Canon 50mm f/0.95 Dream Lens Review Plus Samples

Howdy good people, how are you all? Hope everyone is good!

As for me, between trying to create content for the blog and for its YouTube channel, I think I may have dug myself into a hole that’s gonna be hard to get out of 😀

That’s because now there’s double duty for me on this front, and I could barely keep up with the blog alone!

Sorry for not being able to get back to you guys. Hopefully, I can catch up to you all this weekend. I do appreciate you all!

I’ve been working on this post as well as the video, spending all my free time on both. Just one look at the length of this article will tell you why I’m burnt out 😛

Since I’m a person who does not like pressure, I found myself shutting out the world by binge watching “Forensic Files” 😀

Do not watch this program, not even one episode because if you do, you’ll be watching for hours and get nothing done!

Anyway, enough rambling on nonsense let’s talk about the topic at hand…

The Canon 50mm f/0.95 “Dream Lens.” While this may just be the latest among many reviews of this famous and legendary lens, I’ve actually had my copy for nearly ten years, using it on both film and digital bodies, and it has become one of my most cherished lenses, perhaps my favorite. And now I’m writing to share my experiences with you.


The Canon 50mm f/0.95 was introduced by Canon in 1961. According to the Canon online camera museum, “It had the largest aperture in the world for photographic lenses available in the market at the time.” It is affectionately known as the Canon “Dream Lens.” Today, the Dream Lens has become one of the most well known and coveted lenses of its era.


“Dreamtime” 2010. Canon 7 Rangefinder, Canon 50mm f/0.95 Dream Lens @ wide open, I believe. Film was Tri-X 400. Baby Z getting excited to read about the Dream Lens maybe? More likely, she’s excited for Elmo 🙂

The lens has aperture stops from f/0.95 to f/16. The lens has 10 aperture blades and is a Gauss type design.

When seeking this lens, you will find it usually comes in two flavors. The standard version is rangefinder coupled and was made specifically for the Canon 7/7s film rangefinders. These cameras have a special mount to take the 50mm f/0.95 and to my knowledge you cannot use the lens on other film rangefinders, Canon or otherwise.

There is also a “Canon TV Lens” version. It says “TV Lens” on the front inner ring of the lens. Pretty much the same lens, but made for C-Mount and is uncoupled. It usually comes with a C-Mount ring attached to it.


As mentioned in my last post, I am including YouTube videos in conjunction with my postings, whenever possible to give our readers a more dynamic experience.

For those who want to cut to the chase, here’s the video from around 4:45 but if you watch the whole video, you might want to grab a cup of coffee and/or a snack because it’s nearly ten minutes!

The video is more of a summary, but this article contains much more information on the Canon Dream Lens.

Oh yes, there IS a reason for those shades and it has nothing with trying to be cool or uncool or whatever! I will divulge in a future posting I promise you!!


Before we go on any further, please let me say this is not meant to be a full throttle or technical review of the lens. I’m no optical expert. I have no optical bench to test optics.

I have to rely on what I see with my eyes, based upon my experiences. Between telescopes and camera lenses, I have spent over thirty years developing an eye for optics. But again, I restate that I am no optics expert. I see what I see and I leave it up to the readers to make the judgement to my opinions.

With that out of the way, let me tell you the story of how I came upon the Dream Lens.

In the early to mid 2000s, perhaps 2004 or 2005, I answered an ad on Craigslist and went to someone’s home to check out a camera collection for sale. I suspect some of our readers have been to a few of these 😊

Anyway, hidden in the pile of junk cameras was a dusty camera with a huge lens on it. That camera was the Canon 7 rangefinder and the 50mm f/0.95 Canon Dream Lens.

The fella wanted $600 for it, and me thinking it was too expensive for this dusty, dirty outfit, I passed on it.


“Nightmare” 2010. Canon 7 Rangefinder, Canon 50mm f/0.95 Dream Lens on Arista EDU Premium 400 developed in T-Max developer. I was focusing on the gorilla when he stuck his tongue out! The baby and mother added to this shot, I do not know them. Considering that the rangefinder on my Canon 7 was out of alignment, I got real lucky with this shot!

