Jump to content

Recommended Posts

Hey guys, 

 

Love my A7Sii for video but have been getting into using it for some still lately. I realize it's only 12mp and the A7R is the better stills camera. But I'm wondering if anyone knows why I'm getting the ugly blooming on the over-exposed parts (the streetlights and the strange lines behind the wires of the bridge. (Around the middle of the pic.) I'm assuming the lines are the streetlights reflecting off the wires but how could I avoid this?

 

It's the Sony FE 28mm f/2 Lens. f/18 15seconds and 320 iso.

 

Thanks for any help!

 

 

 

 

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

Link to post
Share on other sites

Didn't use the hood or a filter. Glad to know it's strange though and not just a limitation of the camera. Actually I was just peeking through my settings and had streadyshot turned on so I wonder if that caused the problem as I was shooting on a tripod. 

Link to post
Share on other sites

That looks like diffraction on the lights, and ghosting/flaring on the lens with the streaks. 

Try shooting at f/9 to f/11.  You should get better stars around the lights, more defined with less diffraction. 

As for the streaks, unfortunately, that sort of thing is an inherent trait of the lens.  It's light reflecting between the elements.  Premium lenses have less of that, but it's hard to eliminate completely.  All I can recommend is trying to adjust your shooting angle, or shielding the lens from extraneous light sources if possible, so the ghosts/flares don't show up. 

Link to post
Share on other sites

Despite all the theoretically correct worries about diffraction,

stopping down does reduce internal reflections. And it's NOT

just a matter of avoiding a fully wide open iris. Reflection are

reduced more and more the further you stop down ... cuz it

reduces the amount of glass area in use. Diffraction is just a

loss of resolution. Reflections are a pictorial problem, call it

"image pollution" whereas any loss of resolution is "image

degradation". Modern gear makes verrrry crisp images. So

even if slightly degraded, they're still quite crisp. But "image

pollution" is the presence of things that don't belong in the

image at all. Better to allow a bit of degradation if it reduces

pollution. IOW, stop down more for real world scenes with

light sources in the scene. But shoot at ideal aperture when

shooting resolution tests :-)  

Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
  • Posts

    • This is a discussion forum, it's not Sony. You should send your request to their customer service department.
    • Sorry, had to catch your attention somehow.  🙂 I've loved Zeiss lenses for a couple decades--have been a fotog since only 2000--and have had many different versions.. Bought an a7R V weeks ago, attached the Batis 18/2.8, added an 85/2.8 plus a Sony 24-70/2.8 GM II and a Tamrom 50-300 4.5-6.3, and thought I was ready.. But then ordered Batises in 25/2 and 40/2 (arriving today), and then ordered a 135/2.8 to arrive ...tomorrow, Thursday?  (How can B&H/FedEx do that--Wed. morn. to Thurs. afternoon--for the few-dollars addon B&H gets for NEXT-day shipping?)  Total gear weight without the Tamron will be just 6.8 pounds/3.7kg and 8.4 pounds/3.8kg. with it.. All this (and other required stuff) fits in my ThinkTank Airport Roller, so I won't have to carry it, which I cannot physically do. Off to two and two-half days in the Palouse Monday the 2nd; we'll see how all those Bs hold up.
    • Hello, Would it be possible in a future firmware update for DSLRs to change the order of White Balance options in the menu?   It would be much more practical if the Kelvin (K) setting was listed first, followed by Auto, and then the rest of the predefined options.   When filming, it would allow for a quicker switch from Auto to Kelvin mode and then easily adjust the exact white balance using the DIAL wheel – and quickly return to Auto if needed.   Currently, we need to scroll through several predefined white balance presets to switch between Auto and a custom Kelvin setting, which can be impractical during a shoot.
  • Topics

×
×
  • Create New...