Things Probably Best Not Done – But….

The Sigma 50mm f1.4 Art lens has proved a bit of a star on a Canon 5d MK2 and a 60D. I use old Oly lenses on an EPL5 via a Micro Four Thirds to EF adaptor fronted by an EF to OM adaptor (you can see where this is going) which means it’s possible to mount the Siggy on the EPL5, so it had to be done, purely for experiment’s sake.

Olympus EPL5, Sigma 50mm f1.4 Art

Good start.

The first thing to realise is that there is only one aperture available – f1.4 – there is no electronic communication between lens and camera using this adaptor, and no external aperture ring. At f1.4 this lens is sharp, so maybe there’s some potential.

The second limitation is no autofocus, but the EPL5 has a VF4 viewfinder attached which is great for manual focus using ‘focus magnify’.

The third is that this combination is somewhat out of balance, the EPL5 looking like an end cap. Still I can carry the lens with the camera hitching a ride.

Olympus EPL5, Sigma 50mm f1.4 Art

One aperture, no AF and ridiculously unbalanced – it’s got to be done!

However it is a 100mm f1.4 equivalent and the EPL5 has ‘in camera’ image stabilisation so worth a try…

Olympus EPL5, Sigma 50mm f1.4 Art

A handsome model down at the allotments. Good isolation and bokeh – this could be useful.

‘Macro’ is around 40cm, but with a 100mm equivalent on the EPL5’s small sensor you can get in quite close :-

Olympus EPL5, Sigma 50mm f1.4 Art

Good colour using the ‘i-enhance’ colour profile. If you need greater depth of field – tough – there’ only f1.4

Using ‘focus magnify’ is interesting – it’s very precise but the magnified display in the VF4 jumps around when hand held making things tricky. Maybe a tripod is called for.

Olympus EPL5, Sigma 50mm f1.4 Art

This isn’t too bad at all – if you can nail the focus.

Good for closer stuff, but how are things at further focus distances? It’s the mill again…..

Olympus EPL5, Sigma 50mm f1.4 Art

The complete frame focussed using the VF4 as best I could. At this size it looks sharp enough.

Olympus EPL5, Sigma 50mm f1.4 Art

The centre of the image.

This is odd – there’s more chromatic aberration but that’s probably down to DXO Optics 9 not doing auto correction (these images are straight conversions). Parts look sharp but others don’t – strange! As this camera and lens combo wasn’t meant to be used together it’s not too surprising. The lens adaptor may also be partly to blame as it’s not a very good one…

Olympus EPL5, Sigma 50mm f1.4 Art

Couldn’t agree more!

Is this combo useful? I certainly wouldn’t suggest buying an expensive lens like this for use on an EPL5 with no aperture control or AF – a Zuiko 50mm 1.4 with external aperture control would be better and much cheaper even if the performance at f1.4 would be inferior to this lens. If you’ve already got one though it might be useful where you need a 100mm equivalent lens at f1.4 (portraits in low light, stage photography etc).

Thanks for looking – hope you find this useful – or at least some fun!

An OM Zuiko 50mm f3.5 Macro on a Canon 5d MK2

Hanging around the 50mm focal length in these tests (I seem to have a few 50mm lenses), it’s time for a 50mm macro. I tested this lovely old lens on a Canon 60D (here) some time ago and found it to be pretty good on a ‘crop frame’ sensor. The predictable question is – what’s it like on full frame? All shots in aperture priority, ‘evaluative’ metering mode, shot in RAW and converted in DXO Optics 9.

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

At minimal focus distance – this lens gets you quite close!

This is an old OM series lens from the film days – an adaptor will be needed to fit it to a modern DSLR.

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

Here it is at infinity focus, compact, light and generally rather satisfying to use.

The lens is an ‘old school’ quality all metal affair with a smooth focussing rack going from infinity to 23 cm in almost a full turn. Obviously there’s no autofocus or image stabilisation – these features weren’t invented when this was made. Note how much of that turn is past 1 metre in the shot above – fast, fluid focussing makes this lens a pleasure to use.

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

At closest focus distance and fully extended.

To give you a rough idea the closest focus distance is around three inches/seven cm in front of the lens – it can go closer but you’ll have to read on to find out how! At this closest distance, reproduction is around 1/2 life-size (i.e. the subject is 1/2 as big on the sensor as it is in real life).

