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Zeiss Touit 32mm f/1.8

I don’t like buying new lenses. Not only are they less tactile in use, weaker in build quality, and–in the case of E-mount–often relatively worse-off in image quality compared to my AI-s’, but new lenses are also expensive! Okay, sure, a lot of the money for a lens can go to fancy features like optical stabilization and autofocus, but for my style of shooting, these features always play second-fiddle to what really counts: image quality.

What’s nice, then, about the Zeiss Touit 32mm f/1.8, is that it tries to go against some of the conventions of new lenses–sans the expensive aspect:

  • The all-rubber focus ring is an absolute treat to turn. It’s a real shame that, like all autofocus mirrorless lenses, the focus is fly-by-wire, because I’ve never turned a smoother focus ring, including every Nikkor I’ve ever used.
  • The build quality and overall aesthetic of the lens is beautiful. Though there are some polymer parts on the inside to help reduce weight, the entire body of the lens is of a very nice semi-matte metal. Though the lens hood is plastic (again, to cut down weight), once it locks in, there’s no play.
  • Unsurprisingly, this is the first native e-mount lens I’ve used that performs notably well on the NEX-7. The sheer resolving power of this lens, thanks no doubt to the Planar design, is impressive.

Though I did give high marks to the Sony 35mm f/1.8 OSS, and I still stand by what I said, the Zeiss is in another league in areas of performance like sharpness and aberrations. I currently have both lenses, and plan to do a direct side-by-side comparison at the end of the Zeiss’ review (to come hopefully in a week). It’s still a toss-up whether the Zeiss 32mm ($900) is worth twice the price as the Sony 35mm ($450).

Until then, I’ve taken some time the past few days to make some photographs with the new Touit. All ten below captured with the NEX-7:

Abandoned 32mm, ISO 100, f/8, 1/125

Abandoned
32mm, ISO 100, f/8, 1/125

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Zeiss Touit 32mm f/1.8

Well, it’s official, I’m now a Zeiss guy. Er, well, at least I’ve gotten a brief chance to use one of their highly-touted optics. Up for near-future review is the brand-new Zeiss Touit 32mm f/1.8, a fast “normal” lens for Sony E-mount and Fuji X-mount mirrorless cameras. I wouldn’t even consider this post a “first-impressions”, as I typically write, because I have only shot with it for about 20 minutes so far. The weather today hasn’t exactly been kind for photography either; one minute the winds are blowing too hard to keep flowers still, the next it’s a torrential downpour, and the next the bright sun washes out any color. Not too happy about that. Continue Reading

Zeiss 32mm f/1.8

I’ll be reviewing the lens on the left. Image from Zeiss’ website.

After a good long wait, some time today I’ll be receiving the brand-new Zeiss Touit 32mm f/1.8 for E-mount. I’ve been looking forward to this lens ever since catching wind of early rumors, and even more-so after finding it to be even cheaper than the Zeiss $1100 24mm f/1.8. After extended shooting with the Sony 35mm f/1.8 OSS, a lens I do like, I’ve found myself needing more sharpness and less lateral out-of-focus fringing at wider apertures. The Sony just isn’t cutting it on the resolution-monster NEX-7.

In steps the 32mm f/1.8, a lens Zeiss coins the “Magician of the Moment”. Sporting Zeiss’ proven “Planar” optical design, this lens may prove to be a powerful optical powerhouse in a compact design. I have extremely high hopes for this one. More to come soon. Depending on how much I can shoot with it day-of-arrival, I hope to have a hands-on video and/or some first impression photographs to share within the next couple days. Check back often or follow me by clicking the orange “Follow” button on the right of your screen.

If you are unfamiliar with this continuing series, start HERE.

When shooting with modern camera sensors in RAW, the dynamic range captured at base ISO never ceases to amaze me. When properly exposed, the NEX-7 can reproduce 13.4 stops of dynamic range in a scene. This is right in the range of what the human eye can see in any given instance. Here’s the problem, a “properly exposed” image straight-out-of-camera will look something like this:

Doesn't seem like there's much dynamic range here at all...

Doesn’t seem like there’s much dynamic range here at all…

For those that shoot in RAW, they already know that files produced in post-processing seem to render very “flat”, compared to JPEGs of the same image. Intuitively, this makes sense, as the JPEG image has already been processed to some degree (depending on the shooting mode, such as Vivid, High-Contrast B&W, etc.), while the RAW file is essentially untouched sensor data.

To see improved image quality of RAW compared to JPEG, you HAVE to post-process to some degree. For most instances, all that is required is a bit of a contrast/saturation bump to give files a bit more punch. This sort of workflow can get pretty speedy with practice (I’ve gotten down to about 15 seconds per file). Where the true advantages of RAW lie are in drastic adjustment. Photographers are human after all. We sometimes over-/under-expose, completely miss white-balance, or even need to eek out more detail in a file that might not necessarily be there for a large print. Shooting in RAW and post-processing in an adequate program (Lightroom 4, Aperture 3, PhaseOne CaptureOne Pro 7, etc.) can mitigate all these problems with ease.

Another advantage of RAW that is being explored with high-dynamic-range cameras such as the NEX-7 in recent years is tone-mapping, sometimes erroneously called single-exposure HDR. By exposing for a “neutral shade” of a scene, where neither the shadows or highlights are too drastically under-/over-exposed (respectively), detail can be boosted and recovered with care. Depending on the intensity of  recovery, images processed this way can have that “HDR look” of multiple exposures combined together. The catch here is we’re working with only ONE exposure! No need to shoot on a tripod and carefully align images in post-processing!

Results using this method can be mixed all depending on the subject material, and single-exposure tone-mapping can NEVER replace true HDR and its inherent benefits (possibility for even more extended dynamic range, better finite control of tones, better detail at extremes of dynamic range). However, there are times when I couldn’t be happier working with only one exposure.

In this example, a few hours before sunset, I fully brought down the highlights and boosted the shadows, and added a graduated filter to the sky to increase contrast and clarity (this gave clouds more detail and showcased the crepuscular rays better). Some saturation and sharpness adjustments later, and this tone-mapped file was finished!

Dynamic Summer 35mm, ISO 100, f/5.6, 1/160

Dynamic Summer
35mm, ISO 100, f/5.6, 1/160

A shame that I couldn’t completely bring down the highlights in the sky (see areas of white clipping), but that didn’t do much to hurt the image’s overall aesthetic. The multi-layered clouds, dynamic lighting, and lush farm field more than make up for that. :)

That’s all for this brief adventure in post-processing, guys and gals. Thanks for dropping by!

As I get settled in to the relatively low-stress time of summer, my very nearly-full hard drive beckons me to do some housecleaning. Don’t get me wrong here, 24-megapixels of RAW imaging make for a great file to chew through in Adobe Photoshop Lightroom 4; the problem is file size! At nearly 25 megabytes a pop (more or less depending on the amount of detail captured) and firing off hundreds of shots at a time at my sporting events, a 500 gigabyte hard drive can quickly get clogged.

Since I am both in-between computer upgrades, and cannot back up another external hard drive, every now and then I go through “purges” in my Lightroom catalogue to free up hard drive space. Any photographs that are a) Moderately (or more) out of focus b) Doubles or c) Just “meh” in overall quality get permanently deleted. In a sense, I’m making sure to hold on to my best work, so that I don’t have to dig through any refuse years on down the line.

In my most recent purge, I’m going through most of my sports events and sorting out photographs the best way I know how (and the way I recommend to novice photographers):

  1. Start looking through a photographic outing (could be something as large as a full athletic event or as small as a walk around the flower garden)
  2. Realize that only the best work should be saved
  3. Run through the list, highlighting what “stands out” as far as subject matter, composition, exposure is concerned
  4. Move highlighted files to the front of the list, then look through the non-highlighted items again quickly to make sure nothing is overlooked
  5. Take a deep breath, select all the other files, and put them in the trash

With that in mind, here’s some of those “best” shots from my last tennis match and baseball game shot before the end of both seasons. Tennis shots were under awful indoor, fluorescent lighting that required me to shoot both at high ISOs and fast apertures to simply get a useable shot at all. Of course, this was a nice torture test, of sorts, for not only how ISO 3200 performs on the NEX-7, but also how the 85mm f/1.4 produces images wide-open.

Slice 85mm, ISO 3200, f/1.4, 1/800

Slice
85mm, ISO 3200, f/1.4, 1/800

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Allow me to get some formalities out of the way before anything else. It’s been about three weeks since my last post. Thanks not only to student teaching, but also a commitment to a multi-night pit orchestra production, I haven’t had any time to write new posts, let alone make more photographs outside of my formal photographic assignments.

That’s the bad news.

The GOOD news, it’s officially summer on my end! This means an abundance of free time, or at least, more time I can set aside for photography, lens reviews, and other ramblings I may deem fit for the website. ;) I’ve got lots of things in store for the next few months, so lets get right to it!

Nikon 85mm f/1.4 AI-s

IMPORTANT: If you are unfamiliar with my lens review style, please reference this post first!

The “fast 85″. About every single lens manufacturer has a lens with a large aperture that covers the wide end of the typical portrait focal length. Canon has an 85mm f/1.2, Zeiss currently makes their own 85mm f/1.4, the m4/3 crowd will soon have a Panasonic 42.5mm f/1.2, and even the lowly Nikon 1 system has a 32mm f/1.2 on the way. All of these lenses, when used on their respective camera formats, give a semi-wide portrait field of view that begins to give telephoto compression to images—essential to maintaining natural perspectives on subjects. Combined with their fast f/1.2-f/1.4 apertures, extremely shallow depth-of-field control is possible for marked subject separation from any background.

So then, we have the Nikon 85mm f/1.4 AI-s, yet another hunk of metal and glass from Nikon’s film days. This lens has been superseded many times by AF-D and AF-S versions, both sporting fast f/1.4 and f/1.8 apertures. But there has to be an optical reason this lens still fetches a pretty penny online, besides for the allure of collectors, right? Let’s take a look! Continue Reading

If you are unfamiliar with this series, start HERE!

As I continue to try to find time to write the 85mm f/1.4 review, I came across one of the images that I was, at first, going to use for a test shot at small apertures. Much to my surprise, I’ve found that the 85mm maintains great sharpness even at f/11-16, which is fantastic when making landscapes that require both the foreground and background in focus.

On the photowalk I took with this lens and NEX-7 in hand, the moon was out early in a deep blue sky as the sun began to set for the night. This created a very interesting dynamic element that I could add to my photos that day. With the telephoto compression of an 85mm, objects close and far start to combine, and I used this to my advantage for more than a few shots. My experimentation was rewarded, though initially I could not see it through disappointment in this straight-out-of-camera shot:

Wait, I thought I mentioned there was a deep blue sky...right?

Wait, I thought I mentioned there was a deep blue sky…right?

Well…shoot. Digital cameras never seem to capture what the eye sees, especially when it comes to the sky. The problem with this photograph, however, is that my usual tricks to bring out deep blues in the sky (tinkering with saturation and vibrance) simply weren’t cutting it. Color would clip—that is, begin to splotch—before the deep blues came back into the image. Even adding global clarity wasn’t working, as the amount needed to adjust the sky completely changed the colors in the tin roof. So, what to do?

After my basic tonal curve adjustments I perform in most every photograph (exposure, shadows, highlights, etc.), I decided to give graduated filters a try as there are two distinct elements in this photograph: the sky and the tin roof. By adding a graduated filter that increased clarity and saturation selectively in the sky, and another that increased only contrast and clarity in the tin roof, I created a photograph that simultaneously displays the very different and dynamic elements exactly as I intended to be captured. The prominence of the moon, along with the deep color and wispy clouds of the sky, immediately contrasts with the rusting ventilation shaft and roof that cuts straight through the image.

I have a thing for odd symmetry and asymmetry, what can I say:

My Mind's Eye #10 After

Juxtaposition
85mm, ISO 100, f/11, 1/320

That’s all for this post guys and gals, thanks for dropping by!

Well, first order of business out of the way, I haven’t posted anything on the site in a while. A week-and-a-half, to be exact. Though I mentioned previously that I would soon go back to my old–and quite frequent–posting routine, I didn’t realize just how busy I would be in my last micro-semester before the beginning of summer. That, combined with sickness, has made it difficult to get out and make photographs aside from my normal work assignments. I still have a lot of work to do on the 85mm f/1.4 review, but will get that up as soon as I am able.

So! As many may know, I had to send in my NEX-7 for intensive repair relatively recently. The sensor cleaning function had completely quit working, and I wanted to get it fixed before my warranty ran out (which would have been just a few weeks ago). Instead of the optical low-pass filter activating ultrasonic vibrations to knock dust loose for easy removal, nary a click could be heard when the cleaning mode was supposedly activated.

After a brief back-and-forth with Sony’s online repair center, I got everything squared off with a prepaid overnight to Sony’s repair center in Laredo, Texas. Important note, everything else about the camera was near perfect, both cosmetically and functionally. Sony lists about a 10-day turnaround for repairs, which I was well aware of. However, I hoped to get the camera back a little ahead of time so I could use it on a trip to Destin. I would be leaving on a Friday, so I called the repair center on Wednesday of that week to get ahold of upper management. Politely I asked that if there was any way to expedite my main repair (since I previously wrote in the repair order to also do a full-diagnostic to check for other problems, as well as a cleaning if possible), I would appreciate getting it by Friday. I was assured by two different people that it would be shipped out that day in order to make it by Friday (I called twice that day to confirm).

All is well, right? Wrong. Strike one. My NEX-7 was instead overnighted the day I left, so it arrived home while I was halfway to Destin. Bummer. Compound that with the fact that I couldn’t access my mail for another two weeks, and I was rather anxious to get my camera back.

Strike two. Upon opening my tightly-packed NEX-7, I found to my dismay that not only was the sensor cleaning function not repaired, but the LCD screen (which was immaculate when I sent the camera in) had large, multiple marks of coating loss all over the screen. I honestly thought I had received a different camera with my serial number merely stamped onto it. How could they send me a camera in worse shape then before? I knew that the problem with the screen couldn’t be due to temperature fluctuations in shipment—I’ve used the camera without fail in 100-degree heat and 10-degree cold—so needless to say I was irked with this treatment.

After a lot of runaround, I got Sony to file another repair order. They knew that if it wouldn’t be repaired this time, I would get my money back and go to something else (honestly, my confidence in the company was shaken, and the Nikon d600 looks VERY tempting). As a kind gesture, they sent a loaner NEX-7 to use during my repair period.

Finally, after about six weeks total, I ended up with a fully-functional NEX-7. The sensor cleaning works, and the LCD screen is good-as-new. Why they didn’t repair it right, the first time, is beyond me. The repair parts along with the cost of overnight shipping surely weren’t cheap, and ordering twice of everything didn’t help matters.

Instead of striking out, Sony hit a solid double out to left field; extending the warranty another six months. Very nice of them, so we’ll see if the camera needs any more work in the near-future. I sure hope not. ;)

It seems that every year, spring sports season comes and goes with such an undecided vigor. Much like spring weather, one week it’ll be cold and dreary with only a single game to shoot, whereas the following week brings warm weather and a multitude of home games. This past weekend fit into the latter category, sporting generally warm temperatures with five games to photograph in four days (three on Saturday, one on Sunday, another on Tuesday). Needless to say, my shutter count—and eye fatigue—went up tremendously in a short amount of time.

I figure a good exercise to keep from over-saturating this post with too many photographs is to cull four of my best photographs from each game: 2 baseball, 1 softball, 1 tennis, 1 lacrosse. Let’s see what I dig up. All captured with the Sony NEX-7 and Nikon 300mm f/2.8 AI-s ED or Nikon 85mm f/1.4 AI-s. P.S. A good number of these are in the 2:1 crop ratio. Since this is how my images are sent in to my supervisor for displaying, I usually shoot with this in mind.

Wind-Up 300mm, ISO 200, f/4, 1/2000

Wind-Up
300mm, ISO 200, f/4, 1/2000

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When it comes to post-processing, I like to stick to the basics. If I can’t make a photograph more aesthetically pleasing within a minute of dabbling in levels/white balance/spot removal adjustments in Lightroom 4, then I don’t see the merit in wasting time attempting to make a “good”photograph out of a”bad” one. In that same vein, I won’t even attempt to correct a photograph that I feel may take a lot of computer work (aside from critical portrait work on occasion); shame on me for not getting the majority of it right in-camera!

That said, this kind of light post-processing doesn’t usually find its way into the “My Mind’s Eye” series. In these posts—the few instances where I do take the time to show what my mind’s eye sees that a camera cannot immediately capture—it can be a refreshing change of pace to find that only a little PP work is all it takes to bring a photograph to life. Spring is in the air, and I’m catching up photographing all the flora that comes with the season:

Creamy, but dull

In this straight-out-of-camera shot, I like the creamy bokeh and contrasting blue against washes of green. However, everything is a bit flat–as is typical in unadjusted JPEGs of colorful scenes.

So, how much good can adjusting contrast and saturation do to this photograph? A lot, as it turns out!

The Little Ones 85mm, ISO 100, f/2, 1/400

The Little Ones
85mm, ISO 100, f/2, 1/400

Taken with the 85mm f/1.4 AI-s, I’m still in the middle of testing this fine telephoto, and also have more to share from some recent sporting events. Until then, thanks for dropping by, guys and gals!