Luminous Landscape Forum
Equipment & Techniques => Medium Format / Film / Digital Backs – and Large Sensor Photography => Topic started by: bradleygibson on December 25, 2013, 11:58:47 am
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Happy Festivus, everyone.
Like many, I suppose, I have been watching the release of the Sony A7r with interest. I would like to explore mounting it to my view camera (Arca-Swiss M-Line Two). I see that A/S has a Canon and a Nikon plate.
Does anyone have ideas on how I might go about mounting the Sony A7r, preserving its relatively short flange distance? Is this a job for S.K. Grimes?
All the best,
-bRad
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I am trying to figure out a way to do the same thing with my Cambo Ultima 23. The RhinoCam rear camera mounting plate looks like it might be able to be rigged to a lens board and put on the rear standard. I am sure in due time Fotodiox will come out with something.
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Heh... Martin saw my A7r test and emailed me that they plan to release a bellows for it. The huge advantage with the A7 is the shallow cavity which allows you to focus much wider lenses. Martin believes you may be able to go as wide as the Rodie 23mm. Naturally you will have to shoot LCCs. I told him to send me one and I'll report back.
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Who is Martin?
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I think there is a Sony NEX or E-mount adapter, check out this image I made at the Arca booth during photo plus expo last month.
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Greg, presumably Martin Vogt of Arca-Swiss. http://www.galerie-photo.com/a-visit-to-arca-swiss.html
That's great news, Chris! Please do keep us posted! "As wide as 23mm" would be just awesome.
Ken, that is is wonderful--a sighting in the wild. Music to my eyes.
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Really cool idea the A7 on a view camera. Is there allready a test on the web somewhere ?
I wonder how it will perform with shift and tilt.
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Is there an User who use the Sony on a technical/View Cam?
No?
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Yes, we will have the bellows for Sony emount very soon.
The one caveat is that the limit on the shortest lens is 70mm on Canon and Nikon for infinity shooting and might get down to 60mm
With the A7/A7R.
So wide angle are out due to depth of mirror box. The A7 body being thinner allows somewhat shorter lenses to be used, but I haven't been able to test as yet the minimum focal length on the Sony. I do use a Sony Nex on the DSLR2 though and it works fine.
We also have done custom bellows for the new M240 Leica as well with excellent results.
The DSLR2 solution is also a better way to go than the flat plate type with lens mount, as the grip on many DSLR cameras gets in the way and exacerbates the focal length issue even more because of extension on the mounting plate required to square the body up.
I will let you know when the Sony bellows comes available.
I am available for any questions at any time.
Rod Klukas
US Representative
Arca-Swiss Int.
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Hi, Rod,
Exciting news! I confess that I had hoped for significantly wider capability than 60mm with the shortened flange distance of the A7R, but I look forward to seeing what A/S is able to come up with.
I would appreciate your letting me know once the solution is available. Thank you!
All the best,
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I am checking on the mount depth for a more specific distance/focal length specification.
More soon.
Rod
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Thanks, Rod.
Out of curiosity, what is the limit for focal length you've seen with the custom M240 solution?
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40mm Rodenstock should be OK with Leica.
Shorter, I'm not sure. I will check.
Rod
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i tried the 28mm and 35mm hr rodenstock and it should work. not so the 23mm.
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28-35mm range with infinity would be ideal.
Rainier, I assume you are talking about an M240 on the M-Line Two?
Thanks,
-bRad
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i am talking about the A7r, it has a shorter sensor- mount distance than the M, otherwise you couldn't use M lenses on it.
i was holding my 28mm and 35mm hr lenses in front of the mount.
it should work, if an adapter is thin enough, probably not with a bellow.
infinity should be possible to reach. some zoerkendorf like mount should work. i don't know if he has interest to develop such thing ...
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I just got confirmation on A7r capability. You will be able to use Rodenstock 23mm or longer with the A7r. In Schneider 35mm XL and longer will also work fine.
So this body opens up more possibilities for wide angles, than Canon or Nikon, given the Sony's shorter lens mount distance from the sensor.
The Arca-Swiss Sony Bellows should be available in February.
Hope this helps.
Rod
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I just got confirmation on A7r capability. You will be able to use Rodenstock 23mm or longer with the A7r. In Schneider 35mm XL and longer will also work fine.
So this body opens up more possibilities for wide angles, than Canon or Nikon, given the Sony's shorter lens mount distance from the sensor.
The Arca-Swiss Sony Bellows should be available in February.
