FE 24-70 mm F2.8 GMSony

Искажения дисторсии

Дисторсии, 16 мм

Дисторсии, 70 мм

Здесь мы можем наблюдать аналогичную ситуацию, как и у «китового» объектива. На коротком фокусном расстоянии геометрия кадра имеет выпуклый характер, а на 70 мм — вогнутый. Однако степень искажений в зуме 16-70 мм оказывается значительно ниже, чем у 28-70, — возможно, это заслуга более тщательно проработанной оптической схемы 16-70 мм.

Подводя небольшой итог по данному объективу, мы готовы констатировать следующее: можно совсем забыть о том, что разрабатывался он для неполнокадровых компактных камер Sony. Практически во всех тестах зум 16-70 мм обходит по качеству картинки родной для Sony A7 «китовый» объектив, а это впоследствии может сделать оправданным отказ от покупки стандартного объектива и его замену на более совершенный E 16-70 mm ƒ/4.0 OSS.

16-70mm

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E 16-70 mm ƒ/4 ZA OSS

Отдельно хочется отметить технологию автофокусировки. Во всех трех объективах она не вызывает ни малейшего нарекания, иногда даже приходится ею восхищаться. Высокая точность, скорость, отсутствие жужжания и вибрации во время наведения на резкость — кажется, что фокусировка происходит по волшебству. То же самое можно сказать и в адрес стабилизатора изображения в обоих зум-объективах, который достаточно точно определяет тип сотрясений и с легкостью их компенсирует, при этом механизм работает также абсолютно бесшумно.

Sunstars

The Sony 2.8/24-70 GM has 9 rounded aperture blades and therefore an 18 stroke sun star . Therefore I didn’t expect a good performance in this category. At large apertures, this turns out to be true. The sun stars are not very well defined until f/8. At f/11, the sun stars are surprisingly nice. They have well defined edges and pretty long strokes. They are better than I was expecting, but its obvious that they are not as beautiful as the Loxia/ZM/VM 10 stroke sun stars.

Chromatic aberrations

longitudinal

The correction of longitudinal chromatic aberrations is nothing short of phenomenal. I can’t see even a trace of LoCA in any of my images, this lens has APO-Qualities in this regard.

Sony A7II | Sony FE 24-70mm 2.8 GM | 57mm f/2.8Sony A7II | Sony FE 24-70mm 2.8 GM | 50mm f/4 | Sample from the Christmas Buying Guide

lateral

The correction of lateral CA is very good, at least from what I can see in Lightroom. There seems to be some correction baked in the RAW but I can barely see any of them in the RAW-image in Lightroom. The only focal length where they are slightly visible in the 1:1-magnification are 24mm, but I’m not sure if its really worth mentioning. Like shown in the sample below but even the correction tool doesn’t change a lot.

Sony A7II | Sony FE 2.8/24-70 GM | 24mm f/11 | CA 100% crop before/after extreme corner

Distortion

The distortion performance is very typical for a 24-70mm lens. The Sony 2.8/24-70 GM shows pronounced barrel distortion at the short end which turns into pincushion distortion in the middle of the zoom range and stays like this until the end of the zoom range.

24mm

At 24mm, the lens shows a significant amount of barrel distortion with a mustache sub-frequency. This reminds me of the Zeiss Loxia 2.8/21.

Sony A7II | Sony FE 2.8/24-70 GM | Distortion before/after applying the lens profile at 24mm 

35mm

At 35mm, the 2.8/24-70 GM shows a slight amount of pincushion distortion.

Sony A7II | Sony FE 2.8/24-70 GM | Distortion before/after applying the lens profile at 35mm 

50mm

The same as 35mm, slightly increased pincushion distortion.

Sony A7II | Sony FE 2.8/24-70 GM | Distortion before/after applying the lens profile at 50mm 

70mm

Looks almost the same as at 50mm.

Sony A7II | Sony FE 2.8/24-70 GM | Distortion before/after applying the lens profile at 70mm 

Bokeh

Highlights are very round and clean at every focal length. The bokeh is very calm. Not only at the long end but equally at wider angles,  especially compared to most classic wide angle lenses.

Sony A7II | Sony FE 24-70mm 2.8 GM | 32mm f/2.8 | full resolutionSony A7II | Sony FE 24-70mm 2.8 GM | 70mm f/2.8

If you look closely at the illuminated highlights in the sample below, the shape of the bokeh balls remains almost round until the edge of the frame, even at 24mm.

Sony A7II | Sony FE 24-70mm 2.8 GM | 24mm f/2.8

A closer look at the bokeh balls shows, despite the marketing claims you might still find (onion ring) structures in the light discs. But it seems to be indeed less pronounced compared to the competition.
In certain situations the light discs may also show a visible border, which is hard to notice at normal viewing distances.

Sony A7II | Sony FE 24-70mm 2.8 GM | 24mm f/2.8

At medium distances, The bokeh get’s a little more structured with a complicated background like in the sample below. The bokeh is still pleasant to my taste. Even if it’s one of the fastest full frame zoom lenses, the f/2.8 limits the subject isolation a little compared to faster prime lenses.

Sony A7II | Sony FE 24-70mm 2.8 GM | 70mm f/2.8 | full resolution

Ease of Use

Weighing in at 308g, the alloy-bodied Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS is quite a substantial E-Mount lens that rather dwarves the compact Sony NEX-7 body that we tested it with, as shown in the photos below.

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens mounted on a Sony NEX-7

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens mounted on a Sony NEX-7

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens mounted on a Sony NEX-7

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens mounted on a Sony NEX-7

Build quality is excellent, with both a metal lens barrel and a metal lens mount, but you’d expect that given the high price of the lens. The wide, ridged zoom ring takes about a quarter of a turn to zoom through the range, with the lens gradually extending out until it reaches 70mm.

The manual focus ring is a little on the slim side, and utilises the NEX series’s fly-by-wire operation, which means that there are no hard stops at either end of the zoom range.

There’s also no depth-of-field scale, distance scale or infrared index, a shame given the cost of the lens.

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens alongside the Sony NEX-7

Side of the Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens at 16mm

Side of the Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens at 70mm

Focusing is usefully internal and manual focusing is possible when set on the specific camera body. The lens also boasts Optical SteadyShot image stabilization, which offers up to four shutter spee steps of compensation — again this is enabled through the camera’s menu system, rather than a physical switch on the lens.

Front of the Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens

Rear of the Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens

Front of the Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens

Rear of the Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens in-hand

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS ships with a good quality case and a durable lens hood (ALC-SH127) which attaches inside the lens barrel rather than outside. It accepts 55mm filters via plastic threads.

Focal Range

At the 16mm focal length the angle of view is 83 degrees.

 Field of view at 16mm

At the 70mm focal length the angle of view is 23 degrees.

 Field of view at 70mm

Focusing

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens has quite a narrow focusing ring. There are no hard stops at both ends of the range, making it a little more difficult to set focus at infinity. Polariser users should be pleased that the 55mm filter thread doesn’t rotate on focus.

When it comes to auto-focusing, the Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS zoom is a quick performer, taking about 0.2 seconds to lock onto the subject when mounted on the Sony NEX-7 that we tested it with, although it is noticeably a little slower to autofocus at the 70mm end.

We didn’t experience much «hunting», either in good or bad light, with the lens accurately focusing almost all of the time, and it’s also a quiet performer thanks to its in-lens motor, ideal for HD movie shooting.

Chromatic Aberrations

Chromatic aberrations, typically seen as purple or blue fringes along contrasty edges, are only notable by their almost complete absence from our test shots.

Light Fall-off

With the lens set to its maximum aperture, there is some light fall-off in the extreme corners at both ends of the zoom range, but it won’t affect your real-world shots.

Light fall-off at 16mm

Light fall-off at 70mm

Macro

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS isn’t claimed to be a macro lens, but it delivers a pretty good performance nonetheless. It has a minimum focusing distance of 35cm/1.15ft and a maximum magnification of 0.23x. The following example demonstrates how close you can get to your subject, in this case a Compact Flash memory card.

Close-up performance

Bokeh

Bokeh is a word used for the out-of-focus areas of a photograph, and is usually described in qualitative terms, such as smooth / creamy / harsh etc. In the Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens, Carl Zeiss employed an iris diaphragm with seven rounded blades, which has resulted in appealing bokeh in our view. We do realise, however, that bokeh evaluation is subjective, so we’ve included several 100% crops for your perusal.

Sharpness

In order to show you how sharp this lens is, we are providing 100% crops on the following pages.

