Category: Uncategorized

  • DPReview TV: Nikon Z6 II review

    The Nikon Z6 II looks a lot like its predecessor, but Nikon has made some significant updates to its current midrange full-frame interchangeable lens camera. These include more processing power, a bigger buffer, faster shooting and better low-light autofocus performance.

    Oh, yeah – and dual card slots!

    Chris and Jordan have been shooting with the Z6 II for a little while up in the frozen wastes of Alberta. Watch their video review to find out how they got on.

    Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    • Introduction
    • Sample Photos
    • Dual Card Slots
    • Image Quality
    • Screen Articulation
    • Interface
    • Displays
    • Autofocus
    • Battery Performance
    • Video Performance
    • Who is it for?

    Nikon Z6 II sample gallery (DPRTV)

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    Articles: Digital Photography Review (dpreview.com)

  • Google Photos now syncs ‘liked’ images with Apple’s iOS Camera Roll

    Apple and Google haven’t always gotten along, but there are times when the two work together to make life easier for end-users, regardless of what mobile operating system they’re using. One of the latest examples of this is a new feature baked into Google Photos that makes it possible to sync ‘liked’ and ‘favorited’ images between Google Photos and the iOS Camera Roll app.

    Screenshots of the new settings in the Google Photos iOS app. Click to enlarge.

    As visible in the below demonstration from Android Police, who first reported on the feature, a simple setting within the Google Photos app will make it so images ‘liked’ in the iOS Camera Roll app will become ‘starred’ in your Google Photos account.

    We tested the new feature and can confirm we had a similar experience to Android Police; syncing happens slightly faster when ‘starring’ an image in Google Photos than it does when ‘liking’ an image in the iOS Camera Roll. This is likely because when ‘liking’ an image in the iOS Camera Roll, Google Photos is running as a background task, whereas when using Google Photos, the synchronization process can be triggered immediately.

    The feature should be live for all Google Photos users and has worked seamlessly across both an iPhone XS and iPad Pro (11-inch) in our testing. If you don’t have it already, you can download the Google Photos app for free in the iOS App Store.

    Articles: Digital Photography Review (dpreview.com)

  • Viltrox announces $399 85mm F1.8 lens for Nikon Z-mount mirrorless cameras

    Viltrox has released its new 85mm F1.8 STM autofocus prime lens for Nikon Z-mount mirrorless camera systems.

    The autofocus lens is constructed of 10 elements in 7 groups, including five ‘short wave length and high transparency’ elements and one low-dispersion element. Viltrox claims the lens, which uses a stepping motor (STM) to drive the autofocus elements, features full autofocus support, including compatibility with Nikon’s Eye-AF technology. Other features include an aperture range of F1.8–16, a nine-blade aperture diaphragm, an 80cm (31.5″) minimum focusing distance and a 72mm front-filter thread.

    Viltrox has also included an onboard micro USB port for updating the lens’ firmware. The lens measures in at 92mm (3.62″) long, 80mm (3.15″) in diameter and weighs 540g (1.2lbs).

    The lens is currently available to purchase on Amazon for $ 399. That’s $ 300 less than the MSRP of Nikon’s own Nikkor Z 85mm F1.8 S lens.

    Articles: Digital Photography Review (dpreview.com)

  • Sony announces new SDK for camera automation aimed at product photography

    Sony has announced a small but significant update to the Sony Software Development Kit (SDK). This update allows users to craft custom imaging solutions using Sony cameras.

    The new camera automation software SDK has been created with product photographers in mind and is designed to streamline a product photography imaging workflow using Sony cameras. Sony writes, ‘It’s especially useful for large e-commerce businesses, allowing them to simplify, speed up and standardize product photography.’

    This streamlining is achieved by the SDK enabling ‘virtually every facet’ of the camera and lens to be automated and controlled. This includes automation and control over white balance, image resolution, compression options, zoom, focus and video triggering. Multi-camera support is included, meaning that it will be easier than ever to capture 360° interactive product shots, for example.

    The SDK is the first to support full-frame multi-camera control, allowing for multi-angle image capture. It has also gained macOS compatibility, which Sony states is the most-used operating system in the product photography industry. The SDK is also compatible with Windows and Linux. The SDK also launches alongside a Sony team and website prepared to offer support. Further, Sony states that bespoke apps are possible.

