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Posts Tagged ‘F4.55.6’

Sony FE 70-300mm F4.5-5.6 G OSS sample gallery

14 Jul

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The Sony 70-300mm F4.5-5.6 G OSS is a tele-zoom lens for full frame E-mount cameras. It’s a good fit for applications that require a versatile zoom range with a bias toward longer focal lengths, and it’s well-suited for everything from travel use to wildlife photography.

It may not compete optically with Sony’s best prime lenses throughout the range, but what it can deliver is a useful range with solid performance. Thanks to all-metal construction, dust and moisture sealing, and a zoom lock to prevent lens creep, it should hold up through a lot of adventures with you and your camera.

See our Sony 70-300mm F4.5-5.6 G OSS sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Canon EF-M 11-22mm F4.5-5.6 IS STM sample gallery

27 Jun

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The Canon EF-M 11-22mm F4-5.6 IS STM dates all the way back to 2013, but it’s a lens we’ve kept close at hand throughout the years as we shoot with new generations of EOS M bodies. And it has been a great companion – well built, compact and offering a useful wide-angle range.

And so, we present a gallery of 11-22mm sample images, some of them taken recently on the higher-resolution M6 II, and some of them taken in what feels like the very distant past (remember crowded stadiums?). Take a look.

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics announces Laowa 10-18mm F4.5-5.6 FE lens, RF & Z mount versions “coming soon”

26 Oct

Venus Optics has announced the Laowa 10-18mm F4.5-5.6 FE zoom lens, a new ultra-wide-angle manual lens for full-frame Sony cameras.

“In response to the demand from mirrorless camera shooters of having a compact wide angle zoom, Venus Optics [has] managed to compress the size of the 10-18mm FE Zoom to the smallest in its class,” reads the press release. The lens measures in at 3.5in/9cm long, 2.75in/70mm in diameter, and weighs only 17.5oz/496g.

It’s constructed of 14 elements in 10 groups, including two aspherical elements and one extra-low dispersion element. The lens has a minimum focusing distance of 6in/15cm and a minimum aperture of F22 with a five-blade aperture diaphragm.

The rear of the lens has a 37mm filter thread for adding filters to, as well as a 100mm magnetic filter holder system for the front of the lens. A built-in switch de-clicks the aperture on-demand if you’re planning on using the lens for video shooting.

Venus Optics has shared a gallery of sample images captured with the lens on Flickr.

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The lens is currently available for pre-order for $ 849. The first 50 pre-orders through Laowa’s site will receive a free 100mm magnetic filter holder system.

Venus Optics says a Canon RF- and Nikon Z-mount version of the lens will be “coming soon.”

Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery update: Sony FE 100-400mm F4.5-5.6 GM OSS

14 Oct

The Sony FE 100-400mm F4.5-5.6 GM OSS is a powerful piece of kit, despite its less-than-fast aperture. More importantly, it is sharp throughout its versatile zoom range.

We’ve beefed up of our initial sample gallery with some additional photos of bison, bears, prong horned antelope and drift cars. These join our original samples of models, beach scenes and horseback riders. Now how’s that for versatility?

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Articles: Digital Photography Review (dpreview.com)

 
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Going wide on a budget: Nikon AF-P 10-20mm F4.5-5.6 DX sample gallery

04 Jul

Nikon’s AF-P 10-20mm F4.5-5.6 DX is the company’s latest lens specifically designed for its crop-sensor camera bodies. It may have a plastic mount, but with a 35mm-equivalent focal range of 15-30mm, it is a versatile yet affordable lens for those looking for a wider view than the kit lens has to offer without breaking the bank. See how it performs from the inner streets of Seattle to the remote, sandy beaches of Washington’s coast.

See our Nikon AF-P 10-20mm F4.5-5.6
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Sony FE 100-400mm F4.5-5.6 GM sample gallery

24 May

With the FE 100-400mm F4.5-5.6 GM lens, Sony is seeking to fill a super-telephoto gap in its lens lineup with the announcement of the a9 sports camera. It may not have the fast aperture of competitors’ telephoto primes, but the zoom range is versatile, and the lens looks to be very sharp with pleasing out-of-focus backgrounds, plus it comes with a very close focusing distance to boot.

We’ll be updating our gallery with more sports oriented samples on Sony’s a9 as we begin fully testing that camera, so stay tuned! In the meantime, enjoy some horses jumping and scenes from the El Capitan State Beach outside of Santa Barbara, CA.

Sony FE 100-400mm F4.5-5.6 GM gallery

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Articles: Digital Photography Review (dpreview.com)

 
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dPS Writer’s Favorite Lens – the Canon 100-400mm f/4.5-5.6 L-Series Lens

13 Feb

Last August I bought the Canon 100-400mm f/4.5-5.6L IS II USM L-series lens for myself as a birthday gift. Since then it’s been in almost constant use as I’ve photographed horses and wildlife in Arizona, Florida, Georgia, Illinois, Nevada, and Utah. I’ve made more than 14,000 images with it in the last five months! Read on to learn more about why I love this lens so much.

Favorite Lens Canon 100-400mm

Salt River wild horse yearling with ferns – 5D Mark III, Canon 100-400mm @ 248mm, 1/350th, f/5.6, ISO 8000.

Canon 100-400mm f/4.5-5.6L IS II USM technical specs:

  • Focal Length: 100-400mm
  • Maximum Aperture: f/4.5-5.6, variable
  • Minimum Focusing Distance: 3.2 feet (0.98m)
  • Zoom: Rotation
  • Filter Size: 77mm
  • Weight: 3.62 pounds (1.64kg)
  • Price: $ 2,049.00 USD (at the time of writing this article)

Compared to the Canon 200-400mm

Compared to other lenses of similar focal length the Canon 100-400mm is a bargain, especially since there’s no sacrifice to image quality. Compare it to the Canon flagship telephoto lens, the 200-400mm f/4 which is a whopping $ 10,999. The 100-400mm lens is a moderate $ 2,049. Of course, the 100-400mm is one to two stops slower than the 200-400mm but for an $ 8,800 price reduction, I can handle the loss. I think you probably can too.

Favorite Lens Canon 100-400mm

Salt River wild horse with bird, monochrome – Canon 5D Mark III, 100-400mm lens @ 400mm, 1/1000th, f/8, ISO 500.

Those of you who know long lenses also know that the 200-400mm has a built-in 1.4x extender. Sold separately, those are about $ 500 so if you invest in one (and you should) your savings between the two lenses is now $ 8,300. In other words, you still save a small fortune by shooting with the 100-400mm lens instead of the 200-400mm.

Lastly, the 200-400mm weighs in at almost 8 pounds (3.63 kg). By shooting with the 100-400mm, you also save your back, neck, hands, and shoulders from a lot of wear and tear. I personally can’t hand hold an 8-pound lens, which means to use the 200-400mm I’d also have to carry a heavy monopod with a gimbal head. My always-aching upper body thanked me for buying the 100-400mm instead.

Favorite Lens Canon 100-400mm

Peeking Salt River wild foal – Canon 5D Mark III, 100-400mm lens @ 340mm, 1/350th, f/8, ISO 500.

Practical size

For a telephoto lens of its focal length, the 100-400mm is a relatively compact, hand-holdable, and practical lens. I can attach it to my Canon 7DII or Canon 5DIII camera bodies and shoot with it all day long without using a monopod or tripod. The combination with either camera weighs in at about 6 pounds (2.72 kg). Note that that’s a whole 2 pounds (907g) less than just the weight alone of the 200-400mm lens. It’s a lot of focal length, in a fairly small package.

Favorite Lens Canon 100-400mm

Splashing Salt River wild stallion, monochrome – Canon 5D Mark III, 100-400mm lens @ 278mm, 1/750th, f/6.7, ISO 500.

The 100-400mm lens also easily fits into my Kata backpack (now manufactured by Manfrotto). When I pack for an equine and wildlife photography trip, I cram the 100-400mm, 70-200mm, 24-105mm, extender, both my camera bodies, laptop, hard drives and a slew of accessories into this bag. Yes, it’s a great bag and holds a lot for its size but the point is, the 100-400mm fits in it. Larger lenses like the 200-400mm would not.

The 100-400mm is on the left; accessories like batteries, cards, and a rocket blower fit in the same divider, tucked in at the top of the bag. 7DII is in the middle with 24-105mm attached, the open divider is for the 5DIII camera body (which I used to take the pic). 70-200mm lens is on the right; 1.4x extender fits in the same divider in its own little case, tucked in at the top of the bag.

Same arrangement, top view.

Bag zips!

Features of the Mark II version

If you’ve shot with the original 100-400mm lens, the Mark II has some great new features and I’d recommend upgrading. The original was more of a pumping action when you extended it. The Mark II extends with a twisting action. Twisting to extend is faster and easier to use than the original mechanism. There’s also a ring that you can tighten or loosen, increasing or decreasing the torque on the twisting mechanism. In other words, if you want to rapidly zoom in and out, you loosen the ring to reduce the torque. If you want to keep the lens zoomed at a specific focal length, or locked into its most compact position, you can tighten the ring and increase the torque.

It’s a very intuitive motion. As you use the lens, you’ll find your hand easily moves from the rubber grip used to adjust the focus to the grip used to extend the focal length and to the adjustment ring.

Favorite Lens Canon 100-400mm

Cumberland Island wild horse in the live oak shadows, monochrome – Canon 5D Mark III, 100-400mm lens @ 400mm, 1/350th, f/9.5, ISO 320.

Built to last

The Canon 100-400mm lens is also built to last. The metal, weather-sealed build is why I always invest in original, L-series Canon lenses. I trip, I fall, I drop things. It’s just part of who I am. When I invest in a lens that I plan to use all the time, it can’t be a fragile little thing that needs to be babied. It has to be able to withstand my clumsiness plus dusty, desert winds, and driving snowstorms.

Favorite Lens Canon 100-400mm

Antelope Valley wild horse snuggles – Canon 7D Mark II, 100-400mm lens with 1.4x III extender @ 560mm, 1/200th, f/8, ISO 200.

Just a few weeks ago I was shooting in very snowy, wet, conditions in Nevada. When I made it back to the car, I was soaked. My camera and lens were also dripping with melting snow. I toweled everything off and had a moment of panic when the inside of the lens fogged just a tiny bit. Happily, 15 minutes later, the slight condensation dissipated. If the lens hadn’t had such excellent weather sealing, that snow storm might have ended my shoot. A lens with a cheaper build may have been out of commission for days.

Favorite Lens Canon 100-400mm

Wild horse blizzard in Antelope Valley – Canon 7D Mark II, 100-400 @ 400mm, 1/250th, f/9, ISO 800.

Superfast autofocus

This lens focuses quickly, especially on my 7DII. I rarely miss a fleeting moment. I’ve actually captured images other people in my group are surprised to see. I credit that both to the fast focusing ability and the maneuverability of the 100-400mm lens.

Favorite Lens Canon 100-400mm

Antelope Valley wild horses snow globe – Canon 7D Mark II, 100-400mm with 1.4x III extender @ 560mm, 1/4000th, f/8, ISO 1000.

On occasion, I do have trouble focusing due to low contrast. Let’s face it, that happens to all of us. With this lens, I pull back a bit to 200mm or 300mm, grab the manual focus ring and dial in until I start to feel like I have an edge. Once I do, I use back-button focus to lock in sharpness. Once I’m focused, I zoom back to 400mm. The focus holds through this transition and I grab the shot. It’s quick and magical. None of the other long lenses I’ve used have quite the same intuitive feel for focusing.

Favorite Lens Canon 100-400mm

Antelope Valley winter white wild stallion – Canon 7D Mark II, 100-400 @ 400mm, 1/4000th, f/5.6, ISO 500.

Flexibility

One of my favorite aspects of this lens is its flexibility. I use all focal lengths and apertures of this lens without hesitation. For a standard 100-400mm, I attach it to my full frame 5DIII. For a little extra reach, I attach it to my crop sensor 7DII.

On a crop sensor, the effective focal length of the 100-400mm increases to 160-640mm (1.6x). If I need even more reach, I add the Canon 1.4x Extender and the effective focal length on my 7DII increases to 224-896mm. The extender also increases the total weight by about 8 ounces, but I don’t even notice it.

Note: For Canon crop sensor cameras, multiply the focal length by the 1.6x crop factor to determine the effective focal length. Read more here: Crop Factor Explained.

With the Canon 1.4x Extender

Favorite Lens Canon 100-400mm

Antelope Valley band of wild horses running in the snow – Canon 7D Mark II, 100-400mm with 1.4x III extender @ 560mm, 1/1000th, f/8, ISO 1000.

I love using an extender with this lens. At 400mm, the minimum aperture is f/8, which is my preferred wildlife setting anyway. Autofocus is still blazing fast, although it is limited to the center focus point when the extender is attached. I haven’t seen a significant loss of quality or sharpness with the extender. Since I can still handhold this combination, even if there was a slight loss, I’d be more than okay with it. A slight loss of sharpness is always preferred (in my book at least) to missing a shot because you were fiddling with your tripod or just didn’t have the reach you needed.

Note: Read more about extenders here: The Pros and Cons of Using Teleconverters (Extenders) on your DSLR.

Stability

Favorite Lens Canon 100-400mm

Salt River stallion and son eating eel grass in the river – Canon 5D Mark III, 100-400mm @ 400mm, f/9.5, 1/125th, ISO 320.

My job as a photographer is to put myself in the right place at the right time, to find the beauty once I’ve put myself in that place, and to understand the light and compose my image. My gear gives me the technical boost I need to pull all that off.

I’m going to be honest here, I’ve rarely shot with third-party lenses. I can’t compare Canon lens IS (Image Stabilization) to other brands. But, what I can tell you is that when I find myself shooting at 400mm with a 1.4 extender at a relatively slow shutter speed of 1/250th, it’s not my steady hands ensuring that my shot is in focus – it’s Canon’s. Their IS in this lens is like a super power. It is exactly the technical boost I need to make the images I want to make.

Even works for panoramas

Favorite Lens Canon 100-400mm

Ely County Nevada Open Range, panorama – Canon 7D Mark II, 100-400mm @ 100, 1/320th, f/11, ISO 250.

I’ve even used this lens to create panoramas – handheld, no less. If I’m using the 100-400mm and I see a gorgeous vista, I set the lens to 100mm. I create a very secure hold by pressing together my elbows and locking them into my chest. Then I slowly click my way through the scene. Lightroom or Photoshop both do an amazing job of stitching and correcting perspective issues. If you’re a landscape photographer you might be horrified at this method but if you’re a wildlife photographer, it’s truly another practical tool in your photographic arsenal.

Image quality

Favorite Lens Canon 100-400mm

Salt River wild mare silhouette at sunset – Canon 5D Mark III, 100-400mm lens @ 400mm, 1/8000th, f/11, ISO 600.

With all this technical talk, you might be wondering why I haven’t said all that much about image quality. I’ve included over a dozen images here and I hope that speaks for itself. Details render crisply. I haven’t discovered any artifacts or unusual aberration in any of the 14,000+ images I’ve shot with this lens.

In wildlife images, I prefer a creamy blurred background rather than a bubbly bokeh background since I find that big, bokeh circles detract from my subject. This lens renders the sort of backgrounds that I prefer.

Favorite Lens Canon 100-400mm

Backlit Cumberland Island wild horse at sunset – Canon 5D Mark III, 100-400mm lens @ 100mm, 1/500th, f/4.5, ISO 2000.

Shooting into the sun for a backlit image produces just the right amount of lens flair. Shooting with the sun at my back or off to my side produces just the right amount of contrast. With bright overcast skies, the lens still shapes the light beautifully.

The Canon 100-400mm lens renders color in a very neutral way. While it’s fun that some lenses render brighter or more vivid colors, I prefer to have a more neutral starting point when I begin to edit my RAW images.

Over to you

In all, this is the absolute best birthday gift I’ve ever given myself. I even wish I’d bought it before I upgraded my 70-200mm.

What about you? Have you used either the original or Mark II version of the Canon 100-400mm lens? Or do you have another favorite telephoto zoom lens? Share your feedback on your favorite lens with the dPS community in the comments below.

Shop for the Canon 100-400mm lens here:

  • Amazon.com
  • B&H photo.com
Favorite Lens Canon 100-400mm

Mom!! – Canon 7D Mark II, 100-400mm lens with 1.4x III extender @ 560mm, 1/1250th, f/8 ISO 800.

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The post dPS Writer’s Favorite Lens – the Canon 100-400mm f/4.5-5.6 L-Series Lens by Lara Joy Brynildssen appeared first on Digital Photography School.


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Canon announces EF-M 18-150mm F3.5-6.3 STM and EF 70-300 F4.5-5.6 IS II USM lenses

16 Sep

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Canon has announced two new lenses ahead of Photokina, unveiling an updated EF 70-300mm with an LCD panel and a versatile EF-M 18-150mm for its mirrorless line.

The EF 70-300mm F4.5-5.6 IS II USM updates a lens from 2005 with a Nano USM motor, offering USM motor focusing for stills and a quieter STM stepping motor for video AF. It’s the second Canon lens to offer this type of motor; the first was the 18-135mm F3.5-5.6 IS USM introduced in February.

The 70-300mm II’s information panel can be used to display focusing distance, focal length and ‘shake amount’. The lens claims four stops of shake correction, uses one UD element to reduce chromatic aberration and offers a close focusing distance of about 1.2m/4ft.

The EF-M 18-150mm F3.5-6.3 IS brings a 29-240mm equivalent zoom to Canon’s mirrorless system. Its image stabilization also claims 4 stops of shake correction.

The Canon EF 70-300mm F4.5-5.6 IS II USM will go on sale in November for $ 550. The Canon EF-M 18-150mm F3.5-6.3 IS STM will sell for $ 500 in December in graphite and silver.

Press release

CAPTURE HIGH-QUALITY ACTION SHOTS AND VIDEO FROM AFAR WITH THE NEW CANON EF 70-300mm f/4.5-5.6 IS II USM lens

Affordable Lens Features NANO USM Technology, Enhanced Image Stabilizer and Information Display

MELVILLE, N.Y., September 15, 2016 – Having the right tool for the job has long been the mantra for professional photographers and hobbyists alike. Canon’s wide array of lenses provide users with a variety of creative options to help capture dynamic photos and videos with their DSLR cameras. Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the new Canon EF 70-300mm f/4.5-5.6 IS II USM lens featuring NANO USM technology for high-speed and near-silent focusing in both still and video modes. The lens also features a new LCD information display and four-stop* image stabilization.

“To help photographers that are striving to create the most amazing pictures and videos possible, Canon is dedicated to developing the best tools to help them with their goal,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “Having this new EF 70-300mm f/4.5-5.6 IS II USM lens in a photographer’s camera bag will surely help them achieve their creative vision.”

Designed with the user in mind, this affordable new lens includes technology to spark creativity and deliver excellent image and video quality from afar. This is the second Canon lens equipped with NANO USM technology, a focusing motor that combines the benefits of a ring USM (ultrasonic motor) for high-speed AF during still photo shooting and lead-screw type STM (stepping motor) for smooth and quiet video autofocusing (AF)

Features for the Canon EF 70-300mm f/4.5-5.6 IS II USM lens include:

  • High-speed autofocus for shooting stills and smooth, near-silent autofocus when shooting video is achieved by incorporating NANO USM technology.
  • New Lens Information Display shows focusing distance, focal length and shake amount.
  • One UD Lens helps reduce chromatic aberration and delivers outstanding high resolution and high-contrast results.
  • Image Stabilizer effect at up-to-4* stops of shake correction helps capture sharp images.
  • Circular aperture (9 blades) helps deliver beautiful, soft backgrounds.
  • Full-time manual focus allows manual focus adjustment while in AF Mode.

The Canon EF 70-300mm F/4.5-5.6 IS II USM lens is scheduled to be available in November 2016, for an estimated retail price of $ 549.99**. For more information: http://www.usa.canon.com/

* Based on CIPA (Camera & Imaging Products Association) standards. Testing performed using the EOS-1D X digital SLR camera at a focal length of 300mm.

** Availability, specifications and price are subject to change without notice. Actual prices are set by individual dealers and may vary.

Key Features of the Canon EF-M 18-150mm f/3.5-6.3 IS STM Lens Include:

  • Canon’s first EF-M high-zoom power lens covering a broad range of shooting scenes with a high-zoom ratio of up to 8.3x (29–240mm equivalent).
  • Compact and lightweight design allows for easy portability.
  • Optical design helps provide excellent image quality across a broad zoom range comparable to the EF-S 18–135mm f/3.5–5.6 IS USM lens.
  • Maximum magnification of 0.31x at focal length 150mm.
  • Image Stabilizer effect at up to 4 stops of shake correction helps capture sharp images.

