderful hand crafted product.

He also has a fantastic grip for the E-M5II as well..on Amazon HERE. $85 and in stock in the new dark Brazilian Chestnut. Six left in stock there. A bargain.

81vGQiyKuLL._SL1500_

81XM0LsS1PL._SL1500_

81UucW+a2oL._SL1500_

JB Designs is fantastic. A USA company that takes pride in their work, keeps prices decent and delivers a super good looking and functional product. Awesome.

HOLD FAST GEAR – ROAMOGRAPHER MINI

holdfastmini1

The new Roamographer Mini from HOLD FAST GEAR is a stunning “mini” version of the original Roamographer that I reviewed a while back. GORGEOUS bags but the original is LARGE. The Mini is PERFECT. Hand made in the good old USA, I may not have seen another bag like this that was under $1500. This one comes in at $525 but it screams beauty, quality, pride, and is quite functional as well. Sure, you can go get a canvas bag for $50 but this is for the discriminating enthusiast or professional who wants a bag to last them their lifetime, and then they children lifetime. This is one of those bags that will be handed down generation to generation. Imagine what the bag above will look like in 50 years ;)

DSC07737

DSC07735

bag8

bag6

roam9

DSC07741

I love this company and what they stand for and the owner, Matt Swaggart is a super nice guy. I own the Money Maker Strap, the large Roamographer and now the Mini. Along with Wotancraft, this is one of my all time fave bag maker (and straps). Check out all they have to offer at HOLDFASTGEAR.com!!

THIS IS QUALITY and as I always say, YOU GET WHAT YOU PAY FOR!

Mar 302015
 

The Voigtlander 15 f/4.5 III – Great on the Leica M 240 and Sony A7 series! 

Old version on the left, new on the right!

sidebyside

I have been testing the brand spanking new Voigtlander 15 f/4.5 Version III lens on the Sony A7II and the Leica M 240 and have only good things to report back. The new V3 can now be used on a Leica M without ANY color issues whatsoever. It is a small, sharp, versatile wide-angle for your M that will not set you back $3k+. The new 15 f/4.5 III is $750 with free next day shipping at CameraQuest.com and below are just a few test shots on the Leica M 240 and Sony A7II. I will eventually write a full review of this lens but for now, I have too much on my plate as it is (New Sony 28 f/2, Sony 35 1.4, two cases, new bags, Leica M-P 240 Safari Edition and more). Just wanted to let everyone know this lens is finally good on digital full frame!

Take it from me, the new 15 4.5 III is a winner on the A7 series AND Leica M series. No issues and a true ultra wide 15mm ;)

You can buy it HERE at Cameraquest, or B&H Photo HERE.

Below are samples from the new Voigtlander 15 f/4.5 III on the Leica M 240 and the Sony A7II

1st up, the Leica M test shots. Notice no color edges or problems. Click ’em for larger!

L1000034

L1000041

L1000064

L1000068

L1000102

L1000110

leicamdebby

And a few on the A7II with the Voigtlander Close Focus M to E adapter (Get it HERE)

a7IInew15

bwDSC07249

DSC07249

DSC07253

DSC07256

geee

Mar 262015
 

Infiniti Showcar Run - Austin, TX

USER REPORT: The New Sony 28 f/2 on the Sony A7S and A7II…BAM!

by Chad Wadsworth – his website is HERE!

Last week the FedEx guy delivered a box on loan from Sony containing a couple of much-anticipated new FE primes. The 35/1.4 is as good as Steve reported – a near perfect balance of center resolution and bokeh – but what about the little FE 28/2?

61om6hVbFkL._SL1200_

I’m a big fan of the 28mm fov and have owned a few highly regarded lenses (C/Y Zeiss 28/2.8, Zeiss 28/2.8 G, M-Rokkor 28/2.8 & Minolta AF 28/2) and film compacts (Minolta TC-1, Ricoh GR1), so there was a personal expectation for Sony to deliver a modern equivalent of the Minolta AF 28/2.

After a few days shooting and editing, a few things are clear: this little guy is shockingly sharp, renders out of focus transitions smoothly and transmits color with pop. With a price tag under $450, compact size and quick AF, there is little fault to find with. You will notice some minor distortion that should easily be handled by a PS or LR profile, but other than that…no complaints. (Pre-Order it Here at Amazon) – (Pre-order it HERE at B&H Photo)

Early web samples had some forum “experts” calling the bokeh nervous, but my results indicate a good amount of “cream” especially in the foreground. A 28mm is never going to draw the bokeh of a portrait lens but what this lens does produce is attractive to my taste. Samples here are from RAW and processed in LR – most are shot wide open. Stopping down quickly improves the corners but even at f/2 the subject sharpness is just amazing. (From Steve: I also have this lens now and it is just as Chad Describes..a MUST OWN for any A7 series shooter)

With this kind of price/performance level, I hope users reward the FE 28mm with big sales and Sony takes note of the demand for compact, high quality f/2 lenses at reasonable price points. Up to now, I’ve held onto my Minolta AF 28/2, waiting to see if this new FE 28/2 could replace it – I think it is time to let it go…

click images for larger and much better and sharper view!

1st FOUR were shot on the A7II, rest were A7s

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Mick Jenkins - Lifestyle

Venue

Mick Jenkins - Lifestyle

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Infiniti Showcar Run - Austin, TX

Mar 232015
 

24-240 bh

Sony FE 24-240mm f/3.5-6.3 Lens First Look

by Brad Husick

Yesterday I received the new Sony 24-240mm super zoom lens for full frame Sony FE mount cameras. I had a chance to shoot some ultimate frisbee with it and I thought I’d share my first impressions.

I have been a professional sports photographer for the NLL (National Lacrosse League) and for that I generally have used the big gear – Canon EOS and Nikon D3 and D4 cameras and lenses. In the low light of indoor sports I need the speed and precision of these monster camera systems to give me reliable results.

For this first taste I shot outdoors in relatively good late evening light. I was anywhere from 5 yards to 50 yards from my subjects, shooting on a Sony A7II using auto ISO limited to 3200. This was my first chance to try the A7II for sports.

20150321-_DSC0249

20150321-_DSC0230

20150321-_DSC0236

20150321-_DSC0219

The incredible reach of this lens at 240mm made the job easier. It’s quite long when extended to the maximum zoom, but not particularly heavy or unbalanced on the camera. I did not feel the need to shoot on a monopod, which is my typical setup for sports. The combined weight of the camera and lens were more than manageable for the 60 minute game. This would not be true of my Nikon D4 and 70-200 lens.

I also found the wide-angle end of the lens useful when the action came close to me on the sidelines. If I had my 70-200 mounted I would have missed some of this action.

20150321-_DSC0222

20150321-_DSC0108

Overall I can say I am pleasantly surprised with the optical quality of the lens. I don’t see any major flaws at either end of the range. I do wish it could be a little faster than f/3.5-6.3 – a constant f/4 would be nice, but I am sure we’d be looking at a much larger lens in that case. It’s a tradeoff I am willing to make here.

Build quality is excellent. The zoom throw is a bit stiff but it doesn’t creep when you hang the camera down at your hip. The hood is plastic but nicely finished and no so large that it gets in the way. I do wish all these lenses had real aperture rings, but leaving the camera on A mode wide open does the trick most of the time.

Image stabilization combined with the in-camera stabilization of the A7II is superb, perhaps the best I have used. I can’t measure the benefit in stops, but I’d say it’s very, very useful especially at the far end of this big zoom.

20150321-_DSC0103

20150321-_DSC0126

20150321-_DSC0134

Autofocus was an interesting combination of good and fair. The subject tracking capability of the camera was very good, locking on and not letting go despite players running in front of the subject. I was pleasantly surprised by this. On the not-so-good end, the lens wouldn’t always lock on to the intended subject immediately. I am quite spoiled by the performance of the Nikon D4 and its lenses and their ability to almost magically lock on to the subject. I didn’t expect the Sony to knock the Nikon out of first place for this application, but it was a reminder that there are certainly different tools for different jobs. I am not ready to replace the D4 when I am being paid for my sports work.

20150321-_DSC0158

20150321-_DSC0172

20150321-_DSC0208

20150321-_DSC0175

In summary, I think the combination of the 24-240 and the A7II is a great setup for parents and family to get the shots of their children they have wanted and missed in the past.

I look forward to getting more shooting time with this combo and learning the subtleties of this system.