As you may or may not know, that price is a bargain compared to what this lens alone goes for today!

That was the seed that set me on a wild goose chase for this lens! It wasn’t until 2009 that I was able to find and afford a copy of my own.

Although the lens is not often seen in the real world, the Canon Dream Lens is not what I’d call rare, and it wasn’t that the lens was particularly hard to find that took me so long to get one.

I guess you could say it was a bad string of finances and timing. When I had the money, I couldn’t find one. When I did find one, I didn’t have the money. But it all came together in 2009.


This lens is meant to be used wide open at f/0.95, but here is my breakdown…

“Twilight” 2014. Sony A7R, Canon 50mm f/0.95 Dream Lens @ wide open!

At F/0.95: There is apparent softness upon first impressions. At wide open the bokeh is most dramatic, as expected and makes up for any impression of softness. Upon closer inspection on a properly focused image, it is actually sharp.

The DOF is razor thin at f/0.95 and focussing errors may account for at least some of the softness people complain about.

“Sweet Zay Jan” 2018. Leica M8, Canon 50mm f/0.95 @ 0.95. Note, the baby started moving, as seen by her hands, but thankfully her face did not, allowing me to capture her sweet smile:-)

The “softness” possibly comes from lowered contrast and/or other optical imperfections. Images at wide open sometimes seem like they are enveloped in a thin veil of haze, but this is not noticeable in all images and most of the time, I don’t find it objectionable. This adds to that dreamy look, a glow that some have mentioned. Some of this may come from, again lower contrast wide open and/or poor flare resistance at this aperture. A lens hood helps if you’re wanting to minimize flare or trying to avoid lowering contrast further.


“Day Dream” 2010. Canon 7 Rangefinder, 50mm f/0.95 Dream Lens.

There is vignetting, noticeable on both film and digital. When I shot this lens wide open on the Canon 7, the vignetting was not objectionable. On the Sony A7R (original 36mp camera), it was more pronounced. I did not find it objectionable, but some might.

At F/1.4: The contrast increases, the slight haze dissapates, and the image appears quite a bit sharper than wide open. It could be comparable to other 50mm f/1.4 lenses of its era.

“Bundle Up” 2014. Sony A7R, Canon 50mm f/0.95 @ f/1.4. Sharpness is improved from wide open and the bokeh looks a lot less “funky” for lack of a better word 🙂

At f/2.8: Should be good enough for most purposes you would use any other 50mm lens for!


“The Dream Team” 2010. Rad and Frank, two great friends and photographers affectionately known as the “Dream Team.” Canon 7 Rangefinder, Canon 50mm f/0.95 Dream Lens @ around f/2.5-2.8 on Arista EDU Premium. Note the bokeh is more subdued but still funky. Can the “Dream Team” ride again? 🙂

Stopped Down Further: Honestly, I see no point in evaluating this! Why? Because this lens was meant to be used wide open or stopped down slightly to get the famous bokeh effect it’s known for. It gets sharper as do most lenses stopped down. I never objectively tested it at say f/8, f/11, and f/16. It will never achieve Otus like sharpness, but then again, that is unrealistic. It’s probably as sharp stopped down as any other 50mm from the 50’s and 60’s.

“New Dream” 2014. Sony A7R, Canon 50mm f/0.95 @ wide open! Even with ISO 100, the camera was giving me the max shutter speed of 1/4000th!


This lens is all about bokeh, or the background blur in the out of focus areas. Or to be even more geeky…the quality of the background blur. Honestly, there’s no real reason to get this lens for any else but bokeh!


“Radamon’s Dream” 2010. Canon 7 Rangefinder, Canon 50mm f/0.95 @ wide open! Film was Arista EDU Premium 400. I think this is a good example of the Dream Lens’ bokeh at its funkiest!

Count on me to tell it like it is, while people goo and gah over the bokeh from the Dream Lens, it doesn’t always neccessarily qualify as beautiful, to me. But everything I love doesn’t have to be beautiful, and so I love it! 🙂

“Shoot The City” 2018. Leica M8, Canon 50mm f/0.95 @ wide open! Who says the Leica M8 can’t shoot low light? With a fast lens like the Canon Dream Lens, it sure can!

