Lens Review - Carl Zeiss Sonnar T* FE 35mm f/2.8

This was one of the first lenses to come out for the FE mount & A7 series cameras. It typifies the dream of having a really small full frame camera that's also able to pull off some impressive image quality.

For a relatively normal fov prime with a lacklustre aperture it actually isn't that small. What's worse is that it costs a lot considering those specifications. For colour use it mostly justifies the badge price with some generally stellar sharpness and decently fast auto focus. Can it pull a similar rabbit out of its hat for infra-red though? Let's see...

      Stats
● Mount: Sony FE
● Adapts to DSLR: No
● Adapts to (other) ILC: No
● Focal Length (FF): 35mm 
● Field of view (FF): 63.4°
● Lens Elements: 7
● Lens Groups: 5
● Aspherical Elements: 3
● Aperture range (f stop): 2.8 - 22
● F-stop increments: 1/3
● Aperture Blades: 7 (curved)
● Aperture Ring: No
● Autofocus: Yes (silent)
● Manual Focus Ring: By Wire
● Min. Focus Distance (cm): 35
● Max Reproduction Ratio: 1:8.33
● Internal Focus: Yes
● DoF Scale: No
● IR offset markings: No
● Body Material: Metal
● Filter Thread Material: Plastic
● Filter thread: 49mm
● Static Filter Rotation: Yes
● Dimensions (mm): 61.5 x 36.5
● Weight (g): 120
● Dust / Moisture Sealed: Yes
● Mount Seal: No
● Manufacture Country: Japan
● Manufacturing Span: 2013 >
● Price New: £550 - 700
● Price Second Hand: £350 - 400
● Accessories (Included): Hood (ALC-SH129)

     Quick IR Performance Scores

● Pure IR HotSpot (Lack of): 2/10

● Colour IR HotSpot (Lack of): 2/10

● IR Sharpness (Middle): 8/10

● IR Sharpness (Edges @ f/8): 5/10

● IR Sharpness (Edges @ f/2): 5/10

IR Quality / Hot Spot

Here's a new set of images, a test for IR hot spot that I'm trying out (see more about it here). Basically what you're looking for here is a clean dark sky, with no bright spots.

Like most lenses, this one vignettes noticeably when wide open and that can look like a large hotspot. Here there actually is a large hot spot at f/2.8, but usually its vignetting that's largely responcible for this confusion. With this lens the opposite illusion occurs. It almost looks like a perpetual vignetting, all the way up to f/22. You'll still notice the hot spot is more obvious closer to the bottom right of the set. There is so much stray reflection here that it's difficult to see where the true value of the clear sky actually is, even with access to the same scene in every aperture. The hotspot will always be present, even if its hidden in detail.

Another sign that the hot spot is bad is being able to tell how many aperture blades the lens has from the reflected light. In a traditional lens flare that's quite normal, but with hot spot it's on the disturbing side.

This video helps illustrate the hot spot performance at f/22. As well as the strong central circular hot spot, the reflection issues can continue outwards to the very edge depending on where the bright areas are in the scene. Although the main spot is concentrated when fully stopped down (f/22) it's often noticeable and annoying at f/8. These issues never fully go away, even wide open (f/2.8) and that can make it very difficult to use in general.

This colour IR set was shot using a Hoya R25A filter (which is roughly 590nm). Usually when using this colour infrared filter most of the hot spot issues improve or go away entirely, but here it's so extreme I didnt even need to shoot a clear sky to show how bad it is. This example also helps to illustrate how the hot spot effects the colour of the overal scene, because the reflection is concentrated to the blue channel. This makes colour very difficult or impossible to process.

Lens Flare

Here are some samples at different wavelengths to show how it copes with unavoidable lens flare in each. These are all shot at f/8. As you can see the more infra-red light that comes through the filter the more obvious the flare becomes. It's actually very good in colour and even when external filters are used like this. In IR however it looks downright horrible. I wouldn't advise shooting into the sun when taking infra-red photography on this lens.

Kolari Vision Hot Mirror (Colour)

Hoya R25A (Red / 590nm)

B+W 093 (850nm)

Sharpness

The sharpness of the Zeiss 35/2.8 is pretty good in the middle. I'll give it its due credit and say it almost lives up to the badge & price here, but on the outer edges of its full frame I'd label it as wholy average. There's nothing to write home about here and it left me rather disappointed.

Competition

There are now two Zeiss 35mm lenses for the FE mount. The newer f/1.4 version is the size and weight of the moon however, so is in no way (shape or form) comparable to this, almost pancake-like, lens. If you want something like this on a tighter budget there are other options. Not much can rival the small size of the Zeiss (and certainly not the weight), but there are some interesting alternatives.

On the left here we have a Canon 40mm f/2.8 STM lens with an auto focus adapter. Unfortunately this isn't a fast focusing system on the first generation A7 bodies, but it's performance is uncomfortably close to the Zeiss for colour photography. For infrared photography however things change completely. The Canon is a superb performer in IR, producing very little hot spot, even at f/22. Considering this costs less than a 1/3 of what the Zeiss does (including the adapter) it's extremely good value for money. I will be reviewing this lens in more detail soon.

On the right we have a Nikon 35mm f/2 AF-D lens. As yet there is no way to focus this automatically with the A7 cameras. Although it looks like an AF adapter won't be too far off. The adapter you see here allows filters to be mounted behind the lens, which has huge image quality implications for full spectrum users like myself. I also feel the need to point out here that without the adapter this lens is roughly the same size as the Zeiss, while being a whole stop faster. Clearly Sony & Zeiss have issues making truly compact lenses with the short flange distance of the A7 cameras. When it comes to infrared image quality and lack of hot spot this Nikon lens also hits it out of the park. At under half the cost of the Zeiss (again, including an adapter) this also puts the Zeiss to shame, even if it's more for infra-red and subject isolation than sharpness.

Overall Score (Colour IR): 3/10

Overall Score (pure IR): 2/10
Very Poor IR Performance

Conclusions 

As good as this lens is for colour photography it doesn't often relate to infrared. Anything shot with apertures smaller than f/5.6 are a gamble, which isn't necessarily obvious when looking through an EVF either. Although contrast is still good it's wholy dependant on hot spot, which one of the worst I've seen. Infra-red image sharpness isn't as good as it is with colour either, although it's not the extreme difference that I saw with the Sony 28mm f/2 lens.

The included lens hood is both good and bad. On the the good side; it keeps the lens really small while protecting the filter really well. On the bad side; if your filter doesn't fit inside the hood then you can't use the hood or the lens cap at all. Circular polarisers would be a pain (although they always are with lens hoods), but you'd still have no lens cap. If you're going to be brave with a hood design like this then include a second 'normal 'hood and provide a 49mm lens cap as well. This solution seems rather short sighted.

35mm is my favourite focal length for a general walk around lens and I like that it shares the same filter size as the Zeiss 55mm and Sony 28mm FE primes. Despite not being particularly fast this could have been my favourite lens for IR on the Sony A7 and that's what makes this lens such a disappointment. Unlike the Sony 28mm its mostly hot spot that kills this lens for IR use. Bright sunlight can give some decent results, just make sure you have enough central detail to cover up the hot spot and be very aware how big/bold that hot spot will be on your chosen aperture. I gave colour IR a slightly higher score for a couple of reasons. Firstly, despite some bad results, some images can look great and secondly - you can avoid the blue channel to get clean B&W IR images.

