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Dancing Eyes

Stunning eyes, enchanting oriental dance - enjoy!

If you can not see the embedded video, please follow this link.

Choreography & dance performance: Paulina,
Hair & make up: Kerstin Piehorsch,
Concept, production, cam & edit: Helge Hackbarth,
Music: Dinletir - Ice Queen

Filmed with Panasonic Lumix GH2 (with 720p60 @ 44 MBit), Leica DG Summilux 25mm/1.4 and Olympus M.Zuiko 45mm/1.8

(This movie will be available in 3D as well soon, please come back regulary or subscribe to the RSS feed)

Sunny 35s - Zeiss Touit 1.8/32 vs. Sony 35mm f/1.8 OSS vs. SLR Magic HyperPrime CINE 35mm T0.95 comparison review

August 2013 - time for some summerly (re-)views. Before this autumn will propably distract us to new fullframe NEX camera bodies and lenses, let us compare some of the latest offerings in the range of bright ~35mm lenses with a field of view equivalent to a 50mm lens on fullframe sensors. Beside some others, you can currently choose between the new Zeiss Touit Planar T* 32mm f/1.8, the Sony 35mm f/1.8 OSS and the SLR Magic HyperPrime CINE 35mm T0.95 (available from September 2013). This article will provide you an in-depth comparison between these lenses.

Before we go into details, let's compare sizes of the main competitors:

Left: Sony 35mm f/1.8 OSS, right: Zeiss Touit Planar T* 1.8/32 and their lens hoods
(image taken with the HyperPrime CINE 35 T0.95 (stopped down to T4.0 still showing round circles of confusion)

The Sony lens is a tad more compact than the Zeiss, the latter appears a bit more solid and with nicer haptics.
Before we come to a more detailed comparison, let me show you an example that I find quite significant for this type of lens, as it gives a good idea about the viewing angle and the depth-of-field that you can achieve at 32mm f/1.8 on an APS-C crop sensor:

Triathlon world championship 2013 in Hamburg, shot with the Zeiss Touit 1.8/32 @ F1.8

The Wide Shootout - Comparing the Zeiss Touit 2.8/12 with the Sony 10-18mm F4 OSS

July 2013 - If you are looking for an ultra wide angle lens for Sony NEX APS-C sensors based cameras, meanwhile you have an "embarras de richesses" between the new Zeiss Touit Distagon T* 12mm f/2.8 and the Sony 10-18mm F4 OSS zoom lenses. This article will provide you an in-depth comparison between these two lenses.

Before we go into details, let's take a look at the lenses themselves:

Both lenses are surprisingly lightweight and compact. The Sony wide angel zoom weighs about 260g, the Zeiss prime about 300g including lenshood and caps. If you compare that to a full frame ultra wide angle like the Zeiss Distagon T* 15mm f/2.8 (730g) or the Nikon 14-24mm f/2.8 zoom (about 1kg), these lenses will burden you (and your wallet) significantly less than their full frame equivalents for the price of about one F-stop less low light performance and DOF options than a comparable fullframe combination.

Before comparing sharpness and bokeh, let me just give you some more examples taken with the Zeiss Touit 2.8/12. that show you typical application areas and compositions for such a kind of lens:

Queen of Black Swans (2D & 3D)

While looking for a strong make-up for a 2D and 3D shooting, we were inspired by "Black Swan". Here are our results including some "making-of" pictures:

Sorry, no Java support available, please install here.

Link to 3D MPO file #1

Link to 3D MPO file #2

Link to 3D MPO file #3

Thanks to model Mariam and make-up artist Kerstin!
Lenses: Leica Summilux 50/1.4 ASPH, Olympus M.Zuiko 45/1.8

Still looking for the better Leica M?

Since the first copies of the new Leica M (Typ 240) appeared on the market early March 2013, there is a vast disparity between supply and demand of the new Leica M (Typ 240) causing a lot of discussion in the corresponding camera forums. In addition these discussions are heated up by quite contrary reviews and user stories expressing the whole range between absolute excitement and deep frustration. This article tries to focus on objective facts and findings determined since I entered the M community in early April. The review is underlined by many real world examples taken with M-mount lenses from Leica, Voigtlander and SLR Magic as well as some adapted Nikkor lenses. Additionally you find a short comparison to the Sony NEX-7.

Perhaps I may not be the typical Leica M customer as I do not care too much for the unique feature of the M: The optomechanical rangefinder. However this camera attracted me as it is currently the only mirrorless full frame digital camera on the market (except the Sony VG900 which is primarily a video camera) allowing to use all those really fantastic Leica M lenses and in contrast to the Leica M9 it is not limited to lenses with rangefinder coupling. Due to its live view and the optional EVF you can now use it for macro- and tele-photography and a wide range of adapted DSLR lenses as well aided by focus peaking and up to 10x magnification. Its new 24 MP CMOS sensor gains about 1 EV ISO performance and about 2 EV additional dynamic range compared to the CCD sensor of the M9 and allows to record 1080p videos at up to 25 fps with that camera as well. As I use a HyperPrime CINE 50mm T0.95 lens since about one year, I was also quite excited about that feature because at the moment it is the only combination allowing to use a 50mm f/0.92 full frame lens optimized for video. So the specifications and options sounded promising enough to ask my dealer to put me on the waiting list right in September 2012 when the camera was announced at the Photokina. In April I had the chance to get one in silver ("chrom") and immediately started exploring it.

Comparing the Leica M (with Summilux 50mm f/1.4 ASPH) to the Sony NEX-7 (with SLR Magic HyperPrime CINE 35mm T0.95)

One of the first questions on my list was: How does the M with a Leica Summilux 50mm f/1.4 ASPH compare to the Sony NEX-7 with a SLR Magic HyperPrime CINE 35mm T0.95?