Light sources, such as night lights for example, look like “coma shaped orbs” as I’ve mentioned before from similar vintage lenses. Almost like gibbous or half moon shapes.

“City Lights” 2018. Leica M8, Canon 50mm f/0.95 @ f/0.95. This shot was taken across the Hudson River in New Jersey. The yellow lights in the back are lights from cars driving on NYC’s West Side Highway at night. This is an example of the “moon shaped orbs” I mentioned. This was shot at night, another reason to use a lens this fast!

It may not always be so pretty, but this is what draws people in to the images produced by this lens. In many ways, this is the closest on 35mm that you can get to that Aero Ektar f/2.5 look on a Large Format 4×5 Speed Graphic.

A lot also depends on the background. If there’s a lot of clutter, things tend to look worse. If the background is relatively clear, things will look better. I have been pleasantly surprised with some images where the bokeh looked neutral, even wide open.


“Dream Ride” 2010. Canon 7 Rangefinder, 50mm f/0.95 Dream Lens @ wide open. Tri-X 400 developed in T-Max Developer. Note the neutral background at wide open. As with most lenses, the background determines a lot as to what the bokeh will do.

I’ve heard people call the bokeh from the Canon 50mm f/0.95 as beautiful, delicious, “bokelicious,” sweet, tasty, even nasty, horrible or ugly. I call it “Super Funk” because it is all this and more. It is whatever you interpret it to be!

“Zen” 2018. Leica M8, Canon 50mm f/0.95 @ wide open. 

Although it’s one of my favorite lenses of all time, I use it sparingly. I mean, I could use this lens every day but I would never post pictures from it every day. You will just kill the effect if you do. This lens should be considered an artistic tool in your arsenal rather than an everyday lens.


The Canon 50mm f/0.95 has increased in value over the years and prices are now trending from a low of $1200 to a high of $2000 give or take. Some unscrupulous dealers are trying to sell this lens for $3000 or more. This, to me, is way too high since that is approaching Noctilux used prices. The Noctilux goes for $5500-10000 on the used market, depending on which version.

Speaking of the Noctilux, some have labeled the Canon Dream Lens as the “Poor Man’s Noctilux.” Since the Canon came first, I’d say they should change that to the Noctilux is the “Rich Man’s Canon Dream Lens” 🙂

Comparisons? Well, I never owned a Noctilux, though I have two friends that have them. Based upon what I’ve seen from the Noctilux and the Canon Dream Lens, I’d say you can’t compare the two. It’s apples to oranges.

The Leica may be the technically better lens, while the Canon may be the more artistic lens in regards to the images it renders. Just like the film vs digital debate, my answer to the Noctilux vs Dream lens question is…None are better than the other. They are different.


As a “community service” to my fellow photo gear lovers, I need to say this to help you avoid a potentially painful and expensive episode of G.A.S with the Dream Lens 🙂

Ok, so today in my opinion, you really don’t need it. You may want it, but you don’t need it!

Let me explain…

When the Canon 50mm f/0.95 came out in 1961, it had few if any competition. People were still shooting film exclusively and back then you can forget all about “low light, high iso” shots.

Today, we have companies like Mitakon, SLR Magic, Mieke, 7Artisans, Kamlan and a whole bunch of other companies making lenses at f/0.95, f/1, f/1.1, f/1.2 and when you combine these lenses with the amazingly low light capable digital cameras we have today, you could literally shoot in the dark.

Just as I saw over ten years ago in the telescope world, let’s thank our friends (mostly in China) for bringing us these super fast and affordable glass! I remember telescopes such as apochromatic refractors and large diameter Maksutovs from American manufacturers such as Astro-Physics and Meade being optically superb, but also expensive. The wait list for Astro-Physics APO refractors was in years, not months.

Then came the Asian optics around the early to mid 2000’s that started challenging the established manufacturers. Sure, they may not have been a real match for a finely crafted Astro-Physics refractor, but you didn’t have to wait years and the the price/quality ratio was good enough for a lot of people. Love it or hate it, these overseas optical makers are giving people what they apparently want! 🙂


To me, the Canon Dream Lens was a lens of compromised optical quality when it came out in 1961. Compromised by the technology of its time, and probably optically compromised as well to create a showpiece lens for which Canon could claim as the fastest photographic lens in the world at that time.

