Six Months with a Sony A7R and OM Zuiko Lenses

It’s about time for a summary of using the Sony A7R and a selection of OM Zuiko lenses over the last six months. There are still a few lenses left to review, but enough time has passed to give a balanced personal opinion.

Zuiko OM 50mm f1.4, Sony A7R

The 50mm f1.4 close up.

I traded in my Canon full frame kit earlier in the year due to a back injury – weight was the only factor in the decision – and the A7R is the only camera I’ve used in the last six months or so. Various lenses have been tested (have a look on the Film Camera and Lens Review tab if you’d like to see them in detail), but here’s the general summary.

The Camera

First then, the positive.

The decision to save weight has worked very well – I can walk further without becoming fatigued (and therefore disinterested in taking pictures!) and the camera’s ergonomics are now completely familiar. The images produced are satisfyingly detailed and most post processing problems (white balance was the worst) have been solved.

Lensbaby Plastic Lens, Sony A7R

Even a Lensbaby is pretty good on the A7R.

The A7R can wring the maximum performance from manual focus lenses because the manual focus viewfinder tools make precision focussing fast and easy. The results are much more precise than anything possible using an optical viewfinder and it’s quite a surprise how much less is in sharp focus than the depth of field scale would suggest. The lack of an anti-alias filter also makes a big difference to the sharpness of the images – I rarely need to use anything but low default sharpening to obtain clean, sharp results. I haven’t noticed any moire either.

Zuiko OM 50mm f1.8, Sony A7R

The 50mm f1.8 – a shot resulting from just carrying the A7R and the 50mm on a casual walk.

Exposure control is perfect for me. The use of zebras to prevent overexposing highlights along with the ability to pull up shadows in PP without excessive noise results in some stunning dynamic range.

The loud shutter is no worse than a full frame DSLR – certainly a 5D MK2.

The 1080 HD video is a big improvement over the Canon 60D’s output (the camera I’ve used for video over the last few years) – not really a fair comparison as 60D is fairly old now, and APSC.

Zuiko OM 85mm f2, Sony A7R

The 85mm f2.

I haven’t noticed any dust on the sensor – and I change lenses more than most and shoot at smaller apertures. A periodic blast with a rocket blower is all it needs. In contrast the 5dMk2 was a dust magnet which needed cleaning very frequently which was just a pain.

The other most quoted problems – shutter shock and compressed RAW – I haven’t noticed at all. Having said that I’m careful with shooting technique, don’t use long lenses that often and rarely feel compelled to take pictures in near darkness.

But nothing is perfect :-

The Auto ISO implementation when using aperture priority isn’t much good when shooting longer manual focus as the camera will use 1/60th and the lowest ISO setting, forcing the use of shutter priority. Things may be different with non manual focus lenses.

Battery life isn’t as much of a problem as thought it was going to be. Two spares are more than enough for a day’s heavy shooting. What is a negative is being effectively forced to buy a charger (which should have been included) and a spare battery. Interestingly Sony bundle a spare and a charger with the A7R Mk2…..

White balance is a bit random in cloudy conditions producing blueish greens. This can be solved using the ‘neutral’ colour profile with RAW and developing troublesome shots with Adobe Camera Raw (rather than DXO Optics 9 which does a fine job on non-problem files).

Zuiko OM 28mm f2, Sony A7R

The 28mm f2 and one of those shots where the greens needed some non-default processing to remove a slightly blueish tint. The shadows were pulled up in pp.

Using the otherwise excellent EVF in bright conditions isn’t as good as using an OVF – darker areas cut to black quite early. However the histogram and exposure aids (zebras) make getting that perfect exposure much easier. Sort of a balance there.

Finally, there’s no auto correction for MF lenses in DXO or ACR – you’re on your own I’m afraid. Luckily the prime lenses used here didn’t distort that much – but you’ll become a dab hand removing any chromatic aberration and using the ‘levels’ tool!

