Following the interview I conducted with him last year, Sigma CEO Kazuto Yamaki invited me to ‘visit home’, as it were, should I ever be in Japan. I took him up on that offer following the Tokyo Masterclass in November. Of course, Sigma’s production facilities aren’t located in Tokyo (even though the design and marketing parts of the firm are): far from it; a number of modes of transport brings us to Bandai, where the factory is. We were graciously hosted by Kazuto-san and Shinji-san, who works in international marketing and is Kazuto-san’s cousin. Sigma, as I found out earlier, has always been a family business. And that allows them to take an interesting approach to lensmaking.
Yes, it still balances. Not taped up because I hadn’t gotten around to it at this point.
I’ll be the first to admit this is an unusual camera for me to bother reviewing, and an even more unusual one for me to land up buying and using fairly extensively. But I think all will make sense by the end of the post. The D5500 is the fifth and latest in the line of consumer-grade articulating-screen Nikon DSLRs, starting with the D5000. It has a single control dial, a fully tilting and reversing touch LCD, the 24MP AA-less Sony sensor of its senior D7200 sibling, 5fps 14bit (compressed, though) shooting capability, and the lightest, smallest, most compact body of any Nikon DSLR to date. Did I mention it has a carbon fiber monocoque to keep weight down and rigidity up?
Let it never be said I don’t put my money where my mouth is. The full recommended gear list is here.
Another year is coming to a rapid close (where did it go?) and we find ourselves at the end of one of the best years in some time for both the photographer and the equipment collector. We’ve seen some genuinely innovative technology, some yawns, some WTFs, and some boundary pushing to find that last 0.01%. What follows is both my year in review and a wishlist in case you don’t know how to spend your year end bonuses…
Note: some of you may have seen a different post go up this morning. I apologise – that’s meant to be for another day, and once again the WordPress scheduler has messed up after my computer changed timezones…
Images courtesy respective manufacturers, composited to roughly correct relative size – my samples had to return home before I got a chance to put them together in the studio for th usual product shoot, and I’m still awaiting delivery of my own personal lenses.
I’ve recently had a chance to shoot a) the best two wide angles available at the moment, and b) shoot them against each other on the same camera body. This is not a direct comparison. There are however limitations to the testing – very limited time* and no way to mount one without. Furthermore, the lenses were both final preproduction prototypes, which could mean they are either good samples because they’re hand adjusted…or there’s some variance, because…they’re hand adjusted. Tests were performed on a Sony A7RII body mounted on a Arca-Swiss P0 head and RRS24L tripod – i.e. sturdy – and released via IR remote. The adaptor used was a Metabones Nikon G-NEX model, tested and found to be good with various other lenses including the Zeiss 28 Otus. However, it’s worth noting that the shorter the focal length, the more sensitive a lens is to small skew because only very small movements are needed to change effective focusing distance. I’m sure many other limitations in methodology can be found, but remember we are aiming for the best we can do in field conditions without giving one lens or the other a sensor-based advantage. Observations must therefore be taken as preliminary.
*Literally, about an hour after dark during a recent visit to Sigma HQ in Aizu, Japan. Crops are 100% where stated; I will not be posting full size images because IP rights sadly don’t seem to mean a thing online.
The challenge we have now is no longer one of insufficient lenses: it’s almost one of too many. Having spent the last few months navigating the options and trying to figure out which of them work best for me, I now feel qualified to write this post which will a) explain the differences, b) make some recommendations both for the various series of lenses and within them as a whole. It’s worth noting that these comments and lens options apply to mirrorless cameras in general, though I’ve chosen Sony FE specifically because a) I own the A7RII, and b) there are several ‘native mount’ options that are available for Sony that aren’t for other systems – the first three on the list for starters, and won’t adapt because they require electronics*. I do honestly wish they’d thought out some of the naming better, though – it just lands up being both confusing for photographers and a bit of nightmare for their marketing team.
Not an unpronounceable algorithm for a consulting firm or a new Cadillac, but the 2015 Leica SL Typ 601. The SL is probably closest to an S (S Light?) and really does blend the choice bits of the DNA from each these three cameras into something that takes the fight to the Japanese brands – albeit with a few caveats.
Notes: I’ve had a few days with a final pre production SL and 24-90 thanks to Leica Asia Pacific, which is enough to form some preliminary impressions but further testing of a production sample will be required to evaluate all elements of the performance envelope. Sean Reid also has additional testing. More images from me with the camera can be found in this flickr set, and you may recognise some images from the Paradise Lost series. Images were processed using Photoshop Workflow II and The Monochrome Masterclass.
28, 55, 85. A pretty versatile core set for pretty much any purposes. And now fully filled out by the latest in the Otus series, the recently-announced 1.4/28 APO-Distagon. Advance warning: this is not a general purpose lens, nor is it the kind of thing you can deploy casually. That is merely the nature of steeply diminishing returns; there are no gains without significant incremental effort. And we’re really talking about pushing the last 1% here. If you’ve not felt anything lacking in your images, then I suggest you stop reading here and save yourself a lot of money, because chasing perfection isn’t cheap…
The cover was lifted on the new Otus yesterday – a 28mm f1.4, as expected, and a 21mm f2.8 Loxia a couple of days earlier. The Otus is a 16/13 Distagon design and uses quite a large array of exotic glass and aspherical elements; it’s also quite large (95mm front thread) and has significant weight – but then again, what do you expect from an APO-designated f1.4 wide? From my experience with it so far, it is once again proving to be the reference lens in this focal length. Delivery is expected to be in 2Q 2016.
I was fortunate enough to spend the last three days at Zeiss with Lloyd Chambers (update: his blog entry is here) – with a level of access that I suspect that has never been granted before to independent external parties. They were gracious and first class hosts – I don’t think I’ve had that many types of non-alcohlic beer before. We asked every question we could think of and more, and received answers which we had never expected and at a level of depth that has left me deeply, deeply impressed with what the lens team is doing out in Oberkochen. This may seem like a strange way to talk about the new announcement, but bear with me for while; there is method to the madness.🙂
Most asked question via email for July/August 2015: “What do you think of the Sony A7RII?”
Second most asked question via email for July/August 2015: “When will you be reviewing the Sony A7RII?”
Fanboys should stop reading now. There are uncomfortable truths contained within this post. [Read more…]