The Sony Carl Zeiss Sonnar T✻ FE 55mm F1.8 has been my trusted lens for nearly two years, since March 2022. Its performance has consistently delivered outstanding and sharp images. The rendering of a portrait and the environment is just pleasing as attested by the photos below.
Autumn Portrait at RUC Sony ɑ7 IV + Sony Zeiss 55mm F1.8 + Godox AD200Pro 1/100 sec. f/2.5 ISO 100Roskilde Festival 2023 Sony ɑ7R III + Sony Zeiss 55mm F1.8 1/1000 sec. f/3.5 ISO 100
An aperture of f/1.8 offers a significant opening, but after delving into reviews and watching various YouTube videos, it became evident that f/1.4 (or even better, f/1.2) brings about a distinctive experience. Having used the Sony FE 35mm F1.4 GM for nearly a year, I can attest that it has become my favourite lens. The f/1.4 aperture not only provides speed but also yields a beautiful bokeh effect in the background.
In December 2023, during my visit to Malaysia, I took the Sony FE 24mm F2.8 G, the Sony FE 24-70mm F2.8 GM, and the Sony Carl Zeiss Sonnar T✻ FE 55mm F1.8. At a wedding reception, the 24-70mm lens proved versatile, but I frequently extended it to 70mm at f/2.8 to get the bokeh effect. On another wedding reception, the 55mm lens delivered pleasing results, though I desired a slightly more pronounced softening of the background.
Seeing Through A Projection of Another Lens Sony ɑ7 IV + Sony FE 24-70mm F2.8 GM 70mm 1/125 sec f/2.8 ISO 2000During a family portrait session, I signalled to the ‘photographer’ to come closer by extending my hand. In doing so, I inadvertently showcased the impressive capabilities of the camera’s autofocus system. Sony ɑ7 IV + Sony FE 55mm F1.8 Zeiss 1/250 sec f/1.8 ISO 100
On leaving Malaysia, I was thinking of upgrading to a dedicated 50mm GM lens, initially considering f/1.4 as the ideal choice. However, in January 2024, I came across one boasting a maximum aperture of f/1.2. Several factors influenced my choice, including the obvious appeal of the wider aperture and the presence of a physical aperture ring on the lens body. Notably, after reading multiple reviews, it became apparent that the F1.2 GM surpasses the F1.4 GM and even the 55mm F1.8 Zeiss in performance. (Some reviewers did suggest sticking with the 55mm F1.8 Zeiss if already in possession.)
But the main reason for the upgrade is that I’ve become accustomed to the physical aperture ring on the lens body, which enables swift adjustments to get the desired aperture. However, with the 55mm lens, the process of manually scrolling on the camera took some time, especially when returning to the previous aperture position. In addition, there are two additional keywords: bokeh rendition and overall sharpness.
Here are some tests I conducted within a week of acquiring it. From what I can see, this definitely is a very specific lens! One word comes to mind: overkill 😅🤨
The portrait came out well-focused and sharp. The bokeh was nicely rendered too. 1/160 sec. f/2.0 ISO 200 + Godox V1Portrait in a controlled environment renders an overall sharpness. 1/200 sec. f/5.6 ISO 100 + AD200Pro1/3200 sec. f/1.2 ISO 100Tree bark and snow. 1/1000 sec. f/1.2 ISO 100Statue of David & Goliath (Ivar Johnsson, 1922), Helsingborg. 1/500 sec. f/4 ISO 400Kärnan Keep, Helsingborg. 1/1600 sec. f/1.2 ISO 100View from Terrace Stairs (Terrasstrapporna) towards the Helsingborg City Hall and Helsingør across the Øresund straits. 1/4000 sec. f/1.2 ISO 100
My first after one week impression: I’ve been using the 55mm lens for nearly two years, and I genuinely appreciate the quality of the photos it produces. Recently, I made the decision to “upgrade” to the overkill 50mm F1.2 GM lens, and its f/1.2 aperture is truly magical. However, I’m not ready to part ways with the 55mm just yet. The 50mm F1.2, albeit FANTASTIC, comes with an overkill weight too, making it less practical for casual outings. Therefore, I’ll still be holding onto my trusty 55mm for those lighter, more spontaneous photography moments. My only complaint is that the filter thread is just odd. Why not align it with other GM lenses at 67mm or 82mm?
