Sony - Cameracraft

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

Posted on March 22, 2016 By David Kilpatrick

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.

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.

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

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.

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.

Accessories - 3rd party, DK's ramblings, Lenses - E mount, News, NEX System, Sony Digital Cameras

My new Sony 85mm…

Posted on February 22, 2016 By David Kilpatrick

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.

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.

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.

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 –

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.

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.

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:

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!

– David Kilpatrick

DK's ramblings, Equipment Reviews, Lenses - E mount, NEX System

Sony’s precision aspherics

Posted on February 5, 2016 By David Kilpatrick

In interviews about the new micron-accurate aspheric lens element moulding process used to increase the resolution of the latest Sony G Master lenses, a visual has appeared which shows the ‘onion ring’ effect that coarser mould machining causes in lens elements.

Working independently, I’ve been aware of this for years – and I have used a point-source photography technique to study lenses. I’m not an optical engineer or scientist, indeed I don’t even have a degree in anything. I came into photography through Victorian books and teenage years experimenting with lenses, developer formulae, building my own equipment and using observation, corollary and deduction to understand how things work. It’s helped me explain difficult technical stuff to many thousands of readers through books and magazines, without using maths or formulae, and very few diagrams.

In the Cameracraft back in 2013 I published a home-brewed rendering of aspheric moulding visual analysis.

Here’s Sony’s visual showing the difference between traditional aspheric moulding (pressed glass aspheric, as pioneered by Leica and Sigma) and their new refined pressing with better engineering.

And here is my home-brewed visual from Cameracraft when I explained the bokeh and resolution issues created by pressed elements (and also, some other aspects of bokeh, which I’ll refer to below the image):

This is the clip from a 2013 article in Cameracraft dealing with broader aspects of bokeh, depth of field, aberrations and how images are rendered. You can download the two-page article here. Nine years after we launched Cameracraft the magazine is going strong, it’s a bit thicker and does have the occasional advert unlike our original, but it is still one of the best ‘never knew that before’ reads a photographer can have drop through the letterbox. You can arrange that easily enough here!

Here is the full article as a downloadable PDF.

Sony’s new superlens was not any better than the Sigma 70mm f/2.8 macro which I still use. My reasons for choosing this macro are simple – it is optically excellent and traditionally made without any aspheric or other special elements, and it uses simple focal extension for focusing, not rear or internal group movement. This means it’s a true 70mm lens even when used at 1:1 and gives the maximum lens to subject distance, for its focal length.

However, it’s MUCH better than the Voigtländer 50mm f/1.4 used for the colour bokeh shift example at the top. Sony’s information makes it clear that the new more precise aspheric moulding allows new surface profiles and the elimination of chromatic aberrations which cause this magenta-green foreground to background shift in so many otherwise excellent lenses. I’ve said that to do so, the new lenses must be what would once have been called Apochromatic, though that term has only ever meant that all wavelengths focused to the same plane and at the same scale. Even past Apo lenses can show poor colour bokeh. It’s interesting that Sigma, after years of plugging the APO (capitals not actually needed, folks!) label chose not to label some new lenses this way even through their performance matched or exceeded earlier APO models. Sony seems to be taking the same view – G Master will be sufficient label to imply very high resolution, elimination of bad colour bokeh shifts, and by implication an apochromatic performance on RGB sensors.

So will I be buying these amazingly expensive, large, E-mount dedicated lenses? Probably not. My unscientific observations tell me there are smaller, lighter, far less expensive lenses which will serve me better. Mirrorless digital camera bodies with high quality EVF and high magnification focusing allow me to do things I could never have done over 40 years ago when I took my first position as a Technical Editor (of the UK monthly Photography published by Fountain Press and edited by John Sanders). Geoffrey Crawley, editor of the British Journal of Photography, showed me how to evaluate any lens quickly with the help of a light bulb, a darkened studio, a roll of background paper and a sharp pencil. Back then you had to expose film, now you can just look through the finder. In a photo store, any LED spotlight will do for a quick check. Focus centre, magnified to max, at full aperture. Move to all corners in turn without refocusing, magnify each time. Refocus each corner in turn when magnified, examine change in rendering of point source. Buy the lens which shows symmetrical, balanced results and the best sharpness of the corners when the centre is correctly focused. Do this with a light source at least 3m/10ft away and if you can, even further. Repeat one stop down, two stops down, with zooms repeat at three or four focal lengths across the range. Never do it at close distance (hint: lens test chart results are only good for the distance you photograph the chart from, which is why Imatest, DxO and other labs have test targets the size of a wall and industrial sized space to work in).

And, if you have a single LED bulb or miniature LED torch, you can examine any of your lenses in a darkened room and produce a ‘bump map’ which will reveal its moulding defects, scratches or fungus, blemishes, and population of dust and microfauna.

– David Kilpatrick

dk-cameracraft-bokeh

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

Posted on February 4, 2016 By David Kilpatrick

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.

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

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.

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.

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.

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

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.

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.

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).

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.

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.

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…

Lenses - E mount, News, NEX System, Sony Digital Cameras

A7RII shoots in Iceland’s glacier caves

Posted on November 26, 2015 By David Kilpatrick

Sony camera sensor technology enables a closer look at some of Mother Nature’s rarest sights that could not previously have been photographed in this way

Story: Sony Corporation UK PR release with high resolution images and full metadata – click to view. All images are copyright and may not be copied or reproduced.

