An Autumn tour in Northern Xinjiang with my Leica M9P, Leica MP and Ricoh GR
by Wilson Chong
For the Han Chinese, Xinjiang used to be called the Western Frontier during the Han Dynasty. It was not until the Qing Dynasty (Manchu) renamed it as Xinjiang (the new frontier). Xinjiang has been and always will be a place where travellers is no stranger to it. One of the most famous traveller of course is Marco Polo.
Xinjiang is a muslim country, the chineswe called it Hujiang, which means Muslim Frontier. Although Uyghur is the majority nationality in the region, the second biggest ethinic group is Han, then Kazahj in the third place and to my surprise the Mongols is not even in the top five.
Northern Xinjiang are mostly populated by Kazakh and they are descendants of the Turkic tribes. Of course you will hear the occasional bombings and sometimes incidents happened, these are mostly concentrated in Southern Xinjiang in the Uighurs region. During my experience this September 2013, I see no troubles in Northern Xinjiang. Although in Urumqi, you will see highten security forces on the streets, there is no much signs of troubles. The security in the hotels are very strict and I would say I don’t feel I was in any danger while I was there even when I walk around in the city during the day. People are very friendly no matter what nationality. However, one word of warning, there are plenty of pickpockets and watch out your travel documents and money.
Urumqi City Skyline - Ricoh GR
I joined a tour group which specialised in photo trips in Hong Kong for 13 days. One of the highlight of this tour was house riding 8 hours from Kanas Lake District to the infamous Hemu Village, where it was the old horse route to the village. Also, we got to go to Baihaba, but be warned again, since the village is next to the border of Kazakhstan (well, it is literally next to the border together with the Chinese Army barracks – of course we are not allowed to film or even pointing our camera towards it), foreigners are prohibited to visit. However, two of my friends were able to get it but again this was no guarantee as there were check points.
Horse riding into Hemu Village, Xinjiang - Ricoh GR
Kanas Lake District - Ricoh GR
Baihaba Village, Xinjiang - Ricoh GR
Since there was no direct flight from Hong Kong, we went to Shenzhen airport and fly six hours to Urumqi. We only stayed for a day on arrival and one day before we return to Hong Kong. However, if you have more time, I would highly recommend you to explore this city more. This is also where we can stay in a five starts hotel. When we go up North, expect camp style accommodation but is clean and usable. However, the scenery is worth every money and your effort. I would say, it is a trip of a life time.
Lamb Skew – food is no problem while you are there.. - Ricoh GR
During this trip, I had a hard time deciding what gear to bring. Should I bring my M Monochrom? However, thinking of the beautiful scenery, I decide to bring my Leica M9P, which I can always convert them into B&W after I return. Then I must bring second camera, The Ricoh GR was a strong candidate because it is compact, the 28mm is ideal for landscape as well as Street Photography, the APSC sensor would give a decent pixel to take quality image. More importantly, I would able to use the Ricoh GR in Urumqi or in situation where I need to be discreet. Bearing in mind it is a Muslim area and I don’t want to offend – However, I was proved wrong, people are nice and will to take photos but of course, the Ricoh GR is quick to use and fast that I won’t regret that I miss any photo opportunity. On an epic trip, I cannot hold back in bring my Leica MP. Why? I like films and during my father’s day, they do it with film and after such a trip, you skills will improve because of the pressure on you that there is no second chance. The film I choice was Fujifilm Fujichrome Velvia 100 taking into account I have to go through custom (ISO below 400?) and I will be shooting mostly in a bright daylight (keeping my figures cross that there will be no rain). So, I packed 40 rolls. Thanks to Japan Camera Hunter Film Case, I save a lot of trouble packing into my backpack.
There will be others trying to get the same shot… - Ricoh GR
If you want more of the Xinjiang Photos, please visit my flickr page at:
Leica has done it again it seems with a VERY limited edition Leica Monochrome kit which includes a specially designed Monochrom (different cosmetics) as well as a special 35mm Summilux ASPH included as well.
Limited to only 35 pieces I expect this Ralph Gibson limited run to be EXPENSIVE. I could not find any details on cost yet so if anyone knows, feel free to comment. It looks quite special, I must admit!
You can check out Ralph Gibson’s website HERE. The last time Leica did a special run with him was for his limited edition MP which I have never seen for sale used.
Ralph and his limited run MP from back in the day..these are just about impossible to find due to the scarcity of them
By Didier Godme – His Flickr is HERE, his blog is HERE
I started being more serious about photography when buying my first Canon DSLR (20D) a few years back and then upgraded to the 5DMII. After 3 years of good use, my neck started feeling bad (especially with the 35 f1.4) so in 2011, my wife convinced me to cut my arm in order to be able to afford the M9-P…
I am not the type of guy who always buys the latest stuff, but since I’ve had 2 important failures in less than 2 years on the M9-P (wrong exposure + sensor dead), I decided to go for the Sony A7R. By chance it came out just when I had the 2nd failure and Leica lend me another M9-P during the 4-6 months repair time (no joke…). As a consequence, I had the opportunity to benchmark both. The goal of this article is not to say that M bodies are crap in terms of quality because it’s certainly not the case and not everybody had the same (bad) experience as I did.
My idea is simply to list all the great advantages from the Sony A7r over the M9-P which led me to stop using Leica M bodies.
- Weight: 465 vs 600 gr. OK, we’re talking peanuts here, but you can feel it straight away.
- Size: My dream has always been to get the smallest and lightest possible full frame camera. My M9-P was the first answer to that but Sony is now clearly the winner on both even if the difference is small.
- Ergonomic: I had to buy the grip for the M9-P to be able to have a strong control of it. The Sony is just perfect the way it came out from the factory.
- Iso:No need to go in depth on this one…M9 is already 4 years old and technology made loads of progress since then.
Sony A7r with Zeiss 55
Leica M9P with 50 Summilux
Sony A7r with Zeiss 35 2.8
Leica M9P with 35 Summilux at 2.8
Sony A7r with Zeiss 35 at 2.8
Leica M9P with 35 Summilux at 2.8
- Viewfinder: Although I really love the rangefinder type of viewfinder because it’s huge, clear and you can see what’s happening out of the frame, I always scratch my glasses because of the metal on the M9-P. It’s a detail, but now with the Sony A7R, I will not have to change glasses every year or think about wearing lenses each time I want to shoot.
- Framing: When using rangefinders, there is always a little shift between what was in the framelines and what you get. With the Sony A7R, what you see is what you get.
- Screen:There is no possible benchmark between the one from the M9-P and the Sony A7R. The one from the M9-P was already outdated when it came out and the Sony represents the last generation so the advantage is obvious. It’s not on this point I want to argue but on the tillable screen. It’s a simple option but it allows to increase framing possibilities tremendously and get more original pictures.
- Manual Focus:I’ve been using rangefinders for 5 years now (M7-M9-P) and have no trouble focusing manually on rangefinders. When I first read about focus peaking I had no idea what it was (I know…it’s a shame!) but Steve Huff wrote in his review that it was quite easy to focus manually with Leica M lenses on this body (http://www.stevehuffphoto.com/2013/11/29/the-sony-a7-and-a7r-camera-review-by-steve-huff/). I tested it in the store where I bought it and was convinced in less than 30sec. In opposition to the rangefinder system where you need to use the center of the frame to focus, with focus peaking you can focus everywhere in the frame. The big advantage is that you don’t have to focus and then frame but can do both at the same time.
Sony A7r and 35 Summilux at ISO 6400
Sony A7r and Zeiss 35
Leica M9P with 35 Summilux
- Auto Focus: As I said, I am used to manual focus and like to control it. My wife however is not really keen on manual focusing and doesn’t take many pictures because of this. When purchasing the A7R I decided to go as well for the Zeiss 35 F2,8 so that she can use it and shot our baby. She (and I) just love this lens and now can use it on the camera. Just impossible on Leica M bodies…
- Speed: Leica M9-P goes up to 1/4000 sec while the A7R up to 1/8000 sec. Again, a small difference, but quite useful when shooting at 1.4F in daylight!
- Image Quality: Although the CCD sensor from the M9 is quite famous and my people LOVE it, I did some comparisons and find the Sony way more detailed. I also prefer the way colors come out.
- Sensor cleaning: Automatic sensor cleaning on the A7R, not on the M9.
All these reasons convinced me to go 100% for the Sony A7R. I am now waiting to get my M9-P back from repair to sell it straight away. The only thing I am going to miss from my old buddy is its legendary design…
To close the loop, standard warranty on my A7R is 4 YEARS!
Leica M 240 IN STOCK just in time for the Holidays!
Hello to all! Hope everyone is having a happy Wednesday. Just wanted to let anyone who is looking for an M 240 know that PopFlash.com has quite a few M 240′s IN STOCK just in time for the holidays – in both black and chrome! You can call them direct at 805-492-6548 and ask for Alex. You can also order on their website HERE.
If you are too late and they ran out you can also try to e-mail Ken Hansen at[email protected] as he may have some as well. The Pro Shop also probably has a few and they can be reached at 561-253-2606
Hello, friends! I am back with a user report and second perspective to the review that Steve’s put together for the much-anticipated and ballyhooed Sony A7R, which I had the privilege of shooting over the past week-end, just ahead of its U.S. release. Interestingly, the U.S. appears to be the last major market to receive the A7R, and while many of you around the world have already begun to use the camera, it’s been rarely seen in these parts. All of that said, I was one of the lucky few to get a taste, and here’s my report.
