Apr 112016
 
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Travel photography in India with a Nikon Df and Zeiss Otus 55

by Sebastien Bey-Haut

Dear Steve,

It’s always a great pleasure to be featured on your site so I’d like to share my experience on shooting a pretty unusual combo: a Nikon Df and a Zeiss Otus 55.

Why unusual? Simply because both camera and lens seem to follow really opposite paths:

– The Df is one of the smallest (if not smallest) and lightest Full Frame DSLR with a modest 16Mp resolution
– The Otus is the most gigantic and heavy 55mm ever produced for a DSLR and could certainly out-resolve a >50Mp sensor

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So, is it as a stupid pairing as it looks? I actually don’t think so, let’s look a bit further than Mp and weight metrics… Beside its fancy retro design the Df has a strong argument in how its sensor renders colors (brilliantly if you ask me J). And what is the best way to get 100% out of a sensor? Simply put it behind the best possible lens! The Otus is not only about sharpness, it’s also excellent with contrast and colors!

Let’s now forget the technicalities and focus on the user experience: I just came back from a 10 days trip to Varanasi (India) and shot from 6am to 8pm almost non-stop using the Df / Otus combo 90% of the time.

First thing I have to admit is yes, walking >12h a day with an Otus around your neck is painful, really painful. I even had a blister on the finger I use to support the weight of the camera while shooting… That said, travelling more than 12h in economy class from Zurich to Varanasi is also painful, so the Otus weight is just a small additional element of discomfort…

The only thing I really don’t like is the lack of weather sealing… Maybe we’re not so many to use them outside of a studio but still, that would be appreciated Mr Zeiss…

So yes, it’s not a trouble-free experience, but what you get in return is still worth the hassle: the haptic of both the Df and Otus are just pure pleasure and contribute a lot to the fun of shooting. The manual focus is butter smooth and the finishing of the lens is just perfect…. Even if I’m not a big fan of the rubber band on the focusing ring: it’s nice looking and very comfortable but does not go well with strong anti-mosquito sprays (the formula attacks rubber). I managed not to damage the lens but had to be extra careful.

Then of course having the best possible optical performance is also very enjoyable: aperture becomes irrelevant in terms of sharpness (f1.4 is as good as f16), you just chose it according to the depth of field you’re looking for. Manual focusing requires a bit of practice but after getting used to the camera / lens combo I easily achieved 70-80% spot on shots. Moving subjects are a bit more challenging but it’s more a question of shooting style: instead of running behind the subject trying to nail the focus you just chose a good spot, prepare your focus, and wait for something / somebody interesting to enter the frame for 100% success. I occasionally used a tripod but could probably have done without.

Actually beside gear the most important thing simply remains the “access”: I was very lucky to be with a local friend who knows everything (and almost everybody) in Varanasi so it made finding the right spots a lot easier… He’s occasionally offering his services as a guide so feel free to reach out to me via my facebook page if you want his contact.

Enough talks for now, here is the set titled “Varanasi dream” because as a friend said these images show Varanasi as you could see it in a dream.

CLICK ON THE IMAGES TO SEE THEM MUCH CRISPER, MORE COLORFUL and FOR AN OVERALL BETTER VERSION!

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You can find more of my work here: https://www.facebook.com/lumiere.exterieure

Thanks for reading,

Sebastien Bey-Haut

Feb 172016
 
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A Tale of Two Lenses: The Zeiss Sonnar 50 f/1.5 ZM and the FujiXF 56mm f/1.2 – Fuji X-T1

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Hi Brandon & Steve!

You’ve kindly featured some of my photos here before, I thought it about time I shared something new with you.

Last year I sold my well used Olympus OM-D E-M5 to buy a Fuji X-T1, and I wanted to test out the Zeiss 50 Sonnar C ZM (Leica Mount) alongside Fuji’s highly regarded XF 56mm f/1.2. Whilst the two offer a similar price point and focal length they deliver very different images and user experience. Both are superbly made, solid lenses with the manual focus Zeiss being far more compact even with an adapter.

The huge viewfinder in the X-T1 and innovative focusing aids make using manual focus lenses enjoyable, easy and accurate. With its 1.5x crop factor APS-C sensor, both lenses become short-telephoto portrait lenses (around 75mm and 84mm equivalent on a full-frame camera). I won’t get into technicalities, This is really a ‘just for fun’ comparison.

As for my own conclusions, I tend to like lenses that exhibit distinctive, interesting bokeh and falloff. To my eyes the Zeiss has the more unique patterned bokeh with the Fuji being smoother. The Zeiss just nicks it for me, but it’s subjective and everyone’s opinion will differ.

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Incidentally, the switch from Oly to Fuji was purely to try something new after several years. I loved the Micro 4/3 gear and feel it offers unrivaled quality at such a compact size. I was won over by the design of the X-T1 though and have not been disappointed at all… but that could fill another article! I’ll sign off here and leave you with some images, have a great day!

http://www.jpstevenson.co.uk/photography/

https://www.flickr.com/photos/jamespstevenson

Thanks – have a great weekend.

James Stevenson

Jan 192016
 

Nashville – Escape from Trade Conference with my A7RII

by Jim Idelson

Hello!

This image was captured during an afternoon escape from a convention I was attending in Nashville, Tennessee last week. Having never been to Nashville before, I really wanted to get a taste of the downtown area. From 2 to 4pm, I did a solo pub crawl, listening to some music, having a couple of beers and making a few new friends. As the sun was setting, I noticed it was just a bit over the horizon and in full view directly up the street. It was starting to bathe everything in gold and create some the beautiful long shadows. There were a few clouds in the sky. I had a feeling there would be something good to capture in this moment. I was also carrying a rented Zeiss Batis 85mm, and wanted to give it an opportunity, so I made sure that lens was in place.

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At first, I aimed the camera towards the sidewalk cafes, but facing away from the sun. That was an ok streetscape scene, but not very exciting . . . then I thought about shooting back into the sun. I got into a position on the sidewalk looking directly toward the sun. But, I really couldn’t see much in this direction by eye due to the brilliance of the setting sun. But, I knew what I wanted. I wanted to capture the whole scene before me . . . the busy street and sidewalk, the setting sun, those long shadows, and the eclectic mix of honky tonk signs – all somewhat compressed with the 85mm tele. So, I exposed simply by minimizing zebra to just a ring around the sun, making everything else in the frame go very dark . .. and hoped there would be enough DR to be able to bring it back in LR.

Camera and settings were A7RII, Batis 85mm, 1/2500 f2.5, ISO100. Processed in LR5. The primary edits were crushing highlights (a lot) and enhancing shadows (a lot). I also applied some vignette, a sprinkle of Clarity and Vibrance, and little NR. It was a pleasant surprise to see the yellow traffic light and the gold light shining through the windows of the clock tower in the distance on the left.

I’ve attached the before-processing version of the image, plus a google map snap to show where the image was shot, and another snap of some great musicians whose music I got to experience that afternoon. A fun break from work. I can definitely recommend a visit to Nashville.

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Jan 072016
 

NEW Zeiss Mobile Phone High Quality Lenses

Looks like Zeiss is entering the mobile phone market! Well, LENSES made for phones that is. Zeiss is promising new high quality lenses that will be above any other phone lens made. IT’S A ZEISS and they look pretty cool in the photo below. Zeiss says these will be available 2nd quarter of 2016, so soon. I look forward to testing these out, and I will as soon as I can get a set to test.

You can see and learn  much more on this system HERE.

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Dec 032015
 
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Camels, turbans and the people of Rajasthan with the new Voigtlander Ultron 35/1.7

by fiftyasa

You might remember my previous post about traveling in the sate of Rajasthan in India with some film cameras (here). This year I came back to Rajasthan with a Leica M9 and would like to share some images with you and the readers of your excellent blog.

A few weeks before leaving for this trip I acquired the new version of the Voigtlaender Ultron 35/1.7. I was in search of an affordable, small, sharp and fast 35 mm lens as main travel-photography lens, and gave the Ultron a try. I wrote a user review of the lens on my website here, mainly talking about sharpness and the use of the Ultron on the Leica M9 vs the Sony A7, but the first real use of the lens was going to be in this trip to Rajasthan.

The images below, unless otherwise stated, are shot with the new Utron 35/1.7 and Leica M9.

Bathing and preying in the sacred waters of the Pushkar lake:

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Although I was carrying around also a Planar 50/2 and a Biogon 25/2.8, the Ultron stayed on my camera 90% of the time. 35mm seems to be the perfect focal lens for me for travel photography: not too wide and not too short, excellent for environmental portraits and easy to manage when composing the scene.

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Pushkar also hosts a very popular camel trade fair which offers amazing opportunities for portraits and rural life scenes:

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I will let the pictures speak for themselves, but I have to say that I am very satisfied with the Ultron. Sharpness, bokeh, pop, micro-contrast are top. My only complaint is that my version seems not correctly calibrated. It back focuses. Before the trip I just glued a piece of black tape on the rangefinder cam and that solved the problem. Unfortunately achieving precise focus on a digital M system is in general a pretty difficult task, no matter how many times you send your M body to Wetzlar for calibration…

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In a temple in the countryside of Pushkar, Aloo Baba grows his potatoes (aloo) and kindly poses for a portrait:

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In Ajmer I visited some projects of a local non governmental organization (NGO) called RSKS (http://www.rsksajmer.org/about-us.php). RSKS is active in developing the rural areas around Ajmer with various programs, such as educational programs and income generation activities. I visited one of their schools in a poor rural village, a sewing training center for young women and a micro-finance program in a remote village.

