Here is our sneak preview at two exciting Sony lenses. Zeiss announced two exciting new lenses for the Sony FE mount today: (1) the Zeiss Batis 85mm f/1.8 Sonnar and (2) the Zeiss Batis 25mm f/2 Sonnar. While the 25mm focal length will be one of the widest primes available for the Sony after the newly released Sony FE 28mm f/2, the 85mm f/1.8 is what really interests us. Here is a teaser video from Zeiss.
OLED Display Distance Scale
Following the shape and ultra-modern designs of the Otus series and the Sony/Zeiss lenses, Zeiss does something original here by incorporating the world’s first OLED display for the distance scale in place of a traditional plastic window. I’ve previously complained that the perhaps the only drawback of the beautifully designed Sony/Zeiss 55mm f/1.8 is its complete lack of distance or depth-of-field scales on the lens. This OLED screen is an elegant solution to the design issue.
Sony just release FOUR new lenses for the Sony full frame system this week. They are available for preorder right now and will be available to ship as early as this month. We take a brief look at each one and see which is for who.
The least expensive lens released is the large f/2 aperture 28mm wide normal prime should really be in every Sony photographer’s camera bag. It is more versatile and less expensive than the already stellar Zeiss Sonnar 35mm f/2.8. And it is compatible with ultra-wide and fisheye converter add-on lenses. While I was still shooting with a Canon 5D Mark II, my favorite prime lens was the EF 28mm f/1.8. It was such a sleeper lens. So small, light, and inexpensive, yet with such a fast aperture. This one is Sony’s equivalent.
It also features a dust and moisture resistant design, 9-blade circular aperture, and ED glass elements with multicoating which reduces flare and ghosting. The linear actuator focusing mechanism ensures smooth and quiet AF for photography and videography.
We don’t always do gear tests at iLHP but when we do, we go all out. This lens shootout will feature a Blackbird spy plane, two beautiful models on Melrose Ave., and the Space Shuttle Endeavour.
The 35mm is an ideal focal length for street photographers. Wide enough to capture subject within close proximity, not so wide that distortion becomes an issue or too many distractions are in the frame. Leica has long had their famous range of 35mm Summiluxes and Summicrons for street photogs. However, the 35mm is also a secret weapon for fashion/portrait photographers like Terry Richardson or Annie Leibovitz.
It isn’t an easy decision. Investing in a system is expensive and learning to use it takes time. My colleague Christian gave us 10 Reasons to Switch from a DSLR to a Mirrorless System. I present you with 3 key counterpoints as to why the mainstream should wait. This article will focus on full frame systems rather than APS-C. It is geared towards prosumers seriously invested in their gear and professionals who make their living with their cameras.
Choosing photographic equipment can be both complicated for professionals and extremely difficult for beginners and amateurs. Beginners are often overwhelmed with choices. Pros make a living with their gear and talent know what they need in terms of specs, lenses and accessories. But in the face of endless choice, even they can get lost.
Just like Jason Lanier who switched from Nikon to the Sony A7S, Serge Ramelli (by the way Serge has amazing tutorials on YouTube!) and Michael Shainblum who switched respectively from Canon to Sony A7R and A7S, many other professionals are either changing or starting to study the possibilities of switching to a mirrorless system. And for sure, for some professionals the A7rII will be a no brainer as it offers some features never proposed on a DSLR body until now like a silent shutter, BSI sensor 5 axis in-body stabilization and the possibility to use as well E-mount, A-mount and Canon lenses (and a Nikon adapter should follow).
Their decisions are interesting to study. It is important understand why this system is a game changer, not only for consumers like us, but also for professionals. Switching from a traditional DSLR to a mirrorless system like Sony’s for a pro represents a big change, not as much as switching from film cameras to digital cameras, but this new technology is reliable and represents its little revolution of its own in the photography field.