The OM Zuiko Lenses

The A7R works wonders with manual focus lenses – an ideal companion if you like. It can’t however work miracles and some lenses just don’t make the grade of producing quality images on a 36Mp sensor. With this level of resolution even excellent film era prime lenses are pushed.

Zuiko OM 50mm f1.8, Sony A7R

The 50mm f1.8 again!

Before we start it’s worth starting that all of these lenses need to be shot at optimal apertures (f5.6 – f11) to approach the Sony sensor’s resolution. Alternatively open them up to their widest aperture and trade resolution for some attractive bokeh.

In addition they will all flare easily by comparison with modern lenses so a lens hood and careful technique are required – just like using a film camera really. They are all wonderfully small and light – a perfect match for the small A7R. Remember when hand holding the camera to always use at least twice the focal length of the lens as the shutter speed e.g. 125th of a second for a 50mm lens to prevent camera shake – 1/60th (by the old 35mm rule) doesn’t always work at these resolutions.

As anticipated, zooms fare badly. The Tokina SD 28-70 f3.5-5.6 and Vivitar 70-210 f3.5 Series 1 both had some serious flaws with edge definition and chromatic aberration which would make them pretty unattractive for serious use.

The old primes are a different matter :-

The Zuiko 18mm f3.5 isn’t a resolution monster but produces very low chromatic aberration and distortion.

Zuiko OM 18mm f3.5, Sony A7R

The 18mm at f8.

The Zuiko 24mm f2.8 isn’t up to the job I’m sorry to say – the edges are too soft at all apertures. APSC only.

The Zuiko 28mm f2 – Just about good enough though prone to flare.

Zuiko OM 28mm f2, Sony A7R

28mm f2. Some pp brought up the shadows after exposing for the highlights here.

The Zuiko 50mm f3.5 macro – still good even at these resolutions. No need to replace this one.

Zuiko OM 50mm f3.5 macro, Sony A7R

Copied from an antique book of photographs under less than ideal circumstances but the 50mm f3.5 macro performed admirably as always.

The Zuiko 50mm f1.4 and f1.8 – 50mms are easy to make well – both are good but the 1.8 has the edge and is cheaper – a bargain.

Zuiko OM 50mm f1.4, Sony A7R

The 50mm f1.4 wide open and close up.

The Zuiko 85mm f2 – pretty good – edges are a bit soft even at f8, but for portraits/mid tele work still good.

Zuiko OM 85mm f2, Sony A7R

The 85mm f2 blurring away an untidy background.

The Helios 85mm f2 – resolution isn’t its strong point but for sheer character this is still worth using (I have a soft spot for this lens which defies all logic).

Helios 85mm f2, Sony A7R

The soft, romantic images produces by the Helios 85mm f2 though not of very high resolution are still unique – I love this lens on any camera it’s attached to!

The Zuiko 135mm f3.5 – solid if undistinguished with a little chromatic aberration – just about good enough.

Zuiko OM 135mm f3.5, Sony A7R

The 135 f3.5 on a frosty morning.

The 18mm is the only lens which would cost over £100 – most would be under £50 and some under £30.

All of these lenses are ‘just good enough’ but great bargains – 36Mp is probably their limit and any more sensor resolution would be a waste.

Using lenses longer than 135mm is difficult – no IS, the need for fast shutter speeds and the difficulties in manually focussing them mean I’d leave this job the Canon 60D and a modern AF tele zoom.

In the interests of fairness, I’m sure the Canon/Nikon/Minolta/Pentax equivalents would be just as good if you have any hanging around.

Conclusion

There isn’t a simple conclusion to be drawn on using the A7R and MF lenses for all photographers – but I’ll have a go! As someone who started in the film era, I’m used to working around kit limitations and I don’t expect (or want) kit to do everything for me.

Zuiko OM 50mm f1.8, Sony A7R

50mm f1.8.

The A7R is a specialised camera which is aimed at people who take their time with their photography and are willing to put up with some quirks to wring the most out of that amazing 36Mp sensor. In this context, slow startup times, manual focus etc become irrelevant – you’ll be there for a few minutes taking the shot anyway.

Use it without concentrating on what you’re doing and it will treat you with contempt and spit out some truly disappointing images. Use it with care and it will jump through hoops for you.

The A7R second-hand is now under £1000 which is a fantastic bargain for a modern full frame 36Mp camera. Add a few fast old MF lenses and an adaptor or two for around £500 and – for the amount you’ve spent – you’ll have an amazingly good setup. Lusting after old prime lenses is cheaper than eyeing up their modern AF counterparts – especially Zeiss lenses! I’d recommend Ffordes in Scotland for second-hand kit – it’s always checked before being put on sale and I haven’t been disappointed yet (I’m not being paid to say this unfortunately – I’m just a satisfied customer).

Zuiko OM 50mm f1.4, Sony A7R

Finishing up with the 50mm f1.4.

I used to use a medium format 6×6 camera (a Yashica 124G) along with my old OM 35mm cameras. It was slow and fairly difficult to use but produced stunning results if you put the effort in (6×6 Velvia film was shockingly good). Think of the A7R with old primes as a (lightweight) medium format camera, and an APSC Canon 60D with zooms as the 35mm SLR equivalent and you’ve pretty much got the perfect analogy. I still use the Canon 60D when IS and autofocus are needed – they complement each other nicely.

Hope you find this useful – thanks for looking!

Detailed (well relatively detailed) mini reviews for all of these lenses are available on the Film, Camera and Lens Review tab.

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The Zuiko 28mm f2 on a Sony A7R

For a short while I’ve managed to wrench the excellent Zuiko 50mm f1.4 from the Sony to see how well my old favourite lens performs. I’ve found this to be a very good lens on other cameras so I’ve high hopes!

Zuiko 28mm f2, Sony A7R

Salisbury Cathedral from the ‘classic’ viewpoint. Looks good so far.

The lens is slightly longer than the 50mm f1.4 but still extremely compact. The aperture range is f2 to f16, minimum focus is around 30cm (or one foot) and the filter size is a standard (and cheap) 49mm.

It’s nicely balanced on the Sony, just like the 50mm. Focussing is slightly more difficult that the 50mm, presumably because of increased depth of field, but the ‘focus magnify’ button is your friend here and usually gets the job done. Operating the combo of camera and lens feels fast and easy.

Zuiko 28mm f2, Sony A7R

The combo from above – light, portable and easy to use – can’t fault it really.

Surprisingly I’m finding that manually focussing is producing much sharper results than autofocus systems on other cameras. Here’s an article on how phase detect autofocus works http://www.lensrentals.com/blog/2010/07/how-autofocus-often-works, and having seen how shallow the ‘really in focus bit’ is using focus magnify I can understand why. No anti-alias filter helps the sharpness a lot, but really shows when you’ve got the focus wrong.

It seems working slowly and deliberately is required to get the best from 36 Mp of resolution as some slightly mis-focussed shots have illustrated! It goes without saying that the depth of field scale on the lens and the focus peaking feature on the A7R aren’t to be trusted for best results.

Zuiko 28mm f2, Sony A7R

Using the ‘neutral’ colour profile and setting the white balance in post processing results in some very accurate colour.

Colours and contrast are good, though there is some vignetting at f2 as you would expect. There’s no image stabilisation with this combo so 1/60th is the absolute minimum hand held shutter speed for me – anything slower use a tripod or a monopod.

Zuiko 28mm f2, Sony A7R

Inside Sherborne Abbey and looking up at the spectacular fan vaulting, a good resolution test. The detail in the full size file is amazing!

Flare isn’t as well controlled as modern lenses, but it’s not too bad – there’s a hint of it around the windows in the above shot.

Zuiko 28mm f2, Sony A7R

Bokeh with a 28mm lens – if you want it you can do it.

Bokeh isn’t a feature usually associated with wide angle lenses due to the deep depth of field, but f2 is pretty fast and you can create some nice out of focus effects at close focus distances.

