f4, iso1000 16-35mm f2.8 ZA SSM , a99
More pics from this event here. the wides shot with the a99 +16-35mm and RX1 : http://www.honolulumagazine.com/Event-Photo-Galleries/October-2013/Run-Rock-Wine/
Zeiss Vario-Sonnar T* 16-35mm f2.8 ZA SSM
and I wanted to create a Blog page of the info I collected and a place to put my thoughts as I shot with it.
I first noticed it was smaller and lighter than I expected. (being only 2mm off the Nikon 14-24mm f2.8) And it is GREAT that it uses a 77mm filter!
So, all my 77mm filters work with it. And I would guess any PRO would have a bunch of these.
You have no idea how that little feature makes me smile.
The 16-35 f2.8 ZA SSM hood feels solid and metal. though so shallow I am not sure how much help it will be.
It "then" made me notice how Plastic-y the new 50mm f1.4 ZA SSM hood feels. Strange, because the 135mm f1.8 and this 16-35mm f2.8 hoods feel so solid. It help give it a premium product feel.
I am writing about this because this 16-35 f2.8 ZA SSM has a Plastic-y Middle section and a Solid metal Hood. The 50mm f1.4 ZA SSM has a ALL metal solid feel , but the hood is Plastic-y.
* What I wish is ALL the new Sony Zeiss lens to be ALL Metal lens and the Metal Hood. Make it consistent on ALL the New Zeiss SSM's in the future. So, it is not a question when SONY says new Zeiss PRO lens how the construction will be. And box it, pouch it ... like a premium product.
Another "consistent thing" which would be nice. Is Consistent Sharpness results on PRO Zoom Lens. (or primes)
What I am talking about is pretty much the same Sharpness performance regardless of the Focal Length between f4 thru f11 = 1 Blur UNIT ... and below 2 blur units at f2.8 and faster.
And IF a Prime PRO lens closer to 1 blur unit wide open.
Let me try to explain this as best I can.
Look at Nikons PRO Holy Trinity 14-24, 24-70, 70-200) Sharpness graph on www.SLRgear.com
For me, this is a good example the Nikon 70-200 f2.8 VRII: http://slrgear.com/reviews/showproduct.php/product/1280/cat/13
Looking at the Full Frame Sharpness graph. And try viewing it "this way".
* Set the Aperture to f2.8, and then slide the Focal Length "back and forth" between 70mm and 200mm. Watch how "Flat" the plain of sharpness "floats" BELOW 2 blur units at f2.8.
* Now move the Aperture to f4 , and then slide the Focal Length "back and forth" between 70mm and 200mm. Watch how "Flat" the plain of sharpness "floats" at only 1 blur unit at f4.
* and How it pretty much stays that way till f16.
But, to be honest what really counts on a PRO f2.8 lens imho is the f2.8 and f4 performance.
and on a LONG Zoom lens at the LONG End optimized - wide open.
a WIDE Zoom lens at the Wide End optimized - wide open.
16-35 f2.8 ZA SSM Specifications
Optical construction: 17 elements in 13 groups inc. 2x ED and 3x aspherical elements
Number of aperture blades: 9 (circular)
min. focus distance: 0.28 m (max. magnification ratio 1:4.2)
Dimensions: 83 x 114 mm
Weight: 900 g
Filter size: 77 mm (non-rotating)
Hood: petal-shaped, snap-on, supplied4
Other features: ultrasonic AF, DMF
Kurt Munger review: http://kurtmunger.com/sony_cz_16_35mm_f_2_8id96.html
SONY store: http://store.sony.com/p/SAL-1635Z/en/p/SAL1635Z
DXO TOP Lens LIST: http://www.dxomark.com/index.php/en/Lenses/Camera-Lens-Ratings
Ross Hamamura
The Tourist of Light
www.RDHphoto.net
SONY Alpha Camera Ambassador
Follow me on Instagram: @RDHphoto
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