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Posts Tagged ‘Lens’

CP+ 2019: We tour Panasonic’s Yamagata lens factory

09 Apr

Yamagata: a long way from Osaka

Left to Right; Kiyokazu Ishiyama, Kuniko Katagiri, Kimihiro Wakamizu, Toshiaki Takano and Takemi Oketa

The city of Tend? sits on a wide plain in the Yamagata prefecture of North Eastern Japan. It’s a city of just 61,000 people and, with snow-topped peaks visible in nearly every direction, feels even more distant from Panasonic’s headquarters in industrial Osaka than the 600km (370 miles) that actually separate them.

But this quiet spot, hemmed-in by the Iide, ?u and Asahi mountain ranges, plays an essential role in the company’s camera business, as it’s home to Panasonic’s Yamagata lens factory.

It makes other things, too, but we visited because it’s responsible for lens units for compact cameras, interchangeable lenses, and lens elements for both Panasonic and other (un-named) customers. The factory was founded in 1982 and has been making lenses since 1987, giving it 35 years of experience in the field. But, the company maintains, it’s still constantly looking for ways to improve.

All of the images in this article were supplied by Panasonic and are used with permission.

All the usual processes

Lens elements about to be coated by vapor deposition

The factory can take rough glass blanks or the raw materials for plastic elements in at one end and do all the processing and assembly needed to make a complete lens.

This sees glass elements ground and polished to shape. These elements then have their edges ground off, with careful attention given to ensuring the optical center of the lens is perfectly central within the element. The lenses are then coated, by vapor deposition, to give them the anti-reflective and water/oil resistant coating they might need, before having their edges blacked, to prevent internal reflections.

These lenses are then either installed into lens barrels (also made at the factory) or sent elsewhere. Although the factory can build a lens from start to finish, it also creates individual lens elements that are sent off to other manufacturers, both for Panasonic and other companies’ products.

Precision construction and checking

Some lenses have alignment adjusted by machine, others are fine-tuned manually

For the lenses that are made in Yamagata, the assembly process is pretty involved. The word that came up most often during my visit was the word ‘precision,’ and Panasonic is clearly proud of its ability both to assemble lenses with high precision and to measure and confirm that precision.

The example I was shown was the Panasonic Leica DG Vario-Elmar 100-400mm F4.0-6.3 ASPH Power OIS. It’s a fairly complex lens with 20 elements in five groups. The different groups are assembled and then introduced into the lens barrel.

Every group has to be made and positioned with high precision, but it’s impossible to make the entire lens with perfect precision. As a result, the lens is designed so that the groups that are most sensitive to tilt and centering (the ones that have the biggest effect on image quality) are adjustable.

Adjusting the 100-400mm F4.0-6.3

Three of the five groups that make up the 100-400mm F4.0-6.3 ASPH are adjusted during the manufacturing process

In the case of the 100-400mm, there are three groups that are designed to be adjusted.

The third group is adjusted for tilt and for centering within the barrel. With this done, the rest of the lens is assembled and spacing between groups one and two is adjusted. Finally, the first group is adjusted for tilt and centering.

The company says the lenses are designed to be centered to within 5?m, but the factory actually achieves less than 3?m. Tilt is supposed to be corrected to within 3/60th of a degree but the accuracy actually achieved is less than 1/60th of a degree.

Individual checks

Each lens is checked for any unexpected mechanical noise

Every lens is then adjusted for back-focus and tracking, then subjected to MTF measurements. Each unit is also checked to ensure its gyro sensors are correctly calibrated and that there’s nothing generating any unexpected mechanical noise.

Every single lens is checked, they say, and lenses are then picked at random for more extensive testing as part of the quality control process.

Aspherical expertise

Aspherical elements are used to offer different optical corrections at different points across its surface

But the site’s main area of expertise, and the reason other brands come to it for lenses and elements, relates to aspherical lens elements. Aspherical lenses are those whose surfaces vary in shape across their surface, such that they can’t be described by a sections of a sphere.