The following picture portraits a student of the school (this time shot with Zeiss Planar 50/2):

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Here a woman who took part of a micro-finance program:

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After visiting Pushkar and its surroundings, I moved to Bundi, a small city in the South of Rajasthan. It looks like the blue city of Jodhpur but on a smaller scale. Its people are extraordinary friendly:

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For those interested in seeing more images of this trip, please visit: https://fiftyasa.wordpress.com/portfolio/rajasthan-again/

 

Oct 122015
 

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The Zeiss 21mm f/2.8 Loxia Lens Review for Sony FE. In pictures.

Pre Order the Loxia 21 f/2.8 at B&H Photo HERE

I am back from my vacation, and now am sick with a fever, cough and sore throat but the good thing is I can lie in bed and write, so enjoy this write-up of the new Zeiss 21mm f/2.8 lens for the Sony FE system. It’s a gem indeed. All images here were shot with the Zeiss 21 f/2.8 on the Sony A7RII. Enjoy. 

About 2 weeks ago I received an email from Zeiss asking me if I wanted to review a new prototype lens for the Sony A7 system (FE). Now, of course I was not about to let this opportunity to test and review the latest Loxia lens from Zeiss slip through my hands! Yep, the new Loxia 21mm f/2.8 lens is in my hands, and let me tell  you..it is awesome. It keeps up and then some with the other Loxias we have so far, the 35 and 50, both of which are stunning, especially the 50mm. The kicker is I am reviewing a PROTOTYPE lens so this is not going to be a full formal test review, as I have a prototype. Even so, this lens I have here is stunning and when this lens is released I will be buying it for my own to add to the other Loxias.

When the 21 f.2.8 arrived I loved it for its small size and quality Loxia build. Feels the same as the other two in the Loxia line and that is a good thing as these lenses are built very well, even including a rubber seal around the mount to avoid dust getting in. The Loxia line of lenses from Zeiss are just what the doctor ordered for most of us who love a manual shooting experience with small high quality lenses.

YOU MUST CLICK ON THE IMAGES TO SEE THEM HOW THEY SHOULD BE SEEN. THANK YOU.

Coming in at around the same size as the 35 and 50 Loxia, this 21 feels and performs to a high level on my Sony A7RII and A7s. 

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The Loxia 21 f/2.8 went along with me and Debby to Disneyland for 4 days and I could not stop snapping this lens on my Sony A7RII where it did incredible in any light, even dark scenes up to ISO 32,000. Yes, ISO 32,000, real world shooting with the mega monster megapixel A7RII. This A7RII blows my mind every time I use it.

This review will be a bit different from my usual lens reviews (as I have a prototype) as I will just say that I found no problems in use,  and the IQ, to these eyes, is fantastic. I will let the photos below tell the story of why this lens is a must own for your Sony A7 series camera if you like wide angle lenses and a nice manual piece of glass as well as the name ZEISS.

click the lens below to read more at B&H Photo

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In use I had no problems focusing this lens, at all. Even in near pitch black scenarios I was able to focus thanks to the EVF of the A7RII. If it had an OVF it would not have been possible.

So let’s begin with the photos. EXIF is embedded on all of them but you must click them to get the larger versions. Oh, and the lens has a 52mm filter size ;)

1st up, this is part of “Cars Land” at Disneyland in Anaheim, CA. They created a HUGE desert scene and it looks so cool at night. This was shot at a high ISO, and if you check out the image again with the crop below it, you will see how impressive this is for a high ISO shot, late night and at f/2.8. 

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100% Crop of above. ISO 6400. Zero NR.

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My favorite ride at Disneyland, the Twilight Zone Tower of Terror. This was shot at ISO 6400 and at f/2.8. All noise reduction is off, as I always have it set to 0 for JPEG or RAW. The RII handled the scene perfectly as did the Loxia. 

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A band was playing and I saw this little boy in his Halloween costume rating his fist and glove at me. I squatted QUICKLY and snapped, knowing my focus was on the band and not him. I still like it ;) 

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This was shot in my home the day I received the lens. Shows a crop as well if you click on the image to make it larger. This is at f/2.8. ISO 1600.

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My Office/Man Cave where 75% of my time is spent working, chilling out, or enjoying some amazing tunes. I also review HiFi equipment so I usually have a rotating set of high end gear coming and going ;) From my chair at f/2.8

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Disney Balloons! They sell a ton of these things and they are not cheap! 

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The Disneyland Castle all dressed up for the 60th Anniversay 

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High ISO, late night. Shot at f/2.8 I did not think I had nearly enough light but the high ISO of the A7RII keeps on surprising me. I never use noise reductions, so my high ISO images have ZERO NR.

ISO 25,600 – Zero NR – A7RII

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Inside of the Little Mermaid ride, again, the low light scenario was easy for the Loxia 21 and Sony A7RII. 

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Good color, no flare, no issues that I have found, even with the Prototype. 

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Right outside of our hotel is this water ride that WILL get you soaked beyond belief. Same areas as the black and white one above which was shot at night. Here I used a filter from VSCO as I liked the colors.

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The man himself, harsh mid day sun but the DR of the Sony was not even phased. 

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ISO 32,000 and look at the color performance. Again, zero NR here and the Loxia gave me a nice usable image. Shot inside the “Haunted Mansion” ride and it was DARK which is why I needed ISO 32,000 at f/2.8, and I was in a moving ride car.

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Selfie in the mirror. Tri-X filter via Alien Skin.

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VSCO filter applied to this one…click for better

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The A7RII and 21 Loxia make for a good B&W combo as well…

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More…

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The B&W Below, ISO 5000, f/2.8 – click it to see it much better

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ISO 32,000, f/2.8

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I fell for this lens just as as I did for the previous Loxia 35 and 50. When it is released and final I will be adding this to my FE lens collection. It’s a beauty and even though I was using the prototype and it is already on its way back to Zeiss, I would have bought this one if I could.

Pre Order the Loxia 21 f/2.8 at B&H Photo HERE

a few more..

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HLPHH

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

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

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

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

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

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

AMAZON LINK (you can bookmark this one)

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

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

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

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

Sep 282015
 

USER REPORT: A7RII + Zeiss 35 1.4 Distagon FE: A weekend in Connecticut

by Jesse Hsu

Hi Steve,

After falling in love with the A7s and using it extensively for the past year, I was curious about the A7RII’s low-light capabilities as well as its stabilization to see if it was worth the purchase. ​ Borrowed the A7RII for a weekend trip to Connecticut to assess its performance. I only used the Zeiss 35 1.4 Distagon FE lens.

This shot was taken in the backseat of a car going 75mph on the highway. I wanted to test out the 5-axis stabilization and took a quick snap of the biker in the lane next to us. Not the sharpest obviously, but not bad for a handheld shot.

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Went out to the backyard and snapped this photo. After opening it up in Photoshop later, I was blown away by the clarity and level of detail. Leaves and tree trunks were sharp and I was able to recover some shadow with ease. Note: No additional sharpening in post.

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Went grocery shopping at a local farm for dinner and snapped a sheep who was patiently posing for me. Again, impressed by the clarity of the blades of grass as well as the wool of the sheep when zoomed in.

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As night fell, my friends were getting the grill hot and ready on the porch outside. A great opportunity to test the low light capabilities. There was one light source, an overhead lamp but the sensor performed with no issues as it captured the flames in action and preserved the details of the charcoal piled high in the chimney starter.

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I took the next shot as the branzino began to crisp. Notice the criss-cross pattern of the fish scales as well as the powdery soot all over the grill.

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Cornish game hens slathered in miso and gochujang were next on the grill.

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The next morning we heard some chirping and found some baby birds camped out in the backyard gazebo. The wonderful minimum focusing distance of the 35mm 1.4 allowed me to get pretty close to the subjects and shoot wide open at 1.4 for a heaping of creamy bokeh.

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Few friends came by for a dip and the fast boot up time of the camera allowed me to quickly freeze a moment in time. Note the cascading water droplets as clear as day.

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Water-skiing in the late afternoon meant another great opportunity to test stabilization. All of the shots were taken on a boat going pretty fast and I was happy that there wasn’t much blur. No tripod used, all handheld. I shot some 4k video but haven’t had a chance to check out the footage in Adobe Premiere.

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Conclusion: After putting the A7RII through its paces, I was happy with the results. It preserved amazing detail in low-light scenes and situations where there was considerable movement. I will be ordering the A7RII soon!

More photos (mix of A7, A7s, A7rII) here: www.instagram.com/scrumphsus

Sep 152015
 

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Quick Comparison: Zeiss 35 1.4 ZM vs Voigtlander 35 1.7 VM

I have been shooting with the beautiful chrome Voigtlander 35 f/1.7 lens on my Sony A7RII and WOW, it is one hell of a lens if you are into manual focus small primes on your A7RII. In fact, I have been so impressed by this small wonder that I rented the Zeiss 35 1.4 Zm to compare. I will have a full comparison in my review of the Voigtlander (coming soon) but for now, just a quick snap in my backyard. Click images for larger and full 100% crops.

As for sharpness, the Voigtlander is just as sharp as the Zeiss at f/1.7 where the Voigtlander is wide open. When the Zeiss is at f/1.4 it is not as sharp as what comes from the Voigtlander when it is at f/1.7. So in regards to details, they appear to be pretty equal. Bokeh… there are some slight differences here and I mean slight. My money would go to the Voigtlander any day as it is smaller, looks nicer, and is less than half the price. Look for more samples with both in my upcoming lens review of the 35 1.7 VM.

Click images for larger and to see 100% crop

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Aug 312015
 

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The Sony A7RII Camera Review. A real world look.

By Steve Huff

Buy the A7RII at Amazon or B&H Photo

Here we go! After a few weeks of use with this camera I can finally sit down and write about all of my thoughts on this incredible technological marvel, the new Sony A7RII. As of the end of August there are many who received their new A7RII and are enjoying it. I can state with conviction that I have enjoyed every second I have had with this stunning memory maker. I hope you enjoy reading my real world review as much as I have enjoyed creating it for you.

Zeiss Loxia 50 on the RII at f/2 – click it for bigger!

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Let me start this Sony A7RII review by saying I have never shot, tested, used, owned or reviewed a camera in 35mm full frame format that competes with this one as an overall package. It does everything I need, and then some. It offers me fantastic low light abilities, fantastic video abilities, amazing snap and detail and beautiful files that print out as large as you would ever need, and look amazing as well. The camera is a true beauty, and one I expected to like not love (I usually steer away from mega megapixels due to the usual compromises involved).

55 1.8, late night low light with the A7RII – click it for bigger!

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The A7RII, when announced, was something I thought was a “Uh Oh” moment for Sony. I assumed ISO would suffer, speed would suffer and the camera would  be cumbersome and slow due to the 42MP sensor (Like the original A7R was when compared to later models). Sony was promising a “no compromise” experience, the best of the A7II, A7R and A7s all in one camera almost…well, they did not say that specifically but hinted at it on more than one occasion or gave the idea that yes, this is one camera that can do it all.

Here is an image shot with the little Voigtlander 40 2.8 for the Sony system. See my review HERE. LOVE this lens on the A7RII!

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The shot below was with the Zeiss 35 Loxia, another fantastic lens on the A7RII. Maybe not as brilliant as the 35 1.4 Distagon but so small and lovely to use. Shot at f/2 in a very dim and low light restaurant. The sensor of the A7RII sucked in the light and “lit it up” which is what my Leica M always seems to excel at. This lens renders a nice organic image on the A7RII sensor. 

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When I finally was able to test this camera, I started to realize that their claims were true (no compromise). Here I was with a “much smaller than any full frame DSLR” beautiful camera in feel, build and looks and when I started shooting it I was blown away by the speed improvements, IQ, color, AWB, metering, ISO performance, video and EVERYTHING it was doing for me. Those 1st few days were great but I knew I was in the “Honeymoon Phase” and that excitement would eventually wear off, as it always does. That is why these companies cam make a new camera like this every two years, as many people (the ones stricken with GAS) love to upgrade for something new and exciting after some time and tech keeps evolving at a rapid rate in the Sensor arena, so companies like Sony who make these sensors are pushing strong with the hardware to go with these incredible imaging sensors.

Outside at night with the Sony/Zeiss 55 1.8 (at 1.8) and the A7RII

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So I kept shooting and using the camera and every day my enthusiasm would jump UP instead of DOWN, which was odd while testing a new camera. The more I used it, no matter the light or situation, it never failed me in any way, and always delivered beautiful results. It was quick, it was easy to use manual focus glass on, it felt beautiful and with my wooden JB Grip, I had many asking me what kind of camera I was using as it looks stunning with a nice prime lens and that grip!

This one, the Zeiss 16-35 on the A7RII. Lovely lens that I am now addicted to for its amazing performance. Click for larger!

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Then again, I also use the Voigtlander 15 4.5 III in Leica M mount and also adore it for its small size and brilliant performance. Click for larger! 

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In any case, the more I shot this with Sony FE lenses, Zeiss FE lenses, Leica M mount lenses, Canon EF lenses..the more impressed I was. When I did this ISO test against the A7s I was blown away. When I shot it indoors, outdoors, in brutal full sun, in the magic hour or for portraits or landscapes, the A7RII just delivered the goods without muss of fuss. The Dynamic Range of this camera/sensor is astounding.

The 24-70 Zeiss on the A7RII

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The Controversy

All the while I was enjoying the A7RII I was seeing forum postings about pixel peeping nonsense that has nothing to do with taking, displaying or printing photos. Was boggling my mind. If you believe what some who never touched the A7RII say, you would think you could not get a decent image from this camera due to the compressed RAW files. Lol. As you can see in this review, I see no issues with any of these images in regards to compressed vs non compressed raw files. I also do not see any issues in my huge prints I made. Hmmmm. The whole thing stems from pixel peepers and has nothing to do with the real capabilities of this camera as a serious or pro photo tool. I know pros using it without issue, at all, ever. So that is what matters. The real results.

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With that said, I feel Sony should give an option of uncompressed RAW files just to please those customers who want it. Shouldn’t be too hard for them to do with a camera on this price level.

As you can already sense, I love the A7RII. Spoiler. Bam. BUT it is not perfect and I’d love to see a couple changes made down the road to get it closer to where perfect lies.

The 1st image below was shot with the Zeiss 24-70 at f/4. VSCO Filter applied. I found this lens to perform exceptionally well on the A7RII. The filter here crushed the blacks, but sometimes I like this look. 

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Below, using the Canon 50 1.2 via a Metabones adapter. No more front or back focus with this lens ;) 

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Before I get into all of the Nitty Gritty, I’d like to say that while I really liked the original Sony A7 and A7R, I never LOVED them for the long haul or when compared to the newer gen A7 series. Compared to what we have in the A7II and A7RII and even A7S the A7 and A7R were slow, clunky and LOUD. Todays A7RII is like a different camera when compared to the A7R of yesterday. Newer body style, better build, quieter shutter, silent shutter, 5 Axis IS, 4K video, 40% faster AF, much better C-AF, and the list goes on. Shooting the A7RII is very enjoyable so the usability factor is up there with this one, and that is unusual for a Sony camera as old NEX bodies were more like mini computers than cameras. The A7RII is very much a “camera” but one that is loaded with features and usable function.

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Using it with a Canon lens was also enjoyable. The image above and below were both shot with the Canon 50 1.2 using a Metabones adapter, and the AF was faster on the A7RII than the Canon 5DIII using the same lens! Crazy but true, and verified by many who were with me. I loved the 50 1.2 Canon so much on the A7RII I put one in my Amazon cart right after testing it out. I never did buy it as it’s not a cheap lens but one day I just might as it seems to do really well on the A7RII.

Was much more enjoyable to use on the A7RII than it was on my old 5D from long ago (would always front focus or back focus on the 5D for me). This lens keeps its 3D character on the A7RII.

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One more from the Canon 50 1.2 (see it HERE). Beautiful color, rendering and Bokeh.

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It’s all in the details..

For me, I enjoyed the Sony A7s with intense enthusiasm (and still do) because those big fat megapixels on that big full frame sensor just delivered the goods. It was the 1st A7 body that really pushed on with speed, low light, video and user experience. Due to the 12MP on the huge sensor we were getting insane high ISO performance that was previously not possibly. We were close with the Nikon D4 and Df but the A7s pushed it over the edge for low light work. Video guys were using video at crazy high ISO and getting nice clean footage out of it. The A7s and A7II, for me, were the pinnacle of the A7 series. Until now. With the A7RII I am seeing the best of all previous A7 bodies rolled into one, and then some.

Click the image for larger view and enjoy the details ;) Taken from a Helicopter while in Portland.

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With the A7RII we have a camera that is not only full frame, not only 40% faster than the previous A7R for AF and not only built to a higher standard, we have a camera that creeps somewhat into the A7s territory for low light high ISO work. We have a camera that is the technically best in the Sony line for video (though some overheating issues have been reported).

We have an improved 5 Axis IS (though it still is not up to Olympus E-M5 II levels of performance for the 5 Axis IS) so ALL lenses can be stabilized on this new massive sensor, even old Leica glass. We have a huge EVF that allows us to see what we do in real-time as in, “what we see is what we get”. We have a swivel LCD and a vast selection of native and non native lenses to pick from to use on this camera. We have an amazing street camera in the A7RII because while we do not need 42MP of resolution, with the camera being fast and good in low light, we no longer compromise here (huge MP used to mean crappy low light, not anymore). This also gives us great cropping ability with all of those megapixels.

Man, remember the days of 1MP cameras? Now we have 42 in a smallish full frame compact body. Crazy!

Take a look at the images below. Click on them and see them larger with a full 100% crop

1st a full size from RAW image, OOC

1st one, Zeiss 35 Loxia at f/2

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Next, Zeiss 16-35 at f/4

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Loxia 35 at f/5.6 – CLICK IT TO SEE THE INSANE DETAIL!

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Voigtlander 40 2.8

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Image then a crop. Taken with the Batis 85 

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Click it for 100% crop!

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One more crop but you must click the crop to see it in its full size. 

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It’s a pretty amazing thing what Sony has accomplished in such a short time span. About two years from the first A7r to the new A7RII and we have a camera that is BRILLIANT in almost every aspect.

Sure, there will be those who still prefer a DSLR, Optical VF and the DSLR way of shooting but for many, and yes there are many, this Sony represents the wave of the future for hobbyists, enthusiasts and pros alike. It is a camera like the Sony A7RII that is breathing new life into what was becoming a tired industry. This A7RII has shaken up things a bit, and for good reason. Even Leica is starting to really sit up and take notice as mark my words, they will be releasing a Sony A7RII competitor soon, they have to as this camera and the previous A7II and A7s have eaten away at some of their M sales I am sure.

