Jul 012015
 
BATIS

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

So check this out guys…

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

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

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

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

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

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

ALL SHOTS ON THIS PAGE ARE WITH THE SONY A7II

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

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

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

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

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OOC JPEG with the 25 at f/2

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

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Zeiss 85 Batis with crop

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

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ORDER THE ZEISS BATIS LENSES!

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

 

Jun 292015
 

Sony A7II with FE 35 1.4 and A7R with 55 1.8

by Kenneth Wang

Hi Steve,

I’m a old school amateur photographer who waited until 2009 to change from film to digital cameras. Prior to making the switch, I searched the internet for information about digital photography, when I found your site, your reviews and user reports provided a good guide for me to make the leap.

I now take pictures with Sony equipment, and in my recent trip to Japan and Alaska, I used a Sony A7II with the new FE 35mm 1.4 lens, along with a Sony A7r with the FE 55mm 1.8 lens.

Both the A7II and A7r systems take great pictures, but the character of the pictures are different as you compare them in the following pictures. The A7II has a natural rendering, while the A7r has a 3D pop.

Both the FE 35mm 1.4 lens and the FE 55mm 1.8 lens are sharp, precise and colorful.

Pictures 1 – 4 were taken with the A7r system, pictures 5 -8 were taken with the A7II system

A7ii 35mm ISO 100 125th sec f 1.4 pic 5

A7ii 35mm ISO 200 640th sec f 4 pic 6

A7ii 35mm ISO 200 640th sec f 4 pic 7

A7r 55mm ISO 100 80th sec f 10 pic 1

A7r 55mm ISO 100 200th sec f 4 pic 4

A7r 55mm ISO 100 250th sec f 7.1.jpg pic 2

A7r 55mm ISO 100 500th sec f 4 pic 3

Jun 232015
 
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ssonya7iiexp

My Sony A7II and 55 1.8 Experience

by Simi Tometi

Hello Steve, Brandon, and fellow site readers. My name is Simi Tometi, and I am a biochemistry student from Dallas, Texas. School usually keeps me busy(and broke) for the most part but whenever I do have some spare time I indulge in photography.

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I recently sold my RX1(with the external EVF), to fund the purchase of a refurbished Sony A7II with a FE 55mm f/1.8 lens. Due to the simple fact that I’ve only shot with the 55mm a handful of times, I must admit don’t I feel qualified enough to provide a full comprehensive review. With that being said my initial thoughts regarding this lens are primarily positive.

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From a purely aesthetic standpoint, Sony ZA lenses are by far my favorite with their remarkable matte black finish, metal focus rings, and conspicuous zen blue Zeiss badges. As expected the 55mm continues the holistic tradition with its gorgeous utilitarian build, whilst being only a few millimeters longer than the Canon 50mm f/1.8 II.

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In regards to image quality there isn’t much I can say that hasn’t already been said by countless more reputable sources. This lens is just flat out outstanding. DxOMark(the industry leader in comprehensive image quality evaluation) has it rated as the sharpest lens in current production, besting both the OTUS 55mm($4000) & 85mm($4500).

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As for focus speed and accuracy, I generally shoot this lens wide open yet it always hits its mark, but admittedly it isn’t the fastest.

My sole grievance with this lens has to be its price. Though it yields industry-leading performance, I often find myself asking if it was worth its initial price tag of $1000. This is likely due to the fact that it’s my least utilized lens. Having said that I don’t mean to deter anyone from purchasing this phenomenal piece of glass, it’s just that for my style of shooting I sometimes feel as that my money would have been better spent on the FE 35mm f/2.8 or FE 16-35mm f/4. Anyway, thank you for reading this and I hope you enjoy the photos✌.

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*All photos were shot in RAW and proceeded using Adobe Lightroom 5 with VSCO Film

*All photos were shot in RAW and processed using Adobe Lightroom 5 with VSCO Film 06*

Tumblr: http://justsimiphoto.tumblr.com/

Instagram: https://instagram.com/justsimi/

Facebook: https://www.facebook.com/simi.tometi

My Sony RX1 review: http://www.stevehuffphoto.com/2015/01/23/6-months-with-the-sony-rx1-by-simi-tometi/

 

Jun 192015
 

Love my Sony A7II…it inspires me!

by Jens Niedzielski

Hello Steve!

I’ve been reading your website / blog quite a bit lately, as I have become an avid user – and fan – of the Sony A7 (Mark II). After following your experiences with the A7 and A7s, and trying the A7s myself during a shoot in the Maldives in March, I decided to get the A7ii, and I am using it extensively ever since (darn, they just announced the A7R Mark II…).

I’d say the Sony really makes me want to take photos so much more than any other camera before – one reason being the fact that I can throw an endless array of vintage MF lenses on it. Lately I shoot almost exclusively manually, even fast-moving objects (kids (haha), horses etc). And I got hold of really nice vintage glass, from Canon FD lenses, to old Nikkor lenses, Rokkor, Takumar, Zeiss Jena, Jupiter, Industar, MIR, to name a few.

Anyway – thanks for pointing me in the right direction :) Attached please find 3 recent photos taken, and I hope they are somewhat inspiring… All taken with the A7II.

1. GO.RIDE – I am currently residing in Thailand, and some of my friends are some of the very few people in the country who are into horse trail riding. Outdoor, no strings attached. Most people who ride are staying in the safe and sound environment of horse riding clubs and rings – but these guys and girls are going out rinding in forests, farmland and so forth. The real deal, so to say. They often abuse me to take their pictures LOL, but I also feels it’s quite a privilege as this is a really rewarding subject to photograph.

The photo was taken with the A7II x Sony E 50mm f/1.8 OSS Lens (Silver). That day I decided to challenge myself by shooting horse riding with a portrait lens, while keeping it under control otherwise thanks to AF (as the other day I shot arena / ring horse riding with an MF portrait lens, which despite the fact that they were waaaaay slower in there still was really difficult). The setting should be ISO100, f/2.8 which I chose as a sweet spot of shallow depth of field combined with ‘getting something in focus’.

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2. LAST LIGHT – this is an ‘after sunset’ / blue hour shot across Bangkok’s high rises. This is one of the very few unobstructed views into sunset direction in Bangkok, and literally was shot during the last seconds of having noticeable light that day; it went dark after that even for the A7II (I guess the A7s would have had a fun time after that).

For this one, I had paired the A7II with a Tokina 17mm f/3.5 RMC. Taken at 50 ISO, f16, about 30sec exposure I believe.

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3. THE TRAIN HAS LEFT THE STATION – this shot was taken inside Bangkok’s iconic Hua Lamphong train station. That day I went inside late at night to avoid people ruining my photos :) It turned out that the station is very heavily and brightly lit inside making it difficult to show the vintage look and feel of the station due to cold, bright and clinical light.

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Apart from taking some great shots in b/w and of the old trains that night, I decided to try some creative shot around the empty tracks that would give me the feeling of an empty old train station, or a station late at night, without resorting to more common techniques like b/w.

This was once again shot with the A7II x Tokina 17mm f/3.5 RMC.

P.S. I am aware / really quite a bit into post-production of images, but I am not using ‘filters’. All post processing is done only in LR and PS. Whenever I shoot, photos or VDOs, apart from trying to capture a really nice shot, fun for me starts when working the RAW files or VDO clips in post to see into what direction I can tweak them. Any photo, given the circumstance, inspires me to give them a certain treatment based on my perceived mood and tone of the moment. It may not be everyone’s taste, but it’s mine :)

Thanks a lot and best wishes,

Jens

INFO:

J (Jens Niedzielski)

Bangkok, Thailand

http://www.krop.com/jphotography

Jun 182015
 
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SAMSUNG CSC

The Mitakon Speedmaster 85 1.2 Sony FE Version Review

By Steve Huff

(all images here shot on a Sony A7II)

I have never been a 85 or 90mm lens kind of guy. While there are some GORGEOUS lenses in this focal length (Leica 90 Summicron APO, Leica 75 Summilux, Zeiss 85 Sonnar, Sony 90 Macro) I just always prefer a 35mm or 50mm, and sometimes a good 21mm focal length. When I shoot, my preference is to shoot people, and for people, I like to get in close to talk with them before I take their picture.

But even so, a nice 85mm lens has its place in my bag on occasion. Maybe I want to isolate a subject more, or get a little more reach than I am used to. Either way, two of my favorite 75-85 lenses have been the Canon 85 1.2 L lens, which is a beauty in all kinds of ways. When that lens is shot on a nice Canon full frame camera, the color, sharpness and Bokeh are outstanding, and unique. If I were rich, I’d have a 5D style camera and the 85L here just for those few occasions when I wanted that Canon 85L look.

The other lens I love is the Leica 75 Summilux. Not an 85mm of course but still a wonderful and beautiful lens capable of ethereal and organic renderings. The Leica 75 Summilux has been long discontinued and is one of those lenses that went from un popular to VERY popular after they released the M9. During the Leica M8 days, the 75 Lux could be found for $1200 all day long as no one wanted it on a crop sensor. After the M9 was released the prices went through the roof, and now a 75 Summilux will set yo back $3500+.

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So why am I mentioning a Leica 75 Summilux in a review meant for a Sony mount lens? Well, because this Mitakon 85 f/1.2 Speedmaster lens reminds me more of the Leica 75 Lux than anything. I am not saying it is just like the Leica, as it is not, but the rendering has that out there ethereal kind of vibe, and it’s way more Leica Lux than Canon or your typical Sony lens.

