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Samyang/Rokinon Announces 14mm f/2.8 and 85mm f/1.4 Series II lenses

01 Jun

The post Samyang/Rokinon Announces 14mm f/2.8 and 85mm f/1.4 Series II lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

If you’re looking for a reasonably-priced but high-performing lens or two, then you’re in luck.

Samyang/Rokinon has now announced an update for two of its most popular pieces of glass:

The 14mm f/2.8 and the 85mm f/1.4.

The Samyang 14mm f/2.8 and the 85mm f/1.4 are already highly-regarded among photographers looking to get strong images while keeping prices low (and who don’t mind full-time manual focus). The ultra-wide focal length of the 14mm is perfect for astrophotography, especially when combined with an f/2.8 maximum aperture. And the f/1.4 aperture on the 85mm is a great way to produce that gorgeous, creamy bokeh that portrait photographers want.

All for under $ 650 USD.

But now, with the announcement of the 14mm f/2.8 Series II and the 85mm f/1.4 Series II, Samyang/Rokinon has taken their product lineup a step further.

The 14mm f/2.8 Series II offers the same optics of the original Samyang 14mm, but now sports a focus lock; this allows you to set your point of focus and hold it in place, which is great for maintaining perfect focus in astrophotography, time-lapse, or other difficult-to-focus situations.

the Samyang 14mm Series II lens offers a de-click and a focus lock function

The Samyang 14mm Series II also features a “de-click” option, so that you can manually change the aperture along a near-infinite spectrum (rather than being forced to work in increments, which is the standard for most lenses). This is a great way to fine-tune your apertures in the field, and it also benefits video shooters who want to subtly alter exposure throughout a recording.

As for the 85mm f/1.4 Series II:

You still get the same excellent sharpness and bokeh, but Samyang has added a “de-click” feature to match the 14mm f/2.8 Series II.

And both lenses now offer weather sealing, which will be appreciated by astrophotographers, landscape photographers, and other outdoor shooters, and will make both lenses an easier sell for photographers that work in adverse conditions.

But perhaps the most enticing thing about the new Samyang lenses is the price:

You’ll be able to grab the 85mm f/1.4 Series II for just $ 400 USD, while the 14mm f/2.8 Series II will come in at $ 500 USD.

Sure, constantly using manual focus may come as a bit of a shock, especially if you’ve never used it before. But you’ll become an expert before long and, at such impressively low prices, these two lenses are hard to pass up.

You can currently preorder both the 85mm f/1.4 Series II and the 14mm f/2.8 Series II for Canon EF, Nikon F, Fujifilm X, MFT, and Canon M mounts.

Now over to you:

Do you have any experience with the original Samyang 85mm and 14mm lenses? What do you think of them? And for those of you who are interested in the new lenses: What do you plan to use them for?

The post Samyang/Rokinon Announces 14mm f/2.8 and 85mm f/1.4 Series II lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Tamron 35mm f/2.8 Lens for Sony Review

14 Feb

The post Tamron 35mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

Hot on the heels of Tamron’s widely successful f/2.8 zoom lenses comes a trio of f/2.8 prime lenses, specifically a Tamron 20mm, 24mm, and 35mm. I recently tested the Tamron 35mm f/2.8 and found it to be a surprisingly fun little lens.

Why surprising? Well, the 35mm f/2.8 may seem like an odd lens at first glance. There are faster versions of this focal length, such as the 35mm f/1.8 and 35mm f/1.4. And for those who shoot with a 16-35mm f/2.8 or 24-70mm f/2.8, this lens might seem unnecessary. However, there are a few clever tricks that the Tamron 35mm f/2.8 lens has up its sleeve to set it apart from the competition.

Tamron 35mm f/2.8 Lens for Sony Review

Tech specs

The official name of this lens is the Tamron 35mm f/2.8 Di III OSD M 1:2 Lens. It is made for Sony E-mount mirrorless full-frame cameras. Affordably priced at $ 349 USD, this is among the cheapest 35mm FE E-mount lens options.

Only Samyang makes a cheaper version.

All other FE 35mm options are over double the price of this Tamron. However, most of them have apertures of f/1.8 or faster.

Maximum Aperture: f/2.8
Minimum Aperture: f/22
Lens Mount: Sony E
Format Compatibility: Full-Frame
Angle of View: 63° 26′
Minimum Focus Distance: 5.9″ / 14.99 cm
Maximum Magnification: 0.5x
Macro Reproduction Ratio: 1:2
Optical Design: 9 Elements in 8 Groups
Diaphragm Blades: 7, Rounded
Focus Type: Autofocus
Image Stabilization: No
Filter Size: 67 mm (Front)
Dimensions (ø x L): 2.87 x 2.5″ / 73 x 63.5 mm
Weight: 7.4 oz / 210 g
Price: $ 349 USD

Compact size

Coming in at just 3oz, the Tamron 35mm 2/.8 lens is so lightweight, it may feel as though you forgot to attach a lens to your camera. Its size makes it a great lens for travel or street photography.

Since it isn’t terribly heavy, the lens does have a mostly plastic feel to it. However, the lens is still weather-sealed and even comes with a gasket in the bayonet to prevent moisture and dust from building up.

Tamron also offers a 5-year warranty with all of its products, which should help put your mind that ease.

Fun macro capabilities

Despite its light weight, the Tamron 35mm f/2.8 is a bit chunky – it’s definitely not a pancake lens.