Wednesday 25th November 2015, Vatnajökull national park, Iceland: Photographer Mikael Buck with assistance from renowned local Icelandic guide Einar Runar Sigurdsson, explored the frozen world of Vatnajökull glacier in Iceland using Sonys world first back-illuminated full-frame sensor which features in the ?7R II camera. His images were taken without use of a tripod or any image stitching techniques in photoshop. This was made possible through Sonys new sensor technology, allowing incredibly detailed low-light hand held photography. Previously images this detailed would have required carrying bulky equipment to the caves, some of which can require hiking and climbing over a glacier for up to two hours to to access. This picture: Inside the 'ABC cave' - which stands for Amazing Blue Cave. Guide Einar Runar Sigurdsson is seen taking a photo at the entrance to the cave PR Handout - editorial usage only. Photographer's details not to be removed from metadata or byline. For further information please contact Rochelle Collison at Hope & Glory PR on 020 7014 5306 or rochelle.collison@hopeandglorypr.com Copyright: © Mikael Buck / Sony 07828 201 042 / mikaelbuck@gmail.com

Inside the ‘ABC cave’ – which stands for Amazing Blue Cave. Guide Einar Runar Sigurdsson is seen taking a photo at the entrance to the cave. Copyright: © Mikael Buck / Sony

The enigmatic beauty of the caves of Vatnajokull, one of the largest glaciers in Europe, is revealed in all its frozen, icy splendour through astoundingly sharp and detailed photography.

The sensor sits at the heart of every camera and defines its capability to capture the amount of light and detail that goes into photographs. Advancements in Sony’s sensor technology are enabling photographers to take pin-sharp photographs in the most challenging low light conditions with the latest cameras from Sony, which formerly would not have been possible.

A snow storm outside the entrance to the cave. Copyright: © Mikael Buck / Sony

Stunning photo series heroes Iceland’s otherworldly ice caverns, with the cave’s bright blue and bubble-like walls resembling an almost underwater scene. Images also capture flowing waterfalls, and crystal clear crevasses and icy tunnels within the frosty fortress.

Looking up from inside the ‘ABC cave’. Guide Einar Runar Sigurdsson can be seen ice climbing on the glacier outside. Copyright: © Mikael Buck / Sony

This incredible photo series displays the immense intricacies of never-before-seen ice caverns in Vatnajokull, Iceland – only made possible through Sony’s new sensor technology, allowing incredibly detailed low-light photography.

Inside the ‘ABC cave’. Copyright: © Mikael Buck / Sony

Each year, the Vatnajokull glacier shifts and changes, revealing complex cave systems that are there for only a matter of weeks before metamorphosing again.

Inside the ‘ABC cave’. Copyright: © Mikael Buck / Sony

Photographer Mikael Buck and renowned local guides Einar Runar Sigurdsson and Helen Maria explored the frozen world using Sony’s latest digital cameras including the α7R II featuring the world first back-illuminated full-frame sensor which brings together ultra-high resolution and ultra-high sensitivity, the RX10 II and RX100 IV which feature the world’s first 1.0 type stacked Exmor RS CMOS sensor that truly shine in low-light and high contrast conditions. The images were taken without the use of any external sources – just the natural light that filters through the ice caves.

Guide Einar Runar Sigurdsson is seen ice climbing inside the ‘Waterfall Cave’. Copyright: © Mikael Buck / Sony

Within the photo series, barren caves have been brought to life, making visible the intricate curves of the natural sculptures, the delicate structure of its icicles, and the smooth and the marble-like texture of the cavern walls, which are formed through constant movement. Images capture the misty waterways that flow within the frosty fortress, as well as the ice-cold waterfalls that cascade down and transform the cavern’s bright blue walls. Buck has also captured images of a skilled local climber ascending the icy walls to showcase the scale of the majestic blue cave.

Sigurdsson ice climbing inside the ‘Waterfall Cave’. Copyright: © Mikael Buck / Sony

Helen Maria of Local Guide – Iceland’s oldest mountain guiding company – comments: “I have been exploring these ice caves for years with Local Guide. Being here in them is a truly wonderful opportunity. Knowing you’re experiencing such a fleeting phenomenon makes it even more special – the opportunity to help capture this nature in all its intricate glory and now in more detail than ever thanks to Sony’s sensor technology is a truly magical experience. This series of photographs has done it justice like never before, and I hope many more people will be spurred on to visit as a result.”

Guide Helen Maria is pictured inside the waterfall cave. Copyright: © Mikael Buck / Sony

Yann Salmon Legagneur, Head of Product Marketing, Digital Imaging for Sony Europe, commented, “These images wouldn’t have been possible a few years ago without having to take bulky kit, lighting and other accessories to the glacier – all of which would have weighed down a photographer. The sensors inside Sony’s α7 and RX cameras ensure that all a photographer needs is a small form factor camera and with its low light photography capabilities and they can then capture incredible images like these.”

Sigurdsson is seen taking a photo at the entrance to the ABC cave. Copyright: © Mikael Buck / Sony

As the global number one in Sensor technology and production with approximately 50% global market share, Sony is proud to continue to push through the perceived boundaries of sensor development and thanks to advancements in this field, images like this are now possible. Sensors are such a vital part of camera performance and being able to release two new advanced sensors this year is enabling Sony to continue its growth in the digital imaging industry.

The view on top of the Vatnajökull glacier whilst hiking to access the caves. Copyright: © Mikael Buck / Sony

In addition to being able to capture incredibly detailed low-light photography, sensor technology featured in the RX10 II and RX100 IV cameras also allows photographers, hobbyist and professionals alike, to capture moments not always visible to the human eye, with 40X super slow motion video capture at up to 1000fps.

On top of the Vatnajökull glacier. Copyright: © Mikael Buck / Sony

Amazing Blue Cave. Copyright: © Mikael Buck / Sony
To enquire about other uses, reproduction rights or prints email [email protected]

NEX System, Photo Techniques, Sony Digital Cameras

Capturing Autumn colour better

Posted on November 3, 2015 By David Kilpatrick

Upper: unprofiled (Standard) raw conversion. Lower: using a tunsgten-light generated custom camera profile, combined with a polarising filter, gives a more vivid impression.