YOU MUST CLICK IMAGES FOR LARGER VIEW AND TO SEE IT CORRECTLY!

Here is a shot taken in NYC in the morning. I was walking and saw this stylish woman taking some shots of everything with her phone. She had style, spunk and personality so after this shot I asked her if I could take her portrait. See those below… But this one was at f/1.2 with the Sony A7II

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The Mitakon Speedmaster 50 Came first..which is better?

A while ago I reviewed the other amazing Speedmaster lens, the 50 f/0.95. You can read that review here as it is loaded with samples that show the character of that lens (and PopFlash.com sell them HERE). While not a competitor to the Leica 50 Noctilux, the 50 Speedmaster is a pretty damn fine lens for  the money. To see some amazing shots with it, click HERE.  So the first lens, the 50, for the money was stunning and comes in at about 11X less than the Leica Noctilux. $1k vs $11k.

This new 85 1.2 has grown on me the more I use it. First, I thought it was a tad dull as the contrast is low with this lens, and needs a boost in post processing to get that WOW POP we all love. Second, the color is a tad duller than I am used to with the mega lenses but again, easily fixed in post. After I figured out the signature of the lens, I realized just how good it was, again, for the money (it can’t be beat).

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As to which one is better, well, neither. Both have the same sort of signature and style, which as you can see in this review and the 50 review, that style is very “Bokehlicious” lol. The best thing to do if trying to decide between this 85 and the 50 is decide what focal length you prefer. That is all. Both lenses are built like a tank, literally. Both lenses are heavy and unruly, both lenses are manual focus and both lenses ship in a lovely hard shell case.

I prefer the 50 as it is my focal length but some may prefer the 85 and many may choose to have both, the 50 for normal shooting and the 85 for isolation or head shots.

1st shot was stopped down a bit to f/2.8 I believe..2nd shot was a close up of some red blood like water in the streets of NY and the last shot is wide open at 1.2 in my hotel room to show how well this lens is with subject isolation. All Sony A7II.

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Construction…

See my video below with the Mitakon 85 1.2 – It’s a dual video with a Sony lens but I also showcase the Mitakon so you can see how big it is and what I feel about it. 

Construction is quite good on the Speedmaster lenses. They are built SOLID and they are all metal, so yes, they are heavy and large. When I hold a lens built like this I think “QUALITY” as somehow, a heavy feeling just gives you that impression. SO yes, it FEELS amazingly well made like most Leica M lenses do. The focus ring leans more to the stiff side than loose, which I like and it has a long focus throw which is helpful for fine tuning the AF. The Aperture dial is solid but is clickless so no click stops. Many prefer this, especially for video work.

So for build it is top notch, and usability is nice a it gets for a lens of this type. As I said, it reminds me of my old 75 Summilux, just larger. :)

The three below, all wide open at f/1.2 on the Sony A7II – you must click them for larger. 

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DETAILS? With this lens? Sure!

Of course a lens like this will not give you corner to corner sharpness wide open, just not going to happen. This is one reason why Leica glass is so damn expensive..it is just about perfect. This lens, being a “fast budget lens” will not give you crisp sharp corner to corner goodness wide open at f/1.2. BUT!!! Stop it down a bit and wow, it sharpens up NICELY. The shot below is at f/4 and is VERY sharp.

CLICK FOR LARGER AND FULL 100% CROP TO SEE THE DETAIL AT F/4

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The CONS of the 85 1.2

Well, there will always be at lest one con, no matter how perfect a product is. Nothing made on earth is for everyone, so it comes down to personal preferences, needs vs wants and of course, cost. For me, the things I did not like about this lens was the WEIGHT and SIZE. I love small high quality glass, and this is a LARGE high quality glass. ;) It is heavy, it is BIG. So remember that. I also feel it could use a tad more contrast out of the box but this takes a few seconds to fix i post. Out of camera JPEG shooters may wish for deeper blacks and an image with more pop. Also, the color needs to be boosted IMO to give it that WOW pizazz.

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We can not expect perfection in a $799 lens but for the $799 that it costs, it is just about perfect. If it were $2000 I would have said no way, but at $799 it is a steal and a deal for anyone who wants an optic like this for their Sony, Canon or Nikon system.

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My time with the Speedmaster lens…

I have had this lens here for a while now and have used it sparingly, here and there as even when I review items, I tend to review what I like, and what I enjoy. What fun is writing about something you do not even like? The more I used the 85 f/1.2, the more I liked it..and today I love it. After quite a few shots under my belt I feel this is one of those lenses that are actually a deal. Fast glass is NEVER cheap, but when you get something built special like this, that is designed for full frame, and can be used on my Sony makes it a win win IMO.

This lens is called “The Dream Lens” by the maker, and is available on Sony FE, Canon EF and Nikon F mounts. AWESOME. The best part is? The cost is $799. Not $999, but $799, and to me, this is a bargain for what you get here as it will give you renderings much like a classic Leica lens for a FRACTION of the cost. While not up to Leica standards, it is 75% there and MUCH cheaper for the wallet.

This is a “Character Lens”  – full of those qualities that make people look at the results and say “WOW, how did you do that”?!?

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Where to Buy?

You can buy the lens direct from Mitakon HERE or check with PopFlash.com (not sure they have the 85 yet) as they are a dealer and sell the 50 0.95 all day long.  B&H sells the 50 as well HERE though its $100 more than PopFlash. Again, to see my 50 0.95 review, click HERE.

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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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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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Jun 102015
 
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a7rii

Sony Creates a MONSTER! The new A7RII..see my hands on report!

I am writing today from NYC at a Sony Event held in the beautiful Le Parker Meridian Hotel. Myself and loads of other journalists, bloggers and camera geeks all packed into a meeting today with Sony to see what they were revealing. Not only did they reveal the A7RII, they also announced the new RX10II and RX100IV. ALL THREE are spectacular cameras with some amazing new tech that was very cool to see. Mirrorless cameras have matured..big time and Sony is leading the way without question.

Pre-Order the A7RII at B&H Photo HERE. Available to pre-order on June 17th..so get ready ;) 

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My brain, heart and soul instantly fell for the A7IIR  – as it is an entirely new beast from the old A7r..I mean, entirely new.

The A7RII now has a 42.4 Megapixel full frame backlit sensor which allow the camera to do all sorts of things. 40% faster AF (and yes, it is much quicker than the old A7r and even the A7II it seems), ISO up to 102,000 (we are talking A7s territory in a high res sensor), Tweak 5 Axis IS so the images are stabilized in body with ANY lens you attach, Full 4K video shooting with an option for Super 35 shooting that offers double the res of standard Super 35. Full pixel readout without pixel binning.

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It also boasts the world’s highest viewfinder magnification at 0.78. Let me  tell you, the EVF in this guy is amazing. Like a window. Of course it gas WiFi, NFC, and is compatible with all the Play Memories Apps but this A7RII is giving us the BEST of the A7II, A7s and old A7R.

We have the super high resolution of 42.5 MP..and usually there are drawbacks with this such as slow AF speed and not so high ISO capabilities. Sony changed all of that with the new sensor and processing and we get it all. Fast AF, high ISO capability and JAW DROPPING AMAZING photo quality and video quality. It has it all, and will be the most amazing A7 camera ever developed.

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Data output is 3.5 times faster than the old A7r and with technology like copper wiring layers, Sony has been doing their homework.

One other awesome feature is the new Reduced Vibration shutter along with a totally silent mode that we had in the A7s.

I had some hands on time with the A7RII, was able to shoot it, handle it, check it out and I was very impressed. By far the most complete A7 to date. Not sure how they do it but Sony keeps upping the game and they created a beast with the new A7RII. Will be great for pro video, pro photo, and give you the NO COMPROMISE features and capabilities you have always wanted.

No longer do we have to substitute high res for low light abilities. It does it all!

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Before you ask where the images are…well, we were not allowed to shoot with our own memory cards, in fact, the SD slots were all taped up as these are not final production cameras. So no images yet but I will have a full review unit available to me soon I am sure.

The price for all of this tech? $3198, shipping in August. Just a couple of months away. Exciting times…I mean..this camera is pretty incredible, and I have just seen huge prints and 4K video from it that were astonishing. Using it was a joy as well. This is nothing like the old original A7r. BTW, it has the new A7II body style.

BRAVO AGAIN to SONY for pushing the envelope and making the best sensors in the world (IMO).

So to sum it up, $3200, available in August and pre-orders will start on June 17th. I CAN NOT WAIT to review this camera. I will have more on the other two new releases, the RX100 4 and the RX10II in the next day or two, stay tuned!

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Here is the official press release from Sony on the A7RII:

 

Sony’s New α7R II Camera Delivers Innovative Imaging Experience with World’s First Back-Illuminated 35mm Full-Frame Sensor.

Sony’s Flagship Mirrorless Camera Features 42.4 MP Back-illuminated CMOS sensor, In-camera 5-axis Image Stabilization, Internal 4K Video Recording, Silent Shooting, Fast Hybrid AF and more

NEW YORK, Jun. 10, 2015 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced their new flagship full-frame mirrorless camera, the α7R II (model ILCE-7RM2).

The new α7R II interchangeable lens camera features the world’s first back-illuminated full-frame Exmor R CMOS sensor1, which realizes high resolution (42.4 MP approx. effective megapixels), high sensitivity (expandable up to ISO 102400)2 and high speed AF response up to 40% faster than the original α7R thanks to 399 focal plane phase detection AF points.

