The Wide Shootout - Comparing the Zeiss Touit 2.8/12 with the Sony 10-18mm F4 OSS
July 2013 - If you are looking for an ultra wide angle lens for Sony NEX APS-C sensors based cameras, meanwhile you have an "embarras de richesses" between the new Zeiss Touit Distagon T* 12mm f/2.8 and the Sony 10-18mm F4 OSS zoom lenses. This article will provide you an in-depth comparison between these two lenses.
Before we go into details, let's take a look at the lenses themselves:
Both lenses are surprisingly lightweight and compact. The Sony wide angel zoom weighs about 260g, the Zeiss prime about 300g including lenshood and caps. If you compare that to a full frame ultra wide angle like the Zeiss Distagon T* 15mm f/2.8 (730g) or the Nikon 14-24mm f/2.8 zoom (about 1kg), these lenses will burden you (and your wallet) significantly less than their full frame equivalents for the price of about one F-stop less low light performance and DOF options than a comparable fullframe combination.
Before comparing sharpness and bokeh, let me just give you some more examples taken with the Zeiss Touit 2.8/12. that show you typical application areas and compositions for such a kind of lens:
Since the first copies of the new Leica M (Typ 240) appeared on the market early March 2013, there is a vast disparity between supply and demand of the new Leica M (Typ 240) causing a lot of discussion in the corresponding camera forums. In addition these discussions are heated up by quite contrary reviews and user stories expressing the whole range between absolute excitement and deep frustration. This article tries to focus on objective facts and findings determined since I entered the M community in early April. The review is underlined by many real world examples taken with M-mount lenses from Leica, Voigtlander and SLR Magic as well as some adapted Nikkor lenses. Additionally you find a short comparison to the Sony NEX-7.
Perhaps I may not be the typical Leica M customer as I do not care too much for the unique feature of the M: The optomechanical rangefinder. However this camera attracted me as it is currently the only mirrorless full frame digital camera on the market (except the Sony VG900 which is primarily a video camera) allowing to use all those really fantastic Leica M lenses and in contrast to the Leica M9 it is not limited to lenses with rangefinder coupling. Due to its live view and the optional EVF you can now use it for macro- and tele-photography and a wide range of adapted DSLR lenses as well aided by focus peaking and up to 10x magnification. Its new 24 MP CMOS sensor gains about 1 EV ISO performance and about 2 EV additional dynamic range compared to the CCD sensor of the M9 and allows to record 1080p videos at up to 25 fps with that camera as well. As I use a HyperPrime CINE 50mm T0.95 lens since about one year, I was also quite excited about that feature because at the moment it is the only combination allowing to use a 50mm f/0.92 full frame lens optimized for video. So the specifications and options sounded promising enough to ask my dealer to put me on the waiting list right in September 2012 when the camera was announced at the Photokina. In April I had the chance to get one in silver ("chrom") and immediately started exploring it.
Comparing the Leica M (with Summilux 50mm f/1.4 ASPH) to the Sony NEX-7 (with SLR Magic HyperPrime CINE 35mm T0.95)
One of the first questions on my list was: How does the M with a Leica Summilux 50mm f/1.4 ASPH compare to the Sony NEX-7 with a SLR Magic HyperPrime CINE 35mm T0.95?
April 2013 - Right after receiving Leica's new M camera I had the chance to use it for an insight into the world of fire artistry and juggling presented by two exceptionally charming and creative girls. Enjoy Caro and Kathleen from "Duo Flammenspuk":
The stills and motion pictures were captured with a Leica M (Typ 240) and the following lenses (mostly at open aperture): Leica Summilux 50mm f/1.4 ASPH, SLR Magic HyperPrime CINE 50mm T0.95, Nikon AFS-Nikkor 24mm f/1.4 G ED. Please note that the flabby sequences you may determine during motion video were not caused by the camera. Due to some shaky handheld recording the motion pictures had to be deshaked in post production.
Vibrant impressions from Southeast-Asia 2013. This slideshow including some video snippets shows you enchanting moments of a trip through Singapore, Thailand (Bangkok), Cambodia (Sihanoukville), Vietnam (Saigon/Ho-Chi-Minh-City, Nha Trang, Da Nang, Hoi An, Halong Bay) and Hong Kong. Enjoy!
