A few weeks back, DxOMark published their sensor rating for Nikon D850. The newest Nikon DSLR won the impressive 100, and now it “meets its mirrorless match.” Sony a7R III has also scored 100 at DxO’s tests, and it’s now it’s the highest-scoring mirrorless full-frame camera on DxoMark.
If you are an astrophotographer, then you may be familiar with the so-called “Star Eater” problem of Sony a7R II. The noise reduction algorithm of the camera mistakes sharp pinpoint stars for noise, so it deletes them from photos or reduces their brightness. But after open letters and complaints from astrophotographers – Sony seems to have fixed the issue in the new a7R III.
A few weeks ago Laowa sent me a copy of their first lens dedicated to Sony’s full frame e-mount system, the 15mm f/2. This lens is meant for landscape & astrophotographers who want to capture as much of the beautiful night sky as possible; which means wide and fast.
Last year I was able to get a copy of their 12mm f/2.8 for Canon and used it on my Sony A7Rii with a Metabones adaptor. I was quite surprised how much I enjoyed the lens. A lot of what was great about that lens can be translated over to this one as well. First, let’s talk about the physical design and characteristics.
Seeing how things are made is a subject that fascinates all kinds of people. In fact, it’s such a popular topic that it spawned an entire TV show. So for photographers, seeing how the gear gets made that we use on a daily basis is, naturally, rather intriguing. It’s usually lenses, occasionally drones, but rarely cameras.
We often assume that many production lines are filled with robots these days. But, that’s not the case with the construction of the Sony A7R II, as this video from ShutterBug Mag shows. While I’m sure they’re using automated systems to build the circuit boards, the final construction is all done by hand.
There are always new photographers trying to figuring out which system to buy into. There’s also experienced photographers considering switching. They post on Facebook and forums to ask the opinions of others. 99% of the responses will be suggesting the brand they themselves use. It’s inevitable, really. They promote what they know, without really knowing what the person asking the question wants to shoot. So, seeing comparisons can be a good way to get a little insight into how each system handles.
This video from The Slanted Lens is a bit of a departure from what we’ve come to expect. But, it can be a valuable one, especially if you want to shoot portraits. Jay and his team put the Nikon D810, Canon 5D Mark IV and Sony A7R II head-to-head in a variety of real world shooting situations. They try not to come to any real conclusions, but just demonstrate how the different systems compare. This way, you can make up your own mind which is best for you.
The Helios 44-2 is one of my favourite old lenses. This, along with the Jupiter-9 are my two most used manual focus lenses for stills and video. The Helios 44 line started in 1958. Its initial design is a copy of the Carl Zeiss Biotar 58mm f/2, and was produced by KMZ for the M42 mount. Since that first version, it’s been through several iterations as technology has advanced.
In this video from Manny Ortiz, we see the Helios 44-2 58mm f/2 lens in action on a Sony A7RII. When you see the looks that can be achieved by this lens it’s easy to see why this quickly becomes a favourite of all who own one. The fact that they can be picked up for as low as $10 just makes it one that should be in everybody’s bag.
It is never a good idea to say that the mega-pixel war is over, but it looks like we are having a rest at around 40-50 MP with most pro cameras providing enough resolution. So why would one camera is better than the other?
Actually, once we remove the ‘how does it feel for you‘ argument, I am not sure any “same-level” camera is that much better than the other. With that in mind, the team from Fstoppers took three cameras to the test: The Sony a7RII, The Canon EOS 5DS R and the Nikon D810.
The EXIF data belonging to the latest photo uploaded to the official White House Flickr account, one of President Obama on the phone with Cuban President Raul Castro, was taken just under three weeks ago and shows Souza’s got a new camera.
Along with the mirrorless a7R II, Souza used a Sony Sonnar T* FE 55mm f/1.8 ZA lens.
So is September 2015 to be remembered as the time the White House left DSLRs behind and switched to mirrorless?
About a week ago, Sony announced that the A7RII and the A7SII will gain the ability to record uncompressed 14-bit RAW still images. This is a change vs. the previous ability to record only compressed RAW files at 14 bits.
DPreview did a thorough analysis on the difference between those two options and sure enough there are two significant factors to be considered.
Before I even start this article, we need to add a disclaimer – if you love charts and graphs and full resolution comparisons, or if you have a visceral emotional attachment to your gear and/or need validation for your purchase decisions from the internet – you might want to move on to the next post.
However, if you are willing to have a rational discussion on why it might not be the best idea to ditch your current DSLR for a shiny new Sony A7R II, please continue reading!
The release of the Sony AR7 II has generated quite a bit of excitement in the photography community (to say the least).
And for good reason, looking at the specs, its a beast of a camera – everything you could possibly want.
However, in this article I am going to explain why I am not switching to a Sony A7R II (or a Fuji X-T1 either for that matter) any time soon.