The Sony FE 70-200mm f/2.8 G Master OSS is one seriously well-specced optic. Read more: Sony FE 24-70mm f/2.8 G Master full review (opens in new tab) Image quality is spectacular in all respects: even when shooting wide-open, sharpness is simply phenomenal, throughout the entire zoom range. There’s no optical stabilizer but this is only an issue with first-edition Sony mirrorless full-frame cameras that lack in-body stabilization. Autofocus is blazing fast for stills and provides smooth and near-silent autofocus transitions during movie capture. There’s no shortage of quality glass in the 18-element line-up, including one ultra-high-precision XA (eXtreme Aspherical) element, two further aspherical elements, one ED (Extra-low Dispersion) element, and one Super ED element. The weather-sealed construction of the lens feels really solid and sturdy, and the lens features a customizable focus hold function, along with AF/MF and zoom lock switches. And so it should be, costing about five times the price of the FE 28-70mm f/3.5-5.6 OSS kit lens. Leapfrogging the Zeiss badged FE 24-70mm f/4 ZA OSS, this G Master lens is as good as it gets for an own-brand Sony standard zoom. It's really exciting, then, that Sony is turning its attention to smaller, more compact lenses for users like these. The best Sony lenses also tend to be the biggest, which isn't helpful if your work is travel or street photography, or if you are a vlogger capturing fast-moving events. A prime example of this is Sony's 50mm F1.2 G Master (opens in new tab) lens, which is quite possibly the best 50mm lens (opens in new tab) on the market right now. These aim for the ultimate in all-around performance and image quality, especially in terms of sharpness and bokeh (the quality of defocused areas within images). While some up-market Sony lenses are produced in conjunction with legendary optical manufacturer Zeiss, Sony now also produces its own premium ‘G’ and top-flight ‘G Master’ lenses as well. And, if you haven't decided which model to buy, then do also check out our best Sony camera (opens in new tab) guide. But with standard zooms and ultra-wide lenses, you must get a lens designed for an APS-C format camera. And don't forget that you can use full-frame E-mount lenses on APS-C models too, and often this can be the best choice for telephotos, macro lenses, and other longer focal length options. The best Sony lenses aren't just designed for Sony's full-frame models (which are among the best cameras for professionals (opens in new tab)), but there are also a number of great lenses out there for Sony's large range of APS-C models that are more for hobbyists and enthusiasts, like the Sony A6400 (opens in new tab) or the Sony ZV-E10 (opens in new tab) vlogging camera. And many of these optics are so good in their own right that they can give Sony's G Master optics a real run for their money. For photographers and videographers who need lenses that are lighter, smaller, or just not quite so expensive, there are plenty of alternatives. The best Sony lenses are typically the company's G Master lenses, which are big and beautiful but expensive. Here is a photo comparing the relative sizes of the Zeiss and Sony.In a short space of time, Sony lenses have also become considered some of the best camera lenses to buy (opens in new tab). Clearly, Sony limited the reach to make space for the more expensive 16-80 which the Sony outperforms in every respect. Overall, I prefer the 16-50 to the 16-80 Zeiss. Again, I thought this would not be a big deal for me, but it makes a difference (in favor of the Sony). The Sony focuses faster and more silently. Doesn't seem like a big deal, but once you're used to the reach even missing 30mm is inconvenient.ĥ. The ability to lock the zoom is a nice feature.Ĥ. The build quality of the Sony actually seems a shade higher than the Zeiss in all aspects.ģ. The Sony performs much better in low or more challenging lighting situations.Ģ. The overall image quality in terms of sharpness, color and distortion are identical to the Zeiss, with a slight edge to the Sony. I have been using the Sony 16-50 for the last few weeks on my A77 and my impressions are:ġ. First was the lens creep and second was the relative small aperture. While the Zeiss has excellent image quality, a couple of things bothered me. I have been using a Zeiss 1680 first on an A300 and then A77 for the past 5-6 years. For many the choice boils down to this or the Zeiss 1680.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |