During my workshops one of my mantras is practice. Always have a camera with you whether it be your phone, a good point and shoot or your regular camera. There is no excuse for not having one of them with you. Practicing looking for compositions should be something you enjoy doing whether you happen to make an image or not.
This week the weather report was awful – rain for the whole week. I was not looking forward to sitting in the house banging on the computer.
So on Monday with the drizzle and fog I headed out for a morning walk to see what I could find. It turns out I found quite a bit of interesting things to photograph.
Practicing hyperfocal distance is an art form. The Fuji system shows you a hperfocal distance scale with a blue bar that shows what’s in focus and what is not at every aperture. Very useful. Everything in this image is tack sharp front to back.
After I walked around the waterfront I managed to find some more great images along the way.
A person waiting in the fog for the bus with blooming jonquils.A shop window filled with Rockport coffee mugs waiting to be sold.An finally left over faux Easter flowers hanging out of a mail slot on a door.
When I got home and let my dog “Kodak” out it was still kind of drizzly and when he came back in he was a little soggy looking. I had the camera with me and I immediately thought I could get a great shot of him looking back out the door with some great background separation. B&W is quite often a great option for this type of photo.
Lousy weather is no excuse to not get out there and shoot. It just might be the opportunity you were looking for to capture a great image.
Lobster boats sitting at their moorings on a chilly windy morning in Rockport, MA.
In my journey switching from Canon to Fuji I have been slowly buying lenses. It’s a long haul selling off gear and purchasing new or used gear. I had been struggling with the fact that I did not have a long lens for the X-T3 yet and it was a struggle at times having to use my Canon 70-200 and 7D Mk ll instead of a Fuji lens.
A friend, John Barclay, who has been using the Fuji system for quite awhile suggested the Fuji 55-200. I was hesitant to even test it out because it is fairly slow and is a variable aperture lens. I’m a part time photojournalist so I was thinking I needed the 50-140 f2.8. Since I am transitioning to teaching workshops and shooting more landscape/travel work this lens was suggested instead of the 50-140. I will still own this lens but not at the moment.
I started looking for the 55-200 used on Fred Miranda’s site. I did find one after missing out on two of them. It was only $445. WHAT! Yes and in mint condition. It sells new for $700. It just so happened that I was on my way to an assignment when I picked it up. So outside the assignment I opened it up and brought it inside with me to shoot some images.
Jim Parks of Wingmasters talks about the Eastern Screech Owl to children at the Plum Cove School Monday morning. KIRK R. WILLIAMSON/ photo. 3/5/19
I was immediately blown away at how sharp this lens at 134mm (202mm equivilent) @f4.4. Incredible performance at ISO 2500 1/125s. So this got me thinking I could pretty much use this lens for more assignments even though it’s kind of slow.
Mike Lattof gives instructions to GHS athletes during the Gloucester High School off-season running and conditioning program Saturday morning. KIRK R. WILLIAMSON/ photo. 3/9/19
I was wondering what it was going to be like inside of a dark gym and I was not disappointed. It performed incredibly well. Now let me say that in the situation above I would probably have used the 50-140 if I had it but I was pleasantly surprised by what this little beauty can do.
Father son hockey game
In this situation I needed to shoot both ends of the rink instead of at ice level which is what I usually do. Again the lens was great. The autofocus was right on the money!
Gloucester High School Senior Robbie Horne hits a forehand during the first day of practice. KIRK R. WILLIAMSON/ photo. 3/18/19
Shooting against the light with my Canon 70-200 is incredible no ghosting no flare perfect. So I had no idea what this lens would do. It matched up really well with the Canon giving me great contrast and shadow detail along with great autofocus performance. This image was made at 1/1250 @ f4.2 so wide open.
Next I needed to see how it would do for landscapes and again I was surprised at the color rendition and sharpness of the lens.
Early morning light can be a challenge. Deep shadows etc.I love the way this file converted to B&W. The original file in color is beautiful and again extremely sharp.
Overall I am really pleased with this lens. The biggest reason I purchased it is because it will be a great lens to travel and hike with when doing my workshops. For a little day hiking etc. and for working with students. My kit will be the Fuji 10-24 f4, 55-200 f3.5-4.8 and possibly the 16 f 1.4 along with the X-T3 and the X-T30 or I may leave the 16 out although it focuses so close it’s almost a macro lens.
