Cameracraft magazine – Taking your practical photography further

Category: NEX System

  • Sony A7RIII review in Cameracraft

    Read David Kilpatrick’s review of the Sony A7RIII

    Cameracraft January/February started the A7RIII test report, and March/April 2018 continued it. Both are free to read here. In the second issue you’ll also find the review of the 24-105mm f/4 FE G OSS lens. In the first issue, Gary Friedman looks at the RX10 series and one-inch sensor quality as well – and David tests the Voigtländer Nokton 40mm f/1.2 Aspherical FE manual focus lens, Sigma 16mm f/1.4 DN DC, and Samyang 35mm f/2.8 AF FE.

    Part 1

    CCJanFeb2018Download

    Part 2

    CCMarApr2018Download



  • Sony A7RIII – more than a skin deep upgrade

    With a body-only price of £3,199/$3,198, the third generation of the A7R came as a surprise to Sony’s own photo studio, who labelled most of the product pictures release on Wednesday as ‘A7RM2’ instead of ‘A7RIII’. We’ve changed the filenames on our system, but countless mediafolk of the future will be confused. They do after all look similar.

    In fact the new 24-105mm f/4 G OSS lens was released with pictures of it on the A7RIII, above, and also on the A9 below. With the A7RIII having a 10fps 42 megapixel motordrive capability, thanks to an improved LSI and new processing engine reading off much faster from the 42 megapixel back-illuminated CMOS sensor, you might have expected economies of scale to have given it the same Dynax 7D-like left hand end drive mode physical dial like the A9, below – especially as the A7RIII has an additional drive-type mode, a four-shot sensor shift to capture 169 megapixels of image data.

    This involves shifting by one pixel in four positions, and does not create a 4X size, 2X linear pixel count file. You can only get that by shifting half a pixel as Olympus do. The Pentax sensor shift high-res mode shifts by one pixel, and it does not increase the image dimensions, only the sharpness and colour information for each pixel location (making the image similar to a Sigma dp Quattro file in fine detail resolution). The Sony implementation also appears to need almost half a second between each of the four subframes, requiring a tripod and roughly 2 seconds of capture time. Sony’s proven multishot processing will certainly be able to remove any problems with movement of parts of the subject during this time, but it has to be done in the computer, using the new software suite.

    Some commentators have assumed that the 169 megapixel four-shot file means large dimensions, effectively a 169 megapixel resolution full frame, the same way Olympus gets high megapixel files. But the pre-release information clearly indicates it’s a Pentax-type mode – here’s from the wording provided to dealers by Sony:

    “You can then stitch the images together to create an image with fewer artifacts and a truer range of colours”.

    I tested that on the Pentax K-1 and concluded it was not worth the effort. Regular normal 42 megapixel AA-free shots on a top grade lens are all you need. I’ll repeat that bit about top grade lens.

    The A7RIII also has a new shutter mechanism which reduces shock, improving the SteadyShot performance, though still 30s to 1/8,000s as before. The sensor gains a new anti-reflective coating and there will be many ‘under the hood’ improvements because that’s what happens. There may also be teething troubles and newly introduced problems, because that also happens. However I’d say early buyers run less risk with this third generation A7R than they did with the predecessors, or indeed with the A6500.

    But we’ll leave you with the 9 for comparison. Most else that matters is the same, like for example the Memory registers – only two on the A7RII, but three on the A7RIII. It will remember more things, like Setting Effect OFF/ON, and that is just as well because the III puts a DSLR-like feature on its left hand end, a threaded coaxial Prontor-Compur (PC) flash synchronisation terminal (below). Let’s just hope that the circuitry inside is well isolated, as one of my vintage flash units destroyed the Godox X1-T which I use both to get Setting Effect OFF and isolation from high trigger voltages on my A7RII.

    Study this left end for a bit. It does have phantom power for the 2.5mm mic jack, but the earphone output has been moved so that two doors must now be opened at once to use both together. And there’s something missing.

    The A7RII has a screw socket next to the neatly paired mic/headphone jacks, which allows a custom made tether clamp assembly (supplied with the camera, seen above) to hold HDMI and USB cables with clamped protection looping. You’ll need some extra Tether Tools kit to safeguard the connectors on the MkIII. There is now a USB-C/3 Super Speed connector as well as a USB-Micro Multifunction, and Micro HDMI. But no provided security of a tether clamp.

    The back of the camera has much the same screen, but with improvements to resolution and daylight visibility – still no twist and turn, or reversing to face the camera back and protect the LCD. The rear button layout is revised, with movie button located near the viewfinder (well, if Canon does it, it can’t be wrong, can it?) and the switching AF/AE Lock/Toggle/Hold button replaced by an AF-ON and separate AEL, with C3 moved to the left end. Where the movie button used to be you’ll notice a catch for the weathersealed door which covers TWO SD card slots, one UHS-II enabled (more broken bits of card contact septum to lose inside your slot!). Changes to the movie mode using the main shutter release make the use of the red button less essential.

    You can assign those cards the usual ways, to make copies on card 2 of card 1 as you shoot, just in case one fails (the most important use for wedding photographers) and also to use sequentially (overflow into card 2, liked by action photographers), or split RAW and JPEG, or still and video.

    This is the new lens, 24-105mm f/4, and it will probably be very good. It has 77mm filters so I think I’ll stick with the A6500 for travelling, as the little CZ 16-70mm f/4 which is the direct equivalent of this is tiny by comparison and uses neat 55mm filters. Despite some reports to the contrary, I’ve found it to be a good lens, sharp across the frame at 70mm wide open, though prone to flare.

    The top shows that the strictly amateur ‘SCENE’ position of the mode dial has been replaced by S&Q. I look forward to finding out what this means – probably much the same*  *Gary Friedman has provided the answer in Comments – it’s a slo-mo/fast-mo video mode which is of no interest to me personally, but might fascinate messers around with short video clips for YouTube, even if their smartphones do it better. Green auto survives, as not all owners will be experienced photographers, some will just be wealthy camera buyers and this setting will be where they leave it.

    The published specs were vague about Bluetooth, used for GPS tagging from a smartphone – I’m told US Sony Store specifications clearly state it does have. The A6500 and A9 both do, and can therefore use the Sony mobile phone function for live geotagging of pictures as you take them, using information read at the moment of capture from your nearby smartphone. We’ve also seen reports saying the A7RIII does not use Apps but that seems very unlikely.

    There are also improvements claimed for dynamic range, with the figure of 15 stops mentioned. This would actually need a 16-bit A to D conversion internally followed by compression to a virtual 15-bit range (via a tone curve) saved in the 14-bit uncompressed raw .ARW format. A 14-bit raw format is now offered for all shooting modes including high speed continuous, which on the A7RII means automatic stepdown to 12-bit. The ISO range is extended to 32,000 before Hi expansion up to 104,200 and goes down to 100 native with Lo down to 50. One benefit of an effective 15-stop range will be that ISO 50 should have 14 stops, or as much highlight data as ISO 100 on the MkII.

    The extra effective bit depth also pays off when using the S-Log3 and Hybrid-Gamma HDR video settings. This brings Sony professional video camera standards into a primarily still camera for the first time (better than the video-targeted A7SII, and the A9).

    Sony claim improved skin tones too, though compared to what is a bit of a worry. Many people like Canon skin tones, I think they are like a 1970s USA colour portrait and that Sony’s skin colours have always been more natural. Others disagree and want the pinker, less yellow, face tones.

    The A7RIII uses the new larger battery with its 2.7X capacity, introduced in the A9. I rather like the way my current Sony cameras share one rather underpowered battery type, but at least a bagful of batteries covers A56500, A7RII, RX10. There are not many different battery types, as we could find with our Olympus kit (check E-M1, E-M1 MkII, E-M5, E-M5MkII, E-M10, E-M10MkII and E-M10MkIII batteries if you want a nightmare). You can also charge Sony batteries in-camera.

    Will I buy it? Probably not. I use the A7RII for relatively static, large image size, low ISO, controlled shooting of landscapes, architecture, products and so on. I have sold my full frame zooms except for the 70-300mm G OSS and now only use primes on the A7RII (10mm, 18mm, 28mm, 50mm macro, 55mm, 85mm). I don’t travel with it. We’ve bought an Olympus OM-D E-M1 MkII for its Pro Capture (60fps, 18-20fps with pre-shot buffering) and macro auto focus stacking. I’m sticking with the A6500 kit for travel (10-18mm, 16-70mm, 55-210mm) but it’s got to go head to head with the Olympus including the use of the two different smartphone GPS methods.

    • David Kilpatrick

    WEX Pre-Order (Affiliate link) UK £3199

    MPB (Affiliate link) – buy and sell used Sony equipment UK

    B&H (Affiliate link) – order US/World from $3198

  • Alpha A9 promises professional performance

    You can order the A9 here – any of these links to order will help photoclubalpha pay our way.

    B&H have it listed 

    WEX in the UK (also Calumet)

    Amazon (co.uk)

    The front view below of the Sony Alpha A9 body, introduced today, gives a subtle clue about changes under the hood. For some time we’ve been nagging Sony about the weak, potentially tilting, 4-screw mount on the mirrorless bodies. Now they have at least added two more screws, to match Fujifilm X or the A-mount, even if the distribution is a bit odd with all the extra strength concentrated at the sides not the top and bottom where heavy lenses normally cause most stress.

    It’s a clue to a different internal construction, probably stronger all round, to make it possible to support the new 100-400mm G Master  lens, a native E-mount new design which should come as a relief to those struggling with the A-mount 70-400mm varieties on adaptors:

    But the lenses still have four-screw mount fitting (as do most A-mount lenses), and fairly weak sacrificial assemblies to prevent damage to the camera if knocked. See this video (it’s a bit long but makes a point): //www.youtube.com/watch?v=qGvlX9BtiTQ

    The EVF of the A9 is around twice as bright as the A7RII and also runs at twice the refresh rate, while offering 50% more pixels. Part of this is down to the new stacked-CMOS 24.2 megapixel full frame sensor, which has a readout some twenty times faster than the A7II and previous generation 24 megapixel models. That, of course, is linked to the 6K native live feed from the full frame (used to create very high quality 4K video as well as an excellent live view) which in turn enables a distortion-free purely electronic silent shutter running to 1/32,000s plus 20 frames per second sequence shooting.

    AF is claimed to be 25% faster than the A7RII and when the shutter speed is faster than 1/125s there is no visible blackout in the finder when shooting. Personally, a single frame (1/120s or 1/60s) blip would never be unwelcome as it helps tell you when you’ve shot. As for the low-light capability, not too much is being said; it’s in the usual up to 56,200 range with extension of two more stops. (Edit: April 20, we have noticed that at least one ‘reviewer’ – Sony Artisan paid to promote – completely wrongly claims 2,048,000 ISO not the actual 204,800, when comparing the A9 with the Nikon D5’s listed 3,276,800). The high speed sequences, movie frame rate and EVF refresh all tend to limit ultimate low-light clean imaging and we would guess that the A7SII and A7RII will not be made redundant.