They’re are used to correct a phenomenon known as ‘spherical aberration,’ where rays of light passing through the edge of a lens are effectively focused at a different distance to those passing through the center of the lens. Adding aspherical lenses to a design can replace the need for multiple elements, which can help make the lens as a whole smaller, lighter, cheaper or simply better optically corrected.

The role of the die: too important to be left to chance

Aspheric lenses, whether plastic or glass, need to be re-shaped using precision dies or molds

The key to creating an aspherical lens element, whether its glass or plastic, is the ability to precisely form the complex shape of the element. And a key part of this is creating a die: the shaped tool that presses the plastic or glass into the correct shape. The precision of the shape of these dies is essential to ensure the resulting lens element has the correct optical properties.

The factory has capacity to make around 400 dies per month, working 24 hours in two shifts. These are made from very hard metal and require high pressures for shaping them.

The molds for glass elements can be used to shape between 500 and 1500 units before they need replacing. The molds for injection-molded plastics lenses will last for around 10,000 elements before it needs replacing. The company says it takes around five weeks to go from a design to having a working mold, while the molds for glass take around 8 weeks.

Expertise + experience

Even the relatively modest 14-45mm F3.5-5.6mm Micro Four Thirds kit zoom uses an aspherical element in its design (one of a pair of elements cemented together near the very right of this image)

This expertise has been developed over the company’s many years experience of making aspherics. For instance, its work making both glass and plastic lenses means this knowledge can be worked-in at the design stage.

Panasonic says having these expertise within the company is central to the development of new products: the factory communicates with the design team on a regular basis. During the product development process, the factory will recommend materials and manufacturing processes that the design team then takes into account when coming up with a final design. This sharing of knowledge ensures the products can take full advantage of what it’s possible to repeatably produce, using its molding technology, assembly and high-precision evaluation.

The factory once received a request for a very small compact camera, which required a very thin lens. The factory worked with designers and engineers to achieve a lens element with 0.3mm thickness: the thinnest aspherical lens element in the market at that time.

Process improvement

Panasonic’s expert polishers can refine the surface of a molding die from a roughness of 50nm down to 20nm

But, in addition to building up experience, Panasonic also takes the Kaizen approach to continuous process improvement: constantly looking, and looking to its staff, for ways to improve the way it works.

This focus on improvement has helped it refine the production quality of its aspherical lenses.

Press releases regularly talk about the number of aperture blades and their shape as the way of ensuring better bokeh, but all they do is define how circular the bokeh is. The smoothness of the lens elements also has a vital role to play: any imperfections in the lens surface can result in an onion-ring pattern appearing in the bokeh.

Panasonic found surface smoothness of the final lenses could be improved if the dies used to shape them are coated by vapor deposition (the same process used to coat lenses).

Meanwhile, the dies used for glass molding (which are subjected to much greater temperatures and forces), can be improved by hand-polishing. The factory’s ten trained polishers can take a die with 50nm roughness and take it to 20nm, again, improving the bokeh performance.

In perfect shape

Panasonic has developed its own machine to assess the shape of the lens to within 100nm

A machine developed in-house, known as the UA3P (Ultra accurate 3D profilometer) checks the shape: the shape of the lens can be created to within 100nm of the intended shape.

The company says that making the small, high-resolving-power lens elements for compact cameras was very valuable for developing the facilities, technologies and skills needed to build lenses for larger cameras (Micro Four Thirds and full frame). However, some of the specific challenges are different: temperature control becomes even more critical when building lenses at larger scales.

The lens has to be cooled very evenly, to ensure both its shape and the optical properties of its glass remain consistent across the element. This requires the development of a new machine with more precise temperature control.

Looking beyond lenses, and beyond Panasonic

The factory has invested in new machines to deal with the challenges of making elements for its S-series lenses

The factor I found most interesting was how it’s responding to a changing market. The factory was first established to make magnetic tape heads for video recorders: something that’s much less in demand than it was in 1982.