Dinghy’s tied up along the waterfront in Rockport, MA. Leica 21mm Super Elmar
Introduction
The mirrorless debate has started to fester inside my decidedly Canon fanboy brain now for about a year or so. I purchased a Sony a6300 over a year ago and have not regretted it. But that being said I love my Canon’s, a 5D Mk3 and a 7D Mk2. I have used Canon for my whole professional life which spans now over 40 years! The lenses are superb and have never failed me. When the Sony a7lll came out I was intrigued as this camera looked incredibly awesome. So I read as much as I could and finally decided to rent it for four days to see if it really was what it seemed. My biggest problem was not the camera but the two days of rain that interrupted my shooting with it. Thus I only got to shoot with my 24-70 f4L and only two Leica lenses the 21 Super Elmar and the 50 f1.4 Summilux. The Canon 16-35 f2.8L lll, 70-200 f2.8L ll, 300 f2.8L and 100 f2 and my other Leica glass sat in the bag, very frustrating!
My main reasons for renting the Sony a7lll were to see how these lenses would perform on a full frame Sony with adapters. The biggest complaint had been that non-native ultra wide M lenses performed poorly wide open in the corners. I have a Leica 21mm Super Elmar and I especially wanted to see how this lens would do with the Novoflex adapter. I use it on my Sony a6300 and it performs great but is only a 30mm with the crop.
Canon lenses with the Sigma MC-11 adapter
I found this adapter, which I purchased from B&H Photo, to be an excellent adapter. The best thing about it was that at the time it was only $150. It has a firmware port on the side for updates and is fully compatible with Canon EF mount lenses. The focusing with this adapter is flawless. It is fast, responsive, and accurate.
Autumn mums along Bearskin Neck. Canon 24-70 f4L @24mm
The only difference that I can find between it and using native Sony glass is that I can’t activate lock on focus in Servo continuous focus mode. Other than that it’s great. I set the a7lll to back button focus by turning off focus with shutter release. I tried a few of the focus modes and settled on flexible spot using Sony’s new joystick to move it around the viewing area. The only problem with this method was that when the camera was down at my side using the Peak strap system I would hit the joystick by accident. This would move the focus point into a corner and the next time I pulled the camera around to shoot it was a issue.
An artists sculpture of a sunflower. Canon 24-70 f4L @ 50mm
I was curious about the focus speed with the Sigma MC-11 combination. I knew that with my a6300 it performed really well in this regard. I recently photographed a girls field hockey game with it and was pleasantly surprised (more on that at a later time). The focus speed with the adapter on the Sony a7lll was close to my Canon 5D mklll. I was a bit surprised but for most of my purposes this works incredibly well. Using it for my professional work would be an issue as the size of the lens – adapter combination is a problem. It’s huge! It kind of negates the reason for using the Sony a7lll. But for landscape work and just about anything else it works great.
The colors really pop out on a quarry wall in Rockport, MA. Canon 24-70 f4L @70mm
I was lucky to get out and shoot along the waterfront and up in the quarries in Rockport with my 24-70 f4L. Besides the size of the lens/adapter combination it performed very well. The focusing was perfect and the experience was a pleasure. My exposures were right on the nose as you can tell by seeing the results through the EVF. The combination of the Canon lenses and the Sony a7lll were pretty close to a dream combo if it were not for the size issue.
A lobster boat sits at the town wharf in Rockport, MA.
The only thing I did not have a chance to do was mount this rig on a tripod. The problem here would be that the Sigma MC-11 adapter does not have a tripod mount which is an issue since the rig is pretty big. Mounting the camera on a tripod with this lens/adapter combo could be an issue with the 24-70 and the 16-35 because they are rather large anyway. The 70-200 is not an issue as it has a tripod collar. The Metabones Canon EF to E mount adapter does have a tripod mount on it but at $399 vs $250 it’s way more money. I have read the performance is about equal, interesting.
My golden retriever “Kodak” takes a mid day snooze on the couch. Canon 24-70 F4L
Novoflex Leica M to Sony E mount
The Sony a7lll with the Novoflex adapter and Leica 21mm Super Elmar
I have owned this adapter for a couple of years now. I started with a terrible Metabones $89 version that was so tight I could barely get the lens onto it. So I sent it back. I found a used version (like new) of the Novoflex adapter on Fred Miranda and purchased it for a decent price. It sells now for $205 on B&H. There are many other adapters for Leica M to E mount but they are not even close to the quality of this one. The German machining is exquisite which means it works flawlessly – for a dumb (no electronic coupling) adapter. Does it seem overpriced, ya well maybe. I have used it on my Sony a6300 for the past two years and it is an excellent adapter, a nice wiggle free fit. But this is about how it works on the Sony a7lll not the a6300.