Onto a few samples then – and before we start, shooting these was some of the best photographic fun I’ve had in a while. Looking for shots at this scale is very absorbing and time-consuming. If you’re going shooting with any companions make sure they’re patient and understanding!

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

Taken at f3.5 using the ‘gently move the camera back and forth until the subject is in focus’ technique. Sharp enough I’d say.

Focussing on the 5D’s default screen is quite easy – depth of field is very shallow at these distances at f3.5, and it’s pretty obvious when things are in focus. The major problem is camera shake – keep the shutter above 1/250th with a higher ISO if necessary.

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

A classic subject for a macro lens – taken on an overcast day at f3.5. The bokeh is nicely behaved and unobtrusive.

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

Shooting hand-held at arm’s length on the LCD is a bit tricky (these were seven feet off the ground on the tree)  but it sometimes comes off.

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

The colours are natural, the only oddity being that an ‘auto levels’ in Photoshop produces a green or blue tinge. This isn’t unusual when shooting with older lenses.

Good so far, especially given that these are all hand-held. To get a bit closer let’s dig out the old OM extension tubes…

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

These all metal Olympus extension tubes were bought second-hand when I was a student some 30 years ago, and have paid for themselves several times over. Amazingly they come in three velvet lined boxes – a cut above modern kit packaging! I always feel rather spoilt when they’re used, and it’s quite nostalgia trip.

The extension tubes are 7mm, 14mm and 25mm deep and extend the distance between the lens and subject allowing for higher magnification. With the 25mm tube the reproduction ratio is 1:1 – i.e.  the subject image is as large on the sensor as it is in real life. Using the front half of the ‘Kod Pus‘ as a subject – an old folding Kodak rollfilm camera – this is as close as the lens gets without any extension tubes.

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

Without extension tubes this is as close as you can get. The front lens is about 14cm / 1/2 an inch in diameter.

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

With the 25mm extension ring (1:1).

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

With all three rings stacked (46mm extension and quite a bit greater than 1:1!).

Using extension tubes really tests the resolution of a lens as only a portion of the image circle strikes the sensor – the greater the extension the smaller the segment used. Still, these aren’t too bad at all – even if those markings are rather confusing – Marine?

Canon 5d Mk2, Zuiko OM 50mm f3.5 macro

Back outdoors again – even at f3.5 at close distances the shallow depth of field can look quite ‘expensive’.

All in all then a sensible, well-behaved lens which shows good to excellent results even when hand-held. If you can live without AF and IS, save  some money- they’re quite common on the second-hand market at around £100, but the extension tubes are relatively rare and I’ve no idea how much they go for – glad I held on to mine! There is an f2 version, but that’s rare and pretty expensive.

Warning – if you do get this (or any macro lens) be ready for slow progress on photo days out…

The tech specs for this (and lots of other old Zuikos) are here.

If you’re interested in using other MF lenses on your DSLR have a look at the other reviews on the film, camera and lens review index tab.

Thanks for looking – hope you find this useful.

The Sigma 50mm F1.4 ‘Art’ on a Canon 60D

Having played around with this lens on a 5d Mk2 (here), I had to try it on an APS-C Canon 60D. Sharing the same EF mount, it will be an 80mm equivalent but testing against the 60D’s greater pixel density (18mp in a smaller sensor) should be interesting.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

A good start at f1.4 – smooth bokeh, focus correct with good colour.

I feel it’s rather well suited to the smaller 60D body – a good balance with a bright viewfinder due to that 1.4 aperture.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

At close distances – lovely! f1.4

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

For close-ups (the min focus is 40cm) at 1.4 this lens produces dramatic isolation and blurred away backgrounds. f1.4

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

At close focus distances the bokeh can be surreal – those two dark peaks in the background are yew trees. f1.4 at around 60cm/two feet at f1.4. These extreme effects – stronger than a Zuiko/Canon EF 50mm 1.4 are probably down to the larger front element of the Sigma (6 cm vs 3.5 cm) which is designed to reduce vignetting.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

At longer distances the sharpness shines out. It’s difficult to believe this is at f1.4 (it is – I promise)!