1. Ease of Use
2. Sharpness: 16mm

3. 24mm

4. 35mm

5. 50mm

6. 70mm

1. Sample Images
2. Lens Specs
3. Rating & Conclusion

1. Main Rivals
2. Review Roundup

1. Ease of Use
2. Sharpness: 16mm

3. 24mm

4. 35mm

5. 50mm

6. 70mm

7. Sample Images
8. Lens Specs
9. Rating & Conclusion
10. Main Rivals
11. Review Roundup

Sony FE 24-70mm f2.8 GM Introduction

The Sony FE 24-70mm f/2.8 GM is a professional standard zoom lens for the Sony A7-series full-frame E-mount compact system cameras. It features 18 elements in 13 groups including a newly developed, extremely precise XA (extreme aspherical) element that reduces aberration and increases resolution, as well as three aspherical elements and two extra-low dispersion elements. It has a near-circular 9 blade diaphragm which creates an attractive blur to the out-of-focus areas of the image, Sony’s Nano AR Coating to reduce flare and ghosting, and it’s also dust and moisture resistant. The Sony FE 24-70mm f/2.8 GM lens is available for £2249 / $2199 in the UK and the US, respectively.

Carl Zeiss Vario-Tessar T E 16-70mm f4 ZA OSS Introduction

The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS (SEL1670Z) is a premium standard zoom lens for Sony NEX compact system cameras. It offers the equivalent angle of view as a 24-105mm lens on a 35mm camera and features a near-circular 7 blade diaphragm which creates an attractive blur to the out of focus areas of the image. The optical formula comprises 16 lens elements in 12 groups. It has a minimum focusing distance of 35cm/1.15ft and a maximum magnification of 0.23x. Sony’s DMF technology allows for direct manual focusing after autofocus lock-on without having to switch modes, while the built-in Optical Stabilisation system offers up to 4 stops of compensation. The Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS lens is currently available for £849 / $999 in the UK and the US, respectively.

Искажения резкость и хроматические аберрации ХА

Центральный фрагмент кадра

Угловой фрагмент кадра

Резкость в центральной части кадра оказывается на высоком уровне даже при открытой диафрагме (ƒ/4.0), причем на всем диапазоне фокусных расстояний. Это может объясняться достаточно большой минимальной диафрагмой. Четкость падает при ƒ/16, что может быть оправдано явлением дифракции, характерным для большинства объективов. Тест резкости по краям изображения демонстрирует буквально превосходные результаты для неполнокадрового объектива. Замыленными оказываются самые крайние области кадра, а с приближением к ƒ/8 резкость становится уже более чем приемлемой. С увеличением фокусного расстояния все показатели резкости приближаются к идеалу, картину разве что немного портят заметные хроматические аберрации по краям кадра.

E 16-70mm 4 ZA OSS

В качестве третьего объектива мы решили исследовать зум, предназначенный для APS-C-камер с байонетом Sony E, и протестировать его на полнокадровой Sony A7. Выбор пал на недавно выпущенный широкоугольный зум E 16-70 mm ƒ/4 ZA OSS. Напомним, объективы для байонетов Sony E и Sony FE механически совместимы, то есть вы смело можете устанавливать объектив для Sony FE на APS-C-камеру с байонетом E Mount и, наоборот, как мы и поступили, ставить оптику для байонета E на полнокадровую камеру с байонетом FE.

Внешний вид

Объектив выполнен в том же стиле, что и портретник. Металлическая отделка делает корпус более массивным и внушительным при его отнюдь не больших размерах — всего 67 мм в диаметре и 75 мм в длину. Такие достаточно скромные габариты обусловлены тем, что объектив разрабатывался для камер серии NEX.

Cechy i korzyci

Uniwersalny zakres ogniskowych

Obiektyw posiada zakres ogniskowych od 16 do 70 mm pozwalając na uzyskanie kąta widzenia od 23 do 83 stopni a więc od szerokiego kąta do teleobiektywu. Taki zakres doskonale sprawdzi się w codziennych zastosowaniach pozwalając na wykonanie większości tematów fotograficznych. Obiektyw przeznaczony jest do aparatów z matrycą APS-C ale da się założyć go również do aparatów z matrycą pełnoklatkową. W takiej sytuacji aparat przełącza się w tryb wykorzystujący tylko część matrycy i działa jak ten z matrycą APS-C.

Stała przysłona f/4.0

E 16-70 mm f/4.0 ZA OSS posiada stałą, maksymalną wartość przysłony f/4.0. Duża wartość przysłony pozwoli na wpuszczenie dużej ilości światła a tym samym fotografowanie w słabych warunkach oświetleniowych. Pozwoli również na  uzyskanie małej głębi ostrości. Stałą «jasność» docenią również osoby zajmujące się filmowaniem gdzie zmiana ogniskowej podczas filmowanie nie zmieni parametrów naświetlania.

Jakość firmy Zeiss

E 16-70 mm f/4.0 ZA OSS to model wyproduklowany dla Sony przez firmę ZEISS. Optyka tej firmy cechuje się najwyższymi parametrami i minimalnymi zniekształceniami. Przeciwodblaskowa powłoka Zeiss T osłabia powstawanie refleksów i tzw. duszków, dzięki czemu na zdjęciach widać bardzo naturalne kolory.

Wbudowana stabilizacja obrazu

W obiektywie SEL-1670Z zastosowano stabilizator SteadyShot, który pozwala na znaczne wydłużenie czasu naświetlania. Stabilizacja doskonale sprawdza się również podczas filmowania zabezpieczając przed drganiem obrazu.  

Doskonała jakość optyczna i niewielkie gabaryty

Na budowę obiektywu składa się 16 elementów osadzonych w 12 grupach. W konstrukcji zastosowano soczewki asferyczne (eliminujące aberracje sferyczną), zaawansowane soczewki asferyczne AA oraz soczewki typu ze szkła ED. Takie połączenie dosknonale wpływa na jakość obrazu pozostawiając jednocześnie obiektyw lekkim i poręcznym. Waga obiektywu to tylko 308 gram a wymiary 66,6 × 75 mm.

Doskonałe zdjęcia w słabym oświetleniu

Połączenie dużej jasności obiektywu z wbudowaną stabilizacją idealnie sprawdzi się przy zdjęciach w słabym oświetleniu. Posiadając dodatkowo aparat z matrycą o wysokiej czułości zdjęcia w więksości sytuacji, nawet te nocne mozna robić «z ręki», bez konieczności używania statywu. 

Szybki i cichy silnik AF

Szybki a przy tym cichy silnik ustawiania ostrości pozwala na niemal natychamiastowe ustawienie ostrości w każdej sytuacji gwarantując ostre zdjęcia nawet podczas fotografowania ruchomych obiektów. Cicha praca silnika nie rozprasza fotografowanych oraz postronnych osób. Bezgłośna praca systemu AF ma znaczenie również przy filmowaniu. Stosując obiektyw 16-70 dźwięków ustawiania ostrości nie słychać na nagrywanym filmie, nawet korzystając tylko z wbudowanego w aparat mikrofonu.

Doskonałe portrety dzięki kołowej przysłonie

Zastosowanie kołowej, 7-listkowej przysłony pozwala na efektowne, miękkie, przyjemne dla oka rozmycie tła. Niezależnie od tego, czy używasz obiektywu do fotografii reporterskiej, przyrody czy portretu możesz w przyjemny sposób rozmyć tło.

• Opis produktu na polskiej stronie producenta
• Opis produktu na zagranicznej stronie producenta
• Strona poświęcona obiektywom Sony
• Jak rozszyfrować oznaczenia i symbole na obiektywach? — artykuł na Blog.cyfrowe.pl
• Instrukcja pdf

E 16-70 mm f/4.0 ZA OSS to niewielki i lekki obiektyw dedykowany do aparatów z matrycą formatu APS-C. Uniwersalny zakres ogniskowych 16-70 mm odpowiada ogniskowym 24-105 mm w fotografii małoobrazkowej. Jest doskonałym rozwiązaniem jako wysokiej jakości podstawowy i główny obiektyw zmiennoogniskowy. Stała jasność oraz wbudowana stabilizacja doskonale sprawdzą się również podczas filmowania nie zmieniając parametrów ekspozycji przy zmianie ogniskowej.

Ease of Use

Weighing in at 886g and measuring over 13cm in length, the aluminium alloy bodied Sony FE 24-70mm f/2.8 GM is certainly a substantial lens, dwarfing the A7R II camera that we tested it on (especially with the supplied lens hood fitted), as shown in the photos below. The lens extends further by almost 3cms when it’s set to the 70mm focal length.

The Sony FE 24-70mm f/2.8 GM lens mounted on a Sony A7R II

The Sony FE 24-70mm f/2.8 GM lens mounted on a Sony A7R II

The Sony FE 24-70mm f/2.8 GM lens mounted on a Sony A7R II

The Sony FE 24-70mm f/2.8 GM lens mounted on a Sony A7R II

Build quality is excellent, a relief given the price-tag. The Sony FE 24-70mm f/2.8 GM has a sealed dust and moisture resistant design which makes it well-suited to life in both the field and the studio.

The Sony FE 24-70mm f/2.8 GM lens has a metal lens mount. It accepts 82mm filters via metal threads.

The Sony FE 24-70mm f/2.8 GM lens mounted on a Sony A7R II

The Sony FE 24-70mm f/2.8 GM lens alongside a Sony A7R II

The Sony FE 24-70mm f/2.8 GM has a round Focus Hold Button which keeps the lens locked to the current focusing distance, useful if you’re auto-focusing and don’t want the lens to try and find focus again. The preview function can also be assigned to this button through the camera’s custom settings.

Side of the Sony FE 24-70mm f/2.8 GM lens

Side of the Sony FE 24-70mm f/2.8 GM lens, extended to 70mm

The Sony FE 24-70mm f/2.8 GM has a fairly wide and ridged focus ring. Manual focusing is possible by using the dedicated AF/MF switch to toggle between AF and MF.

The lens utilizes a linear SSM (Super Sonic wave Motor) for smooth auto-focusing, and it’s very quiet in operation making it less well-suited to shooting video. The overall lens length remains constant during focusing. There’s a Lock switch which can be activated at 24mm to prevent zoom creep.

Front of the Sony FE 24-70mm f/2.8 GM lens

Rear of the Sony FE 24-70mm f/2.8 GM lens

The Sony FE 24-70mm f/2.8 GM does not feature optical image stabilisation, so it relies on the camera body’s own built-in stabilisation.

Side of the Sony FE 24-70mm f/2.8 GM lens

Side of the Sony FE 24-70mm f/2.8 GM lens

The Sony FE 24-70mm f/2.8 GM lens in-hand

The Sony FE 24-70mm f/2.8 GM lens with the supplied lens hood fitted

The Sony FE 24-70mm f/2.8 GM lens is commendably supplied with both a soft case and a good quality plastic round lens hood (ALC-SH141) which has a button to lock/unlock it.

Focal Range

At the 24mm focal length the angle of view is 84 degrees.

 Field of view at 24mm

At the 70mm focal length the angle of view is 34 degrees.

 Field of view at 70mm

Focusing

The Sony FE 24-70mm f/2.8 GM lens has quite a wide focus ring. There are no hard stops at either end of the range, making it a little more difficult to set focus at infinity. Polariser users should be pleased that the 82mm filter thread doesn’t rotate on focus.

When it comes to auto-focusing, the Sony FE 24-70mm f/2.8 GM zoom is a quick performer on the Sony A7R II that we tested it with, taking about 0.2 seconds to lock onto the subject. We didn’t experience much «hunting», either in good or bad light, with the lens accurately focusing almost all of the time. It is also a very quiet lens when auto-focusing, making it ideal for movie shooting or for candid use.

Chromatic Aberrations

Chromatic aberrations, typically seen as blue or purple fringes along contrasty edges, were not very apparent in our test shots, only appearing in very high contrast areas.

Light Fall-off and Distortion

With the lens set to its maximum aperture of f/2.8, there is some obvious light fall-off in the corners, requiring you to stop down by at least 2 f-stops to prevent it.

There’s very little barrel distortion and virtually no pin-cushion distortion evident.

24mm

85mm

Macro

The Sony FE 24-70mm f/2.8 GM offers a minimum focusing distance of 38cm, with a maximum magnification of 0.24x. The following example demonstrates how close you can get to your subject, in this case a Compact Flash memory card.

Close-up performance

Bokeh

Bokeh is a word used for the out-of-focus areas of a photograph, and is usually described in qualitative terms, such as smooth / creamy / harsh etc. In the Sony FE 24-70mm f/2.8 GM lens, Sony employed an iris diaphragm with 9 rounded blades, which has resulted in appealing bokeh. We do realise, however, that bokeh evaluation is subjective, so we’ve included several 100% crops for your perusal.

Sharpness

In order to show you how sharp this lens is, we are providing 100% crops on the following pages.

1. Ease of Use
2. Sharpness: 24mm

3. 35mm

4. 50mm

5. 70mm

1. Sample Images
2. Lens Specs
3. Rating & Conclusion

1. Main Rivals
2. Review Roundup

1. Ease of Use
2. Sharpness: 24mm

3. 35mm

4. 50mm

5. 70mm

6. Sample Images
7. Lens Specs
8. Rating & Conclusion
9. Main Rivals
10. Review Roundup