While I'm sure the new show will offer great opportunities, I'm going to miss the old PhotoPlus Expo.
PHOTOPLUS Embraces New Identity as Create NYC, Relocates to Brooklyn to Welcome Creator Community
MAY 2, 2022
After two years of in-person event cancellations due to the COVID-19 pandemic, PHOTOPLUS is proud to return this year as Create NYC Powered by PHOTOPLUS. To be held from September 29 to October 1, 2022, the three-day event leaves the Jacob Javits Convention Center for the Duggal Greenhouse in Brooklyn, NY.
The photography industry’s premier trade show morphs into a festival experience. Create NYC immerses attendees in anything and everything Image Culture. It celebrates all visual storytellers whose work crosses various platforms, expresses shared experiences, inspires dialogue for change, and blurs the lines between art and cultural relevance.
Create NYC puts education and experience first, featuring a main stage of dynamic speakers who will strike meaningful conversations about the impact of imagery on society. Additionally, the event will offer attendees the opportunity for intimate educational moments through creator walks, sessions, and lab-style workshops – all known as Creator Experiences led by engaging visual creatives, including photographers, filmmakers, editors, artists, and more.
Tickets for Create NYC will be available starting June 13. Unlike in previous years, ticket quantities will be limited.
“The decision to reimagine PHOTOPLUS into Create NYC was in response to demand from a rapidly growing emerging creator community,” said Create NYC Show Director Joseph Kowalsky. “The definition of an imaging professional and visual storyteller has broadened. Create NYC aims to be the home for all using imaging technology to create stories that trigger emotion and impact society.”
About Create NYC Powered by PHOTOPLUS: A 3-day experience based in Brooklyn, NY, that celebrates the world of Image Culture, shedding light on visual storytellers that transcend the boundaries of the frame, page, or screen to broaden and share collective experiences, inspire meaningful conversation and change, and act as the bridge between artistic work and cultural relevance.
About Emerald: Emerald’s talented and experienced team grows our customers’ businesses 365 days a year through connections, content, and commerce. We expand connections that drive new business opportunities, product discovery, and relationships with over 140 annual events, matchmaking, and lead-gen services. We create content to ensure that our customers are on the cutting edge of their industries and are continually developing their skills. And we power commerce through efficient year-round buying and selling. We do all this by seamlessly integrating in-person and digital platforms and channels. Emerald is immersed in the industries we serve and committed to supporting the communities in which we operate. As true partners, we create experiences that inspire, amaze, and deliver breakthrough results.
Check out today's B&H Deal Zone for big savings on:
See today's full list of B&H Deal Zone Deals.
This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.
Check out today's B&H Deal Zone for big savings on:
See today's full list of B&H Deal Zone Deals.
Previously, 256GB was the highest capacity available in a SDXC UHS-II V90 card.
While confirming this fact, the also-just-introduced Wise Advanced 512GB SD-N UHS-II SDXC Memory Card showed up (at a considerably higher cost).
Check out today's Adorama Deals of the Day (available until 10:00 AM ET tomorrow) for big savings on:
Go to Adorama Deals of the Day!
Use coupon code SUNSHINE15 (one use per customer) at Lensrentals to save 15% on orders arriving by 5/27/2022.
Renting is a great option for trying new gear or for getting otherwise unaffordable gear to use for a short duration.
Save big on your favorite brands, including Apple, SanDisk, DJI, Godox, WD, and MANY more.
Give Mom the gift of a Tamron lens — or the images you capture with one.
|Model||Rebate Amount|| |
|Tamron 11-20mm f/2.8 Di III-A RXD Lens||$80.00||  B&H|
|Tamron 17-70mm f/2.8 Di III-A VC RXD Lens||$80.00||  B&H|
|Tamron 17-28mm f/2.8 Di III RXD Lens||$100.00||  B&H | Adorama | Amazon|
|Tamron 28-200mm f/2.8-5.6 Di III RXD Lens||$80.00||  B&H | Adorama | Amazon|
|Tamron 70-180mm f/2.8 Di III VXD Lens||$100.00||  B&H | Adorama | Amazon|
|Tamron 70-300mm f/4.5-6.3 Di III RXD Lens||$50.00||  B&H | Adorama | Amazon|
|Tamron 150-500mm f/5-6.7 Di III VC VXD Lens||$200.00||  B&H | Adorama | Amazon|
|Tamron 20mm f/2.8 Di III OSD Lens||$50.00||  B&H | Adorama | Amazon|
|Tamron 24mm f/2.8 Di III OSD Lens||$50.00||  B&H | Adorama | Amazon|
|Tamron 35mm f/2.8 Di III OSD Lens||$50.00||  B&H | Adorama | Amazon|
|Tamron 18-400mm f/3.5-6.3 Di II VC HLD Lens||$50.00||  B&H | Adorama | Amazon|
This is a sharp lens that is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.
Here are the lenses included in Sigma's latest promotion – mirrorless models first:
|Model||Rebate Amount|| |
|Sigma 14-24mm f/2.8 DG DN Art Lens||$100.00||  B&H | Adorama | Amazon|
|Sigma 28-70mm F2.8 DG DN Contemporary Lens||$100.00||  B&H | Adorama | Amazon|
|Sigma 100-400mm f/5-6.3 DG DN OS C Lens||$50.00||  B&H | Adorama | Amazon|
|Sigma 150-600mm f/5-6.3 DG DN OS Sports Lens||$100.00||  B&H | Adorama | Amazon|
|Sigma 16mm F1.4 DC DN Contemporary Lens||$75.00||  B&H | Adorama | Amazon|
|Sigma 30mm F1.4 DC DN Contemporary Lens||$75.00||  B&H | Adorama | Amazon|
|Sigma 56mm F1.4 DC DN Contemporary Lens||$75.00||  B&H | Adorama | Amazon|
|Sigma 18-35mm f/1.8 DC HSM Art Lens||$100.00||  B&H | Adorama | Amazon|
|Sigma 50-100mm f/1.8 DC HSM Art Lens||$100.00||  B&H | Adorama | Amazon|
|Sigma 100-400mm f/5-6.3 DG OS HSM C Lens||$50.00||  B&H | Adorama | Amazon|
|Sigma 150-600mm f/5-6.3 DG OS HSM C Lens||$190.00||  B&H | Adorama | Amazon|
|Sigma 35mm f/1.4 DG HSM Art Lens||$50.00||  B&H | Adorama | Amazon|
|Sigma 85mm f/1.4 DG HSM Art Lens||$100.00||  B&H | Adorama | Amazon|
|Sigma 105mm f/2.8 EX DG OS HSM Macro Lens||$350.00||  B&H | Adorama | Amazon|
When other serious photographers are photographing you instead of the amazing scene in your viewfinder, your sanity feels questioned.
Despite appearing big in this image, Lathe Arch is relatively small. Making it appear large in the frame requires getting close to it relative to the background. Getting close from the best side of this arch offers very few options, and gaining this vantage point required getting into a small opening between the large, abrasive granite rocks.
The tripod legs were spread straight out, straddling the crevice, and I was thankful for sturdy boots that were not crushing my feet despite being wedged between the rocks. I was mostly hidden from people walking by but was apparently photo-worthy to a couple of photographers that noticed me.
The widest focal length available on the mounted lens was 15mm, and that angle of view was not nearly wide enough to capture the entire arch and the supporting rocks beside it. Thus, a panorama was called for.
I suspected that this scenario was coming and often have a Really Right Stuff MPR-CL Rail with Integral Clamp in the bag. The rail mounted on the vertical side of the L-plate allowed the lens to pivot over its nodal point, ensuring that the foreground details aligned when stitched together. While nodal alignment is not essential when the foreground is distant, this foreground was very close.
There was a lot of blue sky above the arch, but much of that was framed (and cropped) out of this image. The 22mm focal length provided a sufficient vertical angle of view. The finished horizontal angle of view was determined by the sum of the camera angles used for the pano.
The next issue to resolve was the inadequate depth of field. The closest foreground rock was immediately in front of the lens, while Lone Peak and the mountains beside it were far away. This scenario calls for focus bracketing, an easy strategy with the Canon EOS R5.
I considered adding HDR bracketing to the already complicated capture and processing but didn't — and didn't regret that decision. The R5's dynamic range easily handled this scene.
After dialing in a manual exposure that barely avoided red channel overexposure, the camera was rotated to the left-most side of the capture, autofocus was acquired on the nearest point of the rock, and the set of focus bracketed images was captured. The ball head base was not close to level, so the panning base could not be used for the lateral movement. The ball was loosened, and the camera moved using the thirds gridline to locate the next position. Moving the bottom-left thirds gridline intersection to the former position of the bottom-right thirds line intersection provided a considerable 2/3 frame overlap between image sets, with the electronic level ensuring the camera remained level.
A 1/3 overlap is usually adequate, so moving the bottom-left thirds gridline intersection to the former position of the bottom-right line leaving the frame would have been more efficient.
Additional sets of images were captured until the complete width of the pano was finished. The result was five images per focus stack and four focus-stacked image sets for the panorama.
Creation of the final image involved processing the stacks and then creating the panorama from the four stacked images. While this process may sound complicated, it was simple. The computer did all of the work.
Capturing this image was high on the awkwardness scale, but as usual, I barely remember the discomfort, and the image will bring back the great memories of this morning long into the future.
A larger version of this image is available Here.
Expectations and additional information are now available on the Sony FE PZ 16-35mm F4 G Lens page.
B&H is indicating that June 24th is the estimated ship date.
A considerable amount of information is now available on the Sony FE 24-70mm F2.8 GM II Lens page.
The version I and version II lens MTF comparison is especially interesting.
From a specifications perspective, here is the Sony FE 24-70mm F2.8 GM II Lens compared to the Sony FE 24-70mm F2.8 GM Lens.
Preorders begin at 10:00 AM ET on Thu, Apr 28th. I expect this lens to be hard to get for a long time and recommend preordering immediately at that time.
Sony Electronics Introduces New FE 24-70mm F2.8 GM II, the World’s Smallest and Lightest F2.8 Standard Zoom Lens
Newest G Master™ Series Lens in Sony’s Mirrorless E-mount Lineup with Industry-leading Optical Design, Unique Actuator Technologies, Advanced Autofocus and More
SAN DIEGO, CA – April 27, 2022 – Sony Electronics Inc. announced today the 67th lens in its mirrorless E-mount lineup – the highly-anticipated, FE 24-70mm F2.8 GM II (model – SEL2470GM2). Sony developed the world’s lightest F2.8 standard zoom lens[i] using its leading lens technology to deliver stunning resolution and beautiful bokeh known to Sony’s “G Master” series. The FE 24-70mm F2.8 GM II is one of the most versatile lenses in the line-up and was created for photographers, videographers, and hybrid content creators.
“Six years have passed since Sony released the first 24-70 mm F2.8 G Master and in that time, our customers’ needs have changed,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We are always listening to our community and have designed the new FE 24-70mm F2.8 GM II around feedback from creators. Knowing the 24-70 mm focal length is extremely popular, it was imperative that we continue improving to bring our most advanced technology to such a critical lens in our customers’ kit. Today, we are thrilled to introduce the world’s smallest and lightest F2.8 standard zoom lens.”
Evolved Image Quality in a Zoom Lens that Rivals Prime Lenses[i]
The FE 24-70mm F2.8 GM II is great for a compact yet versatile set up and allows users to capture extremely sharp, detailed imagery for both stills and video. The new lens features high resolution across the frame—even with the aperture wide open. A completely redesigned optical path features five aspherical elements, including two high-precision XA (extreme aspherical) elements. The FE 24-70mm F2.8 GM II also includes two ED (extra-low dispersion) plus two Super ED glass elements. Combined with a new floating focus mechanism, the lens effectively controls chromatic aberration, astigmatism, distortion and coma so that outstanding resolution is achieved throughout the image area at all zoom and aperture settings.
Even when shooting in challenging lighting conditions, the FE 24-70mm F2.8 GM II achieves excellent clarity by effectively subduing flare and ghosting. This is thanks to Sony’s original Nano AR Coating II, which produces a uniform anti-reflecting coating on the lens surface. The FE 24-70mm F2.8 GM II produces stunning bokeh throughout the zoom range with beautiful and almost perfectly circular bokeh with its advanced optical design and a newly developed 11-blade aperture unit.
In this new 24-70 mm design, this lens delivers outstanding close-up performance with a minimum focusing distance of 8.25 inches (0.21 meters) at 24 mm and 12 inches (0.30 meters) at 70 mm, and with a maximum magnification of 0.32x.
Fast and Precise Autofocus
The FE 24-70mm F2.8 GM II achieves reliable focus by using four of Sony’s original XD (extreme dynamic) Linear Motors, a floating focus mechanism and advanced lens control – even when shooting a fast-moving subject. In addition, the lens supports up to 30 fps[ii] continuous shooting for stills and 4K 120p video recording with autofocus.
The FE 24-70mm F2.8 GM II enables full AF tracking performance even when shooting stills with the aperture stopped down, making it possible to use deeper depth of field to ensure that moving subjects remain in sharp focus when shooting continuously[iii]. The lens’ AF tracking performance while zooming is approximately two times better than the previous model[iv].
Refined Capabilities for Creative Filmmaking
With its constant F2.8 maximum aperture, astounding AF performance, versatile control, and solid reliability, the FE 24-70mm F2.8 GM II is designed for all types of video applications. The FE 24-70mm F2.8 GM II offers extremely quiet AF operation, thanks to the XD Linear Motors and a newly developed aperture unit. Using the latest lens technology, the FE 24-70mm F2.8 GM II reduces focus breathing, focus shift and axial shift when zooming for smooth video footage. This lens also supports the breathing compensation function[v] provided in compatible Alpha series cameras.
As an added benefit for advanced video creation, the newest lens includes Linear Response MF (manual focus) that ensures high repeatability when focusing manually as the focus ring responds directly and repeatedly to subtle control. It also includes an aperture ring making manual aperture/iris control fast, direct, and easy. The dedicated iris ring enables click-less control to achieve smooth depth of field transitions.
Designed to perfectly pair with Sony’s compact Alpha™ system E-mount cameras, the FE 24-70mm F2.8 GM II is the world’s smallest and lightesti 24-70 mm F2.8 zoom in its class and offers unprecedented shooting flexibility and freedom in a wide range of situations. The FE 24-70mm F2.8 GM II weighs just 24.6 ounces (695 grams), approximately 20% less (7 ounces) than the original 24-70 mm F2.8 G Master. The lens’ length has been reduced by 16 mm, and overall volume has been reduced by approximately 18%.
Reliability and Improved Control
The new FE 24-70mm F2.8 GM II was developed based on feedback from professionals to offer even better control and usability than preceding models. This model includes:
Pricing and Availability
The new FE 24-70mm F2.8 GM II will be available in June for approximately $2,300.00 USD and $3,000.00 CAD and will be sold at a variety of Sony’s authorized dealers throughout North America.
Preorders begin at 10:00 AM ET on Thu, Apr 28th. I expect this lens to be hard to get for a long time and recommend preordering immediately at that time.
Watch the Sony FE 24-70mm F2.8 GM II Lens page for more information.
A product video of the new FE 24-70mm F2.8 GM II
[i] MTF chart comparison
[ii] When paired with the Alpha 1. “Hi+” continuous shooting mode. Effective at 1/125 seconds or higher shutter speed. In AF-C mode at shutter speed of 1/250 seconds or higher. The maximum continuous frame rate will depend on the shooting mode.
[iii] With a compatible camera and the camera’s [Aperture Drive in AF] parameter set to [Focus Priority]. See Sony’s support page on the web for camera compatibility info.
[iv] Sony tests. Compared to SEL2470GM.
[v] Compatibility info at: https://www.sony.net/dics/breathing/ Available in movie mode only. Angle of view and image quality may change slightly when this function is used. Compensation may not be able to cover all situations.
[vi] Not guaranteed to be 100% dust and moisture proof
LEXAR UNVEILS THE WORLD’S FASTEST CFEXPRESS TYPE B CARD DIAMOND SERIES AND CFEXPRESS TYPE A CARD GOLD SERIES
San Jose, USA, April 25, 2022 – Lexar, a leading brand of flash memory solution, proudly unveils the world’s fastest Lexar® Professional CFexpress™ Type B Card DIAMOND Series and Lexar® Professional CFexpress™ Type A Card GOLD Series at the National Association of Broadcasters (NAB) event this week in Las Vegas, Nevada.
From field to post production, Lexar aims to provide our users products that offer unmatched quality, performance, reliability and compatibility to dramatically accelerate workflow from start to finish.
To meet the demand of high-performance memory solution needed for professional filmmakers and content creators, the Lexar® Professional CFexpress™ Type B Card DIAMOND Series provides unmatched read speeds of up to 1900MB/s, dramatically accelerating your post-production workflow for enhanced productivity. And with blazing-fast write speeds of up to 1700MB/s1, quickly capture smooth RAW 8K, 6K and 4K video with ease. It is also backwards compatible with select XQD® cameras2.
Designed to leverage the capabilities of next-gen cinema cameras and mirrorless camera adopting the CFexpress™ Type A format, Lexar also unveils the Professional CFexpress™ Type A Card GOLD Series. Featuring superior speeds of 900MB/s read, and 800MB/s1 write, this card allows you to capture high-quality images and seamless 8K, 6K and 4K video. Lexar will also launch the CFexpress™ Type A Reader, which supports ultra-high-speed USB 10Gbps transfer protocol via USB Type-C®, in the coming months.
The cards support VPG 400 specification which guarantees a minimum sustained write speed of 400MB/s to capture professional-quality video for compatible host devices. Designed specifically for professional video users, it also ensures that your content is captured seamlessly with no drop frames. Moreover, they are built with the rugged durability you need to capture content even in the harshest of conditions. The cards are designed to be shock and vibration-proof, and resistant to extreme temperatures3. And, for added peace of mind, both cards are backed by a Lifetime Limited Warranty4.
“Lexar has a long history of providing industry leading memory solution for professional users and we are excited to continue this tradition with the world’s fastest Lexar® Professional CFexpress™ Type B Card DIAMOND Series and Lexar® Professional CFexpress™ Type A Card GOLD Series. These cards will dramatically help professionals speed up their workflow while providing the quality, performance and reliability they’ve come to expect from Lexar.” said Joel Boquiren, General Manager of Lexar.
Lexar® Professional CFexpress™ Type B Card DIAMOND Series and Lexar® Professional CFexpress™ Type A Card GOLD Series are under development and will be available in Q2 2022.
Lexar is exhibiting at this year’s NAB Tradeshow held at the Las Vegas Convention Center, Las Vegas, NV, from April 24th – 27th.
1 Speeds based on internal testing. Actual sustained speed may vary depending on host device
2 Compatible with firmware enabled CFexpress™ cameras
3 Temperature-proof: Withstands operating temperature range from 14ºF (-10ºC) to 158ºF (70 ºC) and non-operating temperatures from -4ºF (-20ºC) or 185ºF (85 ºC).
Shock resistant (50[G], 11[ms] / half sine wave.Apply the above impact 3 times from each of 3 orthogonal directions.)
Vibration resistant (10[Hz] to 2000[Hz] to 10[Hz], Sweep time: 20 minutes. 12 cycles per axis, (36 cycles for 3 axes) , Test time: 12[hr]).
4 Limited lifetime warranty is limited to 10 years from purchase in Germany and regions not recognizing lifetime warranty
So Lexar, owned by Chinese company Longsys, lays claim to the "World's Fastest" title.
If read speed is important to you, this card's claim matters, "... dramatically accelerating your post-production workflow for enhanced productivity." Write speed is the factor in play during capture, and the 1700 part of the "up to 1700MB/s" write speed is also extremely fast.
Temporing is the "minimum sustained write speed of 400MB/s" part. While 400MB/s is the minimum sustained write speed required to obtain the VPG 400 specification, is that the true minimum sustained write speed of this card? If so, the speed is less impressive, as other long-available cards have minimum sustained specs that far surpass this minimum spec.
This morning's sunrise delivered the highly desired pink sky to the west as I was overlooking the incredible landscape from Zabriskie Point in Death Valley National Park. That is a perfect combination, right?
What if the colorful sunrise sky color does not match the tone of the landscape? Warming the sky reduced its purpleness, bringing the color tones into closer alignment, but does the pink sky complement the yellow and brown landscape in this example? Or, does that combination clash?
Attractive distant details abound at Zabriskie, making foreground details easy to overlook. This composition takes advantage of the lines and texture in a nearby rolling hill just off the point.
A larger version of this image is available here.
This is an impressively rigid tripod.
Order the Cartoni L507 Carbon Fiber 2-Stage SDS Smart Stop Tripod from B&H.
Just posted: Cartoni Focus 10 Fluid Video Head Review.
This head costs substantially more than the recently reviewed Manfrotto 608 Nitrotech Fluid Video Head, but the Cartoni's fluid motion is better.
This head in the with-tripod kits is on sale at B&H – save $308.00 - $500.00.
From Sony Japan (translated):
Notice and apology for postponement of release of "FE PZ 16-35mm F4 G (SELP1635G)" lens for digital single-lens camera a E mount
Thank you for your continued patronage of Sony products.
At the time of the press announcement on March 22, 2022 (Tuesday), the release date was set to "April 28, 2022 (Thursday)". Digital single-lens camera a E mount lens "FE PZ 16-35mm" Regarding "F4 G", we have decided to postpone the release due to the impact of global distribution delays. The new release date is scheduled for the summer of 2022, but we will announce it as soon as it is confirmed.
We sincerely apologize for the inconvenience caused to customers who are looking forward to the release as it is just before the release. We will do our utmost to deliver the product as soon as possible, and we appreciate your understanding.
Digital single-lens camera a E mount lens "FE PZ 16-35mm F4 G"
At the time of announcement on March 22, 2022 (Tuesday): Released on April 28, 2022 (Thursday) – Scheduled to be released in the summer of 2022
[Acceptance of product orders]
After this announcement, we have decided to suspend the acceptance of orders from our distributors and the acceptance of orders from customers at the Sony store.
* The release date and resumption of order acceptance will be announced on the product information page as soon as it is confirmed.
B&H is indicating June 24th is the estimated ship date.
Overall, Canon and Sony offer outstanding camera and lens line-ups. It is hard to go wrong with either choice, and with no unanimous winner declared, neither Canon nor Sony will be referencing this article. However, making Canon or Sony happy is not my job — advising you is — and advantages exist between the brands.
While my kit is primarily based on Canon gear, I maintain a full complement of Sony cameras and lenses to use during evaluations. Having a solid basis from both brands permits a best-of-breed approach.
Aside from a Canon EOS 1Ds Mark III utilized to capture the site's standard lens product images in the studio, the kit is all mirrorless (I know, I should sell that last camera and process R5 images to the 1Ds III pixel dimensions). Most of the best cameras and lenses are mirrorless models; those starting out should opt for a mirrorless kit, and those interested in bettering their kits should begin the migration to mirrorless.
The Canon side of the kit foundation is built on a pair of EOS R5 bodies. The R5 is an outstanding performer, featuring general-purpose utility, outstanding AF performance, and excellent image quality, including high resolution.
A Sony Alpha 1 and a Sony Alpha 7R IV represent sony in the kit. The a1 is Sony's flagship model, featuring up to 30 fps continuous shooting with no viewfinder blackout, 50 MP resolution, and best-available specs and features throughout. The a7R IV's only advantage over the a1 is higher resolution. It would only take a moment of weakness to upgrade the a7R IV to a second a1.
Listing the cameras was easy, and most often, the which camera decision is answered by the lens needed.
Let's look at the lenses, starting with the zoom lenses and following with the prime lens options. The sort within those two categories will be the widest focal length and then the widest aperture.
Although it does not go to 11mm, this phenomenal zoom lens is smaller and lighter, has a 2x wider aperture, is at least as sharp wide-open as the Canon EF 11-24mm f/4L USM Lens, and has the same price. That Canon lens is another great option.
I primarily use this lens for landscapes, nightscapes, and interior architecture. Note that the Sony cannot utilize front filters, a detraction for certain needs, primarily those requiring a circular polarizer filter. The Canon lens has the same problem; however, the Drop-In Canon Mount Adapter adds full filter capabilities to this lens.
The RF 15-35 is my go-to landscape lens, and it works well for other needs, including capturing the big view at events, etc. Because this focal length range is so important to me, I also have the most equivalent lens on the Sony side, the Sony FE 16-35mm F2.8 GM Lens. If a Sony camera is under evaluation, I'll take the Sony option without hesitation.
The general-purpose focal length range tends to get a lot of use, and there are currently three superb-performing options in the kit. Initially, only the RF 24-70mm F2.8 had membership, and the results from this lens never disappoint. However, a wider aperture or lighter, more compact option was often needed.
The RF 28-70 F2 had been on the want list since it first arrived, but I waited long enough to ensure the high cost was justified. As it turns out, I waited too long, and this lens was still back ordered when a large indoor music festival assignment hit the calendar, providing the incentive to order. Unfortunately, the lens arrived about a month after the concert. Still, other needs for the f/2 lens are steadily arriving, especially the event coverage it is perfectly suited for.
While the RF 24-70 F2.8 is not a large or heavy lens, a modestly lighter option can make a big difference when hiking long distances, and the RF 24-105mm F4 recently joined the kit to facilitate some hiking needs later this year.
A phenomenal general-purpose zoom lens is arguably Sony's biggest opportunity.
My uses for the 70-200mm focal length range include portraits, events, landscapes, and product images. Until recently, the relatively compact and lightweight F2.8 lens was the kit's solo 70-200mm option, but some distance hiking needs justified the F4 variant's entry into the kit.
The Sony FE 70-200mm F2.8 GM OSS II Lens is an outstanding option for those with a sony kit, and this lens addition would help round out the Sony kit shared here.
The RF 100-500 goes almost everywhere with me. This lens is an outstanding choice for landscapes, wildlife, portraits, daytime field sports, and more.
The FE lens fills this important role when working with a Sony camera.
Those with Sony-based kits should also consider the Sony FE 200-600mm F5.6-6.3 G OSS Lens. This lens shifts the focal length range to the long direction, which noticeably increases the size and weight of the lens. Because I most often have a 600mm f/4 lens complementing the long telephoto zoom, I opted for the more compact and wider-angle lens option.
Now we look at the primes, starting with a combined discussion of the widest three lenses.
These three lenses will outperform all others matching their focal length, and the ultra-wide apertures make them the ultimate astrophotography lenses. These three lenses are in the pack if I'm photographing the night sky.
A 35mm prime lens most often joins the pack when portraits are scheduled. The strong background blur and low-light capabilities of the f/1.4 aperture are extremely attractive features, with the 35mm angle of view facilitating a great perspective for full-body portraits.
Canon's EF 35mm f/1.4L II USM is an outstanding lens, both optically and physically. However, the Sony lens is smaller, lighter, and less expensive. I purchased the Sony lens to review and kept it.
When this lens arrived in the Canon USA refurbished inventory, I couldn't resist adding it to the kit. Reviewing the RF 50mm F1.2 revealed it the incredible-performing 50mm lens we had long waited for.
The focal length and aperture make the RF 50mm F1.2 an ideal portraiture and event lens.
Later, Sony introduced the FE 50mm F1.2 GM Lens. It is also an outstanding choice, slightly smaller and less expensive. In this decision, select the lens that matches your camera.
Especially with the RF 85mm F1.2 and RF 28-70 later joining the kit, my 50mm prime lenses do not see much use. Thus, I don't own models from both brands, and the RF 50mm lens is at the top of the consideration to sell list.
This lens joined the most wanted list immediately upon providing the image quality test results, where it showed a stunning improvement over its EF predecessor. This lens is so optically high-performing that it is currently used for image quality testing of Canon EOS R-series cameras.
If portrait photography is on your list, the RF 85mm F1.2 lens is an outstanding choice, one that makes low light a non-issue.
The only non-mirrorless lens in this list, the adapted EF 100mm L macro is an outstanding performer. I may upgrade to the Canon RF 100mm F2.8 L Macro IS USM Lens someday, but I'm not yet over the RF lens's focus shift issue.
Similar to the RF 85 F1.2 to the Canon system is the FE 135mm F1.8 to the Sony system. The 135mm focal length is superb for portraits (and products), and the extremely high optical quality is the reason this lens is used for Sony Alpha camera image quality testing.
Periodically, I decide that I could get along without a 400mm f/2.8 lens in the kit. Then life happens, and I realize how important this lens is to the needs coming in. A 400mm f/2.8 lens is used primarily for sports and wildlife photography, but it gets called upon for portraits since it is already in the kit. This lens delivers differentiating results in all its uses, with the background blur strength surpassing nearly all other options.
Sony-based kits should opt for the also-superb FE 400mm F2.8 GM OSS Lens. I like the Canon option very slightly better, with better image stabilization performance being the biggest differentiator.
Wildlife and sports are among my primary photographic pursuits, the 600mm f/4 is the best option for those needs, and this option for both brands is covered in the kit.
The Canon lens's image stabilization system is better, but I'll pick the Sony option for a sharpness advantage if extenders/teleconverters are needed.
I like carrying and using the RF 1.4 with the RF 400 F2.8, and I like using the FE 2x with the FE 600 F4 when photographing the sun and moon. Otherwise, getting closer is usually better than using extenders, and in this kit, extenders and teleconverters are most frequently used for lens image quality testing.
Which lens will be added to the kit next? It probably has not been announced yet.
Most often, a wildlife silhouette opportunity comes unexpectantly and is fleeting.
Because the sky is typically very bright relative to the subject, the camera's meter usually selects silhouette exposure settings that lead to underexposed images, and correcting the underexposed images during post-processing yields increased noise.
To quickly acquire the right camera settings this opportunity, rules are ideal. For example, with a blue sky in the background, instruct the camera to create exposures X number of stops higher than it thinks is necessary.
Unfortunately, too many rules are needed to accommodate all scenarios. The primary reason that auto exposure + EV rules do not work is that the percentage of the frame filled with the subject and foreground changes dramatically, possibly during the same opportunity if varying exposures with a zoom lens. Also affecting the exposure rule is the sky color, ranging from bright white to deep blue or even the darkness of storm clouds.
While spot metering on the focus point can result in a more stable exposure basis for rules to work from, even animal color varies. For example, black bears are considerably darker than mule deer.
Mirrorless cameras with electronic viewfinders programmed to show the actual image brightness make establishing the ideal silhouette exposure settings considerably faster and easier than doing the same with a DSLR. While I often have the EVF histogram turned off due to interference with my brain's compositional abilities, that tool clearly shows the selected exposure, especially the bright side's available dynamic range. Even without the histogram enabled, the brightness can be discerned by looking at the brightest areas on the EVF.
What is the ideal silhouette exposure? That answer depends on the final look desired. If the animal and foreground are to be pure black, expose the sky to the preferred brightness. If a high key look is desired, expose for a normal animal brightness, letting the sky become blown — pure white and blinking on the LCD.
To gain the most post-processing latitude or if you don't want to decide what the final image should look like while frantically trying to capture the momentary opportunity, use the expose to the right strategy. Create an exposure that pushes the histogram graph lines to the right edge of the chart. There will likely be some small areas of the image showing over-exposed blinkies during image review, but not large areas of blinkies indicating loss of detail. The goal is to retain detail in the highlights while capturing as much detail as possible in the shadows.
If photographing landscape, an HDR technique would be implemented for this scenario. Unfortunately, animals tend to move before the multiple exposures can be recorded. If your animal is motionless and your camera is locked down on a tripod, bracketing exposures is a great option.
The expose to the right option was chosen for this bull moose image capture. The sky is bright but still blue. Using Photoshop, the moose was selected and brightened slightly.
A larger version of this image is available here.
While creating the Sony list was easy, the Canon line-up has more room for improvement. New to the Best Canon Lenses page:
Just posted: Sony a9 II Review page.
There is a Sony Alpha 9 II in my hands, and it is time to set up this camera for use. Following are the 36 steps taken to prepare an out-of-the-box a9 II for use.
I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration means you intend to shoot as I do - including in RAW-only format. While this setup works great for me, you should adjust the setup to your needs.
If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when being serviced or when acquiring an additonal camera, you will be ready to create your setup quickly, while ensuring that an important setting is not omitted. If you purchase another same or similar camera, setup will be fast and identical. Consider saving the camera settings to a card (Setup/Tools menu, tab 7, Save/Load Settings on card) for an easy restore.
The remoteness of the beautiful Ibex Dunes in Death Valley National Park is a big advantage and a big drawback.
The advantage part is that few people make the effort required to get there, and the Ibex dune field is often untracked.
The drawback is that these dunes are located near ... well, nothing. The drive from Furnace Creek took nearly two hours, with very few services encountered on the way, and the last 10 miles are narrow dirt and sand roads that require differing vehicle classes depending on the current conditions (including at an intermittent stream crossing).
The adventure does not stop upon arrival. The dunes are over a mile from the road, but they are massive and easily visible from the road (a generous term for it by this point — more like a trail), and the hike to the dunes is not difficult. In contrast to the size of the dunes, the vehicle is tiny and may not be visible from the dunes. A small angular mistake on the way out could mean a significantly longer walk and perhaps a night in the desert.
That adventure aspect was avoided with a GPS pin, an old-school compass reading, and a feature on the mountain opposite the dunes noted.
On this afternoon, a solitary set of tracks led through the low area between the untouched northern and southern dune fields. After photographing my way around the dunes, I settled into the selected sunset location to catch the day's last rays.
As I shared in the last dune image, the Canon RF 24-70mm F2.8 L IS USM Lens on a Canon EOS R5 proved the optimal choice in the Death Valley National Park dunes. While focal lengths outside this range had compositional opportunities, the 24-70mm angles of view enabled emphasis on the close subjects while keeping the background details relatively large in the frame.
The R5's focus bracketing feature made complete depth of field easily obtained for every image. Four f/11 images were required for this 48mm focus stacked final photo.
A larger version of this image is available here.
While the individual grains of sand in a dune likely have some color variation, those grains blend together at typical landscape photo distances, leaving most dunes a single color. A single color does not alone make an interesting photo. Therefore, shadows rule in the dunes — they are necessary to add intrigue.
Shadows are created by uneven lighting, and the early and late sun angle brings on the desired strong directional lighting (barring clouds).
Taking a dune image to the next step means finding great shadows, and footprint shadows do not fit into my "great" definition (unless the footprints are an intentional part of the composition).
Rarely is wind appreciated for photography, and it is especially unwelcomed when photographing landscapes. However, I celebrated as a significant wind storm blew through during the drive from Las Vegas to Death Valley National Park. The dust and sand were dense enough to severely impact visibility at times, rocking, and properly initiating the brand new Toyota RAV 4 rental SUV.
Why celebrate a wind storm in the desert? The wind erased ALL of the Death Valley dunes' footprints, replacing them with fresh, seemingly unending and highly photogenic ripples in the sand.
The Canon RF 24-70mm F2.8 L IS USM Lens on a Canon EOS R5 proved the optimal choice in the Death Valley National Park dunes. While focal lengths outside this range had compositional opportunities, the 24-70mm angles of view enabled emphasis on the close subjects while keeping the background details relatively large in the frame.
Still, the depth of field available (at apertures not impacted by diffraction) from this focal length range was often insufficient. The R5's focus bracketing feature was the solution to that problem. With focus bracketing enabled, the smallest increment specified, and the number of shots set far above what was ever needed (the camera automatically stops at infinity), the R5 proved itself foolproof, automatically delivering the complete required range of sharp focus bracketed images at nearly a 100% rate (and I probably caused the 1 or two insufficient sets). Walk up to a scene, select the composition, position the focus point on the closest subject (the closest sand), and press the shutter release. This strategy takes away the careful attention to the depth of field otherwise required and facilitates images not otherwise possible.
Do you ever struggle to obtain the ideal white balance? I do, and this image challenged me. Unfortunately, adding the needed contrast creates a bright yellow glow that I've been attempting to neutralize. This image is one of those likely to get re-adjusted in the weeks and months to come.
A larger version of this image is available here.
Firmware update for SIGMA Global Vision lenses in SONY E-mount
We would like to announce that a new firmware update is now available for SIGMA Global Vision lenses in SONY E-mount listed below.
·SIGMA 16mm F1.4 DC DN | Contemporary in SONY E-mount
·SIGMA 30mm F1.4 DC DN | Contemporary in SONY E-mount
[Benefits of the update]
The specification has been changed so that the focus position of the lens when the ON/OFF (power) switch is turned “ON”, or when the camera is restored from power save, is set to the same shooting distance when the ON/OFF (power) switch was turned “OFF” or when power save was activated.
·SIGMA 56mm F1.4 DC DN | Contemporary in SONY E-mount
[Benefits of the update]
·The focus position of the lens when the ON/OFF (power) switch is turned “ON” or when the camera is restored from power saving has been changed to the specification that the focus position is set to the shooting distance right before the ON/OFF (power) switch is turned “OFF” or power saving is activated.
·Improved feeling of the MF operation of the lens.
·SIGMA 35mm F2 DG DN | Contemporary in SONY E-mount
[Benefits of the update]
·It reduces the AF drive sound.
[How to update]
Please select the appropriate product from the following page, go to the download page, click “Sony E-mount” and follow the update procedure.
*After the update is complete, be sure to remove the battery pack from the camera and reinsert it.
A new Sigma Mount Converter MC-11 firmware update is available.
Thank you for purchasing and using our products.
We would like to announce the availability of a new firmware update for the SIGMA MOUNT CONVERTER MC-11.
·SIGMA MOUNT CONVERTER MC-11 EF-E
·SIGMA MOUNT CONVERTER MC-11 SA-E
[Benefit of the update]
It has improved the phenomenon whereby the lens’s optical stabilizer effect differs depending on the shutter type and drive mode used.
[How to update]
Connect the SIGMA MOUNT CONVERTER MC-11 to the computer with the USB cable provided, and start SIGMA Optimization Pro*. If there is a newer firmware than the connected mount converter firmware, a dialog box will appear with the message “The latest converter firmware is available. Click “Yes” to update the firmware.
Just posted: Manfrotto 645 FAST Twin Leg Video Tripod Review.
Another high value product from Manfrotto.
From Capture One:
Keystone Tool redesign
The Keystone Tool has been redesigned with a new user interface. Additionally, Auto Keystone has been added for all camera models, allowing a swift and precise perspective correction of most images.
The Keystone Guides have been redesigned to easily place them with greater precision. Additionally, the precision of the guides can be fine-tuned using the keyboard arrows when a guide is selected.
The content of the Keystone Tool has been split into two tabs, ‘Guides’ and ‘Sliders’. Guides offer fully automatic and guided keystone options, while Sliders offer manual adjustments.
The new adjustment ‘Skew’ has been introduced to accommodate a wider range of perspective corrections.
Let Capture One detect and correct the perspective automatically. By pressing the ‘Auto’ button in the Keystone Tool, lines in the image(s) are automatically detected, evaluated, and used for the correction. The result is a swift automatic correction with high precision.
By default, Auto Keystone will correct Vertical Keystone. This can be changed by simply selecting one of the other two guide modes to activate the cursor tool. The icon within the ‘Auto’ button will change accordingly and pressing it will instantly apply the desired correction. Auto Keystone works on batches of images.
Auto Keystone can also be triggered from the regular Auto Adjust functionality in the main toolbar. To do this, tick Keystone in the drop-down menu of Auto Adjust. Note that only Vertical Keystone is available from Auto Adjust.
If Capture One is unable to detect suitable lines in the image, pressing ‘Auto’ will have no effect.
Read more here.
General user experience improvements and tweaks
Apple Silicon (M1) performance improvements
The following areas have been improved:
Preview generation is up to 100% faster.
Luma Mask rendering is up to 300% faster. This makes it faster to render the initial Luma Mask and significantly faster to tweak the luminosity range afterward.
Feather and Refine Mask are up to 1.000% faster.
Fujifilm X-Trans raw loading is up to 100% faster, making the preview generation and rendering when zooming feels significantly faster on images from Fujifilm APS-C cameras.
Improved Auto Rotate
The algorithm behind Auto Rotate has been improved, providing more accurate results on images where clear lines are visible. This makes it more valuable with, for example, landscape images with clear horizons.
Crop Aspect Ratio behavior
Changing the Aspect Ratio from the Crop Tool will now immediately apply this ratio to the selected image. This makes it easier and more intuitive to work with different aspect ratios, as you don’t have to make a change to the crop for the new ratio to apply.
Easier access to drop-down menus
Drop-down menus that were previously only accessible by long-pressing their icons are now easier to open. Most icons have gotten a downwards arrow that will open the menu, and all menus can be opened by right-clicking their icons.
New default sorting option
Collections will now sort by Date instead of Name by default. This default can be changed in General Preferences, where both the sorting criteria and direction can be customized. This only affects new collections.
Capture One Live add-on
Live Sessions can be now configured to last for 1, 3, 5, 7, or 14 days. You can choose between the different options upon starting a new Live Session that suits both your and your collaborator’s needs.
Capture One Fujifilm/Sony/Nikon converted to Pro
Subscription users of Capture One Fujifilm/Sony/Nikon will automatically have their license upgraded to Capture One Pro at no additional cost. Perpetual owners will need to upgrade via the upgrade store.
Read more here.
The Capture One 22 (15.2.0) release notes provide the full details on this update.
Just posted: Manfrotto 608 Nitrotech Fluid Video Head Review.
This head has a solid feature set and strong performance for the price.
Check out the tiny (1.9 x 1.2 x 0.8" / 47.3 x 30.4 x 20 mm) transmitters in the new DJI MIC wireless microphone kit:
DJI Mic Now Available
DJI’s first dedicated audio recording system is self-contained and starts up instantly
April 4, 2022– DJI Mic, the first dedicated audio recording product from the world’s leader in civilian drones and creative camera technology, is now available for purchase in the United States.
DJI Mic is a dual wireless microphone system solution for recording crystal-clear audio at long distances. With 5.5-hours of battery life and a total of 15 hours with the charging case, DJI Mic is ideal for shooting a vlog, interviews, or any kind of content creation that requires high-quality audio. The system consists of two microphone transmitters, a receiver, and an ultra-compact charging case that fits easily into your bag or pocket. It is compatible with smartphones, cameras, DJI OM 5, and DJI Action 2 for high-quality audio.
In the Box
"The DJI Mic Wireless Microphone Kit from DJI enables vloggers and other creators to capture two-channel audio with their action camera at distances up to 820'. This wireless mic kit consists of two transmitters, one receiver, a portable charging case, cables, wind socks, and 3.5mm TRS to USB adapters."
Zabriskie Point in Death Valley National Park is one of those locations that evokes the kid in a candy store emotion for landscape photographers.
Ordering the chaos in a beautiful scene is a frequent landscape photography challenge. While details abound at Zabriskie Point, these details are more easily ordered than most. In addition, there are so many strong shapes and colors here that direct light becomes much less important. While Zabriskie Point's morning and evening light is especially attractive, some of my favorite images were taken before sunrise and after sunset.
Having so many great compositions makes selecting a few favorites to share a mental challenge. Of course, culling many images would have been easier if I had approached the area in an orderly manner. Instead, I opted to revisit subjects for a fresh take, ensuring an open mind to find the best options. Still, I'm certain that a return trip would generate new compositions in this target-rich environment.
A pair of Canon EOS R5 bodies with Canon RF 24-70mm F2.8 L IS USM and Canon RF 70-200mm F2.8 L IS USM Lenses mounted provided the ideal angle of view range for this location and, of course, outstanding image quality.
A larger version of this image is available here.
Watch and listen to Canon Explorer of Light Bruce Dorn as he photographs a galloping horse and rider with the Canon EOS R3 and RF 100-500mm L IS USM Lens and then explains the compositional choice.
A June sunrise image of The Loche in Rocky Mountain National Park requires a 2.7 mi, 1,056 ft elevation gain hike in the middle of the night. Getting location information on a relatively remote lake early in the season is challenging, but there was a report of open water, so my daughter and I set off for an adventure.
Upon arrival, the report proved technically correct. However, ice prevailed in the target location. While the ice would have been an OK foreground (these mountains can make nearly any foreground work), a reflection was the big benefit of hiking to a lake.
Moving to a nearby small area of open water accomplished the reflection goal. Here, a twisted tree and its roots, along with rocks flowing into the scene, provided additional foreground entertainment at this location.
Back to the leading question: Why don't I use graduated neutral density (GND) filters?
I'll start with the answer to a more basic question, what is a graduated neutral density (GND) filter?
Since Wikipedia already created this answer, I'll share it here:
"A graduated neutral-density filter, also known as a graduated ND filter, split neutral-density filter, or just a graduated filter, is an optical filter that has a variable light transmission. Typically half of the filter is of neutral density which transitions, either abruptly or gradually, into the other half which is clear. It is used to bring an overly-bright part of a scene into the dynamic range of film or sensor. For example, it can be used to darken a bright sky so that both the sky and subject can be properly exposed. ND filters can come in a variety of shapes and sizes and densities and can be used in all types of photographic applications from still photography, motion photography and scientific applications."
Here is the big problem. In general, graduated ND filters have straight lines of transition. However, these filters are primarily needed outdoors, and the outdoor landscape transition from dark to bright is seldom a straight line — unless a large body of water or a great plain fills the background. It is unrealistic to create filters for every horizon shape, and especially wide-angle zoom lenses usually have focal lengths with geometric distortion that further complicates the needed transition shape.
While soft transition GND filters better hide the dark to light transition, the final image seldom hides the unnatural brightness change.
Round threaded GND filters are available, and logically using one requires the brightness transition to be placed in the middle of the frame — another big limitation. To vary the location of the brightness change requires rectangular filters sized much larger than the front of the lens. While the density transition is still in the center of these filters, the larger size means they can be positioned off-center, placing the brightness transition anywhere desired.
Rectangular GND filters can be handheld during the shot, though avoiding movement against the lens requires a steady hand, and holding the filter slightly off of the lens permits light leaks (that may or may not matter). A filter holder provides a better solution optically, but the large rectangular filters require even larger filter holders.
Purchasing the complete set of transition types (hard to soft) and densities required to ideally mix the various lighting levels encountered, along with a filter holder, is expensive. In addition, the functional set is somewhat burdensome to carry and time-consuming to set up.
What is the alternative? Capture the scene in two or more exposures (if necessary, as processing a single image to differing brightness may be adequate), and blend the results using an HDR technique. A straight transition line is no longer important, and the adjusted areas do not need to be contiguous. Any brightness transition rate can be used (hard to soft), and the rate can vary in a single image.
Additionally, all focal lengths and lens sizes are supported, from a circular fisheye to the longest telephoto lens available.
I can often tell when a GND filter was used for an image, and usually, the result is not my favorite. Not everyone shares my view, and that is OK.
There are a lot of graduated ND filters sold, and sometimes only a graduated ND filter can get the job done properly. A primary advantage of graduated neutral density filters is that action transcending the density change (waves on an ocean, for example) remains perfectly aligned. Another big filter advantage is that post-processing is greatly reduced or eliminated, and those recording video or JPG format still images need to capture the final brightness.
Circling back to the image shared here. There are no graduated neutral density filters in the shape of the shadow line. Also, the perfect filter to match the digital graduated neutral density processing needed to darken the sky, excluding the tree. That filter, of course, does not exist. Thus, I don't carry it — or any other variant.
A larger version of this image is available here.
Firmware Version 1.0.1 incorporates the following fixes and enhancements:
This lens looks nice physically.
This lens exceeded my expectations.
From Tamron Co. , Ltd. [translated]:
Firmware update notice
Thank you for your continued patronage of Tamron products. On our website dated December 23, 2021, our lenses 20mm F / 2.8 Di III OSD M1: 2 (Model F050), 24mm F / 2.8 Di III OSD M1: 2 (Model F051), 35mm F / 2.8 Di III OSD M1: 2 (Model F053) We have posted a notice that a malfunction will occur for Sony E-mount, but we are pleased to inform you that it has been improved by updating the firmware.
20mm F / 2.8 Di III OSD M1: 2 (Model F050)
24mm F / 2.8 Di III OSD M1: 2 (Model F051)
35mm F / 2.8 Di III OSD M1: 2 (Model F053)
Points to be improved
Click here for details on the phenomenon that AF switches to MF when shooting a movie in combination with the a7 IV >>> Model F050 , Model F051 , Model F053
How to update
Updates using the camera are possible. Click here for details
How to check the lens firmware version
Select "Setup" from the "Menu" of the camera and check "Version display".
This background story and the low-level lighting information post became too long to share here, so please visit the Low-Level Lighting Mobius Arch, Milky Way at Alabama Hills, CA page for the full details.
A larger version of this image is available on here.
A simple and highly useful set of products.
Order the Jackery Explorer Portable Power Station and SolarSaga Solar Panel from Jackery | B&H | Amazon USA
If there is any chance that you want the new Sony FE PZ 16-35mm F4 G Lens, place an order for it immediately upon that option going live at 10:00 AM ET this morning. You can cancel the order at any time prior to it shipping if you change your mind.
Here are a couple of interesting comparisons:
Sony Electronics Announces the World’s Lightest Constant F4 Wide-Angle Power Zoom Lens, the Compact FE PZ 16-35mm F4 G™
Latest Addition to Sony’s E-mount Lens Line-Up Offers Evolved Image Quality and Operability for Full-Frame, Content Creation
SAN DIEGO, CA – March 22, 2022 – Sony Electronics Inc. today introduced the FE PZ 16-35mm F4 G (model SELP1635G) – a wide-angle power zoom with evolved image quality, high performance AF (autofocus), and superior operability designed to meet the needs of today’s creators.
Developed with Sony’s vast expertise in lens design, the FE PZ 16-35mm F4 G delivers outstanding performance and control in the world’s lightest[i] full-frame wide-angle power-zoom lens with a constant F4 aperture. The compact hybrid lens offers refined image quality, reliable G lens rendering, and industry-leading AF performance in a remarkably compact form factor that will appeal to both photo and video content creators. The FE PZ 16-35mm F4 G is ideal for everything from video production and vlogging to street and landscape photography, offering a variety of outstanding hybrid features such as incredible resolution, beautiful bokeh, and fast and precise AF. In addition, Sony’s newest lens offers advanced video features including an innovative power zoom function and refined capabilities such as an independent aperture control ring for even more creative control.
“The needs of our community are our top priority. As the content creation landscape continues to evolve and the worlds of still imaging and video continue to merge, we are constantly developing new products to meet this growing demand for hybrid content creators,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “With an advanced feature set and unmatched portability and flexibility, The FE PZ 16-35MM F4 G is perfectly designed to meet these evolving needs and ensure that today’s creators can realize their full vision.”
Evolved Image Quality for Photos and Videos
The FE PZ 16-35MM F4 G offers an extraordinary blend of breathtaking resolution and beautiful bokeh in a lightweight, compact lens. The optical path includes two AA (advanced aspherical) elements and a conventional aspherical element for an accurate image across the frame and 16-35mm zoom range. One Super ED (extra-low dispersion), and one ED glass element control chromatic aberration, while one ED aspherical element controls both chromatic and spherical aberration.
The use of AA elements in an advanced optical design also ensures excellent close-up performance throughout the zoom range – minimum focusing distance is 11 inches (0.28 meters) at 16mm and 9.5 inches (0.24 meters) at 35mm, with a maximum magnification of 0.23x. Additionally, an optimized coating effectively suppresses flare and ghosting for clear, well-defined images.
A circular aperture and carefully designed control of spherical aberration work together to deliver smooth, deep full-frame bokeh that adds visual impact.
The FE PZ 16-35mm F4 G utilizes two XD (Extreme Dynamic) Linear motors to control autofocus. The fast response and smooth, quiet operation of this system gives users new creative freedom. With Sony’s flagship Alpha 1 body it is possible to maintain accurate focus while shooting stills continuously at up to 30fps (frames per second)[i] and up to 120fps in movie mode.
Focus is especially critical when shooting slow motion 4K up to 120fps or 8K movies[ii]. The FE PZ 16-35mm F4 G works with Alpha cameras[iii] to reliably focus, and smoothly and silently track even fast-moving subjects. High-thrust XD Linear Motors, optimized optics, and responsive control add up to extraordinarily precise AF performance while keeping the lens compact with internal focus.
Advanced Features for Video Including a New Power Zoom Function
Based on feedback from leading creators, Sony specifically designed the FE PZ 16-35MM F4 G to deliver the refined imagery and control for today’s video needs. It features the latest lens technology to reduce focus breathing as well as focus and axial shift when zooming to ensure the highest quality video is easily captured. Focus, zoom, and aperture operation are also extremely quiet, greatly reducing noise and vibration that can interfere with movie recording.
For the first time in a Sony Alpha lens the FE PZ 16-35mm F4 G uses four XD linear motors for the power zoom function in addition to the two XD linear motors used for focus. With this newly designed electronic power zoom system, the FE PZ 16-35mm F4 G provides advanced control with the response and immediacy of non-powered manual zoom. It features both a zoom ring and a zoom lever with variable zoom speed that makes it easy to execute super-slow, fast or constant-speed change in focal length. Power zoom also minimizes camera shake or movement that can occur when operating a traditional zoom ring, and when used with compatible cameras, users can customize the zoom ring direction to suit shooting conditions. Zoom can also be controlled with the zoom lever on compatible cameras. Remote operation is also possible when using the Imaging Edge™ Mobile app[iv].
As an added benefit, users can operate buttons and controls on compatible cameras or accessories for convenient zoom control, including the GP-VPT2BT Bluetooth Grip and Remote Commander RMT-P1BT to remotely control zoom while the camera is mounted on a gimbal[v].
Furthermore, Linear Response MF ensures high repeatability as the focus ring responds directly and repeatably to subtle control when focusing manually. An aperture ring makes manual aperture/iris control fast, direct, and easy. The aperture ring includes a switch that can select aperture click stops that are ideal for photography or de-click operation for smooth iris control which is ideal for video.
Superior Mobility, Control and Reliability
World-class design and technology come together to deliver a compact, lightweight lens that also includes focus, zoom and aperture/iris rings and power zoom for unprecedented mobility and handling.
Using internal focus and internal zoom, the overall length of the lens remains constant during use for ideal balance and handling. Consistent balance makes this lens an ideal choice for gimbal-mounted movie shooting or use with a matte box. The focus ring can be easily controlled while shooting movies, and the adjacent focus and zoom rings are different sizes so they can be easily operated by feel while viewing the monitor.
More convenient features on the FE PZ 16-35mm F4 G include the Iris Lock Switch that can be engaged to prevent the aperture ring from being accidentally moved between the auto and F4 - F22 settings and the customizable focus hold button for convenient control.
As the world’s lightest[i] F4 wide-angle power-zoom lens, the FE PZ 16-35MM F4 G weighs just 12 ounces (353 grams), 30% less than the Vario-Tessar T* FE 16–35 mm F4 ZA OSS and is just 3.17 inches x 3.47 inches (80.5mm x 88.1mm) in size with a filter diameter of f72mm. The lens also has a dust and moisture resistant design[vi], as well as a fluorine front element coating to keep it clean and reliable for outdoor use.
Pricing and Availability
The new FE PZ 16-35mm F4 G will be available in June 2022 for approximately $1,200.00 USD and $1,500.00 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
A product video on the new FE PZ 16-35MM F4 G:
[i] Hi+” continuous shooting mode. Effective at 1/125 sec. or higher shutter speed. In AF-C mode at shutter speeds of 1/250 sec. or higher the maximum continuous frame rate will depend on the shooting mode.
[ii] 4K: 3,840 x 2,160 pixels. 8K: 7,680 x 4,320 pixels.
[iii] Compatibility info at: https://www.sony.net/dics/breathing/
Available in movie mode only. Angle of view and image quality may change slightly when this function is used. Compensation may not be able to cover all situations.
[v] Zoom operation depends on the body used. Refer to the help guide for details.
[vi] Not guaranteed to be 100% dust and moisture proof.
Image quality, vignetting, flare, and distortion test results are now available on the Rokinon (Samyang) AF 14mm F2.8 Lens for Canon RF, Sony FE page.
Many of the uses for a 14mm lens require sharp corner image quality. However, I could see the blurry image periphery this lens delivered even in the viewfinder.
Upon looking at the image quality results from this lens, my first thought was that I just wasted hours testing a severely misaligned lens. Yes, the viewfinder did provide a clue. However, all four corners appeared similar, making me second guess the first thought.
So, I reached out to a friend, Roger Cicala at Lensrentals. "Is the Rokinon AF 14mm f/2.8 RF for Canon RF extremely soft in the periphery at the wider apertures? The one I just received delivers some of the worst corner performance I’ve seen."
"Well, I can do a long version, but "yep". Also a lot of field curvature, so you may get some improvement in edge performance by focusing off-axis."
More to come.
The Rokinon (Samyang) AF 14mm F2.8 Lens for Canon RF, Sony FE is available to order from B&H | Adorama | Amazon USA