The Sony FE 85 mm f/1.8 is a nicely compact telephoto lens for the Sony cameras with E-mount. The weight and the price are very favorable, and the brightness is also good. If you are considering purchasing a short telephoto for portraits with beautiful, blurred backgrounds, then this is a lens that should be at the top of your list.
The ZEISS Batis 2.8/135 is the fourth lens in the Batis range and the first 135mm for Sony cameras with an E-mount. It is also the longest telephoto lens with a fixed focal point that you can buy for this system. On a Sony camera with APS-C sensor, such as the A6300 or A6500, you have a very nice long telephoto with this handy Batis, which you can continue to enjoy if you ever switch to a Sony with a full-frame sensor such as the A7III or A7R III.
There were already teasers online in which Zeiss showed that they would be releasing a new Batis. The new Batis 135mm f/2.8 is the fourth lens in the Batis series, and it is the first 135mm telephoto lens for the Sony A7 system. The choice of f/2.8 for the brightness means it is a relatively light and compact telephoto.
The Zeiss Loxia 2.4/85mm is the longest Loxia in the series and the only Loxia telephoto lens. It is a unique lens: without autofocus but with an aperture ring. It is compact and very solidly finished. And the image quality is phenomenal.
Zeiss Batis 18mm f/2.8 is one of the best-performing super-wide angels that we have ever tested. The corner sharpness especially is very good for an extremely low focal length. That is remarkable, given the dimensions and the weight of the lens, which is specially designed for the A7 series. And you notice that. It sits nicely in the hand and fits completely with the light A7 in terms of size and weight.
There was already a very good 90 mm macro for the Sony A7 series. Now there is also a 50 mm macro. This lens is smaller and lighter and costs about half as much as the 90 mm. The shooting distance at 1:1 is much smaller, but if that isn’t a problem, then the 50mm is a very good alternative for the 90mm. And it is also outstanding for use as a regular standard lens.
For the Sony A7 series, there are not that many really affordable lenses available from Sony themselves. There is a 28-70mm that is not very popular, a 28mm f/2 that is compact and surprisingly good, and now there is 50mm f/1.8. It is one of the least expensive lenses from Sony for the A7. How’s the quality?
GM stands for G Master. Sony lenses with this designation are designed for professional use and must satisfy the most demanding photographers. The new Sony FE 85 mm F1.4 GM has everything on board to manage that: a complex optical design with lots of special glass, high brightness and rock-solid construction. Is this lens worth its price?
The Zeiss Batis 85mm f/1.8 is a portrait lens/short telephoto lens that is specially designed for mirrorless full-frame E-mount system cameras from Sony (Sony A7 series). Those choice was made for the famous Zeiss Sonnar design. That name is, because of the high brightness, derived from the German word Sonne. The lens consists of 11 lenses in 8 groups. The lens elements are made from various special glass types in order to deliver superior image quality, which lets the high resolution of (in the case of our test) the Sony A7R II come into its own.
The Zeiss Batis 25 mm f/2 has a diameter and a length of about 8 cm, weighs a bit more than 3 ounces and couples a big diagonal field of view (82 degrees) with high brightness. That makes the Batis 25 mm f/2 suitable for any camera from the Sony A7 series (full-frame sensor), but also for the Sony A6X00 series (APS-C sensor). These cameras are smaller and lighter than SLR cameras. You want to have a matching lens in terms of size and image quality. We previously reviewed the Batis 25 mm f/2 with the Sony A7S II and the Sony A7R II. This Zeiss lens performed fantastically then. How well would this lens perform on a camera with an APS-C sensor? In order to find out, we set the A7R MK2 to the APS-C mode (leaving you with nearly 20 megapixels) and tested the Zeiss Batis again.
The Zeiss Batis 25 mm f/2 has both a diameter and a length of about 8 cm, weighs a bit more than 3 ounces, offers a big diagonal field of view of 82 degrees and links that with high brightness. That makes the Batis 25 mm f/2 a dream partner for any camera from the Sony A7 series. The cameras from the Sony A7 series are smaller and lighter than SLR cameras with a full-frame sensor. In that case, it’s also best to choose a lens that fits with that in terms of size and image quality. The Sony FE 24-70 mm f/2.8 G Master offers a bit bitter field of view and, on a Sony A7R II, delivers sublime image quality. But then you do have to accept the extra weight of this impressive lens (886 grams). The Sony FE24-70 mm f/4 is more compact and is lighter, but less bright, and it does not get everything possible out of the Sony A7 sensors when it comes to sharpness in the corners. Maybe a Zeiss Batis 25 mm f/2 will manage it? The Sony A7S II (video and low-light photography) and the Sony A7R II (megapixel monster for studio, landscape or street photography) in particular form unique combinations with the Zeiss Batis 25 mm f/2. The good image stabilization in these cameras ensures that even in low light and with long shutter times, you still get razor-sharp pictures with the Zeiss Batis 25 mm f/2. We tested the Batis 25 mm f/2 with the Sony A7S II and the Sony A7R II.