The camera also includes a 5-axis image stabilization system borrowed from the acclaimed α7 II model and can shoot and record 4K video in multiple formats including Super 35mm (without pixel binning) and full-frame format, a world’s first for digital cameras1. Additionally, it has a newly refined XGA OLED Tru-Finder with the world’s highest (0.78x) viewfinder magnification3.

“Sony continues to deliver game-changing imaging products that are changing the way imaging enthusiasts, hobbyists and professionals can see and capture the world,” said Mike Fasulo, President of Sony Electronics.

Kimio Maki, Senior General Manager of Digital imaging Business Group for Sony Corporation, added “By harmonizing high resolution, sensitivity and speed, we’re delivering a high-level full-frame imaging experience unlike anything else in market today, with Sony’s newly developed, world’s first back-illuminated 35mm full frame CMOS sensor.”

High Resolution, High Sensitivity and High-Speed Response

The newly developed 42.4 MP back-illuminated CMOS sensor is the most advanced, versatile and highest resolution full-frame image sensor that Sony has ever created, allowing the α7R II to reach new levels of quality, sensitivity and response speed. In the past, many photographers have been forced to choose between high-resolution and high-speed or high resolution and high sensitivity when selecting a camera. The new α7R II eliminates that sacrifice thanks to its innovative image sensor.

The 42.4 MP sensor combines gapless on-chip lens design and AR (anti-reflective) coating on the surface of the sensor’s glass seal to dramatically improve light collection efficiency, resulting in high sensitivity with low-noise performance and wide dynamic range. This allows the camera to shoot at an impressive ISO range of 100 to 25600 that is expandable to ISO 50 to 1024002.

Additionally, the sensor’s back-illuminated structure, with an expanded circuit scale and copper wiring design, enables faster transmission speed and ensures content can be captured in high resolution without sacrificing sensitivity. Data can also be output from the sensor at an approximately 3.5x faster rate compared to the original α7R.

An ideal match for Sony’s extensive collection of FE lenses (35mm full-frame compatible E-mount lenses), the new α7R II features a high-speed BIONZ X image processing engine that allows images and video from the camera to be captured with supreme details and low noise. There is also no optical low pass filter on the camera, ensuring that scenery and landscapes are captured in the highest possible resolution and clarity.

The α7R II has a new highly durable reduced-vibration shutter that realizes 50% less vibration from shutter movements compared to its predecessor, and has a cycle durability of approximately 500,000 shots4. The camera can also be set to Silent Shooting mode in order to shoot images quietly without any sensor vibration or movement.

The new image sensor features 399 focal-plane phase-detection AF points – the world’s widest AF coverage on a full-frame sensor1 – that work together with 25 contrast AF points to achieve focus response that is about 40% faster than the original model. The α7R II utilizes an advanced motion-detection algorithm combined with this Fast Hybrid AF system to achieve up to 5fps continuous shooting with AF tracking.

Additionally, the focal plane phase-detection AF system on the α7R II works well with Sony A-mount lenses when they are mounted on the camera using an LA-EA3 or LA-EA1 mount adapter. This allows users to enjoy the wide AF coverage of 399 focal plane phase-detection AF points, high-speed response and high tracking performance with a wider range of lenses. This marks the first time that the AF system of a mirrorless camera can achieve high performance with lenses originally designed for DSLRs.

5-Axis Image Stabilization Optimized for 42.4 MP

The new flagship α7R II model is equipped with an innovative 5-axis image stabilization system that has been fine-tuned to support its high-resolution shooting capacity. Similar to the system launched on the acclaimed α7 II model, this advanced form of image stabilization corrects camera shake along five axes during shooting, including angular shake (pitch and yaw) that tends to occur with a telephoto lens, shift shake (X and Y axes) which becomes noticeable as magnification increases, and rotational shake (roll) that often affects video recording. This camera shake compensation system is equivalent to shooting at a shutter speed approximately 4.5 steps faster5.

Additionally, the 5-axis stabilization works cooperatively with Sony α lenses with optical SteadyShot™ (OSS) to provide maximum stabilization and clarity, while also performing admirably via a compatible mount adapter with Sony α A-mount lenses6 without on-board stabilization . Effects of the stabilization can be previewed via live-view on the LCD or OLED viewfinder of the camera.

Unrivaled 4K Movie Shooting Performance

The impressive video credentials of Sony’s new α7R II camera include the ability to record movies in 4K quality (QFHD 3840×2160) in either Super 35mm crop mode or full-frame mode.

In Super 35mm mode, the camera collects a wealth of information from approximately 1.8x as many pixels as 4K by using full pixel readout without pixel binning and oversamples the information to produce 4K movies with minimal moire and ‘jaggies’.

In full-frame mode, the α7R II utilizes the full width of the 35mm sensor for 4K recording, allowing users to utilize the expanded expressive power of the sensor. It is the world’s first digital camera to offer this in-camera full-frame format 4K recording capacity1.

The camera utilizes the advanced XAVC S7 codec during video shooting, which records at a high bit rate of 100 Mbps during 4K recording and 50 Mbps during full HD shooting.

Additionally, the α7R II model features a variety of functions to support a professional video workflow including Picture Profile, S-Log2 Gamma and S-Gamut, 120fps high frame rate movie shooting in HD (720p), time code, clean HDMI output and more.

Enhanced Design, Operability and Reliability

The new full-frame α7R II has an upgraded XGA OLED Tru-Finder™ with a double-sided aspherical lens that delivers the world’s highest viewfinder magnification3 of 0.78x for crystal clear image preview and playback across the entire display area. ZEISS® T* Coating is also utilized to reduce unwanted reflections that interfere with the shooting experience.

The camera has an extremely solid, professional feel in-hand thanks to its light, rigid magnesium alloy design, and has a re-designed grip and shutter button compared to its predecessor. There is also a new mechanism to conveniently lock the mode dial, and an expanded range of customizable functions and buttons to suit the most demanding photographers.

The new α7R II camera is Wi-Fi® and NFC compatible and fully functional with Sony’s PlayMemories Mobile™ application available for Android™ and iOS platforms, as well as Sony’s growing range of PlayMemories Camera Apps™, which add a range of creative capabilities to the camera. For example, there is more creativity available now for time-lapse photography thanks to a new “Angle Shift add-on” app allows users to easily add pan, tilt and zoom to time-lapse images without any additional shooting equipment or PC software required. Learn more at www.sony.net/pmca.

Sony has also introduced a new LCD monitor model CLM-FHD5, an ideal companion to the α7R II for video shooting. A compact 5.0 type Full HD (1920x1080p) LCD monitor, the CLM-FHD5 features enlarging and peaking functionality for precise focusing, false color and video level marker for adjusting exposure and S-Log display assist to assist S-Log shooting.

Pricing and Availability

The Sony α7R II full-frame interchangeable lens camera will be available in August for about $3200 at www.store.sony.com and a variety of Sony authorized dealers nationwide.

The α7R II is compatible with Sony’s growing lineup of α -mount lenses, which now totals 63 different models including 12 native ‘FE’ full frame lenses. By early 2016, Sony will add an additional 8 new lenses to its FE full frame lineup, bringing the FE total to 20 lenses and the overall α -mount assortment to 70 different models.

 

 

Jun 092015
 
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The Sony RX1 maintaining its relevance

By Chad Wadsworth – His website is HERE

Two years can feel like a lifetime in the digital camera market, with fresh faced models seemingly delivered on a frantic six month schedule. But that’s roughly how long my RX1 has been in service – two full years. It was the golden child back then, always with me, consistently impressing with the sweet render of its Zeiss Sonnar 35/2 and the jaw dropping dynamic range from the 24-megapixel sensor. But new interchangeable lens models were released by Sony and the RX1 would often be relegated to the drawer. The newer Alphas boast faster AF, built-it EVFs, higher resolution or better low light performance, and the ability to mount nearly every lens ever made for the format.

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Funny thing though, the RX1 still deserves a place in the current stable and an argument can be made that it represents something wholly unique and special that can’t be duplicated by its siblings. It is the camera that I grab when I want to travel, go out with friends or just don’t want to think about lens options. There is a power in simplicity and limiting yourself to a single, classic 35mm lens. I rarely feel restricted with the fixed field of view and find that it is well suited for intimate scenes, landscapes and even portraits.

Given this ongoing admiration for the RX1 I decided to break down what makes the camera relevant today:

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The Lens

Like the legendary Hexar AF film compact and its Summicron killer 35/2, the heart of the RX1 is its fixed prime lens with silent leaf shutter. When the RX1 was released, the review sites gushed over the Sonnar that Sony had literally shoehorned into the frame to achieve the compact stature of the camera. With no less than three physical rings – aperture, focus and macro – the all metal Zeiss looks and feels the part of a classic rangefinder optic. Today, that lens is no less sharp, tactile or well built. You won’t find any test charts here but I’ve never been disappointed with the Sonnar’s resolving capability and its lovely rendering of out of focus areas. At times I’ve flirted with switching to the R model with no AA filter for improved resolution but photography isn’t solely about sharpness or resolution and there is a coherence inherent in this lens sensor combo that consistently satisfies.

With a leaf shutter, the lens is nearly silent and allows discrete shooting that lends itself to street, movie stills, sound recording environments or any other application where a silent shutter is a necessity. I often forget about the importance of having this ability until it is required.

