All posts by David Braddon-Mitchell

David Braddon-Mitchell is a keen landscape and environmental portrait photographer. In the last decade of film he was a darkroom practitioner and worked with Olympus OM SLRs and various medium format cameras. He switched to Canon DSLRs when digital imaging improved, and made a move to Sony bodies as soon as the A7 series was born. He enjoys using a mixture of legacy manual lenses, modern manual lenses, and E mount AF lenses.

Carl Zeiss Tele-Tessar (ZM) T* 4/85: A Detailed Review

The Carl Zeiss Tele-Tessar T* 4/85 lens was released in late 2008. It is a ZM lens designed for Leica rangefinders, with a very pure long-focus five element three group construction. 85mm lenses may well not suffer from any issues on unmodified Sony sensors, and it’s light and compact for a high quality short tele. It has a reputation for being a wonderfully sharp and contrasty: is it good enough to be a great companion to your Sony, despite being relatively slow? This review may tell you.


Diameter 54 mm
Length 85 mm
Filter Thread 43 mm
Weight (w/o adapter) 310 g
Max. Magnification (w/o close focus adapter) 1:9
Close Focusing Distance from the sensor (w/o CFA) 0.9 m
Number of aperture blades 10
Elements/ Groups 5/3
The Carl Zeiss Tele-Tessar T* 4/85 can be purchased via our affiliate links at or else B&H Photo Video. You can get it new on here, or you can get it used on here.

Image Samples

Continue reading Carl Zeiss Tele-Tessar (ZM) T* 4/85: A Detailed Review

HD Pentax DA 35mm f2.8 Macro LTD: a quick report.


Some time ago Bastian reviewed the Tokina 35mm f2.8 macro. The lens I am talking about today is a significantly upgraded version of the same optical design, in Pentax mount. This is just a quick review, in which I mainly confine myself to how it’s improved over the lens Bastian reviewed.

The lens is, in theory, a standard macro lens for APSC cameras. Bastian reviewed it because , although there is vignetting at infinity (though correctable), it actually covers the full frame with good performance at close distances. At infinity it’s not really usable without a little cropping (you don’t need to go nearly as far as APS though).  At close non-macro distances there’s a bit of easily corrected vignetting (but about 3 stops in the extreme corners). At actual macro distances it performs just fine.

What’s important about this is that there are no 35mm full frame macro lenses on the market. The fact that the working distance on a moderate wide is quite short makes them unpopular for things like insects and so on. But of course the wide angle perspective is sometimes desirable in a macro: you get more of a sense of the other little things around your subject, and more of a ‘dynamic’ image with a less flattened perspective. They are, for example,  very useful tools in a botanical photographer’s kit.


    • Diameter: 49.5 mm
    • Field of view: 63° (diagonally, on fullframe)
    • Length:  63 mm
    • Weight: 214g (without adapter)
    • Filter Diameter: 49 mm
    • Number of Aperture Blades: 9 (strongly rounded)
    • Elements/Groups: 9/8
    • Close Focusing Distance: 0.139 m (measured from sensor)
    • Maximum Magnification: 1:1
    • Mount: Pentax DA


The build quality of the Pentax HD is much higher than the Tokina, if by build quality you mean (as people often seem to) how nice it feels and looks. It’s also considerably smaller and lighter than its Tokina cousin.  It has a metal outer shell, that seems very precisely put together, and all-in-all exudes luxury and quality. It even comes with a beautifully made Leica style push on lens cap! Of course whether that translates into better reliability and ruggedness is something that only destructive testing could reveal. This version comes with a built-in lens hood. A nice feature but be careful: pulled all the way out it will cause huge vignetting, as it’s designed for APSC. But you can pull it about half way out and it’s quite useful.


Bastian’s review of the Tokina version showed it was very sharp and had good colour correction. But there was a fatal flaw: very strong flare if the sun was anywhere near the front lens element. Let me rephrase: disastrous flare. I’m not repeating any of the sharpness or vignetting tests here: see Bastian’s review – the lenses are the same optical design.

But at the time Bastian noted that while the same optical design was used in two Pentax APS lenses, the later of which is the HD Pentax Ltd lens I’m reporting on here, they were alleged to have better coatings. This latest one is supposed to have the best coatings of all. Of course maybe just coatings won’t be enough to fix the flare. You might think the optical design should change too.

But  I can report that the HD Pentax version has above average flare performance: which puts it miles ahead of the Tokina version. I couldn’t replicate the bad Tokina flare  on the Pentax whatever I did, sun in frame or out of the frame. Here are two images of the sun in the frame, one wide open and one at f11. It looked much the same wherever the sun was in the frame.

These images were of course taken at infinity, and you can see that at infinity, especially stopped down, the lens doesn’t quite cover the FF sensor. This is not a lens to buy as a general purpose 35mm lens; though if you are carrying it for macro, it will serve well for most purposes, even at infinity if you crop just a little.

Adapting the HD Pentax version

One barrier to using the Pentax version on Sony is that these Pentax DA lenses have no aperture ring and rely on camera control, which is obviously not possible on a Sony body. This means we have to rely on an adapter with aperture control. These are often expensive, bad, or both.

But I’m happy to report on a solution there too: the newer K&F concept Pentax to Sony adapter is even more nicely made than their previous ones, and has an aperture control with click stops no less! I measured the click stops and found that they are more useful with this lens than adapter based click stops usually are. Wide open is of course f2.8; one click is f3.5, two is f5.6, and it’s quite accurate 1 stop clicks after that. You can set intermediate positions too. That’s plenty convenient; and accurate enough that it’s (almost) as good as a proper aperture ring on the lens.


If you need or want a moderate wide angle macro lens on full frame, primarily for macro and close use, you should buy this. It’s very sharp across the field (not extremely  flat field near the outer areas of FF, but for macro that matters not at all unless you are photographing documents). It has good contrast, and the Pentax version has gone from disastrous flare in the Tokina to superb performance. I’m quite amazed there can be so much improvement without changing the optical layout. Together with the right adapter, it’s an indispensable tool in the macro enthusiasts toolbox (though certainly not the first tool she will acquire!). There aren’t really any direct alternatives other than other APSC macros. You can get a 15mm macro from Laowa, which is massively different, or a 50mm standard macro from everybody. You could try a 40 or 35mm enlarger lens reversed. Or else a regular 35mm lens on tubes, but they often don’t perform that well. A strong achromatic diopter might be better.

So if you want a nicely made well performing wide macro that can be used for other purposes (with excellent results at moderate distances, and good central performance at infinity) then this is all there is. Luckily it’s a fine choice.

You can buy the lens via our affiliate link to eBay or our affiliate links at B&H or via our link to Amazon

It’s worth noting that there are different versions  of the K&F adapter still for sale. You want the latest one which is much better. You can get that adapter from eBay here.

This site contains affiliate links. If you make a purchase using any of the links marked as affiliate links, I may receive a small commission at no additional cost to you. This helps support the creation of future content.

Review: Canon EF 2.8/200 L II on Sony a7rIII


There’s a gap in the Sony FE lens lineup that I find particularly irksome. There’s no AF 200mm f2.8. I don’t know when one will come either, because this is not a popular set of specifications. The lens makers think that you will buy a 2.8/70-200 zoom. But not only are they very expensive, they are very large and heavy. I would personally never carry one for the work I do, though of course many do, and many pros need to.

So what to do if that fast zoom is too heavy or expensive? I decided to have a look at a venerable and highly regarded Canon L series prime lens, the EF 2.8/200 L II. Adapted lenses work better than ever on the A7rIII, so it seemed like a good time to try it. Will it fill the gap, or should I be hoping for a Batis or Sony G?

A Few Samples

Continue reading Review: Canon EF 2.8/200 L II on Sony a7rIII

An Upgrader’s Notes on the new A7rIII Pt. 2

This is the second part of my series of notes on the upgrade to the A7rIII. In the last part I said that the improved manual focus capability was my favourite new feature. This time I’ll talk about the AF improvements, which are what probably most people have focussed on. The last part will be about haptics and settings: rather than just list my settings and say you must use them, I’ll talk a bit about why they are right for me, and what might be right for you.

Tracking and Frame Rate

Continue reading An Upgrader’s Notes on the new A7rIII Pt. 2

An upgrader’s notes on the new Sony A7rIII Pt 1

This is not a review. You will have to look elsewhere for actual tests on the A7rIII. Perhaps DXO for noise and DR (or Photons to Photons) or DPR for an overall take.

But you don’t need such a review if you already a Sony ILC user; especially if you are an A7rII user. The image quality of this new camera is pretty much the same. Sure it has maybe a solid half stop more dynamic range at base ISO but there are few of us for whom that matters much other than bragging rights. And, to forestall screams in the comments section, it looks like it’s a bit better from ISO 25K and up, but that’s just a bit of harmless raw-cooking fun. There is a touch of reduction in the pattern noise in highlights which could, rarely, appear in the R2 when darkening skies at mid ISO. That’s gone. In fact that’s the best IQ improvement in my book. But not by itself worth the upgrade tax.

So you aren’t buying this camera for the IQ improvements. Same resolution,  same other qualities—so should you buy it if you can afford it? And if so, why?

The usual suspects are the new frame rate — 10 fps or 8fps in the mode where you can keep track of what’s going on, better AF, new viewfinder, joystick, battery, pixel shift. Here’s a series of my takes on what’s new and what’s good after a week of use.

Manual Focus

I didn’t expect this to be what I most love about the camera, but it is. The manual focus experience is hugely improved. Batis lenses, and some of the Zony lenses, which used to be a little hard to manually focus, are now vastly easier. I’m not 100% sure why: I plan to follow up. Part of it is that the viewfinder is so much crisper you can see the image pop in and out of focus. My suspicion is that the effectively very long travel these focus-by-wire lenses have means that the changes in focus were too subtle to see on the old finder. As a result, in frustration, we twisted the ring quickly and then got the image too far out of focus. But with the new higher resolution finder the long travel becomes an advantage and you can nail focus with probably greater accuracy (but maybe less pleasure) than a standard damped helicoid. That’s my best guess. But I do wonder if in fact the camera is overriding the lens firmware and making the travel a little different, or changing the speed difference at which it goes faster. That’s something to look into. Of course true manual lenses are easier to focus as well, and that can only be the new viewfinder and magnification. So for whatever reason this is my No 1 favourite thing about this all singing and dancing autofocus camera. Better manual focus.

Closely related to that is the AF joystick, or MF joystick as I call it. By choosing the option to make initial magnification 6x, you can use the following lovely workflow. Use the joystick to move the focus point to exactly where you want it. Press the joystick to magnify (you need to set this up as your preferred option). Then either press again for higher mag, or just focus and shoot. Unlike the r2 you don’t have to exit magnification to shoot, so there’s much less delay. Combined with overall less shutter delay, it’s a joy.

So that’s the first great thing about the R3. For me, it justifies upgrade by itself. Now you know why my sample image for this section was a lens whose design goes back to the 1930s. The (manual) Zeiss C-Sonnar 1.5/50. The other stuff is great too, though, and that comes in the next part.

If you can’t wait, you can buy it from B&H through our affiliate link

This site contains affiliate links. If you make a purchase using any of the links marked as affiliate links, I may receive a small commission at no additional cost to you. This helps support the creation of future content.