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Just look at the impressive specs below of the new Sony…

THE SPECS OF THE A7RII:

With a world’s first full-frame 42.4-megapixel Exmor R back-illuminated structure CMOS sensor, the Alpha a7RII Mirrorless Digital Camera from Sony is prepared to take mirrorless imaging to another level. This sensor design both improves low-light operation and speeds up data throughout, enabling fast high-resolution stills and UHD 4K video recording. Working with the BIONZ X image processor, these images can be produced at sensitivities up to ISO 102,400 and at a continuous 5 fps shooting rate. Five-axis SteadyShot INSIDE image stabilization has also been implemented, compensating for vertical, horizontal, pitch, yaw, and roll movements.

Speed has received a major boost with a 40% increase in speed over its predecessor. The AF system received its own massive upgrade with the use of 399 phase-detect points and 25 contrast-detect points for a speedy Fast Hybrid AF system which will offer extremely accurate tracking. The phase-detection points even extend to A-mount lenses when used with the LA-EA1 and LA-EA3 adapter.

Designed to last, the updated magnesium alloy body has improved weather sealing and a robust lens mount for working with large lenses. Also, the shutter has a reduced-vibration design, cutting down shutter vibrations by about 50%. Also, it now uses an electronic front curtain shutter and is rated for 500,000 cycles. Silent shooting is also available for a quiet shooting experience when needed.

Onto video, the major addition is internal UHD 4K 3840 x 2160p recording at 30 or 24 fps with the XAVC S format at 100 Mbps. This is possible using either the Super 35 crop mode, with no pixel binning, or the full-frame readout. Full HD 1920 x 1080p is still readily available at up to 60 fps and HD 1280 x 720p is possible at up to 120 fps. Additionally, the a7RII benefits from the inclusion of the S-Log2 Gamma and S-Gamut settings as well as fully customizable picture profiles.

Composing and reviewing your images as you work is handled with either the 0.5″ 2.36M-dot XGA OLED Tru-Finder electronic viewfinder or the 3.0″ 1,228.8k-dot tilting LCD monitor. The viewfinder offers 0.78x magnification and a 4-lens system with double-sided aspherical elements for comfortable viewing. The monitor helps in odd positions by tilting up 107° and down 41°. And, to stay connected, the a7RII packs in Wi-Fi connectivity with NFC for remote operation and transfer of images to a smartphone, tablet, or computer.

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42.4 MP Exmor R BSI CMOS Sensor and BIONZ X Image Processor

The world’s first back-illuminated full-frame sensor, the 42.4-megapixel Exmor R CMOS sensor present in the a7RII works with the BIONZ X image processor to offer high-resolution stills and video while minimizing noise and improving speed. This sensor structure works with gapless on-chip lens design and an anti-reflection coating, as well as eliminating the optical low-pass filter, to improve light collection and enhance detail. Also, the copper wiring layer dramatically improves data transmission speed for creating high-resolution 42.4-megapixel stills at sensitivities up to ISO 102,400. Also, it enables internal UHD 4K video recording with a wide dynamic range using the full-frame sensor.

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5-Axis SteadyShot INSIDE Image Stabilization

Packed into the svelte a7RII is a 5-axis SteadyShot INSIDE image stabilization system. This compensates for five types of camera shake encountered during handheld shooting of still images and video. This allows users to confidently use any lens, even adapted lenses, for critical imaging without encountering blur from camera shake. This system will compensate for approximately 4.5 stops of shutter speed for working with a huge variety of subjects.

For long focal lengths, the system will correct for pitch and yaw adjustments. Macro and high magnification imagery on the other hand will benefit from the inclusion of horizontal and vertical shift compensation. And, all shooting styles will get usage out of the roll compensation. All 5 axes of stabilization will function at all times, even when used with third-party lenses and adapters or lenses with built-in optical stabilization.

When using lenses that do not transmit imaging data to the camera, manual settings can be used to input the correct focal length and ensure proper stabilization. Also, the viewfinder can be used to preview the amount of compensation by pressing the shutter release button halfway or magnifying the image.

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Fast Hybrid AF with 399 Phase-Detect Points

Lock onto your subjects quickly and without hesitation thanks to the revamped Fast Hybrid AF packed into the a7RII. It uses 399 on-sensor phase-detect AF points with 45% coverage along with 25 contrast-detect AF points in order to improve the speed, accuracy and tracking performance of the system. Faster readout thanks to the back-illuminated sensor structure also allows for tracking while shooting at the top continuous shooting rate of 5 fps. This can be captured in a burst of up to 24 frames when shooting in JPEG Fine L format at 42 MP and a continuous AF Display allows users to view the active AF points.

Another feature available with this AF system is a Lock-on AF tracking that will analyze more information from the scene to provide dramatically improved accuracy and stability. Eye AF is also available which will prioritize a subject’s pupil for excellent portraits even with a shallow depth of field.

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UHD 4K Video Recording in XAVC S Format

In addition to the first BSI full-frame sensor, the a7RII is the first full-frame camera to offer internal UHD 4K video recording at 30 or 24 fps. This is possible using either the full-frame sensor or the Super 35 format which uses oversampling with full pixel readout and no pixel binning. This limits moire and aliasing common with high-resolution sensors. Video recording also benefits from live tracking thanks to the 399 phase-detection AF points present in the Fast Hybrid AF system. An additional benefit of this camera is the ability to switch back and forth between NTSC and PAL operation for worldwide use.

When recording internally, users will record video with a 4:2:0 sampling at 8-bit, however, to even further improve image quality the a7RII has clean HDMI output for use with an external recorder. This allows users to capture 4:2:2 uncompressed video and save in an edit-ready format.

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Timecode and User Bit Settings

The a7RII has multiple timecode recording options to meet different workflows. It has the standard ‘Record Run” mode that only advances the timecode when recording, as well as “Free Run” timecode that advances the timecode even when not recording, which can be great for syncing multiple cameras at live events. It can also record timecode in both drop frame and non-drop frame modes. When recording internally the a7RII is also able to output timecode via HDMI.

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Customizable Picture Profiles and S-Log2 Gamma

To make sure the a7RII is able to use its extensive dynamic range while recording video it incorporates extensive customizable color and gamma controls. Users can adjust the gamma, black level, knee, color level, and more. Also users can use the same S-Log2 Gamma Curve that is found on high end Sony Cinema cameras that squeezes up to 1300% more dynamic range into the video signal then traditional REC709, for increased post-production flexibility.

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3.0″ 1,228.8k-Dot Tilting LCD Monitor

With a higher 1,228.8k-dot resolution, the LCD screen will provide shooters with an excellent screen for composing images, adjusting settings, and reviewing video and photos. It also tilts upward 107° and downward 41° for working with multiple shooting angles. Use in sunlight is improved with the implementation of WhiteMagic technology which doubles the brightness of the display through a RGBW pixel structure.

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0.5″ 2.36M-Dot XGA OLED Tru-Finder Electronic Viewfinder

With its 4-lens optical system using double-sided aspherical elements 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 0.78x magnification enable comfortable and stable eye-level composition.

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Redesigned Grip, Shutter Release Button, and Controls

With a larger, more refined shape to the grip, users will find the a7RII to have a more secure feel and grasp even when large lenses are mounted. Also, the shutter release button has been reshaped and moved forward for a more natural shooting position and a decrease in camera shake. The controls also have been refined with new position for easier handling and improved operation. Button customization is available with the ability to assign any of 56 functions to any of the 10 customizable buttons for a more personalized setup.

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Magnesium Alloy Construction and Robust Lens Mount

The compact form is well-built with a magnesium alloy top cover, front cover, and internal structure. The lens mount has been redesigned with a greater strength and rigidity for extra security when using larger or longer lenses. The body itself also features greater sealing for dust and moisture resistance, providing more protection when shooting out in the elements. Additionally, the optical filter on the sensor has an anti-static coating and there is an anti-dust mechanism to prevent dust from adhering to the sensor.

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Reduced-Vibration Shutter & Silent Shooting

Cutting down on mechanical vibrations by 50% is the durable reduced-vibration shutter implemented in the a7RII. It has been tested to last for 500,000 cycles and also uses an electronic front curtain shutter. Additionally, a Silent Shutter mode is available for completely silent shooting when needed in certain environments.

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Audio Input & Headphone Jack

The a7RII features a 3.5mm microphone input jack for compatibility with external microphones. And for users needing more the a7RII is also compatible with the Sony XLR-K2M XLR Adapter for recording professional balanced XLR audio signals with phantom power and adjustable mic/line inputs. For monitoring audio the a7RII features a 3.5mm headphone jack as well as real time audio levels for a visual reference.

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Built-In Wi-Fi Connectivity with NFC

Built-in Wi-Fi connectivity enables the a7RII to instantly share imagery to mobile devices for direct sharing online to social networking, via email, and to cloud storage sites. NFC (Near Field Communication) is also supported, which allows for one-touch connection between the camera and compatible mobile devices; no complex set-up is required. Once connected, the linked mobile device can also display a live view image on its screen and remotely control the camera’s shutter.

Additionally, PlayMemories Camera Apps are also supported via the built-in Wi-Fi connection, and allow you to personalize the camera’s features depending on specific shooting styles. Apps are available to suit creating portraits, detailed close-ups, sports, time lapse, motion shot, and other specific types of imagery.

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Other Camera Features

Picture Effect modes: Posterization (Color, B&W), Pop Color, Retro Photo, Partial Color (R/G/B/Y), High Contrast Monochrome, Toy Camera, Soft High-Key, Soft Focus, HDR Painting, Rich-Tone Monochrome, Miniature, Watercolor, and Illustration.

