![]() ![]() Read our full Sony FE 35mm f/1.4 G Master review for more details It's not the smallest 35mm prime we've seen, but the handling really impressed, with a perfectly weighted ‘de-clickable’ aperture ring for vide, to the smooth and light focus ring.Ī lovely lens, but it inevitably comes at a hefty price. Alternatively, why not consider the pint-sized Sony FE 40mm f/2.5 G? It's nowhere near as fast, but it's light and easy to shoot with and might be perfect for filming on a gimbal – and it too has a de-clickable aperture ring. As you'd expect, it isn't cheap, but it delivers a spectacular optical performance. ![]() It's a very versatile lens, suited to anything from portraits and weddings, to landscape and astrophotography. A 35mm prime is often considered the perfect candid/street lens, offer a semi-wide angle of view for a large range of subjects – and the f/1.4 maximum aperture of this lens combines that wide view with strong background blur for unique environmental portraits. Ī 24-70mm zoom and a 16-35mm will both cover the 35mm focal length, but neither will produce the results this lens can. Read our full Sony FE 50mm f/1.4 GM review. However, few which share quite the same size and weight, lightning-fast autofocus, and solid moisture-resistant construction that this lens offers. Unfortunately, the downside is the lens is expensive when compared to similar rivals, with much cheaper third-party glass out there that will achieve similar visual results. If you don't need the extra aperture stop, or the added size, weight, or considerable cost of the FE 50mm f/1.2 GM, then the Sony FE 50mm f/1.4 will serve you perfectly. The 50mm perspective offers a very versatile focal length, and it is definitely a lens that can be left on your camera for a moment's notice. With only a small falloff towards the edges of the frame and some vignetting wide open, this lens gets almost full marks. The Sony FE 50mm f/1.4 is the lens that is most suited to most Sony shooters, impressively light and compact, but not compromising one bit on optical quality, this lens is almost perfect when it comes to sharpness in the center. Read our full Sony FE 70-200mm f/2.8 G Master OSS review for more details You might also want to take a look at the much cheaper Tamron 70-180mm f/2.8 Di III VXD. Color fringing is minimal but distortion is a little worse than average for this type of lens. Image sharpness is very good indeed wide-open at f/2.8, throughout the entire zoom range, becoming excellent at f/4. All this translates into decent performance. Handling is particularly refined, with an autofocus range limiter, customizable focus hold buttons, and dual-mode stabilization for static and panning shots. There are not one but two autofocus systems, incorporating a double linear motor plus an RDSSM (Ring Drive Super Sonic wave Motor), the latter being used for the heavier forward focus groups. The construction is fully weather-sealed and includes a fluorine coating on the front element. In many ways, a 70-200mm f/2.8 is a better portrait lens than an actual portrait lens! The Sony FE 70-200mm f/2.8 G Master OSS is one seriously well-specced optic, with one double-sided XA (Extreme Aspherical) element, two other aspherical elements, four ED (Extra-low Dispersion) elements, and two Super ED elements. Why a 70-200mm f/2.8? Because the longer focal range is ideal when you can't get up close to your subjects – very common at weddings! – and because the f/2.8 maximum aperture can give you really shallow depth of field, especially at 200mm. Read our full Sony FE 16-35mm f/2.8 G review for more details It is expensive, though, so you might also want too consider the rather good and much cheaper Tamron 17-28mm f/2.8 Di III RXD. The DDSSM autofocus system is incredibly accurate and the lens also features a customizable focus hold button on the barrel. ![]() Other highlights include nano-structure coatings, a keep-clean fluorine coating on the front element, and extensive weather seals. There’s a fast and constant f/2.8 aperture and, when stopping down, the aperture remains extremely well-rounded thanks to an 11-blade diaphragm. For indoor shooting, it's an ideal 'standard' lens. This 16-35mm, however, doubles as an ultra-wide lens and a semi-wide everyday lens. Featuring exotic glass that includes two ultra-high-precision XA (Extreme Aspherical) elements, the Sony FE 16-35mm f/2.8 G Master was Sony’s top-quality wide zoom until the arrival of the even wider Sony FE 12-24mm f/2.8 G Master.įor event photography, however, we think a 12-24mm is just too wide.
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