The Lightest 70-200mm Yet
If you’re used to picking up the original, 3.3-pound edition, the weight difference is immediately noticeable with the FE 70-200mm F2.8 GM OSS II (2.3 pounds). The new lens is also lighter than the RF 70-200mm F2.8 L IS USM (2.6 pounds) for Canon’s competing EOS R mirrorless system, which previously held the distinction as the lightest 70-200mm F2.8 available.
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(Photo: Jim Fisher)
Canon opted for an extending design for its 70-200mm, but Sony keeps things traditional with an internal zoom mechanism. The FE 70-200mm F2.8 GM OSS II, which measures 7.9 by 3.5 inches (HD), therefore isn’t any smaller than the first version (7.9 by 3.5 inches) and doesn’t change in size when you zoom in or out. It supports the same 77mm filter size as its predecessor, and Sony bundles a reversible lens hood with a cut-out window so you can adjust a circular polarizing filter without removing it.
Sony goes for a white finish for the metal barrel, a typical choice for pro telezooms. The design incorporates a rotating collar and a tripod foot—lightweight or not, it’s smart to use for tripod work to keep the center of gravity balanced. I like that the foot comes off with just a thumbscrew and a button; it’s easy to keep it out of the way when you’re working handheld. But Sony didn’t make the foot compatible with Arca-Swiss tripods, so you still need to add a quick-release plate or swap it out for an aftermarket option.
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(Photo: Jim Fisher)
The FE 70-200mm can withstand dust and moisture, much like Sony’s cameras, and its front glass features an anti-smudge fluorine coating. It’s certainly a premium lens, but a couple of well-made alternatives are also worth considering if you don’t have $2,800 to spend. The FE 70-200mm F4 G OSS ($1,500) covers the same range and includes stabilized optics, but can’t gather as much light.
The Tamron 70-180mm F2.8 ($1,200) is another option if you don’t mind relying on IBIS and can live with a bit less reach. Sigma has yet to release a mirrorless edition of its 70-200mm F2.8 Sports, a popular $1,500 option for SLRs that you can pair with Sony cameras via the MC-11 adapter. The SLR version is a good value, especially if you already have an adapter, but at around 4 pounds, it’s a lot to carry.
Sony a7 IV, 70mm, f/2.8, 1/1,000-second, ISO 100 (Photo: Jim Fisher)
Summary
I was really expecting the Sony 100-400 to win this comparison by a mile and although it certainly handles chromatic aberration better than the 70-200 + 2x, there is really very little between them when it comes to sharpness providing high contrast isn’t an issue.
The 100-400 is sharper, but you do really need to pixel peep to see the difference and unless you are cropping heavily you are unlikely to notice.
AF performance at least for the tests that I carried out was excellent for both lenses, adding the 2x teleconverter to the 70-200 F2.8 MkII didn’t appear to negatively affect the autofocus.
Because the 70-200 F2.8 GM MkII is an internal zoom lens, I much prefer the handling over the external zoom of the 100-400 which I now find rather cumbersome, especially after shooting with the excellent Sony FE 200-600 lens (B&H Photo) which is also internal zoom.
If you already own the Sony 70-200 F2.8 GM Mk II lens but would like to shoot at 400mm then adding the 2x teleconverter is an excellent option, I wouldn’t hesitate to add it to my lens after doing this comparison.
If you don’t own either lens and are trying to decide which to buy, then I guess it simply comes down to which focal length you will be shooting at the most and what the lighting conditions will be like.
In low light the 70-200 F2.8 will always perform better than the 100-400 F4.5-5.6. So if you shoot indoors a lot then this lens will probably be the better tool for you, then adding the 2x for the extra reach when needed in brighter environments.
If light isn’t so much of an issue and you often shoot closer to 400mm, then the 100-400 makes more sense, and it’s also compatible with both the 1.4x and 2x teleconverters.
Alternatively if you are shooting at 400mm and above then I’d definitely recommend taking a closer look at the Sony FE 200-600 instead, for this you might find my Sony 100-400 vs 200-600 Comparison helpful.
Format
This is a full-frame lens and I’m reviewing it as such.
It works great on APS-C cameras and you may make the usual inferences for them.
This full-frame pro lens is overkill for APS-C; you’re paying a huge premium in size and money for this full frame lens, and 62% of its image area is simply wasted with the cropped sensors of APS-C cameras. For APS-C cameras, an APS-C lens like the Sony 55-210mm offers a wider zoom range in a much smaller and lighter package for less than one-seventh the price and pretty much takes the same pictures with a lot less to carry.
If you get this lens, it’s best used on full-frame, but will work great on APS-C.
Dual SD Card Slots
You asked for it, and Sony a9 now sports Dual SD card slots that allow for redundant back-up. There’s also a latch to secure the card slot cover…not that I’ve ever had one fly open on me.
SD Card Slot 1 is UHS II compatible with Sony’s world’s fastest Sony SF-G cards featuring blistering fast 299MB/s Write Speed & 300MB/s Read Speed perfect for Sony a9’s 20 FPS burst shooting, 4K video, and other buffer-busting uses. If you plan to shoot video, you’ll want to stick to 64GB (or larger) SDXC cards for the best recording Codex.
Sony SF-G UHS-II SD are available in 32GB, 64GB & 128GB (Stick to 64 or 128 GB SDXC cards for video)
Bokeh
Such a subjective topic. Similar to color rendition in that we all perceive bokeh differently and what one likes another may not. Again, I do wonder if I should include this section. Still, here are a few images shot from f/5.6 down to f/11. You will need to click on the images to open a larger image to see the finer details.
100-400 f/5.6
70-200 + 2x f/5.6
100-400 f/6.3
70-200 + 2x f/6.3
100-400 f/8
70-200 + 2x f/8
100-400 f/11
70-200 + 2x f/11
Bokeh Summary
The 70-200 features 11 aperture blades vs 9 for the 100-400, so this should give the 70-200 a slight edge when it comes to smooth and creamy bokeh.
Even at f/5.6 both lenses are more than capable of smoothing out a distracting background providing a nice separation between your subject and background. That’s providing of course you have a sufficient distance between your subject and the background. For these shots the distance was around 5 meters. To my eyes the 70-200 looks just a little smoother.
If you look at the images more closely you’ll see that both lenses produce lovely round bokeh balls in the central part of the frame.
However, you might also notice that the nice round balls turn into cat’s-eye bokeh balls just off from the center of the frame on the 100-400 at f/5.6. Whereas the 70-200 + 2x the bokeh balls remain nice and round until you get closer to the edges of the frame.
You’ll find some further real-life examples in the sample images at the end of this article.
I’ll have to give the win to the 70-200 here, but it’s certainly not a big win. Do you agree?
Distortion
Distortion refers to a lens’s ability to represent straight lines as straight lines. Telephoto lenses like the 100-400 and 70-200 are generally more prone to pincushion distortion.
Here’s a comparison between both lenses at 400mm with lens corrections turned off and on.
100-400
70-200 + 2x
With Lens Corrections Turned On
100-400
70-200 + 2x
Distortion Summary
With lens corrections turned off both lenses are display signs of pincushion but the 70-200 + 2x fairs better here than the 100-400.
With corrections turned on any visible pin cushion distortion is corrected on both lenses.
The Sony 70-200 + 2x claims the win here.
Sony FE 24-70mm f / 2.8 GM – Сборка и обработка
Нельзя обойти стороной тот факт, что Sony FE 24-70mm f / 2.8 GM – это грубая линза. Это чудовище, если сравнивать его с более старой моделью Sony FE 24-70 мм f / 4 ZA OSS. Впечатление от размера, оно больше и тяжелее, чем у Canon EF 24-70 мм f / 2.8L II USM, и лишь немного легче, чем Объектив AF-S NIKKOR от Nikon 24-70 мм f / 2.8E ED VR. На весах он весит 886 г, и вы можете предположить, что это объектив, предназначенный для зеркальной фотокамеры, а не компактная системная камера, если смотреть на нее издалека.
Sony FE 24-70mm f / 2.8 GM установлена на Sony A7R II
Я скептически относился к тому, как такой большой и тяжелый стандартный зум справится с камерой Sony Alpha 7-й серии. Это действительно заставляло A7R II чувствовать себя очень тяжелым спереди, и, пытаясь компенсировать этот дисбаланс, я поддерживал полную длину ствола объектива на ладони левой руки для каждого снимка, кроме тех, которые были сделаны с помощью штатива. ,
Ствол Sony FE 24-70mm f / 2.8 GM оснащен прорезиненными кольцами зума и фокусировки. Есть также замок зума, который может быть включен на 24 мм, чтобы предотвратить увеличение зума.
Ствол объектива отклоняется от гладкой отделки старого и теперь текстурирован, чтобы дополнить отделку кузова A7 II, A7R II и A7S II. Если смотреть с задней стороны объектива, диаметр увеличивается в направлении вперед, причем кольцо ручной фокусировки немного больше, чем кольцо зума. В отличие от многих объективов, которые выгравируют или печатают метки фокусного расстояния на корпусе, гравированные метки добавляются там, где кольцо зума увеличивается. Это позволяет пользователю использовать глаз без видоискателя для определения фокусного расстояния объектива непосредственно из-за камеры – что я нашел весьма полезным.
Sony FE 24-70мм f / 2.8 GM увеличена до 70мм
Обратите внимание на кнопку удержания фокуса на боковой стороне, которая расположена под брендом G
Кольца зума и ручной фокусировки используют аналогичные резиновые резиновые ручки, но расстояние между ними достаточно, чтобы расшифровать, что без необходимости смотреть. Кольцо зума обеспечивает достаточное сопротивление, чтобы предотвратить ползучесть объектива под собственным весом, когда камера направлена вниз, и для смещения фокусного расстояния от 24 мм до 70 мм или наоборот требуется менее четверти оборота. Большой переключатель MF / AF хорошо расположен и его можно быстро найти, и прямо перед ним, за кольцом фокусировки и под фирменным знаком «G», вы найдете кнопку блокировки фокусировки. Это можно использовать для фиксации фокуса в любой момент и предотвращения перефокусировки объектива в любом режиме автофокусировки, пока он постоянно нажат. Кольцо ручной фокусировки работает невероятно плавно, и общее качество посадки и отделки заслуживает похвалы за то, что они выполнены в соответствии с образцовым стандартом.
Sharpness
For these sharpness tests I’ve used my Sony a7R IV with its large 61MP sensor to push the limits of each lens, apart from the shots of Frank which were taken with my Sony a7 IV.
Center Sharpness (Test Chart)
The chart used here was the Edmund Optics Resolving Power Chart shot at a distance of 10 meters on a sturdy tripod and manually focused on the center.
The shutter was triggered with the Sony RMT-P1BT Wireless Remote Commander (B&H Photo).
These are raw images but with chromatic aberration correction applied in Lightroom.
I’ve only applied CA correction because the 70-200 + 2x suffers pretty badly from it which you will discover later in this article.
Without the CA correction the 100-400 takes an easy win since the CA impacts the sharpness of these high contrast images.
All images are 1000px crops.
100-400 at f/5.6
70-200 + 2x at f/5.6
100-400 at f/6.3
70-200 + 2x at f/6.3
100-400 at f/8
70-200 + 2x at f/8
100-400 at f/11
70-200 + 2x at f/11
Corner Sharpness (Test Chart)
The following images were focused on the corner of the image (to avoid field curvature contributions) at 400mm. CA is more visible in these corner shots even with corrections applied in LR.
100-400 at f/5.6
70-200 + 2x at f/5.6
100-400 at f/6.3
70-200 + 2x at f/6.3
100-400 at f/8
70-200 + 2x at f/8
100-400 at f/11
70-200 + 2x at f/11
Center Sharpness (Manny the Mammoth)
In these shots I focused on Manny’s label which was around 15 meters away. The images are 1000px crops.
Sony 100-400
70-200 + 2x at f/5.6
100-400 at f/6.3
70-200 + 2x at f/6.3
100-400 at f/8
70-200 + 2x at f/8
100-400 at f/11
70-200 + 2x at f/11
Center Sharpness (Frank Handheld)
Although it’s not possible to control this type of real life shot as well as the test subjects, I thought some people might still like to see a comparison.
Animal Eye AF on the a7 IV was used to shoot these two images at a very close distance of around 4 meters away, they were also shot handheld.
