We thought the Sony a1 was an impressive camera, but the image-making company has just topped it with its latest release. The main highlight of the newly released a9 III is its global shutter, the world’s first for a full-frame mirrorless camera. The unique shutter design, along with a powerful Bionz XR processor, allows for a host of impressive specs, including 120 fps, 1/80,000 max shutter speed, and flash sync at any shutter speed. Additionally, the company also announced the FE 300mm F2.8 G Master OSS lens, which offers superb reach and performance in a relatively compact body.

Sony a9 III camera at a glance

• 24.6-megapixel sensor with Bionz XR processor
• Global sensor exposes and reads every pixel at the same time
• 120 fps blackout-free burst shooting
• Improved ergonomics
• 1/80,000 maximum shutter speed
• Flash sync at any shutter speed
• 759 AF points with more sizes of focus area spots
• 8-stops of optical in-body image stabilization
• 6K oversampling for 4K 60p movies
• 4K 120p video without cropping
• Weighs 1.4 pounds
• Available in spring 2024 for $5,999

What is a global shutter?

The star of the show for the a9 III is, by far, its global shutter. Global shutter technology isn’t new, with a handful of cinema cameras utilizing it over the past few years. But the Sony a9 III is the first full-frame mirrorless camera to jump on board. So, why does that even matter? What is a global shutter?

Currently, most cameras rely on a rolling shutter. With the rolling shutter design, the camera’s sensor receives and reads information line by line from top to bottom. This means that there is a delay between the first line of data and the last. That delay can cause problems when capturing fast-moving subjects in photos or videos, resulting in warping and distortion. You likely have seen this in helicopter rotor blades. In photos, those blades can appear curved or bent when in reality, they are straight.

The global shutter design solves this problem by exposing and reading every single pixel on the sensor at the exact same time. That means that the Sony a9 III will benefit from zero distortion in stills and video, which is a significant advantage for those shooting action. It also allows for a range of other benefits, including the ability to work with flash at any shutter speed, including the camera’s max shutter speed of 1/80,000 (no, that’s not an extra zero). This unlimited flash sync even works with third-party flashes. Additionally, there will be no banding from artificial lights or displays. To aid in this, Sony has also employed an Anti-Flicker mode that automatically syncs the shutter with the brightest point in the light’s cycle to keep the exposure consistent in photos and videos.

Sony a9 III details

There are plenty of other things to swoon about in the a9 III beyond the global shutter, though many are dependent on that feature. Sony built the new camera around a 24.6-megapixel full-frame stacked CMOS sensor and Bionz XR processor, which results in eight times the processing power as the a9 II. the five-axis optical in-body image stabilization system allows for eight stops of compensation with the camera alone. You’ll get even more stabilization if using a stabilized lens as well.

On top of fancy guts, the a9 III features a redesigned body with better ergonomics. Sony says the grip is improved to make the camera easier to hold in the palm of the hand, even when using a telephoto lens. It says that it also moved the shutter button up slightly to be in a more natural, comfortable position. It features a four-axis multi-angle LCD touchscreen (the same as the a7R V) and 9.44 million-dot Quad XGA OLED electronic viewfinder. And as we’d expect from a pro-level Sony camera, it is dust and moisture-resistant.

To pair with the pro-level features of the a9 III, Sony is also releasing a new vertical grip—the VG-C5— that offers the same ergonomic design as the new camera. That includes the same shutter button placement and a new custom button (C5) in the same position so that it feels the exact same when switching between horizontal and vertical shooting. The new battery also pulls parallel power instead of drawing from one source and then switching to the other. Sony says that this allows for 15 percent more battery life.

Burst shooting

One of the main selling points of the a9 III is its absurd burst shooting capabilities. This alone will earn it a top spot as one of the best Sony cameras. It is able to shoot 120 fps blackout-free with real-time recognition AF and auto exposure. The fast burst shooting even works with 14-bit raw. Shooting fast bursts is only one piece of the puzzle when documenting action, though. You also have to get the timing right in the first place. To help ensure you get the shot, Sony has added a Pre-Capture function. This new setting allows the camera to continuously record (also up to 120 fps) for up to one second before the shutter is released.

