Apr 022015
 

There is no “I” in Team

by John Tuckey

Team Efforts

I wouldn’t advise anyone to overload a shoot with unnecessary bodies. The fewer people cluttering your space, the better. The less people to organise the better. It’s an absolute if you’re trying to create a sense of intimacy or intrigue and a simple practicality when you’re working to a budget or a tight time scale as most of us are. But ‘one man and his lens’ is not always enough – indeed, modern professional work is hardly ever created so. It’s a creative collaboration between the photographer, an art director, a stylist, a make up artist, a hair stylist, a lighting technician and possibly a set dresser. That amazing image in magazine ‘X’ is usually the result of a tight team who have a good working dynamic – not ‘one man and his lens’.

If you’re thinking about crossing this river and working your shots with a team it can be daunting at first. My advice is to keep it simple and pick your team carefully, don’t waste your resources and know who you can and can’t live without. I get my moments, but I’m still no pro – so I won’t worry about an assistant until i try a complicated location set-up. And a stylist isn’t even on my list unless I get involved in a commercial fashion shoot and the client specifically requests one – and even then they will probably be chosen by the art director.

So I’d suggest that for an amateur or hobbyist, the bodies to make sure you have covered on a model orientated shoot are the make up artist and the hair stylist. Sometimes the model can cover this off herself, but indispensable doesn’t even come close to describing the best I’ve worked with. And without even thinking I can give you three very good reasons why they’re always worth stretching the budget for.

Transformation

A skilled makeup artist can simply transform a face. Try these two of Emily, one with ‘normal’ self done makeup and the Next from a Make Up artist.

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The Devil is in the Detail

Much of my work revolves around vintage themes. Having the right make up or a particular hair style makes the world of difference. In these portraits of Olivia, the lighting may well have achieved the look on its own, but the work of the hair stylist in those thirties style fingerwaves added the polish – making the vintage feel of the final image effortless and complete.

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Tricks, Shortcuts and FX

These Lonsdale shots aren’t just about beauty and boxing, but also strength, character and control. The make up artist on this shoot pulled the FX off with ease: Jammy the model was engaged with the concept and we got some great shots as a result.

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Saving Time in Post

Doesn’t digital mean make up artists are a waste of money? If you don’t think of the hours you’ll spend in post-production as money, then I’ll grant you that a hair or make up artist might not be your best use of budget. But I’d rather get it right for real on the day and trade that time in front of a screen for more time with a camera thanks – a good MUA allows that.

If you are interested in my images or my workshops you can follow me on facebook at http://www.facebook/jrtvintage, on twitter where I’m @jrtvintage, at my own site at http://john.tuckey.photography or on my gallery page at Saatchi Art http://www.saatchiart.com/jrtvintage

Credits:

Models: Emily, Olivia Harriett, and Jammy Lou
http://purpleport.com/portfolio/oliviaharriet/
http://purpleport.com/portfolio/raspberryjam/

Emily and Jammys Make Up: James Minahan

https://www.facebook.com/pages/James-Minahan-Makeup-artist/482722908502345?pnref=lhc

Olivia’s Hair: Le Keux Salon
http://www.lekeuxvintagesalon.co.uk/
Best regards

John Tuckey

Mar 302015
 

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

Old version on the left, new on the right!

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

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

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

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

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

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

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Mar 302015
 

Leica M-P 240 Lenny Kravitz Edition “Correspondent” Special Edition – Let’s get dead serious here!

By Dirk Dom

When I saw that camera, I thought it was pretty cool. Until I discovered the price. This was the first camera that made me feel sick to my stomach.

I happen to own the most brassed Canon F-1 in existence:

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This is just so totally different from this Leica. It belonged to a pro sports photographer who shot 400,000 images of soccer through it, with a motor drive attached. I bought it for 200 Euro’s, and it didn’t even need a CLA! It just worked and light metering was spot on. He had changed lenses so often and so brutally fast that the bayonet connecting groove had worn a millimeter.

After a year or so I got the idea of sanding off the black paint from the viewfinder and polishing it:

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For a while I was tempted to give the entire camera this treatment, but then I would take all the character away.

I also have a completely mint F1:

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Not even the tiniest scratch. I decided to shoot it. After two years, shock!!! – I found a trace of brassing at the strap connection. I must say I felt real bad about it, but I got over it and continued using it, after all, that’s what a camera is for.

Now, this craziness of producing a pre brassed Leica for $ 24,500.

I’d sell my Canon for that price. But not for $ 10,000; my Canon is unique. It’s more a work of art than a utensil. No one has a camera that went through 400,000 shots and I have it. Maybe I’ll put another 50,000 shots through it.

The Leica craziness to get to the purest photographic experience plus their limited series thing made me think. I’m an experienced machinist having 3D design programs, computer controlled machines, CAM and fast prototyping to my hands. I work together with the Product Design department of the University of Antwerp. Maybe I could design the unique, ultimate camera for the Leica man.

It proved both very tough and simple: A Leica Man discovers images, recording them is already below him, that’s for other people. He doesn’t need film or silicon to convey his vision.

So I came up with this design:

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Most importantly: the red dot.

No lens. The Leica man’s eyes are sufficient.

No film or sensor.

No settings

One hole to look through, superfluous, because the leica man needs no aids for composition. The hole is carefully crafted round because roundness is perfection, like the round red dot.

No rangefinder.

One hole for the strap.

316 stainless steel for thousands and thousands of years of non destructibility. Carefully partially deburred by hand by a dedicated, experienced craftsman while still showing the roughness of the initial machining. The 45 degrees angled edge is a very personal artistic statement and the only give to brutal functionality. The ultimate limited series of only one!

Price: if you want to know it, you can’t afford it, of course.

Sorry, I just had to get it out, this is what the Lenny Kravitz Leica does to me.

Dirk.

Mar 272015
 

One Camera, One Lens and One Faraway Destination

By Fahad A

Hey Brandon,

Thank you for featuring my previous post I shared earlier this year.

Last summer I decided to go on a quick vacation somewhere far, somewhere I have never been before or even thought about visiting. Looked up the map, found Korea to be distant, far, interesting and not top of mind destination for someone who wants to roam around and take pictures.

Without any preconceptions about South Korea, I took a plane to Seoul, accompanied with a small suitcase that barely carries a couple of shirts, and a backpack that for my laptop and camera.

Few hours before the flight, I had a quick debate with myself about which gear should I take along with my Leica M + Summicron 50mm (V4), should i take the tiny Fuji 100s ? or should I take along the Nokton 35mm 1.2.

I decided to keep both Fuji and Nokton lens at home. went to Seoul with only one camera, and one lens! which means I’m stuck with 50mm focal length for the entire trip.

Did I regret it? I don’t think so. I enjoyed the limitation of only one lens. and how I should adapt with the focal length rather than replacing it or take out another camera with a different lens whenever I need to.

