We got a closer look at some of the headline features of Sony’s newest FE lenses on the show floor of the Wedding and Portrait Photography Conference and Expo in Las Vegas. The FE 100mm F2.8 STF GM OSS and FE 85mm were both introduced earlier this week – take a closer look at what’s new and notable in the overview video above.
Articles: Digital Photography Review (dpreview.com)
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Sony announced a pair of short telephoto prime lenses at this year’s WPPI show in Las Vegas – the FE 100mm F2.8 STF GM OSS and the FE 85mm F1.8, both intended for use on the company’s a7-series mirrorless interchangeable lens cameras.
Here’s the FE 100mm F2.8 STF GM OSS, which joins Sony’s growing ‘G Master’ lineup, as one of the company’s flagship lenses.
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The 100mm F2.8 has a complex optical design, featuring 14 elements in 10 groups, including ED and aspherical elements. Somewhat unusually, this lens is a ‘Smooth Trans Focus’ (STF) design, which incorporates an APD (apodization) element. The APD element acts as a radial gradient filter, which – in simple terms – improves the quality of out of focus areas, by diffusing bokeh circles. Traditionally, we’ve seen APD elements in lenses specifically aimed at portraiture, for obvious reasons.
Unlike the Minolta-designed 135mm F2.8 [T4.5] STF lens that Sony still offers for A-mount cameras, the 100mm F2.8 STF is an autofocus lens.
A ‘macro’ switch enables the lens to be focused down to 0.57 meters (a little under 2 feet), and built-in stabilization should enhance its usefulness when hand-held.
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Eleven aperture blades means an almost perfectly circular aperture even when the 100mm F2.8 is stopped down. This isn’t the sole determinant of bokeh quality but it goes towards ensuring out-of-focus highlights remain circular.
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The FE 100mm F2.8 features a ‘manual’ aperture ring. It’s not mechanically linked, and offers an ‘A’ position to transfer aperture control to the camera body. The ring can operate either as a conventional ‘clicked’ dial with third-stop detents, or ‘declicked’ for smooth, stepless operation. For video work, ‘declicking’ allows for much more practical brightness adjustment during shooting.
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Like all of Sony’s G Master lenses, the 100mm F2.8 is built to a very high standard, and features dust and moisture sealing. A rubber grommet runs around the circumference of the lens-mount, to help maintain the seal between camera and lens. Despite the complex optical construction and high standard of build, the lens is relatively lightweight, weighing in at 700 g (1.54 lb).
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Much lighter though, is the new FE 85mm F1.8, a budget short telephoto prime aimed at enthusiast Sony FE shooters who don’t need (or can’t quite justify) the GM 85mm F1.4. This affordable prime weighs in at 371 g (0.82 lb).
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The optical design of the FE 85mm F1.8 is much simpler in comparison with the 100mm F2.8, comprising 9 elements in 8 groups. The button above the AF/MF switch can be customized and assigned together with functions in the camera body. On most bodies it’s a focus hold control by default, but you could for instance assign it to EyeAF.
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Sony makes life easy for camera journalists by writing some key spec directly onto the lenses. Here, we can see that the filter ring is 67mm and minimum focus distance is 0.8m (2.6ft). Compared to the 100mm F2.8 this isn’t great (it’s pretty standard for a short tele prime) but it’s fine for mid-length portraiture, of the kind that lenses of this type are ideally suited to.
In contrast to the more expensive Zeiss Batis 85mm F1.8, the Sony isn’t stabilized. However, unlike the similarly unstabilized 85mm F1.8s from Canon and Nikon, the Sony FE 85mm F1.8 can be used with the second-generation a7 series cameras, which offer in-body stabilization.
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Despite its lower cost and lack of ‘GM’ designation, the FE 85mm F1.8 is also dust and moisture sealed, although we don’t know whether the amount of sealing is equivalent to Sony’s high-end lenses. Like the FE 100mm F2.8, the 85mm features a rubber grommet around its mount, to help keep dirt and moisture out of the lens throat.
Both lenses are expected to ship in March. The FE 100mm F2.8 STF GM OSS will cost $ 1500, while the FE 85mm F1.8 will sell for around $ 600.