    That can not be said for the old weeny weedy weaky batteries of the E-mount range. The stripling NP-FW50 used in all the NEX to A7 series models gets kicked aside by a slightly larger variant with 2.2X the capacity. Frankly, it’s overdue but it creates a split system. I’m happy to travel with my A6000, RX10, and A7RII all sharing a pool of batteries even if those do run down alarmingly fast.

    If it means carrying a new dual charger too, to get the necessary 2.5 hour recharge time instead of a leisurely overnight in-camera top up, I can only hope the charger (cum mains adaptor with clumsy dummy battery connection) also accepts the older batteries. It’s carrying multiple chargers that increases my travel bag weight not carrying extra batteries.

    But… I see that the charger ‘cradle’ can mount four of the new cells, and charge the lot in 480 minutes. This cradle has a dummy battery on a lead, and 1/4″ tripod thread mounting points to add it to a video rig (which this camera is not specially made for, indicating an A9S is on the way with S-Log and direct 4K top quality encoding). The dummy battery then powers the camera for roughly 10X the life of the current A7 series batteries. So what if you have an A7 model? Easy – the outer shell of the battery simply slides off, revealing a SMALLER dummy inside, which fits the entire NEX/A7 mirrorless range or indeed the RX10 series. So your existing Sony mirrorless kit can be powered using this ‘battery bank’.

    The top plate reveals that some input has been listen to. As a regular M1-M2-M3 user on my A99, the drop to only two memory registers on the A7RII is unwelcome but survivable. A return to three, plus a a custom button memory recall function, will make the a9 better. Having the drive modes on a physical control is good too. But I’ll leave any verdict on all this until the actual operation is better known – whether, for example, the memory registers now cover more than just the primary camera settings and thus enable one-step tripod setup.

    I’ll have to say that after using the Olympus OM-D E-M1 MkII, which offers many of the advantages being claimed by the A9 as major selling points, the non-reversible simple tilt rear screen remains a negative compared to a fully articulated reversible screen. Sony does now offer a real glass protector, but I like the A55 to A99 style screen which can be turned to face the wall permanently if you want (and has never arrived on the E-mount models).

    The new joystick controller takes something from the A99/II controls and adds it to the wheel of the A7 series, while the upper thumb button becomes a native back-button AF. In addition to being able to move the focus points faster (it’s a pain with the A7RII design) there is a memory for AF point selection and a horizontal-vertical switch function. Combined with a larger number of AF points covering 93% of the sensor, the action/sports performance of the A9 should be a long way ahead of any earlier mirrorless (though the A6500 is pretty good).

    Though not visible here, there are two SDXC (one UHS-II) card slots with the usual recording options similar to the A99/II, and also an Ethernet port which is almost a requirement for some major sports events. You will notice that the Drive control has a Focus control below it, giving direct access to the kind of AF/MF/DMF choices found on the dedicated controller of A-mount bodies – no more need for menu or Function/Custom button operations.

    The eyepiece, shown here, may perhaps be a little less prone to detachment and we are promised the least squiffy finder view with new optics.

    There is one minor fly in the ointment, a price-tag of £4,500 (UK) body only; the 100-400mm will be £2,500. While the team of assembled ambassadors made much of praising the silent shutter mode and small size of the camera at Sony’s vidcast press conference, none of this is new and pretty much anything the A9 can do is also within the reach of the A7RII and A7SII even if it does it faster and perhaps better. There was some praise for the durability of the system – what? I don’t know about others, but I find the Sony/Zeiss lenses are the worst I’ve ever owned for showing almost immediate signs of wear from the lightest contact with clothing and bags. Silver appears through the molecule-thin black coating instantly and neither the regular lenses nor the bodies have ever struck me as being suitable to knock around in a busy press kit or travel bag. Where old Leicas survived years of abuse elegantly, gradually brassing at the edges, my Sony kit generally just looks a bit scruffy and used despite minimal handling. The A9 looks about the same in this respect as the mark II lesser models.

    Full official press information and specifications can be seen here:

    //presscentre.sony.co.uk/pressreleases/sonys-new-a9-camera-revolutionises-the-professional-imaging-market-1923969

    And for the lens:

    //presscentre.sony.co.uk/pressreleases/sony-expands-flagship-g-master-lens-series-with-new-100-400mm-super-telephoto-e-mount-zoom-1923976

    • David Kilpatrick

     

     

  • Sony new RF wireless flash system

    Sony today announced the availability of a new radio-controlled lighting system to meet the growing demands of professional and advanced amateur Sony photographers.Designed for compatibility with Sony’s α interchangeable lens cameras[i] and external flash units[ii], the new lighting system will include the FA-WRC1M wireless radio commander as well as the FA-WRR1 wireless radio receiver.

    (Editor’s comment – this is a press release text, we realise that absolutely no-one calls RF wireless flash ‘radio controlled’ but there you are…)

    The flexibility of the system means that it can be a totally portable solution, benefitting people like wedding photographers who are often working at locations where it is cumbersome to transport studio lighting but the results need to be perfect first time.

    With a maximum range of 30m (approx. 98.4 feet), the new radio controlled system will allow for an extremely adaptable wireless flash shooting experience with exceptional performance in all types of shooting conditions using TTL, Manual or Group modes. In total, the system can control a maximum of 15 separate flash units[iii] in up to 5 groups of flashes which gives the photographer a huge amount of creative freedom to experiment with different settings to accurately capture their vision for the project.

    Whilst using the system, shooting mode, flash ratio and exposure compensation on remotely located flashes can be controlled via the local commander which is equipped with a large, easy-to-see control panel on which the communication status with each receiver can be confirmed, thus making it convenient for one-man or small-crew shooting. The system also offers the added benefit of enabling remote release of multiple cameras[iv] which is particularly useful for sports and wildlife photographers as the system can work at up to 30 metres, enabling them to capture a wide range of views at the crucial moment.

    The new lighting control system will be capable of flash sync speeds of up to 1/250th[v] of a second with high speed sync (HSS) available as well. Flash level can be controlled over 25 steps (1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, 1/128, 1/256) in 1/3 EV step increments.[vi]

    The new system is designed for photographers who are creating specific set-ups necessitating multiple light sources, controllable at each flash station for dynamic lighting effects. By delivering a fully radio controlled system, the user does not have to worry about the limitations of IR triggering where strong sunlight or physical barriers may cause problems. It is dust and moisture resistant for use in a variety of conditions.[vii]

    The new system will start to ship in September 2016 with the Remote Commander priced at approximately €420 and the Remote Receiver priced at approximately €240.

    [i]α7 II / α7R II / α7S II via planned software update. Software updates currently scheduled to start in August 2016, as of press release timing

    [ii]Multi Interface Shoe Flashes: HVL-F60M/F43M/F32M. Auto-lock Accessory Shoe Flashes HVL-F58AM / HVL-F43AM / HVL-F42AM in Manual mode only. Optional shoe adaptor ADP-MAA is required.

    [iii]Max 5 groups in GROUP mode, 3 groups in TTL or MANUAL mode

    [iv]Multi Terminal Connecting Cable is required. Sold separately

    [v]Depending on camera specification

    [vi]When using HVL-F32M, up to 1/128flash level is selectable. When shooting in High Speed Sync., flash level of a group including HVL-F32M must be set to 1/16 or higher

    [vii]Although the design is dust and moisture resistant, absolute protection is not guaranteed in adverse weather conditions

  • Sony Releases Full-Frame FE 50mm F1.4 ZA Prime Lens

    Sony Releases Full-Frame FE 50mm F1.4 ZA Prime Lens

    A quintessential wide-aperture 50mm “normal” lens, the new ZEISS® Planar F1.4 offers high resolution, high-contrast and overall exceptional performance

    Sony today introduced a new full-frame lens for their E-mount camera system, the Planar T* FE 50mm F1.4 ZA (model SEL50F14Z). (Press release 2pm UK time)

    “This 50mm prime lens features a large F1.4 maximum aperture that offers impressive contrast and outstanding resolution that are hallmarks of the ZEISS® brand. It produces these consistently strong qualities throughout the entirety of the frame – from centre to corner – and at all aperture settings, even while shooting wide open at F1.4. The cutting edge optical structure includes high-precision AA (Advanced Aspherical) and ED (Extra-low Dispersion) glass elements that reduce spherical and chromatic aberration, as well as a ZEISS® T* Coating that minimises flare and ghosting, creating the classic ZEISS® clarity. Additionally, its Planar design ensures minimal distortion.

    The large f/1.4 maximum aperture of the FE 50mm F1.4ZA lens provides a level of brightness and speed that are advantageous for dimly lit indoor shots, night scenes, and portraits, while its 11-blade circular aperture allows for stunning ‘bokeh’, or background defocus, in images. The lens also features an aperture ring with de-click option, an AF/MF switch, and a dust and moisture resistant design[i], further increasing its functionality.”

    (PR blurb slightly edited but leaving in all the garbage, Registered Trade Mark symbols and stuff including the gratuitous capitalisation of Zeiss)

    Editor’s comments: AA elements have no orange-peel microstructure, and thus reduce the granular appearance of bokeh circles created by point sources out of focus – they resemble traditionally ground and polished elements, even though they are moulded aspherical. Those who say ‘I love this lens in the A-mount version’ or Canon or Nikon or Contax are misguided, as although this is a Planar, it’s not the same 50mm f/1.4 Planar in any way as a traditional design.

    The new lens is also equipped with a ring drive SSM (Super Sonic wave Motor) system, which allows it to efficiently lock focus with speed, precision and in near silence, making it particularly useful for shooting movies.

    Pricing and Availability

    The new FE 50mm F1.4 ZA lens will ship this July and will be available across Europe for approximately €1,800 (this price given by Sony). US price from B&H for pre-order is $1498 which is considerably less, possibly because Europe has VAT tax generally between 20% and 25%.

    Although the design is dust and moisture resistant, absolute protection from dust and moisture is not guaranteed.