    Yasuo Baba, Director of Digital Imaging for Sony Europe BV, said of the SDK, ‘This is a key part of Sony’s long-term vision. Sony’s Alpha range are the world’s most trusted mirrorless cameras, and this new move helps to back this up with the best software and the best support.’ Baba continues, ‘By doing this, we aim to make it easier and quicker for companies in e-commerce, and other B2B sectors, to automate every part of the image creation process.’

    Many high-end Sony mirrorless cameras are supported by the SDK, including the A9 II, A7R IV, A7 III, A7C and the RX0 series. While a niche SDK, it should prove very useful for some photographers and allow for a streamlined, more efficient workflow. It will also be interesting to see what sort of creative uses enterprising photographers come up with for the new SDK.

    This is not Sony’s first major SDK release of 2020. In February, the company released a remote control SDK kit. This SDK allows key camera controls and still image data to be captured via remote access, which Sony stated at the time is of interest to industries including security, entertainment and ‘many others’.

    A lot of great things can be created when a platform is opened to development, so it’s nice to see Sony developing new software development kits for its cameras. If you’d like to learn more about the latest SDK, click here.

    Articles: Digital Photography Review (dpreview.com)

  • Report: Japanese camera makers could see supply chain constraints due to supplier factory fire

    An overview of the aftermath at AKM Semiconductor factory following a three-day fire, captured by Nikogorio and used with permission.

    Australian imaging publication, Inside Imaging, is reporting that some camera manufacturers could see supply chain issues following an October fire at an AKM Semiconductor audio chip factory in Nobeoka, Miyazaki Prefecture, Japan.

    According to the report, the fire started on October 20 and burned uncontrolled for three days, effectively destroying the entire factory, which products various audio chip components used by ‘most Japanese camera makers.’ Inside Imaging stops short of stating what components in particular camera manufacturers source from AKM Semiconductor. It does mention AKM produces analog-to-digital converters (ADCs), but there’s no confirmation whether or not these ADCs are used by any camera manufacturers.

    A close-up of the burned AKM Semiconductor factory, captured by Nikogorio and used with permission.

    Inside Imaging claims to have been told by a source that Canon, Nikon and Sony ‘[had] pulled back support for Black Friday promotions’ due to a shortage of supply, but that is yet to be confirmed elsewhere and we have yet been able to confirm that ourselves. We have contacted representatives from Canon, Nikon and Sony for comment and clarification on the matters and will update this article accordingly when we receive responses.

    According to other reports, there were no casualties from the fire and all 400 employees were safely evacuated before the fire spread. Repairing the factory will take at least six months, according to SemiMedia, who also notes the audio industry is panic buying to ensure manufacturers’ supply chain isn’t affect in the near future.

    Articles: Digital Photography Review (dpreview.com)

  • Hähnel launches lantern diffuser speedlite accessory

    Lantern Diffuser

    $ 99 | Hähnel

    Hähnel recently launched the Lantern Diffuser, a new speedlight diffuser that creates an exceptionally wide-angle spread of illumination in a very compact form factor by using a clever folding design. This new lighting accessory is just one part of Hähnel’s modular flash system and is designed to attach to hotshoe flash units via one of the company’s magnetic accessory clamps.

    Key features:

    • Compact, folding design
    • Comes with six color gels
    • Works with Hähnel’s other modular magnetic accessories
    • Hähnel magnetic clamp is required and is a separate purchase
    • Compatible with most larger speedlight-style flashes from various manufacturers

    The Lantern Diffuser is available now at B&H and other authorized Hähnel retailers for $ 99 USD.


    What is it?

    The Lantern comes in a kit that includes the diffuser along with a set of six colored gels and a gel holder that gets sandwiched between the magnetic clamp and the diffuser frame. The whole kit comes in a folding wallet that also has room for the magnetic clamp that isn’t part of the kit – but which is essential for its use. The clamp is central to the company’s range of clip-on accessories and needs to be bought separately.