In the same way, you could say today’s cheaper (under $1000) fast lenses are also of compromised quality. They are here to deliver the speed people want, knowing full well people love “ugly” these days. People love “Super Funk” ie, swirly bokeh, orbs, distortions, etc.

There are lenses such as the $2999 Nocturnus which may have higher quality and that might be a good option for some, but again for me, when you get that close to $5000, I’d just rather just save a little more and look around for a used Noctiux, but that’s just me!

Finally, you might say, that’s good and all, but these lenses are NOT the Canon Dream Lens…and that is true! They will not deliver the images the Dream Lens does.


“Angel” (With Horns!) 2010. Canon 7 Rangefinder, Canon 50mm f/0.95 on Tri-X 400 developed in T-Max Developer.

As a counterpoint, I would say the Dream Lens will not produce the kind of images these new and cheaper lenses do either! When it comes to beauty or even “ugly” it’s all subjective really.

But if you have the money and you want the Dream Lens, I’d say…go for it! It’s the Canon Dream Lens baby! Gotta have it! 🙂


I had mine converted to M mount in 2013 by the great Ken Ruth of Bald Mountain. I’ve heard that Ken has recently retired from camera repair and modification work. Hope he enjoys his retirement, he deserves it. Personally, I’m sad to see him stop doing his thing. Sad to see someone of his skills leave the business. He was a true camera technician, a camera wizard, a Camera Legend! He did an awesome job on the M conversion on my lens.

There are others who will do this conversion today. One I know off hand is Don Goldberg aka DAG. I initially contacted him, but his wait list was so long and I found Ken. I’ve had interactions with Don in the past and based on his reputation, I’d have no hesitation having any work done through him.

Why should you convert it to M mount? Unlike many other things in life, having the Dream Lens modified for M mount actually increases its value!

The main reason I had it converted to M mount is because it opens up so many other possibilities such as using the lens on Leica M bodies, film and digital. Using it on any digital system that will take M lenses through adapters.

“Palm Beach” 2014. Leica M5, Canon 50mm f/0.95 Dream Lens on Fuji Superia 400 color film.

In its native Canon 7/7s mount, you can still use it on digital bodies with the proper adapter/adapters. I used mine on a Sony NEX C3 (Aps-C sensor) for a few years before the conversion. I actually had second thoughts about doing the M conversion since I enjoyed using it on the Canon 7 for film, but when I looked at the possiblities available after the M conversion, I swallowed hard and went for it.

Keep in mind, once you do the conversion you can never use it on the Canon 7/7s again, unless you had it reconverted back which is impractical…or get another Dream Lens that is unconverted so that you can use it on the 7/7s…even more impractical, but I’ve thought about it! 🙂

The conversion cost me $300, but it could be lower or higher, depending on who you find to do the job. Get the best person you can because this is a precious lens and you don’t want some hobbyist screwing up your dream lens! 🙂



“Dreams” 2010. Canon 7 Rangefinder, Canon 50mm f/0.95 Dream Lens @ wide open. Film was Tri-X 400 developed in T-Max Developer. Ahh, is there anything sweeter than a little baby sleeping? Shhh…:-)

I hope these samples give you some idea of the kind of images this lens produces. As I’ve said before, it may not be a look everyone likes but it certainly has character! The Canon 50mm f/0.95 is a legendary lens that remains a highlight of lens design that helped cement Canon’s role as a Camera Legend.

It was, in hindsight, one of the first of many fast, speedy, and exotic glass that Canon would go on to produce over the years.

Please have a look at the video for additional information including why you’d want this lens and why you really don’t need it.

Sure it may sound like a shameless plug and ploy for you to watch the video but it’s not. At least it’s not meant to be!

When starting this article, I had just intended to post samples in order to save myself some work and time.

I figure if you’re really interested in this lens, you’d check the video too and if you’re not that interested, at least you’d hopefully look at the images on this post.

Instead, I ended up writing a lot more than I expected to. Kinda defeats the purpose of making the video and the article too. More work than I wanted, but I love you all so gotta do it!! 😊😘

Hey gotta go, thanks for listening and I appreciate you!

