Image Stabilization
Sony marketing touts its cameras as having IBIS (In-Body Image Stabilization), but many of their lenses also feature OSS (Optical SteadyShot).
While perhaps not immediately clear, these two stabilization systems are complementary: «5-axis image stabilization becomes available when used with α series bodies that feature built-in image stabilization.»
While narrow apertures may not be optimal under low light conditions, this lens’ optical image stabilization system can save the day in such conditions,
significantly increasing the versatility of this lens, improving usability and, in many situations, considerably improving the image quality delivered.
While OSS is great for reducing camera shake-caused blur in images, it is also very helpful for precise framing of subjects in the viewfinder.
While OSS is active, drifting of framing is modest with the viewfinder view remaining well-controlled and subject reframing being easily accomplished.
This OSS system is essentially silent.
Handheld video recording is nicely assisted by OSS and the stabilized composition also provides a still subject to the camera’s AF system, permitting it to do its job better.
Price, Value, Wrap Up
When being evaluated for value, a lens starting with the second-lowest price in the FE lineup gives it a significant head start over the competitors.
While the image quality delivered by the FE 28-70 is not stellar, it is hard to hard about the value generated by the low price.
The next-lowest-priced Sony FE zoom lens, the FE 24-70mm f/4 ZA OSS Lens, costs more than twice as much.
As an «FE» lens, the Sony FE 28-70mm f/3.5-5.6 OSS Lens is compatible with all Sony E-mount cameras, including both full-frame and APS-C sensor format models.
Sony provides a 1-year limited warranty.
The reviewed Sony FE 28-70mm f/3.5-5.6 OSS Lens was online-retail sourced.
Объектив Canon RF 28-70mm f/2L USM
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Объектив Canon RF 28-70mm f/2L USM
Canon RF 28-L0003
Canon RF 28-L0 Объектив USM
Объектив Canon RF 28-70mm f/2L USM
Особенности продукта:
- Фокусное расстояние: 28–70 мм
- Диапазон диафрагмы: от f/2 до f/22
- Крепление Canon RF
- Полнокадровый формат CMOS
- Кольцо управления
- 19 линз в 13 группах
- Nano USM с автофокусировкой
3 099,00 $
Начиная с $ 280 / мес или 0% годовых.
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Объектив Canon RF 28-70mm f/2L USM
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Объектив Canon RF 28-70mm f/2L USM обеспечивает непревзойденную производительность во всем диапазоне фокусных расстояний. С оптикой серии L объектив RF 28–70 мм предлагает гибкость и превосходные характеристики при фокусном расстоянии 28–70 мм. Объектив RF 28-70 f/2L USM — это стандартный зум-объектив большого диаметра L с яркой постоянной диафрагмой f/2,0 во всем диапазоне зума. Объективы RF предназначены для профессиональных фотографов, любителей высокого класса и видеосъемки при слабом освещении и созданы для совместимости с новой беззеркальной системой Canon EOS R и байонетом Canon RF.
Конструкция
Объектив RF 28-70mm f/2L состоит из 19 линз в 13 группах. Стратегическое расположение четырех асферических элементов объектива помогает свести к минимуму астигматизм, сферическую аберрацию и геометрические искажения. Два элемента UD (ультранизкая дисперсия) и один элемент Super UD уменьшают продольные и боковые хроматические аберрации. Байонет большого диаметра и короткий задний фокус — идеальные инструменты для поддержания более высокой яркости при максимальной диафрагме f/2.0. Эти два фактора означают, что передняя часть объектива может быть физически намного меньше, чем обычная архитектура объектива EF.
Кольцо управления
Все объективы RF оснащены кольцом управления на корпусе объектива, с помощью которого можно напрямую регулировать многочисленные параметры, включая выдержку, диафрагму, компенсацию экспозиции и многое другое. Расположенное ближе к передней части объектива и эффективно добавляющее третий диск к основному диску камеры EOS R и диску быстрого управления, кольцо имеет тактильную, легко различимую поверхность и оснащено щелчковым механизмом, который обеспечивает ощутимую обратную связь для уверенного использования при просмотре. видоискатель.
Надежная конструкция
Объектив RF 28–70 мм создан для суровых условий профессионального использования. Прочная, изысканная и точная конструкция этого объектива создана для того, чтобы вы могли интуитивно сосредоточиться на объекте съемки. Объектив Canon RF 28-70mm f/2L USM устойчив к вибрациям в оправе объектива, что помогает поддерживать фокусировку и настройки. Пыле- и водостойкая конструкция защищает от сложных погодных условий, а фтористое покрытие предотвращает прилипание грязи и пыли.
