But both my cycling and bird photography have been limited by the remoteness of the cabin and the incredibly steep mountain trails. It’s hard to lug camera gear while trying to push your way up a hill on a heavy bike.

I’ve worked with the bike company Tern for a long time. They’ve sponsored bike events I’ve run, and I’ve reviewed the Tern Orox e-bike for my bike lifestyle site, bikehugger.com.

At some point, I realized I could combine the motor power of an e-bike to get me and my camera gear deeper into the woods without spooking the wildlife too much.

When it comes to photographing birds and other wildlife, there’s no such thing as being too quiet.

Normally, if I go birding while hiking, I bring my Sony a7R V and the Sony 400-800 f/6.3-f/8 G OSS lens, and also a large water bottle, binoculars, and a backpack with things like a first aid kit and a guidebook to birds.

LensRentals was nice enough to supply the gear for this article. 

Read our Review of the Sony a7R V

Nestled in the eastern foothills of the North Cascades, the Methow Valley shows in the foreground stretches from Mazama through Twisp, Winthrop, and onward to Pateros, Washington.

Even though I try to pack light, it’s still heavy enough gear for a day’s hike in the woods, so I often drive to a spot and hike in as far as I can without getting exhausted.

But with an ebike, I can get deep into the same woods, without damaging the trails and without breaking my back carrying a camera, gear, and a relatively long lens. I can even bring a folding chair if I want, so I can sit all day while I wait for the perfect shot.

Quiet Access to Habitat

The Tern Orox e-bike’s electric assist let me  move quietly along trails, backroads, and nature preserves without the noise of a car. This helps avoid startling birds before you see them.

When you’re on a bike, I feel like part of the woods. I hear the sounds of the forest, notice the breeze, and can stop quickly if I see something I want to photograph. I’m not just searching for birds, I’m getting exercise while I enjoy the sounds and sights of the woods. Even if I don’t see birds or animals, it’s a lot more fun to explore by bike then to see the same stretch of trail over and over.

The bike isn’t perfectly silent, though; there’s still a slight whine of the electric motor and crunching on the trails. It’s a bit more noise than I’d make hiking to a spot, so when I get where I want to shoot, I’ll often get off the bike a good distance away from where I’m headed and walk the last little bit.

Eco-Friendly

Being a birder goes hand-in-hand with conservation. Riding an ebike doesn’t damage trails the way that a four-wheeler would, or even a horse would.

There are no emissions when riding the Orox or any other ebike, and the carbon cost of using electricity is way lower than using a gas-powered vehicle of any kind. It helps lower your carbon footprint, especially if you often visit remote spots that would normally require driving.

Go Further, Explore More

Most ebikes you see on the streets aren’t meant to be ridden off-road. At most, they’re designed to handle packed gravel trails, and they struggle on dirt and when riding over roots. Bikes like the Orox are intended to be used off-road and off-trail.

For birding, you want a bike with a battery with a great range (because nothing’s worse than pushing an e-bike for miles). They need wide tires and a good cargo setup that can hold your gear. You’ll want some bungee cords, too, to help keep things secure when riding over the bumps.

I went birding by bike in the Methow Valley, exploring the Big Buck Recreation area. Big Buck is a nature reserve, and I had the place to myself because I rode in on the bike.

It felt great to get the shot and then ride home after a day of solitude in the woods, and some lunch by a stream.

Hauling Your Gear the ebike way

Tern set out to build the Orox as an electric cargo bike that works just as well on mountain trails and sandy paths as it does for daily errands. They succeeded, creating a bike that feels like a new standard for multi-terrain riding. See our section on buying bikes below for tips for ebike shopping.

See our Gear List below for the camera and lens I used. 

I brought my usual Sony kit, keeping the Sony a7R IV and 400–800mm lens in a Pelican case that fit perfectly in the panniers. The rear frame gave me a solid spot to organize gear or get ready for a shot. When I stopped riding, I used the rear stowage area as a workbench to put together the camera and lens.

LensRentals was nice enough to loan me the Pelican case, but I like it so much I’ll be picking one up.

The Sony a7R IV and the new 400-800mm lens make a perfect combination for bird photography.

The a7R IV’s 61MP sensor is high resolution, which means you can crop without losing detail. With the sensor resolution, I can easily crop an 800mm shot and still have 20 or 30 megapixel images. That’s like having a 1000mm lens.

That means you can crop into distant subjects without losing clarity. The a7R V has Sony’s AI autofocus, which includes both bird and animal eye AF. That gave me the ability to capture things from small songbirds to flying hawks while the camera tracked their tiny eyes.

Even with an 800mm reach, the setup remains easy to handle and lighter than things like the Sigma 150-600mm f/5-6.3 DG DN OS Sports, which we reviewed.

This combination gives bird and wildlife photographers the image quality, portability, and shooting options they need.

Not Just Birds

With my kit, I was able to photograph a chipmunk, a horse, and a turtle. You don’t have to worry about sneaking up on a turtle, but this one was laying eggs, so I gave it a lot of space. But this shows how versatile the kit is for all kinds of wildlife, not just birds.

How to Pick the Right ebike

If you’re looking to get into birding by bike, the best place to start is your local bike dealer. There are many brands online selling poorly made bikes that look good online but fall apart.

A local shop can help if you have mainteannce problems with the bike, and will help you get any spare parts should you need them. A shop may be more expensive than buying online, but you get the peace of mind of knowing someone will be able to fix the bike if you need.

Local bike shops are also struggling in the online economy, and any purchases help keep family-owned businesses alive.

I’ve been riding Tern for years, so I know their quality, but there are other great ebikes. Be sure to get a bike that’s designed to be a cargo bike. These bikes have paniers, very wide tires, racks to mount things to, and long-lasting batteries.

If you want to check out a Tern in person, you can find one of the local bike stories that carries them.

To be safe, you should half the distance the manufacturer claims when planning your rides. The listed miles per charge are often measured with a completely unloaded bike, and adding gear will reduce your range. Halving the distance gives you a nice buffer so you don’t get stuck in the woods.

If you want to take your ebike with you on a trip, be sure to get a good hitch-mounted rack. Your car will need the larger two-inch hitch mount to handle the weight of the bike. If you don’t have a hitch, your dealer can usually install one, but strangely, U-Haul can install hitches on most cars.

Sony A7R V

What We Think

This is the camera I use for my YouTube video studio work, and I use it to test most of the Sony-format lenses we review.

The a7R V has the best of Sony’s high-resolution technology, combining a 61-megapixel sensor with AI subject detection. The camera delivers exceptional image quality with improved noise performance over its predecessor, while the dedicated AI processing unit provides subject recognition that rivals Sony’s flagship sports cameras. I took this camera to shoot wildlife before the a9 III was launched, since the a7R V had better subject detection.

The enhanced 8-axis in-body stabilization system (most of Sony’s cameras have five stops of stabilization) compensates for the challenges of shooting with such high resolution. The camera also offers comprehensive video capabilities, including 8K recording and 4K oversampling, making it surprisingly versatile for my hybrid work despite its resolution focus.

