In the center, that’s the highest MTF I’ve seen on a non-supertelephoto lens. The highest. Let’s put particular emphasis on the purple line, which is 50 lp/mm. That’s a higher frequency than any manufacturer tests (that we know of), appropriate for fine detail on the highest resolution cameras. We would consider an MTF of 0.5 at 50 lp/mm to be very acceptable. This is hugely better, nearly 0.8 in the center. We’ve never seen that kind of resolution before.The lens performed so well that Roger decided to test the lens at 100 lp/mm, something they don't usually do unless a lens is designed for 150+ MP sensors.
The MTF drops away from the center, of course, but even at the very edges, the readings are still quite high.
At 100 lp/mm the Sony 135mm f/1.8 GM has a higher MTF than most excellent primes do at 50 lp / mm. If you don’t speak MTF, basically that means this lens can resolve fine details that would be a blur on excellent lenses.Roger would go on to say:
...in a couple of years if you are shooting a 90-megapixel camera, this lens will be the one that wrings the most detail out of that sensor. Right now it looks at your 43 megapixels and goes, “that’s cute.”You can read the entire article on the LensRentals Blog.
You guys have watched us gut a lot of lenses and cameras over the years. So I thought it would be fun for you to see us put one together from scratch. Compared to many of the lenses we’ve taken apart, this is all mechanical lens is rather simple: no focus motors, image stabilizers, etc. But even a simple lens is a very complex structure. This post will probably give you a good idea of how much mechanical design is required to make even a very basic lens.See the entire illustrated assembly at the LensRentals Blog.
The lens is also unique; it’s a prototype C-4 Optics 4.9mm f/3.5 circular fisheye. It’s a massive lens giving a 270-degree field of view, meant for immersive video and specialty shots. To give you an idea of what 270 degrees means, the lens sees behind itself. An ultra-wide 15mm fisheye lens gives a 180-degree field of view while an 11mm rectilinear lens is less than 120 degrees.
The closest thing that’s existed to this is the 1970s classic Nikkor 6mm f/2.8 fisheye, which gave a 220-degree field of view, weighed 5 kg, and can be rarely found for $100,000 and up these days. The C-4 optics lens weighs every bit as much as the Nikkor, but should be far sharper, have less distortion and vignetting, and cost somewhat less than those do today. (‘Somewhat’ being defined as ‘less than half’.)
So let’s put stuff together!
So what did we learn today? Really, not a lot. The Sony 400mm f/2.8 G is exactly what we expected; a very solidly built lens that is everything construction-wise you would hope for in a big beast of a super telephoto that costs $12,000. It has excellent weather sealing, heavy-duty engineering between the barrel segments, a very solid chassis, and components that all appear up to the task.Sony FE 400mm f/2.8 GM OSS Retailers - B&H | Adorama
This is not marketing department weather resistance. This is engineering department weather resistance. Anything that can be sealed has been sealed. I’m impressed, and I will say for future cut-and-paste blurbs: this is as robustly weather sealed a camera as we’ve ever disassembled.B&H carries the Nikon Z 7.
I don’t believe in weather resistance myself. I believe like life; water will find a way. I believe in plastic baggies and rubber bands. I am, however, a great believer in the idea that if you claim to do something, then [you'd better] do it right. This is done right.
I’m impressed by the very solid construction of the chassis and IBIS unit. I’m impressed with the neat, modern engineering of the electrical connections. Yes, I’m aware that soldered wires carry electricity just fine, but to me, there’s something reassuring about seeing neat, well thought out, 2018 level engineering.
I’m not here to tell you which camera is best to use or has the best performance. I’m just here to say this is a [very] well-built camera, the best built mirrorless full-frame camera we’ve taken apart. (For the record, I haven’t torn down a Leica SL.)
by Roger CicalaSee the LensRentals Canon EOS R Teardown for more information.
I’ve wanted to look inside the new Canon and Nikon mirrorless cameras since the moment they were announced, so I’m probably more excited about this than you guys are. I’m really not sure what to expect. Early on, when we took apart a Sony A7R, we were struck by how clean and straightforward mirrorless cameras were compared to DSLRs. Later, we took apart an A7RIII and found that increased capabilities led to increased complexity, although still not as complex inside as a DSLR.
So we expected things not to be too complicated – no mirror box, optical prisms, off-sensor AF system, etc. We know Canon cameras to have clean, even elegant, engineering; like the 5D IV teardown shows. We haven’t done a Nikon SLR teardown in quite a while (the D7000 was the last one), but their camera engineering is pretty similar to Canon’s, although being Nikon they still like to leave some soldered-wire connections here and there. So we figured that the new Canon and Nikon mirrorless full-frame cameras would be more straightforward than their SLR cameras, and perhaps Nikon set down the soldering gun and slowly stepped away.
But really we had no idea how things would look inside, if we might see some cool new engineering, what the weather resistance would be like, etc. So we took apart both a Canon EOS-R and a Nikon Z7 just to have a look around. (The Z will get written up as soon as I can get to it.)
Canon ‘refreshed’ the ever-so-popular 70-200mm f/2.8 lens from a ‘II’ to a ‘III’ with new optical coatings and paint, but no major changes. While the price is higher than the current II, it actually is the same price as the II was sold at for most of its life. A meh moment for almost everyone except those who scooped up the ‘II’ at reduced prices.See the entire article on the LensRentals Blog.
I did wonder if perhaps there might be a bit more under the hood than what Canon had announced. These are arguably the most popular lenses Lensrentals.com stocks; hundreds of copies with constant turnover. Since we do in-house repairs, over the years we’ve noticed some minor upgrades that have taken place; an internal ring and some gears have changed, etc. Internally, the 70-200mm f/2.8 is also one of the ugliest bits of engineering in the Canon fleet. We can understand why it had to be that way; it’s an incredibly complex lens. But we figure this bothered Canon’s optomechanical engineers as much as it did us, so maybe they snuck some changes in.
By Ryan HillSee the entire article on the LensRentals Blog.
Two or three times a week here at Lensrentals.com, we get one of two common support calls. Scenario number one is that someone thought they transferred all of their footage over, but later found that they missed a couple of clips and need us to send them their rental cards back. If we haven’t inspected those cards yet, we’re happy to do that, but if our techs have already inspected them, that’s a problem we can’t solve. We perform a full and secure format at inspection to make sure previous customers’ footage isn’t recoverable on subsequent rentals. Once the footage is gone, the footage is really and truly gone. No amount of file recovery software can bring it back. That’s never a fun phone to call to have.
The second scenario is that someone did manage to transfer over all of their footage, but one of the clips was corrupted in the transfer. Typically this realization comes during the edit, after we’ve already formatted the original media. That’s an equally tough phone call. True, sometimes file corruption happens in-camera, but nine times out of ten, the file was corrupted during the transfer from the card to the computer or hard drive. These kinds of problems aren’t something you can avoid entirely. There are inherent risks in working with digital media just like there are inherent risks in working with tape or film. However, there are steps you can take to mitigate that risk and to ensure that, if a problem arises, you’re prepared to work around it.
The Sony A7R III has been out for quite a while. Generally, it’s a superbly popular camera with excellent reviews. We were busy moving to a bigger office, and then catching up from moving when it was released, so doing a teardown wasn’t high on our list of things that needed doing. And the good folks at Kolarivision did an excellent teardown, so we didn’t feel any need to rush.See the entire article on the LensRentals Blog.
We’ve dealt with a number of water damaged A7 cameras in the past and have a bit more knowledge of where the leaks have occurred, so we wanted to look for ourselves. Plus, we wanted just see all the complicated goodness inside. Now that things have slowed down we decided to take a look.
This will end up being a useful post for those of you who need to venture out into the elements with your camera. Sony has, as they said, markedly improved the weather resistance on this camera. They also left a screaming ‘leak here’ gap in the sealing that you can probably address yourself.
Deals & Shopping News
Photography Deals (No Deals)
Canon Deals Nikon Deals Sony Deals Sigma Deals Tamron Deals Tokina Deals Adobe Deals Memory Card Deals In Stock Notices
Canon Preorders Nikon Preorders
Canon Refurbished Nikon Refurbished
Canon Rebates Nikon Rebates
Tamron Rebates Sigma Rebates