Jul 302015
 

My First Impressions – Zeiss Batis 25/2

By Bob Israel

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Getting a new lens is always exciting. You read the reviews (including Steve’s), you ponder whether your excitement is from the hype from the previews of others. You ponder whether this is really a ‘need to have’ vs. ‘want to have’ lens. Finally, you make the decision and place your preorder. Then you wait . . . and read some more . . . and wait some more . . . and see some images . . . and wait . . . and then . . . it arrives.

First, it’s the unboxing, not like you see on you tube videos but the anticipation of holding the lens in your own hands for the very first time. Today I received the Zeiss Batis 25mm f/2 Distagon. I’ve had a love affair with Zeiss for a long time shooting contax C/Y, Zeiss ZE and ZM lenses. But the Batis 25/2 is the first I’ve owned that will autofocus on the Sony A7 series. To say I was looking forward to this day is an understatement.

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The lens is a thing of beauty. It has a modern look and feel and the OLED display just seems cool (yes, I’m a techie). The lens is much lighter in weight than I expected but it feels perfect on my A7II. I went out at lunch today and took a few shots. Nothing earth shattering but an assortment of wide open, closed down and into the sun variety.

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Then I looked at the images on my laptop. I got the same feeling and excitement as when I first shot with the Zeiss ZE line. It was an OMG moment. The colors are rich and the lens is sharp even wide open. The lens is marvelous when shooting into the sun. OK, I realize I’ve only taken about 40 images, but so far, it’s an instant love affair with Zeiss . . . all over again.

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-Bob Israel

Bob Israel
RJI Photography

http://www.rjiphotography.com
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See Steve’s full review of the Batis 25 and 85 HERE

Jul 292015
 
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A Mega Leica 28 Summilux f/1.4 Lens Review

by Kristian DowlingSee his BLOG HERE!

Review disclaimer:

*Lens was used entirely at f/1.4 for the entire review, in every picture unless stated otherwise.

*No protective filters were used.

*Editing was kept as simple as possible in Lightroom, with no clarity added/subtracted to maintain the lens’s true signature.

*This is not so such a technical review, but more so focused on the lens in field-use.

*Pictures are meant to represent a variety of achievable results, typical of the average Leica M user (nothing overproduced).

*No distortion or lens correction tools have been used.

*Special thanks to Leica Camera Australia for the loan sample.

I can’t express how excited I was when Leica announced the limited edition M100 set, commemorating Leica’s 100th Anniversary, with a new Summilux-M 28/1.4-ASPH lens in chrome, a little over a year ago. I’ve been lusting after a 28/1.4 M lens since I started M photography some 21 years ago. I knew it was only a matter of time before it would become a regular production lens, and I’m very happy that it has finally come to fruition.

My experience with the 28mm focal length has been quite extensive over the years. My first experience with using a 28mm prime came in the Nikon 28Ti compact film camera, followed by the Ricoh GR and the Nikon AF-D 28/1.4 lens, which at the time delivered fantastic results (at the time). Fast forward to 2015, and we now have the ultimate (and only) ‘fast’ 28mm lens ever produced – the Leica Summilux-M 28/1.4 ASPH lens.

Image shot with Summicron-M 28/2 ASPH on Monochrom

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I first got to see this lens at the Australian Leica Q launch last month, and was lucky enough to have been lent the only Australian copy for the last month (no pressure for a good review). During this time, I have been able to use it in many different situations, over a variety of genres, which you will see throughout this user-review. The 28mm focal length isn’t easy to get along with, but once you get to know her, she becomes a very, very versatile focal length – probably the reason why Apple employ it in their iPhone 6 and 6 PLUS smartphones, making it the most used focal length in the world.

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It may come as a surprise that Leica is focusing their two latest products (including the Leica Q camera) on the 28mm focal length, but in my opinion it is a very smart move. There is no shortage of great 35mm lenses, and while the Summicron-M 28/2 ASPH is an excellent lens with a very smooth character, the ability to isolate doesn’t make it stand out amongst a lineup of fast class-leading lenses, like the Noctilux for example. Leica are arguably the best in the 35mm-format game when it comes to lens design, quality and performance, so it is important for them to showcase their abilities – and the new Summilux-M certainly makes a strong statement.

Previously, there were a couple of 28mm options in Leica’s lineup, and all have their unique place and usage intentions. The previous models were all mainly focused on the Elmarit as the demand for fast 28mm lenses only came about in the last decade. All previous generations of the Elmarit-M were fantastic, with the quality really stepping up in V3, where wide-open performance was significantly improved across the frame. Currently, the two Leica-M lens alternatives to the Summilux are:

· Elmarit-M 28/2.8 ASPH – small compact, well-priced and well-controlled distortion. Great for the traveller who doesn’t need speed and is more focused on keeping their gear lightweight, compact and values the lack of distortion over speed.

· Summicron-M 28/2 ASPH – A nice mix of speed, performance and size in this compact lens that is a nice jack of all trades, known for it’s smooth character due to the transition from sharp to soft wide open.

Build Quality and Design

As expected, everything about the 28 Summilux-M is typical Leica. Superb German, handmade craftsmanship, along with great handling and smooth focus and aperture action. It only comes in black (currently), most likely to keep M100 kit owners happy with their unique purchase, but knowing Leica, I would expect them to release a chrome version sometime in the future. The size fits directly between the 35 Summilux-M and the 24 Summilux-M, which was really good to see. The initial fear was that it was going to be very similar to the 21/24 Summilux-M lenses, which are a little on the large and heavy side, bordering on Noctilux territory. Thankfully, it’s not much bigger than the 35 Summilux-M so it’s great as a carry-everywhere, everyday lens, and balances really well on the M body.

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The newly designed lens hood is similar to that on the 35-Summilux-M, only a little thicker which is a nice change, and screws in firmly and perfectly aligns right on the center as it should. I’m happy to report that during the last 5 weeks using this lens, it has never come loose. Finally, it has the typical Leica depth of field scale, which is very important to those who employ the hyper-focal focusing technique, which works very well on a 28mm lens due to the extended depth of field over standard and telephoto lenses.

Optically, this is what Leica has to say about the new Summilux.