The Sonnar does have its minor faults, but unless you are using an Otus, what lens doesn’t? Most notably, there is some CA that will need to be cleaned up on occasion, as well as distortion and vignetting that is magically erased in-camera. I never worry for a second that the lens is somehow hobbled or deficient. I would rate it as one of the finest 35/2 lenses made, equal to the Leica Summicron (king of bokeh), and Hexanon, better than the Minolta AF.

Relevancy today (10/10)

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The Body

When released, the RX1 was a clear shot across Leica’s bow. It is considerably smaller than the digital M bodies with a similar level of build quality, yet houses a modern full frame sensor with exceptional capabilities. It truly was the first of its kind and has yet to be eclipsed. You often read words such as “exquisite”, “finest”, “teutonic”, “brick” or “tank” to describe its build and design. Nothing has changed over those two years, in-fact time has proven the validity of those early claims. The detents on all of the metal control dials and rings remain as firm as the day I unboxed the camera. Some mild brassing on the focus ring is the extent of visible wear, although I have encased the camera in a leather half case made by Ulysses in Japan. The camera comes from the factory with a small patch of griptec type material on the front right hand side and a modest thumb grip on the rear. These two features provide just enough surface tension to make single hand holding possible but there are many first or third-party options to improve the ergonomics if desired. The case I purchased provides a nice little leather grip integrated into the design and retains access to the battery and SD card.

Controls are decidedly manual, with the aforementioned aperture ring plus an exposure compensation dial with 3 stops of adjustment +/-. When shooting full manual or shutter priority, shutter speed is assigned to the rear thumb dial. Personally, I prefer this setup to a shutter speed dial on top of the body and find that the combination of physical dials and rings to be ideal for controlling aperture, shutter speed and exposure comp.

The display is perhaps the most contentious component of the design. In an apparent attempt to keep the body as compact as possible, the RX1 was delivered without an OVF, EVF or tilt-screen. You get a nice LCD with good visibility in bright light (on the Sunny Weather setting) but that’s it. Many refused to purchase a camera where you are required to use the stinky diaper technique of composition. Sony does offer an optional OVF or EVF solution but both are pricey and alter the compact form factor of the camera. Personally, I chose to purchase the EVF and find it to be an effective add-on that not only allows for eye-level viewing, but with its articulating eyepiece, you get a right-angle finder, rendering you less intrusive to subjects on the street.

It is remarkable to think that in many ways this CyberShot branded camera remains Sony’s finest design. I know I’m not alone in hoping that a new model will eventually be introduced that retains the same level of build quality along with the retro rangefinder aesthetic and maybe a few improvements. If not for the lack of a built-in viewfinder I would rate the body a 10/10 today.

Relevancy today (9/10)

Backstage at The Mohawk as part of the Red Bull Sound Select in Austin, TX, USA 13 August 2013.

Backstage at The Mohawk as part of the Red Bull Sound Select in Austin, TX, USA 13 August 2013.

Latasha Lee and the Black Ties - Portrait

Latasha Lee and the Black Ties – Portrait

Backstage at The Mohawk as part of the Red Bull Sound Select in Austin, TX, USA 13 August 2013.

Backstage at The Mohawk as part of the Red Bull Sound Select in Austin, TX, USA 13 August 2013.

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The Sensor

As of the the date of this article, the RX1 sensor is the second highest rated in a Sony body, higher than any Canon camera and higher than any Medium Format system sensor – per DXO ratings. Pretty impressive for a two year old model. With 14.3 stops of dynamic range (widest range of all the Sony cameras), the ability of the sensor to hold highlights and recover shadows is truly astounding. I routinely overexpose when shooting in daylight at f/2, 1/2000 and have no trouble pulling back the highlights. High ISO performance is excellent and as a concert shooter, I have no qualms about using 3200 or even 6400 in a pinch. I rarely rely on software noise reduction as I find the noise pattern to be acceptable and even attractive in a film grain sense. Compared to the sensor in my newish a7II, I feel the RX1 sensor to be absolutely equal if not slightly advanced.

Relevancy today (10/10)

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User Interface

All new alpha cameras use an updated version of the RX1’s interface. Comparing those new menus to the RX1 can be a bit of a letdown. The RX1 menus are spartan and lack many helpful features found in the more recent models. One example is the inability to assign a function to the rear control ring – on the a7 models I keep ISO programmed to the ring for immediate control. On the RX1 you must program a custom button to first access ISO and then select the desired setting from the menu. There is potential for significant interface improvement so it is disappointing that firmware has not been upgraded to better synch the interface design with the current models.

Relevancy today (6/10)

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Memorial Day Weekend 2015 Middle Creek Ranch

Processor

Along with Interface, this section is where the RX1 most shows its age. Autofocus performance has been greatly improved in the newer alpha cameras so living with the older contrast detection system in the RX1 can at times be frustrating. On the upside, AF is generally very accurate, more so than my DSLRs ever were, it just takes the camera a bit longer to get there. Things are generally fine in good light but the hunting begins when the light goes down or in strong backlight conditions. Switching over to manual focus is always an option but the fly-by-wire mechanism requires its own form of patience and skill. Still, to put things in perspective, I have used the RX1 in extreme concert lighting conditions with solid success, just don’t expect it to provide the speed of today’s advanced systems.

Relevancy today (6/10)

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The band Tobacco performing at The Mohawk as part of the Red Bull Sound Select in Austin, TX, USA 13 August 2013.

The band Tobacco performing at The Mohawk as part of the Red Bull Sound Select in Austin, TX, USA 13 August 2013.

A True Classic?

Given the frequency of product advancement in the mirrorless space, a photographer needs to be at peace with their purchase decision. Many agonize over the right time to buy or upgrade, scanning the rumor sites for hints at what is coming next. This cycle of advancement and obsolescence can paralyze or infuriate. With a camera like the RX1 I knew when I purchased it that there would be improvements in later models, specifically to the AF speed and interface. The question I had to ask myself was whether the things that made the camera unique were enough to warrant the considerable cost of the RX1. I did not buy the camera back in 2013 for the AF performance or the interface/menu controls, I bought it for the lens, sensor and body design/build and of course for its compact form. On its introduction the RX1 was the smallest full frame camera you could buy and two years later, continues to hold that title. Sony didn’t just make the smallest full frame camera in the world, they blessed it with arguably one of the finest sensor and lens combinations available and they wrapped it in a beautiful metal retro shell with manual aperture and exposure compensation controls. Due to its compact size and its handsome design – I’ll admit a bit of vanity here, I want to carry the camera with me all the time, confident that I am not compromising anything when it comes to the images it will help me produce.

Tomorrow Sony may announce a replacement with a faster lens, better AF and interface, maybe even an integrated EVF, but when it comes to the quality of the images, we are reaching a point of diminishing returns. What the RX1 produces today is without doubt at the top end of the spectrum, so good that I seriously worry whether a new model would “mess with success”.

Sony achieved a rarity when they designed the RX1 – they produced a camera that many will claim has already reached cult status, which in the throwaway and upgrade world of digital cameras, ensures its relevancy for many years.

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Leave a comment below if you still own an RX1 or would like to.

Jun 082015
 
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The Mitakon Dark Night 50 0.95

By Isi Akahome

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Hi, my name is Isi, and I’m a bokeholic. It all started when I first shot with a rebel t2i in Target, and I fell in love with blurred backgrounds. Ever since then, I’ve chased after the widest aperture lenses. I remember drooling over the Leica Noticlux 50mm 0.95 when Steve and Digitalrev did their reviews on the lens. I wanted one, but unfortunately, the acquisition cost was laughable. My favorite lens on my old Nikon D800 was the 50mm 1.4, and then mirrorless cameras came out and that opened up the opportunity to get even wider apertures on a full frame sensor. Last November, I got the AMAZING Sony A7S and I started looking into moderately priced manual lenses with good optics. The thought of manually focusing was scary, but now I wouldn’t have it any other way. The first lens I got was the Canon fd 58mm f/1.2, but it wasn’t as sharp as I would have liked and didn’t provide the amount of contrast I was looking for. This image below is a perfect example. The lens does render bokeh quite nicely.

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Then the Mitakon lens was announced! 50mm f/0.95 for under $1,000? It was like a dream come true. I remember scouring the internet for reviews and sample images for weeks. The comparison Steve did with the Noctilux was very helpful, because the difference in performance wasn’t nearly as close as the difference in price. In fact, in my opinion, it was negligible. After a lot of contemplation, I decided to get one. I found a demo copy on eBay for $750. The packaging was exceptional. It made me feel like I just purchased a priceless work of art. The box the lens comes in is quite spectacular, and the lens has a nice heft to it. It looks very well built, and for the price, I have no quibbles about the build quality. I decided this was going to be the lens I would use for most of my assignments. It seemed like it would be up to the task. I just had to master focusing with the lens wide open with that razor thin depth of field. The results have been nothing short of amazing. The subject isolation I was getting was just so unique that I was only shooting at f/0.95.

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Getting sharp focus accurately and consistently is quite challenging, but focus peaking comes in quite handy, and my accuracy has gone up substantially. Sometimes I just move a couple of inches back or forward as my subject(s) move, instead of turning the focus ring, and that makes a world of difference in getting shots in focus. When the focus is spot on, the sharpness wide open is very good, especially for portraits. Here a few shots I did for clients in varying situations.

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The one advantage that’s rarely mentioned about wide aperture lenses is the amount of shadow detail you get in situations when the subject is backlit. The faces of subjects are much brighter than with any of the other fast lenses I’ve used. Even in this photo with the harsh backlight from the sunset, the amount of shadow detail is quite impressive.