    The diffuser is made using a fan of concertinaed white material that both diffuses the light and sends it out over a 180° angle as the flash passes through it, with the idea of producing a very soft light that covers a very wide area.

    I was initially concerned about how well the fanned out diffuser would survive lots of use, drops and getting its delicate design dented, but in all the use I made of it I didn’t manage to damage it. I guess if you dropped your flash with it attached and it landed face down the consequences mightn’t be good, but so long as you don’t do that it should be fine.

    The kit comes in a roll-up pouch and includes 6 colored gels, a magnetic gel holder and the diffuser itself

    When not in use it folds away into itself and is protected by the rigged plastic-covered metal ends. I haven’t used it long enough to know whether it will yellow with time, and the weather has been too good to test it outside in the rain – I’d be nervous to do that with the Lantern, while my softboxes would just dry out.

    I’m a big fan of good speedlight accessories that are easy to use, which don’t take up a lot space and which have a dramatic impact on the characteristics of the light produced. And I have quite a collection, from inflatable frosted panels to snoots, softboxes and those yogurt-pot-like tubes the flash fires up into. This Lantern is quite different to anything else I’ve used, so I wanted to give it a try.


    How it works

    This video from Hähnel shows how the Lantern folds and attaches to a flash of your choice.

    I used this diffuser on the Hähnel Modus 600RT flash unit, both on the camera and off using a Viper TTL trigger for Micro Four Thirds cameras and Panasonic full-frame S-series cameras. The Modus 600RT is the more powerful of Hähnel’s speedlights, and offers a guide number of 60m at ISO 100 at the 200mm zoom setting.

    To attach the Lantern to the flash, I used the Module 600 clamp which, with its sprung grip, will fit most larger hotshoe style flash guns from all manufacturers. The clamp grips the head of the speedlight with the Hähnel logo facing forwards and the Lantern diffuser sticks to it when the magnets in each item attract. The gel holder can go on first, which offers a more obvious placement for the diffuser, but it doesn’t have to. Take a look at the video above for a clearer picture of how it all works.

    Used in the hotshoe the light from the Lantern Diffuser is direct and straight on, but very much softer than you’d expect from such a small accessory.

    Overall, the Lantern diffuses light more than you’d expect from such a small flash accessory. With a bare bulb the light would be much harder and highlight on the sun-creamed forehead would be dramatic and distracting. The accessory is small enough to create a definite direction, but the multi-layered diffusion makes that light seem quite gentle.

    The Lantern diffuser folds in half, so we attach one half to the magnetic clamp and then unfold the other half to get the full 180° dome effect.


    What it looks like

    I started by testing the spread and the evenness of the light the diffuser gives by clamping the flash onto a stand using Hähnel’s Bowen’s mount adapter and firing the flash at a blank wall.

    The difference in spread is immediately clear when you compare the Lantern-diffused exposure with that of the bare head and even when an 80cm/31in double-diffused square softbox was used instead. The Modus 600RT is a TTL gun, but if you shoot manually expect to lose about 2 stops of light due to the Lantern diffuser – about the same as when using the softbox with the extra internal diffuser sheet – but a much wider spread of illumination.

    This is the coverage of the flash with no modifier The flash was left in the same position, but with the Hähnel 80cm softbox attached
    Here’s the same arrangement but using the Lantern diffuser And the same again, but with a green gel in the gel holder

    What is significant about this little diffuser is that it offers both a diffused and a bounced light effect, so the light is very soft once it reaches the subject. The softness is remarkable considering how small the accessory is and that the flash is still effectively a point source. Shadows are defined but filled at the same time, and lack the hard-edged contrast we get with a bare head.

    The Lantern Diffuser avoids that artificial look of a direct burst from an uncovered flash bulb

    I found that even when used with the flash mounted on the camera the light is dramatically altered, and still provides a nice softness when used quite close to the subject. It avoids that immediately artificial look of a direct burst from an uncovered bulb, or even that of a light bounced into a kicker reflector.

    I tried the Lantern for some single-light still life shots with the flash at a relatively close range and a small subject – things that tend to bring out high contrast when hotshoe flash units are used. You can see though that the Lantern has done very well to produce a soft light that doesn’t display hotspots or reflections on the waxy surface of the avocado skin.

