Monday, November 24, 2014

Using a Sony FE 16-35 on a Sony A7r

f/8 1/400 ISO 1600
f/8 1/400 ISO 640
I enjoy pushing boundaries which is just one reason I like to capture in the infrared spectrum.  I'm currently on my 3rd converted camera having begun with a Canon 1DsII then a Sony NEX7 both converted to capture in the 665nm range.  The current camera is a Sony A7r which I had converted to capture 665nm and later re-converted to capture full spectrum.
The first thing I've learned in capturing IR is that not all lenses play well with some producing a hot spot (normally found in the center of the image).  I quickly found that it didn't matter the manufacture or the cost of the lens, if it was going to give me a hot spot.  I've had an expensive lens produce a hot shot while a cheaper on didn't, then again I was surprised when it happened in reverse.  There's several listing of lenses that produce hot spots just do a web search to find them.  This is the most terrifying aspect for me when ordering a new lens and so far with the 7r I've been very lucky.  I have now tried several lenses, Sony FE 70-200, FE 55, FE35, FE24-70, FE16-35 and the super fast Mitakon Speedmaster II 50mm f/0.95 and all perform well.
f/8 1/640 ISO 1000

f/8 1/640 ISO 2000
The images included here were all captured using the Sony A7r converted to full spectrum with a 830nm filter attached to the new Sony FE 16-35mm lens.  All the samples were captured at 16mm handheld with the ISO set to "Auto".
f/10 1/640 ISO 2500

f/10 1/640 ISO 2500
The files were opened in Capture One Pro where a lens correction was applied prior to correcting the white balance.  Minor processing was also done on a case by case basis before saving as a Tiff and sent to Photoshop CC.  Once in PS the files were opened where I ran an automated infrared adjustment as well as using the shake reduction filter (I do this on any handheld file) then resized and saved as a jpeg.  No other processing was performed likewise no cropping was done.
f/10 1/640 ISO 1000

f/10 1/640 ISO 2500
My instant gut reaction as to how the new Sony FE16-35 performs with a infrared converted camera is favorable.  I've now tested the lens in full spectrum and 830nm and can find no fault.  I plan on testing in 590 and 720 shortly and will post those results as well.

Once again thanks for visiting.





Thursday, November 13, 2014

Mitakon Speedmaster II 50mm f/0.95 (M67)


The Mitakon Speedmaster II 50mm f/0.95 (M67) arrived in the post yesterday and I began testing it shortly afterwards.  I used a Voigtlander Nokton 50mm f/1.1 several years ago when I still had my Leica M9 and have fond memories of the lens and recently begun craving a lens such as the Nokton to use on the Sony A7r and stumbled across the Mitakon. I first wrote about the Nokton 50mm f/1.1 on August 5, 2011 here 

The Mitakon Speedmaster was introduced May 6. 2014; available for pre-order by Shenyang Optical Electronics Ltd and made in China; with the first version shipping with a filter thread of 58mm however this was quickly changed as well as other modifications to the current 67mm filter.  The lens was renamed the Mitakon Speedmaster "Dark Knight" and introduced this past September at Photokina 2014. 

Taken with the Nokton 50mm f/1.1 on a Leica f/1.1 August 2011
Taken yesterday; the color is much better than from 2011

We have several Cheyenne Dog Soldier masks that were made by Cindy Jo; they guard us while we're here and the house when we aren't.

I'm just beginning to get used to this wonderful lens and will be sharing thoughts and images to come. In the meantime here are three sample images from this afternoon. All were captured at f/.95 handheld with the ISO set to "Auto". All were taken using ambient light....


I now have 3-lenses to choose from when using my modified Sony A7r; the Sony FE 24-70 that weights 1 pound 1.2 oz; the medium format 45mm Hartblei Super Rotator weighing in at 2 pounds 8.6 oz (which includes the Sony adaptor and tripod plate) and now the Mitakon 50mm which weighs 1 pound 13.3 oz.  I also have the new Sony FE 16-35 that with any luck will be in by hands by the end of next week.  I used my Dymo scale to weigh all 3-lenses just as I began writing this.
The Speedmaster is a manual lens; manual focus and manual aperture with a Sony E-mount so unlike the Hartblei there's no adaptor needed thus keeping the weight now.  I've found a manual focus lens on the Sony A7r is easy, especially using the focus peeking option.  I realize I've only had the Speedmaster for less that 24-hours however the files I see are all sharp and well detailed with excellent color thus I highly recommend the lens if you need/require a uber fast lens, with shallow depth of field and great detail.

A note on the camera used.  These samples were all captured using the Sony A7r modified to capture full spectrum; a filter was used to capture true color after making certain I had a custom white balance.  
This is just the beginning so stay tuned if you want more information on this lens.