Now, as the camera market declines, Yamagata is looking for ways to adapt to market demand again, and has started making lens modules for automotive sensors and the complex mirrors needed to project a head-up display (HUD) image onto a car’s windscreen.

Even on the lens side, the demands of supporting Panasonic’s interchangeable lens business is very different to creating vast numbers of the complex lenses needed for its travel zoom compacts.

Not all Panasonic lenses are made at Yamagata and not all lenses made at Yamagata are for Panasonic

The move to making fewer, but more challenging lenses has prompted a lot of investment in new machinery. Where previously the factory had a few machines performing the same process thousands of times, it now has large numbers of machines designed to create fewer elements but with even higher precision. Interestingly, although the factory can manufacture most of the components for a complete lens, not all of the company’s lenses are built in Yamagata.

Having been rushed through the factory, there was one area we weren’t allowed to visit. This is essentially a mirror-image of the areas I was shown, but all working for another, unspecified client. Something to consider, next time you see the phrase ‘Made in Japan’ on a lens you weren’t expecting to see it on.

Articles: Digital Photography Review (dpreview.com)

 
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Updated Panasonic Lumix G 14-140mm F3.5-5.6 lens is splash and dust resistant

06 Apr

Panasonic has updated its versatile 14-140mm F3.5-5.6 lens, adding a degree of splash and dust resistance. The Lumix G Vario 14-140mm F3.5-5.6 II ASPH Power OIS, which is equivalent to 28-280mm on a Micro Four Thirds body, has the same optics as its predecessor, with 14 elements, a seven-blade aperture and 240 fps AF control. The lens is remarkably compact given its focal range, with a length of 75mm (2.95″) and weight of 265g (9.4 oz).

The new 14-140mm F3.5-5.6 II will ship in May for $ 599.

Press Release

The LUMIX G 14-140mm* Telephoto Zoom Lens for Micro Four Thirds System Undergoes Update

LUMIX G VARIO 14-140mm* / F3.5-5.6 II ASPH. / POWER O.I.S. (H-FSA14140)
Featuring a Splash/Dust-Resistant Rugged Design
*35mm camera equivalent: 28-280mm

Newark, NJ (April 5, 2019) – Panasonic announced today that it has updated the LUMIX G telephoto zoom lens based on the Micro Four Thirds system standard. In addition to the versatile zoom range from wide-angle to telephoto, the new LUMIX G VARIO 14-140mm / F3.5-5.6 II ASPH. / POWER O.I.S. (H-FSA14140) features a splash/dust-resistant* construction for heavy field use yet retains its stylishly compact profile remains lightweight.

The Practical zoom range of 14-140mm (35mm camera equivalent: 28-280mm) suits a wide range of shooting situations. It can capture dynamic landscapes, bring subjects up close, or shoot impressive portraits with beautifully defocused backgrounds.

Comprised of 14 elements in 12 groups, the lens system features three aspherical lenses and two ED (Extra-low Dispersion) lenses to achieve dramatic downsizing of the powerful 10x optical zoom lens, while minimizing distortion and chromatic aberration.

The POWER O.I.S. (Optical Image Stabilizer) effectively compensates for not only small, fast movements, but also large, slow movements, making it easy to shoot super clear shots even in low-lit situations at nighttime or indoors.

Incorporating an inner focus drive system and stepping motor, the new LUMIX G VARIO 14-140mm / F3.5-5.6 II ASPH. / POWER O.I.S. is capable of smooth, silent operation to work with the camera’s high-speed, high-precision contrast AF system for both photo and video recording. It is also compatible with the sensor drive at max.240 fps to take maximum advantage of cameras with high-speed AF.

The LUMIX G VARIO 14-140mm / F3.5-5.6 II ASPH. / POWER O.I.S. (H-FSA14140) is built with a highly reliable metal mount, and uses multi-coated lens elements that minimize ghosts and flare. Seven blades give the aperture a rounded shape that produces an attractively smooth defocus effect in out-of-focus areas when shooting at larger aperture settings.

* Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to direct contact with dust and water.

* Design and specifications are subject to change without notice.

The LUMIX G VARIO 14-140mm will be available at valued channel partners in May for $ 599.99.

Panasonic Lumix G Vario 14-140mm F3.5-5.6 II ASPH Power OIS specifications

Principal specifications
Lens type Zoom lens
Max Format size FourThirds
Focal length 14–140 mm
Image stabilization Yes
Lens mount Micro Four Thirds
Aperture
Maximum aperture F3.5–5.6
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 7
Optics
Elements 14
Groups 12
Special elements / coatings 2 ED, 3 aspherical elements
Focus
Minimum focus 0.30 m (11.81)
Maximum magnification 0.5×
Autofocus Yes
Motor type Stepper motor
Full time manual No
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 265 g (0.58 lb)
Diameter 67 mm (2.64)
Length 75 mm (2.95)
Sealing Yes
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 58 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Leica releases firmware updates for its SL, CL cameras to add L-Mount lens support

05 Apr

Leica has released new firmware updates for its SL (Typ 601) and CL cameras to add compatibility with current and future L-Mount lenses from Leica and other L-Mount Alliance partners, Panasonic and Sigma.

Aside from the vague description that current and future lenses will be supported in this update, no other information is given.

Firmware version 3.5 for the Leica SL and instructions on how to install it can be found here, while firmware version 2.2 for the Leica CL and instructions on how to install it can be found here.

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics adds Micro Four Thirds version of its 9mm F2.8 Zero-D lens

05 Apr

Venus Optics has announced the release of a new Micro Four Thirds variant of its Laowa 9mm F2.8 Zero-D lens, adding yet another mount to the Fuji X, Sony E, Canon EF-M and DJI DL versions.

The 9mm F2.8 Zero-D lens features nearly identical specifications and optical performance as the existing versions, with a few notable differences. Its optical construction remains the same with 15 elements in 10 groups, including two aspherical elements and three extra-low dispersion elements, and it features the same seven-blade aperture diaphragm.

Despite the same optical design, the lens features a 100-degree angle of view, differing 13 degrees from the 113-degree angle of view on the aforementioned APS-C mounts. The Micro Four Thirds version is also slimmed down a bit, measuring in at 6cm / 2.36in long, 5.3cm / 2.09in in diameter and just 210g / 0.46lbs.

Below are three sample photos provided by Venus Optics:

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The Laowa 9mm F2.8 Zero-D MFT mount lens available for pre-order at B&H for $ 499.

Articles: Digital Photography Review (dpreview.com)

 
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Adobe adds new lens, camera support to Adobe Camera Raw, Lightroom in April updates

05 Apr

In addition to its updates to After Effects and Premiere Pro, Adobe has also updated Adobe Camera Raw, Lightroom CC and Lightroom Classic with updated lens profiles and additional camera support.

Adobe Camera Raw version 11.2.1, Lightroom version 2.2.1 and Lightroom Classic version 8.2.1 adds lens profile support for the following lens and its adapter combinations:

• Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR
• Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 1.4x
• Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 1.7x
• Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 2.0x

On the camera body front, Adobe has added support for the following camera systems:

• Canon EOS RP
• Panasonic LUMIX DC-FZ1000M2 (DC-FZ10002)
• Panasonic LUMIX DC-S1
• Panasonic LUMIX DC-S1R
• Panasonic LUMIX DC-ZS80 (DC-TZ95, DC-TZ96, DC-TZ97)

The latest updates can be downloaded directly from Adobe’s Creative Cloud desktop app for users with the compatible plans. If you don’t have the Creative Cloud Desktop app, you can download it from Adobe’s Creative Cloud website.

