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By David Kilpatrick, on January 23rd, 2023 The 20-70mm f4 Sony G looks interesting though the UK price of £1400 is a bit over the top (under $1100 in the USA) – maybe allowing for further losses pounds vs dollar. It’s over twice the price of the Panasonic 20-60mm f/3.5-5.6 – maybe not comparable but the Lumix lens is regularly discounted . . . → Read More: Sony 20-70mm f/4 G – a new type of lens
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By David Kilpatrick, on April 16th, 2017
There’s a dismissive and rather superior position some camera club buffs take – ‘why not zoom with your feet?’. It is well worth ignoring. The focal length of your lens, whether your use a zoom or a range of fixed focal length lenses, decides the exact relationship of elements in the picture including one component . . . → Read More: Never say ‘zoom with your feet’…
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By David Kilpatrick, on June 14th, 2016
If you want to get a 70-300mm which works on the Sony A7RII, the A7 series body with the best on-sensor phase detection/contrast detection mix, your first choice should be the new Sony FE 70-300mm f/4-5.6 G OSS. But that demands a wallet opened with £1,150 (UK SRP) in it. In return you get . . . → Read More: Tamron’s super value 70-300mm USD on the A7RII
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By David Kilpatrick, on April 15th, 2016
With the 24-70mm f/2.8 new Sony GM FE lens selling for £1799 (UK) and the A-mount version two 24-70mm f/2.8 for a full £100 more, the cost of a basic mid-range zoom to use with a camera like the A7RII remains very high. There are good arguments to be happy with the 24-70mm f/4 . . . → Read More: Sony 28-75mm f/2.8 SAM on mirrorless FF
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By David Kilpatrick, on June 18th, 2015 We’ve had news of the new Sigma Art HSM high speed wide angle full frame zoom – 24-35mm f/2.
It will be available in Nikon, Canon and Sigma mounts only (release date not yet confirmed) according to Sigma in the UK.
Note that this will be a bit of monster with its 82mm filter . . . → Read More: No FE or A mount for new Sigma 24-35mm f/2
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By David Kilpatrick, on December 3rd, 2013
The Sony E-mount (not FE) 10-18mm f/5 OSS lens can be used effectively on full frame for creative work and within limits for technically more demanding shots. Below, an uncropped A7R shot of the concourse at Abu Dhabi Airport, taken at 13mm setting, f/6.3 with my lens profile as provided below. Check the straight lines . . . → Read More: Using the 10-18mm OSS zoom on full frame
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By David Kilpatrick, on August 6th, 2012
For almost a decade the Sigma 12-24mm full frame ultra wide angle zoom has been unrivalled by any other makers – not Nikon, not Canon, not Tamron, not Tokina, not Sony. No maker has ventured where Sigma went, to the extremes of over 120° coverage combined with well corrected straight line geometry.
Today, the original . . . → Read More: Sigma ultrawide zooms – old and new 12-24s versus 8-16mm
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By David Kilpatrick, on April 3rd, 2012
Side by side on my light table (which collapses with a ‘pop’ when sixteen tons of Nikon is placed on it), and the NEX-7 is given the foreground role to avoid any accusations of using perspective to make it look tiddly.
I’m writing some reviews of the Nikon and other new professional DSLRs for . . . → Read More: David and Goliath? Nikon D4 dwarfs NEX-7!
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By David Kilpatrick, on February 14th, 2012 I’m about to offend myself. I own this lens, and I know how upset owners of brand new lenses get when someone says it’s not perfect. Well, the 16-50mm SSM is far from perfect and if you know how to check out lenses, you’ll agree should you be lucky enough to own one. It’s a . . . → Read More: Sony DT 16-50mm f/2.8 SSM
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By David Kilpatrick, on September 6th, 2011 After using Sigma’s 18-250mm optically stabilised zoom on Alpha bodies for a year and more, the first thing which strikes about the Tamron 18-270mm for Sony mount is the lack of the VC (Vibration Control) stabiliser found on the same lens made for Canon or Nikon.
Tamron’s lenses come without a case, but with . . . → Read More: Tamron 18-270mm – a hero, but no VC…
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