A walk through a misty morning

This time something completely new: the tiny Fuji XT-10 with the 35mm f / 2.0. Razor sharp even in total open aperture. Although there is only one APS-C sensor, but the Fuji XT-10 plays at the top with. Most of the pictures do not need to be processed, because the jpgs out of camera are top notch.

Today I am moved by the morning completely clouded countryside around my hometown. Only at the very end of my journey, the sun has driven the fog and the blue sky appeared. Along the way there was an infinite number of motives for my little camera. But see for yourself.

Samyang - Rokinon - Walimex 85mm f/1.4 Aspherical, what a horny piece of glass!

Sony a7 with Samyang 85mm f/1.4 @ f/1.4

If you like a really bright portrait lens and at the same time a light telephoto then you need to invest a lot of money. In Aperture 1.8 or 1.4 very quickly exceed the EUR 1000 limit. In the good old days such a strong light lenses were not produced for the hobby needs. There was not the right glass and the necessary manufacturing technology. Today things are different.

For many years in South Korea tinkers a company called Samyang of cheap lenses for the hobby sector. These lenses are not only cheap, but also bright. They are sold under various brand names: Samyang (the original brand), Rokinon (in English-speaking countries) or Walimex (in Germany). But except for the name they are all the same lenses. The only downside of all these lenses is: they do not have auto focus and need to be brought into focus by hand.

I will try in the near future some of these lenses here on the blog imagine. But only those lenses that can be used on full frame cameras, like the Sony a7. Let's start with the Samyang 85mm and the sensational light intensity of 1.4. This focal length is perfect for portraits and also particularly in available light. Let's look at the specifications: 

Optical construction:         9 elements in 7 groups inc. 1x aspherical element

Number of aperture blades: 8 (circular)

min. focus distance:         1 m (max. magnification ratio ~1:9.5)

Dimensions:                         78 x 72 mm

Weight:                                 513 g

Filter size :                               72 mm

Hood:                                 barrel-shaped, bayonet mount, supplied

The lens is really quite a whopper, large and heavy. This can be seen quite well in these pictures:

The lens is processed very good and is made of metal and excellent plastic. It feels as though it was built for eternity. The aperture can be adjusted very accurately and with a full clunk. It is no problem to work with the lens without looking at the aperture ring.

Overall, however, it is good to handle despite its size. The way to adjust the focus is very long and precise. Using the focus magnification and / or the focus peaking, you can adjust the focus very well for example on a Sony NEX. A little inconvenient is the minimum focus distance of just one meter.

The image quality is very good. Are at full aperture, the photos in the middle a little bit soft and fall significantly toward the outer edge. A slight stopping down to 2.0 or 2.8 then displays the real qualities of this lens. The contrast, the colors and the sharpness from the center to the edge very well, almost razor sharp.

Distortion does not exist. At maximum aperture a little color fringing on high contrast edges. For example, on branches against the bright sky.

From my side so a recommendation for this lens. The lens is already for 250, - Euro to buy. So a fantastic optical power and so much luminosity you get for this price anywhere. 

Here are a few examples, the camera data are available under the pictures.

Sony a7 with Samyang 85mm f/1.4 @ f/1.4

Sony a7 with Samyang 85mm f/1.4 @ f/1.4 (100% cut from original)

Sony a7 with Samyang 85mm f/1.4 @ f/2.2

Sony a7 with Samyang 85mm f/1.4 @ f/5.6

Sony a7 with Samyang 85mm f/1.4 @ f/1.4

Sony a7 with Samyang 85mm f/1.4 @ f/2.0

Sony a7 with Samyang 85mm f/1.4 @ f/2.0

Sony a7 with Samyang 85mm f/1.4 @ f/1.4

Sony a7 with Samyang 85mm f/1.4 @ f/2.8

Sony a7 with Samyang 85mm f/1.4 @ f/5.6 (50% cropped at moon eclipse 2015/09/28)

No boredom in Berlin

God knows in Berlin is always something going on. I had to roam very little time with the camera around. Perhaps four hours. I tell you people, in summer you come out of sheer motives not at rest. Actually, I was just around the Brandenburg Gate and a bit on the Spree sail with a small steamer. And now I find it difficult myself to choose the right photos. There are just too many good pictures! Well Okay here's a small but fine selection.

O ludzie Berlin jest po prostu super! Jeśli masz aparat, można obejrzeć tutaj broić. Do zobaczenia wkrótce znowu! Przepraszam mój zły język polski. Ja nadal praktykuje.

The Carl Zeiss Tessar 50mm f/2.8 - what a nice Bokeh!

Sony a7 with CZ 50mm at f/2.8 near minimum focus distance

First the good news: This I will conclude the series of articles about the relatively inexpensive standard lenses. Sure, I could also use the Leica Summicron or Mitakon 50mm f / 0.95 to write an article, but who should pay me the expensive lenses?

The Tessar from Zeiss is relatively faint. The lens and its optical calculation are quite old and are originally from the year 1902. At that time, in the very first versions with an initial aperture of 6.3. The optical design is very simple and virtually free of astigmatism and field-curvature. The name and the Tessar optical calculation were patented by the company Zeiss. After the patent protection had expired have all the major manufacturers (such as Leica, Minox, Voigtländer or Pentax) built such Tessars.

The sharpness of the recalculations from the thirties was incredible and the Tessar was one of the most popular lenses in the normal range was until then replaced by the 50mm f / 1.8.

My copy comes according to his serial-number from the years 1967 to 1970. These are the so-called Zebra version, that is the aperture and focus ring in the changes are striped black and aluminium color. It has four lenses into three groups. The filter diameter is 49mm. The minimum focus distance is very good with 35 centimeters. The focusing ring moves smoothly, the focusing path is pleasantly long and suitable for accurate focus. The bezel of aperture snaps accurately and clearly audible. You can use the lens after some practice without eye contact.

There are on the used market an incredible number of different versions of this Tessars, but is common to all the letter "T" in the name, which stands for Tessar. Many versions are equipped with M42 thread. You can easily use the lens with an adapter on Micro Four Third, Sony E-mount or other bayonets.

In the period 1965-1980 there was due to a patent dispute to the name "Zeiss" between the companies Zeiss Oberkochen and Zeiss Jena. The negotiated compromise was that wore the lenses produced in East Germany only the inscription "from Jena". The addition "Zeiss" was omitted.

The Tessar is very sharp at maximum aperture in the center, the edge drop to the corner is moderate. From Aperture 5.6, the entire image from one to the other corner is razor sharp. Even at full aperture, the contrast is very good, but sometimes show slight blur effects. The Bokeh is very creamy and quiet. This blurring of the background is the real highlight of the lens. Photos are also in backlight and sidelight pleasant to the viewer.

One note: you should the exposure on the camera with this lens on about provide  - 0.3 to -0.6 EV, as Tessar overexpose usually something.

Sony a7 with CZ 50mm at f/2.8

Sony a7 with CZ 50mm at f/5.6

Sony a7 with CZ 50mm at f/2.8

So if you do not mind the lack of light intensity, gets to the Tessar a very good standard lens for almost any occasion. Prices for used lenses begin- depending on the condition- on EBay anywhere from five Euros and level out in general at twenty Euros.

Since you can not complain. This value for money is unbeatable one.

Sony a7 with CZ 50mm at f/2.8 nearby the minimum focus distance 

Sony a7 with CZ 50mm at f/4.0

Sony a7 with CZ 50mm at f/2.8

For bargain hunters on full frame: the Tokina RMC 24mm f/2.8

Sony a7 with Tokina RMC 24mm at f/4.0

If you wanna make  a really steal for your new full frame Sony a7(s//r/II), you must snatch this little cheapy gem. 

The essential technical data I have already put together in a post of 16 June-2013. Look at here. At that time I was only my little Sony NEX-3N available, so I was able to test the optical quality this wide-angle lens only on an APS-C sensor. For several months I have been photographing with the Sony a7, a camera with a so-called full-frame sensor. This corresponds to the classic film format of 24 x 36 mm. Now is a lens as the Tokina with its 24mm focal length a real wide angle. On the one hand quite pleasant, especially in indoor shots. On the other hand is now also the typical optical errors of a wide-angle lens.

First, the barrel distortion at the edges may be mentioned. I use such an old jar on a modern camera, then optical errors are corrected course not inside the camera. Correction requires electronic exchange of data and it can with a purely mechanical functioning lens in this case not be taken for granted. The adapter between lens and camera costs a little light intensity (scattered light losses during radiation passage), but separates the more reliable the camera and lens from each other.

For modern lenses (eg. from the Canon EF-S or AF-S Nikon series), there are now adapter with electronic data transmission, but these are very expensive and usually provided with additional corrective lenses, which further reduces the light output.

Sony a7 with Tokina RMC 24mm at f/4.0

The edges are not only distorted, but at the same time show themselves to intense contrast lines strong purple and blue fringing. Taken to the raw data format such disturbances for example in Adobe Lightroom must be removed with one click, but in jpegs they represent a permanent nuisance.

So at this point a specific recommendation as experience in recent years with many old and ancient lenses: you photograph please in raw data format. Optical corrections must be made easier here.

The Tokina was already on the APS-C format relatively sensitive to backlight. On full frame this phenomenon is still much more pronounced. Sometimes already extends slightly laterally incident light to the photo completely get rid of contrast and color. The pictures are without a lens hood just rubbish. Here two typical example for side light.

Sony a7 with Tokina RMC 24mm at f/5.6 

Sony a7 with Tokina RMC 24mm at f/2.8

The sharpness is very good at such a lens with medium light intensity even at full aperture. Of course, only in the center to about two-thirds of the exposed area to the screen. The corners at f 2.8 and 3.2 rather soft. Little bit stopping down to 3.5 to 4.0 to the rescue, the photos are from now until the final image edges sharp. The effective aperture is reached somewhere between 5.6 and 8, then blurring caused by the strong light scattering of small apertures.

Sony a7 with Tokina RMC 24mm at f/4.0

Sony a7 with Tokina RMC 24mm at f/4.0

Sony a7 with Tokina RMC at f/4.0

Overall, my conclusion is confirmed from the first review two years ago: this lens is given the required use price between thirty and sixty euros not only a bright bargain, but also a wonderful alternative to very expensive lenses from Zeiss and Sony, which currently are offered on the market: FE 16-35 mm f/4.0 ZA OSS, FE 24-240 mm f/3.5-6.3 OSS or FE 24-70 mm f/4.0 ZA OSS. Here are the best prices starting at one thousand euros. 

I expect in the next few days at last the new Sony FE 28mm f/2.0 to test it on the a7. The first reviews on the net, in particular by Phillip Reeve promise a real optical highlight. Let's see how this is reflected in practice.

Sony a7 with Tokina RMC 24mm at f/4.0

Sony a7 with Tokina RMC 24mm f/2.8 

Sony a7 with Tokina RMC 24mm at f/4.0

Sony a7 with Tokina RMC 24mm  at f/4.0