Alpha Universe May 2016

Block says the FE 55mm F1.8 ZA is “probably
the sharpest lens I had until the 90mm came
out. This, along with FE 28mm F2, are great
complements to the 7S when shooting in low
light.” “I used to have to stop shooting when the
sun went down,” Block recalls. But with the
7S’s “unbelievable” low light capabilities—
even at ISO 50,000—and these fast lenses,
Block can easily shoot at night with nothing but
dim candlelight. He doesn’t shy away from using
the 7R II in low light conditions because,
Block says, “Its high ISO range is almost as good
as the 7S, so I’m comfortable shooting at ISO
10,000 and I know it’s going to look good.”
Block likes to shoot with primes and prefers
the 28mm F2 for its small size when he’s
“trying to be discreet” or when he wants to
get a little closer to his subject and “have the
background spread out more” for environmental
portraits. However, zooms such as the
Vario-Tessar T* FE 16-35mm F4, the Vario-
Tessar T* FE 24-70mm F4 ZA OSS, and the FE
70-200mm F4 G OSS lenses are better suited
for more challenging environments where
changing lenses might result in dust settling on
the back of the lens or reaching the camera’s
sensor. The 16-35mm lens is ideal for wide
shots such as the Aurora Borealis in Iceland or,
at the wide end, in tight spaces “when my back
is physically against the wall.” But, he adds, he
prefers the 25-35mm range for environmental
portraits since there’s less distortion.
The 24-70mm F4 has great ergonomics
and is a good alternative when the 90mm is
Above: Block shot this
New York City sunset
with his constant
companion—the
tiny, Wi-Fi-equipped
Sony RX100 IV—and
immediately shared the
beautiful scene with his
Instagram followers.
Exposure: 1/50 sec. at
f/3.2, ISO 640.
16 Universe