Sep 082015


One Year Update! The Wotancraft Ryker Bag still going strong!

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Yep, the Wotancraft Ryker is still my daily bag of choice for when I am out shooting my Sony, Leica or Olympus kit. A little over a year ago I reviewed the Ryker in black, then in brown and ever since I have been using the brown Ryker every day and it looks as good today as it did a year ago. It may be a little more softer but other than that it is wearing in quite nice. This is a bag that will last you for your lifetime in my opinion. It is built to a high quality, it looks amazing and feels amazing and is very functional. All leather, gorgeous interior, and for me, it will hold an A7 body (ant of them) with 2-4 lenses (depending on size) and charger, batteries, iPad mini, etc. I adore this bag and look forward to how it will look in another 5-10 years as it wears in over time.

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See my video below of my one year update with the Ryker! You can see more about it at Wotancraft HERE! You can see my original review of this bag HERE.

Sep 082015

A Visual Review of the Sony a7RII

By Marc Weisberg

Steve and Brandon, thank you for the opportunity to post with you for a second time. What you do for the photography community worldwide, is raise the bar on awareness and vision and provide an opportunity to be seen and heard. I applaud your continued efforts. I know first hand that it takes a tremendous amount of dedication and passion to keep fresh content on your site, and that it is a labor of love.

I’ve always believed in picking the best tool for the job. Since selling all my Canon gear last January {and I had lots} I’ve slowly purchased many new tools. To wit: Sony a6000, Sony a7s, Sony a7II and recently I acquired the a7RII.

My Sony glass collection has also grown to include: Sony Sonnar T* FE 35mm f/2.8 ZA, Sony Distagon T* FE 35mm f/1.4 ZA, Sony FE 16-35mm f/4.0 Z OSS, FE 24-70mm f/2.8 Z OSS, Sony Sonnar T* FE 55mm f/1.8 ZA , Sony 90mm f/2.8 Macro G OSS {for me is a life changing lens} I use the 90 for portraits, landscapes and macro photography, and the Sony 70-200 f/4.0 G OSS.

You may be thinking….”Hey dude. Overkill!” However, I use everybody and every lens for specific purposes. I have five different photography sites and specialize in a broad range of photography. Broad range – specialize…oxymoron? As I mentioned above the right tool for the right job.

Recently I headed out on a 2,700 mile road trip with my family. Orange County, CA –> Moab –> Aspen–> Denver –> Albuquerque –> Sedona for twelve days. In the first two days I photographed over 128gb of RAW images on the a7RII. I brought two bodies with me the a7RII and the a7s and all my lenses, sans the Sony Sonnar T* FE 35mm f/2.8 ZA.

How is the a7RII Compared to the Sony a7II and Sony a7s?

The a7RII has a more pro feel to it. For all purposed the a7RII exterior body is identical to the a7II in feel and texture. Both have a more beefier grip than the a7s and the same matte finish. External buttons and controls are the same too with the exception of a lock button that now resides in the middle of the top wheel that controls M,S,A,P etc. Its what’s inside the camera that make the a7RII a megapixel beast compared to the a7II and a7s. I’ve never used the original a7R nor even held it in my hands so I can not speak to the differences between the original a7R and the new a7RII. The one thing that sticks out to me that is quite different is the shutter sound. Its more of a soft mechanical Shushing sound reminiscent of a mechanical film camera. A welcomed and reassuring sound.


The menu system has some welcomed upgrades {9 frame built-in bracketing, bracketing with self timer and many, many more,} a new full-frame backlit CMOS sensor, in camera stabilization, amazing dynamic range, 4k video capabilities and the 42.3 megapixels {which have the ability to capture stunning clarity and detail} that is sending shockwaves through the photographic community. And yes there are 399 focusing points, on sensor phase detection for faster auto focusing, as well as contrast detection. The a7RII also allows any lens, Canon, Nikon, Leica, vintage etc. to be used on the body via an adapter. Essentially making its usage available every person who delights in using their favorite lens or lenses.

To see a full list of menu upgrades head on over to my friend and fellow Sony Artisan Brian Smith’s ( web page. And of course Silent Mode is built into the a7RII body so you can shoot in complete silence. No sound…not even a whisper.

The Proof

Although I pride myself on knowing the technical aspects and details of the craft of photography…for me the proof is always in the captured image. I’m simply blown away by the amazing detail and clarity of imagery I’m able to capture with the Sony a7RII and Sony lens line up. Now I know what all the fuss is with fan boys about medium format digital cameras. The detail and clarity is amazing. Each time I brought up an image on screen from the a7RII I would sit in front of my computer and go WOW! I’ve been photographing for 17 years now and for 15 years professionally. I started out with Canon 35mm, moved to a Hasselblad 503, then got the first Canon 1D when it came out. But never have I owned a camera this capable or seen this type of detail and clarity which is coming out of the a7RII.

Below I’ll share a few single capture images from the a7RII. Each image is captured RAW. I’m a RAW shooter period. Images are culled in PhotoMechanic and post processed in Lightroom 6.1.1 Crops are 100% to show the clarity, detail and dynamic range of each image. After the A7RII images I’ll discuss briefly why I have so many bodies and what I use them for.

IMAGE 1. Moab, Canyonlands National Park, Utah. a7RII, 90mm f/2.8 Macro G OSS, ISO 100, 1/125th/sec, f/6.3. Tripod.

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IMAGE 2. 100% crop.

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IMAGE 3. Maroon Bells, Aspen, CO. a7RII, FE 16-35mm f/4.0 Z OSS, ISO 200, 1/3 sec. f/16. Tripod.

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IMAGE 4. 100% crop.

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IMAGE 5. Independence Pass, Aspen, CO. a7RII, Sony 70-200 f/4.0 G OSS, ISO 400, 1.160th/sec, f/10. Tripod.

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IMAGE 6. 100% crop.

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IMAGE 7. Abandoned home, 1800’s Stage Coach town, Lake County, CO. a7RII, Sony 70-200 f/4.0 G OSS, ISO 400, 1/160th/sec. f/10. Handheld.

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IMAGE 8. 100% crop.

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IMAGE 9. Old silver and gold mining town of Leadville, CO. a7RII, FE 24-70mm f/2.8 Z OSS, ISO 200, 1/160th/sec., f/10. Handheld.

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IMAGE 10. 100% crop.

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IMAGE 11. 100% crop.

IMAGE 12. Enchantment Resort, Sedona AZ. a7RII, Sony 90mm f/2.8 Macro G OSS. ISO 200, 1/250th/sec., f/14. Hand held.

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IMAGE 13. 100% crop.

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The Verdict

The a7RII produces stellar, clean files with superb clarity and detail. I haven’t profiled the camera for my computer yet. But noticed that I do need to spend a bit more time getting the landscape colors where I wanted them. The files from the a7RII are almost 2x the size of my a7II and almost 4x the size of my a7s.

The only thing that I noticed on ingest into Adobe LR 6.1.1 is when building the previews, it took substantially longer than my a7II and a7s files. But that is to be expected when you are dealing with 42.3 megapixel files. When taking successive shots with the a7RII the buffer will take a while to store the images to the SD card. During this time menus can not be accessed. During my 12 days on the road and pressing the camera into use in severe locations with 102 degree temperatures I experienced ZERO glitches. The a7RII performed perfectly. Battery life appears to be the same for the a7RII as for my other a7 series cameras. Shooting in harsh conditions, sensor dust is expected and was easily blown off. Once during my trip I wet cleaned both sensors. Again, to be expected for 12 days of continuous outdoor shooting in harsh element.

The Proper Tool for the Job

As I mentioned above I have five different sites: my overall site, luxury real estate and architectural photography, pet photography, weddings and wine and food. During the course of a month I typically am photographing a weddings, family and children’s portraits, ridiculously wonderful pet photography ®, doing video and stills for wine and food, and several luxury real estate and architectural shoots destined for web and print. Often during the course of the month I’ll be photographing for magazines, both articles and cover images. And to satisfy my soul, I’ll throw some street photography into the mix.

Wedding & Family Photography

a7s can capture clean images up to ISO 51,200. Light is always changing and its my go to event camera. I may purchase a second a7s body. A7RII for portraits at weddings and for families and children – on a tripod. A7II is my back up camera for family portraits and children’s portraits – on a tripod

Luxury Real Estate Photography

a7s because of its low light capabilities and super clean files. a7RII for luxury real estate photography magazine work.

Pet Photography

a7s for quick focusing clean files in changing outdoor lighting conditions, and the a7RII, if it will be for a magazine cover work.

Wine and Food Photography

a7s for on location shooting 1080p video. And the a7RII for tripod macro stills and 4k video.

Personal Work and Street Shooting

The a6000 with the Sony Sonnar T* FE 35mm f/2.8 ZA. Super compact, highly capable set up and very discreet.

About Marc

Marc Weisberg is a photographer, photography educator and blogger based in Irvine, California. He specializes in a broad genre of photography including luxury real estate photography, wine & food, family events, and ridiculously wonderful pet photography. You’ll find Marc’s trademark – magazine style imagery published internationally in books and magazines. In early 2015 Marc aligned with Sony to become a member of the Sony Artisan of Imagery program. You can see more of Marc’s work at

Aug 312015


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!



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!


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!


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. 


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


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!


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! 


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


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.


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. 


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


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.


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.


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


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.


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


Next, Zeiss 16-35 at f/4




Voigtlander 40 2.8


Image then a crop. Taken with the Batis 85 

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Click it for 100% crop!


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.

ISO 8000, 55 1.8 at 1.8, Zero NR (I never use NR, always OFF)


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


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.

Zeiss Loxia 35 mid day sun – OOC


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.

Zeiss Batis 25


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.

Zeiss Batis 85


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.

Zeiss 50 Loxia


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.




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.


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.


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.


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.


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.

Batis 25


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.


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.


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.


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.


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).


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.


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!



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!











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



ISO 12800, crazy low light room. 55 1.8


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



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


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..





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…


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. 



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.


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

35 cron

Detail and snap looks as it should with the 35!




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





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.



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.



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.


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)




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!



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


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.



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




  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)



  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



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


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


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…
















Purchase the A7RII at B&H Photo HERE

Purchase the A7RII at Amazon HERE




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.

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If you ever decide to make a purchase from B&H Photo or Amazon, for ANYTHING, even 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.

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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.


João de Medeiros

Aug 252015

Fujifilm’s Professional F2.8 zooms take on nature

By Ben Cherry

About me

My name is Ben Cherry; I am an environmental photojournalist and Fujifilm X-Photographer. I’ve been using the XF16-55mm and XF50-140mm alongside the X-T1 for most of the year now. During that time I’ve spent three months in Borneo and two months in Costa Rica, where I’ll be until mid-December for a conservation research role. It is fair to say that these lenses have been put through a tropical boot camp, pushing them to their humid and heat limits. You can find more of my work via:

The Lenses

Both are weather sealed with constant F2.8 apertures, these zooms are built to last with superb image quality, making them up to the ever-increasing standard of photographers that need gear to work everyday, all day. Made to complement each other, this could be a two-lens set up for many photographers who want a lightweight system that covers a wide focal length. Indeed if you’re not after smaller F-Stops, then these offer prime quality optics.

I personally do prefer to use prime lenses as I feel that they encourage me to be creative, the likes of the XF16mm have pushed me to improve my compositions. But when on the move, in hot tropical environments, I couldn’t ignore the convenience of these two lenses. The XF50-140mm is a no-brainer for me as it is the longest F2.8 or faster lens currently available. In the rainforest I’ve found that I’ve craved light more than focal length, so this lens ticked a lot of boxes (not that I’m not waiting on the edge of my seat for the impending super telephoto zoom!..).

XF50-140mm-2.jpg (leaping proboscis monkey), XF50-140mm-5.jpg (play fighting pygmy elephants), XF50-140mm-26.jpg (scarlet macaw portrait), XF50-140mm-27.jpg (scarlet macaw in flight)

Certain things stand out in this 1st picture.. Male proboscis monkeys have a permanent erection and when they’re not eating only have one thing on their mind.

Certain things stand out in this picture.. Male proboscis monkeys have a permanent erection and when they're not eating on have one thing on their mind.

Ben Cherry XF50-140mm-5

Ben Cherry XF50-140mm-26

Ben Cherry XF50-140mm-27

As for the XF16-55mm, this was a lens I took a little more time considering whenever it came to packing the bag light. The reason for that is it covers the same range as the XF16mm, XF23mm and XF56mm, three exceptional prime lenses with faster apertures. But again it comes back to one word, convenience. Stuck in a rather wet part of the world, whenever it does rain, it pours and the last thing I want to do is change lens. So more often than not the XF16-55mm gets the nod. Other than missing the faster apertures of the primes, I have no hesitation to use this zoom instead, especially as it is weather sealed. A lot of people are put off this lens by the lack of OIS, yes it would have been helpful… but at the same time I understand Fujifilm’s explanation, I’d rather have the brilliant image quality than compromise some for OIS.

XF16-55mm-5.jpg (Sunrise at Mt. Kinabalu), XF16-55mm-15.jpg (violet woodnymph pit stop), XF16-55mm-17.jpg (vivid Pacific sunset),  XF16-55mm-18.jpg (released baby turtles using red filtered flash so don’t distract babies.)

Mt. Kinabalu at Sunrise

Ben Cherry XF16-55mm-15

Ben Cherry XF16-55mm-17

Ben Cherry XF16-55mm-18


Other than the superb build and image quality, these two lenses have very snappy autofocus, especially when used with the X-T1 (the only camera which makes this a weather resistant system). I’ve captured monkeys leaping through the air, elephants fighting, and birds swooping through the rainforest. None of these were easy autofocus tasks. The X-T1 has been greatly improved by a series of firmware improvements. I am sure these two lenses will see a huge performance boost with the next generation cameras, which will have improved hardware instead of only updated firmware. To put it another way, if I was told I could only have access to two lenses then no doubt it would be these two, with the XF16-55mm just pushing out the superb XF10-24mm – please Fujifilm, make a F2.8 WR version!

What is rarely brought up is the effective focal length of the XF16-55mm, which is 24-85mm, that extra 15mm over the usual 24-70mm range is a big benefit. Expanding the uses of this lens, particular helpful for portrait photographers.

XF16-55mm-10.jpg (inquisitive young elephant)

Ben Cherry XF16-55mm-10


Because of all that lovely glass, range and build quality, these aren’t exactly light lenses when compared to the rest of the Fujifilm range. Not to say that they feel out of place though. If using the hand or battery grip with an X-T1 then even the XF50-140mm is nicely balanced. I feel like these lenses have more to give but are waiting for camera upgrades, this isn’t necessarily a bad point just one to think about. I have been in situations where I know the lenses can handle the moment but sometimes the X-T1 gets a little flustered. This occasional occurrence is massively outweighed by the general satisfaction I get from using this system over others I have tried.

XF50-140mm-6.jpg (tactile family members)

Ben Cherry XF50-140mm-6


This system has been baked and soaked more than I’d ever admit to Fujifilm representatives… (awkward because they’ll probably read this… sorry!). But it is still working and producing images that I am very happy with. Certainly the products have more to give than I am currently demanding, this encourages me to push myself so I can reach the standard of these brilliant products. The camera market is incredibly competitive, a good thing as there are basically no bad systems out there. However, for me, this weather resistant X-Series is definitely my preferred choice. For anyone looking at camera system options, no matter your genre, I firmly believe that the X-Series at least warrants consideration, it is certainly producing the goods for me with nature photography.


Aug 242015

Leica M: Not perfect, but I love it.

By Steven Jermaine

Hey Brandon and Steve, first thank you for keeping up all the hard work over the years. It’s been a pleasure to read and see the growth. Over the years GAS has led me to and through many cameras, such as the fuji x100, sony nex 7, sony rx1, nikon df, Leica m8, canon 70d, and etc But with the blessing of my wife my GAS was abated with the purchase of a Leica M240 and Zeis 50mm f2 lens. It’s my daily camera and goes with me everywhere. I purchased mine certified used from and verified the two-year warranty with Leica NJ.

This camera I am sure everyone knows is amazing so I won’t have to go there. And yet, I am sure everyone knows it has its issues and as a person who has experienced it, I’ll touch on it a little. This camera has been sent to NJ for repair early this year for two months. That wasn’t a fun time as the rangefinder was out of alignment amongst other things. I purchased a Sony A6000 to hold me over (Great little camera).