“The Leica Summilux-M 28mm f/1.4 ASPH. rounds off the range of high-speed M wide angle focal lengths. It offers exce lent image performance over the entire image field even at full aperture and in the close-up range thanks to a „floating element“. With its exceptional contrast, the lens delivers the same recognized high performance level as the Leica Summilux-M 35mm f/1.4 ASPH., and in some respects actually outperforms it. The vignetting that is typical of every optical system is naturally more defined on a wide angle lens, particularly a high speed one like this, than on standard lenses or those with a long focal length. At full aperture in 35mm format it is a maximum, i.e. in the corners of the image, of around 3.4 stops, around 2 stops on Leica M8 models with their slightly smaller format. Stopping down to 5.6 visibly reduces this light falloff – to 1.8 and 0.8 stops respectively. Stopping down further does not bring about any notable reduction as essentially only the natural vignetting remains. Distortion is extremely low for a wide angle lens at a maximum of 1.1% , which is rarely noticeable in practice. A total of ten lens elements are used to achieve this exceptional performance. To correct color defects, seven of these are made of glass types with anomalous partial dispersion, while one has an aspherical surface. To maintain performance in the close-up range, one element towards the rear of the optical system is a “floating element” that moves independently of the rest of the mechanism.
Summary: The Leica Summilux-M 28mm f/1.4 ASPH. offers maximum image performance with a focal length / speed combination previously unavailable in the M system. This extends the composition options of M photography, particulaly for available light shots, but also thanks to a previously unattainable reduction in the depth of field combined with large field angles.”

Here are the graphs important to you techy-geeks out there. The MTF especially suggests that performance wide open is incredible, and equal to many other brand lenses stopped down to their best. This is truly where Leica stands above the crowd.

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Depth of field at f/1.4 is very narrow, but compared to what many are used to with 35mm, there is a little more room for error, and allows greater possibilities in certain situations where having focus is more important than not.

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Depending on how picky you are, the chart suggests excellent distortion control, and when you consider the speed of the maximum aperture, this is a design Leica should be very proud of, at least on paper. In the field ‘could’ be entirely different (though it is not haha).

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> Keep reading to see how Leica’s words translate into image quality during my field test.

Handling

Due to the size and weight distribution, the lens handles wonderfully on the M, enabling focus and aperture changes to be smooth and accurate. I have a full production sample, and the focusing action is even smoother than most 35 Summilux’s I’ve used. I believe ‘perfect out of the box’ would be an accurate description. You do notice a weight increase over the smaller 35 Summilux-M but it’s not a lot more and the size is comparable in operation. In fact I found the 28 more comfortable to use than the 35 because of the slight increase in length, making focusing and aperture changes easier with my medium sized hands. As the lens hood is screwed in flush with the lens, changing the aperture is very easy, compared to previous Elmarits and Summicron that use a large plastic clip-on hood.

Leica M | Summilux-M 28/1.4 ASPH

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Leica M (Safari) | Summilux-M 35/1.4 ASPH

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Leica Q | Summilux-M 28/1.7 ASPH

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In the Field

The 28mm Focal Length

Those who don’t have much experience using the 28mm focal length may need to be patient with this lens. Some say it’s too wide and others say it’s not wide enough, and the others say it’s too ‘in-between’. A comment I’ve been hearing a lot lately (since the Q’s introduction), is ‘28mm is the new 35mm’. Well I’m not so sure I totally agree with that, but considering the iPhone has a 28mm (approx) focal length and has the most used camera in the world, there is some argument that suggests the comment isn’t so far fetched. Back when the great Henri Cartier Bresson was roaming the streets of Europe, the 50mm focal length was the norm. Later, photographers started getting closer to their subjects and preferred the wider frame of the 35mm focal length. Considering today’s style of shooting (including paparazzi), it’s understandable how the 28mm focal length has several advantages over 35mm.

Firstly, it is wider, fitting more into the frame than 35mm at the same shooting position, also creating a slightly more dynamic ‘in-your-face’ perspective, if used correctly. You can also get closer to your subjects, while fitting more background into the frame, giving you more compositional options. Having said that, this may not be an advantage, depending on your style of shooting. The one thing I’ve always loved about shooting with the 28mm focal length is that it’s the widest focal length you can shoot without having to worry too much about tilting or placing subjects/objects on the side of the frame. When you go wider to say 24mm or 21mm, perspective distortion becomes a real issue, making it quite annoying for documentary purposes. While the 28mm perspective does come with some distortion, it is tolerable, and even when tilting, it is negligible and I have no issues with placing my subjects off-center.

Simple Model Shoot

Shooting with the 28 Summilux-M for portraits takes some getting used to, especially for 35/50mm users. The angle of view is extended quite a bit for only 7mm, giving much more depth of field and background to work with. Nailing focus is quite easy as the f/1.4 aperture is more forgiving at 28mm due to the increase in depth of field, but the drop-off from sharp to unsharp isn’t as abrupt as say the 35 Summilux-M.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240

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Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240

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Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240

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Summilux-M 28/1.4 ASPH shot  at f/2.8 on the Leica M240

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The colour signature is as you would expect from most Leica lenses – very neutral, and with medium to high contrast, but in these samples bear in mind that the light was strong, emphasising the contrast even more. When the light gets low, this is when the 28 Summilux-M really shines.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600

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Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600

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Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600

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Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600

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General Photography

For general street and travel photography, the 28mm focal length is an ideal choice as you don’t often feel limited for a majority of scenarios, unless shooting architecture or grab shots of people from a distance is your thing. The lack of distortion for such a fast wide angle lens is quite impressive and never felt it hindered my pictures of building etc. If you don’t like tripods, this lens will delver. At f/1.4, sharpness is already close to it’s maximum resolution so there is never a compromise in sharpness throughout the f/1.4-f/11 range, and at certain distances, the f/1.4 depth of field will provide adequate focus throughout the entire image.

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BELOW: Crop from image above

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As you can see here, there is some viewfinder blockage which is a bit annoying, but not a deal breaker. While some may prefer to use an external finder which gives not only as clean view, but an accurate perspective of distance and framing, they are a hassle if you’re shooting in situations that require speed.

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Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240

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Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240

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Below: Crop from image above

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Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240

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Below: Crop from above image

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There is some field curvature, but at further distances this is not a problem, and in this image the entire frame is sharp at f/1.4 – quite amazing!

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600

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Bokeh is very, very smooth, much like the Summicron-M 28/2 ASPH, except at f/1.4, the focus drop-off is much more dramatic and compelling for times where you’re trying to isolate your subject from a background.

Shooting in a nightclub with screaming fans for UK pop star Craig David was no match for the 28 Summilux-M, delivering crisp images, even against backlights and fairly poor lighting……oh and did I mention it’s damn sharp too?!?

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600

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It wouldn’t be a Leica review without at least one cat or flower picture right?!? Well considering I’m a cat-lover, no flowers were shot during the testing of the 28 Summilux-M.