But part of the reason for the lens’ size is its macro capabilities. As noted in the tech specs above, this lens has a minimum focusing distance of 5.9 inches (15 cm) and a macro reproduction ratio of 1:2. This means that you can get really close to your photo subjects for some macro photography fun.

When focusing at a close distance, the bokeh looks amazing, making up for this lens’ f/2.8 aperture.

Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/125 sec, f/5.6, ISO 400, Aperture Priority

Excellent image quality

I paired the Tamron 35mm f/2.8 lens with a Sony A7riii and found the resulting images to be pleasing. The images were sharp with excellent contrast, good bokeh, and just a small amount of vignetting.

The lens also performed well while shooting video. However, there is no image stabilization in the lens, so it is not an optimal choice for video shooters.

Laggy autofocus

After listing several high points of this lens, it’s time to talk about its downfall – autofocus.

Given Sony’s reputation for having fast and accurate autofocus in its cameras, this lens’ autofocus performance was disappointing.

When paired with my Sony A7riii, the Tamron often struggled to focus on both macro and non-macro shots. The autofocus problem worsened in low lighting. As someone with lots of experience with macro photography, I suspect that the slow autofocus is due to the lens’ macro capabilities. So in a way, it’s a trade-off – you can shoot macro with this lens but at the cost of slow autofocus.

In Conclusion

Should you get this lens?

If you are a beginner photographer looking for a compact prime lens to experiment with, the Tamron 35mm f/2.8 would be a great choice. It has a great price point and will help you develop an eye for photography, as the 35mm focal length is often recommended as the best lens for beginners.

Even experienced photographers may prefer this compact lens with macro capabilities for travel or street photography. However, if you often shoot fast-paced subjects or in low light environments, save up for the more expensive, faster versions of this lens.

Have you tried the Tamron 35mm f/2.8 lens? Share with us your thought in the comments section.

Shot with the Sony a7r iii and the Tamron 35mm f/2.8. Focal length 35mm, 1/1600 sec, f/9, ISO 500, Aperture Priority

Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/500 sec, f/9, ISO 500, Aperture Priority

Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/200 sec, f/2.8, ISO 4000, Aperture Priority

Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/100 sec, f/2.8, ISO 3200, Aperture Priority

Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/50 sec, f/2.8, ISO 800, Aperture Priority

Image: Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/100 sec, f/2.8, ISO 3200, Aperture...

Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/100 sec, f/2.8, ISO 3200, Aperture Priority

Image: Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/160 sec, f/10, ISO 400, Aperture Pr...

Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/160 sec, f/10, ISO 400, Aperture Priority

Image: Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/100 sec, f/2.8, ISO 400, Aperture P...

Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/100 sec, f/2.8, ISO 400, Aperture Priority

Image: Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/640 sec, f/6.3, ISO 400, Aperture P...

Sony a7r iii with Tamron 35mm f/2.8. Focal length 35mm, 1/640 sec, f/6.3, ISO 400, Aperture Priority

The post Tamron 35mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

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Sigma 14-24mm f/2.8 Lens for Sony – Thoughts and Field Test

22 Nov

The post Sigma 14-24mm f/2.8 Lens for Sony – Thoughts and Field Test appeared first on Digital Photography School. It was authored by Suzi Pratt.

The Sigma 14-24mm f/2.8 lens is a brand new ultra-wide-angle zoom lens intended for full-frame mirrorless cameras. Launched in August 2019, this lens follows in the footsteps of the Sigma 45mm f/2.8 prime lens. Similar to that lens, the Sigma 14-24mm is available for Sony E-Mount cameras, or L-Mount mirrorless cameras made by Panasonic, Sigma, and Leica. It is currently the widest and fastest full-frame zoom lens made for Sony E-Mount, with FE 12-24mm f/4 as the closest match.

In the DSLR world, the 14-24mm f/2.8 lens is no stranger. Nikon made its own version, and Sigma has been making this lens for full-frame DSLRs for a while now. But the 14-24mm focal range is indeed for special use cases, with most photographers preferring the 16-35mm range to meet their wide-angle needs. Tamron echoes this sentiment with the recent release of the 17-28mm f/2.8 E-Mount lens. So what sets the 14-24mm lens apart, and who is this lens for? Read on to find out!

Sigma-14-24mm-f-2-8-Lens-for-Sony-review

Technical specs

The Sigma 14-24mm has a maximum aperture of f/2.8 and a minimum aperture of f/22. It offers a 114.2 degree to 84.1-degree angle of view and has a minimum focusing distance of 11 inches (27.94 cm). This is an autofocus lens that also offers manual focus at the flip of a notch. There is no image stabilization or vibration reduction, making it unideal for video. It is on the larger side with dimensions of 3.35 x 5.16″ and a weight of 28.04 ounces. But it is slightly narrower and lighter in weight than its DSLR counterparts.

This lens is also weather-sealed, but the front lens element is curved and thus cannot be protected by standard screw-on UV filters. On that note, you also cannot use screw-on ND filters or polarizers with this lens either.

Currently, the lens retails for $ 1,399.00 USD. It’s not cheap, but it does cost less than the Sony FE 12-24mm f/4 and the Sony 16-35mm f/2.8.

Sigma-14-24mm-f-2-8-Lens-for-Sony-review

Pros

Ultra-wide focal range

The biggest benefit of this lens its ultra-wide focal range. If you’re shooting in tight spaces or want to cram as much visual detail as possible in your image, this is the lens to use. It’s perfect for shooting architecture, real estate, or landscapes. However, ultra-wides can also be tricky to work with due to distortions (more on that below).