Most Alpha system users know that some – not all – cameras have a special JPEG mode for Autumn Colours. They’ll also know that if you shoot raw, with no JPEG in camera, only Sony software replicates this. The choice of picture looks or camera profiles in Lightroom and other programs ranges from none (one default) to good (a full basic range similar to Canon settings). However, you can go way beyond the default look your camera will produce from the Autumn colours we are seeing right now (UK) if you profile your camera using the X-Rite Color Checker Passport and the free downloadable software which goes with it. You can also use this software with any standard MacBeth Color Checker card.

You still need to create a .dng file from your original raw, as you also do for Adobe’s free camera profile generator. The X-Rite software creates much smaller profile files but they are no less effective.

Here’s my tip – normally, you calibrate by daylight and the Adobe Camera Profile (.dcp) includes automatic adjustment for tungsten. You can also take two test shots, one under each lighting condition. Experimenting with the X-Rite software, I found that if you only use tungsten to create your profile, all the daylight ‘landscape’ colours (especially green foliage and the sky) really pop out. The greatest change is in the sky blue, which can be very disappointing if you use Adobe Standard as your camera profile for raw conversion.

A7RIIprofiles

The zip file you can download from above contains some .dcp profiles for the A7R II which I’ve produced (the names are more or less self-explanatory). They should be unzipped and placed in the CameraProfiles folder of Camera Raw in Application Support>Adobe. You can find the software, instructions for PC and Mac, at:

http://xritephoto.com/ph_product_overview.aspx?ID=1257&Action=Support&SoftwareID=986

Using the stock Lightroom/ACR A7RII camera profiles you’ll find that the Landscape flavour tends, if anything, to make sky blue lighter. My tungsten-generated profile has most of the overall ‘snap’ of Landscape plus very much richer sky tones.

The second tip with Autumn/Fall colours is, of course, to use a polariser. I’d say this makes the single greatest difference to all Autumn colours even if you can’t see it clearly when composing. The individual leaves reflect light, and the polariser cuts through this to reveal the full colour. Because it also darkens the sky, the often fairly dark colours of Autumn trees come to life better. You don’t need to study the trees, just set the polariser for the best results with the sky. The leaves are at such random angles all positions tend to work equally well. It can however be worth trying a few different rotated positions of the polariser especially if there is also water in the shot. What deepens the sky may also reduce the strength of reflections in water. Experiment!

– David Kilpatrick

If you are considering buying a Color Checker, Color Checker Passport on Amazon can benefit this site.

Accessories - 3rd party, DK's ramblings, Photo Techniques, Software Reviews

Sony A7R II review by David Kilpatrick

Posted on October 29, 2015 By David Kilpatrick

Sony’s A7R II has a unique position in the mirrorless ILC world, creating the largest image files at over 42 megapixels from an in-body five axis stabilised sensor with exceptional performance given by backside illuminated CMOS.

My reviews in print of the Sony A7R II have now appeared, in the British Journal of Photography, f2 Cameracraft and Master Photography magazines. All three make slightly different points, and reflect growing experience of the camera which I bought from WEX as one of the first despatched on July 28th. The UK best body-only price then fell from their £2,695 to just over £2,000 from one main Sony dealer (at an event promotion) in under three months.

Despite finding bargain deals or importing directly, since the introduction of the A99 only three years ago I have lost about £3,500 keeping up with Sony full frame camera bodies. I’ve also spent around £2,000 buying other Sony models like the NEX-6, RX100, RX100 MkIII, RX10, and A6000 to cover the shortcomings of every different full frame model – and £2,000 or more updating my lenses.

So why invest in the A7R II when experience tells me the Sony system loses value faster than any other, yet so often falls short of performing as required?

One body for all lenses

The A7R II almost matches medium format digital, and gives great results with rangefinder (Leica) fit wide-angles. It has enabled me to add a 12mm f/5.6 Voigtländer Ultra Wide-Heliar to my kit for sharp, tint and vignette free 120° architectural and creative work. I write about lenses, and with current and future adaptors, this body lets me focus and make test shots with all lenses from Canon, Nikon, Pentax, Leica and many others. Click the Heliar image below for a link to a full size (slightly cropped and straightened from 42 megapixels) file. It’s actually shot at f/11 though the pBase data says f/5.6, that how the camera’s Lens Correction app works.

There’s no lens made which disagrees with the 42 megapixel sensor as far as I can tell. My kit includes the 12mm mentioned above, the 16-35mm f/4 Carl Zeiss OSS, the 24-240mm f/3.5-6.3 Sony OSS, the 28mm f/2 Sony OSS FE (look out for individual reviews shortly); a 40mm Canon f/2.8 STM pancake, a 24mm Samyang tilt-shift, 85mm Sony SAM f/2.8, Sigma 70-300mm OS and a whole bunch of interesting older stuff used on adaptors.

With the Lens Correction App configured for SS with each manual lens, the very high resolution of the A7R II sensor allows a stable view for precision magnified focus well beyond the ability of any AF method or reliance on focus peaking alone. Doing this at working aperture ensures no focus shift on stop down. The results show me quickly which lenses are excellent performers without needing an optical bench or test charts (give me a single LED light and a darkened room, and I can find out what I need to know about any lens very quickly).

Most Sony and Sony Carl Zeiss zooms do yield good sharp images on 42 megapixels but it’s easy to exceed their best by fitting something like my 1970-ish SMC Takumar 50mm macro (used for the shot above), or even my Russian 50mm f/2 tilt-adapted Zenitar. I found the 28-70mm f/3.5-5.6 OSS which was fine on A7 II inadequate for critical quality on the A7R II and after tests concluded the 24-240mm was the best option to replace it. To learn why FE/E mount zooms and OSS lenses are never likely to blow away fixed focal length unstabilised types like the Zeiss Loxia or adapted classic RF and SLR optics, wait for my 24-240mm review.