I might have missed few shots that were easier with a wider lens, however I’d sacrifice them anytime for the experience I got from limiting myself to 50mm.

Fahad A

For the full set, please take a look here:

https://www.flickr.com/photos/fahad85/sets/72157648593556971/

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Mar 252015
 

M9 pop on a M240:  The 35mm Zeiss Distagon T 1.4 

By Howard Shooter

Hi Steve and Brandon,

I decided to take the plunge and purchased the new 35mm Zeiss Distagon T 1.4 (how do they come up with such catchy names?). Now this is the first non Leica lens I’ve purchased and I had just got to the stage where I just couldn’t justify spending so much on the Leica 35mm 1.4 lens. The Zeiss has had a few tentative good reviews and at a third of the price of the Leica seemed like excellent value (if not a bargain). What’s interesting about this lens to me is that it produces the pop and contrast of the M9 with the tonal dynamic range of the M240.

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It is now my favourite lens on my Leica and although a little chunky is beautifully built (Better than it looks in the photos of it). These shots were taken at Delphine’s, a wonderful 1950’s diner in the town of Aldeburgh, Suffolk. Caroline and Pete have given up the rat race to produce the best burgers and milkshakes in Suffolk… If you happen to be passing so hi to them from me! Anyway I’ve processed these in Lightroom but only a little and I think the colour pop is fantastic….

Let me know if you agree,

best

Howard Shooter

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Mar 242015
 

Quick Crazy Comparison! Leica M-P 240 with 35 Cron vs Sony A7II with 35 Zeiss Loxia!

JUST FOR FUN!! I have a Leica M-P 240 here with a Leica 35 Summicron ASPH. I also have my A7II with Zeiss 35 Loxia so I decided to run out back to take a couple of TEST shots, just for fun. I was curious about BOKEH of each lens and for my tastes, the Leica 35 Summicron won the Bokeh test for me. The Loxia is a tad busy in comparison. In either case, both of these cameras and lenses can do wonderful things but there are small differences in IQ and HUGE differences in using the cameras.

I have become so used to my A7II and Manual Lenses I adore the EVF and accurate focusing. With the M I adore the experience of shooting a rangefinder in a mature digital body. I also love the battery life of the M. Below are a couple of shots all wide open at f/2 to see the character of each lens. Nothing more, nothing less.

All were RAW and colors were not tweaked. What you see is what came out of the RAW conversion except for test shot #2 where I converted each to B&W to see if there was a difference. I used Alien Skin for the B&W conversion. Click images for larger versions.

You can read my A7II review HERE or my Leica M Review HERE. 

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Mar 242015
 

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LENS BATTLE: CANON  vs LEICA 

by Paul Bartholomew

Dear Steve

This is my second user report I’ve written for your great site but this one is quite different from my last one (An Englishman in New York).

I’ve been a Canon user for years having had a 5DMK II, a 7DMK I and the camera I shot for part of this review the excellent Canon 5D MKIII. I have a little Olympus E-PL 1 and a Canon G11 too but my pride and joy is my Leica M240. That camera is the second M I have owned having upgraded from an M9 about 18 months ago. And what an upgrade! I really can’t understand those who prefer the M9, the colours, the noise, the dynamic range – all much better on the M240 to my mind, with live view to boot with EVF support (this is important for this article).

I’m not exaggerating when I say the Leica M240 is the camera I had hoped the M9 would have been, but whenever I shot with the M9 I found the images a little muddy in their tones – like the files were missing some information – not so with the M240.

After bumping along happily with both the 5D MKIII and the Leica M240, I realised the Canon was mostly staying in its foam-lined drawer in my study, I preferred to shoot with the M240. This wasn’t something that had happened with the M9 – the 5D MKIII gave me better images, but not so when compared to the M240. So, I began to wonder whether I actually needed the 5D MKIII… Of course letting go of the body was one thing but letting go of the lenses was quite another. At this point in time I owned a 300mm f/2.8L (easy to get rid of, I seldom shoot long), a 24-105 f/4L – a nice enough lens but not one that I actually used that much, a 16-35mm f/2.8L II – a lens I was nervous to lose (the widest I had for the Leica was 28mm) and a 85mm f/1.2L II – a gem of a lens that I loved. These two lenses were the anchor of my Canon system – they were preventing me from moving on.

However, when I sat down and worked out how much I would get by selling the Canon kit new possibilities opened up, but first I needed to see whether I could fill the niches of my Canon anchor lenses with a couple of Leica compatible lenses. Here’s what I bought: For the wide end a Voigtlander 21mm f/1.9 and for the fast portrait niche a Leica 80mm f/1.4 Summilux R (with a Novoflex R to M adaptor) – my EVF for my little Olympus would be put to good use! These two lenses complemented my existing M lenses – a Zeiss 28mm f/2.8, a Jupiter 35mm f/2.8, a Zeiss 50mm f/1.5 (calibrated to f/1.5) and a Jupiter 85mm f/2. To be honest, I never really used the Zeiss 50mm f/1.5 that much – too long for street work and for portraits I found it to have too much contrast for my taste.

Once I’d secured the lenses I thought I would do a comparison shoot before I made a decision whether I could/should divest myself of the Canon kit (although by this point the 300mm had already gone). So, I booked a model that I’d worked with on previous occasions and set to work. Some notes first though… I’d never done a lens test before so apologies for any errors in the process I may have made, also – the M240 doesn’t record lens data from my non-coded lenses and estimates the aperture based on the exposure settings. In some of the pictures my model Holly is holding up fingers to help me record the aperture I was shooting at.

Long end first – the Canon 16-35 f/2.8L II @ f/2.8 at 21mm (TOP) vs the Voigtlander 21mm @ f/2.8 (Bottom) – click images for larger!

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Of course with all of the camera and lens changes, I forgot to let Holly know that the Canon would collect its own data! Indeed the EXIF data let me know that I was actually at 22mm, not 21mm.

I don’t think there is that much in it in terms of sharpness but the Canon lens shows less divergence of vertical. Nonetheless I prefer the tones from the Leica. I also think more shadow detail is captured, look at the purple sofa and Holly’s dress in the Leica/Voigt. combination. Unsurprisingly, both lenses show some chromatic aberration in the window frame.

At f/5.6 both lenses now have the chromatic aberration broadly under control:

Top is Canon, bottom is Voigtlander. Click images for larger!

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Differences in colour balance / colour rendering aside, the Leica/Voigt. combination seems to hold much more detail now and is much sharper at the edges of the frame, look at the green Tibetan chair-bed bottom left.

Peripheral sharpness picks up on the Canon at f/8 (TOP) but it is still outperformed by the Voigtlander (BOTTOM):

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This was enough to convince me that despite the 16mm to 21mm wide end variance, the Leica and Voigtlander would look after me. And…. The Voigtlander could shoot at f/1.9:

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I then went a little longer and compared the mid-range of the Canon with my Zeiss 28mm f/2.8. First, wide open. TOP is CANON, bottom is ZEISS, both at f/2.8:

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Here, it’s a mixed picture, more chromatic aberration in the window frame with the Canon but it is giving better shadow detail (look at the front of the cabinet) and it is sharper in the peripheries of the frame. The Zeiss is sharper in the middle and could be said to have greater contrast (the flip side of the lower shadow detail). I prefer the colours with the Leica/Zeiss combo though.

At f/5.6, the Canon looks really good, the chromatic aberration is under control , central sharpness is higher too. Slight exposure differences aside, the Canon is still showing less contrast than the Zeiss – which is now showing sharpness to rival the Canon right across the frame.

At f/8, it’s really only the higher contrast of the Zeiss that is separating them:

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So, after all that I felt I was OK at medium wide – especially give the relative sizes of the two setups!

Just for fun, I thought I’d compare the long end of the Canon 16-35mm with my diminutive vintage Soviet – the Jupiter 35mm f/2.8 – I was not expecting comparable images and the differences were clear at f/2.8. Canon on top, Jupiter and M on the bottom:

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The Canon, even wide open at the long end of its zoom range, seems to control chromatic aberration well and is offering significantly more contrast than when zoomed out. It’s pretty sharp right across the frame too. The Jupiter is another story altogether, unable to control the bright window light, the veiling flare lowers the contrast significantly and although centre sharpness is at least as high as with the Canon, it drops off drastically as we move away from the centre. Look at the candle on the left and even Holly’s feet on the right. I do like that vintage look though, it’s why I bought the lens.

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As shown above, at f/5.6 there’s little to complain about with the Canon and it is significantly sharper than the Jupiter everywhere, including in the centre of the frame. And although contrast and sharpness is better with the Jupiter than it was at f/2.8 it can’t keep up with the Canon. This is the same for f/8 too, as shown below. Canon is the 1st image, the Jupiter is the 2nd.

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Of course, the Jupiter was never going to be the equivalent of the Canon, but it is a fun little lens to have nonetheless. However, I may need to get myself a higher fidelity M lens if I want to shoot with precision at that focal length.

Now for what I think is probably the main event of this head-to-head review – a comparison of portrait lenses. Mainly, it’s about comparing the Canon 85mm f/1.2 L II with the Leica 80mm f/1.4 Summilux R. But, I’m going to throw in the Soviet 85mm f/2 for good measure too.

First of all, at the widest common aperture of f/2, they really are quite different. The Canon is sharp and exhibits high contrast – it is crisp, as one might expect. But when you cast your eye from that image to the clearly softer and lower contrast Leica image, the Canon begins to look a little ‘crunchy’ – I wonder if others would agree? Then comes the Jupiter, like its 35mm cousin it is low in contrast, but nonetheless it does appear to be pretty sharp:

TOP: Canon 85 L at f/2, MIDDLE: Leica R 80mm at f/2, BOTTOM: Jupiter 85 at f/2

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At f/2.8 things aren’t particularly changed – same differences, perhaps just a little less extreme:

Canon, then Leica, then Jupiter

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Of course, one really buys these lenses to shoot wide open – we’ve seen the Jupiter wide open but what about the other two? Firstly, both at f/1.4:

TOP: CANON – BOTTOM: LEICA

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I don’t believe the Canon is any sharper now – look at Holly’s eyes on both. The Canon still has more contrast, but I am struck by the sophistication of the Leica image – sharp and soft and the same time. Also, look at the decoration on the wall and the edge of the sunlight, the Canon is exhibiting some chromatic aberration. OK, let’s see the Canon at f/1.2 – that aperture is the reason for buying this lens after all:

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To me, on the eyes – this looks a bit sharper that the f/1.4 shot. I was shooting from a tripod but perhaps this is just the difference between hitting the eyeball with the focus point rather than the eyelashes. I just don’t know – although Holly’s mouth is sharper too.

All this out of camera comparison is a bit artificial though isn’t it? I’m never going to shoot models (or any portraits for that matter) without editing – I pretty much edit everything. So, given that – if I had to work on the three wide open images from each lens (I pretty much always shoot portraits wide open), what do I get? I’ve deliberately over-edited a little – particularly the eyes (using a detail extractor) because I wanted to see what information was there to be had and to share it with you. They are all edited slightly differently but with the aim of them bringing the best out of the lenses while getting them to a fairly similar end point:

1st CANON, 2nd LEICA, 3rd JUPITER – all wide open

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I found the results surprising. The ‘crunchiness’ of the Canon (something I’d have never attributed to it prior to putting it against the Leica) was difficult to overcome. Transitions between light and shade seemed to accentuate really easily in the edit and I found the highlights difficult to control too (perhaps related to the sensor rather than the lens). The Leica on the other hand is, I think, quite beautiful – I’ve been able to reveal the sharpness of the lens (look at the eyes) but the softness and smoothness puts the Canon to shame – at least in my view. Then there’s the Jupiter – a dark horse: with a careful edit, it performs really well. Given that it cost me less than 5% of either the Canon (new) or Leica (used) that’s remarkable. I should say I used the EVF for both the Jupiter and the Leica. The Leica isn’t coupled so that was a must, but my Jupiter was designed for another camera and can be a bit focus shifted on an M.

For me the quality of the Leica has surprised me and shows that sharpness on its own can leave you wanting. This test allowed me to be happy to let the Canon 85mm f/1.2 L II go, and with it the 5D III and the other lenses too. That’s allowed me to buy a Sony A7 II, a Sony Zeiss 55mm f/1.8, a Voigtlander close focus M to E adaptor and a Canon 50mm f/0.95 rangefinder coupled lens, which I will get back in a few days when its conversion to M mount is done. I’ve also bought a dinky Nippon Kogaku (Nikkor) 5cm f/1.4 SC for a bit of fun after having let my Zeiss 50mm f/1.5 Sonnar go too. I’m finding I’m preferring a more classic low contrast look nowadays. So with those bits of kit and some LTM to M adapter rings, I can use all but the Zeiss FE 55mm f/1.8 on both cameras and I’ve kept some autofocus capability for shooting moving targets too. Additionally, I think the A7 II with its in-body stabilisation might be useful for some low light work when the need calls.

Altogether I feel I have gained flexibility from making the change.

A final word on the Leica 80mm f/1.4 though… It might not stay. I love how it looks, I’ve included a couple of real (non-test) shots below, but as an R lens it is a bit of a pain to use. Shooting it wide open requires precise focus and it doesn’t exhibit enough contrast for focus peaking to be effective so focusing through the EVF (it can’t be done any other way) needs to be done in zoom. Since there is no coupling, this requires the button on the front of the camera to be pressed, the eyes located, precise focus found (without peaking), the button pressed again to de-zoom, and the frame recomposed. By which time your subject is frustrated. As am I.

