V
Vivek
Guest
Yes. That isn't an iPad but a Xperia phone (smaller).
This is as good as this lens can do in the corners on most cameras.
This is as good as this lens can do in the corners on most cameras.
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A7 or A7r
- Thread starter roanjoh
- Start date
Apart from the specifications (e.g. offset micro lenses on the A7R), there is no real evidence that rangefinder lenses produce less "red edge" on the A7R than on the A7. For example, in the series Quick samples from Sony A7 and A7r with 12mm Voigtlander! | STEVE HUFF PHOTOS and
攝影人二三事: Sony A7 ILCE-7 初試後感及手動鏡分享
there are arguably more problems with red edge on the A7R. However, in neither of these series is there a direct comparison of the same scene with with the same lens.
There is even less evidence in relation to edge resolution, although I think we are agreed that, based on specifications, one would expect the A7R to give more favourable results. Nettar
攝影人二三事: Sony A7 ILCE-7 初試後感及手動鏡分享
there are arguably more problems with red edge on the A7R. However, in neither of these series is there a direct comparison of the same scene with with the same lens.
There is even less evidence in relation to edge resolution, although I think we are agreed that, based on specifications, one would expect the A7R to give more favourable results. Nettar
V
Vivek
Guest
Nettar, The samples from Taiwan were RAW captures processed through Sony IDC. The one from the CV 12 were jpgs out of camera. They are very different to make any conclusions.
I agree. However, if we were to compare the A7R and A7 results in each of those trials -- not comparing the trials with one another, but rather making a comparison within the trials (I was not suggesting that we make a comparison between the trials) -- we would find precious little to support the hypothesis that the A7R suffers less from red edge than the A7. Nettar
Ario Arioldi
Member
Here there is a set of pics taken with A7R and CV, 12, CV15 and CV21.Flickr Search: a7r
P.S. The lens was not focused at infinity for those images, and the problems will be a little worse with infinity focus. However, that CV21mm lens has its nodal point relatively close to the focal plane, and certain other 21s will presumably fare better.
I'm a little surprised that the 12mm lens didn't do a little better -- it's not as much a problem child as its 15mm sibling, which performed pretty much as we'd have expected, I think.
P.P.S. Thank you again, Ario. That Flckr web page is going to get a lot of traffic! Nettar
I'm a little surprised that the 12mm lens didn't do a little better -- it's not as much a problem child as its 15mm sibling, which performed pretty much as we'd have expected, I think.
P.P.S. Thank you again, Ario. That Flckr web page is going to get a lot of traffic! Nettar
V
Vivek
Guest
The images reminds me of the Espon RD1s (APS-C) images with these lenses. This is a big leap for the full frame sensor.
Ah, wish I could remember more of that. In those days I was interested almost solely in film, mainly medium and large format.The images reminds me of the Espon RD1s (APS-C) images with these lenses. This is a big leap for the full frame sensor.
I've often pondered the ironic good fortune that SLR designers have had. Forced by that darned mirror box to design retrofocal lenses, and to meet all the resolution challenges that that involved, they cannot have known that this would put them in the box seat at the dawn of digital photography, and that their hard-earned retrofocal skills would give them so many advantages. Nettar
V
Vivek
Guest
I had a 4x5 and 5x7 at that time too. One lens (75/4.5 Biogon) was no match (weight, bulk) for Epson RD-1s plus a few lenses, including a Canon 50/0.95.
roanjoh
New member
Day Two: Sony A7 and A7r with Zeiss Otus and more! | STEVE HUFF PHOTOS
- Yet another article that solidifies my choice towards the A7 - no color-shift on wide angle lenses (I'm talking 21 ZM), a more quiet shutter and faster AF..........and of course, cheaper! WAHOO! If I need resolution, I will invest on a 7r when the prices head south.
- Yet another article that solidifies my choice towards the A7 - no color-shift on wide angle lenses (I'm talking 21 ZM), a more quiet shutter and faster AF..........and of course, cheaper! WAHOO! If I need resolution, I will invest on a 7r when the prices head south.
k-hawinkler
Well-known member
Day 3 with the Sony A7 and A7r – Nashville Musicians and Models! | STEVE HUFF PHOTOS
My 1st look “wrap up” of the Sony A7 and A7r cameras! | STEVE HUFF PHOTOS
What's not to like?
Hmm, E-M1 and A7R for me!
My 1st look “wrap up” of the Sony A7 and A7r cameras! | STEVE HUFF PHOTOS
What's not to like?
Hmm, E-M1 and A7R for me!
Two points...
(1) Steve Huff has tested, among other lenses, the Voigtlander 28mm f/2 lens on the A7 and A7R My 1st look “wrap up” of the Sony A7 and A7r cameras! | STEVE HUFF PHOTOS . He notes that it has issues. Specifically, "If shooting lenses such as the crazy 12mm Voigtlander or the 15mm or a Zeiss 21 2.8 or Voigtlander 28 f/2 you will see different degrees of either Vignetting or Color issues on the edges." Both those problems are clear from his images, although I'm sure he'd be the first to admit that the "target" he used was not ideal. He was obviously pushed for time. Now, there's a bit of unhappiness around the web about the fact that he has not tested more lenses than that, but I think you can learn a reasonable amount, from Huff's work, about other 28s, specifically those made by Leica, if you go to Ken Rockwell's "Peripheral Color and Lens Profile" page Voigtländer 28mm f/2 Ultron Review , in his review of the CV 28mm f/2.
You have to mentally reverse engineer those profiles, but you can deduce from them that: (a) In terms of vignetting, etc, the CV 28 f/2 is about the same as two non-contemporary Leica 28mm f/2.8 lenses (with code Nos. 11804 and 11809; I'm not familiar with Leica's numbering). You can deduce this because, when Mr Rockwell used those lens profiles for the CV 28 f/2, he obtained almost complete correction. (b) The 28-35-50mm f/4 MATE, the 28mm f/2 ASPH, and the 28mm f/2.8 ASPH lenses, *in this order*, suffer decreasing amounts of the "Vignetting or Color issues on the edges" noted by Mr Huff. You can deduce this because the profiles for those lenses provide decreasingly less correction for the CV 28 f/2, and so their respective profiles provide those lenses too with decreasingly less correction.^{1,2}
(2) There has been here, on this site, interesting and helpful discussion of Sony's lens correction app http://www.getdpi.com/forum/sony/49027-sony-a7-r-built-lens-corrections.html . However, the discussion seemed, essentially, to conclude with the suggestion that the app addresses only jpg files. However, over at FM there has been debate about that very issue, and it has been stated that whether the effects are visible on raw files, or not, depends on which raw developer you are using. If this is the case, then the attraction of the A7R may depend on how good the app is, and whether manufacturers like LR, PS and C1 will adjust their software so that it can "see" the effects of the app on raw files. Assuming that the whole thing works well -- and that involves a leap of faith -- I'd imagine that enthusiasts such as ourselves would share corrections, just as Leica codes for non-Leica lenses were shared when the M9 came out. Nettar
Notes:
1. These comments are, I think, reasonably accurate in connection with vignetting, but they may not be as accurate for colour correction.
2. It may be possible to do something similar for, say, 21mm lenses, but I could not find appropriate profiles. I have a personal interest in the 28mm case!
(1) Steve Huff has tested, among other lenses, the Voigtlander 28mm f/2 lens on the A7 and A7R My 1st look “wrap up” of the Sony A7 and A7r cameras! | STEVE HUFF PHOTOS . He notes that it has issues. Specifically, "If shooting lenses such as the crazy 12mm Voigtlander or the 15mm or a Zeiss 21 2.8 or Voigtlander 28 f/2 you will see different degrees of either Vignetting or Color issues on the edges." Both those problems are clear from his images, although I'm sure he'd be the first to admit that the "target" he used was not ideal. He was obviously pushed for time. Now, there's a bit of unhappiness around the web about the fact that he has not tested more lenses than that, but I think you can learn a reasonable amount, from Huff's work, about other 28s, specifically those made by Leica, if you go to Ken Rockwell's "Peripheral Color and Lens Profile" page Voigtländer 28mm f/2 Ultron Review , in his review of the CV 28mm f/2.
You have to mentally reverse engineer those profiles, but you can deduce from them that: (a) In terms of vignetting, etc, the CV 28 f/2 is about the same as two non-contemporary Leica 28mm f/2.8 lenses (with code Nos. 11804 and 11809; I'm not familiar with Leica's numbering). You can deduce this because, when Mr Rockwell used those lens profiles for the CV 28 f/2, he obtained almost complete correction. (b) The 28-35-50mm f/4 MATE, the 28mm f/2 ASPH, and the 28mm f/2.8 ASPH lenses, *in this order*, suffer decreasing amounts of the "Vignetting or Color issues on the edges" noted by Mr Huff. You can deduce this because the profiles for those lenses provide decreasingly less correction for the CV 28 f/2, and so their respective profiles provide those lenses too with decreasingly less correction.^{1,2}
(2) There has been here, on this site, interesting and helpful discussion of Sony's lens correction app http://www.getdpi.com/forum/sony/49027-sony-a7-r-built-lens-corrections.html . However, the discussion seemed, essentially, to conclude with the suggestion that the app addresses only jpg files. However, over at FM there has been debate about that very issue, and it has been stated that whether the effects are visible on raw files, or not, depends on which raw developer you are using. If this is the case, then the attraction of the A7R may depend on how good the app is, and whether manufacturers like LR, PS and C1 will adjust their software so that it can "see" the effects of the app on raw files. Assuming that the whole thing works well -- and that involves a leap of faith -- I'd imagine that enthusiasts such as ourselves would share corrections, just as Leica codes for non-Leica lenses were shared when the M9 came out. Nettar
Notes:
1. These comments are, I think, reasonably accurate in connection with vignetting, but they may not be as accurate for colour correction.
2. It may be possible to do something similar for, say, 21mm lenses, but I could not find appropriate profiles. I have a personal interest in the 28mm case!
kit laughlin
Subscriber Member
I voted for the A7; 24MP is enough for my work, arguments re. cropping capacity and the advantages of downsizing from 36MP notwithstanding. The quieter shutter will be a major plus for me.
The A7 with a CV 40/1.4 will be a perfect go-everywhere camera for me. The Panny GX7 with the 20/1.7 is that now (I use a pair for video shoots).
Many here have been looking for the perfect camera for alt glass; I have a few decent Oly and CV M-mount lenses that have never been entirely happy on either the NEX bodies or the µ4/3rds bodies. And I have two Hawk helicoid adapter, too…
The problems with the CV 12/5.6 (I have an excellent copy) might just be enough to push me over to C1Pro 7 once and for all; the LCC tab once set up should take care of much, if not all, of these problems for when ultra wide is needed.
The A7 with a CV 40/1.4 will be a perfect go-everywhere camera for me. The Panny GX7 with the 20/1.7 is that now (I use a pair for video shoots).
Many here have been looking for the perfect camera for alt glass; I have a few decent Oly and CV M-mount lenses that have never been entirely happy on either the NEX bodies or the µ4/3rds bodies. And I have two Hawk helicoid adapter, too…
The problems with the CV 12/5.6 (I have an excellent copy) might just be enough to push me over to C1Pro 7 once and for all; the LCC tab once set up should take care of much, if not all, of these problems for when ultra wide is needed.
k-hawinkler
Well-known member
Ultra Wide Angle M-Mount Lenses THAT WORK On Sony A7R
Ah the WATE - my favorite WA lens.
Does it come to the rescue of the A7R?
Well, I am going to find out too as soon as I have my A7R!
Another potential option? CV 21/1.8
http://www.fredmiranda.com/forum/topic/1247673/52. Page 53 and 54.
Ah the WATE - my favorite WA lens.
Does it come to the rescue of the A7R?
Well, I am going to find out too as soon as I have my A7R!
Another potential option? CV 21/1.8
http://www.fredmiranda.com/forum/topic/1247673/52. Page 53 and 54.
V
Vivek
Guest
And you have a lovely surroundings to put that combo to use!
k-hawinkler
Well-known member
Thanks Vivek. I certainly do!
scho
Well-known member
Yes, the CV 21 1.8 is an outstanding lens and I'm hoping that it will not present any problems on the A7R. I use it on the M9 and NEX6 and performance is excellent on both with no edge/corner issues. Another good one is the 28 1.9 Ultron that has none of the edge issues that the 28 2 has.Ultra Wide Angle M-Mount Lenses THAT WORK On Sony A7R
Ah the WATE - my favorite WA lens.
Does it come to the rescue of the A7R?
Well, I am going to find out too as soon as I have my A7R!
Another potential option? CV 21/1.8
A7/A7r - performance with WA RF lenses - FM Forums. Page 53 and 54.
Kit - Similarly, my first thoughts were Sony A7/A7r with C.V. 40mm. It's odd that Sony stuck a blur filter on the A7; it's hardly likely [?] that purchasers won't be doing post production ------ unless I've misunderstood who their target group is. I too have cherished Olympus OM lenses and was wondering which would be the best route for mounting on the Sonys [e.g. Metabones don't seem to have an adapter]?.
…………. Chris
V
Vivek
Guest
I am only going to be using my "cheap" adapters (FWIW, the problem is with the NEX mount on the camera side, them being plastic. I hope the A7/7R mounts are better constructed).
This is going to be interesting, especially in light of the medium format digi back companies claiming nano meter tolerance requirements and all.
This is going to be interesting, especially in light of the medium format digi back companies claiming nano meter tolerance requirements and all.