Creative Style settings: Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, and Sepia (all with +/- 3 step contrast, saturation, and sharpness adjustment).

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Color space: sRGB standard (with sYCC gamut) and Adobe RGB standard compatible with TRILUMINOS Color.
Picture Profile parameters: Black Level, Gamma (Movie, Still, Cine 1-4, ITU709, ITU709 [800%], S-Log2), Black Gamma, Knee, Color Mode, Color Level, Color Phase, Color Depth, Detail, Copy, and Reset.
Scene Selection modes: Portrait, Landscape, Macro, Sports Action, Sunset, Night Portrait, Night Scene, Hand-held Twilight, and Anti Motion Blur.

Face Detection is available to base exposure and focus on up to eight recognized faces. Furthermore, Eye AF can be used for even greater precision by maintaining critical focus on a subject’s eye.
2x Clear Image Zoom can be used to effectively double the magnification afforded by any lens in use with minimal image degradation. For even greater magnification, 1.5x and 2x Smart zoom is available, as well as 4x digital zoom.

Pre-flash TTL control with flash bracketing available and a variety of flash modes, including: Flash off, auto, fill-flash, rear sync, slow sync, red-eye reduction, hi-speed sync, and wireless control.

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More of MY Experience with the A7RII

Here we are 3700 words in and I have yet to show you guys comparisons, Leica M mount results, High ISO performance…wow. From this point on I will try to be to the point and quick so let’s start with some high ISO results against the top dog in high ISO, the Sony A7s. I assumed the A7RII would be sub par at high ISO due to the massive 42MP sensor. Well, I was wrong, and this is good! So below I will get to high ISO, Leica M lens use, Dynamic Range and more. Let’s get to it!

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HIGH ISO PERFORMANCE vs LOW LIGHT INDUSTRY LEADER A7S

Let’s take a look from ISO 6400 all the way to 102,800 ISO on both the new A7RII and the high ISO king, the A7s. WOW, this is 42MP? IT DOES QUITE WELL though I would only use it at up to 6400 comfortably with the occasional 12,800.

Text that says what camera is what is on each image, click them for larger and 100% crops!

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So there you go. The A7s still beats the A7RII (as expected) at the extreme higher ISO’s but the A7RII did much better than I had thought here. ISO 12,800 is VERY VERY usable, which is unheard of in a 42MP sensor.

Also, When out and about shooting in VERY low light or near darkness the A7RII gave me no issues. I never ever ever use Noise Reduction, so EVERY shot you see in this review or any other reviews by me in the last 4-5 years will not have NR applied.

Two more high ISO shots in VERY LOW LIGHT! The 1st image we were in a DARK room and her face was lit by her iPhone, that is all. ISO 6400, Zero NR as always. Click it for larger and know this is what you can expect of the A7RII in super low light at 6400 ISO. The image shows much more light than my eyes saw! 2nd shot is also 6400.. Lens is the 55 1.8

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ISO 12800, crazy low light room. 55 1.8

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ISO 102,400 – Zero NR here. Zeiss Loxia 50

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For being a 42MP sensor, this is extremely impressive.

LEICA M MOUNT WIDE ANGLE PERFORMANCE

Testing the Leica 28 Summicron and 35 Summicron up close, mid distance and at infinity. From what I understand, shooting at infinity is where these M mount wide angles pose the largest problems with the A7 series, so I was asked by a very knowledgable guy who loves his Leica glass to test these two lenses, and if they do well at infinity then it could mean the A7RII is fantastic with M glass.

Let us take a look and see how it went..1st up, a few images using the Leica 28 Summicron f/2 lens:

Looking at these snapshots with the Leica 28 Summicron tells me “no problems”!! No magenta edges, no off color, none of that..

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In this next image you can see the searing on the left and right side of the image (the red wood) which is an issue if you want across the frame sharpness. In fact, I would recommend the Sony 28mm f/2 over the Leica as depending on how you focus (infinity or up close) there could be some soft corners…

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Here is a shot with the 28 cron and a 100% crop, plenty of detail here..CLICK IT FOR LARGER and 100% crop! Corners have some softness but no color issues. 

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NOW THE 35mm SUMMICRON

The 35 Summicron also shows no magenta colors, edges or problems unless you are shooting something like a sweeping landscape using infinity focus, which is where you will see the softness/smearing on the sides of the frame.

This is the Sony A7RII with Leica 35 Summicron at f/4. Click for larger. No vignetting issues, no color issues but there is some edge smearing when shooting at infinity (or so it appears). 

The good news is that for 98% of uses, the 28 and 35 Leica cron work great on the A7II. So if you have one of them, they will do well on the A7RII unless you are doing critical landscape work shooting at infinity.

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Few more snaps with the 35 Cron. Click them for larger. 

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Detail and snap looks as it should with the 35!

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For wide open shooting up close and mid distance this lens is great on the A7RII

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So at the end of the day, it seems the Magenta sides and color issues when using wider angle Leica lenses are no longer issues, as in 100% gone, which is fantastic. The new backlit sensor does indeed fix the #1 issue we had with M glass on the A7 series. Bokeh and character rendering all are the same as they are if shooting these lenses on a Leica M. In other words, if I shot a portrait using the 35 cron on the M and A7II, my guess is that no one would be able to tell me which was shot on which and the Sony may even produce a sharper image.

If I was buying an A7RII I would stick with native lenses for the most part, and would pick up vintage M mount lenses for their character here and there (the cheap ones). I would not invest $4-5k in a 28 cron or 35 summicron for the A7RII as I feel there are cheaper lenses that do just as well on the camera. The Sony/Zeiss 35 1.4, (the Zeiss 35 1.4 M mount is also fantastic), the Sony 28 f/2 is cheap and punches well above its price point, etc. There are some amazing Leica 50mm lenses I would consider like the 50 Summilux ASPH or 50 APO which work amazingly well on the A7S, A7II and now A7RII. Other less expensive 50’s I would buy for the A7RII in Leica M mount would be the Voigtlander 50 1.5 Nokton ASPH or the Zeiss 50 1.5 Sonnar. Both are spectacular on the A7s, A7II and A7RII,

If I already owned a few Leica M lenses I would 100% buy an A7RII to use them with as a backup to my M or whatever I was using. In many ways the A7RII beats the Leica M. In some ways the Leica M beats the Sony (Build, feel, design, RF use, simplicity).

So there ya go, and the new 15mm III from Voigtlander works VERY well with the A7RII, sharp across the frame, no distortion, tiny. :) The A7RII is a VERY versatile camera.

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DYNAMIC RANGE

Dynamic range is spectacular just going by the fact that it is simple to NOT blow highlight and that shadow detail is incredibly easy to recover as well. The info is there, packed in to the file and if we under or over expose, we can easily fix the issues. Of course, underexposing is always easier but the challenge has always been when we pull out those shadows, we also pull out noise and in some cases, banding or other artifacts. With the A7RII, I had no problem recovering the shadows from the shot below which I exposed this way purposely. As always, click images for larger.

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So as you can see, the DR of this sensor in the A7RII is rather good. I look forward to seeing DXO’s test of the sensor to see what the numbers are. I am not a huge DXO guy but I do like their Dynamic Range and ISO tests.

COMPARED TO the A7II and A7S and old A7R

Compared to the A7II and A7s (TWO cameras I adore) the A7RII is like having the best of both of those bodies into one. It beats the A7II for me as I prefer the image quality I am getting from the new backlit sensor in the RII over the A7II. With fantastic low light ability, fast AF and the ability to shoot any fast prime ever made (just about) the A7RII has taken the place of my A7s and A7II, and condensed it down to one body. The A7s still has a place in my heart as it is a unique camera and it is still on my shelf. LOW megapixels, easier to handle the files, easier to edit on a low horsepower computer and lovely color and speed as well as industry leading low light abilities.

The A7RII is not too far off from the A7s in low light, which is astounding and makes me think a new A7SII will have 1 million ISO possibilities. I could be wrong but I feel that is where we are headed.

To see my A7s review, click HERE

To see my A7II review click HERE

To see my original A7R review, click HERE

SO basically, for me, the A7RII is “IT”. It replaces the A7II for me, as there is no need for both. I still have an A7s and will keep that one around for when I want low MP and extreme low light use.

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AF SPEED – MUCH IMPROVED OVER A7R and equal to or a tad faster than the A7II in my experience 

The AF speed is MUCH faster than the old A7R and its not subtle. If you have been shooting an A7R and move to the A7RII you just might be shocked in the 40% faster AF speed, AF accuracy and the shutter which is now MUCH quieter! The new body style is also more rugged and solid and feels fantastic. Sony really did their homework with this camera and while it is not perfect (no camera is), it is fabulous and quite a special machine. Well worth the investment if you are a passionate shooter like myself. It brings many levels of joy and with the new AF speed, I no longer miss shots as the A7R used to make me do with its dodgy AF, especially in low light.

Also, I feel I can AF faster with the A7RII than I can with a Nikon Df, which gave me many AF misses. With the EVF showing me exactly what is IN focus, if it did miss I could easily fix it on the spot. So yes, the AF is at the level of the A7II, maybe a bit faster (seems like it is)

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VIDEO

This camera is WAY beyond my capabilities as a videographer but many have been reporting overheating issues with video recordings longer than 30 minutes. I remember having this issue with my old NEX-7, but I have not experienced myself with the A7RII yet, but my videos have been 15-20 minutes max. Seems Sony has some overheating issues with some of their cameras when shooting video. Should not be here in a camera of this level or price point so if you shoot video segments longer than 30 min at a time, you may want to dig into this issue deeper on other review sites that specialize in video reviews. All I can say is that the video I have shot so far (for my own personal projects) has been superb, especially with the new enhanced 5 Axis IS, which is in body. Shooting with a Zeiss 16-35 is so nice, it almost seems like a steady cam is attached when shooting at 16mm.

If I were buying this strictly for video work though I would investigate the over heating issues 1st!

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Leads me to two more weaknesses with the A7RII, video overheating is one..and the 2nd and 3rd?

*EVF PERFORMANCE

The EVF of the Sony A7RII is an upgrade from the old A7R but it is not without issues that some have been reporting all over the internet and camera forums. When using a manual focus lens, let’s say a Zeiss Loxia (which I love to death on the A7RII). Turn the focus ring and the A7RII will automatically magnify the EVF screen so you can critically focus. Press your magnify button again and it will blow up even bigger, but when this happens you will see some degradation in the EVF frame, something the A7II and old A7 series did not do. There is some sort of degradation which makes it hard to critically focus, so I never blow up the EVF image that large, as it is does the opposite of what I need, making it harder to manually focus.

Other than the Manual Focus issue with the EVF, it is fantastic. I still can easily manually focus my Loxia lenses, so do not think it makes it hard or impossible, it just makes it “harder” than it should be if you magnify the screen to its max level.

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*BATTERY LIFE

The weakness that has started with the original A7R continues..battery life. For some this is an issue. For me it is not at all as I get 350-400 shots per charge, and I have 6 batteries (but only carry two with me when out shooting) and batteries are cheap if you go 3rd party, very cheap.

Many want 2000 shots from a battery charge and many shoot their cameras like a machine gun. Me, I do not and if I am out for 8 hours shooting I may come home with 40 images. Many would come back with 3000. So if you are a massive frame rate machine gun shooter, you will need a few batteries or you will need to slow it down, or bring along a Nikon D4 with it’s massive weapon of a battery.

If you are like me, and getting 300-400 shots per battery is PLENTY, then this is a non issue. When shooting video you will use more power so the battery does suck down MUCH more when filming video. But the A7RII is just as impressive with still images as it is video. In other words, it is NOT a video specific camera, at all. I am more impressed with the photo side than video on this camera.

I slightly mis-focused this one with the Zeiss 35 Loxia

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PROS AND CONS

Pros

  1. Lovely build and feel
  2. 5 Axis IS is now enhanced for the new sensor
  3. Splash proof
  4. Compatible with ALL FE lenses and E lenses
  5. Compatible with all Leica M lenses, Canon and Nikon (with adapters)
  6. Nice big fat EVF
  7. Tilting LCD
  8. Gorgeous IQ and color
  9. Improved AF speed by 40%
  10. Much nicer AWB than previous model
  11. Pro level video features and capabilities.
  12. Feels fantastic in the hand
  13. High ISO is incredible for megapixel size.
  14. All buttons are customizable! Woohoo!
  15. Sony’s best digital camera ever IMO.
  16. Resolution can be mind blowing
  17. Near medium format feel at times (to the images)

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Cons:

  1. Expensive at over $3000
  2. Still some smearing issues with some wide angle Leica M mount lenses
  3. EVF degradation issue at max magnification for manual focus
  4. Battery life could be better, especially for video use.
  5. Could be simpler. I’d love to see an A7 series body stripped down  to basics, like a Leica. ONLY for photo, no video.
  6. 12 Bit RAW, they should make it 14 bit for those who want it.

ZEISS 16-35

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MY FINAL CONCLUSION

Well here I am again writing a conclusion on another Sony camera. I remember vividly reviewing the early NEX-3 and 5 years ago. Both revolutionary cameras at the time that I loved back then. Today it’s all about full frame and pushing the limits of 35mm IQ, low light high ISO and even image stabilization. The latest and greatest camera in the mirrorless world is the A7RII and for me, it surpasses any and all that have come before, quite handily. Is it the best 35mm full frame camera in the world? Maybe not, but then again, maybe it is. Depends on your needs and wants, and for me, it is the one I would choose if I was buying ANY 35mm format full frame digital camera today. Here is why…

  • Massive resolution
  • Finally…fast AF speed
  • C-AF is quite good though not pro DSLR good
  • High ISO is up there with the best in the world
  • Video is outstanding (as long as we do not overheat)
  • Color, detail and image quality up with the best available in 35mm
  • Pro-ISH build and feel here, much better than previous A7R and A7
  • Large EVF, I prefer these to OVF’s today by FAR!
  • Camera handling, speed and response is fantastic
  • Hundreds, if not thousands of lenses can be Mounted and used. Limitless creative possibilities with ONE camera. It’s a beautiful thing.

The A7RII is one hell of a camera, and it’s not just me saying this. Many long time reviewer’s are praising it as well, and the reason is because it is the real deal. Many are complaining about the compressed RAW thing, and I understand the concern (on paper) but for me, I have never had any issue with any of my A7RII images that have been taken since using it in Portland at the Sony media event and now in my home. NOT ONE issue related to that, so for me, it is a NON issue. Though I do get it, and I hear Sony is looking into this as I write this.  If I ever have an issue due to having compressed RAW files I will let you all know. I do not expect to EVER have an issue as I do not pixel peep at 400%, or even 200%.

At the end of the day, the Sony A7RII is quite an achievement. Sony never gave up, never stalled, and they listened to what WE had to say. They implemented many of our needs and wants and we now have a NEAR perfect camera in the A7RII for those who just love to shoot, love photography and love when they see such amazing quality when they load the images.

Zeiss Batis 85 f/2

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From Zeiss to Sony to Leica to Canon to Nikon to others…so many lenses can be used to great effect with the A7RII. With its in body 5 Axis Image Stabilization, its resolution and all the things I Just mentioned, there is really nothing NOT to like. For me, it’s the best camera in 35mm full frame format that I have ever used, tested or reviewed. This is my new #1 replacing my A7II. I will keep the A7s for those moments when I am in the “S” mood or need that extra bit of low light ability.

Sony 35 1.4 Distagon – Chris from the Phoblographer

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If you want the best that 35mm can offer you in IQ and features and size and ease of use/joy of use, take a long look at the A7RII. It may be your dream camera. Now I have to try the Canon dream lens on the A7RII which I will then dub the “Dream Team”! Hehehe.

Where to Buy?

I would buy the A7RII at Amazon HERE or B&H Photo HERE. Two of the best retailers on the planet.

A few more A7RII Snaps…

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Purchase the A7RII at B&H Photo HERE

Purchase the A7RII at Amazon HERE

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

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

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

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

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

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

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Aug 262015
 
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A Manual Approach to Wedding Photography

by Joao Medeiros

I’m not comfortable writing. Images, particularly photography are what drives me. Since very young Art was part of my life, I went from painting and waiting to be an architect to abandon everything for a life in the theatre, just to pursue a career in Jazz playing trumpet.

But at my twenties, I was struggling to make it and everyone was making sure I knew I had to earn money to be a successful individual. Money was never my interest, I’m passionate about Art, any form of it. But Photography had a degree of intimacy and control that I had never experienced.

I went to college to take a photography bachelor and complemented it with a bachelor in Fine Arts and a master’s degree in Visual Arts teaching, things went on for a while, drifting in teaching, corporate/event photography, restoration related jobs before I finally found the one area where I had complete creative freedom. A freedom that allows me to choose the gear that gives me pleasure while creating and expressing myself through Photography and eventually sharing my Vision.

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Weddings are something that has been with society since we had the need to express our love for our life companion. Happiness is something that needs to be shared and celebrated with our loved ones. And that’s what I like about them, it’s all about family and friends making the most of Life. When I was in college, I did the whole course with only an Olympus OM 1 and a 50mm, since then manual focus is second nature to me, even when I had top DSLR’s AF never grew on me. But when I used the first serious EVF (Panasonic GH2) I knew what I wanted and what I wanted to see while composing. Eventually, when I step up to weddings I needed the best dynamic range and colour I could get my hands on it, so I bought a Sony A99 and a Nikon D800e to figure out my needs. After a year the Sony won me, not because it was superior to the D800e, it was Sony’s approach to photography that made it. The fully articulated LCD, I. S and Minolta’s heritage all over the place made the A99 a superior tool in my hands.

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When the mirrorless Sony A7 appeared on the scene I had no doubts and bought one immediately with a set of Zeiss ZM and Voigtlander lenses with the VM close adapter. Since then, shooting has been a real pleasure. Nothing beats feeling your shots, even when we are capturing fleeting moments like kisses, exchanging vows/wedding rings or sharing a secret while on the dance floor at 4 am. Having a small, robust camera with the best glass in the industry makes me feel very confident and secure that when I get home, I have all I need to put together a body of work that reflect my vision. That’s the main lesson I learned, you really need to follow your own unique vision of things.

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We are all different, but you really need to push beyond the limits to reach for that inner voice. Recently I added the amazing sigma Art 35mm f 1.4 to my set, the only complain is its sheer size when compared to my little Zeiss ZM 35mm f2. My workflow is pretty straightforward, I use B&W mode to concentrate on composition and focus while having red peaking and magnify to guarantee that every moment is in focus. For 75% of all my work, I use the 35mm focal length with my Sony A7 and take advantage of the articulated LCD from the A99 to get more discrete and intimate portraits with the 85mm, also from Sigma. Just a little detail, I removed the slt mirror from the A99 and use it in manual focus, so it’s basically a big mirrorless camera. I’m more of a guest than a professional photographer, at least that’s how I’m perceived by my clients, family and friends. A friend who happens to make a living from photography. I really try to enjoy the wonderful day, conscious that I’m very fortunate to be at a private party while making a living. I’m always the first to arrive and the last to leave, it’s after all a body of work and not just a staged kiss with the golden hour moment. It’s people that drive me, the concept of family and friendship not staged moments.

