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Pieter last won the day on August 21

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About Pieter

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  1. If your Santa has deep pockets: ask him to buy you an A7Riv and put it in crop mode. Gets pretty close to your desired specs, with the added versatility that it can even shoot fullframe if you so desire 😄
  2. It is a direct consequence of more megapixels on the same sensor area for the A7Riii: [pixel area] = [sensor area] / [number of pixels]. In general, bigger pixels perform better than smaller pixels when it comes to noise and light sensitivity. More megapixels on the other hand make it possible to get more detail in a shot. But only if you manage to keep ISO low: at higher ISO's, the extra detail of the A7Riii is lost in extra noise. On higher ISO's you can still print an A7Riii image to the same size as an A7iii image at about the same visual quality: the extra noise of the A7Riii pixels averages out over multiple pixels (for every single pixel of the A7iii there's about two pixels in the A7Riii when printed at the same size). So in summary: if you want to be able to print really large or want to be able to crop your images in post, get the A7Riii. Otherwise, get the A7iii and spend the money saved on some nice lens.
  3. I think it's fairly normal: Sony cameras are programmed to map hot pixels about once a month. I occasionally notice some hot pixels but they're always gone after a remapping procedure. Never had any real issues and given the frequency of the procedure I guess it's part of the sensor tech and mitigated appropriately. Likely works this way for other camera brands as well as most of them use Sony sensors (and those not made by Sony likely suffer the same issue).
  4. Press DISP while viewing an image to cycle through various information-overlays, including histogram.
  5. No, only for E-mount. Not for A-mount.
  6. This is indeed due to the lens used. Every lens has a certain minimum focussing distance: the closest possible distance at which the lens is just able to acquire focus. If your subject is closer to the lens than that, the camera will hunt for focus and ultimately fail. Some lenses are able to focus considerably closer than others, often denoted as 'macro' lenses. There's some workarounds for this. The cheapest option is to buy some extension tubes for your 16-50 kit lens. Make sure they are electronically coupled so you can still use autofocus and operate the aperture, as those produced by Viltrox or Meike. They come in different sizes. The longer the tube, the closer the minimum focus distance becomes. Bear in mind that with a longer tube, you'll loose more light (requiring longer exposures or higher ISO) and the maximum focus distance becomes substantially closer (you won't be able to focus beyond e.g. half a meter from the camera with the extension tube fitted). You could get some close-up filters, but these are only really effective at longer focal lengths and you need a higher quality one (usually denoted 'achromat') to achieve decent results. Once you get serious in close-up photography, you should consider buying a dedicated macro lens. The Sony 30mm f/3.5 is fairly cheap and has autofocus. The new Laowa 65mm f/2.8 2× Macro is a bit more expensive but optically superior. It is a fully manual lens though so you'll have to operate it by hand rather than through the camera.
  7. You might also want to try the Samyang 45mm f/1.8. At 162 grams it's still incredibly light weight, it's closer to your ideal 50mm focal length and over a stop faster than the 35mm f/2.8.
  8. The Samyang 35mm f/2.8 is about as small and light as it gets if you want AF. Lens weighs about 80 grams. Don't own the lens but reportedly image quality is pretty decent considering the weight and cost of the lens. Arguably on par with the 35 f/2.8 Sony/Zeiss.
  9. Some other options for Sony E-mount: Samyang 85mm f/1.8 ED UMC CS: designed for mirrorless APS-C cameras so much smaller than the f/1.4 version I just mentioned (which is designed for fullframe SLR-cameras so has an extension tube to adapt it to E-mount). Meike 85mm f/1.8 MF: designed for fullframe, really cheap but optically less good than the Samyang.
  10. Have a look at the Samyang 85mm f/1.4 AS IF UMC in Sony E-mount (not the autofocus version). Can be had for about €/$ 250-300 if you find a good deal: https://www.adorama.com/sy85me.html I assume you have focus set at 16m (not mm): Focal length (90 mm) shouldn't change much if you change focus distance. With a fully manual lens, all you do is dial in focus distance and aperture and never worry about it again. To be sure focus is set correctly, open the aperture all the way (f/1.4) so depth of field is minimal, focus as best you can using focus magnification, take a photo and evaluate if focus is spot on. If it is, perhaps put a marker on your lens next to the focus ring for future reference. Then close down the aperture a bit (around f/5.6 if ambient light permits) so depth of field is a bit more forgiving in case your subject moves back and forth.
  11. At which focal length do you use your 55-210? Do you keep it fixed at one focal length or do you actually use the zoom function? In your specific case you might be best off buying a fully manual focus lens to be sure it doesn't reset focus. Samyang/Rokinon has some good and fairly affordable options but they don't go beyond 85mm or so.
  12. When you buy a fast lens it'll likely be a prime (not a zoom) lens: those lenses have a wider aperture and are generally smaller and/or much better quality than a zoom lens at the same focal length. There are a couple of things you should consider before buying a prime: - Focal length: since you can't zoom, you'll need to change lenses to change focal length. Since your budget is tight, you probably want to buy only one lens for now. Best to practice with your 16-50 zoom for the next couple of weeks/months to see which focal you like the most, and buy a prime at that focal length. - Stabilization: For photography you can likely do without, but for video some kind of stabilisation is almost mandatory. Your options are (with various degrees of effectiveness): a tripod, a gimbal (for video), a camera with stabilized sensor or a lens with stabilized optics (called OSS in Sony-words). Your a6400 doesn't feature in-body image stabilisation (IBIS) but your 16-50 has OSS. You'll have to decide if you really need a lens with OSS, as many don't have this. You can test this by disabling image stabilisation through the menu of your a6400. Some good options: Sigma 16mm F/1.4, 30mm F/1.4 or 56mm F/1.4: great optics with bright aperture but no OSS. Sony 35mm F/1.8 OSS or 50mm F/1.8 OSS (be sure to search for the APS-C variants (designated E), not the fullframe version (FE)): good optics with OSS, but focal length may be a bit too long for everyday use. I'm quite happy with my Sony/Zeiss 24mm F/1.8 but it doesn't have OSS and is way overpriced considering Sigma's options (which weren't available at the time I bought it)
  13. A dremel tool and a steady hand will do, or a jigsaw. Add some sanding paper and black spray paint and you're done. The quality of the final product depends entirely on your craftsmanship though 😅 Problem with a petal shaped screw-in hood is that unless you make it fit perfectly with the end of the crew thread (and pray that the thread doesn't wear/loosen), the petals will either be misaligned with the field of view or the hood will be loose.
  14. Honestly @Dennisspeaks like I said I wouldn't be bothered trying to fit a lens hood on this lens. Just use your left hand as a shade: the a6400 + 16-50 is light enough to hold it in just your right hand. If needed for video you can stabilize it against your left hand thumb and eye socket while using your palm/fingers as a shade. You did well to buy the 16-50 as a kit: despite several negative reviews I found the 16-50 to be exceptionally convenient due to its small size and stabilized optics. By adding a clumsy screw-in hood you defeat much of that convenience. Once you decide you really like photo-/videography and want to move on to something better, you can sell it for almost as much as you payed for it as a kit combo. I found it hard to let go of the 16-50 just because of its incredible portability.
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