If you’d like to pair your full-frame Sony mirrorless camera with a 28-75mm f/2 lens from Tamron, you’ll soon have a chance to do it. Tamron has announced that they are developing a fast standard zoom lens: the 28-75mm F/2.8 Di III RXD (Model A036), intended for full frame Sony E-mount cameras. They promise high-quality image, weather sealing and quiet autofocus in a lightweight lens. So let’s see the rest of the specs.
Samyang has now officially announced their new XP 50mm f/1.2 lens. It’s the third in the “XPert” series designed specifically for full frame Canon EF users. It adds to the XP 24mm f/2.4 and XP 85mm f/1.2 announced last September. Unlike the 24mm f/2.8 EF lens announced last month, this is a manual focus lens, to match rest of the XP series.
Designed to take advantage of 50MP+ and 8K resolutions, the XP line is built for premium quality. It houses 11 elements in 8 groups, with ultra multi-coatings to minimise distortion, aberration, flare and ghosting. 9 aperture blades help to create pleasing out of focus “bokeh” with that bright, wide, f/1.2 maximum aperture.
Leica has just announced a pair of APO-Summicron lenses for its full frame mirrorless cameras. Those would be the Leica APO-Summicron-SL 75mm f2 ASPH and Leica APO-Summicron-SL 90mm f2 ASPH. While designed for full frame, they will also work on Leica’s crop sensor cameras, too. These lenses aren’t cheap, though. One’s a little under five grand, the other’s slightly over.
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).