uhoh7 wrote: sebboh wrotethe FE 35/2.8, lux asph, FLE, and cv 35/1.2 all perform quite well. the lux pre asph is quite good too if you can handle the classic mandler glow at wide aperture.I said the same thing in another thread--leaving out the pre-asph, and I thought you replied to the effect: "oh no, there are many RF 35s which are great on A7"
philber wroteI am reading the tealeaves, but I think Zeiss may have decided to release the ZM 35 f:1.4 to prove a point. Point being that they are just as capable as Leica to desing cutting edge lenses that are also small.Philber, it's the second biggest RF 35 ever made in history!
But I think you are right, they are trying to prove a point: "we can make something even better performing than FLE"
BTW Still love my zm18, which I own because of you
The great thing about a 1.2 35 is you actually have a bit of DOF BTW I found this lens also better on the A7 than A7r.
You really have to give Mr Kobayashi huge credit: he's going to be making this new lens, right? It's really a zeiss/cosina, and perhaps we should seperate the various zeiss brandings in this way.
Kobayashi makes them huge, like all his M superspeeds, but he does tiny very very well also. Of course the CV 21/4 is no 21 SEM, but it's way smaller and they run around 275USD.
I don't know his sharpest 50: might even be one of the small ones, but I wish he did charts or had zeiss do some for him.
But his real sleeper is that 75/2.5, which is the smallest of all 75s by alot, wicked sharp, and bokeh seems fine. In addition, he makes one of the great 90s also---from my perspective anyway.
His RF bodies have also been very interesting. I just wish he would give us a nice digital M body........
@Steve Yes, the new sleeper may be the 35 ultron, which is really potentially just as interesting as this lens, since it's smaller and much cheaper. ...Show more →
Wow, I did not know the Voigt 35/1.2 could give swirly bokeh as in the last example with the dog. Interesting (in a good or bad way, depending on your preference!).
sebboh wrote:
the FE 35/2.8, lux asph, FLE, and cv 35/1.2 all perform quite well. the lux pre asph is quite good too if you can handle the classic mandler glow at wide aperture.
uhoh7 wrote:
I said the same thing in another thread--leaving out the pre-asph, and I thought you replied to the effect: "oh no, there are many RF 35s which are great on A7"
yeah, i was thinking modern drawing lenses and just threw in the lux pre-asph since we'd been talking about it.
all the crons except the asph one perform well on the a7 as does the canon 35/2 ltm, cv 35/1.4, cv 40/1.4, m-rokkor/summicron 40/2, and probably some others i'm forgetting. as with the lux pre-asph you have to take into account what perform well means – it means they perform about as well as they do on an m9. none of the lenses listed in this paragraph reach the levels of optical perfection at large aperture that the lux asph 35s do or that this new zm does.
interestingly (maybe just to me), i thanks to ron's suggestion about looking through the Puts book, i discovered that the lux pre-asph is actually a better landscape lens at small aperture than the cron v4 (at least judging by mtfs), i had always assumed the opposite.
Tariq Gibran wrote:
Wow, I did not know the Voigt 35/1.2 could give swirly bokeh as in the last example with the dog. Interesting (in a good or bad way, depending on your preference!).
Hmm, I havent seen swirls anything close to that from my CV35/1.2II. Are you sure (Uhoh) it is that lens, is it Ver I or something? Or a mix-up?
wfrank wrote: Tariq Gibran wroteWow, I did not know the Voigt 35/1.2 could give swirly bokeh as in the last example with the dog. Interesting (in a good or bad way, depending on your preference!).Hmm, I havent seen swirls anything close to that from my CV35/1.2II. Are you sure (Uhoh) it is that lens, is it Ver I or something? Or a mix-up?
those are pretty weak swirls aided by the environment. i'm sure you could get something similar from nearly any fast lens if you tried hard enough.
Okay, agree that grass at that distance can make swirl swirlier. But I've seen similar from the old Summitar 50/2 (from the 40's) but I thought it was a glass property thing not so much due to the speed.
wfrank wrote:
Okay, agree that grass at that distance can make swirl swirlier. But I've seen similar from the old Summitar 50/2 (from the 40's) but I thought it was a glass property thing not so much due to the speed.
it's both. some lenses (e.g. helios 58/2) can make nearly any background swirl at the correct subject background distance even a concrete wall. some other lenses have a more mild predilection to swirl like the 75 summilux and still others (most macros) are nearly impossible to get swirls from. most lenses will show a somewhat swirly pattern due to physical vignetting if you have oof point lights ources at just the right distance. any lens can show swirls if you if you arrange a swirly pattern and then put it out of focus (a good way to accidentally do this to take picture down a backlit orchard column or tree tunnel).
The swirly bokeh in that particular shot is strong to my eyes but it's likely a situation where some see it more than others (I see very clear concentric rings formed by the bokeh shape behind the dog). To me, it almost looks like a filter type effect, as if the dog is being transported into another dimension.
sebboh wrote:
most lenses will show a somewhat swirly pattern due to physical vignetting if you have oof point lights ources at just the right distance.
Optical vignetting, actually. It's because the image circle simply isn't big enough to draw complete circular blur discs in the corners. It's not that the lens barrel is in the way -- if you took away the barrel the cat's eye bokeh would remain the same.
AhamB wrote: sebboh wrotemost lenses will show a somewhat swirly pattern due to physical vignetting if you have oof point lights ources at just the right distance.Optical vignetting, actually. It's because the image circle simply isn't big enough to draw complete circular blur discs in the corners. It's not that the lens barrel is in the way -- if you took away the barrel the cat's eye bokeh would remain the same.
thanks, i always get mixed up between the words for those two.
Tariq Gibran wrote:
The swirly bokeh in that particular shot is strong to my eyes but it's likely a situation where some see it more than others (I see very clear concentric rings formed by the bokeh shape behind the dog). To me, it almost looks like a filter type effect, as if the dog is being transported into another dimension.
uhoh7 wrote: sebboh wrote:
Philber, it's the second biggest RF 35 ever made in history!
Fair enough, but compared to the "large 35 f:1.4" that is, for example, the Sony-Zeiss FE 35 1.4, the ZM is still very much in the "small" category IMHO.
sebboh wrote: Tariq Gibran wroteThe swirly bokeh in that particular shot is strong to my eyes but it's likely a situation where some see it more than others (I see very clear concentric rings formed by the bokeh shape behind the dog). To me, it almost looks like a filter type effect, as if the dog is being transported into another dimension.you have a low tolerance for swirls.
Ha, probably. The ones you and wfrank have posted do not register to me as being as strong as the dog example, probably because there are more distinct hard edges to the concentric rings in that one maybe.