|Today, the testing report for the new Sony FE 24-70 mm f/2.8G, used on the Sony A7R Mark 2 body. For full-frame documentary photography, the 24-70 mm f/2.8 is more or less standard equipment. Every brand has one, both the camera manufacturers and the independent lens manufacturers. The price and the specs, though, vary greatly. The Sony FE 24-70 mm f/2.8 G Master lens is part of a series of 3 new lenses in the high-quality top segment under the name Sony G Master: the 24-70 reviewed here, an 85 mm f/1.4, and a 70-200 mm f/2.8 zoom. According to Sony, the very newest technologies are combined in this series, resulting in exceptionally good optical performance. The 24-70 G Master is not cheap: the list price is € 2400 and the bar can thus be set very high. Sony actually lives up to the claims, as it appears from our test results.|
The Sony FE 24-70 mm f/4 is a versatile zoom lens for daily use on a Sony E full-frame camera, like the Sony A7 series, although the lens naturally also fits on Sony cameras with an APS-C sensor and an E mount (Sony A6300). A very compact zoom lens with a very popular zoom range. Do not expect the highest possible sharpness at full aperture, in particular at 24 and 70 mm. Instead of that, enjoy a beautifully built and—partly thanks to the limited brightness—a very handy lens for cameras with a full-frame sensor. The combination of the Sony A7R MK2 test camera with the Sony 24-70 mm f/4 was not much bigger than a micro-43 camera. That is great performance by Sony.
The selection of FE lenses for the full-frame Sony A7 series has significantly increased over recent months. Until recently, the Sony 90 mm FE f/2.8G was the first choice of both portrait and macro photographers with a camera from the Sony A7 series. As far as macro is concerned, that is still the case. As far as portraits are concerned, this lens has gotten company from the brighter Zeiss Batis 85 mm f/1.8 and the even brighter Sony 85 mm f/1.4G Master. On a camera with a full-frame sensor, f/2.8 is more than enough to isolate the subject from the background. That makes the Sony FE 90 mm macro extra appealing, due to the portrait/macro double function. We tested this macro lens on the camera with the highest possible resolution: Sony A7R II.
Personally, I drive a Volkswagen Golf. And if there's a Ferrari Testarossa in front of the door, of course, the question arises of how much faster that can go. Curious and with sweaty palms – you don't want to fly off the road during the test – I crept behind the wheel of a Ferrari to figure that out. Fortunately, this is not a website about cars. The Ferrari that I was talking about was a Sony FE 55 mm f/1.8 Carl Zeiss Sonnar, in combination with the Sony A7R and its 36-megapixel, full-frame sensor.
The Sony FE 55 mm Sonnar T* FE F1.8 ZA is one of the first FE lenses available for the two spectacular full-frame mirrorless cameras (Sony A7 and Sony A7R) that appeared at the end of 2013.
In February 2013, this Sony 18-55 mm II kit lens was announced. In particular, the styling of the lens is modernized relative to the previous Sony 18-55 mm lens, that from 2011. If you today buy a Sony A58 or Sony A65 camera, then you get the lens for almost nothing. According to Sony, this lens is less prone to flare and ghosts than its predecessor, thanks to a new front lens design. In addition, a few mechanical improvements have been made to make use more comfortable. The Sony 18-55 mm lens looks nice. Just like the kit lenses from other brands, the Sony 18-55 mm 3.5-5.6 is not so bright. If you want to know how the optical performances are, read our Sony 18-55 II review:
|How good is the Sony 50 mm f/1.4 Zeiss, which was introduced mid 2013 with a suggested retail price of 1500 euro? This standard lens with a focal length of 50 mm is a popular lens. This is a high quality Carl Zeiss design: a bright Planar lens with minimal field curvature which makes the sharpness perfect in 1 flat plane. There are few, often macro, lenses that offer this. The high brightness makes this lens ideal for shooting in low light. And you can also use the large f/1.4 aperture to isolate a subject from the background and to create a beautiful background blur. The lens has a sturdy, sealed aluminium construction that is dust-resistant and waterproof. The Sony 50 mm f/1.4 Zeiss is designed for use on a camera with a full frame sensor, but we tested it first with a Sony A77, a camera with a smaller, APS-C sensor. With the 1.5x crop factor you would be able to use this standard lens as a portrait lens.|
Just before the start of the Photokina in 2012, the Sony 300 mm 2.8 G II was announced. This lens has the same optical design as its predecessor from 2003, which in turn descended from a design by Minolta during the analog era. The lens elements of the Sony 300 mm 2.8 G II are treated with a nano coating to reduce internal reflections. Furthermore, the seal against splash water improved and the AF is modernized. After the Sony 500 mm f/4, which we tested before on a Sony A77, this is the most expensive Sony lens.
Sony 500mm f/4 G SSM SAL-500F40G & Sony A77 (S-APS-C)
This Sony 500 mm lens is a long telephoto lens with a very fast f/4.0 aperture that is ideal for professional sports or nature photography. When you're shooting sports or nature, you will appreciate that this lens has interlocking weather-resistant seals to protect against moisture, dust and grit.
The Sony 35 mm F1.4 G is a lens from the Sony G-series with "professional" lenses. The lens design is derived from the contents of Minolta. The unique feature of this lens is the high light intensity. With it, you can work longer without flash or realize a minimal depth of field. But that high brightness is associated with a high price tag. For whom is this lens worth its high price?
More Articles ...
- Review Sony DT 16-50 mm F2.8 SSM (APS-C)
- Review Sony 50 mm 2.8 macro (APS-C)
- Review Sony 70-300 mm F4.5-5.6 G SSM (APS-C)
- Review Sony 70-400 mm f/4-5.6 G SSM (APS-C)
- Review Sony 75-300mm f/4.5-5.6 SAL-75300 (APS-C)
- Review Sony 85mm f/2.8 (APS-C)
- Review Sony Vario-Sonnar® T* 24-70 mm F2.8 ZA SSM (APS-C)
- Review Sony Vario-Sonnar® T* DT 16-80 mm F3.5-4.5 ZA (APS-C)
- Review Sony 55-300 mm