Tag Archives: Sony A7RII

What Can We Expect From A Sony A7MarkIII Now That the A9 Has Been Announced?

We are used to see Sony release new cameras at a tremendous pace. Each and every year we have a new camera. The A7II has been released just a year after the A7, same for the A7r/ A7rII and A7s/A7sII. The A7rII is literally a flagship for Sony as it encompasses all the new technologies Sony has been working on the past few years, especially with the 5 axis stabilization combined with the world premier full frame back-lit sensor. Until the A9 has been announced on April 19th, 2017. The A9 is clearly a game changer. I know I know, we have been saying this for every single A7 that has been released the past couple years. But the A9 has a different flavor. The high-end professional flavor that was missing in the mirrorless world and that just put an end to the endless debate between DSLRs and mirrorless bodies. It brings the credibility, especially in terms of focusing capabilities, that mirrorless needed the most. That is not all of course but one of the main feature that will definitely kill DSLRs. One can still argue on the size of the body being too small for his/her hand but the fact is that performance wise, the A9 buries its competitors, including the kings Canon 1DX and Nikon D5, and icing on the cake, it is up to $2000 less expensive than its famous competitors. We’re not going to detail all the great features housed by the A9 as there are plenty of reviews out there for that but instead, I’d like to imagine what the A7markIII would be like, now that the new A9 flagship has been announced and shows what Sony has been up to. That tells us a little bit more on the way Sony is taking.

Sony A9 specs

But would it be accurate or fair? As a matter of fact, comparing the A7III that will be the entry level to the A9 that is the high-end pro model could be sort of… inappropriate. But we can expect Sony to introduce some of these new technologies to the newer bodies in order to ensure to stay ahead in the mirrorless run, or even in the Full Frame interchangeable cameras since Sony just took over Nikon in that field recently. In the past, Sony has always introduced the A7 then A7r and quickly after the A7s series, we can reasonably expect the next body to be the A7III.

However, it is important to note that the A7II was released in January 2015, a little bit more than 2 years ago which means that Sony decided to change and slow down its pace in renewing its cameras and instead work on the lenses offer. It is a good and a bad thing some would say, I will let you be the judge. But in my opinion, this is a very good thing. First, it will settle down the image of the cameras and they will lose less value over time, making them appear more credible and valuable against CaNikon competitors, and second, it shows that Sony is focusing more on developing the E-mount lenses, bringing more credibility to the system. Knowing this, we can assume that this system will reach maturity by the end of 2017 ( especially since Zeiss declared to iLHP being ready to release 2-3 others E-mount lenses in 2017). Considering the success of this system, third party manufacturers will also get more involved and start to make lenses as well. Sony A7rII iLHPSigma, for instance, has been stressed a lot in the past few months by A7 consumers and prosumers to produce their ART series for the E-mount. From the latest developments, it sounds like Sigma will soon release some E-mount lenses, which will add up to the already Sony and Zeiss offer as well as Rokinon/Samyang and some others.In total, that is more than 50 lenses that are available for the E-mount system. And the professional G-Master series is growing quickly, introducing the 100-400mm G with the A9 for sports photographers.

Sony will obviously keep innovating. This will not end here. They literately attacked Canon and Nikon by creating a new market and taking a significant share of the whole DSLR/mirrorless market. They’re now targeting their professional market, exactly where no one else could compete, not even close. Without a doubt, Canon and Nikon will react within a year or two, at least they should! Sony knows this and is obviously working on the A7II successor that we might be expecting for January 2018 if they want to stay ahead of the game.

What can we expect from an A7 mark III?

Sony A9 and A7rII size comparison
Size comparison between the A7rII and the A9. The A9 is mostly identical except for the grip that is a little bit more prominent and height is surprisingly one millimeter smaller. Weight is 673g, just 73g more than the A7II.

Continue reading What Can We Expect From A Sony A7MarkIII Now That the A9 Has Been Announced?

The Curious Case of the Wide-Normal Primes – Sony 28mm f/2 vs. Zeiss Batis 25mm f/2 Distagon

The wide-normal prime is somewhat of an oddity. Nestled between the 17mm & 20mm ultra-wides and the 35mm & 40mm normals, the wide-normal primes sit comfortably, or awkwardly (depending on who you ask), in the 24mm to 28mm range.

web_DSC02128
Shot handheld with a Sony 28mm f/2. The wide-normal prime is arguably the most versatile consumer prime lens.

In this lens shootout, we took two of the newest and most anticipated primes for the Sony FE mount to the Orange County County Fair. The County Fair is a public event that brings family and friends together for carnival games, petting zoos, and bacon. Lots and lots of bacon.

In typical iLHP lens review fashion, our tests will be broken down in several rounds as listed below:

  1. Sharpness and Distortion
  2. Vignetting and Flare
  3. Bokeh and 3D Pop
  4. Field of View
  5. Real World Handling

The Contenders & Their Specs

photographicwanderings
(c) John vR @ photographicwanderings.com. Despite the Batis’ larger size, it doesn’t weigh that much more than the Sony, and it’s materials are beautiful.

On the left, weighing in at a welterweight of 335g with a $1,299 price tag, is the brand new OLED displayed Zeiss Batis 25mm f/2 Distagon. On the right, weighing in at a featherweight 200g with an equally wallet-easy $448 price tag, is the Sony 28mm f/2.