Having said size matters, I downsize many of my final images to as small as 9 megapixels. I don’t need 42 megapixels (7952 x 5304) for every image and for some it’s ridiculous. I’m still selling thousands of stock images* taken with DSLRs from six megapixels up. So for general ‘field’ use, most lenses are more than OK, as I can reduce the file size right down 3600 x 2400 pixels when noise needs cutting, depth of field is a problem, or general sharpness is poor.

One sensor for all image shapes and sizes

With the A7R II, unlike the A7R, all the APS-C E-mount lenses work properly (they never have their OSS forcibly disabled). The auto cropped image is 5168 x 3448, 17.8 megapixels, and that’s a perfectly useful size for all personal and most professional work. The 0.78X EVF is, of course, completely filled to exactly the same visual quality as when a full frame lens is used – the user experience with an APS-C lens is identical to that with full frame.

As with downsizing or lens based cropping, I can crop full frame captures right down to less than a quarter of the A7R II image and have a file acceptable to Alamy for stock library use, or to a client directly for almost any reasonable editorial use. That same crop can go full page in a wedding album, or make a fine A3/16×12 print. It’s like using 120 rollfilm again, you can find pictures within pictures.

A 240mm shot clearly not close enough…

This is a 3600 x 2400 crop. That is, an image large enough for full page publication or a 12 x 18″ photo/inkjet print (click to view full size)

With many lenses which don’t cover full frame, a 24 x 24mm crop is perfect. The Sigma prime lens ART trio (19mm, 30mm and 60mm f/2.8 AF without stabilisation) all do well on this basis. I had a 16 megapixel square format digital back on Hasselblad V and the square format is a favourite. Unlike Olympus, who offer a 1:1 ratio capture, Sony only includes 3:2 (35mm shape) and 16:9 (HD widescreen) – I’d love them to add a proper 1:1 square image seen in the EVF and on screen, a perfect 28 megapixel crop.

The high resolution FF image also means there’s less need to stitch panoramas or use shift lenses. Canon’s 17mm f/4 TS-E tilt shift lens was introduced in 2009 when their full frame 12 megapixel 5D has just been upgraded to the 21 megapixel 5D MkII. On the A7R II, using its maximum 12mm shift reveals serious loss of outer field sharpness even at apertures like f/10, f/11 and f/13 which are optimum on other ways. It’s not a sensor cover glass problem as the Canon 5DS R revealed exactly the same weakness. Downsize the image to 12 megapixels, which the lens was probably first designed for, at everything looks sharp. But here’s where 42 megapixels can pay off – I just need to use a 12mm Voigtlander or a Sigma 12-24mm, crop a 14 x 21mm area from any part of the 24 x 36mm frame, and I have a 14 megapixel image allowing even more effective ‘shift’ than the Canon. And I can, of course, use the Canon via an adaptor if needed.

The same kind of strong cropping works for telephoto wildlife shots (300mm lens, better than 500mm on 14 megapixels) and for macro work (1:1 on full frame, 2.2:1 at 14 megapixels). You need to remember all the time that traditional depth of field calculations just don’t work well with sensors of 36 megapixels and over. When you view a full size A7R II image at 100% on a non-Retina iMac or HP 27″ monitor, you are looking at part of a six foot wide ‘print’. Depth of field tables, still used today, were based on viewing a 10 x 8″ print from a similar distance! This problem is reduced by higher resolution screens but sometimes, you simply need a smaller image size.

Canon 5DS/R (in proportion with earlier models) have useful M-RAW and S-RAW formats, allowing the cameras to become full frame 28 or 12 megapixels with a single menu change. This function is missing from Sony raw files and would be a great firmware enhancement, if it was possible.

Reasons to buy the A7R II

Having used two other A7 series bodies, and started the transition to the FE lens series with some mix of adapted glass on the way, why didn’t I stick with the far more realistic and practical A7 II, or the A7R which was paid for and at 36 megapixels just as useful a large file size?

Internally or externally recorded 4K video though not a commercial offering from my side might well be a request from a future client. I don’t make videos though many years ago I did made 16mm films and many 35mm slide based dual and multi projector AV programs. However, I know many still photographers who have found sufficiently high-end clients for video to invest the time. I wouldn’t touch any video production, even a brief 20-second ad clip, for under four figures. It’s fun to experiment with until any serious use emerges. Also, excellent Super-35 crop format video.
Completely silent operation when needed – though not compatible with any kind of flash, the fully electronic shutter is an option for wedding ceremonies and I’ve used that function already. It is also useful for shooting stills when someone is making a video, or during quiet concerts, in meetings, or when you simply don’t want the sound of a shutter to be heard. When silent is not needed, electronic first curtain (not provided on the A7R) improves shutter lag time and cuts vibration
.
It’s also got a 500,000 actuation life shutter built to more than pro specification and a superior 0.78X electronic viewfinder, a slightly improved body flange for the lens mount (now common to all the II models, tighter and more precise than the original machining), no light leaks. And the mode dial is improved with a locking button, the Multi Function Accessory shoe is further improved in contact reliability, the ocular is T* coated and gives better eye relief.
It will perform well with all kinds of lenses and the 399-point wide area phase detection AF array built in to the sensor functions partly, or completely, with more native Sony and converted Canon lenses than ever before. It betters the A7R and A7 II in this respect, though I sold the Canon 85mm f/1.8 USM above as it didn’t work with the II having worked well on the A7R. Metabones have now fixed this, but my adaptor is a cheaper non-programmable type… you get what you pay for!