  • Elinchrom EL-Skyport Plus HS for Sony MFA

    SONY DSC

    This is expanded from the feature which appears in the July/August issue of f2 Cameracraft magazine. We’ve been using the Elinchrom EL-Skyport Plus HS for Sony Multi-Function Accessory shoe since its arrival on May 28th as the first test unit released by Elinchrom. If you wonder why I don’t immediately do a clickbait blog post, it’s because Elinchrom were already concerned by synchronisation/shutter release timing delay issues – being unfamiliar with the very slow AF-AE-shutter cycle of the Sony mirrorless full frame models. My feedback was needed along with others. I can safely say that any practical difficulties encountered with hi-sync (hypersync) using the new Sony Skyport are entirely down to Sony.

    aligraham-djiphantom

    It’s not advisable to work too close to a DJI Phantom drone as the rotor tips whizz by at a touch less than 100 miles an hour. With a 16-35mm CZ zoom used at 16mm to get the low viewpoint it did feel a bit like being buzzed at times but Ali Graham kept it well within the target zone. Click this image to open a full sized 42 megapixel original where you can see the exact extent of 1/8000s blur…

    The idea here was to test, and show off, the 1/8,000s synchronisation with the focal plane shutter of the Sony A7R II which the Elinchrom dedicated high speed sync trigger EL-Skport HS Plus Sony makes possible. It actually makes it effortless, as this studio flash trigger is properly set up to provide the camera with the right signals. It’s the first studio flash wireless trigger ever designed to do this for any Sony or previous Minolta camera across three different generations of flash shoe, and that is important as electronic viewfinders really need a trigger which emulates a native dedicated flash.

    hi-sync-diagram-fb

    The variable pre-sync timing (ODS) of the Skyport HS Plus uses HSS, originally intended for burst mode camera top strobe flash, to fire the studio or location professional flash milliseconds before the usually ‘hey, the shutter is fully open – fire!’ moment we call X-sync. The shutter then opens during the flash illumination, instead of the flash firing during the shutter opening. The white  gap in the diagram above represents the shutter opening. The grey bar to the left against the vertical axis shows the ODS, which can move the start of the shutter opening to a different point on the flash output curve. This is done by changing the shutter release timing not the flash! Think about it – you press the shutter button, and that is the earliest moment anything can happen, either shutter firing or flash firing. Since the flash must be triggered before the shutter opens when using HSS, it is the shutter action which is delayed (it’s very easy to think of this as the flash being fired early!).

    The big selling point for Elinchrom is Hi-Sync. They have even made special slow-burn flash heads for their Quadra ELB battery location kit, which have a T=0.5 flash duration longer than 1/550s compared to as short as 1/5700s with a Type A head. In practice you can fine tune shutter speeds between 1/1000s and 1/8000s to catch a fairly level plateau of high level output (the flash is used on full power for this). But at £199 this trigger, with its full visual display and adjustment of multiple head flash control, is actually worth getting even if you never used Hi-Sync at all.

    The EVF issue

    With a plain hot-shoe trigger, using an adaptor or not,  no Flash Powered On signal is sent to the camera. It will remain in whatever P/A/S/M mode is already set, and if this results in a virtually blacked out EVF or screen because the modelling or ambient light is low it becomes necessary to turn off exposure or effect previewing (Setting Effect On, the normal setting which links the finder brightness to the exposure set). When you fit a dedicated flash, non-HSS modes set the camera to a standard flash sync speed typically between 1/60s and 1/160s and switch the finder to an auto gain mode (Setting Effect Off) without any menu diving required. HSS modes retain the same finder setting but allow any shutter speed down to the shortest 1/8000s time.

    Normally,  any remote trigger or commander fitting the Sony body will do this if it’s part of a wireless remote flash set up using the camera maker’s own battery flash protocols (and a camera-mounted flash like the Nissin i40 can do the same). You can make a crude studio flash trigger using a small dedicated flashgun and masking it with an infra-red filter but it’s not simple as automatic pre-flash sequences or operating delays need to be disabled, though Elinchrom’s current heads can be programmed to allow for pre-flash bursts.

    Pro flash triggers which are not part of the dedicated system won’t turn Setting Effect to OFF, and did not for the earlier locking flash Minolta-Sony shoe of the A77, A55 and other electronic viewfinder SLR-style models. It was apparently just a matter of applying a simple signal voltage across a pair of the contacts when the trigger was switched on – but not a single manufacturer could be bothered to find a solution. Not PocketWizard, not Skyport, nor anything else until the arrival of Phottix, Pixel King and a few other Chinese-made innovative brands which added a PC-X-sync socket to modules mainly intended for camera-top strobe guns.

    SONY DSC

    Now, with the rise in popularity of the Sony A7 series, Elinchrom has invested in a fully dedicated version of their EL-Skyport Plus HS which behaves just as if you had a Sony native flashgun mounted. To do so, they worked with Phottix and Sekonic. There’s no TTL, as the Elinchrom studio and location flash units are all high powered with manually controlled output. For normal use, the Plus HS offers a greater operating range to 290m (instead of 100m), LCD menus, and remote control of the power and modelling settings of all RX heads with the setting displayed on the trigger for the latest generation. Because it switches the EVF camera instantly into a studio-friendly mode and can act as a complete wireless remote control it’s worth the £199 cost for anyone using Elinchrom RX wireless triggered flash with Canon, Nikon and now Sony.

    It is a very well made unit with a near locking shoe function (above). However, it’s also a bit of a monster (below) compared to the tiny original Skyport. That lens, by the way, is a Canon 40mm STM on a Commlite, with a 49mm filter thread adaptor and a Minolta 45mm f/2 lens hood. It’s actually one of the fastest-actuating lenses as its aperture mechanism makes up in speed of operation anything you might lose on AF speed.

    SONY DSC

    The size of this trigger is not only used for the informative top LCD display, it also houses two AA cells, which gives it the extra power for the 290m wireless reach and its advanced electronic functions.

    SONY DSC

    So for my money, this new trigger becomes my regular trigger. With any other trigger, I have to remember to change the Setting Effect and White Balance when working in the studio, and of course change it back. Sony, in their wisdom, have excluded Setting Effect on or off from the parameters you can remember in a user setting memory. With my A900 (optical finder) Sony all I had to do in the studio was turn the mode dial to 1 (Memory 1) and my camera was instantly set to ISO 100, Daylight, 1/200s, and f/13 as my startpoints for studio work. With my A99, the missing Setting Effect meant the 1, 2, 3 memory positions did not enable instant set-up or instant return to regular operation and it’s been the same with every SLT or mirrorless yet made by Sony.

    Hi-Sync

    The Hi-Sync feature – ability to emulate Nikon FP, Canon and Sony HSS – is compatible with all Canon DSLRs but not all Nikon, so check before ordering (example – no Hi-Sync with D5500 or D610, but fine with D750 or D300S). It’s also not compatible with all Elinchrom heads. My Ranger Quadra RX AS kit was bought with Type A (short flash duration heads) and my studio BRX500i heads are similar. They gave me high speed flash at normal flash sync speeds (up to 1/250s with most of my cameras) but the short, sharply peaking flash output can’t be used for Hi-Sync. I would need to buy Type S heads for the Quadra kit, or trade in and get the latest ELB 400 with Type HS heads – which is what I tested the unit with successfully before trying all my other flash. The lowest cost Hi-Sync studio head is the budget D-Lite 4 in IT (no remote setting) or RX (full remote) versions. In fact, the 400Ws D-Lite 4RX at under £250 per head, with its 5-stop output range down to 25Ws and constant 1/800s duration, is actually the most compatible of all current Elinchrom heads even though not really intended for intensive professional use.

    Like PocketWizard and other triggers with hypersync, the EL-Skyport Plus HS offers a programmable delay in microsecond intervals from 0 to 5 milliseconds. This can be used with the Elinchrom RX Universal Receiver connected to almost any make of flash head. You then need to experiment with the power setting, as some have long durations at lower power with more even output level and for others a peak is followed by a relatively flat long tail decay at full power. There are some IBGT controlled flash units which cut off the peak and tail leaving a plateau of output. The ODS (delay) and camera shutter speed in HSS mode can be experimented with and you may get lucky.

    However, the two certain ways to get maximum relative power and ease of Hi-Sync use are the ELB 400 with HS heads and the D-Lite 4RX. Mounting the very firm locking hot shoe on my Sony A7RII and switching the trigger on automatically set the camera to Wireless Flash and EVF Setting Effect Off, Auto WB to Flash. In Standard mode on the Plus HS, the shutter speed was set to 1/250s; just turning the Plus HS dial to set HS mode, my faster shutter speed set via the M mode on the camera was instantly restored and access to the full range from 30s to 1/8000s enabled. In fact it was impossible to create a mismatch, other than by entering an extreme ODS delay.

    At all speeds faster than 1/250s, using Hi-Sync, the A7RII should be used with mechanical first shutter curtain. Silent electronic-only shutter mode simply doesn’t fire flash of any kind, and first curtain electronic mode may produce unevenly exposed or partial frames (I’ve since found that such problems really don’t happen often and you can risk using first curtain electronic to help overcome the really laggy shutter timing). Even used correctly, there’s some shading with the ELB 400 at full power, about a stop of fall-off smoothly grading to the bottom of the frame at 1/8000s. Moderating the shutter speed and adjusting the flash power and ODS can fine tune this but I wanted maximum output and my landscape format test shot benefited from the shading. Vertical shots are not as forgiving and the lighting may need feathering to suit. Be careful with some very fast lenses used wide open as these can also produce a shutter/scan related grad filter effect at the fastest shutter speeds.

    To do the drone shot, we wanted to work fast so I did a simple manual adjustment of ISO and aperture in the studio first at the right distance. The main flash (2/3rd power, Outlet A on the Elinchrom ELB pack) had a red gel fitted, and the second head (1/3rd power, Outlet B) had no gel. I placed in the same relative positions I planned to use outside, and used my paper ceiling lantern to check settings.

    exposure-test-indoors-fb

    I then repeated the test on the sky outside without changing the settings, and got pretty much what was expected.

    sky-grey-fb

    So when Ali arrive with the drone at 4.30pm we just brought the portable flash pack and two heads on stands outside, already adjusted, and flew the drone in the right area of the shot working with the 16-35mm f/4 CZ zoom fitted to A7RII. The actual exposure was 1/8000s at f/5.6 and ISO 400, manually set. One small problem is that you can not judge ambient exposure unless you turn the Skyport off… because when it’s switched on, Setting Effect OFF immediately takes over and makes the sky look correctly exposed even when it will not be. I didn’t get this into the magazine report because I knew what was happening and only noticed, a few days later, someone complaining about this problem when using HSS fill-in flash on the Sony A7.

    Such is the latitude of the A7RII raw file that lots of overshooting was not needed. I’m not a machine gun shooter. Even on top corporate assignments I’d often travel thousands of miles and then takes just a dozen frames of a CEO-in-office shot. I used to do whole newspaper features on a single roll of film. Digital has never changed my approach, but being able to check the shots as you take them is a great boon. It meant that with each shot, I could see how the rotor blades were aligned (the drone position was chance – slight buffeting wind kept it dodging around all over my designated shooting space). I could also check the light on Ali’s face and the drone controller. I took just nine frames before getting exactly what I wanted, and Ali was able to leave at 4.45pm.

    drone-shots

    Troubleshooting

    The HSS mode of the Sony A7 series involves a considerable delay between pressing the shutter and getting the shot. There’s no solution to this and as a result I found timing some action shots almost impossible. I had to manage to fire about 1/2-1/4s before the subject reached the required position. Bridal portraits? Fine. Synchro-sun action? Not so!

    It’s not all down the HSS either. In my review of the A99, I found the 1/50s hair-trigger response of the electronic first curtain shutter was negated by a complete AE-AF-stopdown cycle giving the camera a reaction time about the same as any regular DSLR, and a rather long overall 300ms ‘cycle’ in AF-S/continuos sequence mode, extended to 400ms in 14-bit capture AF-S single frame. The A7R was found to have an actual capture delay of up to a third of a second, and in fact the A7RII despite its option for electronic first curtain is not that much better.

