SLR Magic expands its micro four thirds lineup with new wide angle lens
Hong Kong, China (December 13, 2013) – SLR Magic expands the micro four thirds lens lineup with the new SLR Magic 17mm T1.6 wide angle lens. With this latest addition, the portfolio of lenses for the micro four thirds system is now comprised of seven focal lengths.
The field of view of this new lens corresponds to a 34mm lens in 35mm format and this fast wide angle of view opens up many new creative composition opportunities, particularly in the fields of interior, architectural and landscape cinematography and photography. Additionally, a fast max aperture of T1.6 makes the SLR Magic 17mm T1.6 ideal for available-light photography.
We place our highest priority in the development on our lenses to fulfill the demands of professional cinematographers and photographers. The design and build of the SLR Magic 17mm T1.6 is solid and reliable.
The SLR Magic 17mm T1.6 will be available from authorized SLR Magic dealers starting end of December 2013.
I have this lens in hand and will be doing a full review in the next week or two! Stay tuned, so far so good!
SLR Magic 17mm T1.6
Fast wide-angle lens
All micro four thirds mount cameras
12 elements in 10 groups
Distance range: 0.17m to ∞, combined scale meter/feet
Manually controlled diaphragm, 10 aperture blades , Lowest value 16
micro four thirds
Internal thread for 52mm filter; filter mount does not rotate.
USER REPORT: Light & Shadow in San Francisco w/ Zeiss 21mm & TMAX 3200
By Ryan Melideo
First off, I’d like to give a big thanks to Steve for developing this site and providing so many examples and reviews of new gear in the industry. His insight is definitely appreciated and I think we all feel the same way. I also would like to thank him for allowing me to contribute to the content on the site. This is my first guest posting, but second attempt at one. I didn’t get a response to my first idea submission. What’s up with that Steve?? j/k
I have been doing photography for about 2.5 years. What got me started was when I purchased a Canon 7D to shoot video. Over time, I noticed myself using the camera for more photo than video. I have worked with models and actors in the Los Angeles area for the most part, however over the past year, I have been gravitating to photojournalism and documentary photography and also have been experimenting with composited scenes. I currently shoot with a Nikon D800e as my main camera. I also have a Nikon F100 and F5 that I have been able to pick up dirt cheap used, but in impeccable condition. In addition to 35mm,
I have used a Mamiya 7ii (which I am ever so close to purchasing). I really enjoy using film and like the feeling of actually creating something you can touch when shooting on the medium.
The examples I provided here were taken one morning on a recent trip to San Francisco and were shot in the Mission district. I had brought along my Nikon F100 and a Zeiss 21mm f2.8 with the intension of using some Fuji Velvia as I walked around the city. The first morning, when I went to load the Velvia, I noticed that I still had a mostly unused roll of TMAX 3200 loaded inside the camera! I had put it in the camera weeks before when I was going to be doing some indoor shots of a band’s performance. I ended up not going to the performance so the TMAX was left inside to wait. I decided to head out and burn through the roll so I could get my Velvia loaded for the day. I wasn’t used to seeing a high iso film used in the broad daylight. I thought to myself that it might turn out interesting or it might not, but what the hell I’ll try it anyway! I decided to expose mostly for the highlights and fire away. I was using an aperture of f13 or f16 and a shutter speed of 6400 for most of the shots. I quickly shot through the roll in about 45 minutes to an hour.
When I returned from San Francisco I immediately packed up the film rolls to be shipped off for development and scanning. I usually get my film scanned at www.thedarkroom.com. Their turn times are fast and they have a new scanning resolution they refer to as “super scans” which are scanned at a resolution of 4492×6774. While anticipating the scans, I had really not even thought about the roll of TMAX. I was only thinking about the Velvia shots I had taken. It turns out I was much more interested in the TMAX upon review. I thought that they had an interesting and gritty quality to them.
I processed all of the image files in Lightroom 5 and only made adjustments to further enhance exposure (overall exposure, highlight, shadow) and contrast. No sharpening or other effects were applied. By reducing the overall exposure and painting in exposure in certain areas with the adjustment brush I was able to enhance the eerie feel and make the shots that were taken during the bright morning to appear that they were taken at night or dusk.
Please feel free to take a look at my website for samples of my photo and video work if you would like www.ryanmelideo.com
Three years ago I wanted to get a mobile phone which would take decent photos.
By chance I read David Bailey had done an exhibiton called Alive at Night using a Nokia N86.
Nokia N86 announced February 2009, has a Zeiss Tessar 28mm F2.4-F4.8 8MP with Auto Focus. It also has a close up capability which I find useful. There’s no touch screen which I prefer for photogrpahy.
Whereas for various scenarios a much larger sensor, far higher dynamic range, and high iso capability is significantly useful, I have found a small sensor useful in so many scenarios. Small sensor compacts may sometimes get knocked down, especially the megazooms with 1/2.3″ sensor and slow lens such as Sony X50V 24-720mm however they do represent excellent photo taking capabilities.
It really does depend on the way we photograph and our subject.
USER REPORT: The Sony A7R and Voigtlander 35 1.2 by Gianmaria Veronese
I spent this weekend in Paris in company of the new Sony A7R and the Voigtlander 35mm 1.2. This article will therefore be a summary of the on-field-test of the new Sony A7R.
Before I get into the review I would like to make an introduction about what you will find in this article and what is not. Well, I tell you now that you will not find photos of walls or pencils to see how sharp the lens is or how much resolution the A7R has. I can assure you that, with 36MPX and without AA filter, the limit on the size of your prints will be your walls and not the sensor. This article is designed to give you an idea of how the camera behaves on the field and whether if it’s possible to leave your DSLR in favor of this Sony A7R.
First let’s understand the ergonomic feeling and what are the differences from a traditional digital SLR. Well, the first thing that catches the eye and the touch is the size. It is really small (relative to the size of the sensor of course, FX 24 × 36 remember). The fact that it is small, however, has both the pro and cons.
The pros are definitely weight, size and discretion. When you travel, you just need nothing except body, lenses and battery charger. Dedicated backpacks are just a distant memory. In addition, the smaller distance from sensor to bayonet, allows you to mount any lens in circulation (with an adapter of course)! I used the excellent Novoflex. Impeccably made, it can be combined with an L-shaped bracket for heavier lenses (in my case the Nikon 14-24 that I didn’t bring to Paris).
The counter is a small body that in your hand is comfortable, but not as much as a DSLR (especially for those who have bigger hands). In short, after a while you feel a little ‘lack of something more comfortable in your hands, but I did survive without major problems.
In terms of dials, you’ll find the same of a classic DSLR, nothing new a part of the exposure compensation dial. Very comfortable to have it available, but a little ‘less practical to use. Looking through the viewfinder and looking for it with your thumb, it is easily confused with the dial on the back (the one for shutter or f-stop), but location aside, it’s a good thing there is.
Regarding buttons, in my opinion, there’s too many. I would have preferred a more essential camera (more like a Leica M than a DSLR), but well, since most of these are customizable, I’d say better to have them and ignore them rather than the reverse. The thing that I do not like instead is the shutter release button. It ‘s too backward on the body and, being upright, your finger stays in an unnatural position. Also, the worst thing is that no threaded hole has been designed on it for an eventual soft release in order to get a more comfortable feeling.
Let’s come to more interesting part of this camera, the electronic viewfinder (EVF). Let me reassure you by telling that it works very well. The vision is quite natural, and the eye does not get tired as I feared would happen. The possibility to customize it is the real gem. We can preview the final exposure and we can also see the final image with picture style such as Black & White, Sepia, etc. Moreover, the presence of the EVF translates into the possibility of using the focus peaking and live magnification of the image. In practice, we have a chance to see highlighted in red (or yellow or white at your choice) areas of the image that are in focus, helping us in the correct focusing, especially with manual focus lenses. Manual focusing with this feature is very handy and works very well, but it will take a bit of practice (especially with fast lenses). For those who care about pixels, the live magnification will allow you to perfect focusing, good for peace of your monitor magnification. In short, focus is not a problem, as all the instrument, you just need the proper period of training. Unfortunately I cannot say anything about autofocus, because I haven’t any AF lens.
Let’s come to the battery, the real sore point. It discharges very fast and you cannot stay without a second battery. Especially at the beginning, when you go through all the menus looking for the function you need, the battery consumes impressively fast. The thing is exacerbated by a severe lack: the impossibility of leaving the display turned off and only use the EVF. Or rather, you can use ONLY the EVF, but the main screen becomes completely inhibited even by turning to the menu and viewing images. In practice, we can do everything only through the EVF (i.e. going into the menu and reviewing taken pictures). Not really a good thing. The alternatives are to use ONLY the screen with liveview (completely inhibiting the EVF) or leave it in AUTO mode, where the screen turns off only when eye is approached at the viewfinder. But in this case, every time I walk away the eye from the viewfinder, the screen turns on again showing you all the settings. I did found the possibility to customize one button in order to switch off the screen, but it turns only black while remaining backlit! Incredible! I sincerely hope that this management is improved with new firmwares.
Another thing I do not like much is the shutter sound. Of course it is fantastic, sounds like an old SLR, sounds solid. But it’s definitely too strong! In street photography this is not a good thing at all. In short, from a machine without a mirror I would have expected a lighter “click”.
Nothing to say except notes of praise on the image quality. Optimal dynamic range and very malleable files in post-production. The behavior at high ISO level is very good. We can work safely at 3200IS. Going over it is certainly possible, but you must expose very correctly. By the way, I personally think that over 6400 is completely useless.
In conclusion I would say that this is an excellent camera, which can easily replace our dear old DSLR. Reactivity to shoot and feeling are identical to an DSLR and I am fully satisfied after just few days of use, then I can only hope well for the future.
All the shots below were made with Sony A7R and Voigtlander 35mm 1.2 freehand.
Vintage benchmark designs made available to a new generation of photographers
North White Plains, NY – December 3, 2013 – Leading the way in carrying solutions for over 30 years, Tenba announces a reintroduction of three vintage bag designs for a new generation of photographers. The Tenba Classic collection includes three models: the P211 courier bag, the P415 briefcase camera bag, and the Tenba 2 camera bag. These new Classic bags feature the same fine tailoring and uncompromising materials and hardware as when they were first launched up to thirty-four years ago.
The P211 originally introduced in 1979, was the first slim courier camera bag. It features Tenba’s patented lower lens compartment, which allows extra lenses and other gear to be as quick to access as the gear in the main compartment. The P415 came to market in 1986, and was the first truly great camera briefcase. A side zipper allows the bag to instantly double in size to accommodate additional gear when necessary. The Tenba 2 was designed in 1979 as the original minimalist camera bag: just one main padded camera compartment, and two slim pockets front and back.
Each Tenba Classic bag is made with the same materials and hardware as when they were first introduced: high-density nylon exteriors, YKK zippers and clips, genuine leather handles and embossed leather logos.
“These benchmark Tenba bag designs have been highly sought after for their legendary quality, great looks and high performance,” said Peter Waisnor, Marketing Manager of Tenba. “After fielding thousands of requests for these bags from around the world, we decided it was time to bring them to a current generation of photographers.”
Tenba Classic bags began shipping on December 1st at a suggested retail price of $59.95 for the Tenba 2, $89.95 for the P211, and $169.95 for the P415. To find more information about the Tenba Classic bags, and to see a full video demonstration of all Tenba products, visit www.tenba.com .
Tenba provides innovative carrying case solutions for professional photographers and filmmakers, and their full equipment arsenal. Tenba introduced the world to soft-sided, professional camera bags in 1977, and has been an innovation and quality leader in the decades since. With so many years of experience in bag development and construction, along with a unique level of closeness and daily connection to the professional imaging community, Tenba is truly dialed-in to both the real-world needs of its customers and the latest in design trends, materials and manufacturing. With its own, U.S.-based, dedicated “bag lab” product development center and manufacturing facilities, both domestic and abroad, Tenba’s resources and capabilities allow the company to create unique and exceptional carrying and transport solutions for serious imagemakers.
Tenba products are designed and marketed exclusively by MAC Group (MACgroupUS.com) in the USA, and are sold by distributors around the world.
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 $1700 for the A7, it is a steal for what you are getting. The 1st lens I would get is the Sony/Zeiss 35 2.8. It has a gorgeous rendering that reminds me of the highest quality Zeiss lenses of the past.
I love what Sony is doing and I can only imagine that in a year or two these cameras will get even better, faster and slicker. I am happy to support a company that just “gets it” when it comes to what we want in a camera. Go Sony GO!
**Later tonight or tomorrow I will post a first look review from Ashwin Rao who shot the A7r with a slew of Leica M mount lenses. So if you want tons of results and thoughts on that subject, be sure to come back here later or tomorrow for more! Thanks for reading!
The 7R at ISO 1250 with the 35 2.8
WHERE TO BUY THE A7, A7R and Accessories such as Lens Adapters, Lenses, etc.
The A7 and A7r where to buy page is HERE but you can also use the links below:
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Shooting the legend: Zeiss Hologon 16mm/f8 with Leica m Monochrom
By Dierk Topp
This lens fascinates me since it was announced in the late sixties in a version as a fixed lens in a Zeiss Ikon body. And some time ago I bought this very special lens with Leica M mount and used it on the Leica M Monocrome. It is a Contax G lens, converted to Leica M mount. The price for one of the few original Hologon 15mm/8 lenses are about 17.000$ (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.
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.
Quick Halloween Post! A7r and Voigtlander 21 1.8 rock it out!
Just wantd to make a quick post before bed and before I leave tomorrow to head back home! Someone requested A7r images with the Voigtlander 21 1.8, and since I had it in hand I decided to take it down to the Halloween party :) These are straight JPEGs but the two B&W’s were converted with Alien Skin
Below are the results…but man was it dark and super low light so it was tough..but even at ISO 6400 I have usable results for these fun pics.
I will be heading home in the morning so should have a new guest post and daily inspiration by Saturday!
PS – I did shoot with the RX10 as well but the low light made it tough since it has a 2.8 lens..but even so, I did get a few keepers! Will post those soon as the RX10 is one hell of a versatile camera with a nice solid build and feel.
Me before heading down in my Disco Fro…
One more, ISO 1600
ISO 6400..and since it was DARK and he was dancing I missed focus but still like it
My 1st look wrap up of the Sony A7 and A7r cameras!
NOTE: All images posted here are JPEGS from the cameras, NOT RAW.
Hello to all and good morning on this spooky Halloween day. I decided to take the morning off from this Sony event (off-road driving) because I am so backed up on work as well as tired and in need of a refresh. So I have a few hours free this morning to catch up on work, doing some tests that have been requested and charging my internal battery.