Reasons to Buy

• The massive 61MP resolution provides unmatched detail and cropping flexibility for demanding applications
• The AI-powered subject recognition delivers flagship-level autofocus performance for wildlife and sports
• The 8-axis stabilization system is the most advanced available, crucial for handheld high-resolution work

Reasons to Avoid

• The enormous file sizes require substantial storage space and powerful processing hardware
• The premium pricing exceeds $3,500, making it accessible only to serious professionals
• The battery life decreases significantly when using full resolution with all stabilization features active

Specifications

• Sensor: 61MP full-frame Exmor R BSI CMOS
• Processor: BIONZ XR with dedicated AI processing unit
• Autofocus: 693-point phase detection with AI subject recognition
• Video: 8K 24p, 4K 60p, 10-bit 4:2:2 internal recording

• Image Stabilization: 8-axis in-body stabilization (8 stops)
• Viewfinder: 0.90” OLED EVF (9.44M dots, 120fps)
• LCD: 3.2” 4-axis multi-angle touchscreen (2.10M dots)
• Battery: NP-FZ100 (530 shots)
• Burst Rate: 10fps continuous with AF/AE
• Dynamic Range: ~15 stops
• Dimensions: 5.2 x 3.9 x 3.2″ (131 x 97 x 82mm)
• Weight: 1.6 lb (723g) with battery

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• Shop at Amazon

The post Birding by Bike – An eBike, the Right Camera Gear, and Plenty of Quiet appeared first on Imaging Resource.

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Sony A7V Release Date Rumors

The news comes to us courtesy of Andrea Pizzini, who initially sparked the rumors regarding upcoming Sony releases. In a follow-up, multiple sources corroborate that the A7V will be available between January and March 2025. This comes in parcel with the news that there is an ongoing postponement of Sony product launches. It has been a very slow year by Sony standards, with the A9 III, ZV-E10 II, and a 24-50mm G lens being their only noteworthy launches; and all of them arrived later than expected. According to Pizzini:

“We were supposed to get a new FX9 successor camera in late summer, but that didn’t happen. There seems to be a production bottleneck in the entire industry, which has now also been officially confirmed by Canon Japan. This is probably the reason why the A7V will only be launched in Q1 2025 and not in Q4 2024.“
Source: Sony Alpha Rumors

Whilst there’s a chance that Sony could turn the tide and revamp its production pipeline, we’re not confident that we’ll see the A7V before the end of 2024. The reports of a production bottleneck are reminiscent of the microchip shortage shortly after the global pandemic, which slowed down manufacturing on dozens of industries – including the camera market. With a potential release date between January and March from an originally slated November-December release, the severity of these delays can be clearly seen.

A7V Potential Specs

Much more importantly, Pizzini has seemingly confirmed that the incoming camera is in fact the A7V. If you’ve been living under a rock for the past few years, then it’s worth highlighting why the A7IV is so popular. With its 33MP sensor, excellent low-light capabilities and huge range of E-Mount lenses, it is one of the most popular cameras among photography enthusiasts and professionals alike. So what can the A7V build upon? Though nothing has been concretely confirmed, we can rule out some features. According to Pizzini’s sources:

“I don’t have 100% confirmed specs yet but the main improvements on the A7V will be related to “speed” and “new AI features”. Definitely do NOT expect to get global shutter or 8K recording on this model.”
Source: Sony Alpha Rumors

This means we can rule out a few things: the A9 III’s global shutter will remain in the A9’s purview, and 8K video is also gone. These weren’t really on our bingo cards to begin with, but what interests us is the “speed” that Pizzini refers to. The A7IV has a moderately fast shooting rate of 10FPS: competent for most photography uses, but starting to show its age. A 2024 camera like the Z6 III from Nikon can shoot up to 14FPS, and the A1 can shoot up to 30. We hope that the A7V will strike a balance between these extremes of speeds.

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Sensor size is one of the basic considerations for most camera buyers, and for good reason. Though not always a sounding board for quality, it highlights the raw resolution of your image. At 33MP, the A7IV is already an impressively powerful photography tool. We don’t think that the A7V will come for the A1’s 50.1MP crown, but we can expect a boost in megapixel capabilities. Sony did register a 44MP camera sensor last year, but that may be for a product further down the line. We’d hedge our bets at a 36MP sensor, just shy of higher-end models like the Canon R5 II, but enough to make it a great choice for enthusiasts too.

Pizzini also touches on “AI features”, which we read to be based on the AI autofocus we’ve seen in the a6700. New AI-based autofocus, paired with some potential in-body AI noise reduction, could make for even sharper photos – adding more detail in lower light.

We can also expect a speedier shutter. Though 1/8000s sounds fast, it lags behind even some mirrorless compacts in the modern camera market. A 5-digit shutter speed would allow for smoother frames, and the ability to capture fast-moving objects with clarity. Given that the A7IV is already an all-rounder, this would simply add sports or racing photography to its repertoire of scenarios it excels in.

Video-wise, we’ve already ruled out 8K footage – but is 6K a possibility? The A7IV can do 4K 30FPS, which is still capable but could be improved upon to an extent. Given that the Z6 III offers 6K RAW at 30FPS, the A7V hopefully won’t lag too far behind. One of the A7IV’s most noteworthy flaws is its overheating in video settings, so hopefully an improved heatsink will help reduce the buildup in heated shooting sessions.

One thing we’re particularly hopeful for is a reduction in the bulk of the camera. The A7IV isn’t the lightest of cameras, and when paired with hefty lenses, it can be a literal pain in the neck. Given last year’s A7C II and A7CR managed to pack a full-frame 33MP sensor into an APS-C body, we’re hopeful that we can get a lighter camera. We do think the A7IV fits nicely in your hand, so a reduction in weight rather than size is a suitable compromise in our minds.

Otherwise, we’re not too sure what to expect from the A7V. The advantage and popularity of the A7IV has been its excellent blend of features: it’s not the best, sure, but the best value for money? Undoubtedly. We’re hoping for some more valuable improvements that reflect the price, such as an OLED viewfinder and a decent ISO range – but nothing that pushes the boat out on price too heftily. You can pick the A7IV up these days for just north of $2,000 – and just south of it on a good day – which is part of what makes it so useful as an intermediate camera.

The post Sony A7V Rumors: Is the new Alpha Camera Coming in 2024? appeared first on Imaging Resource.

Sony is quickly approaching the big “5-0,” or their 50th full-frame mirrorless lens for the Alpha series cameras, thanks to the debut of the new G Master lens, the FE 50mm F1.4 GM. Their 72nd overall E-mount lens, and their 49th full-frame mirrorless one, this new high-end standard prime joins (but does not replace) their other top-of-the-line 50mm F1.2 GM as a new pro-tier offering for photographers and video creators looking for the ultimate fast standard prime lens in a smaller, lighter and a bit more affordable package than the F1.2 prime.