Even when shooting action, you don’t always want your fastest fps setting. Sony has found a clever way to get around that with the Speed Boost function and a newly added a new custom button (C5) on the front of the camera. The new button allows you to instantly switch to a faster, preset speed at any time and then go back to a more reasonable fps just as quickly.

Image selection of 120 fps with Pre-Capture can be massively overwhelming. Sony even considered this when developing the a9 III. It has added a new playback image filter that allows you to select a large number of images at once, along with a function menu that can be used during image playback. The camera also plays back bursts as a video, so you can mark the shots you want without individually pressing through images.

Autofocus

As with other recent Sony releases, the a9 III features a dedicated AI processing unit to support its advanced phase detection autofocus system. It offers Real-time Recognition AF and Real-time Tracking and can detect a wide range of subjects, including humans, cats, dogs, planes, and more. The system can even detect an eye even when the subject is wearing goggles or helmets, is small in the frame, or moving fast. Sony also expanded the sizes of its focus areas to include XS and XL for more control over your focus points.

Sony a9 III video specs & features

Sony emphasized still photography during its announcement with a tagline of “the power of one frame.” But the company certainly didn’t leave video out of the mix in its new camera. The global shutter definitely benefits video shooters since rolling shutter has been a pain point. The a9 III is capable of 4K 60p video oversampled from 6K. It can also shoot 4K 120p without cropping, which is a first for an Alpha series camera. It offers the S-Cinetone profile, S-Log3, 10-bit 4:2:2 capture, and 16-bit raw video over HDMI.

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Sony a9 III pricing & availability

Of course, with such an advanced, pro-level camera, we should expect a pro-level price. And indeed, the Sony a9 III is priced at $5,999. It is available for pre-order now and will begin shipping in the spring of 2024.

FE 300mm F2.8 G Master OSS lens details

In case the groundbreaking camera wasn’t enough, Sony has also announced a new lens. Like the camera, the FE 300mm F2.8 G Master OSS lens is also a pro-level piece of equipment geared towards serious sports and wildlife photographers, as is evident in its matching $5,999 price.

As a G Master lens, the new 300mm offering will provide superb resolution and edge-to-edge sharpness. The optical design includes three Super ED (Extra-low Dispersion) glass elements and one ED glass element to reduce chromatic aberration and improve contrast across the frame. The 11-blade circular aperture results in beautiful smooth bokeh. And two XD linear motors drive focus that is fast, precise, and silent. It’s also able to keep up with the fast burst shooting of the a9 III.

Beyond image quality, the best feature of the 300mm f/2.8 GM is its size. The lens weighs just 3.2 pounds, which makes it the lightest lens of its class. For context, it is 40 percent lighter than the 400mm f/2.8 GM and roughly the same weight as the original 70-200mm GM. Sony was also very intentional about how the lens balances, designing it with optimum balance for smooth panning and easier handheld shooting.

The new 300mm telephoto prime lens is compatible with Sony’s 1.4x and 2.0x teleconverters. It offers a function ring to instantly engage the APS-C crop, providing a 420mm view. It is dust and moisture-resistant with magnesium alloy inside and out for a durable, rugged build.

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Sony FE 300mm F2.8 G Master OSS pricing & availability

Like the new camera, the FE 300mm F2.8 G Master OSS lens is available for pre-order now for $5,999. It will begin shipping in the spring of 2024.

The post New gear: The Sony a9 III is the first full-frame camera with a global shutter appeared first on Popular Photography.

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Sony makes some of the best camera gear around right now, with cameras and lenses suitable for high-level pros and complete beginners. Right now, you can take advantage of these Sony early Black Friday deals on a selection of equipment covering that spectrum. Whether you are picking up something for yourself or shopping for a generous gift for someone you know, these deals will give you up to $200 in savings.

Sony 24-70mm f/4 Vario-Tessar T FE OSS Full-Frame Lens $698.00 (was $899.99)

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A 24-70mm is a must-have tool for just about every photographer. This standard zoom offers a bit of every focal length in one, meaning you don’t have to swap lenses as often. The Sony 24-70mm f/4 Vario-Tessar is a budget-friendly 24-70mm that still offers plenty of quality. It’s also very compact and lightweight, making it easier to travel with and hold during long shoots. This lens is a great beginner lens, so if you are shopping for a newer photographer, it would be a great bet.