This is what you get from the Canon 5DS at ISO 6400, default, for shadow detail and noise (click to enlarge a 100% view of this section from a much larger file)

Compare the separation of the black ribbon, and the shadow detail in general, from a similar shot ISO 6400 A7R II file, using the same lens and settings (click to view enlarged).
The back-illuminated CMOS sensor has a dynamic range – and a contrast curve or gamma function through controlled A to D conversion – which provides an ideal raw file for subsequent adjustment at lower ISO settings. Here, the difference seen above between the Canon 51MP sensor and the Sony 42MP is striking. The Sony images may often look softer and lack punch, but they reveal two stops more detail in the tones close to deep shadow. It’s probably been designed this way to allow s-Log gamma settings for professional video, producing flat neutral results ideal for grading to match from take to take. This happens to be very flattering to skin tones and it’s no surprise the A7R II is rivalling Fuji’s X-Trans sensor amongst fans of the flesh.
The same sensor has awesome practical performance in low light without sacrificing resolution, and noise levels which allow surprisingly high ISO settings for critical subjects like wildlife where fur and feather textures are easily damaged by noise (or noise reduction). Properly processed from raw, or shot as JPEG in camera, ISO 800 can be used as an everyday setting and 1600 will not even harm landscape detail. Up to 6400 an effectively noise-free full size image can be extracted, and at 12,800 to 25,600 some downscaling is all that’s needed to clean up. Admittedly, it’s never going to match the 12 megapixel A7S or A7S II at 51,200 and has a limit at 102,400 rather than marching on to an insane 409,600 EI as that body does.
Compared to buying an A7 II, remember that with the A7R II you get two Sony batteries and an external charger (about £150 in official value) as well as the ability to operate the camera from any 5v 1.5A USB source (not just to charge the battery internally, but to shoot using USB power)
.

You also get a neat tether-trap locking cage which screws into the camera side and can secure your USB and HDMI cables against accidental disconnection or strain on the connectors.
Final reason – going beyond the A7R II specification does not seem to offer further compelling advantages. It doesn’t have any major flaws or shortcomings except perhaps the single card slot and some doubts about the durability of the body, weatherproofing, and the quality of the lens mount (see below). I’m not in need of more than 5fps and 22 continuous raws before slowing down, and if I am the smaller Sony models like the A6000 and my RX10 do some pretty neat extra high speed sequences. So, for the first time since the sale of my A900 to get the A99, I feel I have a long-term camera no matter what Sony does in six months to make it hopelessly out of date.

What’s could be wrong?

First up, the poorly specified and designed lens mount and low precision body/lens relationship. Where Minolta A, Fuji X, Pentax, Leica and nearly all good makes secure the body and lens bayonet mounts using six screws, the E-mount uses only four even for the top end bodies which may have to support lenses approaching 1 kilo in weight. The four-screw fitting creates two axes of potential tilt restrained only by diametrically opposed screws, six-screw design is better but actually a five screw design beats both as you can’t draw a diameter across any two screws and create a tilt axis.

The E/FE lens-body system is built round a concept of achieving final accuracy in alignment and focus without needing precision in every component. The nominal 18mm mount to sensor register doesn’t have to be perfect (and seems to vary by at least ±0.1mm). All Sony E and FE mount lenses compensate for variations and use free-floating magnetic focus often combined with floating OSS – they don’t have fixed infinity stops. Just as the bodies don’t have to be all that precise, the lenses themselves don’t need to be. As long as both work with the sensor to AF perfectly, the overall system is self-correcting.

You soon find out the limits of E-mount precision when buying adaptors for older manual lenses or modern Canon EF lenses. I’m sure Zeiss makes due allowance in the design of manual focus Loxia lenses, and Voigtlander has specifically allowed the new E-mount range planned for 2016 (10mm, 12mm and 15mm) to focus past infinity because they are aware of the variable register of the system. I have measured many adaptors and the only safe decision for the engineer is to fall short of the target register. Some very expensive adaptors turn out to be 0.3mm thicker than others for the same mount (I’ve found this in Leica M, Canon FD and Canon EF adaptors). The lenses being adapted often have a fixed infinity stop and are designed to hit this precisely. Combine a 0.1mm ‘plus thickness’ Sony body with a 0.2mm plus adaptor, and your manual wide angle lens won’t focus on infinity.

So, one overall issue is that despite the high cost, the Sony FE/A7 series range of bodies and lenses lacks the precision engineering of past systems and it’s designed that way. When you find one side of your pictures always seems soft with wide-angle, wide zoom or very fast lenses you have encountered the limitations of Sony precision and quality control.

Secondly, the A7R II has such large files and a slow overworked processor relative to those files and the massive task of running a high resolution, high frequency EVF and many clever software functions. Any kind of systematic ‘chimping’ to check each shot after taking may leave you frustrated. Depending on your choice of card and some unknown spin of the CPU’s internal dice, you will sometimes encounter long file writing times and a brief lockout from playback.

Install the 14-bit (in 16-bit container) raw uncompressed format introduced in October 2015 through a firmware update, and the situation may improve. With Firmware V2.0 I’ve seen typical write to card times halved but identical shots could take varying times and the worst case remains close to 10 seconds for the light to go off on a single shot. Most of time it’s clearing about 1 second after 2 second auto review, and disabling auto review has no apparent effect on this, or the time the camera takes to respond to a fresh shutter actuation.

Secret solutions

Since you’ve been patient, and listened to why the A7 system in general has a few failings, here’s how to get the best optical performance and general response from it.

First of all, for the best optical performance use lenses where OSS can be disabled but in-body SS allowed to operate. The internal 5-axis sensor based stabilisation of the A7II/RII/SII is awesome. In-lens OSS is impressive but by its design will always lose you some resolution, often more towards one side or corner of the image than centrally. Amended paragraph, see comments: To see how good your stabilised lens really is, turn off stabilisation and shoot something using flash or at a high shutter speed.

But… if you turn off Steady Shot or OSS on the A7R II, you disable it in the body and the lens. You can not turn it off for the lens, but keep it working in the body. Only the 90mm f/2.8 Sony G OSS Macro, the 70-200mm f/4 Sony G OSS (above) and the 28-135mm f/4 Sony G PZ OSS offer the on-lens switch. So if you want stabilisation, you can’t choose to have it provided by the body with these lenses. You can do so with Canon, Sigma and Tamron lenses used on a Canon EF adaptor – their IS, OS or VC will operate normally when the SS in the body is disabled. In fact you must never use these lenses with both methods turned on together, or the result will be unsharp. This is a problem we first noticed with the Olympus system, where their lens and body stabilisation do not communicate and it’s possible to us none, just body, just lens or ruin shots by turning on both together. The Sony body used with third party lenses does allow this; used with Sony lenses, it prevents it.