So there you have it, a long and rambling lens comparison posting that started out as an exercise for me to inform myself. I hope sharing it will be of interest to others too. I’m not sure how many comparisons between those particular portrait lenses are out there – I haven’t come across any.

At the moment then, I’m really looking forward to getting the 0.95 Canon back, something I wouldn’t have been able to justify buying without selling on the Canon SLR kit and I do feel broadly happy with the lenses I have. I may yet get a stronger 35mm and I may yet swap out the Leica R too.

So, thanks for reading and I’ll leave you with a couple of shots that I made with the 80mm f/1.4 Summilux R. After all, I may not be keeping it for long…

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I hope this reads alright Steve. I’ll send the images on in following emails – it might take two or three.

I hope you will be able to let me know whether you think it is suitable – I hope it is!

Cheers

Paul

—–

From Steve: As always, for your Leica needs I recommend Ken Hanson, PopFlash.com and LeicaStoreMiami.com

Mar 212015
 

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

Lens now available and in stock at CAMERAQUEST.COM

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

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

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

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

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

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

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

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

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Mar 202015
 

Battle of the Champions. Part 2. The Leica 50 APO.

by Brad Husick 

See Part 1 HERE.

At the request of several readers, I have conducted some new tests using the Leica 50mm APO Summicron f/2 lens on three camera bodies: the Sony A7II using the Voigtlander VM-E Close Focus Adapter, the Leica M240 and the Leica Monochrom.

All these are shot RAW, wide open at f/2 and indoor shots are at ISO 1600, outdoor at ISO 200. All other camera settings were left on AUTO (WB, exposure, etc.)

The photos in this series are taken from the same positions in the same composition as the previous “Battle of the Image Champions” article, so I won’t include the full frames here again. These are all 100% crops and are labeled with the camera used. The indoor lighting matches the previous series. The outdoor conditions were overcast today, no wind.

The comparisons that include the Monochrom use a simple 100% desaturation in Lightroom rather than a more ideal black and white conversion that I would use if these were meant to be shown or printed for their artistic qualities. Again, these are not meant to highlight my skills as a photographer but rather to show the differences between cameras using the same high quality lens.

Enjoy and good shooting. -Brad

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Mar 182015
 

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

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

The black chrome 50 Summilux ASPH 1.4

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

Here is what Leica says about the new lenses:

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

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

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

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

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

PRE-ORDER from:

KEN HANSENEmail him at [email protected]

POPFLASH.COM!

LEICASTOREMIAMI.COM

THE PRO SHOP for photographers! 

Mar 172015
 

titlebjarke

2014 in Twelve images

by Bjarke Ahlstrand

Hi Steve,

Another year has passed, and at least from my perspective 2014 was extremely busy. I fulfilled a dream of mine and opened a rock bar, Zeppelin (www.zeppelincph.dk), + my very own photographic haven/store, One Of Many Cameras (www.oneofmanycameras.com), here in Copenhagen, where I live. The camera store, which deals with both new and 2nd hand stuff gave me even further possibilities to explore the photographic medium and although it hasn’t exactly cured my GAS, it helps that I can just borrow stuff from the shelves now and then :-)

I only shoot manual lenses as they fit my shooting style the best, and I spend most of my photography time on celluloid, expired chemistry and especially large format portraits, but that ol’ Leica M9-P of mine is still my favourite digital camera (since I can’t afford or justify a Monochrome, hehe), but I also adore the little MicroFourThirds camera which was given to me as a x-mas present by my One Of Many Cameras partner Daniel because of its portability, since the large format cameras are a bit bulky to drag around. My work can be seen here: www.oneofmany.dk and www.polaroid.com

Anyways, here goes — once again — 12 images, 12 cameras, 12 months – this time for the year 2014.

***

January · Deardorff 8×10” · 270mm Boyer Saphir Paris f/6.3 · expired Agfa photograhic fibre paper used as a paper negative · ISO3

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January · Deardorff 8×10” · 270mm Boyer Saphir Paris f/6.3 · expired Agfa photographic fibre paper used as a paper negative · ISO3

I’ve been working on a book/exhibition the last couple of years. It’s gonna be called “After” and will feature 130+ portraits of my girlfriend, all shot immediately after we’ve had sex. There will be no pornographic content or nudity but “raw” portraits that try to capture that very special moment just “after”… I went about it in a dogmatic way, so I decided that all had to be shot within a five minute time span and I would max make 3 exposures. It was very challenging as many of the shoots were rather trivial when it comes subject, and location of course, but I managed to use a great variety of cameras and now in the final editing stages of the book, I believe it turned out okay. The book will be published around May/June if everything goes as planned. For this particular shot, Katja laid still for 8 seconds while I captured the light.

***

February · Leica M9 · 50mm Summilux Asph @ f/2.8 · ISO200

2014_02_LeicaM9_50summilux_iso200_Lucer

Still love the Leica, still love rock ’n roll, and I still have a record label, so I actually managed to shoot quite a few album covers in 2014, this being one of them. With vinyl making a serious comeback it’s a joy to shoot band pictures again. The band is called Lucer and they play high-octane rock. Be sure to check them out on Spotify –– or even better, on vinyl.

***

March · Goecker Studio Camera · 270mm Dallmeyer 3B Petzval · Expired Ilford Multigrade photographic paper used as paper negative · ISO3

2014_03_8x10_paper negative scan__Goecker Studio Kamera_Dallmeyer 3B_iso3_Street

I bought an old wooden large format studio camera, dating back to 1913 and it came with a wonderful Dallmeyer Petzval from the 1860s’ so I decided to drag it outside our little camera store (which is also a studio) and test it out. Two teenagers were walking down the street, but I convinced to them to stand still for 1 second while I used my hand as a shutter. Notice the Petzval curve, it’s absolutely wonderful. Oh yeah, the logo of One Of Many Cameras is actually the Petzval lens design from 1840 – both my partner Daniel and I even got it tattooed, so I guess that lens is rather special to me.

***

April · Fuji GX680III · 125mm GX f/3.2 · Ilford Delta 100

Picture 521

Even though I love large format and the creative possibilities it gives regarding perspective and focus, it’s not exactly portable. Enter the Fuji GX680III, a high-end medium format camera from the final days of the professional analog era. It has a small bellow and therefore tilt-shit capabilities and you can cram 8 images on a 120-roll film, so economically speaking, it’s quite okay (compared to large format). You can shoot the camera handheld – and those Fujinon lenses — whauh. This one in particular, it’s perfect. My youngest clone was shot wide open at f/3.2. Love the bokeh.

***

May · Kodak DCS PRO SLR N · 55mm Nikkor f/1.2 · ISO160

2014_05_Kodak DCS PRO SLR N_55mm Nikkor f12_iso160_Mikkel Munch Fals

I don’t want to (re-)start the whole CCD vs. CMOS war, I’ll just conclude that you’ll find on the CCD-side when photographic civil war begins. I haven’t owned a DSLR since I sold my 5D Mark III and I swore I’d never go down that road again… But then I was presented with this Kodak beauty, the first full frame pro digital camera, which cost a fortune back when it was introduced, and having never shot Nikon glass before (!) I couldn’t resent the 55mm Nikkor f/1.2. The 3 included batteries last only 5 minutes each, the camera breaks down constantly, has many quirks and is hardly usable above ISO400… But that Kodak CCD sensor is absolutely wonderful… I get the same feeling as when I look at images from my Leica M9-P and Hasselblad H3D-39. If I’m working digital (and not doing video), I’ll definitely go for a CCD-camera.

***

June · Leica Monochrome · 50mm Apo-Summicron f/2 Asph · ISO320

2014_06_LeicaMonochrome_50apo Summicron_iso320_beach

Had the chance to spend a day with the APO-Summicron. Took it to the beach along with a Monochrome. Nice combo. Stupid price tag, though.

***

July · Leica M9–P · 35mm Summilux f/1.4 Asph FLE · ISO160

2014_07_LeicaM9P_35mm Summilux_ISO160_Barcelona

Took my two clones to Barcelona for our summer vacation, alongside a couple of Leica’s and the Fuji GX680 monster. I keep coming back to the Leica, it’s “like home” every time I shoot it. The swimming pool was nice, too.

***

August · Sinar P2 · 36cm Voigtländer f/4.5 · Impossible Silver Shade 8×10” Polaroid

2014_08_8x10_Polaroid_sinar_p2_36cm_heliar_iso640_herod

Having a record label is nice because you get to meet some really cool people, in this case the Swiss noise-rockers Herod who performed here in Copenhagen, and stayed at my place for a couple of days. I dragged the boys to my attic alongside my Swiss 8×10” large format Sinar camera, and shot an 8×10” Polaroid polaroid. The lens was stopped down at f/5.6 (which is like f/1.4 in 35mm terms regarding depth of field), but with the help of the movements of the camera, I was able to get all 4 members (relatively) sharp.

***

September · Kodak Master View 8×10” · Rodenstock 210mm Sironar f/5.6 · Ilford Direct Positive Paper · ISO6

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Another band photo, this time around it was the death metal act Undergang, who were about to embark on a 5 week US tour and needed a band photo for their upcoming LP, so of course we went to a cemetery. I brought an antique Kodak Master View 8×10” large format camera and some Direct Postive Paper, and I snapped this ghoulish portrait with the Rodenstock lens shot wide open. Again with the gigantic negatives (1 x 8×10″ negative = 1 roll of 35mm film), the depth of field is extremely shallow, only a couple of millimeters but that old Kodak large format camera with its bellowsmovements made it possible to get them all “pretty sharp”. I made the vocalist only show the white in his eyes for the second I exposed the Direct Positive Paper, which indeed is a fantastic medium when working with the large format, since it’s like a Polaroid (positive) and you can handle it under red/safe light which makes it much easier than the negatives.

***

October · Sinar P2 5×7” – 21cm Voigtlander Petzval · Expired Ilford photo paper

2014_10_5x7_Sinarp2_21cm_Voigtlander_iso2_when the silver runs dry

One Of Many portraits of my favourite subject(s) – my clone, Hjalte. Almost 16 years old, he looks nothing like the child I’ve been documenting for many years now, as he’s growing rapidly, physically as well as mentally. Teenagers are hard to shoot since they’re pretty demanding, and pretty pimple ridden, but I’ve been experimenting quite a bit with expired analog materials and decided to try to drag the absolutely last silver out of some photographic paper which expired the year Hjalte was born (1999). He sat still for around 4 seconds while I underexposed and then the negative laid in the (also expired) chemistry for around half and hour before it was fully developed. I love it, one of my favourite portraits of 2014.

****

November · Sony A7S · Leica 75mm Summilux f/1.4 · ISO1600

2014_11_SonyA7S_75 Summilux_iso1600_Ruth Storm

Yes, I love old cameras (and especially lenses) but of course I also embrace new technological wonders –– like the Sony A7S. Most of my work is shot at extremely low ISOs, but the A7S opened new doors for me with its extreme low light capabilities. I’ve shot portraits for record covers at ISO 100.000 (!) which look fine on print – and my Leica lenses all perform wonderful on that little Sony. And the ones that can be hard to focus on a rangefinder are easy to nail spot on with the focus peaking turned on. Sometimes I wish the A7S had just a few more pixels as 12mp isn’t a lot for print/pro work, but I use it mostly for videos anyway, and there it reigns supreme.

****

December · Panasonic DMC-GF5 · 1″ Taylor-Hobson f/1.9 · ISO1600

2014_12_Panasonic DMC-GF5_1inch Taylor-Hobson f19_iso1600_trine tree

Yeah, I prefer large format and medium format, and full frame digital sensors. But lately, I’ve come to love a small, not-very-special little Panasonic pocket camera (DMC-GF5) – due to one fact: its MicroFourThirds sensor and the c-mount adapter that came along the little x-mas presents. That combo opens totally new doors when it comes to lenses and look. Old 16mm film lenses (c-mount) shine on that little digital sensor (the ones that cover it that is) and since the camera is very cheap (and lenses, too) I bring it everywhere for snapshots that otherwise were reserved for my iPhone. Here you see the newest member of the Ahlstrand-clan, Trine The Cat, climbing unto a x-mas tree. Nothing fancy, just one of those “family shots”, but I really dig the look of that tiny 1960s 16mm film camera lens, which I just had CLA’ed by my friend, Professor Olsen (repair-guy at One Of Many Cameras).

That’s it. Enjoy.

Mar 162015
 

battle-title

Battle of the Champions: Leica M & 50 APO vs Sony A7II & 50 Zeiss Loxia

by Brad Husick

It has been an exciting few years in the development of high-end digital cameras. With the advent of full frame sensors in compact mirrorless bodies, it is now possible to obtain truly outstanding results that can be printed at virtually any size for the home or gallery.

My objective in running this test was to examine the image quality of two of the most highly regarded full frame digital mirrors cameras today – the Leica M model 240 ($7,250) and the Sony A7-II ($1,699), paired with the best available standard optics for each. For the Leica the choice was obvious in the Leica 50mm f/2 APO Summicron ($8,250) and for the Sony the Zeiss Loxia 50mm f/2 Planar T* ($949). The prices listed here are retail. Street prices can be lower.

The cameras are very different from each other and there are many articles and reviews that go into these differences. My purpose here is to look only at image quality regardless of other factors such as price, functionality, shooting style, build quality, etc. The key question here is which camera and lens combination produces the best images under a variety of real world shooting conditions. This is not a scientific laboratory bench test, it is meant to see how well the cameras do under reasonable realistic conditions.