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

It does have other apertures….. At f8 sharpness and contrast are exemplary.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

Sharpness at the edge is better on the 60D – this isn’t really the edge of the full frame image circle so it should be.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

More leaves, spectacular bokeh etc etc (you’re getting the idea).

So – you guessed it, quick test time for something approaching a scientific test – the full scene with which you may be familiar. Centre AF point only.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

The first, and major problem is the the autofocus on the 60D mis-focusses quite often – much more so than the 5DMk2. The initial series had to be re-shot with manual focus.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

AF result at 1.4 – not good.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f1.4, manual focus – better. There’s a bit of CA – more than on the 5D, but this can be removed manually (the DXO profile has already had a bash at these but not quite succeeded).

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

1.4 edge – excellent

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f2 – faultless

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f2 edge

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f8 centre

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f8 edge – this is even resolving more of the mesh across the chimney entrances!

After the results from the 5DMK2 this isn’t exactly unexpected – this is an exceptionally sharp lens on full frame, so APSC results should be too. There’s more chromatic aberration than on the 5DMK2, possibly a result of the DXO optics module not being so well tuned – it should already be removing it as part of its default processing. It’s easily fixed with some manual adjustments.

The biggest problem on the 60D is the greater proportion of mis-focussed shots using autofocus. This can be corrected using the optional USB dock, but I wouldn’t relish the prospect as the problem seems to be quite random. It might also mess up focussing on the 5dMk2 which is fine out of the box and the camera this will be used on most of the time.

Why this is may be down to the less sophisticated AF in the 60D, or just the fact that it’s an older camera – on a 70D it might be fine. I’ll stick to using manual focussing at apertures less than f4 – it’s not that difficult when you’re used to it, and the results are spectacularly good when you get it right. Alternatively use live view where the results should be 100% in focus.

All in all, an excellent lens if you’re prepared to put some work in. Resolution at f1.4 is breathtakingly good at both centre and edge. Some may think it too sharp for a portrait lens, and as an 80mm equivalent its ideally suited to portraiture. However it’s easy to soften a sharp image, but not so easy the other way round!

Thanks for looking – hope you find this useful!

If you’re interested in using other lenses on your DSLR have a look at the other reviews on the film, camera and lens review index tab.

Initial Impressions – The Sigma 50mm F1.4 ‘Art’ on a 5D MK2 (lots of images)

I don’t usually post about modern lenses – there are lots of reviews out there already of any photographic kit made recently. However, this is the exception which proves the rule as this promises to be one of the best third-party lenses of recent years. All shots taken on a 5D Mk2, processed in DXO Optics 9. DPP (Canon’s RAW developer software) won’t help with distortion etc as this isn’t a Canon lens, but DXO has all the correction profiles available.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

What was hoped for. Contrast, bokeh, colours and sharpness (including spider’s web). A good start to say the least.

Having been distinctly unimpressed by the weak construction of the Canon 50mm f1.4 (it needed a £150 repair after a slight knock) I started looking around for a replacement, and there isn’t that much available which is affordable (i.e. not the Canon 50mm f1.2), optically sound and well-built. There is the manual focus Zeiss Otus available, but as I don’t have £3k+ free it’s a non starter (I’ve had cars cheaper than that).

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

Left – Canon 24-105mm f4 ‘L’, centre the Sigma 50mm f1.4, and for comparison with the way things were done in the past, the compact and excellent Zuiko OM 50mm f1.4. Amazingly the Zuiko is the equivalent of the Sigma!

Onto the lens. It’s big and heavy! It feels about as heavy as a Canon 24-105 f4 and it’s around the same size. Much has been made of this, but as I’m now used to the size and weight of the 24-104 on a 5D Mk2 it’s not really a problem. Build quality is excellent, the autofocus is quiet and the whole thing exudes a feeling of quality. Costing £700 it should I suppose!

Using Live View (CDAF) the focussing as fast as any lens on the 5D Mk2 (ie slow), using the viewfinder (PDAF) it’s as fast as the 24-105. Low light focussing seems as good as the 24-105 too.

Is it any better than the Canon 50mm f1.4 in the sharpness dept? At f1.4 through to f5.6, definitely and noticeably yes. After f5.6 they’re about the same.

Here’s the full picture in this quick test :-

_MG_8950_DxOs

What a surprise – it’s The Mill again!

