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Posts Tagged ‘f/2.8’

Hands-on with the Nikon Nikkor Z 70-200mm F2.8 S

10 Jan

Hands-on with Nikon Z 70-200mm F2.8 S

Nikon’s just-announced Z 70-200mm F2.8 S looks like a powerful option for Z-series photographers, joining the Z 24-70mm F2.8 S as the second part in Nikon’s ‘holy trinity’ of F2.8 zooms for Z mount. We got our hands on an early working sample at CES. Click through for some initial impressions and a breakdown of the key features.

Hands-on with Nikon Z 70-200mm F2.8 S

Physically, the Z 70-200mm F2.8 S is very similar to the older AF-S 70-200mm F2.8. Its external dimensions are about the same, as is its weight. But while the optical design bears some relation to its F-mount forebear, this is a very different, and very advanced design.

Featuring 21 elements in 18 groups, the Z 70-200mm F2.8 S is Nikon’s most ambitious Z-mount zoom yet, featuring no fewer than six ED (extra low-dispersion) elements, two aspherical elements and one fluorite element.

It also includes a new ‘SR’ (short wavelength refractive) element, which is, in Nikon’s words, ‘a specialized-dispersion glass lens featuring characteristics that greatly refract light with wavelengths shorter than that of blue.’ This appears to be a comparable technology to Canon’s Blue Spectrum Refractive Optics (BR) found on lenses such as the EF 35mm F1.4L II and RF 85mm F1.2L.

This should mean that chromatic aberration is kept to an absolute minimum, something we want to test as soon as possible. Nano crystal coating and Nikon’s new Arneo coating also help keep contrast high and flare low when shooting into, or just off-axis, from bright light sources.

Hands-on with Nikon Z 70-200mm F2.8 S

This view shows the standard A|M switch for focus and a simple focus limiter, to stop the lens from hunting through its entire range for distant subjects. Close focus (should you need it) is 1m at 200mm, and 0.5m at 70mm – a nice improvement over Nikon’s previous 70-200mm designs for DSLRs.

The Z 70-200mm F2.8 S offers an impressive built-in VR system, capable of 5 stops of correction, Nikon’s highest-ever rating (per CIPA). So what’s missing? The Z 70-200mm F2.8 S does not feature the familiar VR mode switch found on many Nikon lenses; instead, VR is toggled and controlled via the camera body.

Hands-on with Nikon Z 70-200mm F2.8 S

Twin Fn buttons on the barrel can be customized to fulfill various other requirements, basically matching the options available in-camera for the Z6 and Z7’s own Fn buttons. The tripod collar is fixed, but the foot can be removed when not required.

Hands-on with Nikon Z 70-200mm F2.8 S

As we’ve seen on the Z 24-70mm F2.8 S (as well as the new Noct) the 70-200mm features a small display on the barrel itself, which can be switched (via the ‘DISP’ button) to display aperture and focus position.

This shot also shows the zoom and focus ring arrangement, which matches that of the AF-S 70-200mm. Some photographers love having zoom positioned towards the tip of the lens, and some photographers hate it, but hopefully all Z-series shooters will appreciate the customizable control ring, positioned at the opposite end of the Z 70-200mm F2.8 S, which can be used for quick control over exposure compensation and/or aperture.

Videographers will also appreciate that this lens provides parfocal support. In other words, the focus position doesn’t shift when the lens is zoomed. It’s not clear at this point whether the lens is optically parfocal or if it makes a real-time focus adjustment to provide a parfocal effect, but either way it should negate the need to pull focus during or after zooming.

Hands-on with Nikon Z 70-200mm F2.8 S

As we’d expect, the Z 70-200mm F2.8 S is sealed against dust and moisture incursion. You may just be able to make out the slim rubber sealing ring around the lensmount in this shot.

Notice too the relatively recessed rear element, which is unusual in Nikon’s current Z-mount lens lineup.

Hands-on with Nikon Z 70-200mm F2.8 S

The Z 70-200mm F2.8 S features a nine-bladed aperture for circular bokeh at wide apertures, and a 77mm filter thread. It will be available next month for $ 2,599.99.

