On the video above Chris Niccolls teaches you how to shoot macros. And he is using the superb Sony 90mm FE macro lens for his tutorial. I know Sony makes a lot of buzz around their GM and Zeiss lenses. But the Sony 90mm FE is a real gem of the current E-mount lens line!
90mm FE lens at [shopcountry 48071].
This is a guest post from Hugh Brownstone. To write a guest post follow the instructions on that page. Thanks!
6/21/16 UPDATE! https://youtu.be/cMJLXqtR7HQ
Sony’s 18-105 f/4 did the business for me at a recent presidential campaign rally, but when I used it to shoot my latest review (first time I’ve ever used it for this purpose: a tightly controlled, familiar environment), I noticed significant pincushion distortion. Whaaat?
The Lenses
I’m already on record as a fan of Sony’s E PZ 18-105mm G OSS f/4 [B&H|Amazon] – not a raving fan, mind you (the way I am of Sony’s new 85mm f/1.4 G-Master [B&H|Amazon] or even my favorite daily shooter, Sony’s $248 E 50mm f/1.8 OSS [B&H|Amazon]) — but as a pragmatic, straightforward choice when covering live events.
Seeing the Problem for the First Time
I decided to shoot a different subject to replicate the issue (an incredibly photogenic mid-century garage door which looks like it hasn’t been painted since 1954 – I think maybe that’s right) and compare the result with Sony’s 90mm f/2.8 Macro G OSS [B&H|Amazon].
Even if it’s 60+ years old, I’m telling you: the garage door doesn’t look like this. It’s square.
Yes, in this day and age it’s often the case that lens imperfections can be corrected in-camera through software, but the PZ didn’t give me that option when I mounted it on the a6300 (the E 50mm f/1.8 did). If the FS5 has lens compensation, I couldn’t find it. In this quick test it was therefore native lens performance vs. native lens performance, 18-105 vs 90.
Would you expect to see differences?
Of COURSE!
The 90 is a macro, after all, and it is an optimized single focal length lens twice the price of the 18-105. Again, to my eye, the 90 exhibited absolutely no distortion. On the other hand, to the 18-105’s credit, there was little to set them apart for center sharpness.
I just didn’t expect to see this much curvature.
Sony’s E PZ 18-105mm f/4 has a much more useful zoom range for APS-C and Super35 cameras than another Sony lens I do love, the FE PZ 28-135mm f/4. It’s also much lighter, much less conspicuous, and 1/4 the price of its much bigger brother. In a live, fast-moving event, I didn’t even see this imperfection and hope it’s a copy-to-copy variation. I suspect it is not. I do have a note into Sony about it.
Oh – one other thing: even though the Sony 90mm f/2.8 G Macro OSS is magnificent, sliding the focusing ring into manual focus mode doesn’t change the fact that it’s fly-by-wire with a very short throw. It isn’t an alternative to Veydra’s silky smooth 85mm T2.2 Mini Prime in E-mount [B&H|Amazon] — though on the flip side, the Sony doesn’t have the minor-but-visible-without-pixel-peeping lateral chromatic aberration I saw. Again, I hope this was the result of copy-to-copy variation, but without additional samples, I can’t tell.
Fascinating. With Sony’s current line-up, their absolutely best glass (e.g., FE G-Master series, 90mm f/2.8 Macro, FE 28mm f/2.0) is optimized for their full frame cameras rather than their more expensive dedicated video cams.
And their best sensors are in their hybrid cameras (the a7 series and the a6300).
Gawd, I’d love to be a fly on the wall of their product roadmap and long-term strategy sessions. I think lighter weight, high-quality crop sensor primes would sell like hotcakes, but maybe that’s not the goal.
What do YOU think?
Gary just sent me that message:
“I just made a video telling about the Unobvious Things about the Sony A6300 which I discovered while writing my book about the camera. “
Watch the video to learn more about the “discoveries” and don’t forget you can buy Gary’s A6300 book at http://friedmanarchives.com/a6300.
Phottix Odin II Transmitter: The Breakdown with Miguel Quiles
Miguel Quiles made this introduction video to the Phottix Odin II. The Phottix shipment just started this weel. More info at Journal.phottix.com.
How well does a Sony mirrorless camera take an African safari? How does it handle the dust? What about using it for wildlife? People and landscapes? Matt Granger and Jonathan Stewart discussed the pros and cons of the Sony mirrorless system when compared to the top of the line from Nikon.
Their answers in short:
The question is if Sony thinks that wildlife and sport photography are important for their business right now. It’s a real small niche and it’s hard to win over professional Canon and Nikon photographers!
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Found via http://www.jonathanstewartphotos.com/…
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Photozone posted the full Sony 90mm FE lens review on the NEX-7:
“The Sony FE 90mm f/2.8 G OSS macro performed great on the Sony A7R II already so it doesn’t come as a surprise that it is even a bit better on an 24mp APS-C camera.Of course, our “highly recommended” mark remains intact in the APS-C scope. Sony is on quite a run really. Both Canon and Nikon should be scared by now …“
90mm FE lens at [shopcountry 48071].
Side note: Nice to see the NEX-7 again. Why not make a new version of it Sony? :)
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US reader save $150 on the Sony 90mm FE lens sold by BestBuy (Click here). It’s Open Box (perfect condtiion and 1 year Sony US warranty)
DxOmark posted the full Canon EOS80D sensor score result and also displayed the A6300 sensor ratings as a comparison:
“The [shoplink 48898 ebay]Canon EOS 80D[/shoplink] has improved low ISO noise and a more useful dynamic range at and close to base ISO over its siblings. However, class-leading sensors such as those found in the Sony a6300 and the [shoplink 48899 ebay]Nikon D7200[/shoplink] still have more usable dynamic ranges, and that’s not just at base, but at high ISOs as well.”
The A6300 scores 85 points which is only two points behind the Nikon D7200 and the [shoplink 48921 ebay]Samsung NX1/500[/shoplink]. The Nikon uses the Sony 24.2MP sensor but has its own way to process the images.
A6300 store links at [shopcountry 47396].