    Click or tap-and-drag the arrow to see a soft box and the Lantern Diffuser differ.

    The light is as soft as that produced by the 80cm softbox, though the shadow profile is slightly more defined due to the smaller surface area of the source. As the light from the Lantern is thrown around the room we get much more fill in the shadow areas too.

    The spread of the light is also very impressive. The Lantern will light a room evenly when we are using a super-wide lens to fit it all in. This means we don’t have to worry about finding a clean white surface to bounce from. Fall off is more dramatic than with a bare bulb or a bounce, so a powerful gun will work best.

    To give you an idea of the diffuser’s coverage, this was shot on the full frame Lumix S1R with a 9mm lens – at f/8 and 1/200sec at ISO 400. All the light on the foreground is from the flash. You can see that the post on the right as well as the tree trunk on the left are both lit with the flash. A 9mm lens has an angle of view of 135 degrees.

    Conclusion

    I’m very impressed with this Hähnel Lantern. It’s small, highly portable and weighs almost nothing, which means you can afford to carry it around in the camera bag even when you don’t actually get to use it without it having been a pain all day. The clamp is simple to fit and the gel holder and diffuser just snap on, so assembly is quick and easy too.

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    I don’t often use colored gels with single flash set-ups, but they are handy for second and third guns for rim lighting and coloring a background. Background lights with these diffusers on will be very useful, and the lack of hotspots, and their size, means they are ideal for hiding within the shot without the danger of them producing give-away bright blasted areas.

    I have a lot of rubbish accessories, and others that are well thought out but the size of studio modifiers so you can’t carry them around on the off-chance that you might need them. This though sits in a side pocket of a bag ready for that moment you want to soften a burst of flash whenever it happens to occur. I would also actively take this with me to light backgrounds, multiple people facing inwards, for filling in on a sunny day and for using as the main light for a portrait or a still life.

    The flash was held just off-camera for this shot. The defined shadow is still there but the light on the subject is soft and attractive. The subject was in the shade and exposure was 1/200sec at f/9, so almost all the light on the subject was provided by the flash.

    I love using speedlites for ‘proper’ photography especially on location (I used two Hähnel Modus 600RT units with a softbox and a small dish for the male model shots in the Hasselblad 907X sample gallery) and this will definitely be joining the collection of tools I use – and ousting a few that simply don’t do the job so well.

    The Hähnel Module Creative Lantern Kit costs £59.99/$ 99.99. For more information see the Hähnel website.

    What we like:

    • Amazingly well diffused soft light
    • Really wide, even spread of light
    • Small and easy to carry all the time
    • Quick to assemble
    • Nice pouch and accessories

    Don’t like:

    • Dome feels a bit fragile, though it hasn’t dented yet
    • Gels are strong and for dramatic effects rather than colour correction

    Star Rating

    Articles: Digital Photography Review (dpreview.com)

  • Video: How to safely make a 35mm daguerreotype at home

    In the latest episode of ‘Darkroom Magic,’the George Eastman Museum’s historic photographic process specialist, Nick Brandreth, teaches viewers how to make a 35mm daguerreotype at home without the use of dangerous or expensive chemicals.

    The daguerreotype gets its namesake from its creator, Louis Daguerre. The daguerreotype was introduced to the masses in 1839, becoming the first commercially viable photographic process. Although it fell out of favor about a decade later, the process has distinct characteristics that made it the process of choice for some specialists throughout the 20th century.

    Nick Brandreth with some of his 35mm daguerreotypes

    As Brandreth says, the at-home daguerreotype process is quite simple. In addition to a 35mm camera, you need a silver plate, or in his case, a piece of copper with silver plating. Orange or red glass is required in lieu of using mercury, which is part of the traditional daguerreotype process. You need iodine fuming materials and a glass vessel. Additionally, polishing materials are required to give your silver plate a mirror-like finish. The full ingredients are shown in the video below.

    After you have gathered your materials, you must first buff and polish the silver plate. The first step requires a buff, olive oil, and rottenstone compound. This step removes any big scratches. Be sure to wash the plate with soap and water in between steps. The next stage is to polish the plate using lampblack, bringing the plate to a mirrored finish.

