Oct 202014
 

Which is Which? Leica Monochrome vs Sony A6000

UPDATE: #1 is the A6000 and #2 is the Monochrome! You guys got it right, (most of you)!

Have not done one of these in a while and I always get asked to do these crazy comparisons so here we go. Which is which?

ONE image was taken with a Sony A6000 and one with a Leica Monochrome. Not going to say what lenses were used with each but let’s do a fun poll to see who can guess it right.

So seeing that the Leica is an $8000 camera vs the Sony at $648 pick which one you feel is from the Leica. EXIF has been stripped. 

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If you are unsure which is from which camera, then just take your best guess. :)

UPDATE: Sony is #1 and Leica is #2!

Oct 172014
 

Faces of the World Cup

By Caesar Lima – His website is HERE

Every 4 years the World Cup hosts 32 countries and an amazing soccer tournament in a different country. Since it was hosted in Brazil this time and being from Brazil and a photographer, I couldn’t resist making my 6 week trip down there into a project of capturing some of the excitement of this unique event. I decided to take mirrorless cameras because of their smaller size. I took a Sony RX-1, a Leica T with a 23mm and 5 M lenses plus a Sony A7r with 50mm and the new 70-200mm. I was able to take all this gear into the stadiums with no problem.

The games were held in different cities and I also ventured out into the streets and bars to capture the faces of the fans. There were amazing crowds of people from different countries, like a huge party. The Brazilian people are amazing hosts and they love to party. They were very proud to have all these visitors, the combination of great soccer games, 12 brand new stadiums, great food and lots of beer made it the best World Cup ever.

I feel very lucky to have been there and to have been part of such cool event.

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Oct 132014
 

My First time with Zeiss

by Toni Ahvenainen – His blog is HERE
About eight months ago I started my Sony Alpha related photography project called ‘ Year of the Alpha – 52 Weeks of Sony Alpha Photography‘. The aim of my project was to find my inspiration again for photography and gain better understanding of my own photographic eye. On top of that I decided to set up a photo blog, where I would share my images at least two images per week and hoped it would gain some interest plus convoy inspiration to other photographers like me. Right from the start I got lucky and my site had much more traffic than I ever believed would be possible. Because of this the project turned into something that has given me a lot of inspiration and energy, not only for photography, but for life in general. It is also partial reason why I am doing this story here today.

As I have already introduced my photography project here before and with greater length I won’t go anymore into details. You can find the earlier story about my project here.

Because of my photography project and the way it had drawn attention in social media circles, an unexpected opportunity came to me: Zeiss was willing to support my photography project and they would let me use two lenses from their Touit line up. If you haven’t yet become acquainted with the Touit line up before, it is the new family of Zeiss lenses which are targeted to mirrorless system cameras (Sony E-mount & Fuji X-mount). All the lenses have full autofocus capabilities and they represent a modern Zeiss design with black matte finish and more contemporary look – but most importantly they convoy the famous Zeiss optical quality for mirrorless system cameras.

So, at one Friday afternoon, after UPS delivery had brought me a parcel which I had opened with child-like enthusiasm, I had two Zeiss lenses in my hands that in real life would be very much out of my reach: Touit 2.8/12 & Touit 2.8/50M. I had of course read about the famous Zeiss from countless photography sites likes this, but never believed I would get opportunity to actually shoot with them. Like for many other photographers the most exciting lenses and their magical qualities were always something I could just see through a store display window. And while the Touit is not exactly an Otus (optically the most advanced DSLR lenses currently available, also build by Zeiss), for my photography it was a unique opportunity and something of which I consider myself to be very lucky. For return favor I would need to tell story of my experience with the Zeiss lenses.

Like any true and committed photography enthusiast, I was very interested to see how these lenses would affect my photography. What will be my first impressions? How will they fit into my shooting habits? How I will be using these lenses? What kind of optical qualities will they have and will I be able to find the famous ‘Zeiss look’, described with terms like Zeiss contrast, punchy colors and 3D-pop? In short, what will be my first time experience with Zeiss?

I will be exploring these and other questions as well for 10 weeks in my photo blog. The Zeiss lenses will accompany me with a theme called ‘Season of Touit’. With this theme I will move away from the standard focal lengths that I’ve used thorough the year so far and concentrate doing ultra wide and close-up photography which are, regarding the perception of the depth, kind of extreme ends. If you are interested, you are most welcome to follow my story through this season. Later on I will do a more complete story about my findings right here at the Steve Huff’s website where it will surely find the most friendly and kind audience one could ever hope. (Thanks for the opportunity, Steve!)

To give you some insight right now, I can already say I’m very impressed by colors and contrast the Zeiss Touit lenses convoy. At the first day, right after I had opened the parcels, I did a short photo walk and immediately noticed that the images looked a bit different from my cameras lcd. Maybe more vibrant and subtle regarding the overall look. Am I imagine things, is this just the placebo effect, I thought to myself. Even at home, looking pictures from computer screen, I felt certain anxiety because the pictures looked different and better, but felt that I didn’t have right terms to conceptualize this difference to myself. After using these lenses for about a month, I honestly feel they have trained my eyes for better understanding of how good optics will affect the contrast and colors.

I’ll show couple of examples here taken with Touit 2.8/12 & Touit 2.8/50M. Everything you see here has been post processed with my own regular methods and with a help of VSCO film pack 4. While the pictures in this state doesn’t offer a neutral starting point, if there even exist one, for detailed analysis of Zeiss look, they however represent the great results I’ve been able achieve with these lenses – and which I think are extraordinary regarding color & contrast. In future article I might also present images that will be better suitable for detailed analysis, if I find meaningful ways to do it.

Thank for reading my story and if interested you can follow it at: www.yearofthealpha.com. Also remember that within five or six weeks I’m going to do a longer story which I’m going to share right here at the Steve Huff’s website.

Toni Ahvenainen


Snap from the street – Didn’t do much of post processing with this snap, but immediately thought that nothing from my camera has looked so good before regarding colors & contrast. (Sony Nex-5N with Touit 2.8/50M — ISO100, f/6.3, 1/400sec, raw)

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The Great Divide – Touit 2.8/50M doubles as a macro lens and let’s one approach the wonders of the macro world. (Sony Nex-5N with Touit 2.8/50M — ISO250, f/10, 1/80sec, raw)

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Simple landscape – I just love how easy it to get great clarity and contrast with these Zeiss lenses. (Sony Nex-5N with Touit 2.8/12 — ISO100, f/4.5, 1/200, raw)

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Unusual church ceiling – Relatively fast wide-angle lens like Touit 2.8/12 offers certain freedom in dim lighted interiors like churches. (Sony Nex-5N with Touit 2.8/12 — ISO400, f/2.8, 1/25sec, raw)

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From Steve: Thanks Toni! If anyone would like to submit a user report or guest article, just click here for details!

Oct 112014
 

The IBELUX 40mm f/0.85 Lens. World’s Shortest Review

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The new Ibelux lens has arrived to me for a quick review and I have shot a few frames with it since the video below was made and have to say I do not find it worth the $2300 asking price, and I know this just from my 1st couple of uses. I have found the lens to be much too large, much too heavy and a bit soft when wide open, which means I would not use it wide open. I feel it was made for the f/0.85 aperture so it can be presented as one of the worlds fastest lenses over anything else BUT it lacks sharpness as well as character.

Being an APS-C lens (not full frame) it just seems a bit too “much” in everything from weight, size and price.

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Also, was shooting with it and went to twist out the Leica copy slide out hood and it just fell off, during my 1st use with the lens (it is not supposed to come off). This does not inspire confidence in build IMO. The shots I have taken also lack any kind of special character IMO. By f/1.4-f/2 its sharpens up but at this price there are MUCH better lenses to be had. For example, a Zeiss 50 Planar at $800 or a Zeiss ZM 50 1.5 Sonnar for $1100 or even better a real Leica 50 Summicron f/2 which will be sharper at f/2 than this lens at about 1/7th the size. The Zeiss Touit 50 f/2.8 is STUNNING in sharpness, colors, 3D pop and comes in at $999 and is MUCH smaller and lighter. Sure it is not an f/0.85 lens but my professional opinion is that this lens was made  to be 0.85 for marketing reasons, not performance reasons.

This lens also has an issue on the Sony A6000 as there is banding when using it at any ISO. I have shot with MANY if not ALL uber fast lenses and this one has left me the most disappointed.

Below is the lens on the A6000 at f/1 – click to see 100% crop and banding. 

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Long story short, I will not be doing a full review of this lens because it is something I would never recommend due to the cost, size, the fact that it is APS-C only, the heavy weight and underwhelming performance when shot wide open, which is what the main draw to the lens is. Also the fact that on the A6000 Sony it has a banding issue as well as construction concerns. I would recommend a Zeiss ZM lens any day over this for less money and better performance. Usually I would not write anything, I would have just passed on it but many have asked me to start to write about the things I use and DO NOT like as well, so here you go :)

It seems like they concentrated on packaging and making the lens look like a uber large Leica lens, with Leica style case and all to give the appearance of high quality. They also made a point to say “Designed in Germany” yet the lens is made in China.

One more thing..the lens is VERY long as you can see in the image at the top of the screen.

If the lens was $899 it would be a different story but at $2079.00, for me, it is a no go.

Below is my 1st look video before I even shot with the lens..when I was more optimistic about it.

You can read more on this lens at B&H Photo HERE.

If you do not mind a large size and weight then you may actually dig this lens, but be warned..it’s HEAVY!

Oct 082014
 

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The Lomography Petzval Art Lens Review

You can buy the Petzval Art Lens at Cameraquest using the direct link HERE

A long time ago in a land far far away there was a special and important portrait lens invented. The 1st usable portrait lens ever created, and it was designed by  Joseph Petzval in 1840. It was made of brass and it was very large, intended for cameras of the time. The unique look of the images from this lens was normal at the time, as it was the only useful portrait lens around. Even so it was a lens designed to cut down on exposure time from 30 minutes to mere seconds.

More on Joseph Petzval from Wikipedia:

Joseph_Petzval

“Petzval’s greatest achievements lie in his work with geometric optics. In 1839, Louis Daguerre presented the Daguerreotype, the first commercially successful photographic process. Fox Talbot’s calotype was discovered earlier but did not enjoy commercial success. Petzval learned of the invention from his friend, Viennese professor Andreas von Ettingshausen. The daguerreotype was problematic in that it required exposure times as long as 30 minutes to create a portrait. With Ettingshausen’s urging, Petzval set up a workshop and laboratory at Kahlenberg in Vienna and, after six months of complex computations, produced designs for improved objective lenses for both portraiture and landscape photography. Because the artillery was one of the few occupations that used advanced mathematical computations at the time, Archduke Ludwig lent eight artillery cannoners and three corporals to the computational efforts. The calculations these men carried out in tandem with each other have been regarded as an early (albeit human) example of a parallel computer.