Solid build quality

Sigma declares this lens to be dustproof and splashproof (in other words, semi-weatherproof). The front lens also has a coating that repels water and oil. Given the heft of this lens, it indeed feels like it could withstand various outdoor environments, but I wouldn’t take it into a downpour.

Nice bokeh effects

With a relatively fast f/2.8 aperture, this lens is much faster than its wider yet slower cousin, the 12-24mm f/4. However, ultra-wide lenses are typically used for landscape and architecture, when you’ll be shooting an f/9 or f/11 to get as much of your scene in focus as possible. So whether you really need the f/2.8 aperture depends on what kind of photos you intend to shoot.

While ultra-wides are not a standard portrait or subject photography lens, the f/2.8 gives you a nice background blur if you prefer shooting wide. The smooth bokeh is thanks to the 11 rounded diaphragm blades, an increase to the 9 blades found in previous models.

Sigma-14-24mm-f-2-8-Lens-for-Sony-review

Cons

Large and heavy

Pretty much all f/2.8 lenses are larger and heavier than their slower counterparts, and this lens is no exception. It’s a big and bulky lens that you likely won’t use for casual travel photography, not just because of its size, but because the front element is completely exposed.

Distortion

All wide-angle lenses face the challenge of decreasing the amounts of barrel or pincushion distortion. In other words, the wider the lens, the more likely your vertical lines won’t be straight.

The Sigma 14-24mm handles this moderately. At its widest focal length, there is indeed some barrel distortion. For certain scenarios such as astrophotography or landscape photography, this is less of an issue. But for real estate, architecture, or anything that requires super straight vertical lines, this lens may not be the best choice.

You can, of course, attempt some perspective control in Photoshop.

Can’t use standard filters

As mentioned earlier, the front curve of this lens prevents standard ND filters or polarizers from being used. Sigma does say that the lens comes with a rear filter holder, but you would need to invest in this specific type of filter to make use of it. Standard filters that screw onto the front of the lens would not work.

Sigma 14-24mm f/2.8 Lens for Sony – Thoughts and Field Test

Who is this lens for?

All in all, the 14-24mm f/2.8 is a specialty lens. At its widest focal length, there is typically quite a bit of barrel distortion. This makes for extra post-processing work for those trying to shoot real estate or architecture, but perspective control has improved in post-processing software.

While barrel distortion is less of an issue for landscape or astrophotography, this lens doesn’t allow you to attach screw-on ND filters and polarizers that are often needed when shooting outdoors. Sigma declares that the 14-24mm f/2.8 is intended to be “the definitive lens for astrophotography.” Unfortunately, it is not the season for night sky photos, so I was not able to test this aspect of this lens.

With all of that said, the image quality is fantastic. This lens produces tack-sharp images with excellent colors. It just requires a bit of extra work in post-production to make up for some of its shortcomings.

Would you buy this lens? Let me know in the comments below!

Sigma 14-24mm f/2.8 Lens for Sony – Thoughts and Field Test Sigma-14-24mm-f-2-8-Lens-for-Sony-review

Watch Suzi’s video review

The post Sigma 14-24mm f/2.8 Lens for Sony – Thoughts and Field Test appeared first on Digital Photography School. It was authored by Suzi Pratt.

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Sigma 45mm f/2.8 Lens for Sony Review

08 Oct

The post Sigma 45mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

The Sigma 45mm f/2.8 DG DN (sony, Leica) is the latest addition to Sigma’s Contemporary lens line. Launched in July 2019, this lens is available as Sony E-mount or Leica L-mount. The latter mount is of particular interest as the new L-mount is compatible with Panasonic and Leica full-frame cameras, plus Sigma’s own forthcoming L-mount mirrorless cameras. I got my hands on an E-mount version and tested the lens with my Sony A7RIII. Here are my thoughts.

Sigma 45mm f/2.8 Lens for Sony E Mount

Specs

The Sigma 45mm f/2.8 lens has a maximum aperture of f/2.8, which may be a disappointment for photographers used to having at least an f/1.8 on their prime lenses. It also is a fairly expensive lens given its $ 549 price tag. However, this lens makes amends when it comes to size and the build quality.

Size

Compared to other Sigma prime lenses such as the Sigma 35mm f/1.4 Art (Nikon, Canon, Sony), this lens is significantly smaller and more lightweight. It weighs 7.5 ounces (half of the aforementioned 35mm) and comes in at less than 2-inches long. This makes the 45mm much more portable and discreet when compared to Sigma’s other Art lens primes that all have an f/1.4 aperture, but are significantly larger and heavier.

This compact size is closer to that of the Canon 50mm f/1.8 and 40mm f/2.8 pancake lens. Both were my longtime favorite prime lenses when I shot with Canon DSLRs. The beauty about this size is that it feels very balanced when attached to a full-frame camera, whether it be my old Canon 5D Mark III or my new Sony A7RIII. With that said, this lens puzzles me when I compare it to other similar lenses that I’ve owned.

Sigma 45mm f/2.8 (left), Fujifilm 35mm f/2 (center), and Sony 55mm f/1.8 (right).

