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| LEICA VARIO-ELMARIT-R 1:2.8-4.5/28-90 ASPH |
Bart ...13 Member(s) liked this post
We are into Highrisers ....
Another with the ZM85/2 + A7R
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Another couple from my holiday last week - using my second favourite lens (after the CV21/1.8) the FE 55/1.8.
Both captures wide open and processed with a recipe in Color Efex.
Charming, Louis. Just charming.
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Coffee and a little something ...
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Bart; don't get too close by those places, you might get stoned just passing by
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Wow... I've missed a lot in this threads but there are some really great shots all around. Here's a few assorted shots while visiting Kentucky using the 35FE and 55FE. I also used with both the A7 and A7r.
Last edited by iiiNelson; 8th June 2014 at 22:41.
Priolite Ambassador | Sony Visible Light & IR Photographer
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Not shooting a whole lot recently. Hot weather and allergies are a crappy combination. But I have managed to capture some daughter photos from the last week or so. All shots taken with the Minolta MC Rokkor PF 55/1.7 (version II).
Chloe got tired of daddy taking pictures of her at the park so she summons a deluge to drench daddy and his camera.
contemplating the slant of the world
And here Chloe enjoys what would have been science fiction when I was her age. Wirelessly streaming HD video to a small electronic device from a world wide database of electronic information.
magic to my younger self
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This guy made lovely, real sepia photographs, with this camera, on the street.
Developed right in the box and fixated outside.
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Great guy, great image.
How do you find the C/Y35/1.4 on the A7R? I'm looking for something that can replace my RX1. So far every 35mm lens I tried with my A7 has fallen short.
...and another question; normally I would have expected the left side of the image to be blurred more than the background in the center. Here I see the opposite. Do you recall what aperture you used for this image? If wide open, is that the common result (probably caused by mechanical vignetting and effectively a smaller aperture around the edges of the image)?
Lol. OK. So Michiel uses on of those? Interesting! If this tilt adapter was used here I have to say it was to a good effect as the women to the left are better sharp than blurred in this case. But I'm not used to look at street images taken this way. Thank you Barry!
For instance, there is an fairly persistent rumor that when Yashica made minor changes to the body of the lenses from series 1 to series 2 it ran the numbers on what it would cost to produce the ML 50/1.7 along side the Zeiss Planar 50/1.7. The bean counters at Yashica discovered it would be cheaper to simply make more of the Zeiss Planar innards then it needed for the Contax lens and then use this glass in the ML 50 as well. It would have been more expensive to have two different manufacturing runs for a similar lens. So there is a very good chance that the second series ML 50/1.7 is a Zeiss Planar in disguise, albeit with the Yashica ML coating instead of the Zeiss T*. The ML coating is, by the way, one of the best of the old coatings and compares very nicely to the Zeiss version.
A neat caveat to this is that the ML 50/1.7 body is all metal, whereas the Planar 50/1.7 has a plastic barrel. Strange but true. Yashica also did little things to keep the ML line competitive or superior to the Zeiss glass, like giving the ML 50/1.4 an 8 bladed aperture where the Zeiss 50/1.4 has a 6 bladed design. Also, the ML 35/2.8 focuses a bit closer then the Zeiss 35/2.8.
Which brings me to the whole reason for this post. If you are looking for a nice 35mm lens for the A7 then give the ML 35/2.8 a try. Thing is, for some reason I cannot figure out, the lens is fairly rare. It simply doesnt come up for sale that often. Dont get me wrong, you can find it...but it is a bit elusive. I searched for about a year until the timing was right and I nabbed a series 1 ML 35/2.8 from the auction site. The series 2 is supposed to be a smidge better.
Here are some examples from my ML 35 on the A7.
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Your images are well rendered. Maybe the last one shows a smidge of disturbing bokeh (and I guess that is at f/2.8).
Well, I'm looking for something at least as fast as the truly great RX1 Sonnar 35/2.0 lens. As I mentioned I have tried several ones, often side by side. The last comparison I made was between the RX1 and the A7 with the Minolta MD Rokkor 35/1.8 and then the SMC-P Pentax FA31/1.8 Limited. The RX1 had no problem winning the total competition.
Big discussion, many suggestions, a lot of talk at another forum and Now I'm getting more interested in the C/Y 35/1.4. I one owned a good copy but it wasn't that fun as a normal lens with an APS-C camera so I sold it. I shouldn't have done so.
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Damn you Barry was thinking of selling the 55mm and you keep coming up with winners. LOL
Love the one above
Yea going to keep it. I really don't want to sell anything at this point. Im tired of it. LOL
I just need a 16-50 for the A77II so just need a few dollars more. Hiding this purchase. LOL
Yea why I like the 55 but won't work on the A77II but thats okay. I have it covered
This was shot @ 1.4 or 2. Can't remember exactly. It has a lovely separation wide open.
As Barry already mentioned I used a tilt adapter, which must have been moved slightly by accident. I was not planning on any tilt in this shot but it turned out well.
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Photography is all about experimentation and without it you will never learn art.
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If Sony/Zeiss could just make a fast AF FE mount version of that lens that wasn't so heavy (and expensive ) they would have a huge hit on their hands...Cheers Barry
PS. I might just add without stating the obvious, that Sony would probably be shooting themselves in the foot if they did!
As the RX1/R and LA-EA4 sales would probably be badly damaged by such a lens.
I'm suprised at Sigma's reluctance though still to make FE mount lenses if only in the ART series.
However with all the great FE55 shots I see around the place I'm beginning to think I should trade in my beloved Planar for the 55. It looks like a fantastic lens.
Bit of cropping, an adjustment to exposure, application of a preset from VSCO Film Pack 1 presets (Kodak Porta 800..ignore the Fuji lines in the history..tried those and didn't like them) and then some removal of grain that the preset adds and some sharpening.
You can get the same result without the presets pretty easily though, which is the biggest benefit in buying the presets I think. Learning from how they create particular looks.
In this case the sort of faded look comes through boosting the low end of the RGB curve up to lighten up/wash out the darker areas like the grass in the foreground. The Porta preset also sticks some S-curves into the R, G and B channels. Then the richer colours come from playing with the Hue and Saturation areas in LR. There's also a bit of a light blue tint applied on the highlights in the Split Toning.
The VSCO "look" isn't for everyone and is probably a bit faddish/instgramish but I have to admit I'm a sucker for it.
Having said all that the biggest contributor to the colours is shooting it in the golden hour in late afternoon so you have a decent palette to work from in the first place. That's telling someone who shoots photos like you do how to suck eggs though!
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I am not a painter, nor an artist. Therefore I can see straight, and that may be my undoing. - Alfred Stieglitz
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