The lights of Tokyo always form an irresistible backdrop to some interesting characters; for what must be the fourth or fifth year running, I’m back (I’ve honestly lost count) at what I consider to be the best season – autumn, before the weather gets unpleasant, the skies are still blue, and there’s an orange leaf or twenty. An unusually warm summer this year resulted in not much of an autumn – the leaves weren’t anywhere near as extensive as in 2013, and in 2014 I was a week too late – ah well, the vagaries of nature. Nevertheless, Tokyo is so extensive that I feel as though you could live there your entire life and barely scratch the surface photographically. On this trip, I tried out some different hardware for cinematic work compared to my normal 55/85 Otus – I wanted to see if smaller, lighter could also apply to cinematic work albeit with slightly reduced maximum apertures. I used the Zeiss 1.8/85 Batis (Sonnar) and the Zeiss 2.8/85 Sonnar, an older Contax design. What I found was the Sonnar actually produced a more pleasing rendering for this purpose – the Batis is razor sharp but I somehow prefer the softer, more rounded properties of the older lens – especially for out of focus foregrounds and skin. It is stronger at middle and close distances because of this; the Batis excels at longer distances because it differentiates between planes more easily. Neither is as good as differentiating as the 85 Otus, but that’s also a faster and better corrected (apochromatic) lens – the price we pay there is occasionally nervous bokeh and some onion rings under certain conditions. I digress: it is of course about applying the right tool to the right situation to get the desired images…enjoy! MT
This series was shot with a Sony A7RII, Zeiss 1.8/85 Batis, Contax Zeiss 2.8/85 Sonnar MMG and Zeiss 2.8/21 Loxia and post processed using the Cinematic workflow in Making Outstanding Images Ep.5. You can also look over my shoulder at the underlying postprocessing in the Weekly Photoshop Workflow series.