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Wedding season is about to start, and I’m both nervous and excited to use this bad boy to shoot full weddings. I think the difference between f1.2 and f0.95 is noticeable, it could be due to the fact that the lens has a certain look and character that makes the images unique to my eye. I don’t really have any complaints, except for the distracting bokeh rendering of foliage or busy backgrounds I sometimes get.

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I also shot the lens at smaller apertures because I had to in studio conditions, and it performed just as well as I would expect. These were shot at f5.6.

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I am very pleased with the results I have been getting with this lens. Even for random shots, it works fantastically. I took this as our plane was taking off from New Jersey.

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Mitakon has done something special with this lens. It is such a bargain considering what the lens can do. I would recommend this lens to anyone looking for a fast 50mm lens for their Sony A7 series camera, or other bokeholics who just want the shallowest depth of field with the added benefit of a versatile focal length. It’s a lot of fun to use, and you get all the bokeh you can handle. Don’t worry about manually focusing either. With focus peaking, it’s a breeze, and it almost forces you to compose your shots with more thought, purpose, and precision.

Thanks for reading. You can see more samples of my work on: www.isispiks.com.

Keep up the awesome work Steve! You’re a rockstar.

Isi Akahome

Jun 042015
 
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SEEING RED! The Redhead Days Festival

by Ori Cohen

Hi Steve,

My name is Ori Cohen and I have been following your website for many years. I am an avid photographer, a computer science Phd student, and a graphic artist, but first and foremost I am a redhead, a redhead married to a redhead. As you well know redheads are usually singled out most of their lives and the and it may come as a surprise to everyone, but redheads share this unexplained bond; to a point where you walk down the street, lock eyes with another redhead and instantly there is some connection. You can probably guess why I married a redhead.

Once a year at the beginning of September there is a special weekend for all redheads. In the town of Breda, Holland, thousands of redheads from around the world gather in the redhead days festival. Our first time was two years ago, we went to the festival in order to see for once, how does it feel to be the same as everyone else around us. It is hard to explain the first shock of seeing so many people who kind of resemble you, and in many ways it is intoxicating. In the festival I had the opportunity to photograph a lot redheads; many became our friends and today we have a growing community of redheads on facebook. In fact, last year while travelling abroad, we randomly met a redhead that recognised us from the festival.

Photography wise, I like carrying as little gear as possible. I usually carry several small near-weightless primes. On our first visit I brought my trusty Sony A300 and a Minolta 50mm f/1.4, and on our second visit I had a Sony NEX-7 Sony 16mm\F2.8, Minolta 24mm f/2.8, 35mm f/2, Sigma 30mm f/1.4 and a Minolta 50mm f/1.4. For portraits on a crop sensor I tend to use 30mm, 35m, and 50mm as they allow me to shoot in situations when people are around me. For group shots, crowds, and In doors I used the 16mm or the 24mm, which allows me to get a better sense of the atmosphere in the room.

The festival holds several main events: the pub-crawl, the opening ceremony, and the gathering in the park. There is an atmosphere of friendliness all around, and I can shoot anyone without asking for permission. I usually just aim the camera at random people and they stop for me, for as long as I need.

The pub-crawl provides a wonderful opportunity to get to know new people and capture some of the conversations and playfulness that happens after dark when people are drinking A LOT of beer, and it’s also a wonderful opportunity to get to know new people from around the world.

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During the ceremony I try to find a spot on the balcony, which overlooks a crowd of several hundred redheads, while trying not to lose sight of my wife. I usually don’t need to worry about losing my wife in a crowd, but when everybody has the same hair color as her, I need to keep a watchful eye :). You will be surprise to learn that there are many types of “ginger” genes out there, not just for fair skinned people, even dark skinned people can get a reddish hue in their hair, as seen in some of my photos.

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Immediately after the ceremony, people walk slowly toward the park for the annual record-breaking count of redheads. Two years ago we even broke a Guinness world record. While crammed in one spot, it is a perfect opportunity to shoot portraits of people. My wife thinks that I only shoot pretty redhead girls, but I actually try to do as many portraits as possible (of everyone!).

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The festival is not only for redheads but also for their friends, anyone who wishes to participate can come, in fact the city is crawling with photographers and videographers from all around the world. Everyone is welcome!

Thank you for reading.

My facebook photography blog: https://www.facebook.com/oricohenphotography

Jun 022015
 
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Zeiss Batis 25mm and 85mm hands-on, plus Sony FE 28mm f/2 comparison

By Chad Wadsworth – See his website HERE

Don’t expect this to be a well controlled, thoroughly tested discourse on the new Batis lenses. I literally had each lens for about five minutes at Precision Camera here in Austin, TX where the store was hosting a dealer day. Lucky me when I strolled up to the Sony display and there they were, the new Batis lenses – apparently the only copies in N. America.

With a promise that I wouldn’t run away with the lenses, I was allowed to head outside for some quick test shots. We are talking about a bright strip-mall parking lot – not exactly photo shoot friendly, but I made the best of it. In the short time I had my grubby hands on the lenses, I was able to assess a few things about these new Zeiss jewels.

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First off, they look to be very well built with a design that hews more to the mold of the Otus than the Touit. Since I’m not a huge fan of the Touits’ build I was deeply impressed with the construction of these Batis lenses and I think most photographers will be as well. I didn’t shoot in manual focus mode but did test out the focus ring and found it to be smooth and nicely dampened. With no other control on the lens, it has a minimalist, stout, dare I say handsome look.

Second, the Batis are not small but not large either; a Goldilocks “just right” perhaps? The 85mm is very close in size to the ZA 85mm/1.4 but saves on the weight in glass and bulk of the LA-EA adapter. I’m sure someone out there will be outraged that the lens isn’t rangefinder tiny but it feels great and balances well on the a7II. Same with the 25mm – bigger than the FE 28mm – more so in girth, than length but it still feels right on the camera.

Third, based on my sad selection of available test targets – save the nice model who agreed to let me snap a quick portrait – I’m comfortable making some very early comments about image quality. Keep in mind, these are likely pre-production so yada yada, final product may differ.

We have all seen early samples criticized only to learn the true performance of the lenses at a later date so let’s be patient and take these images at their value – as early indications of what the performance of these Batis may be but not the final word – not even close.

25mm and quick comparison to the FE 28/2*

* note that the comparisons here were shot at different times (10 minutes apart) and aren’t perfectly controlled examples. I tried to match up f-stops but wasn’t always successful. Images were edited to my taste but edits were applied equally between the two lenses (same levels of sharpness, etc.)

I unequivocally adore the FE 28/2. I’ve said it previously and stand by my claim that the lens is a bang for the buck champ – sharper than just about any other 28mm ever produced with equally impressive bokeh for a wide-angle. Of course the FE has its issues, but for a budget optic with this level of sharpness and bokeh, I can live with software based distortion corrections and some occasional CA cleanup, and so should you. Given my admiration for the Sony 28mm, I didn’t think for a second I would have any interest in picking up the new Batis 25mm. I was wrong.

FE 28mm @ f/2

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Batis 25mm @ f/2

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Where the FE 28mm is in-your-face sharp, the Batis looks a bit smoother, yet zoom in to pixel peep and you will see that there’s a similar level of sharpness and micro contrast. The render of the Batis very much reminds me of the ZA 24mm f/2 but without all the field curvature AF issues that were endemic to that A-mount lens.

FE 28mm @ f/2

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Batis 25mm @ f/2

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To test distortion, I shot some straight lines with both lenses and the results were as expected. Without any software corrections, the Batis looks more controlled for distortion than the FE does even with its LR software profile activated. No surprise, but still nice to see. I expect that the Batis will be a boon for architecture and interiors photographers.

FE 28mm @ f/5.6 with Lightroom Profile Correction

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Batis 25mm @ f8 – no software corrections for distortion

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I didn’t notice much CA from the 25mm Batis (there is some) but would need to shoot in more varied conditions. To be fair, I didn’t see much from the FE shots that day either. There was some vignetting in the Batis that I corrected to match-up more closely with the FE shots – not a big deal. This next particularly uninspiring shot was composed to check corner performance in the top right and no color edits were made on these two.

FE 28mm @ f8

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Batis 25mm @ f/8

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Alpha shooters are going to be very satisfied having the Batis 25mm in their stable soon. I’ve already added it to my 85mm preorder. For photographers that don’t need the extra 3mm (7 degrees) of view or don’t want to spend the hefty sum of $1,200 on the Batis, the FE 28mm remains an impressive optic, and easy choice.

85mm – quick portrait

For the 85mm, the strip mall presented even fewer targets, but there were a couple of models inside the camera store that were helping out with the dealer demos, so I asked one of them for a quick portrait. She obliged and we snapped this one in about 20 seconds – not ideal, but it gives us some impression of what the lens is capable of. Focus was quick, sure and accurate. Pixel peeping shows excellent sharpness and detail. Bokeh is difficult to fully address here as we had the subject in shade and a challenging bright background, yet the highlights reflecting off automobile rooftops melted away admirably. Some have commented that there is CA visible in the portrait when viewed at 100%. I don’t believe it to be excessive or even unexpected in these backlit conditions. I was intrigued by these comments though so dug into the archive to look at some photos I took with the well regarded ZA 85/1.4 on the a900 a few years ago. I was shocked to see how much CA was present in some of those images, even at f/2.2, so the new Batis may well be a considerable improvement in that area.

