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.

 

Don

 

 

 

 

 

 

 

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.

 

 

Don

Return to The Palouse

Old Flour Mill

Sony A7r FE24-70 (50mm)

Sony A7r FE70-200 (200mm)

Cambo WRS/Phase One IQ160

Sony A7r FE24-70 (29mm)

 

After only having one-shooting day in The Palouse earlier this year we decided to return to see what early fall would bring.  The plan was to spend at least 4-days shooting and scouting using whatever equipment we had available to capture the best possible image we could.  The good news was that the weather cooperated for the most part giving us 2-days of beautiful cloudy days; 1 day with heavy overcast and 1-day of rain.

 

Phase One DF/IQ160 and a 45mm Hartblei Super-Rotator

Sony A7r FE24-70 (29mm)

 

I strongly suggest you do a Google on "The Palouse" if you are unfamiliar with either the name or location.  As we stated before, this is a landscape photographer's paradise.   Rolling hills which go on forever, various shades of color and beautiful cloudy days.  Thrown into this is a mixture of old abandoned buildings and railroad tracks and you soon see what the attraction is.

 

 

Sony A7r FE24-70 (24mm) 830nm Infrared

Sony A7r FE24-70 (24mm) 830nm Infrared

Sony A7r FE24-70 (49mm)

Sony A7r FE24-70 (70mm)

 

Sometimes you need to listen to the image as you process it.  The following image is of an old abandoned farm house that was captured using a 830nm filter; it looks so much better with a sepia tone than black and white.

Sony A7r FE24-70 (30mm) 830nm Infrared

 

Two separate views of the Palouse Falls.

Sony Ar7 FE24-70 (51mm)

Phase One DF/IQ160 and a 45mm Hartblei Super-Rotator

2-shot image shifting left to right

 

We ended up shooting a combination of color and infrared using Sandy's Sony A7r, Don's Sony A7r converted to capture full spectrum and his Phase One IQ160 digital back attached to either a Phase One DF 645 camera or a Cambo WRS technical camera. 

 

Phase One DF/IQ160 150mm

Sony Ar7 FE24-70 (25mm)

Sony A7r FE24-70 (70mm)

 

We traveled on both paved and dirt/dusty roads in search of the perfect image.  During our travels we found an old gas station, as well as a flour mill, old family houses and old grain/seed storage buildings; some still in use and at least one that was being dismantled.

 

 

Sony A7r FE24-70 (32mm)

Inside

Sony A7r FE24-70 (67mm) 

We quickly noticed there was little change to the colors of the hills as they still showed a mixture of light to dark browns and gold and yellow.  We did see the addition of greens from a late planting that added to the overall color palate.  While it was fall, there was little evidence of any fall colors due to the lack of trees; yet where they were it was indeed colorful.



An old church

Sony A7r FE24-70 (24mm)

Old Farmhouse

Sony A7r FE24-70 (42mm) 830nm IR

Trees

Sony A7r FE24-70 (42mm) 830nm IR

We've now visited The Palouse in late summer and mid fall.  We'll be returning next year to catch mid spring and early summer when the fields become alive with colors and the farmers begin their harvest.  We might even run up in the winter to see the fields covered in snow.  Maybe...

Don

You might have noticed 2-images using the Hartblei 45mm Super-Rotator medium format lens.  While both samples were taken with the Phase One DF camera and 60 megapixel IQ160 digital back, I also used this on the Sony A7r IR with equally good results and will share those later.