The A7R II will switch between internal SS, lens OSS and a combination depending on settings. But it won’t tell you what it is doing, which makes this intelligent function something of a handicap. As a rule, if you can lock the camera down (tripod) or use a very fast exposure (studio flash, shutter speed 4X the focal length of the lens) shooting with no stabilisation at all will offer the best results.

Secondly, don’t use ‘AF With Shutter’ all the time. It’s convenient sometimes, but every time you take first pressure on the shutter, your E-mount AF lens will initialise a short routine involving focus position recalibration followed by AF. It costs you a variable extra lag before the shutter fires, maybe 1/15th to as long as 1/4 second. Instead, turn this off and AF will default to the centre button of the rear controller (you can change this assignment). You then use this to AF for each change of subject, composition or distance but if nothing’s changed you do not touch it and you do not re-AF. You save battery life, and you eliminate the whole shutter-button-AF delay cycle. You can now capture pictures, using electronic first curtain shutter or silent mode, within 1/20s of pressing the shutter.

Thirdly, for action shots prefer stops close to full aperture on E-mount lenses for the same reason – the aperture closing action involves a delay you can clearly identify and it’s longer with apertures like f/16. But for maximum reaction speed, use a purely manual lens. The camera knows there’s no aperture to be closed so it misses out that stage. It knows there’s no AF. You can get down to a mere 1/50s shutter lag, faster than most photographers can think. If you are used to older DSLRs which typically fire the shutter between 1/15s and 1/8s after you have pressed the button, you’ll anticipate and fire too early for action shots. Beware the LA-EA adaptors for A-mount lenses as you can’t turn off the aperture lever actuation. These adaptors will always add a delay even if you fit a manual lens.

I’m not going to delve into how you use focus peaking, magnification, setting the slowest shutter speed to be used by the Auto ISO function and so on. You can find out about this from countless videos and blogs, not all of which feature grandmothers, sucking and eggs. Nor will I recommend JPEG noise reduction and image settings in camera, since I don’t use JPEGs. Remember that your picture style and adjustments, like extra sharpening or contrast, will be reflected in the view you see through the EVF and on-screen. They will affect focus peaking, the histogram and what the image looks like when you use magnified manual focus, too. My tip is ‘stay neutral’ for the best EVF experience and ability to judge and control your results, especially if shooting raw. Camera Standard – boring but it won’t fool you into making adjustments which are not needed.

A 16mm landscape with careful focus checking, and only just enough depth of field even at f/16 if the end result is going to be a 1m wide print

Read the manual, think about all the functions of the camera, assign your custom buttons, set your parameters. My set-up includes (routinely) Auto ISO 200-1600 because within that range the A7R II files have low noise and good textural sharpness and there’s no great benefit in dropping to 100; AWB; 1/250th slowest shutter speed because the world moves and I’m very happy with 1/250th at ISO 800 rather than 1/125 at ISO 400 for nearly all my walkabout shots; AdobeRGB because I need that but actually sRGB is better matched to the EVF and rear screen, and will give you a more accurate histogram; no JPEGs because I don’t need them; Airplane Mode on; compressed raw unless there’s a really good reason; AF-S and Centre point focus; no face recognition, no smile shutter, no tracking, nothing clever with AF; single shot; generally Aperture Priority but sometimes P, M or very rarely S; Date Format file folders; SS on; electronic first curtain; setting effect on; finder and screen at default brightness and colour; grid lines 3 x 3; focus peaking low, yellow; lens correction enabled; 2 secs review, or none.

– David Kilpatrick, all images except front and rear views of A7R II body and 70-200mm lens are ©David Kilpatrick/Icon Publications Ltd; please do not link directly to images or copy

* You need thousands on offer to sell dozens…

Cameras (DSLR), Equipment Reviews, Lenses - E mount, NEX System, Sony Digital Cameras

B&H has Hasselblad HV offer again

Posted on October 26, 2015 By David Kilpatrick

Hasselblad HV from B&H

I feel slightly sick… I’ve spent so much on buying and replacing successive Sony A7 series cameras and their lenses that I can’t just buy this outright, which I would love to do. I sold my A99 to get the A7R (subsequently replaced by A7II, and now by A7R II) and have regretted it in so many ways, the whole optical concept of the mirrorless system being built down to a price by using innovative construction… unlike the A99 lenses which are designed even to be usable on film, let alone on a DSLR body. And then there’s GPS. I really miss GPS-in-camera and it can take me many extra hours without its benefit, to caption a 500 to 1000 final edit from one or two weeks of travel shooting to the degree of detail my work requires. And dual memory card slots… and just the whole feel of the camera.

B&H have this today for only $3,495 with the 24-70mm f/2.8 Carl Zeiss lens, two batteries, and case.

And this is actually cheaper than an A99 and pretty much hand rebuilt by Hasselblad into a new body, with a hand-picked lens (you can be sure) all fitted in a Pelican-style hard case. It’s not vacant bling on a camera which does not deserve it – it’s a thorough upgrade to one of the best system cameras ever made, to make it even better.

They ship to the UK and rest of the world very reliably and honestly, if I had the spare cash, there would one on the way to me now. If you do buy from this link (anything from B&H, even if you navigate away from this offer) we do make some small commission to help support the site. Buy a hundred of ’em and I can maybe get mine!

– David Kilpatrick

Accessories - 3rd party, DK's ramblings, Offers, Sony Digital Cameras

Low-cost macro for the A7 series

Posted on October 20, 2015 By David Kilpatrick

It’s been a while since my last review of Sony products here, and not because I have been inactive. The truth is that I’ve spent so much on Sony kit 24/7 working has been necessary, including a good few reviews and tests of the A7RII and lenses appearing elsewhere. It’s a real issue, I now lose so much value with the lightning-fast depreciation of Sony’s products within a few months of launch that my old tactic of buying, reviewing and selling no longer works. For one thing, no media in the world will readily pay a fee which even matches the amount you might lose on a camera body in the A7 series over its first two months of retail life. Sony have been good enough to lend me a few items for brief periods but you really can’t form any useful opinions on such radical and new hardware on that basis.

However, my A7R II report is shortly on the way, and the extra time spent using the camera and suffering the damage to my credit card does not harm the process. It helps put the gear in context. I’ve resisted the anti-social pricing policies of the UK camera retail environment for some time, even buying one grey import from Panamoz. So it’s appropriate that my first article for a fair while should be intended to help you save money and get great results from any A7 full frame FE mount camera, while also supporting a company whose UK pricing policies are entirely reasonable – Sigma.

The Sigma 60mm f/2.8 ART DN lens

The butterfly above is one example of what this lens can do on uncropped full frame, in this case adding a single 16mm extension tube, which we’ll come to later as the exact type of tube you buy matters a great deal!

The neat, low-cost 60mm f/2.8 is the portrait lens in Sigma’s Art DN lens trio for APS-C and MicroFourThirds mirrorless systems. I’ve used the 19mm f/2.8 and 30mm f/2.8 as well, but the 60mm is my favourite. Originally, I tested it on Olympus MFT and the 50cm close focus with their 2X factor made it almost feel like a macro. It’s actually just 1:7.2X scale, but 1:3.6X relative to full frame on that smaller sensor. That’s a really good working distance and subject scale.

I was curious to see how much of the full frame the 60mm would cover. All these Sigma lenses are just £129.99-£139.99 retail at most UK dealers right now. They are beautifully designed and made, very light, use 46mm filters and have advanced optical design giving high contrast and first-class full aperture sharpness. Well, the answer is easy enough; you’ll get more than APS-C, with a 24 x 24mm square format crop working well, but not anything like full frame at any aperture from the 60mm.

This is the closest focus of the Sigma ART DN 60mm on the A7R II, uncropped.

Sigma call it a telephoto, with its rear nodal point much closer than 60mm to the focal plane. But its design signalled it would probably perform well as a macro lens too.

Meike extension tubes

So, we add extension tubes between the A7-series body and the lens. There’s one prominent make, Meike, and a couple of years ago I bought their very low-cost fully electronically coupled plastic 10 and 16mm twin tube set. 26mm of extension is not much. It won’t even make the E-mount 35mm f/1.8 focus to 1:1, and does even less with a 60mm. However, what it does is worthwhile combined with the lens’s own focusing range.

I found my plastic Meike tubes have a narrow circular throat and cut the image off all round. But, you say, the image was cut off all round already, so what could be done?

When you mount an APS-C lens on tubes, it covers more than APS-C. Put it on tubes adding about 1.4X to its focal length – like using 26mm of tubes on a 60mm lens – and it will cover full frame. You are moving the lens further from the focused plane, and as you do so, its fixed angle field of sharp coverage grows (it more or less follows the inverse square law, as does the effective working aperture of the lens when you use tubes). So a lens made for the NEX sensors, c.16 x 24mm, can cover 24 x 36mm when used on tubes for close-ups. The 60mm on 26mm of tubes would cover 24 x 36mm even with no leeway. Since the lens already has a good image circle, it turns out that it covers 24 x 36mm when used on the 16mm tube alone, and shows just a hint of corner cutoff with the 10mm tube alone. With both, it covers the full frame easily.

This is the result of using a 10mm metal extension tube – not the plastic set. The plastic design cuts off even more than the lens used on its own.

Meike understand this. They have a newer, metal-mount extension tube set costing about twice as much as the original plastic one. To get it, you must search for Meike metal extension tubes – and they are not easy to identify for certain. There’s very little explanation on-line. These tubes have a full width throat with baffles top and bottom, more or less matching the 24 x 36mm frame shape. Some black flock paper is glued in to prevent light reflection at the sides, but none is fitted top and bottom, and this is the main weakness of the design (you can obtain flock paper and fix this yourself).

Twin set, no pearls

Used alone, the metal Meike tubes turn the Sigma 60mm into a very good close-range long standard lens for the A7 series. I found that you can add the plastic tubes next to the lens, not next to the camera, and suffer no cut-off. This combination of four tubes adds 52mm and makes the Sigma 60mm able to do 1:1 with the addition of its own AF range.

You need to understand sensor-based stabilisation before using any manual lens on tubes (which these are equally suitable for, with adaptors). The A7 II series bodies use the focal length and focus distance of the lens as transmitted to the camera to control the Steady Shot Inside function. As far as I can tell from practical tests, the Meike tubes do not transmit any change to the information reaching the CPU, but SS seems to be OK with such relatively minimal extra focus extension.

This shot was taken at 1/15th hand-held with the 16mm tube on the A7R II, ISO 800, 14-bit uncompressed raw, f/8 on the Sigma 60mm lens. There’s no significant corner vignetting with 16mm of extra extension to the lens.

This is a 100% clip from the shot.

When I mount my 50mm Macro SMC Takumar on the A7R II I use either the SSI menu control, or the Lens Compensation App, to tell the SSI system I’m using a lens with an extension in place. It focuses to 1:2 size, and for this I tell the camera I’m using a 75mm lens not a 50mm. If I add 26mm of tubes, it will focus to 1:1 and I need to tell the camera I’m using a 100mm lens. That’s because a 50mm lens extended to 1:1 focus has the same camera shake characteristics as a 100mm lens used on a distant scene. Be careful, as this relationship only holds good for simple lenses (Tessar, Sonnar etc) and not for any zoom lenses, or any macro lens which uses internal focusing. If you mount a Tamron 60mm f/2 macro on your Sony body using a dumb adaptor, just tell the camera it’s got a 60mm attached. The Tamron changes focal length to focus, but the effect for anti-shake purposes is that it remains a 60mm. Its angle of view remains unchanged as you focus, while my 60mm Sigma when used at 1:1 repro covers half the angle of view it does at infinity.

I am not entirely sure whether the Meike tubes work properly with SS Inside, or if the system simply has enough latitude to function with my degree of unsteady hand-holding. Those contacts just seem to make a connection, with no chip to add information. The EXIF data does show the focal length correctly, and the set aperture (which will be a reduced effective aperture at closer range, 26mm of tubes turns 60mm f/2.8 into a working f/4-ish). But the focus distance is shown as whatever the lens focus function chip confirms – a range of 50cm to infinity. That’s obviously incorrect when tubes are added, in contrast to using a dedicated lens like the Sony 90mm f/2.8 FE G OSS Macro, which will show the true focused distance in the viewfinder and also pass correct data to the CPU.

So, a warning – the 60mm plus tubes is not technically perfect but seems to work well enough.

When you use a tripod or flash, or a fast shutter speed, and turn off Steady Shot none of this applies. In practice with shutter speeds fast enough to stop subject action or wind vibration, it all goes well. The Sigma is very sharp even though not designed for macro range work, but that’s typical of this type of lens – even if 8 elements in 6 groups with several low-dispersion elements is not basic.

Here’s an example with 26mm of tubes plus some lens focus range. The ISO 800 14-bit uncompressed file has allowed some work on the bee’s back which lacked contrast. Click to open a 2048 pixel wide version.

Here’s an example which clicks through to a full size A7R II AdobeRGB JPEG (no doubt much crunched by WordPress image storage) taken at f/9 on the 16mm tube. If any of my image files have 20mm in the filename it was the 16mm tube – I’m so used to the lengths used by regular SLR mounts! The 60mm has a seven-blade aperture and gives pleasantly neutral defocused quality behind the subject. You can call it bokeh if you want to. Thank you, Scottish weather, for keeping a few flowers in this condition and giving me some sunshine just after the 14-bit uncompressed raw upgrade for the A7R II arrived.

The Metal Meike extension tubes have the same essential benefit over the plastic version with all FE and E mount, and legacy, lenses used of the A7 series full frame bodies. You can use them on the 28-70mm, 24-70mm, 55mm f/1.8, 28mm f/2 and most lenses though they have little use with the 70-200mm and I would not recommend hanging a 24-240mm off a tube.

Footnote July 2017: I now have the 50mm f/2.8 FE Sony macro. It’s a very nice lens, indeed, but the internal focusing means it’s really more like a 40 to 35mm as you get the subject bigger, and you end up just millimetres away. I compared using this lens on 26mm of tubes to focus on a target 7.5cm wide with the lens itself set to infinity (and therefore, 50mm). Working distance from the lens rim to subject – 11cm. Then I took the tubes out, and focused the lens using its own range, on the same target. The clear distance was reduced to 7.5cm. Now you know why you need tubes and probably don’t really need a macro lens.

– David Kilpatrick

If you have found this article useful, you can support Photoclubalpha by using affiliate buying links (we are not sponsored or paid in any other way, except by selling subscriptions to f2 Cameracraft).

Sigma 60mm at B&H

Vello metal mount extension tubes at B&H (similar to Meike)

Sigma 60mm F2.8 DN for Sony E – Silver from Amazon UK, no idea why they have none in black

Neewer metal extension tubes – much better price than Vello! on Amazon

Visit Wex Photographic and search for any items (UK)

Accessories - 3rd party, Equipment Reviews, Lenses - E mount, NEX System, Photo Techniques, Sony Digital Cameras

A7RII versus Pentax 645Z

Posted on August 1, 2015 By David Kilpatrick

At a workshop given by John Denton for The Flash Centre, with Elinchrom lighting and Pentax 645Z demonstration. model Laura posed for a comparison pair of shots using the Pentax with 90mm macro lens and the A7RII equipped I regret to say with a much inferior lens, the basic 28-70mm.

To compare the quality bear in mind that the Pentax was ISO 200 at f/5.6 and the Sony was ISO 400 at f/8 as I felt it necessary to stop down – I should not have, as I had forgotten than the 28-70mm is sharper at f/5.6 than f/8, which introduces local unsharpness to the left hand end of the image (landscape) and did with all three samples I have used. This means the model’s face is smeared on the Sony shot, because this lens can’t produce a sharp image under these conditions in that part of the frame. Yes, I’ve had some OK results, but this was the first time I used the 28-70mm on the A7RII. It is OK on the A7II and A7S, as the blur is not so visible at those magnifications. It’s really not good on the A7R or A7RII.

So, please examine everything except the face…

This is the Pentax shot. Despite the matched for theoretical exposure, it is much darker and the ISO 200 is only equal to ISO 100 in Sony terms. Daylight balance set for the flash, Adobe Camera Standard profile since no other is available.

Here is the full resolution link to 146MB (if opened or downloaded) original:

http://www.pbase.com/davidkilpatrick/image/160895282

This is the Sony shot. The Camera Portrait profile in ACR gave much improved skin tones, so I’ve used this. The pBase link appears to have scaled the images proprotionally, so the 42Mp image is correctly smaller than the 50Mp.

Here is the link to the 120MB original:

http://www.pbase.com/davidkilpatrick/image/160895292

Enjoy – John teaches retouching and has set up deliberately harsh lighting to create over-sharp skin and too much detail, which he then expertly ‘fixes’. My shots are un-fixed. His workshops are worth every penny as he delivers an entire set of notes and his Photoshop actions to all delegates.

– David Kilpatrick

DK's ramblings, Lenses - E mount, NEX System, Sony Digital Cameras

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