Sony A7R teardown by Roger Ciala

Roger Ciala from the popular Lensrentals blog did a teardown of the amazing A7R. Many of us wondered how Sony managed to cramp the full frame sensor into such a tiny body. Have a look at what they discovered and why they praised the build quality so much here.

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The A7R seems to be a milestone of the mirrorless revolution. Although many people prefer to have an analog viewfinder it is hard not to take into account the many advantages this mighty little camera possesses. Somewhere in between a large compact camera and the performance of a Leica S this beast has many people thinking where the camera market is heading. Miniaturization is a technological tendency and the Sony A7R is a good example of it.

Sony is known for good products, no only good-looking, but also well built. Their cameras are no different. The teardown illustrates the difference in very well thought through electrical and mechanical design, which sets it apart from many other manufacturers. This camera might just as well become your best friend for the next decade, as the specs are approaching medium format range, which you might in fact never need.

Most people talking about the downsides of the A7R point to the limited lens range. This is of course true, yet already in the begging there are a few fine options and as Zeiss has been providing the lens designs and will surely continue to help Sony in this regard, so I would be optimistic about the future of the E mount.

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Zeiss Otus 55mm f/1.4 Update

Obviously lenses range from very sharp to the very unsharp ones. Sometimes the slightly unsharp ones are more popular as they have different qualities to them, which outweigh the slight loss of resolution. Yet there are few people who prefer blurry lenses, the soft focus era is definitely behind us. Nowadays many people get excited about resolution and forget the importance of low distortion, proper calibration, APO correction, bokeh rendition, etc. But what, if there was a lens which excelled in all these fields and still not sacrificed this by a loss of resolution? Read on as the Zeiss Otus delivers.

Zeiss Otus 55mm f/1.4

Zeiss Otus 55mm f/1.4

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Zeiss Otus 55 1.4 extended preview/ Medium format in a 35mm body? Yes, with the right lens.

Zeiss Otus 1.4 55mm ZE

Zeiss Otus 1.4 55mm ZE

Every now and then a piece of gear appears, which changes not only the photo gear landscape and forces the competition to alter their plans, but also pushes photographers into working differently using new equipment. The Fuji X system managed to do this, with lots of people switching to this system. The Nikon D800/e had a similar effect just as Canon 5D. And so we come to the Zeiss Otus 55mm 1.4, which might also be such a game changer, although matching its qualities will be very difficult for the other lens makers.  For now let us look at the basics.

Construction

Looking at the cosmetics, the lens has a modern look, an all metal barrel and a rubber like focusing ring, which is easy to detect with your fingers when looking through the viewfinder, easy to read distance and depth of field scales. Apart from the brilliant design (it won the 2013 IF product design award) the first thing you notice is the sheer size of this prime. It is after all a standard lens. It’s not a 50mm nor a 45mm, which is in fact closer to the diagonal 43.3mm, but a 55mm, yet the size and weight is much closer to a medium format 80mm, then the standard fifties we are used to.

All of this has a reason. The Otus, with the diastagon optical construction, is a very complex lens; 12 elements in 10 groups with floating elements design. The specialists at Zeiss worked on the whole project for 3 years, but the time from starting the work to building the first prototype was just one year. According to Dr. Nasse, scientist from Carl Zeiss and one of the first people to shoot with the lens, this was possible thanks to the extensive experience in building high performance cine lenses.

zeiss otus construction

zeiss otus construction

When designing the lens, the engineers and scientists had a totally free hand, not restricted neither by size, weight nor cost. Richard Schleuning from Zeiss says this was a new approach, as normally these restrictions are a part of every project of a new lens. This time there were no compromises with just one goal in mind, the absolutely best lens for 35mm.

The diastagon is normally used for wide angle lenses, it is a more complex, but also gives a possibility of correcting both for chromatic aberrations and field curvature. Schleuning claims both of these parameters are controlled across the whole aperture spectrum, if so, this is an amazing achievement.

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