“Dream Baby” 2015. Sony A7R, Canon 50mm f/0.95 Dream Lens. With Baby Zay in the house, life is indeed a dream 🙂


If seeking the Canon 50mm f/0.95 “Dream Lens” prices are trending from a low of $1200 to a high of $2000 give or take. I did not include the $3000 plus lenses because I do not see them as legitimate prices. I do not want to help inflate the prices of these beautiful lenses because I was once in the position of someone who could only dream of such a lens so I know this feeling.

Though the lens is exotic, it is not considered rare. I see them almost every week for sale on eBay and elsewhere.

A fair price I believe will be between $1500 and $2000. To give you an idea of how these lenses have increased in value, I can only say I paid a lot less than this!

If the lens has been converted to M mount, it may fetch a little more. For the cheapest prices, seek out the unconverted version and just get a C-Mount to NEX or Micro 4/3 adapter and enjoy!

If you’re looking for this lens and can’t afford it right now, keep dreaming and be rest assured that one day, with a little luck (and save up some money, of course!) you can attain this dream of a lens! If I, a mere mortal, can do it, so too can you 🙂


Photo Of The Day: “Palm Beach”

Ok yes I know it’s been a long time since I had a decent camera review for you and I’m sorry it’s going to be a little longer cause just as I did my edits for my next review the computer crashes! Don’t you just hate that?!

Anyway, it’s almost 6am EST so there’s no way I’m going back to it now.

So just to let you know I’m still around, here’s a shot using a Leica M5 and vintage Canon 50mm f/0.95 “Dream Lens.” The film I believe was Fuji Superia 400. If you wish to see a larger version, you may now do so by clicking on the photo. I hope to include larger photos on future postings, now that I’ve found a decent work around to WordPress limitations on this.

My workflow is usually this…I start out testing the cameras and lenses on my kids, if they’re cooperative. Once I get decent shots of them, I move on to other subjects like the streets, buildings or anything else that strikes my fancy because once the gear passes the “kid test” I already know it’s going to do ok with anything else! 😊

The Canon 50mm f/0.95 is one of my favorite lenses of all time and I’ve been using it for many years. It’s a specialized tool, no doubt, so I use it sparingly. To paraphrase that now retired handsome old man in the commercial…”I don’t use the lens often, but when I do, it’s the most interesting lens in the world.”

The lens has that unique soft/sharp thing going on. It’s not the sharpest lens in the world, it’s softer than it is sharp, but it certainly has its own character.

I hope to post a collection of Canon Dream Lens images from a variety of different bodies in the near future.

Have a great week and see you soon!

The Sony A7R: Is It The Ultimate?


“The Dream” 2015. The Sony A7R, when introduced in 2013, represented the pinnacle in digital camera technology. Seen here with the Canon 50mm f/0.95, it is a “Dream” combo for me. I played around with some “Pop Art” type settings for this shot 🙂

The Sony A7R is a 36.4 megapixel mirrorless digital camera introduced (along with the 24mp A7) by Sony in 2013.

Now think about it…a mirrorless camera with a whopping 36.4 megapixels on a full-frame sensor. You might call the A7R an instant Camera Legend!

Note: With the exception of the first two photos, I have included some larger than usual photos especially for this camera. You may have to double click on the photos to see them at their intended sizes.


While the camera looks like a miniature DSLR, it is indeed NOT a single lens reflex. Instead, it is a mirrorless camera that does not rely on a reflex mirror as in traditional SLR cameras.

You have the option of using the back LCD, as in all digital cameras, or the built-in electronic viewfinder (EVF). The EVF has a resolution of 2.4 megapixels and is one of the best I’ve ever seen.

The camera is small, but feels good in the hand. Solid, light but with a nice heft to it. The right hand grip feels comfy and secure to me, but might not for someone with larger hands.