You can order  the Sony 24-240 Lens at AMAZON or B&H Photo

Mar 212015
 

HANDS ON: The New Voigtlander 15 f/4.5 V3 VM lens – Quick 1st test vs the V2

Lens now available and in stock at CAMERAQUEST.COM

Just arrived! The all new Voigtlander 15 f/4.5 Version 3 Lens, in VM mount (Leica M Mount) and so far so good! As we all know, Version 1 and 2 had issues when used on a Leica M camera or the Sony A7 series as we would get colored magenta edges or massive vignetting. Voigtlander HAS indeed seemed to fix this issue in the new version of the 15 f/4.5 Lens. While the lens is a little larger, and a little more expensive at $750, it seems to perform MUCH better on the Sony A7II vs the old version of this lens.

oncamera

It actually JUST arrived to my house 20 minutes ago. First thing I did was take it out and do a quick side by side test. One shot with the new V3 lens and one shot with the older V2 lens. The new version has no colored edges or issues which means we finally have a usable 15mm wide-angle prime for our A7 and M cameras that will not break the bank!

Next week I will post real samples from this lens on the A7II, A7s and Leica M 240.

SIZE: New V3 on the right vs the older V2 on the left

sidebyside

sidebysidetop

For now, one quick sample – full size images shot on the A7II. This is a TEST shot, not a “photograph” that has any meaning.

The original seems to do OK on the A7II but with dark corners and edges. The new version clears that up. Looks good, so I can not wait to test this lens thoroughly on the A7II and Leica M 240. 

Right click each image and open in a new window for full size file

V3A7IIs

V2A7II

Two shots to show no issues at the edges on the A7II, AT ALL! 2nd shot is ISO 4000 with Zero NR – click for larger

a7IInew15

ayIInewtr

Mar 182015
 

New black chrome Leica 35 Summicron and 1959 50 Summilux ASPH!

Two legendary lenses, the Leica 35 Summicron f/2 ASPH and the Leica 50 Summilux 50 1.4 ASPH are getting a facelift from Leica in the form of all new black chrome versions. The 50 Lux ASPH is GORGEOUS in the new finish as they designed it much like the older classic 50 Lux lenses, in fact, from the 1959 Leica 50 Summilux! I WANT IT just for the beauty of it, and of course being a LEGENDARY lens.

The black chrome 50 Summilux ASPH 1.4

11071729_10152611519942735_6196446257428815848_n

While these are the same tried and true lenses from Leica, we do get the striking black chrome finish with red accents. I feel the above 50 Lux is so much more beautiful than the standard version.

Here is what Leica says about the new lenses:

“Leica Camera now offers the Leica Summicron-M 35 mm f/2 ASPH. and Leica Summilux-M 50 mm f/1.4 ASPH. lenses in an alternative black chrome version. The matte black surfaces lend both reportage lenses a unique look and the extra benefits of a particularly robust and resilient finish.

Up to now available only in black anodised and silver chrome versions, the new black chrome lenses also offer new design features. For example, the Summilux-M 50 mm f/1.4 ASPH. revisits the classic design of its predecessor from 1959. Typical features of this are the scalloped focusing ring with knurled segments and the finely knurled aperture ring. In addition, the focusing scale in feet is picked out in red on the black chrome lenses. The new version also includes a round lens hood and a lens cap – both made from metal.

The Summilux-M 50 mm f/1.4 ASPH. is the standard lens for the rendition of subjects in their natural proportions. Its high speed makes it ideal for available-light photography, the use of selective sharpness and art photography and also makes it a first choice when building a basic stock of Leica M-System equipment.

10850182_10152611519487735_3721564539627390007_n

The Leica Summicron-M 35 mm f/2 ASPH. is distinguished by its excellent sharpness, high contrast and exemplary resolution at all aperture and distance settings. Despite its high speed and exceptional imaging performance, it remains an astoundingly compact lens. Equipped with this 35 mm lens, every Leica M-Camera immediately becomes an extremely compact, versatile and elegant photographic tool.

11044552_10152611530392735_7700532194730860259_n

In terms of its technical specifications, the lenses are identical to the serial production versions. The lenses will be available through authorized dealers at the end of April 2015.

PRE-ORDER from:

KEN HANSENEmail him at [email protected]

POPFLASH.COM!

LEICASTOREMIAMI.COM

THE PRO SHOP for photographers! 

Mar 042015
 

A first look video and snaps from the new Zeiss Loxia lenses for FE Mount

50takenwith35

A few days ago I received a package from Zeiss. I opened up the box and there they were. TWO lenses. The Zeiss Loxia 35 f/2 and 50 f/2. I opened the packaging expecting these huge big lenses but nope, they were quite small. They were solid, just about as solid as most Leica M lenses, and only slightly larger. I attached them to my A7II and A7s and WOW. The focusing action was smooth as silk, yet damped, almost like it was floating in a barrel of oil, lol.

The aperture rings clicked solidly yet smoothly. Someone at Zeiss did their homework and realized there is a large market for lenses like this for the Sony FE system. I went out, took a few shots (not too many yet as I was busy with the Zeiss 35 1.4 FE) and WOW. It’s all here. The Zeiss POP, the Zeiss COLOR, the Zeiss Depth. No issues. No colored edges. No vignetting. No distortion.

After testing them out for a day I thought “these are priced VERY well for what we get with these lenses”. The 50 f/2, appears to be just as lovely as the Leica 50 APO, at 1/7th the cost and only a little larger. Metal construction, metal hood INCLUDED and fabulous build. THESE are lenses ANY Leica lover wold enjoy on their A7 system.

Oh and they also have close .3 meter focusing!

A video showing the size of these lenses  – smaller than I was led to believe.

I love Zeiss, I love Leica, I love GREAT lenses, period. The Loxias appear to offer much better performance than the Touit line along with smaller size, better build and great usability.

I will have a full review up in the next few weeks but yes, I highly recommend these for your Sony A7 series. I did do a test between the Sony/Zeiss 35 1.4 and Loxia 35 f/2 which will be in my full Sony Zeiss review, but both are different. I preferred the rendering from the Sony 35 1.4 but the size of  the Loxia. The Loxia was a bit more clinical and the DOF difference, even at f/2 on both lenses was MUCH different with the Sony being more shallow, which is why I feel the Sony gives a true Leica “Lux” look.

In any case, these lenses are very hard to get as Zeiss told me they are doing much better  than anticipated. I can’t wait to see what is next for the Loxia line.

A few quick samples below during my one day of snapshots ;) Will have MANY more in my full review. EXIF is embedded.

Pre-Order these at B&H Photo.

PopFlash is also a Zeiss Dealer.

A7s – 50 f/2

DSC06732

The 35 at ISO 1000 – A7II

DSC06891

The 35 – A7II – ISO 1000 – click to see detail in crop!

DSC06886

A7s – 35 at f/2 – click to see detail in crop

35f2crop

A7s – 35 f/2

35grass

A7s – 35 f/2

35ol

35 f/2

35CLOSE

Mar 042015
 

New Sony E Mount Full Frame “FE” Lenses announced!

In addition to the GORGEOUS Sony/Zeiss 35 1.4 FE lens that was announced (see my hands on first look here) Sony has announced a few other lenses for the FE system. Take a look below at what is coming as well as links to pre-order. All of these are for the full frame FE system (A7 series). So FOUR new lenses. Three primes and one SuperZoom.  There are LOADS of lenses for the Sony System now, from super  wide-angle to telephoto to Macro to the Zeiss Loxia line.

The Sony 28mm f/2 Lens – $448

1126139

This is a standard Sony lens. Not a Zeiss, not overly expensive. I’d say it is “mid priced” at $448. Even so, I bet it will be a great wide-angle for the FE system. Yep, this is a full frame lens. A fast 28mm f/2 for under $500 and a smaller size as well. Looking forward to seeing how good this one is. Pre-Order it HERE.

Official word from Sony:

The FE 28mm f/2 Lens from Sony is a full-frame compatible wide-angle prime lens for E-Mount mirrorless cameras. Its wide focal length and fast aperture make it a practical and versatile addition to your gear bag. Also compatible with APS-C format E-Mount cameras, it provides the angle-of-view equivalent to a 42mm lens in the 35mm/full-frame format.

Its optical design features Extra-low Dispersion glass elements which reduce chromatic aberrations and provide improved contrast. Also, aspherical and advanced aspherical elements minimize spherical aberrations and help to maintain the lens’ compact, lightweight form. Multi-coating on the ED glass elements reduce flare and ghosting and also improve overall image contrast and quality.

An internal focus system and a linear actuator autofocus mechanism provide fast and quiet focusing and make this lens ideal for both still shooting and video recording. The internal focus system also maintains the compact length of the lens during focus and does not rotate the front element. A uniquely designed 9-blade system creates a circular aperture which helps to create pleasing out-of-focus highlights.

The compact design of this lens is a great match for the compact E-Mount cameras and its robust build with dust and moisture resistant seals enable it to be used in less than optimal conditions. It is compatible with Sony’s Ultra-wide and Fisheye converter lenses for even wider perspectives.