Right then, the standard test :-

Zuiko 28mm f2, Sony A7R

Full frame at f2. The vignetting is visible here, but apart from that not bad at all.

 

Zuiko 28mm f2, Sony A7R

The centre at f2 – a bit soft but useable in all but huge enlargements.

 

Zuiko 28mm f2, Sony A7R

Centre at f8 – nicely sharpened up and good enough.

 

Zuiko 28mm f2, Sony A7R

The extreme edges however never really get bitingly sharp, just ‘good’. This is at f16 but f5.6 and f8 are the same. Don’t ask about the edge at f2!

In conclusion then, a well behaved lens capable of very good results at smaller apertures, and fast enough to allow shooting in lower light if you’re prepared to accept softer images. Is it making the most of the 36Mp sensor? Not really, especially at the edge, so if you’re a very demanding photographer it might be best to look elsewhere. It is however more than capable for all but the largest enlargements and with it’s compact dimensions, a perfect physical match to the A7R.

The very best part of using these lenses is that I now sometimes leave the camera bag behind altogether, carrying the 28mm and a 135mm lens in each jacket pocket, and the 50mm on the A7R. To be able to do this and get files which exceed my agency’s image requirements is nothing short of fantastic!

Unless someone comes up with a reasonably priced, compact and outstandingly good 28mm I’ll stick with this as it’s more than good enough for my purposes.

Thanks for looking, hope you find this useful. A similar test of the 50mm f1.4 is here.

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

The Zuiko 50mm f1.4 on a Sony A7R

I know what you’re thinking – putting an old MF lens on a modern 36Mp body is a waste of all that resolution. However, these old OM Zuiko prime lenses were – and still are – considered very high quality pieces of kit, but I still had my doubts. 50mm lenses are usually the easiest to design and the sharpest in a focal length range so let’s see….

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

Wide open at f1.4 and there’s classical fast prime vignetting and shallow depth of field.

Firstly, ergonomics. OM Zuikos are wonderfully light, small and precision made in metal. Compared to, say a Canon 50mm f1.4 EF, they’re almost indestructible – this lens has been heavily used for 34 years. I know this because I bought it new and it’s still working fine. My short-lived acquaintance with the Canon equivalent ended in a slight bash, a repair then it being sold. Performance is around the same as the Canon which not surprising as they use loosely the same double gauss design.

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

Shot in a sea mist and heavily post processed – the RAW files have a wide latitude to pull up shadows and draw down highlights if carefully exposed.

Focussing and aperture changes are fluid and precise, focussing is easy using focus magnify (focus peaking isn’t that precise) and it’s generally a pleasure to use. I’m using a mid range Novoflex adaptor which works fine – it doesn’t really have to do much as there is no electronic communication between the camera and lens. Sony A7R, ILCE-7R, Zuiko 50mm f1.4As the A7R doesn’t use ‘auto aperture’ like the OM bodies, the aperture set is always that ‘in use’. The EVF displays the depth of field as it will be in the final shot which is useful, but at smaller apertures focus peaking becomes pretty useless as it thinks everything is in focus and covers the EVF in white high contrast pixels (as it turns out when focus magnify is used, everything isn’t in focus, but it does mean that it’s possible to really accurately nail it)

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

Set f8 and you get f8 straight away – no depth of field button required. The EVF maintains brightness at all apertures unlike an OVF.

Colours are excellent one you’ve cracked post processing of the raw files. DXO Optics 9 sometimes produced magenta-ish blue skies on the ‘standard’ in camera colour profile, but Adobe ACR and a neutral colour profile in camera are very accurate. The A7R’s white balance in ‘auto’ mode is often wayward so either shoot in raw and correct in post or it’s best to set white balance in advance if using JPEG. This seems to be an A7R problem rather than a Zuiko problem.