My methodology was wherever possible to shoot the lenses wide open at f/2 and match the other shooting settings as closely as possible, including ISO and shutter speeds. Both cameras were shot in RAW and the images are displayed in Adobe Lightroom 5.7.1. No adjustments other than tiny overall exposure movements used to match the images were made. Settings were left in default positions and do not differ between camera images.

These lenses are both manual focus lenses so I used each camera’s focus magnifying tool at maximum to obtain the sharpest images I could. I did not achieve 100% focus accuracy despite using a tripod for all the indoor shots and high shutter speeds for the outdoor shots. This points to my abilities and the nature of f/2 lenses having very thin depth-of-field when wide open. The indoor shots were taken at ISO 1600 and the outdoor shots at base ISO 200. The wind was blowing at about 5 mph outdoors. The cameras were set on manual exposure and automatic color balance. I did not re-adjust color balance once in Lightroom. These are “as-shot” images.

Each comparison starts with a “master” image showing the entire frame, followed by a few 100% zoom details taken from various positions around the frame.

Rather than try to make this a guessing game, I will tell you up front that each of the side-by-side comparisons has the Sony on the left and the Leica on the right.

I leave it up to you to draw your own conclusions about the relative strengths of each image.

My conclusion, with which you should feel free to disagree, is that there is a surprisingly small difference here. Based on image quality alone, it’s very difficult to choose. I must conclude that both systems are capable of producing outstanding images, and other factors such as price, preferred shooting style, features and functions, and others are much larger influencers in the decision between these cameras and lenses. One might come to the conclusion that if you choose to invest $15,000 in a Leica system then $2,700 for the Sony system is cheaper than buying one more Leica lens, so why not own both if you care to?

I hope you enjoy this comparison.

IMAGE ONE – FULL FRAME

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Sony crops on left – Leica crops on the right – click them for full size crops!

(Steve’s Opinion: The Loxia is sharper here in these MAP crops to my eye)

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IMAGE TWO – FULL FRAME

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Sony crops on the left, Leica crops on the right – click them for full size crops

(Steve’s Opinion: These appear to be so close, I would call it a tie)

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IMAGE THREE – FULL FRAME

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Sony crops on the left – Leica crops on the right – click them for full size crops

(Steve’s Opinion: What sticks out to me here is the warmer WB of the Leica, sharpness seems similar)

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IMAGE FOUR – FULL FRAME

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SONY LEFT – LEICA RIGHT – CLICK ‘EM!

(Steve’s Opinion: The LOXIA seems sharper in crop 2 and 3 with Leica for the 1st)

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IMAGE FIVE – FULL FRAME

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SONY LEFT – LEICA RIGHT – YOU KNOW WHAT TO DO!

(Steve’s Opinion: To my eye, APO wins this one)

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IMAGE SIX – FULL FRAME

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SONY LEFT – LEICA RIGHT

(Steve’s Opinion: LOXIA wins this one – less CA and sharper)

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IMAGE SEVEN

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SONY LEFT – LEICA RIGHT

(Steve’s Opinion: These are close, VERY close)

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IMAGE EIGHT

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SONY LEFT – LEICA RIGHT

(Steve’s Opinion: Again, VERY close but I pick APO for this one)

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IMAGE NINE

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SONY LEFT – LEICA RIGHT

(Steve’s Opinion: Almost a draw again but the APO Bokeh is a TAD smoother)

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Best regards,
Brad

Mar 132015
 

The Sony A7s with the Zeiss Loxia 50mm Planar and the Leica 50mm Summicron V5.

By Alan Schaller

Flickr link: https://www.flickr.com/photos/127753524@N02/

Picture 0

I am sure everybody reading this will be aware that Zeiss and Leica prime lenses are fantastic. This article is not going to be focused around laboratory grade comparisons of which one delivers the sharpest corners wide open, or the most pleasing bokeh or the nicest rendering. I shall go into my findings regarding these things a little bit later on, but surely it is safe to say that at this level of lens construction everything is more than good enough to help capture great images!

The Sony A7s has replaced my beloved Leica M9, which I sold after trying out the Sony in a camera shop in London. The M9 can deliver outrageously nice images in the right conditions, but I feel my reasons for wanting to keep it after trying the A7s were emotional rather than practical. The A7s has delivered stunning image quality in pretty much every environment in which I’ve used it, and as a bonus is compatible with my Leica lenses (50mm Summicron and 35mm Summicron ASPH). I am keeping my Leica Monochrom however, which to me still has unique qualities, but having said that the A7s does make some worryingly impressive B&W conversions, this one using Silver FX:

Sony A7s -Zeiss Loxia 50mm – ISO 2000 – f2.2 – 1/100 sec.

Picture 1

I have never used a camera that gets out of your way and lets you be creative like this one. Yes the Leicas are purer in operation, which I love, but with the A7s you don’t have to worry about noise at high ISOs (within reason, I have found up to 64000 to be really useable), and consequently you don’t have to worry about setting high shutter speeds or not being able to stop down your lenses in lower light, which is so liberating!! Also, it can be set to be completely silent.

I am one of those people who prefers using a great feeling manual focus lens over anything else. I prefer the experience to using autofocus to the point where I shot a wedding last month entirely using manual focus because I feel I deliver better results that way. I consider myself first and foremost a street photographer, and when in a street environment, being able to pre focus and having a small discreet manual lens suits my needs well, and outweighs the potential benefits of having a machine gun autofocus beast of a lens!

The Loxia series of lenses have been designed specifically for the A7 range, and have been optimised for digital sensors. These two bits of information got me sufficiently interested to check them out. When I first twisted this updated 50mm Planar onto the A7s, I was struck by the high quality feel of the focus ring, which has a considerably longer throw than my 50mm Summicron. I must admit I have never thought to myself “I wish my Summicron was capable of more precise focusing”, so initially I thought it was a bit unnecessary. After using it for a few days however, I got used to it, and it soon blended into the background, letting me get on with snapping.

It feels great mounted on the A7s and is at the same time reassuringly weighty but not overly bulky, reminding you every time you interact with it that it is a quality 50mm lens. Being well accustomed to the tiny retractable hood of my 50mm Summicron, the twist-on metal hood of the Loxia appeared quite large at first, but in reality, the A7s/Loxia combo is still very compact and discreet compared to Canikon offerings capable of comparable image quality.

The colours it produces are natural and at the same time characterful. The files show a touch less contrast than that of the Leica lens, and the colours are not as bold (or are more neutral depending on how you look at it!), but I find this great for editing purposes, where the relative honesty and neutrality of the Loxia means you can have great scope for saturating the colours and boosting contrast without the risk of them looking ugly.

The Sony A7s has inspired me to shoot in colour again. The main reason for this is simply that the colours out of this camera are amazing. They speak to me in a way the colours from my M9 did not, for some unquantifiable reason! Colours as you will see, come out quite differently on each of the two lenses:

 Sony A7s – Leica Summicron 50mm V5 – ISO 250 – f2.0 – 1/100 sec.

