Noctilux, Canon, and the Mitakon 0.95’s… Holy Crap that’s fast… Part II of the Fast Fifties.

Mitakon-08681
At just under $900, the Mitakon is the only cost effective choice.
Mitakon-08685
Leica Noctilux, 0.95 Leica feel, Leica Price….
Mitakon-08686
The oldest member of the group and maybe the most legendary, Canon 0.95, 50mm, converted to M mount.

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 Big Three 0.95's
The Canon, Leica and Zhongyi, from left to right(order of sexiness!)

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.

BOKEH

Dream Lens-08699
The Canon exhibits bell shaped orbs…which are common to Canon lenses of this era.
Mitakon-08700
The most clinical of the three, the “Dark Knight” is still very pleasant.
Noctilux-08698
The Leica has remarkable feel in both shape and presentation.
Noctilux-08711
The Leica just transitions so smoothly and creates feel without taking away from the shot.
Mitakon-08704
The Mitakon is a slam dunk if on a budget. It’s just plain good enough…
Dream-08780-2
There is a reason they call it the “Dream Lens.” Nothing quite like it!

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.

Wide Open Dream vs Noct edge
The Leica & Canon show similar edge detail. A bit more contrast on the Leica
Wide Open Mita vs Noct edge
The Mitakon has the edge here…
Wide Open Mita vs dream edge
It’s hard to make out the crystal, but the etching (inside NASA’s known universe cube), is actually readable on the Canon which shows greater depth wide open (I have to allow for the possibility that with the M conversion, this lens may not be exactly at .95)

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?

Noct .95-08798
The Noctilux is the most complete of the three. It should be for the price!
Dream .95-08807
Feel & more feel, certainly sharp enough, it’s dreamy quality is tough to beat!
Mitakon .95-08811
If your type of photography requires subject isolation and background feel, with some post processing, the “Dark Knight” is an alternative worth considering.

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…

Dream-08780-2
The Canon competes with the Noctilux for feel & character for sure. Is it’s lack of sharpness going to be a deal breaker on the new A7rII?
Mitakon-08779-1
The ZY Optics (Zhongyi) lens, with some Lightroom 6 adjustments, looks every bit the others…. maybe
Noctilux-08759
There’s something about a Leica, it’s special, the way it renders, it’s ambiance, how it isolates. There are nothing else like them.
Nocting on the Door-08841
An old rusted shutter on the side of Matteo’s Public in Nevada City shot with the Leica.
Noctilux-08837-1
That Leica feel again in an alleyway.
Dream Lens-08852-3
The Canon shooting up past the windows at Three Forks Bakery and Brewing company.
Dream Lens-08845-1
The Dream capturing some sidewalk dining on Commercial St.
Mita Dog-08826
You’re definitely not screwing the pooch here with the Mitakon… After some tweaks, this lens performs great, although it’s not the natural the other two speed demons are…

CONCLUSIONS:

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. untitled-08929 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.

purple cast on noct-09376
Upper center of frame has purple bands on high contrast areas with bright light behind it…

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 replacement  A7r 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

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Shuttershock on the A7r… shhh utter nonsense?

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.

Otus Brothers
Two very weighty lenses. Both top performers at any shutter speed on A7r. Used here with Metabones IV and RJcamera EF to NEx adapters.

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.

Resolution & Megapixels, what actually matters? Can my camera beat up your camera?

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.

FD lens interior-07175
Described by one person as a 36 megapixel digital back, the A7r has few full frame equivalents.

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 A7 have better low light performance in some ranges than the 7r.  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,  vs  A7r 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
Lens dust
Ultimate Resolution with the Native FE 55 lens and the A7r.

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.

Another good resource for this discussion

Lens alternatives for the Sony A7r, the worlds preeminent full frame camera!

