Wohoo, Just bought the 21.
Does this really need a CP or does the hood work okay for reducing glare?
Now if I can make the 35-70 work on the 5D, I'll be in business for my travel kit.
Masterchief, ZE 50 f:1.4 and sigmalux are very different. The Sigma is optimized for wide open, close up portraits, with maximum background blur. If that is what you want, the Zeiss will disapoint. But for cityscape, landscape, anything, including portraits, further than 10' and somewhat closed down, the Zeiss offers superlative rendition.
swolfcg wrote:
Wohoo, Just bought the 21.
Does this really need a CP or does the hood work okay for reducing glare?
Now if I can make the 35-70 work on the 5D, I'll be in business for my travel kit.
Congrats
The 21 is amazing when it comes to glare (veiling flare) - basically you could shoot directly into the sun without losing any contrast. Example:
Crop from the above:
A filter on the other hand will make it worse. I have Hoya, BW and Heliopan filters and all of them lead to significant reduction in flare control.
Hugo: Great captures! I especially like #2. One suggestion though: I think you are over-sharpening your images a bit.
Denoir, Thanks for the head up. After trying a few Zeiss lenses, I've noticed that CPs are really not necessary if you stop down a bit. I've actually lost a few shots around water with CPs when it wasn't perfectly angled 90 degrees. I know you can rotate the filter to make it work, but what a pain & sometimes that doesn't work.
Thanks for the heads up Makten
Thanks denoir!
Mast3rChi3f: If sigma 50/1.4 works well with no AF issues, I would keep the lens. As philber suggested, the lenses are very different. I had two sigma 50/1.4's, both with similar issues, so I returned the lenses to the supplier.
Yes, that second shot demonstrates the 3D effect quite nicely. I think that at those distances the 50/1.4 has an advantage over the 50/2 in terms of graceful DOF falloff.
Makten: I'm really liking the dream like quality of your shots with the 50/1.4.
This is the reason, at times I will use the 50/1.4 and 85/1.4, as it has a totally different feel, to the shots. There are a lot of sharp lenses, including great P&S cameras, that are sharp in good lighting, but do not have the "rendering" or feel that differentiate the shot from other snap shots.
Makten: I appreciate that you taking the time to show what the 50/1.4 can do
Denoir: Thanks for the comparison Both are great lenses.
Most often the 3-D effect seems to be recognized/enforced when there are objects in the oof areas, to which the subject in focus can relate. Although of course there is a room behind the subject in the following picture there are no nearby objects to enforce the pop.
I found that amongst my ZF lenses especially the ZF85 delivers that special plasticity.
I will soon be joining the ZE army
The UK distributor of Zeiss and Voigtlander called me today about the CV 20/3.5 that I sent in due to softness on the right hand side.
The problem was acknowledged and the lens was going to be exchanged under warranty (bought it in January), then I said I was interersted in trading up to the ZE21, so they have offered to take the new price of the CV20 of the distagon.