When I first handled the camera at the PhotoPlus show in NYC in 2013, my impression was that the camera looked and felt a lot like my Olympus OM-D EM-5, only stronger and not as light as the OM-D. I would say it is like the EM-5 ‘grown up’ 🙂


“Pucker Up” 2014. Sony A7R, Voightlander 35mm f/1.2 Nokton Aspherical, first version. Lipstick, ear-rings, kids jewelry…growing up way too fast! 🙂

It is not the prettiest camera in the world, but not the ugliest either. It feels like a ‘machine’ or a computer with a camera that Sony put together, in essence that’s what it is, but I kinda like that. And this machine is made for image making. It is not here to win any beauty contests, it is here to work. And it is an excellent worker.


The controls are well laid out with the mode dial, on/off dial, and exposure compensation wheel at the top. The inclusion of the “Fn” or function button on the back makes it easier to access key features such as ISO, drive mode, flash, focus, etc, etc. This is certainly a lot better than some of the lower end NEX cameras I have used where you have to use the scrolling virtual menu to access these features.

The menus are typical Sony and any NEX user will be familiar with most of it. You can customize this camera to do a lot of things, but I suggest you read the manual to have it do what you want.

As mentioned earlier, the EVF is wonderful, amazing really. I was always an old-school optical viewfinder guy, but the EVF on the A7R has won me over. Combined with the focus peaking, I have been able to get sharp shots in situations where it would almost be impossible. It’s that good.

There’s a lot more features to this camera than I care to write about. All I can say is that you can do almost anything you want with it 🙂


I can’t say much about the AF because I have mainly used manual legacy glass, i.e., Leica M, Olympus OM, Nikkors, etc, with this camera.

I did use a kit lens from the cheap Sony A3000 on the A7R and it focused fast and sure. Note that if using AF lenses from the APS-C NEX series, the A7R automatically switches to its 1.5x crop mode at a still respectable 15.4 megapixel resolution.

The two AF primes most users rave about when using the A7R/A7 series are the Sony made Zeiss 35mm f/2.8 FE and the Zeiss 55mm f/1.8 FE Sonnar lenses. I have yet to really desire these, due to the lack of funds, and my simply having no problems getting sharp shots with my legacy glass. One day I hope to get around to one of these fine AF Zeiss lenses, and the 55mm f/1.8 is the one I’d get first.


As mentioned, I have been using the A7R almost exclusively with legacy glass. This is the best camera I have used for this purpose.

I set the focus peaking to red, mid level, and just focus away. Focus peaking allows for the camera to highlight (in red, yellow, or white) the edges of your subject when the camera determines that you’re in the focus zone. Sometimes, you may have situations where you can’t really get a good ‘peaking’ but the EVF is clear enough where I can make the focus most of the time.


“Twilight” 2014. Sony A7R, Canon 50mm f/0.95 “Dream Lens” at wide open, ISO 800. Please click on the photo for a much larger and better view.

Focus peaking is easy to use and a very effective tool for using manual focus lenses on your camera. As mentioned earlier, the implementation on the A7R is one of the best I have used. It makes you wonder how we took all those nice photos on film SLR’s all those years without it 🙂

Don’t get me wrong. You’d probably still get a better hit rate with the autofocus 55mm f/1.5 FE, for example, but I’ll be darned if don’t tell you how pleasantly surprised I was to see how well I could focus my old lenses.


This is probably one of the main questions people have when deciding whether or not to buy the A7R. For some, it is the reason to stay away. For others, it’s reason enough to sway them to give in to their G.A.S. “Gear Acquisition Syndrome” 🙂

I’ve been using this camera for almost a year, got it last May, 2014. Here’s my take on this…

Probably 99% of the time, 99% of us won’t need 36 megapixels. We get the A7R because we WANT it. There I said it 🙂

Back in 2004 and 2005, when we had 5 megapixel and 8 megapixel cameras ruling the digital camera world, I obsessively printed up 13×19 and 20×30 prints from cameras like the Nikon D1X and Canon EOS 20D and the results looked great. Even a 13×19 from a 4mp D2H looked pretty awesome.

It may seem silly now, but you have to remember in 2004 and 2005, this digital stuff was still a relatively new game. With each increase in megapixels, we were ‘oohing’ and ‘ahhing’ and going bonkers with the latest and greatest. Today, 20+ megapixels don’t even make eyes blink anymore. Maybe some realized that after 10 megapixels, it was “good enough.”