There are so many soothing lens options for the A7/A7s/A7r until additional FE lenses come out.  I do enjoy playing the villain a bit with the FE lineup.  Yes,  I’ve complained pertinaciously(see definition, fits perfectly), but I do have faith that Sony, Zeiss, perhaps Sigma, or others like Rokinon, Samyang etc. will drop in another hole in one (like the FE 55mm 1.8.),  specifically tailored for the FE Mount.  I’ve composed a pretty good list, which is always subject to debate and taste, of the lenses I use and other standouts.  Most have to take screw in filters.  I photo a lot of water and need polarisers.   I won’t deal with back filters or Lee systems etc.  I’ve seen guys tape tinted glass on their cameras….  not for me.   All lenses on the list have a DXO mark rating of 27 or higher.  27 seems to be the cut off from ordinary.  Finally, full frame capable.  Going to cropped for some extra range is nice at times, but basically want all the picture you can get.

The boys II-6751
Left to right, FE 55mm, “G’ Sony FE 70-200mm, Sigma 85mm 1.4, Sigma 35mm Art, 1.4, Zeiss Distagon 15mm Zf.2, Zeiss Makro Planar 100mm, Zf.2 Adapters, Metabones IV, Zykkor EF to NEX, NIkon to NEX Tilt shift, Novoflex Nikon to Nex

First the wide angles.

The Zeiss Distagon, 15mm 2.8 Cost, $2950…  is considered by many, the best wide angle ever made.  See Ken Rockwell, the Digital Picture, 3d-Kraft.  There is even a M mount version $3900+/-, that’s slightly smaller than the Canon ZE, or Nikon ZF.2.  I believe at this time, only the Canon version, with Metabones or RJcamera smart adapters($269-$399), will show all data in the camera and are full frame compatible.  The filters, $200-$300 ea.  It’s the best, what can you say?

Since the A7’s have come out many people like to throw the 14mm f/2.8 Rokinon/Samyang/Bower, etc  into the mix.   It’s a low price alternative, around $400.  It takes no filters and has high distortion(can be alleviated fairly well in post processing).  Image quality and resolution seem very good.  It weighs less than the Zeiss and looks like a fun lens.  There is a Canon version that will transfer data through the adapter.

If you’re a Leica fan, and I’d love to try this lens, the Leica 21mm f/3.4 Super Elmar M Lens $2995.    It does take filters(46mm), it’s the most lightweight of the three.  You will need an M to Sony NEX adapter.  Manual focus only.

 The 3 DXO wide angel lens specs.

The 35mm range

The Sigma, Art 35mm 1.4 DG, So far,  in limited use this lens is crisp.   In larger landscapes you sacrifice some DOF by topping out at F16, as the Cape Flattery shot illustrates.  I’ve seen some incredible shallow DOF shots in the forums.  The three following shots at our new restaurant, highlight the lens capabilities wide open.

sigma 35 f16-01253
Cape Flattery WA, Sigma 35mm A F/1.4 DG @ f16
Planter box 35mm 1.4-01460
Sigma 35mm A 1.4, shot @ 1.4 1/400 sec, hand held. The detail in the middle of the planter is fantastic. That’s not distortion, the board is very warped.
Sigma 35mm 1.4 A  90% crop
Andy 35mm 1.4-01465
Andy, our contractors Golden, resting, Sigma 35mm @ 1.4

 

It’s not a light lens @ 665 grams.  Cost $900, takes 67mm filters.  It has a very good price to quality value.  You can buy any Sigma lens with a Sony A mount, which when coupled with the La-e4 adapter has excellent AF.

Next on the list has to be the Native, Zeiss Sony 35mm, FE Sonnar T*, 2.8 ZA.  This lens would have been a slam dunk choice if it had the quality of the Sonnar 55mm.  It rates significantly lower than the Sigma, 33 to 43, although it is a very high quality performer.  It’s still a moderately fast lens, and weighs next to nothing @ 4.23 ounces.  Only…$800

Several manual focus gems are out there and if anyone would like to loan one to me…. the Voigtlander 35mm F1.2 Nokton Leica, Leica Summilux-M 35 mm f/1.4 ASPH or the Leica-Summicron M 35mm f/2 Asph. Read the Gear Patrol review on 35mm lenses for additional info.

I can’t drive 55…mm

Thanks Sammy Hagar.  The 55mm, FE Sonnar T* 1.8 ZA pretty much ends this conversation about 55mm lenses for the A7’s.  Best auto focus 55mm ever tested according to DXO, SonyAlphaRumors.  Shoots outstanding video with all three cameras.  The only lens better is the OTUS, 55mm.  The Otus is a tank(3 1/2 times the size of the FE), has close to perfect optics and is manual focus.  In four Sony Facebook Groups, only 55 talked about… is the FE.

