Sony has recently added another lens to their full-frame E-mount line-up. It’s Sony FE 24-105mm F4 G OSS, a zoom lens that promises to deliver extraordinary quality. Since it covers the commonly used focal range and it has a lightweight design, it can cover different shooting occasions. Other than versatility and small weight, Sony also promises fast, quiet and accurate autofocus with this lens.
Many photographers with crop sensor cameras dream of switching to full frame sensor. But is it really essential for raising your work to a next level? Photographer Manny Ortiz has created a real-world comparison of the photos taken with a full frame and a crop sensor camera. He shot with a full-frame, $5,000 Sony A9 paired with Sony 85mm 1.4 G Master lens. His crop sensor camera is $1,400 Sony A6500, paired with Zeiss 55mm F1.8. Can you tell the difference between the results?
Last year, Yongnuo launched a budget 100mm f/2 lens for Canon mount. There was a word then that Nikon version would come soon – and it seems the time for that has finally come. Not only they will soon present us with the 100mm f/2 lens for Nikon, but they’ll also introduce a pancake 40mm f/2.8. Both lenses will be for Nikon F-mount, aimed primarily at full frame cameras.
Today Sony has made an announcement about the increase in sales in the full-frame camera market. Thanks to this increase, they have beaten Nikon and now take the second overall position in the U.S., right after Canon.
The results of the research by NPD Group’s Retail Tracking Service show the growth in sales of Sony cameras, and the overall growth in the full-frame camera market thanks to Sony.
A camera with a crop (APS-C) sensor and the one with a full frame sensor give different results with the same lens. It can sound abstract in theory before you actually see the results. Photographer Ilko Alexandroff created a comparison between APS-C body and a full frame body, using 85mm and 135mm lenses on both. So, from this video, you can see exactly how these lenses perform on a crop and on a full frame body, and how the combination of the camera and the lens affects the photo. It’s interesting to see the changes, and if you are still relatively new to this topic, you will find this very useful.
If you’re thinking about moving to micro four thirds or buying the E-M1 Mark II… maybe read this first, it may actually save you money down the line.
For the past year and a half I have been shooting both the top of the range MFT and A7RII on professional assignments. Sadly I ended up often quite frustrated by the poor low light performance of Oly’s cameras as well as the lack of 4K which most of my clients ask from me when I shoot for example cinemagraphs.
Therefore since December 2016, I’ve gone 100% for the Sony and dropped MFT altogether to cut my losses invested in this system as well as my cherished Ambassador status (which in reality meant very little).
Light pollution is one of the main problems of every astrophotographer, no doubt about that. If you want to get rid of its orange-yellowish tint, you need either post-processing or a filter. We have recently presented you with PureNight Premium, a filter you can attach to your camera and reduce the effects of light pollution. It’s mounted onto your lens by using a standard square filter holder.
But Cyclops Optics, a Hong Kong-based company has another solution. They produce filters that can be clipped on – but onto your camera’s sensor.
The crop vs full frame debate will never end. Of that there is little doubt. The truth is, for the vast majority of people out there, there’s really going to be virtually no practical difference between the two. But there are times when one definitely shines over the other. Wildlife is one such case. Camera resolution being equal, the extra reach of a crop body can be a valuable asset.
The alternative is teleconverters. They’ve been around for years. Common in the days of film, and still used today by those wanting a little more reach out of their lenses. They do have their drawbacks, though. In this video, wildlife photographer Steve Perry talks about the advantages and disadvantages of shooting a Nikon D5 with a 1.4x teleconverter vs the cropped sensor Nikon D500.
Samyang have today announced two new lenses to start their Premium range. An 85mm f/1.2 and 14mm f/2.4. These new lenses, Samyang say, offer “unprecedented resolving power”, built for 50MP stills and up to 8K video productions. Also known as Rokinon, Samyang has become quite a formidable competitor lately.
Both of the new lenses are full frame manual focus lenses. This may disappoint some folks who were hoping for autofocus. Though, personally, I don’t see it as a problem. Lenses as wide as 14mm are typically manually focused anyway. When everything a few inches past your lens is in focus anyway, it’s not an issue. For the 85mm.. Well, given the notoriously slow AF on Canon’s 85mm f/1.2, you might as well manual focus anyway.