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f1.4 centre – excellent for a 1.4 -

Update – having tested manual focus on a 60D here this may be ever so slightly out of focus when using autofocus – a little AF tuning required. Having done some MFA in camera adjustments -5 seems the best compromise for all distances (the correction required is different at various distances).

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

Here’s the result using Live View and manual focus shot on a different day – much more like it!

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f1.4 edge using autofocus and slightly mis-focussed – the trees are out of focus even at these distances (see later shots)

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f2 centre – AF

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f2 edge

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f4 centre – as good as it gets

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f4 edge

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f5.6 centre – astonishingly sharp!

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f5.6 edge – and again.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f8 centre

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

f8 edge – things soften slightly at f16.

 

What’s noticeable other than the superb sharpness, is that at wider apertures, the trees which are 100 yards or so further behind the chimney in the edge shots out of focus – see the shots at f8 where they are. This narrow a depth of field isn’t something you’d expect for a 50mm lens focussed close to infinity, illustrating just how important accurate AF is. For a much more professional discussion about this see Roger Cicala’s excellent post about using fast lenses here.

This shallow depth of field ‘problem’ explains why some users are initially disappointed with the results from fast lenses – these lenses are difficult to use wide open, you need to be very precise with your focus point and shoot a few shots each time as the focus can vary slightly – even a tiny amount with this narrow margin for error can be disastrous.

Let’s try another shot:-

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

Autumn on the way (at f2.5)

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

Centre crop – that is very sharp.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

Top centre crop – very sharp too.

Depth if field at close distances is tiny as you would expect :-

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

The Siggy at around two feet (60cm) at 1.4 – a centre 1/3 crop of a frame and that depth of field is around 1/8th of an inch (2-3mm). To get more in focus the focus point would need to be the centre of the bell rather than the bottom and maybe use f2.8. You need to be careful with this lens!

Contrast at 1.4 is OK, but picks up quickly – by f4 the lens shows quite strong contrast – maybe a ‘neutral’ rather than ‘standard’ colour profile would be best if you like to shoot JPEGs.

Colours are very good to excellent straight from the RAW files, with a tendency towards a cooler neutral look (the Canon 50mm f1.4 produced ‘warmer’ results) :-

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

It’s all going on here – shallow DOF, contrast, colour and bokeh!

 

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

My stand in portrait model at f2 – the hair really is blue.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

A crop from the centre. Focus on the eye is spot on!

Bokeh when the background is deeply out of focus is lovely, but when it’s ‘almost’ in focus it can be bit ‘busy’ :-

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

Very out of focus bokeh – this is as good as the old Helios 85mm f2 used in previous posts!

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

A full range of ‘out of focus-ness’. The intermediate distance bokeh displaying a slight degree of jitter with a detailed subject.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

This subject though – because it has less detail than the leaves – fades smoothly into soft bokeh.

Chromatic aberration is evident at wide apertures but DXO corrects it very well (sometimes with the manual sliders) -

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

A crop from the above – a hint of slight green and magenta on out of focus areas but for a shot at 1.4 this is excellent.

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

Centre(ish) crop

I didn’t need to do any lens callibration focus adjustments on the 5dMk2 (the Canon rather huffily just reports ’50mm’ for the lens in the MF adjustments screen!), and it looks as if it’s also fine on the 60D though this needs proper testing. I only ever use the centre focus point – edge points may not be as accurate.

I haven’t worried about vignetting – DXO does an excellent job of removing it (I didn’t see any in other words). I also tried to get some flare without the lens hood attached but wasn’t successful, which may mean the lens hood isn’t needed….

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

So, all as advertised it seems, but who is going to buy one given the price (3x the Canon version) and the weight? Other than me obviously.

It seems to me that this lens offers an alternative to the fast/sharp in the centre/blurry at the edge/heavily vignetted fast prime ‘look’ which has been accepted for years. To have a f1.4 lens which is sharp wide open at the edges opens up some interesting opportunities, whilst allowing for ultra sharp images across the frame at f5.6 onwards. Photographers who would like to make the most of this new wide aperture ‘look’ will find this attractive.

The weight is a non issue in my humble opinion  – if you’re carrying a full frame DSLR with a 24-104mm or 24-70mm zoom you already don’t care about weight and do care about maximum image quality (if you do care about the weight you may have the wrong camera system!).

