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March 5, 2015

Four New Sony FE lenses Breakdown and Pre-Order Links Plus More…

New Sony FE lenses e-mount

Sony officially announces four new full frame E-mount lenses (FE Lenses), which consist of really expensive and fast 35mm f/1.4 ZA lens, a killer looking 90mm f/1.8 OSS Macro G Lens, a super zoom 24-240mm OSS lens and reasonable priced 28mm f/2 lens that except converter lenses just like the 16mm APS-C E-mount lens. A wide angle and fish-eye will be the initial converter lenses offered for the 28mm lens.

In this article I’m going to break these new lenses down in the normal way I like to do plus add some pre-order links and anything else that seems appropriate 😉

I will also add these new lenses to the Master E-mount Lens Guide Here ASAP >>

 

Sony FE 90mm f/2.8 Macro G OSS Lens

I went with the 90mm Macro lens first, because I want this lens more than any of the others. In fact I plan on buying this lens if it holds up to the hyped quality and killer good looks 😉 The lens offers a fast f/2.8 aperture and built in Optical SteadyShot which will help with hand-holding at those slower shutter speeds. The SEL90M28G lens is pretty large, due to full frame coverage and having a fast f/2.8 aperture plus 1:1 macro abilities. The lens physically needs to be about this size to accommodate those specs. This lens also features a direct drive Super Sonic Wave AF Motor just like the FE 70-200mm f/4 OSS G Lens and this makes focusing lightning fast plus silent. Weight wise, she is about 21oz, which is not to bad considering the size and specs in my opinion. In hand mounted to the camera it should be reasonable I think, but we shall see shortly! Additionally the new 90mm macro lens has some killer glass inside consisted of Aspherical, ED and Super ED Elements. On top of that, it has the latest and greatest Nano AR Coating. The lens goes is going for ~$1098 US. Full lens breakdown and specs below….

SEL90M28G-2SEL90M28GSEL90M28G-elementsSEL90M28G-mtf

SEL90M28G-3

Direct Drive -SSM View

Key Features:

  • Aperture Range: f/2.8 to 22
  • 1:1 Magnification Ratio; Internal Focus
  • Aspherical, ED and Super ED Elements
  • Nano AR Coating
  • Direct Drive Super Sonic Wave AF Motor
  • Optical SteadyShot Image Stabilization
  • Focus Hold Button & Range Limiter Switch
  • Sliding Focus Ring for AF/MF Selection
  • Minimum Focus Distance: 11″

SEL90M28G Specifications

Lens Mount Type Sony E-mount
Format 35mm full frame
Aperture (Max.) f/2.8
Aperture (Min.) f/22
Maximum magnification ratio (x) 1x
Focal Length on APS-C (35mm equivalent) 135mm
Filter Diameter 62mm
Lens Construction 11 Groups / 15 Elements
Minimum Focus Distance 11″ (0.28m)
Angle of View 17° (APS-C)
Angle of view (35mm) 27°
Aperture Blade 9 blades
Circular aperture Yes
Image stabilization (SteadyShot) Optical SteadyShot
Diameter x Length 3.12 x 5.25″ (79x 130.5mm)
Weight 21.3oz (602g)

SEL90M28G Detailed Breakdown

Get up close and personal with the 1:1 magnification ratio of the full-frame compatible FE 90mm f/2.8 Macro G OSS Lens for Sony’s E-Mount mirrorless cameras. Optimized for macro shooting, this medium telephoto lens utilizes an aspherical element along with extra-low dispersion and super extra-low dispersion glass to create sharp imagery with minimal aberration. Also, it has a Nano AR Coating that suppresses reflections and allows for efficient light transmission for clear photographs.

Its maximum aperture of f/2.8 is effective when shooting in low light and allows for shallow depth-of-field focus. An internal focus system in which only the middle optical groups move when focusing provides fast autofocus action and a short minimum focus distance of 11″. Also, the lens does not extend when focusing and the front end does not rotate. The Direct Drive Super Sonic Wave AF motor employs piezoelectric elements oscillating at ultrasonic frequencies to drive the focus lens with accuracy and near-silence. The focus ring slides back and forth to select manual or auto focus and with a focus hold button and focus limiter switch, the lens offers precise control of where you place focus.

