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The familiar first frame from a gopro video. Better than the usual below double chin. Trying out the @gopro 4 in 4k last week on my car. For loads of answers to your questions check my blog post/ evolving review gopb.co/gopro4

This is a SPECTACULAR lens. Yes I have bought too many lenses recently but I have sold a few too! I now have three Soviet Helios lenses and the gorgeous Petzval but this beauty is in a different league. It doesn’t have the unique look of those old lenses but what this does is a lot more useful for normal work. It’s the Voigtlander 21mm F1.8 Leica M mount.
Here it is on my Leica M and it’s most definitely the best wide angle lens I own. Incredibly sharp and little distortion plus it’s fast with a maximum aperture of F1.8. No other full frame glass can match this.
My 21mm Leica Super-Elmar F3.5 is 2.5x the price of this and nowhere near as sharp or distortion free (coming to eBay soon!) The $7.5k 21mm F1.4 Summilux is also more distorted and nowhere as sharp as this at F1.4 but I don’t own that!

Of course it’s no use on DSLRs due to the short flange but I can’t wait to try this on my A7S in 4K with the Shogun at IBC

This is a full frame lens and pointless for anything else. For example the GH4 crop would lose all benefits. Check out the new @slrmagic 10mm T2.1 for that camera. I tried it last night and was very impressed indeed!

Once again Voigtlander impress, a lot! (at Richmond Lock and Footbridge)

More playing with quirky glass. This is the Helios 44 adapted for Canon mount on my Sony A7s (with Metabones V4 of course!)

Wide open and some interesting bokeh, not Petzval style but certainly unique and quite nice! Picked up dirt cheap on ebay.

Graded in lightroom with VSCO and Fuji Velvia preset substantially tweaked.

The new edition of @dfm_magazine is out! Apologies for being on the cover again (with @erickessler ) nothing to do with me! Article of my use of @djiglobal Phantom 2s and how I use them plus my turbulent history with them! It’s a epic article! There is a whole article on Eric and @kesslercrane too! Congrats to @maciekkalinski for the article on him. Available in WHSmith newsagents in the UK also available as a digital version via the pocket mags app and you can also buy hard copies from selectps.com

Now I See from Philip Bloom on Vimeo.

WATCH TILL VERY END FOR COMPARISONS!

Read the “evolving review of the Sony A7s” here: gopb.co/a7s

Any use of the tip jar to help fund these reviews is always gratefully welcomed! Thank you!!

Everyone had been saying the just out Sony A7s is a low light monster of a camera. There was only way to find out. To try it out!

I had a think about what I could do that could show it off and blow people’s socks off. After all if it could do what people were saying…

To be able to shoot at crazy high ISOs is not about just seeing in the dark, At times I am shooting “night for day” here and for the most part it’s not something I would actually ever want do. I want night to be dark….but doing this here really does show just how much the sensor can see.

The biggest benefit for me with this camera’s sensitivity will be shooting in low light situations where normally you are at the top of your camera’s ISO before it gets hideous and also wide open at F1.4. This sort of shallow depth of field may look pretty but it’s not much fun trying to keep moving people in focus! To have a camera that could shoot in these conditions, have a clean image AND have a nice depth of field to solve focus headaches? This could be a very valuable tool indeed.

James Miller and I went down to our favourite shooting haunt, Brighton with our matching A7s to see what we could get and try out different profiles. James shot mostly S-Log. I mostly shot various Cine gamma modes.

Pointing away from practical lights so I could push the ISO up to see just how far you could push it. Just how much can you see in the dark?

Brighton Beach has no lights on it of course. There are lights on the promenade but there are a lot of people who sit out there in the dark that you can barely see with your eyes. This camera though? Well take a look!

I shot most of the daylight stuff at ISO 100 in Cine Gamma 4 and S-Gamut colour. A very flat image, not quite S-Log but close.

My glass was: Canon 24-70 F2.8II, Canon 70-200mm F2.8 IS II, Sigma 35mm ART F1.4, SIgma 50mm ART F1.4

I used the Small HD DP4 as a monitor/ viewfinder, additionally I had a Tiffen variable ND filter and my Really Right Stuff tripod with FH-350 head. To top if off I also had my new Special Edition Kessler Crane “Burl Wood” Pimipn’ edition for the odd slider move!

With the shots where in goes from dark to light and vice versa, these dark parts are what I could see with my eyes. They were all shot with high ISOs and graded down to show you what I could see and what the camera could see if it was set to around 800-1600iso as opposed to what I actually was shooting at. At night between 6,400-80,000!

It was incredibly dark out there so even though I could see everything way better than my eyesight could some of the shots with dark area in them were just too noisy not to fix. I used the ever marvellous Neat Video to get these results.

So there is no cheating here by grading it dark. I made it look exactly as it would do and to prove it watch after the credits for a shot where I cycle through the ISOs!

Music is “Now I See” (so apt for this film I took it for the title too!) by Dario Lupo from The Music Bed
gopb.co/musicbed

Graded with Colorista II. FIlmConvert and custom LUTS from James Miller.
10% off Colorista II at gopb.co/redgiant with code bloom10
10% off FIlmConvert with code bloom at gopb.co/filmconvert

Custom LUTS coming soon! :)

Now I See from Philip Bloom on Vimeo.

Read the “evolving review of the Sony A7s” here: gopb.co/a7s

Any use of the tip jar to help fund these reviews is always gratefully welcomed! Thank you!!

Everyone had been saying the just out Sony A7s is a low light monster of a camera. There was only way to find out. To try it out!

I had a think about what I could do that could show it off and blow people’s socks off. After all if it could do what people were saying…

To be able to shoot at crazy high ISOs is not about just seeing in the dark, At times I am shooting “night for day” here and for the most part it’s not something I would actually ever want do. I want night to be dark….but doing this here really does show just how much the sensor can see.

The biggest benefit for me with this camera’s sensitivity will be shooting in low light situations where normally you are at the top of your camera’s ISO before it gets hideous and also wide open at F1.4. This sort of shallow depth of field may look pretty but it’s not much fun trying to keep moving people in focus! To have a camera that could shoot in these conditions, have a clean image AND have a nice depth of field to solve focus headaches? This could be a very valuable tool indeed.

James Miller and I went down to our favourite shooting haunt, Brighton with our matching A7s to see what we could get and try out different profiles. James shot mostly S-Log. I mostly shot various Cine gamma modes.

Pointing away from practical lights so I could push the ISO up to see just how far you could push it. Just how much can you see in the dark?

Brighton Beach has no lights on it of course. There are lights on the promenade but there are a lot of people who sit out there in the dark that you can barely see with your eyes. This camera though? Well take a look!

I shot most of the daylight stuff at ISO 100 in Cine Gamma 4 and S-Gamut colour. A very flat image, not quite S-Log but close.

My glass was: Canon 24-70 F2.8II, Canon 70-200mm F2.8 IS II, Sigma 35mm ART F1.4, SIgma 50mm ART F1.4

I used the Small HD DP4 as a monitor/ viewfinder, additionally I had a Tiffen variable ND filter and my Really Right Stuff tripod with FH-350 head. To top if off I also had my new Special Edition Kessler Crane “Burl Wood” Pimipn’ edition for the odd slider move!

With the shots where in goes from dark to light and vice versa, these dark parts are what I could see with my eyes. They were all shot with high ISOs and graded down to show you what I could see and what the camera could see if it was set to around 800-1600iso as opposed to what I actually was shooting at. At night between 6,400-80,000!

It was incredibly dark out there so even though I could see everything way better than my eyesight could some of the shots with dark area in them were just too noisy not to fix. I used the ever marvellous Neat Video to get these results.

So there is no cheating here by grading it dark. I made it look exactly as it would do and to prove it watch after the credits for a shot where I cycle through the ISOs!

Music is “Now I See” (so apt for this film I took it for the title too!) by Dario Lupo from The Music Bed
gopb.co/musicbed

Graded with Colorista II. FIlmConvert and custom LUTS from James Miller.
10% off Colorista II at gopb.co/redgiant with code bloom10
10% off FIlmConvert with code bloom at gopb.co/filmconvert

Custom LUTS coming soon! :)

Now I See from Philip Bloom on Vimeo.

Read the “evolving review of the Sony A7s” here: gopb.co/a7s

Everyone had been saying the just out Sony A7s is a low light monster of a camera. There was only way to find out. To try it out!

I had a think about what I could do that could show it off and blow people’s socks off. After all if it could do what people were saying…

To be able to shoot at crazy high ISOs is not about just seeing in the dark, it’s about shooting in low light situations where normally you are at the top of your camera’s ISO before it gets hideous and wide open at F1.4. This sort of shallow depth of field may look pretty but it’s not much fun trying to keep moving people in focus! To have a camera that could shoot in these conditions, have a clean image AND have a nice depth of field to solve focus headaches? This could be a very valuable tool indeed.

James Miller and I went down to our favourite shooting haunt, Brighton with our matching A7s to see what we could get and try out different profiles. James shot mostly S-Log. I mostly shot various Cine gamma modes.

Pointing away from practical lights so I could push the ISO up to see just how far you could push it. Just how much can you see in the dark?

Brighton Beach has no lights on it of course. There are lights on the promenade but there are a lot of people who sit out there in the dark that you can barely see with your eyes. This camera though? Well take a look!

I shot most of the daylight stuff at ISO 100 in Cine Gamma 4 and S-Gamut colour. A very flat image, not quite S-Log but close.

My glass was: Canon 24-70 F2.8II, Canon 70-200mm F2.8 IS II, Sigma 35mm ART F1.4, SIgma 50mm ART F1.4

I used the Small HD DP4 as a monitor/ viewfinder, additionally I had a Tiffen variable ND filter and my Really Right Stuff tripod with FH-350 head. To top if off I also had my new Special Edition Kessler Crane “Burl Wood” Pimipn’ edition for the odd slider move!

With the shots were in goes from dark to light and vice versa, these dark parts are what I could see with my eyes. They were all shot with high ISOs and graded down to show you what I could see and what the camera could see if it was set to around 800-1600iso as opposed to what I actually was shooting at. At night between 6,400-80,000!

So there is no cheating here by grading it dark. I made it look exactly as it would do and to prove it watch after the credits for a shot where I cycle through the ISOs!

Music is “Now I See” (so apt for this film I took it for the title too!) by Dario Lupo from The Music Bed
gopb.co/musicbed

Graded with Colorista II. FIlmConvert and custom LUTS from James Miller.
10% off Colorista II at gopb.co/redgiant with code bloom10
10% off FIlmConvert with code bloom at gopb.co/filmconvert

Custom LUTS coming soon! :)

One last bit of A7s low light madness from the darkness of Brighton Beach tonight. 25,600 ISO F2.8 1/25th of a second shutter 70-200mm canon F2.8 IS v2.

Tonight I looked into my @smallhd DP4 screen and saw a world I have never seen before.

My mind is boggling with the creative opportunities this tech can bring.

if I panned camera 120 degrees to the right the lights of Brighton were blown out beyond recognition!

it’s now almost 3am and just got home from filming.These reviews eat up so much time!!#blooma7sreview

Do you like my $31,000 stealth lens for my Sony A7s!? Canon 17-120 T2.9 Servo (I won’t be using the servo bit!)

So if you are asking me which lens I recommend for the Sony A7s then this is pretty cool but only works on APS-C. So better for the GH4…also works a treat on the Blackmagic pocket camera or jf you really want to punish yourself the URSA!

Joking aside it’s so gorgeous. It’s an ENG s35 lens. Even got a lovely zoom pin for crash-in-focus-pull-back out (as long as your back focus is spot on!) Never been a servo type shooter, only for live OBs! ;)

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