Activatedfx wrote:
I mean. Wow! Well done.
Thank you! It's definitely helpful to have some form of AF involved when working with the wider apertures. I wish Mitakon would release an adapter of this type so I could play with the 50/0.95 the same way.
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Fred Miranda wrote:
I'm surprised by the LoCA correction level. Did you fix axial aberration in post?
This is an intriguing lens!
Nothing additional applied. Everything I've posted in the thread has been out of Capture One Pro without touching the CA corrections. Not sure if there is anything it is applying by default if it has determined there is some profile to use. But I'm definitely not doing anything additional to address any CA.
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Bubble wrote:
Amazon has this lens in silver for $349 (instant discount $20). Can't beat the value eh?
It can't be beat even at its full retail. lol. The extra 20 bucks in the pocket is just icing on the cake.
Curious, anyone have thoughts how this might compare to a Nikon AiS 50/1.2? Have that lens and enjoy it for similar type use, but a more compact lens could be nice.
Mathieu18 wrote:
Curious, anyone have thoughts how this might compare to a Nikon AiS 50/1.2? Have that lens and enjoy it for similar type use, but a more compact lens could be nice.
it does look physically shorter than adapted 50 AIS.
what scares me is the FC that might exist with M mount lenses. The lens itself looks very neat in that it totally changes character when stopping down a little. Not a fan of the WO look, but can be fun at times. Stopping down it looks normal.
if I didnt like my FE 50 so much, I might give this a try.
Mathieu18 wrote:
Curious, anyone have thoughts how this might compare to a Nikon AiS 50/1.2? Have that lens and enjoy it for similar type use, but a more compact lens could be nice.
I've never shot with the Nikon and have never really looked at images shot with it (intentionally). If the general rule about 1.2 and wider lenses (combined with being older designs) holds true, then my assumption is that the Nikon isn't much different with regard to sharpness levels wide open.
Where these lenses shine (in their own unique way) is their overall rendering in varying lighting scenarios. What I have found is that the 7A does a great job of giving you something unique wide open with an interesting combo of just enough detail and that glowy softness combined with the odd/interesting bokeh while also looking pretty normal for a fast 50 if stopped down just a little bit. The thing I have loved the most about the images it produces is the way that it handles flare.
With regard to the other factors that help me love it so much, the size/look of the lens and the fact that it has some AF makes it the easiest lens of that type to make images with that I have owned thus far.
Here is a quick size comparison of the 50s I had within immediate reach. From left to right: Mitakon 50/0.95, EF Modded Contax N 50/1.4, FE 50/1.8, 7A, Canon EF 50/1.8, and Helios 44. 50mm Size Comparison by John Dizzo, on Flickr
Thanks to both of you. The character of the 7A is part of what made me ask. The AiS 50/1.2 behaves somewhat similar, at 1.2 & 1.4 its dreamy, and works well near MFD and closer distances. Stop down to f/2 and it becomes very sharp and clean. On an adapter it'll be a bit longer than the FE 50 (who's rendering I also really enjoy) and it's heavy, even more so with a F to M adapter. Also not overly attractive on a modern camera. So in short it kinda sounds like the 7A is an upgrade with similar style in a more compact package, that makes it attractive to me.
As to field curvature it's certainly possible, but shouldn't be too bad on a 50...
I happen to have both the 7Artisans and the Nikkor 50 1.2 AIS....
And because you asked so nicely, I shot both side by side at 1.2 on my M just now as I am home waiting for UPS to show... Exposure is the same on both (I made sure), as is the LR white balance of 5000, -2. What is obvious is the 7Artisans has a warmer tone, and while it has some purple fringing, it does not have the green fringing that the Nikon does. Perhaps because it is warmer? Dunno...
Anyway, here they are, both shot at 1.2 with no corrections applied:
Mathieu18 wrote:
Thanks to both of you. The character of the 7A is part of what made me ask. The AiS 50/1.2 behaves somewhat similar, at 1.2 & 1.4 its dreamy, and works well near MFD and closer distances. Stop down to f/2 and it becomes very sharp and clean. On an adapter it'll be a bit longer than the FE 50 (who's rendering I also really enjoy) and it's heavy, even more so with a F to M adapter. Also not overly attractive on a modern camera. So in short it kinda sounds like the 7A is an upgrade with similar style in a more compact package, that makes it attractive to me.
As to field curvature it's certainly possible, but shouldn't be too bad on a 50......Show more →
I owned a 50mm 1.2 AIS briefly and I think I prefer the 7Artisans more. Compared to something like the Voigtlander 58mm 1.4, the 50mm 1.2 just didn't look very good wide open and needed to be stopped down to f2 to be useable. On the other hand, I feel comfortable using the 7Artisans 50mm 1.1 and the Voigtlander 58mm 1.4 wide open. The Voigtlander renders entirely different with very creamy backgrounds, yet being relatively sharp at 1.4 aperture. The 7Artisans to me is more of a character lens that has a distinct look wide open, but stopped down it's actually somewhat bland in my opinion. In fact I think prefer my old school 50mm 1.8 AI-S at f2 if I'm shooting at stopped down apertures.
I also shoot with the Sigma 50mm 1.4 Art on my Sony which is just insanely sharp no matter how you shoot with it, but it's also my most well-behaved lens, with uniform sharpness and very clean OOF backgrounds. With 50mm lenses it's all about what my mood is for the day!
Desmolicious wrote:
Funny how I didn't bother to look at this, but the bokeh... It is much better with the 7Artisans. Look at the back shelf at the top of the image etc.
I'm not sure if I should thank you for this or curse you... you just sold another 7A.
Many thanks for the effort regardless! Like John below, the difference in the Bokeh is pretty striking, and I didn't mind the Nikon's. But the 7A looks significantly better and smoother.
@Desmolicious - Thanks for posting the comparison. Totally agree regarding the bokeh and it appears yours behaves much like mine does with regard to how it renders OOF areas. What I have found also is that when you have a strong light source in the background, everything gets even softer and creamier. For me, it is the look I have appreciated the most out of all the 50s I have had.
@ Johnathan F - Agreed that the 7A is definitely a character lens and not one you should be considering if you are simply looking for the sharpest or most optically well-corrected. I also shot the Sigma 50 Art on the R2 for a long time. While I loved the sheer optical superiority of it (and general performance adapted), the look was very clinical/sterile or however you want to describe it. When I wanted something more interesting looking, I always reached for the 50L or Contax 50 instead. Now that the 7A is here, my heart is with someone new. lol.
The 7A also looks like it's about a stop faster as far as the AMOUNT of bokeh blurring. Like the Nikon was at f/2 and the 7A at 1.1. If it wasn't for the "bubbly", hard edged highlights, I'd def be considering the A7 for both my M7 and the A7ii...
I caved and went ahead and bought the lens. I have a cheap adapter to mount it while waiting on the TAP.
I'm running into an issue on my a7riii. The lens is not detected and I need to turn the 'shoot with lens detached' setting to allow capturing images. Is this a side effect of the cheap adapter or the typical experience with adapted lenses.
vchowdhary wrote:
I caved and went ahead and bought the lens. I have a cheap adapter to mount it while waiting on the TAP.
I'm running into an issue on my a7riii. The lens is not detected and I need to turn the 'shoot with lens detached' setting to allow capturing images. Is this a side effect of the cheap adapter or the typical experience with adapted lenses.
Let us know how good AF is with this lens + TAP on the A7R3.
JohnDizzo15 wrote:
Thank you! It's definitely helpful to have some form of AF involved when working with the wider apertures. I wish Mitakon would release an adapter of this type so I could play with the 50/0.95 the same way.
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Nothing additional applied. Everything I've posted in the thread has been out of Capture One Pro without touching the CA corrections. Not sure if there is anything it is applying by default if it has determined there is some profile to use. But I'm definitely not doing anything additional to address any CA.
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It can't be beat even at its full retail. lol. The extra 20 bucks in the pocket is just icing on the cake. ...Show more →
Capture One Pro does a remarkable job of automatically correcting purple and green fringing without any noticeable side effects that I can see on my FE 55 as well as this lens... to the extent I rarely notice it.
I owned the Mitakon for awhile and as we discussed earlier in this thread, the lack of any AF option is a real detractor for that lens compared to this one. Never mind the size difference.
Activatedfx wrote:
The 7A also looks like it's about a stop faster as far as the AMOUNT of bokeh blurring. Like the Nikon was at f/2 and the 7A at 1.1. If it wasn't for the "bubbly", hard edged highlights, I'd def be considering the A7 for both my M7 and the A7ii...
It’s actually kind of crazy that this thing is yielding actual increases in shallowness and light gathering as you go to 1.1.
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vchowdhary wrote:
I caved and went ahead and bought the lens. I have a cheap adapter to mount it while waiting on the TAP.
I'm running into an issue on my a7riii. The lens is not detected and I need to turn the 'shoot with lens detached' setting to allow capturing images. Is this a side effect of the cheap adapter or the typical experience with adapted lenses.
Sweet! Looking forward to hearing your thoughts and seeing some captures.
With regard to the settings issue, it is definitely due to your adapter not having any electronic contacts. The TAP will not require the setting change. Although I will say, it is simply easiest to enable the shutter to actuate without lens attached at all times.
virtualrain wrote:
Capture One Pro does a remarkable job of automatically correcting purple and green fringing without any noticeable side effects that I can see on my FE 55 as well as this lens... to the extent I rarely notice it.
I owned the Mitakon for awhile and as we discussed earlier in this thread, the lack of any AF option is a real detractor for that lens compared to this one. Never mind the size difference.
+1 Re c1 Pro, I had initially moved over to using it just for the Fuji files back in 2014. Tried using it on the a9 files recently (since adobe’s change in cloud policy) and found that it just does a way better job (for my tastes) with all of my files.
I’d probably dump the Mitakon but it just doesn’t seem worth it. Lol. Also, I’m hoping they release a heavy duty TAP type adapter for their lenses at some point.
Activatedfx wrote:
The 7A also looks like it's about a stop faster as far as the AMOUNT of bokeh blurring. Like the Nikon was at f/2 and the 7A at 1.1. If it wasn't for the "bubbly", hard edged highlights, I'd def be considering the A7 for both my M7 and the A7ii...
I know, right? But I shot it in between the 1.1 and 1.4 settings - and checked to confirm that the aperture significantly stopped down from the 1.1 setting. Which it did.
Those bubbly highlights only appear at 1.1, so....
Did I mention this lens is only $365? That's about the same as a Leitz brand ND filter, or two lens caps, or one sensor clean by Leica NJ.. (I kid, kinda)
I have a feeling that people would take this lens more seriously if it was priced at $1500.
p.s. the silver version matches silver Leica bodies better than Leica's silver finish, as does the black on black chrome Leicas.
Desmolicious wrote:
I know, right? But I shot it in between the 1.1 and 1.4 settings - and checked to confirm that the aperture significantly stopped down from the 1.1 setting. Which it did.
Those bubbly highlights only appear at 1.1, so....
Did I mention this lens is only $365? That's about the same as a Leitz brand ND filter, or two lens caps, or one sensor clean by Leica NJ.. (I kid, kinda)
I have a feeling that people would take this lens more seriously if it was priced at $1500.
p.s. the silver version matches silver Leica bodies better than Leica's silver finish, as does the black on black chrome Leicas.
...Show more →
+1 Good points and thanks for testing to get a definitive answer.
On another note, what other f/1.1 manual focus lens can I pick up the cam from slung behind me at waist level and be able to get decent hits wide open in a scenario such as this? A9 + 7Artisans + TAP by John Dizzo, on Flickr A9 + 7Artisans + TAP by John Dizzo, on Flickr
Desmolicious wrote:
I know, right? But I shot it in between the 1.1 and 1.4 settings - and checked to confirm that the aperture significantly stopped down from the 1.1 setting. Which it did.
Those bubbly highlights only appear at 1.1, so....
p.s. the silver version matches silver Leica bodies better than Leica's silver finish, as does the black on black chrome Leicas.
Interesting. I've actually been stopping the Mitakon 50/0.95 down to 1.4 or even f/2 if I don't need the super shallow DOF look. Small changes make a big difference.
The thing that almost swayed me to get the 7a 50/1.1 for the M7 was that it would look SO FREAKIN' GOOD on my silver chrome body! You HAD to add that little "p. s." about the silver finish, didn't you?!?!?! Arghh. haha
I have to say, I'm totally loving the VM Nokton 50/1.5 on my M7. Very sharp, great color and drop-dead gorgeous bokeh. This is shot with the M on CineStill 50D movie film.