An OOC Jpeg with the A7r – 55 1.4 Otus
Over the past few days I have been writing and showing samples from the new Sony A7 cameras. This will be my final wrap up on my 1st look of them from using these bad boys all week. To catch up you can see parts 1-3 below:
I have also stated that this is basically a first hands on look, and NOT a full review. When I get a review sample at home I will do a full review of the cameras. (As for all of the requests..there is simply no way to get them all done during this week as every minute of every day is jammed packed but I will be posting my first look wrap up and opinion on my experience with the new camera so far).
Sony A7r and Zeiss Otus
Auto Focus, Lenses and more…
So are these the dream cameras many of us have waited years for? Is it the “RX1 with IC lenses” that many of us wanted? Is it a Leica M replacement for a fraction of the cost? Well, that remains to be seen but the camera is not perfect (no camera really is) and its biggest issue right now is native lens availability. At launch we have the Kit Zoom 24-70, a 35 2.8 and a 55 1.8 (a couple of weeks later). The 35 2.8 and 55 1.8 are superb lenses. Lightweight and sharp as can be. BUT in low light, with either of these cameras, these lenses can hunt for AF which has always been a Sony thing it seems. It’s not “bad” and you CAN get the cameras to AF in really low light, it is just there me be a time when the camera hunts and misses if shooting in low light conditions.
The Sony 55 1.8 at 1.8 on the A7 – OOC JPEG
Sony 55 1.8 on the A7 – ISO 6400
55 1.8 on the A7
If you have at least SOME light then you are good to go but I can state right now that these Sony’s will not win AF speed awards with either of these cameras. Keep in mind, my reference is the Olympus E-M1 as I have found this camera to be the fastest to AF of any I have ever used, period. The Sony’s in comparison to that reference are nearly as fast in daylight but in low light they drop to about 50% as fast. I noticed this last night when shooting Ben Folds at the historic Ryman Theater using the 55 1.8 and A mount 70-400. There were a couple of occasions where it would hunt for AF due to the lights being so low.
In other words..FAST AF in daylight. Slower AF in low light. This goes for both the A7 and A7r.
Ben Folds with the 55 1.8 and A7
Using the 70-400 A mount lens with Adapter at 400mm, ISO 6400 and I accidentally had my camera set for -2 EV comp!
The 55 once again..during soundcheck
Before you read any further, take a look at the video I made for the A7 cameras comparing them side by side, taking a listen to the shutter sound of each and sharing my verbal thoughts about using the cameras.
The 1st Look Video on the A7 and A7r
The build of the A7 and A7r are fantastic. I have had no issues with this and while to me, the OM-D E-M1 feels slightly better made, I am not sure this is really the case. Both are built nice though the E-M1 may feel better in my hand. I am comparing it to the E-M1 as I have that camera with me on this trip and just held both side by side.
Same size, both feel great but the Oly is a little more “slick” in its design.
The A7 and A7r are weather sealed as well so should not be an issue in the rain if you need to grab some shots while it is coming down.
As for the differences in build, the A7r has better made dials but in use you really do not notice this. Both feel the same to me in the hand as well as look the same. To me the build feels like a beefed up NEX-7.
No issues there.
The 55 1.8 on the A7 at 1.8 – Country Music legend Porter Wagner’s old suit and guitar displayed at the Ryman Theater in Nashville, TN
In use the A7 and A7r are just fine. Menus are easy to navigate as they use the Alpha menu system and NOT the NEX menu system. To those who were saying it has the NEX Menu system available, it DOES NOT. End of story.
After setting up the camera to your own preferences it is simple as pie to use.
Some who are with me that have been using the camera have been saying they were having overexposure issues. Well, I have not had any when using most lenses..until I was shooting with the 55 1.8. Then I noticed the camera was over exposing just a little and I had to dial it down with some negative exposure compensation. When using the manual lenses I had no issues so not sure if this is a firmware thing or a lens thing but do know that overall I had no issues with exposure. I am sure that if any bugs are found that Sony will address these before the camera ships in the form of firmware updates.
Other than that, the exposure metering seems solid to me. I know there have been some reports about exposure issues but I have been posting loads of JPEGS..do they look overexposed? :)
When shooting any lens in manual focus, even a Sony FE lens, for me it was easy to nail focus without a problem. Some have been saying the focus peaking is not accurate..well..focus peaking is more of an aid, not a sure-fire way for critically manually focusing. I think that many testing the camera now have never really used peaking much, but using it requires some practice as well as making sure to not just rely on the peaking but on the subject in the EVF as well. I kind of mesh both..when the peaking is telling me something is in focus, and shooting wide open at 1.4 or close to it, any slight movement of the focus barrel can knock it out of whack. You have to be precise and peaking is not really precise (nor is it on any camera). Just remember it is an aid to manual focus and does not replace your own eyeball. It can also be turned off if you do not want it. You can also press a button and have instant magnification if you want to critically focus.