Объектив Canon RF 28-70mm f/2L USM
Introduction
The Sony FE 28-70mm F3.5-5.6 OSS is the standard zoom kit lens for the Sony A7 full-frame E-mount compact system camera, and can also be purchased seperately. It features Optical SteadyShot image stabilisation, has nine elements in eight groups including three aspherical elements with one ED (Extra-low Dispersion) glass element, is dust- and moisture-resistant, and has a minimum focusing distance of 35cm with a maximum magnification of 0.19x. It has a near-circular 7 blade diaphragm which creates an attractive blur to the out-of-focus areas of the image, while an internal focusing mechanism means the lens barrel doesn’t move. The Sony FE 28-70mm F3.5-5.6 OSS lens is available for £449 / $499 in the UK and the US, respectively.
Comments on the Results
This lens is a nice change for Sony. Most of their consumer NEX lenses had serious corner issues. They appeared to have changed their design methodology and made this lens perform decent in the corners, even with the 135 format full frame sensor. In APS-C equivalent this lens is about 18-45mm f/2.2-3.5 (to get same depth of field and field of view), so this lens does comparatively good in the corners. The interesting thing is the lens is much longer than strictly necessary since it is designed with a long back focal distance (distance from the rear element to the sensor). Sony could probably make this lens work on an SLT camera by redesigning the barrel.
The center is good at all apertures and settings, but the corners at 28mm aren’t good until about f/5.6 and peak about f/8 or f/11. At longer focal lengths it is a bit better in the corners.
Distortion is by design and is severe. Ranging from 2% barrel and almost immediately changing to pincushion where it reaches its worst with a value of 4.3% at 70mm. Once a lens profile is available for RAW shooters in Lightroom this will be a non issue, but for now you have to correct it manually. This is a non issue for JPEG shooters. I don’t rank the lens down for this as even after corrections performance is generally good. My numbers are for uncorrected images though, so resolutions will change a bit from those. For better or worse, Samsung, Fuji, and Olympus hide these from the users by having the RAW converter deal with them. On the plus side is the user never sees the distortion, but the downside is you can’t leave it uncorrected (easily) should you want to.
Lateral CA is well corrected (it might be corrected in RAW?).
Flare resistance: very good, typical for small aperture modern zoom.
Field curvature: Minimal. Focus in the center is fine for across frame sharpness.
Focus performance in good light is excellent with the A7. It is very fast and Sony no longer feels like one of the worst mirrorless cameras for AF. Comparing it in good light to my Zeiss 24-70mm f/2.8 and A99 at 70mm center point single focus and they were about the same speed. In low light matters are very different and the 28-70mm is a bit slow. Again, the important thing to remember is it doesn’t take much light to create contrast, so be sure to put a light source off to one side and a reflection off an eye can really help.
Measured Focal length at 28mm and 1:35 is about 31 mm, corrected.
Measured Focal length at 70mm and 1:35 is about 75 mm, corrected.
Effective Resolution 28mm
HD Video = 2 MP, 4k Video = 8 MP
| Aperture | Weighted | Center | Partway | Corner |
|---|---|---|---|---|
| f/3.5 | 16.3 MP | 24+ MP | 9.8 MP | 5.1 MP |
| f/8 | 18 MP | 22.5 MP | 15.2 MP | 8.4 MP |
Pros and Cons
- Excellent central resolution across the zoom range
- Good performance/Value ratio
- Very nervous bokeh in front of focus plane
- Native distortions
Bottom Line
I tested 2 copies of this lens, and the second isn’t as good, about 10 or 20% worse in the corners across the range, center about the same. The results above are for the better lens.
The lens has good optical quality for its price. The native distortion might bug some, but let’s face it: there are tradeoffs to correcting distortion optically or digitally. One method isn’t necessarily better than another.
The lens is respectably sharp in the corners stopped down, not excellent, but not bad either, and it is very sharp in the center at all settings. This is a great all around kit lens for the price. The light weight and medium size make it a good match for the A7.
Build Quality & Features
The Sony FE 28-70mm f/3.5-5.6 OSS Lens has a build quality that feels lower-end than most of the other Sony FE lenses (and being very light in weight does not aid in that regard) but it seems reasonably well constructed.
MFD |
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MFD |
∞
w/ Hood: MFD |
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MFD |
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Rotated
Compare »
This lens extends and retracts modestly (0.3″ / 8mm) when zooming with about 45mm being the most-retracted position.
