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Sigma Releases 24mm f/2 and 90mm f/2.8 Lenses for E-Mount and L-Mount Cameras

11 Sep

The post Sigma Releases 24mm f/2 and 90mm f/2.8 Lenses for E-Mount and L-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Sigma has unveiled two powerful lenses for Sony E-mount and L-mount cameras: the 24mm f/2 DG DN Contemporary and the 90mm f/2.8 DG DN Contemporary.

The lenses slot into Sigma’s “I” lineup, a series of glass featuring top-notch build quality, portable bodies (Sigma claims the I series is perfect for “everyday use”), and high-resolution imaging on par with even the most demanding mirrorless cameras.

And the Sigma 24mm f/2 continues this I series tradition, offering outstanding build quality in a portable package. The lens is entirely metal, from the barrel and mount to the focus and aperture rings (and yes, the 24mm f/2 does sport a manual aperture ring, for photographers who prefer a more tactile, analogue method of shooting).

Sigma notes that the 24mm f/2 works well for “night sky photography, events, and interiors,” as well as “day-to-day use.” It certainly should perform well in low-light situations like indoor events (e.g., weddings) thanks to the wide f/2 maximum aperture, though Sigma might be selling the lens short; in addition to the aforementioned uses, I’d also peg the 24mm f/2 as an excellent street photography lens – it’s compact, fast, and sharp, even if its 24mm focal length is wider than the 35mm/50mm street photography standards – a capable landscape lens, especially for photographers looking to lighten their load, and an ideal travel lens.

The 24mm f/2 aims for optical perfection. Sigma explains that “lens resolution is extremely high and is uniform from the center to the periphery of the image,” while the lens features “the highest level of optical performance even at its maximum aperture of f/2.”

And the price is a quite reasonable $ 639 USD, ideal for budget-conscious photographers in need of a second or third lens.

The 90mm f/2.8 features a similar design – all metal, to match existing I-series lenses, plus a manual aperture ring, a compact build, and a “sleek, stylish finish.” At 90mm, I hadn’t expected the lens to be quite as travel-ready as its 24mm counterpart, yet the 2.4 inch (59.7 millimeter) barrel is ultra-slim and even pocketable.

Who should buy the 90mm f/2.8? Sigma advertises the lens as ideal “for portraits, close-ups, weddings, and events,” and I’d probably add product and still life photography to that list, thanks to the short telephoto focal length, not to mention the “exceptional resolving power that can keep up with the latest ultra-high-resolution cameras.” Plus, the lens offers a 1:5 magnification ratio; it’s no true macro lens, but can certainly get you a close perspective for detail shots.

Like the 24mm f/2, the 90mm f/2.8 sells for a very reasonable $ 639 USD. And both lenses should begin shipping at the end of September, so if you’re a Sony or L-mount shooter looking for a well-built, compact prime, I highly recommend you take a look.

Now over to you:

What do you think of these new lenses from Sigma? Do either of them appeal to you? Share your thoughts in the comments below!

The post Sigma Releases 24mm f/2 and 90mm f/2.8 Lenses for E-Mount and L-Mount Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Tamron Unveils the 28-75mm f/2.8 G2 for Sony, With Enhanced Image Quality and AF

06 Aug

The post Tamron Unveils the 28-75mm f/2.8 G2 for Sony, With Enhanced Image Quality and AF appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron unveils the 28-75mm f/2.8 G2 with enhanced IQ and AF

Three years ago, Tamron announced the 28-75mm f/2.8 Di III RXD for Sony, a powerful lens that made its way into the bags of many photographers – and now the company is back for more. This week, Tamron revealed the 28-75mm f/2.8’s successor: the 28-75mm f/2.8 Di III VXD G2, which packs several significant upgrades, along with all the features that made the first 28-75mm f/2.8 such a hit.

And the original 28-75mm f/2.8 certainly was well-received. According to many a reviewer, the lens combined a compact build, a wide maximum aperture, speedy autofocus, and stellar image quality, not to mention a focal length range that performed well in pretty much every scenario, from portraits and landscapes to events and more. And then, of course, was the price; at well under $ 1000, the 28-75mm positioned itself as the affordable alternative to Sony’s 24-70mm f/2.8 GM lens and even undercut Sigma’s low(ish)-cost 24-70mm f/2.8 Art lens for Sony.

So what does the upcoming 28-75mm f/2.8 offer over its predecessor?

Mainly optical and autofocus upgrades. According to Tamron, you can expect “significantly improved optical and autofocus performance” – specifically, the 28-75mm will likely offer enhanced sharpness thanks to an optical redesign, and Tamron promises “higher autofocus speed with greater precision,” perfect for photographers who tackle sports and other action subjects.

The lens will also feature an increased maximum magnification (from 1:2.94 to 1:2.7), helpful for the occasional detail shot. And Tamron hints at “a new design in the pursuit of enhanced operability and ergonomic texture,” though the company also makes clear that the 28-75mm f/2.8 will offer “the well-received compact size of its predecessor.” In other words: better ergonomics, but in the same small package.

While we don’t yet know the price of the new 28-75mm, expect it to match or only slightly exceed that of the original lens – a bargain, giving the lens’s undoubtedly outstanding optical performance, speed, and low-light capabilities.

Tamron also emphasizes the lens’s integration “with [a] new ‘Tamron Lens Utility’ software” for “personal customization [that] gives flexible shooting options to match the shooting situation.” For instance, the Lens Utility software will let you adjust the aperture via the focus ring, focus at predetermined positions, and more.

If you’re after a budget f/2.8 lens for Sony, one that spans from wide-angle to standard telephoto and punches far above its weight in optics and autofocus, then keep an eye out for the 28-75mm f/2.8 G2. Tamron suggests a 2021 release date, so you shouldn’t have long to wait!

Now over to you:

What do you think of the new 28-75mm f/2.8 for Sony? Have you used the original? Are there any upgrades you would like to see that are missing from the updated version? Share your thoughts in the comments below!

The post Tamron Unveils the 28-75mm f/2.8 G2 for Sony, With Enhanced Image Quality and AF appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price

13 Mar

The post Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price appeared first on Digital Photography School. It was authored by Suzi Pratt.

In December 2020, Tamron announced an exciting new lens: the 17-70mm f/2.8 for Sony.

The Tamron 17-70mm is small, lightweight, and designed for APS-C cameras – plus, it offers two excellent features often lacking on Tamron lenses.

But how does it function in the real world? And is it worth the $ 799 price tag?

Let’s find out in this hands-on Tamron 17-70mm for Sony review!

Tamron 17-70mm for Sony: overview

A 24-105mm lens offers one of the most popular focal length ranges available, thanks to its wide-to-telephoto reach. It’s a versatile pick used by casual and professional photographers alike.

And the 17-70mm is Tamron’s version of this lens because its focal length translates to 25.5-105mm on an APS-C body.

The Tamron 17-70mm is made for Sony APS-C (crop-sensor) cameras, so it’s ideal when combined with the popular Sony a6000 (or any of its recent variations). The lens can also be used on Sony full-frame cameras like the Sony a7S III – as long as the APS-C mode is selected.

Constant fast aperture

The 17-70mm f/2.8 for Sony is Tamron’s first fast-aperture zoom lens for APS-C cameras.

The lens maintains a constant f/2.8 aperture throughout the entire zoom range, while other APS-C Tamron zooms use variable apertures (i.e., apertures that shift as you zoom).

A constant aperture, especially a fast f/2.8 aperture, makes the 17-70mm great for shooting in low light. And at f/2.8, you can capture shots with creamy bokeh, like this one here:

Tamron 17-70mm f/2.8 for Sony sample photo — 1/1000s | f/2.8 | ISO 640

Vibration compensation

The 17-70mm also comes with Tamron’s image stabilization (Tamron calls this VC, or Vibration Compensation) to reduce camera shake.

Note that VC is often missing on Tamron lenses, especially those with constant apertures, so it’s certainly a welcome bonus on the 17-70mm.

Lenses with VC make it easier to shoot handheld photos and videos, especially at slow shutter speeds. That’s how I was able to pull off this handheld long exposure:

waterfall Tamron 17-70mm f/2.8 for Sony sample photo — Handheld shooting at low shutter speeds is made possible by Vibration Compensation.
1/6s | f/13 | ISO 320

(Speaking of video: the 17-70 is a great video lens, thanks to the flexible zoom range, constant aperture, and inclusion of VC!)

Build and handling

If you’ve tried any recent Tamron lenses, the 17-70mm will look and feel very similar.

The lens is made mostly of plastic, which helps keep the weight down (it comes in at 1.2 lb/525 g), though you also get rubber zoom and focus rings.

The lens physically extends and retracts when the zoom ring is twisted. With dimensions of 2.9 x 4.7 in (74.6 x 119.3 mm), the lens can feel a bit large and off-balance when attached to a smaller camera like the Sony a6000. It definitely feels more balanced when used with a Sony full-frame camera.

The Tamron 17-70mm f/2.8 for Sony is moisture resistant and also has a front element with a fluorine coating to protect it from smudging.

And speaking of the front element, the lens has a filter size of 67 mm, common among Tamron’s recent lenses.

Tamron 17-70mm f/2.8 for Sony sample photo of woman with dough — 1/250s | f/4 | ISO 640

Performance

I used the Tamron 17-70mm in outdoor hiking and indoor restaurant settings, and the autofocus worked well for photos and videos.

