Sony News (Page 8) RSS Feed for Sony News

 Wednesday, May 5, 2021

The Sony FE 14mm f/1.8 GM Lens page is filled with expectations for and information about this highly-anticipated new lens.

The size, weight, and MTF chart tell us a lot.

The Sony FE 14mm f/1.8 GM Lens is available for order at B&H | Adorama | Amazon USA | WEX

Order a Sony FE 14mm f/1.8 GM Lens rental from Lensrentals.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 5/5/2021 7:29:19 AM CT   Posted By: Bryan
 Tuesday, May 4, 2021

Check out the new Rotation Backpack Series, featuring the 22L, 34L, and 50L+, at Think Tank Photo.
 
Don't forget that you'll get a free gift and free shipping when using our links for your purchase ($50.00 minimum purchase required).

Post Date: 5/4/2021 9:40:26 AM CT   Posted By: Bryan
 Thursday, April 29, 2021

From Sony (translated):

Dear customers

Notice regarding supply of lens FE 50mm F1.2 GM "SEL50F12GM" for digital single-lens camera a [E mount]

Thank you for your continued patronage of Sony products.

The lens FE 50mm F1.2 GM "SEL50F12GM" for the digital single-lens camera a [E-mount] released on April 23, 2021 (Friday) has received orders that greatly exceeded our expectations, and is a product. It may take some time before delivery.

We are currently making every effort to meet the needs of our customers, so please wait for a while.

When the preorders for this lens went live, I guessed that this model would be hard to get for a long time. Still, the best way to get the Sony FE 50mm f/1.2 GM Lens as soon as possible is to get in line now. Place an order with B&H and Adorama.

Posted to: Sony News   Category: Sony Announcements
Post Date: 4/29/2021 8:38:42 AM CT   Posted By: Bryan
 Tuesday, April 27, 2021

From Sigma:

New Products Release of Sigma 35mm F1.4 DG DN ART A | ART

The evolution of a classic

The 35mm F1.4 Art is reborn

  1. Exceptional optical performance
  2. Fast and quiet AF in a compact body
  3. Professional feature-set

Supplied accessories: Petal type hood with lock (LH728-01), case

Available mount: L-Mount, Sony E-mount

* The appearance and specifications of the product are subject to change.

*This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

* L-Mount is a registered trademark of Leica Camera AG.

#SIGMA #SIGMA35mmF14Art #SIGMAArt #SIGMADGDN

Superb optical performance and usability power up the most popular focal length.

An "Art F1.4 35mm" reborn for mirrorless and empowered through SIGMA's technology to date.

The existing 35mm F1.4 DG HSM | Art was SIGMA’s first GLOBAL VISION lens. Released in 2012, it set the standard for all of SIGMA’s subsequent Art-line lenses, and thanks to its exceptional image quality it is still the 35mm prime lens of choice for many professional photographers. Nine years on, the 35mm F1.4 has been redesigned from the ground up specifically for mirrorless cameras, and is the culmination of much of the optical design expertise and advanced production techniques gained over the past decade of GLOBAL VISION lens development. As with all of SIGMA’s lenses, the 35mm F1.4 DG DN | Art is built entirely at its sole factory in Aizu in Japan, where the standard of craftsmanship is of the highest level.

As is true with all SIGMA lenses, class-leading optics are right at the heart of the design concept of this new 35mm F1.4 DG DN | Art. Despite being significantly smaller and lighter than the existing 35mm F1.4, it displays an outstanding level of sharpness right to the edges of the frame at all apertures, as well as exceptionally smooth and attractive bokeh and remarkably well-controlled optical aberrations.

Designed exclusively for use with mirrorless cameras, the 35mm F1.4 DG DN | Art is light enough to feel perfectly balanced on a compact mirrorless camera, yet is packed with an array of professional features including ultra-fast AF, a de-clickable and lockable aperture ring and a customizable AFL button. This gives the lens operability and portability without compromise, making it as ideal for professional projects as it is for casual outings, and as well-suited to video as it is stills.

SIGMA is delighted to introduce you to the new gold standard in wide-aperture 35mm primes.

Key features

1. Exceptional optical performance

Central to the design of the 35mm F1.4 DG DN | Art is its sophisticated optical performance, which is consistent with the development of all Art line lenses. The lens incorporates 15 elements in 11 groups. With two Special Low Dispersion (SLD) elements, an Extraordinary Low Dispersion (ELD) element, an ‘F’ Low Dispersion (FLD) element and two aspherical elements, and as well as other high-performance glass, the lens’ advanced optical construction utilizes SIGMA’s state-of-the-art optical design technology, minimizing all types of aberration including axial chromatic aberration, which cannot be corrected in-camera.

In spite of having a very wide aperture of F1.4, the lens is able to control sagittal coma flare extremely well even wide open, stopping bright points of light from flaring out near the edges of the frame. This will be particularly appealing to night sky photographers.

Owing to its 11 rounded diaphragm blades, the lens displays smooth, round bokeh so that out-of-focus areas are not distracting. This makes the 35mm F1.4 DG DN | Art well-suited to portraits, supported by its ultra-sharp image quality and minimal color bleeding. It also performs very well in backlit conditions thanks to SIGMA's anti-ghosting and anti-flare technology that it has cultivated through countless simulations and real-life testing in our many years of lens development. This keeps shots high contrast and free of excessive flare even when working in difficult light.

2. Fast and quiet AF in a compact body

The focusing mechanism in the SIGMA 35mm F1.4 DG DN | Art features a stepping motor. This motor controls a focusing lens group composed of a single, lightweight element, which means AF is responsive and quiet, and is able to keep track of moving objects very effectively. Manual focusing is smooth and precise, but with the right amount of resistance for film-makers. Certainly, this lens has a focus mode switch on the body.

The SIGMA 35mm F1.4 DG DN | Art wholly embraces the Art line concept, which is “designed with a focus on sophisticated optical performance”. This—paired with its advanced autofocus performance and the convenience of a compact size—makes for a lens that raises the standards.

3. Professional feature-set

On the body of the SIGMA 35mm F1.4 DG DN | Art is an aperture ring that allows aperture to be controlled via the lens, or when set to Auto, using the camera. An aperture lock switch on the lens body allows the aperture ring to be locked in Auto so that it’s not accidentally knocked during shooting. A big plus for film-makers, the aperture ring can be de-clicked, allowing users to seamlessly adjust exposure. Also on the lens barrel is a focus mode switch and an AFL button, which can be customized to a desired function from within the camera menu (depending on the model). The switch is ergonomically positioned to be controlled by the thumb during use.

A petal type lens hood is included in the box, which helps reduce flare and offers the lens added protection if dropped. The hood has a lock mechanism that keeps it attached securely to the lens, and its rubberized grip makes it quick and easy to attach and remove.

On top of this impressive array of features and elegant exterior, the body of the 35mm F1.4 DG DN | Art offers an exceptional level of durability that helps it withstand long-term professional use as well as individual operating parts that give a good fit to the hand. The dust and splash proof structure provides sealing on buttons and along joins between constituent parts, and there’s a rubber gasket around the mount. There’s also a water and oil repellent coating applied to the front element ensures that photographers can rely on it in any conditions.

Additional features

  • Lens construction: 15 elements in 11 groups, with 1 FLD, 1 ELD, 2 SLD and 2 aspherical elements
  • Internal focusing
  • Compatible with high-speed autofocus
  • Stepping motor
  • Compatible with lens-based optical correction * Function available on supported cameras only. Available corrections may vary depending on the camera model.
  • Super Multi-Layer Coating
  • Water and oil repellent coating (front element)
  • Aperture Ring
  • Aperture Ring Click Switch
  • Aperture Ring Lock Switch *When turned ON at the position A, the aperture ring is locked at A. When turned ON at a position other than A, it is locked within the range between the maximum to minimum apertures and will not engage at the position A.
  • AFL button
  • Focus Mode Switch
  • Support DMF, AF+MF
  • Dust and splash proof structure
  • Petal type hood with lock
  • Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
  • Designed to minimize flare and ghosting
  • Every single lens undergoes SIGMA's proprietary MTF measuring system "A1"
  • 11-blade rounded diaphragm
  • High-precision, durable brass bayonet mount
  • "Made in Japan" craftsmanship

Key specifications

The figures below are for L-mount

Lens construction: 11 groups, 15 elements (1 FLD, 1 ELD, 2 SLD and 2 aspherical lens)

Angle of view: 63.4 °

Number of diaphragm blades: 11 (rounded diaphragm)

Minimum aperture: F16

Minimum focusing distance: 30 cm / 11.8 in.

Maximum magnification ratio: 1:5.4

Filter size: 67 mm

Dimensions (Maximum Diameter × Length): 75.5 mm × 109.5 mm / 3.0 in × 4.3 in

Weight: 645 g / 22.8 oz

Barcode

L-Mount:0085126 303693

Sony E-mount:0085126 303655

Accessories: Supplied

Name of product / barcode

Petal type hood with lock LH728-01 / 0085126 939267

Accessories: Optional

Name of product / barcode

SIGMA USB DOCK UD-11 L-Mount / 0085126 878696

SIGMA WR CERAMIC PROTECTOR 67mm / 0085126 931803

SIGMA WR PROTECTOR 67mm / 0085126 930943

SIGMA PROTECTOR 67mm / 0085126 931070

SIGMA WR UV FILTER 67mm / 0085126 930684

SIGMA WR CIRCULAR PL FILTER 67mm / 0085126 930813

Orders

Order the Sigma 35mm F1.4 DG DN Art Lens from B&H or Adorama.

Posted to: Sony News   Category: Sigma News
Post Date: 4/27/2021 8:06:18 AM CT   Posted By: Bryan
 Monday, April 26, 2021

Just posted: Sony FE 35mm f/1.4 GM Lens Review

Stellar performing lens.

Get in line. The Sony FE 35mm f/1.4 GM Lens is available for order at B&H | Adorama | Amazon USA | WEX

Rent the Sony FE 35mm f/1.4 GM Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/26/2021 8:30:35 AM CT   Posted By: Bryan
 Friday, April 23, 2021

Even when 50 MP resolution exceeds the final resolution required for an image, the ultra-high resolution is often unexpectantly valuable. In this example, the selected camera position was optimized for capturing vertically oriented images of the runners jumping from a hurdle (going high in the air) while attempting to clear a water pit.

Crashes always draw attention, and the fall was the eye-catcher of this pass. However, the compressed body position and splashing water no longer worked well in the vertically oriented frame. The horizontal orientation crop seemed favorable, and the optimal framing required a tight crop, including pulling in from the sides. Despite the heavy cropping, the a1 image provided an often sufficient nearly 20 MP of final resolution.

While the Sony Alpha a1's 30 fps drive rate seems extreme, I am finding it addicting. In this case, the 30 fps results provided the ideal moment of touch down and splash combination.

Regarding splashing water, bright water droplets in front of a subject are notorious for stealing a camera AF system's attention. While a sustained high volume of water drops covering the subject sometimes eventually stole the a1's focus, the default AF settings held on the subject's eye behind the splashing very well.

The 400mm and f/2.8 combination is often perfect for photographing track and field events. In this example, the Sony FE 400mm f/2.8 GM OSS Lens renders the foreground and background diffusely blurred, making the subject and water drops stand out. Despite the cloudy day and 1/2000 sec. shutter speed, the ISO setting remained relatively low.

We can enjoy the spectacle of this water crash without feeling too sorry for the runner. Being cold is apparently motivating for running because she went on to win this event with a top 10 list time for the university.


 
Camera and Lens Settings
400mm  f/2.8  1/2000s
ISO 1600
5440 x 3627px
Post Date: 4/23/2021 9:05:29 AM CT   Posted By: Bryan

From Rokinon:

New 12mm F2.0 AF Compact Ultra Wide Angle Lens Designed for Sony E APS-C Cameras

(New York, New York) April 23, 2021 – ROKINON continues to build upon its impressive array of auto-focus prime lenses with the unveiling of its new 12mm F2.0 AF Compact Ultra Wide Angle lens for APS-C Sony E mount cameras. The feature set and overall performance of this fast and rugged lens are unmatched by any in its class.

At 7.51oz in weight, 2.33” in length and a MSRP of $499, this compact and lightweight autofocusing lens offers the best combination of value and performance than ever before. What’s more, it provides a rectilinear 99.1°angle of view, and with the added protection of weather sealing, and a Rear Protector Glass, it allows for lots more versatility.

Utilizing the newest Linear Stepping Motor technology, the ROKINON 12mm F2.0 AF lens combines a more compact design with improved auto-focus performance. By requiring the movement of only a single focusing group, it delivers especially fast, quiet, and precise focusing, whether shooting stills or videos. The design also allows for close focusing to 7.48” with no change in length or front element rotation.

With a bright F2.0 aperture, faster shutter speeds can be achieved for superior astrophotography and low light results. Furthermore, the F2.0 aperture can help create an impressive sense of depth to your daytime images by effectively separating the subject from a pleasing, de-focused background.

The optical construction is comprised of twelve elements in ten groups with a new and further advanced version of Ultra Multi Coating (UMC). Besides controlling Flare and ghosting, this improved UMC maximizes light transmission, contrast and color accuracy. Thanks to I've specialized lens elements (1 Aspherical, 3 Extra-low Dispersion, and 1 Hybrid-Aspherical) aberrations and distortion are minimized to produce sharp, thoroughly corrected imagery.

The ROKINON 12mm F2.0 AF incorporates a new elegant look with a matte black finish and comfortable micro pattern rubber focusing ring over a durable all-metal housing. And, with its dramatically wide angle of view, this ROKINON exciting and attractively priced high-performance model is the lens of choice for landscape, night sky, architecture and interior shooting.

The Rokinon 12mm F2.0 AF Lens for Sony E mount comes packed with a removable petal-shaped hood, lens caps, a custom fitted case, and is expected to be available early June, 2021.

SPECIFICATIONS

ROKINON 12mm F2.0 AF Compact Ultra Wide Angle Lens for Sony E
APERTURE RANGE: F2.0 - F22
OPTICAL CONSTRUCTION: 12 Elements in 10 Groups Including 1 ASP + 1 Hybrid ASP + 3 ED
COATING: Ultra Multi-Coating (UMC)
MIN. FOCUSING DIST.: 7.48in (190mm)
MAGNIFICATION RATIO: 0.09x
FILTER SIZE: 62mm
DIAPHRAGM BLADES: 7
MAX. DIAMETER: 2.75” (70.0mm)
WEATHER SEALED: Yes
AF MOTOR: Silent Linear STM AF
Ultra Multi-Coating (UMC)
Lens Hood: Removable Petal Shaped
Length: 2.33” (59.2mm)
Weight: 7.51oz (213g)
Mount: Sony E
Item #: IO12AF-E
UPC Code 0-84438-76720-9
MSRP: $499
Angle of View APS-C: 99.1°
Featuring: Extra Low Dispersion, Aspherical, Hybrid Aspherical, Rear Protector Glass
Non-Rotating Filter Mount

Orders

Get your Rokinon 12mm F2.0 AF Compact Ultra Wide Angle Lens at B&H.