Hauled traps sit in the back of a truck with the Motif in the background. Leica 21mm Super Elmar
I started right away with the Leica 21mm Super Elmar as it is one of my favorite lenses. The contrast, sharpness, and overall look are outstanding. I set the camera to shoot in shutter priority and auto ISO. I did play around with the ISO some just to see if things were working like I expected. They were. I had read the biggest concern with using Leica M lenses on the a7 series cameras was that the corners tended to get a bit fuzzy with the f stop to wide open because of the curvature of the rear element and it’s close proximity to the sensor. I did some experimenting and the particular combination of the Leica 21 SE and the Sony a7lll is not as bad as written about. Yes, the softness is there, but clearly things have gotten better since the first a7. At some point I will try it on the a7Rlll. Who knows it may be even better. As soon as I stopped down to f5.6 it was completely gone. You can see some of this fuzziness going on in the bottom corners in the photo below. It’s there but I can deal with it. Hell it’s a 21mm so if you want everything sharp shoot above f5.6 and focus closer to the foreground.
Dinghy’s are tied up along the waterfront in Rockport, MA. Leica 21mm Super Elmar
The best thing about these manual focus lenses is they have a distance and f- stop scale printed on the front. A very useful tool. I set the Sony up to do a number of different things to help me with the manual focus. First I set focus assist magnification to on. I then set the C3 button to activate the focus assist magnification. Then I set focus peaking to the color red and to low intensity. Using focus peaking is difficult to get used to but worth the practice. I found that focusing wide open gives you a better idea of what’s in focus. After I do this I move the f stop to where I want it. It’s pretty cool see your focus plane move back and forth as you focus. Focusing at your chosen f stop gets more difficult as you get up past f8 depending on the lens. The focus peaking needs to be the thickest at your point of focus otherwise your focus will be off.
Autumn leaves adorn a cemetary in Ipswich, MA Leica 50mm Summilux @ f1.4
The image below was shot at f8 and it was a mighty struggle getting the focus just right as the whole tree looked like it was in focus with focus peaking. So I focused at f1.4 and then changed it to f8 before making the shot. Leaving the ISO on auto really helps using this method.
Looking at the autumn color from underneath the tree provides a different prospective. Leica 50 mm Summilux @ f8.
Being able to use these Leica prime lenses on a superb sensor was a real treat. I like to take one lens out and shoot with one option moving my feet instead of zooming. Focusing myself is a pleasure and brings me back to a simpler time in photography. Lastly, I leave you with this B&W conversion of a fence I encountered along the way in a morning walk in Ipswich, MA. It was pretty easy to focus on the pickets in the front with focus peaking not a bunch of leaves.
Weathered fence waits for paint in Ipswich, MA. Leica 50mm Summilux @ f1.4
Conclusion
In my opinion this adapter, even though overpriced for what it is, is the best option for shooting Leica M mount lenses on your Sony a7lll. It connects to the lens and the camera very securely. The machining is superb as is most German made camera gear. It accepts any M mount lens. So that gives you a ton of options for old legacy glass lenses with this mount like Zeiss, Voigtlander and of course Leica. This means for pretty low money or a lot of money you can get some very beautiful looks to your images. I have a Leica screw mount 35mm Summaron f 3.5 lens from before WWll with an bayonet M mount adapter that works with this adapter that gives results which are amazing.
I found the Canon lenses and the Sigma MC-11 to be a great alternative when starting to switch systems. If purchasing the Sony a7lll is on your list then I suggest purchasing this adapter if you are coming from Canon. Save your money and buy a Sony mid range zoom lens like the 24-105 f4 or 24-70 f4 when finances allow to get started. Sadly if you are coming from Nikon you will have to go the more expensive Metabones route.
In both cases if you are considering purchasing an Sony a7lll and have a large stash of Canon or Leica M mount lenses than these two adapters should be your first purchase if a complete move to Sony is not in the cards. I intend to buy an a7lll when finances permit and slowly move into Sony glass. These adapters will allow me to do this.
The results are worth it! The sensor in this camera is superb and gives incredible results. The detail is stunning and in my opinion is worth the switch. I know Canon and Nikon have jumped into the fray but their first offerings are in my opinion not as good as this camera. For Canon, they have introduced the R lenses and I for one am impressed but the camera comes up short. I know they will blow us away in the future but the future is a ways off.