Wide-Angle Prime Lens for Full-Frame E-Mount Cameras
This 28mm prime lens is designed for full-frame format E-Mount mirrorless cameras and is also compatible with the APS-C format cameras on which it provides the 35mm focal length equivalent of a 42mm lens. Its f/2 maximum aperture is effective in low light and enables shallow depth of field control.

Optical Design
Aspherical and Advanced Aspherical lens elements reduce spherical aberration and multi-coated Extra-low Dispersion glass elements minimize chromatic aberration and reduce ghosting and flare for sharper images with more contrast.

Internal Focus and Linear Actuator Autofocus Mechanism
Only the middle groups of the optical system move to achieve focus, so the overall length of the lens does not change. Other important benefits include fast autofocusing and a short minimum focusing distance. Also, the filter thread at the front of the lens does not rotate, which is convenient if you’re using a polarizing filter. The linear actuator AF system provides smooth and quiet AF action.

Circular Aperture
A unique 9-blade design keeps the aperture almost perfectly circular. Smoother, more natural out-of-focus highlights can be obtained as a result.

Compact, Robust Form Factor At less than 2.5″ long, this 28mm lens is a ideal companion for mirrorless E-Mount cameras and its dust and moisture resistant seals allow it to be used in less than ideal conditions.

——

The Sony 90mm f/2.8 Macro G OSS Lens – $1,098

1126140

I will make a prediction that this will be a stellar macro lens. A 90mm, which is perfect for Macro along with a nice design and build. Expensive but this guy should be gorgeous in performance. No hands on yet, but hope to soon. Pre-Order it HERE.

Official word from Sony:

Get up close and personal with the 1:1 magnification ratio of the full-frame compatible FE 90mm f/2.8 Macro G OSS Lens for Sony’s E-Mount mirrorless cameras. Optimized for macro shooting, this medium telephoto lens utilizes an aspherical element along with extra-low dispersion and super extra-low dispersion glass in order to create sharp imagery with minimal aberration. Also, it has a Nano AR Coating that suppresses reflections and allows for efficient light transmission for clear photographs.

Its maximum aperture of f/2.8 is effective when shooting in low light and allows for shallow depth-of-field focus. An internal focus system in which only the middle optical groups move when focusing provides fast autofocus action and a short minimum focus distance of 11″. Also, the lens does not extend when focusing and the front end does not rotate. The Direct Drive Super Sonic Wave AF motor employs piezoelectric elements oscillating at ultrasonic frequencies to drive the focus lens with accuracy and near-silence. The focus ring slides back and forth to select manual or auto focus and with a focus hold button and focus limiter switch, the lens offers precise control of where you place focus.

An optical image stabilization system uses gyro sensors to detect camera movement and quiet linear motors to shift the stabilization lens for blur control that is very helpful when shooting macro and/or in low light. Nine circular aperture blades create a unique diaphragm design that is almost perfectly circular throughout its aperture range and thus helps to create pleasing out-of-focus highlights. Finally, a handsome and sturdy build with a dust and moisture resistant design contributes to the overall quality and durability of this fine optic.

Full-Frame E-Mount Telephoto Macro Lens
A 90mm prime telephoto lens with 1:1 macro capability, it provides an f/2.8 maximum aperture for low light effectiveness and shallow depth of field control. Compatible with full-frame E-Mount cameras, it can also be used on APS-C E-Mount cameras with an angle of view equivalent to a 135mm lens in the 35mm/full-frame format.

Internal Focusing
Only the middle groups of the optical system move to achieve focus, so the overall length of the lens does not change. Other important benefits include fast autofocus and a short minimum focusing distance. Also, the filter thread at the front of the lens does not rotate, which is convenient if you’re using a polarizing filter.

Focus Hold Button
Once you’ve adjusted focus to where you want it, pressing this button on the lens barrel will keep the lens locked to that focusing distance. The preview function can also be assigned to this button through the camera’s custom settings.

Focus Range Limiter
This function allows you to set a limit on the focusing range which can save you time during AF operation as the lens will not ‘hunt’ through the entire focusing range. On this macro lens, three ranges are supported: Full, infinity to 19.7″ and 11″ to 19.7″.

Sliding Focus Ring
The focus ring slides back and forth to select manual or auto focus.

Direct Drive Super Sonic Wave AF Motor
Quiet, precise DDSSM focus drive employs piezoelectric elements oscillating at ultrasonic frequencies to drive the focus lens groups. In this case two floating focus groups are driven by independent DDSSM systems for precision positioning of the relatively heavy lenses required for macro photography. The system is remarkably quiet, making it ideal for animal and insect photography, as well as for video recording. It also improves the precision of “focus wobble” employed to achieve optimum focus when shooting movies.

Lens-Based Optical Image Stabilization
Gyro sensors built into the lens detect even the slightest movement, and the stabilization lens is precisely shifted to counteract any image blur that might occur. The use of precision, quiet linear motors and technology inherited from high-end Sony professional camcorders results in exceptionally quiet, effective image stabilization that contributes to high-quality movies as well as stills.

Aspherical Lens Elements
Aspherical lens design dramatically reduces spherical aberration while also reducing lens size and weight. Specially shaped aspherical elements near the diaphragm restore alignment of light rays at the image plane, maintaining high sharpness and contrast even at maximum aperture and can also be used at other points in the optical path to reduce distortion.

ED and Super ED Glass
Extra-low Dispersion and Super Extra-low Dispersion glass elements reduce chromatic aberration for sharp, color-accurate images.

Nano AR Coating
Effectively suppress reflections that can cause flare and ghosting with Sony’s original Nano AR Coating technology. This nano-structure allows accurate light transmission, contributing to high-quality images, even more so than lenses with coatings that use an irregular nano-structure. The reflection suppression characteristic of the Nano AR Coating is superior to conventional anti-reflective coatings, providing a notable improvement in clarity, contrast, and overall image quality.

Circular Aperture
When changing your aperture to defocus the background, the light sources appear blurred. This ‘bokeh’ effect of the blurred background can be enhanced with circular aperture blades used in this lens. Its unique design keeps the aperture almost perfectly circular from its wide-open setting to when it is closed by 2 stops. Smoother, more natural defocusing can be obtained as a result.

Dust and Moisture Resistant Design
A solid and handsome design is complemented with dust and moisture resistant sealing enabling this lens to be used in the field as well as in-studio.

———

The Sony 24-240mm f/3.5-6.3 OSS Lens – $998

1126138

This looks like it will have quite a few fans as an all purpose  superzoom. To those who like a full on zoom packed with wide reach, this one may do the trick. At $998 and with OSS, this one could be a great buy for that ONE LENS and done crowd. Pre-order it HERE.

Official word from Sony:

The FE 24-240mm f/3.5-6.3 OSS Lens from Sony is a full-frame compatible E-Mount telephoto zoom lens with the versatility to stretch from true wide-angle to super telephoto perspectives. Its advanced optical design includes 5 aspherical elements and 1 ED glass element, achieving high-quality performance with reduced chromatic and spherical aberrations in a compact design. Optical SteadyShot image stabilization facilitates sharper imaging in low light situations and when shooting at long telephoto lengths.

An internal focus system means that only the central optical elements move during focus which enables faster autofocus and a shorter minimum focus distance. Also, the lens does not extend during focus and the front element does not rotate which is more practical, especially if using a polarizer filter. A linear AF motor drive also helps to achieve fast autofocus and a circular 7-blade aperture helps to create smooth and pleasing out-of-focus highlights. Like all other FE lenses, the physical design is dust and moisture resistant.

Full-Frame E-Mount Telephoto Zoom Lens
Designed for Sony full-frame E-Mount mirrorless cameras, this lens provides a versatile 24-240mm focal length range. When used on APS-C format E-Mount cameras the lens provides the 35mm focal length equivalent of a 36-360mm lens.

Optical Image Stabilization
Optical SteadyShot image stabilization reduces the blur that accompanies camera shake when shooting in low light or at long telephoto lengths.

Internal Focus System and Linear Motor Drive
An internal focus system with a linear motor drive provide fast and precise autofocus as well as maintaining the length of the lens during focus. The lens’ front elements do not rotate during focusing, which is convenient when shooting with certain filters and lens hoods.

Optical Design
Five aspherical lens elements and one Extra-low Dispersion glass element control chromatic and spherical aberrations leading to sharp, high-contrast, color-accurate images.

Robust and Compact Build
At just 4.75″, this is a very compact lens for such a broad focal length range and its dust and moisture resistant design allow you to confidently use this lens in inclement weather and less than ideal conditions.