Long-time Sony fans might be thinking, “Hey, wait a second, doesn’t Sony already have a full-frame 50mm F1.4 lens?” And indeed, they do. The existing Sony FE 50mm f/1.4 ZA Zeiss Planar lens was released about eight years ago, during the Sony Alpha mirrorless cameras’ early days. However, since that time, Sony’s imaging tech has progressed significantly, both in terms of their cameras’ sensors, processing and overall capabilities but also in their lens’s optical designs and performance. As such, Sony’s decided to add a newer, smaller, lighter and better 50mm F1.4 to their lineup.

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Stepping back a bit to look at the lens landscape for the full-frame mirrorless market, we see surprisingly few 50mm F1.4 lenses currently available. There are several 50mm F1.8 lenses and some 50mm F1.2 lenses for various mounts and camera systems. But there are not that many 50mm F1.4 lenses for mirrorless cameras. A 50mm F1.4 lens was an incredibly popular workhorse lens for DSLR systems for many years, as it offered a good balance of size and a bright aperture. Sony is aiming to continue that legacy with its new 50mm F1.4 lens.

In terms of Sony’s ever-expanding lens lineup, the new Sony FE 50mm F1.4 GM will not be replacing the existing 50mm F1.4 Zeiss lens, nor is it replacing the FE 50mm F1.2 GM lens. The F1.2 is a unique lens with incredible shallow depth-of-field performance, and while older, Sony says that the Zeiss 50mm lens has dedicated fans and a certain quality to the way it renders images. Both lenses will remain in their lineup. But, as Sony’s cameras have progressed in image quality and performance, so has the need for a sharper 50mm F1.4 lens with modern performance. That’s where the 50mm F1.4 GM lens comes in. Offering Sony’s top-of-the-line G Master build quality and optical features, as well as the latest high-speed focusing technology and several video-centric amenities, this new 50mm F1.4 is a versatile and surprisingly small full-frame prime lens that’s ideal for street photography, portraits, travel, video and everything in between.

Key Features & Specs

• Full-frame standard prime lens for Sony E-mount
• 50mm focal length (75mm eq on APS-C)
• F1.4-F16 aperture range with 11-bladed circular aperture
• 14 elements in 11 groups, including 2 XA elements, 1 ED element and Nano AR II Coating
• 2x XD Linear Motor AF system
• Minimum focusing distance: 0.41m (16 in.) with AF / 0.38m (15 in.) with MF
• Maximum magnification: 0.16x (AF), 0.18x (MF)
• Linear response focusing ring
• Dedicated aperture ring with lock switch and de-click toggle
• 2 custom function buttons
• Dust- and moisture-resistant construction; fluorine coating on front
• Dimensions (L x D): 96mm x 80.6mm (3.7 in. X 3.1 in.)
• Weight: 516g (18.2oz)
• Price: $1299 USD / $1799 CAD
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Design & Handling

As you can see from the photos, the new Sony FE 50mm F1.4 GM shares a similar design to other recent Sony FE lenses, especially the previous 24mm F1.4Â and 35mm F1.4 G Master lenses. It’s a sleek, matte black lens with a small but still reasonably-sized focusing ring, manual aperture ring and several buttons and toggle switches. In fact, the new 50mm F1.4 GM lens is nearly identical in both size and weight to the existing FE 24mm F1.4 GM and FE 35mm F1.4 GM lenses, which is purposefully helpful and convenient — especially for video creators who use balance-critical rigs, such as gimbals. It lets you easily swap lenses around without having to spend a lot of time re-balancing things and adjust follow-focus gears or other accessories of that nature.

In terms of specifics, the FE 50mm F1.4 GM lens weighs just 516g (18.2oz), which puts it in between the FE 35mm F1.4 GM and 24mm F1.4 GM lenses. The 35mm is just a bit heavier, while the 24mm is slightly lighter. Size-wise, the lenses are even more closely matched, with the 50mm lens having the same length as the 35mm lens, at just 96mm (3.78 in.) long. The 24mm lens is a few millimeters shorter. The 50mm F1.4 lens has a slightly thicker diameter at 80.6mm (3.1 in.), whereas the 35mm F1.4 is 76mm (2.9 in.) in diameter and the 24mm F1.4 is 75.4mm (2.97 in.). Despite that, all three lenses use the same 67mm filter size.

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As mentioned, the 50mm F1.4 GM shares a similar overall design to the earlier 24 and 35mm GM primes, though this new lens adds a couple more external features — ones that we’ve also seen on other more recent Sony lenses, such as the FE 20-70mm. The 50mm F1.4 GM lens adds a locking switch for the manual aperture ring that, well, locks the ring in the Auto (A) position to help prevent accidental aperture adjustments. There’s also an additional customizable function to the top of the lens, whereas the 24mm and 35mm just had a single one on the left side of the barrel.

The lens also features a de-click slider switch for the manual aperture ring, allowing for for smooth, controlled iris adjustments — a nice feature for video shooters. There’s also an AF/MF focus mode switch on the left side of the lens.

In terms of handling, the Sony 50mm F1.4 GM feels wonderful in the hand. The balance is excellent with the A7R IV I used, and the manual aperture ring feels nice and solid with pleasing clicks as you make adjustments. The lens overall has that pleasingly light but solid feel I’ve come to expect from the several G Master prime lenses I’ve tried over the years. The exterior of the lens does appear to be made of a plastic material, but that is by no means a dig towards the lens and its construction. The build quality is excellent. The materials feel robust and solid, while the use of polycarbonate material helps keep the weight down. The lens does have a metal lens mount, and there is full weather-sealing throughout the lens, like with other G Master lenses, with silicone rubber gaskets sealing up the buttons, switches and around the lens mount.

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The focusing ring, like other Sony E-mount lenses, is electronically controlled; there’s no mechanical linkage between the focus ring and the focusing mechanism inside the lens. As such, the ring rotates freely in either direction, and even in MF mode, it will rotate indefinitely with no hard or soft stops to indicate focusing limits. The ring does rotate extremely smoothly, and the linear response design of the ring allows for nice, precise manual focusing behavior. There aren’t any focus markings, like focusing distance on the lens itself, unfortunately, so you’ll need to rely on focusing visually or using an on-screen aid such as focus peaking or the digital focusing distance scale.

Sony touts the FE 50mm F1.4 GM’s lighter design and excellent mobility, and that does feel true in and of itself. The 50mm F1.4 lens isn’t all that large nor heavy on its own. It’s fairly light, but still has a nice quality heft to it; it’s definitely not a “heavy lens.” But I wouldn’t consider this a remarkably compact lens, especially in terms of the broader array of other 50mm F1.4 lenses for full-frame cameras. The lens is definitely smaller and lighter than the existing FE 50mm F1.4 Zeiss lens, but compared to the Canon EF 50mm F1.4 or Nikon 50mm F1.4G lenses, for instance, the Sony lens is much larger and heavier. That being said, the Sony lens is a much more modern lens, with a more sophisticated optical design, a better focusing system, and more physical features, plus a weather-sealed construction.

Optics & Image Quality

In terms of the FE 50mm F1.4 GM’s optical design, the new Sony prime uses a total of 14 elements arranged into 11 groups, and it includes a pair of Sony’s specialized XA (extreme aspherical) elements and a single ED (extra-low dispersion) elements. The ED glass helps suppress chromatic aberrations, as does the two XA elements. The XA elements help further minimize other aberrations as well as help ensure high resolving power and sharpness, plus excellent bokeh performance thanks to these elements’ amazingly smooth surface precision. In addition, the lens’s 11-bladed circular aperture further helps create smooth, pleasing out-of-focus areas. Also, the lens features Sony’s latest Nano AR II coating to help reduce ghosting and glare.

A7R IV: 50mm, F2.2, 1/3200, ISO 100

As mentioned, this new 50mm F1.4 GM is said to offer improved image quality performance over the existing 50mm F1.4 Zeiss prime. According to Sony, the GM lens offers better sharpness at both the center and out in the corners than this older Zeiss lens, with much better resolving power and less vignetting. Though we’ve not had a chance to review the 50mm Zeiss lens, the lens does get high scores and ratings, with users noting its excellent center sharpness and natural colors.

A7R IV: 50mm, F1.4, 1/6400, ISO 100

Unfortunately, I didn’t have a 50mm F1.4 Zeiss to use side-by-side, so I can’t personally vouch for any optical differences one way or the other. Nonetheless, based on some real-world shooting, the new FE 50mm F1.4 GM lens is indeed incredibly sharp both wide open and stopped down. Center sharpness is incredible, with excellent fine detail and contrast, even at F1.4. Stopping down I don’t see much if any noticeable increase in sharpness; it’s already that good. However, as you stop down further to the narrower apertures, such as F11-F16, you can see the slight drop in fine detail thanks to some diffraction-related softening. You really have to pixel-peep to see it or compared images side-by-side to notice, but it’s quite mild softening overall. Although, as expected, diffraction is the most noticeable overall at F16.

A7R IV: 50mm, F1.4, 1/4000, ISO 100, -0.7EV

100% JPEG crop

And moving out into the corners, I was pleasantly surprised at how sharp the images were still. The centers at F1.4 were tack-sharp already, and while the corners are a little softer, the overall level of detail is still excellent. Stopping down some will help sharpen things up if you want top-notch sharpness across the frame, with somewhere around F5.6-F8 being the ideal sweet sport for the sharpness detail in the far, far corners.

F1.4 -Â A7R IV: 50mm, F1.4, 1/8000, ISO 100

Center – 100% JPEG crop

Corner – 100% JPEG crop

All in all, though, as with other Sony G Master lenses, the new 50mm F1.4 GM does not disappoint when it comes to sharpness and resolving power, even when shooting wide-open.

In other areas, the 50mm F1.4 lens excelled, as well. Chromatic aberration is extremely minimal. I did spot the occasional hint of longitudinal chromatic aberration or “bokeh fringing” when shooting at F1.4. However, this was very minor and not all that uncommon to see on lenses like this. I also noticed a tiny little bit of purple fringing on some high-contrast edges, but again this was extremely mild, and I really had to pixel-peep in order to see it. The in-camera image processing with the Sony A7R IV cleaned up the hints of purple fringing, so I had to examine the raw files to even fine examples of it in the first place. All in all, though, it’s minor, and if it does appear, it’s easy to correct in post-processing.

A7R IV: 50mm, F5.6, 1/640, ISO 100

Vignetting was also noticeable at F1.4, but to my eye, it was quite mild and not very distracting. It’s easy to correct in editing, if desired, or by stopping the lens down even slightly. Personally, I don’t mind some vignetting when shooting with bright prime lenses, but it is easy to avoid or fix if you come across it.

A7R IV: 50mm, F1.4, 1/8000, ISO 100

A7R IV: 50mm, F1.4, 1/800, ISO 100

Focusing

Like most of Sony’s latest G Master lenses, the new FE 50mm F1.4 GM lens uses an XD Linear Motor-based focusing system. This lens uses a dual XD Linear Motor design to smoothly and quickly drive a singular larger focusing group. The XD Linear Motors combines the thrust and power, like older rotational focusing motors, to move heavier focusing groups but also has the speed and precision of linear motors. The result is incredibly fast autofocusing performance, along with excellent tracking and continuous AF performance.

A7R IV: 50mm, F1.4, 1/8000, ISO 100

In use, the Sony 50mm F1.4 GM’s AF was so impressive that I barely even thought about it. I just focused (no pun intended) on shooting and compositions. Single-shot focus felt nearly instantaneous, especially with short focusing adjustments. In fact, there were a few times when I was in single-shot AF, but noticed a moving subject I wanted to capture. I didn’t have time to change the focus mode of the camera to C-AF, but the 50 F1.4 was fast enough to focus and capture a single frame of the moving subject.

In low-light and with some lower-contrast subjects, AF speed can slow a little bit, but most of the time, the focusing performance was fast and precise.

The minimum focusing distance is pretty good, but it’s certainly no macro lens. There were a few times when I found myself too close to a subject and had to back up in order to focus. Minimum focusing distance with autofocus is 0.41m (16 in.). You can focus a little bit closer with manual focus, down to 0.38m (15 in.). The maximum magnification is 0.16x (AF), or 0.18x with MF.

A7R IV: 50mm, F1.4, 1/8000, ISO 100

Pricing & Availability

Overall, the new Sony FE 50mm F1.4 GM is shaping up to be another fantastic addition to Sony’s impressive lens lineup. As mentioned, the FE 50mm F1.4 Zeiss is remaining in the lineup, and while nothing has been announced yet, we do expect to see some price reduction on the Zeiss version once the G Master version hits store shelves.

The Sony FE 50mm F1.4 GM lens is set to go on sale for pre-order on Feb 22, 2023, for an MSRP of $1299 USD ($1799 CAD). Actual availability in stores has not yet been announced.

• Sony FE 50mm F1.4 GM Gallery •

The post Hands-on: Sony announces new compact and portable FE 50mm F1.4 GM standard prime appeared first on Imaging Resource.

After reviewing the Sony A7R IV a few years ago, we wondered if it was Sony’s most versatile camera ever given its combination of a high-resolution sensor, excellent AF and overall nimble performance. But now, a much-anticipated successor is here, and while the new Sony A7R V keeps the same fantastic sensor as before, it packs in a lot more in terms of horsepower and processing capabilities to make this high-res camera even more versatile. The AF system of the Mark IV was already very impressive, but the A7R V’s newer Bionz XR processor and dedicated AI processing chip give the camera faster AF, increased AF precision and much more sophisticated options for automatic subject-detection and tracking performance.

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In terms of pure image quality, the Sony A7R V’s 61MP sensor is the same as before and thus should offer the same incredible level of image detail, dynamic range and great high ISO performance that we’ve come to expect. Having a peek at our just-published series of sample images, this indeed seems to be the case. The resolving power from the A7R V is incredible, and at 61MP, the Sony A7R V, along with its predecessor, is the highest-resolution full-frame camera on the market. Aside from resolution, the A7R V is said to still offer 15 stops of dynamic range, and though the camera sports a new image processor, the ISO range remains the same as before. Native ISO span ISO 100 up to 32,000, while expanded sensitivities allow for low ISOs down to ISO 50 and high ISOs up to ISO 102,400.

ISO 100

100% NR2D JPEG crop

If you’re itching to get a look at the image quality performance of the new Sony A7R V across its full ISO range, jump over to our Sony A7R V Samples Page. As always, we have two image series to browse through. The first one — labeled “NR2D” — includes JPEG images with the camera’s default level of in-camera noise reduction processing applied. Then, the “NR0” series has JPEGs with the in-camera NR processing disabled. In both cases, though, we have RAW files available for download to test out yourself. As always, you can use our Comparometer tool to see these A7R V test shots side by side with nearly every other camera we’ve tested.

– Sony A7R V First Shots – Sony A7R V Preview –

The post Sony A7R V First Shots: High-res sample images from Sony’s souped-up, AI-powered mirrorless camera appeared first on Imaging Resource.

Sony Electronics Inc. and Gannett Co, Inc., operator of USA Today Network that spans more than 250 national and local media outlets including USA Today, have announced that Sony will become the imaging products provider for Gannett’s photographers and video journalists.

This continues an ongoing trend for Sony and photojournalists. In July 2020, the Associated Press announced a partnership with Sony to provide still cameras and video products for all photojournalism needs. Earlier this year, PA, the UK and Ireland’s largest press agency, announced the switch to full-frame Sony cameras and lenses.

The new partnership between Sony and Gannett will provide Sony imaging products, including Sony Alpha 1 and FX series cameras and G Master interchangeable lenses, to Gannett’s photographers and video journalists. The rollout of Sony imaging kits will begin immediately in select markets.

Gannett’s Pulitzer-prize winning journalism reaches more than 150 million people each day, and the organization employs more than 500 professionals that cover more than 10,000 events annually. In total, Gannett journalists produce nearly two million edited images and thousands of videos each year.

‘Storytelling through images has been a large part of our organization throughout national and local coverage, and through our sports content,’ said Bruce Odle, President of Imagn, Gannett’s in-house photo agency and sports image wire service. ‘We are excited to bring Sony’s innovative equipment to our journalists to allow them to capture the moments and emotions in new ways to complement the compelling stories of the USA Today Network.’

Sony Alpha 1

Beyond offering equipment, Sony will also support Gannett with product service and on-site support at many key events. ‘We are extremely pleased to be able to collaborate with Gannett, one of the world’s largest news organizations with an unparalleled commitment to delivering multimedia news and creating digital content,’ said Yang Cheng, Vice President of Imaging Products and Solutions Americas at Sony Electronics. ‘Gannett’s USA TODAY NETWORK is an innovative and venerable news brand, preserving local journalism and reinventing national news. We are honored that they have chosen to equip their talented visual journalists with Sony imaging products, and are confident it will allow them to capture, communicate and share stories in ways they never have before.’

Sony has made huge inroads on photo and video journalism in the last couple of years. Sony’s continued evolution of mirrorless camera technology and expanded G Master lens lineup have helped, of course, but partnerships with major organizations are having a major impact. It wasn’t long ago that photojournalism was exclusively the space of Canon and Nikon. Sony has ensured that’s no longer the case.

The post Sony becomes camera provider for USA Today Network appeared first on Imaging Resource.

It’s been quite a while since we’ve seen an update to Sony’s wildly-popular “basic” A7-series full-frame mirrorless camera, with the last version, the A7 III, debuting back in 2018. While that’s not as large of a gap between models like we saw with the A7S III, there’s been a lot of new features and new technology seen in Sony’s other cameras in the intervening years, and many people were beginning to wonder and speculate about what a follow-up to the A7 Mark III would look like.

Well, the wait is over! The Sony A7 Mark IV is here! At first glance, the A7 IV looks very similar to its predecessor. No surprises there, as all of Sony Alpha mirrorless cameras share a similar design language. However, the Sony A7 IV gets a thorough makeover both inside and out, with an updated design that takes after the Alpha 1 and A7S III cameras, while also gaining an all-new imaging pipeline, vastly improved autofocusing system, better video features and improved connectivity, just to name a few new features.

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The “entry-level” A7-series models have always been about versatility, with a feature set and price point that address a wide range of users, and that trend continues with the A7 Mark IV. The camera feature a higher-resolution 33MP full-frame sensor, updated 759-point hybrid AF with real-time tracking and Eye AF, more video options — including 4K 60p — and a vari-angle LCD, as well as faster memory card support, easier live-streaming capabilities and faster wireless connectivity for easy sharing and mobile content production.

A7 IV + FE 100-400mm GM: 400mm, f/5.6, 1/500s, ISO 400

We were fortunate to get an early hands-on look at the new Sony A7 Mark IV, and wow, there is a lot of camera here — and a lot to get excited about! As we saw with the A1 and A7S III, the ergonomics of the A7 IV have been subtly but pleasingly improved with a deeper, more comfortable grip and larger, easier to operate buttons and dials. For video shooters, the two-way tilting LCD screen as been swapped for a fully articulating screen. The camera also gains support for super-fast CFexpress Type A memory cards (though only in one slot).

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Under the hood, the A7 IV uses an all-new 33-megapixel full-frame Exmor R BSI CMOS sensor with no optical low-pass filter, making the Mark IV the highest resolution base A7-series camera to date — finally pushing this camera line past the 24MP sensors used in previous models. Paired with the new sensor is Sony’s latest BIONZ XR image processor, the same chip powering the flagship Alpha 1, giving the camera updated image quality, an expansive ISO range up to ISO 204,800, the ability to shoot both JPEG or HEIF 10bit images and more.

A7 IV + FE 100-400mm GM: 303mm, f/5.6, 1/320s, ISO 3200

In terms of autofocus and performance, the A7 IV shares many of the same features and specs as the flagship A1, including using essentially the same impressive AF system. The A7 IV features a high-speed Fast Hybrid AF system with 759 phase-detection points and 425 contrast-detection areas. Phase-detect AF covers about 92% of the sensor area, and the AF system includes Real-time Tracking AF with human, animal and bird Eye-AF tracking — a big step up from the Lock-On tracking AF tech in the A7 III. Sheer burst speed is where the A7 IV differs noticeably compared to the A1, however, with the maximum burst topping out again at just 10fps. However, the buffer depth is impressive, with Sony claiming around 828 frames with uncompressed RAW+JPEG when using a CFexpress card.

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As mentioned, we’ve gone hands-on with the new Sony A7 IV, albeit with it running a very early pre-production version of the firmware. In addition to an initial Hands-on Review, we also have our classic First Shots series of lab sample images and, of course, a selection of real-world Gallery Images. (Keep in mind, however, that due to the pre-production firmware, final image quality and performance may not be representative of final production models.)

A7 IV + FE 100-400mm GM: 259mm, f/5.6, 1/320s, ISO 160

Head on over to our Sony A7 IV Review to get an initial look at design, ergonomics and how the camera performs in the field as well as browse our lab sample images! Be sure to stay tuned as there is more to come with our overall Sony A7 IV review.

A7 IV + FE 100-400mm GM: 400mm, f/5.6, 1/500s, ISO 3200, -0.3EV

– Sony A7 IV Hands-on Review, Pt.1Â – Sample Images – Gallery Images –

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Tamron continues to expand its mirrorless lens offerings, announcing the development of two more fast-aperture zoom lenses for Sony E-mount mirrorless cameras. The first lens is an all-new optic, a versatile travel-zoom-style lens, with a 35-150mm zoom range and a bright f/2-2.8 aperture. According to Tamron, this new 35-150mm f/2-2.8 lens is the world’s first full-frame E-mount zoom lens with an f/2 aperture.

The second lens being announced is an updated to an existing offering, the Tamron 28-75mm F/2.8 Di III VXD G2. The first version of this fast-aperture standard zoom, the 28-75mm f/2.8 Di III RXD, debuted back in 2018, but Tamron’s already ready to roll out a revised version with an updated optical design and new autofocusing system.

Tamron 35-150mm F/2-2.8 Di III VXD (Model A058)

First up, the all-new Tamron 35-150mm F/2-2.8 Di III VXD is a highly versatile optic designed for a wide variety of photographic subjects. Tamron calls the lens an ideal travel photography lens, with a focal length ranging from a wide-angle 35mm to a telephoto 150mm. This new lens should be an ideal all-in-one solution for landscapes, portraits, and interiors as well as low-light and nighttime photography pursuits thanks to its bright f/2-2.8 aperture range.

As this is just a “development announcement” at this stage, detailed specs on the lens’s optical configuration have not been shared yet. However, we do know that the lens will incorporate Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear motor focusing system, allowing for high-speed and high-precision autofocusing performance. Though not explicitly mentioned with this lens, the new Tamron 35-150mm F/2-2.8’s AF system will likely support many of Sony’s advanced autofocus features, such as Fast Hybrid AF, Eye AF and Direct Manual Focus (DMF), as we’ve seen on other recent Tamron E-mount lenses.

Tamron also states that this new lens utilizes a new design for “enhanced operability and ergonomic texture.”

Tamron 28-75mm F/2.8 Di III VXD G2 (Model A063)

As the “G2” moniker suggests, the new 28-75mm F/2.8 Di III VXD G2 is the successor to the earlier 28-75mm f/2.8 Di III RXD lens. One of the key improvements with this G2 model is an updated optical construction. Much like the 35-150mm F/2-2.8, this is just a “development announcement” at this point, so the exact optical changes are not specified, but Tamron states that the new 28-75mm F/2.8 Di III VXD G2 lens’s optical design has been overhauled for improved imaging performance and to take advantage of “the latest digital cameras that offer increased resolution.”

Another key change with this second-generation lens is the move to a linear AF motor from a stepping motor. The first model utilized Tamron’s RXD (Rapid eXtra-silent stepping Drive) stepping motor unit, which offered swift and quiet autofocusing. However, this new lens incorporates Tamron’s VXD linear motor system, which the company states should offer even faster AF performance, speed and higher precision. Additionally, this new lens has an ever-so-slightly close-focusing distance at the widest angle, focusing down to 7.1 inches (approx 18cm) compared to 7.5 inches in the original model. The maximum magnification ratio at 28mm is now 1:2.7 compared to 1:2.9 in the predecessor.

TAMRON Lens Utility

In addition to these two new upcoming zoom lenses, Tamron is also announcing a new lens function customization software called “TAMRON Lens Utility.” Both the 35-150mm F/2-2.8 Di III VXD and 28-75mm F/2.8 Di III VXD G2 lenses will be compatible with this new software application, which will allow users to customize a variety of lens functions as well as update the lens’ firmware. Users will be able to change the behavior of the lens’s Focus Set Button and adjust the Focus Ring functionality, including the focusing ring direction, which can be useful particularly for video creators using specialized focusing gears and accessories.

Owners will be able to connect the lens directly to their computer using the lens’ Connector Port by way of an optional TAMRON Connection Cable. The TAMRON Lens Utility feels reminiscent of Tamron’s existing “TAP-in Console” computer lens updating accessory system that is used with several of Tamron’s DSLR lenses. However, according to Tamron’s press information, it appears that the lenses that are compatible with the new TAMRON Lens Utility connect directly to a computer via a built-in (USB?) port rather than a standalone lens-mount dock accessory.

The full list of features in the new TAMRON Lens Utility is as follows:

• Focus Set Button settings
  • A-B Focus: Set 2 focus positions (A and B) and make the focus automatically shift between A and B
  • Focus Preset: Set your desired focus position and move the focus to the recorded point by a click
  • Switch Focus Ring Function (Focus/Aperture): Switch Focus Ring Function from focus adjustment to aperture adjustment
  • Assign function from the camera: Assign custom functions from the camera body to the Focus Set Button
• Focus Ring settings
  • MF Ring Rotation: Change the rotation direction of the focus ring
  • MF Method: Choose the method of focus operation when using the focus ring
• Firmware Updates

Pricing & Availability

As mentioned earlier, both lenses are just in the development stage, so pricing has not yet been announced. However, both lenses are expected to be fully announced and released in 2021.

The post Tamron announces development of two Sony E-mount mirrorless lenses, 35-150mm F/2-2.8 & 28-75mm F2.8 G2 appeared first on Imaging Resource.

Sony’s full-frame mirrorless series continues to grow and evolve, with the company now offering a variety of models targeting different price points and use-cases. If you’re a landscape or portrait photographer in need of amazing resolving power, the high-res 61MP Sony A7R IV is a clear choice. If you’re a sports or action photographer, or a photojournalist, the speedy Sony A9 II offers an incredible 20fps capture rate and fast built-in ethernet.

However, what if you needed or wanted a camera that was capable of high-resolution image quality and insane performance? The new Sony Alpha 1 aims to fit that need. Sporting a new 50MP stacked CMOS sensor, the latest-gen BIONZ XR image processing system, updated autofocus, continuous burst shooting at up to a whopping 30fps with C-AF, the Alpha 1 is Sony’s premier, flagship full-frame mirrorless camera. The A1 also packs in some incredibly impressive video features, as well, including 8K video recording at 30p and 4K at 120p. On paper, at least, this camera really does sound like the “Swiss Army Knife” of the imaging world; a camera designed to handle almost any task.

FE 200-600mm GM: 600mm, f/6.3, 1/1600s, ISO 640

I was given the chance to take the new Sony A1 out into the field for a week or so, and during my time with the camera, I came away extremely impressed. I was already thoroughly impressed with the earlier Sony A7R IV, and I thought that camera offered an excellent combination of high-res image quality and performance, even if it “only” shot at up to 10fps. But the Sony Alpha 1 takes things to a new level.

The image quality from the Sony A1 is stunning, and the performance is outstanding. Furthermore, the usability is also excellent, not only from a physical standpoint with lots of user-customizable controls and updated menus but also in terms of features like the new Bird Eye-AF. The A1 adds bird detection to its Real-Time Eye AF tracking, and this feature worked incredibly well, making birding and wildlife photography a really pleasing experience.

FE 200-600mm GM: 600mm, f/6.3, 1/800s, ISO 400 (Cropped)

As I only had a short time with our A1 review sample, my just-published Field Test Part I only covers a portion of the camera’s features and capabilities, including overall image quality and resolving power, autofocusing — particularly with regard to bird and wildlife photography — and general performance and responsiveness. I also discuss handling, ergonomics and usability. The A1 sports a fantastic high-res EVF, a nice photo-centric tilting touchscreen with improved touch usability, and a rugged, weather-sealed construction. Overall, given Sony’s years of experience and history of producing excellent full-frame mirrorless cameras, my expectations for this flagship, $6500 Sony Alpha camera were already pretty high, and suffice to say, the camera knocked it out the park.

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For all my thoughts and details, as well as a wide range of real-world sample images, head over to my Sony Alpha 1 Field Test Part I. There’s lots more to cover with our Sony A1 review; we are planning to receive an Alpha 1 sample again, once they become available — stay tuned!

FE 100-400mm F4.5-5.6 GM OSS: 400mm, f/5.6, 1/1250s, ISO 2000, -0.3EV

– Sony A1 Field Test Part I – Gallery – Sample Images –

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Nearing just a month since their last announcement, Sony is unveiling yet another addition to their growing E-mount lens lineup with the new FE 14mm f/1.8 G Master — Sony’s widest-angle and widest-aperture full-frame lens. The new Sony FE 14mm f/1.8 GM lens marks the 64th E-mount lens in Sony’s lineup and the 14th member of their high-end G Master series.

As you can tell from the model name, this is an ultra-wide-angle prime with an ultra-bright f/1.8 aperture, making it a wonderful optic for subjects such as landscapes, architecture and astrophotography. Yet, despite its focal length and maximum aperture, Sony engineers have managed to re-think this type of full-frame lens and shrink it down into a surprisingly compact and lightweight lens, making this type of lens all the more appealing and approachable for a variety of use-cases, such as ultra-wide environmental portraiture, wide-angle close-up photography and creative video uses. Measuring just 3.27 in x 4 in (83mm x 99.8mm) and weighing only 1.02 lbs (460g), the FE 14mm f/1.8 GM has more user-friendly handling, especially when it comes to handheld video shooting and easier mounting with drones and gimbals.

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While there have been several full-frame 14mm lenses on the market over the years (with Sony themselves even offering a wider 12-24mm FE zoom lens), Sigma has, up until now, been the only manufacturer to offer a full-frame-format 14mm prime paired with an f/1.8 aperture. However, even though this lens comes in an E-mount version, it’s based around a DSLR-lens design, with a very large and bulbous front element and a rotational AF motor system. Ergonomically, the Sigma lens can be quite front-heavy and generally heavy, weighing nearly three pounds. Meanwhile, the new Sony FE 14mm f/1.8 GM lens is a “mirrorless first” lens. Utilizing the short flange-back distance of the Sony E-mount system, the engineers were able to use smaller and lighter lens elements as well as position them in such a way that more mass is situated back towards the lens mount, making the overall lens lighter and better balanced on Sony’s lighter Alpha cameras.

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In terms of the precise optical formula, the FE 14mm f/1.8 GM lens is comprised of 14 total elements placed into 11 groups and includes several exotic elements, such as two XA (extreme aspherical) elements, two ED (Extra-low dispersion) elements, one aspherical element and one Super ED element. One of the XA elements is a highly-curved lens at the front of the lens and the other is smaller and located at the rear. Though smaller than the super-large XA front element of the FE 12-24mm GM lens, the front XA element here is again a highly-curved optical element with a characteristically high surface precision. The two XA elements and the additional aspherical element are said to help ensure sharp, high-resolution image quality performance across the frame with low distortion, even when shooting wide open. Further, the lens is designed to minimize sagittal coma flare, the purple-fringed, elongated stretching of point light sources, such as stars. Good coma performance is a key factor for high-quality astrophotography.

Additionally, the two ED glass elements and the Super ED glass element help combat chromatic aberration and color fringing. At the same time, the Nano AR Coating II suppresses flare and minimizes ghosting in bright sun. Like the FE 12-24mm lens, the new 14mm f/1.8 GM lens also features a fixed petal-shaped lens hood to help block stray light rays (as well as protect the front element). As such, the FE 14mm lens does not offer front screw-on filter threads and instead supports rear gel/sheet-type filters with a built-in rear filter holder.

In terms of focusing, the FE 14mm f/1.8 GM lens is, like most other G Master lenses, powered by an XD linear motor-based autofocusing system. The FE 14mm f/1.8 GM lens utilizes two XD (extreme dynamic) linear motors in order to provide precise control, low vibration and efficient power to the lens’s focusing group. Like many other Sony lenses, the FE 14mm prime is also an internally focusing lens. Rather than move the large and heavy front element, a rear-positioned focusing group comprising smaller lens elements moves instead, which also aids in providing fast AF performance. Autofocusing is said to be smooth and fast, and designed for excellent performance whether you’re shooting static images, tracking motion or recording video.

Despite the wide-angle design, the FE 14mm prime also offers impressive close-focusing performance, with a minimum focusing distance of just 9.8 inches (0.25m). It’s not a macro lens by any stretch of the imagination with a magnification factor of just 0.10x, but the lens should perform very well for close-up wide-angle photography — and the fast f/1.8 aperture should provide pleasing and stylish subject isolation at close distances.

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Of course, the lens also supports manual focusing with a large, gripped focusing ring, and a dedicated AF/MF switch on the side. The lens includes a Linear Response manual focusing design, which Sony states helps provide precise and accurate focusing control, despite the mirrorless lens’ focus-by-wire design. There is also a Focus Hold button on the side of the lens barrel; however, this button can be customized in the camera to a wide variety of other modes and functions.

The FE 14mm GM lens also includes a manual aperture control ring with marked full-stops from f/1.8 to f/16 as well as at third-stop increments. Like most other GM lenses, the aperture ring can be “de-clicked” for smooth iris control for video recording. Both the front and rear elements include fluorine coatings to help ward against water, dirt and oil, and the entire lens features a dust- and moisture-resistant construction like other G Master lenses.

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Pricing & Availability

The Sony FE 14mm f/1.8 GM lens is scheduled to hit store shelves in May 2021 and will be priced at approximately $1599 USD ($2100 CAD).

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Just a week after Sony unveiled its super-fast FE 50mm f/1.2 GM lens, they now have some more optical goodies to announce — three, in fact. The new FE 24mm f/2.8, FE 40mm f/2.5 and FE 50mm f/2.5 make up what Sony is dubbing the G-Lens Ultra-Compact Primes. Though sold individually, this trio of lenses all sport identical exterior designs and the same overall physical dimensions, with the only differentiation being each lens’ unique optical design for its particular focal length. They also all come at the same price point of $599 USD.

The compact and lightweight design of the new G-series primes make a perfect pairing with the equally-compact Sony A7C.

With these three G-series prime lenses, Sony’s following a similar approach to other lens manufacturers, such as Sigma and Tamron, in producing a family of relatively-fast mirrorless prime lenses that all use similar a design and styling, are focused around compactness and light weight, and that have budget-friendly price points. Last December, Sigma announced three additions to its “I Series” of ultra-compact mirrorless primes, which includes 24mm, 35mm, 45mm and 65mm varieties. And Tamron, meanwhile, has an affordable prime set of their own, with 20mm, 24mm and 35mm flavors. Needless to say, but if you’re a Sony E-mount owner in need of one or more lightweight, affordable and relatively bright prime lenses, there are numerous options to consider.

The FE 50mm f/2.5 G shown here, along with 24mm and 40mm prime, can easily fit in the palm of your hand.

As mentioned, these new Sony G-Lens Ultra-Compact Primes all share an identical exterior design, with the only visual differences being the engraved markings of the focal length and aperture on the side and the printed labeling on the front. In terms of physical measurements, the lenses are all 45mm (1.77 in) in length and 68mm (2.68 in) in diameter. The weights are all ever-so-slightly different due to the variations in optical design, but they are all extremely similar overall; the 24mm weighs in a 162g (5.8 oz), the 40mm at 173g (6.2 oz) and the 50mm at 174g (6.2 oz). All three lenses include 49mm screw-on filter threads.

The new Sony G primes all share the same overall physical size and design.

The Sony FE 24mm f/2.8 G paired with the compact Sony A7C.

Despite the ultra-compact form factor and wallet-friendly price, these Sony G-series primes are impressively spec’d and feature-rich as well as built with quality materials, including an all-aluminum exterior, metal lens mount and a weather-sealed construction (with a rubber gasket around the mount). All three lenses also offer several exterior amenities, such as a customizable Focus Hold button, AF/MF switch and a dedicated aperture control ring with a de-clickable toggle switch much like Sony’s G Master lenses.

The new Sony G Lens Ultra-Compact Primes all feature a focus ring, a manual aperture ring, customizable Focus Hold button and an AF/MF switch, as well as an aperture ring “de-click” toggle button (on the other side of lens)Â

The aperture ring, while small and fairly thin, is raised and has a deeply ridged surface for a pleasing tactile feel and easy operation. The ring is marked at all full-stop and third-stop apertures and includes an “A” setting for those who want to control the aperture setting via the camera. In use with the “clicked” setting, the aperture ring has a fairly stiff feel to it, with nice and solid clicks between aperture stops; it doesn’t feel easy to accidentally move the aperture ring. In the de-clicked setting, the aperture ring on all three lenses rotates very smoothly, but also maintains a pleasing amount of rotational resistance so as to avoid accidental aperture changes.

A7C + FE 50mm F2.5: 50mm, f/2.5, 1/2500, ISO 100
(Click for full-resolution)

A7C + FE 24mm F2.8: 24mm, f/2.8, 1/2000, ISO 100
(Click for full-resolution)

The focus ring on these lenses sits right at the front edge of the lens. While small, the focus rings has a very smooth rotational feel, and with its “Linear Response MF” design, the lenses offer responsive and precise manual focus control — despite the inherent focus-by-wire design of these mirrorless lenses.

A7C + FE 40mm F2.5: 40mm, f/2.5, 1/1600, ISO 100
(Click for full-resolution)

A7C + FE 24mm F2.8: 24mm, f/2.8, 1/800, ISO 100, -0.3EV
(Click for full-resolution)

Under the hood, the optical layout of each of these three G-series lenses varies in order to create different focal lengths. The optical layout of each lens is as follows:

• FE 24mm f/2.8 G: 8 elements in 7 groups, including 1 ED (extra-low dispersion) glass element and three aspherical elements
• FE 40mm f/2.5 G: 9 elements in 9 groups, including three aspherical elements
• FE 50mm f/2.5 G: 9 elements in 9 groups, including 1Â ED (extra-low dispersion) glass element and two aspherical elements

The use of aspherical elements in these lenses helps combat aberrations and ensure high-resolution image quality, and the inclusion of ED glass further helps suppress chromatic aberrations and color fringing. Additionally, the three lenses use a 7-bladed circular aperture diaphragm for natural and smooth bokeh.

A7C + FE 40mm F2.5: 40mm, f/2.5, 1/1600, ISO 100
(Click for full-resolution)

In terms of autofocusing, the lenses incorporate dual linear motors to drive the lightweight focusing element(s), which allows for both fast and precise AF performance as well as quiet focusing during video recording. They do not use the same “XD Linear” motors as in some of Sony high-end G Master lenses, however, but the focusing motors are nevertheless similar. According to Sony, the focusing element/group in these compact primes are so small and light that they do not need the higher thrust afforded by the XD Linear motors.

Minimum focusing distance varies slightly between each lens and also differs depending on whether you use autofocus or manual focus; you can focus slightly closer using manual focus. The 24mm lens focuses down to 0.18m with MF or 0.24m with AF for a 0.19x magnification factor or 0.13x mag. factor, respectively. For the 40mm lens, minimum focusing is slightly longer at 0.25m (MF) or 0.28m (AF) with 0.24x (MF) and 0.20x (AF), while the 50mm lens is longer still at 0.31m (MF) and 0.35m (AF) for 0.21x (MF) and 0.18x (AF) magnification factors.

A7C + FE 50mm F2.5: 50mm, f/2.5, 1/2500, ISO 100
(Click for full-resolution)

Pricing and Availability

All three of the Sony G-Lens Ultra-Compact Primes are set to go on sale in May 2021. The 24mm and 40mm primes are slated to go on sale on May 13th, with the 50mm following a couple of weeks later on May 27th. All three will be sold for an estimated retail price of $599 USD or $799 CAD.

To browse more full-resolution images, jump over to our Sony A7C Gallery Page. Search for images with “SonyPrimes” in the filename.

– Sony A7C Gallery –

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The post Sony announces trio of ultra-light, ultra-compact fast G-series primes: 24mm F2.8, 40mm F2.5, 50mm F2.5 appeared first on Imaging Resource.