Articles: Digital Photography Review (dpreview.com)
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The Sigma 85mm F1.4 Art hasn’t been on the market long, but it has already begun to make some serious waves. Lenstip and DxO have rated it the sharpest 85mm lens ever created, beating out even the legendary 85mm F1.4 Zeiss Otus, which isn’t something that we take lightly. We were lucky enough to get our hands on the lens back in mid-November and we were very impressed to say the least, so much so that it took top honors for the ‘Best Prime Lens of 2016’ as chosen by our staff.
It has, without a doubt, been a pretty big topic of discussion not only amongst our staff members, but also amongst portrait photographers around the world. With that said we just had to get our hands on it to see how it really performs and to see how it holds up next to some very stiff competition at 85mm. The Sony FE 85mm F1.4 GM is a very formidable competitor and arguably the best modern 85mm F1.4 on the market (behind the manual focus Zeiss Otus, of course). With that in mind, the question is; can the Sigma hold its own? Our review will answer that question and more.
With an equivalent focal length of 136mm and an equivalent aperture of F2.2, this lens can be usefully used on an APS-C camera. Even with its slightly longer focal length, it does still fit into the focal range that’s often used by portrait photographers and the fast aperture does allow for it to be used in low-light situations as well. However, its size, weight and price makes it worth considering 85mm F1.8 lenses instead.
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| Sony FE 85mm F1.4 GM | Sigma 85mm F1.4 DG HSM Art | |
|---|---|---|
| MSRP | $ 1800.00 | $ 1199.00 |
| Lens Type | Prime | Prime |
| Focal Length | 85mm | 85mm |
| Filter Thread | 77mm | 86mm |
| Image Stabilization | No | No |
| Lens Mount | Sony FE | Canon EF, Nikon (FX), Sigma SA Bayonet |
| Aperture Ring | Yes (w/ d-click feature) | No |
| Maximum Aperture | F1.4 | F1.4 |
| Minimum Aperture | F16 | F16 |
| Minimum Focus | 0.80 m (31.5?) | 0.85 m (33.46?) |
| Diaphragm Blades | 11 | 9 |
| Elements | 11 | 14 |
| Groups | 8 | 12 |
| Special Elements/Coatings | 1 ‘Extreme Aspherical’ element, 3 ED elements and ‘Nano AR’ coating | 2 FLD glass elements and 1 Aspherical SLD element |
| Autofocus | Yes | Yes |
| Motor Type | Ring-type Supersonic Wave | Ring-type Hypersonic |
| Full Time Manual | Yes | Yes |
| Focus Method | Internal | Internal |
| Distance Scale | No | Yes |
| DoF Scale | No | Yes |
| Full Weather Sealing | Yes | No (dust and splash proof) |
| Weight | 820g (1.81 lb) | 1131g (2.49 lb) |
| Dimensions | 108 mm (4.23?) x 90mm (3.52?) | 126mm (5.0″) x 95mm (3.7″) |
| Hood | Yes ( ALC-SH142) | Yes |
As you can see the lenses are fairly different in terms of build and design. The Sony 85mm has a manual aperture ring that can not only function on its own, but the aperture can also be adjusted with the camera by switching the ring to ‘A’. This ring also features a special de-click feature for smooth, silent aperture changes while shooting video. The Sigma 85mm lacks the weather sealing that the Sony has and there’s also a fairly substantial difference in size and weight as the Sony 85mm is a fair bit smaller and lighter. The price point is one area of the where the Sigma really prevails over the Sony, on paper, at least.
Specifications are fun to look at, but the real question is how do these lenses perform? Read on, to find out.
Articles: Digital Photography Review (dpreview.com)
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Sony has taken the wraps off of two full-frame new mid-telephoto prime lenses. The company is making big claims about bokeh produced by the FE 100mm F2.8 STF OSS GM, which it says is improved by the use of an apodization (APD) element. The optical design is said to minimize vignetting, and the lens offers an 11-blade aperture. A macro switching ring engages the lens’ close focus capabilities for shooting subjects as near as 0.57m/1.87ft (0.25x magnification). The lens includes Sony’s built-in optical stabilization, and like other G Master lenses, it’s dust- and weather-resistant.
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| 100mm F2.8 GM MTF chart via Sony. | Lens configuration via Sony. |
Also new is the non-G-Master FE 85mm F1.8, a relatively compact and lightweight portrait prime for the E-mount system. It uses a 9-blade circular aperture, ‘double linear motor system,’ and is also dust- and moisture-resistant. The lens does not offer built-in stabilization.
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| 85mm MTF chart via Sony. | Lens configuration via Sony. |
Both lenses are expected to ship in March. The FE 100mm F2.8 STF GM OSS will cost $ 1500, while the FE 85mm F1.8 will sell for $ 600.
Press Release
New Full-frame 85mm F1.8 Mid-telephoto prime lens and Compact Radio-Controlled Flash announced as well
LAS VEGAS, Feb. 7, 2017 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced two new lenses for their popular line of E-mount interchangeable lens cameras.
Sony’s new lenses include one of their flagship G Master Series – an FE 100mm F2.81 STF GM OSS mid- telephoto prime lens (model SEL100F28GM) built to deliver breathtaking bokeh with a unique STF™ (Smooth Trans Focus) design, and a new compact, lightweight FE 85mm F1.8 mid-telephoto prime lens (model SEL85F18) that is a welcome addition to the bag of any hobbyist or enthusiast photographer looking to create amazing portraits.
They have also introduced a new powerful, compact flash (model HVL-F45RM) with radio-controlled wireless communication that is ideal for professional shooting with Sony’s lineup of ?7 full-frame cameras.
FE 100mm F2.81 STF GM OSS Telephoto Prime Lens
A specially designed mid-telephoto, full-frame prime lens, the new 100mm STF is built to produce truly unique, magnificent and beautiful bokeh while maintaining the exceptional standard of resolution that is showcased by Sony’s entire line of flagship G Master series lenses, making it a powerful photographic tool for any portrait, fashion, nature or wedding photographer.
These impressive defocus capabilities are made possible by the lens’ advanced optical structure, as it features a newly designed 11-bladed aperture and a unique optical apodization lens element. Similar to a neutral density filter that increases in density towards the edges, the apodization element creates beautiful transitions of in-focus to out-of-focus areas within an image, making for exceptionally soft, smooth bokeh that adds depth and dimensionality. This allows the subjects to stand out against beautifully defocused elements in both the foreground and background, producing an image that is naturally pleasing to the eye. The design of the lens also ensures that vignetting is kept to an absolute minimum, ensuring optimum image quality.
Additionally, the new 100mm lens supports both contrast AF and focal-plane phase detection AF2, and has a high-precision, quiet direct drive SSM (Super Sonic Motor) system that ensures exceptionally fast and accurate AF performance. The SEL100F28GM also offers up to 0.25x close-up capabilities with a built-in macro switching ring, built-in Optical SteadyShot™ image stabilization, a customizable focus hold button, AF/MF switch, aperture ring and more. It is dust and moisture resistant as well3.
FE 85mm F1.8 Telephoto Prime Lens
The new 85mm F1.8 mid-telephoto prime lens offers an extremely versatile, lightweight and compact telephoto prime lens solution for a variety of Sony camera owners ranging from working professionals to emerging enthusiasts that have stepped up to full-frame or APS-C cameras for the first time. With its wide F1.8 aperture, it can produce impressive, exceptionally sharp portraits with soft background defocus that take advantage of its 85mm focal length and wide F1.8 maximum aperture.
The new prime lens features a 9-bladed circular aperture mechanism that ensures smooth, natural looking bokeh, and a double linear motor system to allow for fast, precise and quiet focusing. It also has a focus hold button that can be customized and assigned together with functions in the camera body like the popular Eye AF feature. There is a smooth, responsive focus ring and AF/MF switch as well, and the lens is also dust and moisture resistant 3.
New Compact Radio-controlled Flash
Sony’s new HVL-F45RM flash enhances the radio-controlled lighting system capabilities of their growing system, offering a compact professional shooting solution when combined with the currently available wireless remote controller FA-WRC1M and receiver FA-WRR1.
The new flash, which is designed to complement the compact bodies of Sony’s E-mount camera lineup including full-frame ?7 models, produces a maximum lighting output as expansive as GN45 4. This ensures sufficient illumination even when shooting with bounce lighting or high-speed-sync (HSS) flash. The radio capabilities of the HVL-F45RM allow it to be used as a transmitter or a receiver at up to 30m (approx. 98 feet5), making it an ideal fit for creative lighting with multiple flashes. Additionally, unlike optical flash systems, radio-control flashes do not require a direct line-of-sight between components to function properly, while also minimizing any impact that bright sunlight has on signal transmission and control.
The HVL-F45RM flash has an impressive battery life of up to 210 bursts, and can tilt up to 150o vertically, a complete 360o horizontally and up to 8o downward to maximize versatility. Usability has been maximized with a new large, bright and highly visible LCD display, an LED light, dust and moisture resistant design3 and a revamped menu system that mimics those of Sony’s newest camera systems.
Pricing and Availability
Both of the new lenses and the new flash unit will ship to authorized dealers throughout North America.
The new FE 100mm F2.8 STF OSS GM Telephoto Prime Lens will ship this March for about $ 1,500 US and $ 2,050 CA.
The new FE 85mm F1.8 Mid-Telephoto Prime Lens will ship this March for about $ 600 US and $ 800 CA.
Replacement lens hoods for each of the new models will also be available for purchase as well.
The new HVL-F45RM flash will ship this May for about $ 400 US and $ 550 CA.
Articles: Digital Photography Review (dpreview.com)
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DxO just published its score for the Nikon mount Sigma 85mm F1.4 DG HSM A. Drumroll please: it received the highest score ever for a lens on DxO, a 50 when mounted to a D810 and a 51 when mounted to the D800E. What’s even more impressive is that it actually scored a perfect 36 P-Mpix for image sharpness on a D810, which has a 36MP sensor.
That’s pretty incredible. We know that sharpness isn’t everything when it comes to shooting portraits, but you have to admire the sheer feat of engineering that Sigma was able to accomplish with this lens.
See our Sigma Art 85mm F1.4
sample gallery
Articles: Digital Photography Review (dpreview.com)
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The Sigma Art 85mm F1.4 DG HSM is one impressive piece of glass. We’ve got a number of portraits in our gallery, but we wanted to see how it fared in the streets too. In this update you’ll find a collection of street, architecture and cityscape photography.
See our Sigma Art 85mm F1.4
sample gallery
Articles: Digital Photography Review (dpreview.com)
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The Sigma 85mm F1.4 Art is finally here, with units of the $ 1199 lens shipping now. The big question, almost as big as the lens itself: is it worth the wait? And, is it worth the weight? To find out, we wasted no time taking it out to shoot some portraits. Lots and lots of portraits.
See our Sigma 85mm F1.4 DG HSM Art Sample Gallery
Articles: Digital Photography Review (dpreview.com)
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Sigma has announced three new full-frame lenses for its Global Vision Line. The long-rumored and long-awaited 85mm F1.4 Art, the 12-24mm F4 Art, and the 500 F4 DG OS HSM Sport.
The 85mm F1.4 Art has been designed with resolution and bokeh in mind. A stronger HSM AF motor produces 1.3x the torque of the previous setup hopes to improve autofocus speed as well. The lens will be available in late October at a price $ 1199.
The Sigma 12-24mm F4 DG HSM Art is a new ultra-wide-angle zoom. It too features the stronger AF module, and also features the largest aspherical glass mold in the industry, which helps produce minimal distortion, flare and ghosting. The lens will be available in late October for $ 1599.
The Sigma 500mm F4 DG OS HSM Sport uses lightweight materials like carbon fiber and magnesium alloy and features a dust and splash resistant construction. In Nikon mount it features a brand-new electronic diaphragm. The Sigma 500mm F4 Sport lens, in Canon and Sigma mounts, will be available in late October. The Nikon mount will be available in late November. The 500mm F4 will retail for $ 5999.
Press Release:
Outstanding optical performance, ultra-wide zoom range, and versatile flagship sports lens headline the Sigma line-up at Photokina 2016
Cologne, Germany – September 19, 2016 – Sigma Corporation of America, a leading camera, DSLR lens, flash and accessories manufacturer, unveiled its new 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art and 500mm F4 DG OS HSM Sport Global Vision lenses at the Photokina 2016 event (hall 4.2, stands B020, B028 and C029).
“We are thrilled to announce three state-of-the-art additions to the Global Vision line. The Sigma 85mm 1.4 Art has been a highly requested lens and we are very confident those customers who have been waiting for us to deliver this lens will be more than pleased with the superior optical performance and zero compromise,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “In addition, the re-engineered 12-24mm F4 and highly competitive 500mm F4 Sport lens both embody the world-class performance our Global Vision lenses are known for. We look forward to seeing the incredible images our customers will create using these new Sigma lenses.”
Sigma 85mm F1.4 DG HSM Art – The Ultimate Portrait Lens
Delivering the ultimate in creative expression, the new Sigma 85mm F1.4 Art lens is engineered to support the highest resolution sensors on the market with an exceptional degree of sharpness. The high-performance optical system is purpose-built by Sigma R&D to produce the attractive bokeh effect sought after by discerning photographers. The lens’ advanced architecture features two SLD (special low dispersion) glass elements and one glass element with a high rate of anomalous partial dispersion and refraction. A re-engineered AF system brings 1.3X the torque of its predecessor, while other features such as a full-time manual focus override have been added, which can be controlled when the focus ring is rotated, even during continuous AF.
The Sigma 85mm F1.4 DG HSM Art lens supports Canon, Nikon and Sigma mounts. The Nikon mounts feature a brand new electromagnetic diaphragm.
The Sigma 85mm F1.4 Art lens will be available in late October and retails for a recommended street price of $ 1199.00 USD.
Sigma 12-24mm F4 DG HSM Art Ultra-Wide Angle Zoom for the Era of Ultra-High Resolution Digital Cameras
Boasting the renowned Global Vision image quality from center to edge, the new Sigma 12-24mm F4 features the largest aspherical glass mold in the industry, offering photographers an ultra-wide angle zoom with virtually no distortion, flare or ghosting. Encompassing the long history of Sigma wide angle lens development expertise, the new 12-24mm F4 performance highlights include constant F4 brightness and the brand new Sigma AF system with 1.3X torque boost. The 12-24mm F4 features lens elements made with FLD (“F” Low Dispersion) glass, which is equivalent to calcium fluorite in performance. Combined with an optimized power distribution, the result is outstanding image quality from center to edges. With a minimum focus distance of 9.4 inches at 24mm, photographers can compose incredible close-up shots with expansive backgrounds.
The all new Sigma 12-24mm F4 DG HSM Art lens supports Canon, Nikon and Sigma mounts. The Nikon mounts feature the brand new electromagnetic diaphragm.
The Sigma 12-24mm F4 Art lens will be available in late October and retails for a recommended street price of $ 1599.00 USD.
Sigma 500mm F4 DG OS HSM Sport Lens – Pro Fast-Aperture Prime Super Telephoto
The flagship Sigma super telephoto 500mm F4 Sport lens incorporates the very latest in Sigma optical technology and innovation. Designed for the professional sports and wildlife shooter, the ultra-durable lens features magnesium alloy components, a carbon fiber hood, a water and oil resistant front element, and is dust and splash proof. The 500mm F4 features a drop-in rear filter slot for polarizers, UV and other critical filters. To help prevent damage during shooting and maintenance, the lens is also compatible with the exclusive SIGMA Protector LPT-11 (sold separately).
The lens incorporates two FLD and one SLD glass elements, while the optimized power distribution helps minimize spherical aberration and axial chromatic aberration. The optical system also effectively minimizes transverse chromatic aberration, which can affect the edges of the shots taken in the telephoto range. In addition, image quality remains exceptional when the lens is used with a Sigma Telephoto Converter (sold separately).
Other key performance features include Sigma’s two-mode Optical Stabilizer for enhanced performance when shooting handheld for still subjects or panning and tracking for moving subjects. There is also a customizable AF “return” function for setting the focus position of one’s choice and returning to that preset distance.
The all new Sigma 500mm F4 supports Canon, Nikon and Sigma mounts. The Nikon mounts feature the brand new electromagnetic diaphragm.
The Sigma 500mm F4 Sport lens, in Canon and Sigma mounts, will be available in late October. The Nikon mount will be available in late November. The 500mm F4 will retail for a recommended street price of $ 5999.00 USD.
All Sigma Global Vision lenses, including the new 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art, and 500mm F4 DG OS HSM Global Vision lenses, can be updated with the latest lens firmware from a workstation or laptop using the Sigma Optimization Pro software and Sigma USB Dock (sold separately).
Tested for Optimum Performance
Sigma lenses are born of well thought-out design concepts, exceptional Japanese craftsmanship and manufacturing, and advanced lens performance testing and evaluation. To this end, Sigma has developed its own A1 proprietary MTF (modulation transfer function) measuring system using 46-megapixel Foveon direct image sensors. Even the most elusive high-frequency details are within the scope of Sigma’s quality control inspections. Every Global Vision lens is A1 tested, analyzed and approved before leaving the factory, ensuring maximum performance out of the box.
For more information on Sigma’s industry leading testing, please visit http://blog.sigmaphoto.com/2012/a1-mtf-testing-for-new-sigma-lenses/.
About Sigma Corporation
Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning camera lenses, DSLR cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.
In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last.
Sigma continues its tradition of imaging excellence with the mirrorless sd Quattro, sd Quattro H and the compact dp Quattro camera line. Leveraging the ultra-high resolution Foveon sensor, the Sigma Quattro cameras are designed to produce the highest quality image with every shot.
For information about Sigma, please visit www.sigmaphoto.com or follow the company on Twitter, Instagram and Facebook.
Articles: Digital Photography Review (dpreview.com)
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Zeiss has just added an 85mm F2.4 to its Loxia range for full-frame Sony E-mount cameras. The 85mm brings a traditional portrait option to the 35mm F2, 50mm F2 and 21mm F2.8 existing models in the lineup. The manual focus lens offers the aperture de-click feature found on its siblings and promises ‘virtually distortion-free’ optics. The Zeiss Loxia 85mm F2.4 will go on sale in mid-December for $ 1399/€1399.
Press release:
With the ZEISS Loxia 2.4/85, the optics company expands its compact lens family for mirrorless Sony full-frame cameras with E mount
OBERKOCHEN/Germany, 15/09/2016.
The newest member of the ZEISS Loxia family is a short telephoto lens called the ZEISS Loxia 2.4/85. It supplements three focal lengths that are already available for this lens family, namely the ZEISS Loxia 2.8/21, Loxia 2/35 and Loxia 2/50, and was specially designed for mirrorless full-frame cameras with E mount. The compact ZEISS Loxia lenses are the ideal choice for travel and street photographers who value light and compact camera equipment. “In terms of its technology and the feel of its surface, the ZEISS Loxia 2.4/85 fits perfectly with the existing focal lengths, and is particularly well suited for portrait photography,” said Christophe Casenave, product manager with ZEISS Camera Lenses. The ZEISS Loxia 2.4/85 will be available in stores starting mid of December 2016.
Optimized ZEISS Sonnar® design
The new ZEISS Loxia 2.4/85 has been designed for digital sensors. Based on an optimized ZEISS Sonnar design, it has seven lens elements in seven groups. “With the ZEISS Loxia 2.4/85, we have managed to develop a well-rounded and new interpretation of the original ZEISS Sonnar optical design that meets all the requirements of digital photography and videography,” continued Casenave. The lens has a minimum object distance of 0.80 meters and a manual focus ring with a rotation angle of 220 degrees, enabling the subtlest variations of focusing. The large aperture of f/2.4 combined with the high-quality optical design ensures an appealing bokeh. The electronic interface transfers both lens data (EXIF) and focus movements, and activates the magnification function of the camera if desired by the user. “Precise manual focusing with hard stop and the mechanical setting of the aperture (working aperture priority mode) provide sophisticated photographers who don’t want to leave everything to the camera abundant possibilities for composition,” said Casenave.
Also suitable for cine applications
With the well-known De-Click function of the ZEISS Loxia lenses, the optics company is also targeting videographers. The De-Click function allows to mechanically deactivate the click stops on the aperture ring — a condition for silent and smooth adjustments of the aperture. As a result, the ZEISS Loxia 2.4/85 is also an attractive lens for video cameras that have an E mount, such as the Sony PXW-FS7 and PXW-FS5. A robust metal barrel, the filter diameter of M52 (which is identical across all focal lengths) and protection against penetration of dust and spray onto the lens mount complete the entire package. In addition, the external diameter, which is uniform across all ZEISS Loxia lenses, simplifies film shoots.
ZEISS Lens Gears
ZEISS Loxia lenses can also be used with a follow focus system. Made of high-quality aluminum with a hardened surface coating, the ZEISS Lens Gears are slid onto each respective lens and, through simple mounting, attached to the focus ring of the lens by turning two rings that each go in the opposite direction. Supplemented by a follow focus system, precise focusing is therefore possible and ZEISS Loxia lenses become endowed with similar features as a full-scale cine lens. The ZEISS Lens Gear Rings in the sizes mini (62 – 69mm, 60 – 67mm with GumGum) fit the ZEISS Loxia lenses.
Price and availability
Global delivery of the ZEISS Loxia 2.4/85 will begin mid of December 2016. The lens shade is included with delivery. The recommended retail sales price is 1,399 euros (including 19% VAT in Germany) or 1,399 US$ .
Articles: Digital Photography Review (dpreview.com)
There has been, and likely always will be, a lingering debate among professional photographers and amateur photo enthusiasts, about whether or not a third party lens can be every bit as good as the native glass produced by your camera’s manufacturer.
There is often a margin of compromise between cost and quality. Over the last five years or so, that margin has become increasingly slim. It’s become so small in fact, that we find ourselves living in an incredible time when these third party lenses are equalling the performance of high end lenses, in terms of optical performance and build quality.
To date, very few lenses I have evaluated have exemplified this coming of age of lens manufacturing, more so than the Tamron 85mm F1.8 Di VC USD. It is intended to be used with full-frame dSLR’s, as well as APS-C bodies (it becomes 136mm equivalent). This lens embodies what could be called a levelling of the playing field, in terms of cost versus performance. Recently, Tamron announced their intentions to re-energize, and improve their lens offerings with increased image quality, and more reliable build. During this review I was amazed at just how much punch Tamron has been able to deliver with their 85mm f/1.8.
After breaking open the box I found the lens, along with hood, to be very well cradled in its packaging.
At first feel, the Tamron 85mm f/1.8 seemed hefty, with a solid weight. Not overly heavy at 24.7 ounces (700 g), but certainly not light either. You will definitely know this lens is on your camera. The look of the lens is clean and classic.
The lens body itself is nicely finished in matte black, while Tamron has added some silver-toned accents; most notably of which is the new metallic ring at the base of the body around the mount. The focus ring is pleasantly rubberized, and feels very comfortable to the touch. There is also a voucher for a free download of SilkyPix, Tamron’s post processing software, included with the lens purchase.
As I said, the most noticeable physical aspect of this lens is its weight. Which isn’t a bad thing, and it strikes a balance when compared to other similar lenses: the Canon EF 85mm f/1.8 and the Canon EF 85mm f/1.2 L which come in weighing 14.99 oz (425 g) and 36.16 oz (1.025 kg) respectively. Keep in mind that neither of those two lenses sports image stabilization(more on this feature later). Overall, the Tamron just feels serviceably solid. The focus ring is firm and extremely smooth when turning. All the markings and accents are very well executed and the focus indicator window is nicely done.
Here are the Tamron 85mm F1.8 mounted to a Canon 7D Mk1 alongside another excellent prime, the Canon EF 50mm F1.4 (below) for a size comparison.
The VR( image stabilization) and AF/MF switches are well placed for easy operation, and they switch on/off firmly. The included barrel-type lens hood looks great without screaming “Hey! Look at me!” and locks on securely with ease.
One thing which I’ve always found so pleasing about Tamron, albeit a small detail, is their attention to their lens cap ergonomics. I know, I know – it’s just a lens cap. But it’s a very important element of any lens that is intended to be used extensively. I mention it due to the fact that Tamron lens caps have a very deeply recessed front pinch.
Very much of my work centers around adventure and outdoor photography, where the elements aren’t always cooperative. Being able to take the lens cap on and off without fear of dropping (even with gloved hands) is a huge advantage in those kinds of situations. Small detail? Yes. An important detail? Very much so. It’s a feature that my fellow landscapers and outdoor photographers will greatly appreciate.
Now, back to your regularly scheduled review.
If you look closely at the lens you might notice a small black rubber gasket at the area of the lens mount.
This is part of the advanced steps Tamron has made to improve the resistance of their lenses to the elements. Though not as readily visible as the seal on the lens mount, the entire lens design has incorporated increased weather sealing on the areas between the focus ring and lens barrel. This means better long term service and protection from the grit and grime, often found when making photographs in the outdoors, where dust and moisture make themselves an unwelcome nuisance.
The 85mm F1.8 is intended to be a medium telephoto lens, that offers decent compression for portrait work, as well as true to life color rendition. In all these things, Tamron has excelled. I was excited to see that the lens performed very well, and was very sharp through the complete f/1.8 to f/16 aperture range. The corners were a little soft at f/1.8 but became crisp at f/4 and beyond. Overall sharpness was best observed from f/4 to f.8, with f/5.6 seeming to be the sweet spot of this review model.
Admittedly, I was very impressed with the sharpness, but the color performance is a point where this lens truly shines. Colors come through well saturated, with only moderate chromatic aberrations at wide apertures (past f/2.2 becomes very good) and contrast is wonderfully bold.
This is a series of uncropped images, showing the performance across common apertures from f1.8 through f/16.
Now, have a look at that same set after being cropped to approximately 1:1.
The nine curved aperture blades produce a creamy bokeh, which portrait shooters will love. I especially loved the bokeh produced at the largest aperture of f/1.8. In some situations it even hinted at a faint swirling effect, reminiscent of the selectively loved/hated Helios 44-2.
In any case, you will no doubt be pleased with the background blur of your images. Taken alongside the great color and contrast, the 85mm f/1.8 will consistently produce quality images with good sharpness, in a wide range of situations.
Here are some additional sample images made with the Tamron 85mm F1.8.
This is the part of the review that I could not wait to write about in regard to the 85mm F1.8. The autofocus of this lens is fast, accurate, and quiet. The ultrasonic motor drive produced very little vibration during autofocusing, which was great. I’m a big time fan of having the final say with my focusing. Tamron has included a full-time manual override capability, which definitely allows greater control for pinpoint adjustments when needed, without having to switch the AF/MF switch to manual.
The autofocus tracked very accurately when shooting moving subjects as well. Overall, the AF performance of the lens is top notch.
The image stabilizer on this lens is an absolute marvel. In most cases, vibration reduction technology is useful, but for me, it’s never been a make or break selling point when I shop for lenses. With the 85mm – I must say that I am thoroughly impressed. The image stabilization performance of the lens is one of, if not the best, I have ever encountered. Tamron states that the 85mm F1.8 was the first 85mm fast-prime to include the technology (as of January 2016). The VR (vibration reduction) makes shooting at what might be considered impractically slow shutter speeds in sub-optimal light, very possible. This is great for street photographers, and really anyone who finds themselves needing to keep their ISO in check, who also frequently encounters low light conditions.
This is an image shot handheld at 1/10 second with VR turned off.
Here we see the almost magical impact of the image stabilizer once the VR is switched on.
Generally, I base the majority of my exposures around the Reciprocal Rule (1/focal length) so at 85mm I wouldn’t normally go slower than 1/80th of a second, or 1/60th on a good day. The fact that I was able to pull off this measure of sharpness at 1/10th of second, means that the image could have been made with an even slower shutter speed, while still maintaining acceptable clarity. This means a lower ISO can be used in situations when it would previously not have been possible. Tamron has hit the VR out of the park with the 85mm F1.8.
What you’ll like:
What you might not like:
Well, it’s difficult to list anything here. An extremely scrutinous shooter might mention the weight and moderate chromatic aberrations at f/1.8 as drawbacks, but both fall very safely in the range of what would be considered acceptable for most uses.
It’s difficult for a lens to leave a reviewer without having any real negatives. Still, the Tamron 85mm F1.8 appears to have done just that. There were no issues encountered that would warrant inclusion. The fact is that the optically quality is superb, and the build is very solid.
Taking into consideration the fast autofocus, and the incredible image stabilization, it truly is a tough lens to beat at this price (around $ 749 USD). Add in the beefed up weather protection, and you are left with a beast of a mid-range telephoto lens, which will excel at portraiture and street photography, while holding its own during adverse shooting conditions in the outdoors.
4.5 out of 5 Stars
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