In the world of fast primes, not often are the specs of “200mm” and “f/2” combined in the description of a single lens. Inherently large and heavy, the ultra-fast design of a 200mm f/2 has long enabled photographers to effectively shoot telephoto in very low light as well as create stunning subject separation simply not possible with a 70-200mm f/2.8 zoom. Though the available light advantage afforded by the f/2 aperture is somewhat offset by the high-ISO abilities of modern digital sensors, the extra depth-of-field control still has its place in creative photography. Additionally, when used on an APS-C sensor camera like the NEX-7, a 200mm f/2 helpfully acts as a 300mm f/2.8 would on a full-frame camera.
Though it should come as no surprise, telephoto primes such as the Nikon 200mm f/2 are somewhat bulky and cumbersome even used with a suitable DSLR like a d300 with its vertical grip. When a lens of this caliber is mounted onto a comparatively tiny mirrorless camera such as the Sony NEX-7, the combination looks outright comical. That said, it is far more important to see how the lens performs in front of an unforgiving 24-megapixel APS-C sensor in making photographs rather than how the kit may turn heads at an event. Read on to find out how the 200mm f/2 stacks up as the professional fast telephoto it aims to be. As always, if you are unfamiliar with my lens review style, please read up on this post first! Continue Reading
Click here for my first impressions of this lens. IMPORTANT! If you are unfamiliar with my lens review style, please reference THIS POST first! If you are only interested in my comparison of this lens to the Sony 35mm f/1.8 OSS, scroll down to the bottom of this page. :)
Well it’s about time! Ever since Sony released the specifications for the E-mount in April of 2011, NEX photographers have longed for attractive alternative lens offerings from third-party lens manufacturers such as Tamron and Sigma. Sony liked Tamron’s more-compact 18-200mm so much, it was rebranded as the SEL18200LE. Sigma’s low-cost, zero-frills 19/30/60mm f/2.8 primes all provide outstanding image quality for their price. Even Rokinon/Samyang/Bower/(you name it) surprised everyone with their surprisingly affordable and high-quality 8mm f/2.8 fisheye!
It’s better to arrive late to the party rather than never at all though (the Zeiss 24mm f/1.8 is a Sony-branded lens so it doesn’t count), and Zeiss decided 2013 was the year to introduce their new “Touit” (pronounced like “do it”) line of lenses for both E-mount and X-mount. In addition to the 32mm f/1.8, a super-wide 12mm f/2.8 is available now, and a 50mm f/2.8 Makro-Planar (how Zeiss spells “Macro”) should be available by fall. These lenses are all designed with the serious mirrorless shooter in mind, providing optics that are lightweight and compact, yet powerful enough to resolve fine detail across the large APS-C sensors found in the tiny camera bodies.
What many wonder though: are these premium lenses worthy of the Zeiss name, usually associated with outstanding overall optical performance, loads of micro-contrast, and stellar build quality? I can’t say much about the 12mm f/2.8 (other than that it looks very nice), but let’s take an in-depth look at its more “normal” brother! Continue Reading
The following is a short guest post on the other new lens in the Zeiss Touit lineup, the 12mm f/2.8. This ultra-wide comes in at an even more premium price tag of $1250 compared to the $900 asking price of the 32mm f/1.8. With that high price you get an extreme 99-degree diagonal angle-of-view to create a unique perspective for many subjects. Just like the 32mm, the 12mm f/2.8 also comes in X-mount with an aperture control ring:
I’ve had the Touit 12mm f/2.8 for about ten days now, but have had little free time to try it out. This morning I took it with me and snaped some shots of the famous Fox Theatre in Bakersfield in good early morning light, and then out at one of our local parks I got to play with its bokeh, which isn’t easy to do at 12mm.
The lens handles very well, though the hood is very light and easily snaps out of its locked position, which causes vignetting. The focus ring feels great, just like on the 32/1.8, though I still have to give the nod to the Sony Zeiss Sonnar 24/1.8 for build quality, if just barely.
The lens does have that unique Zeiss color, though I must confess that it is far wider than anything I’ve ever used before, and I’m just barely into what I expect to be a significant learning curve.
I believe that the lens has distortion correction programmed into its firmware as Apple Aperture seems to apply whatever is in the camera. DXO relies on its own lens profiles and doesn’t have one for this lens yet, so the uncorrected image can be seen in DXO. Correction appears minimal though as the lens seems to be well-corrected optically.
Not much more that I can say yet as I’ve barely used it. Fortunately I have until the spring to learn fully how to handle such a wideangle before my next trip to Asia.
For all you pixel-peepers out there, I’ve posted his titled examples at full-resolution, click on each for maximum detail. All shot with a NEX-7 in RAW, and converted straight to JPEG in Aperture 3 with no post-processing:
12mm, ISO 100, f/5.6, 1/800
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:
32mm, ISO 100, f/8, 1/125
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
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!
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
IMPORTANT: If you are unfamiliar with my lens review style, please reference this post first!
Ahh…back to writing another lens review. It feels like it’s been ages since I wrote my last one back in January. Though I can attribute most of this delay to a lack of free time, another part of it is due to the fact that old man winter decided to hang on a little past his welcome this year. As a macro lens, the Nikon Micro-NIKKOR 105mm f/2.8 AI-s has a penchant for taking close-ups of flowers and what-not—with plant life just now starting to come back to life, the photographic subjects are slowly increasing.
But the neat thing about a macro lens is that they tend to be well-corrected at all focus distances. Combined with its fast f/2.8 maximum aperture, the 105mm micro might be a strong performer for landscapes, portraits, or even sports. The question is, can it deliver outside its forte of close-focusing? Let’s find out! Continue Reading