The Sony A7R, as you know, is an incredibly compact mirrorless camera, housing an impressive 36-megapixel sensor, which forgoes an accompanying low-pass (Anti-Aliasing) filter. It’s a not so distant cousin to the 36 megapixel sensor found in the Nikon D800e, which was also produced by Sony for use with Nikon cameras.
Sony has been very ambitious with this camera from the get go. The A7 and A7R bring a new compactness to a body capable of holding a full frame sensor, something that previously only the Leica M9 and M240 were capable of providing. In fact, the A7R feels even more compact in hands, in heft, and in feel. It’s a robust feeling camera, feeling solid, and Sony credits it with at least partial weather sealing (when using Sony’s own FE lenses).
I became interested in the Sony A7R when I began hearing whispers of this camera online. Having been a devotee on the Sony RX1 and RX1R, I have had the joy of working with incredible images produced by these cameras, which produce results that are hard to ignore. As is well known now, Sony’s full frame sensors tend to produce the highest DXO Mark ratings, and while many (myself included) are not fans of such schemes to rate sensors, there is no denying that Sony has been making incredible sensors. When paired with the incredible Zeiss 35 mm f/2 Sonnar lens of the RX1, what is produced can be pure magic. Additionally, I am one of those individuals who decided against upgrading my primary rangefinder system, and I have kept both the Leica M9 and M Monochrom as my primary system. As I scoured the internet trying to find reasons to be convinced to buy the Leica M240, I ultimately felt that I would be best served staying put with my M9, due to availability, cost of upgrade, and the sensor’s interplay and color reproduction with M lenses, some which have reported to be “less sharp” on the new CMOSIS sensor housed by Leica’s latest offering. I know that my opinion is controversial, but many Leica devotees out there share it. Whatever you may call it (CCD look, etc…), the M9 brings something unique to the table with its rendition at base ISO, but it is a crippled camera beyond ISO 800, as its low light capabilities lag far beyond modern cameras, including the M240 and RX1R.
With all of this in mind, I have long had my antenna up looking for signs of another camera that might be adaptable to M lenses and produce solid results. I spent over a year with Fuji’s APS-C offerings, but ultimately the X-trans RAW conversion issues, and APS-C crop pushed me away. While I enjoyed by time with Sony’s NEX-7, the same APS-C crop factor and the sensor’s limitations in bringing the full charm of M lenses to the table pushed me away. I even considered picking up the lovely Olympus EM1, but the m4/3 crop has never been for me, despite all of the camera’s other advantages, which I hope trickle down to Sony someday, now that Olympus and Sony are partners in the camera making business.
Into the fray arrives the Sony A7R, a sensor delivering a whopping 36 megapixels of AA-less goodness, a true test for M lenses. My curiosity was so piqued that I ordered one from my local dealer a week BEFORE the camera was even announced. Having been thrilled with the output of the Sony RX1R, I vividly imagined the possibilities of an AA-less Sony sensor paired with my stable of M lenses. Would this be a modern sensor by which to play with my M lenses, a camera that I could take out into the night to make color pictures without worry of ISO limitations? Would it be worthy second camera to my now principal camera, the Leica M Monochrom?
Thankfully, one of my great friends Chris Y, a Leica friend of the highest regard, emailed me last week. He had received an A7R from an overseas distributor, and he wanted me to give the camera run with my stable of M lenses. I jumped at the chance, and was able to use the camera extensively, exclusively with M lenses using my Novoflex M-to-E mount adapter, for a 3 day period. Let me just say that the experience was both exhilarating and educational. Did I find the A7R to be the long lost solution for which I had been waiting? Was it a cheaper full frame camera capable of using M lenses of all sorts and producing high quality results? Was it a camera that I would enjoy, having to rely on an EVF with focus peaking and magnification to make images? I would soon find out.
For many folks who are planning an upgrade from an APS-C sensor camera to the A7R (i.e. you NEX users and Fuji folks), the upgrade is certainly worthwhile on several levels and difficult on a few other levels. APS-C sensors, with their cropped imaging plane, can hide many faults that would otherwise be an issue outside of the cropped field of few. Rangefinder lenses tend to have small exit pupils and provide short incident paths of light between the closest posterior lens element and senor. This and other factors, such as the chief ray angle of light bent by the lens, require a sensor, which is able to see light that’s been bent at a steep angle. If a sensor does not accommodate these matters with “offset microlenses” (i.e. hot topic word of the month), then one might expect to see quite a bit of light fall off at the periphery of the images. Further, these steep angles can also produce shifts in color reproduction at the edges of the full frame field of view, and one can see magenta casts and other color shifts that can pollute image quality. The Sony marketing team claims that the A7R includes offset microlenses to help address the issues described above, and the A7R was originally trumpeted as the camera to get for those of us interested in adapting our RF lenses to a full frame mirrorless solution. Did Sony work it’s magic again? Well…sort of….
First off, I will tell you that the shooting experience of the A7R with M lenses can certainly be pleasurable. If you are a SLR shooter, you will have to adjust to using lenses with manual focus, focus peaking, and magnified views to achieve critical focus. If you are a RF shooter, you’ll have to adjust from shooting manually using the RF parallax solution to focus peaking/magnification. I have used Sony NEX cameras, and so the experience was not unfamiliar to me. It took me about a day of heavy shooting to become accustomed to the A7R’s “way of seeing the scene”. Unlike the Rangefinder, with its fixed viewfinder and frame lines, in which one can see around the field of view and predict what may be entering or exiting the scene, the A7R offers a tunnel view that’s become common and comfortable for SLR devotees. Shifting from one version of shooting to the other can be disconcerting, even more so when using RF lenses, but after about a day, I was off to the races and enjoying the experiences.
As Steve has mentioned, focus peaking must be seen only as an aid to shooting. Unless you are shooting wide lenses or are shooting stopped down past f/4, you will likely need to use the camera’s magnified view to achieve critical focus. This can be disconcerting, as by “zooming in” while trying to grab focus, the photographer loses the framing and composition for a moment, before being able to zoom out and recompose as necessary. After a day of shooting, I felt more comfortable “zone focusing” using focus peaking, then rapidly magnifying to get critical focus before zooming back out to make the image. This method is not nearly as spontaneous as focusing using AF or rangefinder focusing, but it works and suffices to capture images that are less mobile. Shooting kids, pets, or birds, using this method is challenging, but less mobile scenes, including street scenes, are easily captured once you get used to the method of focusing. Keep this in mind when shooting the A7R.
As I continued to shoot with the camera, one concern began to dawn on me. The shutter of this camera is loud, and it’s not very well dampened. This is not necessarily a camera by which to shoot events that require quiet. For example, the shutter could be distracting at a wedding or quieter music venue. On the street, it’s not an issue, in terms of noise. The vibration generated by the shutter was of concern to me while I shot. While I have no scientific way of proving it, I was worried that the vibration generated by the shutter and translated to such a compact body could make for un-sharp images, particularly when coupled with a 36- megapixel camera. To compensate, I tended to shoot at the fastest possible shutter speeds, limiting myself to shutter speeds no slower than 1/200th of a second. This is actually not a major issue, as the Sony A7R’s ISO capacity is really solid. Despite it’s high pixel count, it’s an entirely adequate and solid low light performer, doing just fine through ISO3200, and sufficient through ISO 6400. Relying on higher shutter speeds in dim settings forces one to choose high ISO’s, and this isn’t as big an issue as I worried about.
Having moved past the focusing method and shutter sound/dampening matter, I really began to enjoy the camera on the streets and at parties in all different lighting settings. I found the EVF and tiltable LCD’s to both be fantastic. I really enjoy articulated LCD’s as they offer the photographer the ability to shoot at difficult angles without guessing. That being said, whenever possible I relied on the camera’s fantastic 2.3 mp EVF, which is awesome. While it’s not quite an optical viewfinder in terms of image clarity, it has very little shutter lag and allows the photographer to see a wealth of information (shutter, aperture, histogram) at his or her discretion. It’s really a lovely tool that Sony seems to be mastering. I found the EVF and LCD to be entirely adequate for focusing and composing.
On returning home, I downloaded Adobe Lightroom 5.3 (release candidate), which is capable of reading Sony A7R raw files, and I was greeted by a host of images of incredible detail many of which you see here. The first thing I noticed were the colors. Sony has done an incredible job to bring, vibrant, yet not over the top, life like colors to the fray. They seem to be true to the scene, and I was rapidly able to process them in a manner to look like files from my beloved CCD camera, the Leica M9 (with the added benefit of superior ISO performance, of course). To me, this was HUGE. Having a camera with a modern sensor, putting out files comparable to my M9, was what I have been looking for and craving for years now…..and here it was.
To boot, one of the less discussed “features” of the A7R is it’s top shutter speed of 1/8000 of a setting. For fast-lens geeks like me, having this feature is amazing, as it allows us to shoot wide open in daylight, while foregoing the use of an ND filter. Lenses like th Noctilux f/0.95 can suddenly be used in daylight circumstance…a world of creative possibilities thus opens up with ultrafast lenses on the A7R!