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

The lack of an anti-alias filter allows this lens to perform to a higher standard on the A7R than any of the other cameras it’s been attached to. Typical of a fast prime, at large apertures there’s vignetting, chromatic aberration (CA), low contrast and the centre is sharp but the edges soft. Stop down to f8-f16 and everything sharpens up nicely across the frame and contrast and CA improve. Here are a few more images (some with the agency) :-

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

Shot at f2.8 the out of focus areas aren’t insanely out of focus but are just enough to lead the eye to the steps.

 

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

I should have used f16 for this rather than f8 to get all of that cherry blossom in focus – this camera will punish any mistake!

 

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

Colours, detail and tones here are excellent.

 

At these web resolutions it’s not possible to really judge much about the files produced so – it’s back to the traditional test subject on this blog, the mill.

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

Not The Mill again! – afraid so… The detail leaps out of the full sized file. f8.

 

At f1.4 to f5.6 things are ‘decent to good’ so I won’t bother you with the shots, but at f8 to f16 this is the sort of resolution this camera and lens is capable of :-

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

Centre crop out of that huge 36Mp image at f8 – sharp enough I’d say.

 

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

I was impressed that the superb Sigma 50mm f1.4 ‘Art’ could resolve the wire guards on the chimney (top left of the whole image). The Zuiko has done quite a nice job too.

 

It isn’t a criticism of the lens but shooting with this much resolution means you really need to be careful of technique and focussing. A shutter speed of 125th of a second on a well held camera is the minimum I’d use with this lens, higher for closeups, so in low light, use shutter priority and auto ISO. Outside in bright light aperture priority and auto ISO are fine. In both cases limit the max ISO to 3200.

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

Post processes in DXO Filmpack to give a Kodachrome look, this one made it to the agency.

 

I’m frankly amazed that this lens works so well on the A7R. It’s not as good as the Sigma 50mm f1.4 ‘Art’ lens, but then it costs, and weighs, a lot less. It’s also more prone to flare than modern lenses so some care must be taken when shooting – so I really must buy a lens hood!

For some reason I like the 50mm focal length on this camera more than any other focal length so far. So much so it’s been used for 90% of the shots taken over the last few weeks. I haven’t missed a zoom lens at all (I’ve got feet!) and the results of such a simple setup are producing some very good results. This may be down to me being used to using small, light OM film cameras which this camera so much resembles – I’ve even tried to advance a non-existent film lever a few times….

Sony A7R, ILCE-7R, Zuiko 50mm f1.4

A rough pulling up of shadow detail from a high dynamic range image – amazing again (this is more down to the A7R than the Zuiko though!)

 

In conclusion then, a cracking combination of lens and camera which produces fantastic results in a small, light package and very highly recommended.

Thanks for looking, hope to find this useful.

p.s. If you’re interested in how well this lens (and lots of others) work on other bodies check the  film, camera and lens review index tab.

Initial Impressions – a Sony A7R and some old Olympus OM lenses.

This detailed post is the result of a bad back, a feeling of dissatisfaction with a camera and remembering something from years ago – just so you know….

Forgetting I’m not 18 years old any more I badly strained my lower back helping someone move out of a shop over Christmas. Since then, carrying a Canon 5d MK2, a Sigma 50mm f1.4, a 70-300mm and a 24-105 ‘L’ on long photo trips has become painful.

Zuiko 50mm f1.4 Sony A7R

Taken with the A7R and Zuiko 50mm f1.4 at ISO 100 with the shadows pulled up slightly – remarkable!

Secondly, apart from the weight, a general feeling of dissatisfaction with the 5dMk2 has been brewing lately – it’s not that much better than my 60D so it’s turning into a paperweight. It’s also irritatingly bad at attracting dust onto the sensor. The Sigma 50mm f1.4 though is possibly the best lens I’ve ever used, but again it’s very heavy and is turning into a ‘stay at home’ lens.

Zuiko 28mm f2  Sony A7R

The Zuiko 28mm f2 @ ISO 1600.

