News from the 3rd Dimension

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Willkommen in der neuen Dimension

Greet the Merry Month of May

Just some spring shots that proof: Merry month of May has begun!

Flowers start blooming everywhere, weeds as well...


Venetian Carnival, Fire Show and Masked Ball (more anamorphic productions)

March 2014 - Enjoy the mystic and colorful world of fairies, ice dragons, venetian masquerade and costumes. Follow them to the place of fire artists and dancers (filmed anamorphic, stretched to wide screen):

Please select full screen in the player's button bar for best viewing experience.
Download of full quality 1080p50 24 MBit version available for registered Vimeo users.

The video was recorded using Sony A7R with Zeiss Sonnar T* FE 1.8/55 and SLR Magic Anamorphot 1.33x 50 described in more detail in this article: http://www.3d-kraft.com/index.php?option=com_content&view=article&id=152&catid=40&Itemid=2

Another challenging application for the Anamorphot was using it on the Masked Ball 2014 in Hamburg:

(1080p version: https://vimeo.com/88542696)


A journey from Chilean Patagonia across the land of Volcanos to Valparaiso captured with the Sony A7R

(Video available in 3K and 4K (1440p and 2160p) as well here: http://youtu.be/TlB-MIRYqRo)

If you ever thought about travelling to "the end of the world", this article may give you an impression, how I saw this terrific part of South America through my eyes (ok, to be more precise: through the Sony A7R with some lenses mentioned at the end). On this journey from Punta Arenas, the southernmost city on the South American mainland we crossed Patagonian snow capped mountains "Torres Del Paine", volcanos, fjords, exotic flora and fauna, chilled on Chiloe and roamed the narrow alleys of the Unesco world heritage Valparaiso.

For a better orientation about the locations shown here, you may use this interactive map:


Anamorphic Project - First Tests of the final SLR Magic Anamorphot 1.33x - 50, Updated!

09. Feb. 2013 - Part 1 & 2, testing the wide screen effect and image quality of the final SLR Magic Anamorphot 1.33x 50:

Please select fullscreen in the player's button bar for best viewing experience. If you can not see the embedded video, please try:

YouTube version
Vimeo 1080p version (download of full quality 2560x1080p25 32 MBit version available for registered Vimeo users)

This wide screen (21:9) sample video was recorded in Full HD (1920x1080p) using the Sony A7R with Zeiss FE 2.8/35 and Zeiss FE 1.8/55 combined with the new SLR Magic Anamorphot 1.33x - 50 anamorphic ancillary lens. Subsequent horizontal stretching in postprocessing was applied in order to save more information from the original sensor resolution than simple letterboxing. Sorry for the sometimes a bit jittery pan shots but on that beautyful day I did not have a fluid tripod head available at my fingertips. There may be some additional jitter due to the uncommon video format that forces many decoders to switch from hardware to software decoding. Further test videos will focus more on creating flare and bokeh effects.

Here you see the diopter set and the Anamorphot used for the video attached to a Sony A7R with Zeiss FE 2.8/35mm lens and some additional step up adapter rings.

Looking through the lens shows the 1.33x squeeze:


Most Adorable 50s - Zeiss Otus & Sonnar, Leica Noctilux & Summilux, SLR Magic HyperPrime

Some time ago, we already compared a large selection of more or less adorable 50mm lenses on an APS-C crop camera (NEX-7) here. Now it's time for a sequel where we squeeze out the currently most adored 50s attaching them to the 36 MP full frame Sony A7R.

The candidates this time were (from left to right, the Leica M bodies this time only acted as lens cap ;-)):

  • Leica Summilux 50mm f/1.4 ASPH
  • Zeiss FE Sonnar T* 55mm f/1.8
  • Zeiss Otus Apo Distagon T* 55mm f/1.4
  • SLR Magic HyperPrime CINE 50mm T0.95
  • Leica Noctilux 50mm f/0.95 ASPH

As far as I can remember, 50mm lenses always were a compromise and optimized for a certain purpose. So you had to decide between large aperture (typically f/1.4) portrait lenses designed for available light and optimized to isolate a subject in a range of 1 to 3 m from its environment with a smooth background blur or for a landscape lens that is perfectly sharp all over the frame at f/5.6 - f/8 on large distances. But 2013 Zeiss stepped in with a "no compromises" lens demonstrating that it is possible to build a lens covering all purposes with maximum image quality, the "Otus 1.4/55".

Only the Zeiss FE Sonnar T* 1.8/55 is a native lens that was launched by Sony together with their new series of full frame cameras, the A7 and A7R. All other lenses had to be adapted using a Leica M to E-mount adapter or (in case of the Otus in ZF.2 mount version) a F-mount to E-mount adapter. I do not want to bother you with too many details about these lenses. Some of them were already covered in other articles here and on other web sites and I am sure, you will be able to find out all technical data you need - otherwise feel free to contact me by E-mail.

In the first part of this comparison review we will use the lenses in real world situations where they are best suited for:


The following series was taken at a subject distance of about 1.2m (approx. 4 ft.). All images are


Bokeh Dreams from 21mm to 135mm with Sony A7 & A7R

Dec. 2013 - Since the new full frame mirrorless "ILCE" cameras (A7 and A7R) from Sony were presented in October, thanks to its small flange distance many users where thrilled by the option to adapt nearly every lens. In the wide angle range, there was quite a lot of frustration, but another article here shows some of the best options in the UWA range. In this article we will focus on lenses that give you great "virtual 3D" options to seperate objects by playing with depth of field (DOF) and beautiful bokeh. 

This article will cover the following lenses (downwards sorted by focal length and maximum aperture):


Let us start right with an example from the Sony STF 135mm f/2.8 T4.5:

(click on image to see other sizes)

Due to its very specialized construction, this lens fascinated me since a long time but its focal length was a bit long when used on crop sensors (APS-C, FourThirds etc.). The full frame sensor of the Sony A7R changed the game...


Flammenspuk - Fire Artistry Show "Kobold Streit" (Goblin Hassle)

November 2013 - Enjoy the "Kobold Streit" (goblin hassle) with lots of "Schabernack" (hoax) performed by Caro and Kathleen from "Duo Flammenspuk":

Please select fullscreen in the player's button bar for best viewing experience. If you can not see the embedded video, please try:

YouTube version
Vimeo 720p version
Vimeo 1080p version (download of full quality 1080p50 32 MBit version available for registered Vimeo users)
Direct download of full quality 1080p25 32 MBit version available until 8th December via WeTransfer.

The video was recorded using Sony A7R with Zeiss FE 2.8/35 and Carl Zeiss / Contax Planar T* 85mm f/1.4 lenses.

For more information about "Flammenspuk", please visit http://www.flammenspuk.de


UPDATED: Ultra Wide Angle M-Mount Lenses THAT WORK On Sony A7R (Leica "WATE" Tri Elmar 16-18-21mm f/4 ASPH and Voigtlander Ultron 21mm f/1.8 ASPH)

If you visited this article earlier, you may want to jump directly to the UPDATE.

Oct./Nov. 2013 - If you followed all that buzz and bashing on the new mirrorless fullframe cameras from Sony, the A7 and A7R (also named as ILCE-7 and ILCE-7R), you may have got the impression that these cameras are not suited to be used together with wide ange M-mount lenses from Leica, Zeiss and Voigtländer. My conflicting message is, that it will work perfectly fine, if you choose the right lens. 

You propably saw many articles like the "torture test" of Ron Sheffler, who came to the conclusion "Results on the a7 are for the most part disappointing. All I can surmise at the moment is that the toppings on the a7′s sensor work against achieving optimal (or in some cases, good enough) results with the rangefinder lenses I had available for this test". You propably also read Steve Huff's 1st impressions coming to the conclusion "But seriously, if you are primarily an ultra wide Leica M lens shooter, you may want to skip these bodies.".

Before going into detail of my conflicting message,


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