p.117 #1 · Official: Sony A7 and A7R Fullframe Mirrorless
miklar wrote:
The Markins Ball-Head doesn't have any model number but for what looks like a serial number "M20-Kyxxxxx". It was the biggest they had and was acquired about ten years ago.
The way the lens combination was configured placed the centre of gravity on the foot. However, as someone has pointed out Nikon's lens mounts are subject to vibration and the way I set it up may well contribute to that.
In view of this I will rerun the test and use the components of my panorama rig to stabilize the front end of the lens.
Cheers
OK. That is a Markins M20. I have the same head. It was the top of their line and has now been replaced with their new Q20 which has even more holding power and is the present top of the Markins line.
As to the vibration in the Nikon lens mounts, they are generally not as good as the Leica rotating collars. That is part of the reason that RRS offers some Nikon replacement collars and foot replacements.
p.117 #2 · Official: Sony A7 and A7R Fullframe Mirrorless
miklar wrote: dennishh wrote:
The Magic Arm I use is combined with the super clamps makes it easily adjustable on the tripod. I only use it for slow shutter speed shots were quality is needed. This lock very secure with one motion, so its FAST to re-position the camera. I'm happy to see your comments about Nikon optics on the Sony A7r which I intend to use in the interim before Sony releases new lenses and I'm looking forward to your results.Have you tried the Nikon 14-24?
I've also had motion problems using my Nikon and Canon cameras so this is nothing new. Hopefully the next generation will have electronic shutters that don't create any vibration.
Regarding the Nikon 14-24mm lens, yes is appears to work just fine. There seems to be no smearing at 14mm.
Since I tried this last Thursday, right after receiving the A7r I will take a more critical look at the results of the image.
Cheers...Show more →
p.117 #4 · Official: Sony A7 and A7R Fullframe Mirrorless
My A7R arrived today. I have only had a few minutes to play with it. With it, I received the 35mm lens and the LA-EA3 adapter. When I tried the adapter with an A mount Zeiss 24mm, it didn't work. The camera said that there was no lens attached. I tried the 24mm with a LA-EA1 adapter that I had sitting around the house, and it worked fine. So, it must be a bad LA-EA3. I'll have to send it back… I wonder if I should just get the LA-EA4?? The LA-EA1 focus with the 24mm lens is quite slow, and I would guess that the LA-EA3 would be the same.
Two quick reactions - the sound of the shutter is more annoying than I expected. I don't think it is the actual volume, but rather the fact that it seems to last so long. Also, I really the feel of the manual focus of the 35mm lens.
Now its time to download the Lightroom RC so I can look at the four shots I have taken so far...
p.117 #5 · Official: Sony A7 and A7R Fullframe Mirrorless
To me, the sound of the (A7) shutter is like a silenced pistol. Kinda strange but kind of "cool" perhaps.
It really does have a lot of vibration though. When I take a picture in a noisy environment, I don't hear the shutter, but I feel a pretty solid "thump" in the camera. Much lower in frequency than the Nex-7. It's got a low thump and a high-pitched "shink" sound to it, whereas the Nex shutter was a focused midrange "clack".
p.117 #7 · Official: Sony A7 and A7R Fullframe Mirrorless
naturephoto1 wrote:
His review does not sound much like many of the others that we have seen. Is it possible that there was an issue with his review sample?
Rich
Rich, thank you - I should point out that this was not a review at all: when I do a formal review it gets published on my blog. The material that is quoted is from a post I made on another forum giving some initial impressions of the lens and its performance on the A7R. I am working on a full review at the moment but I'll give you a clue: I like the lens a lot but the working title is:
Sony Zeiss FE 28mm F2.8: the "Bisto" Lens.
As per there being an issue with my particular lens, almost certainly not IMHO - it is very good. My copy does have a possible very, very slight de-dentering but so do most of the lenses I own. This one is well within what I consider to be acceptable and is not the sort of thing I would likely return or repair.
p.117 #9 · Official: Sony A7 and A7R Fullframe Mirrorless
carstenw wrote:
Hey Tim. I am not familiar with the colloquial use of the word Bisto, which as far as I can tell is a gravy. Is that a compliment or an insult?
p.117 #10 · Official: Sony A7 and A7R Fullframe Mirrorless
tashley1 wrote:
Sony Zeiss FE 28mm [35mm] F2.8: the "Bisto" Lens.
Hey Tim, welcome to FM! We've communicated in the past over some newly launched Sony product but can't remember which one except whatever it was your first looks and detailed investigation were helpful to me.
My early experience with the FE35/2.8 has left me with a mix of thoughts. I need to shoot it much more before coming to a conclusion but my instinct tells me, so far, that I'll like it more for documentary style use and closer in subjects than aiming for stunningly crisp edge to edge distant planar subjects for pixel peeping (not printing).
Still wish it were more like the RX1's lens but... I do very much like how it keeps the camera compact and relatively light. Can't have it all, at least not all at once!
As for Bisto, I'm having a hard time figuring that one out. On one hand "the rest is gravy" is a term we use to describe a situation where once some basic milestone is achieved, the rest is, to use another colloquial phrase, "icing on the cake". On the other hand as someone who enjoys cooking I routinely volunteer to make gravy when we visit my mother to prevent her from using Bisto! I'm going to assume the former meaning and not the latter implication is where you are headed but will enjoy the surprise nevertheless.
p.117 #12 · Official: Sony A7 and A7R Fullframe Mirrorless
carstenw wrote:
I tried the same thing with my Leica 180/2 and Nikkor 300/4 with TC1.4, on my A7, with and without electronic first curtain, all on my Gitzo GT3541XLS with Burzynski Ball Head II, both lenses on their own feet with RRS plates, and I found that the Leica was stable enough, but the Nikkor+TC would vibrate/move a lot more without electronic first curtain than with. I didn't try beanbag or any other tricks, but clearly that shutter is capable of vibrating an otherwise solid rig. The A7R will be a handful with very long lenses.