For every photo I posted here over the past few days using a manual lens I used peaking without magnification. I had no issues and 98% of my images were in focus. But I have used peaking quite a bit over the past few years so I am used to it and know what to expect from it and what not to.
For those who are not used to it, practice makes perfect and after 2-3 days of shooting using peaking it should not be an issue.
As for manual focusing the Sony FE lenses, I had to switch on MF last night while taking photos in a bar where Sony had us gather for some really low light shooting. Now, the place was DARK and while I could AF on some things I had to MF for others. Manually focusing a Sony lens will automatically bring up magnification when you turn the focus barrel. This makes it foolproof to nail the AF.
So for me, I had no issues with manually focusing any lens and nailing focus. At all. In fact, I found it quite easy..just as easy as manually focusing on the E-M1.
Using Leica M Mount Lenses
The Leica 50 Summilux ASPH at 1.4 – Sharp just how I remember it from the M9 days…through a store window at 12AM..Hmmm, I used focus peaking here :) Wide open…and it worked!
After using these cameras extensively with a variety of Leica M mount glass I can say that if you shoot 35mm and up, there will be no issues on the A7 or A7r with color fringing or magenta edges or focusing. If shooting lenses such as the crazy 12mm Voigtlander or the 15mm or a Zeiss 21 2.8 or Voigtlander 28 f/2 you will see different degrees of either Vignetting or Color issues on the edges.
This also happens on the worlds only other full frame mirrorless camera, the Leica M 240 (and previous M9)
The next few are from the Leica 50 Summilux ASPH, wide open at 1.4 on the A7. I am happy to see that it keeps its signature look. It works just as well on the A7r, was a breeze to manually focus and the color is great, even in these plain old JPEGS from the A7.
EXIF is embedded so be sure to check out the ISO on these :) AND click them for larger versions! THESE ARE ALL JPEGS, NO RAWS YET.
I am happy to see the 50 Lux retain its quality and look on the new A7 and A7r. For some, an A7r and 50 Lux would be all they would ever need. Throw in a 35 f/1.2 or 35 f2 and then 75 or 90 and you would have a nice little tiny lens kit with a powerhouse camera. Truth be told, I loved shooting the A7 and A7r with these tiny RF lenses. Not only did it feel good in the hand, they were easy to work with and focus as well as putting out amazing results. Anyone who is saying this lens will not do good on the A7 or A7r do not know how to use them correctly on such a camera (or are trying to knock it down for Leica’s sake).
But back to the wide-angle thing…some of these ultra wides lenses are just not meant to work well with full frame digital bodies. The good news is that if you like B&W you can use the 12, 15 or any ultra wide you like. Just convert to B&W and you will not have problems. :) Lol. But seriously, if you are primarily an ultra wide Leica M lens shooter, you may want to skip these bodies. If you shoot 35mm and up, to me, these two cameras put out better IQ than the Leica M. Quite the fear for Sony so I applaud them for that.
Many of you have asked for a slew of samples on each body with different lenses. First of all, I am not a Leica lens storage cabinet, I only have certain lenses I was able to borrow for this trip (from cameraquest.com) and they are mostly Voigtlander and some Zeiss (which came from lensrentals.com). I have also had zero time until today (only because I skipped the morning trip) to do ANY sort of testing. I can tell you this though…
What I have found is that my favorite lenses on the A7 or A7r have been the Voigtlander 35 1.2 II, the Zeiss 35 Biogon f/2 and the Leica 50 Summilux ASPH as well as the little tiny Zeiss 50 ZM Planar (amazing colors). All amazingly beautiful in color, sharpness and overall look. I am a huge fan of rangefinder lenses so I am happy to see that the Sony A7 and A7r can use most of them to their full potential without issue. (besides ultra wides).
A friend of mine, Ashwin Rao has a slew of Leica M mount lenses..something like 30 of them or so. If I can get an A7 and A7r to review and take home I will fly to Seattle to test these lenses with Ashwin, one by one, spending a full day or two to do it right. He has lenses ranging from 16mm to 135mm and also ranging from vintage to modern.
THAT would be a cool test. I will let you guys know who have interest in that soon if it will be a reality.
For now though, seeing that I am in a hotel room in Nashville, all I could do is what you see below:
So there you go. What you see is what you get with each lens on each camera. These are direct from camera JPEG using AWB. Exactly as I expected from shooting them over the last few days. The A7 will give you slightly better performance with ultra wides though none will give you clean files with the 15mm Voigtlander. No full frame camera in digital can. The A7 with all of the lenses besides the 15 look pretty damn good though. As I said, my faves are the Voigtlander 35 1.2, the Zeiss 35 f/2 and the Zeiss 50 f/2 (as well as the 50 lux).
Wrap it up!
There you have it! My 1st look wrap up after using these cameras for the past 4 days. Sony has created a unique camera with a nice build and feel, a full frame sensor and the ability to not only use their new lenses, but adapted lenses as well (with some exceptions in wide angle M mount) as their older E Mount lenses (which will crop on these cameras, killing the full frame look they are bought for).