Posted to: Sony News   Category: Rokinon News
Post Date: 4/23/2021 7:44:48 AM CT   Posted By: Bryan
 Thursday, April 22, 2021

The Think Tank Photo Manager Series Rolling Cases just received the version 2 treatment, featuring:

  • Added shock-absorbing wheels to Logistics Manager 30 and Production Manager 40
  • Added customizable identification panel
  • Reduced weight 2-4 lbs.
  • Upgraded Logistics Manager 30 front and side panel to Production Manager 40 style
  • Replaced stretch material on side pockets to ballistics fabric with ladder-lock tightener
  • Upgraded foot style on Logistics Manager 30

See the new Think Tank Photo Manager Series V2 Rolling Cases
 
Don't forget that you'll get a free gift and free shipping when using our links for your purchase ($50.00 minimum purchase required).

Post Date: 4/22/2021 4:53:10 PM CT   Posted By: Bryan

The Godox TL30 RGB LED Tube Light and an abundance of accessories have been announced. Get the details at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: Godox News
Post Date: 4/22/2021 3:59:43 PM CT   Posted By: Bryan

What Zeiss has been up to: 10 new lenses and 4 lens sets added to the Supreme Prime Lens family.

See the Zeiss Supreme Prime Lens line-up (including the kit that costs more than a big house in the country) at B&H.

Learn more about the new additions at B&H Explora.

Posted to: Canon News, Nikon News, Sony News   Category: Zeiss News
Post Date: 4/22/2021 8:47:10 AM CT   Posted By: Bryan

The Tokina SZX 400mm f/8 Reflex MF lens announcement was an interesting one. This lens is already available in many camera mounts, but adding the Canon RF and Nikon Z options to the mix is welcomed.

From Tokina:

Tokina SZX SUPER TELE 400mm F8 Reflex MF lens for Nikon Z and Canon RF camera mounts worldwide sales date announcement

Apr 22, 2021

Kenko Tokina Co., Ltd. is pleased to announce the sales release of Tokina SZX SUPER TELE 400mm F8 Reflex MF lens for Nikon Z and Canon RF camera mounts.

Tokina SZX SUPER TELE 400mm F8 Reflex MF adopts a T-mount standard (pitch 0.75mm, thread 42mm), that allows this lens to be attached to various cameras by using different mount adapters. To provide photographers a chance to use Tokina SZX SUPER TELE 400mm F8 Reflex MF lens with popular Nikon and Canon mirrorless cameras we release Tokina SZX SUPER TELE 400mm F8 Reflex MF for Nikon Z and Tokina SZX SUPER TELE 400mm F8 Reflex MF for Canon RF mounts. New mount adapters for Nikon Z and Canon RF mirrorless cameras can be purchased separately as well.

B&H carries Tokina lenses.

Sales will commence on May 7, 2021.

Posted to: Canon News, Nikon News, Sony News   Category: Tokina News
Post Date: 4/22/2021 8:34:43 AM CT   Posted By: Bryan

From Tamron:

TAMRON Announces Compact 500mm Ultra-Telephoto Zoom for Sony E-mount Full-Frame Mirrorless Cameras

150-500mm F/5-6.7 Di III VC VXD (Model A057)

High-speed, high precision AF and TAMRON’s VC make comfortable handheld photography with a compact 500mm zoom a reality.

April 22, 2021, Commack, NY – TAMRON announces the launch of the 150-500mm F/5-6.7 Di III VC VXD (Model A057), an ultra-telephoto zoom lens for Sony E-mount full-frame mirrorless cameras on June 10, 2021 at approximately $1, 399 USD. Due to the current global health crisis, the release date or product supply schedule could change.

The 150-500mm F5-6.7 is TAMRON's first ultra-telephoto zoom lens for full-frame mirrorless cameras that reaches the 500mm focal length and when used on APS-C mirrorless format cameras, the zoom range is an approximate 225-750mm full-frame equivalent. Even when extended to the 500mm telephoto end, the lens is still compact enough for comfortable handheld shooting. This zoom lets users enjoy casual shooting with steady performance and high image quality in the ultra-telephoto realm where conventional wisdom once dictated a tripod. To support handheld shooting in the ultra-telephoto range, the 150-500mm is equipped with VXD (Voice-coil eXtreme-torque Drive), a linear motor focus mechanism that delivers excellent quietness and agile performance, and TAMRON's proprietary VC (Vibration Compensation) mechanism for high-level image stabilization. At the 150mm end, the lens offers an MOD of 23.6” for powerful and dramatic close-ups.

PRODUCT HIGHLIGHTS

1. A hand-holdable full-frame 500mm lens that defies conventional wisdom

The 150-500mm F5-6.7 is just 8.3” long with a maximum diameter of Ø93mm, an astoundingly compact size for a 500mm-class ultra-telephoto zoom for full-frame mirrorless cameras. Even when extended to the 500mm telephoto end, the lens is still remarkably compact at only 11.1”. The lens zooms from 150mm to 500mm by rotating the zoom ring through an arc of just 75° — less than one-quarter of a turn. This feature enables rapid adjustment to the desired angle of view with minimal movement, avoiding missed opportunities and facilitating intuitive composition. TAMRON’s renowned VC mechanism also significantly improves handheld performance by counteracting camera shake.

2. Amazing high image quality despite its compact size

The optical construction features 25 elements in 16 groups. The generous and effective use of special lens elements including one XLD (eXtra Low Dispersion), five LD (Low Dispersion), and two Hybrid Aspherical lens elements thoroughly controls aberrations including axial chromatic aberrations. This 150-500mm F5-6.7 ultra-telephoto zoom lens is designed and constructed with strong emphasis on compact size and usability without compromising image quality, so users can enjoy exceptionally high resolving power across the entire image.

3. VXD AF motor provides high speed, high precision, and excellent quietness

The 150-500mm F5-6.7 features the same highly acclaimed VXD linear motor focus mechanism that was first introduced in the 70-180mm F/2.8 Di III VXD (Model A056). VXD delivers extreme high-speed and high-precision movement and ensures exceedingly responsive performance. Even when shooting at the ultra-telephoto end with a focal length of 500mm, the 150-500mm provides fast, comfortable and accurate focusing at all shooting distances, from near to far.

Focus tracking has been vastly improved to facilitate capturing fast-moving subjects like sports, birds, and aircraft. This ensures that those dramatic, action-packed moments are never missed, whether shooting still photos or video. Additionally, the linear motor also reduces drive noise and vibrations produced during focusing (as compared to a conventional drive system), making it ideal for shooting both still photos and video in low-noise environments.

4. TAMRON’s acclaimed Vibration Compensation delivers excellent image stabilization

The slim, compact 150-500mm F5-6.7 is equipped with TAMRON’s VC mechanism. The lens features a VC mode selection switch with three settings (Mode 1: Standard, Mode 2: Exclusively for Panning, and Mode 3: Framing Priority) so the ideal VC mode can be invoked to match shooting conditions. This functionality delivers excellent image stabilization performance, enabling efficient reduction of image blurring caused by camera shake.

5. Exciting telephoto macro focuses as close as 23.6”

The 150-500mm F5-6.7 offers excellent close-up shooting capabilities for an ultra-telephoto lens. The MOD is 23.6” at the 150mm end and 70.9” at the 500mm telephoto end. The maximum magnification ratio at 150mm is exceptionally high at 1:3.1. Users can shoot powerful telephoto-macro images of subjects including flowers and insects while maintaining a reasonable shooting distance — closer than you can get with conventional ultra-telephoto zoom lenses.

6. Additional features for greater convenience

- Arca-Swiss compatible tripod mount with strap attachment holes

included

- Lens hood with flexible, protective front portion
- New switch design for improved operability
- FLEX ZOOM LOCK mechanism to support greater usability

7. BBAR-G2 Coating minimizes ghosting and flare

8. Moisture-Resistant Construction and Fluorine Coating provide extra protection

9. Compatible with many camera-specific features and functions, including Fast Hybrid AF and Eye AF

Specifications

Model A057
Focal Length 150-500mm
Maximum Aperture F5-6.7
Angle of View (diagonal) 16°25'-4°57' (for full-frame mirrorless format)
Optical Construction 25 elements in 16 groups
Minimum Object Distance 0.6m (23.6 in) (WIDE) / 1.8m (70.9 in) (TELE)
Maximum Magnification Ratio 1:3.1 (WIDE) / 1:3.7 (TELE)
Filter Size 82mm
Maximum Diameter 93mm
Length* 209.6mm (8.3 in)
Weight 1,725g (60.8 oz) (without tripod mount included) /
tripod mount 155g (5.5 oz)
Aperture Blades 7 (circular diaphragm)**
Minumum Aperture F22-32
Standard Accessory Round-shaped hood, Lens caps, Tripod mount
Compatible Mounts Sony E-mount

Orders

Order the Tamron 150-500mm F/5-6.7 Di III VC VXD Lens at B&H.

* Length is the distance from the front tip of the lens to the lens mount face.

** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

Specifications, appearance, functionality, etc. are subject to change without prior notice.

This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

Posted to: Sony News   Category: Tamron News
Post Date: 4/22/2021 8:06:18 AM CT   Posted By: Bryan

From Tamron

TAMRON Announces World's First Compact, Lightweight F2.8 Ultra Wide-Angle Zoom Lens for Sony E-mount APS-C Mirrorless Cameras

April 22, 2021, Commack, NY – TAMRON announces the launch of the 11-20mm F/2.8 Di III-A RXD (Model B060), a fast-aperture ultra wide-angle zoom lens for Sony E-mount APS-C mirrorless cameras on June 24, 2021 at approximately $829. Due to the current global health crisis, the release date or product supply schedule could change.

Model B060

The new 11-20mm F2.8 zoom is the world's first[1] ultra wide-angle zoom lens for Sony E-mount APS-C[2] mirrorless cameras that features an aperture of F2.8. Despite its fast F2.8 aperture, the lens is very small (3.4”) and feels perfectly balanced attached to a compact APS-C mirrorless camera body. It is the ideal ultra wide-angle lens for regular use. At the 11mm ultra wide-angle end, the lens exhibits stunning close-range shooting performance, achieving an MOD (Minimum Object Distance) of 5.9” and a maximum magnification ratio of 1:4. This feature invites wide-angle macro shooting that exploits the creative effects of naturally occurring distortion that only ultra wide-angle lenses can provide.

[1] Among interchangeable F2.8 ultra wide-angle zoom lenses for Sony E-mount APS-C mirrorless cameras (As of March, 2021: TAMRON)

[2] Di III-A: For APS-C format mirrorless interchangeable-lens cameras

The new zoom is protected by Moisture-Resistant Construction and Fluorine Coating in consideration of outdoor shooting. Its Ø67mm filter size is identical to TAMRON's 17-70mm F/2.8 Di III-A VC RXD (Model B070) fast-aperture standard zoom lens for Sony E-mount APS-C mirrorless cameras and nearly all TAMRON’s lenses in the series of full-frame mirrorless cameras that sit nicely on APS-C cameras as well. Compatible with many of the features that Sony builds into its cameras, including Fast Hybrid AF and Eye AF, the lens is packed with highly practical features that support comfortable shooting that let photographers enjoy the superb image quality of this ultra wide-angle, fast F2.8 aperture lens.

PRODUCT HIGHLIGHTS

1. The world's first F2.8 ultra wide-angle zoom lens for APS-C mirrorless cameras

The 11-20mm F2.8 is a bona fide ultra wide-angle zoom lens with an aperture of F2.8 across the entire zoom range. Meanwhile, it is compact, lightweight and very practical. You can enjoy the unique and powerful world of ultra wide-angle photography at the 11mm end (the full-frame equivalent of 16.5mm). Ideal for regular use, the 20mm focal length (the full-frame equivalent of 30mm) is well suited for casual snapshot photography such as street shooting. With its usefulness rooted in its compact, lightweight design and fast F2.8 aperture, the 11-20mm F2.8 provides an exciting shooting experience with greater freedom in diverse shooting situations.

2. Compact and lightweight for superior usability

The 11-20mm F2.8 is only 3.4” in length and weighs just 11.8 oz. For a fast-aperture F2.8 ultra wide-angle zoom lens, this is remarkably compact and light. When used with an APS-C mirrorless camera body, it enables photographers to enjoy a responsive image capture system without being hindered by the size or weight of the lens. It provides a comfortable user experience for still photography and for shooting video using a small tripod or gimbal stabilizer.

3. Outstanding optical performance

The 11-20mm F2.8 construction includes 12 elements in 10 groups. Two precisely located GM (Glass Molded Aspherical) lens elements assure high resolution across the entire image, from edge to edge. In addition, the 11-20mm F2.8 incorporates one XLD (eXtra Low Dispersion) and two LD (Low Dispersion) lens elements to produce sharp images with optical aberrations highly corrected. It also features the BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating that suppresses ghosting and flare to a minimum level and reveals the minute details of objects even when the subject is backlit. The combination of features harmonizes to provide sharp images with natural colors and rich saturation.

4. MOD of 5.9” at the 11mm focal length

The 11-20mm F2.8 boasts an MOD (Minimum Object Distance) of 5.9” at the 11mm focal length setting and 9.4” at the 20mm end. This results in better and more versatile close-range shooting performance than existing ultra wide-angle zoom lenses at their widest focal length. At the widest 11mm setting it has an astonishing maximum magnification ratio of 1:4 to provide wide-angle macro photography that parlays the perspective unique to ultra wide-angle lenses, while also leveraging the expressive bokeh provided by the fast, bright maximum aperture of this lens.

5. A user-friendly unified Ø67mm filter size across the series

The 11-20mm F2.8 is so light that the total weight of it and the 17-70mm F/2.8 Di III-A VC RXD (Model B070) standard zoom lens for Sony E-mount APS-C mirrorless cameras together is only approximately 30.3 oz. The combination of these two lenses covers an extreme range of focal lengths from 11mm to 70mm (equivalent to 16.5mm to 105mm on full-frame cameras) with a fast, wide-open aperture of F2.8 at every focal length, thereby enabling the size and weight of an entire mirrorless system to be massively reduced without sacrificing capabilities. Just like nearly all of TAMRON's lens models for Sony E-mount cameras, it has a unified Ø67mm filter size that allows reciprocal sharing of filters such as PL and ND, and lens caps.