More Sony early Black Friday deals

Deals on Sony cameras

• Sony a7 IV with 28-70mm lens $2,498.00 (was $2,699.99)
• Sony a7R III Mirrorless Camera Body $1,998.00 (was $2,198.00)
• Sony Alpha A6600 Mirrorless Camera with 18-135mm Zoom Lens $1,398.00 (was $1,599.99)
• Sony ZV-1 Digital Camera for Content Creators $648.00 (was $749.99)

Deals on Sony zoom lenses

• Sony FE 16-35mm F2.8 GM Wide-Angle Zoom Lens $1,898.00 (was $2,199.99)
• Sony FE 24-70 mm F2.8 G Master Full-Frame Lens $1,598.00 (was $1,699.99)
• Sony FE 24-105mm F4 G OSS Standard Zoom Lens $1,198.00 (was $1,299.99)
• Sony FE 70-300mm F4.5-5.6 G OSS Lens $1,173.00 (was $1,243.41)
• Sony 70-350mm F4.5-6.3 G OSS Super-Telephoto APS-C Lens $898.00 (was $999.99)
• Sony FE 200-600mm F5.6-6.3 G OSS Super Telephoto Zoom Lens $1,898.00 (was $1,999.99)

Deals on Sony prime lenses

• Sony FE 20mm F1.8 G Full-Frame G Lens $798.00 (was $899.99)
• Sony FE 24mm F1.4 GM Full Frame Wide-angle Prime Lens $1,298.00 (was $1,399.99)
• Sony – FE 50mm F1.8 Standard Lens $198.00 (was $249.99)
• Sony FE 85mm f/1.4 GM Lens $1,698.00 (was $1,798.00)
• Sony FE 85mm F/1.8 $548.00 (was $599.99)
• Sony FE 90mm f/2.8-22 Macro G OSS Standard-Prime Lens $998.00 (was $1,099.99)

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Canon is offering up some holiday treats as we head into winter. The company has announced two new full-frame RF lenses, one APS-C RF lens, a Power Zoom Adapter, and firmware updates for the EOS C70 and EOS R5 C cameras. The three new lenses cover everything from wide-angle to ultra-telephoto, offering a bit of something for everyone. They include the RF-S10-18mm F4.5-6.3 IS STM, the RF24-105mm F2.8 L IS USM Z, and the RF200-800mm F6.3-9 IS USM. There’s lots to unpack here, so let’s get into it.

Canon RF24-105mm F2.8 L IS USM Z

We are especially excited to see the RF24-105mm F2.8 L IS USM Z. This lens is the world’s first 24-105mm focal length lens with a consistent f/2.8 maximum aperture. Canon designed the RF24-105mm as a hybrid lens, tailoring it to high-level video content creators and video production individuals or firms. It did specify that this is not a cinema lens but does approach that category with new features.

Though it offers many video-centric features, it should also be a superb still photography lens. The 24-70mm has long been the workhorse lens for many photographers, but we could see this extended range becoming the new go-to for many. The fast and constant f/2.8 aperture will offer excellent low-light performance, adding to its versatility. It will be ideal for a vast number of applications, including portraits, weddings and events, fashion, photojournalism, sports, wildlife, and more.

RF24-105mm F2.8 L IS USM Z build & design features

Canon’s RF24-105mm offers a constant overall length when zooming and focusing, which is a big advantage for videographers. It also offers a stepless manual aperture ring for video use. Canon optimized the optical design for high-end video, with excellent focus breathing performance and superb image quality. The image stabilization results in 5.5 stops of optical IS or eight stops of coordinated IS.

The lens can focus as close as 1.5 feet at all focal lengths and offers a maximum magnification of 0.29x at 105mm. Two Nano USM focus motors drive the autofocus system, resulting in fast and accurate focusing abilities. Its 11 aperture blades provide beautifully smooth bokeh.