I saw a guy yesterday shooting the Nikon 14-24 on the A7R without issues and man oh man was it sharp. So the camera is very versatile when you think about the possibilities of what lenses can be attached to this little guy. There are hundreds of classic RF lenses to try and loads of Canon glass as well. Pretty limitless.
I have not yet been able to test things such as continuous AF speed or full on ISO comparisons but I can say that by using both, I really did see the resolution increase in the 7… but do I need it? Not really. Do I want it? Probably.
Many have been asking me…”Which one do I get”?
To answer that ask yourself if you want powerhouse resolution or huge resolution. Either one delivers plenty of detail and resolution but the A7r takes it up a notch. For Leica users who want to use M glass, I recommend the A7 if you want to shoot with some wide angles (some work fine) and the A7r if you are 35mm and up. It’s that simple. Both excel at low light and high ISO, both feel the same and work the same.
What about the 35 2.8 Zeiss Lens?
For those wanting more from the new Sony 35 2.8 FE, I have posted samples and thoughts in previous posts but will do more in my upcoming full review. The 35 is a SUPERB lens and if you want AF it will be tough to find a sharper 35mm for this system. In fact, that would be impossible. It focuses fast, is sharp as you could ever need and it is small.
Below is a full size JPEG from the 35 2.8 at 5.6 on the A7R, Handheld out of my hotel window..click it for full size (saved as a level 8 JPEG)
A7 or E-M1?
For those asking me if they should buy an A7 or Olympus E-M1, that is not for me to decide. Best thing to do is read reviews and go from there. As I said a few weeks ago, I will own both and will explain why in a future detailed article because it may cause some commotion :) The E-M1 will focus faster, feels even better in the hand, is more repsonsive and has many more lenses available. BUT it is not full frame, which is what the A7 and A7r are all about.
Also, many have asked about the new RX10 as well, and I have not even touched one yet but will be doing so today for the halloween costume contest Sony is putting on later. Again, it will just be my 1st thoughts, not a full review.
So with all of that I must leave now to go get ready for the rest of the day ahead of me, this took me a few hours to put together so time to join back up with the group. Will be back home tomorrow evening so looking forward to getting back and resuming my normal schedule!
OH and if you want to order one of the Sony cameras, doing so at my list of links will greatly help me out here on this site. Those tiny commissions I get help to keep this site up and running everytime one of you use my links to buy ANYTHING. CLICK HERE FOR THE SONY a7 PRE ORDER PAGE!
Also, big thanks to Stephen Gandy from Camera Quest once again for letting me use these lenses! His site is HERE.
Just an afternoon update while I have an hour or so to write. Half of the long day os over and this morning I was able to shoot the A7 and A7r in a Nashville Recording Studio to shoot a new up and coming performer, Leah Turner . She put on a GREAT soulful show and sounded amazing. It was such a great experience to shoot inside of a studio while the artist was recording. I have shot artists on stage quite a few times but never in a studio, so I enjoyed it.
We were treated to a small private 3 song concert and were allowed to shoot whatever we wanted. Many of you who know me know that I go for the emotion in the shot..waiting until the one moment that shows me something..soul..excitement..passion..love or whatever that may be. So I waited and waited and was able to capture a few that I really liked. I also am not a fan of zooming into the face as I would rather capture the entire scene and what is happening.
I mixed it up with the A7 and A7r and swapped between the Zeiss Otus and Zeiss 35 Zm f/2, which is also quite amazing on the A7 or A7r.
Leah in action with the A7 and 35mm Zeiss f/2 – click for larger. This, as with all of my A7 and A7r samples is a JPEG.
The next few shots of Leah were shot with the A7r and Zeiss Otus..the monster 55 1.4 in Canon mount. I used the Metabones adapter and seeing that this is a manual focus lens it feels really nice when shooting.
After the mini concert we went downstairs to shoot a model who was there waiting for all of us crazy photographers.
This one is shot with the Sony FE 55 1.8 lens, which is also a gem – A7
This one was shot with the Otus at 1.4 as was the image after this one. A7r
and a full size OOC JPEG using the Otus 55 1.4 from Sony along with the A7R – click it for full size. Is this enough detail? Keep in mind, this is an OOC JPEG, the RAW will be even more detailed.
Finally we took a walk to another Studio where artist Ben Folds was recording his next album. We kind of surprised him I think and when 47 of us poured into the small studio he seemed a bit overwhelmed but it was awesome to meet a man I have been a fan of for 15 years. In fact, he sings the song “The Luckiest” which happens to be a special song to me and my finacee. I put in a request with him because later on today we get to go to his sound check and then shoot his concert at the Ryman Theater here in Nashville.
Ben Folds testing out the Sony A7 – He is also an avid photographer so he seemed interested in this new camera. He said he has been shooting a Sony RX100 and loves it.
This is going to be a great night! More to come tomorrow with pics from Ben’s performance with the A7 and A7r as well as some late night Honky Tonk. Not sure if we will be able to get close to the stage (maybe not) for Ben’s show but either way I will be having a good time.
