|
| Accept Cookies | Customize | Refuse Cookies |
Elio Di Claudio www.juzaphoto.com/p/ElioDiClaudio  |
The following opinions have been automatically translated with Microsoft Translator. | Voigtlander (E, VM) 10mm f/5.6 Hyper-Wide-Heliar Pros: Compactness, real sharpness, ease of use (Sony E), mechanics, software compatibility. Cons: Not great brightness, significant AC at the edge, easy to fix. Opinion: As usual, I have to play the tug of the eye to a lot of Internet testers. This is a sharp, undistorted, contrasted jewel, adherent to physical limits even at the edges (it is a straight, so a point is rendered as an ellipse). Almost non-existent field curvature, if you want to have fun optimizing the edges, do it as well (A7r and descending line...). There are no particular losses of sharpness, acceptable vignette. Not the councillor with the normal A7s: you need a lot of resolution at the edge: on Capture One 21 I found i looked at corners and edges 400% or so. Contrasted, colors, OK, software compatibility, lascaiate lose toys and zooms. Only defect, a primary CA at the edges not large, but to be corrected given the small magnification. This is an excellent lens, not to be missed, Use it at low ISO, perhaps on tripods, although it is easy to manage even freehand. sent on December 29, 2020 |
 | Sony FE 20mm f/1.8 G Pros: Sharpness, ergonomics (manual diaphragm, AF/MF key and fire memory), Low Distortion, Low Chromatic Aberration, Bright, Low Flare, Aesthetic, Standard and tolerant diameter filters Cons: Missing metric scale, general structure from plastic autofocus, high absorption of light from the optical system. Opinion: Among the present 20-21 mm autofocus, bright species, is the best I've seen. The resolution is high from all opening and towards the edge, with optimal yield around f/4. Sony/Minolta classic color, lò well even in poor light, European, low CA, low distortion. The frame is also among the best autofocus, rather compact, protected, with rich controls. It lacks the external focus scale, though. The macro-contract is high. Simo at batis level. Compared to the best manual focus (Zeiss, Voigtlander) you can see a slightly lower macrocontract, a higher absorption of light (2/3 diaphragm, f/1.8 is about f/2.5 of an MF) for the more complex optical scheme and a still "one hair" resolution lower. The metal frame of these manuals promises a longer lifespan and not a little. This Sony still seems better to me than the alternatives Nikon, Sigma, Tokina. The value for money is very good. sent on May 30, 2020 |
 | Sony FE 85mm f/1.8 Pros: Compact, fairly solid, autofocus, non-challenging, great color, better quality of pariclass of other brands, light, excellent resolution, advantageous cost. Cons: Macrocontrast and pure resolve still a little lower than the best tele manual focus in history, lacks the scale of fire distances (but I use it because autofocus...) Opinion: I purchased it for current use in autofocus for events, street photos, technical documentation with Sony FF and APS. I have many other esthedic and special lenses in similar focals, I needed a good quick autofocus for each day. Surprising performance for an autofocus even close to TA, medium-high macrocontrast, suitable for many shots, but a little less than the classic Zeiss, Nikon and Voigtlander manual, brighter. Excellent solvency, comparable even to more ephaly ephaly escheated objects, better than AF for reflex for sure. Image of the point less dry and more tormented than the very fine top manuals that I have, with strong details, fine but just fattened. Microcontrast good, but not from "Sigma Art". Excellent color yield and bokeh, easy to use, zero distortion. A bit of TA flare, evident against just closed f/1.4 classics. It seems to me a perfect lens for its use and clearly preferable to the AF peers for reflex of other brands for optical finesse and mechanical look. Although some f/1.4 AF allow better exploits at TA, I wouldn't waste time, the optimal use in portrait of this 85 is at f/2.8-4 and opening more you lose yield at the edges, flare and other things. AF not fast on A7r, but very precise. Excellent MF and DMF. From my experience the best complement to this excellent lens is an 85-100 manual focus for landscape, critical photos not very bright: it can always better sew the high frequencies, although this Sony is at the top of its category and an additional scare for the residual supporters of the Reflex. sent on October 12, 2019 |