Thirdly I remembered what I always wanted from digital photography when it started to become viable, and that was a full frame digital back for my OM1N. 10Mp would have been fine, but for probably obvious reasons it was never done…..

_MG_1914_DxO2s

A size comparison clockwise from top left – the A7R, (full frame 36Mp), the Oly EPL5 (micro 4/3 16Mp), the Oly OM2N (er film!) and the Canon 5d Mk2 (full frame 20 Mp). The Sony is taller than the OM2N but narrower and with the adaptor weighs almost exactly the same.

So – what to do?

Zuiko 50mm f1.4 Sony A7R Novoflex adaptor

The Sony with the E-mount (or NEX) adaptor to Olympus OM. Its fits tightly with no lens ‘wobble’ and feels precisely engineered.

Something radical is called for. Trade the 5D and the Sigma 50 1.4 for a Sony A7R body and a Novoflex adaptor and go completely ‘manual focus’ using my old OM lenses. In size the Sony is around the same size and weight as an OM2/1 though the mount adaptor adds some extra length to lenses and it’s slightly taller. Some tinkering with the kitchen scales showed I’d been routinely carrying around 13 lb (6 kg) of kit (including a tripod) which could be more or less halved, This will be very welcome on long hikes. It will also yield up easily cropped 36 MP images, and more resolution is always welcome, though I wasn’t sure if the old OM primes were up to it.

Zuiko 50mm f1.4 Sony A7R

Pixel peeping a 50mm f1.4 shot taken at f8 ISO 100.

 

Zuiko 50mm f1.4 Sony A7R

Detail from the centre – I hadn’t even seen the gent in the window but he was recorded in some detail! The edges are inevitability slightly softer but better than expected. The centre is amazingly sharp.

 

Initial impressions of the body are very good. It didn’t take long to set up (i.e. switching to RAW, airplane mode on, configuring the function buttons) the build quality seems excellent and it feels light and solid with well damped and placed controls. Reassuringly it ‘glued’ itself to my smaller hands immediately – almost tailor-made. The camera bag fully loaded with 17mm to 135mm lenses can now be carried effortlessly and has lots of room left over.

Vivitar 17mm f3.5 Sony A7R

The 17mm f3.5 – I really thought this lens would be very soft but at f8-f16 it’s not bad at all even at 36 MP.

 

Vivitar 17mm f3.5 Sony A7R

It’s possible to just make out the writing on the bench plaque.

The viewfinder is electronic (an EVF) and delivers a view roughly comparable to Oly’s VF-4 – i.e. very good. The information displayed in the viewfinder of the Sony is better organised around the image rather than over it and seems a little crisper, but there’s not much in it. Occasionally the Sony seems to need time to think over things, when moving around menus or if switched on soon after switching off, but it’s nothing I’d really complain about.

Manual focus using ‘peaking’ isn’t as precise as using the ‘focus magnify’ feature which nails focus every time (as per the EPL5). What’s slightly disturbing is that the OM lenses which I’ve used for thirty years have much less depth of field than I’d thought – the A7R shows the focus point moving very rapidly as the focus is racked and focussing for critical sharpness is tight. I can only guess at how approximate the split image/microprism method of focussing is on the OM1/2. On a 60D or a 5d focussing using the optical viewfinder is vague to say the least – hence some past sub-par results.

Zuiko 85mm f2 Sony A7R

The 85mm f2 though trickier to focus is good too.

Post processing takes a little longer due to the size of the RAW files. The 7360 x 4912 RAW files are around 35Mb, and DXO Optics 9 produces huge JPEG files of the same size or larger! Photoshop compresses the JPEGS more efficiently to around 8-15Mb. Opening and saving files takes a few seconds longer than 20Mb images too and DXO Prime noise removal takes around 4 minutes (vs 2 minutes for 20Mb files).

Zuiko 50mm f1.4 Sony A7R

The 50mm f1.4 wide open producing some showy bokeh. Shots wide open with this lens always need some chromatic aberration correction in PP.