Best viewed in fullscreen-mode. In the video snippets, please activate the little "HD" symbol on the bottom bar of the player. Alternatively you may open this show in a seperate window.
Camera: Sony NEX-7; lenses: Sony 10-18mm F4 OSS, Zeiss 24mm F1.8, SLR Magic CINE 35mm T0.95, Sony 50mm F1.8
March 2013 - Back in February I had another opportunity in Hong Kong to compare quite a unique collection of superfast 35mm prime lenses that - attached to a NEX-7 - provide you an equivalent angle of view to a classical 50mm lens on full frame. Three of them start at an amazing aperture of about f/0.95 that compares in terms of depth of field (DOF) to 50mm f/1.4 on a fullframe sensor.
One of the candidates, the SLR Magic HyperPrime CINE 35mm T0.95 was compared already in December 2012 to a Voigtländer Nokton 35mm
f/1.2 ASPH (version I) and an AF-S Nikkor 50mm f/1.4 G on full frame (the Nikon D800E) (here, in memory), thus triggering a discussion about onion rings ...
The shootout candidates (ordered by transmission / aperture):
SLR Magic HyperPrime CINE 35mm T0.95 The final production version used in this comparison will start shipping in about May 2013 for an introductory price of US$ 1249. It is a very solid (about 800g) construction with 12 lens elements, circular aperture blades and an extractable lens hood. The aperture ring operates clickless and is calibrated in T-stops (a transmission of T0.95 usually requires an aperture of about f/0.9 to f/0.92) and has the same cogging like the focus ring to support video applications (follow focus) as well. It is shipped with M-mount and an adapter to E-/X-/EF-M-Mount depending on your order. It covers APS-H sensor size but with its large rear element (diameter 36mm) it does not fit into the throat of current Leica-M cameras or Ricohs GXR module. For more details please see this article.
Mitakon 35mm f/0.95 This lens is a very solid construction as well with 10 lens elements and a 10 blades aperture. It has good haptics, weighs about 680g and comes with E-mount. Prices I have seen so far varied between 700 (eBay auction) and 1000 US$ (private auction). The lens is manufactured in China and until now I did not see a dealer that offers it with warranty.
Canon EF 50mm f/1.4 lens + Metabones Speed Booster (converting to a 35mm f/1.0 lens) This combination of a 50mm f/1.4 full frame lens and a focal converter provides you a lens with 35mm focal length and an aperture of f/1.0 still covering the size of an APS-C sensor. To understand that functional principle please see Metabone's white paper. The adapter is designed to transmit /convert also the electrical signals to the lens in order to control aperture setting and autofocus (on selected lenses) by the camera. The Canon EF 50/1.4 lens is about 400 US$, the adapter costs about 600 US$ when ordered in Hong Kong.
Leica Summilux-M 35mm f/1.4 ASPH This lens is designed with 9 elements, one with aspherical surface and 9 aperture blades. It is very compact and weighs only about 320g. Some people say it is still the "35mm/1.4 reference". Prices are about 5000 US$ (new and about 4500 US$ used).
Samyang 35mm f/1.4 AS UMC This lens is designed for fullframe DSLRs and constructed with 12 lens elements (some aspherical) in 10 groups and an aperture with 8 blades. It weighs about 712g. It is availabe with different mounts and has an attractive price of about 500 US$.
Leica Summicron-M 35mm f/2.0 ASPH This even more compact desgined lens is propably the smallest 35mm f/2.0 fullframe lens avaiilable today. It is designed with 7 elements (one aspherical surface), has an 8-bladed diaphragm and weighs 254g. Price is about 3200 US$.
In this article we will cover
- overall comparison - center-sharpness of the f/0.95 and f/1.4 candidates at open aperture and F1.4 as well as edge sharpness (of the 0.95 candidates) - bokeh (rendering of the out-of-focus areas and the shape of the circles of confusion of highlights) at F0.95, F1.4 and F2.0 - conclusion - further sample shots
Acting as a good subject for real world photos, we met Bertille Tabourot, who is a stylist
and fashion designer from Paris, living currently in Hong Kong. She used this opportunity to present some of her fancy
creations acting as a freelance model.