 | Zenit Helios 44-2 58mm f/2.0 Pros: Very sharp in the central areas, low longitudinal chromatic aberration, original bokeh, robust construction, soft focus, useful for videos the diaphragm preselection ring, easy to find accessories and third-party filters with good aesthetic rendering. Cons: A certain glare causes monolayer (but well designed) treatment, before diaframmi diaframmi a little hard. Screw mounting: It's easy to unscrew the lens by turning a dial, Opinion: A beautiful surprising lens (compared with: Zeiss ZF, Color Ultron 50/1.8, Sony FE 50, two Micro Nikkor 55 AIS and 60 AFD, Nikkor 50/1.8 AI) with very high central and median resolution, medium contrast low, light glare but strong engraving of fine details. Mine is a "mint" model equipped with OEM lampshade and 42x1/Sony E Coma adapter. The bokeh is not very swirly, but perhaps it is also more beautiful in my specimen. The low CA indicates symmetry and not bad glass (rare earths?). Low cost. A small arrow to the commercial AF: no AF optics beats the manual focus on fine details and brilliance. Helios is no exception. There's never anything important at the corner at TA, but here the yield of the new ones is superior and no need. In the portrait I tend to alternate ZF 50/1.4 (full figure), Helios 58 (superb near contrasting windows) or Micro 55/2.8 (American floor, 85/1.4 AFD (half bust in the field), 105/2.5 AI (normal head, great technical blur), 70-180 AFD Micro or 180/2.8 AFD (head, hard faces). sent on May 27, 2019 |
 | Voigtlander SL-II Ultron 40mm f/2.0 Pros: Sharpness and resolution, even at F/2 outside the center and a short distance away. Solidity, stiffness, colour, ergonomics. Cons: Close-up Bokeh slightly nervous, excess flare in certain situations. Opinion: What about, I have at home three Ultron of several generations (50/2, 50/1.8 SL 35 and this 40/2). It is certainly the normal that I love the most and complements perfectly the Micro 55/2.8 AIS or the ZF 50/1.4. It is a lab optics as conception and yield, you can control every detail of the operation. It has the same technology as the Otus, which is basically a scaled-out prototype. Like all Ultron, it is quite uniform as a field yield, with a low distortion for a 40 mm (1.2-1.5%), of which it is certainly the most successful short Planar interpretation. It is practically apocromatic (CA all secondary and narrow). The resolution is always very high, even at F/2 off axis, with a hint of a complex coma (but the point of focus is very thin), optimal result at F/4, but little, great tightness at all diaphragms. Beautiful construction, especially the latest (I have rubber rings), CPU for Nikon, perfect on Sony A7r. Nervous Bokeh ahead, good behind, but a 40 mm has little out of focus. Super recommended. It solves more of the Sigma 35/1.4 at F/2 (less contrafixed as well, but more microcontrabeen). sent on September 07, 2018 |
 | Zeiss ZE/ZF.2 Distagon T* 25mm f/2.8 Pros: Construction, general yield (macrocontrast, colours, resolution), field flatness at medium-long distances (ZF2 2016), short minimum distance of fire for effects, manual focus well calibrated (duration, play, precision with serious bodies). Cons: Light in the ZF2 (strong in ZF) bending of field at court distances, awkward automatic lock of the aperture ring F/22. Opinion: I took after a long time a ZF. 2 25/2.8 New newly built, on sale, to complete the Zeiss outfit for D700, A7r and NEX 5n, as well as on film. I also have the ZF 28/2 as a close focal and I have or have tried so many other Nikkor, Voigt, Zeiss ZF and ZM, Leica R. Forget the buffal that run on the Internet, I was worried about field curvature and more, but I knew from the Zeiss Professional datasheet and the fame in lab that this ottic A is the most resolvent wide ZF f/2.8 (more than 21 ZF/milvus). To increase it in almost non-photographic applications would have to jump to milvus 25/1.4 and only above F/3.5, with very little stuff in focus. The series that I took has perfect calibration to infinity (curvature Overorretta, not undercorrected as they say around, slight bowing of the focal plane towards the photographer at the edges, then aligns on the corners) and the curvature of the field remains flat up to less than 2 m, Then it makes no sense to measure it in normal use, rather it is slightly better than the ZM 25/2.8 on Sony and Zeiss Ikon. Compared to that Biogon, this ZF. 2 is easier to use in digital, it is more uniform as a field rendering with blurred less brutal to the edges, but it is more distorted and does not have the extreme sharpness tips of the ZM. Excellent for mixed applications and video footage, I prefer the ZF 28/2 in interiors (with the CRC) and the ZM 25/2.8 for Architecture/outdoor travel (in the area close to the focal plane beats the Fuji X 23/2 on APS focused in full). This ZF 25/2.8 had the same recarature as the ZF. 2 18/3.5, which is now more than a match with the same 21/2.8, thanks to the best overcurrent profile of the field curvature. Another Nikkor supplanted... not to go back... sent on August 02, 2018 |
 | Samyang 8mm f/3.5 UMC Fish-eye CS II Pros: clarity, usability full-frame Cons: slight haze at room temperature (given by focus shift) Opinion: It works well on SLR and mirrorless FX and DX, AC variable on each sensor, excellent projection fish and sharpness, even at 36+ Mp and 5400 dpi scanning film. Details are small and any use above 200 ISO causes a big erosion of textures with loss of sharpness of the picture. For the same reason are to be avoided pixels large, such as 12 Mp FX.rnOttimo from f / 4.5 or so onward, attention to the MAF, has field curvature toward the infinite within a few degrees from the center. I had to readjust the focus to infinity. sent on December 19, 2015 |
JuzaPhoto contains affiliate links from Amazon and Ebay and JuzaPhoto earn a commission in case of purchase through affiliate links.May Beauty Be Everywhere Around Me