    You’ll need a variety of materials to do this project, but they’re all safe, unlike the mercury used in the traditional daguerreotype process.

    With the polished plate ready, the next stage is fuming. Combining silica gel beads and pure elemental iodine in a glass, you create a fuming material and place the polished plate above it, creating a photosensitive surface. The surface is sensitive to ultraviolet, violet and blue light, so you’ll want to expose it with natural light or a suitable artificial light source.

    Orange or red glass is used to develop the plate. It takes between 30 and 45 minutes to fully develop the plate. It will then require fixing and a finishing stage.

    The plate is now ready to be exposed. Place it inside your 35mm camera and the camera’s pressure plate should keep it stable. After exposure, it’s time for the ‘magic to happen,’ as Brandreth says. Place your exposed plate under a piece of red or orange glass and hit it with sunlight or a strong work light. You can watch the plate develop over the next 30 to 40 minutes. After this, give it a smooth, consistent fix and then wash the plate. To watch the finishing stage, be sure to watch the video above, as it requires a few steps.

    If you’re interested in the science and art of photography, you can learn more about workshops at the George Eastman Museum’s website. Many more interesting videos can be viewed on its YouTube channel.

    Articles: Digital Photography Review (dpreview.com)

  • Viltrox unveils 33mm F1.4, 56mm F1.4 APS-C prime AF lenses for Sony APS-C camera systems

    Viltrox has announced the release of its new AF 33mm F1.4 and 56mm F1.4 APS-C prime lenses for Sony E-mount camera systems.

    The new 33mm F1.4 (50mm full-frame equivalent) features an all-metal construction and is comprised of 10 elements in 9 groups, including one extra-low dispersion element and one high refractive index element. It features the option to manually or automatically control the aperture, a minimum focusing distance of 40cm (15.75″), offers a built-in micro USB port for updating the firmware and is compatible with Sony’s Eye AF technology thanks to its onboard stepping motor (STM) driving the autofocus.

    The lens measures in at 72mm long, 65mm diameter and weighs 270g (9.5oz). Viltrox has a full list of compatible Sony cameras on the 33mm F1.4 product page, where you can also buy the lens today for $ 259.

    Moving onto the 56mm F1.4 (85mm full-frame equivalent), it too features an all-metal construction and is comprised of 10 element in 9 groups, including an extra-low dispersion element and a high fraction index lens. Interestingly, unlike the 33mm F1.4 lens, the 56mm F1.4 lens appears to be identical in optical design and features to the 56mm F1.4 lens Viltrox released for Fujifilm X-mount systems back in September.

    The 56mm F1.4 also supports Sony Eye AF technology, has a built-in micro USB port for updating the lens’ firmware and uses an STM motor for driving autofocus. The lens measures in at 72mm long, 65mm diameter and weighs 290g (10.2oz).

    You can find a full compatibility list on Viltrox’s 56mm F1.4 product page, where you can also pre-order the lens for $ 299.

    Articles: Digital Photography Review (dpreview.com)

  • Video: One man’s quest to watercool a Canon R5 into an 8K video powerhouse

    This July, Canon released a media advisory clarifying the overheating concerns of early Canon EOS R5 and R6 users. After Lensrentals took apart the R5, we better understood the thermal constraints of the design. The camera is very tightly sealed, which is great when you want to keep water out, but not so great when you want heat to escape.

    In its media release, Canon stated the approximate recording time for 8K 30p video with the R5 before the camera overheated is about 20 minutes. After letting the camera cool for 10 minutes, users can expect to record another 3 minutes of 8K footage before the camera overheats again. It’s a better, albeit similar, situation when recording 4K 60p and 4K 30p (8.2K oversampling) video. The feature set of the R5 and its performance is impressive, but in many settings, overheating is problematic.

    Matt from the YouTube channel DIY Perks wanted to prevent his own Canon R5 from overheating, so he dismantled it and modified the camera’s internals. Should you feel inspired, it is worth pointing out the obvious. Dismantling your camera and modifying it will void your warranty and comes with significant risks. However, for the adventurous among you, you can see how Matt modified his camera in the video below.

