Contact Sheet: Kenza Fourati: Sony SLT A77, Sony NEX 5N

Contact Sheet: Kenza Fourati: Sony SLT A77, Sony NEX 5N

Remember contact sheets? Indispensable in the days of analog photography, obsolete when shooting digital. I was cleaning out my closet (remember that song?:) and came across a box of old negatives and contacts. There is something magical about the process of analog photography, don’t get me wrong, I am not a sentimental guy, more after the break

however, looking through them, there is something about the process of “louping it”, marking and choosing. This inspired me to try a digital version, ironically shot with the latest offerings from Sony, the A77 and Nex 5N. But one thing didn’t change and is still true when shooting digital, the real magic happens in front of the camera ;)
Equiptment used:
Sony Nex 5N
30mm 3.5 Macro which I really like as a standard lens
Sony SLT A77 with kit lens
Rokinon 35mm 1.4
No problems setting up WB on both cameras to match using K setting, Sharpness/Saturation/contrast down to -3
I am totally impressed with the Rokinon 35mm 1.4 which makes a fantastic standard lens-if you can live without AF- on the A77 and is crazy sharp from f2 onwards (and already very good at 1.4), I have no worries shooting full length at that aperture! When shooting full length wide open field curvature is often a problem and you have to choose carefully what to focus on, not so on this lens, I am able to get the outfit, face and feet into focus.
I don’t really pick my lenses based on MTF charts, sometimes a lens can perform poorly in the lab and admirably in real live situations, the Canon 50L 1.2 is such a lens. But I admit, this lens has been rated #2!!! , tested on a full frame body by DXO Mark and 5 stars by
(on Nikon and Canon full frame) and I agree with them, when a lens is that good, you can see the difference and it is a joy to use! Exciting times!
if you like what you hear:
quand je perds je gagne aussi by les loustics
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12 thoughts on “Contact Sheet: Kenza Fourati: Sony SLT A77, Sony NEX 5N

  1. Pingback: Contact Sheet: Kenza Fourati | Directors Notes

  2. metamind

    Hi Mike,

    do you know any websites or other sources where information on effects specifically for fashion film editing can be found ?
    I do not mean complicated special effects but effective yet elegant and sophisticated montage and compositing techniques such as slice or split techniques, displacement etc., as they often can be found in high end fashion films (for instance in nearly all of Barnaby Ropers films, example:

    It is nearly impossible to find anything useful as there do exist thousands of websites dealing on a very average level with after effects or premiere pro montage etc. The problem is, that there does not exist anything specific. Nearly all high end fashion film editors are using effects from a similar category, which seems to be unique and closed to other people.

    Thank you. All the best!

  3. Francisco G

    Thanks for the reply Mike. I also love my Sony A350 & Canon T2i, but i’ll be upgrading to the A77 as my main cam for the reasons you mentioned. Keep on inspiring!

  4. mike.kobal Post author

    thanks much, Francisco, I love my Canon’s and have no problem with the Sony in terms of workflow or mixing footage, I really like it as a “Jack of all trades” a great multi task camera for photos and video, the in body image stabilization and 1080/60p set it apart from the competition. I also appreciate the fantastic AF during video when using the 16 50mm kit lens (though I mostly shoot MF) this turns it into a true run&gun unit, I really like having this option.

  5. metamind

    Very cool! Which software do you use ? Do you have a ready to go effect cloning the frames and putting them together or is it done manually ? Thanks.

  6. Francisco G

    Wow. While most people just whine about how the A77 isn’t good enough for video work because it’s not related to their Canon mode of thought, you just go along and DO amazing stuff with it. I admire your work and process, and I’m very glad the A77 will be my future cam.

  7. mike.kobal Post author

    hey Viv, in general a full frame lens on an APSC sized sensor performs better then a designated APSC lens, the image circle is larger since it has to cover a larger sensor and only the sweet spot is being used to project the image on the cropped sensor. I had mixed experiences with Sony’s budget line, i tested the 30mm 2.8 macro and found it was a fantastic lens, a friend of mine got one based on my findings and returned the lens since it couldn’t hit focus 7 out of 10 times (i did not have any problems w mine). Due to the poor mechanical quality (those lenses are 100% plastic including the mount) it lacks precision and one might run into quality control issues. Kurt might have gotten a bad (centering problems?) Rokinon and a great Sony, the reason for his findings. I would take it with a grain of salt, since the Rokinon produced impressive results over at and DXOlabs. FWIW, I love mine, exceptional resolution, no noticeable curvature and a pleasure to use on this unforgiving sensor.

  8. Viv

    I was reading the kurmonger ( review of this lens and he felt it was not for apc cameras..
    The Rokinon 35mm F/1.4 is best used on a full frame camera, therefore, I can’t recommend it for APS-C models. Why? The Sony DT 35mm F/1.8 SAM is sharper in the centers at all apertures, and stopped down a little will match the mid-sections and corners of the Rokinon. Additionally, the Sony is very small and light-weight, with full auto focusing and metering, and costs less than half of the Rokinon. I’ve been bragging up the Sony 35/1.8 SAM since it was introduced, and you can see why by checking out the comp at the bottom of the review!

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