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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

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!

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

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!

The simple act of photography in and of itself always brings me happiness. Knowing there are others out there who actively look forward to what I have to post next—whether a lens review or a photowalk—just makes me all giddy inside. Today, celebrating my first year of maintaining this site, I’ve reached 100 followers! From all of YOU reading this, I’ve tracked over 175,000 individual hits on my website, as well as hundreds of comments that keep the discussion going in my posts.

Getting this far, so quickly, is something I wasn’t sure would be possible. One year ago, I drifted out in the sea of “just another WordPress site” for quite a while, and didn’t know if traffic would ever pick up (I started out getting only 5 views a day!). Slowly but surely, as other websites began featuring my work on legacy Nikkor lenses, the views and followers came pouring in. Now, I have increased the average views by a hundred-fold, logging about 500 views daily! In spite of my ever-busy schedule in school, I’ve done my best to keep updating this site whenever possible, and I can only THANK YOU for bearing with me. If I had the time, I would have loved to do separate posts throughout the week on my photography happenings, rather than lumping them all into one great, big update each week. Alas, this past academic year, it was not meant to be.

Times are changing for the better, however. The weather is warming up, spring sports are in high demand, my winter term is finally over, and my photographic itch is bothering me more than it ever has. Though I do still have one more month of school to go, posts should—by the beginning of summer—return to their once-normal frequency. I have many topics I would like to write about, as well as places to photograph. As long as I keep finding excellent AI-s Nikkors, those reviews should keep flowing along, too!

However, right now? I’m beat. Kaput. Exhausted. You name it. I believe it’s time for a day-long nap—but even then, I still have a LOT of sleep to catch up on. There is a few days of break before my next short term starts, so I’ll see if I can’t crank out a lens review or a get a nice photowalk in. Either way, I’ve got to get out and make some photographs soon. Right after I…zzz…zzz………

Sunset Blossoms 85mm, ISO 400, f/2.8, 1/80

Sunset Blossoms
85mm, ISO 400, f/2.8, 1/80
Even tree blooms go to sleep when the sun goes down…

Nikon 105mm f/2.8 AI-s Micro

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

Like Watercolor...105mm, ISO 100, f/4, 1/160

Like Watercolor…
105mm, ISO 100, f/4, 1/160

So…I thought I would be able to finish my 105mm f/2.8 Micro review this weekend; I even set aside some time to work on it. One delay ran into another, and now I’m only about half done writing it. As such, I also haven’t had the time to look through the photographs I have taken this past week. There’s a lot of sports going on lately (especially lacrosse), so next week’s update should be chock-full of action taken with my NEX-7.

In other news, Sony contacted me regarding my peeling NEX-7 and claim that it is, in fact, my camera (hmm…). How they messed the LCD screen up—and left the sensor cleaning dysfunctional—is beyond me, but they are trying to make amends; I’ll be receiving a loaner NEX-7 from them in the mail soon and will send my camera off yet again. Who knows what they’ll do to it this time… :)

So, in closing, if I can find the time I’ll have that 105mm review up by tomorrow night. If not…well…it’ll get there when it gets there. ;)

Take care guys and gals.

Blooming105mm, ISO 100, f/5.6, 1/640

Blooming
105mm, ISO 100, f/5.6, 1/640
Now that plants are starting to bloom (though this technically is a weed), I will be able to get much more sample shots for when I can make time for the 105mm f/2.8 Micro AI-s review.

To make a long story short, I am in a bittersweet mood about my NEX-7 finally being back in my hands. I’m happy I finally have a “real” camera again, but am a little disappointed that A)The sensor cleaning function still doesn’t seem to work and B)The rear LCD turned out to be peeling when I took the plastic off (when I sent it in, the rear LCD was immaculate). I believe Sony has sent me a refurbished NEX-7, instead of my own camera. Not too keen on getting back a camera in worse shape than when I sent it in for repair, so I’ll be contacting them this week to see what the deal is.

But in the meantime, I’ve been busy! I photographed everything from tiny flowers to the sky this past week and managed to shake off my “camera blues” from not having my NEX-7 for over three weeks.

First up, I learned a little bit more about light painting in my photography class. Though I feel this genre is overdone and cliqué in many ways, I tried to be as original as possible Continue Reading

I must apologize for being a day late on my weekly update, the time got away from me this past weekend. Nonetheless, I do have some news on my experience with Sony Laredo Repair regarding my NEX-7. Unfortunately, as most of you know, Sony decided to overnight my NEX-7 the night that I left for Spring Break. I got to Florida, while my camera arrived at my university. Tough luck for me. At any rate I picked it up today and found to my surprise that Sony seemed to give my NEX-7 a makeover. It almost feels like a new camera (it’s not though, I remember a few scratches unique to the camera)! The viewfinder is spotless, the screen has either been replaced or heavily cleaned (a protective film was over it), the entire body was wiped down, and the IR glass filter in front of the sensor is brand-new (the reason I sent it in). With everything covered under warranty, and the sensor brought back to essentially new condition, I am—finally—a pretty happy camper. I can’t wait to get back in the swing of all things photography: I’m learning some techniques for light painting this week, photographing a few sporting events, and will make time for a photowalk if the rain/cold briefly clears up.

Plans aside, last week down in sunny Florida was a blast. I chose the stress-free option for break, staying far away from any sort of partying. Instead, relaxing on the beach and catching up with/making new friends took up the majority of my time. That little Canon point-and-shoot I brought along did an O.K. job, at least for a 5 year-old camera. I definitely had to take a step back and focus on getting exposure, white balance, and composition right: with only 8 megapixels of low-quality JPEG to work with, there isn’t any leeway for post-processing!

Canon Powershot

Pardon the dust/sand. :)

As I mentioned last week, this PowerShot has a nice macro mode at the wide end, allowing for some SUPER close focusing that gives me some good control over depth-of-field. As such, there’ll be a lot of macro shots in this post. :) To work out your own equivalency in focal length/field-of-view, this camera’s 6-60mm lens covers the 36-360mm field-of-view in 35mm-format terms. Simply take the mm’s listed in the following picture’s EXIF data and multiply by six.

Misty Bud6mm, ISO 80, f/2.8, 1/160

Misty Bud
6mm, ISO 80, f/2.8, 1/160

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