I was testing my A7R with Metabones IV adapter and Canon 17mm TSE. The objective was to see how well three images shot at the extremes of shift and the middle would stitch together for landscapes.
Since it was a test, I just went into the backyard and used some foliage and a tree to help with evaluating detail. When I got done stitching this pano and looked at it in Lightroom there was something appealing about it visually.
I did a B&W conversion using one of the film emulation presets I have for Lightroom. I like it as well.
Funny how a test can create something beyond its intended outcome.
The final image size will print to 40 x 16 at 300 pixels per inch without upressing. That too is a great benefit.
Because the image has to be enjoyed at a larger size I've added a link to my blog where they can be enlarged.
dmward wrote:
I was testing my A7R with Metabones IV adapter and Canon 17mm TSE. The objective was to see how well three images shot at the extremes of shift and the middle would stitch together for landscapes.
Since it was a test, I just went into the backyard and used some foliage and a tree to help with evaluating detail. When I got done stitching this pano and looked at it in Lightroom there was something appealing about it visually.
I did a B&W conversion using one of the film emulation presets I have for Lightroom. I like it as well.
Funny how a test can create something beyond its intended outcome.
The final image size will print to 40 x 16 at 300 pixels per inch without upressing. That too is a great benefit.
Because the image has to be enjoyed at a larger size I've added a link to my blog where they can be enlarged.
dmward wrote:
Since it was a test, I just went into the backyard and used some foliage and a tree to help with evaluating detail. When I got done stitching this pano and looked at it in Lightroom there was something appealing about it visually.
Very cool. So that is Lake Michigan? It feels rather like a tropical island!
Charles, your 2nd shot HERE stunned me and makes me crave a 50 LUX Asph. What an amazing separation, love it. That lens must be superb at that distance, and judging from a Flickr group you made me browse similar effect a bit closer too. Are there versions of this lens to look out for, or are there only one? And if there are several, may I humbly ask which version you got? Thanks.
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Love the truck sebboh, and lens too.
Too much good stuff to mention all, thanks for sharing.
wfrank wrote:
Charles, your 2nd shot HERE stunned me and makes me crave a 50 LUX Asph. What an amazing separation, love it. That lens must be superb at that distance, and judging from a Flickr group you made me browse similar effect a bit closer too. Are there versions of this lens to look out for, or are there only one? And if there are several, may I humbly ask which version you got? Thanks.
- - -
Love the truck sebboh, and lens too.
Too much good stuff to mention all, thanks for sharing.
thanks! wrt the 50 lux asph, there is only one version that says asph on it (but it comes in silver of black). prices on the used market seem to be dropping lately. you can probably get one now for a mere $2800.
it is an awesome lens for people at short to mid distance, not as good for landscape on the a7 or a7r as on an m camera, but still usable imo.
sebboh wrote:
thanks! wrt the 50 lux asph, there is only one version that says asph on it (but it comes in silver of black). prices on the used market seem to be dropping lately. you can probably get one now for a mere $2800.
it is an awesome lens for people at short to mid distance, not as good for landscape on the a7 or a7r as on an m camera, but still usable imo.
Thanks, oh yes the price puts one off a bit, guess some day will be one when to get a lens worth more than the camera.. :-)
Thing is, I only seen this effect in lenses such as the Contax 100/2 and Contax 35/1.4. Not to mean theyre the same but the striking separation is there. I have the Contax 50/1.4 which can do similar things but only closer. Which BTW makes the Distagon 35/1.4 so unique being 35mm - doing it at longer distance.
(these are of course my own amateur observations, but never the less, what I see )
Jochen, good point and agreed, there are certainly similarities. Found sort-of an example from spring (sry repost). Good for me that I am taking it to Italy tomorrow, will try to find a bench with old men just like Charles to see if I can do it better than this
I got a Commlite adapter today to test. It's about 1/4 the price of the Metabones and claims to do the same thing.
I put a 35mm L on it and did a handheld pan of about the same scene. Added them to the gallery for those interested.
Looks like the less expensive adapter works fine. Only problem is that the tripod standoff is not tight enough to hold the camera and lens without movement when mounted vertically with L bracket. Still worth keeping, I think, for handheld shooting.
wfrank wrote:
Charles, your 2nd shot HERE stunned me and makes me crave a 50 LUX Asph. What an amazing separation, love it. That lens must be superb at that distance, and judging from a Flickr group you made me browse similar effect a bit closer too. Are there versions of this lens to look out for, or are there only one? And if there are several, may I humbly ask which version you got? Thanks.
- - -
Love the truck sebboh, and lens too.
Too much good stuff to mention all, thanks for sharing.
Thank you Wilhem, and everyone for the kind comments
I have the 50 Lux Asph, the latest version. This lens is amazing, and it was a favourite on the M240, until I just sold my last one before my trip to Spain. On the A7r's this lens does not work IMO. On the A7r it will render wonderfully near for portraits, but stopped down for mid to far distances it does not work. I have tried different adapters, and different A7r's. There are a number of versions of the 50 Lux, and the pre Asph may well work on the A7/A7r. The rendering of pre-Asph is wonderful, and has that Leica glow. For portraits, I am really enjoying the 50 Cron Rigid DR, built in 1964, as it is very sharp, but gentle. It yields to nice B&W conversions, and is then just a question of finding the right PP'ing to suit. It would seem all the version of 50 Cron's work well, either in the M or R version.
The 50 Lux Asph on the A7s works great, with no issues at all, as most of the M lenses on the A7s. As I mentioned before, the only lens that does not gel is the 28 Cron Asph. For this reason alone the A7s is a gem for my collection of M lenses. In fact my wife loves the A7s as it is silent, fast AF and you take shots at night walking the streets.
A shot with the 50 Lux Asph and A7s, at f/5.6 in Ranxiera, Pondevedra.
Haven't had a ton of time to play with my new Sony A7s, but I took it out in the yard to see if I could get some star photos. I took some snaps of the yard in low light as well, and got this. Still new to Sony, but enjoying it so far!
Sony A7s, 0.5 sec exposure, ISO 400 w/ Voigtlander 40mm Nokton 1.4.
Charles, great sets of images from Spain! Thanks for posting and sharing your experience with M + A7s affair. Trips are always the best tests of photo gear; usually if things go wrong is during trips when mistakes are easily made and access to trusted service/dealers is limited. I any event, great that A7s served you both well.
If at Photokina Sony won’t reveal or enounce plans for new FF mirrorless models that work with RF lenses I will have to seriously give A7s a try (while keeping A7R for *scaping shots)
All shot WO:
Accidental shot, but I kept it for the fffilter effect
