I started collecting parts for a summer project with my son. I’ve been wanting to build a Goodman 3D printed medium format camera for a while and finally took the plunge on ordering a Mamiya Sekor 65mm f6.3 Press lens. It’s the recommended lens for one of the kits and only costs about £50 on ebay.When it arrived I tested the leaf shutter fired and the focus ring turned but I had no way of knowing whether the shutter was actually working. BUT maybe I could somehow test the lens on my Sony A7Rii and this little side project was born.
I bought this lens for my Sony A7RII in search of my own “best” 50mm lens. For my digital camera I use two fifties, a Zeiss Loxia 50mm – when I need to have maximum image quality, and Lomography Jupiter 3+ lens when I’m in the mood to extract a dreamlike, more lo-fi style of picture from the mighty 7RII sensor.
I really enjoyed Hamish’s recent articles about the Sony A7RII, and the one regarding the never ending “film vs digital” debate. To me, these two articles felt as though they were interconnected. In reading them I decided I wanted to add to the conversation myself. This article is a story about both how I feel I have decreased the gap between digital and film photography, and how I have turned all-bells-and-whistles-superphotographer-all-megamode-dad-camera Sony A7Rii into a slightly more “ZEN” minimalistic tool.
Let me just start by saying, it doesn’t matter which way you look at the Sony A7Rii, it is a ridiculous thing. Ridiculous in every sense. If you view it as bad, it’s ridiculously bad, yet entirely simultaneously it can be viewed as ridiculously good! I know this for a fact, since I myself have both views depending on the day you ask me. In the extremes, the Sony A7Rii is a camera I love to hate and hate to love, and through this relationship with it, it manages to perfectly illustrate the worst of the problems I have with modern digital cameras… So I thought I’d write a post about it…