The RF24-105mm weighs 2.9 pounds and is 7.8 inches long. It offers an 82mm filter thread.

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Power Zoom Adapters

For videographers, one of the most exciting aspects of this new lens is the option to use a newly developed Power Zoom Adapter. This new optional accessory will connect to the side of the RF24-105mm without any tools required. It enables super-smooth zoom control when recording video. Zooming will look more natural, and it will make control easier for solo creators.

Canon is making two different versions of the Power Zoom Adapter. You can opt for a standard version (PZ-E2) with only a USB port or a 20-pin port version (PZ-E2B) to support zoom and focus demands. It’s important to note that, as of now, the Power Zoom Adapter is only compatible with the RF24-105mm.

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Pricing & availability

The Canon RF24-105mm F2.8 L IS USM Z will be available in December, though is available for pre-order now for $2,999.00.

Both versions of the Power Zoom Adapter won’t be available until the spring of 2024, but you can already pre-order both. The standard version (PZ-E2) is priced at $999.00, while the 20-pin port version (PZ-E2B) is $1,299.00.

Canon RF200-800mm F6.3-9 IS USM

For those who need ultimate telephoto reach, the RF200-800 F6.3-9 IS USM should fit the bill. This lens is impressive for many reasons, most notably the range it offers. There are not many zoom lenses that offer a maximum focal length of 800mm, with most topping out at 600mm. And at $1,899, it’s very reasonably priced for what it provides. For context, Nikon’s new NIKKOR Z 180-600mm f/5.6-6.3 VR lens is $1,696.95, so you’ll get 200mm more reach for roughly $200 more.

Its long reach makes it perfect for photojournalism, wildlife, outdoor sports, and dramatic landscapes. Should you need even more zoom power, it’s compatible with the Canon RF 1.4x and 2x tele extenders, which will get you up to a whopping 1600mm.

The maximum aperture varies from f/6.3 at the wide end to f/9 when zoomed in, so its low-light capabilities are slightly limited. But as we would expect on such a lens, it offers image stabilization to assist with obtaining sharp images even when handholding the lens. You’ll get 5.5 stops of correction at 800mm, and 7.5 stops at 200mm. It also offers automatic panning detection.

RF200-800mm F6.3-9 IS USM design & features

The RF200-800mm uses an extending lens design, meaning it gets longer when you zoom in. Even though this lens isn’t in Canon’s pro-level L-series, it did apply weather sealing, meaning it is still durable and protected against the elements despite the extending design. The lens is surprisingly lightweight for what it is, weighing just 4.5 pounds. It should be feasible to shoot handheld for at least short durations. A rotating tripod mount on the lens makes it easy to attach to a tripod as well.

Canon pointed out that even though the lens RF200-800m is white, it is not the IR reflective surface found on the latest L-series lenses. A single, compact Nano USM motor drives the autofocus system, which is fast and quiet. It is a varifocal lens, meaning it won’t stay in focus as you zoom in. But Canon promised superb image quality thanks to an optimized optical design.

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Pricing & availability

The Canon RF200-800mm F6.3-9 IS USM will be available in December, but you can pre-order it now for $1,899.00.

Canon RF-S10-18mm F4.5-6.3 IS STM

The third lens of the new trio is a beginner-friendly APS-C lens. And at just $329, it is extremely budget-friendly as well. The RF-S10-18mm F4.5-6.3 IS STM lens offers a full-frame equivalent view of 16-29mm. Canon designed this lens for video and vlog creators as well as amateur photographers. The wide-angle perspective is ideal for selfie videos, travel videos, and landscape, travel, or architectural photography. For many, this could be the only lens they use on their camera because of its versatility and size. It would pair well with cameras like the R100, R50, or R7.

RF-S10-18mm F4.5-6.3 IS STM design & features

Canon created an entirely new optical design lens for the RF-S10-18mm, one that isn’t based on any current Canon lenses. It is absolutely tiny, weighing only 5.3 ounces. It utilizes a collapsible design to maximize its compact size for travel, meaning you’ll need to extend it out in order to start shooting. But when collapsed down, it is a measly 1.8 inches.

