Fine Art Photographer erupted out of a long Hospitality career as French trained Chef & Corporate Level manager. Championing the Sony A7r Mirrorless camera system & collecting & blogging about lenses, has become a dominating theme in my online presence.
Soon my wonderful wife and I will be launching a boutique restaurant in the Sierra Foothill which will undoubtedly enrich an already busy life!
I’ve revisited this blog to remind myself of some of the principles and discoveries along the way. Two wonderful photos came out of this location, the first, which I discuss below, and cover shot of the pier itself, which after quite a bit of editing, became a bit of an abstract. This is really a unique photo because the iconic boathouse was under construction and not there!
I’m really trying to rejoin my photography side which has been dampened by our now defunct restaurant, Christina’s American Bistro. Imagination, passion, and vision of a project isn’t limited to the traditional arts. Artistic endeavors, which the restaurant certainly was, fill the life of an artist. It’s not something that I can turn off. I look forward to the return of the photographic arts.
This photo, which was taken over two years ago now, was one of many turning points in my photography career. I had been shooting beaches throughout the trip, mostly coral, using slower pictures to capture water flow as it went over the changes in formations. There were none available to shoot at the foot of the Hanalei Pier and it forced me to be creative. The sunsets in Hawaii are generally pretty spectacular. I don’t recall a day where there isn’t some sort of cloud formation and reflection off the surf. Surging waters on the beach are one of my favorite places to capture reflections. I started to look around for something to put in the picture and the concrete bottom of the pier was the only real option. I started snapping away, not too mindful of the pier itself as part of the photo, just as a frame for the surf. When I got home is when the learning started. Focusing on the obvious features like sunsets, isn’t always the star of a photo. While they can be spectacular, other less noticeable aspects can become the subject and can dominate with pleasing backdrop. I file these tools away and utilize them as I go about my shoots. Hence the “aggregate” statement below.
The biggest single thing I learned(in college) is that, everything a manager does is an aggregate, which creates environment. This has served me well in the Executive and Photographer role.
This photo under Hanalei Pier on Kauai, I posted originally after taking it January. It continues to be my wallpaper!
See more Hawaii at http://www.bitchinlight.com/
The “Noct”, the “Dream”, the “Dark Knight.” These are the fastest full frame lenses available that aren’t limited in some way (fixed focus, gazillion dollars, limited prod) . I’ve gathered them together and will attempt to get them on a level playing field. Many will shout the Mitakon Dark Knight is the only reasonable option! It is the only native FE mount. Will that make a difference? Is $10,000 (6,852,000 Somalians) too much for night vision? Is the “dream” a nightmare at 5k?
This is part two of my blog about fast 50 lenses. “All the tests and pictures here are done on the Sony A7r. It’s 36.4 megapixel sensor is demanding and shakes out anything not worthy. With the exception of some wide angle M mount lenses mentioned in previous articles, that suffer from severe vignetting and color fringing(that don’t perform on A7r), lenses that work on the 7r, perform great on the other 7 series cameras. These gems are not exceptions.
The Mitakon weighs the most of the three at 720g, followed by the Noctilux (700g) and the Canon (605g). None of the trio is lightweight. There is a price for the large aperture. The Noctilux is the only one of the three that has aspherical elements and a rear floating element. The Mitakon has 10 elements in 7 groups(extra glass explains +grams), the Noct, 8/5 and the Canon 7/5. Mitakon contains 4 extra low dispersion elements, the Noctilux has 5 partial dispersion lenses. The Mitakon will focus in half the distance of the others at 1/2 meter. The Noctilux does come in Silver. The Canon originally was in a bayonet mount particular to the Canon 7 camera. My copy was converted to Leica M mount by KevinCamera.
Those of you familiar with the last blog will recognize a similar test studio. I shot three apertures, 0.95, 2.8 and f/11 in the studio. Two remote locations, Auburn Regional Park(CA) and Nevada City, CA for real world photos. All the photos I took will be available on Flickr, but the really important ones will follow.
One of the most difficult attributes to test is Bokeh. Finding the right conditions outside is challenging. These first shots are all focused on bottom of test chart for basic shape. Bokeh is such an individual preference, I find the Canon and Leica are both outstanding.
WIDE OPEN RESOLUTION The two relevant areas here are pretty basic, centers and edges. Most don’t expect the ultimate sharpness in a fast lens wide open. None of these broke that tradition. All three lenses show some mild vignetting. Nothing that isn’t correctable. Noctilux shows some purple fringing here. If there is a knock on the M mount lenses on the A7r… It’s purple casting. It’s slight on the 50mm, but present at wider apertures.