General Pros and Cons

    Pros (rated out of 10 for how awesome they are)
(9) - Fast, accurate and silent auto focus
(7) - Good construction (metal... mostly)
(6) - Extremely small & light, although not for it's specification
(4) - Included lens hood is interesting (some caveats to that though)

    Cons (rated out of 10 for how annoying they are)
(9) - Infra-red Hot Spot is extremely bad, almost makes it unusable for IR
(9) - IR colours are tricky because the hot spot is in the blue channel
(7) - Nasty looking lens flare in IR
(7) - Image quality should be better for the price (mostly corners)
(5) - Focus by wire speed is inconsistent, lack of feedback make it difficult to use
(5) - No Aperture ring
(3) - Plastic filter thread (unforgivable at this price)

   IR Samples

Here are some b&w infra-red images, taken with the B+W 093 filter (on the full spectrum Sony A7). This filter has a 50% transmission at 850nm (the amount of visible light that passes through this filter is nominal).

f/22

f/2.8

These two B&W samples (above) are opposite apertures. This is to show how a hot spot can be hidden inside the detail of an object. This can be acceptable if you keep it away from flat tones (like this sky), as long as your expectations are fairly low. If you're looking for a very clean result here it's likely that you'll never be happy with this lens. Even wide open (f/2.8) it produces a noticeable glow from the middle of the frame.

 

f/8

This last B&W shot illustrates how a medium sized hot spot at f/8 might not be very noticeable on it's own, but if you look at the bright grass in the middle it looks overexposed. It's actually not clipping here at all, it's just washed out by the addition of the hot spot.

Here is a colour infra-red video that I took with the 35mm lens. This has had it's motion stabilised via YouTube, so it's a bit rough, but it is better than it was.

f/5.6

These next few colour infra-red samples taken with the Hoya R25A (Red) filter (on the full spectrum Sony A7). This is roughly 590nm. All images are processed using the 'false colour' technique, unless the foliage is blue or it's been turned B&W like this next one:

f/5.6

f/5.6

f/5.6

f/5.6

f/4

f/4

Lens Review - Carl Zeiss Sonnar FE 55mm f/1.8

For over a year I have been using the full spectrum A7 with only manual lenses (Nikon and various other legacy glass). I've hugely appreciated this camera's ability to use any SLR lenses and the results have been fantastic, but I have missed the convenience of autofocus. I decided to see what all the fuss was about with the 55mm f/1.8 Zeiss lens. There are a lot of reviews for this lens around, but info on its IR performance is practically non-existent. Since I shoot so much infra-red it made me rather nervous, but I eventually decided to get it anyway. Can its IR ability live up to the staggeringly positive consensus on its colour performance?.. Let's find out.

Note: This review marks the start of a new format for me. I will do my best to talk specifically about how each lens copes with capturing invisible light.

      Stats
● Mount: Sony FE
● Adapts to DSLR: No
● Adapts to (other) ILC: No
● Focal Length (FF): 55mm 
● Field of view (FF): 43.7°
● Lens Elements: 7
● Lens Groups: 5
● Aspherical Elements: 3
● Aperture range (f stop): 1.8 - 22
● F-stop increments: 1/3
● Aperture Blades: 9 (curved)
● Aperture Ring: No
● Autofocus: Yes (silent)
● Manual Focus Ring: By Wire
● Min. Focus Distance (cm): 50
● Max Reproduction Ratio: 1:7.14
● Internal Focus: Yes
● DoF Scale: No
● IR offset markings: No
● Body Material: Metal
● Filter Thread Material: Plastic
● Filter thread: 49mm
● Static Filter Rotation: Yes
● Dimensions (mm): 64.4 x 70.5
● Weight (g): 281
● Dust / Moisture Sealed: Yes
● Mount Seal: No
● Manufacture Country: Japan
● Manufacturing Span: 2013 >
● Price New: £860
● Price Second Hand: £400-500
● Accessories (Included): Hood / Leather Case

     Quick IR Performance Scores

● Pure IR HotSpot (Lack of): 9/10

● Colour IR HotSpot (Lack of): 10/10

● IR Sharpness (Middle): 10/10

● IR Sharpness (Edges @ f/8): 9.5/10

● IR Sharpness (Edges @ f/1.8): 9.5/10

IR Quality / Hot Spot

Here's a new set of images, a test for IR hot spot that I'm trying out (see more about it here). Basically what you're looking for here is a clean dark sky, with no bright spots. Now, this lens does vignette badly and that rather looks like a large hotspot at f/1.8, but it probably isn't. That would be worse on smaller apertures (more towards the bottom right image). Although vignette itself rarely bothers me, if you want rid of it that process can add noise in the corners when pushing exposures. I also found Photoshop's lens profile didn't fully remove it. I hope this is because it's not properly calibrated, rather that a filter issue.

For pure infra-red shooting this lens produces some of the cleanest results that I've seen. In this worst case scenario for IR hot spots it's near perfect right up to f/22. After testing the 35mm f/2.8 lens from Zeiss I honestly expected there to be more issues here. It does start to produce a light disc opposite bright areas during the last two stops, here's a boosted example to better illustrate the issue:

However, it occurred to me that the cause of this problem may not be internal at all. Perhaps this lens is so good at bouncing stray light back out to the world that it's getting caught by the flat surface of the filter and coming back to the sensor, at angles it can't be designed to cope with. Here's an image (the normal one of which you can find in the samples below), boosted in Photoshop to show a reflected image of the bright building on the opposite side of the frame:

This suggests to me that any brightness I am getting here at all is filter related. Also the super dark corners look like the filter itself might be causing some of the vignetting. I will test that on a full spectrum image soon. If only I had a 850nm converted IR Sony A7 as well I could tell for certain if the external filter is the main issue. I will do some more tests and come back with some more info as soon as I can.

This next set was shot using a Hoya R25A filter. On a full spectrum camera this is very similar to a 590nm conversion. Things get even cleaner still here, in fact the only issue I see to any degree this time around is vignetting. This is also true of the 850nm B&W test, but on the more neutrally toned sky it's a bit more obvious. It's also affecting the colours in the corner, which can cause issues with channel swapping false colour infra-red processing.

Here is the same +3EV boosted f/22 shot (this time in colour). As you can see the bright disc is gone. All that's left is natural haze and a bit of pesky vignetting (yes, even at f/22).

Competition

Currently there are no other autofocus 50mm lenses for the Sony A7 series, but I will find something. Technically you could use a Canon 50mm f/1.8 STM with an AF adapter (and I will soon), but it will be a mostly frustratingly experience, at least on the first generation A7 bodies. On the mkII models it will work a lot better because of the added support for phase detect AF. However if you can afford one of those bodies you'll probably also want the resolving power of a lens like this, which is similar to what you get with lenses like the Sigma 50mm Art or the Zeiss Otus. This kind of quality doesn't come cheap or compact (for their respective speed) though and it can often destroy the pretty bokeh aesthetics too. That does happen here, but there is still the typical 3D pop feeling with this lens. For example - close portraits at f/2.5-2.8 can be extremely stunning.

If you're not interested in eye-bleeding sharpness or autofocus then I highly suggest looking elsewhere. You could pick up something like a 50mm f/1.7 from Pentax of Konica. It's a smaller package, even with the metal adapter (although slightly heavier), but how does a lens like this compare to the Zeiss optically... in infrared of course?

Click the image to see it full size

The above samples are from both lenses at their widest apertures. The corner performance differs wildly here due to haze. This issue affects many fast 50mm lenses, when shooting at greater distances and can start from just 1m. It's an issue that is alleviated greatly by stopping the lens down, sometimes one stop is enough and sometimes not. In this regard the Zeiss performs ridiculously well, showing almost no haze at f/1.8. However, if you stop both lenses down to f/8 the sharpness levels between the two are pretty much indistinguishable and right to the corners too. This is a testament to the fantastic value Konica lens, but it is true that many 50mm lenses perform well at middle apertures due to the focal length being a relatively easy one to manufacture.

Conclusions 

Although the last 2 full stops of aperture (f/16 - f/22) are capable of causing hot-spot related issues, it’s only true of pure IR (850nm), in extremely rare circumstances and so subtle you might never notice it anyway. At these settings diffraction is a bigger problem and that's not specific to infra-red. To all intents and purposes this lens' IR performance is extremely good! It's some of the best I've seen on any lens, since that's getting increasingly rare on more complex modern optics it makes this lens extra special for multi spectrum use.