So since printing billboards with an A7R is no problem, anything printed smaller will be a piece of cake for this camera.

Initially I did not intend to get the A7R, partially due to its price and partially because I didn’t need 36 megapixels for what I do. I do mostly street and portraits. I’ve done weddings and had a few shots published in a magazine, but professional photography is not my thing. Like many of you, photography is my passion and I prefer to keep it that way.

Anyway, I ended up with the A7R about half a year into its introduction because I was able to get one brand new through a friend for $500 less than the store prices. I can’t resist a bargain, so the savings were enough to push me over. Of course, I had to get rid of some cherished items to come up with the cash 🙂

Besides saving $500, I thought the A7R would be the ultimate solution for my legacy lenses. And indeed, the A7R has really turned out to be that camera.

Here’s the best excuse you need for wanting those 36.4 megapixels: If you come across that once in a lifetime shot, and assuming you actually get the shot, you will have the peace of mind in knowing you took it with your best camera. Simple as that. If in that dream world, MOMA wanted an exhibition print of your shot, they can have it with the A7R, again assuming you got the shot. Worst case (and more likely for me) scenario, you have some beautiful large prints in your home 🙂


“Quadpods” 2014. Sony A7R, Canon FD 55mm f/1.2 Aspherical, ISO 100. Check the image below for a 100% crop of this image.


A 100% crop of the image above. The A7R provided excellent resolution with the classic Canon FD 55mm f/1.2 Aspherical lens, but also reveals some chromatic aberration from this classic aspherical lens as well. You’d probably never spot it on prints up to 13×19 and even if you did, would it be a problem? 🙂


The A7R has really impressed me with its results. When the Nikon D800/D800E came out in 2012, I read so many things about how 36 megapixels would require “super” photo techniques, tripods, the best lenses or otherwise you’d end up with blurry useless shots. Ten years ago, they said the same thing about ten megapixels so I took that with a grain of salt.

While it is true that if you used those “super” photo techniques, you could get the best out of the A7R, it is NOT necessary to get consistent sharp results out of the A7R. They may not always be “tack” sharp, but unless you’re shooting landscape exhibits or advertising campaigns, it should be sharp enough.

I do a lot of night and low light shots. I’ve always kept the camera in Auto ISO and it’s one of the few cameras that really does the job at this setting. I only adjust manual ISO if I specifically want ISO 100-400 or anything above ISO 800. With fast lenses and in low light, the A7R tended to choose the lowest ISO values it could get away with, thus providing better quality images with these lenses.


“STOMP” 2015. Sony A7R, Voigtlander 35mm f/1.2 Nokton Aspherical, first version at ISO 320. I actually shot this out of a moving car, pre-focused and a little off on the focus plus car movement, but I still like it. Driving by shooting can yield interesting results, but I do not endorse it 🙂

I generally turn off the noise reduction on my cameras, but with the A7R I keep the noise reduction at its “Normal” default and it does a nice job with ISO’s as high as 6400 providing a good balance between detail and noise. I only use RAW on this camera if there is difficult lighting or if I have the camera on a tripod. Otherwise, the “Fine” or “Extra Fine” jpegs are good enough for me.


“Lobster Box” 2015. Sony A7R, Canon 50mm f/0.95, ISO 100. As mentioned in the article, the Sony A7R in Auto ISO mode chooses the lowest ISO values possible with fast lenses in low light to provide better image quality.


“Flying High” 2015. Sony A7R, Voigtlander 35mm f/1.2 Nokton Aspherical, first version at ISO 100. First day out in the park and swinging higher than I’d ever seen 🙂

Many of my legacy lenses cannot out resolve the A7R sensor. Even many modern lenses cannot out resolve the 36mp sensor. However, don’t let that dissuade you. Even my vintage Canon “Dream Lens” 50mm f/0.95, a lens known for its soft ‘dreamy’ quality wide open, is surprisingly nearly as sharp as a modern 50mm when stopped down to f/5.6 or so.


“Bundle Up” 2014. Sony A7R, Canon 50mm f/0.95 “Dream Lens” at ISO 1000. Shot at around f/1.4 and processed to minimize the well known aberrations that have endeared this lens to its owners. Please click on the photo for a much larger and better view.


“Autumn Leaves” 2014. Sony A7R, Canon 50mm f/0.95. Please click on the photo to see the details of the 100% crop inset. The crop is from the zipper of the jacket on Baby Z’s left side. At first it might seem ‘standard’ fare for a 50mm lens until you realize this is the Canon “Dream Lens” often thought of as soft. As you can see, it kept up amazing well with the A7R’s 36.4 megapixel sensor, better than I thought!

Just because you’re not using all those 36.4 megapixels doesn’t mean its wasted. You still get the benefit of being able to crop small sections of the files and still get usable pictures. And of course, you can print larger.

Wide lenses, such as my Voigtlander 15mm f/4.5 Heliar, do not work well on the A7R resulting in vignetting and color cast around the edges and blotchy spots. You could probably use correction software to fix these issues, although I haven’t tried.

The A7R sensor (same Sony sensor as in the Nikon D800/D800e) is also well known for its superb dynamic range. I can pull out great shadow detail in underexposed images and rarely ever get blown highlights with this camera.


“Lifehouse” 2014. Sony A7R, Voigtlander 15mm f/4.5 Heliar M mount, ISO 100. Note the vignetting and color cast around the edges. Please click on the photo for a much larger and better view. Not pretty (except the couple, of course!), but it can be corrected to some degree with software. Or you can be happy and look at those issues as a “Natural Instagram” 🙂


“Baby Beach” 2014. Sony A7R, Canon 50mm f/0.95 at wide open, ISO 100.

For the A7R, I generally stay in the 28mm range for wide angle where it works just fine.

The camera also does 1080P Full HD video though as mentioned in other articles, I’m not a video guy. My home videos from the A7R look nice though 🙂


I love this camera! It’s as simple as that. It has become my go to camera if I think I’m going to be shooting something worthwhile. It’s fantastic at low ISO’s and excellent at high ISO settings.

If I were doing it all over again today, for the same money, I’d probably get the A7II with its 5 axis stabilizer, but I haven’t really needed image stabilization because I equalize the A7R’s lack of IS by using fast lenses.

If shopping for the A7R, the price for new as of today (B&H) is $1898, and I’ve seen them sell used for as low as $1200 which is a screamin’ deal.

The A7R is a wonderful and very versatile camera, capable of opening up a whole new world of photographic fun and exploration for you. As mentioned earlier, the Sony A7R became an instant Camera Legend the moment it was introduced.


“A New Zay” 2015. Sony A7R, Canon 50mm f/0.95 “Dream Lens.” It is indeed a new day with Baby Zay and the Sony A7R in the house! 🙂

Is it the “Ultimate?” Well, let’s say it didn’t stop me from wanting other cameras. It did however fill me with the thought that I didn’t need other cameras, I just want them because I love cameras! Anyway, this is not a camera I would use for events where fast AF and rapid fire is needed. It is kind of overkill for street work, which is what I love. However, at its best you can’t deny the image quality of the Sony A7R. It is among the best, and it is a Camera Legend standing high above its mirrorless peers.

Sony A7R

PROS: 36.4 Megapixels (you want it!); Possible Medium Format look in 35mm digital package; Superb EVF; Superb dynamic range; Excellent focus peaking for manual lenses; No AA filter for potentially sharper images; Lightweight, but sturdy; Great colors; Usable high ISO performance; Makes fantastic large prints

CONS: 36.4 Megapixels (you don’t really need it); The need for bigger memory cards, more processing power from your computer; Color cast and other issues with wide angle manual focus lenses; No AA filter, potential moire; Limited AF lens lineup; Battery life; Feels like it might be a bit fragile for long term durability, only time will tell I guess.

My first choice if buying an A7R today would be to check the competitive prices at Amazon through their affiliates. You can find some very competitive prices from the link below. I’d also recommend Adorama and B&H, never had a problem with either of these camera super stores. Buying from these dealers through these links helps to support this blog and helps me add to its content. It will cost you nothing and you’d be buying from the very best dealers. Thanks for your time reading this article and thanks for your support.

Amazon’s list of competitive stores selling the Sony A7R.