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Below: Crop from image above

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Shooting with the 28 Summilux or any 28mm on the Leica M can be a bit frustrating due to the incorrect perspective you see through the built in finder, which is more suited to the 35mm/50mm focal lengths. When you first start shooting a 28mm lens on the M, you need to remind yourself that you’re further away from your subjects than how it looks through the viewfinder, so getting closer is important.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240 at ISO 1600

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Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240

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Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240

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CROP from above image:

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Shooting as a Wedding Guest

I was fortunate to be the guest at a very special wedding of two very good friends, Lawrence and Tukta, in Hua Hin, Thailand. Lawrence is also an avid Leica user and owns an M60, so the pressure was on to capture a couple of nice moments before the alcohol got to me, hehehe. Here Lawrence is seen waiting for the wedding to begin.

Summilux-M 28/1.4 ASPH shot wide open at f/1.4 on the Leica M240

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Using the 28mm Summilux-M at a wedding all day was a real treat. I love to get up close to my subjects and combined with the stealthy M, I was able to move in and out of places without people looking directly at the camera or feeling intimidated by the usual large and loud SLR cameras seen in these scenarios.

I found that my hit rate of in-focus shots was at about 90-95%, which is a little higher than my normal 85-90% on the 35 Summilux-M. Obviously the increased depth of field at f/1.4 helped significantly.

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Crop from above image:

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I’m not a wedding photographer, but like any documentary work, there are always those little moments happening around the bride and groom you need to look out for. Here, I love the way the focus drops off to a smooth background, and while I don’t condone shooting wide open ‘all the time’, I do enjoy keeping this lens at maximum aperture most of the time.

Below you can start to see the effects of distortion creeping in on the top corners, but it is totally fine in my opinion, and is more so due to the tilting, rather than the geometric distortion occurring.

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It doesn’t matter what the situation, I felt so comfortable shooting wide open all day long and f/1.4 always seemed to be the right aperture choice for all the scenarios. It’s perfectly sharp wide open, has beautiful contrast and colours, and drops off focus like a champion.

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It doesn’t matter what the situation, I felt so comfortable shooting wide open all day long and f/1.4 always seemed to be the right aperture choice for all the scenarios. It’s perfectly sharp wide open, has beautiful contrast and colours, and drops off focus like a champion.

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Due to the mixed lighting I found that the final two images look better in Monochrome. For the first I pre-focused on someone in the crowd and waited for the subjects to hit their mark before firing, ensuring accurate and sharp focus. What a great end to an amazing weekend!

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Muay Thai Camp – Coaching One-on-One

As a photographer and coach, I was employed to train an enthusiastic Thai photographer named Miti. During his training he was using the Leica Q entirely, and I was snapping a few test shots on the M with 28 Summilux-M. I had previously shot a story on this place around 7 years ago and a lot has changed. Please keep in mind this is not a complete story, but a selection of images I shot while coaching my student.

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Below: Crop from above image

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Below: Crop from above image

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While this looks like a slow moving wrestle it was anything but. I was shooting at ISO 1600 with 1/1000sec to ensure sharpness at the plane of focus. Due to the extreme movements I had to prefocus and guess my distance and pray for focus where I wanted it at the time of shutter release. Dare I say it, a majority were out of focus, so I have to say, the M isn’t exactly recommend to those wanting to shoot erratic, unpredictable action. I am pleased to say that my student Miti was able to achieve a good number of sharp in-focus images with his autofocusing Leica Q.

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extra

Muay Thai fighters are often viewed as celebrities in Thailand so vanity also comes with the business of winning. Let’s just say the mirrors are used more often than you’d probably expect from young men, capable of breaking you in two.

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Below: 100% crop from above image

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The previous time I shot a professional Muay Thai fight, I was using an autofocus SLR with a short zoom lens. Using the M and 28mm, my ability to be effective was lessened and I certainly relied more on hope and luck. Luckily my 21 years experience helped me pull out a few keepers.

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Compared to the Leica Q

While some may assume this is an unfair comparison (either way), I think the two lenses should most definitely be compared. Unfortunately I didn’t have the time, nor patience to compare side by side – sorry, I’m travelling and working. Though I will give a brief analysis after spending time with both lenses/cameras.

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Firstly, there is no debate that the M lens is superior in sharpness wide open, and there is a more dramatic fall off from focus to blur. Other than that, they are quite similar lenses, though the Q lens has one major advantage. It was not only designed for the sensor it is attached to, but it has processing built into the Q body that corrects the image for any lens limitations, including distortion. Currently, there is no Lightroom profile for the new 28 Summilux-M lens, so any corrections need to be made manually if desired – at least until a profile is released by Leica.

The question on many M users’ minds will be whether to buy the Leica Q or buy the new Summilux-M, which is actually more expensive. My answer is “it depends!” It depends on price (US$1500 difference) or how you like to shoot and whether you want a second camera. Personally I prefer to shoot on an M, regardless of the better sensor used in the Leica Q. Image quality is important to me, but picture quality and the shooting experience is more so. I love shooting with a rangefinder and while it has a lot of drawbacks (compared to the Q) like I experienced in shooting Muay Thai, I still prefer the feel and manual focus elements enough to accept what I cannot change in the M.

Another difference between shooting the Leica M240 and Summilux-M 28/1.4 ASPH vs the Leica Q, is that the Leica Q files come out of camera with more vibrant colours and slightly higher contrast. This may no may not affect your decision if considering either of these two fine tools. Finally, the one major factor to consider is that the Q’s electronic rangefinder not only shows 100% of the frame without lens blockage, but it also shows you the exposure and correct 28mm perspective, whereas the M does not, which can be very frustrating. The Q also has macro focus ability using the maximum aperture of f/2.8, and of course AF, which could be the deciding factor for many.

On the flip side, the constant use of EVF and/or LCD can be draining on the battery, which is quite average compared to most cameras so extra batteries will need to be stocked up. Long story short, if you can afford it, buy both.

Conclusion

My long 21 year wait for the Leica Summilux-M 28/1.4 ASPH has been well worth it. I’ve always been more of a 35mm user, but while the Summilux-M 35/1.4 ASPH FLE is a great lens it’s never really got me excited. It’s sharp and has very neutral rendering but I always preferred the Summicron-M 28/2 ASPH due to it’s soft rendering and smooth character. The new 28 Summilux-M has combined my two favourite lenses into one and delivers big time. The only real flaw I found was that like most lenses, it is prone to purple fringing in high contrast situations, which is easily removed in Lightroom in 2 seconds.

At about US$1500 more than either a Leica Q or a 35 Summilux, it’s arguable whether that figure represents good value for money or being too pricey to consider. From my experience with this lens, and having used lenses like the Noctilux and 50 APO which cost a lot more, I think the Summilux-M 28/1.4 ASPH represents fantastic value for money – considering that value is represented by the effort the user makes to use the lens to the best of their ability. A photographer and his tools are only as good as the opportunities he/she creates with them.

If you are after a fast 28mm M lens, there is no substitute, no alternative available. If there was, they would be trembling with fear because the Summilux-M 28/1.4 ASPH is the real deal. Think 50 APO incredible, and there you have it – it is THAT good!