 Macro lenses….  oh soo close…up

There’s too much territory to cover in great detail in this class, but here are some awesome choices!

Flash Macro 100mm-00840
Wonderful transitions in focus on the Zeiss, 100mm Makro Planar T*, ZF.2. Flash, our Black Lab sitting on the bed….

Carl Zeiss Makro-Planar T* 100mm f/2 ZF2  $1850

Carl Zeiss Apo Sonnar T* 2/135 ZE  $1600

Sigma 85mm 1.4 EX DG Canon  $970

Canon EF 100mm f/2.8 L USM   $970

Minolta Maxxum 100mm f/2.8 Macro $400 used,  See Ken Rockwell review.

Leica TS-APO-ELMAR-S 120 mm f/5.6 ASPH$7300++

I’m lucky enough to own three of these lenses.  My backup camera is a 5D mk III and two of them fit that camera too.  Today on a budget I’d track down a Minolta.  It was produced in a Sony E mount and should be a rock star on the A7r with a Le-a4 adapter.

Can we get some Zoomage please!

This is by far the hardest category and the most controversial.   Forum wars with comments near a 100 per thread, are common.  This series started out over disappointment in the Native 28-70 FE kit lens, and the Zeiss Sony 24-70 Vario Tessar T* FE F4.  The 24-70 Tessar is damn good in the center, comparable with any of the lenses.  It just loses clarity on the edges, which is really bad for a landscape photographer!

Hope springs eternal on the about to be released FE 16-35mm F4.  Sony did well in their “G” 70-200 FE lens(see DXO comparison of these native FE lenses).  It’s good edge to edge, has excellent resolution, and AF on the A7s & A7 is fast.  It’s certainly worthy of leaving the other macro lenses at home and getting great shots if you want to go light.  For now I’ve put my money into a Sony Vario-Sonnar T* 16-35mm F2.8 ZA SSM, $1600, plus the La-e4 adapter.   The Sonnar T* design really shines edge to edge.  It will arrive Thursday and hopefully I will report nothing but rave reviews!

Several other zooms have to be considered.  The Canon EF 16-35mm f/2.8L II USM  $1400
which I’ve used extensively on the 5D Mk III, is a wonderful lens.  It looks like the most popular lens in the Sony Forums as well.  Price to value is very good.  

Another choice that is more budget friendly is the Sigma 17-35mm F2.8-4 EX DG Aspherical HSM, $350

Conclusions and final thoughts!

There are many other lens options that work very well on this system.  One forum going pointed out that the old Canon FD lens with adapter are another wonderful choice.  They are expensive in the open market, but if you run into one, grab it and get the Canon FD to Nex adapter(there are several inexpensive alternatives).   The optics from what I’ve researched are outstanding and there is a variety of focal lengths.

I don’t talk much about Nikon glass.  Until someone puts out a Nikon “smart” adapter, they remain manual focus with no information transferred to the camera.  Nikon’s best lenses are well known, ez to research and are great choices in many cases.

Right as I was winding down this post, a couple sources said that 5 of the  ZM mount, manual focus, Zeiss lenses are going to be re-released with the FE mount.   Hopefully so!

 

Lens lineup for the A7r, Is this what we’re facing… go prime or go home?

Can Sony hit a home run with any future Zoom (Vario) lenses?  Is Sony neglecting part of their audience(A7r) and catering to the A7, and A7s?   Where does the FE lens Road map lead to…  A little town called Undistinguished?  Doesn’t the worlds best full frame sensor deserve the technology in lens design that compliments, not hinders?  I know I wonder….. and are Sony & Zeiss people listening…

roadmap_img_03
Most current and believed to be authentic FE lens roll out schedule. Courtesy of Sony.Net