28 Feb. 2013 - Last week was one of the highlights of my trip through Southeast Asia as I had the chance and pleasure to compare the upcoming SLR Magic HyperPrime CINE 25mm T0.95 to three other highly adorable, wide open 25mm F0.95 lenses. Let us see how they perform on the latest mFT camera, the Lumix GH3!
This little shootout was more a kind of spontaneous incident as we had some daylight remaining at the end of an "Adorable 35s" session planned for that day in Hong Kong with Andrew Chan and some friends. Andrew is the driving force of SLR Magic and very passionate about great lenses - not only those he builds by himself. But let me state that I am not affiliated with SLR Magic and payed for all lenses I got from them. We got some kind support from Bertille Tabourot, who is a stylist and fashion designer from France, living currently in Hong Kong. For this comparison shooting she took the chance to present one of her fancy creations acting as a freelance model.
But now let's talk about the principal performers of this shootout ordered by "age":
P. Angenieux Paris 25mm Type M1 f/0.95 This very compact and beautyful lens was developed in 1953 and at that time the fastest 25mm design. One of the early copies was used by NASA to take the first photographs of the moon from a lunar probe. It is said to have a very cinematic look, a nice bokeh when used wide open and sharp look when stopped down. It is quite hard to find and prices may be around 1500 US$ when in good condition.
Schneider-Kreuznach Xenon 25mm F/0.95 Schneider Xenon designs have their origin already in 1925 when Tronnier derived it as an asymmetrical derivative of the classical double-Gauss design. The Xenon 25mm f/0.95 became available in the 1960s. The particular copy used in this test was manufactured in late 1978 or 1979 and was equipped with a built-in center spot ND filter that could be ordered for special applications. Current versions do not have that filter and look a bit different, see here. Used prices will vary between 800 and 1500 US$ depending on condition and type.
Voigtländer Nokton 25mm f/0.95 This lens was developed by Cosina Voigtlander and became available for the MicroFourThirds mount in 2010. It is known to be already pretty sharp wide open with increased sharpness when stopped down to F1.4 to F2.0. Price is about 1200 US$.
SLR Magic HyperPrime CINE 25mm T0.95 Production version will become likely available in April 2013 and will start at a price of 799 US$. It has cinema lens gears and aperture keeps round even when stopped down. In this comparison we used a pre-production (step 2) sample. For a rating of sharpness and bokeh please see my conclusion at the end of this article.
Overall Picture Comparison (F0.95 / T0.95)
The following pictures were all shot from the same postion between 6:19 and 6:27 p.m. on a cloudy day already after sunset in order to get a nice light mood with some point shaped highlights in the background. To avoid motion blur, exposure times were kept at 1/125s which results in ISO settings already between 400 and 1000 (due to differences in transmission/vignetting and sligthly dimming light) and of course we used a tripod.
Let us start with the Angenieux 25/0.95 at open aperture:
"Maskenzauber" - Venetian Carnival and Maskenball 2013 in Hamburg
Hamburg is not only known as a town with more bridges than Venice, it also celebrates a Venetian carnival since 12 years now. It's an enchanting event for every visitor and a "must see" for every photographer.
This time I decided to catch the magic moments with a SLR Magic HyperPrime CINE 35mm T0.95 mounted to a Sony NEX7 to get that perfect melange of sharpness and bokeh in order to keep that mood of light and poetic noblesse. But pictures speak louder than words...
(Switching to fullscreen mode (rightmost button on the bottom icon bar) is highly recommended)
Conquering The Darkness - SLR Magic HyperPrime CINE 35mm T0.95 Comparison
Right on time for Xmas, the latest masterpiece from SLR Magic - the HyperPrime CINE 35mm T0.95 - arrived here in Germany. If you have seen my article about the first prototype that was presented in September on the "Photokina 2012" exhibition in Cologne, you can imagine my enthusiasm, when the box was delivered by the postman. Here we compare that exceptional piece of glass & metal to a 50mm F1.4 lens on a fullframe camera (Nikon D800E) and to a Voigtlander Nokton 35mm F1.2 ASPH (version I), that was - up to now - the fastest 35mm lens that you could get with Leica M mount.
First let us take a look at the lens and its box. After some discussion about the packaging of its "big brother", the HyperPrime CINE 50mm T0.95 (see my review here), SLR Magic created a high quality box for that lens and wrapped it for shipment into another shock absorbing foam box, that makes already the unboxing a nice experience: