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As always, big thanks to Sony USA for making the lens available. 🙏🙏🙏😍😍.
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April 19, 2017, A9 was born. Without a doubt, A9 has the best AF system in the market right now. However, without native lenses to support it, you can’t really can get the fully benefit of the A9. There are Sigma MC11 and Metabones mk V (5th generations). Overall, it works but it still not as fast as native. You can’t get the 20 fps via adapter. Before the release of 400GM, i’ve used Canon 500IS ii, 600IS ii, 800IS, Sigma 500mm f/4, Sigma 150-600 Sport via adapter with my A9. I get pretty good result out of it, but i have to work hard for it. My back and leg are not happy since all of those lenses are super heavy. I also can’t do handheld. Then last year, 400GM is out. Since then, i shoot with 400GM 98% of the time. I just wish for 600mm range and that dream come true today. I’m super happy and exciting to see the Sony 600mm f/4 finally here.
All in all, combining excellent image quality and performance with robust build quality, improved ergonomics and a wide range of features, the Sony A7R IV is an impressively versatile, professional-level camera.
Overall, though, the new Sony Alpha A7R IV offers a compelling blend of out-and-out resolution, surprising speed and enhanced handling that widens its appeal beyond just portrait, landscape and architecture photographers.
Sony a7R IV initial review: What’s new and how it compares (Dpreview).
Sony A7R IV ( A7R4 ) – First Impressions Bird Photography with the Sony 100-400mm Lens
Designing an ultra-wide lens with low degrees of barrel and/or pincushion distortion is a challenge and, in the case of this lens, the results are mixed. At the longer end of the focal range, straight, vertical lines remain parallel to one another—even at the edges. As you zoom wider, barrel distortion starts to kick in. When shooting landscapes, this isn’t much of an issue, but for shooting architecture I would strongly recommend sticking to a better-corrected fixed focal length lens in the 12mm to 14mm range. However, for less critical work I would have zero considerations about purchasing this otherwise notable lens.
Sigma’s 35mm f1.2 Art has the largest focal ratio of any autofocus full-frame 35mm lens available. That bodes well for a nice Bokeh – and the lens certainly delivered the goods in my tests: its Bokeh is probably as good as it gets on a 35mm lens. Add to that the light gathering power that is a half stop ahead of lenses with a focal ratio of f1.4 and an optical performance that is always a bit better and you have the best 35mm I’ve tested so far. Add in thorough weather sealing with fluorine coating on the front lens, a de-clickable aperture ring, the focus hold button, and a well padded lens case plus strap and you get a well-rounded package that should leave little open to wishes. Unfortunately it’s also the largest and heaviest 35mm lens of the models I compared it against. But if you want the best 35mm lens for your full-frame Sony or L-mount mirrorless camera, the Sigma 35mm f1.2 DG DN Art is it. This also justifies its price and earns a Highly Recommended! Sadly it’s not available for other lens-mounts too.
Overall, the Sigma 14-24mm F2.8 DG DN Art mirrorless camera lens is a smaller, more full-featured update of the DSLR version that’s a strong rival to the Sony FE 16-35mm F2.8 GM in almost every area.
If you read chinese there is also a test at Fengniao.
In my tests so far (and I hope to do more) the optical quality is outstanding in terms of detail across the frame at all focal lengths and aperture values, and while there are also solid options on rival systems, the Sony managed to out-perform them at least to some degree. Impressively it’s also smaller and lighter than most 16-55mm f2.8 lenses without compromising on build quality, and this is important when mounting it on one of Sony’s equally compact A6000 bodies – I’m relieved it didn’t feel unbalanced in use. But it’s also the most expensive 16-55mm f2.8 lens to date, a little pricier than the Fujifilm version, and much more so than the Canon and Nikon 17-55mm f2.8 DSLR models, although these are considerably older designs.
So the Sony E 16-55mm f2.8 is priced high, doesn’t have optical stabilization and again I wish it focused closer, but there’s no arguing with its quality and portability. Certainly the price will have you contemplating if now is the time to switch to full-frame, but if you’re sticking with a Sony APSC body and are looking for the best quality general-purpose zoom to go with it, the E 16-55mm f2.8 is the one for you and comes Highly Recommended.
The new Ventum adresses the needs of aerial photographers who like to save any extra gram on their drones paying off as additional flight time. If you use it for example with the latest Sony A7 series, the A7RIV (665g), you still get a package below 1kg which allows you to use also a lighter gimbal than you would have to use with a Loxia 2.8/21 – saving weight on both components
As the lens has a fixed focus to infinity, you should be aware that depth of field (DOF) depends on the aperture setting and that there is no option to focus on close objects. ZEISS recommends a minimum object distance of 15m – which is usually no problem when you use it for aerial photopgraphy.
Distortion is well controlled and you get sharp egdges already at open aperture f/2.8. The T* coating of the lens is able to protect contrast at a high degree even when you shoot against the sun.
I’m not going to bury the lead here: the Sony a7RIV eats stars just about like the a7RIII does…except that the new behavior starts at 3.2 seconds instead of 4 seconds.
Sony should really take action and develop a special “star shooting” mode that deactivates the filtering.
On a positive note: Fixed pattern read noise is very clean. Jim Kasson writes:
These are very clean. I was afraid I’d see evidence of software designed to suppress PDAF striping.
Good control of both lateral and longitudinal chromatic aberration
Excellent value
Cons
Limited zoom range
Bokeh is a bit rough and high contrast
Relies on software correction for distortion and vignetting
Autofocus can miss in continuous AF on distant subjects
The Tamron 17-28mm f/2.8 keeps with Tamron’s full-frame mirrorless philosophy so far. It sacrifices a bit of zoom range for compact size while keeping the optics on a high level and the lens affordable. The 17-28mm packs a constant f/2.8 aperture into an ultra-wide lens that is smaller and lighter than Sony’s slower 16-35mm f/4, while being significantly smaller than the 16-35mm f/2.8. Despite the small size, the lens performs very well. It’s sharper than the 16-35mm f/4, and produces images with great clarity, good sharpness to the corners and fantastic flare performance, making it a great option for landscape photographers who want to travel light.
While the f/2.8 aperture will enable lower light usage and can provide some subject isolation, the bokeh is only average at best. However, given the cost of this lens, at just $899, Tamron’s tradeoffs here are more than worth it. While many will compare this lens with the 16-35mm f/2.8 GM, I think that those who are willing to shell out the astronomical $2300 for that lens will not be swayed by third-party glass. But where Tamron will certainly succeed is in competing with the slower Sony/Zeiss 16-35mm f/4. In this comparison, the Tamron is not only the better optic, but adds an extra stop of light while saving the buyer $400. It’s a great addition to the full-frame E-mount. I have sold my personal Sony 16-35mm f/4 in favor of this new Tamron. I suspect many others will do the same.