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I’m looking forward to get the new Sony A7RII since it brings some new features like a new and stronger shutter that it’s better damped, the I. S, min. auto shutter, copyright embed info, better high ISO performance and even the silent shutter option although with some caveats.

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Thank you.

Regards

João de Medeiros

http://joaomedeirospamelaleite.tumblr.com/
https://instagram.com/joaomedeiros.pamelaleite/
https://www.facebook.com/MFotografia.JoaoMedeiros.PamelaLeite
http://www.joaomedeirospamelaleite.com/

Aug 172015
 

Sony A7s and 16-35 Head to Tasmania!

By Peter Amber

Hello Steve,

Earlier this year I took along the FE 16-35mm as the go-to lens with my A7S and traveled around the beautiful Tasmania, Australia. The 16mm focal length came in handy for landscapes and interior shots, and I find it more fun to use than the 24-70mm. As I shoot videos, the zoom lens came in handy and coupled with the APS-C function gave an effective coverage of 16-50mm to play with. Here are some images and video from our travel around Tassie. As usual keep up the awesome site guys!

www.vimeo.com/peteramber/tasmania

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Regards,
Peter/Amber
www.peteramber.com

Jul 302015
 

My First Impressions – Zeiss Batis 25/2

By Bob Israel

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

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

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

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

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-Bob Israel

Bob Israel
RJI Photography

http://www.rjiphotography.com
http://​w​ww.facebook.com/rjiphotography​
http://www.flickr.com/photos/rjiphotography

See Steve’s full review of the Batis 25 and 85 HERE

Jul 062015
 
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The Zeiss Batis 25 f/2 and 85 f/1.8 Lens Review!

By Steve Huff

Here we are again with a couple of lenses made by Zeiss for the Sony FE (A7) system/series of cameras. As many of you know who have been following me for years, these days I really enjoy and love shooting my Sony A7II and A7s cameras. With so many amazing enthusiast and pro level camera out today, it is a tough choice on what to use, especially when you are a reviewer who gets these camera and lenses sent to you on an almost weekly basis!

LOVELY colors from the Zeiss Batis 25mm f/2, up close focusing (Min 0.2 meters). Sony A7II, lens was at f/2. Must click on the image to see it correctly!

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But even so, a couple things have remained constant for me. I love the new Sony cameras and lenses they have been putting out for 2-3 years now. I feel with the full frame sensors and fantastic lenses available they are the TOP Mirrorless system camera as of July 2015. For me, Sony beats all others for the mirrorless title with Olympus coming in 2nd place for me with the E-M1 and E-M5II. Lagging behind (for me) are Samsung (even though the NX1 is a phenomenal camera) and the others with Leica making a nice come back with the special and amazing Q. (my review of the Q here).

But today and all month I feel it’s going to be a Sony fest as the A7RII is coming, the new RX100 IV is IN HAND and the new Zeiss BATIS lenses have arrived to me and I have been shooting them for the last 1-2 weeks. My impression? Well, they are designed and look like mini OTUS lenses and perform 85% as well. The BATIS line for FE is stunning and with the electronic LED display that shows you focus distance when in manual focus mode, we are getting a special set of lenses for those who are very picky about the quality of their glass.

Must click for larger and sharper version! Another with the 25 at f/2 on the A7II

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I remember when all the rage was the Zeiss Touit line for APS-C. This was not very long ago yet feels like it was for some reason. The Touit line was good, but not my favorite set of lenses. Then came the OTUS lenses for Canon and Nikon but for me, they are just too large for daily use. Pro use, 100%. Enthusiast? For this one, those are too large and way too costly. Then came the Loxia line and MAN OH MAN I love these. The 35 and 50 f/2 Loxia’s are manual focus only and as close as one can get to a Leica M mount for their Sony FE mount. Small, solid, smooth and gorgeous in build, style and rendering. The 50 Loxia may be my #1 fave lens on the A7 series.

So with the Loxias receiving critical acclaim, and the only complaint from some users being “it’s not auto focus” Zeiss decided to create the Batis line which would be Auto Focus Zeiss lenses, and these two lenses they started with are right here, the 25 and 85. The 25mm is a Distagon design and an f/2 lens. It is not as solid feeling as the little Loxia but it feels great anyway, with a nice OTUS like styling to them. The Batis lenses come with hoods and the AF on the 25 is rather quick. The 85 will hunt a little in lower light but overall it is pretty quick as well.

The 85 at 1.8 on the A7II, just a casual snapshot, she did not even know I was taking a shot until the moment I took it and the lens grabbed focus and nailed the color as well. 

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Another wide open at f/1.8…

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..and another!

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After shooting the 85 for a little while I started to adore the rendering. VERY sharp at your focus point and CREAM CITY after that when shooting at f/1.8. The color and contrast are 100% ZEISS with those bold yet gentle blues, nice yellows and a richness that comes from shooting Zeiss glass. I remember shooting loads of Zeiss ZM lenses on my Leica M8, M9 and M 240 and they all had this exact character that I see here. Much different from Leica or Sony’s rendering. It’s what Zeiss is known for and yes, all manufactures of lenses have a house “look”. From Olympus to Samsung  to Sony to Zeiss to Leica to Canon and Nikon.

Batis 25 at f/2 – never be afraid to ask someone if you can take their portrait. I have a 99.5% rate of success, and usually the subject is more than happy, and a little excited to let you take their photo. The girl below was pouring my beer and I said “do you mind if I take your photo” – she said “SURE!” but she did not look at me. So I shot one of her pouring and then asked her to give me a nice  happy smile, and she did. 

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Punching Bag with leaving the shutter speed slower to catch the motion/action of the shot. The 25 at f/2

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Glass is the heart of your camera system.

Many times I will get people asking me questions about what cameras to buy. They usually will insist on a kit lens of sorts even though they ask about more expensive cameras like the Sony A7 or Fuji X or Olympus E-M1. To me, if you are going to invest over $1000 in a camera, you should always invest in good glass, or lenses, for your system. Lenses are the paintbrush, the pencil, THE one thing that delivers the most change to the rendering of the image. WAY more so  than a sensor or internal processing. The lens you choose will decide if your image will be sharp, soft, colorful or dull, has high contrast or low or has a pastel like color instead of bold harsh color. Some lenses use cheap glass, some use exotic glass. The lens is the most personal choice one can make when buying a camera system, at least IMO.

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So if it were me, and I was going to shell out for a Sony A7II or A7RII, you can bet your bootie I would buy the Zeiss line of lenses (Loxia or Batis) or some of the better Sony FE glass like the 35 1.4, 16-35, or 90 Macro. I would avoid the kit zooms or lower quality zooms as you will never reach the true IQ potential of the system with cheap glass.

25mm Batis at f/2 – A7II

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The Zeiss Batis line, being Auto Focus and gorgeous in all aspects of image quality, would be some of my top picks for most A7 users, and especially for those who ordered the A7RII as that camera is BEASTLY. It’s a resolution monster, a video monster and will be one hell of an amazing enthusiast or pro camera. These lenses would compliment that A7RII perfectly, and I for one can not wait to try these lenses on that body (of which I should have very very soon).

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During my time with the Batis lenses, I had no issues with focus, feel, build, or performance. The only niggle I had was when taking the 85 1.8 out in the night, as the focus would hunt a tad in low light. That is when I switched it over to manual focus and shot. Using manual focus works very well due to the nice EVF in my Sony A7 cameras as well as the smooth action of the Batis focus ring. The on board OLED display also will show you a distance scale, electronically. Yep, pretty cool if you ask me!

Video Look!

My video on the Batis Lenses. See them on the camera bodies and hear my thoughts!

Details?

No point in discussing sharpness with these guys, they are SHARP. Plenty sharp.

These were out of cam JPEGS! Click them to see  the crops wide open. 

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Compared To?

With Sony FE we now have a few great semi wide angle lenses to choose from. The Sony/Zeiss 16-35 F/4, the Sony/Zeiss 35 1.4, and the Sony 28 f/2 are all great lenses with the 28 f/2 being the cheapest of the lot, and while it has some distortion that needs fixing (which is done in camera for JPEGS) the Sony 28 f/2 is fantastic in IQ. I will say that it does not quite have the micro- contrast, color and pop of the Batis 25, but even so, at $450 it is around 3X less in cost than the Batis 25 which comes in at $1299. THAT is a pretty big price difference but you do see it and feel it with the Batis.

Sony 28 FE and Batis 25 side by side

Below is a side by side between the two..and you may not see much difference in this shot, but it is there. Click on the image to see them larger and you can see much more micro contrast in the Zeiss Batis shot, more detail and an overall more crisp and distortion free image. The Zeiss is better, but if it is $800 depends on you ;) I’d say if you want the best of the best for your Sony FE, in a wide angle lens then take a serious look at the Zeiss.

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The Sony/Zeiss 16-35 is more of an ultra wide and at f/2 will not give you the aperture speed of the Batis. The Sony/Zeiss 35 1.4 is MUCH larger and heavier and is not nearly as wide as the 25 Batis, so I see these two as different tools.