    If you want to get the 0.20-22s response time, with the shutter firing a mere 1/50s after you press the button, you will have to disable AF With Shutter and use manual focus or centre back AF on demand. With native Sony lenses, you must also work wide open as the aperture can take 1/15s to close down; with adapted lenses, for example on the Sigma MC-11, this can be 1/8s or more. If you use Auto exposure (A for example with a manual lens) the camera will briefly reset the sensor in a short interruption of live view and if you use A-mount or Canon EF lenses which have an instant aperture closing action, it can allow about 1/15s following this happening to recalibrate.

    I don’t have the time in the world to check all the delays and complexities of A7RII timing, but when HSS flash control is added, it’s as bad as it gets (remember, HSS delays shutter release). So you can press when the subject is approaching the centre of the picture, and the flash will fire when the subject has left… so you pan a bit, and anticipate the way you might have had to do with a focal plane VN Press Camera 70 years ago.

    runner-kelsomay16-delay-fb

    And, if you are lucky, your Hi-Sync daylight and flash will work and your subject will still be in shot!

    Fun day, 'mini olympic' fund raising sports in Scottish town of Kelso. Tractor tyre lift.

    Even a relatively slow-moving sport like turning the tractor tyre was not easy to frame up and time (no, you don’t wheel it along, this is Scotland – you lift it and turn it over repeatedly to complete the course).

    I continued with experiments with the trigger and my A7 as well as my A7RII, and also using the RX10 (on Speed mode but not HSS). Actually, the RX10 offers about the fastest response and easiest daylight sync up to 1/3200s shutter speed and no need for this or any other hypersync trigger.

    During tests, I found that the A7RII completely locks out HSS mode when you fit a dumb manual lens, with or without the Lens App in use to tell the camera what plain-mount, uncoupled manual lens is fitted. Put a manual lens on, with no electronic aperture control, and it won’t let you select a speed faster than 1/250s even if both flash and camera confirm HSS operation. Perhaps it may do so with some other brand or type of flash. To check, exactly the same set-ups were repeated on the A7 – this body has no such problems. You can use HSS with manual lenses.

    willow-may26-1-1000thf8-fb

    The 28mm f/2 OSS lens on A7RII proved a good choice above, taken at 1/1000s and f/8, but during my attempts to actually get our kitten in the frame at all this was a rare semi-success. The camera was rarely as fast as the cat.

    The worst scenario proved to be that a shot could actually be captured about two-thirds of a second after your shutter press with the A7RII. This delay must be a concern to Elinchrom and should be a concern to Sony (their own firmware updates to handle the new GM lenses have slowed down the operational cycle, and their HSS defaults to allowing for a pre-flash sequence even when there is no pre-flash involved). Just a point, ADI flash is not an option on mirrorless bodies and does not apply to bounce, wireless or HSS anyway so suggestions that setting his may improve timing are not relevant. The Skyport Plus HS tells the camera it is indirect or off-camera flash, and these always use Pre-Flash TTL. Perhaps Elinchrom can cut some of the lag time out but it’s really down to Sony to provide firmware (or even hardware) which permits much faster real-time shutter actuation. Without this, all the claims for fast AF are pretty meaningless; the best AF in the world can’t allow for the distance travelled by your subject in a third of a second or more.

    Despite this…

    Though this EL-Skyport Plus HS is not like the tiny original Skyport, I want one now just for its proper control of the camera in routine studio work despite not one of my existing Elinchrom units (Quadra Hybrid AS, BX500ri) providing the Hi-Sync function.

    Please also note that Hi-Sync does not work with the new ELC heads (gated fast durations), with Type A or S pack heads, and with pretty much anything except the ELB 400 with HS head/s, and in a surprisingly welcome drop to the lower end of the cost scale, the higher powered entry level D-Lite4RX.

    It’s been a long time coming but this unit is, I think, the sign that Sony has arrived as a professional camera system. – David Kilpatrick

    www.elinchrom.com/skyport.html

  • Bad science and dissing the Sony A7 FE concept

    No doubt everyone’s seen the article on Petapixel which can best be described as successful clickbait – by Sator, essentially claiming that the whole idea of mirrorless full frame is flawed. Well, the good news is that this article is more flawed than the flaws it’s claiming to point out.

    First of, let’s simply dismiss the groundless myth that a shorter mount to focal plane register (body thickness) cause any problems with lens design. It simply doesn’t. Nor does an empty space without any body at all. The only aspect of register which can ever cause problems is additional body thickness, as found on single-lens reflex (SLR and DSLR) designs. In the early days of SLRs, it caused so much trouble for the design of very wide-angle lenses that SLR mirrors had to be locked ‘up’ and a lens fitted with a rear assembly almost touching the shutter, sticking right back into the darkchamber.

    The quote from Zeiss in the article about the ‘short flange distance’ being an engineering challenge for wide-angle lenses may well be a result of mistranslation as it’s hard to imagine any Zeiss engineer actually saying that and meaning it. This is the company which effectively built the Hasselblad SWC, not to mention the aerial and stereoscopic models based on the 38mm f/4.5 Biogon. And they made the Hologon camera. Flange distance? What flange distance?

    Take a look at the optical design of one of the best Zeiss/Sony collaborations, the RX1 series with its 35mm fixed f/2 lens, and you’ll see that Tatsuo Kureishi, Sony product planner, was probably right to say this: “We eventually realised that only a camera with a non-interchangeable lens could significantly increase image quality, since it would allow us to optimise performance between the lens and image sensor.” And what did he mean? That by not even having a focal plane shutter, by having an even slimmer body than the E-mount, a lens which almost touched the sensor, they could engineer something better. And they could align it to perfection. The ghosted product view below says it all. As far as I have been able to work out, the actual body register of the RX1 would be around 12mm, or like the FE mount’s 18mm but with the lens sticking into the body even more than the 5mm depth of the E-mount bayonet.

    Now if there’s any reason the A7 series can’t have the same 35mm f/2 as the RX1, it’s down to the shutter assembly and the filter/coverglass pack of the sensors used in A7 bodies. But it’s not to do with the mount, and as this lens proves perfectly, claims that you ‘can not get lens performance without size and weight’ are also made on a weak foundation.

    Now the throat diameter can indeed cause problems. Sator quotes a set of throat diameters:

    Minolta/Sony A: 49.7mm
    Sony E: 46.1mm
    Fuji X: 44mm
    Canon EF: 54mm
    Pentax K: 44mm
    Nikon F: 44mm

    However, all these are meaningless without reference to the register. Back on 2012, in Issue No 1 of Cameracraft (the quarterly I produced with the co-editing help of Gary Friedman for three years) I printed the register distances then applicable to a range of new and legacy systems:

    Pentax Q: 9.2mm    Nikon 1: 12.29mm     C-mount: 17.52mm     Fujifilm X-Pro: 17.7mm
    Canon EF-M: 18mm     Sony NEX: 18mm      MicroFourThirds: 19.25mm      Samsung NX: 25.50mm
    Pentax 110: 27mm     Leica M: 27.8mm     Robot: 28.1mm     M39 Leica Screw: 28.8mm
    Contax G: 29mm     Olympus Pen F: 28.95mm     Contax/Kiev: 34.85mm     FourThirds: 38.67mm
    Konica AutoReflex: 40.7mm     Miranda: 41.5mm     Canon FL/FD: 42mm     Minolta SR/MD: 43.5mm
    Canon EF: 44mm     Praktica B: 44.4mm     Minolta/Alpha: 44.5mm     Rollei SL35: 44.6mm
    Pentax K: 45.46mm     M39 Zenith Screw: 45.46mm     M42 Pentax Screw: 45.46mm
    Contax/Yashica: 45.5mm     Olympus OM: 46mm     Nikon F: 46.5mm     Leica R: 47mm

    A 46.1mm throat placed 18mm from a 43mm diagonal image sensor clearly isn’t ideal, but it’s for ever better than Fuji’s 44mm throat at the same 18mm. Or is it? Measure the actual mount, and the 46.1mm turns out to be a generous figure including the bayonet recesses. The real circular size is only 43mm and the internal diameter once any mount is fitted is only 42mm. The electronic contact array removes a further 4mm but fortunately not in a bad place. On the Fuji X mount, the contacts are placed to prevent any real chance of a full frame body (the same applies to Canon’s EF-M mount).

    sonyjune1526

    Sony got in by the skin of their teeth, and it is this mount diameter which actually starts to impose design contraints on lenses and makes some of them larger. A good example is the 85mm f/1.4 GM. That, in its purest form, would be a lens normally positioned >85mm from the sensor with an aperture diameter 0f 60mm. However, many of image-forming rays from this would be obstructed by the E-mount. A complex telephoto construction is therefore needed which reduces the virtual size of the lens aperture as seen from the focal plane and simultaneously moves its apparent location closer (placing the rear nodal point of the lens somewhere between 18mm and 85mm). Most lenses longer and/or faster than 50mm f/1.2 will need some increased complexity of design to condense the exit pupil.

    Telecentric design

    But against this, there’s a fortuitous benefit. Digital sensors, with their optically active filter/low-cut/IR glass packs, don’t respond well to very oblique angles of ray incidence. If you can make a telecentric lens – one which produces an almost parallel bundle of image-forming rays from a greater register distance – you’ve overcome this issue. That is what Olympus did with the original FourThirds format, which if scaled up to full frame size would have had a 77mm register – and they made their lenses telecentric, which means they produce a relatively parallel ray bundle, with a long back focus. Although FourThirds is now almost obsolete, it did have this odd advantage (also a real challenge which Olympus overcame in the creation of a fully retrofocus 7-14mm zoom with a 38mm register).

    The point I’m making is that large size, complexity and weight are not as so many state ‘laws of physics’ relating to making good lenses. They may simply be the most expedient solution. Remove all constraints – as Sony did with the RX1, Minolta did with the TC-1, and Ricoh did with the original film GR – and exceptional lenses can be made to be very compact, almost as compact as the theoretical physics will allow. Indeed it surprised many users to find large glass elements almost touching the film plane in some cameras.

    Sorry to be so wordy but it needs explaining. Does it matter? Yes, if you still believe in a Sony A7/FE system which can be as compact as a Leica kit used to be. In fact the E-mount makes it possible to design slightly smaller medium to long zooms and very much smaller wide-angles, and normal sized standard lenses. To adjust your perception, it’s important to take Sator’s camera size comparison images and align the focal plane index marks, not the front or back of the camera body. It’s surprising how much of an A7RII is behind the sensor plane.

    sony-wrongcomparison

    The screen grab above is from Sator’s article. It purports to compare two 85mms. There’s just one small problem – it doesn’t. The lens shown fitted to the A99 on the right is the 24mm f/2 CZ SSM A-mount, not the 85mm CZ. The 85mm is 1mm shorter but 3mm fatter with a generally chunkier look, and if you align the focal plane index marks, its front would come almost exactly level with the GM lens. It’s still smaller than the GM but if comparisons are to be made this way, they really should be correct, not wrong.