Build quality

It’s hard to ignore the design of this lens, which is both visually eye-catching and functional. There are two physical rings – the outermost ring controls the focus and the innermost ring selects the aperture, similar to how a Fujifilm lens performs. Choosing the aperture via the lens can take some getting used to, but it’s a wonderful way to interact with your camera. There’s also a switch to toggle autofocus or manual focus. The lens itself is made mostly of metal, and it includes a lens hood that is also made of metal. There is also weather sealing on the mount of the lens to keep dust and dirt at a minimal.

Shooting experience

45mm is an interesting focal length. It sits comfortably between two of the most popular focal lengths out there: the 35mm and 50mm. Not too wide or too narrow, 45mm gives you a range that feels natural, yet intentional. Autofocus on this lens is fast, accurate, and very quiet thanks to a fast-stepping motor.

If you shoot on a Sony full-frame mirrorless camera, you may also be familiar with the feature of flipping between shooting in full-frame and APS-C mode. While the latter does crop and shrink your images, it gives you the ability to shoot at a slightly zoomed-in focal length. This, in turn, gives you at least two focal lengths to shoot from, and it is one of my favorite features of my Sony A7RIII.

Sigma 45mm f/2.8 Lens for Sony E Mount

Image quality

The images captured by the Sigma 45mm f/2.8 lens result in very consistent color, tones, and sharpness. This lens has a rounded seven-blade diaphragm that renders a smooth, shallow depth of field. There is a minimum focusing distance of 9.4 inches, giving this 45mm decent macro capabilities.

In Conclusion

Overall, I had a very positive experience shooting with this Sigma 45mm f/2.8 lens. The compact size complemented the Sony A7RIII perfectly, making it a very portable unit. I usually have a 24-70mm f/2.8 or 55mm f/1.8 glued to my camera when shooting in low lighting scenarios. Thus, the 45mm’s f/2.8 aperture did not hinder me much. However, there is something to be said about having a faster aperture, especially in low light conditions.

If you enjoy shooting with a versatile prime lens that is reasonably fast but very portable, this Sigma 45mm f/2.8 lens might be the lens for you.

What are your first impressions of the Sigma 45mm f/2.8 lens? Would you purchase it? Why or why not?

Sample photo gallery

Sigma 45mm f/2.8 Lens for Sony E Mount

Sigma 45mm f2.8 for Sony E Mount

Sigma 45mm f/2.8 Lens for Sony E Mount

The post Sigma 45mm f/2.8 Lens for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

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Thoughts and a Field Test: The Tamron 17-28mm f/2.8 Lens for Sony

04 Sep

The post Thoughts and a Field Test: The Tamron 17-28mm f/2.8 Lens for Sony appeared first on Digital Photography School. It was authored by Suzi Pratt.

Sony lenses are notoriously expensive, so it’s a welcome relief that third-party manufacturers have been making solid E-Mount lenses. The Tamron 17-28mm f/2.8 is one such lens. It is the highly anticipated follow-up to the Tamron 28-75mm f/2.8, which was announced in 2018 and is almost always on backorder due to its popularity. After testing the Tamron 17-28mm f/2.8, I have no doubt that this lens will be equally popular.

Read on to find out why.

Tamron 17-28mm for Sony E-Mount

The Tamron 17-28mm f/2.8 tech specs

First off, 17-28mm is indeed a niche and unique focal length. No other manufacturer makes a lens with this range. The closest comparison is the 16-35mm f/2.8, a focal length made by Sony, Canon, and Nikon.

If you’re disappointed about having less reach with the Tamron, consider that if you use this lens with a Sony full-frame, you can always shoot in APS-C mode, which gives you more range. This is one of the most useful features on my Sony a7R III.

Why Tamron went for this slightly more limited focal length is puzzling, but it likely explains how they kept the lens to such a small size. In the comparison photo below, you’ll see that the 17-28mm is essentially the same size as the original Canon 16-35mm f/2.8 and the Sony 24-70mm f/4. Weight-wise, the Tamron is the lightest, coming in at 420 g (0.93 lbs). That is quite a bit lighter than Sony’s own 16-35mm f/2.8, which weighs a whopping 680 g (1.5 lbs).

Since we’re on the subject of comparisons, let’s talk price. Sony charges $ 2,200 USD for their 16-35mm f/2.8 lens. While their lens offers more solid construction and a more flexible focal range, this is still a chunk of change. On the other hand, the Tamron 17-28mm is priced at $ 899 USD, which is quite reasonable for an f/2.8 lens.

Size comparison of the Canon 16-35mm f/2.8 (left), the Tamron 17-28mm f/2.8 (center), and the Sony 24-70mm f/4 (right).

Image stabilization

The Tamron 17-28mm lens does not have optical image stabilization (OIS). However, it’s so lightweight that it’s still pretty easy to shoot stable photos and videos handheld. In fact, its size goes well with the Sony a7R III and the Sony a7 III.

Autofocus

The Tamron 17-28mm f/2.8 is equipped with a smooth and quiet autofocus (AF) system. It pairs well with modern Sony mirrorless cameras, and all AF modes are available, including Eye AF. In practice, I found Eye AF to be a bit sluggish and hit or miss. But then again, I don’t consider 17-28mm to be my ideal focal range for portraits anyway, and I would rather reach for a midrange zoom or a standard 50mm lens.

Best uses for the Tamron 17-28mm f/2.8

A wide-angle lens like the 17-28mm is ideal for capturing landscapes, interiors, and real estate. Those are the types of photography I focused on while testing this lens. The portraiture I did was minimal, and it was mainly for the purpose of shooting at an aperture other than f/11 to see how the bokeh performed (it did very well).

