Look up –towards the trees, or down, over a stream or canyon, or even turn your camera vertically and using it to capture a scene with plenty of skies.Find a focal point, and look for ways to use compositional elements to draw attention to the main point of interest.Working with wide-angle lenses can be tremendously rewarding –and will result in some spectacular images. That lens is reasonably sharp (the images do tend to soften up a bit toward the corners), much lighter than the f/2.8 at 29.6 ounces, and more than $1,000 cheaper. Second, low light performance and bokeh fall short of the 16-35mm GM. You'll notice more distortion and vignetting from the 24-105mm, which can be corrected fairly easily in post processing. And with the high ISO capabilities of Sony cameras, there really isn't much reason to spend the additional $500 to gain less than a stop in aperture. It’s not a bad lens by any means, and it matches pretty well with older Alpha cameras, but we prefer the f/2.8 or faster primes.The main reason to choose the Sony 24-70mm f/4 is price.
Below are 10 of the best FX...Jason Hummel is a leading adventure photographer and ski mountaineer based in Tacoma, Washington. Despite the hefty weight and price tag, the 70-200mm f/2.8 does not disappoint. Typically, the more expensive the lens is, the higher quality the build will be, which often translates into it being more weather resistant. All things considered, it may be the best 24-70mm f/2.8 on the market from any brand.If you’re looking for the top FE zoom in terms of optical quality, the 24-70mm f/2.8 GM is it.
But we have a very hard time passing on a G Master lens when available, not to mention the f/4 is good but not great from an optical perspective. Once you start, you’ll discover what makes these lenses an ideal choice for landscapes, and there’s a good chance that you’ll want to use wide angles for most of your landscape photography.The content on this page is a collaboration from our staff of editors and contributions/suggestions from our community of users.How to Improve Your Photos with Lightroom’s Transform Tool Optical performance is excellent overall: the lens is sharp, has reasonable levels of distortion, and a weather-sealed build for protection from the elements.It’s a tough call between the 16-35mm f/4 and the f/2.8 GM above. Comparatif Sony Ultra grand angle : FE 12-24 f2.8 GM vs FE 12-24 f4 G vs FE 16-35 f2.8 GM. It’s not particularly sharp, has healthy levels of distortion, and the autofocus is mediocre. All things considered, it’s the real deal at 50mm.The issues with the Sony 50mm f/1.4 are that it’s super heavy for a prime and quite expensive. First, we love the effort. For those looking to try out astrophotography or any type of night shooting, lower numbers are a huge plus and it's not recommended to get anything slower than f/2.8. One important thing to keep in mind is that many landscape photographers generally shoot in good natural light and don’t need the extra one stop of aperture.
Below we break down the best Sony FE (full frame) lenses, including zooms and primes from wide angle to telephoto. Both lenses are far superior to the disappointing 50mm f/1.8, which hits an attractive price point but is just not up to the standards of Sony’s full-frame cameras.From an image quality standpoint, the 55mm f/1.8 is surprisingly impressive.
At around $450, this is the cheapest FE lens on this list by quite a bit.
It’s extremely sharp all the way to the corners, excellent in low light for a wide-angle zoom, and creates crisp, life-like images that are hard to replicate outside of the GM family.The real question is whether you should spend up for the 16-35mm f/2.8. In addition, the lens is reasonably light at 11.6 ounces and built to last. As mentioned above, we appreciate the lower price point and smaller size of the 55mm f/1.8, but for those who want even more low light performance and bokeh, the Sony 50mm f/1.4 is the ticket. Lenses with this maximum aperture or faster are solid low light performers and can achieve the creamy bokeh that professionals love (most of Sony’s current GM zoom lenses are f/2.8 or faster, for example).
This allows you to capture sweeping landscapes with sharp front-to-back focus.
However, from an optical standpoint, this lens just doesn’t stack up. In addition, the build quality of GM lenses is superb, with premium elements and weather sealing (outdoor and travel photographers make up a big part of Sony’s constituency so this makes a lot of sense).Interestingly, Sony mentioned in its GM press release that these lenses, “will inspire and ‘wow’ photographers and videographers for years to come.” People in the industry report that Sony is working on an 80-megapixel camera next that shoots 6K video, and that GM lenses have been tested on and were built to match that powerful of an image sensor. Le nouveau Sony FE 12-24 mm f/2,8 G Master est donc un zoom ultra grand angle qui offre une plage de focale allant du 12 mm au 24 mm. Sony didn’t partner with Zeiss on this one, but pretty much everything still lines up: the lens offers good sharpness, solid low light performance, and a sturdy build. ), the larger the opening and the more light can enter. Lenses with both “Sony” and “Zeiss” in the title are co-branded, while lenses with “Batis” and “Loxia” are exclusively Zeiss. More, the 55mm f/1.8 is considerably lighter than the 50mm f/1.4 (9.9 ounces vs. 27.4 ounces). Enter the 24-70mm f/2.8 GM, which is super sharp, creates superb bokeh, and is extremely well built. Many people considering this lens are on the fence between it and the 24-70mm GM above.
In terms of competitors, we’ve included the Sigma 85mm f/1.4 Art below, which also is tack sharp and faster by two-thirds of a stop, but incredibly heavy at a whopping 39.1 ounces. Despite the size and cost, they are the...The mirrorless revolution is in full swing.
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