Since Sony started to strongly marketplace a mirrorless camera complement to fan and veteran photographers—you could disagree that was around a time that a NEX-7 was expelled in 2011, though a 2013 recover of a full-frame Alpha 7 and Alpha 7R is unequivocally what cemented usually how critical a association was about mirrorless cameras—its lens complement has grown greatly.
Today, with a proclamation of a new reward line of Sony lenses—dubbed G Master—the association is finally delivering a potion that pros have been clamoring for: 24-70mm and 70-200mm zooms with consistent f/2.8 apertures and an 85mm f/1.4 prime. Sony still has some work to do to entirely finish a system—extreme telephoto potion isn’t accessible yet, and there are positively some some-more f/1.4 primes to come. But if we buy a Sony mirrorless camera today, your lens choices are world’s improved than they were usually a integrate of years ago, generally when we cause in clever third-party support from Zeiss.
Before we get into a specifics of any G Master lens, it’s critical to demeanour during usually how Sony is positioning G Master. It promises a turn of peculiarity control and picture clarity over a G series. With high-resolution cameras like a Alpha 7R II now in a company’s portfolio, this is a required step—when we was contrast that camera in a margin we detected that a 70-200mm F4 G OSS indispensable to be stopped down a bit to take full advantage of a A7R II’s 42-megapixel picture sensor.
The truth behind G Master is flattering simple: furnish lenses that can keep adult with a latest (and future) high-resolution picture sensors in terms of clarity, though sacrificing a appreciative defocused areas (bokeh) that approximate your in-focus subject.
Sony feels that a pretence to doing that is to have a well-spoken transition from theme to background. And it feels that high-precision pattern and production will lead to that. The molded potion elements of a G Master array are made to 0.01 micron standards. And a designs are means of solution 50 line pairs per millimeter (lp/mm) during a minimum—that’s significantly crisper than a 30lp/mm that many manufacturers use to decider reward lenses.
How this translates into real-world opening is going to need a bit some-more time and analysis. But my initial impressions of a dual lenses we was means to use—the FE 24-70mm F2.8 GM and FE 85mm F1.4 GM—are both utterly positive. The third lens, a FE 70-200mm F2.8 GM OSS, wasn’t accessible to test.
The 24-70mm f/2.8 is a bread-and-butter lens of many an eventuality shooter. The FE 24-70mm F2.8 GM isn’t quite tiny or light—at 5.4 by 3.5 inches and 2 pounds, it’s about a same distance and weight as a Nikon AF-S Nikkor 24-70mm f/2.8G ED. But it does change good on a Alpha 7R II. The lens is light on controls—there’s usually a switch to toggle a concentration mode between involuntary and manual, and a control symbol on a side of a barrel. It’s not a stabilized zoom, though a latest era of Sony’s full-frame mirrorless complement enjoys a advantages of 5-axis in-body picture stabilization.
The wizz ring sits during a center of a lens. It’s finished in textured rubber and has markings 24, 35, 50, and 70mm. It extends when zoomed and facilities a close switch to forestall a tub from fluctuating when it hangs during your side. Focus is driven by a Direct Drive Super Sonic Motor (DDSSM). There are 9 orifice blades, so out-of-focus highlights will sojourn round when a lens is stopped down—that’s not surprising.
Sony set adult several sharpened stations to exam out a lenses. When sharpened action—a brew of boxers, basketball players, gymnasts, and a despondency band—I found a DDSSM engine to be discerning when interconnected with a A7R II. There were also models accessible in a mural studio environment—I employed Eye AF in those situations.
While we wasn’t means to perform benchmarks in a lab to review a 24-70mm F2.8 to identical zooms on a numbers basis, my early sense is that this lens is an glorious performer. Just demeanour above at a pixel-level stand of a model’s eyes, taken from an uncompressed Raw image. we was means to satisfy some light and ghosting in one situation, sharpened a lead thespian of a rope underneath splendid spotlights that sundry in power and color. Still, even in this difficult, backlit scene, we usually had to make a few tweaks in Lightroom to finish a image.
The FE 85mm F1.4 GM is a extraordinary further to a Sony lineup. After all, Zeiss already creates a illusory mural lens in a form of a Batis 85/1.8, that is not usually insanely sharp, though also optically stabilized and officious affordable, during slightest in Zeiss terms. But a Sony lens does have a half-stop advantage in terms of light-gathering capability, and it has a earthy orifice ring that can be used with click stops or without, a latter of that will make videographers happy.
It too is a large lens. It measures 4.25 by 3.4 inches (HD) and weighs 1.8 pounds—the Batis is 3.6 by 3.2 inches and partially light during 1.1 pounds. The Sony lens has an 11-blade aperture, some-more than a 9 blades we see on a Batis and other reward mural lenses. That’s another pointer of Sony’s joining to appreciative bokeh. And fact is intensely strong, even during f/1.4, as we can see from a stand above.
Finally, there’s a FE 70-200mm F2.8 GM OSS. we didn’t get to fire with that lens, so there’s not most we can contend about how it handles. But it is identical in distance and earthy pattern to a 70-200mm F4 G OSS (6.9 by 3.2 inches, 1.9 pounds). The F2.8 wizz is heavier (3.3 pounds), though during 7.9 by 3.5 inches, it’s not most larger. The lens is optically stabilized—its OSS complement works in unison with a in-body stabilization with bodies that support that feature.
Two dedicated teleconverters are going to be accessible for this lens, that helps to overpass a opening that exists in a super telephoto area with a FE system—the SEL14TC is a 1.4x converter and a SEL20TC is a 2x converter. Extending a strech to 400mm during a limit f/5.6 orifice positively does assistance inlet photographers, though a FE complement is still in wish of lenses with impassioned reach. The 70-200mm is set to boat in May, though a cost has not nonetheless been announced. Shipping dates and prices for a teleconverters will also be announced during a destiny date. At this time, a usually lens with that we can use a teleconverters is a FE 70-200mm F2.8 GM OSS.
The FE 24-70mm F2.8 GM is going on sale sooner, in March. It’s labelled during $2,220 in a U.S. and $2,900 in Canada.
The FE 85mm F1.4 GM is also shipping in March. It will cost $1,800 in a U.S. and $2,400 in Canada.
The Sony Alpha 6300, a new APS-C mirrorless camera, was also announced today.