Having previously owned said legendary Zeiss 85/1.4 for A-mount, I have been anxiously awaiting an FE replacement but was concerned that the lens would be too large or too slow. Again with the Goldilocks reference but the Batis seems to nail it with just the right dimensions, weight and image quality.

After my brief time with the 85mm I am guessing that it will become a must buy for many Alpha shooters.

Batis 85mm @ f/1.8

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Pre-Order the Batis Lenses:

B&H Photo

PopFlash.com

Additional samples…

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May 252015
 
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TITLE90SONY

The Sony 90mm Macro 2.8 G lens for the FE (A7) System

I will start this review off by saying I am NOT a Macro shooter. I seriously lack the skills for this kind of photography and while I have always been fascinated by it, I just never really invested in a Macro lens for myself, to use, to learn, to get up close to my subjects.

With that said, Macro lenses are popular as many LOVE to shoot the little things of this world in a way that makes them appear larger than life. That is what it is all about, and this is a lens that allows us to do just that, if we have the skill to do so ;)

With the Sony FE A7 system, users have had a lack of lenses up until recently. These days Sony has released a load of lenses onto this full frame system, and we now have some amazing lenses for use with our A7 cameras. Lenses like the amazing 35 1.4 or 28 f/2 are ones I use almost daily and now Sony sent me the new 90 2.8 G Macro to test out, and I was happy to attach it to my A7’s and shoot!

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The lens is large but the lens is of great quality. One thing I have been appreciating lately is the way Sony has been stepping up their game. Sure, their premium lenses are on the large side, but the quality is top-notch, leaving you wanting for nothing more. They are making sure they are releasing SUPERB quality glass for their superb A7 system. Even the little inexpensive 28 f/2 is ASTOUNDING for the price point. You can see my review of that lens HERE.  My 35 1.4 review is HERE.

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But today I want to talk little about the new 90 Macro. I was able to shoot a few images with it, and as I said, I am not a Macro guy, so take my words as what they are…a Novice macro shooter talking about a macro lens that he enjoyed using ;) I have reviewed and LOVED the Olympus 60 Macro but this Sony is up there  – a step above in build quality over the Olympus, and the IQ is fantastic as well, just what I would expect from Sony in 2015. The only weakness is the size, but I have used other Macro 90mm lenses that are just as large or larger and again, this is a full frame lens, so they are always larger than Micro 4/3 or APS-C.

See my 1st look video on this lens and another new lens for the FE mount…it basically gives you the lowdown on the lens

As you can see, the lens is on the larger side, it is a teeny but larger than the 35 1.4 and 16-35 but smaller than the 70-200 :) As I used the lens at Butterfly Wonderland in Scottsdale AZ I was having a rough time getting AF because when you are up close to you subject it is VERY hard to handhold and stay within your depth of field. Any movement will render the image soft or useless as you will be out of focus, even with a breath of you lungs.  This is why most serious Macro shooters use a tripod, and manual focus..this ensures an in focus shot. Me, I did not have my tripod handy, so had to stick with wide open and handheld. The good news is the lens has built-in optical steady shot, so minor hand shakes will be compensated for.

The Bokeh is creamy, color is rich and the detail, when you nail focus, is superb. I had no issues with CA, distortion or other nasties we sometimes see with lenses on digital cameras.

click images for larger and crisper view

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The last image above reminds me of something that would come from a Leica Noctilux, which is an $11k lens. The reason it appears that way is that the 90 2.8 offers smooth as silk Bokeh when you are up close to your subject, making it a creamy bokeh fest. I found  the 90 Macro to be suited to just about ANY shooting one would do with any 90mm lens. Portraits, distant shots, close-ups, doesn’t matter. The Sony 90 Macro 2.8 G lens delivers.

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The AF, being a Macro lens is not the speediest. Macro lenses in general have slower AF as they work harder when up close to get that perfect focus. Macro lenses are just slower, that is a fact of Macro life, so if you buy this lens, be sure you want to use it for its intended purpose as  you may not be 100% happy with the AF speed if shooting normal scenes. With that said, it is not slow by any means. It is just slower than what a normal 90 may give you. I did find it focused slightly quicker on my A7s over my A7II but both were acceptable to me.

Ist image is actually a reflection in a Koi pond of a little girl watching the fish. She was fascinated with them, so I snapped her reflection which almost looks like a double exposure. 

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I think this young one thought that he may fall into the water :) F/2.8

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This post is short, as all I have to say about this lens is good. It’s built very well and has none of that hollowness that some lenses have. It is solid, has selectable on or off Optical Steady Shot, and it has a selectable focus distance so if you are NOT using the close up macro feature you can set it to full for quicker AF with normal shots. With the A7II you can choose to use the cameras 5 Axis IS worth lens OIS. I tried both and found both worked well but I concluded that the OIS in the lens was a little better, at least for me. So I let the lens do the Steady Shot duties.

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I found I was using the lens more and more for normal 90mm shots, and the lens did well. Great color snap, great pop, great detail. Click the image below to see a true 100% crop within the image. Plenty of detail. See the shot above (click on it) of the cowboy, it is sharp, has fantastic color, and there is nothing macro about it, so yes, it can be used as a general 90 2.8 lens. Below see the crop.

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I really enjoyed my quick couple of weeks with the Sony 90 Macro and I am confident that anyone who loves to shoot Macro and owns a Sony A7 system camera, well, you will adore it. I have shot with maybe 5-6 macro lenses in my life, my fave two are this Sony and the Olympus 60. Can’t go wrong here. I am just happy to see Sony release lenses that we want, from ultra wide to telephoto. While there is no native 300-400mm lens yet, I am sure there will be. Sony is dedicated to pushing forward with the FE system, as it is insanely successful for them. The A7 series is selling well for them, especially when you compare the sales to other manufacturers right now. Digital camera sales have slowed down massively over the past few years as many feel the tech has peaked, so they are keeping what they have longer.

I am seeing that over the past six months though, sales are picking up. New Sony cameras, Olympus…they are pushing the market ahead of others. Now Leica is perking up a little again with the new Mono and rumors of exciting new cameras on the way. Could be a sign that 2016 will be big. Not 2012 big, but bigger than 2014 and 15.

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The Sony A7II is still my #1 camera. It is my goto no mater what, when or where I shoot. If the lights get really low I reach for my A7s. With all of these great lenses now out there, we have a choice. Choice is good.

Some of my most recent Sony Lens reviews:

Loxia 35

Loxia 50

Sony 35 1.4

Sony 16-35

Sony 28 f/2

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So at the end of the day, another winner from Sony. I am seeing many raves for this lens from others who have had a shot at it, and some fantastic work is out THERE using this lens on various A7 bodies. Congrats to Sony yet again! The 90 Macro 2.8 G lens comes in at $1098 and is scheduled for release in July. July 7th to be exact.

PRE-ORDER/ORDER:

You can pre-order this lens at Amazon HERE or B&H Photo HERE or directly from Sony HERE. 

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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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May 152015
 

Between Leica Monochrom & iPhone for street photography 

By Brigitte Hauser

I like looking at street photos and street portraits. That’s why I started to try myself.  I did these streets with following cams.

The Sony RX 1 is my good friend 

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I take it for travelling. The smoking guy is taken on the Azores island San Miguel and the blond lady in the Fernand Léger museum in France. The rx 1 is small, has a silent shutter and an outstanding image quality. It’s an astonishing versatile cam. I like also its macro mode and the high contrast b/w filter. If I had to choose only one  cam, I think I would take the RX1. 

Now a few with the Ricoh GR

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I have a lot of fun. I take it with me almost everywhere, working, shopping, walking with the dog. The coffee shop in the rain and the young man reading Richard Dawkins are taken in Zurich, my home town. The GR is so small, so nice to touch and so easy to use. It’s a joy. You don’t attract a lot of attention if you shoot in the streets with it. Focal length of 28 mm is perhaps a little bit wide for me. But you can set it on 35 mm.

About a year ago I had the opportunity to buy  a Leica Monochrom with a 50 mm summicron lens

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I call it my soul and bitch cam. The IQ is great very sharp  and it seems to me photos have a kind of an artistic  old-fashioned look. For street photography  I’m often not fast enough to compose properly or I miss the focus. But I adore this diva of cam.

The opposite of Leica MM is probably my iPhone 5

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The good thing for street photography with the mobile is: it’s always in the bag and you can really go close. People are not aware that you are taking a photo of them.  But  I just don’t like the experience to take photos with a phone. It’s also not a very courageous way to take street photos.

Thanks for looking
Yours
Brigitte

 

 

May 152015
 

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My First Wedding Photographed with the a7s and a7II

By Marc Weisberg – His website is HERE

Steve and Brandon, I’ve been following your blog daily for a few years now. It’s a great reliable source for photographers with no-nonsense reviews and great feed back from your readers.  A few years back when the Olympus OMD EM-5 was released, it was Steve’s review that put me over the edge.  I purchased two OMD EM-5 bodies, the Zuiko 45mm f/1.8, 75mm f/1.8 and then the 12-40mm 2.8.  I traveled through Paris, NYC and across California with them.  It was my entry into the world of mirrorless cameras.  The Olys were amazing! Lighting fast to focus, faithful in color rendition, even in Auto WB and the glass was tack sharp wide open.  I love the lightweight portability of the Oly system. I could now travel with a simple shoulder bag, with two bodies and three lenses that weighed less than my pro Canon body and two L lenses.