6. The RXD (Rapid eXtra-silent stepping Drive) stepping motor unit is exceptionally quiet and perfect for video use

7. Moisture-Resistant Construction and Fluorine Coating provide extra protection

8. Compatible with many camera-specific features and functions, including Fast Hybrid AF and Eye AF

Specifications

Model B060
Focal Length 11-20mm
Maximum Aperture F2.8
Angle of View (diagonal) 105°20'-71°35' (for APS-C frame mirrorless format)
Optical Construction 12 elements in 10 groups
Minimum Object Distance 0.15m (5.9 in) (WIDE) / 0.24m (9.4 in) (TELE)
Maximum Magnification Ratio 1:4 (WIDE) / 1:7.6 (TELE)
Filter Size 67mm
Maximum Diameter 73mm
Length* 86.2mm (3.4 in)
Weight 335g (11.8 oz)
Aperture Blades 7 (circular diaphragm)**
Minumum Aperture F16
Standard Accessory Flower-shaped hood, Lens caps
Compatible Mounts Sony E-mount

Orders

Order the Tamron 11-20mm F/2.8 Di III-A RXD Lens at B&H.

* Length is the distance from the front tip of the lens to the lens mount face.

** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

Specifications, appearance, functionality, etc. are subject to change without prior notice.

This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

Posted to: Sony News   Category: Tamron Announcements
Post Date: 4/22/2021 8:04:56 AM CT   Posted By: Bryan
 Tuesday, April 20, 2021

From Sony:

Sony Electronics Continues to Push Boundaries with the Introduction of the Compact, Ultra-wide Angle, Large Aperture FE 14mm F1.8 G Master™ Prime Lens

Newest Addition to Sony’s E-mount Lens Lineup Offers Extraordinary Resolution, Advanced and Quiet Autofocus Capabilities, Beautiful Bokeh Rendering and More

SAN DIEGO, CA – April 20, 2021 – Sony Electronics Inc. further expands its E-mount lens lineup with the introduction of the groundbreaking FE 14mm F1.8 G Master (model SEL14F18GM) – a compact, large F1.8 aperture, ultra-wide angle lens that allows users to capture the world with new perspectives by delivering sharp resolution from corner to corner with little to no distortion, especially when shooting landscapes, architecture, starry skies and interiors.

“Sony continuously strives to meet the needs of our customers with the most advanced tools possible. We’re excited to share the newest member of our G Master series, the FE 14mm F1.8 G Master,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “This lens sets a new standard for 14mm primes, by delivering extraordinary corner-to-corner resolution and advanced autofocus capabilities in a compact design that has never before been realized in this focal length.”

Extraordinary Resolution in an Incredibly Compact and Lightweight Design

The new FE 14mm F1.8 G Master features a compact design, measuring just 3 3/8 in x 4 in (83mm x 99.8mm) and weighing just 16.3 oz (460g), with advanced optical technology that delivers superb resolution and stunning contrast. Two XA (extreme aspherical) elements and one aspherical lens element maintain excellent resolution throughout the entire image area and contribute to its compact and lightweight design. Two ED (Extra-low Dispersion) glass elements and one Super ED glass element result in optical refinements that suppress chromatic aberration and deliver excellent contrast and precise rendering at all apertures.

The FE 14mm F1.8 G Master is useful in all types of low-light situations for both still and movie shooting, thanks to the maximum F1.8 aperture. Users can faithfully render point light sources, like stars for astrophotography, without having to use extremely slow shutter speeds. A common problem plaguing wide angle lenses is light entering at extreme angles that could reflect internally. The FE 14mm F1.8 G Master uses Sony’s original Nano AR Coating II technology to maximize clarity and effectively subdue flare and ghosting.

The FE 14mm F1.8 G Master can produce beautiful bokeh at F1.8, even with the ultra-wide 14mm focal length. With a 9.8-inch minimum focus distance, the FE 14mm F1.8 G Master offers expanded possibilities for close-up still and video shooting and creates stunning bokeh known to Sony’s G Master premium series of lenses. In addition, its precise XA elements, a 9-blade circular aperture mechanism and optimally controlled aberration allow the FE 14mm F1.8 G Master to produce exquisite background bokeh without the undesirable “onion-ring” effect.

Advanced and Quiet Autofocus

Using two XD (extreme dynamic) Linear Motors, focus can be accurately acquired and maintained even when shooting with narrow depth of field at F1.8 giving professional shooters the reliability they need to get the job done in challenging conditions. Moreover, the FE 14mm F1.8 G Master enables quiet AF with minimal vibration for smooth focus transitions, perfect for video content creation.

Professional Level Control and Reliability

The new lens also features several advanced and versatile control options including a focus hold button, a focus mode switch and a focus ring to ensure smooth, efficient operation in a wide range of shooting environments. For added customization, a number of functions can be assigned to the focus hold button from the camera body interface. The FE 14mm F1.8 G Master also features Linear Response MF for direct and precise manual focusing. An aperture ring that allows intuitive aperture control and is also included, with click stops that can be switched ‘on’ for still photography or switched ‘off’ for smooth and quiet iris transition when capturing video. For added creative freedom, the FE 14mm F1.8 G Master includes a rear filter holder that accepts standard sheet-type filters for ND, color correction, soft filter and more.

A dust and moisture resistant design[i] provides the reliability needed for challenging conditions. The front lens element features a fluorine coating that repels water, oil, and other contaminants. The rear element is also fluorine coated to keep that surface clean when changing the rear filter. The lens also has a built-in petal hood that effectively blocks extraneous light that can cause flare and ghosting.

Pricing and Availability

The new FE 14mm F1.8 G Master will be available in May for approximately $1,600 USD and $2,100 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Orders

Order the Sony FE 14mm F1.8 G Master Lens from B&H | Adorama | WEX

[i] Not guaranteed to be 100% dust and moisture proof.

Posted to: Sony News   Category: Sony Announcements
Post Date: 4/20/2021 9:29:26 AM CT   Posted By: Bryan
 Monday, April 19, 2021

Some reviews go on indefinitely, and this review is one of those. So, I'll call it finished, but will continue to tweak it: Sony Alpha a1 Review.

This is an outstanding camera.

The a1 is in high demand and will be so for a long time, so get in line ASAP. Order the Sony Alpha a1 at B&H | Adorama | Amazon USA | WEX

Need it immediately? Rent the Sony Alpha a1 from Lensrentals.

Please share!

Post Date: 4/19/2021 9:08:10 AM CT   Posted By: Bryan

The Gitzo GIGH4383LR Series 4 Center Ball Head with Arca-Type Lever Release QR Receiver was just announced. Get the details and preorder at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: Gitzo News
Post Date: 4/19/2021 8:59:58 AM CT   Posted By: Bryan
 Friday, April 16, 2021
 Thursday, April 15, 2021

From DJI:

DJI Air 2S Melds Incredible Image Quality With Unmatched Flight Performance

Added Obstacle Sensors Improve Autonomous Flying, While The 1” Sensor Offers 20-Megapixel Photos and 5.4K Video

April 15, 2021 – DJI, the global leader in civilian drones and creative camera technology, today sets a new benchmark for high-grade flight performance and incredible imagery with the new DJI Air 2S. This portable camera drone is an all-in-one solution, offering robust flight performance, state-of-the-art camera upgrades and high-grade preprogrammed content creation tools.

“Every creator remembers what it felt like to fly a drone for the first time, and they’ll feel the same sense of wonder and possibility when they first experience DJI Air 2S’s unparalleled mix of astonishing flight capability and gripping image quality,” said Ferdinand Wolf, Creative Director, DJI Europe. “DJI Air 2S is a wish list come to life for everyone who demands more from a drone, showcasing upgrades that truly elevate the system into a highly versatile drone. From content creators, to drone enthusiasts and travelers, we are confident that a lot of people will be excited about this drone.”

The DJI Air 2S is the first drone of its size to capture 20-megapixel still images or video in 5.4K with a new one-inch sensor that was previously available only on larger, less agile drones. DJI continues to enable the effortless creation of imaginative content with the new MasterShots feature. This advanced feature uses automatic flight path planning to set the drone’s course while recording video. Upon completion of the flight, DJI Air 2S automatically merges the footage under one theme to create an eye-catching video.

DJI Air 2S’s 31 minutes of maximum flight time and four-way directional obstacle sensors let the pilot focus on the shot while the drone’s safety systems warn when obstacles are getting close. APAS 4.0 is the most advanced autopilot system on any DJI drone and when turned on, seamlessly maneuvers around objects autonomously. O3, DJI’s third iteration of OcuSync, brings the most reliable transmission technology in the drone market to this portable, foldable drone so users know their connection is stable. The upgraded FocusTrack mode includes a suite of programmed modes like Spotlight 2.0, ActiveTrack 4.0 and Point of Interest 3.0 that easily mimic the focus, control and movement of a professional video operator.

An All-In-One Tool for All Your Content Capturing Needs

Expand your creative vision and capture high-grade footage using a new one-inch sensor capable of recording 20-megapixel still images, 5.4K video at 30fps or 4K at 60fps and 150Mbps. The one-inch sensor is larger than the sensor on the original Mavic Air 2 and offers a larger pixel size of 2.4µm, capturing more information and detail for better photos and videos. Get closer to the subject without moving the drone using a new digital zoom that supports 4X zoom at 4K 30fps, 6X at 2.7K 30fps, 4X at 2.7K 60fps, 6X at 1080P 60fps and 8X at 1080P 30fps. DJI’s renowned three-axis mechanical gimbal smooths out footage for professional-level quality and 8 GB of internal storage have been added. Users can choose to record in H264 or H265, depending on their preferences for image detail and storage capacity and can also choose from three video color profiles, Normal (8 bit), D-Log (10 bit) or HLG (10 bit) to match their video needs.

In addition to standard photo options like Timed Photo, AEB and Panoramas, DJI Air 2S’s SmartPhoto mode records 20-megapixel photos using advanced scene analysis and deep learning to automatically choose the best of three options that will create the most visually appealing image for you, including HDR, Hyperlight and Scene Recognition. HDR modes merge several images together for a vibrant scene while Hyperlight is designed for low-light scenarios and Scene Recognition can identify several common settings and apply camera adjustments to capture photos that pop.

Pre-Programmed Modes for Pro-Level Footage

The DJI Air 2S has the most programmed flight modes and image capture modes of any DJI drone of its size. These creative options include:

  • MasterShots: Professional-level aerial footage has never been easier. After activating MasterShots, the drone will autonomously plan a flight path, choose from three different image capture modes, including Proximity, Portrait or Landscape, and start recording classic aerial footage. Pilots can choose different themes and the DJI Fly app will generate a unique video that’s ready to be shared with the world.
  • FocusTrack: Focus on the scene and let DJI Air 2S do the hard work for you. Select your subject by drawing a square around it on your mobile device, then choose from Point of Interest 3.0, an autonomous flight path around the subject; ActiveTrack 4.0, a tool that seamlessly tracks the subject and keeps it in the frame; or Spotlight 2.0, where the drone movement is controlled by the pilot while it locks the subject into the frame.
  • QuickShots: A staple DJI feature, QuickShot modes include Rocket, Circle, Dronie, Helix, Boomerang and Asteroid.
  • Hyperlapse: See the world sped up from the air and in motion with the Hyperlapse option in resolution up to 4K. Content captured in 4K resolution and lower can apply digital stabilization for an added layer of smoothness.

Safe and Intuitive Flight Operation in an Ultra-Portable Drone

DJI Air 2S uses four high-grade antennas and the latest version of DJI’s proprietary OcuSync transmission tech, O3, to deliver a stable feed at a maximum distance of 12km1, even in areas with a high number of signals. A maximum 31 minutes in the air gives pilots more time to capture visually appealing footage while four-way sensors help reduce the risk of collision. The newly upgraded front, rear, bottom and top obstacle sensors incorporate binocular zooming technology to recognize incoming objects from further away at faster speeds.

DJI Air 2S uses the latest and most advanced version of Advanced Pilot Assistance System (APAS) 4.0, which allows the drone to autonomously and seamlessly maneuver around, under and over obstacles. While flying at normal speeds, the newly improved APAS 4.0 offers a wider field-of-view to detect obstacles compared to previous versions. If pilots are flying at higher speeds, as the angle of the drone pitches forward more and the newly added upward obstacle sensor plays a critical part in assisting obstacle detection. As with DJI’s latest drone models, the DJI Air 2S’s AirSense system warns drone pilots of nearby airplanes and helicopters transmitting ADS-B signals, so the drone can be quickly moved to a safer location. Other standard DJI safety features of DJI Air 2S include an improved Return-To-Home (RTH) feature, which can bring a drone back to its launch point if it loses contact with the controller or reaches a critically low battery level, and the GEO 2.0 geofencing system to advise pilots of sensitive locations and help them automatically keep away from high-risk areas such as airports. DJI Air 2S uses the latest version of the DJI Fly app, which features a wealth of educational information and tutorials to get new pilots up in the air quickly.

DJI Care Refresh

DJI Care Refresh is now available for DJI Air 2S, covering various accidents, such as water damage, collisions, flyaway, etc. For an additional charge, DJI Care Refresh offers up to two replacement units within one year, including coverage for one flyaway incident. The two-year plan provides three replacement units in two years, including coverage for up to two flyaway incidents and an extension of the original warranty period by one year (extension durations vary by region). Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes exclusive after-sales support and free two-way shipping. For a full list of details, please visit https://www.dji.com/service/djicare-refresh.

Price and Availability

DJI Air 2S is available for purchase today from store.dji.com and from authorized retail partners in several configurations. The standard combo retails for $999 USD and includes the drone, remote controller, one battery and all the cables and parts needed to get into the air. The Fly More Combo retails for $1299 USD includes everything from the standard combo with the addition of 2 batteries for a total of 3, ND filters, a charging hub and a shoulder bag.

In Stock Now!

The DJI Air 2S is in stock at B&H and Adorama.

Learn more about the Air 2S at B&H Explora.

1 DJI Air 2S transmission system has a maximum range of 12 km when unobstructed, free of interference and FCC compliant. Maximum flight range specification is a proxy for radio link strength and resilience. Always fly your drone within visual line of sight unless otherwise permitted and check local laws and regulations in the region being operated.

Posted to: Canon News, Nikon News, Sony News   Category: DJI News
Post Date: 4/15/2021 8:56:19 AM CT   Posted By: Bryan
 Monday, April 12, 2021

We knew that the highly anticipated Sony FE 35mm f/1.4 GM Lens was production delayed, with Sony indicating that the estimated ship date was "To be determined."

"To be determined" is obviously vague, and our expectations have since been guided by the estimated ship date provided by retailers. B&H originally moved the expected ship date from Mon, Feb 22nd to Mon, Apr 12, and now lists the more vague "End of Apr 2021" as the expected availability for this lens.

Amazon USA and Adorama are not guessing.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/12/2021 9:00:51 AM CT   Posted By: Bryan
 Saturday, April 10, 2021

Canon EOS R5 and RF 100-500 Lens Create Giant Bull Moose Environmental Portrait, Alaska When the subject is in a great environment, incorporating that environment into the portrait is usually the priority. While I love tightly-framed wildlife portraits, capturing a great environmental portrait is a more significant challenge.

Of course, with that set of antlers in the frame it is difficult to take a bad picture.

As is so often the case, the Canon EOS R5 and Canon RF 100-500mm F4.5-7.1 L IS USM Lens were a perfect handheld combination for this run-and-gun pursuit.

Right, the 1/200 shutter speed is a relatively long exposure for photographing close wildlife. The beast paused (he was watching a cow) long enough for me to roll the shutter speed down to this setting. With auto ISO selected in manual exposure mode, the camera then chose a very low noise ISO setting despite the dark light levels.


The Canon EOS R5 is in stock at B&H.

A larger version of this image is available on Flickr.

 
Camera and Lens Settings
100mm  f/4.5  1/200s
ISO 500
8192 x 5464px
Post Date: 4/10/2021 9:30:28 AM CT   Posted By: Bryan
 Friday, April 9, 2021

From Sigma:

Important Notice for SIGMA 28-70mm F2.8 DG DN | Contemporary Users

Dear valued customers,

Thank you for your purchase and continued support of our products.

Regarding the SIGMA 28-70mm F2.8 DG DN | Contemporary interchangeable lens for mirrorless cameras announced on March 23rd, 2021, as a result of our investigation, there is a possibility that the ghost resistance will deteriorate with some products from the initial lot.

In addition, since we have confirmed the countermeasures by process management regarding this matter, we would like to inform you below that we would like to collect all the products with the target serial number and replace them with new ones.

Applicable Product and Serial Number

Applicable Product: SIGMA 28-70mm F2.8 DG DN | Contemporary (for L-mount, Sony E-mount)

Serial Number: serial number prior to 55488834, regardless of mount.

Treatment on this issue

We will respond by replacing the applicable product with a new one.

For further information, please contact your local authorized SIGMA Service Station listed in the link below:

https://www.sigma-global.com/en/world-network

For customers in the US requiring more information, please contact our Service and Support team at info@sigmaphoto.com.

We apologize for any inconvenience this has caused to customers who are using the applicable product, and those who are looking forward to purchasing this product.

Order the Sigma 28-70mm F2.8 DG DN DN Contemporary Lens from B&H.

Posted to: Sony News   Category: Sigma News
Post Date: 4/9/2021 10:13:21 AM CT   Posted By: Bryan

From Rokinon:

Rokinon

New AF 24mm F1.8 Compact for Sony E

With Focus Hold Button and Custom Switch Full Frame · Fast · Weather Sealed

(New York, New York) April 9, 2021 – ROKINON has announced its new AF 24mm F1.8 Full Frame Compact Wide Angle Lens for Sony E mount. It is its eleventh auto focus lens specifically engineered for Sony mirrorless cameras. Weighing only 8.1 ounces and measuring just 2.8 inches in length, this new 24mm combines a compact and light form factor, a fast 1.8 aperture and a host of additional features that are unmatched by any other 24mm E mount lens in the market.

New and special features include:

  • Customizable Focus-Hold Button
    Pressing and holding this button will keep the lens locked at the auto-focused distance. The user can also assign to the focus hold button other desired functions through the Custom Key Settings menu of the camera.
  • Astrophotography Mode
    Astrophotography Mode automatically sets the lens focusing mode to MF, moves and locks the lens to infinity focus, and the Infinity Focus Confirmation LED will light in green. If the focus control ring is moved, the LED will turn to red.

  • Custom Switch
    The Custom Switch enables the focusing ring to function either as a manual focus control (Mode 1) or as an aperture control (Mode 2). Additional Custom Switch functions are being developed and will be made available via firmware updates. Fine tuning focusing parameters, new functions, and firmware updates may be obtained by using a ROKINON Lens Station.

The latest optical technology allows this speedy wide angle to achieve stunning corner-to-corner resolution, even at F1.8 maximum aperture. A total of 11 elements in 8 groups, with 7 special lenses (2 Aspherical + 3 High Refractive Index + 2 Extra Low Dispersion) and Ultra Multi-Coating deliver outstanding images. With this lens, spherical aberration and coma are highly controlled for the benefit of astrophotographers.

The Rokinon AF 24mm F1.8 excels not only at available light photography. It also allows great selective focus control with beautifully blurred backgrounds. Smooth-creamy bokeh with natural, circular, out-of-focus highlights is a result of this wide angle’s 9-blade circular aperture. This lens will also perform beautifully at an equivalent focal length of 36mm wih Sony E mount APS-C cameras.

A new STM (Stepping Motor) design controls superb auto-focus capability by moving only a single focusing group for extremely fast, precise and silent operation - whether shooting stills or videos. This design also prevents front element rotation and changes in length for easy use with 58mm polarizers and other filters that require precise positioning.

Other notable features include weather sealing in five areas to protect from dust, light rain and snow, a wide-angle view of 83.7° and a short minimum focusing distance of 7.48” (190mm). Coupled with its sophisticated optical design, you can capture stunning images in less than perfect environments - indoors and outdoors.

The ROKINON AF 24mm F1.8 Full Frame Lens for Sony E comes complete with a removable petal shaped lens hood, a custom fitted case and is expected to be available from authorized ROKINON dealers in June with a MSRP of $549.00.

SPECIFICATIONS

APERTURE RANGE: F1.8 - F22
OPTICAL CONSTRUCTION: Elements in 8 Groups (2 ASP + 3HR Index + 2 ED)
COATING: Ultra Multi-Coating (UMC)
MIN. FOCUSING DIST.: 7.48in (190mm) MAGNIFICATION RATIO: 0.21x
FILTER SIZE: 58mm
DIAPHRAGM BLADES: 9
MAX. DIAMETER: 2.56” (65.0mm)
WEATHER SEALED
AF MOTOR: Linear STM
CUSTOM SWITCH
INFINITY CONFIRMATION
FOCUS HOLD BUTTON
Angle of View: Full Frame 83.7° APS-C: 60.9°
Length: 2.81” (71.5mm)
Weight: 8.11oz (230g)
Mount: Sony E
Model: IO2418-E
Code: 0-84438-76721-6
MSRP: $549

Orders

B&H will be taking orders for the Rokinon 24mm f/1.8 AF Compact Lens for Sony E.

Posted to: Canon News, Nikon News, Sony News   Category: Rokinon News
Post Date: 4/9/2021 7:49:29 AM CT   Posted By: Bryan
 Thursday, April 8, 2021

Sony has quietly appended an "A" to the product model names of the Sony Alpha a7R IV and Sony Alpha a7R III mirrorless cameras.

The primary changes this update brings appear to be the LCD resolution increasing significantly to 2,359,296 dots from 1,440,000 dots, with the battery life dropping by an insignificant amount, along with the USB spec improving from USB 3.1 to USB 3.2 on the a7R III.

Watch for the new a7R IV and a7R III revision A to arrive at B&H.

Posted to: Sony News   Category: Sony Announcements
Post Date: 4/8/2021 8:21:40 AM CT   Posted By: Bryan
 Wednesday, April 7, 2021

Pausing to celebrate:

With the Sony FE 400mm f/2.8 GM OSS Lens Review now live, The-Digital-Picture.com has reviews of all currently available (non-PZ) Sony FE Lenses.

This compilation of resources has been four years and many thousands of hours in the making, and the milestone remains a moving target.

We'll attempt to keep up with the new Sony FE lens models as they are availed, with the Sony FE 35mm f/1.4 GM Lens (expectations already shared) coming soon and the Sony FE 50mm f/1.2 GM Lens (expectations also shared) not far behind.

Thanks for sharing this journey with us, and especially thanks for your support along the way!

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/7/2021 9:23:10 AM CT   Posted By: Bryan

Just posted: Sony FE 400mm f/2.8 GM OSS Lens Review.

This is an unsurprisingly exceptional lens.

The Sony FE 400mm f/2.8 GM OSS Lens is in stock or available for order at B&H | Adorama | Amazon USA

Rent the Sony FE 400mm f/2.8 GM OSS Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/7/2021 8:48:30 AM CT   Posted By: Bryan
 Friday, April 2, 2021

Image quality test results have been added to the Sony FE 400mm f/2.8 GM OSS Lens page.

For the size, weight, and price of this lens, it has to perform incredibly well. Sony, of course, knew that.

Sony FE 400mm f/2.8 GM OSS Lens vs. Canon EF 400mm f/2.8L IS III USM Lens

Sony FE 400mm f/2.8 Lens vs. Sony FE 600mm f/4 GM OSS Lens

Sony FE 400mm f/2.8 Lens GM OSS with 1.4 vs. Sony FE 600mm f/4 GM OSS Lens

The Sony FE 400mm f/2.8 GM OSS Lens is in stock at Adorama and Amazon USA and is available to order at B&H.

Save the tax, use the B&H Payboo payment card.

Rent the Sony FE 400mm f/2.8 GM OSS Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/2/2021 8:09:33 AM CT   Posted By: Bryan
 Tuesday, March 30, 2021

From Delkin:

Delkin’s New BLACK CFexpress™ Type B Cards Deliver Up to 1700 MB/s Sustained Speeds

POWAY, CA, MARCH 30, 2021 - Delkin Devices, a manufacturer of flash storage solutions and camera accessories, announced today the newest addition to their top-selling line of memory cards: BLACK CFexpress™ Type B memory cards. Specially designed to meet the ever-growing demands of today’s broadcast, cinema and photography industries, Delkin’s BLACK CFexpress™ cards leverage today’s latest technology in order to provide the fastest speeds on the market.

Other competing CFexpress™ Type B cards may state a maximum write speed, but BLACK takes things further with sustained sequential write speeds of at least 1400 MB/s (higher depending on capacity). This sustained speed versus potential write speeds is what guarantees flawless cinema-quality video capture, including DCI 8K RAW 12-Bit @ 30fps (2600 Mbps) in the Canon R5. This is especially valuable during events like weddings, sport meets, concerts and other situations you cannot redo. The cards are also capable of offloading data at speeds reaching up to 1730 MB/s, ensuring the quickest, most efficient data transfer from card to computer for immediate file access and sooner post-production.

Delkin BLACK CFexpress Type B Memory Card Performance

Maximum Write Speed – Defined as the Maximum Capable Write Speed – Potential Peaks & Valleys Sustained Sequential Write Speed – Defined as the Continuous Write Speed – No Peaks & Valleys

“With more camera manufacturers deciding to integrate support for CFexpress™ Type B memory cards into their new camera models, we felt the need to provide camera owners with a card that they could trust to protect and preserve their precious memories” says Jenn Sherry, Delkin's Retail Sales & Marketing Manager, “As cameras continue to advance and new data-heavy modes are introduced, it has become even more important for storage mediums to be able to keep up. We believe that BLACK CFexpress™ is the solution for complete video capture, just as the creator envisioned.”

Each BLACK CFexpress™ Type B memory card has undergone extensive testing to ensure full functionality and performance in today’s high-end cinematic hosts, including ones from Canon® (C300 Mark III, C500 Mark II, 1D X Mark III & R5) and Nikon® (D6, Z6 II & Z7 II). Select hosts originally designed with native support for XQD cards can also accept CFexpress™ Type B cards via firmware upgrade.

In addition to their “Lifetime Warranty” policy, Delkin continues to offer a unique built-in insurance policy for their BLACK memory cards, known as the “48-Hour Replacement Guarantee”. Delkin will replace any non-working BLACK card within 48 hours or less (not including weekends - in the US and UK), prior to receiving the non-working card. Cards can also be replaced over-the-counter at any authorized Delkin BLACK reseller.

Orders

Delkin BLACK memory cards are in stock at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: Delkin News
Post Date: 3/30/2021 2:01:46 PM CT   Posted By: Bryan

From Sony:

Sony Electronics’ “Visual Story™” App Features New Updates to Empower Event Photographers

Updated Visual Story App Version 1.1 Now Includes Live Galleries and Remote Viewing Capabilities with Expanded Support and Camera Compatibility

SAN DIEGO, CA – March 30, 2021 – Sony Electronics Inc. today announced new updates to “Visual Story” – a mobile application for professional event photographers that simplifies the process of delivering photos to their clients immediately after an event through automatic gallery creation, AI (artificial intelligence) image selection and web delivery[i]. The new application version 1.1 for “Visual Story” offers expanded support and a new “Live gallery” feature that makes remote viewing and participation more accessible.

New Live Gallery Feature for Socially Distanced Live Events

Visual Story Version 1.1’s new Live Gallery feature allows professional event photographers to meet the growing demand for remote participation during the actual event. This enables the photographer’s clients to share photo galleries with their friends, family and colleagues, to then view photos of their event, such as a wedding, corporate, school or sporting event, in real time to create a more immersive experience.

Live Gallery helps simplify a professional workflow by allowing Auto transfer while shooting with a compatible Sony Alpha brand camera[ii], automated image selection using AI, and applying edit presets to all images within a live gallery at the same time. Live Gallery viewers can also like specific photos, which the photographer can use to choose final image selections to deliver to their client.

Upgraded Selection Options

The newly updated Visual Story app also now includes an object detection filter to easily locate images focusing on specific items such as a cake, food, tableware and jewelry. The photographer can also choose images that are only included in a live gallery or those with likes.

Compatibility and Availability

Visual Story Version 1.1 is available now for iOS in the App Store for free and is compatible with select Sony cameras including: Alpha 7C, Alpha 7R IV, Alpha 7S III, Alpha 9, Alpha 9 II as well as Alpha 7 III (updated to firmware Version 4.0 or later), Alpha 1 and FX3i.

Sony’s new Visual Story is available to download for free HERE, and development on additional platforms is under discussion.

Learn more about Visual Story HERE.

Notes:

[i] Membership to “Visual Story” account and app on smartphone required with connection to Wi-Fi. See “Visual Story” terms and conditions/privacy policy for details. Download app at the App Store. Network services, content, and operating system and software subject to terms and conditions and may be changed, interrupted or discontinued at any time and may require fees, registration and credit card information.

[ii] Please refer to the website for a full list of compatible models. Firmware must be updated on cameras to ensure compatibility.

Posted to: Sony News   Category: Sony Announcements
Post Date: 3/30/2021 9:36:51 AM CT   Posted By: Bryan
 Monday, March 29, 2021

Last week's goal was to put a significantly challenging subject in front of the Sony Alpha a1's AF system.

This project started with 350+ images of whitetail deer captured with the outstanding Sony FE 600mm f/4 GM OSS Lens. At f/4, this lens produces a shallow depth of field that presents an AF challenge. Initially, the deer were milling about (erratic motion), but the game was quickly upped when a large group of deer came in fast, primarily single file, leaping toward the camera position. With animal eye detection and the entire AF area selected, the a1 easily and impressively tracked these subjects' eyes and produced an extremely high in-focus rate, including when the deer were leaping at close distances.

Despite the in-focus aspect of the image, none of these pics were worth keeping as the deer were shedding their winter coats and looking shaggy. I needed pictures that would look good in a review. From a wildlife perspective, birds, primarily ducks, were the acceptable subject I had access to.

After watching the weather forecast and the migration reports for some hotspot locations within driving distance, I made a final decision. On this day, the temperature was going well above freezing, and clear skies were forecasted. Bright sunlight brings out birds' iridescent colors, and the sky color reflects in the water, which, in this case, provided a surrounding blue color in the image (deep blue late in the day). The wind speed was supposed to be light for calmer water. The temperature was going to be comfortable — sitting in the water in the wind and sub-freezing temperatures complicates duck photography.

On this morning, I drove to the closest of the four selected locations, about 2.5 hours away. Unfortunately, the perfect subjects, the wood ducks reliably found there, were not there. While Canada geese were plentiful, I was looking for something different.

Plan B was immediately implemented. The Chesapeake Bay location was 2+ hours farther away, but this location is best in the afternoon, so there was still time to make it there for the ideal lighting.

Upon arrival, I discovered that the huge winter flock of ducks was down to a small fraction of the count. I expected a reduced count, but not this reduced. Fortunately, a selection of the ideal species was there, and with fewer birds, it was easier to isolate individual subjects, making the situation was ideal.

The scenario was ideal except for some wind that made the water choppy. Ideally, swimming duck photography is done at the water level, with the camera just above the water. This low camera position provides a side view of the duck, with a more-distant background, meaning the background has a stronger blur, making the subject pop.

When photographing floating ducks, getting the camera low involves sitting in the water, with chest waders and thick insulated pants required at this time of the year. With the high-frequency wind chop, splashing salt water was an issue, requiring a slightly higher camera position (a LensCoat rain cover protected most of the camera and lens). An unexpected wind complication was that bobbing with the ducks while looking into the viewfinder contributed to a strong sense of motion sickness.

Ducks floating on water may seem a low challenge to photograph (the proverbial sitting duck), but this scenario was the completel opposite. Many near-1' (0.3m) waves rocking the already-twitchy, constantly-erratically moving ducks and me (at different frequencies) made keeping a duck in the 600mm frame (I started at 840mm with a 1.4x teleconverter) extremely challenging (especially when the duck was obscured by a wave). I monitored image sharpness until becoming confident that a 1/3200 shutter speed eliminated motion blur in most pictures.

One of the biggest wildlife (and portrait) photography challenges is to keep the proper AF point selected. A motionless subject permits a focus and recompose strategy, but moving subjects require selecting a specific AF point that produces the optimal composition while remaining on the subject's eye. Fast AF point selection is an especially big challenge for unpredictable wildlife. Tracking a twitchy, bobbing duck with a specific focus point held on the eye would have been nearly impossible. However, the 600mm, f/4, close distance combination's shallow depth of field made focusing precisely on the eye a requirement.

Eye AF eliminates this challenge for a significant percentage of subjects. With the Sony Alpha a1's eye AF enabled, bird selected as the subject, and the entire AF area chosen (most of the frame), I was left to concentrate primarily on framing the scene and timing the shutter release press. Note that, when eye AF is locking on the subject, gloves are no longer an impediment to cold-weather wildlife pursuits.

When many changes are happening simultaneously, a fast frame rate has your back. I began shooting in the 30 fps drive mode but backed off to 20 fps when I saw how fast the image count was increasing.

Twenty fps is still an exceptionally fast frame rate. Most 20 fps shot sequences captured, minimally, a properly-framed duck image, and often, many well-framed shots, despite all of the motion (ducks would sometimes bob from one frame border to another during a short burst). With 20 fps capture, I didn't feel the need to repair closed necessitating membranes as the previous or next image still had the ideal pose. The foreground and background matter, and wave and reflection nuances vary constantly. These elements can be the deciding factor for selection, and the 20 and 30 fps capture rate provides considerable options in this regard.

That the a1's viewfinder responded fast enough to keep the birds in the frame was remarkable, and the lack of viewfinder blackout was also critical. Even more remarkable was the extremely-high in-focus rate the a1 delivered. In this 3:45 shoot, 8,985 images were captured, and in almost all of them, the eye was in sharp focus – even when the eye bounced into the periphery of the frame.

When packing, four batteries seemed a lot, but 4% of the fourth battery was consumed by the time I walked out of the water. That said, capturing nearly 3,000 images per relatively-small battery is great performance.

Similarly, taking a full terabyte of memory cards seemed overkill, but the last 256GB card was half-filled when shade reached the water. As much as I want to purchase CFexpress Type A memory cards for the a1, I can't get past the current price. Let's put a Type A number on this day. As I write this, adequate 160GB Type A memory cards to contain this under-4-hour shoot would have cost $2,394.00.

In comparison, four fast Lexar 256GB Professional 1667x V60 UHS-II SDXC Memory Cards currently cost $300.00.

With these Lexar cards, the a1 was writing the buffer to the card most of the time. This writing prevents some camera features from being accessible, though image playback functions during the writing process.

Ultra-high performance AF combined with an extreme frame rate results in a problem, albeit a great problem — too many excellent images yield a long selection process. You may have foreseen this issue: reviewing nearly 9k photos is a massive project, and the phenomenal in-focus rate makes that job far more difficult. It is hard to delete excellent pictures, but the quality bar must be raised (or considerable hard drive storage space acquired). Again, the a1's extreme performance create a problem you want to have.

I didn't mention the a1's 50MP resolution in this post, but the bouncing ducks were often not ideally framed. This camera's high resolution meant that significant resolution remained even after cropping deeply.

The Robus RC-8860 Vantage Carbon Fiber Tripod (great tripod, excellent value) provided the support for this shoot. With the tripod leveled, the two-way pan and tilt of the smooth-functioning Wimberley WH-200-S Sidemount Head ensured that every shot was level (though the wave action diminished this requirement).

The bottom line is that Sony Alpha a1, and especially its AF system, is an outstanding performer, as expected.


Last week's goal was to put a significantly challenging subject in front of the Sony Alpha a1's AF system.

This project started with 350+ images of whitetail deer captured with the outstanding Sony FE 600mm f/4 GM OSS Lens. At f/4, this lens produces a shallow depth of field that presents an AF challenge. Initially, the deer were milling about (erratic motion), but the game was quickly upped when a large group of deer came in fast, primarily single file, leaping toward the camera position. With animal eye detection and the entire AF area selected, the a1 easily and impressively tracked these subjects' eyes and produced an extremely high in-focus rate, including when the deer were leaping at close distances.

Despite the in-focus aspect of the image, none of these pics were worth keeping as the deer were shedding their winter coats and looking shaggy. I needed pictures that would look good in a review. From a wildlife perspective, birds, primarily ducks, were the acceptable subject I had access to.

After watching the weather forecast and the migration reports for some hotspot locations within driving distance, I made a final decision. On this day, the temperature was going well above freezing, and clear skies were forecasted. Bright sunlight brings out birds' iridescent colors, and the sky color reflects in the water, which, in this case, provided a surrounding blue color in the image (deep blue late in the day). The wind speed was supposed to be light for calmer water. The temperature was going to be comfortable — sitting in the water in the wind and sub-freezing temperatures complicates duck photography.

On this morning, I drove to the closest of the four selected locations, about 2.5 hours away. Unfortunately, the perfect subjects, the wood ducks reliably found there, were not there. While Canada geese were plentiful, I was looking for something different.

Plan B was immediately implemented. The Chesapeake Bay location was 2+ hours farther away, but this location is best in the afternoon, so there was still time to make it there for the ideal lighting.

Upon arrival, I discovered that the huge winter flock of ducks was down to a small fraction of the count. I expected a reduced count, but not this reduced. Fortunately, a selection of the ideal species was there, and with fewer birds, it was easier to isolate individual subjects, making the situation was ideal.

The scenario was ideal except for some wind that made the water choppy. Ideally, swimming duck photography is done at the water level, with the camera just above the water. This low camera position provides a side view of the duck, with a more-distant background, meaning the background has a stronger blur, making the subject pop.

When photographing floating ducks, getting the camera low involves sitting in the water, with chest waders and thick insulated pants required at this time of the year. With the high-frequency wind chop, splashing salt water was an issue, requiring a slightly higher camera position (a LensCoat rain cover protected most of the camera and lens). An unexpected wind complication was that bobbing with the ducks while looking into the viewfinder contributed to a strong sense of motion sickness.

Ducks floating on water may seem a low challenge to photograph (the proverbial sitting duck), but this scenario was the complete opposite. Many near-1' (0.3m) waves rocking the already-twitchy, constantly-erratically moving ducks and me (at different frequencies) made keeping a duck in the 600mm frame (I started at 840mm with a 1.4x teleconverter) extremely challenging (especially when the duck was obscured by a wave). I monitored image sharpness until becoming confident that a 1/3200 shutter speed eliminated motion blur in most pictures.

One of the biggest wildlife (and portrait) photography challenges is to keep the proper AF point selected. A motionless subject permits a focus and recompose strategy, but moving subjects require selecting a specific AF point that produces the optimal composition while remaining on the subject's eye. Fast AF point selection is an especially big challenge for unpredictable wildlife. Tracking a twitchy, bobbing duck with a specific focus point held on the eye would have been nearly impossible. However, the 600mm, f/4, close distance combination's shallow depth of field made focusing precisely on the eye a requirement.

Eye AF eliminates this challenge for a significant percentage of subjects. With the Sony Alpha a1's eye AF enabled, bird selected as the subject, and the entire AF area chosen (most of the frame), I was left to concentrate primarily on framing the scene and timing the shutter release press. Note that, when eye AF is locking on the subject, gloves are no longer an impediment to cold-weather wildlife pursuits.

When many changes are happening simultaneously, a fast frame rate has your back. I began shooting in the 30 fps drive mode but backed off to 20 fps when I saw how fast the image count was increasing.

Twenty fps is still an exceptionally fast frame rate. Most 20 fps shot sequences captured, minimally, a properly-framed duck image, and often, many well-framed shots, despite all of the motion (ducks would sometimes bob from one frame border to another during a short burst). With 20 fps capture, I didn't feel the need to repair closed necessitating membranes as the previous or next image still had the ideal pose. The foreground and background matter, and wave and reflection nuances vary constantly. These elements can be the deciding factor for selection, and the 20 and 30 fps capture rate provides considerable options in this regard.

That the a1's viewfinder responded fast enough to keep the birds in the frame was remarkable, and the lack of viewfinder blackout was also critical. Even more remarkable was the extremely-high in-focus rate the a1 delivered. In this 3:45 shoot, 8,985 images were captured, and in almost all of them, the eye was in sharp focus – even when the eye bounced into the periphery of the frame.

When packing, four batteries seemed a lot, but 4% of the fourth battery was consumed by the time I walked out of the water. That said, capturing nearly 3,000 images per relatively-small battery is great performance.

Similarly, taking a full terabyte of memory cards seemed overkill, but the last 256GB card was half-filled when shade reached the water. As much as I want to purchase CFexpress Type A memory cards for the a1, I can't get past the current price. Let's put a Type A number on this day. As I write this, adequate 160GB Type A memory cards to contain this under-4-hour shoot would have cost $2,394.00.

In comparison, four fast Lexar 256GB Professional 1667x V60 UHS-II SDXC Memory Cards currently cost $300.00.

With these Lexar cards, the a1 was writing the buffer to the card most of the time. This writing prevents some camera features from being accessible, though image playback functions during the writing process.

Ultra-high performance AF combined with an extreme frame rate results in a problem, albeit a great problem — too many excellent images yield a long selection process. You may have foreseen this issue: reviewing nearly 9k photos is a massive project, and the phenomenal in-focus rate makes that job far more difficult. Most of us are not interested in a large volume of images, but we do care about quality. Still, it is hard to delete excellent pictures, and the minimum quality bar must be raised (or considerable hard drive storage space acquired). Again, the a1's extreme performance create a problem you want to have.

I didn't mention the a1's 50MP resolution in this post, but the bouncing ducks were often not ideally framed. This camera's high resolution meant that significant resolution remained even after cropping deeply.

The Robus RC-8860 Vantage Carbon Fiber Tripod (great tripod, excellent value) provided the support for this shoot. With the tripod leveled, the two-way pan and tilt of the smooth-functioning Wimberley WH-200-S Sidemount Head ensured that every shot was level (though the wave action diminished this requirement).

The bottom line is that Sony Alpha a1, and especially its AF system, is an outstanding performer, as expected.

Post Date: 3/29/2021 10:40:06 AM CT   Posted By: Bryan
 Friday, March 26, 2021

From Sigma:

Firmware update for SIGMA Global Vision lenses in SONY E-mount 2021.03.26

Thank you for purchasing and using our products.

We would like to announce that a new firmware update is now available for SIGMA Global Vision lenses in SONY E-mount listed below.

[Applicable product]

·SIGMA 24-70mm F2.8 DG DN | Art in SONY E-mount

[Benefits of the update]

·It has fixed the issue whereby the MF Assist is cancelled on the SONY a7S III when shooting in the manual focus (MF) or direct manual focus (DMF) mode.

To update the firmware, please refer to the following link; https://www.sigma-global.com/en/lenses/a019_24_70_28/?tab=support&local=firmware

[Applicable product]

·SIGMA 45mm F2.8 DG DN | Contemporary in SONY E-mount

[Benefits of the update]

·It has improved focusing accuracy in single AF (AF-S)

To update the firmware, please refer to the following link; https://www.sigma-global.com/en/lenses/c019_45_28/?tab=support&local=firmware

* After the update is complete, be sure to remove the camera battery pack and reinsert it.

For further information, please contact your nearest authorized SIGMA subsidiary / distributor. https://www.sigma-global.com/en/world-network/

We appreciate your continued support for our company and products.

Posted to: Sony News   Category: Sigma News
Post Date: 3/26/2021 9:50:19 PM CT   Posted By: Bryan
 Tuesday, March 23, 2021

From Sigma:

Important Notice

Potential issue of ghost resistance deterioration of the SIGMA 28-70mm F2.8 DG DN | Contemporary

Dear valued customers

Thank you for your purchase and continued support of our products.

We have become aware of a potential issue with our recently released SIGMA 28-70 F2.8 DG DN | Contemporary, which could lead to increased ghosting over time in certain shooting conditions. This falls short of our usual high standards so we are acting as quickly as possible to rectify the issue.

Applicable Product and Serial Number

– Applicable product:SIGMA 28-70mm F2.8 DG DN | Contemporary (for L-mount, Sony E mount)

– Serial Number: serial number prior to 55488834, regardless of mount

The phenomenon has been identified early, so only a small number of customers are affected. Anyone who has already received a 28-70mm F2.8 DG DN | Contemporary (which has only started shipping in some countries) can check their lens’s serial number to see if it is affected.

How to check the serial number

You can find the serial number printed on the side of the lens, and also on the box. If your serial number is higher than 55488834 you can be assured it is not affected by this issue.

Cause of phenomenon

Our optical engineers are working hard to identify and eradicate the underlying cause of the phenomenon, and we expect to have this resolved within a month.

Treatment on this issue

We will suspend all shipments of the applicable product until the cause of this matter has been identified. Once we know the cause, we will be in touch with the small number of affected customers to advise on whether we will repair their lens or replace it, and how this process will work.

In the meantime, all customers can continue to use the 28-70mm F2.8 DG DN | Contemporary with confidence. If you have any questions please contact your local authorized SIGMA Service Station at https://www.sigma-global.com/en/world-network/, who will be happy to assist.

For customers in the US requiring more information, please contact our Service and Support team at info@sigmaphoto.com.

We apologize for any inconvenience this has caused and we assure you that we will put this issue right as soon as possible.

SIGMA corporation

Posted to: Canon News, Nikon News, Sony News   Category: Sigma News
Post Date: 3/23/2021 7:21:10 PM CT   Posted By: Bryan

"The prime lens packs the high image quality and beautiful bokeh of the G Lens into a compact design with intuitive operability and a sophisticated finish. The fast, precise and quiet AF is ideal for shooting both stills and movies, ensuring capture of those vital moments." [Sony]

Sony Electronics Introduces Three New High-Performance G Lenses™ to its Full-Frame E-mount Lens Lineup

Sony Electronics - 03/23/2021

SAN DIEGO, March 23, 2021 /PRNewswire/ -- Sony Electronics Inc. has announced the addition of three new G Lenses™ to its impressive E-mount line-up – the FE 50mm F2.5 G (model SEL50F25G), FE 40mm F2.5 G (model SEL40F25G) and FE 24mm F2.8 G (model SEL24F28G). All three lenses deliver high image quality and beautiful bokeh in a lightweight and compact design, perfect for photographers and videographers needing high image quality combined with easy mobility.

Sony Electronics Introduces Three New High-Performance G Lenses™ to its Full-Frame E-mount Lens Lineup

When paired with a Sony full-frame or APS-C camera, all three lenses offer high resolution, intuitive operability, and fast, precise and quiet AF (autofocus) capabilities. The lenses were designed for a wide range of photo and video uses including portraiture, landscape, street photography and more.

"At Sony we are constantly innovating to develop the best tools that allow photographers and video creators to realize their artistic vision," said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. "With these three dynamic lenses, our customers can capture a wide range of perspectives with the excellent resolution and beautiful bokeh that Sony's G lenses are known for."

As a set, the FE 50mm F2.5 G, FE 40mm F2.5 G and FE 24mm F2.8 G deliver an ideal focal length for any shoot, from wide-angle landscapes or establishing shots on the 24mm, to a closer versatile perspective with the 40mm and a normal field of view ideal for portraits and closer shots on the 50mm. With their intuitive operability and superb build quality, this lens set is perfect for a variety of needs for any content creator.

The three lenses are all the same size (2.68 in diameter x 1.77 in), all have the same filter diameter (49mm) and are almost all the same weight (FE 50mm F2.5 G 6.1 oz, FE 40mm F2.5 G 6.1 oz and FE 24mm F2.8 G 5.7 oz), allowing the user to easily switch between all three lenses when using a gimbal without needing to rebalance each time. Moreover, each lens focuses internally, which means the front element does not move in and out to focus, enabling all three lenses to balance well when using a gimbal. They all feature the same stylish exterior design with focal lengths that are clearly marked to easily switch from lens to lens.

High Resolution in a Compact Design

The FE 50mm F2.5 G, FE 40mm F2.5 G and FE 24mm F2.8 G combine the high image quality of a G Lens with a compact and lightweight form factor. The image quality is achieved by state-of-the-art optics using aspherical elements and ED (Extra-low Dispersion) glass elements,i delivering high resolution and suppressing color fringing from corner to corner, even from the widest aperture, with a shallow depth of field.

The stunning bokeh of the G lenses is achieved with the optimization of a circular aperture and is delivered at the widest point of each lens (FE 50mm F2.5 G, FE 40mm F2.5 G, and the FE 24mm F2.8 G).

Focus Distances

The FE 50mm F2.5 G has a minimum focus distance of 0.35m (AF) / 0.31m (MF) and maximum magnification of up to 0.18x (AF) / 0.21x (MF), which is ideal for a variety of shooting environments and subjects.

The FE 40mm F2.5 G has a minimum focus distance of 0.28m (AF) / 0.25m (MF) and maximum magnification of up to 0.20x (AF) / 0.23x (MF). Particularly for movie shooting, 40mm is the preferred angle of view as it corresponds to the natural field of vision. For stills, 40mm allows subjects to stand out against backgrounds.

With a wide 24mm angle of view, the FE 24mm F2.8 G has a minimum focus distance of 0.24m (AF) / 0.18m (MF) and maximum magnification of up to 0.13x (AF) / 0.19x (MF), the user can easily shoot close-ups with a blurred background.

High Operability and Reliability

The lenses feature a focus hold button, focus mode switch, aperture ring, and aperture click switch for ideal operability. The focus hold button is customizable from the camera menu and can be assigned based on users' preferences. The aperture ring provides an intuitive and direct feel, compared to operating the aperture from the camera body. The aperture also provides switchable click stops that can be turned off for movie shooting using the aperture click switch. Furthermore, with Linear Response MF, the focus ring responds precisely and linearly when focusing manually, so control feels immediate and intuitive, directly reflecting the intent of the photographer and allowing delicate focus adjustments.

The aluminum exterior ensures a premium, sophisticated finish and provides increased strength and durability. Conveniently, the diameter of the filter threads on the hood and the lens barrel are equalii (49mm), allowing the same cap and filter to be attached to both the hood and the lens barrel. The lenses are also designed to be dust and moisture resistantiii to ensure usability in any outdoor environment.

Fast, Precise and Quiet Autofocus

The FE 50mm F2.5 G, FE 40mm F2.5 G and FE 24mm F2.8 G feature two linear motors to deliver fast, precise AF with excellent tracking performance which is maintained despite instantaneous changes in subject motion - making the lens ideal for tracking moving subjects. The AF is also quiet, so works for both still and movie shooting.

Pricing and Availability

The FE 50mm F2.5 G will be available in May and will be sold for approximately $600.00 USD and $800.00 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

The FE 40mm F2.5 G will be available in May and will be sold for approximately $600.00 USD and $800.00 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

The FE 24mm F2.8 G will be available in May and will be sold for approximately $600.00 USD and $800.00 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

Notes:

i FE 24mm F2.8 G 1 x ED, 3 x aspherical elements, FE 40mm F2.5 G 3 x aspherical elements, FE 50mm F2.5 G 1 x ED, 2 x aspherical elements

ii This does not apply to FE 24mm F2.8 G

iii Not guaranteed to be 100% dust and moisture proof

Orders

Preorders go live at 10am ET, Wed Mar 24.

Order the Sony Compact Prime Lenses from B&H.

Posted to: Sony News   Category: Sony Announcements
Post Date: 3/23/2021 9:28:54 AM CT   Posted By: Bryan
 Sunday, March 21, 2021

More precisely, a big beautiful bedded bull elk bugling in Rocky Mountain National Park.

Stay with an elk long enough, and it will bed down, and a stationary subject is easier to photograph than a moving one.

However, once bedded, obstructions (such as grass or trees) are often an issue. This cooperative bull opted to bed in a meadow with short grass, meaning that foreground obstructions were not an issue.

The background can typically be counted on to present a challenge, and distractions are among the most frequently encountered issues.

In this image, the first background distraction avoidance strategy was to blur it away. The Canon EF 600mm f/4L IS III USM Lens rises to that challenge. The bokeh capability of many ultra-wide aperture lenses is raved about, but the 600mm f/4 combination is unsurpassed for diffusely blurring the background. The 600mm f/4 combination smooths the strong contrasting background lines, such as trees, that would otherwise catch the viewer's eye, distracting from the subject.

The big in-the-field challenge is aligning the subject within the background. Once it is bedded down, you know where the animal will be for at least a short time — usually long enough time to allow perfecting of the composition. In this scenario, the goal was to avoid strong lines and color differences intersecting the animal's body and antlers.

I love a low shooting position when photographing elk (and most animals). While this image was captured from a low position, the position was high enough for the elk's back to remain below the brush behind it.

For many, it is all about the antlers. The camera position that placed the rack between the background trees also worked well for the animal.

A sleeping animal is usually not too exciting (unless it is a baby). Fortunately, during the rut, bull elk make use of their downtime. When bugling (one of my favorite sounds), elk raise their heads which lowers their antlers for my also-favorite elk body position.


A larger version of this image is available on Flickr.

Post Date: 3/21/2021 6:45:00 AM CT   Posted By: Bryan
 Friday, March 19, 2021

The Sony Alpha a1 is here, and it is time to set up this camera for use. Following are the 37 steps I took to make an out-of-the-box a1 ready for use.

  1. Charge battery
  2. Record serial number and add camera to insurance policy
  3. Download and install Capture One (for Sony) and/or Sony Imaging Edge (unless your current favorite RAW image processing software supports this camera)
  4. Insert charged battery, and power on the camera
  5. Set the timezone, date, time, timeformat
  6. insert memory card(s)
  7. Select M mode, press "Menu", and configure the camera as follows:
  8. Shooting Menu, 1 Image Quality: Image Quality Settings: File Format: RAW, RAW File Type: Lossless Comp (full image quality, reduced file size, ensure your software supports this format)
  9. Shooting Menu, 1 Image Quality: Long Exposure NR: Off (I'll enable this option for very long exposures)
  10. Shooting Menu, 1 Image Quality: Lens Compensation: Shading, Chromatic Aberration, and Distortion Comp: All Off (I use the RAW processing software to enable any lens compensation, with CA correction frequently selected)
  11. Shooting Menu, 2 Media: Format (ensure there are no important files on the card(s) prior to formating)
  12. Shooting Menu, 3 File: Copyright Info: Write Copyright Info: On, Set Photographer: [your name], Set Copyright: [as desired], Write Serial Number: On (note: entering this information on the touchscreen may be a painful process)
  13. Shooting Menu, 5 Drive Mode: Con. Shooting Speed: Lo(E-Shutter): 10 images/sec (I will use 10 fps more than the default 5 fps)
  14. Shooting Menu, 5 Drive Mode: Bracket Settings: Bracket order: ->0>+ (considerably enhances image selection for HDR processing)
  15. Shooting Menu, 6 Shutter/Silent: Release w/o Lens: Disable
  16. Shooting Menu, 6 Shutter/Silent: Release w/o Card: Disable (why is this not the default?)
  17. Shooting Menu, 9 Shooting Display: Grid Line Display: On (Rule of Thirds selected)
  18. Exposure/Color Menu, 3 Metering: Spot Metering Point: Focus Point Link
  19. Exposure/Color Menu, 6 Color/Tone: D-Range Optimizer: Off
  20. Exposure/Color Menu, 6 Color/Tone: Creative Look: NT (Neutral), Sharpness = 1 (this setting provides a lower contrast histogram. I usually process with the Natural creative style in Capture One)
  21. Focus Menu, 1 AF/MF: Priority Set in AF-S: AF
  22. Focus Menu, 1 AF/MF: Priority Set in AF-C: AF
  23. Focus Menu, 2 Focus Area: Focus Area: Spot
  24. Focus Menu, 2 Switch V/H AF Area: AF Point Only
  25. Focus Menu, 3 Face/Eye AF: Face/Eye Frame Disp: On
  26. Playback Menu, 4 Delete: "Delete" first
  27. Playback Menu, 7 Playback Option: Display Rotation: Off (image fills LCD)
  28. Network Menu: 1 Smartphone Connection: Smartphone Connection: Off
  29. Network Menu: 7 Network Menu: Airplane Mode: Off
  30. Setup Menu: 3 Operation Customize: DISP (Screen Disp) Set: Monitor: Uncheck For viewfinder and Monitor Off, press [enter]
  31. Setup Menu: 3 Operation Customize: Custom Key Setting: Top: 3: Image Quality Settings (allows quick access to the RAW file type, availing the Compressed option access 30 fps)
  32. Setup Menu: 4 Dial Customize: Av/Tv Assign in M: TV/Av (I adjust the shutter speed more frequently and urgently than aperture and the front dial is easier to access quickly)
  33. Setup Menu: 5 Touch Operations: Touch Panel/Pad: Both Valid
  34. Setup Menu: 5 Touch Operations: Touch Pad Settings: Touch Position Mode: Relative Position, Operation Area: Whole Screen
  35. Setup Menu 9, Sound Option: Audio signals: Off (how to turn off the loud and usually-annoying AF beep sound)
  36. My Menu: Format; Px. Shift Multi Shoot; Shutter Type; Anti-flicker Set.; Steady Shot; Flash Comp.; Face/Eye Subject, Bracket Settings
  37. With a lens mounted and a subject in focus, adjust the viewfinder diopter until the scene is sharp

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 tweak these steps as needed.

If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime your camera is reset to factory state for some reason, 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, you will be able to set it up quickly. Note that the a1 enables camera settings to be saved and loaded, a timesaving feature.

More Information

Sony Alpha a1

The Sony Alpha a1 is available for order at B&H | Adorama | Amazon.
 
Rent the Sony Alpha a1 from Lensrentals.

Post Date: 3/19/2021 8:18:33 AM CT   Posted By: Bryan
 Thursday, March 18, 2021

The Sony FE 50mm f/1.2 GM Lens Review page is filled with expectations for this exciting new lens.

The Sony FE 50mm f/1.2 GM Lens is available for order at B&H | Adorama | Amazon USA

Rent the Sony FE 50mm f/1.2 GM Lens from Lensrentals.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/18/2021 10:45:33 AM CT   Posted By: Bryan
 Wednesday, March 17, 2021

Just posted: Sigma 24mm f/3.5 DG DN Contemporary Lens Review.

This is a fun little lens.

The Sigma 24mm f/3.5 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/17/2021 8:26:36 AM CT   Posted By: Bryan
 Tuesday, March 16, 2021

Sony introducing their first f/1.2 FE lens, the Sony FE 50mm f/1.2 GM Lens, is exciting, but enabling that massive aperture opening requires large, heavy lens elements. How large and heavy is this lens, especially relative to the Canon RF 50mm F1.2 L USM Lens?

The Sony FE 50mm f/1.2 GM Lens vs. Canon RF 50mm F1.2 L USM Lens comparison shows these two lenses sharing a length spec and the Sony lens shaving about 3mm from the Canon lens's diameter. Basically, the size of the lenses is not differentiating. From a weight perspective, the Sony is 18% lighter. The 6 oz (172g) difference will be modestly noticeable.

The Sony lens has 11 diaphragm blades vs. 10. The odd blade count number will generate 22-point starbursts when used at narrow apertures vs. 10 points. Which is preferable is a matter of taste. All else equal, more blades result in rounder bokeh effects at narrow apertures.

The Canon lens features a focus limiter switch, enabling a shortened focus distance range for potentially less focus hunting in some scenarios. The Canon lens has a slightly higher maximum magnification capability, 0.19x vs. 0.17x.

The Canon is the more expensive lens — $300.00 more expensive as I write this. Will the higher price be justified? The optical performance comparison potentially holds that answer. From what we've seen from Sony GM lenses so far, the optical performance of the new FE 50 f/1.2 should be similar to that of the impressive Canon option.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/16/2021 11:04:42 AM CT   Posted By: Bryan

From Sony Electronics:

Sony Electronics Strengthens its Alpha System with the Introduction of its 60th E-Mount Lens, FE 50mm F1.2 G Master™

Sony’s newest lens delivers Superb Resolution, Exquisite Bokeh and High-performance Autofocus in a Compact and Lightweight Design

SAN DIEGO, CA – March 16, 2021 – Today, Sony Electronics Inc. unveils the newest addition to its G Master full-frame lens series – the FE 50mm F1.2 GM (model SEL50F12GM) – delivering excellent resolution and dramatic bokeh known to Sony’s G Master line, industry-leading AF (autofocus) capabilities and professional control and reliability in a compact and lightweight design. The lens’s maximum F1.2 aperture combines an impressive shallow depth of field for maximum creative expression with incredible light gathering capabilities, allowing for faster shutter speeds and lower ISO in low light settings, making it ideal for portraits, wedding photography, video and more.

“We’re excited to introduce our 60th E-mount lens – the FE 50mm F1.2 GM – which delivers a new level of expression and usability for still images and video as an F1.2 lens,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “We’re always listening to our customer to deliver the best imaging technology. The FE 50mm F1.2 GM, our first F1.2 lens for the a brand, was designed without compromise to meet the changing needs of today’s content creators.”

Excellent Resolution and Beautiful Bokeh

The FE 50mm F1.2 GM features the latest optics, including three XA (extreme aspherical) lens elements, that contribute to high resolution across the entire image and is maintained even when fully opened at F1.2. The new lens also ensures clear images in backlit scenes thanks to Sony’s Nano AR Coating II that effectively minimizes internal reflections so that flare and ghosting do not occur.

The FE 50mm F1.2 GM creates dramatic G Master bokeh at the maximum F1.2 aperture to provide dimensionality to every image. Using the newly developed 11-blade circular aperture unit and fine-tuned optical design with minimal spherical aberration, the lens can achieve smooth, deep bokeh in both the foreground and background.

High Performance AF and Tracking at F1.2

The lens can keep subjects in sharp focus even at an extremely shallow depth-of-field with fast, precise, quiet AF and tracking thanks to the four XD (extreme dynamic) Linear Motors which provide high thrust efficiency. When precise focusing is required, especially when shooting 4K video with human eye tracking, the FE 50mm F1.2 GM allows the user to focus on composition thanks to its excellent response with minimum delay and low vibration. In addition, the lens’s floating focus mechanism, controlled by its dedicated lens drive algorithm, achieves high resolution over the entire focus range, with a minimum focus distance of 1.32 feet.

Professional Control and Reliability in a Compact Form Factor

The FE 50mm F1.2 GM was designed with professional content creators in mind. With convenient controls and functions such as a Linear Response MF (Manual Focus), aperture ring with a click on/off switch, focus mode switch and two customizable focus hold buttons, the FE 50mm F1.2 GM combines easy operation with professional control. The FE 50mm F1.2 GM also features a dust and moisture resistant[i] design and a fluorine front element coating that protects the lens from fingerprints, dust, water, oil and other contaminants. Developed using Sony’s latest simulation technologies and the latest optical design, the lens comes in a surprisingly compact and lightweight form factor (3.5 in x 4.38 in, 27.5 oz.), providing high mobility and easy handling for a 50mm F1.2 lens.

Pricing and Availability

The new FE 50mm F1.2 GM will be available in May and will be sold for approximately $2,000.00 USD and $2,600.00 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Orders

Order the Sony FE 50mm f/1.2 GM Lens at B&H starting at 10am ET, Wed Mar 17, 2021.

Watch the Video

More Info

Sony FE 50mm f/1.2 GM Lens

Posted to: Sony News   Category: Sony Announcements
Post Date: 3/16/2021 9:16:26 AM CT   Posted By: Bryan
 Monday, March 15, 2021

Just posted: Sigma 35mm f/2 DG DN Contemporary Lens Review.

Welcome to the Sigma "I-series".

The Sigma 35mm f/2 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA

Rent the Sigma 35mm f/2 DG DN Contemporary Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/15/2021 8:29:42 AM CT   Posted By: Bryan
 Sunday, March 14, 2021

Resolution test results have been added to the Sony Alpha a1 review, a work in progress.

Here are some comparisons:

Sony a1 vs. Sony a7R IV

Sony a1 vs. Sony a7R III

Sony a1 vs. Sony a7 III (a9)

Sony a1 vs. Canon EOS R5

In these comparisons, more resolution results in higher image quality. There is nothing surprising about that. Also obvious, especially in the Canon comparison, is that the Sony Alpha cameras continue to produce strong moiré or false color.

Again, image quality commentary (and much more) for the Alpha a1 is available in the "Image Quality" section of the review.

Future Sony Lens Testing

Unless strong objections are voice, I will use the Sony Alpha a1 for future Sony Lens testing. While some visualization skills are required to compare against the existing lower resolution Sony Alpha a7R III test results, the difference seems relatively small from a lens comparison perspective.

If you are interested in purchasing my mint a7R III, let me know.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/14/2021 7:00:00 AM CT   Posted By: Bryan
 Friday, March 12, 2021

Noise and dynamic range test results have been added to the Sony Alpha a1 review, a work in progress.

Commentary for these results is available in the "Image Quality" section of the review.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/12/2021 10:45:22 AM CT   Posted By: Bryan
 Thursday, March 11, 2021

The Sony Alpha a1 provides compressed non-lossy RAW file format, but you may not want to use it — at least not immediately.

I stayed up late last night to capture nearly 300 Sony a1 noise and dynamic range test images. The non-lossy compressed RAW file format seemed a no-brainer to reduce the storage requirements (all of our test images are archived). After completing the tests, I attempted to load the images into Capture One, updated yesterday with support for the Alpha a1 affirmed. Troubling was that only a small number of RAW images and the JPG files would import.

I quickly determined that only the uncompressed and lossy compressed RAW images files were importing. As it turns out, Capture One is not yet compatible with the Sony a1 compressed RAW file format, and that's a show-stopper for my hours of work.

The next step was to attempt opening the files in Lightroom. After downloading the latest Adobe updates (Photoshop and Camera RAW updates were available), I attempted to import the test images into Lightroom. This time only the JPG images came in.

According to Adobe, the a1 is supported in Lightroom Classic version 10.2. The problem is, Lightroom 10.1.1 is the latest Lightroom Classic version available. Thus, at this moment, Lightroom does not support the a1 — unless you shoot in JPG format.

The good news is that yesterday's Adobe updates fully support the a1, including the compressed RAW file format, in Bridge and Photoshop. So, Lightroom should also support these files very soon. However, Lightroom is not the image processor we've used on the previous Sony cameras. So, for comparative reasons, Capture One is the required option.

I'm not patient enough to wait for another Capture One update, so tonight will be another late night of tedious camera testing — using the uncompressed RAW file format.

I should note that Sony's Imaging Edge supports the non-lossy compressed format.

The following table shows comparative RAW file sizes for a photo of a standard in-studio setup with a moderately-high amount of detail captured with the referenced camera.

Model / File Size in MB @ ISO:(MP)100200400800160032006400128002560051200102400204800
Canon EOS-1D X III(20.1)24.725.225.426.026.927.828.930.331.933.735.936.3
Canon EOS 5Ds R(50.6)65.266.467.669.873.077.281.988.4    
Canon EOS R5(45.0)51.653.153.655.657.760.163.066.470.575.179.5 
Canon EOS R5 CRAW(45.0)28.129.329.931.533.335.536.235.936.036.937.7 
Canon EOS R6(20.1)24.124.724.925.626.427.328.429.831.433.335.535.9
Canon EOS R6 CRAW(20.1)13.814.214.514.915.616.416.416.015.715.816.114.8
Sony a1 Uncomp(50.1)102.2102.2102.1102.1102.2102.5102.4102.6103.4103.4104.4
Sony a1 Non-Lossy(50.1)64.064.765.767.169.171.674.478.280.896.093.9 
Sony a1 Lossy(50.1)54.454.454.354.254.454.654.554.755.655.656.4 
Sony a9 II(24.2)47.247.247.147.147.147.147.147.147.247.247.247.3
Sony a9(24.2)47.247.247.147.147.147.147.147.147.247.247.247.3
Sony a7R IV(61.0)117.0117.0117.0117.0117.0117.0117.0117.082.082.082.0 
Sony a7R IV CRAW(61.0)59.159.159.159.159.159.159.159.159.159.159.1 
Sony a7R III(42.4)81.981.981.981.981.981.981.981.982.082.082.0 
Sony a7R II(42.4)82.882.882.882.882.882.882.882.882.882.882.8 
Sony a7 III(24.2)47.147.147.147.147.147.147.147.147.147.247.247.2
Sony a7C(24.2)47.147.147.147.147.147.147.147.147.147.247.247.2

RAW file sizes increase with: 1. Resolution 2. Bit Depth (more is better/larger) 3. Detail (noise adds detail, so high ISO file sizes increase) 4. Lack of compression. Memory and disk are cheap – buy more.

At ISO 100, the Sony non-lossy compressed RAW format results in a huge file size reduction. This file is 63% as large as the uncompressed result, and similar in size to Canon's standard non-lossy compressed 50MP EOS 5Ds R RAW files. At the highest (noisiest) ISO settings, the compression savings is significantly reduced.

The lossy compressed file size is, as expected, smaller than the non-lossy compressed file size. However, the difference is small enough at all except the highest few stops of ISO settings that there is little incentive to drop down to the lossy option.

What I can see so far is that the Sony Alpha a1 images look excellent, including from a dynamic range standpoint.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/11/2021 12:02:40 PM CT   Posted By: Bryan
 Wednesday, March 10, 2021

When planning for the Sony a1 arrival, I wanted to know if an L-plate from a previously available camera would fit the a1. Ideally, an L-plate already in my kit. I find L-plates a necessity. New L-plates designs typically reach the market months after new camera models, and the arrival of a new camera model that uses existing plates can result in already available L-plates going out of stock.

My ProMediaGear PLX3x Universal L-Bracket was undoubtedly going to work as well on the a1 as it does on nearly all cameras. Still, the cameras remaining in my kit eventually all get custom Really Right Stuff L-Plates or Kirk L-Brackets.

That answer did not arrive before the a1 arrived, but I immediately and successfully installed the Really Right Stuff Ultralight Plate for Sony a7R IV, a7S III, and a9 II on the a1. I expect that similarly-designed L-plates will also fit nicely.

Really Right Stuff Ultralight Plate for Sony a7R IV, a7S III, and a9 II

Stating this optimistically, I'm considerably less certain that the RRS L-Plate Set's wrap-around design will fit the a1's slightly larger grip. The calipers say the a1's grip is a couple of mm larger, including the area appearing to be inside the L-plate set.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/10/2021 1:25:01 PM CT   Posted By: Bryan

Firmware Updates Bring New Features to Alpha 9 II and Alpha 7 III

Sony has updated firmware for the Alpha 7 III and Alpha 9 II cameras, bringing a range of customer-requested features.

Sony Alpha 9 II

Visit The Download Page

Benefits and Improvements

IMPORTANT: When you update to this version, the camera settings will be reinitialized. Because of this, we recommend that you save the current settings before updating. You can use the Save/Load Settings function to save the current settings to a memory card and write them back after the update.

NOTE: For details on how to save the settings and the items that can be saved, refer to Save/Load Settings in the Help Guide.

  • Adds the Crop function to allow you to crop a recorded still image
  • Adds the Forced File No. Reset option in the File/Folder Settings (still image) menu to allow you to reset the still image file number and create a new folder
  • Other improvements

    • Has improved the case where some functions are not registered correctly in the Function menu
    • Improves the overall stability of the camera

Sony Alpha 7 III

Visit The Download Page

Benefits and Improvements

IMPORTANT: When you update to this version, FTP transfer setting will be initialized. Please reconfigure after the update.

  • Adds new features of FTP transfer
    • Allows you to transfer still images during shoot and playback operations.
    • Adds the following FTP transfer functions:
      • Allows you to narrow down the transfer target, such as protected images or non-transferred images, and transfer the images together as a batch.
      • Allows you to transfer only the image being played back by pressing the custom key.
      • Allows you to transfer all images automatically while shooting.
      • Allows you to select the setting to transfer both RAW file and JPEG taken in RAW+JPEG format to an FTP server.
    • Update the destination folder configuration.
      • Allows you to register up to nine FTP servers. (Previous was up to 3)
      • Allows you to change the destination folder configuration on the FTP server:
        • Register the folder configuration same as your camera.
        • Save image data directly under the folder that you choose.
        • Register the media card slot number in the folder configuration.
      • Improved operability of FTP transfer function.
        • Allows you to set items under Server Setting by using the smartphone application Transfer & Tagging add-on.
  • Improves the overall stability of the camera.

Posted to: Sony News   Category: Sony Firmware Updates
Post Date: 3/10/2021 11:50:19 AM CT   Posted By: Bryan

Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Sigma 24mm f/3.5 DG DN Contemporary Lens Review.

You are going to like these results. There are not many 24mm prime lenses this slow, but you can start your comparisons with these two options:

Sigma compared to Canon EF 24mm f/2.8 IS USM Lens

Sigma compared to Tamron 24mm f/2.8 Di III OSD M1:2 Lens

The Sigma 24mm f/3.5 DG DN Contemporary Lens is in stock at B&H | Adorama | Amazon USA

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/10/2021 7:34:58 AM CT   Posted By: Bryan

From Nikon:

Nikon is developing the Nikon Z 9 full-frame flagship mirrorless camera

*The appearance of the camera may differ from the photo shown above.

MELVILLE, NY – Nikon Inc. is pleased to announce the development of the first flagship model for which the Nikon Z mount has been adopted: The Nikon Z 9. The full-frame (Nikon FX-format) mirrorless camera is scheduled for release in 2021, and represents a significant leap in technology and performance.

The Z 9 brings together Nikon's groundbreaking technologies to deliver the best still and video performance in Nikon history, meeting the advanced needs of professionals in a wide range of genres. It utilizes a newly developed FX-format stacked CMOS sensor and new image-processing engine. In response to the growing needs of professionals, advanced enthusiasts and cinematographers, it includes support for 8K video recording as well as various other video specifications that fulfill diverse needs and workflows. The Z 9 embodies ultimate usability as a tool, offering users an unprecedented imaging experience from capture to workflow exceeding that of previous digital-SLR and mirrorless cameras.

Information regarding the release of this product will be announced at a later date.

Post Date: 3/10/2021 7:11:10 AM CT   Posted By: Bryan
 Tuesday, March 9, 2021

Just posted: Sigma 35mm f/1.2 DG DN Art Lens Review.

I look forward to reviewing some lenses more than others. My anticipation for this one was high, and I was not disappointed.

The Sigma 35mm f/1.2 DG DN Art Lens is in stock at B&H (save $270.00 by buying a 9+ rated used lens) | Adorama (kit with free tripod) | Amazon USA | WEX

Rent the Sigma 35mm f/1.2 DG DN Art Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/9/2021 8:58:25 AM CT   Posted By: Bryan

From Sony:

Sony Electronics Announces the ECM-W2BT Wireless Microphone and the ECM-LV1 Compact Stereo Lavalier Microphone

Provides High-quality and Stable Audio Recording for Vloggers, YouTubers and Video Creators

FOR IMMEDIATE RELEASE

SAN DIEGO, CA – March 9, 2021 – Sony Electronics Inc. today announced two new microphones with the launch of the ECM-W2BT Multi-nterface shoe compatible wireless microphone and ECM-LV1 compact stereo lavalier microphone. Wireless high-quality audio recording with lower noise and stable connection is possible with the ECM-W2BT wireless microphone, especially when paired with the ECM-LV1 stereo lavalier microphone and one of Sony’s cameras[i] with digital compatibility. This combination offers the perfect solution to meet the needs of today’s vloggers, YouTubers and video creators who want to capture clear, reliable audio for a wide range of environments including street performance, product reviews, food reviews travel vlogs and more.

The ECM-W2BT wireless microphone enables low-noise digital sound recording by connecting the receiver to a camerai equipped with a digital audio interface compatible Multi Interface Shoe. The digital audio signal output from the receiver can be recorded directly on the camera body without wiring an external audio cable. Additionally, the ECM-W2BT has been completely redesigned for high sound quality using an advanced omni-directional mic capsule to capture clear sound recording from any direction. The ECM-W2BT also allows audio recording flexibility by increasing the stability of the wireless connection between microphone and receiver, even with obstacles or in crowded environments with additional wireless activity. In locations with good visibility, communication is possible at up to 200m, significantly increasing the flexibility of audio recording. And the newly adopted Qualcomm® aptX™ Low Latency[ii] codec provides both high-quality audio recording and low latency.

The ECM-W2BT wireless microphone also offers ultimate creative freedom thanks to its sound acquisition functions. Three sound pick up modes - MIC mode, MIX mode and a new RCVR mode - allows the user to record sound and ambient sound based on their desired preference. MIC mode will only pick up audio from the microphone transmitter so only the subject audio is captured. RCVR mode only picks up sound from the internal microphone at the receiver, so the user can record audio of themselves. MIX mode picks up both transmitter and receiver audio which is useful when audio from both the subject and the user is desired. The ECM-W2BT mic supports stereo audio input and an external 3.5mm stereo mini-jack to allow for stereo sound pickup, so it can be used in combination with the stereo-capable lavalier microphone such as the ECM-LV1 compact stereo lavalier microphone, as an unobtrusive microphone that can easily attach to the subject’s clothing and record sound with increased realism. Since the receiver is equipped with 3.5mm audio output, the ECM-W2BT can be used without Multi Interface shoe model cameras.

For challenging recording environments, the ECM-W2BT wireless microphone includes an attenuator function. The user can select one of three attenuator levels depending on the sound source volume to record excessively loud sounds at a lower volume or amplify quieter sounds to record louder audio. The ECM-W2BT also includes a windscreen to reduce wind noise, which is especially helpful when recording outdoors. When longer operation is needed, the battery assist function via the power supply from the camera’s Multi Interface shoe enables the user to operate the receiver for up to 9 hours[iii]. For easy reference, the ECM-W2BT includes a LINK lamp to notify the user of the status of the communication between the microphone and the receiver and a POWER lamp to easily check the remaining battery charge. Besides, a connector protect holder for multi-interface foot cover is provided, which can be used to carry the receiver and microphone as one unit or can also be used as a microphone stand, for stable microphone positioning during interviews or other stationary uses.

The ECM-LV1 compact stereo lavalier microphone also allows for high-quality sound pickup paired with a compact design for easy carrying and convenience while shooting. The ECM-LV1 includes a windscreen for additional noise reduction, and the 360-degree rotatable clip allows, for example, horizontal attachment to a necktie, or vertical attachment to a pocket, with the microphone attached at the same angle. The power of this mic is supplied from the mic connector.

The ECM-W2BT wireless microphone will be available in April 2021 for approximately $230.00 USD and $300.00 CAD. The ECM-LV1 compact stereo lavalier microphone will also be available in April 2021 for approximately $30.00 USD and $40.00 CAD. These microphones will be sold at a variety of Sony's authorized dealers throughout North America.

(US) – ECM-W2BT Wireless Microphone
(CA) – ECM-W2BT Wireless Microphone
(US) – ECM-LV1 Compact Stereo Lavalier Microphone
(CA) – ECM-LV1 Compact Stereo Lavalier Microphone

Notes

[i] Please refer to https://www.sony.net/dics/w2bt/ for a full list of compatible models. Analog audio is also supported, but use with digital audio is recommended. For use with a device that supports Digital Audio Interface, please set the DIGITAL/ANALOG switch on the ECM-W2BT wireless microphone to DIGITAL.

[ii] Qualcomm aptX is a product of Qualcomm Technologies, Inc. and/or its subsidiaries. Qualcomm is a trademark of Qualcomm Incorporated, registered in the United States and other countries. aptX is a trademark of Qualcomm Technologies International, Ltd., registered in the United States and other countries.

[iii] Depending on a camera, power is not supplied from the camera via the Multi Interface Shoe. For the compatible cameras, please refer to the link: https://www.sony.net/dics/w2bt/

The Sony ECM-W2BT Wireless Microphone and ECM-LV1 Compact Stereo Lavalier Microphone will be available to order at B&H.

Posted to: Sony News   Category: Sony Announcements
Post Date: 3/9/2021 9:26:35 AM CT   Posted By: Bryan

That is an attention-garnering headline. Unfortunately for photographers, the industrial sector will be the first to get these imaging sensors.

From Sony EU:

Sony to release large format CMOS image sensor with global shutter function and industry’s highest effective pixel count of 127.68 megapixels

Press release • Mar 09, 2021 10:30 CET

Sony's large format CMOS image sensor “IMX661” with industry’s highest effective pixel count of 127.68 megapixels. Left: colour model, right: black and white model.

Sony Corporation announced today the upcoming release of a large format 56.73mm diagonal CMOS image sensor “IMX661” for industrial equipment with a global shutter function and the industry’s highest*1 effective pixel count of 127.68 megapixels.*2

This product features an increased pixel count that yields an optical size nearly 10 times larger than the common 1.1-type image sensor corresponded to the C mount*3 for industrial equipment. It also features Sony’s original global shutter pixel technology “PregiusTM”, which enables capture of motion distortion-free images. Furthermore, the Sony’s original device configuration and interface technology employed enable high-speed image readout at a data rate nearly four times faster*4 than conventional products.

Sony expects that the new sensor, when used in industrial equipment cameras for a wide variety of applications, will help to solve a variety of complex challenges, thereby contributing to the development of industry.

*1: Among CMOS image sensors equipped with a global shutter. According to Sony research (as of announcement on March 9, 2021).

*2: Based on image sensor effective pixel specification method.

*3: The joining mechanism between lens and the camera body.

*4: Compared to Sony’s “IMX253” 1.1 type, 12.37 effective megapixels CMOS image sensor equipped with a global shutter function

Model name Sample shipment date (planned)*5

IMX661 3.6type (56.73 mm diagonal) 127.68-effective-megapixel CMOS image sensor April 2021

*5: The dates given for sample shipment date (planned) are for the color model. Black and white model samples will be available for shipment approximately one month later.

Needs for automation, labour-saving and other benefits of digital transformation continue to grow in recent years in various fields of industrial equipment. This has accelerated the adoption of cameras for a wide variety of applications, driving demand for CMOS image sensors with higher imaging performance.

The new product couples Sony’s Pregius technology with the 3.6-type (56.73mm diagonal) large optical size, delivering an increased pixel count and motion distortion-free imaging. The original device configuration, which employs a chip-on-wafer process, together with Sony’s original interface technology, enables high-speed readout nearly four times faster than conventional products*4 in full-pixel readout mode. This design delivers highly efficient imaging that captures a wide viewing angle with no motion distortion in a single imaging operation. It also improves recognition precision thanks to the high-resolution imaging and delivers a high level of processing performance. It can contribute to solutions for a variety of industrial equipment applications, for example, inspection processes for production of displays and electronic substrates, wide-area monitoring, and aerial photography, where its improved precision and quicker readout will help meet the need for a high level of productivity.

Main Features

The industry’s highest effective pixel count of 127.68 megapixels

This product features a large optical size of 3.6-type (56.73mm diagonal), nearly 10 times larger than the common 1.1-type image sensor corresponded to the C mount lens for industrial equipment with a pixel size of 3.45 µm, resulting in a massive pixel count of 127.68 megapixels, which is the industry’s highest for a CMOS image sensor equipped with a global shutter. It enables a wide viewing angle and high-resolution imaging by increased pixel count, and the motion distortion-free imaging demanded on cameras for industrial equipment, thereby improving imaging efficiency and recognition precision.

Image sensor optical size (imaging area) comparison*6, area ratio about 10 times (1.1-type comparison).

*6: When a lens with the same focal length is used

High-speed image readout

Generally, increased pixel count means increased signal processing volume, which causes issues such as a drop in frame rate and longer readout times. In order to realise high-speed readout, it is necessary to improve the processing functionality of the AD converter which converts the analog signal output from the pixel to digital signals, and at the same time, increase the speed of the output interface.

This product features Sony’s original device configuration employing a chip-on-wafer process where chips with certain functions are stacked on top of the pixel wafer, allowing for optimal positioning of the AD converter. This design improves AD converter processing functionality without increasing the size.

The new sensor also employs the Scalable Low Voltage Signaling with Embedded Clock (SLVS-ECTM)*7 high-speed interface standard developed by Sony, in order to make output interface faster. These two original technologies enable 127.68 megapixels,1 0bits,21.8fps, which is a high-speed output data rate nearly four times faster than conventional models*4. The dramatic increase in multi-pixel and readout speed greatly contribute to the improvement of productivity in industrial applications.

*7: A data transfer method that uses an embedded clock signal. This eliminates the need for skew adjustment between lanes and reduces the amount of wiring needed, making board design simpler and suitable for higher speeds.

Equipped with signal processing capabilities needed for a variety of industrial applications

The new product is equipped with a range of signal processing capabilities required for industrial equipment CMOS image sensors to meet diverse applications and needs. These include such as; trigger synchronisation for controlling imaging timing during high-speed inspections; Region of Interest (ROI), which reduces post signal processing load by only reading out the required regions; gradation compression, which reduces data volume while outputting required information; multi-exposure, which is capable of detecting the trajectory of moving objects; short exposure time for blur-free imaging of objects moving at high speeds; pixel binning readout, which can enhance sensitivity in low luminance situations.

Key Specifications

Model name IMX661 (colour, black and white)
Unit cell size 3.45 µm x 3.45 µm (H x V)
Effective pixels 13,400 x 9,528 (H x V), 127.68 megapixels
Image size Diagonal 56.73 mm (3.6-type)
Active area 46.2 mm x 32.9 mm (H x V)
Package Ceramic LGA
Micro lens EPD –100mm (CRA 15.8 degrees)
Power supply Analog: 3.3V
Digital: 1.2V Interface: 1.8V
Output 4.7Gbps/lane SLVS-EC 16/8/4 lane
891Mbps/lane SLVS 16 lane
Frame rate
14 bit: 12.9 fps
12 bit: 19.6 fps
10 bit: 21.8 fps
Main functions Global shutter, trigger synchronisation, ROI, gradation compression, multi-exposure, short exposure, pixel binning readout
Notes: Pregius and SLVS-EC are trademarks of Sony Corporation.

Post Date: 3/9/2021 8:06:00 AM CT   Posted By: Bryan
 Monday, March 8, 2021

Just posted: Sony FE 50mm f/2.8 Macro Lens Review.

Save $50.00 instantly: the Sony FE 50mm f/2.8 Macro Lens is in stock and on sale at Adorama and Amazon USA. B&H is taking orders.

Rent the Sony FE 50mm f/2.8 Macro Lens from Lensrentals.

Please share!

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 3/8/2021 9:23:42 AM CT   Posted By: Bryan
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