Tomorrow we will be doing some off road driving as well as partaking in a Halloween costume contest..all being shot. I am hoping to test the RX10 tomorrow!
Some images from Photo Plus in NYC today. Sony, Zeiss, Leica…
What a day! Whew…
Yesterday I flew out of Sunny AZ at 6am headed to NYC for the Photo Plus show going on this week. When I arrived in NY I did a big “UH OH” because I realized I only brought a light jacket with me, and here I was in NYC in 48 degree weather! The good thing is that it was not THAT cold so I survived a short walk to dinner with some friends and had a great evening. As always, I had a camera with me so for the chilly walk back I snapped a shot or two..
This morning I woke up later than I expected, around 8:30AM. Had a business phone call at 9 through 9:30 and by the time I headed out to the show it was 10:30.
When I arrived to Photo Plus I saw a few familiar faces and made my way to pick up my press pass.
I ended up walking around and it seemed every few steps someone who knew me would walk up to me to chat! Was so cool to meet so many readers of this site today, all were super nice and wonderful people.
I eventually found my way to the most crowded section of the show (from what I saw) and it was the Sony Booth. They had the A7 and A7r on display, as well as the new RX10 (which is looking better and better to me the more I mess with it). I even had a chance to borrow a Zeiss 50 1.5 Sonnar from a woman who was testing some old lenses on the A7. She was kind enough to let me take a shot or two with her lens mounted on the A7.
I snapped a shot of a guy who was chatting with me (a reader here) at 1.5, wide open. Sony would NOT let me put an SD card in the camera (they are saying the camera is still not FINAL in FW, so pre-production) but when I saw the playback it had the full on Zeiss character and was beautiful. I am telling you this..the camera was a breeze to manually focus with this Zeiss ZM lens. No focus shift because you are using Live View, so what you see is what you get.
The OOF transitions were creamy, the color was nice for being indoors with horrible light and I can tell that this camera is going to deliver on IQ, no doubt in my mind at all. After more hands on time with the A7 and A7r I can tell you that yes, the A7r does have metal dials on top where the A7 has plastic. They both feel great and I noticed no difference in feel or build when in my hand. I have a feeling that the a7r is going to be the Godzilla of resolution. A beast.
Shot with the 50 Zeiss Zm Sonnar at 1.5
So after messing around and chatting with a few folks a woman walks up from Zeiss to show me the new Otus lens. This lens is a statement piece from Zeiss and coming in at $4000. The 55 1.4 design is gorgeous but man, this lens is HUGE (though light).
She wanted me to try it on the A7r and I used the Metabones Adapter to do so. When I looked at the results on the screen..WOWOWOWOWOW. This lens is something the perfectionist will want. Those who want ultimate IQ..this lens will do the trick and seeing that it is a pro manual focus lens (NO AF), it feels REALLY good in use. It is just large.
I HEARD MUMBLINGS…Sony was telling Zeiss..MAKE THIS FOR FE MOUNT! So we shall see. Below is the lens with hood attached and Metabones EF to E mount adapter. I may get to shoot with this lens on the A7r NEXT WEEK and this time, with an SD card in the camera :)
So as I left Sony I headed toward Nikon, Canon, Fuji and Panasonic. Not much new there. Saw the GX7 but I already reviewed it here. I saw the All weather Nikon 1 which was larger and much more solid than I expected and I saw a few other things around the convention center that were more interesting than what Nikon was offering..
I stopped by the Olympus booth and they were busy with everyone checking out the E-M1 and even E-P5. I saw quite a few walking around today with OM-D E-M5′s and E-P5′s. The woman above was doing an act for Olympus demoing their wifi smartphone/ipad remote feature. Before I shot this I cracked a joke which was probably not good because she could have lost her concentration :) But she didn’t. Behind here you can see every Olympus Micro 4/3 and 4/3 lens ever made.
The Leica booth had a few gawkers but they were not showing anything new besides their “Glossy Black” D-Lux 6. Yet another refresh of the same old D-Lux 6 which appeared to be slapped together just for the show..I mean, they had to have SOMETHING new right?
They did have this on display…
I stopped by Fuji as well and took a look at the new X-E2. Looks and feels like an X-E1. Same build. AF seemed faster but not a dramatic difference. The new 23 1.4 was fantastic though. This is a lens I would buy if I owned a Fuji. Smaller than you think as well.
So after the show I walked back to my room, stopped off at B&H Photo once again and am now laying in my hotel bed writing this update. What I learned today from Photo Plus is that there is MASS interest in the Sony A7 and A7r as well as the new RX10. Olympus is hot with the E-M1 and Nikon and Canon are still Nikon and Canon with their usual DSLR updates. (yawwwn)
Leica is holding steady with M sales doing very well for them and Panasonic had quite the crowd as well.
So without a doubt, the biggest thing here this year is the Sony A7 and A7r. Sales are STRONG, results are looking AMAZING and the camera is well made, solid and has very fast AF. When something this good comes along, it gets noticed and the people I spoke with today who were giving it a spin all said the same thing..”I pre ordered one already”. They were all happy with the fact that they did.
