Gear, MirrorlessComments Off on The Three Main Advantages of Sony Cameras Over Fujifilm
Last year, Usman Dawood of Sonder Creative decided to switch systems from Sony to Fujifilm for both his stills and video work, but he didn’t end up doing it. In this video, he shares the three main reasons why the switch never happened—in other words: the three “major” advantages of Sony cameras over Fuji.
The point of this video, says Dawood, is not to trash on Fujifilm or turn people off from the system. His goal is to inspire change in a company he respects a great deal.
Gear, MirrorlessComments Off on Sony Axes Mirrorless Camera Features Due to Parts Shortage: Report
Sony has reportedly canceled features that were set to be released in an upcoming mirrorless camera due to a scarcity of parts that its other businesses are competing for.
In an article titled “Sony Is Struggling With PlayStation 5 Price Due to Costly Parts,” Bloomberg reports that there isn’t enough flash memory to go around between Sony’s video game, smartphone, and camera products.
“The company’s biggest headache is ensuring a reliable supply of DRAM and NAND flash memory, with both in high demand as smartphone makers gear up for fifth-generation devices, according to people familiar with Sony’s operations,” Bloomberg states.
GearComments Off on A Review of the Sony FE 200-600mm f/5.6-6.3 G OSS Lens
We would all love to have the absolutely astounding supertelephoto primes that the pros use, but with prices well into five figures, they are simply not in the cards for most of us. Luckily, in the last few years, companies have been releasing better and better long zooms at more affordable prices. This great review takes a look at the Sony FE 200-600mm f/5.6-6.3 G OSS lens.
GearComments Off on Sony Unveils Wireless Shooting Grip for Mirrorless Cameras
In a continued attempt to woo vloggers and travel shooters, Sony today unveiled the GP-VPT2BT: a “wireless shooting grip” for mirrorless cameras that lets users switch seamlessly between shooting video and stills on the run.
The GP-VPT2BT is a “shooting grip with wireless remote commander” that’s compatible with all of Sony’s latest mirrorless cameras—the a9 II, a9, a7R IV, a7R III, a7 III, a6600, a6400, and a6100—as well as the RX100 VII and RX0 II, as long as you’re running the latest firmware. The grip allows you to securely use the camera at arm’s length, while putting control of key camera functions right on the handle.
GearComments Off on Sony VENICE Firmware V5.0 is Out Now – New HFR Modes
The Sony VENICE does not follow the common throw-away-get-a-new-one scheme of many consumer products. It’s a proper pro-camera, aimed at pro users and rental houses with deep pro-pockets. Sony just released the already teased firmware V5.0 for their flagship digital cine cam. This piece of software breathes new life into the VENICE hardware, enabling extended HFR modes, internal HD ProRes 4:4:4:4 recording and other niceties.
image credit: Sony
Not only the camera itself is modular, the software is modular, as well. Only buy what you really need. In this case we’re talking about the HFR capabilities the current firmware V4.0 offers: The upgrade itself is free of charge but if you want to use the extended HFR modes found in V4.0 you’ll have to pay. Firmware V5.0 is, again, free of charge. If you still need a paid license for using certain HFR modes is a bit uncertain for me at the moment. However, you can’t just download the FW package yourself, you’ll have to contact your reseller for that. And, very important: Your VENICE needs to be on FW V4.0 or V4.01 in order to upgrade. Do not attempt to upgrade from V3.0 or V3.01!
Cinematography, GearComments Off on Dull, Brilliant, Disappointing, Fun: Fstoppers Reviews the Tamron 24mm f/2.8 for Sony
There isn’t exactly a wealth of affordable options when it comes to 24mm prime lenses for Sony full-frame cameras, so Tamron’s new lens is a welcome addition to the line-up, though it does have its idiosyncrasies.
Following on from the success of its two affordable Sony mount zooms made with some smart compromises (the 17-28mm f/2.8 and 28-75mm f/2.8), Tamron has launched a batch of f/2.8 primes. Prior to their release, fans were excited at the prospect of relatively quick glass that was compact and reasonably priced, so when Tamron announced this selection of f/2.8 lenses, there was a degree of disappointment.
In Tamron’s defense, with the 24mm f/2.8 Di III OSD M 1:2, it has released something relatively unique at this focal length. With one notable exception, all of the other options start at more than double the price, albeit with much wider maximum apertures, so if you’re looking for a compact, lightweight, low-cost 24mm prime that’s not going to get anyone excited, the Tamron may be a smart choice.
GearComments Off on A Review of the Tamron 17-28mm f/2.8 Di III RXD Lens
Tamron’s 28-75mm f/2.8 lens has been a runaway hit for the company among Sony users, with its combination of a useful focal length, f/2.8 aperture, light weight, image quality, and affordable price making it highly popular. The 17-28mm f/2.8 Di III RXD is the accompanying wide angle zoom, and this great video review takes a look at the lens to help you decide if it is right for you.
Cinematography, GearComments Off on Sigma’s 24-70mm f/2.8 ART Lens for E-Mount is Half the Price of Sony’s Version
One of Sigma’s most anticipated lenses for the full-frame Sony E-Mount cameras has an official price tag, and it’s shockingly affordable. The recently announced Sigma 24-70mm f/2.8 Art lens—a direct competitor to Sony’s expensive 24-70mm f/2.8 G Master—will begin shipping in early December for just $1,100.
The Sigma 24-70mm f/2.8 DG DN Art—which is designed from the ground up for full-frame mirrorless cameras—will be available for both the Sony E-Mount and Sigma/Panaasonic/Leica’s own L-mount, but it’s gotten the most attention from Sony a7 series users who want a native 24-70mm f/2.8 lens for less than the (admittedly exceptional) $2,200 Sony 24-70mm f/2.8 GM. The main third-party alternative, up until now, has been the even-more-affordable Tamron 28-75mm f/2.8 Di III RXD, but that’s not a true 24-70.
Tamron really has their focus on the Sony mirrorless camera users. The existing Tamron lenses for Sony mirrorless, the 28-75mm f/2.8 and 17-28mm f/2.8 have been quite successful due to their superb quality and competitive pricing. That is why many users have been awaiting the lens that would complete this zoom lens trinity, a fast telephoto lens, certainly.
Today, Tamron announced the development of the Tamron 70-180mm F/2.8 Di III VXD. However, aside from that, a lot are still yet to be revealed by the third-party lens brand. In addition, however, they finally revealed the 3 new prime lenses for the Sony mirrorless line-up. The 20mm F/2.8 Di III OSD M1:2 (Model F050), 24mm F/2.8 Di III OSD M1:2 (Model F051), and 35mm F/2.8 Di III OSD M1:2 (Model F053). The 24mm and 35mm lenses will be available on November 20th and the 20mm will be available in January 2020. All three prime lenses share the same price tag of $349.
GearComments Off on Sony FS7 Price Drop – Camera Body Available for $5,998
Shortly after Sony FX9 announcement, the Sony FS7 camera body received a significant price drop. It is now $1,500 cheaper, so the price for the body only is currently $5,998 at our partner stores B&H and CVP. Even though announced in 2014, the Sony FS7 still is a very popular and very widely used camera and in my opinion still counts as a good investment in 2019.
Cinematography, GearComments Off on Sony FE C 16-35mm T/3.1 G Full-Frame E-Mount Lens Announced
During IBC 2019, also announced a new E-mount lens to be added to its already comprehensive line-up of glass: the Sony FE C 16-35mm T/3.1 G. This lens is a cinema lens which can also be controlled with AF, and it is compatible with all E-mount Full-Frame cameras, including the recently announced Sony FX9. Let’s take a closer look at this lens.
Sony FE C 16-35mm T/3.1 G
The Sony FE C 16-35mm T/3.1 G is Sony’s latest G master Full-Frame compatible lens. Indeed, this lens is compatible with the latest Sony FX9 camera but also with every other Alpha camera and even the Sony VENICE.
Sony is already teasing other Cinema G series lenses.
The lens design consists of two XA (Extreme Aspherical) elements, three aspheric lenses, and two ED (Extra-low Dispersion) glasses to reduce color distortions. On top of that, a Nano AR (Anti Reflection) coating should minimize lens flares and ghosting.
Gear, MirrorlessComments Off on Sony a7R IV is Still a ‘Star Eater’ After a Certain Shutter Speed: Report
If you were hoping that Sony had finally completely removed the long-exposure noise reduction that causes its high-resolution a7R cameras to “eat stars,” you’re going to be disappointed. According to Jim Kasson, the Sony a7R IV eats stars to about the same degree as the a7R III.
Over on his blog, Kasson posted dark field spectra results for the Sony a7R IV at 1/8000 of a second, 2.5 seconds, and 3.2 seconds. The dark field spectra for each color “plane” at 1/8000 and 2.5 seconds look mostly flat: in other words, the way they’re supposed to.
But once you hit 3.2 seconds, as Kasson puts it, “all hell breaks loose” in every channel, and it’s particularly bad in the blue channel. You can see all the charts over on Kasson’s blog.
GearComments Off on Is Tamron About to Announce a 70-180mm f/2.8 Lens for Sony Full-Frame Cameras?
Rumors are circulating that Tamron is about to announce the launch of a lens that would complete its trio of fast zooms for Sony full-frame cameras with the 70-180mm f/2.8 lens. Will it be tiny, how much will it cost, and how will it stack up against Tamron’s two other amazing Sony f/2.8 zooms?
Sony Alpha Rumors is confidently reporting that the announcement will come from Tamron next month, and it would be very much in line with expectations. A few weeks ago, Tamron teased four new lenses, and a longer zoom would make their range of fast zooms for Sony complete. In keeping with the 17-28mm and the 28-75mm, Tamron seems intent on compromising on focal range rather than quality in order to keep size and cost down.
Cinematography, GearComments Off on Fstoppers Reviews the Haida M15 150mm Magnetic Filter Holder System
With extreme wide-angle lenses on the market from all the major players now that don’t accept screw-in filters, filter manufacturers have stepped up their offerings with larger filter holders and dedicated attachment rings. One such offering is Haida’s M15 Magnetic Filter Holder.
As with my last review of Haida’s M10 system, this test unit was provided for me by their marketing division. I’ve had a couple of weeks with it and the Fujifilm 8-16mm f/2.8 and am now ready to share my thoughts on the holder.
While the M10 will be fit for most people’s purposes, those using ultra-wide lenses like a 12-24mm will likely need a dedicated filter system. Haida offers adapters for all the major ultra-wide angles including the Sony 12-24mm f/4, Canon’s 11-24mm f/4, and Tokina’s 16-28mm f/2.8. You can see the rest of their dedicated adapters on the product page.
Apple, Gear, NewsComments Off on APPLE’S 2019 IPHONE MAY SPORT 3D CAMERAS MANUFACTURED BY SONY: REPORT
Apple is reportedly collaborating with Sony to deploy 3D cameras in its next-generation iPhone, also rumoured to be called the iPhone XI.
First reported by Bloomberg, Apple will apparently be using Sony’s long-range 3D Camera based on Time of Flight (ToF) technology. This technology, which uses invisible laser pulses to measures the time before they bounce back to build detailed 3D models of objects, has the potential to transform photography, security, and gaming in the 2019 iPhones.
Further, these long-range 3D camera sensors by Sony will apparently also help in mapping rooms and objects for AR and VR experiences. Currently, Apple uses a TrueDepth sensor, which is a short-range 3D technology. However, Sony’s technology could really change the game for the 2019 iPhone users.
Gear, MirrorlessComments Off on Sony a7/R III Firmware v2 Unlocks All AF Modes for Adapted Lenses
Two months ago, Sony released a major firmware version for its popular a7 III and a7R III mirrorless cameras. Version 2.0 brought new features and improvements… including the ability for a wide range of adapted lenses to make use of all the camera’s autofocus modes.
The update “Adds support for Zone, Expand Flexible Spot, and Lock-on AF focus areas when using the LA-EA3 mount adaptor,” Sony writes.
Sony specifically mentioned the LA-EA3 mount adapter, which is designed to let photographers use Sony A-mount lenses on E-mount cameras. But it seems the new feature goes well beyond that use case and includes all lenses, according to DPReview.
GearComments Off on This Week’s Top Pre-Black-Friday Deals of the Week – Nikon D750, Mavic Pro, Sony A9, MZed and more
The Black Friday craze is already kicking into full gear, and there are more great deals than in any other week. Even now there are some outstanding offerings like Nikon’s full frame D750, the Mavic Pro Fly More Combo, a discounted Sony FS5 and Panasonic EVA-1 and much more. Check it out!
After combing through all the deals our partners B&H and CVP are currently offering, we came up with these 10 items. Our American readers will have the B&H selection to choose from, while CVP might be more interesting to our European readership. Here’s what we found:
B&H: Nikon D750 with Battery Grip, Battery, SD-Card and Shoulder Bag – $600 Discount
With all the mirrorless craziness going on right now, one could easily forget that cameras like the Nikon D750 are still highly dependable and nearly indestructible workhorses for any hybrid shooter. The first of our deals features a full frame 24 MP sensor shooting 6.5 fps with continous autofocus and 1080 60p with good autofocus. The battery grip improves the FPS in photo mode, and the battery pack will keep you shooting for hours. The included shoulder bag provides ample storage space for the body, two lenses and a few accessories.
GearComments Off on Sigma 135mm 1.8, 14mm 1.4, and 70mm 2.8 Art & Contemporary Lenses for Sony E-Mount Now Shipping
Sigma announced in February that their ART and Contemporary lenses would be coming to E-mount to a warranted level of excitement, but the wait for delivery has been rough on some. That wait, however, was over in June when Sigma started shipping the first 5 of the 9 announced E-mount lenses, and now three more are ready to go: 14mm F1.8 DG HSM, 70mm F2.8 DG MACRO, and 135mm F1.8 DG HSM Art lenses for Sony E-mount.
The Sigma Art lenses have been prized for their optical performance which should see no change in the native e-mount versions, but some of the other performance abilities have been dampened on Sony units due to the required Sigma Mount Converter MC-11. Sigma claims these abilities that should be realized in full with the new native models:
“…the new Sony E-mount models feature a newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed. In addition, these lenses are compatible with Sony’s Continuous AF (AF-C) and high-speed autofocus, which are not addressed by Sigma Mount Converter MC-11. Like MC-11, the lenses are compatible with in-camera image stabilization and in-camera lens aberration correction, which includes corrections for peripheral illumination, chromatic aberrations and distortion.”
GearComments Off on Sony Unveils the 400mm f/2.8 Lens, a $12,000 Sports and Wildlife Monster
Sony has just unveiled the long-awaited 400mm f/2.8 G Master prime lens. The E-mount ecosystem finally has a fast super-telephoto lens designed for sports and wildlife photographers, andthe Sony a9 finally has a best friend.
The new Sony 400mm f/2.8 GM OSS is the first super-telephoto prime in the E-mount lineup. The existing Sony100-400mm G Master lens can provide the same reach, but it’s a zoom lens with a slow variable maximum aperture of f/4.5-5.6.
Each day that passes is another day closer to the announcement of the Sony a7S III. We all know it’s coming, but what new features should it have?
In September 2015, Sony announced the a7S II sporting a groundbreaking sensor specializing in low light videography. As time went on, other companies introduced very competitive alternatives that either matched or exceeded many of the a7S II’s video specifications. Personally, I think it’s a little uncharacteristic for the Sony of the past few years give their competitors enough time to catch up. But what this may mean in the end is that they have something worth waiting for.