Canon EF 70-300 F4-5.6 IS II USM / EF-M 18-150mm F3.5-6.3 IS STM specifications

  Canon EF 70-300 F4-5.6 IS II USM Canon EF-M 18-150mm F3.5-6.3 IS STM
Principal specifications
Lens type Zoom lens
Max Format size 35mm FF APS-C / DX
Focal length 70–300 mm 18–150 mm
Image stabilization Yes (4 stops)
Lens mount Canon EF Canon EF-M
Aperture
Maximum aperture F4–5.6 F3.5–6.3
Minimum aperture F32–45 F22–40
Aperture ring No
Number of diaphragm blades 9 7
Optics
Elements 17
Groups 12 13
Special elements / coatings UD element 2 aspherical + 1 UD element
Focus
Minimum focus 1.20 m (47.24) 0.25 m (9.84)
Maximum magnification 0.25× 0.31×
Autofocus Yes
Motor type Nano ultrasonic Stepper motor
Full time manual Yes
Focus method Rear
Focus notes Nano USM motor combines best of STM and ring-type USM
Distance scale No
DoF scale No
Physical
Weight 710 g (1.57 lb) 300 g (0.66 lb)
Diameter 80 mm (3.15) 61 mm (2.4)
Length 146 mm (5.75) 87 mm (3.43)
Sealing No
Colour Black Graphite or silver
Zoom method Rotary (extending)
Power zoom No
Zoom lock Yes No
Filter thread 67.0 mm 55.0 mm
Hood supplied No
Tripod collar No
Other
Notes Lens Information Display shows focusing distance, focal length and shake amount.

Articles: Digital Photography Review (dpreview.com)

 
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Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

30 Mar

Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

Sony’s already had a busy year, and it just got even busier with the announcement of an update to its RX10 series and two new FE lenses: the 50mm F1.8 and 70-300mm F4.5-5.6 OSS. We got to take a first look at them at a press event in San Francisco. 

Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

The FE 70-300mm F4.5-5.6 is the first full-frame E-mount lens to reach 300mm. It offers SteadyShot stabilization, as evidenced by the OSS on/of switch seen here. 

Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

The 70-300mm offers a minimum focus distance of 0.9m/2.9ft, a zoom locking mechanism and dust and moisture resistance. It’s fairly compact when used at the wide end…

Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

…and extends quite a bit to reach that 300mm mark. For the extremely curious, we noted that the lens maintains its widest F4.5 aperture until the 85mm mark, when F5 becomes the widest option. This changes again at 157mm, at which point it stops down to F5.6.

Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

Sony has posted MTF charts for the 70-300mm, and they show that this lens might be a cut above the typical telezoom. The 70-300 will go on sale in May for $ 1200.

Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

And now, something a little different: the Sony FE 50mm F1.8. At $ 250 it’s going to be a much more wallet-friendly option than its 55mm F1.8 Zeiss-branded counterpart.

Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

The 50mm features a 7-blade circular aperture and offers a 0.45m/1.45ft minimum focus distance. Sony emphasizes its compact and lightweight design and indeed, the lens weighs in at a svelte 186g/6.6oz.

Hands on: Sony FE 50mm F1.8 and 70-300mm F4.5-5.6

Here’s another view of that 7-blade aperture. The lens comprises six elements in five groups, including one aspherical element. Like the 70-300mm, it’s expected to ship in May. 

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces 50mm F1.8 and 70-300mm F4.5-5.6 full-frame lenses

29 Mar

Sony today announced a pair of FE-mount full-frame lenses for its Alpha and NEX mirrorless cameras. The first is an FE 50mm F1.8 prime lens, giving photographers a considerably less expensive option compared to the Zeiss 55mm F1.8 currently on the market. This compact and lightweight lens is priced at $ 249 and will ship in May.

