We haven’t seen many 70-300mm FE tests yet. So let’s read the review just posted by Photographyblog:
The Sony FE 70-300mm f/4.5-5.6 G OSS makes a solid case for itself by offering a useful focal range incorporating the longest reach of any E-mount lens, and all in a relatively compact package. Of course the latter is mostly due to the lens’ variable rather than constant aperture, but this is about the only compromise you’ll have to make. Image sharpness is impressively high across the focal range and at all apertures, and while falloff is visible wide open, Sony’s in-camera lens correction automatically and effectively compensates. Sony’s FE 70-200 mm F4 G OSS remains the more pro-focussed choice, but the FE 70-300mm is very capable alternative if you need the extra reach and less bulk. 70-300 store links: [shopcountry 47527].
Photographyblog also tested the new 50mm FE lens and the conclusion is less…”exciting” than the 70-300mm FE review:
This lens has been a long time coming for full-frame E-mount cameras, and it certainly makes a welcome addition to Sony’s lens line-up if you’re in the market for a fast, well-priced standard prime that offers excellent image quality. It is however a pity that next to a Canon EF 50mm f/1.8 STM or Nikon and AF-S NIKKOR 50mm f/1.8G, the FE 50mm f/1.8’s AF system is primitive, slow and noisy. It’s something that’s even tougher to live with when you consider the Sony lens costs noticeably more than both its Canon and Nikon counterparts. Trouble is, this is simply the price you’ll have to pay, given the complete lack of other budget-conscious options in the FE lens sector. 50mm FE store links: [shopcountry 47526]
The Sony FE 85mm f/1.4 G Master lens is a traditionally very high quality choice. It is ideal for many more types of subject than portraits, although with the beautiful bokeh provided portraiture may well be high on the list for users of this lens. A very fine lens, very well made and a joy to use, this is superb in every respect.
All in all I’m more than happy with this lens. Already it’s becoming my go to lens for most of my work, only swapping them for when I need a wider, or more telephoto, focal length lens. Although it is a bit heavier than the Canon lens, without a Metabones FE to EF adapter, which is what I was considering, it’s over 100g lighter. This is still a very sought after lens and production is still continuing to try and match demand. Many photographers are still waiting for this long anticipated progression in to the professional (‘aperture’) lens market. I wonder if the 3 new GM lenses (70-200, 24-70 and 85mm) will be matched with a higher end professional body in 2016/2017 too?
The Sony 24-70 mm f/2.8 G Master is a beautiful and welcome addition to the assortment of lenses with the Sony FE-mount (the mount of the full-frame system cameras; the SLRs have a different mount). The optical performance is very good, where in particular the superior bokeh stands out. We were impressed by the sleek and functional construction, without unnecessary frills. That is in part the reason why the lens—for a bright, full-frame, professional standard zoom—stayed compact and usable. In combination with the mirrorless A7R Mark 2 with built-in image stabilization, it was a pleasure to work with. Just as with the most modern 24-70 mm f/2.8 lenses from Nikon and Canon, the Sony FE 24-70 mm f/2.8 G Master has an impressive price tag. But then you get a lot—a whole lot—in exchange.
On left the 24-70mm f/4.0 and on right the 16-35mm f/4.0 lens (via CameraSize).
Lensrentals tested the two f/4.0 zooms and the conclusion is:
I will say I’m pleasantly surprised. The Sony FE 24-70mm f/4, while not a great lens is adequate (note I didn’t say adequate for the price, I said adequate) and its copy-to-copy variation isn’t bad. The Sony FE 16-35mm f/4actually is excellent for an ultra-wide zoom, and again, it seems to have decent sample variation. Would I buy them? Probably not the 24-70 f/4 unless I had no options, but I wouldn’t hesitate on the 16-35mm f/4.
I think Sony should remake the 24-70mm f/4.0 lens. Make it more compact and with higher image quality. I know I am aksing a lot but it would make the lens atrtactive again for those who don’t want to carry that big and expensive 24-70mm GM lens!
Store links:
24-70mm FE at [shopcountry 49022]
16-35mm FE at [shopcountry 49023]
DxOmark (Click here) just posted the full Sony A6300 sensor results. And unsurprisingly the A6300 features the best performing sensor of all Sony APS-C cameras.
The A6300 achieved a DxOMark score of 85 points, making it currently the best-performing APS-C size sensor in the company’s range. It shows performance gains over both the 24-Mpix A6000 and the A77 II, as well the highly-regarded NEX-7 (introduced back in 2011). The sensor has excellent low noise levels at base, resulting in a wide dynamic range of +13.7 EV, yet maintains both a relatively wide dynamic range and low noise at high ISOs, especially when compared to those earlier models.
Sony A6300 store links: [shopcountry 47396].
One more news: Max Yuryev also posted his A6300 video review:
A new Sony A7 contender?
