The Sony 12-24mm f4 G FE is designed to compete with the options from Sigma, Canon, etc. So why would Sony design a lens like this, you wonder? I wondered the same, exact thing–and then I saw it and held it in person. The Sony 12-24mm f4 G FE is incredibly small and for the first time, I’m very glad to say that Sony has made a zoom lens that doesn’t make me cringe in terms of size in relation to a mirrorless camera. It’s also go weather sealing built in though Sony says that it isn’t to the spec of the G Master series.
Today, Sony is announcing the last addition to their f2.8 trinity: the Sony 16-35mm f2.8 G Master FE lens. The new Sony 16-35mm f2.8 G Master FE lens is designed to be every bit as professional as the 70-200mm f2.8 and 24-70mm f2.8 lens offerings. In regards to the design, Sony talks a lot about how much engineering went into it in regards to corner to corner sharpness in addition to distortion. When it launches later this year, it’s going to be $2,199 in stores at the end of August.
The Leica Summaron-M 28mm F5.6 is a lens that in many ways is bound to garner the love of many street photographers out there. One could easily think to themselves: why would someone go crazy over a small, slow prime lens? There are a lot of reasons beyond its more affordable price point. There’s the image quality–which is unlike anything I’ve seen from most modern lenses. Then there are things like the low profile and the fact that the fairly slow speed means that’s all you’re going to be using for street photography anyway. It’s a gorgeous lens if you’re into something smaller and a lot more classic–not only in the quality but also the operation.
And seriously, I have to hand it to Leica. The Leica Summaron-M 28mm f5.6 is designed more for the look: not to appease some DXO overlord.
The Fujifilm 120mm F4 R LM OIS WR Macro is one of the first lens offerings from the G Format lineup, and it’s a pretty decent lens overall. In fact, there isn’t a single major problem with it besides maybe its large size. But when it comes to performance, it’s very sharp, focuses quickly, has image stabilization built in, and beautiful bokeh. What more could a photographer want?
Of course, the closest thing to a normal prime lens had to be the first thing that Fujifilm announced for their Medium format G Format; and to that end we got the Fujifilm 63mm f2.8 R WR lens. It’s an interesting move for Fujifilm. You see, when the X series was announced, the company debuted at least one f1.4 lens. But this time around, we got slow lenses. Yes, I’m aware that this is medium format, but there are f1.8 lenses in the 645 format–which is larger than G format.
Nevertheless, the Fujifilm 63mm f2.8 is a fantastic lens that I wasn’t sure I’d like. But a number of factors had me coming back to it over and over again.
Today, Lomography is announcing a brand new series of unconventional lenses designed for Canon and Nikon DSLR cameras; they’re called the Lomography Neptune Convertible Art Lenses. They’re a curious and extremely different system based on an older camera and lens system–which is right in line with what Lomography tends to do. The Lomography Neptune Convertible Art lenses are a three element system which all start with a mounting system. The aperture and focusing are built into the lens base unit that attaches to your camera. Then from there, you attach another optic. The optics are switched out when you want a different field of view and can also work with special shaped apertures.
I had a moment to head over to the Lomography Gallery Store here in NYC and took a look.
With the announcement of the new Sony a9, the new Sony 100-400mm f4.5-5.6 G Master FE lens was slightly overshadowed by all the new tech in the camera. However, this new lens is also one that is very important for the specific crowd that camera is targeted to. The Sony 100-400mm f4.5-5.6 G Master is designed for sports shooters, wildlife photographers, and photojournalists who need a whole lot of reach. During our testing period with prototype models, we found the 100-400mm lens to be really useful in many situations, but we’re going to need to give it more testing to give a final verdict.
Here’s our first impressions thus far though.
Before the company started to really revamp their lenses, Tamron’s offerings were actually pretty darn good to start. So on a whim of curiousity, I decided to try the Tamron AF 180mm f3.5 Di SP A/M FEC LD (IF) 1:1 Macro–surely a long telephoto macro lens will have to be great, right? Truthfully, it really is; but it isn’t without its own faults partially due to how DSLR cameras work. Though for the enthusiast photographer, you’ll probably really appreciate what it’s capable of.
And at the same time, you’ll need to shoot it like a pro.