The Sony Alpha a7S Mirrorless Digital Camera features a full-frame 12.2MP Exmor CMOS sensor and BIONZ X image processor to enable notable video and still image quality with an expansive dynamic range, low noise, and extended sensitivity to ISO 409600. At the sensor level, this full-frame sensor features a unique on-chip gapless lens design, which incorporates small lenses between neighboring pixels in order to increase light-gathering efficiency and promote greater image quality across the entirety of the sensor plane.
The Jupiter-3 50mm 1.5 is actually a copy of the Zeiss Sonnar 50mm 1.5 and was produced in the UDSSR after WWII. The Jupiter lenses belong to the very few “lowcost” rangefinder lenses, but what do they have in store in terms of optical quality? Read on to find out.
The outer apperance of the lens has changed over time and regarding the optics early versions may actually use Zeiss glass produced in Germany and some later ones may have different coatings as well. So in case you are curious, take a look at the page sovietcams.com, for additional coverage.
I am reviewing a quite early lens from 1960 here (the first two digits of the serial number are the production year, 60 in this case) which was kindly provided for reviewing purpose by my dear friend Enzio, who also has a flickr album for this lens alongside many other beautiful pictures, so be sure to check out his profile.
The review sample has the following specifications:
•Diameter: 48 mm
•Field of view: 46° (diagonally)
•Length: 45 mmm
•Weight: 141 g
•Filter Diameter: 40.5 mm
•Number of Aperture Blades: 15 (rounded)
•Close Focusing Distance: 1.0 m (with Helicoid 0.5 m)
•Maximum Magnification: 1:16.2 (with Helicoid 1:7.1)
•Mount: M39 (aka “Zorki” or “Leica thread mount (LTM)”)
At f/1.7 vignetting is very noticeable and even the most extreme settings in Lightroom won’t correct it fully. In my experience this wasn’t really an issue since I like to have some vignetting in my images anyway but other people will prefer a different style.
Even stopped down to f/8 some vignetting remains and I had to correct it in a few of my landscape images.
•Diameter: 53 mm
•Length: 50,9 mm
•Filter Diameter: 46 mm
•Weight: 238g (black version) 330g (silver version)
•Number of Aperture Blades: 10
Optically there are two different versions of this lens.
The older M39 version is engraved with Aspherical and it also has a different focusing ring than the newer M-mount version. I have never used it but from other people’s reports it is neither as sharp nor does it have as high contrast as the younger M-mount version.
The M-mount version is the one this review is about. It comes in two versions: The silver one has a brass focusing ring and is a little more expensive, the black one is lighter because it is made from aluminium not brass and more affordable.
The lens has a Leica M-mount, so naturally you can use it on a wide range of M-mount cameras.
If you want use it on the Sony Alpha 7 like I do, you need an adapter like this one (affiliate link).
Because the Sony a7 has a much thicker filter stack than the Leica M240 the corner performance and field curvature of the Voigtländer you will experience is different from that on the M240.
The Voigtländer 1.7/35 is very well made, everything is either metal or glass, tolerances are very low and the markings are engraved and filled with white paint.
Tamron 18-200mm f/3.5-6.3 Di II VC – Features
The most important feature of this lens is its broad zoom range, which is equivalent to 28-300mm in 35mm full-frame terms so it covers a hugely useful wideangle to telephoto span. It’s also capable of focusing as close as 50cm, which gives a maximum magnification of 0.25x at the telephoto position. This means a subject of 9.4×6.2cm will fill the frame, making the lens handy for close-ups, although Sigma’s equivalent focuses even closer.