Despite the issues I find myself still in love from day one. The camera inspires me to take it out everyday and attempt to create something. Some days I don’t make any images while others I shoot a whole lot. But it’s always with me and like you always say, that’s should be the camera you own.

Ok this is getting a little long but as for the images, these are test shoots and my daily musings around Washington D.C. I hope you enjoy them. Thank you everyone for your time. If you’re in D.C. and want to photo-walk around, don’t hesitate to email or dm on Instagram. I’m always looking for photo friends.


Steven Jermaine

Aug 182015


Quick high ISO Comparison! Sony A7s vs Sony A7RII

Many h ave been asking me to do a high ISO comparison with the Sony A7RII vs the all time high ISO king, the Sony A7s. The Sony A7s is a special camera for a few reasons, one of them being the extreme low light capabilities which came about due to Sony using a 12MP sensor. The less MP on a full frame sensor usually means better low light or high ISO performance. With the new resolution monster, the A7RII, any were expecting high ISO to be mediocre. This is not the case. In fact., it looks DAMN good against the A7s. Think about it..12MP vs 42MP and the 42MP sensor is not far off. AT ALL.

As always with my ISO tests I let the camera choose exposure as this is how 99% of people use these, either in A mode, S mode or even AUTO mode. In other words, very few manually expose these cameras, so here is the output from each as exposed by the meter in each camera. What you see is what you get.

Also, these are from RAW and all noise reduction was off. Sony made some claims saying the A7RII is a NO COMPROMISE camera due to the new sensor design, Meaning, you can have high res and great high ISO all in one. Now imagine when they redo the A7s with the new sensor tech..this is when I think we will hit ISO 1 million and have it be usable. ;) My older A7s review is HERE if you missed it! Also, before you ask, the grip on the A7RII above is the JB Designs A7RII wooden grip. 

Click each image for larger view and full 100% crops! I will go all the way to the top ISO in my full review which will be up within 2-3 weeks!





Aug 172015


The SLR Magic Hyperprime 50 T 0.95 for Micro 4/3

By Steve Huff

Order this lens at B&H Photo HERE

I remember back in the early part of 2012 when I was putting on a Los Angeles workshop with Todd Hatakeyama and we had 32 attendees or so, which meant we all had a blast shooting on the streets of LA.


What was ultra cool about that workshop was that we had a couple of special guests and a very awesome lens debut at that event. The 1st special guest was none other than actor and comedian Jeff Garlin who came by to give us some stand up and talk about a movie he was working on called “Finding Vivian Maier” which is EXCELLENT BTW and a MUST SEE! Jeff was awesome and he was part of that memorable event and helped make it a success.

Me and Jeff in 2012 at my Los Angeles workshop


The other special guest at the workshop was Andrew Chan from SLR Magic and he was there to let all of us try the a lens that he was very very proud of. That lens was the amazing 50 T 0.95 Leica Mount and yep, it went right after the Leica Noctilux f/0.95, and man…not only did it go after it, it proved that a Leica Noct killer could be made for MUCH less than the $11,000 Leica charged for their lens.

Me shooting the 50 Leica Mount Hyperprime back in 2012 on my Leica M9. Photo shot by Judd Weiss.


Not only was the lens $6-7K cheaper than the Leica at the time, it was a tad better in the sharpness department and even Bokeh department. It has less CA and focused closer. It was a bit larger and heavier but wow, that lens was a masterpiece.

After it was getting some crazy buzz online it seemed some politics came into play as all of a sudden SLR Magic was being attacked with nonsense accusations in an attempt to stop them from selling that lens, or at least derail them here in the US. Seems it was a huge threat to someone somewhere as the mud-slinging and stories that were told were just ridiculous. The lens was Leica M mount and worked with the RF meaning it was RF coupled. Six friends of mine bought one and loved it, and a few still have the lens to this day for their Leica or Sony FE cameras. In any case, SLR Magic seemed to withdraw the lens for a while but it did return and is still available for purchase in the NON RF coupled version in Leica mount but in reality for Sony FE mount (using an adapter) for $2999.  The lens indeed has some magic. See my review HERE.

But wait! Now there is the New 50 T 0.95 Hyperprime for Micro 4/3

Well, today I am happy to announce that SLR Magic have brought out that same lens formula for Micro 4/3, in a NEW 50mm T 0.95 Lens. This is a premium lens in build, feel and performance for Micro 4/3 and the fast T 0.95 aperture (T stops are used in video and are slightly faster than the F counterpart making this lens an F/0.91 or so. While it will not give the same look and feel as the full frame version, it will offer a flavor of that look for a fraction of the cost and will be one hell of a manual lens for your Olympus or Panasonic Micro 4/3 cameras. It will also be a fraction of the LM version, coming in at $999.



Now, all Micro 4/3 shooters realize (or at least I hope they do) that the sensor in our cameras will double the effective focal length of any lens attached, which is why Olympus sells the 25 f/1.8, to mimic a fast 50mm. So naturally this 50mm T .95 will now give us an effective focal length of 100mm, which is quite long for my tastes. I am a tried and true 50mm guy, sometimes 35mm and sometimes even 28mm. But 100mm? Not so much. This was a concern of mine when Andrew Chan sent over the new 50mm T 0.95 for me to test..that 100mm reach means not so good for indoor work.



About a day or two after I received the lens my worry subsided as I remembered that no matter what lens you have on your camera, you can always find shots to fit it and make it work if you truly open your eyes and look for shots. You know, the old saying “zoom with your feet”, well that rings true here.