We now have to deal with a new scenario: The Sony A7 series is no more the very top end in the mirrorless system camera business. With the new Hasselblad X1D there is now an expensive but still not crazy expensive “PRO” option. So let’s check out how the Hasselblad compares against the current best A7 camera, the Sony A7rII.
First a camera size comparison (images via Camerasize):
As you see the Hasselblad camera is bigger but not my that much!
And here is the sensor size comparison (Thanks Paul for sending this):
The X1D sensor size is roughly twice as big as the FF sensor. The real advanatge is that given the same number of pixels on both sensors the pixel size is double the size on the medium format sensor.
Features the Hasselblad X1D has and the Sony should add to the third generation A7 cameras
1) Dual SD card. I think the next generation of A7 series should have this too! The Sony A9 is rumored to have a dual XQD card support 2) USB 3.0. This is also something Sony definitely has to add-on the new A7 series 3) 16bit RAW. Not a big deal for 95% of the photographers out there. But PRO’s would certainly love to have that feature on Sony cameras too. 4) Touchscreen. really Sony…it’s time to add this!
More size comparisons and X1D introduction videos:
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!
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
The kit lens for Sony’s FS5 is this Sony E PZ 18-105mm f/4 G OSS. Excellent range — wide enough at the low end to be the full-frame equivalent of a 27mm, long enough at the top end to be the full frame equivalent of 158mm. Of course, the full-frame equivalent maximum aperture is f/6 — but you can get surprisingly good results across the board. Except…
The new Sony FE 85mm f/1.4 G-Master [B&H|Amazon] is the sharpest, most bokehlicious lens at I’ve ever used. Other than high price (an issue for many) and lack of image stabilization (not much of an issue for the a7r II [B&H|Amazon] or a7s II [B&H|Amazon], but an issue for every other non-IBIS Sony body) it’s just about perfect.Incredible lens for the price (less than $250 at [B&H|Amazon]), the Sony E 50mm f/1.8 OSS is the single lens I use most often.On the other hand, the 85mm f/1.4 doesn’t have lens image stabilization. But in a rare instance where Zeiss is a relative bargain, you can get the image-stabilized Batis 85mm f/1.8 [B&H|Amazon] — another fantastically sharp, not-quite-as-but-still-bokelicious prime — for a third less than the G-Master. I think the Batis is a better choice for the FS5, FS7 and a6300, since they don’t have in-body-image stabilization like the a7x II series.With my a6300 [B&H|Amazon] mounted on the gimbal I was reviewing a few days ago, I decided I’d use the Sony FS5 [B&H|Amazon] loaner I have on hand with the PZ for the talking head portion of the review. That’s when I was astonished to see what I can only call severe pincushion distortion, something I hadn’t experienced with Sony’s E 50mm f/1.8.
Seeing the Problem for the First Time
My typical set-up is the Sony a6300 with Sony E 50mm f/1.8. Notice the table top – you have to look very hard to spot any pincushion distortion – I’m not sure I see any (I may not have gotten the tripod precisely level).
On the other hand, this was shot with the FS5 and the PZ 18-105mm f/4. Look at that table edge again. Crikey! Yes, I used a different lighting set up, and no, I’m not noticing the pincushion distortion in this shot – that reaction is really my fear that the gimbal I was reviewing might topple over.
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].
This Sony FE 90mm f/2.8 G Macro OSS is what I bought with my own money. Sharp, close-focusing and just about half the price of the 85/1.4 GM [B&H|Amazon]. No, it doesn’t have the bokeh. But it has image stabilization.Results
Even if it’s 60+ years old, I’m telling you: the garage door doesn’t look like this. It’s square.
WHOA! Screen grab from Sony FS5 with Sony E PZ 18-105mm f/4 at about 50mm. I ‘m amazed at the level of pincushion distortion. I suspect this is a design issue, rather than copy-to-copy variation. I hope I’m wrong.
Screen grab from Sony FS5 with Sony E PZ 18-105mm f/4 somewhere between 90 and 100mm (I wish the FS5 would display the focal length, rather than percentage or simple bar). It’s less obvious, but the pincushion distortion is plainly visible. On the other hand, it’s nice and sharp at the center.
Screen grab from Sony FS5 with Sony FE 90mm f/2.8 G OSS has no visible distortion and great edge to edge sharpness. I tried these at a couple of different apertures – this happens to be wide open at f/2.8. Yum. Internal neutral density filters are wonderful!
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.
Takeway
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.
I loved Sony’s FE PZ 28-135mm f/4 G OSS. It’s the nicest manual focusing autofocus lens I’ve ever had in hand. [B&H|Amazon] Even so, I’ll keep my “it does the business for live events” recommendation for the 18-105 because out in the real world of people, I didn’t notice the distortion at all.Still, I also wanted to share with you this new learning — and maintain my “I’m a prime kinda guy” bias.
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.
The Veydra 85mm T2.2 is a real, beautifully weighted, creamy, long-throw geared cine lens for Sony Super35 E-mount and Micro Four Thirds mount cameras for less than $1,000
Closing Thoughts
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.