So was all well in the world?!? Well, in a word, NO! As I started to look around at images, I began to see a few issues with colorcast. Given the way the rangefinder lenses manipulate and bend light, I could easily see colorcasts and detail smearing at the edges of the images made with lenses wider than 28 mm. Once I pulled out my 28 mm Summicron, I was slightly more satisfied, as there was no substantial detail smearing, but the color casts, while less objectionable, remained. At times, the edges would take on a magenta hue. In other circumstances, a slightly bluish hue. The effect seemed to be far less noticeable for 35 mm lenses such as the 35 mm f/1.4 Summilux Asph Pre-FLE and FLE, but it is still there and noticeable if shooting shots of the sky or uniformly bright, backlit scenes, such as the “foggy morning” captures presented here. What surprised me is that I found this color shifting and vignetting to be present at times even with my 50 mm f/1.4 Summilux aspherical. It turns out that M lenses are really demanding on these full frame sensors, demanding enough that Leica once claimed it to be impossible to design a full frame digital rangefinder. Well, they eventually did find away, but it took a lot of cunning, know how, and a bunch of in-camera color cast correction applied to RAW files before they ever got onto Lightroom. Unfortunately, the Sony A7R does not have such software corrections. It’s offset microlenses do not suffice to correct these color casts, so if you decide to buy this camera and shoot your RF lenses, be prepared for some frustration and to adjust your post-processing techniques to accommodate for these matters. There are programs, such as SilkyPix, a RAW converter that allow one to create lens profiles and correct such color casts. There are workarounds in Lightroom 5.3, such as using the digital graduated ND filter creatively, that help reduce the effect of these color shifts. One other issues is chromatic aberration, which tends to show itself when lenses are pitted against demanding sensors. In fact, lense such as the Noctilux f/0.95, which have known CA issues, seem to even more prone to showing CA on the A7R. In summary if you are looking to seamlessly shoot your M lenses on the A7R, be prepared to pause.
If you are a black and white shooter, color casts and CA won’t matter, and then it gets down to correcting for some vignetting, which is more easily accomplished within a LR workflow. IF you only shoot telephoto lenses, then you are safe with the A7R, and I would argue that you will find yourself getting far more consistent results with lenses such as the 75 mm Summilux, as the focus peaking/zoomed focus method works really well to achieve critical results here. However, if you plan to use lenses wider than 35 mm, the results can occasionally be objectionable. For photographers like me, who prefer to work between 35 mm and 90 mm focal lengths, you’ll be plenty satisfied most of the time with files coming from the A7R. It’s not a panacea for the photographically inclined, but it’s worth the effort. That being said, Sony will hopefully partner successfully with Zeiss to offer a range of high quality AF lenses in its FE lineup. At this time, there are reports that they will release as many as 15 AF FE lenses in the 2 years following the A7R’s release, and we’ll see if this holds true. For many of us, simply having a 35 mm, 55 mm, and an 85 mm lens will suffice.
As I didn’t have these lenses on hand, I cannot comment on the A7R’s autofocus capabilities, but it seems that they will suffice for most types of shooting, save sporting events.
All in all, I found my time with the Sony A7R to be pleasurable. Was I won over? In the end, I’d answer a cautious “yes.” It produces wonderful files that are full of detail when properly exposed and captured, and in most circumstances, will give you results with which you can be proud. Just be prepared to adjust a bit in your workflow.
Thanks for taking the time to read. As you might imagine, all images presented here were taken with the A7R and a host of M and LTM lenses including the:
Well here we are near the end of 2013 and finally…in my hand is the Sony A7 and A7r cameras (and they have been for a few weeks), the two little powerhouses that are poised and planned to take over the mirrorless camera world with their small tough design and their full frame class leading sensors. No one else had the balls to make such a camera yet Sony plowed right in, listened to the enthusiasts and DID IT. NOPE! Not Nikon, Not Leica, Not Olympus, Not Samsung, Not Pentax and certainly NOT Canon who have been doing nothing exciting or innovated at all lately in my opinion (I am speaking about Canon in that last statement).
BUT after extensive real world use with these cameras I am left scratching my bald head…”WHY did Sony make two cameras”? I think they would have been better off with ONE A7 model which IMO would have been the A7 minus the AA filter. Done deal. By releasing TWO it has made everyone confused. I have now spoken to several who have canceled their pre orders only to order the other version and then cancel again because of the conflicting reports online of each model. Poeple are flooding me with questions on a daily basis “which one should I buy”???
Well, to all of you who are confused, let me ease your mind…the A7 is just as good of a camera for 99.2% of users as the A7R is. You will lose nothing and may even gain some by shooting with the A7 over the A7r. But I will get more into this later on..for now, let me get back to my talk about Sony being revolutionary in the camera world..because they are really the only ones who are at the moment with Olympus right behind them.
The A7r with the Leica 75 Summilux Lens – Stunning Combo. Used the Simple Studio 1344 LED Light kit here. A light kit that is easy to use and packs a HUGE punch. Superbly made as well.
Nope, no one else has managed to come in and create something like the A7 series of camera. No one has attempted to put a full frame sensor into a small mirrorless body besides Leica, and they have been doing it since the M9 days (but expect to pay dearly for those red dots). There is a huge enthusiast, amateur and even pro audience for a camera like the A7 and A7r because the price point of the Leica M 240 is out of reach of so many photographers. Many of us wanted a small full frame solution that would not bankrupt us and now it is here in both the A7 and A7r.
After shooting with these new Sony cameras for a while I can safely say that my favorite is…BOTH! I just wanted to let that out up front. I feel the sensor is a little better in the A7r, the detail is better and the camera overall “seems” better when I am out shooting but of course much of that is mental due to the powerhouse sensor. But at the end of the day, more keepers came from the A7 for me, and it has a quieter shutter. So to me, that sums it up in my mind. Both are fantastic, both can do amazing things and both have the same flaws. Either can take a great image.
The A7 is fantastic but if you want that extra ounce (and I do mean OUNCE) of performance, the A7r is the bell of the ball though for anything besides uber large printing no one will see a difference. Now if you are the type of shooter who sets up his sturdy tripod and does landscape, then the A7r will do the trick for you but shooting handheld in all kinds of light, the A7 gets the nod for me.
Why these cameras are game changers
The new A7 and A7r have created a whole new genre. Now we have the best full frame sensors available in a smaller package and to be honest quite affordable for what they bring to the table. No, $1700 and $2300 is not cheap by any stretch of the imagination but it is for what you are getting here. So first of all, the price is right. Many of us thought this camera was going to come in at $4500 and no one knew there would actually be TWO of them with one UNDER $1700 and one just under $2300. So in that respect they are game changers already.
I think the costs are lower due to the fact that these cameras are made in Thailand instead of Japan. But no biggie as the cameras seem very solid in the build and reliability department. If Sony made these in Japan I bet the cost for the A7r would have been over $3k, so I welcome the lower price as long as the long term reliability holds up.
Another way that the Sony will separate itself from the competition is by being able to mount and shoot SOME/MOST Leica M mount lenses with fantastic results and in the full frame native format. No other full frame camera can do this (besides the Leica M itself). We have been able to use these lenses on APS-C sensor cameras but that was not the best way as we were really not using these lenses to their full capacity when using them with a cropped sensor.
Most Leica M mount lenses are full frame lenses and they are gorgeous in size, build and feel. The good news is that 85-90% of them work amazingly well on the A7 and A7r. I found some of the best performing lenses on the A7 and A7r came from Zeiss with the Zeiss ZM line. Lenses like the 50 Zm f/2 Planar and the 50 Sonnar 1.5 are wonderful. They also come in at a much lower cost than the Leica counterparts. Also, one of the most magical lenses I have tried on these cameras has been the 75 Summilux. Gorgeous.
So we now have something that is important and very welcome..a choice!
GRRRRRR – A7r – ISO 800 35 2.8
So those with Leica M lenses, you now have a full frame alternative to the Leica M.
The Leica M is of course the preffered camera to shoot these lenses with but as I said, not all of us have $7000 to spend on a camera body. Some of us have Leica M’s but want a backup and do not want to spend $7k TWICE :) The Sony A7 and A7r, IMO, are perfect for shooting Leica M mount glass from 28mm and up. I have tested and shot with the Voigtlander 35 1.2, the Zeiss 35 Biogon and 50 Planar ZM and they were amazing on the A7 and A7r. Especially the A7r. The color, the pop, the depth and the detail was all there and dare I say, even more so than with the Leica M in many cases.
In case you missed my earlier reports from a few weeks ago, below are links to each and every one and they have TONS of samples with M glass..
With those reports plus this longer term use review most of you should get an idea as to how the Sony A7 and A7r perform. So yes, these new Sony cameras have paved the way and are leading the mirrorless pack just for these reasons alone. But NO, they are NOT perfect and I do have some negatives I can speak about later. It is just that the IQ will NOT be one of them!
The Zeiss Otus is AMAZING in it’s IQ with the Sony A7 series..these three will show you that :) You can buy this lens HERE. I USED THE Canon Mount with an Adapter.
Full Frame Compact Mirrorless Digital Camera
The Sony Alpha a7 incorporates a full frame 35.8 x 23.9 sensor into the compact, lightweight form of an E-mount mirrorless camera providing the imaging prowess of full frame and the convenience and versatility of mirrorless.
A7: 24.3MP Exmor CMOS Sensor
With 24.3 effective megapixels, the Exmor CMOS sensor captures high-resolution, low-noise images with rich tonal gradation and low-light sensitivity. The normal ISO range on the Alpha a7 is 100-25600.