Most of the lens barrel surface is rubber-ribbed rings with the zoom ring being nicely-sized, smooth, and without play.
There are no switches or buttons on this lens.
Menu options are required to switch between AF and MF and to enable or disable OSS.
This is a dust and moisture resistant lens — not to be confused with waterproof.
Having that feature specified for a lens in this price range is very positive.
If you have to carry a lens for long periods, sign up to carry this one.
It is small and extremely light.
| Model | Weight oz(g) | Dimensions w/o Hood «(mm) | Filter | Year | ||
| Sony FE 24-70mm f/2.8 GM Lens | 31.3 | (886) | 3.4 x 5.4 | (87.6 x 136.0) | 82 | 2016 |
| Sony FE 24-70mm f/4 ZA OSS Lens | 15.2 | (430) | 2.9 x 3.7 | (73.0 x 94.5) | 67 | 2014 |
| Sony FE 24-105mm f/4 G OSS Lens | 23.4 | (663) | 3.3 x 4.5 | (83.4 x 113.3) | 77 | 2017 |
| Sony FE 24-240mm f/3.5-6.3 OSS Lens | 27.5 | (780) | 3.2 x 4.7 | (80.5 x 118.5) | 72 | 2015 |
| Sony FE 28-70mm f/3.5-5.6 OSS Lens | 10.4 | (295) | 2.9 x 3.3 | (72.5 x 83.0) | 55 | 2013 |
| Tamron 28-75mm f/2.8 Di III RXD Lens | 19.4 | (550) | 2.9 x 4.6 | (73.0 x 117.8) | 67 | 2018 |
For many more comparisons, review the complete Sony FE 28-70mm f/3.5-5.6 OSS Lens Specifications using the site’s lens specifications tool.
Here is a visual Comparison:
Positioned above from left to right are the following lenses:
Sony FE 28-70mm f/3.5-5.6 OSS LensSony FE 24-70mm f/4 ZA OSS LensSony FE 24-240mm f/3.5-6.3 OSS LensCanon RF 24-240mm F4-6.3 IS USM LensSony FE 24-70mm f/2.8 GM Lens
The same lenses are shown below with their hoods in place.
Use the site’s product image comparison tool to visually compare the Sony FE 28-70mm f/3.5-5.6 OSS Lens to other lenses.
This lens accepts 55mm threaded filters.
While this size is not especially popular, it is very small and 55mm filters are relatively inexpensive.
Sony includes the petal-shaped ALC-SH132 hood in the box.
This is a semi-rigid plastic hood with a matte plastic interior.
This bayonet-mount hood does not include a release button but smoothly snaps into place without significant effort.
This hood is large enough to be protective, especially on the top and bottom.
Summary
The compact size, light weight, great general-purpose focal length range, and very low price are strong advantages of the Sony FE 28-70mm f/3.5-5.6 OSS Lens.
Pulling this lens down to the middle of the FE lens popularity ranks is the low-end image quality.
In that regard, you get what you pay for.
If your budget reaches no higher than this lens, get it and learn how to use its strengths.
Bringing you this site is my full-time job (typically 60-80 hours per week). Thus, I depend solely on the commissions received from you using the links on this site to make any purchase. I am grateful for your support! — Bryan
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Sony FE 28-70mm F3.5-5.6 OSS Lens
- Specifications
by Bryan Carnathan
Manufacturer ID:SEL2870Review Date: 2020-03-28
Navigate the Reviews« Sony FE 28-60mm F4-5.6 Lens Review» Sony FE 70-200mm F2.8 GM OSS II Lens Review
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Focal Length Range
A primary lens selection feature should be the focal length or focal length range.
Zoom lenses have a great advantage over prime lenses in this regard and the 28-70mm focal length range contained in this lens covers a huge range of needs, making it a great general-purpose choice.
This is a great focal length range for photographing people and it is ideal for portraits, weddings, parties, events, documentaries, interviews, lifestyle, theater, fashion, studio portraiture, candids, and some sports (all when adequate lighting is available — more about this later).
Use 70mm for head and shoulders portraits and the wider end for groups and environmental imagery.
This focal length range is a perfect choice for media and photojournalistic needs.
This range is a good choice for landscape photography with compositions ideally captured using every focal length available in this lens.
The 28mm end is not especially wide but it can create compelling wide-angle landscape compositions, providing emphasis on a foreground subject against an in-focus background with the viewer feeling a sense of presence in the scene.
At the other end of the range, 70mm works great for mildly-compressed landscapes featuring distant subjects such as mountains remaining large.
This focal length range is well-suited for commercial photography and is ready to capture some architecture, cities, country sides, flowers, medium and large products, and much more.
Here is an example of what this focal length range looks like (borrowed from another 28-70mm lens review):
28mm |
35mm |
50mm |
70mm
Many alternative standard zoom lenses offer 24mm on the wide end and I do miss this focal length sometimes, especially when photographing landscape.
Here is a 24mm vs. 28mm comparison:
24mm |
28mm
APS-C sensor format cameras utilize a smaller portion of the image circle and that means a scene is framed tighter with 1.5x being the angle of view equivalence multiplier for Sony’s lineup.
With an angle of view similar to a 41-105mm lens on a full-frame camera, this lens has increased potential for portraiture and other short telephoto needs while the wide-angle uses are essentially erased.
Focusing
The Sony FE 28-70mm f/3.5-5.6 OSS Lens utilizes a linear motor for focusing.
This lens internally focuses very quietly with good speed.
As expected for a narrow aperture lens, low light AF is not a specialty and hunting can be expected at times when lighting and contrast are not strong.
This lens does not feature the AF hold button common on Sony lenses.
FTM (Full Time Manual) focusing is supported via Sony’s DMF (Direct Manual Focus) AF mode.
Normal is for the scene to change size in the frame (sometimes significantly) as focus is pulled from one extent to the other, referred to as focus breathing, a change in focal length resulting from a change in focus distance.
Focus breathing negatively impacts photographers intending to use focus stacking techniques, videographers pulling focus, and anyone very-critically framing a scene while adjusting focus.
This lens shows a moderate change in subject size as full extent focus adjustments are made as illustrated below.
28mm:
Distant |
Close
70mm:
Distant |
Close
The reviewed lens does not appear to be parfocal.
Refocusing should be done after zooming in or out.
The FE 28-70 features a forward-positioned (as I prefer) rubber-ribbed manual focus ring that works nicely.
The ring is not huge, but it is properly sized for the amount of space available on the lens barrel.
This is a multi-speed focus ring.
Turn it quickly for a full extent change in about 45° or turn it slowly for several full rotations of adjustment (I kept losing my focus when trying to turn the ring around that many times).
I generally prefer a linear response adjustment but this multi-speed implementation has not bothered me (which is usually the real test).
With an 11.8″ (300mm) minimum focus distance, the Sony FE 24-240mm f/3.5-6.3 OSS Lens creates an up to 0.19x maximum magnification.
| Model | MFD | MM | |
| Sony FE 24-70mm f/2.8 GM Lens | 15.0″ | (380mm) | 0.24x |
| Sony FE 24-70mm f/4 ZA OSS Lens | 15.7″ | (400mm) | 0.20x |
| Sony FE 24-105mm f/4 G OSS Lens | 15.0″ | (380mm) | 0.31x |
| Sony FE 24-240mm f/3.5-6.3 OSS Lens | 19.7″ | (500mm) | 0.27x |
| Sony FE 28-70mm f/3.5-5.6 OSS Lens | 11.8″ | (300mm) | 0.19x |
| Tamron 28-75mm f/2.8 Di III RXD Lens | 7.5″ | (190mm) | 0.34x |
A 0.19x maximum magnification is not amazing but it is useful.
At 70mm, a subject measuring approximately 6.4 x 4.3″ (163 x 109mm) will fill the frame at the minimum focus distance.
Need a shorter minimum focus distance and greater magnification?
An extension tube mounted behind this lens should provide a very significant decrease and increase respectively.
Extension tubes are hollow lens barrels that shift a lens farther from the camera, which permits shorter focusing distances at the expense of long-distance focusing.
Electronic connections in extension tubes permit the lens and camera to communicate and otherwise function as normal.
Sony does not publish extension tube specs nor do they manufacture these items, but third-party Sony extension tubes are available.
This lens is not compatible with Sony teleconverters.
Alternatives to the Sony FE 28-70mm f/3.5-5.6 OSS Lens
Expected is that a general-purpose lens has a wide range of comparable options.
The closest Sony FE lens option is currently the Sony FE 24-70mm f/4 ZA OSS Lens.
In the image quality comparison, we see the 24-70 ZA performing modestly better in the majority of the wide-open aperture comparisons.
The 28-70 has a wider aperture for a very small range of wide-angle focal lengths and the 24-70 with its fixed max aperture has the advantage over a more significant range of longer apertures.
At equal apertures, the 24-70 ZA has a bigger advantage.
Here is the 70mm comparison.
At the same apertures, the 28-70 has lens peripheral shading at the wide end and the 24-70 has less at the long end.
The 24-70 ZA shows less lateral CA, shows less flare over most of the range, and shows more barrel distortion at the wide end.
Looking at the specs and measurements, the Sony FE 28-70mm f/3.5-5.6 OSS Lens vs. Sony FE 24-70mm f/4 ZA OSS Lens comparison shows the 24-70 weighing 50% more and measuring slightly longer.
The 28-70 has 55mm filter threads vs. 67mm.
The 24-70 has a better build quality but costs roughly twice as much.
If looking for a bargain-priced Sony general-purpose lens, the Tamron 28-75mm f/2.8 Di III RXD Lens is definitely worth considering.
While priced even a bit higher than the 24-70 f/4, this Tamron lens is a very compelling choice.
High on the advantage list is the Tamron lens’s significantly wider max aperture over much of the range (the Sony lens’s aperture opens 1/3 stop wider over a short range at the wide end).
The Tamron lens’s up to 2-stop wider aperture allows up to 4x more light transmission, a big advantage in low light, for stopping action, and for blurring the background.
The image quality comparison shows the Tamron lens sharper at f/2.8 than the Sony lens even when stopped down.
Advantaged by the wide max aperture, the Tamron lens has less peripheral shading at the Sony lens’s widest apertures.
While the Tamron lens shows some flare effects at narrow apertures, the Sony lens’s flare effects are stronger and more destructive, despite the Tamron lens having a significantly higher lens count (15/12 elements/groups vs. 9/8).
The Tamron lens has less geometric distortion, especially at the long end.
Looking at the specs and measurements, the Sony FE 28-70mm f/3.5-5.6 OSS Lens vs. Tamron 28-75mm f/2.8 Di III RXD Lens comparison shows the Tamron lens’s penalty for the wider aperture – heavier weight.
While not a heavy lens, the Tamron 28-75 weighs nearly twice as much as the lightweight Sony lens and the Tamron lens is also a bit longer.
The Tamron lens has 9 aperture blades vs 7 (the additional blades help keep highlight blur round in shape when the aperture is stopped down a greater amount).
The Tamron lens has 67mm filter threads vs. 55mm (67mm is more common but 55mm is smaller).
The Tamron lens has a significantly greater maximum magnification (0.34x vs. 0.19x).
The Tamron lens has a 6-year USA warranty vs. 1.
The price is the Sony lens’s primary advantage.
Use the site’s image quality comparison tools to create additional comparisons.
Max Aperture
This lens is very small and light but it is not very bright.
The f/3.5-5.6 in the name refers to the maximum aperture, the ratio of the focal length to the diameter of the entrance pupil, available in this lens.
Wider apertures (lower numbers) are always better to have available — until the price, size, and weight penalties are factored in.
To keep those factors especially low, many zoom lenses incorporate a variable max aperture design.
A relatively narrow variable max aperture is what the Sony FE 28-70mm f/3.5-5.6 OSS Lens has.
Here is this lens’ max aperture step down by focal length:
28-30mm = f/3.5
31-40mm = f/4.0
41-51mm = f/4.5
52-60mm = f/5.0
61-70mm = f/5.6
While the f/3.5 aperture at the wide end is reasonably wide, few 28mm lenses do not open to at least f/4 and, as is frequently the case with similar lenses, f/3.5 is only available for a very short 3mm range.
Positive is that the narrowest max aperture does not kick in until 61mm.
These max apertures make this lens a poor choice for low light action such as indoor sports without flash (as a main light/overpowering ambient light) being involved.
Those following the old «f/8 and be there» rule and those photographing outdoors under direct sunlight will have the necessary apertures available for most uses.
When recording video, only 1/60 second shutter speeds (twice recording framerate) are typically needed (assuming you’re not capturing high framerate slow-motion video) and wide apertures are not often required for 1/60 second rates in normally encountered ambient lighting.
A downside to the variable max aperture is that, by definition, the same max aperture cannot be used over the entire focal length selected.
The camera automatically accounts for the changes when in auto exposure modes, but making use of the widest-available aperture in manual exposure mode is complicated somewhat by the changing setting.
Another disadvantage of narrow max aperture lenses is that they are less-able to strongly blur the background.
While this lens does not have the wide-aperture advantage, the 70mm end has enough telephoto length to create a nice amount of blur.
28mm |
70mm
The above examples, captured at this lens’s minimum focus distance, illustrate the maximum background blur this lens can produce.