The lens has quiet focusing thanks to an RXD stepping motor. This works wonderfully with Sony mirrorless cameras, which still offer the best autofocus on the market.

It’s easy to switch to full manual focus simply by twisting the focus ring. Also, with a minimum focusing distance of 7.5 in (19 cm), the lens has decent macro capabilities (and close-up shots look great with that gorgeous f/2.8 bokeh).

Tamron 17-70mm f/2.8 for Sony sample image close-up — 1/200s | f/4 | ISO 640

Image quality

Constant-aperture lenses tend to produce sharp, crisp images. You pay for it, though, because constant-aperture lenses – especially zoom lenses – don’t come cheap.

But while the Tamron 17-70mm is priced well under $ 1000, image quality is tack sharp across the entire focal length range, even at f/2.8. If Tamron can make more lenses like this at similar price points, they’ll win over many photographers and videographers.

At times, the 17-70mm does produce chromatic aberration and excessive vignetting, especially when shooting scenes with high contrast. Luckily, these are problems that can easily be solved in most photo editing programs, including Lightroom or Photoshop.

Tamron 17-70mm f/2.8 for Sony forest sample image — 1/60s | f/2.8 | ISO 2000

Tamron 17-70mm alternatives

There are no true competitors to the Tamron 17-70mm f/2.8, at least not at its price point. When looking at similar lenses, the price goes up dramatically – or you sacrifice certain features.

Sony lens choices

The closest Sony competitor is the Sony E 16-55mm f/2.8 (24-82.5mm on APS-C cameras), which offers the constant f/2.8 aperture but is 15mm short on the telephoto side. The 16-55 also lacks image stabilization and will set you back $ 1,300.

The Sony E 18-105mm f/4 is a more affordable choice, coming in at around $ 600. This APS-C zoom lens offers a wider focal range than the Tamron plus image stabilization. However, the constant aperture is f/4, which is a lot slower than the Tamron’s f/2.8.

Tamron 17-70mm f/2.8 for Sony bridge to a forest — 1/320s | f/10 | ISO 640

Who should buy the Tamron 17-70mm for Sony?

Considering the price and features of this lens, the Tamron 17-70mm is suitable for both professional photographers and videomakers alike, especially for those on a budget.

The lens’s features are typically found on glass that costs twice as much, including the constant f/2.8 aperture and the Vibration Compensation. It also offers remarkably sharp image quality considering its cost.

And given the relatively accessible price, the Tamron 17-70mm is also appropriate for beginner or amateur photographers and videomakers looking to increase their skills.

Using a constant f/2.8 aperture is a treat, and this lens will help budding photographers take better images in low light with nice, creamy bokeh.

So grab the Tamron 17-70mm f/2.8 for Sony right here!

Now over to you:

What do you think about the Tamron 17-70mm f/2.8? What do you like about it? What do you dislike? Will you consider buying it? Share your thoughts in the comments below!

Tamron 17-70mm f/2.8 sample images

Tamron 17-70mm f/2.8 for Sony_-9239 — 1/60s | f/2.8 | ISO 800

The post Tamron 17-70mm f/2.8 for Sony Review: A Versatile Lens for a Great Price appeared first on Digital Photography School. It was authored by Suzi Pratt.

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Sigma Announces the 28-70mm f/2.8 – Small, Light, and Well-Priced

26 Feb

The post Sigma Announces the 28-70mm f/2.8 – Small, Light, and Well-Priced appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Earlier this week, Sigma announced its upcoming lens:

The 28-70mm f/2.8 DG DN Contemporary, designed for Sony E-mount and Leica L-mount, and billed as “the world’s smallest f/2.8 standard zoom for mirrorless systems.”

Sigma already sells a 24-70mm f/2.8 ART lens, but the new 28-70mm features a few key improvements, including the smaller size, plus a near-50% weight reduction for an impressively portable package.

Unlike most f/2.8 zooms, the Sigma 28-70mm is ideal for travel photography, street photography, and even casual walkaround photography. I’m not sure I’d label it as truly compact, but it’s certainly small for an f/2.8 zoom, and will appeal to plenty of on-the-go photographers who require both low-light capabilities and flexibility.

If you’ve previously found yourself frustrated by the mirrorless, big-lens-on-a-small-body problem, the 28-70mm may be exactly what you need. Take a look at the lens mounted on a mirrorless body:

The setup looks comfortable, well-balanced, and just all-around nice to use.

Compared to most standard f/2.8 zooms, you do lose a few millimeters on the wide end. Is that a problem? That depends on your shooting style, because the difference between 24mm and 28mm isn’t trivial – you’ll lose out on the opportunity to get that sweeping wide-angle look – but assuming you don’t plan to use the 28-70mm for frequent landscape or architecture shooting, you should be fine.