A7R: 36.4MP Exmor CMOS Sensor with No Optical Low Pass Filter
The 36.4MP resolution and outstanding performance of the Alpha a7R are optimized by removing the optical low-pass filter. In combination with the new BIONZ X image processing engine this design increases resolution and enhances the reproduction of the finest details. In addition, the sensor includes a new gapless lens design that fills the space between neighboring pixels to significantly increase light collecting efficiency and realize high corner-to-corner image quality. Differing from the Sony Alpha a7, the Alpha a7R with its omitted low-pass filter, gapless lens design sensor and contrast-detection AF provides the utmost in high-resolution, finely detailed capture. With 36.4 effective megapixels, the Exmor CMOS sensor captures high-resolution, low-noise images with rich tonal gradation and low-light sensitivity. The normal ISO range on the Alpha a7R is 100-25600.
A7R: Gapless, On-chip Sensor Lenses
Sony optimized the design and positioning of the sensor’s on-chip lens (OCL) covering every pixel to significantly enhance light-gathering efficiency. A gapless on-chip lens design eliminates the gaps between the micro-lenses to collect more light. Moreover, each on-chip lens is optimally positioned depending on its location to accommodate the sharper angle of light entering the periphery, which is caused by larger sensor dimensions being teamed with the E-mount’s short flange-back distance.
BIONZ X Image Processor
The new BIONZ X image processing engine reproduces textures and details in real time via extra high-speed processing capabilities. Together with front-end LSI (large scale integration) that accelerates the earliest processing stages, it enables more natural details, more realistic images, richer tonal gradations, and lower noise whether you shoot still images or movies.
A7: Fast Hybrid Autofocus
Enhanced Fast Hybrid auto focus combines speedy phase-detection AF with accurate contrast-detection AF, which has been accelerated through a new Spatial Object Detection algorithm. Phase-detection AF with 117 densely placed phase-detection AF points swiftly moves the lens to bring the subject nearly into focus, then contrast-detection AF with wide AF coverage fine-tunes precise focusing. A7r does not have the hybrid AF.
A7: Up to 5 fps Continuous Shooting
New faster, more accurate AF tracking, made possible by Fast Hybrid AF allows you to capture action shots and that ‘perfect’ moment with 5 fps continuous shooting in Speed Priority Continuous Shooting Mode. Differing from the Alpha a7R, the Alpha a7 provides a Hybrid Focus system that enables faster focusing and frame rates for photographers who favor performance speed.
Compatibility with Sony’s E-mount Lenses and New Full-Frame Lenses
Maintaining its lightweight form, the Alpha a7 is fully compatible with Sony’s present APS-C E-mount lens system and the new line of E-mount compact full-frame lenses from Carl Zeiss and Sony’s premier G-series.
3.0″ Tilt LCD Monitor
The tiltable 3.0″ Xtra Fine LCD Display offers a 1,229K-dot resolution and makes it easy to photograph from low or high angles, swinging up 84° and down 45°. WhiteMagic technology dramatically increases visibility in bright daylight. The large display delivers brilliant-quality still images and movies while enabling easy focusing operation.
2.4M-dot OLED Electronic Viewfinder
With its 3-lens optical system the viewfinder faithfully displays what will appear in your recording, including the effects of your camera settings. You’ll enjoy rich tonal gradations and improved contrast. High-end features like 100% frame coverage and a wide viewing angle enable comfortable and stable eye-level composition.
Full HD Movie at 24p/60i/60p with Uncompressed HDMI Output
The Alpha a7 supports in-camera AVCHD codec frames rates in super-smooth 60p, standard 60i or cinematic 24p. MP4 codec is also available for smaller files for easier upload to the web. Also, it is possible to capture Full 1080 HD uncompressed clean-screen video files to external recording devices via an HDMI connection in 60p and 60i frame-rates.
Built-in Wi-Fi and NFC
Connectivity with smartphones for One-touch sharing/One-touch remote has been simplified with Wi-Fi/NFC control. In addition to Wi-Fi support for connecting to smartphones, the Alpha a7 also supports NFC (Near Field Communication) providing convenient transfer of images to Android smartphones and tablets. Users need only touch devices to connect; no complex set-up is required. Moreover, when using Smart Remote Control – a feature that allows shutter release to be controlled by a smartphone – connection to the smartphone can be established by simply touching compatible devices.
Direct Access Interface
Quick Navi Pro displays all major shooting options on the LCD screen so you can rapidly confirm settings and make adjustments without searching through dedicated menus. When shooting opportunities arise, you’ll be able to respond swiftly with just the right settings.
New Eye AF control
Even when capturing a subject partially turned away from the camera with a shallow depth of field, the face will be sharply focused thanks to extremely accurate eye detection that can prioritize a single pupil. A green frame appears over the prioritized eye when focus has been achieved for easy confirmation. Eye AF can be used when the function is assigned to a customizable button, allowing users to instantly activate it depending on the scene.
14-bit RAW Output
14-bit RAW image data of extremely high quality is outputted by the Alpha a7. This data preserves the rich detail generated by the image sensor during the 14-bit A/D conversion process. When developed with Sony’s Image Data Converter RAW development software, these images deliver particularly high quality photographic expression and rich gradation.
Wired Remote Control with Video Capture Control
Remote Camera Control allows you to control your Alpha a7 from your computer using a USB cable. It has been updated to include video capture control.
The Alpha a7 features the advanced Multi-Interface Shoe that dramatically expands compatibility with Sony digital imaging accessories such as flash units, microphones, lights, and monitors thus increasing the potential of your photo and movie shooting.
OK, so what about this funky looking body that some are calling ugly and some are calling beautiful?
I feel that the Sony A7 and A7r bodies have a 70′s retro vintage vibe mixed with a bit of modern style. In one way, the square body and EVF hump remind me of the old film bodies yet the glossy black and SONY logo do not. For me, I liked it from about 36 seconds after I saw it, especially with the funky thin grip attached. It made me feel like I was holding an old school yet modern camera and when holding it, it gives you that feeling of confidence.
The build is solid on the A7 and A7r. Both have magnesium alloy build with the A7r having a little more metal in the front and within the top dials. Speaking of dials, Sony did it right with these cameras. There are manual dials for anything you need to control and once set up to your liking you will never need to delve into the menu system. Need to change aperture? No problem, turn the thumb dial. Need to change ISO? No problem. Shutter speed? No problem. EV comp? No problem, use the dedicated dial.
After using these for a few weeks it is obvious that Sony did their homework. To some, it may seem like there are too many dials but there is not. To those who appreciate manual control and being able to instinctivly change a setting, the Sony’s are a treat. Makes me wish my Leica M had an Exposure Compensation dial as I use it often and on the Leica M it is a pain to change. So as you can see, the top of the A7 and A7r have two dials, one for shutter speed, one for aperture. They also have a mode dial and an EV dial. On the back there is a dial that can be programmed to control whatever you want and the C1 button up top can also be set up to do whatever you command it to do (ISO, focus mag, etc)
So with some long term use I grew to really enjoy the feel, design and control scheme of the A7 and A7r. The build of the cameras is solid and feels good in my had. They do not feel as solid nor as good in my hand as my Leica but remember, these bodies are thousands less than the Leica yet offer the same or better IQ.
Sony A7 and 50 Noctilux F/1
That LOUD Shutter!
The #1 thing that made waves throughout the online photo community about these new A7′s is the LOUD shutter. Yes, it is louder than about any other digital camera I have used. Is it a big deal? No, not really. I can see where it may be a big deal to those who need to shoot in quite locations but if that is the case, only digital cameras with silent leaf shutters would work anyway. No big DSLR has a quiet shutter so the A7 is about the same as all other major cameras. It has a real shutter.
The A7 is not as loud as the A7r because when you shoot it you will hear ONE shutter click. The A7r has TWO shutter clicks. This is just how it is and I was told it is all due to sensor design and the sensor in the A7r needs that 2nd click. With the A7 you can set the shutter to either way by choosing “first curtain” in the menu to on or off. The A7r does not have this menu item.
Below is a video I did showing the shutter sounds of the Sony and the Leica M side by side:
So if you need to know ANYTHING at all about these two models it is that the shutter is on the loud side so do NOT expect silence when shooting :)
The Native Sony and Zeiss Lenses and my thoughts
The Sony A7 cameras have a total of THREE Native lenses at or near launch. The Zeiss 35 2.8, the Zeiss 55 1.8 (coming a few weeks after launch), and the 28-70 Kit Zoom. The 35 2.8 and 55 1.8 are SUPERB lenses and for me the 35 takes the cake for the best launch lens. It is small, fast to AF and has a gorgeous Leica like quality about it. Even being an f/2.8 lens it is fantastic and gives off a shallow DOF that I would not expect from an f/2.8 lens.
The kit zoom is average. It is somewhat larger than the other two, and a slow aperture zoom that I just could not get into..at all. I am expecting the upcoming Zeiss 24-70 to rock it out of the park but this kit version is just average when it comes to kit zooms. Still one thing I will never understand. Why does a company release an amazing camera with a sensor that can resolve the most detail EVER in 35mm but they release it with a slow below average kit zoom lens? Makes no sense other than it makes the kit cheap and more affordable which is good for sales but bad for image when people are like “Hey, my images do not look like those I saw on the internet”..
The Zeiss 35 2.8 is a GREAT lens for the system.
The 35 at 2.8 and ISO 500
The 35 2.8 at 2.8
IMO, the 35 2.8 is a must buy lens for anyone with an A7 or A7r. It seems like it was made for the camera and was my fave during the review period.
The Zeiss 55 1.8 is also fantastic and not as large as many have made it out to be. Sure it is larger than a Leica 50 Summicron, and much lighter, but it is still fantastic. The AF speed is good but not amazingly good. I have had this lens miss the AF point when shooting in low light as well as up close. Still, it is amazingly brutally sharp even wide open.
I still find the AF of the A7 and A7r to be quicker and more accurate than the last Fuji bodies I have tried.
The A7 and 55 1.8
DETAIL EXTREME: In the Studio with Nikki Leigh and the Zeiss 55 1.8
So how much detail can we expect from the A7 or A7r? My quick answer? Either one will offer PLENTY of detail and resolution. Here is proof.
I shot model Nikki Leigh using the A7 and A7r using some FANTASTIC new LED lights..in fact, they are the best and coolest LED lights I have ever seen or touched. You can check them out here but they are small, compact, built like a tank and pack 1344 LED’s into each unit. They are dimmable and VERY easy to set up.
The results were great and the Sony/Zeiss 55 1.8 showed its stuff, even wide open and close to it. The two photos below were converted from RAW with some sharpening applied but these are the full size files. Click on them for the full size.
Note both are from the A7 as the same shots I did with the A7r were actually softer for some reason. So to those who were afraid of lack of detail in the A7, no worries :)
The A7 and 55
The A7 and 55
and here is a video of me using these lights
I am not usually a light guy but these little powerhouses come packed in their own pelican style case and are ultra portable. I have never seen this kind of power from an LED. If you are into lighting and do not want to mess with strobes, these can be a great alternative. Very very cool and super high quality. The Simple Studio 1344′s are very simple but very serious lights. Again, they can be seen HERE or HERE.
DETAIL EXTREME: Sony A7R and Zeiss OTUS 55 1.4
The most mystical, magical and sharpest lens I have used on these cameras (as well as having the best color) is the Zeiss Otus lens in Canon EF mount. An adapter is required but MAN this lens is AMAZING. Probably the best lens I have used in the 50mm range, ever. BUT the main drawback is that it is HUGE and pricey at $4000. Click the image below and you will see the full size from RAW file. Focus was on the eyelashes.
The EVF and Manual Focus of the A7 and A7r
The EVF (Electronic Viewfinder) in the Sony A7 and A7r is the same EVF that Sony sells for $450 (for the RX1, RX100II, etc) so yea, it is good, and BUILT IN. While not as large or clear as the Olympus EVF-4 that resides in their flagship E-M1, the Sony has the 2nd best EVF I have ever used. These days I much prefer a good EVF over an optical VF (though I love the rangefinder and VF in the Leica M equally).
So for those afraid of jumping to an EVF..don’t be. This is 2013, almost 2014 and EVF quality has come a long long way in the past 10 years. It can be a beautiful thing when looking through the EVF as what you see is what you get. No need to worry about VF coverage or any of that. It is easy to frame and you know what you are getting when you press that shutter button.
I have no complaints on the EVF in the Sony A7 and A7r. BOTH have the same EVF.
The Speed and overall usability of the cameras
The A7 and A7r both feel good in the hand but both have loud shutters. Some love the sound as it takes us back to the old mechanical days of a real shutter firing. Some shutters are quieter than others and the Sony A7 and A7r are on the louder end of the spectrum and I think that due to this it gives us the impression that the camera is slower or clunky. These cameras do indeed feel slower than an Olympus E-M1 or RX1 in use and I kind of compare them to shooting medium format. Slow paced and steady. Aim, compose, fire. These are not the cameras for sports shooters or machine gun blazing shutter crazies as they are not. Still, I managed to catch this little horse pulling this guy in a buggy and they were CRUISING! But oh..I shot it with a manual focus Zeiss Otus :)
Still, the A7 and A7r are faster to AF than the NEX-7 and most Fuji X bodies. So it is not slow, it is just not blazing fast. Also, do not expect too many frames per second with that A7r (up to 4).
The Menus & WiFi
The Sony A7 and A7r menus are a BIG step up from those found on the NEX series. In fact, the A7 series now has the Alpha menu so those who are familiar with the RX1, A99 or any A camera of recent times will be right at home with the menu on the A7 series of cameras. I find the menu clean and quick and easy to navigate. You can see more in the video below:
Below is my video I shot when I was able to use these cameras at a Sony Media Event in Nashville, TN – I go over the cameras and give my early thoughts on them.
WiFi is also included and it works like a charm. It is super easy to set up and start sending images to your tablet, phone or device. I was taking shots out on the road, instantly sending them to my iPhone and then instantly posting to Facebook. Amazing how far technology has come in the past few years. Amazing.
The battery life
The Battery life of the Sony cameras is not the best. I do NOT shoot at a high frame rate and I calculate my shooting. If I see a shot, I frame it and take it. I am not into chomping too much either. Usually with the A7 and A7r I found myself at 40% left at the end of a day with 150-200 shots taken. Others who shoot with the A7 find themselves running out of battery mid day so I would suggest buying 1-2 extra batteries with this camera. The good news is that it uses the same battery as the NEX series so if you are upgrading from a NEX system camera you already have a spare or two. They will deplete faster than a NEX-6 or 7 will.
The High ISO Performance of the A7 and A7r
High ISO performance is as good as can be expected. I ALWAYS test these without ANY noise reduction, so NR is OFF 100%. I also test indoor under low light, not with studio light as that makes zero sense..at all. No one shoots high ISO in the studio or in good light so the best way to test the ISO performance is under low light, indoor, when most of us will want to use it. It boggles my mind that so many sites still test high ISO with studio lighting. Below is a test scene in my office with 100% crops of each ISO from 640-25,600. The A7 and A7r are so close in high ISO it really is a draw when it comes down to looking at the images, weather resized or prints.
Take a look below but you MUST click on the crops to see them as 100% crops.
Shooting with Leica lenses is a treat for me because this is one part of the camera I was really excited about. When you shoot Leica lenses for many years it is tough to go back to cheap plastic primes and zooms and when I realized that these two cameras were coming I knew it would be huge for those who shoot Leica M glass.
I tested this camera with loads of M mount lenses including those from Leica, Zeiss, and Voigtlander. All worked great besides the ultra wide M mount glass (Though the Leica W.A.T.E. 16-18-21 works very well without any real issues). The Zeiss 35 Biogon f/2 performed wonderfully for me as did the 50 f.2 Planar. The Voigtlander 35 1.2 Ii was amazing (the image above was taken with this lens) and the Leica 50 Noctilux f/1 and 75 Summilux also knocked it out of the park with results bettering what came out of the Leica M for me. Crisper, more detail from the A7 and A7r.
So for me, the A7 and A7r represent a tremendous value because I can take it out and shoot with the fabulous auto focus 35 2.8 Zeiss or use a Leica M mount lens and fire away.
Shot with the A7 and Zeiss 35 Biogon at f/2 inside a music studio
Below – the A7R and Leica 50 Noctilux F/1 – Amazing combo. One can find a used Leica Noctilux F1 for around $5k these days..add that to the $1700 A7 and you have a drop dead gorgeous combo for less than the cost of a Leica M alone. This lens works just as magical as it does on any Leica M camera. I manually focused this shot at f/1 and did not use peaking or magnification. Focused on my eye and due to the large EVF, it was easy to do.
The Zeiss 50 ZM PLanar f/2 is a tremendous bargain in the M mount world. Competes with the $2200 Summicron at less than half the cost but provides the same sharpness but with punchier color and more 3D pop.
For mounting the M lenses I mainly used the best in th ebusiness M mount to Sony E mount adapter, the Novoflex. It is expensive for an adapter but when you are using lenses that are worth multiple thousands of dollars, spending $250 on the best adapter should not be an issue. But if you do not want to spend $250 on an adapter or are all tapped out from the camera and a lens, then you can also buy a $15 adapter from Amazon, as they work also. They are not made as well, have looser tolerances and can come loose after a few weeks but $15 vs $250..you cold buy 10 of them and still save $100.
I bought my adapters before the big A7 and A7r storm and as of this writing they seem to be out of stock everywhere but should be back in stock soon.
So the bottom line is that the Sony A7 and A7r will both work with most Leica M mount glass but some wide angles or ultra wide angles will give you bad color shifts on BOTH cameras so just beware of some lenses 28mm and under as some will work, some will not. I have no way to test them all so search around the internet for more info on this subject.
Manually Focusing with the A7 or A7r
As for manually focusing these lenses, I had NO PROBLEM. I did NOT use focus peaking as I found that when shooting super fast aperture lenses at f/1 or f/1.2 it hampered the focusing. I also really did not use the focus magnification as it took too long to activate with two button presses. When I looked through that big fat EVF and just used my eyes to see when the image was in focus, it just worked. So concentrate and use your eyes. Your mileage may vary depending on your eyesight and comfort level. If it is tough for you to manually focus just by using the EVF, feel free to use the peaking feature or the magnification. Both tools are there for this purpose.
An OOC JPEG from the A7r and Voigtlander 21 1.8
The Sony A7 and A7r both offer full HD video and Sony usually does video very well. I have not yet had the time to test video but will be doing so soon and then will add my thoughts and video sample HERE. So check back soon!
The Pros and Cons of the A7 cameras
Full frame in a smaller sized and well made body
Monster resolution for both cameras!
Super rich files!
No AA filter in the A7r should give you a little more detail to work with.
Solid buid, small body – yum.
Built in EVF is fantastic..big, clear and easy to frame
Easy to navigate menu system
Dials, dials and more dials. Easy to manually control!
Focus Peaking is helpful but not necessary.
Works great with classic manual focus lenses, a joy to use.
Easy to adapt many lens mounts! Canon, Nikon, Leica..
Price Point is perfect!
Nothing else like it anywhere near this price – PERIOD
Cameras feel slow/clunky in use.
Shutter sound is loud, especially with A7r
Kit Zoom is lacking in quality.
Some wide angle Leica M mount lenses have issues when adapted (but this should not be a con)
Lack of lenses at launch (only the 35 and kit zoom on launch day)
Very High ISO is a little better on last years RX1 and RX1r it seems.
May cause you to spend more money on M mount lenses :)
The A7r can indeed be a little challenging to handhold in lower light without blur.
My Final word on the Sony A7 and A7r
I really enjoyed the A7 and A7r cameras. At launch I was insanely excited about them because there is simply nothing else like them at this price point, and even my beloved Leica M..well, the A7 and A7r surpass it in overall IQ. While they do not offer the same build, feel or joy of use as my Leica M, they can compete and surpass in overall IQ, and do. At a fraction of the cost as well.
Still, I love and adore my Leica for many reasons, not just the great IQ. To those who own one and shoot with one you will know exactly what I mean. It is the quintessential photographers camera.
As for the Sony, you will get a ton for your money with these guys but not everyone will fall in love with them. While there is nothing to complain about in the image quality department, the camera does have some quirks. It has a loud shutter sound, so forget about being sneaky..at all. They feel a little but slow and clunky in use and it may just seem that way due to that noisy shutter – a mental thing. Which one to choose? I feel that Sony should have released ONE camera as even for me reviewing them and trying to connect with one of them..it was tough. BOTH are fantastic and there really is not enough separating the two to warrant two separate models. That is just my opinion but a super A7 with a mix of both cameras would have been great at $1995.
The build is good but not Leica M or Nikon D800 or Olympus E-M1 good. They are sort of an in-between. They feel more hefty than the NEX-6 and NEX-7 but not up there with the top of the heap. Some things could have been made to be more sturdy..the battery door for one. With a premium camera and one that is making a statement I feel Sony should have REALLY made a statement like they used to do back in the day with certain products outside of the camera line (anyone know of the SCD-1)?. But it is what it is and the cameras are excellent but not perfect (No camera is though). Note that I am NOT saying the build is cheap or low quality as it is NOT, it just could be a little better.
One thing is for certain…the A7 and A7r do fantastic with old school manual focusing lenses. I had no issues focusing, even when testing out a Leica 50 Noctilux f/1 and I do not even use magnification or peaking..just the big EVF and my eyeballs. There is no question that these offer huge bang for the buck and some of the best IQ you can get in 35mm but is that enough to overlook the fact that there is really only 2 quality lenses available at or near launch? (the 35 and 55).
The EVF is fantastic, 2nd only to the one in the Olympus E-M1. The files are rich, detailed and full of information. Creamy, dreamy and shallow if you so desire. The lenses have great quality and bokeh and would really be all I needed with the camera.
Like I said, I really enjoyed these cameras and I took many fantastic images without any issues or problems but for the 1st 2 weeks I was not bonding with them, and I could not put my finger on it as to why that is. Then it hit me.
I like the build, the feel, the design and the features but I think the response is just not there when compared to my Olympus E-M1, which is lightning fast in response. I have been shooting that E-M1 like mad and when I switched it up to the A7 and A7r it seemed like I was working in slow motion..and I am not talking about AF, just overall response time of the camera.
So after I realized this I started to take out the A7 and I thought of it as a medium format rig. It is right at home when shooting it slow and steady and by doing so it can reward you with some astonishing files and images. In fact, I started to like it more and more and more because in this regard, it started to remind me of my Leica. Slow..steady..and take that one shot you know will be a keeper. Now it is faster than a medium format camera but when you go out with that mindset you can bring home some amazing imagery.
That is when it started to attach itself to me and I really saw the beauty and the value in the A7 cameras.
At the end of the day, if you want a fantastic full frame camera that is at the top of the heap in the IQ department, one that is smaller than all of the bulky SLRs and one that is much less expensive than the Leica M, take a long hard look at the Sony A7 or A7r. If you want to shoot Leica M glass or even Nikon or Canon glass..you can. If you have a stash of Sony Alpha DSLR glass, you can also shoot with that (with adapters of course). So the name of the game with the Sony’s are VALUE. You get a lot of BANG for your BUCK, especially with the A7.
These are an EASY recommendation and if you are out there trying to decide which model to go for, I can not see anyone being unhappy with the A7 over the A7r. At under $1700 for the A7, it is a steal for what you are getting. The 1st lens I would get is the Sony/Zeiss 35 2.8. It has a gorgeous rendering that reminds me of the highest quality Zeiss lenses of the past.
I love what Sony is doing and I can only imagine that in a year or two these cameras will get even better, faster and slicker. I am happy to support a company that just “gets it” when it comes to what we want in a camera. Go Sony GO!
**Later tonight or tomorrow I will post a first look review from Ashwin Rao who shot the A7r with a slew of Leica M mount lenses. So if you want tons of results and thoughts on that subject, be sure to come back here later or tomorrow for more! Thanks for reading!
The 7R at ISO 1250 with the 35 2.8
WHERE TO BUY THE A7, A7R and Accessories such as Lens Adapters, Lenses, etc.
The A7 and A7r where to buy page is HERE but you can also use the links below:
PLEASE! I NEED YOUR HELP TO KEEP THIS WEBSITE RUNNING, IT IS EASY!
Hello to all! For the past 5 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. 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.
So all I ask is that if you found the 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.
Readers of Steve’s excellent website will know that I have used and written about a number of cameras including the Fuji X100 and The Nikon V1. These tend to be used mainly for my passion of street photography. At present I am using the Leica M8 which whilst almost an antique in the digital world is still capable of producing stunning results, with the right light and lenses that is. However following the often quoted line’ the best camera is the one you have with you’, there have been times when the M8 gets left at home and guess what I miss some shots. So I set about looking for a truly pocketable camera that could still produce results that wouldn’t leave me wishing I had taken the picture on the M8.
My short list included the Canon S120 and the amazing Sony RX100. However both lack a viewfinder, which being ‘old school’ I still prefer to hold a camera to my eye, at least as an option. It was at this time that Leica announced the C type 112, which yes I know is a rebranded Panasonic LF1. Although you pay a premium for the red dot, at least it includes a copy of Lightroom 5 and I believe a better warranty? I also prefer the Audi design which comes in two finishes, Champagne or Dark Red. I chose the Dark Red version as being the more subtle for my street photography.
So why the Leica C? Well its unique I believe for a compact in including a built-in EVF, ok the quality of which is pretty rubbish by todays standards and the view minisucle. However when the sun is too bright for the rear screen at least one has an option. It also boasts built-in Wi-Fi which when used with the free app, Leica Shuttle, available for both Apple and Android devices, allows one not only to transfer your images wirelessly to your phone or iPad (and then share to Facebook etc.) but also operate the camera remotely!
Other features that I liked include the zoom range which extends from 28mm to 200mm, which beats both the Sony and Canon alternatives hands down. Perfect for travel photography which also happened to be perfect timing for me as I was just about to go on holiday to Israel. At the 28mm end of the zoom range the aperture is a fast f2.0 although this reduces to f5.6 at 200mm.
I have found noise control to be acceptable to as high as 1600 iso providing one shoots in RAW (or DNG to be precise as this is the native Leica method) and edit subsequently in Lightroom. The autofocus I have found to be really fast and never misses, far better than the Fuji X100 and not far off the NIKON V1.Usually like Steve I use the single focus point method, but I have been trying out the focus tracking which has been superb. It’s by far the easiest I have used and great for tracking people walking towards you . Once locked on where the focus point changes from red to yellow, it works a treat. As for other features, it also sports a lens mounted control ring, like its rivals, but better I find than the Sony in that is has click stops. This ring can be assigned to almost any function that suits you. I tend to use it as an exposure compensation dial. Choice of shutter priority, aperture or full manual as well as the usual auto and program modes.
So any downsides so far? Well yes I wish it had the larger 1″ sensor that some rivals have for better dynamic range and noise control and that the EVF could have been better. However apart from this, I feel I have now found a camera that truly is always with me when I leave home. No more excuses from me for missing that once in a lifetime photo!
With all of these new cameras hitting us before the holidays we cannot forget that there are used deals to be had and for those who wants a Leica but do not want to shell out $7k for an M 240 or $8k for a Monochrome, there are some used deals to be had. Of course, in the Leica world it is hard to use the word “Deal” but you can save some cash over what these sold for new, and that is always good.
Just saw that the old M9 is getting lower in price. It has now sunk under $4k selling through PopFlash.com right here. Yep, they have an M9 in “steel grey” for $3997. So check it out if you are interested in that CCD charm. 12,000 actuations and comes with box and all.
Below you will find links to that camera as well as other used deals that some of you may find interesting..enjoy!
…and as always, Ken Hansen always has loads of used stuff and if you are ever looking for something give him an email at [email protected] The Pro Shop also has used items from time to time and they can be reached at 561-253-2606.