Both have completely silent AF systems. Both come with pedal-shaped lens hoods. The Zeiss blows the Sony out of the water in terms of build quality, what with its high quality plastics that resemble metal and the world’s first OLED focus scale. But at almost 3x the price, the build quality is expected and, honestly, necessary. The Sony is minimal yet still built very well. No complaints for either lenses then.

Continue reading The Curious Case of the Wide-Normal Primes – Sony 28mm f/2 vs. Zeiss Batis 25mm f/2 Distagon

A Quick Comparison Review – Zeiss Batis 85mm f/1.8 vs Zeiss 55mm f/1.8 Sonnar

Last time, we took the Zeiss Batis 85mm f/1.8 out to the Newport Beach boardwalk and did a on-location photo shoot with two of our lovely models. To get some perspective on just how good the Batis 85mm really was, we compared it to one of the best AF lenses on market today, the Zeiss 55mm f/1.8 Sonnar (aka the mini-Otus). We drove up to Lake Hollywood Park, busted out our tripod, and did some comparison shots using the famous Hollywood sign as the backdrop.

In a real-world but less-the-scientific comparison between the Zeiss Batis 85mm f/1.8 and the venerable Zeiss 55mm f/1.8 Sonnar, we found very little difference in terms of sharpness throughout the aperture range.

F1.8-Batis-85mm-vs-Zeiss-55mm-Sharpness
Click on the image for full resolution.

With the Zeiss 55mm being one of the sharpest and highly rated AF lenses, this is saying a lot for the new Zeiss Batis 85mm. In fact, pretty much most real world reviews on the Batis has found it to be very sharp right from thef/1.8. I’m sure once Photozone.de gets around to reviewing more Sony lenses, they will verify our current findings. In the meantime, here are some of our quick & dirty impressions.

Continue reading A Quick Comparison Review – Zeiss Batis 85mm f/1.8 vs Zeiss 55mm f/1.8 Sonnar

Making the Switch from a Canon 5D Mark III to a Sony A7RII

This isn’t a typical camera review of the A7R2 though, it’s more like a journey on how I got here. You see, I’ve been watching the Sony mirrorless system for a while now but I couldn’t bring myself to take the jump, I use the Canon 5D Mk III and L Series lenses for my pro line of work and use the Fuji X-Pro 1 for my street and travel photography.

Some serious Gear Acquisition Syndrome!
My G.A.S was getting out of control with my existing cameras such as the Canon 5D Mk III, Fuji X-Pro 1, X-A1 and now the Sony A7RII.

Honestly speaking, I was quite happy with this set up until a couple of months ago when Sony introduced the A7RII with its 42 megapixel BSI sensor, a claimed 14 stops of dynamic range and super high ISO sensitivity and 5 Axis IS, they even packed in 4K recording natively!

Whenever people asked me if I was to start again, which system would I jump in to, I’d always tell them the Sony FE System but because of my current Gear Acquisition Syndrome, I was tethered to Canon and Fuji but what if there was this mythical camera that allowed me to merge these two styles of photography?

Continue reading Making the Switch from a Canon 5D Mark III to a Sony A7RII

A Portrait Shoot with the Zeiss Batis 85mm f/1.8

A fast 85mm has long been a favorite among the portrait photographer’s toolbox. Slightly telephoto, this particular focal length lightly compresses the image so that models are comfortably nestled within the background. From a design perspective, large apertures like f/1.8 or even f/1.2 remain cost effective and practical because at longer focal lengths, glass elements necessarily become prohibitively expensive and oversized. Lastly, the 85mm’s working distance lets you stay close enough to the model yet provide a lot more depth-of-field (and bokeh) than your fast 50mm or 35mm.

ilovehatephoto.com_websize_DSC01740-5
15 y/o Mikaila Storrs (left) and 19 y/o Peyton Lake (right) at Newport Beach. Makeup and hair by Jordan Takeda.

So what do we look for when choosing a 85mm portrait lens? Three things spring to mind. First, it has to be easy to handle because the last thing you’d want is a lens encumbering you after the models are made up and the studio is paid for. Try shooting with an EF 85mm f/1.2 all day and you’ll see what I mean.

Next, of course, is image quality but that is often a broad and nebulous term, and 85mms, in general, have been great performers. More specifically, a defining feature of the 85mm is its ability to throw the background out of focus, isolating the subject in a cocoon of soft blurriness. So a good portrait lens should have its own character.

ilovehatephoto.com_websize_DSC01541
The girls riding and looking back in a Surrey, a four wheeled bicycle contraption available for rent all along the sunny coast of California.

Finally, since for large aperture primes we’ll be working with a narrow depth-of-field, fast and accurate autofocus is absolutely essential, much more so than for shorter focal lengths. I defy you to eye-focus with a manual lens, on a non-split prism focusing screen, at variable light and working distances. You just can’t do it, consistently, so professionals rely on quality AF at longer focal lengths.

So for this hands-on review, we are using the latest and greatest from Zeiss, their Batis 85mm f/1.8. We briefly looked at its technical specs when we first laid our hands on it, so rather than doing that again here, we’re going to jump straight into the good stuff. We called up Peyton and Mikaila, they drove to Newport Beach from Hollywood and San Diego respectively, and we rented a few bikes along the beach boardwalk. A fun Sunday afternoon in California.

Continue reading A Portrait Shoot with the Zeiss Batis 85mm f/1.8