Wow! I can't see any color shift in that dog shot w/ the ZM25 at all. Yeah, I thought it'd have much more than that. After all, I had quite a bit of color shift with the ZM35, and I get shift with my Leica 21 and 28.
Taylor Sherman wrote:
Wow! I can't see any color shift in that dog shot w/ the ZM25 at all. Yeah, I thought it'd have much more than that. After all, I had quite a bit of color shift with the ZM35, and I get shift with my Leica 21 and 28.
Remember, the color shift with the WA biogons is lessened dramatically at close focal lengths. Infinity is the big problem... But...it sure looks nice in these close-ups!
sebboh wrote:
went to the beach today where it was unusually hot (for SF). here's a 50% crop from nex-7 + nikkor 105/2.5 AIS:
who says only the x-trans sensor can produce a watercolor effect?
That's cool. I love what it did to Cliff House.
That happened to me to a lesser degree when I was in Aptos last year, only the air temperature was fairly cool (mid-70s at the peak of the day). So I panicked when I saw the results, thinking there was something wrong with the camera, and it was probably an hour before I thought through the fact that the sand had the sun beating down on it all day, so the surface temperature was high, even though the air temperature was mild.
shelt wrote:
Remember, the color shift with the WA biogons is lessened dramatically at close focal lengths. Infinity is the big problem... But...it sure looks nice in these close-ups!
So this one is set at infinity. It's at f/5.6. Anything lower than that and I would've had find the hyperfocal distance to even get the tree in focus. I've got a better place for a test like this where corner-to-corner performance can be better judged, and if I get a chance tomorrow, I'll drive up there and test it out. But this gives me hope.
Like I said, f/5.6 at infinity, neutral color profile, raised exposure a third of a stop and dropped the highlights -36 in LR. No color or contrast alterations, no corner fixes applied. Downsized via WPP with no sharpening. Second image is a 100% corner crop. And as I indicated before, the corners aren't perfect, but I still don't see any color shift.
freaklikeme wrote:
So this one is set at infinity. It's at f/5.6. Anything lower than that and I would've had find the hyperfocal distance to even get the tree in focus. I've got a better place for a test like this where corner-to-corner performance can be better judged, and if I get a chance tomorrow, I'll drive up there and test it out. But this gives me hope.
Like I said, f/5.6 at infinity, neutral color profile, raised exposure a third of a stop and dropped the highlights -36 in LR. No color or contrast alterations, no corner fixes applied. Downsized via WPP with no sharpening. Second image is a 100% corner crop. And as I indicated before, the corners aren't perfect, but I still don't see any color shift....Show more →
That looks very nice, and I certainly don't see any color shift in the corners at all. hhhmmmm. I remember passing over the ZM 25 for the NEX-7 based on some samples I'd seen, but seeing these, it may have been a mistake... I'm using the 24 Elmar now, which is razor sharp corner to corner on the NEX-6, but lacks the wider aperture of the ZM.
shelt wrote:
That looks very nice, and I certainly don't see any color shift in the corners at all. hhhmmmm. I remember passing over the ZM 25 for the NEX-7 based on some samples I'd seen, but seeing these, it may have been a mistake... I'm using the 24 Elmar now, which is razor sharp corner to corner on the NEX-6, but lacks the wider aperture of the ZM.
The Elmar's an amazing little lens, and I'm not sure there's another 24ish I'd put ahead of it for landscapes. I'd say the C-Biogon 21/4.5 comes close, but there's so few digital cameras on which it can reach its potential, I can't even say it competes. I was stuck on the Elmarit 24 for a long time, and I'm fairly certain I'm going to miss it the next time I'm wandering around a big city at night, but I wanted something more general purpose in this focal length, and the Elmarit was not pleasing closer than a meter. I'm hoping the Biogon 25 does well with city lights, but it'll be a while before I can test that out.
You've got me wondering what kind of corner performance difference there might be between the 6 and the 7 with the Biogon. I've got a 5r right now, which I think is the same sensor implementation as the 6. I'll have to test it out.
freaklikeme wrote:
That's cool. I love what it did to Cliff House.
That happened to me to a lesser degree when I was in Aptos last year, only the air temperature was fairly cool (mid-70s at the peak of the day). So I panicked when I saw the results, thinking there was something wrong with the camera, and it was probably an hour before I thought through the fact that the sand had the sun beating down on it all day, so the surface temperature was high, even though the air temperature was mild.
yeah, i probably would have been freaked out if the effect were less dramatic. i could really see the distortion happening in front of me without the camera.
Okay, I found the color shift on the 7 with the Biogon 25. I think, like the Elmarit 24, whether or not the shift is evident depends both on your proximity to infinity and the physical proximity of the subject. Shooting a wall (or a wall of trees) that fills the frame thirty or so meters in front of you won't show the shift even at infinity, but a sweeping landscape will. Corners are about the same otherwise. Edges look great. It'll be easy enough to profile and correct but, like with the Elmarit, my guess is the number of times it'll be a problem for my use will be fairly low. I forgot to take the 5r with me, so I'll have to try that out later.
Both are at f/5.6 processed in the same way as the backyard shot. First shot is followed by a bottom edge crop, second is followed by a corner crop. It's been very hazy here with the forest fires and the high (for us) humidity, so not really the best day to show off the lens on the whole, but I found what I was looking for.
freaklikeme - thanks for the pics. Very interesting how variable the shift is. Usually when I get shift that strong in some of my shots, it's still noticeable in others (meaning with other lenses, no personal experience with that one).
The results, color shift aside, look pretty good. I think if I didn't already have the Elmarit 28 I'd be looking at getting the ZM25.
Speaking of the Elmarit 28. . . here it is at f/2.8. Also speaking of Summer on the West Coast. . . Seattle doesn't always get much of a real summer, if any at all, but we do occasionally get a stretch of really glorious weather. This week looks to be one of those - 88 and sunny today.
