Carsten_R wrote:
It is really great to get every shot in Focus where you want the Focus to be.
I agree entirely. I had a tough time getting fast lenses in focus on a consistent basis with my M9; it is getting better now. However, I tried a few times to use the focus scale on the lens to speed up the process but it is off, way off on the A7r, it seems. The straight focus peaking method is not reliable either. The electronic magnifier works the best but slower. Oh, well
From time to time, an AF lens is a welcome addition among MF alternative lenses. Enter the "mini Otus" .
AGeoJO wrote:
I agree entirely. I had a tough time getting fast lenses in focus on a consistent basis with my M9; it is getting better now. However, I tried a few times to use the focus scale on the lens to speed up the process but it is off, way off on the A7r, it seems. The straight focus peaking method is not reliable either. The electronic magnifier works the best but slower. Oh, well
To me this is the biggest selling point of a MILC - guaranteed focus results, at least in static situations. No more guessing or taking multiple safety shots or AF tuning.
JaKo, wonderful shots with the 28 Elmarit R
Taylor, really nice shots of a classic!!!
Bob, loving your shots with the FE 55 and the Oly's
Joakim, excellent shot with the 35 Lux FLE.
Joshua, very nice! I agree the FE 55, is what I would imagine the mini "Otus" to be Fantastic travel kit. The FE 55 and 24 Lux!
Wilhem, superb abstract capture!!
Carsten, great shot with the 50 Noct f/1.0 classic!!!
Martin, amazing set of images! Great examples with the FE 55.
Makten wrote:
A few shots with A7 and FE 55 from yesterday...
Holy 3D Batman! I was starting to lump this lens in with the 2/135 in the "sure it's sharp but where is the Zeiss magic?" category, but this set you can almost reach out and touch.
wfrank wrote:
Generally my A7 gives me much more noise than expected, starting at base ISO. Honestly I am surprised (comparing to Canon 5D2 which can be made to look more or less noiseless uptil ISO 1600) but so far I attribute that to me going ARW -> DNG -> ACR. But I am not sure, Canon could actually be doing some rights still.
+1 with everyone else on this. I don't think it's your workflow. I see the same in both IDC and LR with the a7R. With a Canon 6D, a blue sky at ISO 100 gave me a very uniform blue while the Sony produces an obviously speckled blue.
Great stuff. Only thing that occasionally bothers me with the FE55 is some color fringing on OOF highlights. For example, in the Xmas tree ornament shot, I see green fringing on the white disks in the background, which is pretty typical for this lens.
akuba wrote:
Holy 3D Batman! I was starting to lump this lens in with the 2/135 in the "sure it's sharp but where is the Zeiss magic?" category, but this set you can almost reach out and touch.
I think you can get "3D" look from any lens that is sharp enough. But it's also a lot about PP. Interestingly, I've gone back to a quite simple downscaling flow because it looks better than multi-step sharpening.
#1: Raw sharpening in ACR (from converted DNG) – 25% amount, 50% detail
#2: Bicubic downscaling in PS to 1.67x final size (longest side)
#3: "Sharpen" in PS
#4: Bicubic downscaling to final size
#5: Final sharpening with "smart sharpen", 20-50%, 0.2 pixel radius, some fading in highlights and shadows (can't remember exactly, but it makes only the midtones sharpen).
Two from a 500 year old all wooden temple in Central Japan. Doing a little lens testing a7r, the first is with the Voightlander 1.5 Nokton at f/2.8 the second with a ZM 50 Planar also at 2.8.
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