The lack of an anti alias filter seems to make the resolution of the OM lenses shine through. When you can really nail the focus, shoot at a high enough shutter speed and stop down to f8 to f11 these old lenses produce some remarkably good results. They’re still prone to flare and some internal reflections, but results when compared to the results from the 60D/5D Mk2 are in a different league. To various degrees they suffer from some softer edges but subsequent posts will go into this in more detail.

Zuiko 50mm f1.4 Sony A7R

Sony reds are still rather oversaturated for my taste but they’re better than the RX100’s purply reds.

 

The most extraordinary thing about the RAW results though is how far shadow detail can be pulled up without producing noise.

Zuiko 28mm f2 Sony A7R

Some PP pulling up the shadows just a little produces excellent dynamic range. The 28mm again.

As for the infamous ‘shutter shock’ problem – I haven’t noticed it so far. As there’s no image stabilisation you need to be extra careful about shutter speeds and shooting technique and – so far – I’ve had no camera shake. The ‘double shutter’ noise doesn’t really bother me either really – by comparison with an EPL5 my 5d Mk2 sounds like someone hitting a shovel on a car bonnet (something of an exaggeration but you get the point!). Keep the shutter speed reasonably above the focal length of the lens and use good technique and all will be fine. You can push the ISO to 3200 without any real noise problems.

Vivitar 17mm f3.5 Sony A7R

There’s no automatic distortion correction software as there’s no EXIF lens data saved with the files – not even aperture. The 17mm if tilted upwards can produce some distorted verticals so keep it horizontal!

Infrared – look elsewhere I’m afraid. I’d hoped the A7R would be as good as the RX100 but no – the A7R is very insensitive to IR frequencies (see below).

_DSC0103_DxO2s

30 seconds at ISO 100 f8 with an R72 filter and underexposed – so useless for infrared. Hand held IR would have been great but I’m expecting too much!

Ultra high ISO is – as usual – not that useful. ISO 25600 (I thought ISO 3200 extreme!) is OK for a small print but otherwise not that good, even with DXO’s Prime noise reduction. ISO 100 -400 is essentially grain-less and up to 3200 ISO nicely controlled – this is a 36Mp image so for any given print size noise is less of a problem.

_DSC0058_DxO2s

High ISO 25600 is pretty ugly as you’d expect even with a run through DXO’s PRIME noise removal tool – which took 5 minutes! Stick to ISO 3200 or less!

_DSC0058_DxO2zm

A fascinating close up of my well organised bookshelf…. For 25600 ISO this isn’t bad but then it isn’t that good either.

 

For a full days shooting I’ll need a second battery. Sony thinks in camera charging is a good idea unfortunately. Not providing a charger as an alternative is irritatingly cheap of them when selling a camera in this price range.

Overall after one week I’m very impressed. If you’re a photographer who takes their time and doesn’t mind manual focus and a few delays here and there, the A7R will extract the maximum detail from those old MF lenses with a ‘focus magnify’ feature which is very efficient (like the EPL5). To really like this camera you’ll also be the sort who doesn’t mind a bit of post processing to extract the best from RAW files. If you put in the effort the files produced are sharp, detailed and exceed by a country mile what I wanted 15 years ago with a digital back for my old OM1N.

Zuiko 50mm f1.4 Sony A7R

The 50mm f1.4 @1.4 doing what it does best.

As a setup with MF lenses it would be comically inadequate for any sort of action photography or for telephoto lens use past 135mm but as I don’t shoot that sort of stuff I don’t care! I’m sure anyone with a collection of old quality prime lenses would find this camera just as good. The lack of an anti alias filter over the sensor seems to make a huge difference to sharpness using these lenses.

It’s not perfect, but it’s 95% there for my purposes (not necessarily yours!). I’ve now got so much room in the camera bag I can even take along an OM2N as well!

Hope you find this useful, thanks for looking.

p.s. If you’re interested in the internals of this camera have a look as Lensrental’s disassembly of an A7R here.