I took the camera with me along with friends and family to Las Vegas and enjoyed testing it out in various lighting situations. What I soon found out is that when wide open at T 0.95 there is a very SLIGHT softness. VERY slight. But stop this lens down to T 1.1 or 1.4 and you have an amazingly sharp and crisp lens that has some serious POP to it, and I mean amazing sharpness to the level of some glass that will set you back much more than this.

I believe SLR Magic designed this lens as a video tool primarily but it is equally as nice as a photo tool. With its smooth click-less aperture and medium focus throw it feels delightful on my E-M5II Titanium Edition. It looks awesome as well. The slide out hood is reminiscent of the Leica 5o Summilux ASPH, quality all the way around in regards to fit finish and feel.

This shot was taken at T 1.1 to give a tad more crispness to the subject. This could have worked at T 0.95 but I found that I preferred using this lens from T 1.1  to T 1.4 most of the time. 




This one is at T 0.95 and I focused on the upper most piercing. It is also up close at its minimum focus distance, which is also why we see a tad bit of softness and glow.


So what do I think of the lens after using it non stop for a while? I do really enjoy it, but at the same time it is a specialty lens. I would use it if I wanted a nice portrait with shallow DOF. I would stop down to f/2 for max pop and detail as well as making it easier to nail the focus (when wide open it is very tough to 100% nail focus as T 0.95 has paper-thin depth of field). I would use this lens in low light or night-time situations when I needed the maximum light sucking capabilities. I would use this lens whenever I was in a manual focus kind of mood when using my Micro 4/3 camera or if I wanted an artsy look. I would use this lens for video interviews as well or even some street work. So yes…

It is versatile.

You must click images for better view. 



What about detail? How sharp is this lens?

As I hinted at already, this lens sharpens up DRAMATICALLY when stopping down just slightly to T 1.1 or T 1.4. Wide open at T 0.95 it is a tad dreamy and slowly and unsharp. Take a look at the crops:

YOU MUST click on the images to see them larger and with full 100% crops! 

1st image is shot wide open at T 0.95…click it to see the crop..



The next image was stopped down to T 1.4, look how much sharper it it “snaps” into place and becomes another lens..



Below is a full size image from RAW, click it to see to full size. Shot at f/4


The lens is not perfect though, and as I mentioned in my video overview above, it does have some CA (Purple Fringing) in high contrast situations. The thing here is though is that all fast primes like this have CA, all of them (when used on digital). Some cameras now remove this in camera before you see the image. Leica, Canon, Nikon..all have CA in their fast primes. So if you shoot this lens wide open, and take a picture of a high contrast scene with metal or glass, look out for some CA. As you stop down this will go away and I did not have any issues once I stopped down to just T 1.1. Below is an example of the CA you can expect when shooting wide open and in a high contrast situation..

Click images below to see them larger…examples of CA in high contrast areas when shooting wide open..



So all in all, the new SLR Magic 50 T 0.95 Hyperprime lens for Micro 4/3 is a winner in my book. When SLR Magic wants to put out quality, they do and can. This lens is a solution for anyone wanting a shallow DOF option for their little M 4/3 camera or for those who shoot lots of video or for those who need a lens for ultra low light to keep the ISO down or even for those who want to shoot some nice creamy portraits.




What this lens is NOT

What this lens is NOT is perfect. DO not expect to shoot a scene and get an image that looked like it came from a Leica M and 50 APO cron. This is what I call a “character lens” when shot wide open, and this is good as character is unique from lens to lens and it’s always nice to have these options in your toolbox. So if you shoot at T 0.95 do not expect across the frame sharpness, instead expect a nice almost dreamy kind of look. In fact this is probably the look that is attracting you to this lens!

Click any image for larger and better versions! I love the deep blue and shadows in this 1st shot. The 2nd blue man is a ball of blur when shooting at T 0.95.




If you click the image below you can see how sharp this gets by T 1.1..I focused on his face/eyes..



My final word on the new SLR Magic 50 T 0.95 Micro 4/3 Lens…

With so many lenses out today for Micro 4/3, and 98% of them being fantastic, how do you know which lenses to invest in and which ones to skip? Well, you don’t! All you can do is read reviews, look at samples and decide what works for YOU. If you enjoy the images here, the Bokeh, the color, the way this lens renders on an Olympus E-M5II AND you do not mind manual focus, and you want a solid well made lens that will last you a lifetime..then this just may be what you have been looking for.

What separates this lens from a lens like the Panasonic Nocticron that offers a 42.5 f/1.2 design with auto focus and gorgeous color and IQ is about $400 and with the Nocticron you get a much larger lens as well. You can see that review HERE to compare the images. The Nocticron is beauty and will give you an 85mm equivalent instead of 100mm. It will give you f/1.2 instead of T 0.95 (more like F 0.91) and at T 1.2 I’d put the SLR Magic up against the Nocticron any day and while it will not replicate the look of the Nocticron it will offer you its own look and character. You do lose Auto Focus but some prefer this as it slows us down, makes us think about the shot. So all up to YOU, the user.

Then we have lenses like the Olympus 75 1.8 which gives us 150mm, for me, too long for every day and indoor use though it is also a beauty. At the end of the day I enjoyed the SLR Magic lens. The 50MM T 0.95 Hyperprime is a premium lens, with much of the character from their legendary M mount version at 1/4 the price, which is nice and I have no complaints. ;)

To have yet another option for those of us who shoot Micro 4/3 is a good thing, selection and choice is wonderful :)

Where to Order?

If you want to order the SLR Magic 50 T 0.95 for Micro 4/3 you can do so HERE at B&H Photo who is an authorized SLR Magic Dealer. The price is $999.