Surprisingly, Canon included image stabilization on the RF-S10-18mm. You’ll get four stops of optical IS and six stops of coordinated IS with your camera’s in-body image stabilization. For video users, this can also be combined with Movie Digital IS for added stability, but that will result in a crop. Canon also mentioned that the focus breathing is very well handled with this lens. There is some present, but it is minimal, and some cameras offer focus breathing correction in-camera to improve it even more.

A stepping motor drives the autofocus, and it offers close focusing abilities of 5.5 inches with autofocus at all focal lengths or 3.4 inches at 10mm with manual focus. Unsurprisingly for such a compact, budget-friendly lens, there is no focus switch on the lens, so you’ll need to change between manual focus and autofocus in your camera’s menus.

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Pricing & availability

As with the other two lenses, the Canon RF-S10-18mm F4.5-6.3 IS STM lens will be available in December (just in time for you to pick it up as a Christmas gift for a photographer in your life) and is available for pre-order now for $329.00.

The post Canon adds three new lenses and a Power Zoom accessory to its RF lineup appeared first on Popular Photography.

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The Tamron 150-500mm f/5-6.7 Di III VC VXD was initially released in 2021 for Sony, followed by a Fujifilm X mount version in 2022. Now, the budget lens maker is expanding even more with a Nikon Z mount version of this impressive super-telephoto zoom lens. The lens keeps the same compact form factor of the Sony and Fujifilm versions, weighing 3.79 pounds and measuring only 8.4 inches when zoomed out. It also comes at the same budget-friendly $1,199.00 price. The existing versions of this lens punch way above the price, and we fully expect the Nikon Z mount version to do the same.

Tamron 150-500mm F/5-6.7 Di III VC VXD at a glance

• 3.79 pounds
• 8.4 inches long at 150mm, 11.3 inches long at 500mm
• 25 elements in 16 groups
• VXD autofocus motor for fast, precise, and quiet autofocus
• Three image stabilization modes (standard, panning, and framing priority)
• Arca-type tripod mount with strap attachment loops
• Moisture-resistant
• Rounded 7-blade diaghragm
• 82mm filter thread

Tamron 150-500mm F/5-6.7 Di III VC VXD build

One of the best features of Tamron’s 150-500mm f/5-6.7 lens is how incredibly compact it is for the lens class. At just 8.4 inches long when zoomed out (11.3 inches at 500mm) and 3.79 pounds, the lens is much easier to shoot with handheld and to keep in your bag than the alternatives. The closest comparison is Nikon’s Z 180-600mm f/5.6-6.3 VR lens, which is 12.4 inches long and weighs 4.3 pounds.

On top of the compact size, the Tamron 150-500mm is also highly durable. It features moisture-resistant construction and a fluorine coating to keep the front element clean and clear of debris. Additionally, Tamron built the removable lens hood with a flexible, shock-absorbing front rim to protect against cracks and damage should you drop the lens.

In terms of lens controls, you’ll have access to an AF on/off switch and a focus limiter switch. A linear/non-linear AF switch allows you to change whether rotation speed or rotation angle changes the amount of focus movement. This switch lets you fine-tune your focus when focusing manually. There is also a Flex Zoom Lock mechanism to hold the lens at a certain focal length. The Arca-type tripod mount rotates so that you can shoot in any position, and it features strap attachment loops as well.

Optical design

Tamron designed its 150-500mm lens with 25 elements in 16 groups. That includes plenty of special lens elements, such as one XLD (eXtra Low Dispersion), five LD (Low Dispersion), one GM (Glass-Molded Aspherical) element, and two Hybrid Aspherical lens elements. All of these elements work to control aberrations, resulting in excellent image quality from edge to edge. Tamron coated the lens elements with a BBAR-G2 (Broad-Band Anti-Reflection) coating to reduce internal reflections, flare, and ghosting, resulting in improved clarity and color accuracy.

Tamron 150-500mm f/5-6.7 Di III VC VXD autofocus & image stabilization

A VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism powers focus in the Tamron 150-500mm lens. The result is extremely fast and accurate autofocus, able to keep up with the Eye AF of Nikon cameras. It can focus as close as 23.6 inches at 150mm. That distance adds to its versatility as a portrait lens, as you won’t have to stay too far away from your subject. And it allows for close-up images as well, with a maximum magnification ratio of 1:3.1. When you zoom in, the minimum object distance expands to 70.9 inches.