    Matt used some standard liquid cooling components you might find in a performance-oriented PC. He also installed thermal paste, which he believes is much better than the thermal pads that the R5 has between the main processors and a metal plate. To try to remove heat from the main processing area, he also installed copper, as it’s a good conductor of heat.

    Matt used PC liquid cooling components to water cool his Canon R5. As you can see, it’s not a compact solution. However, it is remarkably effective, allowing for unlimited 8K recording times.

    After making these mods, would the R5 record 8K video for longer than 20 minutes? No. Even though the camera was staying much cooler than it did before it was modified, it still shut down after 20 minutes of recording due to a timer-based heat management solution baked into the camera’s firmware.

    Matt updated to a recent firmware version, which changes how the camera manages overheating, and tried the test again. This time, with firmware version 1.1.1 installed on the R5, the water-cooled R5 breezed past the 20 minute mark and Matt speculates that the camera should theoretically be able to record indefinitely. It’s worth noting that in certain situations, such as Matt’s testing area, the firmware update alone can increase 8K recording time limit. In this case, it added about six minutes of 8K recording time before overheating.

    With custom-fabricated copper, the R5 becomes a much better high-end video camera.

    Of course, the liquid cooling solution is not very practical or elegant. It requires tubing, a water reservoir, a pump, radiator and you must have the back of the R5 remain detached. Matt wanted to devise an improved heatsink solution and reassemble the camera completely.

    Using copper, improved thermal paste, and thermal padding, he was able to get nearly 40 minutes of uninterrupted 8K recording, a significant improvement over the production camera. A five minute break allowed an additional half an hour of recording. This is a very impressive passive cooling solution and a big step up over an unmodified R5.

    Combining modified internal components with copper heatsinks and an external heatsink results in unlimited recording time. It adds bulk to the camera, but the rear heatsink is removable, allowing the camera to retain its original form factor.

    If you require even longer record times, coupling the passive cooling modification with a copper heatsink mounted to the back of the camera does the trick. While a heatsink adds bulk, it is also easily removed when not needed, quickly returning the camera to its original form factor. Matt also designed a 3D-printable base for the camera that includes room for a fan and batteries. The base works in tandem with the internal copper plate modification. The files for the base have not been uploaded yet, but the link will be added to the video’s description when available. To view more videos from DIY Perks, click here.

    Articles: Digital Photography Review (dpreview.com)

  • Tamron announces 17-70mm F2.8 for Sony APS-C cameras

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    Tamron has introduced the 17-70mm F2.8 Di III-A VC RXD lens for Sony APS-C bodies. The lens has a 35mm-equivalent focal length of 25.5-105mm and uses the company’s ‘Vibration Compensation’ image stabilizer (no word on its performance).

    The 17-70 F2.8 has a total of 16 elements, including one hybrid aspherical and two glass-molded aspherical elements. The focus unit is driving by a ‘Rapid eXtra-silent stepping drive’ (RXD) stepper motor.

    The minimum focus distance is 19cm (7.5″) and the maximum magnification is 0.21x. The lens is 12cm (4.7″) long and weighs in at 524g (1.2lbs). It’s weather-sealed, and its front element has a fluorine coating to repel water and oil.

    The 17-70mm F2.8 Di III-A VC RXD will be available in mid-January for $ 799.

    Press release

    Tamron Announces World’s First[1] 17-70mm F2.8 Wide Range 4.1x Standard Zoom Lens with VC For APS-C Mirrorless Cameras

    17-70mm F/2.8 Di III-A[2] VC RXD (Model B070)

    December 2, 2020, Commack, NY – Tamron announces the launch of the 17-70mm F/2.8 Di III-A VC RXD (Model B070), a high-speed standard zoom lens for Sony E-mount APS-C mirrorless cameras on January 14, 2021 at approximately $ 799. Due to the current global health crisis, the release date or product supply schedule could change.

    The new 17-70mm F2.8 is Tamron’s first high-speed zoom lens for mirrorless cameras with APS-C size sensors. It features a maximum aperture of F2.8 across the entire 4.1x zoom ratio covering a focal length of 17-70mm (a full-frame equivalent of 25.5-105mm) ideal for everyday use, and superb optical performance. It is a small, lightweight lens that is also equipped with Tamron’s VC (Vibration Compensation) mechanism to minimize camera shake. This VC mechanism leverages AI technology when shooting video.