The cleanest edges here were on the Mitakon! While slightly less sharp in the center than the Leica, it beat both others in edge sharpness. The Canon shows more DOF coverage @ 0.95 than either. You can read some of the galaxy etchings in the crystal cube on the Canon which is in front of the flat background. They’re pretty fuzzy on the Noct & Mitakon. The Canon is the softest of the bunch in all locations of test chart.
2.8 REASONS to Dream!
Some of you will no doubt just skip anything but the wide open analysis. Can’t really blame ya for that. It’s why you purchase this type of glass. However, 2.8 works for many scenes that just a touch more depth is needed. The Canon has this! Still a bit softer in edge detail, it has a big lead in DOF. A bit of orange fringing was present on the Canon. Mitakon stays the edge leader here with the Leica starting to pull away in the center.
BYE BYE BLACK SHEEP, F11
You won’t be dreaming anymore… the darkness of the Knight will be gone… The Leica really shows what two aspherical elements can do and that floating thingy… This is a marvelous lens stopped down. Sharpness is the league of Otus 55! Hell it should be for 10k. Canon shows some blue fringing on the edges. Mitakon, with the extra elements also pulls away from the Canon in center performance at this aperture. You shouldn’t give any negative points to the Canon here, it’s still damn sharp for a 54 year old lens and can hold it’s own on the 36mp sensor.
WHAT’S IT LIKE OUT THERE IN THE WORLD MOM?
It has been my quest to not be boring in these two articles! Ton’s of test shots and the same scene over and over will be minimized (hard to avoid entirely).
Nevada City is a great place for shooting. It’s small enough that I can walk around, shoot, change lenses and walk around again. Being an old mining town, the buildings, streets and people… have character. My second venue, Auburn Regional Park had a kool little stream with some sun poking through. As you’ll see, the representation of each lens, and it’s feel/character are explored well.
First, above we look at the stream, each lens has a distinct look to it. The Mitakon gets squashed like a waterbug here in color rendering and contrast. It may be sharper on the edges, but it doesn’t have the feel of the other two. The next scene has more elements to it and some good bokeh opportunities.
The following photos you can judge for yourself which lens you prefer…
I thought this would be an easy selection, but I guess I was fooling myself. From a budget standpoint, there is one option, the Mitakon Dark Knight. It’s a tad heavier than the others, has enough glass inside to perform really well for any type of close up photography. I’ve tried it a couple times in larger landscapes, and it doesn’t perform. It takes some post processing to get additional feel from it’s shots. Wide open it’s very sharp edge to edge but starts to lose some of it’s strength as you stop it down. Anything under f 6 it’s dynamite!
The Canon “Dream Lens” is really stuck in the middle here. The softest of the three, it shows a unique perspective that can’t be found in any other lens made. This antique is marvelous on an A7r. It’s as distinctive physically as it is in photographs. I’m not alone saying it’s awesome being seen with this lens on the camera! With the upcoming A7rii, I’m afraid it’s lack of sharpness will be even more exposed. The Canon holds it’s own in larger scenes, keeping it’s sharpness as it stops down. Even at 50 plus years old, this is a better all purpose lens than the modern Mitakon.
Finally the Leica Noctilux… Sure you can scream that it’s not worth over 9k! Why would you buy a lens that’s not as sharp wide open as the 900$ Mitakon? My best analogy is a new Shelby Mustang is a really fast car that looks fantastic, but it’s not a Ferrari. The refinements that Leica brings are evident in quality, feel and character. The Noctilux is a complete lens, sharp as hell after f 2, and at smaller apertures, it breathes the rarefied air of Otus… It’s that good. When the scene allows I’d shoot it as a landscape lens which isn’t true of the Mitakon or the Canon really(better, but not great). If price isn’t an object, then this is the clear choice of the three. You really get what you pay for here.
ADDENDUM to the Leica review. I didn’t come up in any of the scenes during my review, but further use has showed the Noctilux has purple banding near the center of the frame on darker objects with bright light behind it. I haven’t tested it enough to know if it’s at all apertures, but wide open, and at 1.1-1.4 this exists and is a huge disappointment on an otherwise wonderful lens. I am getting a copy of a Kolari Vision thin sensor stack replacementA7r and will do further tests.