With the new Sony A7 series being shipped now to many photographers there is a renewed interest in Leica glass. I loved the 50 Lux on the A7r as well as some Zeiss ZM lenses. Always fun to shoot old school :)
Three quick pics! Sony A7r, A7 and Leica M 240 – From RAW, full size.
Just for fun!
Hey guys, yes, I am working on the Sony A7 and A7r review so hang in there. These things take time :) Below is a quick snap I shot in my kitchen, handheld with an A7r, A7 and Leica M. The Sony cameras had the Zeiss 35 2.8 and I shot it at f/3.5. The Leica had an old 1950′s 35 3.5 Summaron attached.
You can click them for full size.
Also, here are a couple of shots from Nashville, but these were converted from RAW this time :) EXIF is embedded in each file if interested. The 1st shot of the woman on the horse was shot with the 55 1.4 Otus, The 2nd shot of the man was shot with the Sony 35 2.8 and the third with the Zeiss Otus once again.
See my Leica M review HERE. Pre-Order the A7 cameras HERE.
Shooting the legend: Zeiss Hologon 16mm/f8 with Leica m Monochrom
By Dierk Topp
This lens fascinates me since it was announced in the late sixties in a version as a fixed lens in a Zeiss Ikon body. And some time ago I bought this very special lens with Leica M mount and used it on the Leica M Monocrome. It is a Contax G lens, converted to Leica M mount. The price for one of the few original Hologon 15mm/8 lenses are about 17.000$ (if you find one). My price was less than 3.000€, still a lot but it is for a very special lens.
If you are interested, you may find some interesting information on this site:
The lens has a fixed aperture of f/8 and uses a ND center filter against the severe vignetting making it an effective fixed f/16!
Due to its almost symmetrical construction it has near zero distortion and superior DOF at f/8 and it is ideal for architecture and images for great DOF. The severe color/magenta shift is no problem on the MM.
If you are interested, I would like to prepare some explaining text and and as many images, as you want.
Midnight Crazy Comparison! HIGH ISO – Sony A7, A7r, Leica M and E-M1!
It’s just past midnight and probably will be 1Am before I am finished writing this post but I just can not sleep and am not sure why. In fact, I feel wired for some reason. Maybe it is the fact that tomorrow I will be yet another year older and hitting the age of 44 yet my brain is telling me I am 25 and full of energy :) Nahhh. I think it was the fact that I was laying in bed thinking about what the high ISO performance of the Sony A7 and A7r is like side by side. I decided to get up from bed to go to my office and do a quick and dirty high ISO test between them. While I was at it I added the Leica M 240 and the Olympus E-M1. All cameras were using a 35mm or equivalent lens and all are OOC JPEGS without any NR turned on.
I noticed some reviews of the Sony were claiming mushy details at high ISO. Well, that is because they were using Noise Reduction. TURN IT OFF on ALL of your cameras for best results. It is my opinion that NR should not even be an option for a camera as it always obscures details and adds odd side effects to your images. Almost like a painting. The 1st thing I do when using a new camera is I turn off all noise reduction. It is off on my Olympus E-M1, the Sony RX10 ,the A7′s and the M 240 does not even have it as an option (from what I have seen) so Leica did it right.
The A7r…I am bonding with it…
The Sony A7r has been really attaching itself to me. After a few days I prefer it to the 7 in all ways..even shutter sound. It may be longer but it is a little more “silkier” it seems. I also prefer the higher resolution as it is something I just do not have in any other camera. Having no AA filter is only good IMO and my favorite cameras do not have them (Leica M, E-M1, RX1R, etc). Also, the Sony/Zeiss 35 2.8 is THE lens to order with this system. I like the 55 1.8 as well but the 35 has something about it and I can tell it has those Zeiss qualities. Many have asked me how the A7r with Zeiss 35 2.8 compares to the RX1 or RX1R. Well, the A7r focuses faster, is higher resolution, just as sharp but you lose that f/2 and have to settle for f/2.8. But at f/2.8 you still get a great look to the image. Full frame + f/2.8 is good :)
A quick snap while in Ikea today with the A7r and 35 2.8 Zeiss. f/2.8 at ISO 400. JPEG.
So again, my full review is in the works for these new A7 cameras, so check back soon for the full detailed report with loads of images. I will also be in Los Angeles next week with some buddies at a studio testing out these cameras in a studio situation as well as some quick street work. Can’t wait and these images and my report on them will be in the full review.
The Crazy Comparison – HIGH ISO!
Hey! This was supposed to be a High ISO Crazy Comparison! Lol..well, here you go!
The Sony’s had the 35 Zeiss 2.8 mounted, the Leica has an old 35 3.5 Summaron mounted and the Olympus had the 17 1.8 mounted for a 35mm Equiv. ALL shots were JPEG, noise reduction OFF, OOC color and Exposure and AWB. The Sony and Olympus were shot at f/2.8 and the Leica f/4.
It is not a sharpness test but a noise test so here we go!
So there you go. Olympus did the worst with AWB, Leica did the best. As for noise at ISO 6400? What do YOU think? 100% crops are embedded so you must click the images above for the larger size. What I think is that ALL of them did great for a midnight indoor high ISO test in my office at ISO 6400 :). These days, high ISO is great on all decent cameras.
It is now 12:51 AM..and I am ready for bed..finally :) Have a great night (or morning) everyone!
Hope all of you are having a great relaxing or fun weekend! Just wanted to let you all know that I now have the Soy A7 and A7r in hand along with the 35 2.8, 55 1.8 and 28-70 kit zoom. When I was in Nashville shooting these a few weeks ago I mainly shot them with Leica M glass and LOVED It. I have now been shooting them with the Native glass and yesterday shot them indoors at a reptile show in Phx and did notice the AF missing a bit with the 55 1.8 lens (when shooting at its minimum focus distance). I found that using selective spot focus helped but still was not what I had hoped. Not horrible but not 100% spot on either. Keep in mind this was INDOOR in lower light and the 55 1.8 was on the A7 not the A7r.
The 35 2.8 did great and I LOVE the rendering of this lens! At 2.8 it is sharp yet creamy and gives off a very nice look. I can see the Zeiss signature here. I have a long way to go to review these cameras, compare them and see what they can and can not do. I also had my Leica M out with me along with an old 35 Summaron (which is so so so good and classical, even for being an f/3.5 lens) and the M shooting experience, I have to say, is 2nd to none though the Sony’s can put out even better IQ and detail.
So I look forward to shooting with these Sony cameras but can already tell you that the IQ abilities are up there with the best in full frame 35mm, if not THE best. Using Leica glass on them is a JOY. For some, buying an A7 and a Leica M mount 35 or 50 will be all that is needed :) The Sony Zeiss 35 2.8 is stellar as well, with AF.
I have shot a lot of weddings with my M9 and M9P. Actually, buying the M9 after using Canon DSLR’s for almost ten years was a pretty good move. Before that, I only took my DSLR if I could make money with it. Not just because my kit was big and heavy, but also because I lost the fun in it. I remember visiting the Leica Gallery in New York – a year before I bought the M9 – and holding a M8 and looking through the viewfinder. My wife told me that I should try to switch to the rangefinder system, because the small camera would suit my documentary approach perfectly. I told her I couldn’t imagine myself shooting a wedding without autofocus…but I kept thinking about it.
So now, four years later, I’m one of the few photographers shooting weddings with a rangefinder and I couldn’t be happier. The last four years have been a challenge, because I needed to learn photography again. There have been moments where I wanted to toss my M9 out of the window, but there also have been moments of pure photographical joy. I never spent so much time learning to use a camera before, but I needed to make it work. A wedding is a strange event: it is packed with beautiful moments, but most of these moments last just for a second, or even less. And I need to capture them, without zooms and without autofocus. My approach in wedding photography makes it even harder, because I shoot in a very pure, documentary style – that style justifies the use of a small camera of course – . I never stage any settings, never ask my clients to pose, so I’m completely dependent on real moments to happen. Sometimes, my clients and I visit a place to take some shots, but even then, I just let them do whatever they feel like doing. Usually, they take a walk and I follow them, trying to get the best position for a shot. I don’t ask them to kiss, or hold hands, or go to the good light, I just wait and see what happens. So if there is a quick kiss, or a sensitive moment, I need to get it. On many occasions I get the best shots when the couple walks from the church to their car. They are even less aware of the camera and they are overwhelmed by emotions, which makes it a perfect opportunity for photography.
A few weeks ago, the bride entered the wedding venue through the back door and on her way she crossed a square with a beautiful rectangular sculpture on it. The light was perfect and I took the shot. I know my clients want these real moments in stead of the staged and posed settings that are more common. It means I really need to be able to focus very fast, also with moving subjects. And after four years, I can say that I’m starting to feel confident about it, although I haven’t even come close to mastering it. Every single wedding is very, very hard work and I’m usually exhausted after a full day of shooting. The biggest difference with a ‘non-documentary’ shooter is that I am never sure what to expect, whereas the more traditional shooter creates his own settings and takes the shots he thinks he need to take.
Being a documentary photographer means I don’t use flash. Ever. I don’t want my clients and the guests to notice me when I’m working. I’ve covered receptions with my M9’s where the couple was dancing and I was shooting at ISO 2500, at 1.2 at 1/15th of a second. It was so dark that it was hardly possible to see something through the viewfinder. Sometimes I would focus just by muscle memory – that’s why I actually train focussing with my camera every day! – and it always worked out. Not for every image of course, but I always got the shot that I wanted. Still, I was pretty excited when the M240 was announced and reviewers reported about the high ISO capabilities of the new M. I got myself on the list and after some waiting, I was able to get one.