    [1] Among interchangeable F2.8 standard zoom lenses for APS-C mirrorless cameras (As of November 2020: Tamron)

    2 Di III-A: For APS-C format mirrorless interchangeable-lens cameras

    The lens features Moisture-Resistant Construction, Fluorine Coating and a Ø67mm filter size – the same as the Tamron series of lenses for full-frame mirrorless cameras. Compatible with many of the features that Sony builds into its cameras, including Fast Hybrid AF and Eye AF, the lens is the ideal everyday zoom for a multitude of situations. It is a highly practical lens that enables photographers to attain high image quality while enjoying the benefits of the large F2.8 aperture.

    PRODUCT HIGHLIGHTS

    World’s first high-speed standard zoom lens for APS-C cameras with the focal length range of 17-70mm 4.1x zoom ratio

    The Model B070 has a focal length range of 17-70mm, equivalent to 25.5-105mm on full-frame cameras. It is the first F2.8 high-speed zoom lens in the world for APS-C mirrorless cameras to achieve a 4.1x zoom ratio.

    Outstanding optical performance

    The optical construction of the new 17-70mm F2.8 features 16 elements in 12 groups. Two GM (Glass Molded Aspherical) lens elements and one hybrid aspherical lens element are precisely arranged to maintain high-resolution performance from edge to edge.

    Upgraded VC effective in combination with Sony APS-C mirrorless cameras, leveraging AI for video shooting

    The 17-70mm F2.8 features Tamron’s proprietary VC mechanism. Additional sophisticated algorithms optimized for this model and a dedicated, independently operating MPU all combine to superbly compensate for vibration. This feature is available when the lens is used with cameras with or without in-body image stabilization. When shooting video, by leveraging AI technology, image stabilization performance improves compared to conventional models.

    Close focusing?MOD is just 7.5” at the wide-angle end

    The 17-70mm F2.8 zoom focuses close, down to 7.5” MOD (Minimum Object Distance). This is far superior to the performance achieved by conventional high-speed zoom lenses for APS-C cameras. In addition, the 15.4” MOD at the 70mm telephoto end ensures good close-range shooting performance allowing photographers to enjoy compelling close-up shots.

    A highly portable compact design

    The 17-70mm F2.8 zoom measures a scant 4.7” in length and 74.6mm in maximum diameter and weighs only 18.5 oz. The lens also maintains the same small Ø67mm filter size of each lens in the Tamron mirrorless lens line-up. This is remarkable for a lens with built-in VC image stabilization. When used with Sony’s APS-C mirrorless cameras, this zoom is nicely balanced and provides a comfortable user experience.

    The RXD (Rapid eXtra-silent stepping Drive) stepping motor unit is exceptionally quiet and perfect for video use

    Moisture-Resistant Construction and Fluorine Coating provide extra protection

    Compatible with many camera-specific features and functions, including Fast Hybrid AF and Eye AF

    SPECIFICATIONS

    Model

    B070

    Focal Length

    17-70mm (for APS-C frame mirrorless format)
    (25.5-105mm full-frame equivalent field-of-view)

    Maximum Aperture

    F2.8

    Angle of View (diagonal)

    79° 55′-23° 00′?(for APS-C frame mirrorless format)

    Optical Construction

    16 elements in 12 groups

    Minimum Object Distance

    7.5“ (WIDE), 15.4“ (TELE)

    Maximum Magnification Ratio

    1:4.8 (WIDE) / 1:5.2 (TELE)

    Filter Size

    Ø67mm

    Maximum Diameter

    Ø74.6mm

    Length*

    4.7“

    Weight

    18.5 oz

    Aperture Blades

    9 (circular diaphragm)**

    Minimum Aperture

    F22

    Standard Accessories

    Flower-shaped hood, Lens caps

    Compatible Mounts

    Sony E-mount

    * Length is the distance from the front tip of the lens to the lens mount face.

    ** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

    Specifications, appearance, functionality, etc. are subject to change without prior notice.

    Articles: Digital Photography Review (dpreview.com)