    Why other big lenses?

    Blame Canon and Nikon. Both have had SLR mirror paths which are very generous, and there are some lenses you can adapt to Canon which will give you a damaged mirror and lens in return (those lenses can’t be adapted to Nikon at all). Makers like Sigma and Tamron have to design all their lenses to clear the Canon full-frame (EF) mirror swing, and if that means adding 5mm to the back focus and then adding even more in glass to the overall assembly to make this work, so be it.

    sigma-20mmf1p4

    Therefore, when a nice fast 20mm f/1.4 Sigma appears designed for a retrofocus with a 42mm physical clearance, it’s going to be the same size when remounted (if they ever do) for a skinny 18mm register. Actually, the same size plus 24mm of deadspace extension.

    If you think that a fast superwide is bound to be huge, try a Voigtlander 21mm f/1.8 Ultron in Leica M fit. It’s not f/1.4, but it’s also the size of your palm not your forearm – and no doubt an autofocus lens could be made much the same. In fact you can buy an E-mount to Leica M autofocus adaptor and turn it into one. My point is that where Sony’s own lenses may sometimes be fairly large in order to deliver the best results from the existing sensors and the mount constraints, DSLR system lenses can be even larger. Where there is potential for Sony native lenses to be small, there’s very limited potential for this with DSLRs. I use a couple of rare examples, the 20mm f/3.5 Voigtlander Nikon fit wide and the Canon 40mm f/2.8 STM pancake. They are exceptions. Within the range from 28mm to 90mm, there have always been excellent and fairly compact lenses for all types of system – Contax G, Canon, Nikon, Pentax, Leica, Minolta CLE. Sony should look to these for inspiration for a core set of lenses, and seem to have done so with the 28mm, 35mm, 50mm, and 55mm. A neat 85mm f/2.8 next in line then?

    Adaptors and focus calibration

    The general comment that adaptors introduce error is very true, but Sator doesn’t explain why the E-mount is so prone to such errors. Let me do so. It was designed, from the ground up, to be self calibrating and not to require much precision. When the original 16mm f/2.8 pancake was launched with the NEX-3 and NEX-5, that lens had so much focus travel it could go well beyond infinity. Just 0.1mm makes a huge difference with a 16mm lens at f/2.8 – and the actual flange to sensor register of those first bodies was not even accurate to 0.1mm. Sony just made the lenses able to cover the manufacturing tolerance, because the on-sensor contrast detect focusing always got it right. You would never know if a body had 0.1mm or 0.2mm variation from spec, as the lens had more than this leeway.

    SONY DSC
    Why the A7 system still wins – though now old, a Voigtlander Leica screw original 12mm f/5.6 ultrawide works well using a $10 simple adaptor. A very much more expensive adaptor – $300 – turned out to have incorrect infinity focus.

    Then along came awkward early buyers of adaptors and lenses like the Voigtlander 12mm, or for example the 40mm f/1.4 which was the lens that really alerted me to the problem. These lenses are calibrated to Leica focus register with the aim of a hard infinity stop. They are supposed to hit infinity just as the stars in your night sky snap into perfect focus. We found that whether this happened depended on the individual Sony body and also on any adaptors. Manual focus lenses were not self-calibrating! That’s why the Fotodiox Tough-E mount arrived, why Sony tightened up generally on tolerances after the A7 and A7R, and also why makers like Samyang wisely allow a generous over-run past infinity for manual focus lenses (their 12mm f/2 for E-mount is an example, with plenty of tolerance to handle different bodies).

    Now all of Sony’s E and FE mount autofocus lenses have continued to be self-calibrating. They do not have hard infinity stops and many don’t form an image properly at all unless powered up (the power moves groups and elements into position, centres any stabilisation group, and finally performs AF). The start-up routines can also involve opening the lens aperture and closing it, often every time the shutter release is touched for first pressure. This is why expert users often prefer to AF using an assigned custom button, not the shutter release. It can save a wasted quarter-second and greatly speed your response time for action and grab shots. It’s also why manual lenses are popular, as these always shave the response time of the camera body down to an absolute minimum.

    The mistake some make is to assume the Sony E-mount needs to be as precise and accurate as a 35mm SLR or DSLR. It does not. It may feel like a precision instrument but in fact it’s not. Where an SLR design requires micron precision in alignment of the lens mount and the focus plane, the principal mirror and the secondary AF mirror, the AF module, and the focusing screen – all at once – the E-mount mirrorless requires only two conditions to be met. The axis of the lens should be centred on the sensor, and should be perpendicular to the sensor (and any focus mechanism used should retain this). If this is achieved, all other degrees of precision can be covered by tolerance. Obviously the IBIS, 5-axis moving sensor, does require considerable engineering excellence to do what it does and keep everything right. But unlike the old DSLRs, it will never need you to adjust hidden screws just to get the focus working properly.

    The IBIS question

    Sator suggests that with such a small throat aperture, the 24 x 36mm stabilised sensor really can’t do its job. We all saw the first demonstrations of AS, or SSS, or SSI or whatever we call it – the sensor apparently gyrating over many millimetres. Those who bought the original Sony A100 and 16-80mm CZ lens also found that sometimes the sensor would be a little more off-centre for the shot and one corner would be sharply vignetted. Well, you might expect that from the A7RII with certain lenses but in fact I’ve never observed it.

    The IBIS never allows the sensor to sit off-axis. It will constantly correct for your wavering hold, but always return to a centred position. It’s not trying to dive 5mm past the shadow of the lens throat or outside your lens image circle, even if it can do so in theory. The real stabilisation corrections made are within a millimetre or two, and even that is a considerable blur when there are over 200 pixels in one millimetre of travel! Consider what a 200 to 400 pixel blur looks like. What IBIS is doing often corrects shake producing blur in the region of 2 to 20 pixels.

    So, the reply to the apparently valid point that the whole sensor size, stabilisation movement, lens throat size, and lens image circle combine to make Steady Shot Inside a guaranteed failure can only be this: it works. It’s like a bicycle – look at it, think about it, and it’s not promising… but in practice it works very well. It also works, however its firmware interfaces with lenses, to use OSS optically stabilised Sony lenses very successfully.

    Conclusion

    The Leica screw system was probably designed with its 39mm lens thread much smaller than the diagonal of the film gate because it was originally made for an 18 x 24mm ‘single frame’ (later called half-frame) format. When a fixed lens was replaced with the screw mount, the inherent problem of having this smaller than the film diagonal was missed. That gave later generations the vignetting Leica Visoflex and the limited range and performance of all lenses over 135mm focal length!

    To some extent Sony has done the same thing and simple large aperture long lenses might in theory vignette. In practice they don’t. The limitations are nothing like the Leica or Contax rangefinder mounts were in the past. The argument against full frame mirrorless, or the specific design of the Sony FE/A7 series, ignores many things including simple points like volumetric heft (looks very different from overhead views of the camera footprint) and multi-body kits. I use A7RII, A7 and A6000 and all three bodies together barely take up the baggage space of a single pro DSLR.

    So, just relax. The Petapixel article was not a very carefully constructed one or a balanced argument. You’re going to find many different form factors of digital camera in future. The Sony full frame mirrorless system is just one. Because Fujifilm, Olympus, Panasonic, Nikon, Pentax, Samsung and Canon have all made design decisions for their mirrorless offerings which rule out full frame it’s not going to have ‘competition’ right now, and all users of other systems will find reasons why it doesn’t work for them – or take the plunge.

    David Kilpatrick

    Subscribe to f2 Cameracraft our bi-monthly magazine – worldwide subscriptions by fast airmail, premium ultra-heavy print quality and the best of British printing technology (it even smells good).

  • Voigtländer FE 10mm f/5.6 and 15mm f/4.5 III

    cameraswithVSMVFEwides-web
    I got to try out the first new Voigtländer Sony FE mount lenses with electronic aperture setting and manual focus control with a quick overnight test during the UK Photography Show at the Birmingham National Exhibition Centre, on March 19th 2016. The pre-production 10mm f/5.6 Hyper-Wide-Heliar and 15mm f/4.5 Super-Wide-Heliar are two of a trio reaching the market in Spring 2016 – the third is a new version of the 12mm f/5.6 Ultra Wide-Heliar. We also tried the 10mm in Leica M mount; the test cameras were the Sony A7R II and Leica M 240.

    First of all, no other Voigtländer lenses yet have the Sony E-mount with electronic connections, similar to the Zeiss Loxia models. Cosina, the manufacturer of Voigtländer lenses, also makes some Zeiss lenses and the operation of these designs is probably identical to Loxia 21mm, 35mm and 50mm models. The electronics could allow in-body control of the lens aperture but for these lenses, the aperture is mechanically set on the lens itself with a 1/3rd stop clicked ring that can be de-clicked by pushing back, turning through 180° and putting an alternative index mark in place. The focus distance set is transmitted to the camera, along with the focal length. This allows a digitalogue display in the finder, a marker moving on a bar from close to infinity.

    15mm-Emountrear-web

    For the E-mount, the close focus of the 10mm and 15mm is impressive and identical at 30cm. This contrasts with the M-mount minimum focus of just 50cm. The mechanical focus is very smooth indeed and the whole metal-bodied barrel and mount feels solid and precise. Depth of field markings are conventional (that is, based on pre-digital circles of confusion, or a typical A4 print rather than a 100% view on a 27 inch monitor screen). The optical design for the Leica M mount is clearly identical but the mount is very different with no electronics, and indeed no way of telling the Leica body the focal length or aperture in use. The EXIF data from Sony E-mount files is precise, with Leica it depends on the user manually entering the focal length, and a clever algorithm that uses the camera metering to work out the f-stop being used.

    15mmvoigt-twomounts-web

    Here are 10mm Hyper-Wide-Heliars in E-mount and M-mount.

    10and10-web

    The lenses have fixed petal type lens hoods and come with well-fitting front caps. The use of filter systems will depend on adaptors like those already found for the 15mm MkIII Leica M, but probably custom designed for the 10mm.

    Here, as a final product shot, is the original 1990s 12mm f/5.6 Ultra-Wide-Heliar Leica screw mount, with its detachable hood removed, next to the new 10mm. The new 12mm is similar in size to the 10mm, reflecting an optical design intended to be more compatible with digital sensors with improved vignetting control and freedom from colour shifts. It’s fair to say, though, that with the Sony A7R II I have been using the old 12mm with very good results. I can also tell you the new lenses are much sharper especially towards the corners.

    old12and10web

    It’s this sharpness which comes as a really welcome surprise with the 15mm f/4.5 design. It can be used wide open with confidence. Because the lenses have mechanical apertures, they don’t open up for focusing like purely electronic E-mount types – you focus at the working aperture, or for extra accuracy open the lens up, focus, then close down. When you touch the focus ring and move it, the magnified focusing of the Sony body is automatically activated, returning to a full view when you take first pressure on the shutter release. In practice this is a very fast and accurate manual focus method needing no button presses on the camera body.