Be sure to visit Kristian’s Blog HERE!

You can buy the Leica 28 Summilux from any of my top recommended Leica dealers below:

Ken Hansen: Email him at [email protected]

PopFlash.com Website

B&H Photo

Leica Store Miami

Jul 282015
 

User Report: A Nikon J5 Review

by Eyal Gurevitch

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What makes a small camera great?

When asked what camera is compact and excellent I have no straight answer. It’s complicated, I tell them. You must sacrifice zoom range, or the max apertures of the lens, or the price of the camera, or its controllability, or its size.

So what’s the best compromise, they ask. It depends, I say. Would you call yourself an advanced photographer? Do you enjoy controlling your camera? Change its settings much? Must you have a large zoom? Can you pay more? Can you carry more?

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How can you compete with a x30 zoom of a 240 gram camera, or a x83 in a camera the size of an entry-level DSLR? How can you challenge a 1” sensor in a 300 gram camera that also has a useful zoom range and an f/1.8-2.8 aperture range?

It’s tough for camera makers to keep pleasing us photographers. To keep surprising us. But somehow they keep it coming. Such is the Nikon 1 J5. No, it’s not a groundbreaking camera, it doesn’t bring anything entirely new to the market. What it does it to balance some really great qualities in a single, triumphant package.

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Size matters.

With its 10-30mm kit lens, the J5 is not any taller or wider than the implicitly aforementioned RX100 IV. It is thicker, due to the length of the lens, so it’s not pocketable and that’s a big difference, but in terms of conspicuousness, they are virtually the same.

So why even consider the J5 over the RX100IV if they have the same sensor size and body size, but a large difference in max apertures, in favour of the Sony? The first and most obvious argument would be the ability to switch lenses. However, most Nikon 1 lenses mounted on the J5 would render it cumbersome and unbalanced, so other than for a niche use of a large aperture prime or a long zoom here and there, the capital practical use of this camera would undisputedly be with the 10-30mm along with its f/3.5-5.6 apertures.

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The grip. The controls.

There are two significant changes the Nikon did with the J5 over the previous body. The first is the all new BSI-CMOS sensor that delivers 20.8 megapixels but much more importantly better image quality and richer colors. The second is a thought out design of dials, buttons and controls added to the camera body without adding to its size. There’s a new Fn button in the front, a new dial around the video button, PASM modes in the main control dial and there’s a new grip. I would never understand why all cameras don’t have a grip as deep as their smallest attachable lens. The new grip of the J5 makes it oh-so-much easier to hold, especially compared to J4’s bar-of-soap-like slippery body. All these additions turn the J5 into a camera that’s easy to use and easy to control.

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The Speed

Nikon take pride in the fast shooting abilities of the J5 and they have almost every right to do so. Just like the J4, it can shoot a max of 20 shots per second with AF at full resolution, or 60 shots per second with locked focus. It has an impressive variety of slow modes in video (but an unimpressive 15fps in 4K). The only caveat being its slow processing, taking long seconds and sometimes even minutes to save the large amount of photos taken during a quick burst.

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There’s also the cool best moment capture feature, which keeps buffering images as long as you half press the shutter, taking a batch of 20 shots when you fully press it, 10 out of which are from the second before you pressed it.

In this regard there’s no change at all from its predecessor – you’re sure to capture the decisive moment, but probably not the next one.

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The Bottom Line

The Nikon 1 J5 is a highly capable, intuitively controllable compact mirrorless camera. It’s a huge step up from the J4 in terms of body design and as well as in image quality, making it a viable competitor in the high-end, large-sensor compact camera market, standing against the likes of the Sony RX100 IV as well as the Panasonic GM5, and with a truly attractive price tag.

Check out the Nikon 1 J5 at B&H Photo or Amazon.

Jul 272015
 

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Dare to be, so People can see

by Wijnand Schouten

Hello Brandon and Steve.

Since 2 years I am working on a project called ‘Dare to be, so people can see’. Portraits are my favourite thing to do.

When I started I noticed the attitudes and patterns people have. In general life and for sure when a camera is involved.

That’s how ‘Dare to be, so people can see’ was born.

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When you show how you feel in the now, without smiling, and looking straight in to the camera, you give a moment.In this context I get a picture instead of taking one.

For me the idea behind it is that the world is filled with plastic glamour. By showing how people can look without the glamour it might help an other person to feel more in the now too.And accept their selves.

All this without being pretentious.

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For me its an attempt to contribute tot the awareness that every moment in life is worth to exist and be seen. Not only the smiles. I am always happy when I go home with a portrait on my memory card and edit it the way I feel.

Not all the people are happy with the results. Sometimes I find a picture beautiful and I don’t get the permission to put it on the internet because they don’t like the result. Then I don’t do that. Although I still see the beauty of it.

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greetings from the Netherland and keep up the good job you are doing.

If you want you can follow me on instagram:

https://instagram.com/wijnandschouten

Jul 272015
 
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Bali with the Leica Safari kit and the Noctilux

by Aditya Agarwal

Hi Steve,

This is my third post to your excellent and very useful website. I am submitting todays report not just to show my work but also as a thanks for all the reviews and articles which benefited me a lot. (THANK YOU Aditya! – Steve)

I visited Bali in June 2015 with my family. While packing for the vacation, I came around the idea to carry just my Leica Safari along with the 35/Summicron and 50/Noctilux. I have the Sony A7II on which I use the Leica lenses regularly, but I wanted this trip to be a test. A test for finding out if the Leica can be my only travel camera against the Sony with all its bells and whistles. I feared that I will miss out on the more advanced technical features of the Sony. It was a tough choice, but I kept to it. After 7 days in Bali, the results were nothing short of fantastic and moreover strengthened my faith in the Leica system.

Mount Batur – The active Volcao at Bali – Shot from the flight.
Leica Safari, 50mm Noctilux, f/8, ISO 200, 1/1000

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The Egg painter. Shot at an art gallery at Ubud, Bali
Leica Safari, 50mm Noctilux, f/0.95, ISO 200, 1/500

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Uluwatu, Bali. the other side of the temple. HDR
Leica Safari, 35mm Summicron, f/13, ISO 200, 5 Shot HDR

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I am taking the liberty of including a fourth picture. This was shot at the Uluwatu Temple where a Kecak Dance is held every evening. I was worried that I won’t get any shots in focus as the dance is quite fast paced. Not only did I nail the focus, I took shot at f1.8 with the Nocti. It was a awesome feeling.

Kecak Dance at the Uluwatu Temple
Leica Safari, 50mm Noctilux, f/1.8, ISO 1250, 1/90

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I am now pretty convinced that this is my go to camera setup for almost every shoot. I do plan to upgrade to the Sony A7RII mainly for landscape photography.

Once again, thank you for igniting my interest in mirrorless cameras through your wonderful site. My work is viewable on www.adityaagarwal.me

Regards

Aditya Agarwal

 

Jul 242015
 
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Olympus EM1 + Sony A7s – Still my favorite Combo!

By Neil Buchan-Grant

Hi Steve

I thought I’d share some new images with your readers. I’m still loving the Olympus EM1 and Sony A7s although I have to say, since the Olympus 40-150mm zoom and the new 7-14mm zoom came out, the Oly has had more use. I also recently bought the Oly MC-14 1.4x tele converter for the big zoom and for me its performance in terms of resolution and sharpness underlines the big range now offered by the Olympus system. These 3 PRO zooms give me pretty much all I need for general travel work and the 12-40mm has all but replaced my wide primes with no loss of image quality. I still only tend to get the A7s + Leica M 35mm or 50mm f1.4 Summilux’s out when I’m out at night or I’m shooting low light work but with these lenses it still offers something a bit special.

My friend a few weeks before giving birth – EM1 – 12-40mm 2.8 PRO @ 25mm – available light and off camera flash

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My friend and her baby girl who had just had another lifesaving operation only days after her birth – Sony A7s Leica M 50mm 1.4 – mixed available light

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My friend holding it together by reading Winnie the Pooh to her baby girl who was still gravely ill only one week after her birth – Sony A7s – Leica M 35mm 1.4 – mixed available light

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My work here is a mixture of commissions and personal shots ranging from an architecture job in Oxfordshire, corporate portraits and a trip to Wimbledon tennis championships to some intimate portraits of my friend Scarlet and her baby, Frida. The baby had a traumatic and complicated birth and had to be resuscitated several times in her first few days. Thankfully she’s doing brilliantly now and is thriving! Thanks again for the opportunity to share these with your readers and keep up the great work! If anyone is interested, I have a new, short program of workshops on my website here:

My friend and her baby Frida who was finally out of harms way and seemed to be enjoying her new world – EM1 – Leica DG 25mm 1.4 – window light

 

 

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Frida just a few days ago, now 2 months old and currently my favorite model! – EM1 Leica DG 25mm 1.4 – window light

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The Prado Museum in Madrid during a quick break – EM1 12-40mm 2.8 PRO @ 15mm

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A late night bar in Madrid – Sony A7s Leica M 35mm 1.4 – available light

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A studio portrait of the actress Hetty Baynes Russell, who was married to Ken Russell the British film director. – EM1 12-40mm 2.8 PRO – continuous light through 4ft softbox

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Another shot of Hetty – Sony A7s Leica M 50mm 1.4 – window light

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A photograph of a rather special Barn design in Oxforshire at dusk – my friends Arthur and Kate were the architects who designed it – EM1 7-14mm 2.8 PRO @ 7mm

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The same building during the day – EM1 7-14mm 2.8 PRO @ 7mm

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A model in Prague – EM1 Leica DG 25mm 1.4 – window light and reflector

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A corporate shoot in London – EM1 12-40mm 2.8 PRO – Off camera flash

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Self portrait in the studio – EM1 12-40mm 2.8 PRO @ 35mm – continuous light through a 4 ft softbox and reflector

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Britain’s number one female tennis player Heather Watson winning her match at Wimbledon – EM1 40-150mm 2.8 PRO with MC-14 @ 420mm (effective length) wide open at f4

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Another self portrait in my garden – EM1 7-14mm 2.8 PRO @ 10mm – available light and off camera flash

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A tree surgeon working behind my garden – EM1 40-150mm 2.8 PRO + MC-14 @ 420mm (effective length) wide open at f4

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The same shot as above from the same spot, the tree surgeon is just visible – EM1 7-14mm 2.8 PRO @ 7mm

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http://buchangrant.format.com/workshops where you can join me in Berlin, India or China/Tibet over the next 10 months!

Jul 212015
 

Moment, Chaos and a Personal Perspective

By Shaul Naschitz

Hi Brandon and Steve,

I have been featured on your site more than once before, but hopefully you allow me to contribute a few thoughts once more.

I consider myself a savvy amateur photographer. I started with this means of self-expression about thirty years ago and kept doing it with more or less involvement ever since. Naturally, the digital revolution inspired a significant boost to my photographic endeavors; not least by the ever evolving technologies of creating photographs and “publishing” them. Between 2010 and 2012 I dedicated a lot of my spare time to writing about photography. The resulting blog, with its 900+ posts, never got much attention (maybe because it’s written in Hebrew…). One day, perhaps when I retire, I might try to make a nice and thick book of it.

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Anyway, in the past year or so my interest in photography has been progressively waning. I don’t carry a camera on a daily basis anymore and when I do use one I tend to do so more purposefully than before, so I shoot much less. It is not the cost that deters me like in the olden days; it is the tedious task of browsing through a mountain of rubbish to pick the few gems worth keeping. The paintwork on the Delete buttons on the backs of my cameras is always worn out.

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Another recent development is I don’t care anymore what others think of my work. Especially peers on web-based communities. I have long ago forsaken the aspirations of making a living of my hobby and finally accept the notion that I am not “better” than others. If anything, my sense for business is way below average, just like the pleasure I get from fulfilling the expectations of complete strangers. So why bother? I am old enough to serve as my own judge.

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I know that all of this sounds like old cynical bickering, but I assure you I have never felt happier, more light-hearted and liberated about my photography. After so long I feel free to explore this fascinating medium and create art, my own art. The charm in photography to me has everything to do with its inherent limitations and “flaws”. It is a great tool for observation, much less so for expression. In fact, any other art form is superior to photography in terms of sheer creation. Photography is so tightly embedded in the physical world it can’t really escape. So creating art using this medium must involve dismantling rather than construction, authorship rather than creation. Photography dissects the flow of time into distinct moments and allows us to concentrate on those fragments. That property is unique to this medium and gives it its strength.

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Cartier-Bresson coined the obscure and much debated “moment decisif” as an ideal of thematic and geometric order in a chaotic situation. But I am interested in the opposite: chaos itself. A bit of chaos makes things messed up, tense, interesting. Instead of fighting the ever-present, crude randomality I now work with it.

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The symbiosis of moment and disorder is what makes photography so fascinating to me. An extreme example of that are group dance performances, where despite the meticulous planning a lot of individual character comes through. You can’t usually observe slight synchronization errors or fleeting facial expressions when watching a live dance show, but a camera can reveal a lot. The same principles are obviously relevant to more reactive genres, such as street photography and photojournalism. It is just a matter of giving up control and letting chance play its role. And I didn’t even mention the fun in doing so.