Around the time When Sony came out with the a7s and a7II I was intrigued.  It was time for me to upgrade my Canon system.  I’m a professional photographer making 100% of my income from my craft. For the last 15 years I’ve been a Canon shooter.  My last set up was a Canon EOS 1D Mark III and a D60 as a back up. Along with that I owned a lot of L glass:  85mm L f/1.2, 135mm L f/2.0, 24-70mm L f/2.8, 16-35mm L f/2.8, 70-200 L IS f/2.8 and the 50mm L f/1.2  However it was time to upgrade my entire system.  Lenses were getting older, and Canon was starting to phase out service on them.  Camera bodies needed to be upgraded.  But after shooting for two years with the Oly’s I just felt there had to be something better out there other than Canon.  I felt that Canon gear especially their Mark II lenses were getting profitably expensive.  Something with faster focus and sharper lenses.  Something mirrorless and null frame.

After a a few lunches with my friend and pro photographer Paul Gero, a Sony Artisan, and him showing me his new Sony gear I was past the intrigued stage and knew that the move was right for me. The Sony a6000 that he was using and the a7 were packed with technology that Canon didn’t have. I’d also grown used to the EVF and the WYSYWYG exposure view of my Oly’s.  My lunches with Paul and being able to see what the Sony mirrorless bodies were capable of for myself set a plan in motion for me. I sold all my Canon gear, every last bit of it and switched to Sony. It was an easy move for me. As a business person as well as a photographer, it was a logical sound technical and financial move.  I could make the move to Sony for about $10k and replace all my Canon bodies and the majority of glass. If I would have upgraded all my Canon gear it would have cost me anywhere from $15k to $20k out-of-pocket.
My initial purchase was the Sony a7s, VGC1EM vertical grip,a7II and FE 16-35 f/4 Z OSS, FE 24-70mm f/5 Z OSS, FE 70-200 f/4 G OSS, Sonnar T* FE 55 f/1.8 ZA.  All financed with proceeds from selling my Canon gear.  Notes to all you shooters.  Keep your gear in top condition and put  quality UV filters on your glass as soon as you purchase it.  This way you’ll be able to get top dollar when selling you lenses.

My Move to Sony

Moving from one camera system to the other, especially when you’ve been with another system for 15 years does not come without a learning curve.  I shoot my a professional gig with the a7II only a few days after receiving it. You can read about that here: http://luxuryrealestateimages.com/sony-a7ii-real-world-review/  It took me about 2-3 weeks to become comfortable with the menu system for both bodies. You can see my Sony a7s unboxing video here and a few more reasons for my move to Sony:  http://marcweisberg.com/2015/01/sony-a7s-unboxing

Transparency

I spent my own money on purchasing all my Sony gear. After my A7II real world review and my a7s unboxing video I was put in contact with Sony and am proud to be aligned with them as a Sony Artisan of Imagery.  I am not paid by Sony to pimp their gear.  I could never personally endorse something or suggest to my friends or readers that a camera system, bodies or lenses are worthy of purchasing if they weren’t.  Its the quickest way to loose integrity and I just couldn’t sleep at night by hawking snake oil.  That being said:  I make my living using this gear and it works for me in ways that no camera system ever has.

The Proof is in the Images

Like Steve’s Real World Reviews, the proof is in the images….not necessarily in the tech data.  While I appreciate the tech data, it will never show you how the image looks, how the lenses and camera bodies work in unison, how naturally the skin tones are rendered, what are the real world results as far as chromatic aberration is concerned, is there moiré, how do high ISO images look, can you really shoot at ISO 51,200 and get usable images, is having an f/4.0 lens an issue, what is white balance like, how is the menu system, how does the camera feel in your hands and many more subtleties.

Photographing Weddings Exclusively with the Sony Alpha α7s and α7II

Just to be clear this wasn’t my first wedding I’ve ever photographed.  I’m numbering more in the 600 range  (weddings) photographed in the past 15 years.  That being said, 2 weeks ago I had an opportunity to photograph a wedding solely with the #SonyAlpha a7s and a7II.  I was faced with a myriad of lighting conditions that all wedding photographers come up against:  open shade, direct harsh sunlight, twilight, night time available light photography and off camera flash photography with the Profoto AcuteB600R and Pocket Wizard Plus III’s and the Neewer TT850 manual speedlights.  What follows is My First Wedding Photographed with the α7s and α7II.

How Did the α7s and α7II Preform?  

In a word….Brilliantly.  I was super impressed with how my a7s anda7II handled all the scenarios. Dynamic range is impressive as I was able to capture the entire range of shadow and highlights in glaring sun with ocean views. Color renditions are amazing.  I saw no CA {chromatic aberrations} in any images, even with extreme back lighting.  Focusing during the day was never an issue, with one caveat. Night time, available light only in near darkness was an issue. As the camera would hunt and seek.  But in my 15 years experience photographing weddings this is true of any DSLR without a flash attached to bounce of some kind of IR signal/pattern from the subject. That being said, when focus locked on, the images are dramatic, powerful and sharply focused. In hindsight what I should have done was use DMF {Dynamic Manual Focus}. Which would get me close to focus and then dial in the focus the rest of the way by manually fine tuning the image and using focus peaking and magnification.

Tech Notes 

What follows are singular images  processed in Adobe LR5 with adjustments to exposure, color, sharpness, clarity, tone curve, shadow and any other adjustment that is available in the LR5 modules. No Adobe Photoshop is used on any images unless specified. I’m amazed and impressed by how sharp the images are straight out of camera when shooting wide open and when stoping down. I used all the Sony glass that I own:  FE 16-35 f/4 Z OSS, FE 24-70mm f/5 Z OSS, , FE 70-200 f/4 G OSS,Sonnar T* FE 55 f/1.8 ZA, plus the, E 30mm F3.5 Macro E-mount Macro Lens {on loan from Sony}, for the ring shots.  For pixel peepers, you should know that I’ve output all images at 20″x20″ @300 dpi.  Even the 30mm Macro images. There is no degradation, or pixelization noticeable on any images.

A few other technical notes

Skin tones are rendered faithfully, black and white conversion within Adobe LR5 from the RAW files is easily accomplished with a broad tonality range from deep blacks to gray tones and clean whites, I’m partial to punchy colors, easily bumped up with a +10 on the Vibrancy slider and +6  on the Saturation slider in LR5.

1. Left: Sonnar T* FE 55 f/1.8 ZA Right: E 30mm F3.5 Macro E-mount Macro Lens on my α7s.

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2. Sony lenses can handle harsh light with no noticeable CA.

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3.Great natural skin tones.

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4. Left: Notice how the dynamic range holds well showing the subtle high lights to the dark grey shadows in the bridal gown and window shutters. Right: Low light photography is never a problem for the Sony a7s, and beautiful bokeh with the FE 70-200 f/4 G OSS.

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5. Great color, dynamic range and sharpness from the a7s, FE 24-70mm f/5 Z OSS, f/10, ISO 100.

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6. Great color, dynamic range and sharpness from the a7s, FE 24-70mm f/4 Z OSS, f/13, ISO 200. Hand held.

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7. No tech data

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8. Left: a7s, FE 70-200 f/4 G OSS, f/4, ISO 640. Right: FE 70-200 f/4 G OSS, ISO 125.

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9. a7s, FE 70-200 f/4 G OSS, f/4, ISO 100.

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10. a7s, FE 70-200 f/4 G OSS, f/4, ISO 100.

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11. a7s, FE 24-70mm f/4 Z OSS, f/4, ISO 100.

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12. a7s, FE 24-70 f/4 Z OSS, f/5.6, ISO 100. Holding onto the dynamic range beautifully. This daylight lighting scenario is typical of what wedding photographers face at most out door weddings.

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13. Left and Right: a7s, FE 70-200 f/4 G OSS, f/4, ISO 100.

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14. a7s, FE 70-200 f/4 G OSS, f/4, ISO 2500.

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15.Left and Right: a7s, FE 70-200 f/4 G OSS, f/4, ISO 100.

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16 .a7s, FE 70-200 f/4 G OSS, f/4, ISO 100.

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17. a7s, FE 70-200 f/4 G OSS, f/4, ISO 400.

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18. a7II, FE 24-70 f/4 Z OSS, f/4, ISO 400. The bride’s face was dodged in CS5.

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19. Recessional: a7II, FE 24-70 f/4 Z OSS, f/4, ISO 100.

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20. Family portraits. I always use some type of lighting. Profoto AcuteB600R with a 40″ silver bounce umbrella, Pocket Wizard Plus III. Induro CT314 tripod, RRS BH-55 ball head, and for the higher resolution I use my a7II, FE 24-70 f/4 Z OSS, f/7.1, ISO 640.

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21. This is where things start getting interesting for me. When I was a Canon shooter I could never get the color right at sunset. Skin tones were ALWAYS too orange. Shot with the a7s, FE 70-200 f/4 G OSS, f/4, ISO 800. Skin tones are natural with a slight orange glow from the sunset. Bokeh rendition separates the bride and groom form the background. At at f4.0 They are tack sharp.

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22. Black and whites render beautifully from the RAW files in Adobe LR5.

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23. I’ve included the same file here twice to show a B&W and color file processed by LR5. Keep in mind that NO RETOUCHING has been applied to these images. If you shoot in the right light and expose properly you won’t need to use Photoshop and if you do it will be minimal.