    The geometric distortion of the lenses is minimal – they are almost perfectly orthographic but far from isometric! Objects near the ends and corners of the image can appear extremely distorted simply because they are projected with such rigorously rectilinear drawing. This is not really distortion, but it certainly looks like it when a face or figure ends up placed at an extreme. The 15mm must be used with care, and the 10mm needs an advanced understanding of weirdness.

    These lenses convey a built-in profile to the Sony bodies, and also to Adobe Lightroom or Camera Raw for processing (or so the dialog reports). What you see through the electronic viewfinder, and on opening a raw file, may not represent the optical truth. Studying the 10mm I found it hard to understand how any light reaches the corner of the sensor at all. I can’t measure the true fall off but I would guess it’s in the order of five or six stops. With the profile applied in-camera or by the raw converter, it’s moderated especially when stopped down a bit. This looks natural. Correct the vignetting fully, and some of the natural appeal of the image is lost.

    We must wait to review what may be primary choice for many users, the 12mm.

    The 10mm Hyper-Wide-Heliar f/5.6

    This lens displays an exceptionally straight geometry, even when used on the Leica M 240 body which has no added firmware correction function. Whatever profile is being passed to the Sony bodies probably only concerns vignetting (our Leica test indicated it may not really need a lens profile). It has 13 elements in 10 groups and covers the widest angle ever achieved with a true wide-angle on the 35mm format, 130°.

    Of course, I took a few tests inside the NEC but the first subject which really lent itself to the extreme angle was the giant illuminated sign. I was about a metre away from this, but a standing adult is about half the height of the letters. All the pictures used in this article can be clicked-through and will take you to the pBase Gallery which allows access to the ‘Original’ A7RII (level 10 JPEGs, full size) along with all the essential metadata. Please note these pictures are all copyright and if you wish to share them, please link to the pBase Gallery. You may download and examine them for your own research but they may not be reproduced.

    Outside the exhibition centre there’s an open land drain (Pendigo Lake) which stops the entire place from flooding. It’s about seven feet deep and fed by drains from below all the exhibition halls. With the 10mm fitted, I found a suitable supporting post. You’ll see that the beach gravel shows some softening and elongation towards the corners, almost inevitable regardless of the sensor cover glass specifications sometimes blamed for this. The lens geometry forces the elongation. This shot at f/8 has no added correction at all for vignetting.

    But with a lens like this, simple extreme wide views can be disappointing or pointless. You need to exploit its potential to do what other lenses can not do. The Sony A7R II can also go where other cameras might not – such as nested into the gravel, using the rear screen folded out for viewing the composition.

    This is stopped down to f/22, and in fairness the diffraction softening means nothing is really as sharp as it can be. The diaphragm stars from the lights are neat. Depth of field doesn’t get much deeper than this.

    This picture is from the next morning, walking back past the lake. ‘Not often you get to photograph Father Christmas fishing’, my friend here joked. He told me the history of the ‘lake’. Seven friends had gathered, for a fishing competition – pick their spot, set up, three hours to fish, winner with the biggest catch by weight. I’d been using a tripod so Steady Shot was turned off, and this hand-held shot at 1/6th was just OK. I found that because of the magnified scale of detail towards the outer field, if you do get shake it can be almost invisible in the centre but really blur the corners. I’m still trying to work out exactly why sensor based stabilisation manages to handle this change of scale caused by lens projection, but it does. Shots with SS on were generally perfect, those without could be surprisingly poor considering the very short focal length. I’ve processed this picture a little to suit the subject, but it shows the potential of the 10mm for environmental portraiture and editorial work. Because a shift of just inches in the lens position changes the shot so much with the 10mm, a tripod would have been impossibe here (I was leaning forward almost vertically above his foot for this).

    Here’s a funky use of the 10mm extreme angle and scalar distortion. It’s a quick grabbed shot on leaving the exhibition hall, and it’s not even vaguely sharp, except rather oddly in the view through the coach windows. The LED lighting has strobed some detail at the left hand side.

    I liked the effect with the bus so much I tried a few trucks through the car window in the morning. However, they lacked shape and form. This passing car and trailer was about the best. The progressive shutter captures a very strange effect from the wheels.

    Here’s a more conventional use of the 10mm. The weather was pretty dull and actually, night scenes were better. Stopping right down, again, takes the edge off sharpness. The 10mm seems about at its best around f/8 or f/11 (which is exactly where I use the old 12mm at the moment).

    Before moving on to the 15mm, a change of location. Next to the ‘lake’ there’s a new Resorts World hotel, casino and outlet mall complex with restaurants. Brightly lit at night, it was a far better subject for these wide lenses than anything else! Even in the daylight, it was interesting.

    You’ll also find a vertical version of this in the pBase gallery. It’s hand held, and the detail throughout really says everything you need to know about the 10mm and its practical uses. Although I believe the 15mm is substantially better optically – simply not as ‘stretched’ – I placed my order for a 10mm after doing this test. It is, after all, about the same price as Sony’s supremely boring but widely praised CZ 55mm f/1.8 – and you’re getting something with a unique commercial and creative edge instead of exactly the same old standard lens we’ve had around for ninety years, slightly improved…

    The 15mm Super-Wide-Heliar f/4.5

    With only 11 elements in 9 groups, this 110° lens is version III of a popular favourite. Optically identical to the M mount version, the big attraction is not just the lens, but the E-mount functionality. However, having used various 15mms before version III, I have to say this lens is just outstanding optically. It resolved such fine detail that on the interior view at night of the Resorts World mall, moiré patterns are thrown up by the pattern of pegboard type holes in the architectural ceiling surface. Please note that’s not vignetting at the top, below, it’s the lighting in the mall.

    Even if you don’t bother to click through and examine the full sized images for the other shots, please do take a look at this. It’s also handheld with SS, and not at the very slowest ISO. The resolution at f/8 is extreme and other shots taken, including those at f/4.5 maximum aperture, show the same quality. I’ve been testing lenses for over 40 years now and this is simply one of the best lenses I have used. This particular interior is almost like a 3D test target for lenses, too!

    The 15mm causes me a problem. I already own a Sony CZ 16-35mm f/4 and it simply isn’t this sharp.  It can’t do the same thing on a 42 megapixel sensor, it is acceptable and all very good, but not on this level. The 15mm is better than the 10mm and in many ways a more generally useful focal length. But… I’ve got my 16mm covered. 10mm is a better partner. If I dd not have my 16-35mm, I’d team up the Voigtländer 15mm with a 24-70mm. Only even the new 24-70mm Sony f/2.8 probably won’t match this (I have taken a few shots on a pre-production sample, but remember, this Voigtländer is also pre-production).

    The 15mm is a great angle for shots like this and it resists flare well. This is not a tripod shot, it used the fishing platform at some risk of an expensive camera and lens taking a dive.

    Here’s a hand-held, stabilised, very high ISO shot stopped down enough to keep the topiary fairly sharp. It’s much easier to get the horizon level with the display function available in the Sony A7R II and the brightness of the EVF for night shots. Otherwise, this would be much harder. I found it almost easy to take pictures like this casually using the 15mm (it’s harder with the 10mm which needs that little bit more care in levelling up).

    The 10mm on Leica

    Just to prove that the straight-line geometry and reasonable vignetting are not entirely down to any kind of electronic profile, a couple of Leica 240 shots start here with one using no adjustments in raw conversion to correct illumination or geometry.

    Here’s a slightly more creative use of the lens. Getting the camera in position was not easy and the A7R II would have been quicker to set up, but we wanted to check out the Leica version too.

    Conclusion

    If you have not purchased any wide-angles shorter than 20mm, it’s worth buying both the 15mm and the 10mm – or maybe just the 12mm on its own. The prices in the UK should be around £839 including VAT for the E-mount 10mm and £724 inc VAT for the 15mm – or less. At The Photography Show, these lenses were being ordered in some quantity especially on the professional days. A surprising number of mainstream professionals now use Sony A7R II and it seemed that almost all my pro magazine readers who came for a chat at the Master Photographers Association stand either had Sony or Fujifilm X. Those handling commercial assignments generally had the A7R II and most were using their Sony kit alongside Nikon or Canon. You can get pretty good (if huge) 15mm lenses for these DSLRs but you simply can’t get a 10mm. The closest is Canon’s 11-24mm EF zoom; at 11mm this does not even begin to approach the image quality of the Hyper-Wide-Heliar. You could also buy an A7R II with this lens for less than this zoom alone (definitely so at the show prices where £700 was slashed off the A7R II body).

    For those who own 16-35mm or similar lenses, the 10mm is a logical buy. It’s especially useful with the A7R II rather than the A7 II or A7S models, because the 42 megapixel sensor allows sensible cropping away of geometric extremes. One photographer I talked placed an order just to dispense with his bulky Canon 17mm tilt shift and DSLR – a crop from the 10mm angle of view is all he reckons he’ll need in future.

    Our thanks for Hardy Haase of UK distributors Flaghead for the overnight loan of the lenses, and thanks to the NEC and Resorts World environmental landscaping completed this year for creating some half-decent subject matter. Flaghead is also the owner of Robert White, the famous UK professional dealership in Poole, Dorset, whose founder is no longer with us. They took over the premises and shop before Robert’s death, and continue his name and reputation. This is their own direct outlet for the Voigtländer lenses

    – report and all example photographs by David Kilpatrick, publisher and editor of f2 Cameracraft and Master Photography magazines. Product photographs by Richard Kilpatrick. To subscribe to our premium quality bi-monthly magazines, visit www.iconpublications.com

    See: Flaghead – www.flaghead.co.uk; Robert White – www.robertwhite.co.uk; US distributor, CameraQuest – Cameraquest.com; B&H for US orders, 10mm lens E-mount link, B&H product listing.

     

  • My new Sony 85mm…

    With extremely expensive Sony-fit 85mm lenses in abundance and beyond my (economically sensible) reach, I’ve done good commercial work last year on the Canon 85mm f/1.8 USM and later the Sony 85mm f/2.8 SAM on A7RII. Some of my work relies on showing close-up details with strong differential focus, and hardly any lenses are free from ‘colour bokeh’ issues, so it’s needed some care to process the files and avoid that typical magenta tinge to the background and greenish hue to foreground blur.

    detailshot6

    This is a typical example. It’s on the Canon 85mm f/1.8, and although this is a fairly clean lens, the background at f/4 needed some post-process work to avoid a magenta colour shift.

    longwhitecloud-glass

    In contrast, absolutely no work is ever needed on my Sigma 70mm f/2.8 macro. It shows no chromatic effects in defocused areas. But this is a studio shot at f/10 – and, like many commercial shots, the extreme f/1.4 or f/2 apertures which are so highly valued by the bloggerati simply don’t enter the equation. Differential focus here is precisely balanced against the legibility of the bottle wording at web size (these shots are for a 1440 pixel wide template).

    I like to have a choice of wider aperture and macro lenses for this kind of work as they all produce different effects. My 70-210mm f/4 Minolta AF classic, for example, has about the cleanest foreground blur wide open on 0.25X scale 210mm close ups. My 85mm SAM is ‘dirty’ by comparison (but its 60cm 0.20X minimum focus distance still makes it the best 85mm for close work unless you use a macro or a zoom with good close range). Then, we get the Zeiss Batis 85mm f/1.8 popping up followed now by the costly Sony G-Master 85mm f/1.4 FE. In both cases you get 80cm minimum focus and around 0.12X image scale (rather like the 70-200mm f/4 Sony G FE lens used at 190mm and 1m focus).

    I really like, on a full-frame camera, to reach one quarter life size on the sensor. One-eighth, the 0.12-0.125X type of scale, means a full A4 magazine page fills the frame. One-quarter, 0.25X, means a quarter of that page or a postcard size fills the frame. There are so many things in the world, from a kitten’s face to a lily in bloom or a perfect cup cake, which are about this size. When I photograph food I often want to avoid including the edges of the plate completely. Those lenses which push me back too far prevent that. I know many users will be puzzled by my preference and see no reason to want to get any closer. Well, that’s just me. I have always done well creatively and commercially from surprisingly tightly cropped, close-up work.

    And, being more critical of these new hyper-expensive lenses, we’ve had 80cm focus 85mm lenses for SLR focusing for 70 years now. Really, any new lens in this focal length should focus to 60cm or ideally 50cm without calling itself a macro. That suits the way we live, in our cars, at desks, at home, at tables, in small spaces, giving other people space. I really like to be able to place an item in front of me, or even hold it in my hand, and focus on it. I can’t do that at all with 1m minimum focus (the old rangefinder Leica standard!) and only just with 60cm.

    Then I started seeing some work taken on an interesting old lens. It’s small, taking 49mm filters. It is fast, at f/2. It was originally designed by Carl Zeiss and if you were really lucky you might find an 85mm f/2 Sonnar. But for around £100/$150 or a little more for guaranteed condition you can buy the Russian Jupiter 9 85mm f/2 manual preset lens in M42 screw (Pentax/Praktica). And since it’s a screw mount SLR lens, you can add an extra layer of focus extension for very low cost between the E-mount body and the lens.

    SONY DSC
    Above: my Jupiter-9 with Camdiox helical Pentax screw E-mount adaptor fully extended and with a vital lens hood fitted; top, the mount and lens set for infinity focus, lens hood removed.

    So last week I assembled a relatively low-cost eBay rig to enable even closer focus than the 60cm of the SAM . This is partly just experimental, our of curiosity to see how well a 1930s Sonnar type design made in 1980s Russia with 1950s technology and coatings can peform. The 85mm f/2 Jupiter-9 is often used to get an attractive f/2 soft-focus with core sharpness, gradually cleaning up until around f/3.5 the softness is gone. It is also used to get neat circular bubbles from strongly out of focus light sources beyond the subject, or a generally very attractive focus transition at any aperture since the 19-blade mechanical iris forms an almost perfect circle at all settings. It focuses slightly closer than 80cm.

    With the well-made Camdiox helical adaptor costing under £28 delivered, this is extended in a continuous range to 35cm from the film plane and 0.51X. Obvously, it takes up no more space than my plain M42 adaptor as it is exactly the same thickness at infinity setting – and it does allow true infinity focus. Being solid metal, the combination is not all that light, a dense 490g in its 88mm long by 63mm maximum diameter, 20g more than the Batis. But it feels good. The aperture mechanism is crude and difficult to see and use, but would normally be set first to a chosen aperture such as f/2.8 for the best sharpness with a shallow depth of field, or f/8 for landscapes. It would not be much fun for anyone who likes taking a range of shots from f/2 to f/16, or for anyone wanting accurate half or third stops.

    First of all, is this lens even remotely sharp, and can the Sony A7? bodies use it well? Both answers must be yes. Just set the focal length for normal distances to 85mm and the in-body SSS of the A7SII, A7II and A7RII will give amazingly effective stabilisation. Work between f/4 and f/11 and this simple old lens design outresolves the A7R. I was just checking the focus on some calendar text in very dim room light, using ISO 1600 on my A7RII, when I pressed the shutter with 1/40th hand-held –

    85mmJ9-f4-1600-40thA7RII

    This was never intended to be seen, just a casual target. These pictures open out to Facebook size, by the way, when clicked – 2048 pixels. Here’s a 100% pixel friendly section from this. I was surprised. The lens was at f/4 and focus was done at max magnification, at the taking aperture.

    85mmJ9-f4-1600-40thA7RII-100%

    You need to check this JPEG out by clicking to open/view at 100%. It’s like this right across the frame, corner to corner. There’s a pleasant dimensional quality to the rendering this old lens gives, but it has one massive failing – it flares up dramatically if any light at all reaches the front glass. The only solution is a very deep lens hood indeed.

    Making more considered tests, I headed for a target I had set up to explore colour bokeh, that unpleasant magenta to green shift in defocused areas. With this set-up, my 85mm SAM is not bad at all and does benefit from a proper lens profile. As you can see, the music doesn’t seem to change much in colour from front to back though in the full size 42 megapixel file, especially without lens CA corrections, some funky colours do appear.

    85mmSAMf2p8-corrected

    Here’s how the Jupiter-9 worked out – first of all, it’s one of a number of shots at different distances and angles, not identical to the SAM shots, and this one takes advantage of the closer focus combination of adaptor and lens:

    fiddlemusicJ9f2p8close-facebook

    The colour shifts are different, with a bit of a rainbow including red and cyan fringes as well as magenta and green, and the contrast is lower. However, the detail in the very limited f/2.8 focus zone is very fine and over a range of tests the blurring (from the circular aperture) just looks better. No doubt I need to take many more shots with this lens (once the deep 200mm lens hood I’ve found arrives…) but it seems like a worthwhile creative option alongside a number of older manual lenses.

    What really interests me is that this same design, with a few refinements of modern manufacture, would surely be worth having. Tamron’s forthcoming 85mm f/1.8 will focus close – it is the special feature of this new lens series – and maybe along with the 35mm and 45mm f/1.8 designs will one day appear in native E-mount. I’d love to see a half-price Batis, a Sonnar f/2 variant instead of f/1.8, with a decent close focus limit around 50cm. Until then I’ll use the SAM on LA-EA3 or LA-EA4 (works well with either) and my assortment of manual set-ups including this Jupiter-9.

    Here’s a revision to the post, got some sunshine this morning (day after writing the original post) and with focus peaking and f/5.6 even a little moving target comes out whisker-sharp!

    theexplorer-fb

    – David Kilpatrick

  • Sony’s Master plan – new 85, 24-70, 70-200 and more

    15H_GM_lens_image_04

    On Tuesday, February 2nd 2016, Sony UK held a press event to which I was invited. Well, I’m in a different country and about 400 miles from their Weybridge offices, so as usual my trusted English office editor at large (and son) Richard made the still substantial journey from Leicester. The result was a completely wasted day, his time and our company’s money, looking at a mixed bag of TVs, camcorders, headphones and all the Alpha and RX gear we already had seen long before.

    Then on February 3rd, mid-afternoon, the same PR agency which had extended this generous invitation to come and gather ZERO editorial content for our magazines announced the new G-Master series 24-70mm f/2.8 FE, 70-200mm f/2.8 FE and 85mm f/1.4 FE, 1.4X and2X extenders, and upgraded A6000 successor A6300.

    I was attending an excellent event with Graphistudio on the road in Edinburgh (they do try to cover the whole of our surprisingly large and still united kingdom) and returned to see the news. Talk about mixed emotions! I was furious that they should cost me a very real £300 or so (that’s what it costs, whether I do it, or Richard, or a hired freelance) to cover yet another of their red herring events just 24 hours before a major announcement like this. We get nothing free from Sony, they don’t advertise in our magazines, and unlike Minolta they don’t offer pre-launch access to pre-production samples.

    And that’s why I should not even be writing this. In the past, I would never – as a responsible journalist and technical editor – have made any comment on equipment I had not been allowed to handle and preferably use if only for an hour or two. But these days a thousand bloggers try to drive traffic to their sites by doing exactly that.

    Here are my thoughts, anyway.

    a6300_N_wSEL1670Z_right

    a6300_N_wSELP1650_topa6300_N_wSELP1650_tilt_downa6300_N_wSELP1650_front_topa6300_N_front

    a6300_N_wSEL1670Z_fronta6300_N_reara6300_N_lefttside   Click to open full size official images!

    The A6300

    It’s 24 megapixels like the A6000 and does claim a slightly faster and wider zone AF. But the A6000 is already close to perfect and I normally shoot with centre point focus, not any of the wide zone modes. I really don’t want the collar on a dog sharp and its face out of focus just because the collar is the more contrasty target which the wide area focus finds first. It’s also twice as much as I paid for my A6000, which happens to have been selling for a market-beating price. I have a great set of lenses – 10-18mm, 16-50mm, 35mm f/1.8, 50mm f/1.8 and 55-210mm. All except the 10-18mm cost about half the official retail because Sony did some great deals. Basically anyone like me who has invested in a decent A6000 (or NEX-6, even) kit and already own an A7S, SII, or RII can take the A6300 or leave it. In fact my now-outdated RX10 and RX100 MkIII do pretty neat silent shooting, one of the main upgrades over the A6000.

    If you need the very fast (120fps) refresh of the new EVF, 4K video and the improved audio functions (whether using jack plug mic or the MFAccessory shoe mic choices) then it’s easy – it will cost you less to get these than any other comparable route. Even the RX10 MkII no longer looks so attractive. As others have commented, it’s partly a matter of waiting for the body price to fall by the end of the year. In the meantime my A7RII actually does all the movie stuff I need (its APS-C 4K is superior to its full frame, and makes full use of line-up of lenses above).

    However, if they manage to lend me a test sample and the new sensor turns out to kill the already wonderful noise/ISO ratio of the 6000 I could be won over early at a high price. Had this been a 36 megapixel body I would be thinking very differently, and perhaps even considering a switch from full frame to APS-C.

    The 24-70mm f/2.8  and 70-200mm f/2.8 G-Master FE

    SEL2470GM_A

    With a 77mm thread and an overall size not far removed from the A-mount equivalents, the weatherproofing and generally improved design of the AF system will win buyers. The longer lens has the 0.96m close focus I’ve been campaigning for now for several years, and it’s disarmingly simple. If you study lenses, you’ll have realised that SSM, stepper or linear motor type AF (silent, no gears) has caused the increased and restrictive focus distances I’ve covered in Cameracraft and elsewhere. It has just been unable to provide enough movement. As an example, compare the old screw-drive 28-75mm Konica Minolta with the ‘identical’ Sony 28-75mm SAM. The 24-70mm f/2.8 A-mount models are actually amongst the better in this respect, managing the magic quarter life-size to important for many subjects. The 24-70mm f/4 FE is not as good though you would have though it easier to make close focusing with a simpler, slower lens – only 0.20X. At least the 24-70mm f/2.8 FE matches up to its A-mount equivalent.

    SEL2470GM_B

    In these new fast FE zooms Sony has improved performance by using more accurate asphericals, designated as XA (extra aspherical, presumably meaning a curve which was out of reach before). Combined with expensive glass types (low and extra-low dispersion) and complex design (23 elements in 18 groups for the 70-200mm) this enables apochromatic correction although they do not use the term. This removes ugly colour bokeh effects. A ‘floating’ internal focus action for the rear unit gives a wider fully corrected focus range, affecting both the focused distance and the flatness of field. An SSM (ring) motor drives the heavy, larger forward group focusing and a linear (rail) movement shifts the rear assembly but the whole focus action is internal.

    SEL70200GM_A

    I welcome the 96cm close focus (I trust it applies across the whole zoom range and with AF all the way). This lens achieves 0.25X scale at 96cm. Compare that to the Tamron Di VC USD 70-200mm which can only manage 0.125X, half the subject size, at 1.3m and that’s by switching to manual focus – it forces you back to 1.4m from the subject if you use AF.

    It’s also worth comparing size; most new 70-200mm DSLR lenses are around 185mm long, the Sony is 200mm long. But it’s really ‘smaller’ than the original Sony A-mount 70-200mm’s 197mm. That 15mm extra length is almost entirely dead space, a kind of extension to the barrel in order to handle the 18mm register of the E-mount, and also enable the use of the 1.4X and 2X extenders. This extension falls behind a fixed, not removable, rotating tripod mount collar which has a removable foot instead.

    SEL70200GM_C

    I’m sure that the dual focusing will be fast, with two simultaneous actions combined, and ideal for contrast detection  as well as on-sensor PDAF. My reservations are simple enough though – these are lenses for one-system users, dedicated to mirrorless. There really is no saving over the latest A-mount versions in weight and size, and many photographers (like me) may want to use both A and E mount bodies. I’ve been considering investing in another A99 even though I sold mine. That’s because it is so much more comfortable and complete with my longer lenses than the A7RII with LA-EA4 or 3, both of which I have. If I did so the 24-70mm and 70-200mm A mount would be on the shopping list, and what reason would I have for buying even more expensive new FE versions which could never, ever be used on a A-mount body?

    The 85mm f/1.4 G-Master FE

    SEL85F14GM_A

    One guide to acceptable minimum focus distance is the simplest formula imaginable. A lens should be able to focus – at the least – to the same centimetre distance as its millimetre focal length. So, a 50mm lens should manage 50cm, a 100mm lens 1m, a 200mm lens 2m or closer. But that’s the least you need. The ideal is HALF the mm in cm. A 50mm focusing to 25cm is brilliant, a 200mm focusing to 1m is amazing (Vivitar once made one, with a bright f/3 maximum aperture too).

    So, for me the 85mm f/1.4 with its substantial 82mm filter thread, 850g weight and focusing down to 80cm (some data tables say 85cm) with 0.12X image scale is just acceptable. A Samyang 85mm won’t go so close and most 85mms don’t break the 1m barrier. But an ideal new, modern 85mm would focus to 50cm. It’s just pretty hard to enable this using SSM or linear AF drive. Even the Carl Zeiss Batis 85mm f/1.8 is the familiar 80cm, 0.126X scale.

    SEL85F14GM_B

    What I actually use right now is an 85mm f/2.8 SAM lens on LA-EA3. It’s not 100% free from CA and colour bokeh issues, but it is exceptionally sharp and it focuses right down to 60cm with 0.20X scale. Above all it is very small and light, and for me that is most of the point of the A7RII and all the A7 series bodies. It focuses perfectly on my LA-EA3. I can use it with A-mount extension tubes or my Meike metal full frame FE extension tubes, but that’s a bit of a crude solution.

    Results from the MG 85mm so far seen, disregarding some fairly cheesy portraits, show that its 11-blade iris and apochromatic XA correction do deliver more than you will ever get from an 85mm f/1.2 Canon or a Samyang or a Sony 85mm f/1.4 ZA. The manual 1/3rd stop clicked or click-free aperture ring combined with the absence of magenta-green bokeh shift mean this lens will be massive for vids, whether creative porno or music promo. It should be on the same level as Zeiss/Arri ciné lenses if the claims stand up, and I would not be surprised to see a dedicated cinema version.

    It’s a long way from the 85mm SLR lenses of Minolta’s past – six iris blades!

    The extenders

    Sorry, but most FE and E lenses can never (ever) use a a tele extender. That’s why you have not seen any. It’s also why I use that 85mm SAM… it makes a neat 170mm f/5.6 wth my Teleplus 2X MC-7. Way back, one of my favourite travel outfits including the Minolta XD-7 with 85mm f/2 and a 2X converter, 170mm f/4 was a sweet spot in every respect.

    SEL20TC_BSEL14TC_B

    These two converters can only be used with the new 70-200mm f/2.8 G-Master FE. When you look at how far the converter unit extends into the lens barrel,  you’ll see that this is a combination designed from the start. The rear element of the FE lens is deeply recessed, midway between a typical E-mount design (18mm register) and an A-mount (rear element no closer than 42mm to the sensor).

    SEL70200GM_SEL20TCSEL70200GM_SEL14TC

    The extenders add less length than an A-mount variant would, and the back focus of the FE lens is shorter. But it’s a mid-way compromise. Extenders are easy to make for DSLR back focus register, they are difficult or impossible to design for 18mm register mirrorless like Sony or Fuji unless the host lens is matched exactly to the extender. And the 70-200mm f/4, for example, is not…

    The compromise

    And, having mentioned compromise, I should explain the great compromise which has made the entire Sony E/FE system much larger than it needs to be.

    It’s all down to the A7R 36 megapixel sensor. This sensor, more so than the 24 megapixel full frame, requires a very telecentric lens design. That is, more like a DSLR lens, despite the slim A7 series body. In order to perform acceptably with this sensor, the FE lens range could not be designed to be as small as a rangefinder system equivalent, or to take full advantage of the 18mm mount to sensor distance. Brian Smith, whose images are great (not cheesy portraits) but whose technical info clearly comes via Sony PR, says this: “Mirrorless camera design has allowed Sony’s lens designers to place larger than normal lens element close to the body”. Actually, they don’t, as the design of the extenders will tell you. They’ve used a stronger degree of telephoto construction in the long zoom, allowing a smaller than normal rear element and they have taken measures to move it further away from the body – and this is a general trend. If you want to see what a properly small 85mm f/1.4 looks like try a Carl Zeiss Planar 85mm f/1.4 ZE in Canon mount – 72mm filters not 82mm, 570g versus 850g and really solid all-metal manual focus. The mirrorless bodies do provide a zone from around 16mm to 42mm from the sensor surface which can accommodate the rear of the lens, and can’t ever be used on a DSLR. But Sony does not make full use of that and can not do so because of the microlens, filter layer and structural characteristics of the A7R sensor.

    15H_GM_lens_image_06

    All Sony FE lenses and all CZ independent FE lenses have been designed to work well with the A7R. The 28-70mm kit lens was not, but most owners find it acceptable. They could have made some of the lenses a fair amount smaller and lighter if the A7R had never existed. The A7RII is so tolerant towards short back focus, oblique ray angle imaging, that a whole different range of lenses could be designed for it… but never will be.

    The system has to remain compatible with its earlier components, especially the first ‘flagship’ body A7R. And that is going to constrain design and increase costs for ever into the future. In contrast, see the Fujfilm X system. We have yet to find whether the new 24 megapixel Fujifilm sensor disagrees with any older lenses, but all new lenses no matter how fast, small or clever have full compatibility with all the earlier bodies and don’t seem to have any compromises in design.

    15H_GM_lens_image_03

    Here’s my view, after doing a lot of digging around over the last two days (Sony PR does not supply any of the technical data for the released lenses – all that had to be found, and cross-checked, from Sony corporate and various dealer sites). I have found some interesting historic lenses like the 50mm f/1.5 and 85mm f/1.5 Zeiss Biotar. They are simple and perform poorly by today’s standards but they are very small. I am familiar with many excellent lenses I’ve used in the past like the Minolta MC/D 45mm f/2, the MD 85mm f/2 and of course the ‘beercan’ 70-210mm f/4 AF. I loved my first serious freelancing kit, Pentax Spotmatics with 20mm f/4.5, 35mm f/3.5, 50mm f/1.4 and 105mm f/2.8. I’ve used some good lenses which have been perfect with all A7 series bodies, such as the Voigtlander 21mm f/1.8, the Canon 40mm f/2.8 STM, and several rangefinder 35mm f/2 or f/1.4 lenses. All of these have been small and perfectly in keeping with the A7 series mirrorless bodies. I think Sony’s inspiration for new lenses should have come from classic rangefinder and compact pre-digital SLR glass, rather than from the bloated f/2.8 zooms of professional digital SLRs.

    In 1999, with a multi-state road trip in the USA to enjoy, I left the SLR kit at home because I was using two Minolta CLE bodies, a 20mm Russar, 28/40/90mm Minolta set and a Leitz Elmar 135mm f/4.5. SLRs in the AF era had started to became big, plastic and clumsy with fairly poor zoom lenses. I opted for the NEX/A/A7 system because I thought we were heading back to light, elegant, unobtrusive little jewels of lenses. Ah well, not so. We’re going to be sold lenses built like a Kardashian ass and learn to live with it!

    – David Kilpatrick

    ????

    A zoom specification comparison

    • Sony Carl Zeiss 24-70mm f/2.8 ZA SSM II – focuses to 34cm, 0.25X, 77mm filters, 975g
    • Sony Carl Zeiss 24-70mm f/2.8 ZA SSM – 34cm, 0.25X, 77mm filters, 955g
    • Sony Carl Zeiss 24-70mm f/4 ZA FE SSM OSS – 40cm, 0.20X, 67mm filters, 430g
    • Sony GM 24-70mm f/2.8 FE SSM OSS – 38cm, 0.24X, 82mm filters, 885g
    • Sony G 70-200mm f/2.8 SSM II – focuses to 1.2m, 0.21X, 77mm filters, 188mm long, 1300g
    • Sony G 70-200mm f/2.8 SSM – 1.2m, 0.21X, 77mm filters, 197mm long, 1500g
    • Sony G 70-200mm f/4 FE SSM OSS – 1-1.3m*, 0.13X, 72mm filters, 175mm long, 840g
    • Sony GM 70-200mm f/2.8 FE SSM OSS – 0.96m, 0.25X, 77mm filters, 1480g, 200mm long, 11-blade aperture

    *Focus to 1.3m at 200mm, 1m when set to 190mm or shorter focal length. 0.13X at 1m and 190mm.

    All the pictures used here have, linked to them, the full sized unwatermarked official Sony PR images except the first image which we have cropped a load of useless white space from – Sony likes useless white space, as the others show. Web and magazine editors hate it and constantly have to crop product shots…