If I have to rank the three based on all criteria…. The Mitakon, Noctilux, then the Canon, in that order. The Noct just isn’t practical for most, the Canon really is a specialty piece of glass, and unless you need your 50mm to be a primary landscape lens, the Mitakon wins easily. My personal view…. save your money and buy a used Noct one day!!!! Look for a Canon & Mitakon on ebay soon… Til the next time, ET
50mm or thereabouts, is considered the “normal” lens length for a full frame camera. What’s a normal lens? Wikipedia states “a normal lens is a lens that reproduces a field of view that generally looks “natural” to a human observer under normal viewing conditions.” That’s good enough for this forum. According to many, including sites like DXOmark, the Zeiss Otus 55mm is the ultimate normal lens. Leica people will throw the Apo Summicron 50mm into that mix, which I’m sure it deserves. I will be using the Zeiss as the benchmark lens. It’s fast enough at 1.4 to compare well with these wonderful antique fast 50’s. If someone wants to lend me the Summicron, I’ll use that too! Part one will look at 11 of these marvels, saving part two for the three super fast, 0.95’s
The difficulties I faced taking on this project were many.
how to put all these lenses on a level playing ground
keep investment in time reasonable
use what I have available
how to present the data
keep it interesting
not be too frickin long!
This is the criteria used for the basic testing.
light enough background to check vignetting
Multiple depths within the scene for 3d
contrast points on edges
flat surface extending to edges to check shallow performance frame wide
different colors, surfaces
two different lights to check bokeh detail
two test f stops, wide open and f 8.
Crops done at 3:1
Perfect right!!! Probably not, but it works and doesn’t leave too many holes.
First up, the Legacy Glass:
Konica Hexanon, 57mm 1.2. KR to NEX adapter, 463g, 62mm filter. 1st introduced in the late 1960’s. There is a mild yellow cast to this copy which isn’t that uncommon inside older lenses. Some time under a LED light can clear it up in most cases. This Konica has a warm feel and I liked it instantly. It shows a bit of vignetting wide open, but nothing that effects image quality. I can’t speak for everyone, but I don’t have a 62mm filter laying around. It’s an odd size. It’s very consistent across the frame at both test apertures with a dramatic increase in sharpness as it stops down. Cost, 375-800$. Don’t confuse this lens with the amazing Hexanon 50mm 1.2. Well over 3,000$
MC Rokkor-PG 1.2 58mm, MD to NEX adapter, 474g, 55mm filter. Shortly after receiving this lens I had a new favorite! It was introduced in 1966 and the MC version was produced into 1972. I thought like many, that this was a specialty lens, great bokeh, really fun for low light photography. When I tested this lens for sharpness I was blown away! Fairly typical wide open, touch of vignetting and loses some sharpness on frame edges. At f8 this lens is tack sharp! Cost, 375-600$ (Don’t pay more than $425, plenty of great copies in that range available). This is a must have for legacy collectors!
Canon 50mm 1.5 Rangefinder,L39 to NEX adapter, 269g, 40mm filter. This Leica copy(summarit 1.5) is tiny. Sharpening up after f2.8, it’s the softest lens here wide open, also the slowest of the bunch. Color is spectacular and it’s very capable for high quality photos stopped down. Like most of the smaller 50’s, it can be tough to focus, even at 14.4x(A7r magnifier). The little Canon is rock solid and beautiful. Note: M39 to M plate can be used if you already have a M to NEX adapter. Cost, 300-400$
Canon FD 50mm 1.2 L,FD to NEX adapter, 376g, 52mm filter. The distinctive red circle around on the front tells you instantly this is a different lens from other FD 50’s. It has a floating aspherical element which makes it extremely advanced compared to most any lens then and now. Introduced in 1980, Ken Rockwell fawns over this lens, not that he fawns over anything… The FD does set itself apart from many 1.2’s. It shows remarkable DOF and sharpness at 1.2. Stop it down and it’s crisp! I don’t expect a 35 year old lens to compete with the near perfection of Otus, but comparing the two at f8 will leave many wondering why you’d spend another 3200$ It may be the best of the fast fifties… Cost, 675-1,300$
Canon 50mm 1.2 Rangefinder, LTML39 to NEX Adapter, 346g, 55mm filter. Reasonably sharp with less contrast than the Otus wide open, this lens was first seen in 1956. My copy was made after 1961. It does show mild vignetting at 1.2 but like all the early Canon’s, it has great bell shaped bokeh and good color. At f8 this lens gets much sharper as you’d expect, but loses some clarity towards the extreme edges. Overall very usable in most any situation except close ups. Minimum distance at least a meter! Cost, 450-900$
Nippon Kogaku, Nikkor S Auto 55mm 1.2Nikon F to NEX adapter, 424g, 52mm filter. Introduced in 1965 in the Nippon Kogaku version, Nikon later dropped the Kogaku designation and continued production until 1978. Some say this lens doesn’t have the contrast it’s constituents do. That might be true on the edges @1.2, but this lens ROCKS! It does show some vignetting. Bokeh is excellent. Once I started cranking it down… as sharp as anything here. I’m thinking we have another front runner for best classic lens…. Cost, 200-450$
Zunow 5cm Telkoku Kogaku 1.1,L39 to NEX adapter, 411g, 54mm filter. This is the rarest and most expensive lens in my collection. It is second only to the Leica Noctilux in price. A chrome beauty, it fetches well over 5,000$ in good condition. The black models can go upwards of 19k! Early versions were seen in 1953 and it was the fastest lens of its time. Despite it being a highly valued collectors lens, I’m still trying to find it’s happy place! Very soft at 1.1 and difficult to focus, the Telkoku does produce spectacular backgrounds and has the fluttery bokeh characteristic of Petzval lenses. It’s tack sharp in the center at f11 and improves going up from f2. Cost, 5,000-20,000$
Nikkor S-C 1.4 5cm,Nikon S to NEX adpater, 171g, 45.4mm filter. The smallest lens tested, it’s also the coolest looking! Coupled with two possible adapter options, it weighs a bit more than the Canon 1.5. Being an internal S mount it requires a focusing helicoid of some type to operate. At f 1.4, this is the worst lens tested. Grainy, no contrast and easily the least sharp… I shot it with both adapter options, gave a bit more light, still horrible. You’d think at 1.4 it would perform pretty well. For a small lens, focusing isn’t an issue. It sharpens up quickly as you bring the aperture tighter for reasonable pictures at f8. Even with it’s good looks, given the choices out there, pass on this lens. Don’t pay more than 300$ if interested, Cost, 200-500$
SMC Pentax, 50mm 1.2,PK to NEX adapter, 394g, 52mm filter. People often overlook this speedy Asahi Optical Co. lens. You shouldn’t! Every bit the equal of the other 1.2’s for character, this lens has worthy sharpness wide open with slight to moderate vignetting. Compared here to the Kogaku 55mm, this lens does show edge darkening and softness. Introduced in 1975 and manufactured to 1984, in the next photo with an Otus close up as a comparison, it does quite well. Collectors haven’t missed this treasure, prices continue to climb, Cost, 375-800$
Sony Zeiss Sonnar T*, 55mm 1.8 FE,no adapter…. 281g, 49mm filter. Some call it the “Baby Otus” Best FE lens made, period. “best autofocus lens ever” according to DXO. Cost, 998$
Honorable mention, Loxia 50mm 2.0, Leica Apo Summicron 50mm 2.0. Don’t have these to test, but they have to be considered in a modern lens search.
Based on size, convenience and cost the “Baby Otus” wins by a landslide. The differences in IQ are almost negligible as we will see. Color rendering, feel, bokeh and edge to edge sharpness, personal preference make this a difficult choice. First look at the DXO ratings, on the equivalent sensor to the A7r (D800e). Big edge to the Otus in sharpness and this shows in some of the test shots. Wide open the DXO rating seems accurate.
As we stop it down the Otus continues to pull away from the FE. Again, this isn’t by a large margin. One thing that really impresses is the focusing ease on the Distagon. The Otus in the viewfinder or on the LCD is like a fine pair of binoculars. Clear, like you’re right there. The FE isn’t bad in this regard but the disparity is noticeable.
Another thing I find amazing about the Otus line is it’s diffraction characteristics. Cranked down there is very little clarity loss. By the laws of physics it has to diffract some, but I can’t see it. Here’s both lens maxed out. I won’t bore you here, but the FE softens some at this setting for sure. Check out the entire F stop side by sides directly here.
For bokeh, they’re both pretty clinical compared to the older lenses. The Otus is a bit faster has more character.
Wow, a ton of data to mull! If I had to pick one classic it’s a toss up for first place between the Rokkor 58mm and the FD L, Canon. They are both super sharp for an old lens. In side by side testing against the Otus and a 100mm Makro Planar, the 58 held it’s own! Only in extreme edge detail does the disparity become apparent. Neither of these lenses will do landscapes like the two modern Zeiss’s, and the color rendering of Distagon & Sonnar are amazing. Of the non 0.95’s, which will be featured in part II, the Zunow gets the nod for the dreamiest of the bunch. It’s just unique enough to make it worth the large investment, even if it’s not sharpest tool in the shed….
Best value of the classics is easily the Nikkor Kogaku 55mm 1.2. Kogaku copies, or just the Nikkor S labels, are cheap, great quality and have comparable characteristics of the others here. Those of you who’d prefer to grab a 1.4 lens, to save money, can spend a few extra dollars to acquire this sensational light gatherer.
The Konica Hexar, Hexanon 50mm 1.2 should really be here. It’s pretty expensive and while that’s never stopped me, I have plenty of fast lenses…. I would like it if someone had some shots utilizing this lens. I’d be happy to put them into a album on flickr for comparison to the others.
I will be adding more photos as I go along. The baby dream lens, 1.2 Canon LTM, isn’t represented very well. I really look forward to the 0.95’s!
The lens choices are staggering really. Easily the biggest investment in your camera system is the lenses. Opinions vary greatly! It’s really not surprising because the cast of characters is grand! Professionals, amateurs, landscape, wedding, action, wildlife, still, portrait, weekenders, travelers, vacationers, the cost conscious and the vaunted impulse buyer… all have their opinions!!! With four different A7 models, the performance of a lens can vary on each camera!
There isn’t a subject about cameras that I have more enthusiasm for and have spent more time on researching and blogging about. Several months ago now, we created the Un-Official A7r Non Native lens guide. It’s a practical listing of lenses and their performance to assist in your lens search. It has become a valuable resource.
While a recapitulation to some, what’s mentioned here is the ample experience of many who, in the last several months, used lenses on all models of the A7. I do come at this from the A7r perspective. If you have a flaw in technique it’s highlighted at 36mp. This will become even more the case in the rumored 46 megapixel “A9.” This is primarily a manual lens discussion. It’s not made for sports or action photography and arguments about poor Auto Focus performance are irrelevant. When used properly it has Medium Format ability. I also don’t wish to engage in a super scientific, picture laden exposé.
Enough esplaining Lucy, lets get to it.
The Natives are restless… The FE 55 1.8 has no equal in resolution until one starts talking Otus! A fantastic AF lens that makes the A7’s sing! The Zeiss Loxia 35mm and 50mmprovide exquisite performance in a pure manual lens. The Loxia 35 eclipses the performance of the Sony/Zeiss FE 35mm 2.8, because it’s faster and out resolves it. Have to give credit to Sony/Zeiss on their original 35mm lens though, for the size and money it is still the best, lightest thing going. It gets a bit dicey after that. Largely regarded as the best zoom in FE line is the 70-200. Sharp across the frame, versatile and for it’s size a great lens. The 24-70and recently released 16-35 are major disappointments from most peoples standpoints(Brian Smith loves this lens!). Outstanding in the middle, they both suffer from noticeable edge degradation. People are starting to complain about distortion on the 16-35. That should be correctable in post processing. Both these zooms are more than a match for the A7, A7ii and A7s(particularly video). The original 28-70 kit lens produces very good pictures and is rated just below the other zooms. At this writing we wait for the next hopeful zoom, the Sony FE 24-240. A broader range than any previous releases and the longest lens to date. Another highly anticipated release are the FE 35mm 1.4 and the FE 90mm 2.8 G, I can’t wait!
M mounted perfection… Rangefinder lenses include a few brands, most notably Leica. Voigtlander & Zeiss are the other two large players in this market. A few small companies like Sonnetar also manufacture M mount glass. 98% of these perform with no issues on the A7, 7s and 7ii. It’s when you get to the A7r that problems arise. Mostly with wide angle focal lengths, and particularly with the Zeiss & Voigtlander. Purple fringing and vignetting become evident on many models. Leica cameras, hence the lenses, are designed to utilize the Leica sensor and in camera processing. Sony’s BionX processor & sensor were specifically designed to handle the demands of the rangefinder line, but it’s not perfect. To handle the myriad of other lenses, there is minor trouble converting the edges on the A7r. Be wary of those who say how great these lenses are if they don’t mention which A7 it’s mounted to! One of the drawbacks of many rangefinder lenses is a relatively long minimum focus distance. To solve this issue, many will tout the Voigtlander close focus adapter as the Holy Grail of M to E adapters. Personally the Tinray-Helicoidhas served me well and is less than 1/4th the price of the Voigtlander. The only “smart” adapter option for Leica 6 bit lenses, is thePhigment Technologies, Leica M to Sony E mount adapter. It is a programmable adapter that recognizes lens type in camera and EXIF data(you do have to match aperture on lens manually to setting in camera). This adapter is still a bit quirky and might not work with every Leica lens, but Paul the inventor/manufacturer is quick on support and will even talk you through live! The Voigtlander line is easily the most cost effective of the bunch, but on the A7r, two stand out, the 35mm and 50mm Nokton’s… they of course are two of the pricy ones.
The Roaring 50’s… Fast and furious! There are several fast fifties out there. Fast is considered anything @ 1.2 or below. These lens tend to be old, 1960 to the 80’s. Price range is between $400 to $5000! Most have exceptional bokeh and render in a classic film look in one way or another. The most sought after one of the bunch is the Canon 50mm .95 “Dream Lens” This beauty in pristine condition costs in excess of 5k. A good copy can be found for under 4k. It is pretty sharp in the center and is known for its soft dreamy edges. There is also a “TV” version of this lens which is equally good to my understanding. There have been reports of bad mount conversions(usually to M mount). Make sure it’s a trusted source or that returns are allowed. Listed below are several other great choices for manual lenses in the 50mm range.
Canon FD 50mm 1.2 L
Konica Hexanon 57mm 1.2
MC Rokkor 58mm 1.2
Pentax SMC 50mm 1.2
Mitakon 50mm .95 Dark Knight (2014)
The FD “L” Canon & Mitakon will dent your wallet, at around $800-900. The others can be found in great condition anywhere from $400-500. None of them are lightweight or talk to the camera. Pure manual gold! There are others too! Canon and Nikon make wonderful 1.2 50mm’s in the EF and Ai models. Nikon’s suffer from lack of a “smart” adapter, and Canon glass, even with the Metabones, RJcamera, Commlite or King “smart” adapters run slow AF. The FD “L” version has a cousin, the FD 1.2, and is another outstanding lens, but not quite the “L” and 1/3 the price.
Wide, wide and wider…This is a fairly short discussion, nothing has changed here really. The Samyang/Rokinon/Bowers 14mm 2.8 at around $300 is a great alternative. It has been reported by many to have pretty severe production variances. Make sure you get a good copy at the store or be prepared to send it back if bought online. This lens produces great pictures, comes in an E mount and is full frame. Distortion is correctable in Post Processing. It’s only drawback really is that it doesn’t take screw in filters. Can’t put it in the great landscape lens category when it won’t take a circular polarizer. If you can afford it, the Zeiss Distagon 15mm 2.8 T* has no equal here. It’s big, expensive, ($2995) and worth every penny. The ZE version is electronic and communicates with the camera. No autofocus here either.
Famous wildlife and landscape photographer Art Wolfe, when asked which lens he’d choose if given to him…. The Distagon 15mm.
If money is no object, the Leica WATE(wide angle tri elmar)has to be mentioned here although it also belongs in the Super Lens or M mount categories. It’s a 16-18-21 manual zoom lens that has no ill effects on the A7r. It’s also about 6k new. Good copies can be had for $4500 on the used market. It’s a bit over a third of the weight of the Zeiss, has a bit different feel to it, and damn near as sharp.
Longer options…Portrait & macro lenses abound as well for these cameras. Optically the four best are the Zeiss 100mm Makro Planar, the Apo Sonnar 135mm & two Nikon lenses, both 85mm, the 1.4G and 1.8G.. The Zeiss’s are available in Canon or Nikon mounts. I like that the ZE(Canon), communicates with the camera. Nikon versions, ZF.2, feature separate aperture control, but no EXIF data. Much more cost effective are the Canon FD lenses, which all perform very well on the A7’s. Same is true of the Minolta Rokkorline. Pentax’s Takumar line has lots of participants, especially in 85 and 135mm. All three make zooms that function well. The more modern Minolta lenses have great AF performance using the La-ea4 Sony Adapter.
The Super Lenses…What’s a super lens? Costs at least $4000 for starters, has UN-paralleled optics and has a feel or characteristic lesser lenses can’t match. Zeiss engineers were told to create the perfect lens, no expense spared. They gave us Otus…. the clouds parted, people sang. The $3990 55mm 1.4 Otus is nearly perfect, with almost no distortion and CA(chromatic aberration). Optics are medium format quality or beyond(See my flickr page for several shots with both Otus lenses.) The 55mm rates at 50 on DXOmark,(on D800e, same sensor as a7r & no low pass filter). Recently the Otus 85mm, 1.4 was released. Slightly more expensive than the 55mm at a mere $4500, it rates a 49 on DXO. Both these lenses are quite large and some would say defeat the purpose of the compact A7 series. Judge for yourself, I think the quality is un-matched. The next super lens… Leica Noctilux, 50mm .95. Almost $11k… While none of the Leica lenses are rated on DXO, this masterpiece would rate high! Clinically sharp at any f stop, it has un-rivaled character wide open with an ability to get soft and dreamy. The two older versions of this Leica beauty, the 1.0 and 1.2 Noct’s don’t get nearly as much attention, but are both monuments to the camera world as well. Aldo Nova’s song comes to life here! Fantasy.
Conclusions, conclusions!… For wonderful retro moodiness and great optics as well, the Leica 35mm, in a variety of models are superb. While not quite super lens money, they are pretty superhero’ish… Another intriguing lens is the Trioplan. It has a much different bokeh than other retro lenses and many like it’s aura. Many of the E mount lenses designed for the NEX series and a6000(aps-c) perform very well on the A7’s. They can be shot at higher res in full frame mode, then cropped in PP or shot without adjustment in aps-c mode with corresponding drop in resolution depending on which model you’re using. Many people are fans of Sony or Sony/Zeiss A mount lenses. With the La-ea4 adapter these shoot quite well and are generally more cost friendly. The downside of this is the adapter weighs an additional 160g and because it has it’s own mirror inside, it affects image. There is a tremendous increase in AF performance using this adapter with the A mount or Minolta AF glass.
Credits to…. The people who regularly contribute to five Sony forums on Facebook… inspire, anger, teach and are friends. A7/A7r Shooters, A7-A7r Photographers, Sony Alpha Camera-Talk, Sony A7-Sony A7r-Sony A7s, & Sony A7/A7r.
The deadly shutter shock issue on the increasingly popular Sony A7r just won’t go away. The reasoning behind it, is shaky at best…. I would like to dispel some myths and perceptions immediately. Many people are making way too big a deal of this.
Concern is limited to, or prone to, longer focal lengths. An increased vibration occurs, period…(read further about complexity and severity).
The camera doesn’t know how long of a lens is(physically) attached to it.
It can’t tell how much it weighs.
The 1/100th of a second “problem” area, doesn’t care what’s there taking pictures….
The camera mechanism itself, behaves exactly the same, every time, at a constant shutter speed… hmmm
Shutter doesn’t try harder because an AF, IS lens has higher electronic requirements. In fact many of the adapters don’t even have electronic connections. This logic really baffled me.
All A7r’s have this problem? Nope… Vast majority of people have no complications…
Some things that do make sense for this issue.
Poor tolerances on a myriad of adapters. Early models had higher incident rate due to faulty mount on camera(light leak too). They ain’t fittin too good.
The 36mp sensor requires near perfect execution to get a good shot. Person isn’t shooting too good!
Communication between lens, adapter, camera, IS, AF, mount balance, or any combination of those, is complicated & can cause problems which are really unrelated. Margin of error not too good….
The A7r has increased internal vibration at some shutter speeds that are easily compensated for. Camera is good….
continued banter… is no good…
People have argued, proved, disproved, tested, complained and gone to great lengths trying to fix or explain this “problem”(see Joseph Holmes/Ferrell McCollough/Ross Hamamura and others). Personally, I have never experienced anything that even slightly suggests an issue. I own 2 A7r’s. Blurring that’s occurred is easily attributable to my own operator error. I will state that I don’t shoot many lenses over 200mm and am 98% manual settings & focus. I do have several lenses that weigh over 700g. When below 1/200th I tend to use a tripod and use a wireless Sony remote. Varying conditions may require more stability. This is not news to any high performance camera system. Throw a 300mm lens on the D800e, it’s going to require more attention(experienced that.) An IQ 280 on 645DF+ damn near sends out a shock wave!
I’m not sure why people propagate this.
Perhaps not crowd pleasing final thoughts.
Many really good photographers don’t realize the precision needed to capture perfect clarity on the 7r. It’s hard… Suppose to be!
It took me over 10,000 captures to get the D800e. I’m up to around 4,000 on the 7r and have improved my percentage of reasonable photos.
Use the right camera to get desired results… BIG ONE!
Metaphor for the day… If your car shimmy’s at 70mph and you continue to drive at 70…. –get tires balanced/aligned– (adapter, stabilize platform, change settings, etc).
Don’t write articles about your car shimmy… or post repeatedly in forums. It is really a specious criticism.
The A7r is the ultimate, compact mirrorless camera. Full Frame 36mp resolution, endless lens choices, developing native lens line, and lightweight. This isn’t a deal breaker, it’s more of a botheration.
In an effort to find the best lenses out there for the A7r, I put forth a simple open source Google sheets spreadsheet guide, that has started to take off! Starting with my own collection it’s now close to 80 lens profiles! The “UN-Official A7r Non Native Lens Guide” is public access, anyone can add a lens to it. It is deliberately kept very simple with few headings with only short notes on each entry. Essentially a quick reference guide to see if the lens you’re considering for your A7 series camera is worth investigation! WE ask that people who participate keep it simple…. If two people have different experiences, just add them. It’s not to argue, debate or judge.
Many wonderful legacy & modern options have made it on the list,
Canon FD 50mm 1.2L
Voigtlander 50 F1.1 Nokton
Zeiss Apo Distagon, Otus 55mm 1.4
Minolta Rokkor MC, 58mm f1.2
Mitakon 50mm 0.95 Dark Knight Edition
…. plus many more
The Sony A7 series is such a wonderful system with a litany of glass available, it seemed a natural fit to make this resource guide. Never is it to be used for profit and it’s link is easily accessed in many Sony A7 related Facebook Groups.
I do ask that anyone sharing this guide please copy a link to my blog, webpage or both. I do have ongoing aspirations to be known as a Fine Art landscape photographer and some of my work has caught a bit of recognition. I look forward to additional comments and suggestions!
In the last couple weeks no category has caused more of a stir than the discussions about megapixels and resolution with the new Sony A7 series. Most of this controversy starts with lens discussions. There’s some considerable distinctions between the A7s‘s, 12.2 megapixel sensor, the 24mp on the A7, and the monster 36.3 of the A7r. The sensors in the three cameras are all considered Full Frame(24×36), each measuring just under the 864 sq. mm. mark. So what’s the difference between the three, if the sensor is basically the same size? It’s a great question that confuses lots of people including myself….
Larger sensors tend to have larger pixels, which can translate to lower noise levels, and an increase in dynamic range(Cambridge in Colour article on Sensor size). More light can be gathered by the larger pixel. That at least makes sense. How does this relate to the A7s and why is it the new low light king? It has 12 really big Megapixels! The light gathering potential is huge! It becomes a dream camera for those who want to take low light or fast pictures(action, indoor photography, nights, low lit streets) and astral photography. Somehow Sony has managed to increase the A7s picture quality by utilizing the unique in-camera processor(Bionz X) combined with the new Exmor CMOS sensor. Does it have more resolution and capture images as sharp as the higher MP cousins…. no. What it does do is provide a much sharper picture than the typical 12 megapixel camera (Sony A7s William Brawley’s Shooter report) with much more ISO range. DXO explains that while the A7s performs better than any other camera tested in low light ISO, it actually looses some Dynamic Range compared to it’s partners(DXO A7 series comparison)after camera applies processing.
That gets us to the A7 and A7r argument and that megapixels don’t matter. It’s a complicated process to get an image to the SD card, As the image zooms through the camera, Sensor size, pixel size, pixel density, processor, sensor type…. range of light/dynamic range… OMG! –all contribute… Nasim Mansurav,(great articles on sensors etc) and others, refer to segments of this interaction as the “Image Processing Pipeline”(IPP). With the shared Bionz X processor, it’s similar in all three A7 cameras. Suffice it to say that the largest sensor, with the largest pixels and highest pixel density wins, when the IPP is the same. It’s starting to make sense why each camera performs the way it does. Both A7s and A7have better low light performance in some ranges than the7r. The 7r crushes in image quality when used in it’s optimum range. Some things to ponder when the playground bully says his camera can beat up your camera.
About 12,000,000 pixel difference between the A7 resolution,6024 x 4024, vsA7r 7392 x 4920.
staggering disparity in pixel density
14 bits of color per pixel vs 12, on A7s and A7. I think that’s good.
NO Anti-Aliasing filter
This information helps resolve why the lens performance on the A7, can seem radically different on the A7r. Lessor optical quality isn’t realized until placed on the unforgiving 36.3 MP sensor. On the “R” everything is magnified, good or bad. It explains why people go to great lengths to defend how good some lenses are! In the A7 world they are that good. A bit of a paradox I suppose.
Those of us who live in 7r-ville can hope that the new Loxia lens line, the about to be officially announced FE 16-35 f4 and FE 85 1.8 are capable at 36.3 megapixel levels.