Articles: Digital Photography Review (dpreview.com)

 
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Canon issues firmware update to fix front-focusing issues for RF 70–200mm F2.8 lenses

09 Jan

A month after the first reports came out that a number of RF 70–200mm F2.8 lenses were having issues with front-focusing, Canon has released a firmware update to address the issue.

As promised two weeks ago, firmware version 1.0.6 fixes the issue wherein certain units would focus in front of the active AF point, especially at longer focal lengths. The firmware changelog reads:

‘Fixed a phenomenon when performing AF shooting to capture a subject at close-range with the focus distance approximately set to the Tele-end (200mm), the image may become slightly front-focused.’

Firmware version 1.0.6 is available to download for both macOS and Windows computers. If your lens already has firmware version 1.0.6 installed, there’s no need to update. You can check your lens’ firmware in your camera’s menu system.

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Nikon’s 70-200 F2.8 for Z-mount to ship in February

07 Jan

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Nikon’s new Nikkor Z 70-200mm F2.8 VR S is the first full-frame tele-zoom for the company’s Z-mount. The lens has Vibration Reduction built-in – which works in tandem with the Z6 and Z7’s in-body IS system – and can reduce shake by up to 5 stops.

As with Nikon’s F-mount 70-200s, the Z-mount version has both internal focus and zoom. The company claims minimal focus breathing and also that this is a parfocal lens, keeping the subject in focus as you zoom. It has a total of 21 elements, including one SR (short wavelength refracting) to reduce longitudinal chromatic aberration, as well as 6 ED, 2 aspherical and 1 fluorite elements. It also features Nikon’s Nano Crystal and Arneo coatings to minimize both off-axis and on-axis flare, respectively. The 70-200 can focus down to 0.5m at its wide end and 1m at its telephoto end, with a maximum magnification of 0.2x. These short focus distances are achieved using two separately driven autofocus units.

The 70-200 F2.8 weighs in at 1.4kg (3.2lbs) and uses 77mm filters. A customizable control ring allows for quick adjustment of aperture or exposure compensation, and a digital display shows things like aperture and focus distance. As with other high-end Z-mount lenses, the 70-200 is weather-sealed.

The Nikkor Z 70-200 F2.8 VR S will be available in February for $ 2599.

Official sample photos

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NIKON ASSERTS COMMITMENT TO OPTICAL SUPERIORITY WITH THE ANNOUNCEMENT OF CUTTING-EDGE Z MOUNT, F MOUNT AND COOLPIX PRODUCTS

The New NIKKOR Z 70-200mm f/2.8 VR S Redefines a Quintessential Photographer Favorite for the Z System; The AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is a Ground-Breaking Pro Super-Telephoto Zoom Lens; The COOLPIX P950 Packs an 83X Optical Zoom to Bring the World Closer

LAS VEGAS – CES BOOTH #14018 (January 6, 2020 at 9:00 P.M. ET / 6:00 P.M. PT) – Today, Nikon Inc. announced three new innovative products that affirms the imaging brand’s commitment to bringing optical excellence to all levels of customers. First, the new NIKKOR Z 70-200mm f/2.8 VR S is the latest in the ever-expanding Z mount lens line, giving users of Nikon Z series mirrorless cameras an indispensable workhorse lens for capturing action and portraits. For professional sports and wildlife photographers, the new AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is an enticing high-performance, professional super telephoto F mount NIKKOR lens. Finally, the COOLPIX P950 is a powerful new addition to Nikon’s superzoom bridge camera lineup, offering creators a spectacular 83x optical zoom and a myriad of innovative features to take their creativity to new heights.

“Nikon continues to innovate and push the boundaries of what’s possible in imaging and lens technology,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The new NIKKOR Z 70-200mm f/2.8 VR S takes advantage of the next-generation optical system offered by the Nikon Z mount to create a versatile 70-200mm lens with astounding sharpness and clarity, cementing this S-line lens as a staple for those who demand only the best from their lenses.”

The NIKKOR Z 70-200mm f/2.8 VR S – Astonishing Details, Uncompromising Zoom
An essential pro-level telephoto zoom lens re-imagined to take advantage of the optical potential of the Z series, the NIKKOR Z 70-200mm f/2.8 VR S is the latest addition to Nikon’s rapidly growing lineup of mirrorless lenses. The NIKKOR Z 70-200mm f/2.8 represents a pivotal lens for the Z series and a must-have for those shooting action, weddings, events, news, wildlife and portraits. Equipped with a versatile focal range, fast f/2.8 aperture and an impressive 5 stops of built-in optical VR image stabilization1, the NIKKOR Z 70-200mm gives mirrorless shooters the flexibility to capture astoundingly sharp images and videos in a variety of scenarios. Additionally, multimedia and content creators using the lens will appreciate the stepping motor (STM) for extremely quiet autofocus operation and reduced focus breathing.

The NIKKOR Z 70-200mm f/2.8 VR S demonstrates the technological benefits of the Nikon Z mount to reinvent a classic lens, while including new features to make this photographer favorite even more superior for Z series users. Parfocal support maintains focus when zooming, while a reduced minimum focus distance (0.5m wide, 1.0m telephoto) vastly increases versatility for photos and video. When used in combination with the in-body stabilization of the Nikon Z 6 and Z 7, the NIKKOR Z 70-200mm f/2.8 promises unparalleled stability with additional optical stabilization. Like other S line lenses, the NIKKOR Z 70-200mm f/2.8 boasts a premium optical design complete with a 9-blade diaphragm as well as Anti-Reflective Nano Crystal and ARNEO coatings for maximum image quality in any light, with a Fluorine coating that resists dirt and smudges. In addition to a rugged weather sealed design the lens is ready to tackle any assignment with a dedicated Info Panel, two customizable Function buttons and an additional custom control ring.

The new NIKKOR Z 70-200mm f/2.8 VR S and AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR are the first Nikon lenses to feature the newly developed SR (Short-Wavelength Refractive) lens element, a specialized-dispersion glass lens featuring characteristics that greatly refract light with wavelengths shorter than that of blue. By controlling short-wavelength light that is difficult to compensate, the lens can more effectively collect light of various specific wavelengths and achieve highly precise chromatic aberration compensation.

AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR: Impressive Reach, Incredible Speed, Absolute Versatility
The all-new AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is a versatile, professional lens for the Nikon F mount with a large focal range and fast constant aperture. It’s ideal for sports, wildlife and portrait photographers seeking a bright and fast telephoto lens that offers sharp image quality across a wide range of focal lengths. Thanks to its extensive 120-300mm focal range, the NIKKOR 120-300mm f/2.8 provides users with a pro-level single lens solution, replacing the need to carry multiple lenses. With Nikon’s reliable weather-sealed construction, the NIKKOR 120-300mm f/2.8 is equipped to handle any shooting scenario whether on the sidelines or in the wilderness.

Users will appreciate the constant f/2.8 aperture which offers incredible low-light capability and depth of field that draws emphasis to a subject. The impeccably sharp image quality, beautiful bokeh and enhanced AF performance of the NIKKOR 120-300mm f/2.8 offer speed and sharpness reminiscent of a prime. Engineered with Nikon’s cutting-edge technologies, the AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is the first NIKKOR F mount lens to adopt Nikon’s new SR lens element as well as Nikon’s anti-reflective ARNEO coat to deliver superior chromatic aberration compensation and effectively reduce ghost and flare. The built-in VR function provides an effect equivalent to a shutter speed 4.0 stops1 and includes a Sport VR mode for rapidly moving subjects.

Ready for professional use, the lens is sealed to resist the elements and is engineered for maximum usability, even when handheld. The zoom ring, focus function buttons, tripod collar ring and controls are all designed to ensure superior operability for more comfortable shooting.

COOLPIX P950: 2,000mm Zoom Power, 4K UHD Video & More
With an unbelievable 83x optical zoom NIKKOR lens, the 16-megapixel COOLPIX P950 is a powerful new addition to Nikon’s superzoom bridge camera lineup, which delivers unprecedented image quality from extreme distances. Beyond the staggering 24-2000mm lens, the COOLPIX P950 packs an advanced feature-set complete with Nikon’s renowned NIKKOR optics and advanced stabilization technology with 5.5 stops of VR image stabilization, allowing stargazers and birdwatchers to capture high-quality photos or 4K UHD videos at extreme distances with ease. Plus, by using the COOLPIX P950’s 166x** Dynamic Fine Zoom for far-away subjects and Macro Shooting capabilities to get as close as 0.4 inches, adventure-seekers can bring the unimaginable closer than ever.

Users can rely on the P950 to photograph life’s most unique subjects with incredible accuracy and focus thanks to its Target Finding AF capabilities, 7 fps continuous shooting and ISO sensitivity up to 6400. A great option for photographers of all skill levels, the COOLPIX P950 features user-friendly controls alongside an intuitive menu system and a 2359k-dot EVF, making it easier to review and capture one-of-a-kind shots. Using dedicated Bird-Watching and Moon Modes, photographers can effortlessly snap photos of their world and beyond. The new P950 also adds RAW (NRW) photo recording, an enhanced high-resolution electronic viewfinder and Nikon SnapBridge2,3,4 to seamlessly share images or remotely control the camera.

The COOLPIX P950 is also equipped with an accessory shoe to enable compatibility with a variety of useful accessories, including the optional DF-M1 Dot Sight, which helps users locate subjects and compose shots from far-away distances.

Pricing and Availability
The new NIKKOR Z 70-200mm f/2.8 VR S lens and COOLPIX P950 will be available in February for suggested retail prices (SRP) of $ 2,599.95* and $ 799.95*, respectively. The AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR lens will also be available in February for a suggested retail price (SRP) of $ 9,499.95*. For more information about Nikon and their latest products, please visit?www.nikonusa.com.

1. Based on CIPA Standard. This value is achieved when attached to an FX-format digital SLR camera, with zoom set at the maximum telephoto position.
2. The camera’s built-in Bluetooth® capability can only be used to connect the camera to a compatible smart device running the SnapBridge app, and to take advantage of SnapBridge features.
3. This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera.
4. Using the SnapBridge App System Requirements:

a. Android 5.0 or later or 6.0.1 or later
b. A device with Bluetooth 4.0 or later (i.e., a device that supports Bluetooth Smart Ready/Low Energy) is required.
c. The SnapBridge app is available for compatible iPhone®, iPad® and/or iPod touch®, and for smart devices running the AndroidTM operating system. The app can be downloaded free of charge from Apple’s App Store® and GooglePlayTM. SnapBridge can be used only with compatible cameras.

-Android™ and Google Play™ are trademarks of Google Inc.
-Wi-Fi® and the Wi-Fi CERTIFIED logo are registered trademarks of the Wi-Fi Alliance. The N Mark is a trademark or registered trademark of NFC Forum, Inc. in the United States and in other countries. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon corporation and its Affiliates is under license.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
** At the maximum image size. The maximum zoom ratio varies by image size. Dynamic Fine Zoom magnification is calculated from the maximum wide-angle position of the optical zoom.

Nikon Nikkor Z 70-200 F2.8 VR S specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 70–200 mm
Image stabilization Yes
CIPA Image stabilization rating 5 stop(s)
Lens mount Nikon Z
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 21
Groups 18
Special elements / coatings ED, SR and aspherical elements + Nano Crystal and ARNEO coatings
Focus
Minimum focus 0.50 m (19.69)
Maximum magnification 0.2×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale Yes
Focus distance limiter Yes
Physical
Weight 1440 g (3.17 lb)
Diameter 89 mm (3.5)
Length 220 mm (8.66)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (internal)
Power zoom No
Filter thread 77 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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TTArtisan launches 11mm F2.8 fisheye lens for Sony E-mount systems

03 Jan

Chinese lens company TTArtisan has announced the availability of its new 11mm F2.8 fisheye lens for Sony E-mount camera systems.

The lens’ optical formula consists of 11 elements in 7 groups. It’s constructed of aluminum and brass and features an aperture range of F2.8-F16 with clicked aperture points.

It has a minimum focusing distance of 17cm, a ten-blade aperture diaphragm and weighs in at 485g. It is currently available to order for $ 215.

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Sigma 24-70mm F2.8 DG DN Art lens delayed due to unexpectedly high preorder demand

18 Dec

Sigma has announced its 24-70mm F2.8 DG DN Art lens for Sony E-mount and Leica L-mount has been delayed due to unexpected demand for the product. In a statement on its Sigma Japan website, the company explains that it is working on producing the lens, but that it will take additional time for the model to be made available.

Sigma’s latest Digital Native lens was announced in early November with plans for it to arrive through authorized dealers in the US starting in mid-November. The lens is currently listed for preorder/backorder on Adorama and B&H Photo for $ 1,099, a price that’s considerably lower than competitors’ alternatives.

That low price likely contributed to the high preorder numbers. Sigma doesn’t provide an estimated shipping date for the backordered lenses, instead asking that customers ‘remain patient’ during the delay. Interested future buyers can enter their email address on B&H Photo’s website to receive an alert when the lens is back in stock.

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Canon users are reporting front-focusing issues with the RF 70-200mm F2.8

14 Dec

Update: Canon has offered the following official response: “Canon has become aware of this phenomenon, which occurs when focusing on a close subject at 200mm,
and is preparing a firmware update that will be released as quickly as possible.”

Canon may have an issue on its hands as multiple users of its new RF 70-200mm F2.8 L IS USM lens report that it misses focus when used at the closest minimum distance. A thread on our forums as well as posts on Fred Miranda state that when used at the longer focal lengths, and with subjects at the closest focusing point, the lens focuses in front of the area under the AF point in use.

DPReview forum member pokesfan posted some tests which he says demonstrate that the lens focuses about 3cm in front of the active AF point when uses at the closest focusing distance while at the 200mm setting.

Tests carried out by users report the fault is most pronounced at the longer ends of the focal range and that it gradually reduces as the lens is brought back to the 70mm setting. More distant subjects also avoid any issues, as it seems to happen only close up.

The Canon RF 70-200mm F2.8 is said by owners to be exceptional in every other situation, but this will be something that needs attention. Forum member pokesfan says that his lens was sent to Canon to be checked and the service engineers claimed there was nothing wrong with it.

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Lensrentals teardown reveals the inside of the ‘Strong like Bull’ Canon RF 70-200mm F2.8 lens

10 Dec

Image credits: Images (and excerpts) shared with kind permission from Roger and the Lensental team.


Canon’s new RF 70-200mm lens is one of the most interesting lenses we’ve come across in recent memory—so much so we deemed it a ‘modern marvel’ in our sample gallery and crowned it the ‘Zoom Lens Winner of the Year’ award.

While we’ve shared our thoughts on the image quality and overall performance of the lens, we haven’t taken too deep a look into the construction of the lens. Thankfully, Roger and his team over at Lensrentalss have done a complete teardown of the Canon RF 70-200mm F2.8 lens to show off just what Canon has put into this compact lens that’s part of the ‘holy trinity’ in the photo world.

A look at the PCB in the rear of the lens.

To start off the teardown, Roger recounts a little anecdote wherein a Canon engineer tossed a box on his workbench and pulled out a mock-up version of the RF 70-200mm F2.8 lens. Roger admits he isn’t easily impressed, but when he laid eyes on the mockup, he said his jaw dropped and the only words to leave his mouth were ‘that’s going to sell you a lot of cameras.’ Now, a good while later, a full-functioning version of the lens was sitting on his workbench once again; and this time it wasn’t leaving without going through a little operation.

Before cracking open the lens, Roger first addresses the redesigned optics of the lens, pointing out the dual focus group design and the extending lens barrel, addressing the latter by saying:

Some of you HATE extending barrel lenses. That’s cool; don’t get one. Some of you like to call them dust pumps. That’s cool, too, although it’s incorrect. (We take care of over 20,000 lenses. The most common ‘dusters’ among current lenses all happen to be primes that don’t zoom at all.)

The breathable filter (which lets in air, but keeps out dirt and dust) around the lens barrel.

From there, it’s onto the teardown, which starts with the hinged tripod ring. He notes it’s not the most robust tripod ring he’s come across, but when attached to the camera, it’s ‘quite sturdy.’ With the tripod collar off, it was onto the front of the barrel, which came off with a few external screws. Upon looking over the front ring, Roger discovered a foam sealing between the filter barrel and front element, as well as a new breathable filter, that will allow air to pass through the front of the lens without allowing particles to get in.

The front lens element was then removed with ease, which lead to the ‘reasonably large IS unit,’ which stopped the team in their tracks and lead them to turning the lens over and tearing it down from the back.

A close-up of the ‘reasonably large’ IS unit.

The rear lens mount proved fairly standard as far as Canon’s RF lenses go. It was packed tight with the PCB and ribbon cables, as well as a few springs to add the tactile feedback to Canon’s programmable ‘Control Ring.’

Eventually, Roger hit a point where the ribbon cables looked too fragile to continue, but he and Aaron persisted and eventually removed the rear lens barrel after carefully threading each ribbon cable through the maze of pieces.

A close-up of the meticulously-placed ribbon cables and sensors.

It was at this point Roger paused to ‘salute Canon’s engineers,’ saying:

The flexes are all beautifully laid out and organized, going directly to their appointed place with no wandering about allowed. Notice how all the switches just take up one small flex; there’s not a lot of electron transfer needed to signal ‘on’ or ‘off’ compared to the amount of information that IS or focusing requires.

After composing himself, he and Aaron continued to the inner workings of the lens. Specifically, he draws attention to the elements Canon uses to secure the extending lens barrel. Roger says the Canon RF 70-200mm F2.8 ‘has about the most robust extending barrel mechanism I’ve ever seen […] There aren’t the usual three cams sliding about to move this barrel, there are three pairs of them, and each is very large and robust.’

A look at the components used to secure the extending lens barrel.

Roger and Aaron eventually strip the outer barrel of the lens and dig further into the most intricate components, including both focus assemblies and the image stabilization unit. Roger notes the focus assembly (motors and optics) will likely be replaced as a whole if any component breaks, so any issue on that front will likely prove to be an expensive fix. However, he does not that he ‘doubt it’s a part that will really ever need replacing’ as the lens ‘is SLB (Strong, Like Bull) engineering, and the area is well protected.’

The aperture diaphragm inside the Canon RF 70-200mm F2.8 lens.

In all, Roger concludes that a ‘LOT’ of engineering progress has been made in the RF 70-200mm F2.8 lens compared to the likes of the Canon EF 70-200mm F2.8 lens and the Sony 70-200mm F2.8 lens. He states clearly, ‘this lens was a new design from the ground up,’ adding:

There’s no ‘that’s the way we’ve always done it’ holdovers [compared to the iterative updates of past 70-200mm lenses]. That’s a lot more work for the designers, but the result is a beautifully engineered, fully modern lens. It’s clean, functional, and straightforward.

Roger further addresses the build quality of the lens, saying:

‘It’s obviously very robustly engineered from a mechanical standpoint. The internal composites are strong as hell. There are double cams, rods, and posts everywhere. There’s no play in any moving parts. We can’t imagine there will ever be play in the moving parts unless you run over it with a truck. You could describe it as ruggedized, but I’m going to stick with Strong, Like Bull, and suggest we refer to this as the RF-SLB 70-200mm f/2.8 from now on.

In the end, Roger summarizes the teardown with six simple (paraphrased) words: ‘This is how you do it.’

To view the full teardown in all its glory, head on over to the Lensrentalss blog.

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Tamron 35mm F2.8 and Sony 35mm F2.8 sample galleries (DPReview TV)

07 Dec

In this week’s episode of DPReview TV, Chris and Jordan did a shootout between the new Tamron 35mm F2.8 Di III OSD M1:2 lens for E-mount and Sony’s own 35mm F2.8 ZA Carl Zeiss Sonnar T* lens.

Which lens won? You can watch the video to see what they think, but check out the photos from this episode and tell us what you think!

Tamron 35mm F2.8 Di III OSD M1:2

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Sony 35mm F2.8 ZA Carl Zeiss Sonnar T*

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DPReview TV shootout: New Tamron 35mm F2.8 vs. Sony’s 35mm F2.8 ZA for E-mount

07 Dec

The new Tamron 35mm F2.8 Di III OSD M1:2 lens for E-mount has an attractive price, but how does it stack up against Sony’s own 35mm F2.8 ZA Carl Zeiss Sonnar T* lens? According to Chris and Jordan, pretty darn well. Find out what they like about this lens.

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

  • Introduction
  • Sample images
  • Size and weight
  • Sharpness
  • Chromatic aberration
  • Weather sealing
  • Autofocus speed
  • Minimum focus distance
  • Bokeh
  • Breathing
  • Flare
  • Conclusion

Want to pixel-peep? Check out the photos from this episode:

Tamron 35mm F2.8 Di III OSD M1:2

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Sony 35mm F2.8 ZA Carl Zeiss Sonnar T*

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Gear of the Year 2019 – Carey’s choice: Sigma 45mm F2.8

06 Dec
Photo: Dan Bracaglia

Sigma’s 45mm F2.8 DG DN Contemporary lens is, in many ways, not a great lens for pixel-peepers. It exhibits some fringing, it isn’t particularly sharp, and it has a pretty pedestrian maximum aperture. But I really enjoy it anyway, and it’s served as a reminder that any given lens doesn’t have to be perfect to be fun.

I first got to shoot around with the 45mm F2.8 Contemporary on a trip to Japan for the release of Sigma’s fp, their staggering 35mm F1.2 Art, and the newly designed 14-24mm F2.8 Art. No surprise, the little 45 mil was easily overshadowed by its headline-grabbing brethren. But during my time on that trip, it was glued to the a7R III I was using while traveling from one locale to another. The biggest reason for that is that the lens itself is so small.

Sigma fp | ISO 160 | 1/100 sec | F4

Small gear is unobtrusive and far less intimidating for subjects, and this definitely has an impact on the way I take pictures: namely, I take more pictures of people when I’m working with less intimidating gear. I also just tend to take pictures more often, as I’ll always have a smaller camera and lens combo slung over my shoulder, whereas larger gear is more likely to be tucked away in a bag when I’m not actively using it.

We’ve touched a bit on the Sigma 45mm’s image quality at the outset out of this article, but I’d like to backpedal a bit. The biggest ‘issue’ with it is uncorrected spherical aberration, essentially trading-off some sharpness for more attractive bokeh: a deliberate decision on Sigma’s part. And I have to admit that there’s something about its rendering that I find appealing. I also appreciate its very close minimum focus distance, which helps you get shallower depth-of-field than you might expect with an F2.8 aperture, though images get a bit hazy if you’re focusing very close with the aperture wide-open.

Sony a7R III | ISO 100 | 1/320 sec | F2.8
Taken with a pre-production lens

And then there’s the build quality. The 45mm Contemporary is not weather-sealed, which is a big disappointment; especially considering how well it pairs with Sigma’s fp, which is very well-sealed throughout. But the lens still has a premium feel, with its all-metal build. The focus ring is so perfectly damped that I fiddle with it all the time even though I’m exclusively an autofocus kinda guy, and the aperture ring has just the right amount of clickiness to it. Autofocus is very fast, and works well with the DFD technology in Panasonic’s S1-series of cameras.

There is room in the market for less ‘serious’ tools that are still excellent in actual use

I think my main grumble concerns the price. It’s currently still hovering around its launch price of $ 559 USD, which is unequivocally a lot of coin for a slow, non-weather-sealed prime lens that has, perhaps, a bit more optical ‘character’ than people may expect nowadays.

Sigma fp | ISO 100 | 1/125 | F8

On the other hand, I’m pleased that Sigma is making it. It’s a company with a portfolio chock-full of glass that was created with size and weight considerations taking a back seat to optical excellence. There is room in the market for smaller, lighter, less ‘serious’ photographic tools that are nonetheless engaging in actual use. That’s the type of tool the Sigma 45mm F2.8 is, and I hope it’s not the last lens of its type we see from Sigma.

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Articles: Digital Photography Review (dpreview.com)

 
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