As we would expect of a super-telephoto lens, it features image stabilization to help obtain sharp images when handholding the camera. Tamron calls its stabilization VC (Vibration Compensation), and although it doesn’t specify how many stops of stabilization it provides, the system is effective at reducing camera shake.

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Pricing & availability

The Tamron 150-500mm f/5-6.7 Di III VC VXD is available for pre-order now for $1,199.00. It will begin shipping on October 31 as a perfect little treat for your Halloween.

The post Tamron announces the 150-500mm F/5-6.7 telephoto zoom lens for Nikon Z mount appeared first on Popular Photography.

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Nikon has been busy churning out new cameras and lenses this year. Just a few weeks ago, it announced the fancy 135mm f/1.8 S Plena lens and a little shy of a month ago, it released a full-frame version of its retro mirrorless camera, the Z f. The company is keeping the ball rolling with its latest announcement, the NIKKOR Z 600mm f/6.3 VR S lens. Nikon explains that it built the super-telephoto prime lens for wildlife, aviation, and motorsport photographers. At $4,796.95, it falls firmly in the pro-level category, and it looks like it offers features to match. Most notable is the relatively diminutive size of just three pounds, plus plenty of on-lens controls and built-in stabilization.

Nikon NIKKOR Z 600mm f/6.3 VR S at a glance

• 11 inches long
• Weighs 3 pounds
• 5.5 stops of stabilization or 6 stops when paired with a compatible body
• Sport VR mode stabilizes the viewfinder during continuous shooting
• Includes a memory recall function to instantly recall focus position stored in advance
• Designed with video applications in mind
• Dust- and drip-resistant
• Compatible with teleconverters
• 95mm filter thread
• $4,799.95
• Available in late October

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Nikon NIKKOR Z 600mm f/6.3 VR S build & optical design

One of the biggest selling points of the NIKKOR Z 600mm f/6.3 is how small it is for a super-telephoto lens. In fact, it is the lightest lens in its class. It weighs just three pounds and is only 10.9 inches long. For comparison, though it offers a faster aperture, the 600mm f/6.3 is roughly half the size of the Nikon 600m f/4. It’s also roughly half the size of the Canon RF 600mm f/4, which weighs 6.8 pounds and measures 18.6 inches long.

Nikon achieved this small size in part by utilizing a Phase Fresnel (PF) lens element. It also features two extra-low dispersion (ED) elements and a short-wave refractive element to reduce chromatic aberrations and prevent light dispersion. And the Nano Crystal Coating reduces flare to improve clarity. All this should result in truly stunning image quality across the board, making it possible to create outstanding wildlife and motorsport images.

The lightweight size of Nikon’s 600mm f/6.3 makes it much more feasible to handhold, which is ideal for shooting moving subjects requiring fast reaction time in changing conditions. Nikon also specified that it designed the lens so that the center of gravity is positioned at the body side of the lens. It should result in excellent balance when attached to your camera and make it easier to control when panning for automotive racing shots or birds in flight.

As part of Nikon’s S-line of lenses, it is dust- and drip-resistant and uses a fluorine coating on the front element for better protection when working in less-than-ideal environments. It also features a Kensington Security Slot, which allows you to use pro-grade cable locks to keep your lens safe from theft.

Nikon NIKKOR Z 600mm f/6.3 VR S handling & autofocus

Even though the Z 600mm f/6.3 is comparatively lightweight, it can still be tricky to handhold super-telephoto lenses and achieve sharp images. Luckily, Nikon built the lens with its Vibration Reduction (VR), its version of in-lens image stabilization. In Normal VR mode, you’ll be able to get 5.5 stops of stabilization. If you turn on Sport VR mode, the viewfinder is also stabilized, which makes it easier to track fast subjects. You can also pair the lens VR with in-body stabilization (IBIS) to achieve six stops of stabilization.