A slightly bigger issue (but still nit picking for most people) is the vignetting. Now I wouldn't normally worry about this, but with IR it can cause a couple of problems when extreme. Corner specific noise when trying to remove vignetting can crop up due to how far IR values sometimes need to be pushed. It can also throw off the colours when pushing them around after channel swapping colour infra-reds (560-720nm). Although vignetting happens on all lenses I really expected better results from such an expensive and slow lens. f/1.8 almost seems like a joke at this price for a 50mm. Several cheap lenses from the 70s perform better and especially when stopped down. This is still a pretty minor issue, it mostly bugs me for it's price point, like the plastic filter thread.

While you could argue that this lens is a little overpriced for a 55 f/1.8, despite its amazing image quality, if you're an IR shooter as well it's an easy choice if you can afford it.

General Pros and Cons

    Pros (rated out of 10 for how awesome they are)
(10) - Sharpness and contrast is simply stunning all round (just like colour)
(9) - Accurate and silent auto focus
(7) - Good construction (metal... mostly) and great balance
(7) - Included lens hood is very nice & comes with a nice case

    Cons (rated out of 10 for how annoying they are)
(8) - Plastic filter thread (A common trend on new lenses, but unforgivable at this price)
(5) - DMF focusing is great, but inconsistent speed and lack of feedback make it difficult to use
(5) - No Aperture ring & 1/3 stops make scanning through the range painful
(2) - Strength of vignette removal often adds noise to IR

Overall Score (Colour IR): 9.5/10

Overall Score (pure IR): 9.5/10
Extremely Highly Recommended

   IR Samples

Here are some b&w infra-red images, taken with the B+W 093 filter (on the full spectrum Sony A7). This filter has a 50% transmission at 850nm (the amount of visible light that passes through this filter is nominal).

 f/1.8

 f/5.6

 f/8

f/5.6

f/2.5

Here are some colour infra-red photos taken with the Hoya R25A (Red) filter (on the full spectrum Sony A7). This is equivalent to about a 590nm conversion. All images (accept tge cellist) are processed using the 'false colour' technique:

 f/8

 f/7.1

 f/7.1

f/5.6 (fake tilt-shift)

 f/5.6

f/1.8

Bonus - Multi-Spectrum Sample

Here's an example of this lens performing in UV, colour and IR. This is using the following filters (from left to right):

Baader U
Kolari Vision Hot Mirror
B+W 093

I have put the exposure values below so you can see how much light the lens lets in for each (mostly interesting for UV - seemingly worse than the Sony 28mm f/2 lens - shocking). These were landscape images of my brother in-law, but I cropped them to portrait so that they better fitted into a single image.

A Year On With The Full Spectrum Sony A7

Sony A7 & Voigtlander 35mm f/1.4 lens, with UV/IR blocking filter

It's now been a whole year since I sold my Nikon D3 DSLR, bought a Sony A7 and had it converted to full spectrum by ACS (See the original review here). So am I happy that I made the switch to the A7 and defaced a perfectly good camera? Almost categorically yes. It's not a perfect system, but I do love a lot of what this system has to offer.

   Best & Worst
What I absolutely love about this camera is it's potential for experimentation. The conversion opens up a lot of colour processing potential, but the easily adaptable Sony FE mount has been equally brilliant as well. Pretty much any 35mm format lens works on this camera in full frame and without any corrective optics. This means cheap, reliable adapters that allow huge catalogues of great legacy lenses to be used and for relatively little money. Of course you're stuck mostly with manual focus, but the two focus aids (zoom and peaking) make this a surprisingly friendly experience.