Shaul Naschitz

Jul 202015
 
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Getting a Grip on the Leica Q: The Match Technical Thumbs Up EP-SQ grip Review

By Ashwin Rao

Hi everyone,

I recently had a chance to test out a production proof of the Thumbs Up EP-SQ grip for the Leica Q. For those of you who aren’t familiar with Match Technical’ s Thumbs Up grips, they are mountable on a camera’s hot shoe and provide a nice firm rest upon which to rest the thumb. Many people who shoot Leica cameras, which can be slippery in hand at times, prefer to add these grips to the camera. They act similar to how the film-advance levers of days-gone-by work as thumb rests. I can honestly say that this is a great ergonomic addition to the already fantastic Leica Q, adding that little extra bit of purchase that makes Match Technical’s Thumbs Up grips so popular.

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One “criticism” of the Leica Q is that the thumb indent, which Leica astutely placed on the camera’s rear, is a bit too far off to the edge of the camera and creates hand fatigue if solely used for gripping. I definitely found this to be an issue and addressed the issue in part by adding Leica’s own baseplate/grip. The EP-SQ design uses the indent as a method for securing the grip in place, while adding a nice rest that places the photographer’s thumb in a more comfortable position for shooting.

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One important added benefit of this Thumbs Up is that its design limits inadvertently bumping the Diopter adjustment dial(adjacent to the EVF), which often does go out of whack without protection. The grip effectively limits access to this dial, which is a good thing, as it prevents shirts or other factors to bump the deal and cause your EVF to be thrown out of focus.

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Unfortunately, by mounting the Thumbs Up EP-SQ on your Leica Q, lose access to the hotshoe, but with the Q’s ISO capacities, a flash is rarely needed. This, to me, is a small price to play for the ergonomic benefit of having a better grip on the camera.As an owner of the Thumbs Up Grips for the Leica M8, M9, M240, M246, X1, and Fuji XPro-1, I can confidently say that that Thumbs Up EP-SQ does much of the same for the Leica Q as it does for those cameras….it adds a nice secure grip if one feels that they require more than the Leica’s own offerings.

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I personally use the Thumbs Up in conjunction with Leica’s baseplate grip, for a really firm grasp and a camera that’s well balanced for me (not front heavy). However, may prefer to use their cameras with just the Thumbs-Up Grip, and I can confirm that using the camera in this manner feels quite secure as well.

Below are a few more pictures of the grip. I have been a fan of the Match Technical’s Thumbs Up designs for nearly a decade, and I suspect that you too will enjoy the experience of using a Thumbs Up on the Leica Q.

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You can find pre-order options for the EP-SQ through Match Technical’s own site, or through many of Leica’s own authorized dealers.

http://www.matchtechnical.com/Pages/purchase.aspx

Steve’s Leica Q Review – HERE

Ashwin’s Leica Q Review – HERE

Jul 182015
 

My Experience with the Voigtlander 15 Mark III

by David Farina

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This is my second article here. My first one was a short review of the amazing and tiny Voigtlander 40mm 1.4. Since then, a new Voigtlander lens found its way to my camera bag; the Voigtlander 15mm 4.5 III. I have to admit that I’m a total ultrawide-angle lover. Images produces by such extreme wide-angle lenses have something to them that makes you feel like you were there on that moment. And this is after all one of my biggest goals in photography. I want the viewer of my images to feel the way I felt when taking the pictures. I want the viewer to have an idea how the place looked, and this works best with an UWA in my opinion.

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I primarily bought that lens because I became a total fan of the 40mm 1.4 from Voigtlander, and this lens surely does not disappoint. The lens itself is not as small as the 40mm but its still tiny compared to the Sony FE 16-35. The finish and build quality is as good as can be. The aperture smoothly clicks in half stops, the focus ring is dampened nicely and generally this lens feels good in my hands. This lens has a built in lens hood, so forget about using your existing filters on that one (except you own 58mm filters). When I received the lens, it felt like the focus ring would be a bit stuck when I turned it. However, this disappeared after a few days so I guess it just needed to get used – and thats what I did:

Why did I get this lens? One could say that it is redundant getting this lens when you already have the superb Sony FE 16-35, but theres a clear difference. First, 15mm is quite a bit wider than 16mm, I was actually surprised that it is substantially wider. The second thing is, it is extremely small. I wanted to have choices when I go out to take pictures; a small and light set for travelling or quick trips consisting of the A7R, A7S, 40mm 1.4 and this lens. This pretty much covers all my needs, and weights as much as my 6D (that I sold yesterday) with one lens. That way, I dont need to swap lenses, I just grab the right camera.

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and a crop:

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I think the boring part was hard enough to read, so lets get to the interesting things like sharpness! I’ve been using that lens on my A7R most of the time, which is great for testing sharpness of a lens. The lens seems to be plenty sharp, already by f/4.5 which is wide open for this lens. When stopping down to f/8 or f/11 which is the lens’ sweet spot, you get tack sharp images from corner to corner. Yes, it competes the Sony FE 16-35 in that regard! I found it best to shoot at f/8 or higher and just leave the focus at 1m on the distance scale for hyperfocal focusing. This is better than autofocus as you don’t have to focus at all! Without hesitating I can say that this lens is amongst my top 3 sharpest UWA lenses I’ve ever used, which is impressive considering the size and cost of the Voigtlander 15mm. There are, however, some drawbacks. It is a rather slow lens in terms of aperture, which makes it a lot less useful for example for astrophotography than the Samyang 14mm 2.8. If you shoot interior or real estate handheld, you might also be limited when light is not that great.

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How do the colors render with this lens? I found the Sony FE 16-35 to be too sterile in many situations but when I took the Voigtlander out for the first time, I found it gave me rich and popping colors. The colors are nicely saturated but still natural. I also found that it renders green and blue tones better than the 16-35 which is fantastic for landscape photographers. Pair the sharpness with the amazing colors of this lens and you get a fantastic UWA for landscapes. Like the Voigtl‰nder 40mm 1.4, this lens also seemed to render brown tones in a very pleasant way.

A drawback of that lens is purple fringing. This lens has plenty of chromatic abberations in contrasty, sometimes also in less contrasty areas in edges and near the frame. I also found it to be quite difficult to remove in post-processing, althought I was able to get totally rid of it with a few tricks. This is maybe this’ lens biggest fault, but I can live with that.

What really surprised me is the amount of distortion this lens has. I found it to have almost no distortion other than perspective distortion. This makes this lens also suitable for architecture and other subjects with a lot of straight, perpendicular and/or symmetrical lines. It is impressive how well corrected this lens is, as I find 15mm to be extremely wide (widest I’ve used so far). What I think is also worth a mention is how this lens renders flares. Sunstars look great and flare occurs only when directly pointing at a bright light source. The coating of this lens prevents a lot of flares and ghosts, which is surely a good thing, as the sun or a street lamp often find its way into the image. This lens also renders beautiful 10-pointed sunstars!

