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Photokina 2018: Sony interview – ‘I don’t care about competitors, I care about customers’

19 Oct

Kenji Tanaka, VP and Senior General Manager of Sony’s Business Unit 1, Digital Imaging Group, pictured at the Photokina trade show in Cologne, Germany last month.

At last month’s Photokina trade show in Cologne, Germany we made time to speak to senior executives from several major manufacturers, including Sony. In a broad-ranging conversation, Kenji Tanaka talked to us about competition in the full-frame mirrorless market, the value of APS-C, and future plans for the a7S lineup.

Is there a customer group that you feel you could reach more effectively?

There are many customers in the field of photography, and we want to create products for all of them. Recently, we launched products for sports photographers. That’s just one example. One by one, we want to expand.

What is Sony doing that’s unique?

We are the world’s largest manufacturer of image sensors, and have developed many unique sensors. Looking at the Alpha 9, the stacked CMOS sensor is a good example of both a unique and innovative product. These kinds of things are a strength compared to our competitors.

But the stacked image sensor in the Alpha 9 is kind of like the engine in a formula 1 car. If you only had the engine, the car wouldn’t work. You also need good tires, a good chassis, and a good driver to control the machine.

Our vision is […] to expand the market

How do new competitive full-frame mirrorless cameras affect your planning?

I welcome the shift in the market. Our vision is not to move the customer [from DSLR to mirrorless], it is to expand the market.

I don’t know what the impact of [Canon and Nikon entering the full-frame mirrrorless market] will be but we remain focused on creating new customers. That is our priority. Honestly speaking, I don’t care about competitors, I care about the customers. If customers need more functionality, or more quality, we’ll try to do it.

The Sony a7 III is a high-performance full-frame mirrorless interchangeable lens camera aimed at enthusiast photographers and videographers. According to Mr Tanaka, Sony is more interested in expanding the market than in responding to what his competitors are doing.

Is there anything that surprised you about the announcements from your competitors?

No, not really. I already predicted that Canon and Nikon would join the market, and even Panasonic. It wasn’t a surprise to me. But thinking about innovation in cameras, every company should join the mirrorless market, as this is where there is the most opportunity to innovate.

There are five fundamentals to mirrorless – lens, image quality, speed, battery life – some of our competitors especially struggle with that one – and compactness and light weight. These are areas that everyone is trying to improve, but right now I think Sony is in a good position.

Do you see any customer demand for sensors larger than full frame?

Right now there are a lot of things still to do with full-frame sensors, so at the moment I don’t have any ideas about starting work on new larger imaging sensors.

Sony’s 24mm F1.4 G Master is an impressively compact, but stunningly sharp full-frame wideangle prime lens. On Sony’s APS-C cameras, it offers an equivalent focal length of 36mm.

We’ve been enjoying using your 24mm F1.4 G Master lens. Do you have plans to create more, smaller, lenses in this lineup?

Of course, yes. Some customers want small size as well as high quality, so that’s one of our targets.

Do you have any plans to release new APS-C lenses?

Yes, APS-C is a big market for us. Recently most of our new lenses have been full frame, but APS-C remains a key target.

What are the advantages of APS-C?

Mobility, and ease of use.

The APS-C market is very important for us, […] but we need to ask customers what kind of models they want.

What is your long-term strategy for APS-C and will we ever see another NEX-7 equivalent camera with dual dials ?

We have to get customer feedback. The dual dial on the NEX-7, some customers appreciated it, but some customers didn’t. The APS-C market is very important for us, so we will create new models in the APS-C market, but we need to ask customers what kind of models they want.

Do you think APS-C could be a professional format for Sony in the future?

Professionals have many cameras. Of course, full-frame is usually their main camera, but for a long time, they’ve also used APS-C as their second camera, so of course, APS-C cameras for professional use must exist.

Will we ever see another ‘professional’ APS-C camera from Sony, in the mold of the erstwhile NEX-7? According to Mr Tanaka, the strengths of APS-C are size and weight, and ease of use. But professionals do use APS-C cameras as ‘second’ bodies.

Do you have a different design approach for APS-C and full-frame lenses?

No. Our strategy is unique – one single mount. For example, future APS-C customers might use our G-Master 24mm F1.4. So our lens design should be consistent for all types of models.

Do a lot of your APS-C customers buy full-frame lenses?

Yes.

Some Sony shooters tell us they want improved weather-sealing. Is that something that you’re working on?

Yes, of course. We’ve heard from many customers. We’re trying.

Someday the a7 III will come down in price and it’ll be easy to buy for anybody

Do you think the price of full-frame mirrorless cameras needs to come down, to make them more accessible?

I can’t speak about pricing strategy, but if we want to increase the number of customers, of course some will accept cameras in the $ 2000-3000 range, but others won’t. Recently, our a7 II was priced at around $ 1000. So I think our customers are pleased with our wide price range in full-frame.

Someday the a7 III will come down in price and it’ll be easy to buy for anybody. A lot of customers want the a7 III, but it will take time.

Why is Sony sticking to SD memory cards?

Memory card performance is related to image processing speed. Right now, processing speed is slower than SD UHS-II, so using SD is OK. But in the future, for example in any camera with 8K/30p video, SD won’t be enough. But for right now, SD is OK. Recently we announced SD ‘tough’ cards, for professionals that need more durability.

Why do your cameras use two card slots?

There are a lot of use cases for dual card slots. For example using one card as backup, or one for JPEG and one for Raw. Dual card slots are very useful to the customer, we think. Some customers are OK with just one card, but from our research we think that many people will want two slots.

The Sony E-mount is ‘open’, to the extent that other lens manufacturers can apply to use the standard. Sigma’s 70mm F2.8 Macro is one of a growing range of lenses from third-party manufacturers that are available in FE mount-compatible versions.

How important are third-party lens manufacturers to your long-term growth?

As you know, the E mount is an open mount. And of course competition will happen. If the customer can choose between many high quality lenses, that is a good thing.

Can you describe your relationship with third-party lens manufacturers?

We have a contract, and if a lens manufacturer wants to create an E-mount lens, they apply to Sony. Then we disclose the specification to that manufacturer. Sony does not approve lens designs, we just disclose the mount specification.

We’re planning a future a7S model right now, but it will take time.

4K is becoming a standard across all categories now, and the a7S II is getting rather old. Are you still interested in this market segment?

Of course, yes. Our a7S II customers want to create many things, and to meet their demands we are thinking about creating a successor model. But the next model should of course be more than they expect. So we’re planning a future S model right now, but it will take time.

What do your existing a7S II customers want to see improved?

They want 4K/60p, 4:2:2 10-bit, and of course more battery power, increased AF accuracy – many things!

The Sony a7S II is aimed at videographers, but in the three years since its release, its capabilities have in some respects been superseded by more conventional a7-series cameras, and the a9. According to Mr Tanaka, an a7S III is on its way, possibly offering 4K/60p, but ‘it will take time’.

Do you think it’s necessary for the a7S II successor to be a hybrid camera, or could it be a dedicated video model?

In my personal experience, the a7S II is a good stills camera. The pixels are very large, so the dynamic range is very wide. There is demand for still camera features I think.

You’ve said that artificial intelligence will play more of a role in future Sony cameras. Can you elaborate on that?

I can’t give you an exact answer, but we feel that AI is useful for many customers. Currently we’re planning upgrades to existing models, and of course future models that will contain new AI features.

Cameras should support creators. Focusing on eyes or focusing on other shapes is a very complex action. Photographers just want to think about composition, or capturing a moment. So I want to remove the need for focus manipulation, or other manipulation. When it comes to autofocus, Sony is very dedicated to developing AI.

Editor’s note: Barnaby Britton

Our meeting with Mr Tanaka last month followed Canon and Nikon’s long-awaited entry into the full-frame mirrorless market, after five years during which Sony effectively had the field to itself. When I spoke to him in Japan earlier this year, Mr Tanaka predicted that both companies would make the leap before the end of the year, and it doesn’t sound like he was surprised to see Panasonic joining in, too. Either way, in his own words, ‘I don’t care about competitors, I care about the customers’.

The a7 III isn’t going to become a poor camera once a future Mark IV version comes out

That should be encouraging news for users of Sony’s well-established a7-series and a9 cameras, who might be justifiably interested in what Canon, Nikon and Panasonic have to offer in the coming years. Also encouraging, for consumers willing to wait a couple of years before buying into new technologies, it seems that Sony will continue its strategy of keeping older models on the market at reduced prices. The last-generation a7 II is a bargain right now, and the a7 III isn’t going to become a poor camera once a future Mark IV version comes out, even if future AI-assisted cameras make photography even easier than it is now.

Speaking of AI, this particular comment is highly significant and worth quoting again in its entirety:

“Cameras should support creators. Focusing on eyes or focusing on other shapes is a very complex action. Photographers just want to think about composition, or capturing a moment. So I want to remove the need for focus manipulation, or other manipulation. When it comes to autofocus, Sony is very dedicated to developing AI“.

Mr Tanaka also had good news for fans of APS-C camera users, and users of the video-oriented a7S II. On the APS-C side, he admits that full-frame has been a major focus recently, but ” APS-C cameras for professional use must exist” and “APS-C remains a key target”.

Mr Tanaka’s list of customer requests serves as a strong hint at features that could make it into an a7S III

The a7S II is a highly specialized camera, intended to satisfy the needs of enthusiast and professional videographers. It’s been due for an upgrade for a little while, and Mr Tanaka’s list of customer requests serves as a strong hint at features that could make it into a Mark III version. Perhaps at next year’s NAB show in spring? Here’s hoping.

Articles: Digital Photography Review (dpreview.com)

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Sony users are reporting issue using 128GB SanDisk Extreme SD cards with a7 III

18 Oct

According to multiple users on the Sony Alpha subreddit, Sony’s a7 III camera is having issues with a particular SanDisk SD card.

Reddit user “shadyashell” originally made a post regarding an issue they were having with their Sony a7 III camera and SanDisk Extreme Pro 128GB SDXC UHS-I Card (Class 3) memory card. In the text of the post, they wrote:

“Everytime I insert the card into slot 1 [I get] the error message ‘Unable to read memory card. Reinsert memory card. Slot 1’ appears. I’ve reset the camera multiple times, formatted the card both on slot 2 and my laptop. Any advice on solving this issue?”

Not long after posting, other Reddit users chimed in and echoed that they too had experienced an issue. Reddit user ‘iamtridluu3’ said “I’m having the same issue. All six cards. Identical 128gb Extreme Pro. I could use it in slot 2 fine. Just slot 1 of both my a7 III and all six cards. Something is wrong with these cards.”

Reddit user ‘dany74m’ claims to have contacted Sony and been told that “[Sony] officially recognize[s] the problem” and “the camera or the card are not defective [it’s] just an incompatibility with the SD extreme V.30 128GB.” Reddit user ‘dany74m’ added “[Sony] said they are aware and they are working to fix the issue with a firmware update in few weeks.”

DPReview contacted Sony regarding the issue. A spokesperson for the company kept it short and vague, saying “our team is currently investigating the claims.” We will update this article if any new information becomes available.

Articles: Digital Photography Review (dpreview.com)

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Thoughts and Field Test: Sigma 50mm f/1.4 for Sony E-Mount

17 Oct

Sigma recently announced nine prime lenses coming to their Art lens lineup for Sony E-mount shooters. We got to test out the new Sigma 50mm f/1.4 DG HSM Art Lens for Sony E-mount mirrorless cameras, an update to the previous Sigma 50mm f/1.4 released in 2014. Here’s what we thought.

What’s in the Box

Like all Sigma lenses, this one comes packed in its own zippered carrying case. It also comes with front and end caps and a lens hood. It’s ready to use right away, although you may want to buy a 77mm UV filter to protect it while in use.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Specs

This E-mount lens is designed for full-frame format Sony mirrorless cameras. However, it can also be used with APS-C models (although it will slightly crop the resulting image).

The lens has an aperture range of f/1.4 to f/16. When shooting at the maximum aperture of f/1.4, it produces a shallow depth of field with smooth bokeh, making it great for portraiture.

The Sigma 50mm f/1.4 Art lens is made for several camera mounts including Nikon and Canon DSLRs, Sony A-mounts and Sony E-mounts. This lens we tested was made for Sony E-mounts and used with a Sony a7R III.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Look and Feel

Sigma designates this lens as part of its Art series, which means it’s designed for high optical performance in a range of shooting environments.

Off the bat, the lens has a high-quality look and feel to it. Comprised mostly of metal, this lens is big and bulky. While that may be great for those with bigger hands, having a big and heavy lens that only covers a single range may be an issue for some.

Autofocus Performance

This lens worked so flawlessly with the Sony a7R III that it felt like a native lens. With a clear, contrasting point the autofocus is fast and responsive. Sometimes the lens was slower to focus in low light scenarios, but never in such a way that made it unusable. If you need to focus manually, simply flip the switch from AF to MF and use the large focusing ring near the front of the lens.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Image Quality

Images captured with this lens are crisp with excellent, well-saturated colors. Even when shooting wide open at f/1.4, photo subjects are sharp with buttery-smooth bokeh in the background. There isn’t a lot of vignetting either.

The lens appeared to hit critical sharpness at f/8, although shooting at f/2 provides a nice balance of image sharpness and bokeh.

If all third-party lens mounts worked this flawlessly, I doubt photographers would even bother using lens adapters.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

What About the Sigma MC-11?

If you’ve recently switched from a DSLR to the Sony mirrorless, you’re probably familiar with the Sigma MC-11 lens adapter. It’s a popular way to use existing DSLR lenses (i.e. the Canon 50mm f/1.4) on Sony cameras. But while the MC-11 has been popular, Sigma is pushing for photographers to adopt native lenses for their camera mounts, including Sigma’s lens options.

Why go for a native mount?

You can tune the lens to work with each focal length you’re shooting at.
Focus hunting is minimized.
Better autofocus including continuous AF, eye AF and face recognition.
Native mounts work better for video AF.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Why This Lens May Not Be for You

Overall, the Sigma 50mm f/1.4 DG HSM Art lens is a winner when it comes to build and image quality. But here are two reasons why it may not work for you.

Expensive

Firstly, there’s the price. At $ 949 this is an expensive 50mm lens. By comparison you could get a Sony FE 50mm f/1.8 for $ 248 or a Sony FE 50mm f/2.8 macro for $ 498. But fast Sony Zeiss 50mm lenses always come at a high price. The Sony Planar T FE 50mm f/1.4 costs $ 1,498, while the Sony Zeiss 55 f/1.8 is priced at $ 998.

So depending on your needs, you may need to budget quite a bit of money for a fast Sony prime lens. But if you’re in the market for a basic nifty fifty, there are much cheaper options.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Large

Secondly, there’s its size and weight. At 1.8 lbs it’s large and bulky, comparable in size to the Sony 24-240mm and the Canon 24-70mm f/2.8. By comparison, the Sony Zeiss 55mm f/1.8 is only 0.62 lbs and is more compact and portable.

If you’re looking for a compact prime lens that’s easy to travel with, this Sigma lens probably isn’t your best bet.

Sigma 50mm f/1.4 Art Lens for Sony E-Mount

Lens size comparison. From left to right: Sigma 50mm f/1.4 Art, Sony 24-240mm, Sony 24-70mm f/4, Sony 55mm f/1.8

In Conclusion

For photographers set on having a fast 50mm prime lens, the Sigma 50mm f/1.4 Art lens is a great choice. It’s smaller and more reasonably priced than the Sony 50mm f/1.4 lens, and produces crisp and beautiful images.

However, photographers with a smaller budget, or who want to carry smaller lenses, may want to consider other 50mm options at lower price points in more compact packages.

Sigma 50mm f/1.4 Art lens at f/11

Sigma 50mm f/1.4 Art lens at f/8

Sigma 50mm f/1.4 Art lens at f/4

Sigma 50mm f/1.4 Art lens at f/2

Sigma 50mm f/1.4 Art lens at f/1.8

Sigma 50mm f/1.4 Art lens at f/1.4

Sony 55mm f1.8 at f/1.8

The post Thoughts and Field Test: Sigma 50mm f/1.4 for Sony E-Mount appeared first on Digital Photography School.

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Sony announces Alpha Female program offering $25,000 grants and mentorships

09 Oct

Sony has announced a new “Alpha Female” program, a creator-in-residence opportunity that will award six-month grants to five female filmmakers and photographers. The program, which is no longer accepting submissions, aims to “elevate diversity in thought and creation,” according to Sony. The first class of recipients will be announced some time early this month.

The awarded grants include $ 25,000 in funds, as well as $ 5,000 in product loans and another $ 5,000 in product allowances. The program is a mentorship that involves being paired with Sony Artisans of Imagery, and there’s also guaranteed presentations at LA and New York exhibits for all five participants. The program is open to US and Canadian applicants only.

Sony has also vowed to fund projects by women in its Alpha Imaging Collective and Artisans of Imagery, as well as photography and filmmaking events that are focused on and backed by women.

Articles: Digital Photography Review (dpreview.com)

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Sigma unveils 56mm F1.4 DC DN lens for Sony E and Micro Four Thirds

26 Sep

Sigma has announced the 56mm F1.4 DC DN lens for Micro Four Thirds and Sony E mounts. The compact 56mm lens becomes the sixth DN lens for mirrorless cameras and will make a handy portrait lens on both systems.

On Micro Four Thirds, the lens will behave as being equivalent to a 112mm F2.8 lens on full frame. On Sony E mount, it will act as an 84mm F2.1 equivalent. In both instances it should lend itself to offering a good degree of control over depth-of-field and, if previous Sigma pricing for the DN range is anything to go by, should be a sensibly-priced option.

The lens will be part of Sigma’s ‘C’ (for Contemporary) range of lenses which aim to strike a balance between quality and price.

The Sigma 56mm F1.4 DC DN is likely to be a keenly-priced portrait lens for both Micro Four Thirds and Sony E mount.

Press Release:

Sigma Unveils Five New Global Vision Lenses

Sigma’s 28mm F1.4 DG HSM Art, 40mm F1.4 DG HSM Art, 56mm F1.4 DC DN Contemporary, 70-200mm F2.8 DG OS HSM Sports, and 60-600mm F4.5-6.3 DG OS HSM Sports will make their public debut at Photokina 2018

Cologne, Germany – September 25, 2018 – Sigma today announced five new Sigma Global Vision lenses shown for the first time at the 2018 Photokina expo in Cologne, Germany from September 26th-29th in Hall 4.2 on Stands B020, B028I and C029. From wide-angle to hyper-telephoto, the new Sigma Global Vision introductions arrive as some of the most anticipated lenses in the industry, further facilitating artistic expression for photographers.

Sigma 28mm F1.4 DG HSM Art
The new Sigma wide-angle model stands out with its thoroughly corrected magnification chromatic aberration and sagittal coma flare, as well as completely minimized distortion thanks to its optical design. It features water- and oil-repellent coating on the front lens element and its overall dust- and splash-proof structure ensures excellent performance even in the most challenging shooting conditions. The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures the perfect moment instantly. Available in Sigma, Nikon, Canon and Sony E camera mounts, this lens is a great contender for street photography, as well as shooting landscapes and night skies.

Full technical specifications are available here: https://bit.ly/2DdAiVE. Pricing and availability will be announced later.

Sigma 40mm F1.4 DG HSM Art
The 40mm F1.4 DG HSM Art is Sigma’s first lens developed originally to live up to the sought-after angle of view and performance standard for a benchmark cine lens. This lens effectively arranges three FLD (“F” Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration. Designed for exceptional sharpness at maximum aperture, this lens excels at available light photography. With less than 1% distortion and near non-existent sagittal coma flare, this lens demonstrates consistent optical results featuring both 8K-compatible resolution and a beautiful bokeh. It is available for Sigma, Nikon, Canon and Sony E mount camera systems.

Full technical specifications are available here: https://bit.ly/2QHliC5. Pricing and availability will be announced later.

Sigma 56mm F1.4 DC DN Contemporary
This lens completes the Sigma large aperture series of portable wide-angle, standard, and telephoto prime lenses in Micro Four Thirds and Sony E mounts. Featuring compact design, light weight and outstanding image quality offered in Sigma’s Contemporary line, this lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras. In addition, this lens is characterized by smooth and quiet autofocus ideal for video shooting. Compatible with the Sony E mount Fast Hybrid AF, it also achieves precise AF tracking. By using the face recognition or eye AF functions of the camera, focus will continuously be on the face or the eye even if the subject moves during the shoot.

Full technical specifications are available here: https://bit.ly/2PLuSTh. Pricing and availability will be announced later.

Sigma 70-200mm F2.8 DG OS HSM Sports
One of the most anticipated lenses from the Sigma Global Vision line, the Sigma 70-200mm F2.8 DG OS HSM Sports is the new flagship large-aperture telephoto zoom lens that meets the most stringent needs of professional photographers. Robust yet lightweight, the lens’ magnesium body ensures high mobility and its dust- and splash-proof structure together with the water- and oil-repellent coating on the front element ensure safe use even in the most challenging shooting conditions. It also incorporates Intelligent OS with an acceleration sensor and the latest algorithm capable of panning in all directions. The lens’ optical design, incorporating 10 exclusive low-dispersion glass elements, allows for extremely high resolution, from the center to the corners. By optimizing spherical aberration, a smooth and natural bokeh effect is achieved when using the Sigma 70-200mm F2.8 DG OS HSM Sports for portrait photography. The versatility of this lens is demonstrated in various customization options via an AF Function button either through the camera body or Sigma USB Dock. The newest F2.8 large-aperture zoom lens from Sigma comes in Sigma, Canon and Nikon mounts.

Full technical specifications are available here: https://bit.ly/2DlyWbE. Pricing and availability will be announced later.

Sigma 60-600mm F4.5-6.3 DG OS HSM Sports
The Sigma 60-600mm F4.5-6.3 DG OS HSM Sports is the world’s first 10x optical zoom telephoto lens with a tele end of 600mm. Incorporating 25 elements in 19 groups, excellent and consistent image quality can be achieved throughout the entire zoom range. This lens’ intelligent OS featuring the latest algorithm delivers an image stabilization effect of 4 stops. Its optical design ensures maximum correction of magnification chromatic aberration encountered in hyper-telephoto shooting. This offers both high resolution and consistent edge-to-edge performance throughout the entire zoom range. In addition, when shooting at the focal length of 200mm, the Sigma 60-600mm F4.5-6.3 DG OS HSM Sports can also be used for telephoto macro photography, with a maximum magnification ratio of 1:3.3, thanks to its high rendering performance. Its multi-material build, which incorporates magnesium among other components, ensures durability and enhances portability, allowing for comfortable handling of the 10x zoom lens. The zooming mechanism has been engineered to make both smooth rotation and straight zoom possible. Versatile and robust, the new Sigma hyper-telephoto zoom lens is available in Sigma, Canon and Nikon mounts starting in late October 2018 for $ 1999 USD.

Full technical specifications are available here: https://bit.ly/2xmASv1.

Sigma 56mm F1.4 DC DN specifications

Principal specifications
Lens type	Prime lens
Max Format size	APS-C / DX
Focal length	56 mm
Image stabilization	No
Lens mount	Micro Four Thirds, Sony E
Aperture
Maximum aperture	F1.4
Minimum aperture	F16
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	10
Groups	6
Special elements / coatings	SLD element
Focus
Minimum focus	0.50 m (19.69″)
Maximum magnification	0.14×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	No
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	280 g (0.62 lb)
Diameter	67 mm (2.62″)
Length	60 mm (2.34″)
Sealing	Yes
Filter thread	55 mm
Hood supplied	Yes
Tripod collar	No
Other
Notes	Weight and dimensions for Sony mount

Articles: Digital Photography Review (dpreview.com)

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Sony to release 12 more E-mount lenses in two years, add AI to cameras

26 Sep

At Sony’s press conference at Photokina the company announced that 12 more E-mount lenses will be arriving over the next two years, bringing the total to 60.

In addition, the company emphasized its focus on both speed and integrating artificial intelligence into its approaches. One application of the latter Sony talked about was using machine learning to train its Eye AF algorithm to detect and track eyes of animals, with benefits to both wildlife and pet photography.

Articles: Digital Photography Review (dpreview.com)

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Sony 24mm F1.4 GM sample gallery

22 Sep

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Sony’s new FE 24mm F1.4 G Master lens is surprisingly lightweight and compact for a wide, fast prime. Having spent a little bit of time shooting with it, we’ve got some initial images to share. Stay tuned for a more in-depth look at this new G Master lens.

See our Sony 24mm F1.4 GM sample gallery

Articles: Digital Photography Review (dpreview.com)

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DPReview TV: Sony 24mm F1.4 GM

22 Sep

In this episode of DPReview TV we take a look at Sony’s brand new 24mm F1.4 GM lens, a desirable focal length for many photographers. How does it perform? Chris and Jordan give us their first impressions.

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Sony 24mm F1.4 GM sample gallery

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Hands-on with the Sony 24mm F1.4 G Master

21 Sep

Hands-on with the Sony 24mm F1.4 G Master

The Sony 24mm F1.4 is the latest lens to join the company’s premium G Master lineup. It’s impressively compact given its size, and at 445g (0.98lb), it’s 200g – or almost half a pound – lighter than the Sigma 24mm F1.4 Art for DSLR cameras. It’s even lighter compared to the E-mount Sigma 24mm Art lens – 335g lighter – or about half the weight.

The 24mm F1.4 balances really nicely on a Sony a7R III, with the center of gravity very close to the body. Sony claims that the short flange distance as well as the inclusion of two XA (extreme aspherical) elements help keep the lens’ size down.

Hands-on with the Sony 24mm F1.4 G Master

The optical formula comprises 13 elements in 10 groups. Sony claims that the two XA elements combine with three ED (extra dispersion) elements to provide great resolution and coma suppression even at F1.4. The XA elements also help to combat field curvature and astigmatism, which are aberrations common to wide-angle lenses.

Hands-on with the Sony 24mm F1.4 G Master

The XA elements are claimed to contribute to the quality of the bokeh rendition, which our initial shooting shows to be very smooth. Sony says that these elements are manufactured to a precision of 0.01 microns, which should help prevent busy ‘onion ring’ patterns in your out-of-focus highlights, and generally yield smoother bokeh.

The 24mm F1.4 G Master features a 67mm filter thread, compared with the 77mm threads found on comparable offerings from Sigma, Canon and Nikon.

Hands-on with the Sony 24mm F1.4 G Master

The 24mm F1.4’s 11-blade aperture (seen here wide-open) also contributes to smooth bokeh, remaining circular down to F2.8. Continue closing the aperture down and you’ll be treated to some lovely 22-point sunstars.

Hands-on with the Sony 24mm F1.4 G Master

In terms of controls, the 24mm F1.4 comes with a physical aperture ring that allows you to select F1.4 – F16 in 1/3 stop increments. You can also click it to ‘A,’ which allows you to use the command dials on the camera to control aperture instead.

This lens handles very nicely for video shooters, as well. The aperture ring can be de-clicked for smooth, silent control during video shooting, and the manual focus ring comes with excellent feel and a linear (as opposed to speed-sensitive) response for those who like to manually pull focus. Sony claims minimal focus breathing thanks to a precision internal focus mechanism. Lastly, the light weight makes it easier to mount and use on a gimbal.

Hands-on with the Sony 24mm F1.4 G Master

On the other side of the lens is a customizable function button as well as the AF / MF switch. In terms of autofocus, a high-power direct drive SSM provides fast and silent autofocus, and Sony claims the new motor provides a higher level of positioning accuracy.

Sony also claims that this new motor provides three times greater thrust than the previous model, which we presume is the motor in the FE 35mm F1.4. In our preliminary shooting, we found the 24mm F1.4 GM focused slightly faster than the Sigma 24mm F1.4 Art, which itself is already quick for an F1.4 lens. The Sony had no problem keeping up with the newest member of the DPReview team, an excitable pup named Belvedere.

Hands-on with the Sony 24mm F1.4 G Master

As with all of Sony’s G Master lenses, the 24mm F1.4 is built to a high standard. Despite its light weight it feels quite solid, it’s dust and moisture-sealed and comes with a gasket on the mount. All focusing is taken care of internally, providing an additional measure against dust incursion.

Hands-on with the Sony 24mm F1.4 G Master

Until now, the most comparable option for Sony users wanting a fast 24mm was to adapt Sigma’s 24mm F1.4 Art (or Canon’s EF 24mm F1.4L II), or by the newly available E-mount version of the 24mm Art. The Sigma is a truly lovely lens, but even aside from the weight, the adapter pushes the center of gravity further out and it’s just not as comfortable to handle as the new G Master. The same holds true for the E-mount Sigma 24/1.4, which is essentially the same length as the DSLR version with the adapter.

Remove the adapter and the two lenses are more comparable, with the G Master actually measuring 2mm longer. But the G Master’s weight savings alone will make a significant difference for frequent travelers and users on all-day shoots.

Hands-on with the Sony 24mm F1.4 G Master

Though we’ve yet to fully test the 24mm F1.4 G Master, our initial impressions of its optics are positive. The contrast is high even at F1.4 (like the Sigma Art), and is noticeably better than the more ‘veiled’ look of the Nikon and Canon equivalents wide-open.

Wide-open sharpness is great, though as you’d expect, stopping down to F2 or F2.8 gets you even sharper results thanks to the elimination of purple fringing visible around high contrast edges at F1.4. Bokeh is smooth, with no onion ring artifacts. As with all fast, wide-angle primes, you’ll notice some longitudinal CA (purple/green fringing), but it’s reasonably well-controlled. There’s some lateral CA near the edges, but it’s easily removed in post-processing. Distortion and coma also look to be well-controlled. Vignetting is noticeable, but it’s mostly gone by F2.8. If you shoot directly into the sun you’ll get some ghosting flare artifacts, particularly at smaller apertures, but the Sony fares very well in this regard compared to the Sigma Art. There’s not much veiling flare wide open even with the sun just out of the frame.

We think the 24mm F1.4 G Master fills a useful gap in the Sony ecosystem, with a focal length and aperture combination that make it useful for reportage and event shooting. The lens will ship in October for a retail price of $ 1400 USD.

Articles: Digital Photography Review (dpreview.com)

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Sony announces lightweight FE 24mm F1.4 G Master prime

21 Sep

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Sony has taken the wraps off of its new full-frame 24mm F1.4 G Master prime lens. Despite that fast maximum aperture, Sony has created a remarkably small and light lens compared to its peers, with a weight of just 445 grams (15.7 ounces). Compare that to the Sigma 24mm F1.4 Art shown below, which is 50% heavier and considerably more bulky, albeit cheaper.

It’s a departure from traditional GM lenses, which tend to be large so as to not sacrifice optimal performance. This lens bucks the trend by prioritizing both optical performance and size and weight.

Sony’s new 24mm F1.4 GM is significantly smaller than the Sigma equivalent to its left. In hand on a Sony body, it feels more like a F1.8 prime, which is really quite an achievement for a F1.4 lens, particularly one with the optical performance of the 24mm GM.

The 24mm F1.4 GM has a total of 13 elements, including two XA (extreme aspherical) which significantly reduce coma, and three ED elements. Sony’s Nano AR coating reduces flare and ghosting, and so far, we’re impressed by the lack of distracting flare artifacts and high contrast images even when shooting into the sun. 11 aperture blades yield smooth bokeh and circular out-of-focus highlights even when you stop down to F2.8, as well as 22-blade sharp sunbursts if you stop down further with bright, pinpoint light sources.

Focus is is driven by a new, evolved Direct Drive SSM motor that deliveries ‘approximately three times greater thrust’ than the previous system, but with high positional accuracy, according to Sony. In our initial tests, it’s faster to focus than the Sigma 24mm F1.4 Art, so we’re impressed by the speed of focus considering its F1.4 maximum aperture.

Its manual focus ring offers a linear response: a rarity on mirrorless lenses and useful when shooting video. It almost feels like a mechanically coupled focus ring. An aperture ring (with a ‘de-click’ feature), customizable focus hold button and AF/MF switch are also available. As with all G Master lenses, the 24mm F1.4 is weather-sealed.

Focus is silent, and there’s minimal focus breathing. That combined with the linear focusing behavior and small lightweight design makes this lens very suitable for video.

The Sony FE 24mm F1.4 GM will ship in October for $ 1400. Stay tuned for in-depth analyses of the optical characteristics of this lens, but in the meantime you can judge the performance yourself from our sample images, linked below. And if you’re itching to assess sharpness, have a look at our aperture progression of a cityscape at the end of our sample gallery.

View our Sony FE 24mm F1.4 GM sample gallery

Watch DPReview TV’s first impressions

Press Release

Sony Expands Full-Frame Lens Lineup with Launch of 24mm F1.4 G Master™ Prime

New Large Aperture Wide-Angle Prime Lens is the most compact and lightest in its class[i] , with superb sharpness even at F1.4

SAN DIEGO, Sept. 20, 2018 – Sony Electronics, Inc. – a global leader in digital imaging and the world’s largest image sensor manufacturer – has today introduced an exciting new addition to their acclaimed G Master series of full-frame E-mount lenses, a 24mm F1.4 prime lens.

Expertly engineered to deliver best in class performance across all aperture settings, the new FE 24mm F1.4 GM (model SEL24F14GM) utilizes Sony’s most advanced optical technologies to satisfy the needs of the most demanding photographers. The new lens is the most compact and lightweight in its classⁱ, measuring approx. 3.0 inches x 3.64 inches and weighing only 15.7 ounces, with a filter diameter of 67mm. Built to meet the strict standards of Sony’s flagship G Master series, the FE 24mm F1.4 GM offers exceptionally high resolution and beautiful bokeh, two qualities that are signature attributes of the G Master brand.

“We are continuing to evolve our lens lineup to maximize the power of our innovative ? camera lineup, ” said Neal Manowitz, vice president of imaging solutions at Sony Electronics. “The new 24mm prime brings an exciting new perspective to our flagship lens series. With its incredibly lightweight design and signature G Master quality, our 30^th native full-frame mirrorless lens opens up a new world of creative opportunities for today’s photographers, videographers and multi-media creators.”

Realizing consistently high resolution across the entire frame, even at F1.4, the FE 24mm F1.4 GM boasts a new optical design comprised of 10 groups with 13 elements, including two XA (extreme aspherical) and three ED (Extra-low Dispersion) elements. The incorporation of two XA elements effectively suppresses sagittal flare[ii] to ensure that point light sources like distant stars can be accurately reproduced, making the FE 24mm F1.4 GM a compelling proposition for astrophotography. For impressive clarity, Sony’s unique Nano AR Coating is applied to reduce lens flare and ghosting, even in landscape shots where the position of the sun can be problematic with a normal lens.

This outstanding performance is packaged in an extremely compact and lightweight body weighing it at only 15.7 ounces, a welcome relief for landscape or adventure photographers that are hiking, climbing or traveling over long distances. This advantage is further compounded when the FE 24mm F1.4 GM is paired with one of Sony’s award winning ?7 / ?9 cameras. The lightweight lens design has been realized in part by the development of a new high power DDSSM (Direct Drive SSM) that delivers approximately three times greater thrust than the previous focus system, enabling fast response, high positioning accuracy and quiet operation for both stills and movie shooting.

This incredible lens is also a perfect complement to Sony’s APS-C sensor mirrorless cameras such as ?6500 and ?6300, and brings the total number of native Sony ? E-mount lenses to 48[iii].

In addition to its landscape and starscape shooting abilities, the FE 24mm F1.4 GM also has excellent close up performance of 0.24 meters (0.79ft.) and delivers soft and natural bokeh, a feature that is common across Sony’s entire G Master series of lenses. This is achieved by extreme control over factors like spherical aberration, and axial and lateral chromatic aberration, at the design and manufacturing stages, as each lens is individually tested and adjusted to achieve maximum performance.

The FE 24mm F1.4 GM also includes a number of professional controls that aide ease of operation for both stills and movie shooting. These include an aperture ring that allows direct, intuitive aperture control, and a focus ring that features Linear Response MF for fine, responsive manual focus control. There is also a customizable focus hold button, and a focus-mode switch that makes it possible to quickly select auto or manual focus to match changing shooting conditions.

Pricing and Availability

The FE 24mm F1.4 GM will ship in October 2018 for approximately $ 1,400 US and $ 1,900 CA. The lens will be sold at a variety of Sony authorized dealers throughout North America.

[i] Compared to other full-frame 24mm F1.4 auto-focus prime lenses. As of September 2018 press release, based on Sony research

[ii] A phenomenon that results in an unnatural spreading of point light sources that appears somewhat like a bird spreading its wings and becomes more pronounced towards the image periphery. It is most common in large-aperture lenses

[iii] Including converters, excluding discontinued models

Sony FE 24mm F1.4 GM specifications

Principal specifications
Lens type	Prime lens
Max Format size	35mm FF
Focal length	24 mm
Image stabilization	No
Lens mount	Sony FE
Aperture
Maximum aperture	F1.4
Minimum aperture	F16
Aperture ring	Yes
Number of diaphragm blades	11
Optics
Elements	13
Groups	10
Special elements / coatings	XA (extreme aspherical) + ED elements, Nano AR coating
Focus
Minimum focus	0.24 m (9.45″)
Maximum magnification	0.17×
Autofocus	Yes
Motor type	Linear Motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	445 g (0.98 lb)
Diameter	75 mm (2.95″)
Length	92 mm (3.62″)
Sealing	Yes
Colour	Black
Filter thread	67 mm
Hood supplied	Yes
Hood product code	ALC-SH154

Articles: Digital Photography Review (dpreview.com)

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