And now, for shots from the Sigma 17-35mm F2.8-4 EX full-frame Minolta/Sony A-mount lens, shot with the Minolta Dynax 7 film SLR on Fujifilm Superia ASA 400 film!
I shot almost entirely in Aperture Priority, as I believe it’s the most practical mode. No point shooting Manual Exposure if you’re just going to set the lightmeter to 0. This was at F14.
Instead of the much-heard of Sigma yellow (where Sigma lenses have a yellow cast) I got a magenta tint instead.
Also, there is very little light falloff! The lens on the Sony A700 has loads at 17mm F2.8; this is because the lens was made for film and was not optimized to send light towards the edges at right angles to hit the CMOS on its head.
Upping the green levels help; this is 17mm F2.8 at the minimum focusing distance of 50cm.
Bokeh is nice, but sometimes shows some brightline. Definitely not creamy either. Shot at F2.8.
Shot at F2.8, surprisingly sharp. Compared to the Sony 11-18mm F4.5-5.6 DT, which has a 16.5mm equivalent field of view, it is technically 0.5mm less wide. However, it is 1.33 stops brighter, so its depth of field is smaller. However, the Sony 11-18mm goes as close as 25cm, which makes up for it.
This was shot at F6.3.
Flare was well-controlled at F11, and a bit of Photoshop made my office building pop.
F2.8, focused on the elianto sign, and yet it was in focus all over.
Another macro shot at 17mm F2.8.
Go green! Go Fujifilm Superia go! Also 17mm F2.8.
He looks like he’s hauling a stash.
While at it, here’s something from the Peleng 8mm F3.5 circular fisheye instead. Shot at F8 in Sunway Pyramid.
And now, back to the Sigma, with the Dynax 7’s Smooth Transition Focus mode, which does a multiple exposure of 7 frames with different apertures.
This was at 17mm F4.5 1/8th of a second. A funky side effect of the 7 frames is this stroboscopic effect!