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24. No tech data

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25. Available light image. Illuminated by the glow of the tungsten lanterns with Dana Point Harbor in the background. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 2000, wide open on the 55 @ f1/8

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26. Hand held. a7s, 24-70mm f/4.0 Z OSS, ISO 40,000.

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27. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 2000, wide open on the 55 @ f1/8

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28 .Left: a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 2000, wide open on the 55 @ f1/8, Right: Available light, a7s, FE 70-200 f/4 G OSS, f/4.0, ISO 20,000,

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29. Available light. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 8000, wide open on the 55 @ f1/8, 1/1000th sec.

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30. Available light. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 32,000, wide open on the 55 @ f1/8, 1/1000th sec.

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31. Available light. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 8000, wide open on the 55 @ f1/8, 1/1000th sec.

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32. For this series of images I set up a 40″ umbrella with the Profoto AcuteB600R. Metered the strobe with a Sekonic L358. a7s, FE 24-70mm f/4 Z OSS, ISO 200, f/6.3, 1/200th sec.

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33. For this series of images I set up a 40″ umbrella with the Profoto AcuteB600R. Metered the strobe with a Sekonic L358. a7s, FE 24-70mm f/4 Z OSS, ISO 200, f/6.3, 1/200th sec.

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34. I’m loving the movement here of the bride and her friend dancing. A happy accident. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 500, f11.8, 1/60th sec.

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35.Using back lighting for the DJ. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 500, 1/60th sec.

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36. a7s, FE 70-200 f/4 G OSS f/4, , ISO 51,200, 1/80th sec.

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37. To capture this image I set up a single Neewer TT850 speedlight in a 40″ silver bounce umbrella. The first step is to establish a base exposure for the sunset. I usually underexpose the ambient by about a stop. Then add the off camera lighting to taste. Make sure the camera is in Manual mode. You’ll want to lock in the exposure. Using the Neewer® TT850 speedlight, a manual flash, I dialed in 1/2 power and then added a bit more light while chimping to make sure the exposure was dead on. a7s, FE 24-70mm f/4 Z OSS, ISO 200, f/6.3, 1/200th sec. It is coincidental the exposure it similar to the image above. Photoshop was used for skin smoothing.

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In Conclusion

For me {<— as Steve often says} the Sony a7 mirrorless system is the perfect versatile full frame mirrorless camera system for a working progressional photographer that offers amazing consistent results.  In a given week I will photograph a natural light portrait session, a wedding, luxury real estate photography, and studio lit executive portraits on location all with my a7s and a7II. Are there shortcomings?  Yes. Longer battery life would be one. Because I do allot of on location shooting I have 10 batteries. A simpler menu system is another.  The menu system is deep.  And at fist complicated.  And some of the functions are not easily discernible. Like turning off the camera beep sound when attaining focus.  Its labeled as Audio Signal…not intuitive.  

I’ve had to take some extra time figuring out things with help from other Sony Artisans and scouring the internet for answers. Focus tracking could be allot better on both the a7s and a7II.  The a6000 bests both cameras in the focus tracking department, and is dead on for its focus tracking ability and is a stupendous mirrorless camera for under $600!  Some skeptics have been quick to point out that there is a dearth of fast primes for the Sony a7 system.  Not any more with the addition of the Loxia and now the Batis full frame auto focus Zeiss lenses, the FE 28 F2.0FE 35mm f/2.8 ZA, FE 35 F1.4 ZA and the FE 90 F2.8 Macro G OSS have rounded out the fast glass department quickly.  For me the game changer is the a7s and the ability to put the camera in auto ISO and not have to ever worry about the lack of light.  The ability to get usable images at ISO 51,200 is something just a couple years ago would have been thought impossible. Thank you for taking the time to read this post and view the images.  

p.s. Oh yeah…I almost forgot: I left out one of the most amazing feature about the a7s. The a7s has a SILENT MODE. Essentially you are turning on the electronic shutter when invoking the menu command. And this renders that camera COMPLETELY SILENT when taking images.  As the photographer you are stunned that it makes NO NOISE at all when you are pressing the shutter. This is a boon for movie set photographers and wedding photographers who are told not to take photographs in certain settings because of the shutter noise, or simply to just be a fly on the wall…no one will even know you are creating images from just feet away.

Marc WeisbergSee his website HERE

See Steve Huff’s review of the Sony A7II HERE and the Sony A7s HERE.

May 082015
 

Spring time with the NEW Petzval Art lens

By Dierk Topp

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Hi Steve & Brandon,

on October 8, 2014 I read about the NEW Petzval Art lens in your blog – http://www.stevehuffphoto.com/2014/10/08/the-lomography-petzval-art-lens-review-surreal-beauty/

…and wrote this comment:

Hi Steve, you got me! I saw and read this and needed less that 30 min. to order it for my A7R. Two days later I got the lens and enjoyed very much shooting with it. After the gray winter I took it last week and started shooting in our spring wood. You wrote everything about the lens and I don’t have anything to add. Just a few quotes from your conclusion:

“…I was hooked. After shooting off 10 frames or so I was sold.”

“…this lens has some craziness to the rendering, but I am a crazy guy so I love it. But…I would tire of it if I used it daily, really quick. Depending on the background of your subject you could end up with a nasty busy mess or a beautiful ethereal image that looks like a painting. But it does take practice to determine the best distance from subject to lens and subject to background. Get these just right and the images deliver the look you want. It’s a hell of a lens!”

Here are my Spring Time pictures with this special lens, all with f/2.2 on the Sony A7R. These images and more here in my flickr album.

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Sony A7R with New Petzval 2.2/85mm@f/2.2

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Sony A7R with New Petzval 2.2/85mm@f/2.2

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if you look at this on a large screen, you get dizzy:-))

Sony A7R with New Petzval 2.2/85mm@f/2.2

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Sony A7R with New Petzval 2.2/85mm@f/2.2

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Sony A7R with New Petzval 2.2/85mm@f/2.2

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Sony A7R with New Petzval 2.2/85mm@f/2.2

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Sony A7R with New Petzval 2.2/85mm@f/2.2

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the new Petzval lens 2.2/85mm on Sony A7R

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Sony A7R with New Petzval 2.2/85mm@f/2.2

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Sony A7R with New Petzval 2.2/85mm@f/2.2

#11

and one from last October with this extreme bokeh again

The new Petzval 85/2.2 on Sony A7R@f/2.2

#12

I like it for stills as well

the new Petzval lens 2.2/85mm on Sony A7R @ f/2.2

#13

and of course for portraits, this one with f/5.6 for the shot you have to keep the eyes in the center and crop later in PP for the desired image

the new Petzval lens 2.2/85mm on Sony A7R

#14

here is the beauty on the Sony A7R

the new Petzval lens 2.2/85mm on Sony A7R

#15

and next to an other beauty, the Zeiss OTUS 1.4/85mm

shot with Sony A7R with Micro Nikkor PC 85mm/2.8, tilted

shot with Sony A7R with Micro Nikkor PC 85mm/2.8, tilted

regards
dierk

May 072015
 

Project Compact Photography

By Roy Teo

Hi Steve and Brandon,I have been following your site for years but back then you were mostly reviewing Leicas which at that time was out of my reach. I’m not a professional photographer but just someone who loves taking photos as a hobby. I was a DSLR user for many years and most recently with the Canon 5Dmk3. It was when you started to review more mirrorless cameras that I got interested to explore that avenue and i got myself a used Nex6 to try it out. I was soon hooked on the small size and not long after, i made a complete switch and sold off all my Canon gear and got the Sony A7r and the A6000 about 2 years ago and have never looked back since.

Going mirrorless, I enjoyed the small size and light weight and was amazed at the technological advancement on these mirrorless cameras. There are plenty of amazing examples of the images these new generation of cameras and what they can achieve and I wanted to challenge myself to do something different. I wanted to see how far i can push the files from a mirrorless camera but not just any mirrorless camera like the A7r or any A7 series. I wanted to go even smaller, to push my own limits on how much I can edit the files in post production. Because all my photos go through some kind of post production, having a good enough RAW file capability is essential having used the A7r.

I gave myself 2 criteria, one was to go even smaller than the A7r and the other was the ability to use off camera lights. After researching, I decided on the Sony RX100mk2. there was the cheaper mk1 that you highly recommended and the newer mk3. However, neither had the hotshoe where I could use triggers and flashes on, so I had only the mk2 to go for.

I started this little ongoing project for a few months now. To do shoots only with this camera, leaving my A7r at home. Everything i shot, i had to do with this camera only.  To my surprise, although it only had a 1inch sensor, the files were incredibly easy to edit and the dynamic range from this camera was decent enough to push. An added bonus which i only found out after using it was that it uses a leaf shutter which means, i could gp up to its max 1/2000 shutter speed for flash photography. The A7r was limited to 1/160 and this was a bonus for me.

Here are some examples of the images from this camera and a simple one light setup using the Godox AD360 light.  And because of its small size, there wasn’t any filter adapter I could use but being small and light, i could easily hand hold any filter i wanted in front of it and shoot with one hand.  All these photos were taken with fast shutter speeds in daylight to darken the background.

image3

image2

image1

My ongoing album dedicated to this project can be found here:
https://www.facebook.com/media/set/?set=a.723826737734682.1073741889.266838383433522&type=1

And my other works can be found here:
www.royteophotography.com

Thanks
Roy Teo

© 2009-2015 STEVE HUFF PHOTOS All Rights Reserved
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