Hope this helps.
Rod
Awesome News!
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i wonder if horseman or novoflex will produce something for the nex that doesn't add to the depth of the body like a nikon/canon to nex adapter that would be too deep.
a small tech camera with rodenstock apo-rodagons down to 35-40mm would be ideal for me. (24-tse as wide as i need to go)
(http://farm5.static.flickr.com/4083/4993833892_9a0cb1dee9.jpg)
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I tried to rig it to my Linhof 679 with litte success a 120mm lens was barely usable with very little movements. the problem is the large grip protrusion.
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I just got confirmation on A7r capability. You will be able to use Rodenstock 23mm or longer with the A7r. In Schneider 35mm XL and longer will also work fine.
So this body opens up more possibilities for wide angles, than Canon or Nikon, given the Sony's shorter lens mount distance from the sensor.
The Arca-Swiss Sony Bellows should be available in February.
Hope this helps.
Rod
Very exciting...... Please keep us posted as to the exact dates and pricing.
Victor
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Hi gentlemans,
I'm so interested in the performance of the a7/a7r with large format (film/digital)lenses.
;D ;D ;D
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Dunno about the M-line Two, but…I've been looking at this for some customers who want to use the A7R with an X-Act2 technical camera. I think the way to go is to fit the bellows directly to the camera lens mount - maybe screw a thin disk onto an adapter plate - sandwiching the bellows leather in between adapter and disk. The camera could be fit to the inside of the rear standard via a bar that attaches to the tripod mount. Still going really wide probably means using one of the very expensive retrofocal Rodenstock lenses. The advantage of using a tech camera over say a Canon TSE 17 is that you would have more movement for stitching, etc.
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That the A7r can do Digaron-S 23mm sounds very interesting indeed. This indicates that IQ250 would be able to do the same as it has similar sensor technology.
I would have expected color cast and angular vignetting issues even with these retrofocal lenses, but it's great to hear that it works. But maybe it only works dead in center and shifting cause severe DR loss due to casts/vignetting?
It's looking like the A7r could really work as a poor man's digital back, which is exciting.
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Thank you for the follow-up, Rod. I'll give you a call this coming week.
All the best,
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Just wanted to inform that I have my A7R up and running on my Cambo Ultima. It took some rigging and figuring but its working out great. Connected to the Ultima 35 bellows and not the rear standard board - need to test how wide I can get with it now.
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I've seen that the IQ250 is quite sensitive to crosstalk on wide angles when shifted, the A7r is likely to have the same issue as it's the same sensor technology. This will be seen as residual effect after color-cast correction (LCC) in the form of desaturation of colors in shifted areas, or if more severe as a residual color cast.
The A7r has micro lens offset on the sides to handle wide angles better, this however assumes that the lens is not shifted. This means that if you move the lens center towards an edge of the sensor (or even worse -- move the center of the lens outside the sensor) you can get a sudden uneven increase in crosstalk issues.
Without movements the A7r can probably handle quite short focal lengths though.
Anyway, be sure to check color rendition before assuming a certain technical wide is a good combination with the A7r. This post over at getdpi explains a trick how to check if the lens+sensor combination suffers from crosstalk: http://www.getdpi.com/forum/570913-post78.html
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I use the Sony A7R on a Rollei X-Act2. http://www.flickr.com/photos/melting_bloke/sets/72157641407451984/with/12709044765/
infinity capable on 6000 series lenses and with good movement capability due to the 60mm image circle of the medium format lenses on the smaller sensor. Planned on the IQ250.. but the A7R does everything required and more on this setup.
A shot with the system. :-
http://www.flickr.com/photos/melting_bloke/12450571104/
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Just wanted to inform that I have my A7R up and running on my Cambo Ultima. It took some rigging and figuring but its working out great. Connected to the Ultima 35 bellows and not the rear standard board - need to test how wide I can get with it now.
Greg, can you show us a couple of pics of this rig? Sounds terrific.
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I use the Sony A7R on a Rollei X-Act2. http://www.flickr.com/photos/melting_bloke/sets/72157641407451984/with/12709044765/
infinity capable on 6000 series lenses and with good movement capability due to the 60mm image circle of the medium format lenses on the smaller sensor. Planned on the IQ250.. but the A7R does everything required and more on this setup.
A shot with the system. :-
http://www.flickr.com/photos/melting_bloke/12450571104/
I'm interested in Rollei X-Act2. Can you please tell me what's the difference between this cam and, let's say, Linhof 679cs? Arca Swiss M line 2 looks good, too, but I just can't figure out why Arca didn't include all rear standard movements on this cam.
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I'm interested in Rollei X-Act2. Can you please tell me what's the difference between this cam and, let's say, Linhof 679cs? Arca Swiss M line 2 looks good, too, but I just can't figure out why Arca didn't include all rear standard movements on this cam.
Removing rear standard movements has also been made on the Linhof Techno. The reason for doing so is to increase the parallelism precision which is important when you focus close to infinity (or otherwise have a large depth of field) as any tine parallelism error can show up as blurry sides of the image. It also makes the camera lighter, which is good for field use. In the field the need of rear tilt/swing is less critical than in the studio too.
In a studio when you shoot at closer distance and have relatively short depth of field the parallelism precision is less critical (you won't notice if the depth of field has a tiny residual tilt/swing), and the extra weight is not harmful. I do not think that the Rollei X-Act2 would be a great landscape or architecture camera compared to my Techno, but certainly a much better product photography camera thanks to the extra movements.
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Removing rear standard movements has also been made on the Linhof Techno. The reason for doing so is to increase the parallelism precision which is important when you focus close to infinity (or otherwise have a large depth of field) as any tine parallelism error can show up as blurry sides of the image. It also makes the camera lighter, which is good for field use. In the field the need of rear tilt/swing is less critical than in the studio too.
In a studio when you shoot at closer distance and have relatively short depth of field the parallelism precision is less critical (you won't notice if the depth of field has a tiny residual tilt/swing), and the extra weight is not harmful. I do not think that the Rollei X-Act2 would be a great landscape or architecture camera compared to my Techno, but certainly a much better product photography camera thanks to the extra movements.
Thanks for the great info! Yes, I need the camera for studio work, so I'm not well informed about a landscape photographer needs. So, M2 is not for me. Too bad, it looks like a great camera otherwise.
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indeed, I find the rear standard movements are often used when doing tabletop work. Though the additional adjustment could be seen as a possible weak link and a hindrance in shooting landscale/archi work I think having live view with capability to punch in in any point of the frame by 14x allows the user the ability to check for issues on longer distance shots that need more critical alignments. I'd certainly not see the X-Act2 being too cumbersome for paid archi work. it's a lump of metal that deters me from taking it out for personal work but if I was given a brief to get 10 or so immaculate archi shots at different angles I'd certainly not feel the X-Act would slow the process down at all. and the smaller sensor of the a7r compared to a 36x48 sensor is going to be less susceptible to the type of misalignments being discussed here.
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Is there any news about Sony A7r on Arca-Swiss MF-two? Anyone tried it yet?
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I spoke to Rod about the A7R on ML2 back in February; it will be a direct attachment to bellows affair, and was expected in March. Other commitments have kept me from exploring further, but the first stock should have arrived by now. Cost with all required bits (I do not currently have the DSLR setup on mine) was approx. $1k.
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Can someone tell me what flange-to-sensor distance really means?
For infinity focus: If the lens is in a Copal shutter, is this the distance you must achieve from the front of the lensboard to the sensor, or the front of the shutter to the sensor?
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For infinity focus: If the lens is in a Copal shutter, is this the distance you must achieve from the front of the lensboard to the sensor, or the front of the shutter to the sensor?
If you look at the Rodenstock diagrams flange focal distance is to the front of the lensboard, not sure how to interpret the numbers though... they have different number for their helical focus mounts.
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Any updates from arca? Any testing with retro wide angles yet?
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You should contact your dealer, I was at Arca this morning and Martin told me it's available.
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From the IQ250 testing I've seen which has the same type of sensor technology but a slightly larger pixel pitch (5.3um vs 4.9 on the A7r) I would not be too optimistic about technical wide angles, even the retrofocus Rodenstock ones (which still are much less retrofocus than a typical wide for a mirrorless camera). It will probably perform slightly worse than the IQ250 due to the smaller pixel pitch (unless it's matched with a shallower pixel depth, but I doubt that).
It will sort of work, the huge dynamic range will take care of color casts in a good way, but you'll have quite severe issues with crosstalk meaning desaturated/shifted colors and difficulty to demosaic well for most raw converters due to the crosstalk messed up green channel.
Like the IQ250, the A7r sensor has microlens offset towards the sides, which is designed to better handle wide angles -- but only when they are not shifted. For large shifts the microlens offset will have the opposite effect and cause a sudden drastic loss of performance. You'll also see a large variation in behavior if you have the camera in portrait or landscape orientation, as due to the wiring on the sensor the crosstalk is different horizontally vs vertically.
So I'd say that like with the IQ250 you probably would see surprisingly nice initial results at first, but when you really analyze the results you see a sensor pushed past its limitations, and personally I much rather would use a fuzzier standard retrofocus wide angle lens (like the Canon TS-Es), than put on a tech wide angle and run with these issues.
Still I'm very curious to see what it can do. My guess is that you need to get up to as much as 50mm focal length of the tech cam lenses before the sensor starts to behave well.
A sensor is designed with a specific "critical crosstalk angle", and a lens is designed to not deliver light over a specific angle, if those are compatible it will work well. Unfortunately these numbers are not easy to get from either sensors or lenses, otherwise we could see directly on paper what would work flawless and not. In practical tech cam photography one usually exceed the critical angle a bit though, as the image quality degradation is generally not too drastic for mild crosstalk. You get some crosstalk on a IQ260 with a shifted Rodenstock 40mm too... so it will be a bit subjective what works and not.
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All articles are very interested. Thanks for many opinion for me.
I'm thinking about our own sinar systems for many studio photographers to breath new life on a7/a7r like this articles.
Actually if studio setup, camera size does not matter.
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Re: making compact technical camera for A7/A7r
« Reply #37 on: Today at 12:18:58 PM »
Arca-Swiss has just released the bellows for their DSLR2. And we have redesigned the mounting to make it fast and easy to use.
The mount will allow the use of wide angle lenses down to at least 35mm and we are testing to see how short we can go with movement. It appears the 23mm and 28mm Rodenstocks are out. The rear of the lenses, especially on the Rodenstock's is so long that it contacts the body of Nikon's and Canon's below 70mm and even on the Sony A7 may not work.
The Sony A7 series, being mirror-less, allow much shorter lenses to be used, so more soon on this.
I will have pictures soon this week.
Additionally to make it easy to use, the bellows mount works as follows. Mount is pulled off from bellows. That's right, pulled off. It is a magnetic rear lens mount with a finger cutout to make it easy to rotate to connect to the body. Mount the bellows to the the front frame of your DSLR2 and reconnect the two rings via the installed magnets. As the two rings nest inside, a perfect seal and light trap is created. Turn on your body and you are ready to make images. If you want to switch to vertical or vice-versa, you merely need to reorient the body and the bellows mount will rotate in place. You now have an extremely precise camera capable of using wide angle lenses on your DSLR with ease.
All three mounts will be supplied in this form in the future.
Enjoy,
Rod
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Rod was kind enough to send this over for testing. Putting it through it's paces today. Will report back with IQ260 images for comparison. I gotta say, I love LiveView for swings! SK 35XL focuses no prob.
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That Arca looks very similar to my Cambo set up that I've been using for 3+ months now.
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Thanks for taking a look Chris.
Let me know if any concerns arise.
Be well,
Rod
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Chris how much tilt/swing can you achieve with the 35mm?
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Any results to post?
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Wow. This is a very interesting setup. Is there a sony mount attached directly to the bellow?
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Here are some jpegs from a test... the sun was in and out so you can't really judge DR very well, unfortunately. If you look at the ceiling fixtures, they blow out on both cameras. I always bracket for this stuff, so in actuality any DR difference (within a stop or less) is really inconsequential to my workflow. I always have to bracket and do tone blending. I'll include some quick retouches of the images. I did use an LCC with the Sony / SK 35mm XL and that worked quite well.
One thing I noticed is that, while the Sony feels sharper (in camera sharpening???) the Phase has much nicer hi-light transitions (look at the orb fixture reflecting in the wood ceiling).
Arca Swiss M-Line 2 used with both sensors.
IQ 260 / Rodenstock 55mm / f11 / 0.5s / About 20mm shift and rise (never could have done this shot with my Rm3d!) UNRETOUCHED
(http://christopherbarrett.net/forum_images/Camera_Tests/IQ260_UN-Retouched.jpg)
Same shot with some retouching and exposure blending
(http://christopherbarrett.net/forum_images/Camera_Tests/IQ260_Retouched.jpg)
Sony A7r / Schneider 35mm XL / f11 / 0.5s / 10mm shift and rise / -1mm swing UNRETOUCHED
(http://christopherbarrett.net/forum_images/Camera_Tests/SonyA7r_UN-Rerouched.jpg)
Same shot with some retouching and exposure blending
(http://christopherbarrett.net/forum_images/Camera_Tests/SonyA7r_Rerouched.jpg)
Full size images available here: http://christopherbarrett.net/forum_images/Camera_Tests/Tifs/ (http://christopherbarrett.net/forum_images/Camera_Tests/Tifs/)
Overall, I still think the IQ260 makes nicer files. They're very very close and with the retouching that I typically do, the Sony is more than capable as an architectural camera. If I was shooting with it alone, I would carry the Cannon 17mm TS-E, 24mm TS-E II and then the Arca for lenses from 35mm to... well I wonder how long that bellows will focus?
I'm working on a full review of the Arca M2 / A7r rig and will link to my blog post when it's up.
CB
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Here are some jpegs from a test... the sun was in and out so you can't really judge DR very well, unfortunately. If you look at the ceiling fixtures, they blow out on both cameras. I always bracket for this stuff, so in actuality any DR difference (within a stop or less) is really inconsequential to my workflow. I always have to bracket and do tone blending. I'll include some quick retouches of the images. I did use an LCC with the Sony / SK 35mm XL and that worked quite well.
One thing I noticed is that, while the Sony feels sharper (in camera sharpening???) the Phase has much nicer hi-light transitions (look at the orb fixture reflecting in the wood ceiling).
Arca Swiss M-Line 2 used with both sensors.
IQ 260 / Rodenstock 55mm / f11 / 0.5s / About 20mm shift and rise (never could have done this shot with my Rm3d!) UNRETOUCHED
(http://christopherbarrett.net/forum_images/Camera_Tests/IQ260_UN-Retouched.jpg)
Same shot with some retouching and exposure blending
(http://christopherbarrett.net/forum_images/Camera_Tests/IQ260_Retouched.jpg)
Sony A7r / Schneider 35mm XL / f11 / 0.5s / 10mm shift and rise / -1mm swing UNRETOUCHED
(http://christopherbarrett.net/forum_images/Camera_Tests/SonyA7r_UN-Rerouched.jpg)
Same shot with some retouching and exposure blending
(http://christopherbarrett.net/forum_images/Camera_Tests/SonyA7r_Rerouched.jpg)
Full size images available here: http://christopherbarrett.net/forum_images/Camera_Tests/Tifs/ (http://christopherbarrett.net/forum_images/Camera_Tests/Tifs/)
Overall, I still think the IQ260 makes nicer files. They're very very close and with the retouching that I typically do, the Sony is more than capable as an architectural camera. If I was shooting with it alone, I would carry the Cannon 17mm TS-E, 24mm TS-E II and then the Arca for lenses from 35mm to... well I wonder how long that bellows will focus?
I'm working on a full review of the Arca M2 / A7r rig and will link to my blog post when it's up.
CB
Thanks for posting this.
The IQ260 images look much better IMHO. The Colors are just much cleaner and distinctive. The greens and blues look much better. Color separation looks much nicer. The A7R images have an overall yellow (warm) cast that seems hard to get rid of. You reduced it a lot in the retouched image but it is still there. The blue wall behind the TV makes it obvious that the IQ260 deals a lot better with color. The green tint on the glass on the 2nd floor also looks much better on the IQ260 image.
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I would expect the A7r have some crosstalk issues with the 35xl causing color accuracy problems in the shifted areas. Having the sensor horizontal as here is likely better than vertical though. I'd love to do some crosstalk cancellation tests with my new algorithm with this combo :-)
For that I need two LCC shots though, one normal and one with a red filter (used to measure crosstalk).
Edit: just looked at the images on a proper screen, and yes you see that the A7r has much less saturation of colors on the green glass and the blue wall behind the TV. A primary symptom of crosstalk is desaturation. In the lens center it should look okay, but when you go towards the edges you'll have desaturation issues, which can't be fixed by regular LCC. You need crosstalk cancellation.
If you shoot a red-filtered LCC shot (just put a red color separation polyester filter between lens and LCC card) with the same settings and send me the shot, LCC and red LCC I can send back a crosstalk-cancelled shot to play with. Haven't a production ready algorithm yet, but hopefully it should work on this.
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The main symptom of crosstalk is as said desaturation of colors, some color shift can occur too. This occurs because the leaks between color channels bring them closer together, ie desaturation.
There's another symptom too though which is mazing in the demosaicing. I've cut out a 100% crop of the top right corner of the A7r image to show how it looks, both in original and increased contrast that makes it more visible.
The mazing occurs because crosstalk will pass from red to green in one column and from blue to green in another, which means that the both green pixels that without crosstalk would have equal values (for a solid color ceiling) will get separated. Separated greens means that the demosaicer will see and try to render detail there, and you get mazing.
It should be said that Capture One's demosaicer is quite robust against green separation, so the result here is better than it would have been with many other raw converters. The demosaicing algorithm designer must make a tradeoff between being robust and extracting detail, and it seems like Capture One has focused more on robustness than maximizing fine detail.
I've got to study these issues in more detail when the first tech cam demonstrations with the IQ250 was released which really highlighted it. Since then I know that crosstalk has been there with tech wides also for CCD sensors, I can even get it with my old Aptus 75 and the SK35XL and even the modern SK60XL when I shift to the image circle edge, but with the Sony sensor like in the IQ250 and here in the Sony A7r the crosstalk is much more severe. When developing the crosstalk cancellation algorithm I've had my own camera system as test bed where it seems to work well, I'm not sure how it will handle the more severe crosstalk with the A7r and IQ250 though, so I'd love to get some test material if I can :). If I can make it work it will make both the A7r and IQ250 much more usable with tech wides. It's that red LCC shot I need in addition to the normal white which make it a bit more cumbersome (it does not need to be shot in the field though, can be shot later if you just have noted the shift/tilt/aperture settings).
With these new CMOS sensors in mirrorless cameras and digital backs I think it's good to be aware of this issue so you know what can happen and what to look for to detect it (ie desaturation and mazing).
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Hi,
sorry for my silliy question. You could use a wide angle lens like the schneider 35mm with a Sony A7R??? I thought that there is only lenses from (something) 70mm possible, because of the mirror box?
And you could do movements with this package too?
--> Wonderful. OK the results are not as good as from the Phase One but the costs are different too.
Do you think the sony is better for that use, because of the small mirror box?
Thank you.
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sorry for my silliy question. You could use a wide angle lens like the schneider 35mm with a Sony A7R??? I thought that there is only lenses from (something) 70mm possible, because of the mirror box?
The A7r is a mirrorless camera, ie no mirror box. However there is space required for the lens mount so you can't get as close as with a digital back. Obviously from the demonstration the SK35mm does fit though, with at least 10mm shift movement. You need to relate to the crosstalk though, Sony CMOS sensors are not designed to cope with the angular challenge tech wides present, either correct it or live with it.
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Hi Torger,
Yes :-) a mirrorless box is not there! I mean the space between.
I think the A7 is a very good alternative. Especially the price!!! I know that you use a techno. Do you gave some experience with a A7 too? What board do you use to attach a A7 to Linhof?
I know that a German company called " just together" build boards for dslr cameras. But for the A7? I don't know?!?!
Cyron
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These tests look good to me. I use DXO as my raw converter and I certainly feel I could adjust the A7r files to look more like the 260 ones if I wanted to. The selective color adjustment, local contrast in fill light, and shadow radius are some of the tools I'd use. These and other adjustments really can change the character of a file. So as long as the camera captures the dynamic range with good detail I think I am ok.
I also have a lot of experience shooting commercial interiors and know that the discontinuous spectrum of many lights often plays havoc on accurate color reproduction. One cannot expect any camera on its own to overcome this because if the color is not in the light in the first place it can't magically be restored when reflecting off a colored object or by changing the color balance.
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Hi guys, simple question: what is the crop factor of a Sony A7r with LF lenses like the rodenstock? Thank you..
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Hi guys, simple question: what is the crop factor of a Sony A7r with LF lenses like the rodenstock? Thank you..
Well, think about it like this... if you use the Schneider 35mm XL, it's the same as having the Sony Zeiss 35mm on the A7r. Thinking about crop factors causes unnecessary confusion, just look at the MM (focal length).
CB
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Chris,
Thanks for posting these files; fascinating...!
I'm assuming both are from raw files, and if so, I'm amazed at the sharpness difference in the files? Is this the difference in the lenses? The 55 seems softer with more chromatic aberration (looking at edge with the toaster oven area)? Or does the Sony have some kind of in camera pre-sharpening being applied, even to raw files?
Did you apply any chromatic aberration corrections to either files? I'm assuming you didn't since they aren't available as presets because of the lens movement issue.
Either way, a very interesting comparison....
Alan.