A few more snaps below using the SLR Magic T 0.95 from wide open to T 1.4…













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 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 142015

Hi Steve

This is a photo of my baby girl (6 weeks old when this photo was taken – 8 weeks now…. where is the time going!). I wanted to take a cute picture of her so sat her/propped her against some cuddly toys. I used an Olympus EM-1 with 12-40mm 2.8 lens and an on camera flash (Olympus FL-600R). I used a MagMod MagsSphere on the flash to diffuse the light (which is amazing). I imported the photo into Capture One 8 as I prefer the way Olympus Raw files are handled by default in that application. I then exported it as a tiff into Adobe Lightroom and processed it.

Toys 1240 2.8 400 200sec

If anyone is interested my flicr page is:

Thank you for your consideration.

Bhupinder Siran

You can submit your own “Quick Shot” to Steve HERE. One image, what you used to take it and a bit about the photo. Send me your best shot!

Aug 122015


Voigtlander 10.5 f/0.95 Lens review for Micro 4/3

Welcome again to another quick lens review here at! Here we are, 7+ years on with this website/blog and I am still excited to sit and write about a product that I really enjoy, for me, this just ever gets old.

This time around the lens we will be taking a look at is a Micro 4/3 lens from Voigtlander that fleshes out their superfast f/0.95 line of primes. In the past I have used and tested the Voigtlander 17 0.95, 25 0.95, 42.5 0.95 and these lenses give Micro 4/3 users the focal length equivalents of 35, 50 and 90mm. What was missing for a while was the wide end so Voigtlander tackled this and created the lens you will see here, the 10.5mm f/0.95! A true wide-angle superfast prime.

Yep, a 10.5mm lens in Micro 4/3 with an uber fast f/0.95 aperture. Of course the equivalent focal length here is 21mm, so this one can be considered a wide angle or near ultra wide lens. But many of you may be asking..”why would one need f/0.95 in a 10.5mm lens”? Usually wide angle lenses can do just fine with slower shutter speeds and smaller apertures as they are easier to handhold without creating shake. So why the fast aperture? Besides being ultra cool and bad ass there are reasons!

The lens come with al lens hood and allows for cliques or liked aperture. The construction is SOLID.  Length 82.4mm, maximum diameter 77mm.

Screen Shot 2015-08-11 at 2.38.33 PM

For low light abilities one, and even though the focal length doubles here, the light gathering of the aperture is indeed f/0.95. Again, this IS an f/0.95 lens for light gathering. For shallow DOF you will not get the true effect of f/0.95 as you would on a full frame sensor body as that also doubles. But for light gathering and low light this lens will give you a fast f/0.95 aperture. So go out to a nice low light environment and have no fear as this lens should give you what you need. Add in the 5 Axis IS of the Oly bodies and you are all set for low light shooting. This is really what f/0.95 is all about. Low light and the need for your lens to suck in all available light that it can while still performing admirably. The question here is, can this lens deliver?

Click on any image for larger size and better version!


During my 2-3 weeks with this cracker of a lens I took it all over with me though it is not a tiny or small lens. This lens is heavy and medium in size (not large), is all manual focus and is built to last a lifetime. Metal construction, smooth focus ring, solid but smooth aperture ring and performance that may not the “best” in the Voigtlander f/0.95 line but still very very excellent with that same signature and color of the other primes in the series.

In use I was finding the lens to not be as sharp wide open as the other lenses in this range. For example, the 42.5 is stunning wide open as is the 17.5 but this 10.5 is a tad soft when shooting at f/0.95, hell, I can’t even say soft as it is not “soft”…just not as sharp as the 42.5 ;)  Many would say I was being picky here but at $1,100, this is not a cheap lens. Even so, by the time you hit f/1.4 the lens has a nice sharp rendering and has some bite as well. A bonus is the you can take this lens up close. With a minimum focus distance of only 6.6 inches you can get fairly close to your subject if you desire.


The lens, as I said, comes in at $1100. Mine came from and the more and more I used the lens, the more I started to get along with it. I will admit, the 1st week I was not sure if I liked it as I am rarely a 21mm shooter. In fact, the last time I shot with a 21mm extensively was probably in this Voigtlander 21 f/1.8 review for Leica M mount.  I do remember liking that lens but again, since I am not much of a wide angle shooter (namely 21mm-28mm) I knew it would rarely get use.

Click for larger and more detailed version. This is the 10.5 up close and wide open. 


As I shot this 10.5mm more and more I started to enjoy it and I started to like it, a lot. If I owned the other Voigtlander lenses to go along with this f/0.95 line I would 100% want to own this just to complete the f/0.95 collection. With these lenses one can shoot almost anything they desire from landscapes to low light scenes to portraits to every day general shooting.

The image below, 1st one, is full size from camera so YOU MUST CLICK IT TO SEE THE FULL SIZE. Click it to see what this lens will do at f/4. It has been sharpened.


This one is just to show Bokeh quality, or the Out of focus areas in the background. This was shot at f/0.95


When shooting the lens I did not notice any glaring or out of the ordinary issues such as massive CA, distortions or funky Bokeh. Everything seemed pretty solid. The IQ has the same character as the other lenses in the Voigtlander family. I’d say it has that voigtlander look, 100%.

What is that look?

Well, it’s always hard to describe the way different brands of lenses render images. Some have more color pop, some are higher contrast, some are muted and some are soft while others are sharp. This lens renders in a smooth way with a near neutral color and contrast signature, meaning it does not have high or low contrast nor bold and poppy color or muted color. It has that “smoothness” that I always see in Voigtlander lenses.

Below is a video I made when I received the lens, showing it on the E-M5II

It is so cool to have this option for Micro 4/3 and I am using the lens on my GORGEOUS E-M5II Titanium that I have outfitted with the equally as gorgeous JB Designs Grip.