Both images have been cropped to 4000px here. You can download the full resolution JPEG and RAW files along with further real-life images in the samples section at the end of this article.
100-400 at 400mm, 1/1600, f/6.3, ISO 800
70-200 + 2x at 400mm, 1/1600, f/6.3, ISO 640
Sharpness Summary
Both lenses are very sharp centrally at 400mm, but if you look closely at the smallest bar groups on the test chart you’ll see better separation between the bars with the 100-400.
However, you will really need to pixel peep to see the difference. At real life viewing distances you are unlikely to notice.
Stopping both lenses down to F6.3 improves the sharpness a little over their wide-open apertures, with a further small increase in sharpness at F8.
As to be expected corner sharpness isn’t quite so stellar as the central sharpness. Chromatic aberrations also impact the sharpness more in the corners, even on the 100-400 which is excellent at handling CA.
Still, the 100-400 appears to fair better in the corners again due to the poor CA performance of the 70-200 + 2x.
I’ll be covering chromatic aberration a little further down in this article, but I’ll mention it here briefly because the 70-200 + 2x suffers a lot more from chromatic aberration than the 100-400, and this has a big impact on the sharpness of these high contrast test chart images.
Chromatic aberration has less of an impact on the shots of Manny and Frank where there isn’t so much of a difference in contrast.
I have to give the win to the 100-400 for sharpness. Do you agree?
Silent & Vibration-Free Shooting
Sony a9 is totally silent and vibration free. Silent Shooting mode is ‘game changer’ according to members of the White House pool who are under fire to reduce camera noise by the TV networks. While Silent Shooting is already found on Sony a7S, a7RII, a7SII, a6300 & a6500 this marks the first time it’s appeared on a true flagship camera.
Silent Shooting Mode is ideal for shooting in situations like movie sets, courtrooms or funerals where shutter noise is either prohibited or frowned upon. Silent Shooting allows sports photographers to shoot in 100% Silence at times an audible shutter would not be allowed – such as the back swing of a golf putt or tennis serve.
Sony a9Sony 300mm F2.8 G IISony LA-EA31/5000 | F/2.8 | ISO 200(Click to Enlarge)
Sony a9’s stacked CMOS sensor allows 20X faster readout of the sensor than previous models. This greatly improves Silent Shooting Mode from previous Sony cameras making shutter speeds up to 1/32,000th of a second possible and all-but eliminating banding even under pulse lighting and jello-cam effects.
While Silent Shooting Mode’s electronic shutter is 100% silent, there are many times – such as portrait photography – when you might want a slight audible indication of shutter release. There’s a menu option that adds an audible shutter release sound and/or audio signals for other camera settings:
- Menu > Camera 2 > Audio Signals > On: All / On: other than e-shutter / On: e-shutter only / Off
Sony FE 70-200mm f2.8 GM OSS II Autofocus
The lens features internal focusing, and floating focusing groups which improve focus speeds, with promises of up to 4x faster AF than the previous 70-200 GM lens. Sony also says that focus tracking capability while zooming has improved by approximately 30% (compared to 70-200GM).
Wooden head, 1/80s, f/2.8, ISO250, Sony 70-200mm at 70mm, with Sony A1
Focus is extremely rapid, and extremely confidence inspiring, with the lens and camera locking onto the subject with extremely high levels of success. In fact, the only time I found there were any focus problems was when I was at the limits of the lenses close focus abilities, when I was trying to go beyond the lenses close focus distance.
Scarlet Ibis at Leeds Tropical World, 1/200s, f/2.8, ISO1250, Sony 70-200mm at 191mm, with Sony A1, ACR
Using the Sony Alpha 1’s bird detection focus resulted in the camera and lens focusing correctly on the bird’s eye with great success.
NEW: Sony FE 70-200mm f/2.8 GM OSS II.
Sony FE 70-200mm f/2.8 GM (77mm filters, 54.5 oz./1,545g, 3.1’/1m close focus, about $2,598). bigger. I’d get mine at Adorama, at Amazon, at B&H or at Crutchfield.
This all-content, junk-free website’s biggest source of support is when you use those or any of when you get anything, regardless of the country in which you live. Sony does not seal its boxes in any way, so never buy at retail or any other source not on since you’ll have no way of knowing if you’re missing accessories, getting a defective, damaged, returned, store demo or used lens. Buy only from the for the best prices, service, return policies and selection. Thanks for helping me help you! Ken.
April 2018 Sony Zeiss Nikon Canon Fuji LEICA All Reviews
Introduction
|
B&H Photo — Video — Pro Audio I buy only from . I can’t vouch for below. |
This Sony 70-200/2.8 GM is the best 70-200mm lens available for any Sony camera. You can’t buy better at any price: it’s sharp, well-made, has three very handy focus-lock buttons on the front of the barrel, and most importantly, focuses super-fast on Sony’s cameras, especially the state-of-the-art Sony A9.
If you’re serious about your full-frame Sony, this is the most serious telephoto zoom made by anyone for it.
Good
● Real mechanical manual focus ring with real instant manual-focus override, even if the power is off. Just move the ring and the focus follows, instantly.
● World’s closest-focussing professional 70-200mm f/2.8.
● Very fast and essentially silent autofocus.
● Three focus lock buttons.
● Ultrasharp at every setting, especially wide-open at f/2.8.
● Excellent .
● Fast f/2.8 for low light.
● Focus range limiter.
● Optical image stabilization works along with your camera’s sensor-shift stabilization.
● $2,600.
● Plastic filter thread.
● Big and heavy.
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Introduction
The Sony FE 70-200mm F2.8 GM OSS is a telephoto zoom lens for the Sony full-frame E-mount compact system cameras. It features 23 elements in 18 groups including one newly developed XA (extreme aspherical) element with 0.01 micron surface precision to effectively control chromatic aberrations, offers built-in 5-axis Optical SteadyShot image stabilization, has a minimum focusing distance of 0.96m and 0.25x maximum magnification, and has a circular 11 blade diaphragm which creates an attractive blur to the out-of-focus areas of the image. The combination of a Super Sonic Wave Motor for the front group and Dual Linear Motor for the rear achieves quick and precise focus, the Super Nano AR coating limits glare and flaring, and it’s also dust and moisture resistant. The Sony FE 70-200mm F2.8 GM OSS lens is available for £2500 / $2500 in the UK and the US, respectively.
Key Specs
First just a quick comparison of the key specifications of these two lenses.
| 100-400 GM | 70-200 GM II + 2X Teleconverter | |
|---|---|---|
| Lens Mount: | Sony E-Mount | Sony E-Mount |
| Format | 35mm full frame | 35mm full frame |
| Focal Length (mm): | 100-400 | 140-400 |
| 35mm Equivalent Focal Length (APS-C): | 150-600 | 210-600 |
| Focus Motors: | Double Linear Motor + DDSSM | Four high-thrust XD Linear Motors |
| Lens Groups / Elements: | 16-22 | 14-17 + 5/8 |
| Maximum Aperture: | 4.5-5.6 | 5.6 |
| Minimum Aperture: | 32-40 | 22 |
| Aperture Blades: | 9 | 11 |
| Circular Aperture: | Yes | Yes |
| Minimum Focus Distance: | 0.98m (3.22 ft) | 0.85 m(2.69 ft) + 3mm approx with 2x. |
| Filter Diameter (mm): | 77 | 77 |
| Image Stabilization (OSS): | Yes (2 modes) | Yes (3 modes) |
| Zoom System: | Manual External | Manual Internal |
| Diameter (mm): | 93.9 mm (3.69 in.) | 88 mm (3.46 in.) + 62.4 mm (2.46 in.) |
| Length (mm): | 205 mm – 280 mm (8.07 – 11.02 in.) | 200 mm(7.87 in.) + 42.7 mm (1.68 in.) |
| Weight: | 1395g (49.2 oz.) without tripod mount | 1045 g (36.9 oz.) (Without tripod mount) + 207 g (7.30 oz.) |
| Price (MRRP): | $2,498.00 / £2,149.00 | $2,798.00 / £2,599 + $548.00 / £499.00 |
Bokeh
Despite the slower speed of the lens, bokeh in general is very smooth at all focal lengths. Bokeh balls usually show barely any outlining or onion rings.
In the comparison below I did not change my position
Only with objects in the foreground like grass one can observe double edged structures in the bokeh which can be distracting like in the two examples below.
Sony a7RIII | 400mm f/5.6Sony a7RIII | 200mm f/5.6
This happened only in a few occasions. To get a better idea of the bokeh in general use, see the photo’s below.
Sony a7RIII | 400mm f/5.6
Sony a7RIII | 100mm f/4.5Sony a7RIII | 400mm f/5.6Sony a7RIII | 400mm f/5.6Sony a7RIII | 173mm f/5.6Sony a7RIII | 400mm f/5.6
Specifictions
This lens is the first and so far only 100-400 telezoom from Sony for E mount.
- Diameter: 93.9mm
- Length: 205mm- 285mm
- Weight: 1395g (without tripod mount) or 1476g (with tripod mount) Lens hood: 108g
- Filter diameter: 77mm
- Elements/groups: 22/16 (2x ED, 1x Super ED)
- Field of view: 24ﾟ-6ﾟ10′
- Number of aperture blades: 9 (rounded)
- Aperture: f/4.5-5.6
- Close focusing distance: 0.98m
- Maximum magnification ratio: 0.35x
- Mount: Sony FE
The Sony 100-400 f/4.5-5.6 GM OSS can be found new for approximately €2500,- or used a little under €2000,-Ebay.de* | Ebay.com*
*Affiliate links, buying via these links won’t cost you any thing extra but it gives us a small commission that helps us to keep the blog running.
Disclaimer: I bought the lens for full retail price from my own money.
Выводы
SEL70200GM и SEL70200G как братья: они похожи не только внешне, но и по своему характеру. Ключевые различия в их эксплуатационных особенностях связаны прежде всего с разницей в светосиле. Как ни крути, а ступень светосилы разделяет их на разные классы оптики. Она же создаёт различия в размытии фона на открытой диафрагме: здесь G Master впереди.
Они имеют схожую эргономику, но светосильный G Master крупнее и тяжелее почти в полтора раза. У них примерно равная скорость автофокуса, однако в SEL70200GM она достигается применением более сложной системы приводов.
ILCE-7RM3 / FE 70-200mm F4 G OSS Установки: ISO 100, F8, 1/20 с, 70.0 мм экв.
В отношении резкости объективы также ведут себя идентично, показывая чуть более мягкую картинку на открытой диафрагме и достигая очень высокой резкости после диафрагмирования на одну ступень. Таким образом, SEL70200G идеально резок с f/5,6, а SEL70200GM — с f/4. Обе модели отличаются низким уровнем хроматических аберраций (их практически нет на снимках), сравнительно слабым виньетированием, умеренными дисторсиями. Объективы оснащены эффективными оптическими стабилизаторами, способными обеспечить съёмку с рук до 1/13 с при максимальном фокусном расстоянии.
ILCE-7RM3 / FE 70-200mm F2.8 GM OSS Установки: ISO 400, F2.8, 1/200 с, 200.0 мм экв.
Минимальная дистанция фокусировки у G Master намного меньше — он универсальнее. G Master дарит большую оперативность при репортажной съёмке и позволяет в любой момент вручную корректировать работу автофокуса. При ручной фокусировке кольцо имеет линейный ход, что удобнее при видесъёмке. На чуть прикрытых диафрагмах его резкость по полю кадра ровнее. В очень сложных условиях освещения SEL70200GM лучше держит контровый свет, меньше ловит блики.
ILCE-7RM3 / FE 70-200mm F4 G OSS Установки: ISO 100, F4, 1/800 с, 70.0 мм экв.
Пропорциональна ли разница в качестве этих объективов разнице в цене — каждый фотограф должен решить для себя сам. Для многих задач возможностей Sony FE 70-200mm F4 G OSS будет более чем достаточно — это добротный телевик среднего класса. Но Sony FE 70–200mm F2.8 GM OSS демонстрирует своё превосходство почти по всем направлениям.
ILCE-7RM3 / FE 70-200mm F4 G OSS Установки: ISO 100, F4, 1/320 с, 200.0 мм экв.
Оригинал статьи >> https://prophotos.ru/reviews/21207-sravnitelnyy-test-ob-ektivov-sony-sel70200gm-i-sel70200g/5