Sigma claims “superb build quality,” and from the pictures, I can certainly believe it. Check out the 28-70mm f/2.8 up close:

There’s just something about the modern Sigma design that screams quality, and – bonus! – the lens looks pretty darn sleek.

Of course, no great lens is complete without stellar optics, and the 28-70mm f/2.8’s sharpness remains to be seen. But Sigma is confident in the 28-70mm’s performance, stating that “this large-aperture standard zoom delivers outstanding image quality that rivals Art line lenses.”

If Sigma’s evaluation is accurate, then I can certainly see the 28-70 making its way into the bags of quite a few photographers – including the aforementioned travel photographers and street photographers, but also portrait photographers, event photographers, and even landscape photographers who don’t mind the limited focal length.

As for the price, it’s a very reasonable $ 899. That’s cheaper than the Sigma 24-70mm f/2.8 and the Tamron 24-70mm f/2.8 (plus there’s the Nikon and Canon versions for mirrorless, but those are unmentionably expensive).

So if you’re a Sony mirrorless or L-mount shooter and you’re after a compact f/2.8 zoom that won’t put a huge dent in your wallet, the Sigma 28-70mm f/2.8 is certainly worth a look.

It’ll begin shipping on March 12th, but you can currently preorder the Sony version here and the L-mount version here.

Now over to you:

What do you think of this new lens from Sigma? Is it one you’ll consider purchasing? Share your thoughts in the comments below!

The post Sigma Announces the 28-70mm f/2.8 – Small, Light, and Well-Priced appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Nikon to Announce the 14-24mm f/2.8 and 50mm f/1.2 for Z Mount

15 Sep

The post Nikon to Announce the 14-24mm f/2.8 and 50mm f/1.2 for Z Mount appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikon hasn’t managed to capture much airtime over the past few months, what with the Canon EOS R5 and R6 launch as well as the Sony a7S III announcement.

But Nikon continues to produce top-notch kit, and we’ll see the fruits of the company’s labor later this week, with the official announcement for two new lenses:

The Nikkor Z 14-24mm f/2.8 S.

And the Nikkor Z 50mm f/1.2 S.

Both lenses are designed for Nikon’s Z mount cameras, which means that they’ll be compatible with Nikon’s mirrorless bodies: the Nikon Z5, Nikon Z6, Nikon Z7, and Nikon Z50.

Let’s take a closer look at what you can expect from these two lenses.

The Nikkor Z 14-24mm f/2.8 S

This lens will be a Z mount remake of a popular F-mount (DSLR) lens, the Nikkor 14-24mm f/2.8G.

And, if the original lens is anything to go by, the Nikkor Z 14-24mm f/2.8 S will be an absolute powerhouse.

At the very least, the Z mount 14-24mm will give Nikon users an ultra-wide zoom with an f/2.8 maximum aperture, which will be appreciated by many photographers, including astrophotographers and other low-light shooters. At present, Z mount f/2.8 zooms are limited to the 24-70mm f/2.8 and the 70-200mm f/2.8; while both of these are excellent lenses, they just don’t offer the perspective that you can get from a 14-24mm lens.

According to Nikon Rumors, the Nikkor 14-24mm f/2.8 will work with front filters (which is always a concern with ultra-wide lenses), but will also take rear filters. The 14-24mm will be relatively compact, and will feature “smooth and silent autofocus.”

In other words:

The Nikkor Z 14-24mm f/2.8 will likely be a lens that does a lot of things well, from landscapes and astrophotography to those ultra-wide travel and event shots that draw the viewer straight into the scene.

The Nikkor Z 50mm f/1.2 S

Nikon already offers a Z mount 50mm lens: the Nikkor Z 50mm f/1.8 S.

But the new 50mm f/1.2 S will go beyond the 50mm f/1.8 S; that extra maximum aperture may not seem like much, but it’s critical for low-light shooters of all types, as well as anyone who’s after the best possible bokeh.

That’s why, if you’re a portrait photographer or an event photographer, the Nikkor Z 50mm f/1.2 S should be at the top of your wish-list.

While the 50mm f/1.2 S is likely to offer stellar image quality, such a wide maximum aperture comes with a serious price:

The lens is going to be big and hefty. This certainly won’t be your easy-to-carry nifty fifty, so if that’s what you’re after, look elsewhere. But it will be a high-quality, well-built, weather-sealed lens that many professionals are after.

Conclusion

The Nikkor Z 14-24mm f/2.8 S and the Nikkor Z 50mm f/1.2 S lenses are bound to be impressive (even if they have a price tag to match!).

