NikonGear'23
Gear Talk => Lens Talk => Topic started by: simsurace on January 22, 2020, 12:01:26
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There is the E-mount version III to be used with an E-Z adapter, and there is the F-mount (SL series) version that can be used on FTZ. I could buy both for about the same price.
Does anyone know how they compare optically, especially with regards to cover glass thickness issues on the Nikon Z6/Z7?
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The F mount SL, is a vintage version quite rare, 'normal' coatings - My guess would be you get a nice vintage look ;)
The Mark III is very good, it's the latest version optimized coatings and image quality also available in Leica M mount.I have only used it on Leica M - No idea how the performance is on the Z
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I do own the 15/4.5 SL and while the lens is very good on film, it is less convincing in its performance on digital cameras. I did try it on my Z7. Thus the newer (E-mount) version would be my first choice.
The SL does make for a very compact setup on the Z cameras, though.
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Thanks for your comments. Birna, do you happen to have a sample image from the 15/4.5 SL on the Z7?
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Not at present. Might try later, but not with the Z7 as the latter is exclusively dedicated to macro work these days. There are Z6/Z50 available for testing, though.
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No worries, only if time is available. Z6 is what I would use as well.
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There are three versions of Voigt 15/4.5: I, II and III. I and II share the same optical designs, and the F-mount version was one of their derivatives. The type III version is of a totally different optical design (6G8E for I and II vs. 9G11E). As Birna points out, III is optimized for full-frame digital sensors.
Here is a review comparing II and III on Leica M and Sony A7II bodies:
https://dc.watch.impress.co.jp/docs/review/special/690288.html?ref=pick&utm_content=pc-top&utm_campaign=pick&utm_source=dc.watch.impress.co.jp&utm_medium=content-text
The texts are all in Japanese, but the difference between the two is obvious. The version II shows severe purple color shading in the peripherals.
Frankly speaking, I don't see any advantage to choose I or II.
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Thanks Akira, this is very helpful.
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Glad to be of any help. The reviewer also used A7R for the comparison.
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Simone, I have had the 15 4.5 iii VM for quite some time. I mounted it on the Z6 and took a few images from the balcony using dumb LM-NZ adapter when I bought the Z6. Nothing worth posting but I use primarily for Street and Documentary of fishermen. I have used on Sony a7ii, a7rii and a7iii with Techart Pro Af adapter and VM Close Focus Adapter. JJ (Chan) has a Shoton Close Focus LM-NZ adapter which I would like to try. I am very happy with the lens and supposedly better on Z bodies than Sony a7xx bodies. The way I use it I just use MF and never worry about exif . I will try using it in the next few days at an Event for some real shooting ;) . It is one of those lenses that always gets included in the bag as opposed to my 14-24 2.8G which only went out for specific shooting (why I sold it) .
Tom
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Thanks to everyone for the helpful comments. I decided to pick up a used E-mount version III for a good price. Lens should arrive over the weekend, will post my findings. I haven't had such a wide lens since I sold my Tokina 11-16 DX lens some 7-8 years ago, my current widest is 18mm, so I'm curious whether I will be comfortable with 15mm. I'm looking forward to the gorgeous sunstars. The Nikon 20/1.8 is very nice in this respect but I believe the Voigtländer to be a notch above.
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Simone, please do post some shots with the new lens/camera combo once you have something that you'd like to share.
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Sun stars are as a general rule,,, ::) I would say the; Ai / Ais / AF / AF-D 7 or 9 straight aperture blade type lenses, somehow the coatings allow nice sunstars,,, A domain for the vintage :)
Later coatings reduce flare and streaks way too much and the rounded aperture openings don't break up the light as much,,,
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Nice little lens, not so easy to shoot with it for me due to the pronounced character and wide AOV. I will have to practise a bit more...
The files definitely need some massaging to come to life, more than with Nikon glass I would say. I have been mostly shooting in the square and 16:9 formats directly in camera. It is nice to be able to compose the shot already in the target format thanks to the EVF. Here are some square format samples from Bern, Switzerland taken on the way to work:
(https://nikongear.net/revival/proxy.php?request=http%3A%2F%2Fwww.suracephoto.com%2Fwp-content%2Fuploads%2F2020%2F03%2Fvoigt15squares.jpg&hash=cfef2a288363abc4b35821e439a7a02117e816d1)
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Apparently you came to grips with this super-wide lens easier than you describe :). Nice work.