———–

The Sony-Zeiss Distagon 35 1.4 FE Lens – $1598

1126137

If you did not see my full hands on first report with this beauty, take a look HERE. It is a beautiful lens. In fact, for IQ, the best 35mm I have ever used (and I also have the Loxia on hand). Expensive at $1598, large for a mirrorless prime, but man..what a gorgeous lens. Nice solid build, not too heavy, and a gorgeous rendering. See my report HERE. All details are there!

 

Mar 032015
 

opendocument.do

HANDS ON: The Zeiss Distagon T* FE 35mm F1.4 ZA Lens. Samples, and my 1st thoughts!

THIS IS NOT MY FULL REVIEW, JUST A HANDS ON 1st LOOK WITH SAMPLES! – PRE-ORDER at B&H Photo HERE – Amazon HERE

WOW! I have been shooting with the brand spanking new Sony FE 35 1.4 ZEISS lens and let me tell you right now..this lens may just be the best 35mm lens I have ever shot when it comes to IQ, pop, color, detail and overall rendering. It is gorgeous. Really.

Sony sent me the lens for a long term review but I have not had enough time with it just yet for a full review but can and will give you my very 1st thoughts, some image samples and a video telling you just what I think SO FAR about this lens, which you can watch below:

I have been shooting with it for a few days but the 1st thing that popped to mind when it arrived was “DAMN! THIS IS HUGE!”. This lens is NOT small in any way, shape or form but it is indeed BEAUTIFULLY built, made… and man oh man, can it give some sweet Zeiss 3D pop! It is about the same size as the 16-35 F/4 Zeiss.

Click on the image below which was shot with the Sony A7s and this 35 1.4 at 1.4. I have not seen this kind of detail and pop since I shot with the Leica 35 Summiulux FLE on my old M9. You must click the image to see it larger and correctly!

DSC06730

For me, it actually is meeting or beating the Leica 35 Summilux FLE for overall IQ and color performance (A $5500 Lens). Of course, the Leica is TINY in comparison, as is the new Zeiss Loxia 35 f/2 (that I also have on hand), but this lens offers Auto focus, click or clickless aperture and a way of producing images that will make you say “WOW”. For me, this is TRULY the 1st native “WOW” lens for the Sony full frame FE system. It easily surpasses the 55 1.8 for me as well as the 35 2.8 that I have been using since the launch of the A7 system, and those are both beautiful lenses when it comes to image quality. The 35 1.4 has such a beautiful character and rich rendering.

The 1st image is an OOC JPEG, but look at the nice color and rendering. This one was shot with the A7II…

a7iibronco

…and how about the same image with a VSCO film filter applied?

truckmffmg

Again, the A7II and Sony Zeiss 35 1.4 Lens. Click it for better version and to see the 100% crop below it to see the DETAIL even at the bottom of the frame!

a7IIclouds

cropclouds2

The A7s and this lens are like a match made in heaven. It seems to bring out extra detail in the A7s shots. This is a full size shot, right click and open in a new tab or window to see it. The 12MP of the A7s is fantastic here. The double image part of the text in front of his hands was like this, it is not from the lens ;) 

bwhandsfull

This lens is going to be HUGE for Sony A7 shooters and I found that it works just as well on the A7s as the A7II. BOTH cameras will give you incredible detail when using this guy, even at f/1.4 wide open. I was put off by the large size (it is about the same size as the 16-40 f/4) when I first attached it to my A7s but after a few snaps and seeing what it could do, I quickly forgot about the size. The lens is not very heavy, it is just large. Even so, it is large for a reason as they packed some magic pixie dust inside of this lens.

Three of Debby, two B&W and one out of camera Color. All from the A7s again, with B&W conversion from VSCO

DSC06707

DSC06674

DSC06709

I look forward to spending some quality time with this lens and so far, it has been one of those lenses that make me want to get out and shoot. The color performance and the sharpness make the images just POP much like Leica lenses do on the M9 or M 240. In some cases, even better. This lens is a masterpiece for IQ and rendering with the only weakness..size.

DSC06716

DSC06731

DSC06733

As for Auto Focus speed it seems semi-quick and VERY accurate. I have shot maybe 50 shots with it so far and none have been mis-focused. In low light it is a bit slower but still very good. By todays 2015 standards it is fantastic, and better than one would expect for a 35 1.4 lens.  I will have much more detail about AF speed and EVERYTHING in my full review in 2-3 weeks. But look at this detail and pop and color that oozes from the lens…

A7s, 35 1.4 at 1.4 and closest focusing distance of .3 meters. No distortion and no issues. 

DSC06738

DSC06756

It was VERY low light in this restaurant and I asked this guy if I could snap his portrait. He was amazed that no flash went off. I told him “with this lens it is not needed” and when he saw the image on the LCD he was double amazed at the clarity and how it lit up the scene without any real light being there! A7s

DSC06759

Same restaurant..A7s..

DSC06758

And some graffiti with the A7s and 35 1.4

DSC06760

DSC06763

All images below are from the Sony  A7II and Zeiss 35 1.4 – check out the rich color of  the 1st image. A good lens will be sharp, have great bokeh, have minimal distortion, focus close and give you enhanced color performance. From what I see so far, this lens gives all of these things.

bowl3514

DSC06814

DSC06826

Sony’s Official Word on the 35 1.4  (the cool parts are in bold)

ZEISS® Distagon T* FE 35mm F1.4 ZA (model SEL35F14Z) Full-frame Wide Angle Lens

This new ZEISS® Distagon T* FE 35mm F1.4 ZA full-frame wide angle prime showcases legendary ZEISS® optical performance in a compact design. With a minimum focusing distance of approximately 12 inches, the ZEISS® Distagon T* FE 35mm F1.4 is the first E-mount lens to feature an exceptionally fast aperture of F1.4. The lens has a 9-bladed circular aperture, which makes it a superior choice for creating smooth bokeh (defocus) during portrait shooting. It also performs extremely well in low-light shooting scenarios or for simple everyday photographs.

The new 35mm prime lens produces stunning corner-to-corner sharpness – even at maximum aperture – thanks to its advanced optical design with 3 aspherical elements including one Sony advanced aspherical element and a 9-bladed circular aperture. It also features ZEISS® T* coating that suppresses flare and ghosting for natural color reproduction and excellent contrast. Additionally, the lens has a Direct Drive SSM (DDSSM) system that enables whisper-quiet precision focusing, even at the shallowest depth of field. A dedicated aperture ring can be set for smooth, continuous operation – ideal for movie-makers – or with click-stops to provide tactile feedback when shooting still images. The ZEISS® Distagon T* FE 35mm F1.4 is also dust and moisture resistant design for reliable operation when shooting outdoors.

DSC06820

DSC06877

DSC06824

DSC06857

A quick detail shot – A7II, f/5, click the image to see it correctly with a 100% crop of the fine detail. Even at 1.4 it is just as sharp. 

crophydrant

You can pre-order the Sony/Zeiss 35 1.4 FE lens at Amazon using the link below. The lens will ship in April. My full review will be in 2-3 weeks when I can get out and get some serious use out of it.

PRE-ORDER the ZEISS 35 1.4 FE Lens at B&H Photo HERE.

PRE-ORDER the ZEISS 35 1.4 FE Lens at Amazon HERE

———————————

PLEASE! I NEED YOUR HELP TO KEEP THIS WEBSITE RUNNING, IT IS SO EASY AND FREEE for you to HELP OUT!

Hello to all! For the past 7 years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and because of this I need and use superfast dedicated web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full-time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this free information that is provided on a daily basis.

To help out it is simple, and no, I am not asking you for a penny!

If you ever decide to make a purchase from B&H Photo or Amazon, for ANYTHING, even diapers..you can help me without spending a penny to do so. If you use my links to make your purchase (when you click a link here and it takes you to B&H or Amazon, that is using my links as once there you can buy anything and I will get a teeny small credit) you will in turn be helping this site to keep on going and keep on growing.

Not only do I spend money on fast hosting but I also spend it on cameras to buy to review, lenses to review, bags to review, gas and travel, and a slew of other things. You would be amazed at what it costs me just to maintain this website, in money and time. Many times I give away these items in contests to help give back you all of YOU.

So all I ask is that if you find the free info on this website useful AND you ever need to make a purchase at B&H Photo or Amazon, just use the links below. You can even bookmark the Amazon link and use it anytime you buy something. It costs you nothing extra but will provide me and this site with a dollar or two to keep on trucking along.

AMAZON LINK (you can bookmark this one)

B&H PHOTO LINK – (not bookmark able) Can also use my search bar on the right side or links within reviews, anytime.

Outside of the USA? Use my worldwide Amazon links HERE!