A handheld shot taken from a doors-off helicopter ride.

Image quality

For my first test shooting with the 17-28mm, I took it on a doors-off helicopter ride. If you’ve ever been on one of these, you know how incredibly windy it can be in the main cabin and how difficult it is to get any shots in focus. This is very much a “spray and pray” kind of photography scenario. To my surprise, the 17-28mm did incredibly well.

From the moment I started shooting with the Tamron 17-28mm, I almost immediately forgot it was a third-party lens. Autofocus was snappy (I wasn’t using Eye AF), there was zero lag or miscommunication between the lens and the camera, and the image quality was stunning. Photos were tack sharp, there was no distortion, and the colors even seemed to pop a little more than usual.

view of shopping people

Physical construction

Since this lens is so compact and lightweight, don’t expect all-metal or polycarbonate materials like Sony uses in their GM lenses. However, the build quality of the Tamron 17-28mm still feels very solid in the hands, and I think it would hold up well over time.

Tamron says the 17-28mm is equipped with “moisture-resistant construction” and a hydrophobic fluorine coating to repel dirt and fingerprints. Not much else is said about weather sealing, and I wouldn’t feel comfortable subjecting this lens to extreme weather conditions.

long staircase and escalator

6-year Tamron warranty

One of the biggest benefits of buying a Tamron lens is their generous 6-year warranty. Effective for six years from the date of purchase (in the USA only), Tamron lenses are “warranted against defective materials or workmanship.” Meanwhile, Sony provides 1 year of warranty on their lenses.

A match made in photographer heaven

Based purely on specs, this lens pairs beautifully with the Tamron 28-75mm f/2.8. In fact, Tamron claims the combined weight of both of those lenses equates to less than 1 kg (2.2 lbs), which is incredibly light for two f/2.8 lenses. Both lenses also take the same filter size of 67mm, making it easy to swap polarizers and ND filters. This feature alone makes it very compelling to invest in both lenses.

photo of a barbershop

Conclusion

During the reigning days of DSLRs, many photographers scoffed at third-party lenses, saying that “you get what you pay for.” Perhaps back then they had a point.

But today, third-party lenses have really stepped up their game, and the Tamron 17-28mm f/2.8 is one of the best examples of superior third-party glass. If you’re in the market for a wide-angle lens for your Sony body, you can’t go wrong with this lens.

For more information on the Tamron 17-28mm f/2.8 lens for Sony, check out this video I filmed, along with some additional sample photos below:

interior shopping center

person close-up

leaf hanging down

The post Thoughts and a Field Test: The Tamron 17-28mm f/2.8 Lens for Sony appeared first on Digital Photography School. It was authored by Suzi Pratt.

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Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens Review

03 Apr

The post Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens Review appeared first on Digital Photography School. It was authored by Kunal Malhotra.

The 24-70mm is undoubtedly one of the most desired lenses because of obvious reasons. The focal length range in a single lens enables you to capture multiple genres of photography such as street, landscape, portraits, and travel.

Recently, I got my hands on the Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens, and I have been using it for more than a month now. I also made a comparison with the Canon variant, which I talk about at the end along with sample images.

This lens is available in both Canon and Nikon mounts designed for FX and EF format cameras. It can also be mounted on DX/EF-S bodies.

Build quality and ergonomics

Talking about the construction of the Tamron 24-70mm f/2.8 G2, it consists of 17 elements in 12 groups and 9 rounded diaphragm blades. This lens has moisture-resistant construction, and the front element has fluorine coating which protects against dust, dirt, and smearing.

The moment I held the Tamron 24-70mm f/2.8 G2, my first impression was that this lens feels premium. With the new SP series, Tamron has revised the design of their professional lenses and made them more sturdy. The AF/MF and VC ON/OFF switches are of superior quality, and the rubber grips for focus and focal length adjustment feel comfortable.

One thing that impresses me on this Tamron lens is the placement of the focal length ring. I have been used to the Canon 24-70mm f/2.8 lens which features the focal length ring placed near to the camera. Whereas, the Tamron 24-70mm f/2.8 G2 lens has it placed near to the front element. After using both the lenses, I feel that the focal length ring placement is much more user-friendly on the Tamron lens.

In regards to technology advancements, the Tamron 24-70mm f/2.8 G2 lens is compatible with TAP-in Console (to be purchased separately) for fine-tuning focus adjustments and also to update the lens firmware.

Focus speed and accuracy

The lens features an Ultrasonic Silent Drive auto-focus motor which is designed to provide quick and accurate focusing performance. After using the lens for a month, I feel the focus is precise and swift, even with fast moving subjects. As a street and travel photographer, my priority is to nail the focus, and this lens compliments my camera very well.

I also took the Tamron 24-70mm f/2.8 lens for a spin in low light conditions, and I was happy to see how fast it locked the focus. Even in continuous focus mode, it hardly hunted for focus. Overall, this lens is a charmer in the focus speed and accuracy department.

After using the Canon 24-70mm f/2.8 lens for almost 3 years, the Tamron lens did not make me feel that I was using a slower lens. It was almost the same experience for me. With the closest focusing distance of 1.25ft or 15inches (same as the Canon variant), I was also able to shoot some close up shots.

Sharpness and Image Quality

There is one highlighting feature in this Tamron zoom lens which the Canon variant is missing, and that is VC (Vibration Compensation) or Image Stabilization. VC helps in minimizing the camera shake by up to 5 stops, which can be effective in low light conditions.