So if either lens seemed appealing, I recommend you keep an eye out for Nikon announcements over the next few days.

You won’t regret it!

Now over to you:

Are you excited for these two new lenses? And if you could pick one of them, which would you take? Share your thoughts in the comments!

The post Nikon to Announce the 14-24mm f/2.8 and 50mm f/1.2 for Z Mount appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Gear Review: Tamron 70-180mm f/2.8 for Sony

17 Jul

The post Gear Review: Tamron 70-180mm f/2.8 for Sony appeared first on Digital Photography School. It was authored by Suzi Pratt.

Tamron 70-180mm f/2.8 lens for sony review

Earlier this year, the highly anticipated Tamron 70-180mm f/2.8 telephoto lens finally hit the shelves. Made for full-frame Sony E-mount cameras, this lens is very compact and affordable, coming in at more than half the price of the Sony G-Master version. What are the pros and cons of getting this lens? Read on to find out!

The Tamron “Holy Trinity” is complete

Photographers often refer to the “holy trinity” of zoom lenses that cover a wide range of focal lengths. Traditionally, the holy trinity consists of a wide-angle lens (16-35mm), a midrange lens (24-70mm), and a telephoto lens (70-200mm). Tamron has been working on their own version of the holy trinity that includes the 17-28mm f/2.8, 28-75mm f/2.8, and now the 70-180mm f/2.8.

All three of these Tamron lenses complement each other in that they are very affordable, compact in size, and even use the same filter thread size of 67mm. The low cost is probably the most attractive feature. You can have the Tamron holy trinity of f/2.8 lenses for just under US$ 3,000. In comparison, buying all three Sony G-Master lenses would cost a whopping US$ 7,000.

Tamron 70-180mm f/2.8 for Sony review — Canon 5D Mark III with Canon 100mm f/2.8 – 1/60 sec, f/7.1, ISO 400

Specs

The formal name of this lens is the Tamron 70-180mm f/2.8 Di III VXD. Tamron claims this is the “world’s lightest and most compact package,” and it’s hard to disagree when comparing this lens to similar focal lengths. The lens is 5.9 inches (149mm) long and weighs 1.8lbs (816 grams). The Tamron 70-180mm also has moisture resistance and weather sealing.

This is an autofocus lens with two rubber barrels – one controls focus and the other zooms. The front part of the lens extends when zoomed in. There is just one minimal locking switch on the lens to keep it from extending when not in use. No other physical buttons or switches are on the lens. The minimum focusing distance is 33.5 inches, however, you can focus down to 10.6 inches when using manual focus at 70mm.

One last thing to mention about this and every Tamron lens is the 6-year warranty for USA residents. The warranty period is much longer than Sony’s and just about any lens manufacturer out there.

Ease of use

The Tamron 70-180mm f/2.8 is very easy to use, especially if you’ve ever shot with a 70-200mm f/2.8. In practice, it’s almost not fair to compare these two lenses. The Tamron is considerably smaller and lighter than any 70-200mm f2/.8 on the market. It weighs 1.46 lbs lighter than the Sony G-Master, and it easily fits inside of medium-sized bags that a traditional 70-200mm lens would never fit into. Thus, it’s no longer a second thought on whether this lens should be packed on a hiking trip, or whipped out to shoot a quick photo.

To keep the lens small, 20mm was shaved from the long end which might be a problem if you really need to be shooting at 200mm. However, Sony full-frame shooters have the option of shooting in APS-C mode to get a zooming effect (roughly 270mm with the 1.5 crop factor). When shooting with a high-resolution camera such as the Sony a7rIV and its 61 megapixels, you also have more megapixels, so cropping is a viable option.

Autofocus

The autofocus performance on this lens is phenomenal. You have access to all of the autofocus features in your Sony E-mount camera including face and eye detect for humans and animals.

Autofocus was snappy and accurate when shooting a still or moving subject. This lens feels just like using a native Sony lens in a much lighter and cheaper body.

Only one thing missing

Like the rest of the lenses in the Tamron holy trinity, the 70-180mm is missing image stability built into the lens. Tamron claims it isn’t needed because many Sony full-frame cameras come with in-body image stabilization (IBIS, or SteadyShot).

While this might seem like a downside, Tamron might be onto something. In practice, the 70-180mm shot incredibly stable handheld video, even at 180mm. Stills photography was also very sharp and spot-on in every scenario. Along those lines, let’s talk about image quality.

Image quality

When reviewing images, the Tamron 70-180mm f/2.8 leaves little to be desired. Photos are tack sharp and crisp with excellent color. Thanks to the lens coating, there is also very little ghosting and flare, even in the most backlit conditions.

Conclusion

This is a rather short review, because there honestly isn’t a lot to say about this lens other than it is impressive on every level. If you want an ultra-compact f/2.8 telephoto zoom at a very affordable price, this is the one for you.

However, you’ll want to act fast since this lens has been back-ordered ever since it was announced, and for good reason.

The post Gear Review: Tamron 70-180mm f/2.8 for Sony appeared first on Digital Photography School. It was authored by Suzi Pratt.

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Sony Announces Brand-New, Ultra-Wide, 12-24mm f/2.8 Lens

14 Jul

The post Sony Announces Brand-New, Ultra-Wide, 12-24mm f/2.8 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

dps news sony 12-24mm f/2.8 lens announcement

Sony has officially announced its FE 12-24mm f/2.8 GM lens, which is impressively wide, and offers a very fast aperture for such a wide-angle zoom.

While Sony did release a 12-24mm zoom back in 2017, it packed an f/4 maximum aperture, which just doesn’t offer the same low-light utility as a wide-angle f/2.8.

But now, with the new 12-24mm f/2.8, Sony shooters have the opportunity to work with an ultra-fast wide-angle lens, which is perfect for any sort of night photography, and astrophotography in particular.

In terms of the lens’s specs:

A lens offering a maximum f/2.8 aperture is bound to be somewhat large, but Sony has kept both the size and the weight fairly reasonable:

5.5 in (137mm) long, 29.9 oz (847 g) heavy.

This means that landscape photographers and travel shooters won’t have too much trouble carrying the 12-24mm f/2.8 around in their bag.

The lens comes with a permanent hood, and the front element is unsurprisingly big, which means you won’t be able to use standard filters. However, Sony has designed the lens with a rear filter mount, which allows photographers to work with cut gel filters.

As for the optics:

Given that this is a GM lens, you can expect quite a lot, and early reviews seem to bear this out. The Sony 12-24mm f/2.8 is incredibly sharp, in the centers to the corners, both wide-open and stopped down.

Now, if you’re in need of a fast wide-angle zoom, you have two main options:

The new Sony 12-24mm f/2.8.

Or the Sony 16-35mm f/2.8 GM, which is a very impressive lens in its own right.

Ultimately, picking between these lenses will come down to personal choice, but the extra 2 mm on the wide end can be pretty significant, especially for landscape and astrophotographers.

That said, while the Sony 12-24mm f/2.8 is a truly excellent new piece of glass, the cost ensures that only the most serious of photographers will be able to add it to their bags.

It’ll ship in mid-August with a starting price of around $ 3000 USD.

Bottom line:

If you’re looking for a pro-level, fast, wide-angle lens for landscape photography, then this is going to be a good option, assuming you can afford the price.

The post Sony Announces Brand-New, Ultra-Wide, 12-24mm f/2.8 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Sigma 24-70mm f/2.8 for Sony Review

18 Jun

The post Sigma 24-70mm f/2.8 for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

From the moment the Sigma 24-70mm f/2.8 DG DN Art lens for Sony was announced in December 2019, it’s been in hot demand. Fast forward to May 2020, and the lens is still back-ordered and difficult to get ahold of. It’s not hard to see why, as this lens is half the price of the Sony 24-70mm f2/.8 G Master. This Sigma 24-70mm f/2.8 for Sony review highlights some key specs of the new Sigma Art lens and contemplates why it’s such a sought after lens.

Sigma 24-70mm f/2.8 for Sony Review — Canon 5D Mark III with Canon 100mm f2/.8 – 1/160 sec, f/7.1, ISO 400

Specs

Focal Length	24 to 70mm
Maximum Aperture	f/2.8
Minimum Aperture	f/22
Lens Mount	Sony E
Format Compatibility	Full-Frame
Angle of View	84.1° to 34.3°
Minimum Focus Distance	7.09″ / 18 cm
Maximum Magnification	0.34x
Optical Design	19 Elements in 15 Groups
Diaphragm Blades	11, Rounded
Focus Type	Autofocus
Image Stabilization	No
Filter Size	82 mm (Front)
Dimensions (ø x L)	3.46 x 4.84″ / 87.8 x 122.9 mm
Weight	1.84 lb / 835 g

24-70mm: the desert island lens

Ask any photographer what single lens they would rather have if marooned on a desert island. I’ll bet a good chunk of the answers would be the “24-70mm.” This is a classic mid-range lens that covers a useful and versatile focal length. 24mm is just wide enough to capture vast landscapes without much distortion, while 70mm offers just the right amount of zoom to capture shots from a distance.

Most camera brands, including Sony, offer two versions of the 24-70mm: one at f/4, and another at f/2.8. The Sony 24-70mm f/4 is of fantastic quality at a semi-reasonable price point of $ 898.00. There are often used ones to be had for several hundreds of dollars cheaper. But the Sony 24-70mm f/2.8 stands at a whopping $ 2,198.00. See why there’s been a clamor for a half-price Sigma version?