The other lens is the 70-300mm F4.5-5.6 G OSS, which is the longest FE-mount tele-zoom available. It features four aspherical and two ED elements, optical image stabilization, and a Nano AR coating to reduce flare and ghosting. The lens offers a minimum focus distance of 0.9m/3ft, and uses a linear actuator for smooth and silent autofocus. The 70-300 will also be available in May at a price of $ 1199.


Press release:

Sony Bolsters Full-Frame FE Lens Lineup with New 70-300mm High-Resolution Zoom and 50mm F1.8 Prime Lenses

New FE 70-300mm F4.5-5.6 G OSS Telephoto Zoom and 50mm F1.8 Prime Lens Extend Sony ? Shooting Possibilities

SAN FRANCISCO, Mar. 29, 2016 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced two new full-frame lenses for their E-mount camera system, the FE 70-300mm F4.5-5.6 G OSS telephoto zoom and 50mm F1.8 prime lens. 

The new FE 70-300mm F4.5-F5.6 G OSS zoom lens represents the first Sony ? E-mount lens to reach a 300mm focal length, featuring high resolution and excellent overall optical performance throughout the entirety of its range.  The new 50mm F1.8 prime lens is extremely compact, lightweight and affordably priced, making it an ideal choice for those looking to explore the benefits of a large aperture prime lens at a reasonable cost. 

            “We’re continuing to build out our FE lens lineup, offering more variety than ever for today’s imaging enthusiasts,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics.  “Representing two of the most requested focal lengths by our customers, the new 70-300mm zoom and 50 F1.8mm prime become ideal choices for those looking to expand and enhance their Sony ? kits.

New FE 70-300mm F4.5 – 5.6 G OSS Telephoto Zoom Lens

Sony’s longest reaching E-mount lens to date, the new FE 70-300mm F4.5 – 5.6 G OSS telephoto zoom lens (model SEL70300G) features a state-of-the-art optical design including four aspherical glass elements, two ED (Extra-low Dispersion) glass elements and Sony’s Nano AR coating, which all work together to effectively suppress spherical aberration, distortion, and chromatic aberration.  This ensures beautiful high-resolution results for both still and video shooting.

The new telephoto zoom lens also features class-leading close-up performance, with a minimum focusing distance of less than 3 feet (0.9m) and a maximum magnification of 0.31x, making it an ideal choice for tele-macro photography.  This outstanding close-up performance also factors into the lens’ excellent corner-to-corner sharpness.

The versatile zoom lens includes built-in Optical SteadyShot image stabilization that helps to reduce camera shake, making it easier to capture clear images when shooting handheld.  Additionally, the new SEL70300G model has a linear actuator that allows it to achieve fast, smooth and quiet autofocus and is also dust and moisture resistant1 to ensure reliable operation in harsh outdoor conditions.

New FE 50mm F1.8 Prime Lens

Weighing in at less than 7 oz (192 g), the new lightweight FE 50mm F1.8 “normal” prime lens (model SEL50F18F) delivers an outstanding blend of performance, compactness and value, making it a perfect choice for hobbyist photographers and videographers looking to experience the benefits of a wide aperture prime lens at an attainable cost.

The lens features a new optical design with an aspherical element that effectively compensates for all forms of aberration, resulting in beautiful, crisp imagery.   Additionally, it has a circular aperture with a maximum of F1.8, producing beautiful ‘bokeh’ in images that allows the subject to stand out against a smoothly defocused background.  For extended durability, the new prime lens is built with a solid metal mount.

Pricing and Availability

The new FE 70-300mm F4.5 – 5.6 G OSS telephoto zoom lens will be available in May for about $ 1,200 US and $ 1,700 CA, respectively. 

The new FE 50mm F1.8 prime lens will also be available in May for about $ 250 US and $ 350 CA, respectively. 

Both of the new FE interchangeable lenses will be sold at a variety of Sony authorized dealers throughout North America.   

A variety of exclusive stories and exciting new content shot with the new lenses and other Sony ? products can be found atwww.alphauniverse.com , Sony’s new community site built to educate, inspire and showcase all fans and customers of the Sony ? brand. 

Content is also available for viewing at the sony.com product pages for the FE 70-300mm F4.5 – 5.6 G OSS telephoto zoom lens and the FE 50mm F1.8 prime lens.

Articles: Digital Photography Review (dpreview.com)

 
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