The VC on this lens helped me shoot at slower shutter speeds such as 1/10th -1/15th sec and lower ISO values without introducing shake in the images. Practically, I was able to achieve 3.5-4 stops of Image Stabilization performance with this lens, which I could not from my Canon variant.

Canon vs Tamron 24-70mm f/2.8

From f/2.8 to f/4 the Canon is slightly sharper at the center and has better contrast performance. But as I tested, these lenses at f/4 and narrower, both started generating similar results in terms of sharpness and contrast.

Overall, the Canon 24-70mm f/2.8 lens scores better in terms of image quality. Whereas, for me, the Tamron is a winner considering its price-to-quality ratio and the build quality.

LEFT: Shot at 1/15th sec with VC OFF. RIGHT: Shot at 1/15th sec with VC ON

Conclusion

At a good price point, the Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens seems like a great choice for travel, street, wedding, and even landscape photography. The image quality is superior, and the focus speed and accuracy is spot on. If you are looking for a 24-70mm f/2.8 lens which is slightly cheaper than the Canon//Nikon variant but still performs very well, this could be an ideal choice.

The post Tamron SP 24-70mm f/2.8 Di VC USD G2 Lens Review appeared first on Digital Photography School. It was authored by Kunal Malhotra.

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Samyang 14mm f/2.8 Lens – Astrophotography On A Budget

04 Nov

When it comes to choosing lenses, there are two main schools of thought. The first is to use a minimum number of zoom lenses with a large range of focal lengths. The second is to use more lenses with a smaller range of focal lengths.

As a travel photographer, I’ve worked hard to minimize my gear. I would love to own a dozen lenses, I just don’t want to carry them all. It’s rare to find more than three lenses in my bag.

I’ve followed that first school of thought for years, and it’s served me well.

Samyang 14mm f/2.8 lens for astrophotography

The Case For Specialist Lenses

Whatever you photograph, there inevitably will come a time when you want a specialist lens for a specific subject. I’ve experienced this a couple of times.

In a past life as a wedding photographer, I owned a macro lens that I bought exclusively for photographing details such as rings. My other lenses weren’t up to the task, so I added it to my kit for just a few detail images per wedding.

Fast forward a few years, and I discovered a love for astrophotography. I found once again that my landscape lenses weren’t up to the task.

Astrophotography is a highly specialized subject and one that calls for the right gear. I was getting some reasonable night sky photos with my 16-35mm f/4 lens, but I wanted something wider and faster. I needed another specialist lens.

The Samyang 14mm Ultra Wide-Angle f/2.8 IF ED UMC Lens

My search for a lens that was wider than 16mm and faster than f/4 led me to a few lenses that I would’ve loved to add to my kit. The problem was that they were all either too large or too expensive. I didn’t want or need another wide-angle zoom lens.

Then I found the Samyang (also branded as Rokinon) 14mm f/2.8 lens. 14mm gives you a 115° view, which is plenty wide enough to capture the night sky.

The maximum aperture of f/2.8 is fast enough to capture insane amounts of light in the stars. Being a prime lens, it’s lighter than most wide-angle zoom lenses. As if that wasn’t enough, it’s cheap.

Samyang 14mm f/2.8 lens for astrophotography

Weight

At around 550g, this lens isn’t going to add a lot of extra weight to your camera bag. It’s made mainly of plastic, but build quality is surprisingly good for the price.

It isn’t the highest quality astrophotography lens on the market, but for a budget lens, it’s good enough.

Samyang 14mm f/2.8 lens for astrophotography

Sharpness

Image sharpness is about what you would expect for a budget lens.

It’s sufficiently sharp for astrophotography, but personally, I wouldn’t use it for landscape photography during daylight hours.

This lens also has quite a significant distortion, but that’s unavoidable with such a wide lens. Lightroom’s lens correction profile does a pretty good job of correcting it.

Focus

One thing you need to consider before buying this lens that it’s manual-focus only. It also uses a manual aperture ring.

This has never been a problem for me, as I’ve found auto-focus to be virtually useless when photographing the stars. The focus ring has a nice smooth feel to it and a large throw, making focusing incredibly accurate.

Samyang 14mm f/2.8 lens for astrophotography

You’ll also need to consider that you can’t use filters with this lens due to the large front element. Again, this shouldn’t be an issue if you’re using it for astrophotography, because you won’t be needing filters.

Who Is This Lens For?

If you’re looking for a wide lens on a budget, you should definitely consider the Samyang 14mm f/2.8 lens.

For a great astrophotography lens that won’t break the bank, it’s hard to beat. It may not be the best option if you’re planning to sell large prints, but the image quality will be sufficient for most photographers.

Samyang 14mm f/2.8 lens for astrophotography

Other uses for this lens could be architecture and real estate interiors photography.

You could definitely photograph landscapes with it, but the image softness could be an issue. If you want a higher quality, sharper lens, you’ll need to increase your budget a fair bit.

It’s available with mounts for Canon, Nikon, Sony, and Pentax, and compatible with both full frame and cropped sensors.

Have you used the Samyang 14mm f/2.8 lens? What’s your go-to lens for astrophotography?

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Why I’m Downsizing from a Nikon 70-200mm f/2.8 Lens to the f/4 Version

13 Jun

The Nikon 70-200mm f/2.8 lens has been one of my most used since purchasing it several years ago. It’s a perfect lens for photographing either abstract, intimate or obviously, zoomed in landscapes. However, after borrowing the f/4 version from a local camera store during a trip to the Faroe Islands, I’ve decided to sell my current lens and replace it with the smaller and less expensive (almost $ 1000 less) f/4 version.

Before we get into why I’m replacing it, let’s look at why I went for the f/2.8 lens, to begin with:

Why I Purchased the Nikon 70-200mm f/2.8

When I purchased my first full-frame camera several years ago (the Nikon D800), I started out with only one lens: the 16-35mm f/4. At the time, that was all I could afford and it was my main setup for close to a year.

By that time I had saved enough money to add another lens to my backpack (only having the 16-35mm was quite limiting so I wanted to add more range before heading out on a two-week journey to the US).

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Though there are several other brands to choose between, I had already made up my mind that I’d go for Nikon’s 70-200mm. The harder choice, however, was whether I should go for the f/2.8 or f/4.

After much back and forth, and long discussions with other photographers, I ended up with the f/2.8. Despite it being heavier and more expensive, it seemed like the right choice as it has a wider maximum aperture. Even though I’m a landscape photographer (I don’t do much wildlife or portraits, etc), I figured the wider aperture might come in handy and be more important than the weight.

I’d say this is the perfect lens if you’re photographing:

Wildlife
Portraits
Macro
Concerts/events
Under low light

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

Captured with my 70-200mm f/2.8 lens.

Why I’m Changing to the f/4

When looking through the images I’ve shot with my 70-200mm, only a fraction of them were captured at f/2.8. In fact, the majority of those are images I captured at concerts or other events for a local magazine, which I very rarely do anymore.

The fact that I rarely use an aperture of f/2.8 on this lens, combined with the fact that I’m spending more time hiking and need a lighter backpack, made it an easy decision to replace my current lens with the lighter 70-200mm f/4 lens.

Captured with the 70-200mm f/4 lens.

As a landscape photographer, it’s rare that you need f/2.8, especially for the type of images I tend to capture. It’s more important for me to save weight (1540 gm/3.2 lbs versus 850 gm/1.9 lbs) since my backpack gets quite heavy when carrying all my lenses and cameras, a tripod, and other accessories.

Though I only tested the lens for 10 days, I found it’s not a sacrifice of much image quality by choosing the f/4 over the f/2.8. Both the sharpness and autofocus are just as good in the former.

These are the main benefits I’ve found with the 70-200mm f/4 lens:

It’s almost half the weight of the f/2.8.
It’s smaller in size and takes less space in the camera bag.
Autofocus is just as good (in fact it’s better than on my old f/2.8).
Sharpness is just as good.
It’s nearly half the price of the f/2.8 ($ 2800 versus $ 1400 roughly).

The Consequences of Changing

Of course, sacrificing one stop of light is something worth mentioning, as this does come with a few consequences. While it might not be a big difference between f/4 and f/5.6, there is a significant difference between f/2.8 and f/4, especially in low light situations.

Why I'm Replacing my Nikon 70-200mm f/2.8 Lens with the f/4 Version

If you use a tripod for all of your photography and you avoid photographing wildlife and other scenarios with a shallow depth of field, the sacrifice is minimal and most likely not even notable. However, if you tend to photograph handheld in low light situations and enjoy photographing with a shallow DoF, you might want to reconsider replacing the f/2.8.

Here are some of the sacrifices you’ll make when changing from f/2.8 to f/4:

You won’t get as good of a “bokeh” effect nor achieve as much of a shallow depth of field.
You’ll need to increase the ISO instead of opening the aperture in low light situations.
You will be more dependant on a tripod in low light situations.

That being said, this was an easy decision and one that I wish I’d made many years ago. Do you have a 70-200mm lens? Which version do you have and why?

The post Why I’m Downsizing from a Nikon 70-200mm f/2.8 Lens to the f/4 Version appeared first on Digital Photography School.

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Tamron launches 28-75mm F/2.8 Di III RXD lens for Sony FE, costs $800

28 Apr

In February, Tamron announced development of a 28-75mm F2.8 Di III RXD lens for Sony full-frame mirrorless cameras. We got our hands on a prototype at CP+, and spoke to Tamron about the lens in our CP+ interview, but we still didn’t have much in way of details about this exciting piece of Sony FE glass… until now.

Tamron officially launched the lens this morning, revealing full specs, release date, and pricing information for the first third-party standard zoom to be created natively for the Sony FE mount. Here’s a video introduction to the new zoom lens:

The lens was designed from the ground up for Sony full-frame mirrorless cameras, and engineers at Tamron focused on three main features: optical quality, portability, and silent autofocus. The lens weighs in at just 19.4oz (550g) and measures just 4.6in (11.6cm) long. And while the body was made of polycarbonate instead of metal (to save weight) the lens is still ‘moisture resistant’ so you can use it in inclement weather.

Optically, the lens is made up of 15 elements in 12 groups, including an XLD (eXtra Low Dispersion) element, a LD (Low Dispersion) element, a GM (Glass Molded Aspherical) element, and two hybrid aspherical elements that have been arranged “in the optimal arrangement to correct aberrations and reduce the overall lens size,” according to Tamron.

Finally, as the name suggests, the lens features Tamron’s new RXD (Rapid eXtra-silent stepping Drive) autofocus motor. This new stepping motor offers quick, precise, and “exceedingly quiet” autofocus that Tamron claims “virtually eliminat[es] extraneous AF drive sounds during video recording.”