Let’s not forget the Tamron 28-75mm f2.8, another lower-priced challenger at $ 879.00. This lens is a bit smaller and lighter than the Sigma version. It also has a smaller filter size of 67mm compared to the Sigma lens’ 82mm filter thread size. However, you sacrifice 4mm on the wide end, which may matter if you need maximum wilderness.

Back to the Sigma.

Build and construction

Sigma Art lenses are known for their superior bodies, and the 24-70mm f/2.8 is no exception. This lens was made in Japan, and it shows in the craftsmanship. It feels solid in the hands and is even a hair lighter than the Sony version. The lens has two rubber rings: one for focusing and another for zooming. There is also an Af/MF switch, a button for AF-Lock, and a locking mechanism.

The locking switch is a bit unusual. Enabling the lock prevents the lens from accidentally extending. On most lenses, the lock is rock solid. But on the Sigma, the lock can easily be overridden by simply twisting the zoom barrel. That makes it easier to run and gun shoot, but on the other hand, it’s a little too easy to accidentally unlock your lens in the field. I didn’t mind this feature, but some photographers may not like it.

The zoom is equipped with internal sealing against dust and moisture. There is also fluorine coating on the front of the lens to repel water and oil. Overall, this lens held up like a champ while shooting in a light rainstorm.

Image quality

Testing of the Sigma 24-70mm f/2.8 was done on a Sony a7riii. In terms of sharpness and overall image quality, the lens was fantastic in almost every way. The only problem is the hint of distortion and vignetting that you see at 24mm. But both of these can be easily corrected in post-production software such as Adobe Lightroom and Photoshop.

Bokeh quality at f/2.8 on the lens was smooth and creamy for a zoom lens.

Image stabilization

The main feature that this lens lacks is image stabilization (IS). That means this isn’t the optimal lens for shooting video. However, this lens works well with Sony’s in-body image stabilization (IBIS), so that gives you some form of stabilization. For non-video shooters, image stabilization in the lens would certainly help for capturing stills handheld at low shutter speeds, but then again, that’s something IBIS can help with.

So at the end of the day, we can’t fault Sigma for not including IS in this lens. The Sony version doesn’t have it either, and the inclusion of IS generally increases the overall price of a lens.

Ease of use in the field

I took the Sigma 24-70mm f/2.8 on a road trip with me. It took the place of my much more compact lens choice, the Sony 24-70mm f/4. My main photo subject was landscape and lifestyle photography, much of it done on cloudy days with even, filtered light. The lens performed beautifully and was a joy to shoot with. The autofocus was snappy and accurate, although the native Sony 24-70mm that I normally use still has the overall autofocus advantage.

The main thing that bugged me about the Sigma lens was its weight and size. Admittedly, I’ve learned to be okay with sacrificing a faster f-stop by using a smaller lens while traveling. This lens felt like it weighed the camera down when I wasn’t holding it in my hands and actively shooting with it. But then again, a larger and heavier lens is the yet another price to pay for using an f/2.8 lens.

Sigma 24-70mm at Lake Lenore Caves, Washington — Sigma 24-70mm f/2.8 @ 24mm – 1/250 sec, f/9, ISO 160

Warranty

Besides a lower price, third-party lens companies such as Sigma are one-upping Sony by offering extended warranties. In the case of Sigma, each lens comes with a 1-year warranty, with an extended 3-year warranty in the USA. On the other hand, Sony offers just a 1-year warranty. However, you may be eligible to join the Sony Pro program, which offers discounted repairs.

In conclusion

The Sigma 24-70mm f/2.8 is a solidly built, high performance lens that is a steal at $ 1,099.00. You won’t find a better 24-70mm at this price point. If you’re a stills photographer, you want this in your bag if you don’t already have the Sony version. However, video folks may want to look at another midrange option that includes image stabilization in the lens.

Sigma 24-70mm at Dry Falls, Washington — Sigma 24-70mm f/2.8 @ 24mm – 1/160 sec, f/8, ISO 160

The post Sigma 24-70mm f/2.8 for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

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Tamron Announces First Mirrorless All-In-One f/2.8 Zoom

15 Jun

The post Tamron Announces First Mirrorless All-In-One f/2.8 Zoom appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Earlier this week, Tamron announced its brand new 28-200mm f/2.8-5.6 lens designed for Sony mirrorless cameras.

In addition to its massive range, the lens boasts a maximum aperture of f/2.8 at its widest focal length, making it officially the first all-in-one zoom lens to begin at f/2.8.

