Chris from DpreviewTV tested the new Tamron 20mm f/2.8 lens (here at Adorama, FocusCamera and BHphoto). The conclusion is that this is a very good lens considering the price:
Sony 20/1.8 vs Batis 18/2.8: “At four or five hundred dollars cheaper than the Zeiss lens, and a stop and a third faster, the Sony 20/1.8 looks attractive here.”
The patent describing the current 28-75mm f/2.8 FE lens contains other lens variations that the company might release in the future. Let us help Tamron to decide which one they should release:
The Sony a7R IV is a massive leap forward in image quality. With 61MP of resolution, it will produce big prints with tons of sharp detail like no other camera before it. Cropping a vertical from a horizontal is not a problem and will still yield more resolution than most other cameras at full frame. The color of the still images look great right out of the camera, and the dynamic range is among the best of any camera. With both image quality and resolution, you can have your cake and eat it too.
10 frames per second continuous shooting with this much resolution is crazy good performance. 10 FPS used to be reserved for sports cameras with much lower resolution, but now this camera can push those boundaries and shoot fast action. This being said, it is a little clunky to shoot fast and review, requiring extra taps of the playback and shutter buttons to switch back and forth from shooting to image review, but this is something common to all mirrorless cameras. In this area a SLR is still king.
The Real-time Tracking AF is a major leap forward in autofocus for Sony. It can now compete with the likes of the Nikon D850 for that top autofocus performance slot. In our testing however the macro autofocus capabilities of the Nikon D850 still outperform the Sony a7R IV, but you can get closer with the Sony a7R IV than ever before to the Nikon macro performance if a Canon macro lens with an adapter is used.
We wish Sony would develop a proper fisheye lens and a better performing macro lens, but thankfully there is a good solution with using an adapter for some Canon glass, even if it adds a little bulk and isn’t as streamlined as native glass.
For video shooters, whether this camera fits their needs will depend on the type of shooting they do. It’s disappointing to not see any 4K/60p from Sony yet. Canon and Panasonic both have full-frame cameras now that are shooting over 4K resolution at 60p. That coupled with the rather shallow limitations of the custom white balance, make this camera a choice for more casual video shooters whose real main interest is photo.
If you’re looking for the hands-down best stills image quality and biggest resolution, there is no other place to look than the Sony a7R IV.
Sony says that the a9 II has the same sensor as the original a9, but as we’ve seen the new model adopts a different approach to processing, using a change in sensitivity behavior both to improve color discrimination and to widen dynamic range at higher ISOs. It’s the first time we’ve seen this and it marks a shift in strategy for Sony.
The Sony a9 II is certainly a niche camera, built to compete alongside the Canon EOS-1 DX Mark II and Nikon D5. However, while it’s unlikely that individual photographers or agencies would switch from those rival cameras, bearing in mind their investment in lenses, the Sony a9 II’s high sensor performance and lower price would be tempting for newcomers thinking of entering the competitive field of sports journalism.