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Many people were asking if this lens works better on the A7R than the version 2. I can say that the images do look great, but in very rare occasions it can happen that there is a slight magenta cast or vignetting. It seems to happen when it is very bright, but I can’t say for sure. Due to the fact that in real world this issue only happens maybe in one of a few hundred shots, it is negligible for me and will not hinder me to come to a positive conclusion:

Now will this lens stay in my kit in coexistence with my 16-35, or does one of them need to go?
This lens is very good, period. It is plenty sharp corner to corner, it has fantastic colors which I found to be way more appealing than colors some modern lenses give, it has not much distortion, it is small and the price is just about right. Did I mention it is sharp? I’ve never used a Leica lens, but judging from samples I’ve seen I’d say if you’re about to expect Leica-like micro contrast you’ll probably be disappointed. But like I already said, this lens is as sharp as Sonys fantastic FE 16-35. This little lens is definitely a keeper!

You can check out more images on my new website and 500px:

www.davidfarina.com
www.500px.com/david_farina

Happy shooting everybody!

Steve’s thoughts on this lens can be seen HERE.

Jul 172015
 

Friday Film : From San Francisco to LA with my Rolleiflex

By Nicolas

Hi Steve and Brandon,

A few months ago I made a two weeks trip in California with my two beloved Rolleiflexes. I use a MX-EVS tessar for black and white (Ilford HP5 and Xtol) and a 2.8E Xenotar for color (Portra 160 and 400).

What I love to do is to shoot portraits of strangers. The Rolleiflex camera is very discreet for street photography and sometimes intriguing to some. Which can lead to interesting meetings.

I also tried some skateboard photography, not that easy with the manual focus but definitely rewarding.
Here are a few photographs from this trip.

I hope you will enjoy them.

Here is my Flickr :
https://www.flickr.com/photos/nicolas-Lamborelle

and my Facebook page :

https://www.facebook.com/nicolas.Lamborelle

 

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Jul 152015
 

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Sunning it up with the Sony A7s and A7II

by Craig Litten

Hey Steve & Brandon,

And hello to all of the followers of Steve Huff Photo! I’ve totally switched over to the Sony system late last year, and have been loving the system since then. I have your review of the A7s to thank for getting me really interested. I have now shot about four big jobs with the Sony’s, and they have performed nearly flawlessly so far. I own the A7s and the a6000, but have rented the A7II and the A7r trying to decide which body if a good fit, and I may just go with the newly announced a7rII. Attached are a few shots from my latest shoot with my Sony a7s and a rented Sony a7r along with the Sony/Zeiss FE 35mm f/2.8 and Sony/Zeiss FE 55mm f/1.8. lenses. I really love the size and rendering of the FE 35mm f/2.8!

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

I also like to keep it simple: two bodies, two lenses, a bunch of batteries and memory cards and normally zero lighting. But this shoot was different. It was a catalog shoot for Sun Bum (www.trustthebum.com); makers of sun products and a hot new company who is sweeping the industry. The company started in surf shops, but are now nationwide in Target as well as other stores. I shot their last catalog two years ago…

… and the photos from that shoot can be seen here on my website: www.craiglitten.com/galleries/#sun-bum

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Since Sun Bum is a sun-based company, the plan was to shoot all day in the bright sunlight, but the weather wasn’t cooperating and we had two days of rainy weather as a big storm passed by in the Atlantic off the coast of Florida. We had models coming in from everywhere, and Sun Bum staff members coming from California (the company is located in Cocoa Beach where we did the shoot), so scratching the entire shoot would have been very expensive. Besides, we also rented a house on the beach, so we had to improvise. My background is as a newspaper photojournalist (since 1991), so part of that job description was to make something out of nothing daily.

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

I also hate using strobes, and no longer own any lighting gear, but prefer to shoot in natural light. So one of the assistants went to Home Depot to purchase a couple sets of 500 watt halogen lights costing $35 each. These are the kind of lights that you utilize while working on a car in your garage or use at a construction site, but they were a perfect solution and created what I call “liquid sunshine” giving the gloomy day the warmth it needed. We still have to reshoot to supplement these photos with “fun in the sun” photos, but they were pretty happy with the results.

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Sun Bum catalog shoot 2015 in Cocoa Beach, Florida. Photo ©2015 Craig Litten/All Rights Reserved

Jul 152015
 

Leica Tri-Elmar 28/35/50 Ver 1.0 on a Sony a7

By Sunil Mehta

Hi Brandon and Steve,

In the past I have used the Leica Tri-Elmar Lens on a Leica M6 body. With the arrival of digital technology and due to less and less availability of films and also Leica digital bodies being expensive this lens was not in use for many years. I also moved to Nikon/ Fuji etc… When Sony dropped its a7 price to $998, I bought one just to put back this lens in use. With this lens and the Sony A7 I recently visited “Mission San Juan Capistrano” in Orange County, CA. It’s an interesting place, I attached a few photos of the Mission and the streets around it. Hope your readers will like it.

Technical detail:

Lens: Leica Tri-Elmar-M 28-35-50mm F4 ASPH – Silver / v1 / E55
Camera: Sony a7 with Metabones M-E Mount.
RAW conversion in LR and Silver Efex for BW.
In situation like this, on a bright day I focus using Zone Focusing, aperture always at f8 or f11, ISO 200 and let camera decide shutter speed, for Indoor shots I change ISO.

I regret not carrying a Tripod and ND filters.

Thanks and best regards,

Sunil Mehta

https://500px.com/mehtasunil/
https://www.flickr.com/photos/mehtasunil/
https://instagram.com/mehtasunil/

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Jul 142015
 

In praise of the Voigtlander Nokton 35 1.2

by Fahad

Last February, I went to Istanbul for a quick visit, of course along with my camera and lenses.

As soon as I arrived, and started taking few pictures, I noticed that my Summicron 50mm (the one i used in both previous articles) is out of focus on all distances, after a full day of testing, I was certain something is wrong.

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Luckily, for that trip I had space to bring along the nokton 35mm 1.2, which I rarely use and was thinking about getting rid of it, the weight was the major disadvantage, and 35mm was just too wide for my taste.

So I had no other option but to use the nokton for now and buy another 50mm lens once the shops are open.

Well, that quick walk using the nokton changed my mind. now its my favorite lens. and I just appreciate the luxury of having f1.2, as for the weight, I just got used to it.

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I found that the 35mm is more versatile for the streets than the 50mm, with the 35mm I can shoot few building then go back my normal photo subjects without changing the lens. only now I understand why most photographers prefer the 35mm range.

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One last observation, the focus ring is smooth and you can feel so confident with this lens’ build quality.

attached are a few images.

my flickr: http://www.flickr.com/photos/fahad85/

Fahad A

Jul 132015
 
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Fingers Crossed: Leica Q Landscape Impressions

By David Nash

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I have to come clean: despite happily sticking with the wonderful Nikon D800e since it came out – and having no wish to change it in the forseeable future – I’ve bought and sold so many “small” cameras over the years that I’ve never settled with. To rub it in they’re all still there to remind me, listed every time I open in my Lightroom metadata tabs. Mmm.

Then along comes the Leica Q and seems to tick so many boxes: weight, size, IQ, DNG, fast sharp lens, full frame, fast autofocus, real dials, build quality, and very important for me with varifocal glasses – a really good built-in EVF (not an ugly plastic one to stick on top!).

Oh, and there’s one more key requirement for a walkabout camera: I have to be able to take photos one-handed while holding leads for to 25kilo poodles in the other hand…….

But like many I was initially slightly put off by the 28mm as opposed to 35mm which seemed about right for a general purpose carry around camera – and also by the emphasis in reviews on street photography (Not my comfort zone. I prefer trees – they don’t move so readily). Then I thought it through – I can easily crop to 35mm and still easily print A3+ and larger, and I can zoom with my feet.

So I took the plunge. Below are some of my first shots. A little work in Lightroom for the black and white images, and I’ve included at the end a color landscape, more or less as shot.

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Touch wood, this really does seem to tick all the “small camera” boxes for me. Your needs might be different. Your dogs might be smaller and lighter than mine. You might not wear varifocals and be happy without a viewfinder.

tyninghame july 2015-40-Edit

Yes there are quirks. I don’t get why there are no tabs on the menus so you have to scroll through them all, why you must have jpegs whether you want them or not. The auto white balance seemed strange at first (7500k in sunlit scenes??) but it does actually seem near enough right. And yes it is very, very expensive.

But the bottom line is so easy to use casually, and fantastic IQ from a fantastic lens. For once Leica seem ahead of the game and listening to potential users. So maybe, just maybe, this one won’t be going on eBay in a month or so…

Thanks for reading and thanks Steve for your great site!

David Nash
Edinburgh, UK

Jul 132015
 
Sakura and Mount Fuji

A Review of the Sony A7II from a Newbie to Photography

by Alex Foon

Sakura and Mount Fuji

Hi Steve!

First of all thanks for hosting such a wonderful, no-nonsense website that I’ve been religiously visiting every single day. The past six months had been a roller coaster ride for me (photographically speaking) and I just managed to find time, sit down and write a photography beginner’s review of the Sony A7 mark II.

Prior to 12 Dec 2014, my tool for photography had been limited to camera phone and then smartphones. Back then, I never understood why some of my friends were into this expensive hobby called “photography” – the hassle to carry DSLRs the size and weight of a bowling ball, lifting it up to your face, adjust the settings for what lasted like an eternity, and then fire in burst; when the simple action of whipping out the iPhone could seemingly produce similar results.

Fast forward to the fateful 12 Dec 2014, I touched down at the airport after a grueling business trip, in my mind I was thinking perhaps I could do a little shopping therapy and so I aimlessly walked into the Sony store. The storekeeper told me that their latest release was the Sony A7II (just launched that day) and 10 minutes later I walked out with the A7II kit bundle, not knowing better what I had gotten myself into.

Of course over the next few days I was quite excited about my new toy, I had absolutely zero idea about what was aperture, shutter speed, metering, exposure, depth of field and etc. (maybe I still don’t quite get it now). It was frustrating to have such a high-end camera and yet the images I captured were not up to my expectation. I started researching online about how to operate the camera and how to capture a photograph properly, and that’s when I chanced upon your review of the A7II. It was almost instinctive that I made another investment in a prime lens (FE Zeiss 55 1.8, still my favorite lens to date) instead of keeping the kit zoom 28-70 (not that it’s a bad lens either).

Marina Barrage Singapore

And then things started to get very interesting.

I suppose I needed to justify my impulse purchase, hence I brought the A7II with me everywhere I went, from daily grind in the office, to Penang, Ho Chi Minh City, Bangkok, Tokyo, Beijing and many more locales to come. The delectable combo of the lightweight A7II body coupled with solidly build FE lenses means it’s possible for me to carry them in my backpack all the time, and this allowed me to shoot whenever I find pockets of time in between.

Chinatown Singapore

Great Wall Beijing

The improved ergonomics of the second iteration of the A7 series body should not be underestimated. The grip is beefed up for a firmer one handed operations when needed, and coupled with the placement of the shutter button, this alone potentially allows an additional stop of stability over the corresponding mark I’s in the series. And you’ll be surprised that a 45 degrees slant of the C3 button (C2 in mark I’s) can really improve the functionality of the camera especially when using manual focus.

Speaking of focusing, having such a shallow depth of field in full frame bodies makes the autofocus unreliable at times, you thought you might have nailed the focus on the eyes but when you review it again the spectacles were in focus instead. So 90% of the time I opt to use manual focus. MF is made stupidly easy and some might even argue that it is faster than the AF on the A7ii, turn the focus ring and the image magnifies, press my assigned C3 button and the focus magnifier further zooms in for fine tuning.

Touting in Bangkok

Restocking in Chatuchak

With the OLED EVF, what you see is what you get! No more worrying about whether you nailed the exposure or the focus. The in-body 5 axis image stabilizer further supports the notion of WYSIWYG because I could be having seizure and still manage to see through the EVF and get a shot in focus. (alright, I promise this would be my only attempt in over-exaggerating, but you guys get the idea ;-D)

The short flange distance of the full frame A7ii camera body, working in tandem with manual focus assist tools and the IBIS, enable users to mount possibly every single camera lens ever made, as long as there is an adapter made to mount it. From my current favorite and affordable Minoltas, to the wallet breaking but absolutely fantastic Leicas, there is a lens for A7 users on any level of budget.

Shrine in Shinjuku

I understand that Sony had announced the lustrous A7RII, and how willing am I to sell a kidney for that one. Looking at it from another angle, I’m glad Sony had priced the A7II at almost half price of the A7RII. And for all the joy and memories it had brought me over past half a year, I think this was the best impulsive buy that I had ever made. Today, I hope I had at least learnt something about aperture, shutter speed and whatnots, and I might have found a lifelong passion in photography.

color

I will check out for now with 10 photos I had taken over the past 6 months with the A7II. Hope to finish my first roll soon on the Minolta SRT Super so I can send some entries in for Film Friday ;)

Till then, keep shooting.
Alex

Flickr: alex.foon
Facebook: facebook.com/sotongball
Email: [email protected]

© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved
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