I didn’t need much time of practice with the new M, because it felt just like the M9. A little heavier, beefier, but much more responsive. The shutter appeared to be more silent, maybe not just in the amount of sound, but much more in the type of sound. The M240 doesn’t have the whine the M9 shutter has and the sound is shorter. Also, the feel on the shutter button is much better. With my M9, I used a soft release, but with the M240, it isn’t necessary at all. The only thing I took from my M9 is the thumbs up, because the built in one, just isn’t big enough. With my M9, I never was a machine gun shooter and neither am I with the new M, but it is very nice to have a bigger buffer when you need it. I never use the continuous mode, but sometimes I do take two or three shots in a rapid succession.
Another thing I absolutely love is the new battery. I can shoot on just one for almost a whole day, whereas with the M9, I had to change batteries twice. And I really needed to plan these moments, because you don’t want to change batteries in the middle of the ceremony. With the new M, I don’t need to worry about that.
I heard a lot of complaints about the M9 screen, but I only used it for checking the histogram every now and then. I don’t need to check focus on my screen. First, because I usually get one chance for each moment and second, I know when I’m out of focus. The new viewfinder is even better than the old one. I don’t know what they changed, but it is somehow easier to focus.
Of course, I laughed about the live view Leica implemented. Who would need that? Well, I’ve learned and now I know there are circumstances where live view is pretty convenient. During dancing I still prefer my rangefinder, because it just works better with all the movement. However, if it is very, very dark and people are standing still, I sometimes use the VF-2, the Olympus one – I’m not a fanboy…- and I find it to work nicely. Yes, there is more shutterlag and it takes ages before the blackout is gone, but I can focus very precisely and with my 50/1.1, it is the only thing that really works. My 35/1.2 is easier to focus, because of the longer focus throw and there is just a tad more tolerance, because of the shorter focal length and the quarter stop slower aperture. When I bought the M240 I thought that I wouldn’t use the 35/1.2 any more, but I have come to like it even more than I already used to. With the new M, the 35/1.2 delivers creamy, lovely bokeh and very nice transitions and very acceptable sharpness. Also, with the new M and the 35/1.2, I can handle the worst light you can imagine. Sometimes I tell my wife that my clients must have known that I gained two extra stops, because they reduced the light with two stops, but usually, I can use faster shutter speeds than I used to. And with people dancing, that can be very convenient. Another good thing is the improved dynamic range. Now that I also switched to Lightroom 5, the difference is really big. Sometimes, the DR is even so big, the image gets a kind of HDR look, which I don’t like. Of course, it’s quite simple to lose some detail in highlights or shadows. It all comes down to taste. At least, with this combination (M240 and LR5) you have a choice.
Yes, there is a difference between the M9 and M240 files. But you need to process them in a different way. I still love the way the M9 CCD renders and with low ISO, it is almost unbeatable. However, I don’t work for my portfolio, or for pixel peepers. I work for couples that don’t care about CCD’s and CMOS sensors. They do care for a photographer that works with a small camera and doesn’t use flash. With the M240, I can be a little more certain that I can get the shots, no matter the circumstances. And because I pay my mortgage with the money I get from my clients, that seems like a wise decision.
Getting two M240’s was not an option, simply because I’ll need to wait for at least a few months again. My M9, or M9P, features as a backup camera, but one of the new Sony’s might also be interesting, since their high ISO capacities are even better than the M240.
I wouldn’t have bought the M240 if it wasn’t the tool I need to make a living. I was perfectly happy with the M9 as a camera for travel and general photography. And also for wedding photography. However I knew that I was using it on the limit and that a somewhat more forgiving camera could be a smart investment. On my journey around the world I used the M9’s 160 ISO setting for 99% of the many thousand pictures I took. And I love them. Seriously, if you don’t need the high ISO, you might want to check out the M9, because it might be all you need. Lots has changed in photography and – as I write this – Sony just launched the A7 and A7R for much less than the price of a used M9. If you’re just after technical image quality, this might be your camera. To me, the simple layout of a rangefinder, with everything manual, makes me happy as a photographer. I have owned the M8 for some time, as a backup for my first M9 and even though that camera is ‘technically challenged’, I just loved it, because it isn’t cluttered with buttons and stuff I don’t need or want. Some people say there is no future for rangefinder photography and that the rangefinder mechanism is not suited for fast, demanding photographic assignments. Well, I do shoot dancing people in near dark situations and I need to deliver. I hope my work proves the opposite. If you train enough, you’ll be fast enough. And when the going gets tough, the light gets bad, you’re even faster with a rangefinder…
I’d lie if I’d say there haven’t been moments of doubt. It’s not without a reason most pro’s use fat and fast DSLR’s. They’re pretty reliable, cheaper and there’s more lenses to choose from. Also, IQ-wise it is hard to beat a modern DSLR. It is however a fact that I have shot quite a lot of assignments – also weddings – because I use this weird little camera. Believe it or not, people hire me to work with it. And in the last four years it has become my trademark. A few weeks ago I was invited at a wedding as a guest and I had a nice conversation with the wedding photographer. He didn’t know my name, but when I told him my business name, he suddenly shouted: “You’re that guy with the Leica!’. More recently, I shot a wedding for a Dutch film maker. He also owns a M9 and he really wanted me to get my documentary shots of his wedding. During the reception I managed to get very close to all the people dancing and take my shots without flash. Afterwards, the couple was very happy with the results. And when I read all these kind words and see the pictures I get with my M, I have no doubt. In the world of wedding photography, competition is fierce and working with the M and shooting my pure, documentary style, makes me stand out the crowd. And the fact is: my business is still growing.
I have started with one on one teaching in the Netherlands where I teach Leica users to focus their lenses faster. I’m still working on a tutorial that I hopefully will finish this year. It is a very practical book with many exercises to improve your focussing, without too much technical details. I’ll let Steve know when it’s finished. He might be interested in a review…
I’ve never really been a landscape kind of guy. Let’s just say that I wasn’t until my wife and I spent a week in Moab, Utah.
I’ve always been into the outdoors. I was eleven years old the first time my folks dropped my twin brother and I off in the woods and said “Hike to your aunt’s house if you get into trouble. Meet us at this spot in a week.” It was the mid 1980′s and parents had much more freedom and didn’t have to worry regarding public criticism from the media as they do today.
Backpacking and hiking have always been a passion in my life. Other outdoor hobbies have followed. I do not bring many new hobbies into my life as it is already full and I’m not willing to lessen the time with loves I already have.
The great thing about photography is that it does not interfere with the activities that I do or the adventures that I take. It compliments them.
My love and I always take at least one week-long outdoor trip per year. We fill the rest of the year with weekend trips as one week a year isn’t enough for us. On occasion I sleep out in the back yard for a quick fix.
While planning for the Moab trip my wife asked “Are you going to take some landscapes for me?” My love doesn’t feel as much passion as I do for street photography or my attempts at documentary style visual story telling. I used this opportunity to reply back “I am. But….. if we want to print the photos big I should probably invest in a wide-angle for my M9.” I still can’t believe that she agreed without hesitation or question.
I must say that after spending a week in Arches National Park and Canyonlands National Park I will definitely look forward to taking more landscapes. On a side note, many men ask how I get my wife to head out into the wilderness for a week at a time. I always respond…… Keep her gear light and comfortable. Keep her warm. Don’t forget to hold hands and snuggle in the tent. Tell her you love her.
A Leica M seems to be the perfect on trail, off the grid, landscape camera and here’s why I feel so:
SIZE: No explanation is really needed. Pack a DSLR on the trail with a battery grip attached and you’ll understand. On the trail no one has anything to prove. Carrying a heavy pack doesn’t make you any more tough. Have a good time. Pack light and enjoy the trip.
OPTICS: Corner sharpness? Micro contrast? I don’t really think about these concepts as I normally only care about composition and light when shooting street or documentary style. This matters when printing landscapes. I look at the landscapes I took during this trip and don’t really focus on a single subject but admire the composition as a whole. I actually look into the corners and into the details of the rocks. The quality from the M9 and M lenses amaze me.
TRIPOD: What are those for? With no mirror slap I shoot handheld. I’ve been known to shoot as slow as 1/8 of a second with my M9 in a dark bar while having pints with friends. I’m amazed that the photos actually turn out pretty sharp. I actually take a Zipshot Micro for the occasional self-portrait when on the trail. We occasionally run into people when out and about. When people ask to take our photo for us I’m nice, oblige, and hand them the camera. But….. we all know where that gets us.
CONNECTION: My buddy has a great saying “It feels right.” When I’m on the trail with a pack on, the pack feels apart of me. It feels right. When I’m on stage my guitar feels apart of me. It feels right. I hold a rangefinder to my eye with a finger on the shutter release. It feels right. Shooting a manual rangefinder feels pure. That’s also why I head out on the trail. It feels pure.
Attached are several photos from our trip. All photos were processed using Lightroom 4. I couldn’t resist converting them to black and white. I couldn’t get Ansel’s photos out of my head. My only two M lenses are a VC 28 mm Ultron and a 50 mm Summicron V4. I used both for these shots.