Sigma has entered the full frame mirrorless optics segment in a very decisive manner. Not only they presented a lens with unique parameters but they also took care of image quality, so the lens is able to offer you excellent shots across the frame. It is a really huge achievement because edges of the frame were notoriously difficult for even expensive, mirrorless constructions.
Still there is a price to be paid for that performance. Despite significant physical dimensions and a hefty weight you have to make do with huge vignetting and weak distortion correction. Perhaps the decision not to correct that aberration was crucial in order to ensure high resolution across the frame but, in our opinion, the slip-up with flares was avoidable; as it is, you can catch ghosting even if the source of bright light is far away from the frame corner. It’s a pity the constructors didn’t try harder.
Lately Sigma have got us used to outstanding constructions without any flaws. Does it mean we are entitled to criticize the 1.2/35 model? Not at all – at least as long as somebody presents a better lens with the same parameters. So far, the Sigma remains matchless and we should enjoy its unique parameters and quite good performance.
2020 is just around the corner, and if there is one thing we can be sure of, it’s that Sony probably isn’t going to be slowing down. While every iteration of the different A7 and a6000 camera lines launch with significant improvements over their predecessors, the most recent A7R took leaps and bounds in both capability and design progress. We’re at 61 megapixels on a full-frame now. The A7R IV brought us here, past the D850, the 5Ds, and even Fuji’s GFX 50 cameras. With that, it brings a 10fps continuous drive rate and all the top-notch AF and video capability we’ve come to expect from Sony. The body itself is just a little different on the outside. The grip is definitely a little beefier than before. The Nikon Z and Canon EOS R cameras’ design and ergonomics were very well received, and it makes sense for Sony to adopt as much of that “DSLR-feel” as they can. But, despite the subtle ergonomic improvements, the A7R IV is still a uniquely brick-like camera with all its rectangles and stepped edges. I don’t know about you, but at this point, I really don’t want them to change.
Chris and Jordan did choose the Sony A7rIV as the camera of the year. I own the camera and couldn’t agree more! It is the Jack of all trades and has served me well in the past months.
The Sigma 24-70mm F2.8 DG DN Art (1200 euros) is an excellent standard zoom for the A7RIV.
Globally it is the best in its category for the A7RIV and the only one to resolve fully the 61Mpix sensor (only in the centre), its main weakness is the 24mm focal length where the Sony 24-70 F2.8 GM does consistently better
Pros
Excellent to outstanding centre sharpness on A7RIV between 35 and 70mm Moderate price Excellent smooth blurry background Very Good Bokeh Balls with no artifacts and well rounded Very Good build quality and ergonomics Very good color rendition Weather sealed Short focusing distance Fast and reliable and silent AF Very Low CA except at 70mm (moderate)
Average
Visible distorsion and moderate vignetting but that should be corrected in a future Lightroom Lens profile (not worse than the Tamron or the Sony) Resistance to flare is not a the level of what we have on Prime but Sony and Tamron have also same issue Weight 830g (but lighter than the Sony 886g) 24mm sharpness less good than Sony but roughly similar to Tamron at 28mm Corners sharpness only reaching very good levels max and good at 50mm
Cons
None at this price point
For A7III I would still recommend the Tamron 28-75mm F2.8 Di III RXD (900 euros) as the extra gain in performance of the Sony and Sigma won’t be noticeable most of the time
For the A7RIII and mostly for A7RIV:
if your main usage is around 24mm or are looking for very good consistency centre to corners around 50mm go with the Sony FE 24-70mm F2.8 GM
otherwise the Sigma offers superior performance mostly in centre (e.g. for portrait at 50 & 70mm) and for 40% less cost
Sony a7RIV Review for Wildlife Photographers By Aaron Baggenstos
Introduction:
I recently spent a month in East Africa leading photo safaris where I had the opportunity to field test Sony’s latest high megapixel a7RIV paired with a variety of their new super-telephoto lenses. In particular I evaluated the camera and lenses (600mm f4, 200-600mm, 100-400mm) on the features most important for wildlife photographers.
Unlike several other genres of photography, portrait, wedding, and still life for example, where mirrorless cameras have had the performance and lens selection, they demand for quite some time, professional wildlife photographers have been waiting for a full frame, fast focusing, mirrorless cameras with native mount super-telephoto lenses.