ISO 100 | 1/40 sec | F4 | Tamron 28-75mm F2.8 Di III RXD lens @ 75mm
High resolution sample photo by Itsuka Yakumo, courtesy of Tamron

The Tamron 28-75mm F2.8 Di III RXD (Model A036) will be available starting on May 24th for $ 800 USD. To learn more about this lens, head over to the Tamron website or check out our hands-on with the lens from CP+.

Press Release

Tamron announces the launch of a high-performance high-speed zoom lens for full-frame Sony mirrorless cameras

28-75mm F/2.8 Di III RXD (Model A036)

April 27, 2018, Commack, New York – Tamron announces the launch of the 28-75mm F/2.8 Di III RXD (Model A036)- a high-speed standard zoom lens for Sony E-mount full-frame mirrorless cameras. This new zoom lens delivers superb optical performance, including both outstanding image quality and beautiful background blur effects (bokeh) only possible with a fast aperture, thanks to a new optical system designed specifically for mirrorless cameras. The lens will be available at Tamron’s authorized USA retailers on May 24th at $ 799.

The usefulness and versatility inherent in compact full-frame mirrorless cameras are enhanced by this new Tamron lens’ compact size and lightweight-it measures only 4.6 in. and weighs just 19.4 oz. The Model A036 incorporates an all-new high-speed and precise AF driving system. The RXD (Rapid eXtra-silent stepping Drive) strikes a balance between speed and silent operation, making it perfect for both video and still image capture.

In addition to shooting portraits with creative, defocused backgrounds, photographers can enjoy dynamic wide-angle expressions like never before thanks to a Minimum Object Distance (MOD) of 7.5 in. at the wide-angle zoom setting. The lens also features Moisture-Resistant Construction that is useful in outdoor photography, plus hydrophobic Fluorine Coating that is highly resistant to fingerprints and dirt. In addition, the Model A036 will fully match with various camera-specific features including the in-camera lens correction and Direct Manual Focus (DMF) system features of Sony cameras, enabling this new zoom to take full advantage of the advanced functions that ensure comfortable user experiences.

Product Highlights

1. Superb optical performance, including both outstanding image quality and beautiful background blur effects (bokeh), provided by fast F/2.8 aperture.

The Model A036 features a new design that leverages the advanced image quality of the latest full-frame mirrorless cameras. To balance beautiful bokeh with high image quality, the optical formula (15 elements in 12 groups) includes a special XLD (eXtra Low Dispersion) element, LD (Low Dispersion) element, GM (Glass Molded Aspherical) element and two hybrid aspherical lens elements in the optimal arrangement to correct aberrations and reduce the overall lens size. The lens also employs Tamron’s BBAR (Broad-Band Anti-Reflection) Coating that boasts exceptional anti-reflection performance throughout the entire zoom range, even when shooting in backlit conditions. In addition, incorporating the nine-blade circular diaphragm design, the lens will perform in versatile situation, providing beautiful soft portrayal at wide open aperture to a clear and sharp image when stopped down.

2. Comfortably lightweight (19.4 oz.) and compact (4.6 in).

Extra emphasis was placed on creating a high speed, fast aperture zoom lens in a compact and lightweight design because standard-range zooms are generally the most frequently used. Weighing only 19.4 oz. with a total length of just 4.6 in., the A036 enables photographers to enjoy the mobility provided by a compact, lightweight, full-frame mirrorless camera in all situations from casual snapshots to stunning portraits and dramatic landscape photography.

3. Minimum Object Distance of 7.5 in.; Working Distance 2.24 in.

The Model A036 breaks from the convention that the MOD of a zoom lens must be fixed throughout the focal range and achieves a MOD of 7.5 in. at the 28mm wide-angle end which delivers a maximum image magnification of 1:2.9. The working distance of just 2.24 in. from the front element allows photographers to enjoy close-up shooting that emphasizes the sense of perspective unique to wide angles. At the 75mm telephoto end, the 15.3 in. MOD provides an image magnification of 1:4, thereby enabling close-up shooting with a pleasantly blurred background similar to a macro lens.

4. All-new “RXD” stepping motor AF unit is excellently quiet and therefore perfect for video capture.

The AF drive incorporates a sensor that accurately detects the position of the lens and an RXD (Rapid eXtra-silent stepping Drive) stepping motor unit optimized for AF control. This achieves quick and precise AF operation, allowing users to maintain pin-sharp focus on continually moving subjects or when filming video. Additionally, the AF motor is exceedingly quiet, virtually eliminating extraneous AF drive sounds during video recording.

5. Consistent with Tamron’s exciting, ergonomically superb next-generation design.

The Model A036 features a mirrorless-oriented design that adheres to Tamron’s new “human touch” lens design concept. As signified by the Luminous Gold brand ring, careful attention to detail has produced an optimum shape reflecting the characteristic look of a Tamron-branded lens, whether on its own or attached to a camera body. This design emphasizes consistent brand identity combined with ease of operation.

6. Moisture-Resistant Construction and Fluorine Coating for weather protection.

Environmental seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops and afford Moisture-Resistant Construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions. Also, the front surface of the lens element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, moisture or oily fingerprints, allowing for much easier maintenance.

7. Compatible with main camera-specific features and functions.

Tamron’s new 28-75mm zoom is compatible with many of the advanced features that are specific to certain mirrorless cameras. This includes the following*: