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A7R with TSE 17 and 24 color shift question

Guy Mancuso

Administrator, Instructor
The 17 is outstanding. Just got home and will post some shots within the next days. But honestly this maybe the best reason to own a Sony A7r is the ability to use these 2 lenses. Not too mention the 90TSE
 

Guy Mancuso

Administrator, Instructor
Quickly here need to unpack.

17mm TSE 5mm fall, 1 degree of forward tilt at F11. ND 1.8 filter on to slow water a little. Early morning and kept it warm on purpose. Sharp everywhere

 

Georg Baumann

Subscriber Member
The 17 is outstanding. Just got home and will post some shots within the next days. But honestly this maybe the best reason to own a Sony A7r is the ability to use these 2 lenses. Not too mention the 90TSE
Yeah!

One must wonder how they would keep up in comparision to the Zeiss T/S.
 

Guy Mancuso

Administrator, Instructor
This lens is wide . I got some nice results with the canon 1.4 extender that I will post and have to say a nice stop gap until I get the 24 TSE
 

Guy Mancuso

Administrator, Instructor
I'm also impressed with the Haida ND 1.8 as the color shift goes to slightly the warm side which is nice above . The correction if you want to apply it is only about 300 kelvin which is pretty good and retains all colors well. I ordered the ND 3.0 as well and get that this week. There not expensive either under 100 dollars each for 100x100 square glass filters.
 

Guy Mancuso

Administrator, Instructor
Okay wanted to show how the 17mm works with the canon 1.4 Extender which end of day i am pretty dang impressed at the quality of it. All of these are now 24mm equivalents with the ND 1.8 filter on . I did adjust the WB to neutral than dropped the kelvin to taste. This is a good way not to screw up all the colors WB first than just adjust the Kelvin to the warmth you like or coolness you like. I processed these in C1 beta 8. Don't tell anyone. LOL

All of these are 1 second or longer around F8 or F11. All have rise or fall and all have some tilt to it. I was out to make use of the movements that was my end goal.







This one shot right into the sun

 

Guy Mancuso

Administrator, Instructor
One more this is about a 4 second exposure and that bird did a okay job of holding still. You know I had to bribe him with a fish. LOL

 
D

Deleted member 7792

Guest
Impressive results using the 1.4x. Certainly provides some versatility to the Sony kit. Thanks for sharing your results.

Joe
 

Guy Mancuso

Administrator, Instructor
Thought I should post this here as well.

Very very very tough shot to pull off a sensor. With the huge DR of the Sony sensor this was handled very well. Processed this in LR and shot with the Canon 17mm with Canon extender so in effect a 24mm TSE lens. Has rise and fall and tilt with it as well but i am directly into the sun. Pretty amazing to pull this off without a ton of flare with a ND glass 1.8 filter on no less. Shot at F/14 for 1.6 seconds. Rare i stop down this far but was trying to slow the water but keep the birds sharp.

 

Guy Mancuso

Administrator, Instructor
I honestly don't know how you can pull this off from 3 ft to infinity without a TSE lens. Even a 3 shot focus stack would not work because of the water movement.
 

markymarkrb

New member
Guy,

What are the aspects you get from a full shift to the left and right (not rise or fall) on the 17 and 24? Are you getting a panoramic looking file or just a little wider respectively?

Thanks,
Mark
 

GrahamWelland

Subscriber & Workshop Member
for my cambo rig i use the Lee wide angle compendium bellows with a variety of adapters to fit my lenses. polarizer is 105mm B+W and i use Schneider 4mm thick 4" sq glass filters, 4 x 5.6" GND); will figure a way to fit that to the 24mm lens next (looks like an 82mm wide angle Lee adapter would work, but this setup is too small for the 17mm
John,

I assume that you've seen that LEE have a dedicated ring for the 17TSE? Check out B&H as they list it.
 

Guy Mancuso

Administrator, Instructor
Guy,

What are the aspects you get from a full shift to the left and right (not rise or fall) on the 17 and 24? Are you getting a panoramic looking file or just a little wider respectively?

Thanks,
Mark
Basically you get more top and bottom in the frame but the width seems to be the Same as shooting a horizontal . Have not tried it in the 24 config but my bet is the same way. Let me give this another try though as I only did 1 stitch shot so far. Stitching the 17 might just be a rare thing to do in the real world. Most likely it would be a interior shot that would work best.
 

markymarkrb

New member
I am just trying to make a good decision between buying the Leica WATE and the 17 TS-E. The 17 TS-E is sitting in my room right now in a box just waiting to be returned or opened depending on the outcome of this conversation. Haha.
 

Guy Mancuso

Administrator, Instructor
Honestly I would stick with the 17mm. The WATE is a nice lens don't get me wrong and I used it and owned it for my Leicas but at 5 k I would not buy it again. Tell you one thing when working with super wides you always get far to much foreground so what does one do tilt the camera up. Seen a billion shots like this with converging lines. With a TSE lens you don't get that you level the camera and rise up and this has more rise than fall in this focal length than anything including a tech cam. A Rodie 23 equivalent to 17 in 35 has 3mm worth of movement which is nothing this has 12mm . Technically this is by far the best movement super wide there is. Secondly tilt is a feature that few understand and even fewer know how to do but once you start using a tilt feature it's almost impossible to go back. Now you can cheat as I did before getting this and that's focus stack but again you can't always do that because of water, wind, light and such.

Now the WATE is smaller no doubt and the 17 is big but what you get or maybe better said can do with it is pretty darn cool. Not to mention doing creative focusing and throwing focus off for effect. Now I would really not buy the 17 for stitching per say but you do get more foreground and headroom if you need it pls the ability to crop and actually gain resolution.
Now I tried a 3 shot stitch but my bet even at 10mm on left and right you can get by with 2 shots. I need to try this myself. Your not going to be stitching with a WATE without extra pano gear for the tripod, so in essence your still gaining more size and weight buying a pano setup.

Now if you travel and you don't like size and weight than the WATE is great but even when traveling you will wind up shooting some interiors like churches and such and you would give your eye teeth for the movements.

Hate to say this but I will and don't take it as a dig, not meant to be. But if your serious about shooting having one or two lenses that have movements will always get you out of trouble situations and no fixing it in PS is not really the answer either. Just some thoughts
 

mark1958

Member
I have the WATE and I agree with Guy's point but one of the advantages of the SOny system is the size and weight of the lens. This is what sold me on the WATE. If i was still shooting Canon (and not Nikon), i would have kept my 17mm TSE (sold it well before the Sony was released). I wish Nikon or Zeiss would make a Canon optical equivalent of a super wide TSE lens. I went to China 2x and it was so nice having the WATE in the small bag I could all get in my carry on. I do admit there were times I wish I had a lens that allowed me to do a shift but there were a few times when having a large telephoto would have been nice but all in all-- i am really happy with the performance of the WATE and just cannot see investing the money in the canon lenses to use exclusively on the Sony. Anyway -- my 2c.
BTW i had assumed that since the WATE worked so well-- the MATE would perform equally well. -- Boy was I wrong. I should not have been so early to jump on the MATE. Lost some bucks on the purchase and sale.
 
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