This camera with this lens and grip feels so freaking amazing and awesome in my hand. For feel and looks it easily beats my A7s, A7II and upcoming A7RII. It’s just a striking camera to look at and hold/feel and use. Solid, great controls and quality. With Micro 4/3 lagging behind in low light or very high ISO’s they need fast lenses to compete with the big full frame guns. Fast glass is the answer and with Olympus releasing awesome lenses like the new 8mm fisheye pro 1.8, the 7-14 pro wide angle zoom and even that newish 40-150 f/2.8 zoom it helps to take this system up a level.




At this level what other lenses are there to choose from for our micro 4/3 cameras?

Well, we have the Olympus Pro 7-14 f/2.8 Zoom, which comes in at $1299, or $200 more. Of course you lose the f/0.95 aperture but you gain fast Auto Focus, you gain weather sealed pro performance and you gain more versatility as the focal length can go even wider and even longer. 7-14 will give you a 14-28mm FOV on Micro 4/3 and give you much more sharpness across the frame.


Me, would I want to give up the solid Voigtlander 10.5 f/0.95 with its uber fast aperture so I can get the 7-14 Pro Zoom? WELL…Maybe. I feel the zoom may be the better buy but then again, you will not be able to get the look of the Voigtlander out of the Olympus. The Oly will give you sharper images with more DOF meaning your background will be more in focus, so less subject isolation. You will also get the Olympus color signature which many love.

It’s a trade-off. Solid build, fast aperture and manual focus or Auto Focus, wider focal length range and slower aperture? It would be tough to choose, and the more I think about it the more I think I would choose the Voigtlander as I love to shoot in low light, or in music clubs or pubs at night. That Aperture speed rocks.

I know many would say “I WANT AF” so the Olympus would be the smartest choice for the AF crowd, obviously.

Always click images here for larger and better view



I still love Micro 4/3 even though I know many out there refuse to even give it a shot due to the smaller sensor. The way I look at it is that while yes, the sensor is smaller and does not do as well in shallow DOF or High ISO the bodies make up for this with their beautiful designs, solid build and super fast response and operation. The smaller sensors allow for faster AF, and the lenses of the Micro 4/3 system are some of the best there are in existence. So many Micro 4/3 fans out there who chose it over APS-C and Full Frame, and I am right there with them as I feel a camera like the Olympus E-M1 or E-M5II beat out just about any APS-C camera as a whole package from build, design, speed, lens quality, etc. I do not feel it can compete with full frame so much but it is not far off in DR, details and color performance. So yes, Micro 4/3 is alive and well and while many predicted its demise years ago, it is holding steady and doing well.

Back to the lens…

If you feel like shooting at 21mm, and have a Micro 4/3 system, and you love f/0.95 shooting then this is a lens you will want to take a long serious look at. It ticks the right boxes as it has no real weaknesses besides being manual focus only. As I already stated, CA and distortion here is minimal, which is quite something for a fast f/0.95 lens. ALL fast primes have CA it is just a matter of how much. One of the worst CA offenders is the Leica 50 Noctilux at $11k+, so yea, even the uber pricey lenses have these issues. This lens though, it is so minimal I never notice it, so this is fantastic.




At the end of the day, I love Voigtlander and have loved them since trying my 1st Voigtlander lens (a 35mm f/2.5 pancake for Leica M mount) on an Epson RD-1 (pre Leica M8). While not all Voigtlander lenses are masterpieces, some indeed are and the offerings from them in Micro 4/3 land are quite special and good. A fast prime shooters dream set of lenses can be had, all for under $5k giving one a super Micro 4/3 system of sorts. Pretty cool. The 10.5mm keeps on with the tradition of high quality, fast aperture, super build and great IQ while keeping the pricing on a nice even ground. This is a lovely lens my friends!

My review sample came from site sponsor  Stephen Gandy at  He has these in stock for $1100 and free shipping. You can see the page for this lens right HERE if you want to read more or place the order.


My next lens I am testing on the E-M5II is the new SLR Magic Hyperprime 50 T 0.95, which is a scaled down version of their AMAZING 50 T 0.95 for Leica M, so I have high hopes. Stay tuned for that as I will be heading out on a road trip this week to shoot it.

Thank you all for reading this short mini review for the Voigtlaner 10.5 f/0.95 for Micro 4/3.







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 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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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!

Aug 072015

Why Pre-Orders ROCK! A7RII now 1-2 month wait!

I know many here pre-ordered the A7RII when it was announced for pre-order. Many of you are getting your cameras now, yesterday and today and have emailed me with your glowing thoughts on it. I am glad to see I am not the only one raving about this camera. I am without the A7RII now, but will have one again next week for 2 weeks for a full review. I did pre-order one but mine has not yet shipped from Amazon so I may have a wait! It appears if you order today, at least from Amazon, you will have a 1 to 2 month wait as the A7RII is more popular than Sony expected, selling twice as many pre-orders as the original A7 and A7R (true).

This is why I am a huge fan of pre-orders. When you see a new camera these days that you know you WANT and you know will be HOT and a massive seller, pre-orders are always best. When you pre-order a camera from Amazon for example, your credit card is not charged until the camera ships. If the camera takes 1-2 months to deliver you are locked in place and without even being charged and if you change your mind about it anytime before it ships you can cancel the order with one easy click in your Amazon acct. Very simple. It appears there were loads of pre-orders for the A7RII!

If you received your A7RII, leave a comment below and let me know what you think of it, what you love and even what you do not love about it!