An optical image stabilization system uses gyro sensors to detect camera movement and quiet linear motors to shift the stabilization lens for blur control that is very helpful when shooting macro and/or in low light.  Nine circular aperture blades create a unique diaphragm design that is almost perfectly circular throughout its aperture range and thus helps to create pleasing out-of-focus highlights. Finally, a handsome and sturdy build with a dust and moisture resistant design contributes to the overall quality and durability of this fine optic.

Full-Frame E-Mount Telephoto Macro Lens
A 90mm prime telephoto lens with 1:1 macro capability, it provides an f/2.8 maximum aperture for low light effectiveness and shallow depth of field control. Compatible with full-frame E-Mount cameras, it can also be used on APS-C E-Mount cameras with an angle of view equivalent to a 135mm lens in the 35mm/full-frame format.

Internal Focusing
Only the middle groups of the optical system move to achieve focus, so the overall length of the lens does not change. Other important benefits include fast autofocus and a short minimum focusing distance. Also, the filter thread at the front of the lens does not rotate, which is convenient if you’re using a polarizing filter.

Focus Hold Button
Once you’ve adjusted focus to where you want it, pressing this button on the lens barrel will keep the lens locked to that focusing distance. The preview function can also be assigned to this button through the camera’s custom settings.

Focus Range Limiter
This function allows you to set a limit on the focusing range which can save you time during AF operation as the lens will not ‘hunt’ through the entire focusing range. On this macro lens, three ranges are supported: Full, infinity to 19.7″ and 11″ to 19.7″.

Sliding Focus Ring
The focus ring slides back and forth to select manual or auto focus.

Direct Drive Super Sonic Wave AF Motor
Quiet, precise DDSSM focus drive employs piezoelectric elements oscillating at ultrasonic frequencies to drive the focus lens groups. In this case two floating focus groups are driven by independent DDSSM systems for precision positioning of the relatively heavy lenses required for macro photography. The system is remarkably quiet, making it ideal for animal and insect photography, as well as for video recording. It also improves the precision of “focus wobble” employed to achieve optimum focus when shooting movies.

Lens-Based Optical Image Stabilization
Gyro sensors built into the lens detect even the slightest movement, and the stabilization lens is precisely shifted to counteract any image blur that might occur. The use of precision, quiet linear motors and technology inherited from high-end Sony professional camcorders results in exceptionally quiet, effective image stabilization that contributes to high-quality movies as well as stills.

Aspherical Lens Elements
Aspherical lens design dramatically reduces spherical aberration while also reducing lens size and weight. Specially shaped aspherical elements near the diaphragm restore alignment of light rays at the image plane, maintaining high sharpness and contrast even at maximum aperture and can also be used at other points in the optical path to reduce distortion.

ED and Super ED Glass
Extra-low Dispersion and Super Extra-low Dispersion glass elements reduce chromatic aberration for sharp, color-accurate images.

Nano AR Coating
Effectively suppress reflections that can cause flare and ghosting with Sony’s original Nano AR Coating technology. This nano-structure allows accurate light transmission, contributing to high-quality images, even more so than lenses with coatings that use an irregular nano-structure. The reflection suppression characteristic of the Nano AR Coating is superior to conventional anti-reflective coatings, providing a notable improvement in clarity, contrast, and overall image quality.

Circular Aperture
When changing your aperture to defocus the background, the light sources appear blurred. This ‘bokeh’ effect of the blurred background can be enhanced with circular aperture blades used in this lens. Its unique design keeps the aperture almost perfectly circular from its wide-open setting to when it is closed by 2 stops. Smoother, more natural defocusing can be obtained as a result.< strong>Dust and Moisture Resistant Design
A solid and handsome design is complemented with dust and moisture resistant sealing enabling this lens to be used in the field as well as in-studio.

