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Author Topic: Sony FE 16-35mm G-Master Lens Preview  (Read 1697 times)

Kevin Raber

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Sony FE 16-35mm G-Master Lens Preview
« on: May 19, 2017, 09:45:25 PM »

I have just published an article - preview of the NEW sony 16-35mm G-Master lens that I had the privilege to shoot with this past week. This is an amazing lens and Sony has added another winner to its G-Master line. The article covers specs, handling, a short video about the lens and a large number of images you can zoom into 100% on to see the quality of the lens. Check it out.    Sony FE 16-35mm G-Master Preview . The article appears on the home page of this site.
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Kevin Raber
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tim wolcott

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #1 on: May 20, 2017, 02:12:45 AM »

Good article wish Phase would make similar zoom lenses.  75-150 we need more focal lengths.  Tim
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paristo

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #2 on: May 20, 2017, 08:37:52 AM »

Sony has already all. Just like you said, you can just take a few good quality zooms and be done with primes and get a job done.

All what they need really anymore are the fast professional wildlife/sports zooms like a 200-500mm f/4 and then something like 300-600mm f/5.6 to complete the historical people dreams.

Just like on the film > digital transition phase, we need to totally adapt the new sensors for the lens designs. No more we need f/2.8 lenses same way as we did with the film era where we had acceptable ASA 800 135 film or top at ASA 3200 for something very grainy.
Now we have something amazing from our sensors. Huge advances happened in 10 year period. Like looking the original Canon 5D that has what, a 8.x stops of dynamic range?

And now we are past 14 stops.... So can't we "sacrifice" some of that at ISO 12800 or ISO 6400 for 2-3 stop slower, smaller and lighter lenses?
What makes LuLa very special site, is that instead technical specifications admiring, everything is put in the context. And I mean the physical prints, the real use of the images as photographs.

I have been watching now the old LuLa videos about the different cameras releases and tutorials for methods to produce the prints etc. And they are great because they have the insights about the context requirements. Like how a already 4/3" sensor can produce as good or even better quality than a 4x5 large format film camera for large prints!

And then we have the sensors inside A7r II or A9 and some of us talks like we would be still using the technology from 5-10 year back! Yet so many things has changed that we don't so easily even follow the capabilities.

Like this 16-35mm was a surprise to me. A something that really puts A7 line to own pace. A coming 12-24mm sounds even more interesting as less and less there is missing parts in Sony category. And I am as well betting on FF race to the Sony, as that is the brand that does it all without legacy.
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Jeff

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #3 on: May 20, 2017, 09:17:33 AM »

If you are going for 12-24 & 24 - 70 do you really need, from a technical aspect,  the 16 - 35 as well ?

Alas, I am an A mount user so had to go for Sigma's  12 - 24 ... it is  great,  so I am certain will will enjoy the results from the Sony FE 12 - 24  lens  :)

The only slight downside was having to additionally invest in LEE's SW 150 filter system.
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Stephen Scharf

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #4 on: May 20, 2017, 01:27:32 PM »

Sony has already all. Just like you said, you can just take a few good quality zooms and be done with primes and get a job done.

All what they need really anymore are the fast professional wildlife/sports zooms like a 200-500mm f/4 and then something like 300-600mm f/5.6 to complete the historical people dreams.

Just like on the film > digital transition phase, we need to totally adapt the new sensors for the lens designs. No more we need f/2.8 lenses same way as we did with the film era where we had acceptable ASA 800 135 film or top at ASA 3200 for something very grainy.
Now we have something amazing from our sensors. Huge advances happened in 10 year period. Like looking the original Canon 5D that has what, a 8.x stops of dynamic range?

And now we are past 14 stops.... So can't we "sacrifice" some of that at ISO 12800 or ISO 6400 for 2-3 stop slower, smaller and lighter lenses?
What makes LuLa very special site, is that instead technical specifications admiring, everything is put in the context. And I mean the physical prints, the real use of the images as photographs.

I have been watching now the old LuLa videos about the different cameras releases and tutorials for methods to produce the prints etc. And they are great because they have the insights about the context requirements. Like how a already 4/3" sensor can produce as good or even better quality than a 4x5 large format film camera for large prints!

And then we have the sensors inside A7r II or A9 and some of us talks like we would be still using the technology from 5-10 year back! Yet so many things has changed that we don't so easily even follow the capabilities.

Like this 16-35mm was a surprise to me. A something that really puts A7 line to own pace. A coming 12-24mm sounds even more interesting as less and less there is missing parts in Sony category. And I am as well betting on FF race to the Sony, as that is the brand that does it all without legacy.

Professional sports photojournalists will still mandatorily require big fast telephoto primes to consider and make the investment in another system. Until Sony has 300/2.8, 400/2.8, 500/4 etc, long fast primes that can still focus quickly with a 1.4 X teleconvertor, there won't be any signififcant movement to the A9 from Canikon pro PJs. There will also have to be a pro service and repair infrastructure in place to match CPS; which is a tough ask and big investment, as well.

Regardless of the advent of the A9, for me, the principal problem remains. The lenses for FF cameras are too big and heavy. The Sony G Master series are the same size and weight as their DSLR counterparts; too big and heavy. Hauling a FF 70-200/2.8, 300/2.8 and 500/4 around for well over a decade shooting pro motorsports on hilly race courses took a physical toll on my back from which I've never fully recovered.

Which is why Fuji APS-C really meets my needs well these days. Hoping Fuji will release the 200mm prime on their roadmap next year.
« Last Edit: May 20, 2017, 01:36:53 PM by Stephen Scharf »
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Peter_DL

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #5 on: May 20, 2017, 02:57:58 PM »

for me, the principal problem remains. The lenses for FF cameras are too big and heavy. The Sony G Master series are the same size and weight as their DSLR counterparts; too big and heavy.

see here.

--
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Farmer

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #6 on: May 20, 2017, 06:10:54 PM »

How do so many people feel that mirrorless has to be a completely compact system?  If you don't want the larger, heavier, GMaster lenses, there are plenty of other options to pair up with the mirrorless body.

What rule says you can't have the same high quality glass for mirrorless as you have on DLSR?  Why don't people complain about the (often heavier) glass from Canon or Nikon that goes on the DSLR, and only about Sony mirrorless?  All systems have options, but if you want lots of glass for the optical quality it will be large and heavy compared to other lenses.

This is why it would be good for LuLa to stop differentiating between mirrorless and DLSR.  Whether or not it has a mirror shouldn't be a major categorisation.
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Phil Brown

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #7 on: May 20, 2017, 06:49:17 PM »

How do so many people feel that mirrorless has to be a completely compact system?  If you don't want the larger, heavier, GMaster lenses, there are plenty of other options to pair up with the mirrorless body.

What rule says you can't have the same high quality glass for mirrorless as you have on DLSR?  Why don't people complain about the (often heavier) glass from Canon or Nikon that goes on the DSLR, and only about Sony mirrorless?

Some people think compact size is the reason why mirrorless systems make sense. They don't realize compactness on mirrorless systems is just an option. One that DSLR systems simply don't have.

I have two mirrorless systems, one oriented to minimum size and weight (while keeping a high quality), and one oriented to maximum quality (while keeping a reasonably compact size).

Regards
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Farmer

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #8 on: May 20, 2017, 07:16:11 PM »

You're exactly right - it's about options.  It's just another option.
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Phil Brown

Stephen Scharf

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #9 on: May 20, 2017, 09:47:08 PM »

How do so many people feel that mirrorless has to be a completely compact system?  If you don't want the larger, heavier, GMaster lenses, there are plenty of other options to pair up with the mirrorless body.

What rule says you can't have the same high quality glass for mirrorless as you have on DLSR?  Why don't people complain about the (often heavier) glass from Canon or Nikon that goes on the DSLR, and only about Sony mirrorless?  All systems have options, but if you want lots of glass for the optical quality it will be large and heavy compared to other lenses.

This is why it would be good for LuLa to stop differentiating between mirrorless and DLSR.  Whether or not it has a mirror shouldn't be a major categorisation.

I don't think anyone is saying that you can't have the same quality glass for mirrorless as you can for a DSLR at all. The size of the lenses is dictated by the sensor size, it doesn't whether there's a mirror box or not. If you compare the dimensions of FF mirrorless Sony G Master lenses with their Canikon counterparts, they are all but identical with respect to dimensions and weight. It's physics that dictates this for a given sensor size.

The fact that Fuji has a complete set of lenses designed for the smaller APS-C sensor means that the optically equivalent lens is, on average, 35% smaller, more compact and lighter than the FF counterpart. For me, with  my back problems, that adds up to a lot of weight savings and reduction in bulk.
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StuartOnline

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #10 on: May 20, 2017, 11:17:21 PM »

Hi Kevin,

Nice article.  I just happened to run into Sony Artisan Ben Lowy today here in the Pensacola Florida area  at the Loinfish Removal & Awareness Day event. He had his Sony A7RII and that's what caught my attention as he was at a friends booth. I started to talk to him and that's when he introduced himself and told me he was one of the Artisans. I was really surprised and of course had to ask him questions about the new A9 and lenses. He was just at that event in California you attended. I had my A7RII I was shooting and he offered to let me try out the FE 12-24mm. Of course I took him up on it. I could not get over how light that lens is. Only had it for a few minute to use but was impressed.  I was really interested in the A9 and asking questions about it since I have one on order locally and should have it this week.  He was very helpful and friendly to talk to.  Even handed me his business card so I could keep in touch or if I had other questions.

Cheers!

Stu
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Farmer

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #11 on: May 21, 2017, 01:23:54 AM »

I don't think anyone is saying that you can't have the same quality glass for mirrorless as you can for a DSLR at all. The size of the lenses is dictated by the sensor size, it doesn't whether there's a mirror box or not. If you compare the dimensions of FF mirrorless Sony G Master lenses with their Canikon counterparts, they are all but identical with respect to dimensions and weight. It's physics that dictates this for a given sensor size.

The fact that Fuji has a complete set of lenses designed for the smaller APS-C sensor means that the optically equivalent lens is, on average, 35% smaller, more compact and lighter than the FF counterpart. For me, with  my back problems, that adds up to a lot of weight savings and reduction in bulk.

I agree with all your points, but there are a lot of people complaining about the Sony system - and they completely fail to recognise exactly what you said.  Again, mirrorless shouldn't need to imply compact.  Sure, it will be a little smaller without a mirror, but as you say it's the sensor that ultimately determines the lenses needed.
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Phil Brown

Ed2015

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #12 on: May 31, 2017, 12:23:24 PM »

I'm curious why professional sports photography should determine the suitability of cameras and lenses. Most of the 50 or so of those so qualified have their long lenses supplied by the agency that employed them.

My interests lie more to shooting concerts (classical) and events professionally, and travel and landscapes for leisure (if 7000 photos in a week allows the luxury of idleness). As much as I like prime lenses, my Sony 24-70/2.8 GM captured most of the images (A7Rii) in a recent trip to Iceland, followed by a 70-200/4 and 16-35/4. While both the f/4 versions are competent, the fast 24-70 holds up to the best of my primes (Loxia and Batis). The new 16-35/2.8 GM is a definite item on my bucket list, and for Iceland anyway, the fast 70-200 would provide a desirable boost in IQ.

So the next time those huge white lenses are featured on the sideline on TV, I'll be out shooting someplace interesting (or mundane) ;)
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landscapephoto

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #13 on: June 01, 2017, 12:30:28 PM »

If you are going for 12-24 & 24 - 70 do you really need, from a technical aspect,  the 16 - 35 as well ?

Alas, I am an A mount user so had to go for Sigma's  12 - 24 ... it is  great,  so I am certain will will enjoy the results from the Sony FE 12 - 24  lens  :)

I have had the Sigma 12-24. While it was a fun lens to have, I found its usage to be very different to the ones I have for a 16-35.

A 16-35 f/2.8 gives you a wonderful choices of perspectives between 16mm and 35mm. It's the perfect reporter's lens and I found myself needing the 24-35 part of the range quite often. Sure, I also have it on the 24-70, but I don't always have the time to change lenses.

A 12-24 f/4 has quite different uses. First, it is a full stop slower but that is not essential. Second, you miss the useful 24-35mm range. Third, the 12-16mm part of the range is really extreme and is rarely useful for anything else than goofing around. OK: some of the goofy images are quite amusing, but one tires of the effect after a while. The only real professional uses is if you photograph interiors, as it make rooms appear bigger. It is the perfect lens for the real estate agent, there is a market for that.

Basically, I can see myself traveling with a 16-35 and a 24-70 only. I don't see myself traveling with a 12-24 and 24-70 only. The first pair is actually more useful.
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Farmer

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Re: Sony FE 16-35mm G-Master Lens Preview
« Reply #14 on: June 01, 2017, 11:44:58 PM »

I have had the Sigma 12-24. While it was a fun lens to have, I found its usage to be very different to the ones I have for a 16-35.

A 16-35 f/2.8 gives you a wonderful choices of perspectives between 16mm and 35mm. It's the perfect reporter's lens and I found myself needing the 24-35 part of the range quite often. Sure, I also have it on the 24-70, but I don't always have the time to change lenses.

A 12-24 f/4 has quite different uses. First, it is a full stop slower but that is not essential. Second, you miss the useful 24-35mm range. Third, the 12-16mm part of the range is really extreme and is rarely useful for anything else than goofing around. OK: some of the goofy images are quite amusing, but one tires of the effect after a while. The only real professional uses is if you photograph interiors, as it make rooms appear bigger. It is the perfect lens for the real estate agent, there is a market for that.

Basically, I can see myself traveling with a 16-35 and a 24-70 only. I don't see myself traveling with a 12-24 and 24-70 only. The first pair is actually more useful.

That's super useful.  I was just today wondering about whether to go 12-24 or 16-35.  I have the 24-70 and 70-200 both in G Master, and I was thinking much the same as you said but didn't have direct experience with a 12-24 (but have had a 17-35 previously).  Given the Sony 16-35 is G Master and the 12-24 is "only" G, combined with your comments, I'm now decided on the 16-35 :-)
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Phil Brown
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