You can also follow me on Facebook, TwitterGoogle + or YouTube. ;)

One other way to help is by donation. If you want to donate to this site, any amount you choose, even $5, you can do so using the paypal link HERE and enter in your donation amount. All donations help to keep this site going and growing! I do not charge any member fees so your donations go a long way to keeping this site loaded with useful content. Thank you!

Feb 242015
 

Zeiss35mm14distagonZMSonyA7s

The new Zeiss 35 1.4 Zm Distagon on the Sony A7s

by Sean Cook

Hello Steve!

My name is Sean, and I’m a wedding photographer in Detroit.

I just picked up the new Zeiss Distagon 35mm 1.4 ZM from Popflash Photo in California, and I wanted to drop you a line to give you some first impressions of it and how it works on the Sony A7s.

One sentence summary: It’s sharp all over and beautiful with no color cast, but vignettes a lot and can create some strange artifacts in the out of focus areas.

Quick notice: I have had the lens for a day, and it’s cold in Detroit, so these aren’t exactly exhibition-worthy. I also was mostly shooting to test some of the qualities of the lens, and less just out to make great photos.

Dumpster_Zeiss35mm14zm_01

To start, the lens is built beautifully, and if you’ve ever held an all-metal Zeiss lens, you know that feeling. It’s also surprisingly heavy. Including the Voigtlander Close-Focus Adapter, it easily heavier than my big Sony/Zeiss 50mm 1.4 ZA, so while it’s compact, don’t expect it to be lightweight — it’s like a condensed Canon 35mm 1.4L.

Portrait_Zeiss35mm14zm_01

selfie_fullsize

Below: 100% crop of above image, wide open at 1.4

Selfie_PixelPeep

The aperture ring is really perfectly damped, though because there is no EXIF data to know through the viewfinder where you’re f-stop is, it would be nice if there were deeper detents for the full stops (1.4, 2.0, 2.8…) like you would find on most Leica lenses. The focus is also damped really well. I hate a MF lens that takes a lot of push or pull to focus, and fortunately, even for a brand new lens it focuses quickly smoothly and quickly (though shooting outside in the cold gums of the works a bit). It’s also a very short focus throw (about a quarter or a turn or so), making focusing all that much quicker.

Not surprisingly, the lens cap is terrible and hardly feels like it even fits, and for the price of a used car, a lens hood would be nice also, but probably not anything to get too worked up about.

Candid_Zeiss35mm14zm_01

I’ve only had the lens for a day now, so I have still quite a bit to learn about it and how it performs in different situations, but so far, it really is a joy to use. It is sharp and crisp, resistant to flare, easy to focus, has great character, and makes me want to go outside and shoot! Which, readers of this site will know, is maybe the most important characteristic. I have included a few photos to hopefully show some of those traits — especially the photo of the alarmingly hip older couple.

Portrait_Zeiss35mm14zm_02

However, it is not without its flaws. So far there are two that really worry me. 1. Vignetting and 2. Ghost/double-image.

Vignetting:
Now, certainly vignetting is easy enough to fix in Lightroom or Photoshop, but the amount that it darkens the image at 1.4 makes it difficult to get the correct exposure at times, and does add a little frustration to shooting. Anyone who’s ever shot video using Slog understands the difficulty in having to imagine later what your image will look like — I would LOVE if I could program in an amount of vignette correction for the camera to apply to allow me to really see what I’m working with.

To give you an idea of the amount of darkening that happens, I’ve included some real-world examples before and after correcting it in Lightroom. For reference, I find the amount I need to move the slider in the manual vignette correction for a 1.4 shot is 100! Literally, the amount is all the way, and the midpoint is all the way in the other direction, meaning the whole shot gets much brighter, and I find I need to then bring the exposure slider back about -0.5, which is a ton. But, while it is irritating, and might be a little bothersome in high-ISO situations, ultimately, it is a fixable problem.

Wide Open Vignetting – Before and After correction.

Vignette_Zeiss35mm14zm_02

Double-Image/ghost:
This one is kind of odd. I’ve never seen anything like it, and I can only assume it’s being caused by the thick sensor and close flange distance, but in the areas that are toward the edge and not in focus, a sort of double-image is created. I don’t know that I can describe it anymore than by just saying to look at the photos.

I tested it a few times after noticing it, because it looks like motion blur, but only in the areas that aren’t on the focal plane. In fact, to prove it isn’t some motion blur, you can see that one of the photos where it appears is shot at 1.4 into the sun, meaning the shutter speed was around 1/4000 of a second.

Honestly, I don’t know what to make of this, or how much it will actually show up or bother me, but it’s worth noting that this lens does not work perfectly on the A7s.

DoubleImageSign_Zeiss35mm14zm_02

DoubleImageSign_Zeiss35mm14zm_Closeup_02

DoubleImage01_fullsize

DoubleIMage02_PixelPeep

Beyond those two concerns, the lens is a delight. I shot into the sun, and got only minor CA, and minor flare, and the flare wasn’t especially distracting or ugly — it mostly just gives you a nice glow when backlighting is present.

Flare_CA_wideopen

Pros:
– Incredibly well-built
– Wonderful character
– Great bokeh
– Zeiss pop
– Great sharpness at 1.4 across the image, as long as the subject is in the somewhat curved focal plane (I shoot people, so I don’t especially need tack sharp at 1.4)
– Combined with the Voigtlander VM-E, allows very close focus
– Very well damped aperture ring and focus ring
– Like all Zeiss and Leica lenses, the value doesn’t drop much over the life of the lens

Cons:
– Expensive
– Heavy
– Strange double-image artifacts towards the edges of the A7s
– Very strong vignette at 1.4

Wide Open Sharpness Test – 1st image, then the 100% crop

WIdeopenSharpness_Zeiss35mm14zm_02

WideOpenSharpness_Zeiss35mm14zm_02_Closeup

I am going on a quick vacation this weekend to Texas, and I will send in a follow-up set of photos that will hopefully show more of the lens’ character, and help me determine if its shortcomings outweigh its beauty. I would hate to have to use the upcoming and huge Sony/Zeiss 35mm 1.4 FE! So we’ll see!

Thanks,

Sean

Pop_Zeiss35mm14zm_02

Pop_Zeiss35mm14zm_03

Dumpster_Zeiss35mm14zm_02

Sean Cook Wedding Photography
Chicago & Detroit

http://seancookweddings.com

[email protected]

Feb 132015
 

Fujifilm XF 50-140mm f/2.8 R LM OIS WR Lens Quick Review

by Brad Husick

unnamed

I have been a pro sports photographer for years and I always rely on the big hardware to get the job done right. For me that has been the Canon EOS series and the Nikon D3 and D4. I have switched between them several times looking for the next advancement in IQ or speed.

When the Fuji X-T1 was announced I was intrigued by the compactness and the manual controls of the camera so I bought one and tried it out on indoor sports. The early firmware wasn’t allowing the camera to keep up and the Fuji 55-200 f/3.5-4.8 lens wasn’t fast enough to keep pace with the Nikon D4. I wrote a review here on SteveHuffPhoto at that time.

unnamed

A lot has changed since then. The newest firmware gives the camera an electronic shutter option that’s silent and super-fast (up to 1/32,000 sec). Just as important, the new 50-140mm (76-213mm equivalent) f/2.8 lens with OIS is certainly up to the task. The focusing is lightning quick and the OIS is working extremely well. I have included some samples taking indoors in very poor light. The camera was set to ISO 6400 and the distance to the subject was 11 feet, shot handheld. The zoom was set to 140mm. As you can see, everything is tack sharp even at f/11 and 1/9 second exposure – handheld. I have also included an f/22 at 0.5 second exposure and there is some motion blur, but it’s surprisingly good for a half-second shot not on a tripod or resting on a bean bag.

unnamed

I have yet to try it in a challenging indoor sports arena, but my initial tests bode quite well for this setup.
Physically, the lens is very good to hold with smooth and surprisingly short throws for the zoom and the focus. The all-metal construction looks like it would withstand the rigors of shooting and it’s weather sealed as well with 20 seals. It’s also rated for low temperature environments down to 14 degrees F. I won’t go into a lot of the specs because it’s easy to look those up.

unnamed

Compared to the Fuji 55-200 f/3.5-4.8 lens, this is a major step up. The new lens doesn’t grow larger when you zoom – the 55-200 gets to be just as long as the 50-140 when fully zoomed. The new lens is weather sealed and to me the OIS works better. The new lens has a full marked aperture ring with the A setting at the end. The old lens has a separate switch for A mode and an unlabeled aperture ring. Most importantly, the new lens is much faster to focus and it’s an f/2.8 after all. The 55-200 is $699, so it’s considerably less expensive than the 50-140 ($1599). If the 70-200mm focal length is important to you I suggest you save your pennies and buy the 50-140mm lens.

