Here're some RAW-converted images taken with the Sony NEX 7. Please note that no EXIF data has been recorded due to the lack of electronic coupling.
Click on a thumbnail to view the original file (opens in a separate window). Please note that the originals are FULL SIZE samples
(=several megabytes) thus requiring a significant amount of bandwidth so please take care of the limited resources here.
Make
SONY
Model
NEX-7
ISO Speed
400
Focal Length
Aperture:
f/
Exposure
1/100s
Make
SONY
Model
NEX-7
ISO Speed
400
Focal Length
Aperture:
f/
Exposure
1/160s
Make
SONY
Model
NEX-7
ISO Speed
400
Focal Length
Aperture:
f/
Exposure
1/320s
Make
SONY
Model
NEX-7
ISO Speed
200
Focal Length
Aperture:
f/
Exposure
1/500s
Make
SONY
Model
NEX-7
ISO Speed
200
Focal Length
Aperture:
f/
Exposure
1/1600s
Make
SONY
Model
NEX-7
ISO Speed
200
Focal Length
Aperture:
f/
Exposure
1/320s
Make
SONY
Model
NEX-7
ISO Speed
100
Focal Length
Aperture:
f/
Exposure
1/4000s
Make
SONY
Model
NEX-7
ISO Speed
100
Focal Length
Aperture:
f/
Exposure
1/1000s
Make
SONY
Model
NEX-7
ISO Speed
800
Focal Length
Aperture:
f/
Exposure
1/125s
Make
SONY
Model
NEX-7
ISO Speed
200
Focal Length
Aperture:
f/
Exposure
1/3200s
Verdict
The SLR Magic Hyperprime LM CINE 50mm T/0.95 is an extreme design and as such it’s hard to find a fair verdict here. It fulfills its design priorities – according to the manufacturer these have been a very high center performance and low vignetting at large apertures plus a smooth bokeh. Keeping this in mind you can certainly create excellent results. However, it is not a lens you want to use for mainstream photography because the border performance is usually weak unless you stop down to at least f/5.6. Lateral CAs are very well controlled and the level of distortion is usually irrelevant. During use we've seen some problems with flare in extreme situations and large aperture settings.
The build quality of the 50mm f/0.95 CINE is superb and as good as offerings from Zeiss or even Leica. The super smooth focus and aperture ring make it a desirable choice for movie makers with a preference for low light and shallow depth-of-field photography. In this scope it makes sense to invest that similar of money. Otherwise you should probably prefer the Sony E 50mm f/1.8 OSS at 1/10 the costs.
(shallow DOF photography)