Pre-Order FE 90mm f/2.8 Macro G OSS Lens for ~$1098 @ BHPhoto | Amazon

 

Sony Carl Zeiss Distagon T* FE 35mm F1.4 ZA Lens

The next new lens I wanted to talk about is the Carl Zeiss Distagon T* 35mm f/1.4 lens which goes for $1598 US. This lens is expensive for sure, but you do get the best technology and features available for today from Sony and Zeiss and is f/1.4!  A click-less aperture makes this lens a great option for video enthusiasts and huge focus ring will insure easy adjustments when using manual. This lens also has the very high quality Direct Drive Super Sonic Wave AF System, and is dust and moisture resistant to boot. On top of that it has the latest *T coatings from Zeiss and weighs in at a whopping 22.3oz which is 1oz heavier than the 90mm macro lens

sel35f14z-1sel35f14z-2sel35f14z-3sel35f14z-elementsKey Features:

  • Aperture Range: f/1.4 to 16
  • One AA & Three Aspherical Elements
  • Zeiss T* Anti-Reflective Coating
  • Direct Drive Super Sonic Wave AF System
  • Physical Aperture Ring Can Be De-Clicked
  • Minimum Focus Distance: 12″
  • Dust and Moisture Resistant
  • Filter Diameter: 72mm
  • Circular 9-Blade Diaphragm

SEL35F14Z Specifications

Lens Mount Type Sony E-mount
Format 35mm full frame
Aperture (Max.) f/1.4
Aperture (Min.) f/16
Maximum magnification ratio (x) 0.18x
Focal Length onAPS-C (35mm equivalent) 52.5mm
Filter Diameter 72mm
Lens Construction 8 Groups / 12 Elements
Minimum Focus Distance 11.88″ (0.29m)
Angle of View 44° (APS-C)
Angle of view (35mm) 63°
Aperture Blade 9 blades
Circular aperture Yes
Diameter x Length 3.2 x 4.5″ (78.5 x 112mm)
Weight 22.3oz (630g)

SEL35F14Z Detailed Breakdown

The 35mm focal length makes the Sony Carl Zeiss Distagon T* FE 35mm F1.4 ZA Lens an excellent choice for a wide range of photography, from snapshots and landscapes to indoor portraits and night scenes – producing beautiful bokeh through its bright 9- blade F1.4 aperture. The advanced optical design – including aspherical and “AA” (advanced spherical) lens elements combined with renowned ZEISS T* coating – deliver outstanding image resolution and suppresses reflections for superior contrast clarity.

Unmatched ZEISS T* (T-star)
coating Coated optics were pioneered by Carl Zeiss® — and this superb lens features the ZEISS T* (T-Star) coating that virtually eliminates lens flare, internal reflection and light scattering that can otherwise occur at glass-to-air surfaces. The T* coating contributes to outstanding image quality, with high contrast and uniformly excellent resolution right out to the image edges. Not simply applied to any lens — the T* symbol only appears on multi-element lenses in which the required performance has been achieved throughout the entire optical path, therefore guaranteeing the highest quality.

Circular Aperture
When changing your aperture to defocus the background, the light sources appear blurred. This ‘bokeh’ effect of the blurred background can be enhanced with circular aperture blades used in this lens. Conventional aperture blades have flat sides creating unappealing polygonal shaped defocussed points of light. ? lenses overcome this problem through a unique design that keeps the aperture almost perfectly circular from its wide-open setting to when it is closed by 2 stops. Smoother, more natural defocusing can be obtained as a result.

Aspherical lens
elements Aspherical lens design dramatically reduces spherical aberration while also reducing lens size and weight. Spherical aberration is a slight misalignment of the light rays projected on the image plane. This is caused by differences in refraction at different points on conventional spherical lenses which degrade image quality in large-aperture lenses. Specially shaped “aspherical” elements near the diaphragm restore alignment of light rays at the image plane, maintaining high sharpness and contrast even at maximum aperture and can also be used at other points in the optical path to reduce distortion. Well-designed aspherical elements can reduce the total number of elements required in the lens, thus reducing overall size and weight.

Responsive aperture ring
A responsive aperture ring offers positive action that will satisfy professional photographers and movie makers alike. The aperture ring click stops can be switched on or off as required. “Off” is the preferred setting for movie making since it results in the least aperture operation noise. When “On” the ring provides tactile feedback that is useful when shooting stills.

Pre-Order FE Distagon T* FE 35mm F1.4 ZA Lens for ~$1598 @ BHPhoto | Amazon

 

Sony FE 24-240mm f/3.5-6.3 OSS Lens

Now this is a lens I would also love to have for those all-in-one occasions. Yes it’s heavy (~28oz) and large, but the range is huge. The aperture spread is not bad at all when you factor in the range, low light sensor performance, and depth of field characteristics at play with the full frame sensor. This is a lens that does it all, and will most likely do it very well based on my experience with Sony gear. With a lens packing so much range, anything goes really. Taking a landscape shot always comes to mind for me, because I like to zoom into things and go wide, which often requires changing lenses. That was just a few initial thoughts I wanted to share, now let’s get into some features and specs.

sel24240The FE 24-240mm f/3.5-6.3 OSS Lens has optical steadyshot for easy hand holding at any focal length. It also features a circular aperture and some quality glass elements inside such as ED glass and 5 aspherical elements. It’s also dust and moisture resistant. The SEL24240 goes for a reasonable price point of $998 considering the coverage and overall unit quality. It does not have the killer focus motor like the lenses above, or the nano lens coatings. etc… In the real world I’m pretty sure this lens will be a blast to use and solid all-in-one solution to the full frame mirrorless e-mount camera systems.

sel24240-2sel24240-elementssel24240-mtf

SEL24240 Specifications

Lens Mount Type Sony E-mount
Format 35mm full frame
Maximum magnification ratio (x) 0.27x
Focal Length APs-C (35mm equivalent) 36mm – 360mm
Filter Diameter 72mm
Lens Construction 12 Groups / 17 Elements
Minimum Focus Distance 1.64ft-2.63ft / 0.5m-0.8m
Angle of View Angle of view (35mm) 84° – 10°, 61° – 6°50′ (APS-C)
Aperture Blade 7 blades
Circular aperture Yes
ADI metering / Distance encoder No
Image stabilization (SteadyShot) Optical SteadyShot
Diameter x Length 3.75 x 4.75″ (80.5-118.5mm)
Weight 27.6oz (780g)

SEL24240 Detailed Breakdown

A full-frame 24-240mm zoom range allows this one lens to cover an extensive variety of shooting situations with 10x effective zoom range, making it ideal for landscape, snapshots, portraits and travel where reducing luggage is a priority.

The ability to switch from wide angle to telephoto without having to change lenses also means that more of those fleeting moments that make great shots will be captured.

The advanced optics include 5 aspherical elements and 1 ED glass element, achieving high-quality performance in a compact overall design. An advanced linear motor drives the focusing mechanism for quick, smooth response throughout the extended zoom range. Handheld telephoto shots and low-light photography are facilitated by built-in Optical SteadyShot (OSS) image stabilization. Like all other FE lenses, the design is dust and moisture resistant.

Circular Aperture
When changing your aperture to defocus the background, the light sources appear blurred. This ‘bokeh’ effect of the blurred background can be enhanced with circular aperture blades used in this lens. Conventional aperture blades have flat sides creating unappealing polygonal shaped defocussed points of light. ? lenses overcome this problem through a unique design that keeps the aperture almost perfectly circular from its wide-open setting to when it is closed by 2 stops. Smoother, more natural defocusing can be obtained as a result.

Aspherical lens elements
Aspherical lens design dramatically reduces spherical aberration while also reducing lens size and weight. Spherical aberration is a slight misalignment of the light rays projected on the image plane. This is caused by differences in refraction at different points on conventional spherical lenses which degrade image quality in large-aperture lenses. Specially shaped “aspherical” elements near the diaphragm restore alignment of light rays at the image plane, maintaining high sharpness and contrast even at maximum aperture and can also be used at other points in the optical path to reduce distortion. Well-designed aspherical elements can reduce the total number of elements required in the lens, thus reducing overall size and weight.

Internal focusing
Only the middle groups of the optical system move to achieve focus, so the overall length of the lens does not change. Other important benefits include fast autofocusing and a short minimum focusing distance. Also, the filter thread at the front of the lens does not rotate, which is convenient if you’re using a polarizing filter.

Lens-based optical image stabilization
Gyro sensors built into the lens detect even the slightest movement, and the stabilization lens is precisely shifted to counteract any image blur that might occur. The use of precision, quiet linear motors and technology inherited from high-end Sony professional camcorders results in exceptionally quiet, effective image stabilization that contributes to high-quality movies as well as stills.

Pre-Order FE 24-240mm f/3.5-6.3 OSS Lens  for ~$998 @ BHPhoto | Amazon

 

 Sony FE 28mm f/2 Lens

The Sony 28mm f/2 Lens is a fairly affordable light weight prime with a fast aperture and small form factor. It also has bonus power, because it can take on converter lenses and still maintain the fast f/2 speed. Sony is going to release a wide angle and fish-eye just like they did for the original APS-C mirrorless system for the Nex-6, A6000 ect..

sel28f2This lens solution offers an affordable way to have multiple fast lenses and always a light weight small master lens. If you want to get an idea what the converters will do, check out my APS-C 16mm lens E-Mount Converters Review Here >> More on the conversion lenses below…

sel28f20-2sel28f20-elementssel28f20-mtf

SEL28F20 Specifications

Lens Mount Type Sony E-mount
Format 35mm full frame
Aperture (Max.) f/2.0
Aperture (Min.) f/22
Maximum magnification ratio (x) 0.13x
Focal Length (35mm equivalent) 42 mm
Filter Diameter 49mm
Lens Construction 8 Groups / 9 Elements
Minimum Focus Distance 11.88″ (0.29m)
Angle of View 54° (APS-C)
Angle of view (35mm) 75°
Aperture Blade 9 blades
Circular aperture Yes
Diameter x Length 2.55 x 2.35″ (64x 60mm)
Weight 5.5 oz (155g)

SEL28F20 Detailed Breakdown

An excellent choice as a second lens, this full-frame 28mm wide-angle prime features a bright F2 maximum aperture and outstanding overall optical performance. Advanced optics and coatings with a 9-blade circular aperture deliver beautiful images. Internal focusing on a fast and quite linear actuator makes this lens ideal for both still and movie.

Circular Aperture
When changing your aperture to defocus the background, the light sources appear blurred. This ‘bokeh’ effect of the blurred background can be enhanced with circular aperture blades used in this lens. Conventional aperture blades have flat sides creating unappealing polygonal shaped defocussed points of light. ? lenses overcome this problem through a unique design that keeps the aperture almost perfectly circular from its wide-open setting to when it is closed by 2 stops. Smoother, more natural defocusing can be obtained as a result.

ED (Extra-low Dispersion) glass / Super ED glass
As focal lengths get longer, lenses built with conventional optical glass have difficulties with chromatic aberration, and as a result images suffer from lower contrast, lower color quality, and lower resolution. ED glass dramatically reduces chromatic aberration at telephoto ranges, and provides superior contrast across the entire image, even at large aperture settings. Super ED glass provides enhanced compensation for chromatic aberration.

Aspherical lens elements
Aspherical lens design dramatically reduces spherical aberration while also reducing lens size and weight. Spherical aberration is a slight misalignment of the light rays projected on the image plane. This is caused by differences in refraction at different points on conventional spherical lenses which degrade image quality in large-aperture lenses. Specially shaped “aspherical” elements near the diaphragm restore alignment of light rays at the image plane, maintaining high sharpness and contrast even at maximum aperture and can also be used at other points in the optical path to reduce distortion. Well-designed aspherical elements can reduce the total number of elements required in the lens, thus reducing overall size and weight.

Internal focusing
Only the middle groups of the optical system move to achieve focus, so the overall length of the lens does not change. Other important benefits include fast autofocusing and a short minimum focusing distance. Also, the filter thread at the front of the lens does not rotate, which is convenient if you’re using a polarizing filter.

Go even wider or fisheye with converters
For even wider perspectives an optional Ultra-wide Converter (SEL075UWC) and Fisheye Converter (SEL057FEC) can be added to increase the angle of view to 21mm wide-angle or 16mm fisheye with full 180° coverage, respectively. Corresponding EXIF data is generated when these converters are attached to the lens, making data management easy.

Pre-Order FE 28mm F/2 Lens  for ~$448 @ BHPhoto | Amazon

 

21mm Ultra-Wide Conversion Lens for FE 28mm f/2 Lens

This conversion lens mounts to the FE 28mm f/2 lens above and creates a 21mm f/2 lens for a modest $248 US. That is pretty nice if you ask me, as this can be taking off and put on easily. It also takes up little space in a pouch when not in use and weigh almost nothing ( ).SEL075UWC-1SEL075UWC-3 SEL075UWC-2

Pre-Order FE 28mm F/2 Lens  for ~$248 @ BHPhoto | Amazon

 

16mm Fisheye Conversion Lens for FE 28mm f/2 Lens

This conversion lens mounts to the FE 28mm f/2 lens above and creates a 16mm f/2 Fisheye lens for a modest $248 US. The fisheye conversion lens (SEL057FEC) is quite a bit larger than the ultra wide angle conversion lens (SEL075UWC) as you can see from the images below.

SEL057FEC-1SEL057FEC-3SEL057FEC-2Pre-Order 16mm Fisheye Conversion Lens for ~$248 @ BHPhoto | Amazon

 

Hands-On

BHPhoto has a Hands-on Review with some sample photos here >>

Steve Huff has a Hands-On First Look of the new 35mm f/1.4 Zeiss lens if you want to check it out Here >>

What Digital Camera has a Video Review of the New 35mm f/1.4 Zeiss Lens, see below:

 

Closing Remarks

Although these New ony FE lenses took a little longer than expected, it looks like Sony really delivered a lot overall. The ~$1600 price tag of the 35mm f/1.4 Zeiss lens is a lot, but it is a combination of all the latest and greatest technology of the day and a native E-Mount with Auto Focus which is worth a lot to many people. As I was saying on the forums in the Loxia 35mm F/2 Sample Photos Thread Here >>, The Loxia almost seems affordable now that this lens is out!

I will add more links to reviews and first look hands-on type articles as I get time, but I need to head out to work now 😉 Have a great day everybody and thank you very much for checking in and the support by using the links!

Jay


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Thanks,
Jay



About the Author

Jay
Hello, I'm the owner and operator of SonyAlphaLab.com. Please check out the About page for a full background on myself and the Lab ;) Google+ | Twitter | RSS-feed | Email Updates!!




19 Comments


  1. I’m really stoked on the 90mm Macro too. The sad part is that it will be released in July. However, I think that we can expect to see a few reviews come out until then.


  2. Jay, I’ve been a big fan of sonyalphalab.com for quite a while, I really admire your excellent work and your reviews compelled me to buy a NEX-5, which was later replaced with a NEX-6, and currently with an A6000. Since my first NEX-5 I have been slowly expanding my lens collection both with e-mount lenses and with some legacy manual lenses, including some “old school” Minolta Rokkors (also influenced by your outstanding reviews). As I own the SEL16F28 and the old Ultra Wide Angle conversion lens, I’d like to know if the two new models announced by Sony (VCL-ECU2 Ultra Wide and VCL-ECF2 Fisheye Converter Converter) are totally new lenses or just the same old conversion lens for the 16mm pancake restyled in black to match the SEL20F28. Thanks Jay and keep up the great work!


    • Jay

      Hi Alberto and thanks for the comments and excellent question. It’s confusing for sure and it looks like they are the same to me based on the info posted at the Sony Global site here: Original VCL-ECU1 vs New VCL-ECU2

      Just different colors is all I can say for certain at this point. Possible better coatings maybe, but I can’t find that info…

      Jay


      • Thanks Jay. I thought the same thing. If you find out anything please let me know.


      • Dennis

        I believe there are new optics with these new converters as well. The Sony Sony website stated (and still states) that the old ones were only for use with the SEL16F28. The new ones state it’ll they’ll work with both the 16 and 20mm pancakes however. Also, the new number at the end of the model number would tend to indicate new optics whereas different colors are usually indicated by a letter – as in the SEL55210 and the newer black version, SEL55210/B.

        Dennis


      • Jay

        Great points Dennis and why the mystery from Sony I wonder?

        Thanks again,
        Jay


  3. The 35mm is on the wish list. I’ll be ordering it as soon as I save up a little money.


    • Jay

      Thanks for the comments and heads up Steve. I’m glad to see the price of the lens is not beyond what folks are willing to spend. You do get the best of the best and I can’t wait to review after the 35mm f/2 Loxia I have currently.

      Jay


  4. Rude Kaltinger

    I’m looking forward to purchasing the Sony 70-200mm f4 but will now wait for the reviews on the 24-240mm.


    • Jay

      I can’t blame you at all and I would totally consider the 24-240mm over the 70-200mm for everyday fun and real worlds photography use. It’s much more affordable and has much more range. Optically quality is not going to be as good obviously, but in the real world I think it will be good enough. Pro’s would rather go for the 70-200mm f/4 OSS G lens for the better focus motors, optics which includes lens coatings, sealed lens with no physical zoom, and the constant f/4 aperture. You do get something for the extra cash and less zoom 😉

      Thanks for the comments,

      Jay


  5. Luciille

    the 90mm and 35mm shall be mine!


    • Jay

      Thanks for the comments Lucille and I had a feeling about the 35mm, but the 90mm I did not expect 😉 I was curious if you were just looking for a macro, or if the 90mm OSS f/2.8 was appealing enough as is?

      Thanks,

      Jay


  6. flavioross

    Maybe I’m wrong but from what I remember if you put the fisheye converter on the 28mm it doesn’t maintain the f2. Don’t know if the same happens with the wide angle converter.


  7. Dennis

    Hi Jay,

    Great job as usual. I love the fact that there are so many choices for the 35mm focal length and I hope this is a trend for the future of the full frame e-mount. Having more options means people can get exactly the lenses that suit their needs.

    I hope this mean there will now be a third and even fourth category of lens in a full frame system. In the DSLR market, there tends to be mainly two – a more expensive ‘pro’ option and a cheaper, slower consumer option. Canon and Nikon brand their ‘pro’ stuff with the “L” designation and “Nikkor” respectively. However, with compact full frame now being ‘a thing’, perhaps we can expect a small option as a third category. With DSLR’s, this didn’t make sense since the bodies were massive beasts to begin with. Canon, for example, produced some pancakes that didn’t catch on from what I understand. People who already have big cameras don’t care if the lenses are big too. Also, with the Loxia line there is even a fourth category of compact, high quality manual focus lenses for the enthusiast niche who might have previously bought Leica gear.

    This is exciting to me because it was only after the introduction of Sony’s mirrorless full frame system that I got more into photography. To me, DSLR’s always looked stupidly oversized and embarrassing and impractical to carry around with you. They made you look like ‘that guy’ – no disrespect Jay 😉 Anyway, I think Sony is in a great position to have a really attractive lens lineup in the future, not to mention the cheap legacy options which I am currently enjoying. Good times.

    Thanks,
    Dennis


    • Jay

      Great read Dennis and I really appreciate you sharing your thoughts on the current/ future lens market situation. Very interesting about the categories of lenses and quality associated. I never really thought about it that way. 4th party would be adaptable lenses, or old school, then you got state of the art Loxia style lenses as well. Fascinating and other than Cinema lenses this is exclusive to mirroless pretty much.

      The ability to adapt lenses is what really made a ton of folks jump over to the mirrorless e-mount system early on. Now that the native lenses are becoming so plentiful the DSLR’s are becoming more and more irrelevant for the masses. Size and weight do not make sense anymore for most users and mirrorless is the way to go. Full frame will yield the best IQ and offer a crazy compact size compared to a 5d Mark II for example. I’m thinking that 24-240mm lens is going to sell like hot cakes and constantly be out of stock knowing Sony and the history of lens production slowness. The 90mm Macro is also in super high demand, plus the 35mm is getting more talk than I expected!

      Thanks again Dennis for stopping by and sharing,
      Jay


  8. Do you think the image quality will be a big drop from the 70-200 to the 24-240. i have the a7 mark 2 and was going to get teh 70-200 but thought i would just get the 24-240.. I am a beginner photographer.. Do i need the better optics in the 70-200 to continue my learning or will the 24-240 work for me.. currently i only have the kit lens and the 55mms and the lens for my nex 6. 55-210mm


  9. marcelo

    hey jay! I currently have the nex-6 so i was wondering, will the SEL28F20 work with Aps-c sensor out of the box? thanks!!



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