unnamed

Compared to my Nikon 70-200 f/4 VR lens, it’s almost the same size and weight (both about 2.5 pounds). The Fuji of course is giving us a full stop more light albeit in the APS-C format. To get a 70-200mm f/2.8 lens in the full frame world, count on a much bigger and heavier (3.4 lbs) lens. I have included comparison photos of the Fuji and Nikon f/4 lenses side by side.

unnamed

The lens hood on the Fuji has an interesting feature – a small removable door on the bottom that allows you to stick your finger inside and rotate a polarizing filter if you use one. It’s a clever idea and the door is held in with enough force that it’s unlikely you will lose it when attached to the hood. I do think the hood is a bit large, but I don’t know what design tradeoffs Fuji made with it. The lens cap fits tightly and has nice large grips for removing it.

unnamed

When the lens is mounted to the X-T1 and the hood is used it’s almost comically large compared to the camera but the handling is still very good and the light weight of the setup compared to a full-frame DSLR is greatly appreciated. The case on my X-T1 is the Gariz which I do recommend. It extends the bottom of the camera just enough, and if this is not sufficient then you can attach the battery grip instead.

unnamed

I must thank my good friend Tony Rose at Popflash Photo (www.popflash.com) for loaning me this new lens for this test and review. Tony earned my business long ago when Leica had some defective sensors and Tony replaced my camera long before Leica even acknowledged a problem. This is a perfect example of the difference between a great dealer and a box-shipper.

unnamed

unnamed

unnamed

unnamed

unnamed

Feb 072015
 

Home from Bermuda and I brought the E-M5II with me!

See my 1st look of the E-M5II HERE. This is a quick follow up to that, full review in about 2 weeks. 

1116760

Whew! Last week was a crazy week. Three full days of travel, two days in Bermuda and loads of fun, shooting, and testing the brand new and pretty damn incredible E-M5II. Most of you here know how I operate..I write ONLY about cameras that I love. Cameras that motivate me, move me and impress me. I also have a love for small mirrorless cameras as they have come a LONG way since the early days of the E-P1.  With cameras like the Sony A7 series which feature full frame sensors in smaller bodies as well as Olympus constantly pushing technology to the limits, today we have some absolutely MIND BLOWING cameras that can do things that no past cameras could do.

Before I write more I want to thank EVERYONE at Olympus for the great week, as well as the great friends I was able to see again during the trip! Was great seeing and working with you ALL! I am truly blessed to be able to do what I love in life.

As with previous Micro 4/3 Olympus cameras, Live Time is here and its so much fun to use. You will see you exposure happening in real-time, and you can stop it when the finished image is to you liking. I used live time for all of the images below, and seeing it magically expose on the LCD in real-time is amazing and something no DSLR or any other camera can do. 

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

In the case of the E-M5II, it does incredible things that NO DSLR can do. The more I use and study this little camera the more I am impressed with it. It’s a pretty beautiful thing. It’s about half the size of my beloved Sony A7s, faster to AF, weather sealed, has the best IS you can get today (5 stops) and has the best lens lineup next to Leica IMO. While it loses out on the full frame sensor and those gorgeous rich files that come from full frame, Olympus has stepped it up with the new 40 Megapixel High Res mode.

That mode is very nice but it has limitations. You MUST use a tripod and nothing in your frame can be moving. Even so, for those doing detailed landscape work, this can be a superb tool as the results are very nice even though so far I have only been able to see the JPEGS (A photoshop plug-in is on the way for processing the high res RAW files).

Just some JPEGS from the E-M5II – click for larger. 

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

Olympus keeps on pushing on and finding new ways to test the limits of what a camera can do. For example, LIVE TIME and LIVE COMPOSITE are revolutionary and NO OTHER camera can do this, yet it is something that opens up new avenues for photography. It is mind blowing if you really think about it. The new 5 Axis..INCREDIBLE. I have talked about all of this in my original 1st look report, which can be seen HERE but I just wanted to say it again as this camera, so far, has been phenomenal. I am VERY impressed.

OLYMPUS DIGITAL CAMERA

Some have been asking me a few questions:

Q: IS the EM5II better than the E-M1?

A: Olympus clearly stated that the FLAGSHIP is the E-M1 and the E-M5II resides in the middle. But IMO, until they have all of these new features in the E-M1, I would say the EM5II beats the E-M1 in many ways. The E-M1 has a beefier build and body, more pro. The E-M5II is smaller, and while not a PRO build, it is much better than many cameras made today in the same class. The E-M1 is more rugged and has a deep grip, the E-M5II does not have a grip but one can be added. Speed wise, the E-M5II is faster than the E-M1. It also has the same IQ and ISO performance. It has better 5 Axis and the silent shutter option as well. All in all, if you do not mind the less pro body, the E-M5II is a better camera in my opinion. 

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

Q: How long can you handhold a shot with the new 5 Axis?

A: Probably 1 second to be sharp but I have done quite a few at 2 seconds with impressive results. This is incredible and will also depend on your focal length of course. It’s the best IS on the market as of Feb 2015. 

Just for fun, two 2 second hand held shots ;) 

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

Q: When does the E-M5II ship?

A: End of TIHS month, Feb 2015. 

Q: How is continuous AF?

A: In my limited tests so far, VERY good! See an image series below:

OLYMPUS DIGITAL CAMERA

All in all in my 3 days with it the E-M5II is performing well. At the Bermuda event I had a couple of glitches with freeze ups but the camera is not final yet and I am sure there are firmware things they will figure out before launch. I predict another winner for Olympus and I will have a huge real world style review up in about 2 weeks, just before the camera ships.

There are other new things from Olympus to talk about as well..the new TOUGH TG-860 camera which is PRETTY AMAZING and beats my Go Pro for fun factor, video and ease of use. I ordered on already and at $279 I will use it for my YouTube videos and underwater shots. Waterproof to 50 feet, shockproof, to 7 feet,  cold proof to 14 degrees and crushproof to 220 lbs! The flip out LCD allows you to take video or selfies of yourself and works out perfect for some of my video work and reviews.

I will get to that camera as well SOON.

You can pre-order the E-M5II at Amazon HERE or B&H photo HERE or PopFlash.com HERE

Feb 042015
 

OLYMPUS DIGITAL CAMERA

Olympus OM-D E-M5 Mark II! Hands On 1st look & Video!

Man, doing camera reviews is a TOUGH job. Here I am in beautiful Bermuda with other colleagues testing out the new Olympus OM-D E-M5 Mark II. The follow up to the HUGELY successful E-M5 (My review of the original E-M5 is HERE). For the past couple of years I wondered how Olympus could top themselves after the E-M1. I mean, what else can they do? The E-M5 and E-M1 (E-M1 review is HERE) are superb cameras for the Micro 4/3 format, and IMO, the best there is for this system. When I was asked to come do a test of the camera for two solid days in Bermuda, I could not pass it up. ;)

I also learned about the new PRO 8MM F/1.8 Fisheye they are coming out with this year as well as the “Olympus Air” and the new 14-150 “kit” zoom that is now weather sealed. Also, Firmware 3.0 for the E-M1 which should be out in the next 2-3 weeks. Good stuff!

All images in this 1st look report are OOC JPEGs with either the 12-40 Pro or 40-150 Pro Zoom Lenses. Click them for larger. 

OLYMPUS DIGITAL CAMERA

OFFICIAL…

“CENTER VALLEY, Pa., February 5, 2015 — Olympus introduces an exceptional high-resolution still and advanced motion picture hybrid with the new OM-D E-M5 Mark II®. This advanced interchangeable-lens camera features a compact dustproof, splashproof body, with a familiar, premium design. Packed with 5-axis image stabilization, a 40-megapixel high-resolution shot mode, sophisticated, stunning HD video, integrated Wi-Fi® and a variable-angle 3-inch touchscreen, the OM-D E-M5 Mark II makes it easy to get the shot you need, every time. The easy-to-use 2.36 million dot, super-large, high-definition electronic viewfinder has a field of view of 100%, and a viewfinder magnification of 1.48x. The camera is equipped with Adaptive Brightness Technology, which automatically adjusts the backlight brightness in accordance with environmental lighting. The new LV Boost II*1 is convenient for shooting stars, and Creative Control provides complete freedom of control over color, tone, focus, and aspect ratio.”

Today was day one with the camera. That is it. ONE day. I had  the 12-40 f/2.8 Pro Zoom and the 40-150 Pro Zoom to shoot with it and of course I only shot JPEG as there is no software to process RAW files as of yet. So remember, all images here are 1st look images, all JPEG and out of camera.

My 1st Look Video on the Olympus E-M5 II with my thoughts and some quick video samples (nothing fancy here)

With that said, here is the real lowdown, the real scoop..the real deal after only one day with the E-M5.

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

Well, IT IS GORGEOUS and an AMAZING update to the old E-M5, and here is why:

40 MP High Res Shot

Olympus said  that with this mode you will meet or exceed full frame detail. Yes, you can get a 40MP file from the 16MP sensor using this new exclusive mode on the E-M5 II. You will need a tripod and a good lens to take advantage of it but from what I understand the detail is stunning in this mode and I have sen samples. I will be testing this mode TOMORROW but once again it is Olympus pushing tech and INNOVATING as they have done for years. Remember, they were 1st with 5 Axis..they were 1st with a Swivel LCD (E-330 back in the day) and they were 1st with a mirror less weather proof, freeze proof, shock proof body in the E-M1. They are also the ONLY camera today with the exclusive LIVE TIME and LIVE COMPOSITE MODES, which are FANTASTIC.

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

Here is what Olympus says about 40 MP High Res Shot:

“The Olympus OM-D E-M5 Mark II takes high-resolution imaging to a whole new level. In addition to the exceptional 16-megapixel stills you’ve come to expect from OM-D, the E-M5 Mark II captures 40-megapixel images*2 using an innovative pixel-shift technique that is facilitated by the voice-coil motor IS unit. The 40-Megapixel High-Res Shot mode captures eight sequential images, moving the sensor by 0.5-pixel steps between each shot. Then, the E-M5 Mark II compiles those images to produce a super-high resolution shot that rivals those captured with a 40-megapixel full-frame camera.

A tripod and a high-resolution M.ZUIKO® DIGITAL PRO or M.ZUIKO Premium lens are recommended to use the 40-Megapixel High-Res Shot mode, which captures eight shots over a period of one second. Another two seconds are required to compile the final image. Images can be captured at up to f/8 with a shutter speed of up to eight seconds and a sensitivity of up to ISO 1600. When shooting in RAW+JPEG mode, the camera will save a 40M JPEG file, a 64M RAW (ORF) file and a 16M RAW (ORI) file. 64M RAW images may be processed using Photoshop CS4 and later with a required plug-in.”

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

The new improved 5-Axis IS. 

This is new and upgraded and works SO AMAZINGLY WELL. It beats the 5 Axis in the Sony A7II, E-P5, E-M5 Mark I and the E-M1. Olympus briefed us and told us it is their best Image Stabilization system to date. This new improved 5 Axis is so amazing with video and photos. One guy here took a handheld shot at 1.2 seconds and it looked damn good on his LCD! Crazy. Olympus claims 5 Stops of performance. I was seeing unreal performance with this E-M5II 5 Axis..can not wait to test it more.

1st image was using “Live Time” where you can see your exposure happening in real-time, perfect for night exposures. The image below was shot at ISO 1600 at night, and I let LiveTime go until the exposure was right where I wanted it. 

OLYMPUS DIGITAL CAMERA

…and “Live Composite” which is quite special and unique to Olympus. Basically the camera takes TWO shots. The 1st one determines the exposure for the shot..the 2nd shot just leaves the shutter open for up to SIX HOURS looking for NEW light. When it sees the new light it adds it to the images, without affecting your original exposure. This would be amazing for night-time shooting but you do need a tripod of course.

OLYMPUS DIGITAL CAMERA

Here is the Lowdown from Olympus on the 5 Axis in the E-M5 II:

“The Olympus OM-D E-M5 Mark II’s in-body 5-axis VCM image stabilization system offers unprecedented performance. The camera’s 16-megapixel sensor shifts horizontally, vertically and on the X (pitch), Y (yaw) and Z (roll) axes in order to provide 5.0 EV steps of compensation performance. The OM-D E-M5 Mark II can capture sharp images at shutter speeds as low as 1/4-second without the use of a tripod. Sensor shift on the X and Y axes can also assist when photographing close-up subjects. Image stabilization extends to the 3-inch, 1.04M-dot rear vari-angle touchscreen and the 2.36M-dot electronic viewfinder (1.48x magnification), providing a full image stabilization preview when the shutter button is pressed halfway.”

Electronic Silent Shutter capable of 1/16,000 S

The new silent shutter is superb and capable of 1/16,000 of a second shutter speeds and 11 FPS continuous shooting. If you prefer to use the physical shutter you are limited to 1/8000s and 10 FPS shooting, which exceeds the E-M1 and past E-M5 regardless. The silent shutter is just that..silent.

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OM-D Movie – They now are getting much better with video

“The OM-D E-M5 Mark II’s advanced video features enable photographers to capture cinema-quality movies from the palm of their hand. The camera’s 5-axis image stabilization compensates for even the slightest movement, allowing the camera to capture stable footage without the use of a sophisticated and expensive stabilization rig, or even a tripod, letting users shoot in environments where adding heavy equipment may not be practical. The mechanical IS unit can also work in concert with Electronic Stabilization if desired.

The OM-D E-M5 Mark II captures 1080p video at up to a 60p frame rate with up to 77 Mbps high bit-rate recording possible at the 30p setting. Additionally, the OM-D E-M5 Mark II supports 50p, 30p (29.97p), 25p and 24p (23.98p) frame rates, making it easy to blend footage captured using other camera systems. An integrated microphone jack supports external audio input, while a headphone jack positioned in the HLD-8G External Grip enables real-time audio monitoring. Focus Peaking with four color choices (red, yellow, black and white) as well as three selectable intensities for optimal manual focus results. Settings can be adjusted while recording using the 3-inch touchscreen, including AF-point selection, exposure, electronic zoom and Movie Tele-converter, microphone sensitivity, headphone volume and art effects. Additionally, OM-D Movie supports time code settings and connection to an external HDMI® monitor during recording. You can also add an Olympus PCM recorder for high-quality audio capture.

Photographers can take advantage of the OM-D’s popular Art Filters while in Movie Capture mode. Users can select from Pop Art, Soft Focus, Pale and Light Color, Light Tone, Grainy Film, Pin Hole, Diorama, Cross Process, Gentle Sepia, Dramatic Tone, Key Line and Watercolor while capturing video. A Movie Tele-converter lets users touch an area on the screen to enlarge it without losing image quality, while the Clips tool enables short clip capture, allowing users to combine footage and effects directly on the camera for instant sharing.”

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

I am only one day in with this new camera and I am really enjoying it. From the quick and fast AF (faster than the E-M5 and E-M1 from what I can tell) , the new side swivel LCD which is FANTASTIC in use and the improved 5 Axis IS and Video. I will be testing the new 40MP High Res Shot tomorrow but I can see the possibilities with it for sure. The E-M % Mark II will not ship with a lens as it will be body only for $1099. It will come with a very cool new flash that not only rotates side to side but up and down as well. I was able to handle this little dynamo and it was very cool, not your typical bundled flash (though it is small).

I love Olympus..always have ever since the good old film days, and then again with the original 4/3 E-1. They always have something special and unique about their cameras and they ALWAYS innovate and bring us new features, including superb firmware updates for the E-M1.

So far so good and I have only been shooting OOC JPEG in NEUTRAL color mode…for ONE day.

OLYMPUS DIGITAL CAMERA

This camera easily outclasses the older E-M1 Mark I and IMO even outshines the E-M1 for less money. Next to the E-M1 the E-M5 II is smaller but feels just as good, is a bit faster, can shoot faster FPS, has better 5 Axis IS and video, and so on.

My full review will be up by the end of Feb 2015, so be sure to check back as I am sure I will be posting updates over the next few days and weeks, including a test of the new 40MP High Res Mode. We have a full day of shooting tomorrow as well so I am excited to see what I can squeeze out of the camera.

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

So far, so good! GO GO GO Olympus!

PRE ORDER THE E-M5 II

You can PRE ORDER the E-M5 Mark II at B&H Photo using the link below. The camera will be shipping by the end of this month, Feb 2015.

B&H PHOTO: PRE-ORDER THE E-M5 II HERE IN SILVER!

B&H PHOTO: PRE-ORDER IN BLACK!

AMAZON: PRE ORDER IN SILVER

AMAZON: PRE ORDER IN BLACK

 OLYMPUS DIGITAL CAMERA

More from Olympus on the new and exciting E-M5 Mark II

Exceptional Performance
The Olympus OM-D E-M5 Mark II pairs a redesigned16-megapixel Live-MOS Micro Four Thirds® sensor with the Olympus TruePic™ VII processor, enabling brilliant image quality in bright and low-light conditions alike. The 1/8000 mechanical shutter allows photographers to shoot using a large aperture for maximum bokeh, even in bright, daylight conditions. Users can capture RAW images at up to 10 fps with S-AF, or 5 fps with C-AF tracking enabled. An Anti-shock mode utilizes electronic first-curtain shutter to reduce shutter shock during sequential shooting, and a new Silent mode enables a full-time 1/16000 second electronic shutter, eliminating the mechanical shutter noise entirely for absolutely silent shooting. The 81-point Fast AF provides an expanded focus area, with unparalleled speed, while Small Target AF allows users to focus on small areas across the entire frame.

Ultimate Connectivity
The OM-D E-M5 Mark II includes integrated Wi-Fi, enabling remote shooting, geotagging and easy image sharing using the Olympus Image Share app on an Android® or iOS® smartphone or tablet. Photographers can use the Olympus Image Share app to apply Art Filters. Users can also start and stop movie recording using a wirelessly connected smartphone, or with the RM-UC1 Remote Cable Release. Studio photographers can take advantage of Olympus Capture support, enabling complete control of the OM-D E-M5 Mark II from a connected Mac® or PC.

Portability and Build
The OM-D E-M5 Mark II features a dustproof, splashproof body, that, when properly sealed and paired with select M.ZUIKO DIGITAL lenses, can even be used in the rain. Olympus’ renowned Supersonic Wave Filter technology uses super high speed frequency movement to “shake” any dust or debris off the sensor, eliminating dust marks that irreparably spoil images. Two body colors are available: a luxurious black with texture casting, and a bright, gorgeous silver. The camera includes machined metal dials, an extended grip and a lowered center of gravity that makes the OM-D E-M5 Mark II comfortable to hold in a variety of positions. The camera (body only) weighs just 417 grams, or 14.7 ounces, making it one of the lightest models in its class.

Accessories
The OM-D E-M5 Mark II includes a dustproof and splashproof bundled flash, the FL-LM3, with Guide Number 9 (at ISO 100) and tilt and swivel positioning, enabling users to light subjects directly or by bouncing the flash off of a ceiling or wall.

The HLD-8 is a dustproof and splashproof power battery holder for exclusive use with the OM-D E-M5 Mark II, which enhances both the camera grip and power supply. The HLD-8G Non-powered Grip pairs a substantial camera grip with a headphone jack for monitoring audio during video capture, and an HLD-6P Power Grip, which can attach directly to the camera or to the HLD-8G, provides additional battery power for extended shoots. Because the grip (HLD-8G) and battery holder (HLD-6P) can be separated, the grip can be used alone when necessary. The HLD-6P battery holder is the same as the HLD-6 which was previously designed for the OM-D E-M5. The ECG-2 Metal External Grip can be attached to and removed from a tripod easily, and includes a battery pass-through for changing batteries without removing the grip.

An EE-1 External Dot Sight, which is compatible with any camera with a hot shoe, makes it easier to frame subjects during super-telephoto shooting An EP-16 Large Eyecup is also available, which blocks sunlight, making the electronic viewfinder easier to use. A redesigned version of the OM-D E-M5’s popular full-cover case, which includes a body cover and removable front cover, is also available as the CS-46 FBC Leather Cover and Body Jacket. The PT-EP13 Dedicated Underwater Case can be used at depths of up to 45 meters, and is designed specifically for the OM-D E-M5 Mark II. The case is equipped with a pick-up viewfinder and can be used with the cameras bundled FL-LM3 flash, along with a variety of lenses.

U.S. Pricing and Availability
The Olympus OM-D E-M5 Mark II will be available in February 2015.
Estimated Street Price
$1,099.99 Body only in Black or Silver

Dec 052014
 

1STLOOK

The Sony A7II – First Look and Video!

Order the A7II at Amazon – Amazon says they start shipping on the 11th of December

Order the A7II at B&H Photo – B&H says shipping starts December 9th

Steve

The Sony A7II has arrived and is in my hands and I am much more impressed than I expected to be. I assumed it would be an A7 with 5-Axis IS but it is quite a bit more than that. At the price of $1698, this is THE full frame camera to have for any enthusiast, hobbyist or anyone who has the passion of photography and wants extraordinary results with their camera gear.

1st off, take a look at my video below where I talk about my 1st impressions of the Sony A7 II…

 

The camera feels awesome in the hand, so much better than the old A7, A7r or even A7s. The new button placements are just about perfect and the larger grip (that I thought I would hate) feels JUST right. The camera also looks nicer, and feels much better built  – more solid. Feels like a pro camera in my hand and the 5-Axis worked wonders during some test video footage I took today. Made it appear like I was using a steady cam. The AF is indeed faster than the old A7 and the IQ, just as Sony has claimed, has been improved. I now see the better color, AWB and punch of the A7s but with more detail..amazing detail..even when shooting plain old JPEG.

Three 1st snaps with the A7II in my house, which was dimly lit BTW – One with the Zeiss 35 2.8 and two with the Voigtlander 40 2.8 – you MUST click them for larger and true 100% crop. These are JPEG! AWB did well for all three with no odd color casts.

DSC00009

indoor1stshot

DSC00012

Click the image below to see just how rich, deep, colorful and detailed an OOC JPEG is from the A7II using the 35 2.8

stellar

and one in B&W at ISO 2500 – NR turned off – 35 2.8

babyiso2500

So my enthusiasm went sky-high after taking the A7II out of the package and putting it in my hand. My A7s can not be replaced by the A7II as the II can not do low light like the A7s but it will be the PERFECT companion to the A7s (which will be moved to low light status) as  the A7II now has stellar color and IQ.

Sony is kicking ass and I have yet to use a camera this year that feels as good, looks as nice and performs like this one. No Fuji, no Olympus, No Leica, No Nikon has done it. The A7II makes the Nikon Df feel like a toy in the hand, that is how much better it feels over the A7 Mark I. I love the Nikon Df, it is the only DSLR I would own (and did for a while) but the A7II has shown that Sony still means business and they are not backing down.

An OOC JPEG from the A7II and Voigtlander 15 (The A7s is on the table)

DSC00020

and another shot of the A7II

P1120002

As you can tell, I am excited about this one..more so than the LX100 and X100T I have here to review as well (though I prefer the LX100 to the X100T).

I will be posting a full review of the A7 Mark II within 2-3 weeks. I need to make sure I get some quality time with it and snap all kinds of images in all kinds of situations to see just how well it behaves when pushed. 1st impressions are all positive so far!

Just some quick notes: This does NOT have a touch screen, it does not have the silent shutter and it will not perform as well as the A7s with Leica M ultra wide angle lenses. When using manual lenses the 5 Axis works well – you can assign what focal length you are using and the camera does the rest. Easy as pie. Buttons are all customizable..Sony has come a long way since the NEX series! The A&II also has a sturdier/beefier lens mount than the previous A7!

You can order your A7II at the links below, starts shipping December 9th! My order is in ;) 

Order at Amazon – Amazon says they start shipping on the 11th of December

Order at B&H Photo – B&H says shipping starts December 9th

Steve

front

PLEASE! I NEED YOUR HELP TO KEEP THIS WEBSITE RUNNING, IT IS SO EASY AND FREEE for you to HELP OUT!

Hello to all! For the past 6 years I have been running this website and it has grown to beyond my wildest dreams. Some days this very website has over 200,000 visitors and because of this I need and use superfast web servers to host the site. Running this site costs quite a bit of cash every single month and on top of that, I work full-time 60+ hours a week on it each and every single day of the week (I received 200-300 emails a DAY). Because of this, I need YOUR help to cover my costs for this free information that is provided on a daily basis.

To help out it is simple. 

If you ever decide to make a purchase from B&H Photo or Amazon, for ANYTHING, even diapers..you can help me without spending a penny to do so. If you use my links to make your purchase (when you click a link here and it takes you to B&H or Amazon, that is using my links as once there you can buy anything and I will get a teeny small credit) you will in turn be helping this site to keep on going and keep on growing.

Not only do I spend money on fast hosting but I also spend it on cameras to buy to review, lenses to review, bags to review, gas and travel, and a slew of other things. You would be amazed at what it costs me just to maintain this website. Many times I give away these items in contests to help give back you all of YOU.

So all I ask is that if you find the free info on this website useful AND you ever need to make a purchase at B&H Photo or Amazon, just use the links below. You can even bookmark the Amazon link and use it anytime you buy something. It costs you nothing extra but will provide me and this site with a dollar or two to keep on trucking along.

AMAZON LINK (you can bookmark this one)

B&H PHOTO LINK – (not bookmark able) Can also use my search bar on the right side or links within reviews, anytime.

Outside of the USA? Use my worldwide Amazon links HERE!

You can also follow me on Facebook, TwitterGoogle + or YouTube. ;)

One other way to help is by donation. If you want to donate to this site, any amount you choose, even $5, you can do so using the paypal link HERE and enter in your donation amount. All donations help to keep this site going and growing! I do not charge any member fees so your donations go a long way to keeping this site loaded with useful content. Thank you!

© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved