Camera Gear Review News (Page 18)

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

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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.

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Image quality test results along with specs and measurements have been added to the Sony FE 35mm f/1.4 GM Lens Review page.

No surprise here — you are going to like these results. Here are some comparisons to get you started:

Sony FE 35mm f/1.4 GM Lens compared to Sony FE 24mm f/1.4 GM Lens

Sony FE 35mm f/1.4 GM Lens compared to Sony FE 50mm f/1.4 ZA Lens

Sony FE 35mm f/1.4 GM Lens compared to Canon EF 35mm f/1.4L II USM Lens

Sony FE 35mm f/1.4 GM Lens compared to Sigma 35mm f/1.4 DG HSM Art Lens

Sony FE 35mm f/1.4 GM Lens compared to Sigma 40mm f/1.4 DG HSM Art Lens

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

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During one announcement less than 3 years ago, two of the biggest and best super-telephoto lenses ever made, the Canon EF 400mm f/2.8L IS III USM Lens and Canon EF 600mm f/4L IS III USM Lens, were unveiled. The same just occurred again – the Canon RF 400mm F2.8 L IS USM Lens and Canon RF 600mm F4 L IS USM Lens were simultaneously introduced – and the sameness does not stop there.

The first piece of important information to share is that the Canon RF 400mm F2.8 and 600mm F4 L IS USM Lenses are essentially identical to their EF IS version III counterparts except for a brushed metal EF to RF mount adapter built in (and the focus distance window is removed). The RF 400 and 600 are equivalents to the EF 400 and 600 with a Mount Adapter EF-EOS R behind them. This includes optical and mechanical performance.

It is easy to say that Canon took the easy way out when creating the 400mm f/2.8 and 600mm f/4 lenses for the RF mount, and it is also hard to argue against that statement.

However, it is unlikely that optical advances significant enough to justify a new design became available since the EF lens introduction less than 3 years earlier. Also, since lens models go into the design phase long before they are announced, it is probable that the EF 600 III was already designed for optimal use on the RF mount. That Canon's first R-series camera, the EOS R, was introduced in the same announcement as the EF 600 III lends credence to that theory. Also noteable is that long focal length lenses tend to benefit less from the short flange distance on the mirrorless camera models, reducing the justification for a redesign.

Why bother introducing the RF model if the mount is the significant design improvement, and compatibility with EOS DSLR Cameras is foregone? Eliminating the mount adapter creates a slightly tighter, more secure fit and reduces weight slightly for two minor benefits. The adapter is no longer at risk of being forgotten or lost.

An interesting benefit provided by the technology in the RF mount (specifically) is a CIPA image stabilization assistance rating increase to 5.5 stops from 5 stops.

Perhaps the biggest benefit of the built-in RF mount is compatibility with the Canon RF 1.4x and RF 2x Extenders, a compatibility the Canon mount adapter (probably) should have availed. I'm anxious to see how well the RF extenders perform with the new RF super-telephoto lenses.

While I plan to replace my EF 600mm version III lens with the RF version, the new RF 400 and 600mm super-telephoto lenses are practically the same as their respective EF lenses, including having the same price.

While many of us are excited by the prospects of the Canon EOS R3, a development announcement, as usual, left us with many questions. What I know is on the R3 page.

Much is known about the new RF macro lens, and the Canon RF 100mm F2.8 L Macro IS USM Lens page is filled with those details along with expectations.

Nearly everything is know about the new Canon RF 400mm F2.8 L IS USM Lens and Canon RF 600mm F4 L IS USM Lens. I'll call these completed reviews pending image quality testing, including with RF extenders.

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.

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!

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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

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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.

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Based on the email I have been receiving, it seems that a growing number of photographers with DSLR kits are interested in having the benefits of the latest high-performing mirrorless cameras. Especially the Canon EOS R5 and EOS R6 and their impressive AF systems are drawing DSLR kit owners' attention. What is holding these DSLR owners back is their often-extensive investments in DSLR lenses.

Fortunately, that resistance to migrate is unnecessary.

If you have a Canon DSLR kit but want the benefits of a mirrorless camera, get the camera(s) and use Canon EF-EOS R Mount Adapters to make all of your current lenses compatible.

With many photographers currently using this migration strategy, these adapters are hard to find right now. The best course of action is to get in line. Place orders with a few of our recommended retailers (B&H | Adorama | Amazon | Canon USA) and cancel any unshipped orders when your desired number of adapters ship.

If you don't want to wait, consider the in-stock Vello adapter at B&H.

Sure, the Canon RF Lenses are always better than their corresponding DSLR lens model, and you will likely want to migrate to those models eventually. In the meantime, you might be surprised at how well your current DSLR lenses perform when a mirrorless camera is behind them. Expect the EOS R5 and R6 to focus your current lenses as fast as your DSLR and with better accuracy, especially when using the game-changing eye AF feature.

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 time zone, 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 formatting)
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 additional 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.

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.

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

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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.

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.

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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.

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.

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.

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.

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.

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.

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

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