Sigma 50mm F1.4 ART,Sigma 50mm f/1.4 DG HSM Art

Based on this initial series of images, the Sigma produces some of the best results I’ve seen. It’s not the easiest lens to use – where you place your focus point is critical, and choosing backgrounds with less detail provides better bokeh at mid distances (a universal rule not specific to this lens). If it had a proper aperture ring and image stabilisation it would be perfect!

Thanks for looking, hope you find this useful.

If you’re interested in using other lenses on your DSLR have a look at the other reviews on the film, camera and lens review index tab.

p.s I have no connection with Sigma – just using their products

Zuiko 50mm F1.4 on a 5D Mk2

A post from last year tested this lens on a Canon 60D, and found it to be an excellent manual focus alternative to a modern AF lens. As my Canon 50mm f1.4 is going for repair after a bash resulting in misaligned lens elements, the older 50mm has been resurrected. To illustrate the difference in construction quality, the all metal constructed Zuiko is 34 years old and has been knocked around over the years. The modern plastic made Canon lens has lasted 6 months of light use and failed at the first collision …..

Canon 5dMk2 Zuiko 50mm f1.4

Doing what it does best at 1.4. Shallow depth of field, heavy vignetting, and an ‘expensive’ look.

Anyway, gripe over, is it as good on a full frame sensor as on a crop sensor? On the 60D it’s a 80mm-ish equivalent lens, on the 5dMk2 it’s a proper 50mm.  You would use this as a general purpose standard lens on the 5DMK2 to create shallow depth of field effects, half length portraits and in low light – 1.4 is very fast. The filter thread is an economical 49mm, hence the B+W filter – unusual as I’m usually too cheap to pay for expensive filters. The EF to OM adaptor is the same old Fotodiox used for earlier posts.

Canon 5dMk2 Zuiko 50mm f1.4

Mounted on the 5DMK2 body – maybe a little on the small side for this body but it works well.

It looks a little small on the bulky 5dMk2, but not ridiculously so. It’s quite heavy and doesn’t protrude too much so is nicely balanced. Focussing is easy at f1.4 on the standard focussing screen.

Canon 5dMk2 Zuiko 50mm f1.4

Close focus at f1.4 is tricky as any slight movement after focussing moves the shallow depth of focus area – literally millimetres deep! Focus bracket if it’s a good shot. This figure is around 12 inches high.

Right then, onto the test area – the mill. It’s effectively a brick wall, but a very scenic one. If you don’t like looking at test results, look away now (well scroll down to the conclusion anyway). All shots processed in DXP Optics Pro 9, downsized and resized in Photoshop.

Canon 5dMk2 Zuiko 50mm f1.4

The full test frame.

At f1.4 :-

Canon 5dMk2 Zuiko 50mm f1.4

f1.4 centre crop

Canon 5dMk2 Zuiko 50mm f1.4

f1.4 edge

Soft and rather ‘ethereal’. Not bad for f1.4

At f2.8 :-

Canon 5dMk2 Zuiko 50mm f1.4

2.8 centre

Canon 5dMk2 Zuiko 50mm f1.4

2.8 edge

No problems here.

At f5.6 :-

Canon 5dMk2 Zuiko 50mm f1.4

f5.6 centre

Canon 5dMk2 Zuiko 50mm f1.4

f5.6 edge

Or here…

At f11 :-

Canon 5dMk2 Zuiko 50mm f1.4

f11 centre

Canon 5dMk2 Zuiko 50mm f1.4

f11 edge

At 1.4 images are a little soft with low contrast as you might expect, but by f2.8 things are sharp, the contrast has improved and the vignetting has disappeared. An excellent result all round and very useable, with performance peaking at f5.6 to f8.

Just out of curiosity I also shot this test frame using a 24-104mm L series lens at f8 at 50mm for comparison purposes.

Canon 5dMk2 24-105mm L f4

Canon 5dMk2 24-105mm L f4

The L series has an advantage as DXO knows what lens is attached so can do lens specific corrections, distortion correction and bespoke sharpening – something it can’t do for the Zuiko. The Zuiko can’t match the modern zoom for biting sharpness in the centre, but it is three stops faster and looking at these full size on a monitor (rather than pixel peeping) I’m not sure I’d notice the difference.

Canon 5d Mk2 Zuiko 50mm f1.4

The slightly greenish hue to out of focus areas is a feature of the old Zuiko (and many fast lenses).

In conclusion, it’s just as good on the 5dMk2 as it was on the 60D, with shallower depth of field (see equivalence), a super fast f1.4 max aperture and an ability to produce images with real ‘depth’. Get hold of one if you can. I’m rather glad I didn’t sell it six months ago!

If you’re interested in using other MF lenses on your DSLR have a look at the other reviews on the film, camera and lens review index tab.

Hope you find this useful – thanks for looking.

A Few More Rollei Blackbirds

Bruce Robbins on his blog theonlinedarkroom recently raised some interesting ideas about one of my favourite films – Rollei Blackbird. Having been concentrating far too much on digital (especially video) lately it seemed a good excuse to get out the OM2N and shoot off a few rolls. It was pure heaven!

Rollei Blackbird, OM2N

OM2N, Zuiko 85mm F2, closed down to f16 to give a shutter speed of 1/30th, plus some panning.

All shots at 100 ISO (25 ISO is too contrasty for me), developed in ID11 stock (identical to D76) for 10 minutes.

Rollei Blackbird, OM2N

OM2N, Vivitar Series One 70-210mm F3.5 Series One

Interestingly these two rolls seemed a little less contrasty than normal, and the developer didn’t turn end up with a dark fine sludge after use – in fact it turned yellow. This may be due to old developer (4 months old) or possibly the formulation of the film has been changed. Whether this confirms the speculation on Bruce’s blog that Rollei Blackbird is re-branded Rollei Retro 100 is open to debate, though it does muddy the water (if not the developer).

Rollei Blackbird, OM2N

OM2N, Vivitar Series One 70-210mm F3.5 Series One

There was a mixture of lenses used here. The Vivitar Series One 70-210 performed wonderfully as it always has, but I’d forgotten how heavy it was. The day became increasingly overcast which made focussing at F2 with the 85mm easier than the 70-210mm at f3.5.

Rollei Blackbird, OM2N

OM2N, Vivitar 70-210mm F3.5 Series One

All of these were taken on one day at a local fair, the vintage cars and carousel horses being the best subjects around.

Rollei Blackbird, OM2N

There’s something very attractive about some of the lines of old cars. New ones seem bland by comparison. 85mm F2.

Thanks for the link Bruce. I’m not sure I’ve answered the Blackbird/Retro question, but to me at least it doesn’t matter. Blackbird is still a favorite (along with Ilford PAN F) which produces results which are difficult to accurately ‘fake’ in digital, making its continued use worthwhile.

A few more examples of Rollei Blackbird shots are here and here.

Hope you like these – thanks for looking.

 

Upgrading from a Canon 60D to a 5D MK2

If you’re a Canon APS-C shooter who’s lusted after a full frame DSLR then this post is for you. It’s not a review of either camera – there are loads of them available already – rather it’s about the experience of moving from one to the other. Having used 60D’s for almost four years and the 5dMk2 for six months it seems about time….

Canon 60d and 5d Mk2

The lighter, more rounded 18Mp 60D on the left, the more muscular 20Mp 5DMk2 on the right.

The first thing you’ll notice is the weight and size of the 5dMk2 body. It’s only 150g heavier (790 g vs 932 g) but the all metal body ‘feels’ much heavier, and the body seems to sit less easily in smaller hands. Add a 24-105mm to the 5DMK2 and a 15-85mm to the 60D and the weight on your shoulder goes from 1.4 kg to 1.6 kg. Not much on paper, but you can feel the difference after an hour or so.

Canon 60d and 5d Mk2

The 60D on the left has a more rounded shape and sculpted grip which reduces fatigue.

The grip on the 5DMK2 is noticeably more ‘chunky’ and less comfortable after a long period of shooting.

Canon 60d and 5d Mk2

The 5D’s joystick control is to the top left of the LCD – the 60D doesn’t have one at all!

The next major difference is the lack of an articulating screen on the 5DMK2. The 60D’s is one of the best out there, and I’ve really missed it for low angle shots and video. This may sound like a minor niggle but repeatedly squatting down to see a tripod mounted 5DMK2’s LCD induces backache!

The 5DMK2’s viewfinder seems to be about 1/3 larger which is great but it’s no brighter than the 60D. The extra size is a mixed blessing though, as it needs a good look around the screen to check composition before shooting. The info readout on the bottom of the screen is dimmer on the 5dMk2 making it more difficult to read on a bright day.

Oddly, ‘Auto ISO’ on the 5DMK2 cannot be limited (to say 1600 ISO) which makes it’s use risky.

The 5dMk2 exposures when using old manual focus lenses are more random than the 60D. However the larger screen makes focussing easier.

Compact Flash cards (5dMk2) are significantly more expensive than SD cards (60D) for the same capacity.

The 5dMk2’s LCD when viewing taken images can be misleading – much more so than the 60D’s. Replaying images look rather washed out and it’s difficult to judge contrast and exposure, so using the histogram becomes a must.

Dust – the 60D hasn’t needed a sensor clean in four years of use, the 5D MK2 needs one every six months.

Canon 5dMk2 70-300mm lens

5DMK2, 70-300mm lens and some subtle and accurate colours.

Finally the controls. The top plate buttons and display are instantly familiar, but the back of the 5DMK2 with its joystick control and line of buttons on the left is completely different. The articulating screen of the 60D is the obvious reason for the difference, but using both cameras on the same shoot can become frustrating. The oddest difference is the lack of a dedicated movie mode on the 5DMK2 – the 60D stores preferred movie settings when you go back to stills, the 5DMK2 just has ‘current settings’ which are used across all modes . This can be frustrating as it’s easy to forget to set things back how they should be, especially the colour profile which is best set as a flat low contrast and sharpness profile for movies and a more normal profile for stills. The best way around this is to use one of the ‘custom settings’ on the mode dial.

Canon run two lines of lenses, one for full frame (EF) and one for APS-C (EF-S). EF lenses can be used on APS-C cameras with a focal length multiplier of 1.6, but EF-S lenses don’t have a large enough image circle on full frame so are pretty much useless. If you’ve bought lots of EF-S lenses this upgrade is going to be expensive!

The batteries of both cameras are the same which is useful on a long day, and having two chargers makes recharging pretty quick. The 5dMk2 seems to use up battery charge quite a bit faster than the 60D when shooting video.

After all these slightly niggly points, where does the 5DMK2 start to win some points over the 60D?

_MG_7924_DxOs

5DMK2, 24-105mm. The quality of the image can only really be appreciated at full size rather than this tiny version.

The first is control of depth of field – full frame allows shallower depth of field using the same lens (see an earlier post here), and has no focal length multiplier – a 50mm lens is a 50mm lens! This is especially good if you use a Lensbaby as the 35mm Sweet 35 gives a significantly wider view on the 5DMK2 than on the 60D.

Second is the quality of stills. The resolution isn’t that different but the 5dMk2’s images have a more polished ‘look’ to them which is difficult to explain. It’s to do with the subtle colours, the crispness delivered by the 24-105mm lens and the even graduation of tones which give shots greater depth and quality. The larger 5d’s pixels produce less grain at higher ISOs, and remain smooth until 1600 or 3200 ISO – 800 ISO is as high as I like to push the 60D.

Third is the quality of the video where the large 5DMK2’s sensor leaves the 60D struggling to compete. The 5D’s footage seems less prone to moire which is irritating on the 60D on occasions. The 60D’s however now have Magic Lantern installed which opens up lots of video possibilities (I haven’t dared use it in the 5dMk2 yet!).

Canon 5dMk2 50mm F1.4

5dMK2 50mm F1.4 on an overcast day – razor-thin depth of field and soft tones.

Is it worth upgrading? That depends on whether you’re prepared to put up with the extra size and weight, the less slick handling and the sometimes less than helpful controls when switching between stills and movie mode (update : fixed using ‘custom settings on the mode dial). In exchange for these inconveniences, the 5dMk2’s results (when you get it right!) are clearly superior in many ways as you would expect. However the 60D is easier to use and carry with more user-friendly features and isn’t that far behind where it matters. In conclusion, if I was shooting for fun rather than to make money, the 60D would be the clear winner, but for commercial use it’s easily the 5DMK2. Having said that, if I was just shooting for fun I’d probably never use a DSLR and stick to something small and light such as an Olympus PEN or an old film camera!

Hope you find this useful – thanks for looking. If you’ve got any questions about upgrading just ask.