Showing posts with label reviews. Show all posts
Showing posts with label reviews. Show all posts

Wednesday, 22 October 2014

The Zeiss Otus 85mm f/1.4 Versus A Two-Year-Old Pocket Camera

Ladies and Gentlemen! I have for you the lens test to end all lens tests! Not a mere test, mind you, but an epic showdown, a clash of the titans, the ultimate cage match! Pixel peepers rejoice!
In one corner, wearing all-metal trunks in black with yellow piping, we have the Zeiss Otus 85mm, a lens so sharp the TSA banned it from carry-on luggage. A lens so sharp the state of California passed legislation requiring it ships with a warning label. Diamond cutters in Amsterdam are currently investigating ways to harness its fearsome powers.
A lens of this ground-breaking resolution makes sensor engineers wake up in the middle of the night in a cold sweat. But Sony has risen to the challenge with confidence and quiet dignity. The world’s biggest sensor maker answers the Otus with a full-frame, 36 megapixel “Low-pass filters, we don’t need no stinking low-pass filters” A7R. This camera is so powerful that it actually can steal someone’s soul.
In the other corner, we have, well, we have what I had with me at the time–a two-year-old pocket camera, the Sony RX100. Yeah. That’s right. The battery door sticks and the multi-coating on the LCD is experiencing some major exfoliation issues but worry not, this little dynamo is still in fighting trim.
Now, those of you who have read my previous post on using the RX100 as a pro camera may think, ah, ok, I guess this guy worships at the RX100 altar and he’s now trying to convert us all and pretty soon he’ll be sending his sons around to meet our daughters. The truth is a lot more benign, and even more simple. I used the RX100 because I own the RX100. It’s just one of my cameras, and also, given it’s size, the one I have with me more than any other. (Not counting my iPhone 3Gs–I’ve held out for five years in the hopes of another iPhone with rounded corners. Now I have crossed the desert, and lo, my thirst is quenched.)
So, let’s get on with the show. At the Photokina trade fair in Cologne, Germany, I walked towards the Zeiss booth, mission in mind. The only thing was, I couldn’t be sure how the Zeiss guys were going to take it. After all, I was asking to compare their newly minted masterpiece of optical engineering to a pocket camera. The line I had prepared in my defence was, “Well, it is a pocket camera with a Zeiss lens… .”
But explanations weren’t necessary. The reps I had been talking with at Zeiss throughout the show were by far the most generous, informative and candid people I talked with at Photokina. I guess that kind of attitude is easier to adopt when you are one of the undisputed kings of lens design, and part of the history of photography itself. Or perhaps they’re just super nice guys. (Or both.)
Anyway, they indulged my little stunt. Watch the video. The only thing I’ll add is that after the test, as I said goodbye to the Zeiss engineer who helped me, he said, “I hope there’s a big difference!”
Now, the moment you’ve all been waiting for. The 100-percent crops. Here they are. Both are jpegs right out of the camera, auto white balance, 100 ISO, f/5. The one from the Otus/A7R is bigger and shows less depth of field thanks to its higher resolution and physically bigger sensor.

Sony RX100. ISO 100, f/5. This image has been resized to fit. Click to view larger, true 100-percent crop.

























Sony A7R with Zeiss Otus 85mm. ISO 100, f/5. This image has been resized to fit. Click to view larger, true 100-percent crop.

So there you have it. Incredible resolution from the Otus, but that didn’t surprise me. Pretty damn good show by the RX100, but that didn’t surprise me either. What I find astonishing is how little difference there is between the two, considering the vast difference in size, weight, sensors and price. Sure, the A7R/Otus combination wins, but not by that much. Besides, it bloody well better win! It’s up against a two-year-old pocket camera that weighs and costs a small fraction as much. (Ignore the color differences since I didn’t bother to set precise color balance on each camera, and they’re not even in the same color space–but then again that wasn’t the point.)
I know what some of you are thinking. “You can’t expect me to take this seriously.” And well, no, actually, I don’t. Except for one thing, but I’ll get to that in a bit.
First, a question: Is this lens actually going to sell? The 85mm is brand new, so to answer that, we have to look at the 55mm Otus, a similarly huge, heavy, expensive lens that has been out for a while now. I spoke with an executive at Zeiss who has worked on the Otus project from the beginning. He said, “We have been surprised by the sales numbers. They were so strong we opened a second manufacturing line and still we have no stock. Not one of us expected it.”
Yeah, I get that. Why would anybody buy such a heavy, expensive ‘normal’ focal length lens that offers only a slight improvement over light and cheap 50mm lenses–a difference seen only when studying the images up close on a computer screen? Not even Zeiss thought many people would buy the Otus. It wasn’t even their intention. “This started as a strategic lens family just to show what Zeiss was able to do,” said my Zeiss contact. “We didn’t want to lose any money but we didn’t even have to earn money from this.” What they wanted was for you to look at a real test of the Otus, go “Wow!” and then buy a more sensible Zeiss offering, such as the Planar 85mm 1.4 — a quarter of the price, much smaller and lighter, sharp as hell, and with a metal focussing ring instead of a silly rubber one. But clearly they underestimated the fervor of the pixel peepers.
Now, let’s be clear here. I’m not trying to dissuade anybody from buying the Otus lenses. (And for the record, Zeiss is one of my favorite lens manufacturers.) Buy whatever makes you happy. Heck, buy two of each. But don’t think you have to in order to get great images. We’ve all gone a little crazy about the technical quality of digital images. It’s really the least important and most mundane aspect of a photograph. And this is where we get to the real point of this post: The quality of today’s digital cameras and lenses is not a limiting factor in your photography. Period. End of story.
It’s fun to talk about lenses, and see how they perform. But which one you use doesn’t matter in the end. What matters is getting out there and taking good pictures — hopefully, of things a lot more interesting than test targets.
Thanx Regards bfaqeera.tk

Sunday, 19 October 2014

Sony Reportedly Working On A Full Frame Square Sensor Camera


Samsung may not be the only camera company dabbling with the idea of a digital Hasselblad 500CM-style camera: Sony is reportedly working on a new SLT camera called the “A1S” that features a “full frame” square sensor. sonyalpharumors writes that the prototype camera in development has the following specs: compatibility with existing Alpha and Minolta lenses, a 36x36mm square sensor with 37-megapixel resolution, a large body (larger than the Sony A900), a square electronic viewfinder, and a 3×3-inch display.

Canon’s Upcoming 11-24mm f/4L Will Reportedly Cost a Hefty $3,000


In August, the rumor mill started buzzing about Canon having a new 11-24mm lens up its sleeve. The next month, a leaked photo gave us our first glimpse of that lens, an 11-24mm f/4L.
There is now more confirmation that this lens is in fact legit. That’s the good news. The bad news? It will likely cost quite a pretty penny.

Canon Rumors reports that a couple more sources have confirmed the existence of this lens. The sources seem to agree on the price as well: a whopping $3,000.
While no one was expecting an 11-24mm L lens for full frame cameras to come cheap, the price point seems to be quite high given the fact that the lens is f/4. The next priciest ultra-wide zoom after this lens would be the existing 16-35mm f/2.8L II, which costs $1,700.
The new lens will fill up a gap that currently exists in Canon’s ultra wide zoom lineup

Saturday, 18 October 2014

Canon Reveals ‘World’s Longest’ 4K Cine Lens: A 50-1000mm Monster that Costs $78K


If you’ve been craving the ability to go from 50mm to 1000mm all in one lens, Canon has just what you’re looking for. Announced earlier today, the CINE-SERVO 50–1000mm T5.0–8.9 Ultra-Telephoto Zoom lens is being labeled ‘world’s longest 4K ultra-telephoto zoom lens for large-format single-sensor cameras,” and it comes with a price tag that’s as impressive as its zoom range.

This monster of a lens is designed specifically for use with Canon’s EOS C-series cameras, but considering it’s available in both EF and PL mounts, anyone with a Canon DSLR and deep enough pockets can give it a try.
And 50-1000mm isn’t actually as far as it can go. The lens has a built-in 1.5x magnifier, meaning its true range can be pushed to 75–1500mm.
Here’s a closer look from all angles:




The lens’ optics are designed with 4K footage in mind and meant to cover the Super 35mm frame size. Inside it packs an 11-blade iris and removable Digital Drive unit for use with a zoom switch.
The lens is also capable of programming zoom and focus settings, so whether you’re wanting a fast or slow rack focus, it can go from full-wide to full-telephoto as fast as 1.5 seconds or as slow as 180.
Which, finally, brings us to that price tag. The lens was announced today, but if you’re looking to get your hands on one, you’ll be able to pick yours up the first quarter of 2015 in exchange for a whopping $78K.

 
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