Screen Shot 2015-08-07 at 9.19.37 AM

Aug 062015

A few Sony A7RII Images converted from RAW, with crops

So as I sit on the airplane headed home from Portland I successfully updated my ACR so I could convert some A7RII Raw files. Below are a few samples, a couple at the end with much requested 100% crops.

I had to leave the A7RII behind with Sony but I will be getting one next week for my long term full review, so that is when I will start working on that which will go into all details and comparisons, Leica M glass use and more!







The images below all must be liked on, even the crops to see the real 100% crop. 








Aug 062015

BY REQUEST: Sony A7RII Shadow Recovery Sample

Many have asked to see how the new A7RII sensor handles shadow recovery. Below is a quick example. 1st one is out of camera how it was shot, and below that one is with shadow recovery. Notice how the details of the tree come out. Click on them for larger size, and if you are on a retina display, these are Retina Ready!




More later as I am leaving portland today and heading back to AZ! My A7RII review unit will be here next week so my full long form review will be started then.

Aug 052015

Day 3 With the Sony A7RII. Just some quick Samples..

So day three with the A7RII here in Portland just ended, and I am tired. So tired that I am now in my pajamas laying in bed and dozing off as I write this. Because I am so beat, I will keep the text short and let the images speak for themselves.

Also, for those who have been asking, I will post full res files in my full review in 2-3 weeks. I will test certain Leica lenses on the camera as well. So stay tuned for that.

For now, just a few more images from today. Myself and almost everyone here is loving this camera. Was speaking with some well known camera reviewer names today and they agree that this is a phenomenal camera. From its snappy AF, to excellent tracking C-AF to it much better build, quieter shutter, superb high ISO performance and great video it is so much different than the 1st gen A7 bodies…AND THIS IS GOOD.

Stay tuned for my full review soon.

For now, take a look at some images from today and yesterday afternoon with various lenses.

You can order the A7RII at Amazon or B&H Photo. They just started shipping today!

 All EXIF is embedded. Lenses used were the Zeiss Batis 25 and 85, Sony Zeiss 35 1.4, Zeiss Loxia 50 f/2, Zeiss 16-35
















Aug 042015

Day Two with the Sony A7RII…so far. WOW!


Yesterday I posted my very 1st views and thoughts on the new powerhouse Sony A7RII camera. After shooting with it all day today for the past 6 hours I have more images and thoughts and they are all GOOD.

I am currently on a bus with 30-40 other journalists and Sony as we had to Mt. Hood for more shooting (in snow) with the A7RII. Since we have a 2 hour drive I decided to use my iPhone 6 as a hotspot and update you guys on how it went this morning with the camera.

One test I wanted to try was to shoot the Voigtlander 15 4.5 VIII on the A7rII as I was hearing rumblings about how the new sensor design fixes most of the issues with wide-angle Leica M glass. I have the 15 III on me, so more Leica tests will happen next week when I am home but for now, the 15 is looking AWESOME on the A7RII.

click image for larger…



As I walked around the Japanese Garden this morning with the A7RII, 15 III, Batis 85 and Sony/Zeiss 35 1.4 and 24-70 I was BLOWN AWAY at the camera. This is without a doubt, the BEST A7 camera EVER made. In fact, since I am in the honeymoon phase, I feel it is one of the best, if not the best camera I have ever used. SO many reasons why. Will I feel like this in 2 weeks? I think so, but who knows. I am just so excited by what this camera is giving me I look at it sitting here next to me and say “I WILL NEVER NEED MORE THAN THIS”.

I mean, I just want an A7RII  and some AMAZING glass to go with it, and there is TONS of glass you can shoot on the A7RII. Thousands of lenses from all manufacturers can be mounted with the right adapters and with the new sensor design, man… this is one powerful tool.

Even with its 42 MP the camera is responsive, quick and never feels sluggish. Manual focus is a breeze with the large clear EVF and low light is so much better than I thought it would be, I seems to be better than my A7II at high ISO, nearing the A7S (but not quite).

THIS CAMERA excels with out of camera quality. These are all from camera JPEGS, look at the color, the depth and the incredible medium format like IQ…click them for larger!





It has been a lackluster year for cameras so far. I mean, we have had some amazing cameras come out..the Leica Q…a few others..but THIS is a game changer and when something like the A7RII comes along, it excites me and that excitement translates to these pages and the words I write.

I have shot with everything over the years and believe me when I say, so far, from two days with this A7RII, it is a special camera that has capabilities that far exceed my skill set. The video capabilities alone are incredible. The sensor is outstanding. They did their homework and listened to A7 users, and then they delivered this. THANK YOU SONY!

1st shot below was with the 35 1.4 Zeiss at 1.4. THIS is my fave 35 1.4 ever. 


Here is a shot with the Canon 50 1.2 EF lens at 1.2. What is really incredible? Myself and all here agree, this lens focuses faster on the A7RII than it does on the Canon 5D series. Faster and more accurate. I borrowed this lens from someone here and now will go buy one as it is amazing on the camera. click it, and yes, this is an OOC JPEG.


What I have been enjoying most is the rich color, deep IQ and lovely transitions. This sensor is just “WOW”. 


So here I am still on the bus and with my laptop battery draining and my hotspot racking up data feeds I will close this out now with a couple more images from today. Tomorrow I will post more from this evening and tomorrow as we have so many events planned to use these cameras. I will also have a look at the RX10II as that is also sitting in my bag beside me.



Believe the hype my friends, the A7RII is a take no prisoners camera and I see nothing out there that can do all it does, how it does it and do so with amazing and fun usability.

You can order the A7RII below from my recommended and trusted Sony dealers: 


Amazon A7RII


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