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Posts Tagged ‘f/2.8’

Sony 12-24mm F2.8 GM arrives in August for $3000

07 Jul

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Sony has announced a new member of its high-end ‘G Master’ full-frame lens series: the 12-24mm F2.8. It’s currently the widest F2.8 constant zoom offered for full-frame, with a hefty price tag to match: $ 3000.

The 12-24mm is dust and moisture-sealed and weighs in close to two pounds (847g / 1.9lb to be precise). It’s a bit larger than Sigma’s 14-24mm F2.8, measuring 97.6 x 137mm. With such a large front element, the 12-24 provides a rear filter holder.

Optical construction includes three XA Extreme Aspheric elements (including the largest that Sony’s ever made), two Super ED and three ED elements, as well as one aspherical lens element. Nano AR Coating II is used, along with a fluorine coating. Four XD linear motors move two focus groups – either together or independently – and focusing is silent. The lens uses a nine-blade aperture, and minimum focus distance is 28cm / 11in throughout the zoom range.

The Sony 12-24mm F2.8 GM is slated to arrive mid-August and will sell for $ 3000.

Press release

Sony Electronics Grows Lens Line-up with Launch of 12-24mm G Master, the World’s Widest Full-frame Zoom with a Constant F2.8 Aperture

SAN DIEGO – July 7, 2020 – Sony Electronics Inc. today announced an exciting new addition to its full-frame lens line-up with the introduction of the FE 12-24mm F2.8 GM (model SEL1224GM) Large-aperture Ultra-wide Zoom lens. This compact and versatile lens is ideal for shooting landscapes, astrophotography and architecture while providing extra mobility for active sports shooters who want to capture ultra-wide perspectives. As part of Sony’s flagship G Master series lenses, users can be completely confident that it delivers outstanding image quality up to an ultra-wide 12mm angle of view with F2.8 constant aperture and beautiful bokeh effects.

The introduction of the FE 12-24mm F2.8 GM now extends the F2.8 range of Sony’s G Master series zoom lenses all the way from 12mm to 200mm[ii] and at 12mm, offers the world’s widest range of zoom at F2.8. At this focal length, it is possible to emphasize distance and create dynamic perspectives that are beyond the scope of the human eye, opening the door to new avenues of creative expression.

“We are excited to introduce the new FE 12-24mm F2.8 GM as the 57th lens in Sony’s E-mount line-up”, said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “It is important for us to continue to push boundaries in the industry to develop the best tools for our customers. By extending our range of G Master constant F2.8 zoom lenses out to 12mm, we are excited to see how these new innovations will help our customers create like never before.”

The FE 12-24mm F2.8 GM benefits from innovative construction that delivers outstanding corner-to-corner image quality throughout the entire zoom range. It features three precise XA (extreme aspherical) elements including the largest XA element ever made for an ? – Alpha brand lens. These XA elements, with an additional aspherical element, effectively suppress astigmatism, coma and field curvature right out to the image edges. Furthermore, three ED (Extra-low Dispersion) glass elements plus two Super ED glass elements, powerfully control chromatic aberration and combine to deliver corner-to-corner clarity while minimizing color fringing.

An extremely effective floating focus mechanism divides the lens’s focus group into two independently controllable groups, ensuring both outstanding close-up performance and maximum sharpness at any distance. The two independently controlled groups help realize a constant 11” (28 cm) minimum focusing distance throughout the zoom range, and because it is an internal focus lens, its length remains constant, so its center of gravity varies very little and is always optimally balanced in the hand.

The signature bokeh effects of Sony’s G Master series lens are achieved through the fine tuning of the lens’s spherical aberration characteristics during both the design and manufacturing process. At the same time, the extremely high surface precision of the lens’s XA elements effectively suppresses spherical aberration and, in combination with a 9-blade circular aperture, further enhances its exquisite bokeh.

The FE 12-24mm F2.8 GM employs four original high-speed, high-thrust XD (extreme dynamic) Linear Motors to ensure that it is compatible with the speed performance of both current and future camera bodies. With two XD Linear Motors for each of the lens’s focus groups, autofocus is fast and precise. New control algorithms maximize the response of the system while achieving flawless synchronization between the two focus groups. Further benefits include extremely quiet operation with minimal vibration and lower power consumption.

A brand-new Nano AR Coating II that can be evenly applied to large lens elements or highly curved element surfaces has been used for the first time on the FE 12-24mm F2.8 GM. It suppresses internal reflections, minimizes flare and ghosting for clear, crisp imagery and despite the lens’s wide angle of view, Nano AR Coating II maintains high clarity and contrast throughout the entire image, even in difficult light.

Moviemaking
The constant F2.8 maximum aperture at all focal lengths ensures that exposure is stable when zooming. As a result, this means that shutter speed and ISO sensitivity can remain constant while shooting movies. The creative opportunities afforded by shooting movies at a 12mm angle of view with F2.8 constant aperture in full-frame are boundless, and when used on an APS-C or Super 35 camera, the wide end of the zoom range becomes equivalent to 18mm, providing a useful zoom range for moviemaking.

Professional Control
Weighing only 1.87 lbs (847 g), the FE 12-24mm F2.8 GM offers numerous features for full professional control of shots. These include a customizable focus-hold button, focus-mode switch, zooming ring and focusing ring that are positioned for easy operation while shooting. The Linear Response MF ensures that the focus ring responds directly to the most subtle adjustments when focusing manually so control feels immediate and precise. It is dust and moisture resistant[iii] and the front lens element features a fluorine coating that repels water, oil, and other contaminants, making it easier to wipe off any fingerprints from the lens surface. The rear filter holder accommodates standard sheet-type ND, color correction and other filters for expanded expressive capability. A cutting template for sheet filters is supplied.

Pricing and Availability
The FE 12-24mm F2.8 GM is available in in August 2020 for a suggested retail price of $ 2,999.99 USD and $ 3,999.99 CAD.

Articles: Digital Photography Review (dpreview.com)

 
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Impressive sharpness: Sigma 14-24mm F2.8 DG DN Art sample gallery updated

22 Jun

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We initially got our hands on the Sony E-mount Sigma 14-24mm F2.8 while covering the launch in Japan last July. We’ve since acquired a copy here in Seattle and have been shooting with it around town (and in Cabo, pre-quarantine) primarily on a Sony a7R IV body (our initial samples were on an a7R III). These extra pixels should help convey just how ridiculously sharp this lens is. Have a look!

See our Sigma 14-24mm F2.8 DG DN Art sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix S Pro 70-200mm F2.8 O.I.S. sample gallery

22 Jun

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The Panasonic S Pro 70-200mm F2.8 is an important lens in the L-mount system. Offering a focal range that’s popular with working pros, combined with optical stabilization as well as dust and moisture resistance, it’s a tentpole lens for S-series photographers.

We’ve been out shooting with a 70-200mm for a few days – check out our sample gallery to see what it can do – and look out for more images coming soon.

View our gallery of samples from the Panasonic S 70-200mm F2.8

Articles: Digital Photography Review (dpreview.com)

 
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Notice: Tamron issues product advisory for its 70-180mm F2.8 Sony E-mount lens

10 Jun

Tamron has issued a product advisory noting that select units of its 70–180mm F2.8 Di III VXD (Model A056) lens for Sony E-mount cameras were shipped without proper calibration of the internal floating optics, which could result in decreased image quality.

The internal floating optics are designed to correct for chromatic aberration when properly calibrated, but according to Tamron’s notice, ‘some lenses have already been shipped out without the value being optimized.’ Tamron says affected units that have shipped will be inspected and adjusted or exchanged for entirely new units.

Tamron doesn’t specifically say what set of serial numbers are potentially affected, but they have set up a dedicated website for entering your unit’s serial number to verify whether your unit is affected. Above is a graphic on where you can locate the serial number of your lens.

Tamron ends the notice saying it ‘sincerely apologize(s) to all users and potential purchasers for any inconvenience this issue may cause […] We appreciate your continued support for our products.’

Articles: Digital Photography Review (dpreview.com)

 
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Samyang releases updated ‘MK2’ versions of its popular 14mm F2.8, 85mm F1.4 lenses

26 May

Samyang, which is also sold under the brand name Rokinon, has released updated versions of two of its best-selling lenses: the MF 14mm F2.8 MK2 and the MF 85mm F1.4 MK2.

The updated manual focus lenses feature the same optical designs as their respective predecessors but add new features to provide a more seamless and robust user experience. In particular, both lenses now have weather-sealing, an updated focus ring for better grip and a switch for de-clicking the aperture without the need to tear it apart. The 14mm F2.8 MK2 also has a new focus lock switch for ensuring the focus doesn’t get bumped out of place during operation.

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Both lenses are available for Canon EF, Nikon F, Sony E, Fujifilm X, Canon M and MFT mount camera systems. As of writing this article, no pricing information is available for the lenses and no online retailer appears to have a product page up. We have contacted Samyang for additional information and will update accordingly when we receive a response.

Articles: Digital Photography Review (dpreview.com)

 
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Ricoh reveals D FA 21mm Limited, DA 16-50mm F2.8 and details D FA* 85mm F1.4

15 May

Ricoh has published a video setting out its development plans for three new lenses, including a constant F2.8 standard zoom for APS-C, a 21mm lens in its much-loved ‘Limited’ prime lens series and gave more details of the FA*85mm F1.4.

The company says its announcements were originally planned for the cancelled CP+ trade show, that was supposed to take place in February 2020 in Yokohama, Japan.

The company gave more details of the HD Pentax-D FA* 85mm F1.4ED SDM AW first announced in March 2020. This is the first 85mm Pentax lens designed specifically for digital cameras. The lens will include three super ED lenses, which behave similarly to fluorite elements, to minimize chromatic aberration. They say this should avoid the purple or green edges that can be distracting in wide aperture portraits.

The design also utilizes a concave front element, which the company says reduces some aberrations. The spherical aberration has been optimized to provide attractive bokeh, rather than solely prioritizing sharpness. They claim this will result in ‘the finest lens in its class.’

The lens will be launched later in 2020, with a more definitive announcement soon.

Alongside the 85mm, the company showed the forthcoming D FA 21mm Limited lens as an addition its range of prime lenses. Like the other ‘Limited’ lenses, it will feature metal construction and will be available in black or silver. The focal length was chosen as one that’s not currently available in the lineup. The maximum aperture was not disclosed.

Unlike the current Limited series lenses, the D FA 21mm will have a built-in DC focus motor, rather than being driven by the camera body. It will also be weather sealed. The lens will be available in 2021.

For APS-C users, there will be a lens current called the HD Pentax DA* 16-50mm F2.8ED PLM AW, a completely new constant F2.8 standard zoom for APS-C. This, like the 85mm, will be part of the ‘new-generation’ star range.

It will be powered by a PLM ‘Pulse’ motor, which has meant a complete optical redesign with a light focus element to suit the fast, quiet motor. The company is aiming to have the lens ready in the first half of 2021, to more closely coincide with a promised APS-C flagship camera.

The company’s manager of product planning, Tetsuya Iwasaki also promised that the company will also develop some smaller and reasonably priced lenses in future.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down Nikon’s $10,000 Nikkor AF-S 120-300mm F2.8 lens

15 May
Aaron of Lensrentals uses his new, specialized driver to carefully remove screws from the Nikkor AF-S 120-300mm F2.8 FL ED SR VR lens.

Roger and Aaron at Lensrentals are back again with another lens teardown; this time, the Nikkor AF-S 120–300mm F2.8 FL ED SR VR lens.

While no reason is needed to take apart another lens to see what goodies lurk within, Roger specifically notes he chose this lens because he wanted to see if the new modern design of Nikon’s Z-mount lenses is being carried over to newer F-mount lenses as well. In the introduction paragraph of his teardown post, Roger says:

‘We were interested to see if newer F lenses would pick that up, or if they would continue in ‘classic’ format. While it’s pure speculation on my part, I thought that if F lenses were starting to pick up Z characteristics, it would, perhaps, signify a unified approach going forward. If not, maybe then Nikon is maintaining separation of the Z and F design teams.’

Roger notes Lensrentals only has ‘a few of these,’ almost all of which have been rented out. However, one came in with dust inside and although it wouldn’t affect the image quality of the lens, Roger thought it’d be a perfect opportunity to do a teardown. Plus, ’t customers like to receive really sparkly clean lenses, and we didn’t want to deal with the inevitable “I can’t believe there’s dust in this $ 10,000 lens” complaint,’ he says.

The disassembly started in the front, as that’s where the dust was located. The first notable observation is that Nikon has made the front filter barrel fairly easy to remove—and therefore replace—as it slides out after removing half a dozen screws and a bit of tape.

From there, it was onto removing the first group of lenses, which Roger believes consists of 3–4 elements (Nikon is yet to publish an optical diagram for this lens yet). After a brief moment of concern that the dust was lodged between these elements, he and Aaron discovered the dust was instead on the next group of lenses—the optical zoom group. As you might expect for a 120–300mm F2.8 lens, this group has quite a bit of travel in it.

Upon diving further into the lens, Roger found the answer to the initial question he had for this teardown. When looking underneath the rubber grip of the zoom optical group, he saw an aluminum cover; a discovery that made him ‘sad.’ He elaborates:

Note the clear plastic tape and aluminum shielding beneath the zoom ring rubber.

[The aluminum covers are] what Nikon uses to cover old-time position-sensor brushes, which means this lens has ‘classic’ brush position sensors, not newfangled optical sensors. They work just fine, don’t get me wrong, but this is a strong hint we’re not going to find new ‘Z- style’ electronics inside this lens.

At this point, no further assembly could be done from the front of the lens, so he and Aaron turned it around and started taking off the rear bayonet mount, which was ‘thoroughly weather resistant with both hard rubber and foamed rubber gaskets.’

From there, Roger and Aaron break it down all the way to the aperture assembly, carefully maneuvering through a messy array of soldered wires, ribbon cables and enough glue that it might just give Roger nightmares. In wrapping up the teardown, Roger says:

‘We had seen what we most wanted to see. The lens is well built in the old, classic Nikon F way. Obviously, we don’t think that’s pretty, and it’s not fun to work on. But it’s been an effective method of manufacturing for decades. The moving parts are solid, the chassis and assembly are solid, the weather resistance is as good as anything, maybe better.’

While the teardown was done, Roger also ran an optical test on the lens to see how this copy performed. He notes ‘there will be better or worse copies’ out there ‘but given the price of the lens, I assumed it should be clearly better than the Sigma 120–300mm F2.8 lens.’

His assumption ended up being correct, with the MTF curves looking much cleaner than the Sigma (which he notes is a great lens in its own right) and ‘at least as good as, perhaps better than’ Nikon’s own 300mm F2.8 lens.

Nikon AF-S Nikkor 300mm F2.8G ED VR II Average MTF vs Nikkor 120-300mm F2.8 FL ED (@300mm) Average MTF Sigma 120-300mm F2.8 DG OS HSM Sport (@300mm) Average MTF vs Nikkor 120-300mm F2.8 FL ED (@300mm) Average MTF

When all was said and done, Roger concludes that ‘Roger’s Law,’ which states ‘that Zooms Are Never as Good as Primes has at least one very expensive exception. At one of its focal lengths. This zoom is ‘prime good’ at 300mm.’ Other lessons learned include that the 120–300mm F2.8 is incredibly well-build and ‘spectacularly good optically, particularly at the long end.’

You can see more images and read a more detailed breakdown of Roger’s thoughts over on the Lensrental blog post.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron 70-180mm F2.8 Di III VXD sample gallery

14 May

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The Tamron 70-180mm F2.8 Di III VXD is an affordable, compact telephoto zoom lens for Sony full-frame mirrorless cameras. It lacks internal image stabilization, a contributing factor to its petite footprint, but does offer a moisture-resistant design – and produces sharp results throughout the zoom range.

For more on the Tamron 70-180mm F2.8, check out DPReview TV’s full lens review.

See our Tamron 70-180mm F2.8 sample gallery for Sony full-frame

Articles: Digital Photography Review (dpreview.com)

 
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Tamron 70-180mm F2.8 Di III VXD sample gallery (DPReview TV)

26 Apr

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What better time to shoot with a telephoto zoom? Chris and Jordan took the Tamron 70-180mm F2.8 and a Sony a7R III into the empty streets of Calgary for some appropriately-distanced street shooting – with a few family portraits to round things out. See all of the samples from this week’s episode right here.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Tamron 70-180mm F2.8 Di III VXD review

26 Apr

The Tamron 70-180mm F2.8 has its flaws – its sunstars are uninspiring, there’s no built-in IS and the reverse zoom-ring-in-front setup drives us a little crazy. But it’s an incredibly compact F2.8 tele-zoom with weather sealing, and it’s no slouch in terms of sharpness. Chris and Jordan venture into the empty streets of Calgary with the lens – and walk away quite impressed.

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  • Introduction
  • Sample images
  • Size and weight
  • Lack of stabilization
  • Build quality
  • Sharpness
  • Teleconverters?
  • Bokeh
  • LoCA
  • Close-up performance
  • Video applications
  • Focus speed
  • Sunstars and flare
  • Who's it for?

Tamron 70-180mm F2.8 Di III VXD sample gallery

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Articles: Digital Photography Review (dpreview.com)

 
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