Sony A7 + Metabones V + Canon TS-E 17mm : Chromatic aberration ? Light spilling ?

Sony A7 ILCE-7 Ver. 3.2

Metabones V Ver. 57

Canon TS-E 17mm

Greetings,

I've been using this setup and I'm very unpleased with something that I think its some kind of chromatic aberration with light sources! I've been trying to find something about it, but without success...

It happens with natural light and also with artificial lights... Its something like light spilling.
Please see attached images. JPG direct from RAW, no post processing applied.

I would like to know if any of you have this kind of experience, even if with other setup... and how you deal with it.

Looking forward for your feedback.

Thank you,

Bump

Great post. I'm about to buy the lens for my A7RII and Metabones V.

Very interested in the replies.

It is a $2000 "ish" purchase after all.

It is the typical first generation a7 sensor reflection.  It is very prevalent with bare bulbs and the more exposure means more visible reflection.  I have the a7 and this sensor reflection is very obvious in dark scenes with bright lights.

On the positive side, I've found that I can minimize the obvious green reflection in post...  I do a quick feathered selection of the green reflection and then bring down the green saturation until it is just a white flare.  Also, exposing for the highlights helps minimize this in camera too but then you end up with bigger issues in the rest of the scene if architecture is the subject.

The newer generations have mostly resolved this issue.

Patrick

NunoMP wrote:

Sony A7 ILCE-7 Ver. 3.2

Metabones V Ver. 57

Canon TS-E 17mm

Greetings,

I've been using this setup and I'm very unpleased with something that I think its some kind of chromatic aberration with light sources! I've been trying to find something about it, but without success...

It happens with natural light and also with artificial lights... Its something like light spilling.
Please see attached images. JPG direct from RAW, no post processing applied.

I would like to know if any of you have this kind of experience, even if with other setup... and how you deal with it.

Looking forward for your feedback.

Thank you,

The 17 is an extreme wide angle lens and a very large front element that is very sensitive for light sources . It is always  best to do multiple frames at the same exposer by holding a black card a cover selectively  the light sources and recompose in photoshop.

I find it often better to use the 24mm lens with 3 exposer shift left, center, right and sticking it.

I never understood why people prefer the 17mm and use the teleconverter x1.4 to make it a 24mm, instead of using the 24mm ts-e lens.

My favorite lenses the 24mm TS-E.

Metabones did update the adapter to "T" to reduce the inner reflection and allow more shift with the 17mm ts-e

I found the TSE 17 with the latest Metabones speedbooster suffered from aberration on dark /bright borders. In the end I purchased an A7R3 to use with both the TSE 17 and 24 via a Sigma converter and haven’t seen any issues so far.

The first week I had my A7R II in 2016 I experimented a bit with them an put then on the shelf for the next months.

revisited them in 2017 and found the G 12-24 much sharper when framing and cropping instead of shifting plus stitching.

Of course I am missing the chance to tilt but I used that extremely seldom.

No regret selling them.

Re reading my post I see I forgot to mention this was originally on M43rds hence the speedbooster, which obviously introduces optics into the path that may have been at fault. I am now using the TS-Es with the Sigma MC-11, which came half price with the A7R3. Early days for me with this combination, but church steeples against a bright white sky were always problematic and with limited testing now seem much better. I’ll try and take some photos inside a church with bright light through the window and see how that looks.

I didn't have the problem with A7II + MC11 at F16 ....what aperture did you use?

I did a test inside a church with light streaming in from windows high up near the ceiling, but I struggled to replicate it. Using the A7R3 and TS-E 17 but with the Sigma MC-11, the only way I managed to get anywhere near what you did above was to expose for the window and then lift the shadows by 5 stops. Something I wouldn’t normally do. Part of the window then caused a white area similar to your image on an adjacent beam. I didn’t see anything in the in-camera jpg. The church was still quite light so maybe it needs a darker room for it to manifest or is specific to the A7 and Metabones.

Andy, thanks for your feedback. I just ordered a lightly (pun intended) used TS-E 17 and plan to use it on my A7RII with the Metabones V. Should be arriving Wednesday.

Nice to know the Sigma adapter works well.

As someone said, it seems sensor reflection from original A7 that is known having this issue.  I used 17L TS-E lots, most in hand-held even.

Occasionally from specific angle and light source after fully shifted, I also got sort of interesting or weird light ray, maybe also sensor reflection. But it doesn't bother me as it's rarely happen and I actually like those light rays or reflection, whatever.  After of all, ML due to much shorter flange range is more vulnerable in this area.

joger wrote:

The first week I had my A7R II in 2016 I experimented a bit with them an put then on the shelf for the next months.

revisited them in 2017 and found the G 12-24 much sharper when framing and cropping instead of shifting plus stitching.

Of course I am missing the chance to tilt but I used that extremely seldom.

No regret selling them.

You used to be a 17L TS-E fan and now a 12-24G big fan

I'd love to replace 17L TS-E which is bulky with 12-24G. The only problem is that most times I simply unable to level the camera. I have seen many 12-24G photos with severe converging vertical which is ugly look in my taste especially in narrow streets or too close to tall building etc. I saw your photos, wonderful BTW, that you seem had slow pace and carefully chose position or building where you were able to level your camera. I'd have to fix vertical converging in software that will lost a large portion of edges so 12mm likely will become 16 or 17mm wide, and still edges will stretch out unproportionally that looks weird. Therefore I still bought FE 16-35 GM (less converging vertical and therefore less degree in fixing, and f2.8 is important to me) instead of 12-24G and feel still need to carry 17L TS-E for city street photos.