Nikon designed the lens with four Fn2 buttons and one Fn button, which can each be customized with a wide variety of functions. It is also equipped with a Memory Set button, which allows you to save and then instantly recall a focus position. Additionally, Nikon included a focus limiter switch and manual/auto focus switch.

For autofocus, the lens relies on the Nikon Stepping Motor, which is fast and nearly silent. Nikon designed it to keep up with speedy, erratic subjects like birds and motorsports. The minimal noise level, limited focus breathing, and precise electromagnetic diaphragm make the Z 600mm f/6.3 a fantastic lens for video applications as well.

Pricing & availability

The NIKKOR Z 600mm f/6,3 VR S is available for pre-order now for $4,796.95. It will begin shipping on October 26.

The post New gear: NIKKOR Z 600mm f/6.3 VR S super-telephoto prime lens appeared first on Popular Photography.

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Thus far, the options for wide-angle lenses on Canon’s mirrorless system have been fairly limited. The widest zoom lens available was the RF 14-35mm f/4 L IS USM lens. But now, Canon has expanded its offerings with its widest lens for the RF system yet, covering twice the angle of view as the 14-35mm at its wides setting. The Canon RF 10-20mm f/4 L IS USM lens is the first autofocus zoom lens with 10mm coverage across any brand. It will be an ideal choice for architecture, landscape, and travel photography, or any other genre requiring serious visual drama. Here’s what we know about the lens so far.

Canon RF 10-20mm f/4 L IS USM at a glance

• Weighs 1.25 pounds
• 5 stops of image stabilization, 6 stops when combined with IBIS
• 10-inch minimum focusing distance
• Weather sealed
• Rectilinear design for minimal distortion
• $2,299.00
• Available early November

Canon RF 10-20mm f/4 L IS USM optical design

First thing first, despite the ultra-wide angle, Canon’s RF 10-20mm lens is a rectilinear lens, not a fisheye. It features one Super UD element, three standard UD elements, and three aspherical elements to reduce chromatic aberration and distortion. That means that it is a viable option for architectural or interior photographs, as distortion looks to be handled really well. These elements also result in superb sharpness and illumination across the entire image area.

Canon also built the lens with ASC (Air Sphere Coating) and SWC (Subwavelength Structure Coating), which reduce flare, ghosting, and other aberrations. These coatings will increase contrast and color accuracy, providing rich, vibrant images. There’s also an FLC fluorine coating to repel dust, water, grease, and dirt.

Although ultra-wide-angle lenses aren’t exactly known for their bokeh, the RF 10-20mm contains a nine-blade diaphragm for round and pleasing bokeh when conditions are right.

Handling & build

As an L-series lens, Canon built this lens with plenty of features to improve handling. It features a programmable control ring that can be set to control exposure settings such as aperture, ISO, or exposure compensation. You’ll also find a lens function button, image stabilization on/off switch, and focus switch, all of which keep you from digging in the camera menus quite as often.

As is typical on ultra-wide lenses, the front element of the RF 10-20mm is bulbous, which means that it does not accept traditional front filters. But Canon did include a rear filter holder. It accepts gelatin filters that you will need to cut down to size and place behind the rear lens element, but it does at least allow you to use filters. Canon also included a built-in petal-shaped lens hood to protect that protruding front element. It is sealed against dust and moisture to protect it from the elements.

Canon managed to keep the size of this ultra-wide zoom very reasonable. It weighs just 1.25 pounds, which is almost half the weight of the EF 11-24mm. It measures 3.3 by 4.4 inches, which is roughly the same size as the RF 24-105mm.

RF 10-20mm f/4 L IS USM autofocus & stabilization

It isn’t very common to see built-in image stabilization (IS) in lenses of this class. In fact, Canon is the only brand to offer in-lens IS in a lens wider than 14mm. The Optical Image Stabilizer can reduce the appearance of camera shake by up to five stops. Or, if you pair it with an EOS R camera with in-body image stabilization (IBIS) for Coordinated IS, you’ll get up to six stops of correction.

The in-lens IS certainly helps improve images when shooting with slow shutter speeds in low-light conditions. But it also improves blurring and deformation in the periphery. Both of those tend to be weak spots in ultra-wide-angle lenses, so it is nice to see it addressed.