Remember, starting on the 28th I will have loads of samples and news and videos on the new A7 and A7r and RX10, so bookmark and come back because you will NOT want to miss it.
For those wondering, all photos posted here were shot with an Olympus E-P5.
I will beheading back to the show tomorrow morning to throw a Voigtlander 12mm on the Sony A7 and A7r and to see what I see on the LCD. Of course, what I see you will see here right after :)
A quick follow up…the Olympus Pen E-P5. What a beauty!
With all of the chatter on the A7 and A7r as well as the Olympus E-M1 some of us have forgotten about the other Mighty Mirrorless that IMO, beats the Panasonic GX7 in most areas (besides the handy built-in EVF). I recently reviewed the Olympus E-M1, the 1st Micro 4/3 Pro camera ever, and as you could read and see, I loved it. I also reviewed the Panasonic GX7 and declared it the 2nd best Micro 4/3 camera next to the E-M1. Well, I take that back after I have done more shooting with the Olympus E-P5!
Not only is the AF faster than the GX7, the build is better and the design even sexier and I much prefer the color coming from the Olympus E-P5 (which is also different from what comes from the E-M1). The images I am getting are also sharper than the GX7 and due to the VF4, it is a BREEZE to manually focus Leica M mount lenses (not so on the small GX7 finder). I have never officially reviewed the E-P5, though I did do a 1st look video for it a few months ago. You can see it HERE.
I ended up not doing a full review as I found it was close to the OM-D E-M5, but even better in the tech department with some enhancements and improvements. Even so, it is not as easy to hold as the E-M1 or E-M5 but after using it more and more I can state that the 17 1.8 performs like a champ with the P5 as well, just like the E-M1. This camera is about good looks, fast performance and versatility. If Olympus made this exact camera with the EVF-4 built on the back left side it would be nearly perfect. The external is fantastically good but does add a bug hump as well as take away from the sleek design. In Silver, this camera is a thing of beauty with a solid heft to it as well.
Below are a few images I shot today with the E-P5. I have the E-M1 here as well and was curious if there was a difference in IQ between them. From what I see, there is not.
The first two images were shot with the Voigtlander 35 1.2 M mount lens using a cheap adapter.
My dog at ISO 1600. Yes, ISO 1600. From RAW, Zero noise reduction. Low light indoors. Click it for larger. Shot at f/1.2
35 1.2 at 1.2 – My oh so patient Fiancee doing yet another test shot for me :) Again, with the EVF-4 this camera is a breeze to manually focus.
This one was shot with the 45 1.8 and is my cat looking out of the back door at my dog, who was outside with me :)
Me, getting ready for Halloween in my evil clown mask. This one has had some PP using Alien Skin and a Radial Blur filter. 17 1.8
Ok..maybe she was getting fed up :) This one with the 25 0.95 Nokton at 0.95 – This lens is NOT soft at 0.95 anymore. Try it on the P5 or M1.
Super sharp at f 1.2 using the Voigtlander – and the Olympus color..THIS is from an OOC JPEG in Vivid mode!
A NY city scene from my Hotel window
I will be shooting with the E-P5 for a while along with some various lenses including some M mount lenses to see how it goes. Should be fun.
YES! Fuji did it again and proves at least that they are the best in Firmware updates. They have released the firmware Version 2 for the Fuji X100 and below is what you get, so it is WELL worth it to do the upgrade!
Improvement of AF speed
Approximately 20% faster AF speed is achieved in various conditions such as bright scenes, dark scenes and changed focus distance compared to the previous firmware version.
2.Improvement of close-up focus performance
The focus distance from the lens surface without switching to macro mode is approximately 30% shorter compared to previous firmware version.
3.”Focus Peak Highlight” function for manual focusing is added.
The function, which features on FUJIFILM X100S and X20, is added and assists accurate and sensitive manual focusing by enhancing the outline of your subject in high contrast.
* With this update, “Focus Peak Highlight” function is selected as a default setting. Pressing the center of the command dial for a while enables you to switch the setting of “Focus Peak Highlight” and “STANDARD” (off of “Focus Peak Highlight”). And “MF ASSIST” is added in SHOOTING MENU where you can select “HIGH” and “LOW” in “Focus Peak Highlight” and “STANDARD”.
4.Improved manual focus operation
This makes it easier to capture the peak of the focus by displaying the image with shallow depth of field, using open aperture, when adjusting the focus with the electronic view finder or the LCD.
5.Faster start-up time
The camera start-up time is shortened by approximately 0.2 second with QUICK START mode OFF.
6.Improved operability of selecting focus area
Previously, the focus area was selected while holding the AF button on the back. With the upgraded firmware, pressing the AF button will switch to the focus area selection screen and the area of your choice can then be selected.
7.The phenomenon is fixed that a camera will automatically turn off during “Bulb (B)” shooting with the “CONTINUOUS” setting in “IMAGE DISP.”