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 Sony A7s – Leica Summicron 50mm – ISO 50 – f16 1 – 1/125

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The Loxia to my eyes is a bit more ‘forgiving’ in terms of sharpness wide open than the Summicron, and appears a little softer at f2, which I think is a great thing for portraiture, where the Summicron can be brutally honest! By the time both are stopped down to f4, the sharpness and detail these lenses capture is incredible. I shoot wide, or close to wide open most of the time, so it is great to see the Loxia performing so nicely in this way. I can’t see a particularly modern character in the rendering of my Loxia images, unlike the ones I took on the blisteringly sharp Zeiss/Sony 55mm 1.8. Whilst being an outstanding performer it looks a bit clinical to my eyes compared to the Loxia and Leica glass I have experienced. This is in no way an attack on that lens, for many people it will be a perfect choice. I just like a smoother classic character voicing to my lenses.

Both lenses perform equally well, albeit differently, for B&W duties. The Loxia 50mm is more than capable of the famous ‘3D’ effect, which is more exaggerated than that of the Leica lens. The Loxia’s ability to focus 25cm closer to a subject than the Summicron is a welcome feature. Both lenses draw the OOF areas very nicely, and the Sony’s fantastic full frame sensor helps this along too.

Zeiss POP! Sony A7s – Zeiss Loxia 50mm – ISO 250 – f2.0 – 1/160 sec

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 Sony A7s – Lecia Summicron 50mm – ISO 1250 – f2.0 – 1/200 sec

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 Sony A7s – Leica Summicron 50mm – ISO 2000 – f2.0 – 1/100 sec

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One thing the Loxia lens does on the A7s which the Leica cannot, is automatically magnifying the image onto your subject when you turn the focusing ring. I have found that I am getting close to rangefinder focusing speeds with this feature, after only a week of practice. This should improve over time. Unlike rangefinders however, you can be 100% guaranteed that you have focused accurately using the magnification function, and when looking through the EVF, you get a 100% accurate representation of your framing, unlike the quirky Leica rangefinder system! This is something I have come to appreciate. The Summicron has to be attached to the Sony A7s via an M to E mount adapter. I chose one by Novoflex, as it felt well made. As it is attached by the adapter it cannot transmit the aperture data to the camera body, and it cannot automatically trigger the magnifier. This is not an issue unless you want to use the focus magnifier obviously, and I am sure some people will not.

To summarise, I think the Zeiss Loxia 50mm is a perfect mate for the A7s. The images are just plain great. If you are more into your 35mm lenses, the Loxia 35mm Biogon is equally capable I am sure. If you already have a 50mm M mount lens that you use on a Sony camera, I think it is justifiable to have both, as they present images differently, and offer a different user experience. If you do decide to get one or have one already, you have chosen well and are in for a treat!

Mar 032015
 

Zeiss 35 1.4 ZM Distagon (Leica Mount) on the A7s part 2

by Sean Cook

See Part 1 HERE.

zeiss-35mm-f_1-4-zm

Hello again Steve!

It’s been two weeks now that I’ve had the Zeiss 35mm 1.4 Distagon ZM on my A7s, and despite my initial reservations, and a lot of mental back and forth, I’ve happily concluded that I’m keeping the lens and it will become one of the three lenses I regularly use (replacing the actually wonderful Sony 35mm 1.4G on the LA-EA4 adapter). It is still not a perfect fit for the Sony A7s (nor is there a perfect E-mount MF 35mm 1.4), and I will be the first in line when a Loxia version is announced, but its character and rendering are just beautiful, and I love the ergonomics, so I can work around the issues.

Much like the A7s itself, there are things that I would change about the Zeiss, and that I will forever work around, but given the options available, and my needs, its beauty and potential as a tool outweigh its shortcomings, and make it a better choice than any other 35mm (again, for me). It’s like deciding to use a Noctilux all the time; you accept its flaws as part of the price for the rendering. (I know that’s a silly comparison, but I think you get the idea).

Zeiss35mm14ZM_DSC01787

My wife and I just took a short vacation to Austin to visit some dear friends, and I was able to use the lens in the way I will be using it in the future — mostly outdoors, in the sun, with couples, wide-open. Now, being that they are dear friends and it was a short trip, I again wasn’t aiming for portfolio photos. Moreso I was just trying to see how the lens reacted to different situations, so forgive that it’s mostly photos of people looking at phones, and of backlit cats. :-)

Zeiss35mm14ZM_DSC01840

To me, the take-home message from the photos below is that if you are shooting a subject within 6 feet or so, you can shoot 1.4 and it will produce magic; the closer the subject, the more incredible. Beyond that, do yourself a favor and shoot at f2.0/2.8. Every photo below, except for the vertical photo of the couple (f16) and the very backlit tree (f2.8), is shot wide open.

Zeiss35mm14ZM_DSC02256

You can see that the photos where the subject is within a few feet (which again is mostly how I will use this lens), the background is a gorgeous blur of colors, and the subject is sharp, with a smooth transition from in-focus to out-of-focus. There is a softness without feeling hazy, and everything is exactly what I want from a high-end 35 1.4.

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However, when the subject is further away than that, things get a little dicey, especially toward the edges. The best example of how to use this lens at a distance can be seen in the different between the photo of the man riding the bike through the alley, and the very backlit tree. The trees to the far left in the man-on-bike-in-alley photo are a CRAZY wash of coma, haze, and blur. But the closeups on the backlit tree (shot at 2.8) show a great retention of contrast, and wonderful sharpness all over.

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Zeiss35mm14ZM_DSC01864_Closeup

Three other things to note in the photos. First, one of my biggest concerns with the lens was that because of the double-image thing, if the subject was slightly out of focus, they would look crazy, and way out of focus despite only being a little out of focus (anyone out there who shoots a lot of manual focus knows all about this; you can’t nail focus everytime, so you need the lens to do you the favor of retaining clarity, even when it’s not sharp). However, that doesn’t seem to be the case. If you look at the vertical photo of the cat, it is not in sharp focus, but still looks satisfyingly clear. A good sign.

Zeiss35mm14ZM_DSC02317

Zeiss35mm14ZM_DSC02317_Closeup

The second thing to note is the vertical photo of Joe with a flare splotch on his face. I included it to show the worst I could get the lens to flare. That is wide open, super backlit, and placing the flare right on the subject. Otherwise, that T* seems to be really doing its job.

Zeiss35mm14ZM_DSC01868

Lastly, look at that cat on the balcony! Not only is it the cutest cat I’ve ever seen, but the bokeh is so rich. I personally enjoy a little more character to the bokeh, and not just completely clinical flatness, and the Zeiss delivers. The super close-focus shot of the cat (yes, is a little out of focus — can’t blame the lens, it’s a cat, at minimum focus with the VME adapter, at 1.4) has some of the most gorgeous bokeh I’ve ever seen.

Zeiss35mm14ZM_DSC01914

Zeiss35mm14ZM_DSC01914_NoGrain_Closeup

Other than that, I think the photos should tell you everything else you need to know. They are once again edited in LR using VSCO, so they have artificial grain, and mostly haven’t been sharpened at all (the exception being the 100% crop of the cat on the balcony — that is no grain added, normal LR sharpening applied. I know it’s not a mountain focused at infinity, but if this is a real world review site, consider that a real world sharpness test ;-) ).

If you have any other questions about how the lens works for me, feel free to comment below, or check out the flickr album full of more photos for more pixel peeping (which is not the way to enjoy this lens, I assure you).

Thanks again for reading, and I hope this has been helpful! Again, part 1 can be seen HERE. 

Sean

www.SeanCookWeddings.com

BTW, PopFlash.com has this lens in stock, in black. 

Feb 242015
 

Leica M-P 240 Lenny Kravitz Edition “Correspondent” Special Edition

Leica M-P_Special Edition_Lenny Kravitz_all_sharp

*Wow. You can pre-order yourself one at Leica Store Miami HERE. ;) 

Leica is at it again! Another special edition. Last week was the Olive “Safari” Leica M-P 240 Set (Which I loved BTW as it was less expensive than the standard for a SE) and now the Lenny Kravitz “Correspondent” edition which consists of a special M 240 that has been hand brassed to give it that well-worn look. The two lenses included are two of my favorite versions of Leica glass ever, BLACK PAINT 35mm f/2 and the 50 1.4 Summilux which are also brassed by hand.  A great set. The camera is extravagant of course with its 125 piece run and the snakeskin covering on the camera and the briefcase.

Leica-M-P-Correspondent-camera-by-Lenny-Kravitz-2

This set will have loads of haters and attackers for many reasons, I am already seeing it on other websites, even Leica’s own FB page. Creating a Limited Edition set for another celebrity due to the “celebrity status” is off putting to many. The way I look at it is this:

This is a LIMITED EDITION set of only 125 sets. MANY who buy this will store it and keep it for 20 years to resell at that time. It is what it is. Some will use it (I would) and some will scoff at the brassing done by hand as this does not show REAL use of the camera. It comes across as fake. Still, when I look at it I see a gorgeous camera in black enamel (my fave finish for Leica M’s) with the beautiful brass peeking through the camera and the lenses. It’s beautiful. At the end of the day its an M 240 with two amazing lenses in a collectors kit. It will sell out quick, mark my words. There is a market for these or else Leica would not make them. If I had the spare cash to spend, I would buy it in a nanosecond as to me it is a gorgeous version of the M 240 and the two lenses I adore. For me, the name attached does not mean anything but the camera itself is what makes this kit flat-out gorgeous. Leica will sell out, make a nice profit so why wouldn’t they make this set? This is what we expect from Leica is it not?

LEICA-M-P-CORRESPONDENT-SET-CREATED-BY-LENNY-KRAVITZ-FOR-KRAVITZ-DESIGN

But here is the kicker that kills it for anyone but the collector. This set is $24,500. THIS rules out mere mortals ;) It’s beautiful, it’s gorgeous, it is stunning…but $24,500? Crazy. If it were $17,500 I would maybe consider it, but reality would kick in and it would never happen. Even so, 125 lucky people will own this set! :)

You can pre-order yourself one at Leica Store Miami HERE. This set will only be available at select Leica Boutiques. 125 Sets worldwide. 

Leica-M-P-Correspondent-camera-by-Lenny-Kravitz

Press Release:

Special limited edition:
LEICA M-P ‘CORRESPONDENT’ SET CREATED BY LENNY KRAVITZ FOR KRAVITZ DESIGN

In collaboration with Lenny Kravitz – the musician, actor and designer– Leica Camera AG, Wetzlar, presents a special camera edition set: the LEICA M-P ‘CORRESPONDENT’ BY LENNY KRAVITZ FOR KRAVITZ DESIGN. The edition comprises a Leica M-P digital rangefinder camera and two fast classics from the range of Leica lenses – the Leica Summicron-M 35 mm f/2 ASPH. and the Leica Summilux-M 50 mm f/1.4 ASPH. – delivered as a set in a bespoke case. The special edition is strictly limited to 125 sets worldwide and will be available from March 2015.

Leica’s collaboration with Lenny Kravitz was born out of the artist’s passion for photography. The first camera Kravitz ever used was his father’s Leicaflex which he received at age 21, as a gift from his father. The unique, distinctive design of the LEICA M-P ‘CORRESPONDENT’ BY LENNY KRAVITZ FOR KRAVITZ DESIGN set was created in reminiscence of this beautifully aged Leica camera. For instance, the glossy black enamel of the camera and the two lenses have been intentionally aged in homage would usually point to many years of constant use. To achieve this look, every camera and lens of the edition was ‘aged’ entirely by hand to create absolutely unique individual products.

Lenny-Kravitz-with-Leica-M-P-240-camera

Another characteristic feature of the edition sets is the unusual trim of the Leica M-P cameras in the finest-quality yet very durable snakeskin – naturally from controlled sources that are not to a well-used camera system, showing a distinctive patina that subject to species conservation regulations. This material in premium glossy black is also used for the camera strap and wrist strap that are included in the sets. The LEICA M-P ‘CORRESPONDENT’ BY LENNY KRAVITZ FOR KRAVITZ DESIGN set is stylishly complemented by a custom case handmade in Germany specially for this edition. The custom case picks up the product design theme and is covered with the same material as the camera.

A particularly interesting feature of the set is the special version of the Leica Summilux-M 50 mm f/1.4 ASPH. This lens has been constructed in the classic design of its ancestor from 1959 and reflects the typical features of its predecessor – for instance, the scalloped focusing ring and a finely knurled aperture ring.

The camera and lenses of the LEICA M-P ‘CORRESPONDENT’ BY LENNY KRAVITZ FOR KRAVITZ DESIGN set are otherwise identical to their series production equivalents in performance and technical specifications. The Leica M-P offers all the technical advantages of the Leica digital rangefinder system cameras and possesses the same enduring and robust qualities for which the Leica M-System is renowned. In the case of the two Leica lenses, their essential properties include superior optical performance and extreme versatility.

A book of Lenny’s photography entitled Flash will be published by teNeues and available for purchase from March 15, 2015. Kravitz’s photography offers unusual insights into the nomadic life of a musician ‘on the road’. In addition to being distributed by the publishers, the book will also be offered for sale by Leica Camera in Leica Stores and Leica Boutiques.

Lenny Kravitz will be showcasing photographs from this book at the Leica Gallery in Los Angeles. The exhibition will be the first in a series showcases of the artist’s photography from the book around the world during 2015. The show, Flash by Lenny Kravitz, at the Leica Gallery in Los Angeles will be open to visitors from March 6 to April 12, 2015.

© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved
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