While the lens ultimately tops out at f/5.6 at the 200mm end, the wide-angle f/2.8 maximum aperture offers low-light shooters the opportunity to work with a fast, lightweight, compact zoom, one that also features significant reach on the long end.

In terms of weight and dimensions:

The Tamron 28-200mm clocks in at just 20.3 oz (575 g), while measuring 4.6 in (117 mm). This positions the lens as a comprehensive option for travel photographers, landscape photographers, and more; just slip the Tamron 28-200mm plus a Sony camera in your backpack, and you’ll be ready for anything.

Of course, none of this matters if the lens can’t deliver on image quality, and all-in-one zooms are known for their lackluster optics, especially at focal length extremes.

While we can’t definitively comment on sharpness, Tamron promises “liberal use of special lens elements…to greatly suppress chromatic aberrations, making it possible to achieve high image quality from edge to edge.”

Tamron also claims to have “concentrated all its all-in-one zoom technologies into achieving optical performance that sets a new standard among existing all-in-one zoom lenses.”

While we’ll have to wait a few weeks to confirm Tamron’s claims, the company’s other all-in-one zooms have been mediocre-to-great. If Tamron has taken this one a step further, then the rewards could be great.

The new lens also offers:

An impressive minimum focusing distance of 7.5 in (0.19 m) on the wide end and 31.5 (0.8m) on the long end, making for a close-up magnification ratio of 1:3.8
A fast, quiet AF motor
Moisture resistance
A reasonable price of US$ 729

Assuming the optics are good, this lens will be a steal for almost any shooter, but especially photographers looking to reduce the size of their kit for travel, outdoors, or walkaround photography.

At the time of writing, the lens will launch on June 25, though Tamron warns of potential COVID-related delays.

So if you’re interested in an all-in-one zoom for Sony with tremendous low-light capabilities, great optical potential, and much more, check out the new Tamron 28-200mm f/2.8-5.6 Di III RXD.

Now over to you:

What do you think of this new lens from Tamron? Do you expect it will separate itself from other all-in-one zooms in terms of optics? And if so, will you purchase it? Share your thoughts in the comments!

The post Tamron Announces First Mirrorless All-In-One f/2.8 Zoom appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Sony to Announce Ultra-Wide 12-24mm f/2.8 GM Lens

03 Jun

The post Sony to Announce Ultra-Wide 12-24mm f/2.8 GM Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

If you’re a landscape photographer, you’re in for a treat.

Sony is preparing to announce its brand-new, ultra-wide 12-24mm GM lens, which will offer a great range of focal lengths, an impressive f/2.8 maximum aperture, and (likely) stellar optics.

Let’s take a look at what we know.

First, the lens specs:

The Sony 12-24mm will feature a focal length range custom-made for landscape photographers. At 24mm, you’ll be poised to capture some wide images. And once you zoom out to 12mm, you’ll have wide-angle capabilities that few lenses can match, able to capture sweeping vistas that would normally be impossible to shoot.

Sony will announce the 12-24mm f/2.8 lens

A consistent problem with ultra-wide lenses is a bulbous front element, which makes it impossible to mount circular polarizers and neutral density filters. But Sony seems to have addressed this too, with the (rumored) inclusion of a rear-mounting filter option. That way, landscape photographers can take advantage of drop-in filters, and don’t have to choose between a wide focal length or enhanced image quality.

As for the optics:

Given the G Master designation, we can expect the lens to offer excellent sharpness from corner to corner, very limited chromatic aberration, and more.

In other words, the new Sony 12-24mm is a landscape photographer’s dream.

Note that Sony does already offer a 12-24mm lens, one that’s well-known for its optical prowess. But the current 12-24mm only shoots as wide as f/4, and while this is fine for most landscape situations, there’s one area of landscape photography where a wider maximum aperture is almost always better:

Astrophotography.

For photographers who shoot skies in complete darkness, an f/2.8 aperture allows for a shutter speed fast enough to freeze the stars without boosting ISO too much. The difference between f/2.8 and f/4 may not seem huge, but it does matter; at f/2.8, you’ll often come away with a sharp, clean shot, compared to the blurry or noisy result you get at f/4.

Of course, a lens that offers such impressive specifications is bound to come with a matching price tag. While Sony has not yet revealed any details, rumors suggest that the 12-24mm f/2.8 GM will cost around $ 4000 USD.

Is this pricier than I would like?

Absolutely.

But it’s bound to be one heck of a lens!

So keep an eye out for further news; you should see a Sony announcement sometime in the next few weeks.

Now over to you:

What do you think about this new Sony lens? Do you think that $ 4000 USD is too high a price? Or will the lens be worth it? Share your thoughts in the comments!

The post Sony to Announce Ultra-Wide 12-24mm f/2.8 GM Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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