Many A7 owners have poured over the Sony FE Lens, Road map.   The first two releases after the mundane 28-70 kit lens, the FE 35mm 2.8, and 55mm 1.8 showed us they can make small, light compact lenses for the system.  The extremely fast 55mm is an exemplary  Sonnar T* design that performs and gets great ratings.  The 35mm, also of Sonnar design, a bit slower, and ratings were down. It’s still a damn good lens.   This is where Sony starts to waver a bit on commitment in my opinion.  The FE 24-70 Vario Tessar was really designed for video it seems.  It’s very light, extremely sharp in the center, and survives well in most situations.  It’s had many bad reviews and doesn’t rate well.  Clearly isn’t designed for a 36.4 sensor however.  There are more than a few of us out there who thought Sony should of delivered more.  The latest release I’m still very un-decided on, the FE 70-200 G F4.  It shows good ratings for a lens in it’s class, and in the few pictures I’ve taken with it, does really well.  Sony’s “G” designation out performed the Tessar lens.

The next lens, due in August, that has everyone holding their breath for, is the FE 16-35mm, F4 ZA OSS, Vario Tessar.   With it carrying the “Tessar” designation, I’m afraid it will be another lightweight, under performing lens, similar in quality to the 24-70 FE(probably expensive too!).  I was really hoping for the “Vario Sonnar” designation.  They have better build quality, are faster and they’ve designed them already for the A mount cameras.  I’m told that in the mirrorless system, with the lens distance not being as far from the sensor as a traditional DSLR, benefits compact design.  The technology is here to make a compact “Vario Sonnar” lens.  It may be slightly larger, under 700g perhaps(two current A mount “Vario Sonnar” lenses weigh in around 900g), but we’d have the versatility and high quality.  Following the debut of the 16-35 is the “G” 28-135mm F4 OSS which I’m very excited about!  If Sony and Sony/Zeiss would use this build quality as the “entry level” lenses for the A7 system, everyone would be better off.

This quest for better lenses and shout out to Sony Executives and Zeiss R & D Department takes me to…  what do the high end users of the A7 line really want?  The Market segment that wants nothing but compact, light design and ease of use, could be the majority.  These lenses aren’t inexpensive and if you’ll give $5 for a $2 wrench…  well…  That’s kool…

Pinacle-01385 copyright
Shi Shi Beach, WA FE 55 Sonnar T*, @F22 1/5 sec, ISO 64 Circular Polarizer, Grad ND Filter

There is a multitude of Sony A7 users who want to push the quality up and are willing to pay for it!   They get to use their legacy glass and want a native lens or two that performs!!!

The Everyday Lens… Is it the FE Zeiss/Sony 24-70mm on the A7r?

At the top end of the full frame camera market, two distinguish themselves.  Both employ the same Sony  35.9 x 24.0mm sensor.  I’ve been fortunate to shoot each, the D800e & most recently the Sony A7r.  Is there an everyday lens for the Sony A7r?  (Is there really a non prime lens that is worth shooting at all? I wonder sometimes…)

There are many zooms, (15-35mm range, 24-70mm +/-) that perform well on the D800e.  Ratings from 28-33 on DXOmark).  It’s been my experience that any lens around 30 and higher is extremely good.  Over 40 is crazy good and is generally limited to primes.

When we get to the 18-24 megapixel market, it gets overwhelming.  Canon 5D mk III, Sony A7, Nikon D600, Sony A99 are some of the leaders in that arena.  There are many others.  The type of photography you do usually defines which camera is best.  There are plenty of the same lenses that perform well for these cameras, (high 20’s on DXOmark.)  Primes again are remarkable, some in the high 30’s.

Lens decisions are based largely on budget and needs.  Most people don’t utilize the kind of information the larger sensors produce.

There are a few snapshot aficionados who strive for exceptional reproductions that not only capture a moment, a mood, they invoke memories and fill us with exuberance. Beauty is paramount and we want every detail as insanely good as possible!

24-70-00861
Zeiss Sony 24-70mm, Sony A7r, F11 @70mm
zeiss 100 makro plannar-00862
Zeiss 100 Makro Plannar, ZF.2 Novoflex adapter, Sony A7r, F11
sigma 85 mkIII-6548
Canon 5D mk III, sigma 85mm 1.4, F11
70-200 sony-00863
Sony A7r, FE Sony 70-200mm, F11 @70mm

Is the new Zeiss-Sony FE 24-70mm acceptable for an everyday lens on A7r….   sadly no.  I don’t know if it even cuts it on the A7.

This little lens is lightweight and feels wonderful mounted on the 14.23oz camera.  AF is as good as it’s gonna get on the mirrorless camera(people have said that Sony lenses designed for other models, with the Lae4 adapter, compare). Dead center this lens performs well, nice image quality.  Quickly though, moving towards the edges it gets worse.  The 100mm keeps crispness throughout, as does the Sigma 85mm 1.4 (on the Canon), which you’d expect.  A bit surprisingly, the Sony 70-200m in the last shot keeps outstanding corners.

The Sony 28-70mm, which I’ve never shot, gets even lower ratings than the Zeiss/Sony cousin.    Only one of the FE lenses, the Zeiss 55mm Sonnar T* is a superstar.  The 35mm FE & 70-200mm FE are suitable for the large sensor.   A7r owners have purchased the best sensor made, short of a medium or large format camera.  I don’t know if a lightweight zoom lens with a rating of close to 30 is even possible?  To take advantage of all those megapixels it’s going to take a heavier lens.  Canon’s 24-70 2.8 USM II  weighs double the Zeiss/Sony.  The Nikon 24-70 even more.   I’m saving considerable weight on the camera.  I hope the rumored 16-35 FE weighs about 2 lbs…

FE 55, f20 @ iso50 Pretty much the best picture I could take short of a Leica or Zeiss Otus lens.
FE 55, f20 @ iso50 Pretty much the best picture I could take short of a Leica or Zeiss Otus lens.

Lens Fatigue

I’m sure this just applies to me… I can be a terribly impatient photographer!   Always in a hurry, for God knows what reason. How many times have I gotten home and kicked myself for not switching to another lens.  Often it’s just laziness or what I’m starting to call lens fatigue!

The lens collection, check the ratings & buy the best glass you can afford.

Sometimes there is some rationality behind being anxious. The light fading or increasing, a cloud passes creating some great shadow, the tide’s or inclement weather.    Here are some of the reasons I hear clanging around in my head!

  • Changing lenses in challenging weather.  Wind blowing water and sand.  Not good especially with a mirrorless camera…
  • Tired of taking off backpack again…
  • No place to set the backpack down…
  • I can edit it in Lightroom…
  • I’ll adjust my vantage point to use the lens I have on…
  • I feel like an idiot when I change my lens in front of other people…

As experience is gained I become more aware of what lens initially to walk into a scene with. Due to a myriad of issues, that plan has to be altered to capture the object.  Why do I resist this?

Garden of Eden-1258 fb
Shot with 15mm Zeiss Distagon and cropped. Better choice would have been 55mm or larger.

Some of the explanation can be found in familiarity.  I’ve had success with the 100mm and 15mm. I know what they do and image quality is crazy good.  Why change right?

Water and wind can be a real hazard.  I’ve missed some great shots only because I didn’t wipe the lens off enough.  The same shoot this Garden of Eden picture is from, another image I must of removed 20-30 water spots from.   Fortunately it was salvageable.   Still better to make sure I’m in a protected place, make the switch and get the shot properly.

No confidence or unfamiliar with a lens can be a fatigue issue.  I have to shoot a lens a bunch before I know it’s strengths and effective range.    Eddie Soloway suggested in his Natural Eye Seminar, to go out and just shoot one lens all day, no matter what, to learn it.  Pretty good advice that I need to take every time I get a new lens.  I think he also said, or I read it somewhere, to develop patience in your shooting, and increase your awareness in a scene, try taking one picture a  hour!  That’s extremely difficult!  I want to approach a shot as a film photographer does, precise and well thought out(I have a long way to go here).

Ultimately taking less pictures with the right focal length is the answer.  Taking my relative time (in the middle of a thunder storm hurry your ass up!)  in shot composition, saves a bunch of post processing time.  I’ve gotten down to around 100 pictures a day doing variable locations and even less if no moving water is involved.  That’s a tremendous leap from the 300-400 I used to snap!   Four or five in a individual scene, a lens switch and another couple, move on,  is the goal.