Personally, I can't say enough good things about the A7 system's legacy lens support. However, if you're looking for reasonably priced, compact and fast autofocus lenses then it could be one of the worst choices around. To date I still don't have any native (AF) Sony lenses*. This is partly because they're expensive, but they're also not very fast. For the price of the Zeiss 55mm f/1.8 I've managed to buy most of the lenses you see in the photo above. These are extremely fast by comparison (for their respective focal lengths). That said, I do acknowledged that the Zeiss lens's performance is very impressive. I can see myself buying a Sony lens at some point in the near future, I'm just in no major rush.

* UPDATE: I have now bought my first Sony AF lens, in the form of the 28mm f/2. This small, light and relatively cheap lens is great and will no doubt lead me into the rest of Sony and Zeiss' range later down the line. I hope to do a review on this soon. Spoiler: So far every E mount lens I've tried has had issues with infra-red and caused undesirable hotspots, but more on that soon.

   Alternative AF
If you're interested in using Canon EF lenses in autofocus on the A7 then I can say it works pretty well. Aperture, Exif and focusing all works, but there are a few caveats to that:

Firstly the focusing is slow, like really slow and in low light it will just hunt... slowly. Secondly no AF adapter works with every Canon lens, so check their supported lens list if you're going to get one. Thirdly- and I guess this could be a money saving tip - don't think that the insanely expensive 'Metabones' adapter does anything better than one of the cheap ones, it doesn't. So I wouldn't consider this as a proper alternative to a Sony lens, but it can do in a pinch. All that said, I am still very impressed by this thing. It communicates the lens info well with the body and it even gets all of it's power from the body, not even the Sony adapter does that (although I know why). Combined with the small and cheap Canon pancake 40mm lens it's a pretty nice size and weight. This lens is generally very good and has almost no IR hotspot issues. The focusing is also really quiet because of the STM motor.

   Filters
Native lens and AF adapter issues aside, the remaining troublesome aspects of the the A7 as a full spectrum camera are related to filters. You'll probably want a lot and especially if you have a lot of legacy glass. Step-up rings will get you so far, but you probably won't enjoy using them. I have about 40 filters and still want more. However, with what I know now I could make do with a much smaller number. If I were to start over I would plan for this by keeping the number of different filter sizes I'd need to a minimum. This could be done by carefully selecting a single general purpose zoom or a small collection of primes with the same filter size. For example the following Nikon AI-S lenses all use the 52mm filter size:

24mm f/2
35mm f/2
50mm f/1.2
85mm f/2

Then I would make do with only the following three filters:

• Hot Mirror (this is not the same as a UV/IR cut filter**) - for normal colour photography
• 850nm (B+W 093) - for high contrast b&w infra-red photography
• Red (basic red, or Hoya 25A, this is about 600nm) - for colour infra-red photography

If I'm honest these 3 filters are all I really need. If I had known this a year ago I could have saved a bunch of money. The Red filter can be picked up for very little money, it's even easy to find second hand, often for next to nothing. The other two, although normally much more expensive, will be worth their weight in gold for a full spectrum camera. So if you just spent all your money converting an A7 this basic principle could be just what you need.

** When it comes to shooting normal colour on a full spectrum camera, I didn't do my research. I assumed that a UV/IR cut (or 'blocking') filter would put the colours back to factory default. Many poor purchases and several months later I finally realized this was incorrect. What I needed was a proper 'hot mirror' filter. These work by absorbing invisible light, rather than reflecting it, which makes a huge difference in capturing realistic colours. UV/IR cut filters have a strong red cast which varies across the frame and is impossible to completely correct for in post (there's just not enough play in the white balance of the RAW colour range). Here's a comparison to show you better what I mean:

With the hot mirror filter found and colour issues sorted, full spectrum is a very versatile animal, but there is one more down side to using external filters. Even the best quality filters can't deal with light hitting them in the same way that a lens's front optic can. Any shot you take where the sun or artificial light hits the filter will have an additional flare. If this is likely to bother you (and it does me) then it will make you prey for a simple infra-red conversion, but there's light on the horizon for legacy lens users. DEO Infinity has invented an adapter (called the 'OWL'), that fits 52mm filters behind the lens.