Petzval’s portrait objective lens (Petzval Porträtobjektiv) was an almost distortionless Anachromatischer vierlinser (double achromatic objective lens, with four lenses in three groups). The luminous intensity of this flat “portrait lens” was substantially higher than the daguerre standard of 1839, the Wollaston Chevalier lens (f/16). The screen f/3.6 with a focal length of 160 mm made crucially shorter exposure times possible — using exposures of only about 15 to 30 seconds compared to the 10 minutes previously. Thus, snapshots became possible for the first time.”

So Mr. Petzval is an important guy in history as he was responsible for creating the first usable portrait lens. Photos from that time all have a unique classic yet surreal look due to the photo process AND the lens being used.

Enter Today’s Re-Creation of the famous Petzval Lens

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As time went on of course lens design became more of an advanced art and therefore lenses became sharper, well corrected, and with more sharpness across the frame. Today most lenses are perfected for optimum performance as we can do things today that could not be done in 1840.

Personally, I would say that many of the expensive lenses made today are almost too corrected! Sure, there are many more uses for a perfect lens than a not so perfect one but sometimes I get bored with that “perfect” look as it is the same look everyone has in their images today. Many of us are constantly seeking perfection it seems when it comes to our cameras and lenses, so I say it is a good thing when we take a slight curve or u-turn into a surreal dreamy world ever now and again :)

When something unique comes along TODAY that goes against the normal then I am always interested to take a look, so this new Petzval lens made by Lomo attracted my attention from the get go. Over a year ago now in August of 2013 Lomography put up a kickstarter for an exciting new portrait lens. This lens was the NEW Petzval, recreated in a smaller for full frame Nikon and Canon mounts. While much smaller than the Petzval of the old days, this one retained the same shape, design and brass construction. It also kept the insane swirly bokeh, soft edges and classic out of this world fantasy land look. The new Petzval inspired lens was announced as an 85mm f/2.2 design and promised a classic look just like the old version put out.

As you can see, an original Petzval lens is on the left..the new version (which was a prototype) is on the right. Much more manageable in size :)

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As soon as I saw the Kickstarter I WANTED THIS LENS but for some reason my funds were low so I was going to wait to contribute enough to get one of the first lenses. Then, I forgot about it and before I knew it the Kickstarter raised 1.4 Million (they had a $100,000 goal). It was insane! Almost one and a half million was raised which really showed not only the power of Kickstarter but also showed there was a true demand for this amazing new recreation/re-imagining of the first classic portrait lens. So while the signature of the bokeh and rendering is not for everyone, plenty of backers contributed and gave money for this project so they would be assured of a lens for themselves.

 Even though this is an f/2.2 lens and not an f/0.95 design, the Bokeh effect is insane. Some will HATE it, some will LOVE it. Me, I adore it and feel it is a great “every now and then when the time is right” kind of lens. To be honest, the lens is so beautiful to see and hold, I wanted one just to have it on my shelf! Even if I use it only a few times each year it will be worth it just to have this tool in my arsenal. I shoot it on my Sony A7s which is IMO, the best camera available today for using all kinds of cool lens via adapters. Can’t beat a small full frame with intense low light capabilities.

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So yes, I wanted to try one…

A year or so went by and I forgot about the lens until a site sponsor, Cameraquest.com informed me that they were now a Lomo Art Lens dealer and they had the lens IN STOCK! $599 with free shipping.

I was asked if I wanted to review it so of course I could not pass it up. Soon, Stephen Gandy shipped me the lens and when it arrived I was literally blown away by the gorgeous packaging that went into the lens. A gorgeous quality box, a full book about the lens and the history of it with many sample photos, the aperture system and a few other things. For $599, to me, this seemed like a steal. When I pulled the shiny brass lens out of the bag it was in I was very impressed. The look, design, weight and quality was so nice down to the engraving of the name on the lens barrel.

The lens is made in Russia, and it looks and feels TOP NOTCH. The only issue I have found is that the lens cap, which is also brass, always falls off. It is not tight enough so I always find it at the bottom of my bag. Lomo may want to adjust this in future production runs.

Below is the video I made when the lens arrived. You can see the packaging and hear my very 1st thoughts on it:

Love at 1st Sight

After I had the lens for 3-4 days I knew I wanted to commit and buy it. I contacted Stephen at Cameraquest and told him I was going to make the purchase. I also needed the adapter as I was using a Nikon mount version on a Sony A7s, so I needed a Nikon to Sony E-Mount adapter, which Stephen also sells and sent out to me for my testing and eventual purchase as well.

A lens I recently re-reviewed here on these pages was the Canon Dream lens. A lens I had bought not once, but twice in Leica M mount and when I bought my 2nd copy for $3100 I vowed to NEVER sell it… until I received an offer impossible to pass up for it via email. Then I did indeed sell it as I knew I would be a fool to pass up that offer. Even though I sold that lens for much more than I paid, I missed it as soon as it went out the door and started searching for something unique again..something that could give me a similar vibe..and when the Petzval arrived, THERE IT WAS! Just what I was looking for.

With this Petzval lens coming in at only $599 I can get a taste of that Canon dream lens..a bit of that flavor for MUCH MUCH less. While this lens is not the same as the Dream Lens I owned (IMO) I do feel it is a bit similar in rendering with a different signature at the edges and slightly in the Bokeh. I like the dream lens better but for the money, now that my 2nd dream lens was gone, buying the Petzval for my special effect lens was a no brainer.

Color or B&W..does not matter. What you will get is the same Petzval rendering and look. 

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Using the Petzval Lens…

As stated, my Petzval was purchased in Nikon mount which makes it easy to convert for use on the Sony A7s or Leica M 240. The lens is slightly long and manual focus only. The Aperture system is the old waterhouse system meaning there are aperture plates you put into the cameras aperture slit. Me, I use this lens at f/2.2 or f/2.8. By f/4 it sharpens up so much it almost renders like a normal lens, making the Petzval a Jeckyl and Hyde kind of lens. I feel the unique selling point of the lens is the swirly Bokeh effect and soft edges. So I basically always leave the f/2.2 aperture plate in. If you remove the plate you get a TEENY bit more speed according to Lomography and possible flare issues but when I tested this I saw no real difference in Bokeh or Exposure or flare. For those hoping to see more craziness without a plate, there really is none. Many would ask “Why use any plate at all”? Well, without an aperture plate inserted you are allowing dust to float down into the lens, and this is never a good thing :)

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The way you focus the lens is also unique. There is a dial on the left of the lens and this is what you rotate to focus. It is VERY simple and works well. In fact, I wish more lenses worked like this! It seems much more precise. It was so easy to focus on the Sony A7s with the nice big clear EVF that I never had a focus issue. It’s brilliant!

More in COLOR – All wide open at f/2.2

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On the Sony A7s I just plopped on the Nikon to E Mount adapter and then the lens. That was it, ready to rock and swirly roll. Using the lens was a piece of cake. I feel an EVF based mirrorless makes it easier to use this lens because with a Nikon DSLR you are looking through an optical viewfinder and it makes it very very hard to nail focus using the Petzval. I prefer the what you see is what you get type of thing.

It’s NOT an Everyday Lens!

If you are looking for ONE lens and one lens only, this would not be it. While fun, interesting and unique, the look can be overdone so I would reserve it for certain situations or scenarios. I have seen GORGEOUS portraits with this lens and I have seen AWFUL portraits and mis-use of this lens. Using it takes some practice as not everything will look good with it. Some subjects may look really awful using this lens and it probably takes a month or two to really get to know it inside and out. Me, I have been shooting with it for only two weeks so I still have some learning to do before I create my own Petzval “Masterpiece”.

I bought the lens for those few times a year I get the itch for an “artistic” lens. Lenses like the Noctilux, the Canon Dream Lens, Canon 85L and this lens are what I call “Art Lenses” because they create images that can sometimes appear as paintings. They specialize in the surreal and I LOVE these kind of lenses.

Take a look at a few more samples using this very crazy lens – click them for larger versions that look better, especially if you are using a large display (I use a 27″)

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What to expect from the Petzval

If you buy this lens one thing to keep in mind is that when shot wide open you will get images just like you see here. Swirly Bokeh, soft edges and corners, sharp in the dead center of the frame and lower contrast (which is easily fixing in post). All of these ingredients add up to create the signature look of this lens. I can already make a prediction: Many comments here will say “The Bokeh makes me dizzy or sick”, “Those shots are awful”, “I could never use this lens”…then others will say “Wow, that is a cool lens” or “I own one and love it” or “I want one”!

People are usually split on these kinds of swirly lenses. This is one thing that makes the world so great and interesting, no two individuals are alike :) 

Many classic lenses render in a similar way though not so extreme. When shooting this lens remember it is manual focus, manual aperture and will work perfect with the camera set to aperture priority mode. Focusing via a nice EVF is, for me, a breeze. Also, this lens was made for full frame sensors and to get the most out of it this is how I would recommend using it. When taking a full frame lens and using an APS-C or smaller sensor you lose part of the lens signature which is why I never use Leica M glass in Micro 4/3. This lens would be fantastic on the A7s (all images here with the Sony) or even the Leica M 240. All you need is the adapter for each and you are in business. Of course, you can also use it on any Nikon DSLR or if you buy the Canon mount, any Canon DLSR.

This lens is indeed an “Art” lens and I would love to see a 35 or 50mm made just like it as sometimes I find this focal length of 85mm a little long. Lomo should create wider versions with the same design..a trio if you will.

Man I just love the swirl in this shot. Surreal, dreamy, with just the right amount of softness for the portrait. I shot this to show the background rendering of foliage as well as the swirl.

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When shooting this lens expect the Bokeh performance of a faster lens. For some reason it blows out the background like an f/1 lens. It’s crazy but for me, it is beautiful (on most occasions).

My Bottom Line Conclusion on the Petzval Lens

When this lens was announced I WANTED ONE in a bad way. Then I was busy and forgot about it. When it was finally released and I saw samples, the early samples, I was not so impressed. As time went on I studied some of the amazing samples available online and knew I would eventually own one. When Stephen Gandy offered the lens up for review I could not pass it up. I would be able to test it and if I liked it, I could purchase it. Once I saw the attention to detail in the packaging and design as well as the build of the lens and accessories, I was hooked. After shooting off 10 frames or so I was sold.

The lens is not an everyday lens but it is one that will be used from time to time when I want that special dreamy effect. Much like the Canon Dream Lens I recently re-visited, 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. It takes reality and distorts it a little, giving us a taste of what it is like to be an artist. Those photographers with the eye and vision for the unique will get it. Others will not. 100% personal preference. 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! While shooting it in Las Vegas I had so many ask me about the lens. When eating a waitress saw it and had to ask all about it telling me she wanted one for her son. It will get attention, but it was all good attention. People were genuinely curious about it due to the design and looks.

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I am happy I decided to make the purchase as it can be used on my Sony A7s or on a Leica M-P. It also sharpens up more at f/2.8 and by f/4 will give you pretty nice consistent results without the swirl. Using the old-fashioned aperture system is quite nice actually. I haven’t lost one yet and I love the process of pulling one out and using the next, though I admit, I feel this lens is made for wide open use so I RARELY change it.

If this type of image rendering suits you, I highly recommend this lens. I feel in 10 years it will be desirable and one day even collectible if they stop production of it. Look at the Canon Dream lens. A few years ago you could buy one for $900, now expect to pay $4500-$5000 and up for a clean M mount version. (what I sold my last one for).

At $599, it is priced more than right IMO. You get a great experience from opening of the box, to holding the lens, to using it. There is only ONE complaint from me and that is the lens cap. It always falls off, so I usually leave mine off unless it is sitting on the shelf. Other than that it is just what I expected and I am really surprised that this lens was not priced a little higher due to the superb packaging, build quality, brass design and novelty of it.

Thanks Lomography!

You can buy this lens from Stephen Gandy at the link HERE. He ships FAST and is a great guy to deal with.

You can buy the Nikon to E-Mount adapter from him as well, using the direct link HERE.

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Oct 032014
 

Testing the Zeiss Loxia, ZM 35 1.4 and Otus lenses on the A7r

(some quick shots from Photokina)

by Dirk De Paepe

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Recapitulation of a Problem

Perhaps you look upon the Sony A7x series as the first full frame alternative to the Leica M: a compact, high quality full frame camera, that’s about perfect for manual shooting – although not without issues, but then, I’ve yet to see the first perfect camera. :-)

Today the A7s gets a lot of applause, not only for its high ISO capability, but also because it “fixed” some of the issues of the A7r: the shutter sound is one, but IMO the questionable compatibility with quite some M-mount wide-angle lenses is an even more important item.

For many photographers, the possibility of using the compact M-mount lenses on the A7x, via adapter, is one of the attractive features of those cameras. But particularly the corner problems that primarily the A7r poses, when used with (quite some) wide-angle M-mount lenses, are mentioned frequently as a set back, reducing the A7r owner’s choice regarding compact wide-angle glass. Not all M-mount wide angles pose this problem though: some of the Voigtländers work flawlessly. But most Leica M en Zeiss ZM wide angles render this purple/magenta color shift and smearing in the corners, which we really don’t want.

I own the Zeiss Biogon 28 ZM and have experienced it too. Although with certain apertures it’s possible to avoid almost all of the smearing and the color shift can most of the time easily be neutralized in Photoshop, still it limits the possibilities and ease of work. So I mainly use the Voigtländer Nokton 35/1.4 (very compact M-mount) and some wider Canon FDs as WAs for now. For now, indeed, because I was pretty confident that a “solution” would be in the make. As a matter of fact, I hoped for some time that Sony would somehow fix this problem. But is it really Sony’s problem to fix? Well, recently I changed my mind about it…

The solution has a name: Loxia.

When Zeiss announced its new Loxia series for Sony’s FE mount and when I saw that those were based on the compact ZM series, I immediately wondered: what about the corners when shooting a Biogon wide-angle on the A7r? The so far published images (that I’ve seen) didn’t mention which A7-type was used (there was no Exif data available), or they were taken with the A7s, on which the WA M-mount glass poses no problems. So I was stuck with the question: how will the new Loxia Biogon 2/35 perform on my A7r?

The Loxia Biogon 2/35 on the A7r

Living at less than 2 hours from Cologne, I decided to make the trip to Photokina, to get the answer. I was there on Saturday, when the fairground was pretty crowded, with lots of people thronging at the Zeiss technicians counter, wanting to get answers to their questions and trying all kinds of Zeiss lenses on all kinds of cameras.

So I had to take my shots pretty fast and I had to take them all from the same spot: my position at the technicians counter. Sorry for that. But my goal was not to shoot nice pictures, my goal was to get answers. Does the Biogon perform well on the A7r?

Short answer: YES it does! Absolutely!

I first checked if there was any color shift at the corners, putting the aperture wide open – the most sensible setting. With a booth made from white/greyish panels, it was easy to check. It’s very clear: the Biogon produces no color shift what so ever! It was immediately absolutely clear, from the first shot, but I can add to that: in none of my shots, at whatever aperture, there was even the faintest glimpse of color shift to be noticed.

Pic 1. Loxia 3/35, f/2, &/500s, ISO200. No color shift whatsoever. I focused in the left upper corner, to check the corner detail at f/2. IMO a bit ridiculous to absolutely want perfect corners when shooting wide open, but since some people come up with this issue, I wanted to check it. Next picture gives a 100% view of that corner

01. Loxia2-35 f2 corner focus

And what about the smearing? Well, again when shooting wide open the image remained pretty clear and detailed in the corners, with only some loss of detail in the farthest reaches and (IMO) no smearing. Considering how deep in the corners I’m talking about, I’d say only a slight loss of detail in the corners. But let’s be honest, when you really want every spot of your picture to be clear, you don’t shoot wide open, do you… In general I was absolutely astonished with the level of detail this Biogon renders at f/2. Without ever getting razor-sharp, the amount of detail is pretty amazing, even when looking at 100% and shooting with a 36MP sensor. And also the vignetting is at a very low-level, IMO negligible.

Pic 2. 100% crop. In the farthest reaches of the corners, there is some loss of detail. Not too much, I’d say, because I can even read numbers there. I certainly wouldn’t talk of smearing. There is some difference in detail to be noticed, due to some items being positioned slightly out of focus, like in the text on the left box. Don’t be mistaken there. Anyway, I find the detail that this Biogon renders wide open to be really astonishing. 

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Pic 3. Loxia 2/35, f/2, 1/60s, ISO250. Also the vignetting is negligible, even wide open. Focusing in the center.

03. Loxia2-35_f2 center focus

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Pic 4. 100% crop (click to see full size).. Without being razor-sharp, all the detail is there. No added sharpness.

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Pic 5. Loxia 2/35, f/2, 1/60s, ISO250. No 2/35mm renders a spectacular bokeh. Still this one is pretty smooth and for sure renders a nice 3D separation.

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Pic 6. Loxia 2/35, f/4, 1/60s, ISO400. DOF is a bit larger, still with beautiful bokeh, also in front.

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Pic 7. 100% crop (click to see full size).. Even at f/4 focusing needs to be done with care on the A7r. I missed the focus on the watch here and placed it on the guy’s shirt, revealing all the shirt’s detail…

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At the more narrow apertures, those that are used when pursuing a wide dof, the detail is excellent all over. Is it absolutely perfect? Well, no. This is no Otus, but a three times less expensive Loxia. Still, IMO, the IQ is excellent, with clear detail all over, although still slightly soft when looking at 100%, but not at all to the extend that one can call this a weakness.

Pic 8. Loxia 2/35, f/11, 1/40s, ISO400. Only cropped horizontally.

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Pic 9. Loxia 2/35, f/14, 1/10s, ISO400. Only cropped horizontally.

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Pic 10. 100% crop (click to see full size)..

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This is absolutely not a lens test, so I won’t go into all lens characteristics. I couldn’t take enough different pictures, nor perform tests to do that. I’m sure there will be enough articles in the near future from professional photography journalist that will come up with all the details.

Still, what I also noticed is some fringing (diminishing with narrower apertures of course), which I always could correct with great ease in Photoshop. I didn’t check the distortion, but personally I don’t mind that too much, since this is also easily correctable. BTW, I understand that Zeiss also gave extra care in that department, so again, I have no worries here. Overall, I liked very much what I saw, also regarding the OOC color balance, dynamic range etc. – so I’m very confident that I won’t be disappointed in this Biogon and that it’ll render a typical Zeiss IQ – I expect it to be even slightly better than my ZMs.

Improved optics

When I told the technician that I was pleasantly surprised, after being worried when I noticed the great similarity between the Loxia and ZM Biogons, and that I wondered how Zeiss has solved the corner problems without considerably lengthening the distance between back lens and sensor, he told me that the two Loxia lenses are admittedly built after classic Zeiss concepts, but that the whole calculation has been redone, resulting in differences in the thickness of the glasses and the space between them, whereby the light approaches the sensor in different angles, thus avoiding the known problems of the older ZM lenses (lenses that were conceived for film cameras and Leica digital cameras, not for mirrorless sensors). Even the Planar, that in ZM version doesn’t pose any problem at all on the A7r (and is BTW my personal favorite lens) has been reworked and optimized with enhanced performance. Regarding the Biogon, even after a few shots, I can without a doubt state, that they did a great job. I leave it to the professional reviewers to determine exactly how great. But I’m impressed. And excited. There simply is not a shred of color shift in the corners and wide open there’s only a slight decrease of detail in the farthest corners, which I wouldn’t call smearing at (far from what we know from the ZM Biogons, when used on the A7r). What I also noticed was that this lens renders about the same detail wide open as it does stopped down (with the exception of the farthest corners, as I said), which was a véry pleasant surprise. There is some vignetting wide open (but really not much) and some fringing as well (always very easily removable in Photoshop). What did you expect. This is no Otus, it’s not perfect. It’s three to four times cheaper than Otus and still is an excellent lens. I’m sure future tests will confirm this.

General Loxia advantages for Sony’s A7x

So the Biogon is absolutely “good to go” on the A7r IMO, or in other words, it’s a great option to buy, if you’re into manual prime glass. You won’t be surprised that I placed my order for both Loxias. Also the Planar, which maybe will surprise you, since I own the ZM Planar that really is without issues on the A7r. But Loxia offers a lot more than ZM. First there is the better optical performance (reworked for E-mount), then there is the shorter minimal focal distance (30cm for the Biogon and 45cm for the Planar versus 70cm for both ZMs), further there is the transmission of full Exif info, which I applaud because after a series of shots with different lenses I tend to forget what lens I used for which shot, let alone what aperture. Often I can “see the lens in the shot”, but really not always with absolute certainty. And I find it very interesting to know the exact aperture afterwards. And finally, the last big advantage of Loxia over ZM is the activation (which is to be programmed on your A7x) of the automatic enlargement in the VF, by the slightest movement of the focus ring, which completes all means for performing “modern manual focusing” on the A7x. IMHO, all the focusing functionalities of the A7x/Loxia strongly outperform any optical viewfinder. OK, a range finder is something special, but personally, I don’t wanna do without the modern EVF functionality anymore. No way. They abundantly outweigh the range finder’s advantages (all IMO of course).

Pic 11. Left half: Loxia Planar 2/50, f/16, 1/40s, ISO1600. Right half: ZM Planar 2/50, f/16, 1/40s, ISO1600. Both picture were shot at minimal focal distance – Loxia at 45cm, ZM at 70cm and they were only horizontally cropped. Impressive difference. A big advantage of the Loxia. (The ZM picture was shot back home.)

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Personally, I’m really thrilled about Zeiss developing the Loxia line. There has been lots of reactions on it, with many complaining about the first two lenses being 50 and 35mm again. Why not chosing other focal lenghts that people miss right now? The answer is really simple. Loxia is for a totally different type of photographer, namely the typical manual shooter, like I am. As much as I admire the image quality of the AF Zeiss lenses, I’ll never buy them because I don’t feel good when the camera decides for me. The only “automation” that I use is aperture priority and still, I’ll determine the exposure with the compensation dial or by holding the release button halfway while reframing.

The core of any optical system is, no doubt, the lens. I think we can say that Zeiss plays in the same league as Leica. Both have passionate proponents. I guess it’s probably the kind of photography one practices, that make one belong to either camp. Personally, I’d mix both brands, if the Leica prices were at Zeiss level. But they aren’t. So I don’t buy Leica… a personal matter.
The core of the body is, without any doubt, the sensor. Sony, a leader amongst sensor manufacturers has an excellent position in this department. The rest of the body is functionality, in other words advanced electronic applications, and build quality. It needs no saying that Sony is an electronics giant and in many branches, and in general the Sony quality is legendary. I’m not saying there are never issues with Sony products, everybody makes “mistakes”, but this a giant and I believe that this giant is determined to succeed in photography. So the Sony/Zeiss combination has for sure a lot of things in its favor. Now, with Loxia, the glass is perfectly maching the body, adapter free, with transmitted Exif data, automated magnification in the EVF and a design and feel that perfectly matches the body.

I told you that I already placed my order, even for the Planar, while I’m owning an Otus 55 ànd ZM Planar 2/50. But the Planar is my all time favorite lens. Its compact size, ease of use and always reliable IQ grants it this status. This is the lens that I always carry on my camera, making it possible to carry a high-res/high-IQ camera with me whenever I want, wherever I go to, without ever being bothered by it. Now, with the Loxia Planar, my carry-all-time lens will match my body for 100% and add some functionality that I welcome very much.

Loxia is made for sensors of mirrorless cameras, Zeiss ZM (and Leica M) is made for film. In its digital M bodies, Leica corrects its lenses with software. The Zeiss Loxia doesn’t need to be corrected, because it’s optically designed for sensor. BTW, I wonder if Zeiss doesn’t think of making Loxias in M-mount, or at least come up with a new generation ZMs, that would have the Loxia optics. Makes sense IMO.

The Otus 85 on the A7r

With so many Otus lenses on their Photokina booth, ready to try out, of course I asked for the new 1.4/85. You probably already knew from a former article that I own the Otus 55 and believe that Otus is a great combination with the A7r. This top-level Zeiss line is developed for the latest (and future) generations of hi-res sensors, and Sony plays a leading role in this, with the A7r still leading the pack. So I pulled out my Novoflex adapter and mounted the Otus 85 on the body. The bystanders payed extra attention, when I then pulled a vertical grip out of my bag and mounted it with some swift moves on the A7r body.
My goal was in no way to test the lens on itself. Knowing the 55 and reading from all thrustful sources that the 85 is even a todd better (is it really possible?), I have not the slightest doubt that this lens will perform to its expectations. What I was curious about was how it felt in the hand, when mounted on the A7r, and I also wanted to get the “focus experience” at f/1.4, because already with the 55, focusing at 1.4 needs to be done with great care.
I immediately felt that the 85 is an even heavier and thicker beast than the 55. It’s a muscle trainer for sure. I don’t know how long I would be able to shoot continuously with it, I can only say that I felt it considerably more than when holding the 55. But I can’t tell if it’s only because the physical geometry is different and that it’s gonna be a matter of getting used to it, or if it really would tire me out faster. But what I can tell you for sure is, that, with the same way of holding it as I described in my Otus 55 article, this lens/body combination lies incredibly stable and well-balanced in the hand. I already said that the shots were to be made fast at the Zeiss technicians booth, so I took a fast picture of the gentle technician that was helping me. He was standing pretty close, at the other side of the counter. I focused on his eyelashes and took the shot at 1/25sec, which is in fact insanely slow for an OOH shot with a 85mm lens. But the total absence of motion blur proves the perfect balance of this lens/body combination, again indicating that the A7r is a body worth considering for use with the Otus 85, as it is with the Otus 55. That’s exactly what I wanted to know with my trial shots.

Pic 12. Otus 1.4/85, f/1.4, 1/25s, ISO100. Shooting at this shutter speed with an 85mm lens is only possible when the lens/body combination is in perfect balanse, which IMO is the case with the A7r + vertical grip. At the crowded Zeiss booth, this shot of a (very busy) Zeiss technician needed to be taken in seconds.

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Pic 13. 100% crop (click to see full size). What stroke me is the extremely shallow dof. I don’t know how this can be possible (maybe somebody can explain), but I have the impression that the Otus 85 produces an even more shallow dof than the Canon FD85 at f/1.2, that I also own. And if not, it must be véry close. But for sure, I’d swear it’s the Otus that wins this trophy. While the eyelashes are in focus, the eyeball is already out of focus. The eyebrow is only partly in focus. At this distance, I normally wouldn’t take this shot at f/1.4, because I’d surely want a somewhat larger dof. Still it’s nice to have the potential at hand and for greater distances it will surely do a great job.

twelvecrop

Focusing at f/1.4, for use at full size images with a 36MP sensor (or more in the near future), must be done with the greatest care. This was no surprise to me, with my experience with the Otus 55, it was just a confirmation. It’s odd that I have the impression that focusing the Otus 85 at f/1.4 requires even more precision than with my Canon FD85 at F/1.2. I even think to notice an even shallower dof with the Otus. It’s just an impression, a feeling. But a strong one. Maybe it’s because of the incredible detail Otus renders, combined with 36 megapixels. Again, I didn’t perform test procedures with this in mind, it’s just a feeling. BTW, I love the FD85/1.4.
Last thing about the Otus 85: I absolutely love the super creamy bokeh!

Pic 14. Otus 1.4/85, f/1.4, 1/20s, ISO100. Only horizontally cropped. Is this a creamy bokeh or what?…

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The ZM Distagon 1.4/35

By then, after shooting the Otus 85, the guys behind me were increasingly insisting to get a place at the counter. But still I managed to get the new ZM Distagon 1.4/35 for a few super fast shots. I simply wondered whether Zeiss, knowing of the problems that some of the ZMs have with modern hi-res sensors, would take this into account when developing new wide-angle ZMs. I quickly took two shots with the new ZM Distagon. In the first I just shot the grey-ish white wall, to check for color shift. The picture is absolutely dull, of course, but it was conclusive: no color shift.

In the second (and last) super fast taken shot, I focused on a guy in the upper left corner, to check for smearing. No smearing (although the picture isn’t perfect, with a tiny bit of motion blur, but no smearing). What I did notice in those shots was that, wide open, the vignetting and fringing was more prominent than with the Loxia Biogon. But then, this is a f/1.4 vs. the f/2 Loxia. So this is normal. And nothing that I couldn’t correct in Photoshop.

So I guess that future Zeiss ZM lenses will work perfectly on film bodies, Leica M bodies ànd fullframe mirrorless bodies – from Sony and other brands to follow.
And I’m very much looking forward for future new products in their new lines, Otus and surely Loxia. I’ve been having a soft spot for Zeiss for about 50 years now. I think this spot is only going to further grow in the years to come… :-)

Pic 15. ZM 1.4/35, f/1.4, 1/25, ISO100. A clearly more explicit bokeh than with the Loxia 2/35, but also more fringing (as well as vignetting, which this pic doesn’t show clearly) – though nothing that can’t be corrected, I guess.

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Pic 16. Defringed crop. I thought, since the shot was not really OK, it wouldn’t be fair to show the fringing. So I corrected it in Photoshop for this crop.

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Epilogue

IMO, the Loxia line, once it’s to be completed as yet, will definitely turn the A7x series into today’s superior compact system for manual shooting, offering a more modern concept than Leica. I can truly say that I don’t dream of Leica anymore. This Sony/Zeiss FE-system really is more desirable to me than the Leica M-system – outperforming it (again IMO) and… reasonably priced! My personal dream of today: owning both the A7r (for resolution) and A7s (for ISO) with a complete set of Loxias. But what I expect (of course I can’t be absolutely sure about it) is a future Sony sensor that will combine resolution and high ISO. I’m sure it will happen, maybe in some years time, but probably earlier than I expect. And it will be mounted in an FE-mount Alpha body! Thàt will be my next camera…

Dirk De Paepe

B&H Photo sells the Loxia lenses HERE, the OTUS is HERE and the new Zeiss 35 1.4 ZM is HERE

Oct 022014
 

One year with the Sony A7r

By Pascal Jappy

Website http://dearsusan.net

It’s been just over one year since my A7r was delivered to my door and few of my cameras had been so intensely anticipated as this one. I vividly remember watching Steve’s Memphis images, particularly those made with the ZM35/2, Voigtlander 35/1.2 and crazy OTUS 55 lenses and mopping up the drool from my keyboard.

A long-time lover of the Mamiya 7 camera, I had never really been able to match the usability and image quality of that camera with any of the – too numerous – digital cameras owned since turning my back to film in the early days, not even my technically excellent D800e. But this Sony certainly felt like a potential candidate with its exciting mix of size, resolution, dynamic range and je ne sais quoi in pixel level fluidity.

So has it lived up to the Mega Mamiya ?

Mostly, yes.

For anyone following the “f/8 and be there” motto, being there has certainly never been easier than with this small, yet robust camera. It’s been with me in the freezing Lapland winter, hot Mediterranean summer and torrential rain that afflicted my neck of the wood in between. It has always delivered the goods in spades and, although a friend’s sample died on him in Greenland, mine has been blessed with excellent reliability.

La Defense Nighthawks

One year later, with several new cameras on the market, there still isn’t one I’d want to trade it in for. And the reason I’m writing this so long after the release of this camera is that its price has dropped significantly and will continue to do so with the introduction of its successors in the near future. So, to me, it has become the bargain of a lifetime for many to step into a world of affordable ultra-high quality. Yes, its successors may have more pixels, but not enough to discard this pocket monster. After all, the rumoured 46Mpix successor only offers a negligible 13% increase in resolution on each axis …

So why “mostly” ?

Are you familiar with Guns n Roses’ November Rain video? Well, if you’ll excuse the musical metaphor, my (really, really) beautiful A7r bride snores and sometimes makes me feel like I too “need some time on my own” …

But since the beauty far outweighs the beast, let me get the snoring out-of-the-way first and elaborate on the goodness after that.

Wakey, wakey !
So you’re walking down the street in KL, a monkey is looking eagerly at a lady’s ice cream. You switch your A7r on with the intuition that something funny is going to happen. And it does. And the A7r is still asleep. And the monkey eats the ice cream, particularly relishing the best chocolatey bit down the bottom of the cone. But the A7r is still gathering its wits. The monkey backflips its way to the rooftop, the sun sets, you have a delicious indian curry and, suddenly, the A7r has come to life.

OK, possibly a slight exaggeration here, but you get my angry drift. There are few slower cameras on the market anywhere near this price point. And as a street photography tool, it will mess with your Zen like little else can.

Happily there’s a way around this inconvenience. In the 2nd screen of the toolbox camera menu, you can set the Pwr Save Start Time to 10 seconds and leave the camera on. It takes a full press on the shutter button to wake the camera on so there’s little risk you’ll do it by accident. And doing so normally brings the camera back to life in a much more manageable 1.5s (compared to the sluggish 2-4 seconds from OFF). Since battery life is fairly good, that’s one big issue partly taken care of.