Articles: Digital Photography Review (dpreview.com)

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

03 Apr

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

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

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

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

Build quality and ergonomics

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

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

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

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

Focus speed and accuracy

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

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

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

Sharpness and Image Quality

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

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

Canon vs Tamron 24-70mm f/2.8

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

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

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

Conclusion

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

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


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Prism Lens FX launches three lens filters with built-in prism and flare effects

02 Apr

Prism Lens FX has launched a new line of lens filters that have built-in prism effects. The Variable Prism Filters are being sold as a three-filter bundle and individually with three different filter options: Prism, Chromatic Flare, and Split Glass. Each product is offered as a 77mm rotating filter alongside an optional 82mm to 77mm step down ring.

The Variable Prism Filters offer unique effects without the need to hold items in front of the lens. All three products are recommended for use with 50mm or greater telephoto lenses and a 1.4 / 2 / 2.8 aperture. The Prism filter is designed to add bokeh and flares to images, while the Chromatic Flare filter adds streak / anamorphic flares and the Split filter adds fractal / light leak effects. Below is a gallery of sample images captured with the filters:

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Preorders are now available with each filter priced at $ 75 and the three-filter bundle at $ 195. Shipments are expected to start in mid to late April.

Articles: Digital Photography Review (dpreview.com)

 
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Video: This $100 projector lens has beautiful bokeh and is perfect for portraits

02 Apr

Photographer and YouTuber Mathieu Stern is no stranger to finding and adapting unusual lenses, but his latest find might just be the best projector lens he’s ever come across.

The Isco MC 65mm F2 lens, which can be found for around $ 100 on eBay, is an old projector lens that was used for 35m cinema projectors. As with most previous projector lenses Stern has adapted, there was no official way to adapt it to a modern lens mount. So, Stern got creative and used a little bit of rubber from a bike inner tube along with the barrel of an Helios 44 lens to create a worthwhile body for the adapted lens. From there, Stern used a proper adapter to give the lens infinity focus and it was ready to roll.

Surprisingly, the lens produces impressive results in both photos and video, despite its limitation of being permanently stuck at F2 due to the lack of an aperture diaphragm. In the center, it appears to be sharp, but it does get soft quickly towards the edges. Colors render beautifully and the bokeh looks both distinct and pleasing.

Sure, it might not have the best resolution, but it certainly has a distinct look and considering it only costs $ 100, a few spare parts and a little elbow grease, it’s relatively cheap. To see more unusual lenses from Stern’s collection, head over to his Weird Lenses Museum.

Articles: Digital Photography Review (dpreview.com)

 
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Video: a teardown of OPPO’s periscope-style smartphone telephoto lens

29 Mar

Periscope-style tele lenses are the latest big thing in mobile photography as they allow to squeeze longer zoom factors than before into the thin bodies of high-end smartphones. Huawei just launched the P30 Pro with a 5x optical tele and OPPO’s Reno device with a similar setup is set to launch on April 10, 2019.

Despite still being more than a week away from the official launch date, a video has surfaced on the Chinese social media site Weibo, showing a teardown of the Reno’s rear camera, including the innovative tele lens, and it’s fascinating to see how much technology and optical engineering can fit into such a tiny module.

The periscope camera only measures 23.5 x 11.5 x 5.73mm, making it thin enough to fit into phones without the need for a big camera hump. It also doesn’t take up much space in the body overall and therefore does not get into the way of other components.

A close-up of the periscope-style camera array on the Huawei P30 Pro.

The module consists of the image sensor, lenses and the prism that diverts the incoming light into the lens and onto the sensor. Optical image stabilization is achieved through a magnetic coil that moved the prism. Optical image stabilization is also available on the camera’s primary wide-angle and image data captured by the two cameras can be combined to generate a 10x hybrid-zoom image.

We also already know that at least one version of the Reno will be powered by Qualcomm’s top-end chipset Snapdragon 855-powered and come with a 6.4-inch AMOLED display with 2340 x 1080 pixel resolution. So, overall the upcoming OPPO looks like it could be a real competitor to the P30 Pro.

Articles: Digital Photography Review (dpreview.com)

 
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Sony FE 135mm F/1.8 GM Lens Review

29 Mar

The post Sony FE 135mm F/1.8 GM Lens Review appeared first on Digital Photography School. It was authored by Anabel DFlux.

Sony is here to turn your photography world upside down with its absolutely incredible technology and equipment. A name that is now leading much of the industry, Sony’s G-Master series of lenses have become big contenders in the photography game. As such, Sony has released approximately 30 G-Master lenses for their full-frame cameras. The newest addition to the collection is the Sony FE 135mm F/1.8 GM lens, which is now arguably the sharpest lens in the collection! I had the pleasure of testing this lens out fully at the Wedding and Portrait Photographers International (WPPI) show in Las Vegas late last month before the lens is even released to the public.

1 - Sony FE 135mm F/1.8 GM Lens Review

Image courtesy of Sony

To get the basics out of the way, the Sony FE 135mm F/1.8 GM is intended for full-frame cameras and is only mountable on the E-mount cameras. This lens has similar specifications to the other lenses in the G-Master line such as the Sony patented XD linear motor, Super ED glass, and Sony Nano AR (all of which we will get into later).

My primary experience with this lens was taking it for a test run at the WPPI convention in Las Vegas at the end of February and it was a pleasure to try it out before the general public.

Lens build

Upon first glance, I was immediately smitten with the aesthetic of this lens. Clean, sharp, and a beautiful black – this lens looks phenomenal (as even noted by a few of my photography clients). This lens measures at about 3 5/8th inches long and 5 inches tall, and is a very decent and comfortable size for its focal length – even when held by someone like me (small hands, yikes). The lens isn’t very heavy either, clocking in at only 33 ounces (2 pounds).

For a master telephoto lens, this one is quite easy to take on travels! Comprised of magnesium alloy, the lens is lightweight yet durable. The build feels incredibly solid, and I would not hesitate to bring it to difficult or uncomfortable shooting situations such as live concerts or the beach on a windy day. The lens is rather wide, which may be a downside to some, however, you must keep physics in mind. The lens must be wide to accommodate the F/1.8 aperture.

2 - Sony FE 135mm F/1.8 GM Lens Review

Image courtesy of Sony

The Sony FE 135mm F/1.8 GM features excellent weather sealing to help prevent wind, rain, dust, and dirt from entering important mechanical components. Alongside this, the lens is touted to be dust and moisture resistant. The lens glass has a pretty impressive build in its own right too. The glass has a fluorine coating on it to resist fingerprints, dust, water, oil, and other contaminants. If these do end up on the lens, cleaning is easy. That said, I do still suggest purchasing a glass filter – being resistant to fingerprints is not beneficial to dropping or a significant bump!

Aperture ring & additional lens features

3 - Sony FE 135mm F/1.8 GM Lens Review

Image courtesy of Sony

All of the buttons on this lens made me a very happy photographer. Designed with professionals in mind, this lens features manual buttons and features such as the aperture ring, an aperture ring silencer, the focus range limiter switch, custom focus hold buttons, and an AF to MF finger switch.

As an avid Canon DSLR and EF lens user who had recently added a Sony mirrorless to the collection, the aperture ring was something a bit new to me. Intended to be beneficial during cinema work, instead of adjusting the aperture on the camera body, you have the option of adjusting its width on the lens. This ring can be adjusted to either be silent or make little clicks to indicate it is turning – very useful for silent shooting. For those that prefer to adjust the aperture on the camera body itself, you can set the dial ring to ‘A’ for automatic.

The focus ring features Linear Response MF, which gives you instantaneous and sensitive response (a big bonus if you’re brave enough to use manual focus to capture something that moves)!

A nice added feature to the Sony GM 135mm F/1.8 is the focus range limiter switch which restricts the range of distance your lens can focus. I use this feature myself when I photograph dog agility shows to ensure the lens doesn’t focus on any obstacles near me but remains locked on a running dog that is far away.

Alongside this, the lens also has customizable focus hold buttons on the side and top which let you control focus via buttons on the lens rather than just the camera. Extremely useful in low light situations where lenses tend to naturally ‘hunt’ for focus.

Focus

4 - Sony FE 135mm F/1.8 GM Lens Review

Where the Sony line particularly shines in the mirrorless game (if not the camera game as a whole) is in its Autofocus. For many of their mirrorless cameras, advanced algorithms provide high AF precision, and infrared technology allows autofocus to be achieved even in extremely low or difficult lighting situations. As well, various autofocus features such as “Eye Tracking” makes these kits superb pieces of machinery. Pair this with the autofocus of the lens, and you have a masterpiece.

This lens has two unique actuators called Extreme Dynamic (XD) Linear motors. These motors not only silence the autofocus but also allow the lens to focus significantly faster than many other motors.

5 - Sony FE 135mm F/1.8 GM Lens Review

The autofocus is speedy and constant. I can attest to this as a sports photographer. When continuous autofocus is enabled in the camera, the lens holds onto the subject of your choosing like its life depends on it. The lens won’t hunt very much (if at all) and can keep following even a spontaneously and erratically moving subject.

When I took this lens out for a spin at WPPI, I can attest that the focus was incredibly fast and sharp, and was able to follow a human subject throughout the entire range of movement, regardless of the obstacles in front or behind. Even when the subject walked into a crowd of people, the lens was able to figure out who I was photographing.

Sharpness

The sharpest lens in the G-Master lineup. Hands down. A bold statement, but I stand by it!

For most lenses, they are only very sharp in the center. Sony GM 135mm F/1.8 is sharp everywhere. From the corners to the center, allowing you the versatility of any composition under the sun.

6 - Sony FE 135mm F/1.8 GM Lens Review

The sharpness is also very consistent from shot to shot. I have had many instances in which I capture a sequence in a portrait and only the first or second shot is very sharp and the rest drop off a bit. Of course, to most photo viewers, this discrepancy isn’t very noticeable. However, the photographer’s eye can see it glaringly.

Another big bonus is that this lens does not have a vignette, which can be a common problem with wide apertures.

There is absolutely no reason to add sharpening in post-processing either.

The clarity and colors this lens produces are impressive. I found the images required significantly less retouching too.

Depth of Field

7 - Sony FE 135mm F/1.8 GM Lens Review

Image courtesy of Sony

“Wide aperture” is my favorite phrase to hear. Truly. My photographic aesthetic dwells heavily on shallow depth of field. With my work as a concert photographer, the low light capability brought forth by wide apertures is a must-have. The F/1.8 aperture of this lens is terrific (although my obsession with my Canon 50mm F/1.2 L lens makes me wish this lens was an F/1.2). Even if you’re not one to shoot shallow, my rule of thumb is to always invest in lenses with a lower aperture number, so you have the option to shoot at all ranges.

The bokeh produced by this model is right on par with Sony’s unique look to out of focus areas. This is thanks to the unique lens build. To start, the XA element in the glass is developed using an exclusive glass molding process which makes it smoother than conventional aspherical lenses. Conventional lenses are rougher, which can cause rings to appear on your shallow depth of field (a pain to Photoshop out, though Gaussian Blur can do the trick if you mask it right). Secondly, Sony’s camera system aids in creating effortless-looking subject isolation. Third and final, the 11 circular aperture blades inside of the lens create a circular bokeh that maintains its shape no matter what.

8 - Sony FE 135mm F/1.8 GM Lens Review

Image courtesy of Sony

I find the depth of field (DOF) looks more dreamy and a bit artificial from other similar lenses, but it has an authenticity and liveliness to it. The shallow DOF has a subtle, calmer rotation that creates a very natural look to the images (or in the least, as natural as this shallow of a field can be).

Pair that with the fact that this lens has a focal length of 135mm and you have some great subject separation. There is a typically unmentioned benefit to telephotos used for portraits. Because of the length of this lens, there is a nice separation of subject from the background and foreground. This happens because of the compression inside the lens.

Flare resistance

As someone who photographs live concerts often, I find that flare resistance is an important factor in deciding whether to purchase a lens or not. Although some prefer the stylistic look, many of my music clients don’t want an image that is heavily washed out by colored light and lacks contrast. Flare resistance tends to stem from the glass coating of lenses, and some are better resistant than others.

9 - Sony FE 135mm F/1.8 GM Lens Review

Lucky for all of us, Sony’s patented Nano AR Coating is applied to reduce flare. Most of the time you can just shoot directly into the sun and you will neither have problems with a huge loss of contrast nor ghosting. This is brilliant for natural light photographers, especially during the beloved golden hour.

As previously mentioned, my primary experience with this lens was at the WPPI convention. Despite the lighting conditions being very difficult in the convention center, this lens outperformed many of the other lenses that I had tested on the same week- notably the flare resistance and overall quality. There was no real issue with the glaring back lights on any subject I had photographed.

Chromatic aberration

Chromatic aberration, also known as ‘color fringing’ or ‘purple fringing,’ is a common optical problem that occurs when a lens is either unable to bring all wavelengths of color to the same focal plane, or when wavelengths of color are focused at different positions in the focal plane. This issue plagues fast lenses the most, as the shallow depth of field tends to bring the optical problem forth. With this lens being an F/1.8, many are concerned about fringing issues in backlit portraits (when the light source is behind the subject).

10 - Sony FE 135mm F/1.8 GM Lens Review

Sony’s Super ED element reduces chromatic aberration. Some aberration does exist – it isn’t foolproof – but luckily this issue tends only to affect the off-center portions of the frame. They are very minor in comparison to similar lenses and is easy to remove in post-processing programs such as Lightroom or Photoshop.

In comparison to my other Sony lenses, this one has the least chromatic aberration (as I found my 85mm was plagued with it, unfortunately). However, the Canon L lenses I have seem to have significantly less chromatic aberration all around.

Pros and Cons of the Sony FE 135mm F/1.8 GM Lens

11 - Sony FE 135mm F/1.8 GM Lens Review

Pros:

  • Wide aperture at F/1.8.
  • Professional lens build.
  • Lighter than most alternatives.
  • Very accurate autofocus, especially paired with the mirrorless autofocus system.
  • Sharp throughout the entire frame, not just the center.
  • Silent autofocus due to the XD linear motor.
  • Convenient features physically built into the lens, such as the aperture ring, an aperture ring silencer, the focus range limiter switch, custom focus hold buttons, and an AF to MF finger switch.
  • Weather sealing and dust resistance.
  • Flaring and ghosting resistance Sony Nano AR coating on the glass.
  • Reduced chromatic aberration due to Super ED element.

Cons:

  • Pricey investment.
  • The lens is quite wide in physical build. Understandable for the wide aperture.  

Conclusion

This lens is a bit of a hefty financial investment, clocking in at about $ 1,900. However, considering the build quality, features, and incredible final output, I’d consider the value of this lens to be worth its asking price. I am also predicting that the lens will not depreciate much overtime.

12 - Sony FE 135mm F/1.8 GM Lens Review

In conclusion, this lens is a stunner in its own right. For those that find a use for the 135mm (like myself), I’d go as far as to say this may be a must-have on the mirrorless list.

We had a fun jest at the WPPI show stating that you can just purchase the 24mm G-Master, 85mm G-Master, and this 135mm G-Master lens and that’s all you need for your kit! Arguably the absolute sharpest lens in the lineup, the 135mm is worth every penny for the immense amount of features included in this great lens.

The post Sony FE 135mm F/1.8 GM Lens Review appeared first on Digital Photography School. It was authored by Anabel DFlux.


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