Carstenw
After trying a couple of different configurations to stabilize the lens setup it did help, but not enough.
So, I took my video camera tripod, Sachtler FSB6, and mounted the combination without additional front end lens support. The results are much better as you can see per the attached http://www.pbase.com/mikeklar/image/153642597
Not perfect, but getting there.
However, this is not something I want to drag around a lot and I will be looking at improving the lens collar and platform as necessary.
Cheers
p.117 #13 · Official: Sony A7 and A7R Fullframe Mirrorless
That looks pretty heavy-duty! I don't have anything that strong.
I have never really been a long-lens enthusiast, which is why my longest lens is a cheap one, the Nikkor 300/4. I also only own the TC1.4II. I do also own the 70-200/2.8VRII though.
As a non-long-lens-user, I have never really practiced all those long-lens tips which I have read over time, but I might try to mock up a beanbag or lay my hand across the lens gently, as I have seen some recommend. Ultimately, I have only the A7, not the A7R, so there is a limit to what problems I can detect, but I would love being able to use my setup in the Zoo, for example, with my longest combination.
I know that some of the Nikon lens collars have a bad reputation, so it might be worth looking into RRS or other replacements, although that can get expensive quickly.
FWIW, I read today in the new, larger Sony manual that the electronic first curtain should be off when using a non-native lens, since otherwise uneven lighting might be recorded. I am not sure I understand why, and I haven't observed it myself, but it might be worth running some tests.
p.117 #14 · Official: Sony A7 and A7R Fullframe Mirrorless
carstenw wrote:
(...)
FWIW, I read today in the new, larger Sony manual that the electronic first curtain should be off when using a non-native lens, since otherwise uneven lighting might be recorded. I am not sure I understand why, and I haven't observed it myself, but it might be worth running some tests.
That's the same recommendation as earlier. No technical explanation from me but the warning (for Nex cameras) mentioned a risque of uneven exposure when used with very fast lenses. Maybe that has something to do with the electronic first curtain and the mechanical second curtain not working very good together when the photons are coming in a heavy angle towards the sensor? Just guessing though.
p.117 #15 · Official: Sony A7 and A7R Fullframe Mirrorless
Jonas B wrote:
That's the same recommendation as earlier. No technical explanation from me but the warning (for Nex cameras) mentioned a risque of uneven exposure when used with very fast lenses. Maybe that has something to do with the electronic first curtain and the mechanical second curtain not working very good together when the photons are coming in a heavy angle towards the sensor? Just guessing though.
as far as i know it is only an issue at especially high shutter speeds. below 1/2000 i've never seen an issue with a NEX camera. i'm surprised to hear that it is only true for adapted lenses...
p.117 #17 · Official: Sony A7 and A7R Fullframe Mirrorless
sebboh wrote:
as far as i know it is only an issue at especially high shutter speeds. below 1/2000 i've never seen an issue with a NEX camera. i'm surprised to hear that it is only true for adapted lenses...
I never understood that either. A mistake by Sony perhaps.... there were no fast native lenses for the Nex. They mentioned risque of uneven exposure when using fast A-mount lenses IIRC.
p.117 #18 · Official: Sony A7 and A7R Fullframe Mirrorless
ajamils wrote:
What would be a good walk around lens and flash to pick up with A7R?
For a walk-around lens it's usually best to have a zoom lens and one that's unobtrusive (great for street photography) and light in wight. So, if you're in no rush wait for the 24-70mm f4 FE lens and use whatever you have now until then.
Regarding a flash, just ask yourself what it is you want to lighten up and make your decision of how far it is able to light up a scene and how much bulk you can tolerate.
Cheers
p.117 #20 · Official: Sony A7 and A7R Fullframe Mirrorless
michaelwatkins wrote:
Hey Tim, welcome to FM! We've communicated in the past over some newly launched Sony product but can't remember which one except whatever it was your first looks and detailed investigation were helpful to me.
My early experience with the FE35/2.8 has left me with a mix of thoughts. I need to shoot it much more before coming to a conclusion but my instinct tells me, so far, that I'll like it more for documentary style use and closer in subjects than aiming for stunningly crisp edge to edge distant planar subjects for pixel peeping (not printing).
Still wish it were more like the RX1's lens but... I do very much like how it keeps the camera compact and relatively light. Can't have it all, at least not all at once!
As for Bisto, I'm having a hard time figuring that one out. On one hand "the rest is gravy" is a term we use to describe a situation where once some basic milestone is achieved, the rest is, to use another colloquial phrase, "icing on the cake". On the other hand as someone who enjoys cooking I routinely volunteer to make gravy when we visit my mother to prevent her from using Bisto! I'm going to assume the former meaning and not the latter implication is where you are headed but will enjoy the surprise nevertheless. ...Show more →
Hi Michael, and thanks for the welcome!
Bisto. Mmmm! You'll be out of the dark on my little joke soon, I was hoping to publish today but decided I need to re-shoot a few frames…. maybe tomorrow but by the weekend at the latest!
and I will be looking at improving the lens collar and platform as necessary.