Very much looking forward to this comparison. If the X Pro1 delivers with moderate wide m-lenses, I might consider buying it. The files the Fuji produces are outstanding and if it can convince as a lightbox for m-lenses, it could be a more versatile M9 alternative, FF or not.
A few quick notes about this set up. The 15mm lens is an f4.5 and the 21mm is an f4. Therefore they both have decent depth of focus wide open. So focus is not much of an issue. They focus easily without peaking. On the NEX7 and the NEX5N they product purple fringing in corners, which is especially pronounced in open cloudy sky pictures. On the Xpro there is no purple fringing. On the other hand, I shot the NEX7 with a Pentax 77mm limited lens inside the Comedy Zone the other night and found the focus peaking absolutely necessary. Without focus peaking I would not try a longer lens on the Xpro unless it was on a tripod with a static subject, as opposed to Chris Kattan moving around on a stage. Here are two samples. The first is the 21mm on the NEX7 (you get same results with the 15mm), and the second is the 15mm on the Xpro. Neither of these were wide open. If I recall they were both taken at either 5.6 or 8.
The extremes of sky exposure due to bright sunrise coming up on the left.
Wide angle Voitlander on NEX7 vs. standard lens on Xpro
I was very disappointed with the purple fringing on the NEX7 when used with the 15mm and 21mm Voitlander lenses. However, in some situations those lenses work great on the NEX. Here are two shots from a concert at the Fillmore in Charlotte, NC. The first is the Xpro with the 35mm Fuji lens. The second is with the NEX7 and the Voitlander 21mm (a fine lens indeed!). I wish I had thought to put the 21mm on the Xpro during that venue, but it did not occur to me at the time.
Yikes, that cyan color shift looks nasty on the NEX7. I guess I should have tried the Zeiss ZM 21mm on the NEX7 when I still had a NEX7 (and the ZM 21). On the M9, I get the cyan edges with the Voigtlander 21, but not with the ZM 21. I wonder if that would hold true with the NEX7. The ZM 28 worked really really well on the NEX7 though.
Both concert photos look great!!! Don't you also have the native Zeiss E 24/1.8? Other than the extra 3mm, any other reason you'd use the Voigtlander 21 over the Zeiss 24/1.8?
Thanks for the photos on this excellent thread Dan!
I like the look, I'm a fan of the adapted lens style. These two are particularly asethetically pleasing.
Nice gig shots, Dan. Bugleone used to talk about gig photography a bit, I'd love to be good at it but I'm so afraid of the "KERCHUNK!" noise of the NEX and then some big bouncer coming along and tossing me out, so I'm all furtive about it, and can't do a good job as a result. I seem to do better with video though - the last time I took the camera to a gig was Annie Ross - Annie Ross - I Loves You Porgy - YouTube
Annie Ross is a heroine. If I can get myself together I'm going to take a trip to NY to see her at the Metropolitan Room, W 22nd St on a Tuesday night (with Tardo Hammer and Warren Vache).
Armanius, I do have the Zeiss 24. But I wanted to experiment with the Voitlanders because for street photography they are easy to set on zone focus, and of course the 15mm is much wider. Other than that the Zeiss is a better match, but physically longer than I would like.
Heather, thanks. I think the aesthetic is mostly due to the smoke machine. But I am pleased with how well both cameras performed in the low light.