Eriksvej, Roskilde.
Key Features
Aperture range: f/1.2 to f/16 The angle of view: 47° Minimum focus distance: 40 cm Maximum magnification ratio: 0.17× Filter thread: 72 mm Dimensions (⌀ × L): 87 × 108 mm Weight: 778 g
I have been using Sony α7R III since November 2020 and Sony ZV-1 since March 2021. Sony ZV-1 has been used for videography for the majority of the time. Sony α7R III is a beast in terms of resolution and sharpness. Its autofocus is just spot-on but Sony has upgraded the autofocus algorithms for newer cameras.
When recording videos, GoPro and Sony ZV-1 are the cameras I utilised the most. The stabilisation on GoPro is unmatched! But of course, Sony ZV-1 has sharper video and better colour compared to GoPro. In April this year, I recorded an Easter procession using Sony α7R III. It was dark and I bumped the ISO to 2000. They look fantastic, so clear and sharp. The colours were rendered nicely when GoPro struggles with its tiny sensor. In addition to that, the depth of field separates the objects very well from the background.
Sony ZV-E1 vs. Sony α6700
So, I was contemplating getting a camera for “video” in mind (as Sony α7R III is a “photo first”). What I meant by this is that a camera records a video that allows me to colour grade, something like 10-bit colour and retain high-quality data from the sensor. Sony α7R III only does 8-bit and line-skipping on the sensor.
The plan was upgrading to Sony ZV-E1 as it is a full-frame camera. Surely, the depth-of-field are going to look awesome. It has an insane Digital Active Stabilisation (DAS) and claims to produce hand-held stabilisation close to GoPro. I was sold at this point. But reading further, that DAS is cropping out 30% from the sensor, meaning that it upscales from 2.8K to 4K. Some YouTubers claimed that the videos still look sharp. The loss while not perceivable, is a loss nonetheless. It also has a drawback. As it is a video-first camera, it only produces 12MP photos.
I was weighing between Sony ZV-E1 and Sony α6700. They both can record 4K 120fps. Not that I need to use this function every day, but definitely nice when slowing down footage. But the latter is an APS-C camera. The sensor is smaller and my lenses are all full-frame. Yes, these lenses work for APS-C. But my favourite 24mm F2.8 lens by the 1.5 crop factor is going to be 36mm F4.2!
I was just very hesitant to go and get any of these two despite they are both now available.
Undecided? Look for an alternative!
I was divided at this point. In the morning, my mind would go for Sony ZV-E1 and in the evening, it swayed toward the Sony α6700. Then, from the YouTube algorithm, I was suggested a video by Mark Bennett where he compared Sony ZV-E1 vs Sony α7 IV.
The full-frame sensor and 10-bit video function in Sony ZV-E1 are complemented nicely in Sony α7 IV, minus that 4K 120fps. Whilst the latter has no AI chip for the autofocus but it shoots 33MP photos. Way better than the two cameras that I was considering prior. These are the things that I like about Sony α7 IV:
Produces crisper 4K videos as it downscales from 7K full readout from its sensor without line skipping.
10-bit 4:2:2 videos gives more flexibility during colour grading.
15 stops of dynamic range.
Dual native ISO (for S-Log3: 800/3200)
Uncompressed RAW.
Manual setting for the ISO range, so you won’t get below or past certain values. This complemented the rotating wheel as it adjusts the ISO up and down, so no more accidental increases to overly high ISOs.
HEIF in 10-bit.
Touchscreen to switch focus from point to track. I find that tracking works well when you need to recompose before pressing the shutter button.
A focus map is especially useful when recording using macro lenses.
When recording, it has the Active SteadyShot (crop 14%).
A knob to switch between photo and video mode.
“Setup > Operation Customize > Different Set for Still/Mv” lets me separate shutter speed, ISO, picture profiles and several other settings between still photos and videos.
Tilted monitor for selfies 😁😉
When recording at 50fps, the lens crops at a factor of 1.5. It somewhat bothers me, but, how often do I record at 50fps anyway? Despite having HEIF, I only use JPEG as I also shoot RAW, hence JPEG files are only seen during triage. The editing is on the RAW files.
It was less than an hour after I watched Mark Bennet’s YouTube video (above), I found a seller in the secondary market. He is selling well below the market price. The camera was well taken care of and without any scratches at all. Also persuaded after getting a good recommendation from a fellow photographer on Instagram, Kim Frederiksen. Less than 10 hours later, I held the camera in my hand!
Separate settings for photo and video
The knob to switch between photo and video mode is really useful in my case, as for video recording, I’d like to apply Picture Profile HLG-3 and I do not want it to spill over to the still photos. The use case is when using manual settings for aperture and speed. Flip the knob and be ready to record a video using the manual settings with HLG-3 applied and flip again, it is for photo mode.
I found that if it is on the dial “M”, then settings are shared by both modes. So, in order to achieve this, I have to save the settings to Memory Recall. For three separate Memory Recalls, I set the first one for “Manual”; the second for “Aperture” priority; the third is also for “Manual” but with the 50fps video setting.
Playing around and some tests
I played around and made tests based on what I usually use my camera for and what I want to use it for. The results? I was left in awe!
For portrait, it latches on the eyes on 69 out of 70 photos. 24mm F2.8 G, ISO 100 1/50 sec. f/2.8Stacked from two photos, one focused on the flowers in the foreground and the other on the building. It was during the Danish mid-summer at the end of July from the field opposite my student’s apartment. 24mm F2.8 G, ISO 160 1/1250 sec. f/2.8An apple hanging on a branch after the summer rain. 35mm F1.4 GM, ISO 100 1/500 sec. f/4
4K 60fps
“Unfortunately”, when recording at 60fps (Europe: 50fps) it crops by a factor of 1.5 that affects the region on the sensor, effective focal length (hence the field of view) as well as the aperture.
Instead of 7K, the region is then getting smaller to 4.67K which is still good when oversampled to 4K. If using a 24mm f/2.8 the effective focal length is then equivalent to 36mm at f/4.2 which is still fine.
This clip was recorded in 4K 50fps. After editing it was exported in 4K 25fps. The lens, at 40mm f/2.5 was effectively 60mm f/3.75.
Closing
To sum up, after being back and forth between Sony ZV-E1 and Sony α6700 for several weeks, I found that these two are not for me. Sony α7 IV has video capability and also photo capability, a total hybrid. It took me a single day to make a decision and went straight for it. Not even 24 hours in, I was already in love with Sony α7 IV despite only having 33MP (against 42MP on Sony α7R III), as the focus was snapped on and focusing a macro lens was also quicker.
This is one of my favourite lenses for portrait photography and also for general photography. It is also quite compact and doesn’t leave a big footprint in my bag. I also like this lens due to its weight and I can handheld when recording videos.
I like this focal length more than the 35mm as the angle of view is a bit more “tight” hence reducing the surrounding “noise”. It also works fine for product photography when I could not quickly get the Sony FE 50mm F2.8 Macro.
But, I find that it is not a “fast” focussing lens. I missed a lot of shots because it was taking some time. But, the thing that I really dislike about this lens is the purple fringing (chromatic aberration). A very strong one even! Check the photo below and it was just annoying.
I like the bokeh produced from this lens. The subject and the plane separations are really good as well. I find that f/2.8 is the best aperture setting for my camera. But my interview video recording works nicely at f/1.8.
I acquired this lens in March 2022 and it is one that travelled with me the most and always is in my bag (even my I don’t plan to use it, you just don’t know when you might need it). But of course, 50mm GM F1.4 is on the list 🙂
Aperture range: f/1.8 to f/22 The angle of view: 43° Minimum focus distance: 50 cm Maximum magnification ratio: 0.14× Filter size: 49 mm Dimensions (ø × L): 64.4 × 70.5 mm Weight: 281 g
I have relied on GoPro Hero 11, DJI Pocket 2 and Sony ZV-1 to record video clips (as of June 2023). GoPro was quick and handy. DJI Pocket 2 stabilises footage with the built-in gimbal. Sony ZV-1 with a larger sensor captures sharper clips. If I were to rank them, the ranking would be in reverse order.
GoPro took the most clips so far as I set the top button as a single button to start/end recording. DJI Pocket 2 is very useful in darker areas, for example inside an airport terminal where GoPro struggles with Hypersmooth stabilisation. These two work nicely for impromptu videos. Also great while walking. But they both suffer from the overexposed situation due to small sensors. The things that I dislike the most about GoPro are the lens distortion (fisheye effect). While for DJI Pocket 2 is the gimbal situation, it just couldn’t read your mind which direction to move!
When it is on a tripod, then Sony ZV-1 is the one I would go for. Or when I do not need to move around a lot (like being outdoors, constantly moving). Recording conversations, cooking, lunch and snow, this camera is just the one to go to.
I have been using Sony α7R III to capture videos but because it is quite heavy and with my shaky hand, the videos are normally a bit jerky. Things changed in April 2023, when I used this camera in addition to Sony FE 20mm F1.8, upping the ISO to 2000 `and managed to capture an outdoor Easter procession.
Afterwards, I’ve been recording talking heads, comparing the Sony ZV-1 and Sony α7R III. I started to really love my full-frame camera now. The object separation is much better and it handles low-light way better.
I may not have solved the jerkiness, but I started to live with it. Instead of recording in a rush, I take my time. Instead of recording all in one go, I only record what I need. Sony α7R III may not be the best but it works! I just need to develop myself and gain more skills.
A highly versatile, pocket-sized compact point-and-shoot camera designed for personal photography, boasting impressive 4K video capabilities. An ideal choice as a secondary camera, nearing perfection in performance.
September 2022 Update: While there is a slight delay in powering on/off and occasional focus issues at 70mm, this camera proves exceptionally practical in compact environments such as trains or planes. Its petite size makes it an excellent companion for outings to restaurants or dinner invitations.
January 2023 Update: I got the α7 IV towards the end of July 2023. I began to explore the 10-bit video bitrate, which I discovered to be much more satisfying when editing in Final Cut Pro. The bokeh effect looks more pleasing too. Then on, I spent less time with ZV-1 and haven’t used it at all since September 2023.
Since March 2, 2021, this camera has been a constant companion, capturing the vibrant blossoms of spring and accompanying me through the summer of 2021. It was with me through Copenhagen Airport, spent a month in Ibiza, and even had a day in Mallorca.
The ZV-1 stands as a unique hybrid, bridging the gap between conventional and mirrorless cameras. It carves its niche, delivering results surpassing smartphones and approaching the quality of pricier mirrorless counterparts. Compact yet feature-rich, it effortlessly blends advanced capabilities from both realms, easily slipping into the pocket of a winter jacket.
Impressive photo quality, especially with its RAW shooting capability, and clean low-light video performance characterise this camera. Its solid and rugged build makes it an ideal daily companion, always ready in my pocket.
Note: When referencing a second camera here, it denotes a backup body that seamlessly alternates with the primary without requiring extensive settings or additional peripherals, all while delivering photo and video results that closely rival those of the primary camera.
Photography
A compact camera tailor-made for holidays, this device discreetly blends into public spaces, ensuring you won’t draw undue attention while capturing moments. Perfect for unobtrusive shots of food or group gatherings in bustling environments, it excels in maintaining a low profile. Moreover, its effectiveness extends to confined spaces, making it an ideal gadget.
Cala Comte, Ibiza, Spain. Sony ZV-1, 24mm ISO 125 f/2.0 1/1000 sec.
It has a good close up too, at 5 cm. Quite useful to get a closer shot of flowers, foods or products.
A close-up on an active bee. Sony ZV-1, 24mm ISO 125 f/2.5 1/640 sec.
I’ve taken numerous photos with the Sony ZV-1 and observed that when employing auto white balance, it delivers more visually appealing colours for sunsets compared to the Sony ɑ7R III. While the ɑ7R III’s output can be enhanced through post-processing, the ZV-1’s straight-out-of-the-camera results are notably quick and pleasing.
Sony ZV-1 (minor adjustment in Lightroom) 24mm ISO 125 f/2.0 1/2500 sec.Sony A7R iii (minor adjustment in Lightroom) 49mm ISO 100 f/7.1 1/400 sec.
Videography
In contrast to the GoPro, the maximum frame speed of the ZV-1 is limited to 25 fps (PAL standard), while the GoPro Hero 9 boasts 60 fps (4K) or 30 fps (5K). While I seldom slow down my videos, a higher frame rate can be beneficial in reducing motion blur. The ZV-1 compensates for this limitation by delivering sharper and crisper video output than the GoPro, with a significantly more pleasing colour rendition.
This camera records UHD 4K videos at a robust 100 Mb/s bitrate (BUT ONLY 8-bit), utilising full pixel readout without pixel binning (where pixels are grouped together). The 1.7x oversampling enhances clarity, resulting in higher resolution and mitigating issues like moiré and jaggies. Employing Sony’s proprietary XAVC S codec, equivalent to H.265.
While equipped with Active SteadyShot, it doesn’t match the effectiveness of GoPro’s Hypersmooth technology combined with horizontal levelling. The slight jerkiness during handheld recording is present but not overly distracting, making the video still enjoyable. Utilising Active SteadyShot kicks the camera to 1.12 crop factor effectively turning 24mm to 27mm.
Two screenshots from two 4K videos were taken using GoPro Hero 8 (left) and Sony ZV-1 (right) from inside a car while it was moving. Personally, ZV-1 is sharper, has less artefact and also with better colour.
Cons
This camera utilises micro-USB (USB 2.0) for charging, a feature that could have been better if it was USB-C.
In comparison to the GoPro’s convenient QuikCapture feature, which swiftly powers on and initiates recording with a single button press, the Sony ZV-1 has a delay in powering up, especially if it has not been used for some time. Additionally, it takes a noticeable amount of time to power off and retract the lens.
A single battery proves insufficient for sporadic recording, depleting in less than an hour. During a 12-hour trip to Mallorca in August 2021, where I relied solely on this camera and a GoPro 8, exploring the island and capturing continuous photos and videos, the ZV-1 required recharging at least twice.
While attempting to gather facial images for an experiment for my study using this camera, I noticed the output lacked the same level of detail and sharpness as the ɑ7R III. Images appeared blurry and lacked the crispness that the ɑ7R III effortlessly achieves.
Prognosis
While this camera excels in capturing everyday moments and proves ideal for holiday snapshots, it falls short of replacing the ɑ7R III for superior and detailed photos. It serves as my go-to option when a quick snap is needed, offering convenience and efficiency. Despite the ɑ7R III’s superior quality in recording, the ZV-1 takes the lead as my primary recorder, thanks to its lightweight design.
Technical Information
Focal length: 9.4mm to 25.7mm(35mm-equivalent focal length: 24mm to 70mm) Optical zoom: 2.7x Maximum aperture: f/1.8 to f/2.8 Minimum aperture: f/11 The angle of view: 84º (24mm) to 34º (70mm) Minimum focus distance: 5 cm (wide) to 30 cm (telephoto) Dimensions (W × H × D): 105.5 × 60 × 43.5 mm Weight: 294 g
Featuring a versatile flip-out, tilt-around, and side-articulating touch LCD screen, this camera proves invaluable for capturing selfies and exploring creative low-angle compositions. Additionally, its Wi-Fi capability facilitates seamless file transfer, enables geo-tagging, and allows convenient remote camera control.
Setup / Gears
128GB SanDisk Extreme microSDXC Class 10 UHS-I U3 V30 A2 (on adapter).
Ulanzi VL 100C 2,500-6,500K CRI95+ (2500 lux at 30 cm / 800 lux at 50 cm / 200 lux at 1 m) 2,000 mAh.
JJC camera case pouch. It fits the camera well even when the wind muff was on.
4 units of Batmax NP-BX1 and a portable USB charger.
I bought a Ulanzi ultra-slim mount lens adapter ring (52mm) with the intention of getiing the Ulanzi wide-angle lens, specifically the ULANZI WL-1 Additional 2-in-1 Lens which was designed for the Sony ZV-1, featuring an 18mm wide-angle and 10X macro capability. However, upon further consideration, I concluded that an additional lens was not essential for my needs. Instead, I’ve decided to opt for K&F filters. Despite this, my conscience is urging me to reconsider. The mounting of the adapter may compromise the aesthetic appeal of the camera, particularly when the filters are infrequently utilised.