Sony delivered big for us with the announcement of their flagship a9 (now a9II) which I reviewed with great optimism last year in Alaska (click here if you missed that review). But the longest lens available at the time was a 100-400mm.
Excitingly, in October I received one of the first copies of a squeaky new Sony 600mm f4. After testing it extensively I can confirm that it is a truly remarkable lens as well as the lightest one on the market. Mounted to an a7RIV my setup is 3.5 lbs. lighter than my DLSR equivalent with a grip which equals much appreciated weight savings for my international schedule. My back won’t complain either as I hand hold the big telephotos quite a bit. I enjoyed some of the new features of the 600mm f4 including a full time
DMF setting, which turns off the manual focus for when panning off a bean bag, and a new focus ring for fine-tuned manual focus.
Now with a variety of high preforming super-telephotos, and the addition of the a7RIV to their lineup for me Sony has set a new standard for wildlife photographers and the new technology that will lead us into the future.
Watch the Review:
a7RIV Camera Highlights:
– The 61MP sensor delivers some of the most stunningly detailed images I have ever seen.
– An innovative autofocus system with subject tracking and animal AF fast enough to track birds and wildlife.
– Pair it with one of over 50 native lenses (no adapter needed) including a spectacular new lightest on the market 600mm f4, 400mm 2.8, 200-600mm, or 100-400mm.
– Exceptional low light performance. I’m very happy with files up to ISO3200 and comfortable pushing to ISO6400 when needed. ISO12800 is usable.
– Brilliant OLED EFV viewfinder with live histogram, the first one I have looked at that I consider superior to the optical experience of a DSLR.
– 5.5 stops of in body stabilization. Although still not as good as Panasonic or Olympus.
– Excellent battery life, no issues here.
– Charge your camera with a USB-C cord, save carrying a bulky battery charger.
a7RIV Limitations:
– You’ll need higher shutter speeds in general with the higher MP’s, I noticed at least a stop difference over my D850, plan at least two stops over a D5.
– It’s still not possible to move the focus points or access some of the key menu items while buffering.
– The uncompressed RAW files can be a massive 120MB, so you’ll want fast SD cards, and an upgraded laptop with SSD.
– EVF blackout significant while shooting uncompressed RAW, much less while using APSC crop or on continuous high +. Use this setting for birds in flight or action. The files still look great.
– The silent electronic shutter suffers from bad rolling shutter. Shoot mostly with the mechanical shutter. I actually missed my shutter click sounds when I turned it off anyway.
– Like all mirrorless cameras the sensor attracts a bit of dust so make sure to carry a sensor cleaning kit with you into the field or be prepared to remove spots in post.
Gallery – Wildlife Photography Shot on the Sony a7RIV
The a7RIV allows you to print your images big with a new level of detail. Check out my Mountain Gorillas 40x60in and Baby Elephant 20x30in. Both stunning to look at in person.
Disclosure:
– The opinions in this review are my own and not persuaded by anyone or any company. I did not receive payment from Sony to make this review.
– Although I’m a member of Sony Pro Services I did purchase the camera equipment for this review with my own money from Allen’s Camera my go to source for camera equipment.
– For many years I’ve field tested a wide variety of cameras for Nikon, Olympus, Sony, and others. I generally select these cameras based on their merits for the images I am trying to make.
– I use the camera equipment I personally enjoy and often trade my cameras in for the latest and greatest, just my personal philosophy. This helps me with articles and teaching clients showing up with a wide variety of cameras on tours and workshops.
– Always remember, it’s the photographer and not the camera that creates an image, and “a good image is a good image” regardless of what camera produced it.
I hope you enjoyed this review as much as I did making it. I would love to hear your comments/questions below. Happy holidays everyone and I’ll see you on the next adventure.
The Tamron 35mm F2.8 Di III OSD M 1:2 (450 euros) is an excellent lens for its price It is part a set of new Prime lenses with all a short focusing distance , a 1:2 magnification ratio, a F2.8 aperture, same length, same weight In term of sharpness it competes with the best : Sony FE 35mm F1.8 (700 euros) & the Sigma 35mm F1.2 DG DN Art (1500 euros) Its sharpness is mostly excellent/outstanding on the Sony A7RIV and the results in term of color rendition / background blur are very good