Although the Owl will fix a few image quality issues, it unfortunately bring a few other problems to the table. Firstly it's not as cheap as a normal adapter, although this is only really annoying because you'll need one for each of your legacy lens mounts - again. Secondly, by changing the filter you introduce an extra way to get dust on your camera's sensor. On the flip side - changing lenses (for the same mount) will actually reduce dust exposure. 52mm filters are reasonably priced and you might find you already have a bunch (like me with 14 of the buggers). More impressively you can also use these cheap little filters on super wide-angles or fisheye lenses that can't normally take filters at all. My favourite feature for full spectrum is that if you get a few spare filter holders then changing your spectrum can be a much quicker process. I have ordered an OWL adapter, but I'm not too sure when it will be released. Watch this space though, I will write an in-depth review when it arrives...

   The Benefits Of An EVF 
An electronic viewfinder (EVF) is an absolute marvel for shooting invisible spectrums, like infra-red. Here are some of the features that I like about using it:

• The viewfinder doesn't shrink when using crop lenses
• The possibility of light leaking through the viewfinder is eliminated 
• You can't blind yourself when looking into the sun

And here are the ones that I've grown to absolutelt love (especially for IR):

• Super-imposed horizon level, histogram and focus peaking
• Colours / tones of the spectrum you're shooting in can be seen while shooting
• Correct exposure can be seen, no more horrendous mistakes
• Corrected white balance can be seen
• True focus can be viewed and zoomed in on, no more IR offset worries

Coming from an SLR the EVF was a bit of a shock, but I soon go used to it. There are only a couple of down sides to it realistically and they're not that bad.

• Not being bale to see anything while the camera is off
• The EVF takes more battery power
• Display FPS can slow down in low light, although not a huge issue with fast glass

    Pre Conversion

I kept the A7 for a week before sending it away for conversion. This gave me the chance to see if everything was OK and also take some shots for later comparison. Here are some random samples (pre-conversion):

Kew Gardens, Richmond - Golden Peacock - Nikon 85mm

The flip out screen was amazing for this shot. I simply could not have captured this without it. It's not that I'm against rolling around in the dirt, but if I had it would have frightened the glorified chicken away.

Knightsbridge, London - Ferrari Dealer - Nikon 85mm

    Summary
Overall I am still extremely happy with the Sony A7. It's a great little camera with a lot of scope for experimentation. The lens compatibility would be my favourite aspect if it weren't for the conversion. As a choice for this infra-red project the Sony A7 was perfect, but there are a couple of things that I'd like to see improved. Here are a few negative bullet points about this camera (rated out of 10 for annoyance):

• Body is a bit plasticy and feels fragile (although it's nice and light) - 3
• Battery life is very short (although, again, this helps the cameras be nice and light) - 5
• LCD screen is always exposed leaving it open to damage (but it's quick to use) - 2
• Confusing buttons and uncomfortable layout - 7
• Menu and C2 buttons very hard to press - 5
• Custom button options need work * - 8

* Custom button functionality is a great feature and there are several buttons available to customise here. The down side is a lack of useful finctions available to assign to these buttons and this is rather frustrating. It has some nice options, but most of what I wanted just wasn't there at all. I would really like the following features (rated out of 10 for potential usefulness):

• Switching between LCD, EVF and Auto view would be great. Currently you can only assign a button to turn off the LCD, but it only switches off the feed (the back-light stupidly stays on) - 10
• Auto ISO toggle button (this is even more useful than a hardware ISO dial) - 9
• Focus check as a toggle for quick operation. Currently this is a two button press - 8
• The ability to change the minimum shutter speed before ISO values drop (1/60th only is pretty useless for me because I either shoot with a 35mm or 85mm lens) - 10

OK that's enough bitching, here's the parts that I do like (rated out of 10 for awesomeness):

• 1/8000th shutter * - 10
• Very generous buffer considering it's an entry level model * - 10
• Rotating screen is great for low angle shots - 10
• Nicely placed video button for still photographers. Out of the way, but easy to get to - 7
• Video starts recording with one button press & in any mode - 9
• The ability to output uncompressed video - 9
• Adaptable mount - 10
• Focus Peaking for manual focus - 9
• Rear dial is also a directional switch and works well - 8
• Exposure compensation dial has nice friction - 9
• Exposure compensation works in Manual mode (with ISO) - 10

* The Nikon D600 is more expensive and has neither of these things!

    Post Conversion (IR photos)
Here are a few of my favorite infrared images taken with the converted Sony A7 over the last year

Konica Hexanon 40mm f/1.8 - Hoya R25A (red) - 1/250th, f/8, iso 100

Nikkor 135mm f/2 DC - B+W 093 (850nm) - 1/400th, f/2, iso 100 (P*14)

Nikkor 85mm f/1.4 D - Hoya R25A (red) - 1/320th, f/8, iso 100

Pentax-K 200mm f/2.5 - B+W 093 (850nm) - 1/320th, f/2.5, iso 100 (P*25)

Canon FD 135mm f/2 - B+W 093 (850nm) - 1/200th, f/2, iso 200 (P*40)

Nikkor 85mm f/1.4 D - Hoya R25A (red) - 1/320th, f/8, iso 100

Nikkor 85mm f/1.4 D - B+W 093 (850nm) - 1/160th, f/11, iso 100

Nikkor 50mm f/1.4 D - Heliopan Red - 1/320th, f/8, iso 100

Konica Hexanon 40mm f/1.8 - B+W 093 (850nm) - 1/160th, f/1.8, iso 100

Nikkor 35mm f/2D - Heliopan Red - 1/500th, f5.6, iso 100

Nikkor 85mm f/1.4 D - B+W 093 (850nm) - 1/160th, f/1.4, iso 320

Nikkor 50mm f/1.4 D - Heliopan Red - 1/160th, f/8, iso 100

Nikkor 85mm f/1.4 D - Hoya R25A (red) - 1/3200th, f/1.4, iso 100

Konica Hexanon 40mm f/1.8 - Hoya R25A (red) - 1/160th, f/8, iso 100

Konica Hexanon 40mm f/1.8 - Hoya R25A (red) - 1/80th, f/8, iso 100

Konica Hexanon 40mm f/1.8 - Hoya R25A (red) - 1/1600th, f/1.8, iso 100

Nikkor 85mm f/1.4 D - B+W 093 (850nm) - 1/320th, f/2.8, iso 100

Konica Hexanon 40mm f/1.8 - Hoya R25A (red) - 1/1250th, f/1.8, iso 100

Nikkor 35mm f/2D - Heliopan Red - 1/160th, f8, iso 100

Konica Hexanon 40mm f/1.8 - B+W 093 (850nm) - 1/200th, f/4, iso 100

Konica Hexanon 40mm f/1.8 - Heliopan Red - 1/160th, f/1.8, iso 160

Nikkor 85mm f/1.4 D - B+W 093 (850nm) - 1/1000th, f/1.4, iso 100 (P*38)

Mitakon 50mm f/0.95 - None - 1/50th, f/1.4, iso 2000

Mitakon 50mm f/0.95 - B+W 093 (850nm) - 1/1600th, f/0.95, iso 160

Nikkor 35mm f/2D - Heliopan Red - 1/250th, f8, iso 100

Mitakon 50mm f/0.95 - B+W 093 (850nm) - 1/6400th, f/0.95, iso 160 (P*9)

Mitakon 50mm f/0.95 - B+W 093 (850nm) - 1/320th, f/1.4, iso 100

Nikkor 85mm f/1.4 D - Hoya R25A (red) - 1/2000th, f/1.4, iso 100 (P*53)

Nikkor 35mm f/2D - Schott IR 665 - 1/320th, f8, iso 100

P*14 = A panorama stitched together from 14 individual images.