Marshmallow autofocus
My only AF lens on this camera is the (fantastic) Zeiss/Sony Sonnar FE 35mm f/2.8 ZA. Aside from the typically poor construction of the Zeiss lens cap, this is an exceptional performer and could easily be my only lens.

Bu however wonderful, it is let down by the unpredictable autofocus on the A7r.
AF isn’t the fastest, but isn’t slow either. It’s also very accurate when it focuses.
It’s main drawback is the occasional inability to focus at all.

Forget taking AF photographs of clouds. You’ll have to find a distant tall building or mountain range to approximate infinity and recompose your shot once focus has locked.

AF really needs subjects with high edge contrast to function properly. And when it does, near-far situations are a constant worry, the camera always making the strange decision of focusing on the background. The example below of my daughter in the car is very typical.

In car blur

That being said, manual focusing is – by a wide margin – the best I have ever experienced on a digital camera. Focus peaking works brilliantly and offers the certainty of 0% miss when combined with the elegant digital zoom system. Given how excellently this camera deals with most third-party lenses, this truly makes up for the occasional inadequacies of the  AF.

Noise
Handling noise seems inversely proportional to electronic noise, in this camera.
A lot has been written about the shutter noise, and there’s very little I can add, other than the camera can even scare you with a very loud noise when powering down.

How bad is it in real-life ? Well, if I’m out walking and making pictures for a few hours, I actually don’t notice and forget all about it. It’s loud, but actually rather pleasant, in a positive, clunky way.

After a long day, it does get tiring to the point that I resist making more pictures unless they really beg to be made. In a way, that’s a good thing, because restraint is always advised after a day’s shooting. But I doubt that Sony intended that way and that noise is really something you could do without when you feel tired. That’s one of the only occasions the camera doesn’t feel like a close friend you want to take along everywhere.

Church in Marken

Churches, theatres and ceremonies when silence are expected are also obvious turn offs. A couple of years ago, I visited 20 churches in Venice to create a collection of photographs. That’s definitely not something I would like to attempt with this camera. Which is a shame considering how brilliantly it would handle the low light and tonal ranges found in these places.

Ergonomics
Mostly excellent. The size is right. Anything smaller would be pain to work with. The camera is light yet feels very robust. There is a – highly subjective but very real –  tactile pleasure to handling it.

And the EVF is so good and informative I would never want to go back to optical. Having fought the D800e to focus manual lenses using its abysmal live view, the EVF on this A7r is an absolute godsend. The artificial horizon is such a help with wide angles too. My percentage of frames requiring no cropping or rotation has increased dramatically thanks to this EVF.

Buttons and dials are firm and positive, although placement seems governed by some inexplicable alien logic or usage scenario.

Automatic white balance
The ease of bulk modification of white balance in editing software such as LightRoom or Capture One kind of makes this a non issue, but AWB is a bit flaky on the A7r. It often seems in a happy mood and makes everything appear a bit more golden than in real-life. That works well in most scenes but adds a slightly sickly mustardy tinge to others. Still, you can set 500 frames to auto-WB in a matter of seconds in any editing software, so no problems here.

Amsterdam-Canal

Now the good stuff. There’s no suspense as many others have reported on the superb image quality offered by this little gem. But let me qualify that from my personal point of view.

Sharp, yet organic look at pixel level
36Mpix is a lot. Probably enough for 99% of photographers in the world and certainly enough for me. Obviously, it makes it easy to crop severely to recompose or enlarge a portion of the frame yet retain enough information to obtain quality prints. Which, in turn, means I never need a lens longer than 135mm for any of my shots.

Enchanting forest

But, beyond the pixel count, it’s the actual pixel-level quality that I find lovely. At 100% – at base ISO – the quality is silky smooth with an organic feel to it that I don’t remember with my D800e. Images are fluid and look beautiful viewed at full scale, provided I have been careful to avoid shake. As mentioned above, focusing using peaking in the glorious EVF is easy and very efficient (another major strong point over the D800e). But shake is a very real issue and one of the areas where the greater mass of the D800e helps stabilize. Still, when proper technique is applied, the results are incredibly gorgeous to look at, time after time. When everything comes together, there is a real sense of achievement that is quite similar to browsing through a large format slide with a loupe or examining a great print.

Remarkable tolerance to older glass
Don’t ask me why, but some sensors seem to emphasize the technical blemishes in some of the older lenses we own and love. Edges can seem mushy and lifeless, for instance.

Not so with the A7r. It may be because of that apparent fluidity, or it may be something else, but the A7r just loves older glass and proves very tolerant to designs that would not work so well on other cameras.

Thanks to some kind friends, I’ve used this camera with a great variety of legacy lenses from Olympus, Nikon, Leica (M & R), Zeiss and Mamiya 645. Roughly 20 lenses in total. Not one has been bad ! Most have been superb.

Yes, I steered clear of the known offenders such as some wide-angle Biogons but, from the superb 19mm (Leica Elmarit-R) to the great 135mm (Leica Apo-Telyt-M) it’s been a bed of roses. Some variation in sharpness, some strong flaring, but definitely no deal-breaking nasties.

So, in keeping with the dropping price of the camera itself, it is quite possible to equip yourself with a slew of fantastic lenses that will never disappoint you.

In the cheap and lovely pantheon, I would state many from the Olympus stable (28, 50, 135) as well as most of the Leica-R offerings (50/2, 35-70/4, 90/2.8). The adapter adds a bit of visual heft to these lenses, but they are not overly large, or heavy, in your bag.

Disneyland 35-70

And at the top of the price ladder, lenses such as the Leica Elmarit-R 19/2.8 II and Leica Apo-Telyt-M 135/3.4 are true stunners. Special mention goes to the specialty Leica Summilux-R 80/1.4 with its gorgeous bokeh. But even the cheaper lenses perform brilliantly as Steve’s recent reviews of the Jupiter 8 and Petzval lenses (among others) illustrate.

Huge dynamic range
I’ve long been fascinated by the aesthetics produced by some of the digital medium-format photographers. The silky smooth tonal range is particularly appealing to me.

The Sony comes closer to producing that look than any other digital camera I have owned. And I strongly believe the astounding dynamic range has a lot to do with these great results. There is very rarely any harshness in the highlights, gone are grad filters, and dark shadows always lift with very little noise.

It’s truly amazing and – to me – the single most fantastic feature of this camera (shared with others using its sensor, such as the Nikon D800 range) which opens up so many new possibilities

DSC02196

I could go on. The camera is a never-ending source of pleasure; interspersed with some frustrating episodes, but mainly a gem. It has been my constant companion for a year. I have smuggled it in deep pockets, work bags and suitcases to document my daily life, travels, family parties and it has been equally at ease on all subjects – provided they didn’t move too fast ;)

More importantly, in spite of a slightly warm tinge that’s easy to correct, I think this camera is neutral and can suit many styles. With most lenses, its huge dynamic range makes it a treat in B&W.

DSC07879-Modifier

But colour landscapes are just as glorious and the detail is formidable.

The only real type of shooting location it wasn’t designed for is whenever silence is a necessity. Churches are one example and you’ll soon feel conspicuous. However, that’s a small price to pay for the other opportunities opened-up by the amazing sensor, light weight and the form factor which doesn’t attract attention.

The reason I’m writing this now is that it will inevitable be replaced. Probably sooner than later. The sensor is 3 years-old and Sony probably have new tricks up their sleeves by next year. But whatever comes up to replace will signal a fantastic opportunity to acquire this level of technology at significantly discounted price. If I was shopping for the almost-perfect-yet-affordable camera today, I’d wait for the A7r’s replacement and buy an A7r :) It’s that good.

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Sep 252014
 

Hey Brandon,

Here is a selection of work I shot at a pro rodeo event. I wasn’t very excited about going but once I got shooting I started to love the light at the venue and the images rolling off the camera at high ISO’s (3200 and above) were beautiful!! I shot most of the two nights with my Sony A99 and with the Sony RX1R. I used the A99 for the actions shots in the arena and loading gate area. I used that camera with thee lenses the Sony 70-200mm f2.8, Sigma 35mm 1.4, and the Sony/zeiss 24mm 2.0. The RX1R was used for the slower moving subjects around the arena. Anyways, It was great fun and I’ll be more excited for rodeos in the future.

Jay Hemphill
Hemphill Photography

https://www.flickr.com/photos/jhemp_00/

Thanks Brandon.

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Sep 222014
 

Shooting with The Mitakon 50mm f/0.95 and the Sony A7 at Fisherman’s Wharf

by Doug Frost

I’ve been a happy owner of the Sony A7 since last December. For me, it won out over the A7r because of its slightly quieter and lower vibration shutter. It seemed better suited for handheld shooting than its 36mp sibling. And frankly, 24mp is plenty for me in most situations. I had been using the A7 with a variety of lenses with adapters. I have a few Zeiss Alphas which I love and I occasionally use it with my 50mm Zeiss Planar M-mount and a variety of vintage Nikon AI lenses. All great glass. I’ve always preferred shooting manual focus, and the A7 with its EVF and focus peaking makes it super easy to do.

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But the one thing I lacked in my camera bag was a native FE mount lens. I had been considering buying the Sony Zeiss 50mm f/1.8 FE. The reviews on that lens have been very positive, and I was on the verge on buying one when Steve posted his first look preview of the Mitakon Speedmaster last April. I was immediately intrigued by the Mitakon. It wasn’t the sharpest 50mm lens by any means. It suffered from some light falloff at f/0.95 the bokeh could be a little quirky in some situations and it didn’t come with a lens hood. But there was a quality to the look of the sample shots I was seeing on Steve’s site and elsewhere that I really liked, especially when used wide open.

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So, to make a long story a bit longer, I decided to get in on the pre-order discount price, and waited. And waited. And waited. The June delivery date came and went. The revised date in mid-July passed, and still no lens. The distributor, MXCamera, was apologetic. Their factory was having trouble getting the lens coatings right and they were shipping at a fraction of the anticipated rate. Finally, on August 6th, three months after I placed my order, I emailed them saying I was tired of waiting. To my surprise they replied the next day and said they just got a few units in from the factory and they’d ship one to me ASAP and gave me a tracking number. I was delighted.

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The following day, MXCamera dropped a bit of bombshell. The Mitakon Speedmaster had been discontinued! It was being replaced by a redesigned “pro” version of the lens that they dubbed “The Dark Knight”. Not only that, but everyone who had still not received the original version they ordered would now be getting a Dark Knight in its place!

Wow, I was taken aback. At first I was annoyed. Maybe if I hadn’t emailed them they would have sent me a Dark Knight instead. It was an odd situation, because a lens I had waited three months for, and was now finally enroute to me, had been discontinued before it even arrived!

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But now that I have my Mitakon and shot with it, all is forgiven. I’ve decided that henceforth it will be known as the “Mitakon Speedmaster Classic”, a rare and highly coveted beast. Will The Dark Knight prove to be a better lens than the Classic (it has yet to be released as I write this)? Maybe. I have no idea, but more importantly, I don’t care. I love what my Mitakon does for me and that’s all that counts in the end.

I live in the San Francisco Bay Area. It’s one of the most beautiful regions on the planet and San Francisco is one of the biggest tourist destinations of all. For this user report I wanted to show what the Mitakon could do when used wide open in low light. I decided on ISO 1600 for all of the shots, because the A7 does very well at that speed and at f/0.95 I figured it would be fast enough.

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I decided to shoot in the evening in a San Francisco neighborhood where there would be lots of tourists milling about on the street, so someone wandering around with an A7 would hardly be noticed, and that meant Fisherman’s Wharf. Me and my buddy Chris arrived at dusk on a Saturday to explore it with our cameras. As anticipated, the Wharf was swarming with tourists. Perfect for people watching.  I always shoot in aperture priority mode, and I’m happy to report that the A7’s shutter speed never dipped below 1/500 the whole time, even when I was shooting inside the Museé Méchanique arcade, where the light is low.

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I hope you enjoy these photographs. I had an absolute blast taking them.  If you’d like to see more of my work, I invite you to check out my gallery: http://dougfrost.tumblr.com

Sep 222014
 

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Shooting Atlas Shrugged Part 3 Behind The Scenes with the Sony A7 and Voigtlander lenses

By Judd Weiss

Great to be back here again so soon! I was very encouraged by the reaction to my Ephemerisle 2014 photos I shared in a guest post last week , so I asked Steve if he wanted another set of photos from me for another guest post, and fortunately he said YES! I’m a long time fanboy of this site, so that’s cool with me :)

Now for something completely different from that last set. And I’m sure there’s some people out there that might find this controversial. It’s no secret I’m a huge fan of Atlas Shrugged and the author Ayn Rand. So when I was asked to shoot the Behind The Scenes photos for the 3rd Atlas Shrugged movie, I don’t think I let the Associate Producer finish his sentence before I jumped all over this. It’s not just that I’m a fan, but the idea of having real production value and professional actors to capture was so exciting. I’ve been extremely prolific, and I’ve moved very fast, but I’m still relatively new to photography.

When I picked up a Sony NEX-3 four years ago, I first treated it more like a much better quality point and shoot. I had NO IDEA a few years later I would be asked to shoot all these events around the country, and now BTS photos for a movie that will come to theaters and bring my photos to a much bigger audience… wow. Behind The Scenes photos are usually boring, so I was determined to create memorable pieces at the best of my ability. I had earlier gained some notoriety for my event and conference photos. There’s now probably around 10,000 Facebook profile photos of mine floating out there, being used by people for all sorts of other purposes too, from Match.com to Speaker Bios to Wikipedia to Book Jackets. And now the Associate Producer is telling me “I want Judd Weiss photos. Can you deliver us Judd Weiss photos?”. Hell the fuck yeah! The pressure was on. Fortunately production was starting the following week in LA, so I didn’t have to wait too long to jump in.

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Thank god Sony just released their earth shattering full frame mirrorless A7 right before filming started in January this year. I had been shooting on smaller sensor APS-C NEX cameras before, and I was eagerly awaiting the arrival of the full frame mirrorless, following any shred of rumor and news story for the previous 2 years. I knew I needed to move to a full frame setup in order to take my photos to the next level, and the A7 did not disappoint! I had never shot photos of this quality before, and my love for the camera rose along with the excitement from the production team for the quality of photos I was delivering them. I was determined to push past my limits, and over deliver, but I didn’t expect to rise to this level. The producers were ecstatic about the quality of photos I delivered. I was later told by one of the producers that my photos are a blessing and a curse, they’re helping the marketing generate interest and credibility in the film, but there’s no scene of the movie that looks as good as these photos. I really wish I could say I’m in love with how the final movie turned out, but unfortunately I’m not in love with it. But I do love my photos. In January I still had plenty of room to grow, but these photos were a massive leap of a milestone for me. I’m so grateful for that opportunity.

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And it might not be a good idea to reveal an on set skirmish I dealt with, but I’m going to anyway. There’s an interesting story I want to tell you guys. So, I live in Los Angeles but I’m not in the movie scene, and I’m definitely not union, the producers just liked my photos from other events and asked me to shoot this. If you know anything about Ayn Rand, it’s incredibly ironic that this was actually a union production, and there was a union photographer, and she was EXTREMELY territorial, and saw to it that I not be allowed near the filming. Which is bullshit because I’m not a wild life photographer. Far away crowd shots are fine, but limiting me to only that is intolerable, after I just blocked out 4 weeks of my life to do this.

I was excited and eagerly waiting to get started, only to arrive and sit on the bench off the field. What’s worse is the union photographer treated the job like any other union laborer, and despite her top of the line Canon gear, her photos were unbelievable worse than a 7 year old with a point and shoot. Out of focus, not properly exposed, her photos were unusable. But after a week on set my photos were REALLY impressing the producers; even though I was severely held back. The producers didn’t want a fight with the union that could shut down production, so they let it be, until I almost resigned after almost a week.

I don’t have a problem with the other photographer, she can do whatever she likes, additional coverage is a good thing, but just don’t get in my way, for stupid petty reasons, that’s crossing the line. So the producers ended up deciding to give her every penny in her contract and told her not to come back to the set. She was happy because she could sleep at home and get paid for the entire month of production filming. And I was happy because starting the 2nd week, the quality of my photos sky rocketed when I wasn’t held back any longer. Clearly that meant they wanted me there. The producers paid for 2 photographers just have me uninterrupted as the sole photographer on set. And most of these photos would not exist if the producers did not take that bold move on my behalf against a very entitled protective obstructive union worker. I’ll always be grateful for that.

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Pretty much every single photo was shot with a Voigtlander 35mm f1.2; I used a Voigtlander 21mm f1.8 for some wide shots. I bought both lenses from Stephen Gandy at Camera Quest a few days into the production. The first couple days I was using a friend’s Canon 50mm f1.2 with a Metabones adapter. The Canon lens takes some beautiful photos, but I was much happier when I started using the Voigtlanders because they’re much smaller (than the SLR lens, but pretty big for rangefinder lenses) and because I just LOVE true manual lenses with focus peaking on the A7. I have never used the autofocus function on the camera, and I never plan to. Because of focus peaking I’m now faster with manual lenses than most are with autofocus. Especially with a true manual lens. I love the control you get from really feeling the lens elements move directly with the turn of your wrist, instead of focus by wire from electronic signals in an autofocus lens operating in manual mode.

And when you have lots of moving pieces around you that you’re trying to capture, it’s SO MUCH easier to compose the scene and surgically adjust the focus as people move, rather than autofocus on a subject then recompose, and refocus if anything moves, then try to recompose again, and then repeat again if anything moves again… screw that. The difference is night and day for usability. Personally I don’t ever want to use autofocus again. Autofocus is a downgrade for me. It definitely takes a little bit of practice, but if only most photographers could discover how much more usable manual focus is when you’ve got focus peaking, there would be more attention devoted to creating more compact fast manual lenses for us to drool over.

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Also, the Sony A7 was a HUGE talking point on set. EVERYONE wanted to see it. EVERYONE used Canon for EVERYTHING! Who’s this kid causing all this damage with the Sony? And I would tell each of them to sell all of their SLR gear and all their SLR lenses; unless you just like to keep vinyl records and 80s cell phones, mirrorless is the future!

I’m still growing as a photographer, and I’ll keep moving along my path. I hope you like some of these shots I took back in January. I welcome any and all constructive feedback. Thank you for your attention.

Full album and original post can be found on my blog here.

You can follow me on Instagram at http://instagram.com/juddweiss

I’m on Facebook at https://www.facebook.com/juddweiss)

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Sep 212014
 

A Quick Look (with samples) at the new Voigtlander 15 4.5 II VM Lens by Foto Ingo

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From the Specs Sheet : Super Wide Heliar 15mm F4,5 VM II aspherical Here we proudly present a completely new ultra wide-angle lens.

Current high-resolution digital cameras are demanding and so they often need a new lens construction to satisfy those megapixels in regard to sharpness, detail, colour and so on. A lot less colour-shift in the corners even (when combined with really high resolution) and better contrast, especially when using the widest aperture, are the main differences between the current and the NEW Heliar 15mm.

The NEW 15mm Heliar consists of 11 elements in nine groups.

Hello Everyone!

I’m a long term reader of Steve’s Site and it wasn’t until “The Criuse” 2012 that I was to meet him, his beautiful fiancée Debby and some other interesting people… It was an awesome trip for sure. So many friendships were born back then. But back to the present (or future??).

Right now I use a Sony A7 and an A6000 with various manual lenses (and some Sony lenses) and I’m  kind of happy with everything… Except for the fact that there was no small “rangefinder like” wide angle available for the A7/A7r series. Today I visited Photokina in Cologne (1 hour drive from where I live) and had the chance to check out the new Voigtlander 15mm for M-Mount II !! I was really happy that I had my A7 and my Leica M to NEX with me when I heard that I could use it on my own camera and take pictures with it!  (Delivery should start in February 2015!!!)

So, I thought I would give my findings to Steve and all lovers of the A7 series.

Summary: I could see no or maybe a REALLY small amount of color cast in the corners ! (maybe it was only a tiny bit of vignette?) I could see no or maybe a REALLY tiny bit of vignette ! The sharpness is nice and NOT much mush in the corners ! I sold my 15mm M39 only 1 week before so I can tell you, that the differences are HUGE ! I will preorder it for my A7 the day it becomes available ! (depending on the price of course) No word on the price so far, but I ́m really looking forward to February 2015 and not only because I have my birthday there… ;-) Thx everyone and good night.

Ingo Schäder www.Fotoingo.com

Quick Samples below:

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Sep 192014
 

New Reviews on the Way! Leica X, Zeiss Touit 50 2.8, IBELUX 40mm f/0.85, more!

 

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Next week I should have a few new items in my hands for review. First up, the Leica X with the new 23 1.7 Summiulux ASPH lens. The X many of us have been asking for (though without the integrated EVF that we BEG for) with the faster glass and stunning Leica looks. How will it hold up? From early reports and images I think the image quality will be just as it always has been, pure Leica. Even the X1 and X2 have the Leica signature, so this one will have even more of it I think due to the lens. I will so a 1st look report as soon as it arrives to me.

Also coming in next week is the Zeiss Touit 50 2.8 for the E mount system as well as the Ibelux 40mm f/0.85 for the APS-C E-Mount system. Two lenses I am happy to test on my Sony A6000 as they are APS-C lenses.

The Ibelux 40mm f/0.85 for APS-C Sony E-Mount. What a killer lens for the Sony A6000! Click here to see more at B&H Photo on this lens. 

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Finally, the Lytro Illum is coming and that should be VERY interesting indeed. I reviewed the original LYTRO long ago HERE and was not a fan. I am hearing the new Illum is pretty good, but IMO, will still be very limited. Nice to see them pushing the technology though. Will report with a 1st look next week.

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I want to wish everyone here a happy weekend and be safe, be happy and get out there and shoot!

Sep 182014
 

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Re-Visiting the Canon Dream Lens, 50 f/0.95

When we choose and buy our cameras some of us fail to realize that the heart of our camera is not our sensor or the camera body itself, it is the lens. The lens is what makes the camera “see”..it is what delivers the image to the sensor..it is the eyeball of your camera. The better the lens, the sharper your image, the more correct and richer the color saturation and you will also have the least amount of distortions. Choosing the right lens for your camera is the same thing as a painter choosing the right brush for whatever job they are doing.

For example, if I want a nice portrait lens when I am shooting a Leica M, it is hard to go wrong with a 90 Summicron APO. if I want wide angle, there is the Voigtlander 15 or Leica WATE. When I want subject isolation , a 50mm Summilux or Noctiliux fits the bill. Each lens delivers a different look, this is a fact. Some lenses are soft, have distortions and issues, yet they can still create a nice image. Some lenses create sloppy or horrible bokeh and others will give you creamy bokeh that just melts. Again, choose the lens for what you are trying to achieve.

Lenses ARE the heart of your camera system yet so many of us skimp on the lens. I wonder why? Why am I babbling on about this? Well, it is a longish story but one that I am happy to tell because the lens I am talking about today is a special one, and even a controversial one at times, but it is a beautiful lens to me regardless. One of those lenses you pull out when you want THAT look that only it can give.

Over a year ago, in June of 2013, I wrote a review on a unique lens that had gained a cult following of sorts. A lens that was known for having a crazy “dream like” rendering when shot wide open at its uber fast aperture of f/0.95. Up there with lenses like the original Noctilux or the Canon 85 1.2L. The Canon was a lens that I never saw in the flesh but was wowed by in photos (sometimes) that were taken by others using the lens. It was a quality that I never saw in ANY other lens, cheap to crazy exotic. While a lens like the Leica Noctilux is technically superior to this “Dream Lens”, it can not do what this lens does and vice versa.

The Canon 50 0.95 “Dream Lens” was originally made for the Canon 7 Rangefinder film system of the 1960’s and 1970’s. The 50 f/0.95 was the super fast aperture solution when shooting the Canon 7, and when you look on E-Bay or classifieds for this lens today you will mainly see it in the Canon 7 Rangefinder mount which is unusable for Leica M shooters unless it is modified for M mount use.

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There have been a few of these 50 0.95’s sent in for a Leica M conversion and some have been done horribly bad, some have been done pretty nicely, and some have been done superbly, as in, they could not have done it better. Some have even added a 6 bit code to the lens so the digital Leica M will recognize it as a Noctilux and apply corrections. Pretty slick.

To those who own this lens in M mount, they usually adore it and most say they would never sell it. Because of this,  you do not see too many out there in great shape with a proper M mount conversion because if you do sell your mint M mount copy, chances are it will be very hard to find another just as good, ever. I should know, that is exactly what happened to me. After writing my review over a year ago I had a flood of e-mails offering me crazy money to buy my lens. I loved it and did not want to sell but I usually love money more than gear and get it when I can (money), especially if it ended up where I actually made a few bucks. So I sold my last version over a year ago which was an 8/9 out of 10 for condition, focus and IQ. It was so so good!

Of course, after I sold the lens I missed it within 2 days, even with $3500 in my bank account from the sale. I regretted that sale more than almost any other sale I have made in my photographic life. WHY? Not because this lens was such a technological marvel, or super sharp or up there with the likes of the Noctilux. Nope. I missed it because when I was shooting a 50 Lux the day after I realized I would never again have that special look that this lens gave me. In reality, this lens is a special effects lens when shot wide open and when shot from f/2 on it is like a normal fast lens but very sharp and with a very creamy draw. But it is the wide open use is what gave this jewel its nickname of Dream Lens. It renders the background into a dream like blur. A watercolor effect almost. It is pretty amazing IMO. As I said, nothing like it out there and to be able to use it on a Leica M or Sony A7, in full frame, as it was meant to be shot but with modern ISO capabilities..wow. Take a look at the Flickr page for the Dream Lens, which has been up for years and funny enough, was started by Ashwin Rao! LOADS of samples there that will show you what this lens does.

So yea, I missed it after I sold it. Damn! Even though my last copy sold for $3500, and I had a few who wanted it at that price, and even one offer at $4000 that came after I sold it, I still regretted the sale.

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So I started my search for another MINT copy

Since the last sale I kept an eye on e-bay and some classified sites searching for the perfect copy of this lens. I was picky. I was waiting patiently for the “one”, hopefully a 9/9.5 out of 10 and I wanted a hood, cap and 6-Bit coding. I was ready to pay up to $3k for one and did see some on E-bay from China that were selling for $2800-$3000 but was hard to trust those sellers as you never know just how the lens will be. Will the focus be spot on for the RF? Will it be clean without scratches or haze or fungus? It was a chance and shipping from China to the USA was a little risky, though it could have and most likely would have worked out fine. Still, I waited until I came across one that was either local or close to it.

Then I found one…

Then, as I was ready to lose patience and jump to buy a “92 out of 100″ rated dream lens on e-bay from a vendor in China I saw a a Facebook notification, as it was a sign.. it was a a post with images of a MINT M Mount Canon 50 0.95 with 6 bit coding. Hmmm. I even knew the guy, Jeff Warren, as he was at my last workshop in Nevada! He even lived in Los Angeles, a 5-6 hour drive from me. Jeff hinted that he MAY be selling in that Facebook post so I messaged him and we chatted, I thought for a bit and I bought it. He even sent it Fed Ex overnight, the same day, for no extra charge. I received the lens in less than 24 hours from the moment that I sent him the money via Paypal, 19 hours to be exact.

My main concern was that it would be off with the Rangefinder of the Leica because at 0.95 there is a VERY thin DOF. Any misfocus would be a nightmare as I have experienced first hand with a few fast lenses over the years.

Luckily it arrived and it looked amazing, a solid 9/10. The glass was/is perfect. No issues. I mounted it to the MM (no need for an adapter as this is M mount with 6 Bit) and fired away some shots. Perfecto! I mounted it to the A7s with a Voigtlander M to E adapter and even more WOW. Was so awesome shooting it on the A7s. Easy to focus with the large EVF and it felt really good on the A7s body. NOW THIS is a low light combo to dream for.

ULTRA THIN DOF at 0.95 – Sony A7s.  Some vignetting when used on the A7s at 0.95, that is the only issue. Look how TINY the in focus area is on the block wall. The rest is not lens softness, it is BOKEH, all out of focus due to the extremely small depth of field. 

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Regrets?

So after a couple of hours being happy as a newborn baby with a mouthful of milk I asked myself…”so, do you regret buying this for so much money“? My answer to myself was NO!! I was HAPPY, I was THRILLED, I was ECSTATIC. I told myself that I would not sell this one. But I have been here before, with many lenses that I swore I would never sell. None of them have tugged at me like this one though. Sure, I have owned them all – the Noctilux f/1 and 0.95, the SLR Magic 50 T 0.95 Hyperprime, the Mitakon Speedmaster and of course the Summicrons and Summilux lenses, which are all gorgeous and technically amazing. But this lens just does something special and while it is not an every day lens, it could be if you stopped it down to f/2 or f/2.8.

I am going to start using this lens with the A7s, MM and M in various locations and clubs shooting local live bands, which on many occasions shoot in near darkness to small crowds, ver small crowds. This is a lens that will do great things in these scenarios I think. I am also going to bring it out for certain portrait sessions, to add that extra flair and uniqueness that you do not see in many photos these days. I am not talking about just doing the whole shallow DOF Bokeh thing, but using it artistically and effectively.

I missed focus on this one with the A7s somehow, but I still like it :) A B&W filter was applied in processing.

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The fact is that this lens brings us a “draw” that no other lens does. Period. This lens is also pretty rare set up in an M mount with 6 Bit coding. It is even rarer to find this in a 9/10 condition. I am vowing to hang on to this lens!! Hehehe. We will see.

When I wrote about this lens in my 1st review I mainly used it with the M 240, which also rocks with this lens. Since I did that review with the M, I wanted to focus on using it with the A7s and Monochrom this time around, so this is what this article will be about.

The Canon 50 0.95 on the Sony A7s. I also have my JB grip on the camera as well as a ARTISAN OBSCURA sticky soft release.

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First up, the Sony A7s and the 50 0.95

With the new Sony A7 series, particularly the A7s (my fave of the three) this lens takes on a whole new world of possibilities. For one, this classic fast lens can now be used on a full frame mirrorless camera with integrated EVF and up to insane ISO’s. Much like the Mitakon I reviewed a while back, this lens will make the A7s a true king of the night. At f0.95 and ISO capability up to 100k usable, there will be no light that you can not shoot in, period. Add to that the moody possibilities and artistic weirdness that the Dream Lens puts out and you can create images that not many others can even get close to in style and flash. Of course, you have to know your stuff..know what you are doing, otherwise the images will look bad, even VERY bad.

But use your skill to its fullest and you can create some interesting images that are worthy of framing. Images that people will see and say “wow, how did you do that”.

When this lens is on the A7s using the Voigtlander close focus adapter you can focus in VERY close. MUCH closer than you can when using it on the M or MM. This is invaluable and will even make the dream lens MORE dreamy. It is true, when this lens was given the name “Dream Lens” it was for a reason. Just take a look at my original review to see some dreaminess with the M 240.

When I used this lens with my well used A7s, I think it was the best ever match for this lens, and the good news for A7 shooters is that you do not need to find the rare M mount version to use this on the A7. you can now buy a standard Canon 7 version of this lens, of which they are plentiful on e-bay, and use a canon 50 0.95 to E mount adapter. This can save you about $1,000 when buying the lens if you only want to use it on a Sony A7 body.

After realizing this, I started to really realize how special the Sony A7 series is. I mean, I knew it was already but there is no other full frame system out there that can do what the A7 series does, especially the A7s. This is the 1st ever camera, full frame, that will allow you to use this Dream Lens and even use it with close focusing, AND nail focus due to the critical focus you can achieve with the EVF and magnification.

I love this on my MM and M but for the ultimate Dream Lens experience I think it should be shot on an A7s. End of story. After using it with the A7s I wanted to carve my name in the side to assure I never am tempted to sell it for some quick cash. :) I did not do this of course but I have to say, I love this lens. Below are some images with it on the Sony A7s.

All images below are from the Sony A7s and Canon 50 0.95, WIDE OPEN. You must click on the images  to see them larger and in the correct way. If you do not, you will not see  them the way they were meant to be seen.

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As you can see this lens can perform well on the Sony A7s, in daylight or in darkness. In fact, I prefer it to the original Leica Noctilux f/1. It is sharper at the focus point and has a nicer draw for my tastes. It is also easier to hold and balance on the camera. The more I use this lens on the A7s and Leica cameras, the more I realize just how special of a lens it is. At the average cost of $3-$3500, it is a great lens to add to your collection if the look and capabilities it can offer are to your liking.

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On the Leica MM this lens is a wonderful match as is any classic lens. I feel the Mono is at its best with classic glass over modern analytical glass and this Dream lens helps to round it all out. The IQ is stunning and while not like a Noctilux 0.95 in perfection it has its own Mojo going on that can not be denied.

Before I keep on going on about my love for this lens, I will say that not everyone will like this lens. Some will HATE it. Many like what I call “The Summicron Look”, which is clean, crisp, sharp and even. Many who love that look HATE the look of the Canon Dream Lens. They will say the Bokeh is awful and busy and the lens is soft (it is not soft though). So before you even think about this lens,make sure you LOVE what it does because if you do not then you will tire of it.

With that out of the way, using it on the MM is quite lovely. You lose the closer focusing of the A7s but you are shooting in pure B&W and this lens loves B&W. It has a nice micro contrast  that is gentle and allows your subject to pop while the edges and background just melt away into a fantasy land. Wide open it is quite crazy. Stopped down it is nice and smooth.

The main issue with users of the Leica M or MM is you want to make sure the M mount Dream Lens you find/buy is good with your cameras RF. Many old lenses are off, and if your lens or your camera is off just a hair, the lens will be a challenge to focus. If possible, test the lens before buying, which in 99% of cases is impossible I know.

The B&W from the MM and this lens is richer than the A7s with B&W. It’s a whole different style of shooting as well, much different. RF shooting is something that will be rewarding when you get out there and get those shots using manual focus and manual controls.

Below are a few shots with this lens on the Monochrom.

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Getting the most from the Dream Lens requires a few things..

If you choose to buy or use this lens or even if you have one and are thinking, “My shots do not look that good, mine are low in contrast and softer and do not pop like these”, then read on as I will tell you how to get this look from this lens. The Canon 50 0.95 lens is a lens with lower contrast than most modern lenses so when you process the photos you must do a couple of things to bring out the goodness in the files :)

First, PLEASE shoot RAW. This is not an OOC JPEG type of lens. For you to get the best from it you need to bump the contrast and add some sharpening as well. I shoot RAW and when processing the RAW file I bump the contrast slider up until it looks good without going overboard. I also mess with the shadow slider to bring out shadows that were covered by the contrast slider. I may also tweak the highlight slider if needed. Add some sharpening and convert that file to a JPEG. That is all you have to do, but when you do it take s an OK image and makes it into one that will be much nicer looking. To those who complain about this lens saying it is soft, low contrast, or has issues..well, you either have a bad copy or are not using it correctly. I recently saw a comment on a popular forum that was a reply to someone asking about this lens..the reply? ” that lens sucks. A coke bottle would give you better images at f/0.95. It was mostly a bragging rights lens by Canon that was made especially for the bling-bling gold Rolex watch, silicon boobs, Lamborghini owners. My thing is bigger than your thing kind of thing……..” 

It is safe to say that this person had no clue as to what they were talking about. :) The lens is beautiful and sharp even wide open. In fact, I find it sharper wide open than the original Leica Noctilux F/1.

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My Original video on the Canon Dream Lens

I did a video over a year ago on this lens with my thoughts on it back then. If you missed it, take a look below:

Final Word on the Dream Lens

I will tell you what I told you over a year ago HERE in my original review…

If you lust after this lens, BUY ONE if you can find one in great shape. Prices have went up and will continue to go up. Mark my words. In two to three years this lens will be hovering around $5k for an M mount, mint, with cap and hood, 6 Bit coded, maybe more than that in 3-5 years. It offers just as much fun as the Noctilux 0.95 with more uniqueness for 1/3 the cost, 2/3 the size and 1/2 the weight. For me it even beats the old Noctilux f/1, which Leica created due to this very lens.

If you shoot a Sony A7 series camera it is so good on these bodies, a truly drool and lust worthy piece. If you shoot an M you can use live view for critical focus and on the MM it is a beauty. But do not expect perfection, not at all. This lens is not about being perfect. It has some vignetting, it can be soft looking if you mis focus and  the contrast can be slightly low if you do not tweak it. What makes this lens so sought after is the Bokeh, which is unlike any other lens ever made. You can really make some images that are very painterly with this guy.

At the current price of around $3200 for a mint M mount copy they will not be heading down or getting cheaper. If you like the look of the images here, in my original review, or on the Flickr group then this  is the only lens that will give it to you. Happy Hunting and if you own this lens, leave a comment letting us know how you like it, how you shoot it and what you shoot it on! Thanks everyone!

Steve

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

Hello to all! For the past 5 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 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. Many times I give away these items in contests to help give back you all of YOU.

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Sep 162014
 

Medical Mission

By Brian Ho

Hello team Huff!

I first entered photography with a manual 1960s honey-well Pentax and 50mm lens in medical school. It was my uncles and an easy way to collect some credits. I soon expand to a canon 40d, and then the 5d mark II (85 f1.2 lens). However that 5000$ system would often sit at home and only taken out occasionally. I then read your article on the RX1 and RX100 and bought both of those at once with the slush funds of selling my previous canon system. I really loved the RX1, but longed for a little flexibility in interchangeability.

I then switched to the sony A7 and Leica summilux 50 f1.4. But for some reason I couldn’t shake my nostalgia for the RX1 and its images and feel of the camera. The Leica A7 combination felt imbalanced to me (literally b/c of the lens weight and artistically), and i re-invested in the Rx1 and sold the A7. I kept the leica lens though, maybe it’ll get me into the next leica system.

I am a Otolaryngology head/neck surgeon and recently returned from a medical missions trip in Peru. Medicine has really inhibited my interested in the arts, but photography is easily included for documentation purposes. So i hope that you guys enjoy some of my photos, with minimal touch-up and cropping. I think that the operating theater is a place that few people ever get to see the joys and awe of. It’s a place where the lighting is dramatic and where a lot of miracles happen.

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Sep 152014
 

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Black & White with the Sony A7s, Leica Monochrom and Cheap lenses!

There is a beauty to B&W that is oftentimes not seen in color. Sure, there is place for color photography as our own vision is in color, this is how we see but there is something classic about B&W that just pulls at the heartstrings for many of us. When I was growing up the big thing was Polaroid cameras and instant film. Even 110 cameras and those silly disc cameras with disc film were in. There was NOTHING quite like what we have today and photography, while well-loved by so many back then, was not practiced nearly as much as it is today.

The Sony A7s with the Voigtlander 15 f/4.5. For ANY Leica Monochrome or Sony A7s shooter, his lens is a MUST own. It does well on color on the A7s as well. One of my faves. At $599 shipped, you can not go wrong for those times when you want wide-angle on your full frame. 

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With so many color filled images on Facebook and in all of the social circles I have become quite fond of pure, simple B&W photography.

Yesterday I went out to shoot some portraits of my (soon to be) stepdaughter Katie. I brought along my Monochrom, a Sony A7s and even a Mamiya 645 with Leaf Credo 40 back (have it for testing now) and the HoldFast Money Maker and Roamographer bag I just reviewed. I have to say, this Sony A7s just keeps on impressing the hell out of me. Seriously. It seems there is NOTHING it can  not do. From ultra low light to super bright light. From rich color to pleasing B&W. From using Sony FE lenses to using Leica mount lenses. It just seems to do it all, very well. I won’t even get into the video aspect, which is its main feature.

Even the 85mm f/2 Jupiter 9 that I paid $80 for is a fun lens. This is another Russian Leica screw mount lens and while it is a bit soft wide open it is well worth the cost for when you want a soft look. Sony A7s.

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For me, so far, the Sony A7s has been the best camera release of the year. Even with all of the new stuff at Photokina, so far, nothing has gotten me more than the A7s in 2014. I was shooting it yesterday with a $30 Jupiter 8 lens I picked up locally, which is a Russian Leica Screw mount 50 f/2. Yes, $30. How can ANY $30 lens be any good? Well, it may not be anything like a Leica or Zeiss 50 but it has its charms for sure.

Below is an image I shot with the A7s and Jupiter 8 lens, wide open at f/2. For $30 it can render a beautiful soft image. This was shot on the Sony A7s.

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As I mentioned earlier, I also brought along the Leica Monochrom, which for me is an instant classic. I feel Leica will release a new Monochrome in a year or two based on the M240 or whatever the next M will be. If they do, it will not be like the current monochrome due to the CCD sensor. Again, as with the M9 vs M 240, there will be fans of each model. The Monochrom has something about it that makes you just want to use it, shoot it and LOVE it. Is it worth $8,000? No. But it is a wonderful camera to own and use and it has results that can be superb, depending on the lenses you use with it.

The Leica Monochrom with Voigtlander 15 (cropped)

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The MM is simple in its design, it is an M after all. It has simple menus, basic settings, and is small yet very sturdy and solid. Many scoff at buying a camera that can only do B&W but if you love pure and true B&W imaging and have a true passion for it, there is no other alternative. For me it is like having a Leica film camera loaded with every B&W film type on the market and then some. You can dial in any look you want from Tri-X to Neopan to Delta.

The Leica MM with the Voigtlander 15 – cropped

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So how much difference is there between a file from the Sony A7s and Leica Monochrom when both are done in B&W? Well, the Monochrom will have much more fine detail for super large prints and a more subtle shift of grey tones throughout but the A7s is also very nice with B&W imaging. For the images here I used VSCO filters for ALL of the images so they will all have a similar signature and look. Without those filters the differences are more pronounced with the Monochrom giving a deeper range of grey tones to the image. But I have to hand it to the A7s. It rocks with color or B&W. Daytime or night use. But I still love my Leica MM! Also, use it with some great lenses and it will really strut its stuff.

You must click on these images to see them correctly and larger/better quality. This one is a full wide image from the MM and 15.

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For this shoot I used not only the Voigtlander and the Russian glass, I also use the Sony/Zeiss 55 1.8 which is a fantastic lens. Contrasty, sharp even when wide open and has Auto Focus so you do not have to be critical with your eyeball :) Both images below were with the A7s and 55 1.8 lens.

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So while B&W may not be everyone’s cup of tea, I love it. For me it pays homage to Photography’s past while also allowing a purity to come through. No white balance to worry about, no color shifts, no problems. Just pure. simple. photography. I would like to thanks my model, Katie Casey for her time and patience with me while I tried to manually focus those old lenses in the 100 degree heat :)

You will notice I did not include any images from the Leaf Credo/Mamiya system. I shot about 20 images with that setup yesterday and it was a BEAST. Heavy, cumbersome, large and loud.

 With that said, here is one from the Leaf setup though the shadow of my head ruined the shot:

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and again, the similar shot with the A7s and $30 Jupiter lens which shows the soft Jupiter signature:

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You can read my full Sony A7s review HERE or buy one HERE at Amazon or at B&H Photo HERE.

You can read my full four-part Leica MM review HERE, see my gallery HERE or buy one at Ken Hansen ([email protected]), PopFlash.com, Leica Store Miami or Pro Shop. Also at B&H Photo or Amazon.

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