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Thanks! Well, the success rate is not so high. Most compositions don't work as well as expected, I'm always surprised about all the stuff that ends up in the frame, and then I need a lot of time tweaking my position by a few centimeters in order to get the lines where I want them. But it is a fun exercise!
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The wide view is really the Achilles heel of those super-wide lenses. We do want the look and the amazing feeling of depth, but not all the bits and unwanted pieces popping up in the frame. Often, these distractions don't make themselves noticeable until later, when the outcome is critically examined. Our brains are not so good at detecting and declining the visual "junk" before it's too late :(
Over the years I found myself more comfortable with the approx. 80 degree view of a 24/25mm lens on an FF camera. Thus I more rarely break out my ultrawides these days.
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That's true! It is a good training for the mind to notice the small details.
Here are a few more in 16:9. Blue hues seem to be predominant in my images this time of year. Luckily sometimes there is a dab of something else.
The middle shot is a good example for a subject that is quite difficult to align handheld. I must have been standing there for 5 minutes trying to get the top edge of the building parallel to the lowest line of bricks. I got quite close but had to correct the remaining error in ACR.
The lowermost shot was taken on the tripod with a 10 stop ND filter (58mm thread) from NiSi (15s exposure). There is no vignetting with this filter, so for the moment I can forego drastic measures such as cutting off the petals as some people do in order to mount more elaborate filter solutions. Petals are very useful with such a wide lens because it is easy to bump into stuff when composing dramatic shots. :P
(https://nikongear.net/revival/proxy.php?request=http%3A%2F%2Fwww.suracephoto.com%2Fwp-content%2Fuploads%2F2020%2F03%2FVoigt15wide.jpg&hash=1ec1c5bd03ac75d179538c4436e4a02e7519d7be)
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all three are very good, my fav is the one with the orange window
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Thanks Thomas!
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That's true! It is a good training for the mind to notice the small details.
Here are a few more in 16:9. Blue hues seem to be predominant in my images this time of year. Luckily sometimes there is a dab of something else.
The middle shot is a good example for a subject that is quite difficult to align handheld. I must have been standing there for 5 minutes trying to get the top edge of the building parallel to the lowest line of bricks. I got quite close but had to correct the remaining error in ACR.
The lowermost shot was taken on the tripod with a 10 stop ND filter (58mm thread) from NiSi (15s exposure). There is no vignetting with this filter, so for the moment I can forego drastic measures such as cutting off the petals as some people do in order to mount more elaborate filter solutions. Petals are very useful with such a wide lens because it is easy to bump into stuff when composing dramatic shots. :P
Top is my favorite, sharp and detailed
The second image is my second favorite, I too like the orange window.
The bottom image came in last place for me because of the OOF clouds. That one impressed me as one that might have been the result of an accidental activation of the shutter release.
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Thanks for the comments. The clouds would be in focus but they are blurred by the wind.
I guess in the greater scheme of things all shutter activations are accidental, aren't they ;D
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The Voigtlander Super Wider Heliar 15mm f/4.5 First version LTM mount, serial number 9860552 here on the Nikon Z7 with the Pixco M39 - Nik Z adapter. The lens reaches infinity, so that is fine.
But there is huge problem with the orientation of the lens, because the largest pedal of the non-removable sunhood is not on top of the camera. In this position there is of course severe vignetting, and visibility of a part of the sunhood.
Is this a problem of the lens, or the adapter. And what can give a solution?
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my L 39 to NEX adapter has a small screw outside, which blocks rotation. If you loosen it you can turn the thread ring inside the adapter ring and adjust their position. search for such an adapter and any 39mm
will fit
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my L 39 to NEX adapter has a small screw outside, which blocks rotation. If you loosen it you can turn the thread ring inside the adapter ring and adjust their position. search for such an adapter and any 39mm
will fit
Thanks for the advice, Thomas. That seems to be the solution. Normally the orientation of a lens, is not that important, apart from the esthetics, but here it is crucial. I hope such an adapter exists.
Not sure the Pixco has the correct screw... https://pixco.com.cn/products/m39-nikon-z-adapter?_pos=7&_sid=db9e72408&_ss=r (https://pixco.com.cn/products/m39-nikon-z-adapter?_pos=7&_sid=db9e72408&_ss=r)
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Never seen a 39 or 42mm adapter without a screw option to adjust the orientation.
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I think there is an option on this one. I did not recognize it, because it are grub screws
The problem is solved now :D
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The first version of the Voigtlander Super Wide Heliar 15mm f/4.5 in the LTM mount (M39). Here on the Z7
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Wide open on the Nikon Zf