For me, the best IQ you can get as of July 2015 for your Sony FE system in a native mount and in a semi wide-angle (between 21 and 28) is the Batis 25 f/2 and because it will focus as close as 0.2 meters you can get pretty close to your subject, creating some Bokeh effect and you subject will be sharp.

The next FIVE shots are all from my fave of the Batis lot, the 25 f/2. I say it is my fave as I used it more as I found it more useful. I enjoy getting close to my subject and while I feel 21 is a tad too wide and 28 is getting close to 35, I am finding the 25 to be perfect for my style of shooting. I used to own the Zeiss 25 ZM for Leica mount and reviewed it here YEARS ago. Loved that lens which is probably why I love the Batis version. 

CLICK THEM FOR BETTER VERSIONS!

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The Batis 85 f/2 vs the Mitakon 85 1.2

Another lens choice for the native FE mount is the Mitakon Speedmaster 85 1.2. I reviewed that lens a week or two ago HERE. It is larger, heavier and goes to f/1.2 BUT the Zeiss is a better lens with better color and pop. Even so, the Mitakon is not so bad, not at all. So may even prefer it! ME? I prefer the Zeiss for the smaller size and lighter weight. I feel Zeiss did a great job with the design and keeping them more short than long. But take a look at the comparisons below, click them for the full 100% crop to be seen.

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My final word on the Batis line of lenses? 

When I heard Zeiss was sending me these two lenses for review I was excited, and believe me, today after 7-8 years of writing these reviews full time, it takes a lot to get me excited. Many of you may not be aware but I get SO MUCH stuff sent to me for  review that never gets reviewed because it just doesn’t excite me or motivate me. I end up not reviewing many items because if it does not motivate me to go shoot, I can not recommend it to my readers here. While most sites would just go write a negative review, I just skip as I am not about negativity or spending hours writing to tell you I do not like a certain product.

So if I review it, it means I love it and really enjoy it.

As for these lenses, they deliver on the hype and promise, the really do. I have not used a finer 25mm lens and in the world of 75-85mm lenses, the choices are plentiful, no doubt. Even so, the Zeiss 85 f/1.8 Sonnar is up there with the finest I have used and my faves in life have been the Canon 85 1.2, Nikon 85 1.4, and Zeiss 85 f/2 for Leica Mount. This 85mm delivers the detail, creaminess, nice colors and perfect contrast for those portrait sessions where you want that Zeiss WOW.

OF ALL the lenses I have here for Sony FE, and I have a load of them, my daily driver would be the Zeiss Batis 25 and Zeiss Loxia 50. I’d throw in the Batis 85 for portraits and use my Sony 16-35 for my ultra wide. That would be all I would ever need, and all of these lenses are top notch 100%. I may also throw in the 35 1.4 Sony/Zeiss for when I wanted that 35mm FOV with some magic.

The Batis line rocks my friends. If you need Auto Focus, the are the way to go. If you would prefer a smaller lens, the Loxia line is stunning as well but manual focus only. Either way, you will get that Zeiss POP and BAM!

1st Three from the 85 f/1.8 all at 1.8

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Next few all from the 25..

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Words from Zeiss on the Batis Lenses:

On the 25 f/2

“Pairing the tested Distagon concept with contemporary functionality, the Batis 25mm f/2 Lens from Zeiss is a wide-angle prime designed specifically for full-frame E-mount mirrorless cameras. The innovative design of this lens features an OLED display that highlights the focus distance and depth of field range for quickly recognizing your focusing parameters, and its autofocus performance is benefitted by linear motors for fast, smooth performance. Four double-sided aspherical elements within a floating elements design help to control aberrations and distortions throughout the focusing range and contribute to even edge-to-edge sharpness and illumination, and a T* anti-reflective coating reduces flare and ghosting for increased contrast and color neutrality. Ideal for architecture, landscape, and interior photography, this lens’ 82° angle of view pairs with a 7.9″ minimum focusing distance for producing creative perspectives and unique close-up imagery. Additionally, for working in inclement conditions, the lens also features a dust- and weather-sealed construction.”

On the 85 1.8

“Updating a tried-and-true optical design for use with full-frame E-mount mirrorless cameras, the Batis 85mm f/1.8 Lens from Zeiss is a portrait-length, short telephoto lens featuring a fast f/1.8 maximum aperture for greater focus control and enhanced low-light shooting. The innovative design of this lens features an OLED display that highlights the focus distance and depth of field range for quickly recognizing your focusing parameters, and its autofocus performance is benefitted by linear motors for fast, smooth performance. Pairing the Sonnar concept with a floating elements design, this 85mm f/1.8 is also particularly adept at controlling aberrations throughout the focusing range, while a T* anti-reflective coating minimizes flare and ghosting for ensured color accuracy and heightened contrast. Rounding out the feature-set, this lens incorporates optical image stabilization to minimize the appearance of camera shake when working with slower shutter speeds and a dust- and weather-sealed construction lends itself to shooting in less-than-ideal environments.”

Yes, the 85 1.8 has Image Stabilization built in. 

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What about the negatives?

During my use I had nothing but fantastic results with focus, image quality and overall results. Never had distortion issues or CA issues or any issues. Really.

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MY STAR RATINGS:

Many have asked me to start doing ratings for my reviews so I will start here with a BANG. BUT keep in mind, if I rate a Sony FE Mount lens, that rating is compared to other similar FE mount lenses, in this case the Sony 28 FE, the Sony 16-35 FE and the Mitakon 85 1.2.

BATIS 25: I will give the Batis 25 f/2 FIVE STARS as to me it is the best semi wide/wide I have used (28 and under) for the Sony FE system. The IQ, color, sharpness, size and weight are all phenomenal. Add in the weather sealing, the OLED display, dour side aspherical elements and it’s close focus capability, along with its dust and weather resistant design and this guy gets FIVE STARS! Yes, it is expensive at $1299 but for me, worth it in every way, and hey, it’s a Zeiss.

STARS

BATIS 85 f/1.8: I gave the 85 1.8 4 1/2 stars and that is due to the only weakness I found, the AF gets slow and hunts in lower light, as in club lighting or low level concert lighting. Other than that this is a a beautiful 85mm lens and the IQ and color stand out to me and is up there with the best 85 fast primes ever made for 35mm. Image stabilized and loaded with all the good stuff, this is one hell of a portrait prime. Sure there are loads of 85’s you can convert to use on the Sony but the Batis is a better option for me, as I always will prefer NATIVE lenses when there are good options.

Where to buy and How Much?

The Zeiss 25 f/2 comes in at $1299, and you can pre-order/order it at B&H Photo or PopFlash.com 

The Zeiss Batis 85 f/1.8 comes in at $1199 and can be pre-ordered or ordered at B&H Photo or PopFlash.com 

I also highly recommend the Zeiss Loxia line HERE. 

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HLPHH

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

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

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

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

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

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

AMAZON LINK (you can bookmark this one)

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Jul 012015
 
BATIS

Crazy Comparison! Zeiss Batis 85 f/1.8 vs Mitakon Speedmaster 85 1.2!

So check this out guys…

The Zeiss Batis 25 and 85 lenses for Sony FE mount have arrived for testing and they are BEAUTIFUL. I will not tell a lie, the 25 is the one I adore the most so far as it’s size is nice. FAT but short and squat. Looks fantastic on the Sony A7II. The 85 is a tad larger but still not so bad, much more manageable than I expected.

I am SO excited that Zeiss has not only released the fine LOXIA lenses for Sony but now we have the Batis line, which is an AF line of lenses for Sony FE (A7 series). There are so many fine lenses for the Sony A7 system these days and with the new A7RII on the way, look out..these Zeiss lenses may be just what the Dr. Ordered! THEY ARE FANTASTIC and I have only had them a day.

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Many have asked me to do a side by side “Crazy Comparison” between the Batis 85 1.8 and the Speedmaster 85 1.2 I recently reviewed (see that HERE)  – and while I assumed it would be a test showing the clear superiority of the Zeiss, well, it does but the Speedmaster hangs in there fairly well!

The Zeiss of course is a Zeiss. It is Auto Focus (and speedy on my A7II), it is shorter, smaller and MUCH lighter than the Mitakon, but for IQ..take a look:

CLICK IMAGES for larger and MUCH better versions. You will not see these as they were intended unless you click on them!

1st one, the Zeiss 85 at f/1.8 (thought I set it to f/2 but was wide open). The color has that Zeiss POP over the Mitakon but sharpness, not really any better here. Color and Pop goes to Zeiss though for sure.

ALL SHOTS ON THIS PAGE ARE WITH THE SONY A7II

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More that shows the COLOR pop of the Batis 85. Again, the Batis was at 1.8 as I thought I had it set to f/2, so the image is mislabeled. Still, you can see the crispness, and 3D color pop of the Zeiss here. Even so, the Mitakon is holding its own though the color is muted as is the contrast.

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MITAKON KID

The Zeiss is a fantastic lens and I only shot with it for a day so far. Love the digital focus display, love the size and feel and look. The AF is fast and accurate and my full review of both should be up within 10 days or so.

Here are a few more from the 25 and 85..

OOC JPEG with the 25 at f/2 – click it for larger

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OOC JPEG with the 25 at f/2

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Zeiss 25 f/2 from RAW with Alien Skin slide filter applied,  A7II

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Zeiss 85 Batis with crop

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The color, detail and rendering of the 85 is GORGEOUS. 

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ORDER THE ZEISS BATIS LENSES!

You can order the Zeiss Batis lenses from B&H Photo HERE or PopFlash.com HERE. Full review soon with video and LOADS of samples!

 

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