In terms of focus, Canon built the 10-20mm with an STM leadscrew-type focus drive system. You’ll typically find this type of focus motor in entry-level lenses. But it is fast and smooth enough to keep up with high-speed cameras. Plus, this motor allowed Canon to keep the weight and size of the lens down. Additionally, it features a position sensor that returns to the previous focus area when you start the camera back up, making it faster to get back to shooting if you’re working with the same subject or scene.

The RF 10-20mm can focus as close as 9.8 inches at all focal lengths, enabling unique ultra-wide closeup shots.

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Pricing & availability

The Canon RF 10-20mm f/4 L IS USM lens is available for pre-order now for $2,299.00. It will begin shipping on November 2.

The post New gear: Canon RF 10-20mm f/4 L IS USM super-wide-angle zoom lens appeared first on Popular Photography.

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Nikon’s lenses don’t typically warrant a special name. Up to this point, the one exception is its Nikkor Z 58mm f/0.95 Noct lens, which is a manual focus lens offering an extremely fast f/0.95 aperture. But now, Nikon has announced there is a new kid on the block, bringing a new moniker to Nikon’s lineup. The NIKKOR Z 135mm f/1.8 S Plena promises exceptional bokeh and high-end performance across the board thanks to a unique lens design. This special lens will be more affordable than the Noct lens, though still commands a steep $2,496 price tag.

What is the NIKKOR Z 135mm f/1.8 S Plena?

The NIKKOR Z 135mm f/1.8 S Plena is a telephoto prime lens built for performance. The 135mm focal length and f/1.8 aperture make it an ideal choice for portrait photographers, especially, as well as anyone who wants to isolate subjects in the distance. Nikon explained that the name “Plena” comes from the Latin term plenum, “which denotes the state of a space being completely full.” The company went on to explain that it picked this name to “reflect the lens’ ability to fulfill the user’s creative vision with superior light gathering capability, beautiful, well-rounded bokeh and outstanding sharpness and clarity throughout the frame.”

The fact that this is only the second lens Nikon has given a dedicated name shows just how special they expect it to be. It’s clear they want it to achieve legendary status, and by the information available, we think it will get there and can’t wait to check it out ourselves. On paper, and based on what we’ve seen so far, it looks to be a portrait photographer’s dream lens.

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Nikon NIKKOR Z 135mm f/1.8 S Plena details

It is clear that Nikon put a lot of work into this lens, with primary goals of enhanced brightness and bokeh. Nikon said that it engineered the 135mm f/1.8 S Plen with “a focus on superior peripheral illumination.” The result is edge-to-edge brightness. In addition, this piece of glass promises superb sharpness and stunning bokeh, which Nikon says will allow for “vibrant images with a mystical pop of three-dimensionality.” That’s a dramatic statement, but the image samples we’ve seen sure look promising.

Build & design

The NIKKOR Z 135mm f/1.8 S Plena is comprised of 16 elements in 14 groups, with four ED elements, one aspherical element and one SR lens element. It features Nikon’s Meso Amorphous Coat, which is the company’s most effective anti-reflection coating. In addition to that, the lens also gets the original ARNEO Coat to reduce ghosting and flaring.

Nikon designed the 135mm Plena with a “luxurious exterior design,” utilizing metal components for durability. It is full weather sealed as well, which we would expect from a Nikon S lens. The metal body and high-end glass results in some bulk, though. It weighs a 2.2 pounds and measures 3.9 by 5.5 inches. That is half the weight of the Noct lens, however, so all things considered, it isn’t too bad. The lens utilizes an 82mm filter thread and offers two lens Fn buttons which you can program to a variety of functions.

Inside the lens is a multi-focusing system which uses stepping motors (STMs) for fast, accurate and quiet autofocus. And it promises quiet operation and stable exposure for video applications, making it a versatile lens.

Bokeh & image quality

The main selling point of the 135mm f/1.8 S Plena is its stunning bokeh. This piece of glass features an eleven-blade diaphragm and larger rear element which helps create exceptionally round and smooth bokeh. Additionally, the large f/1.8 maximum aperture makes the lens a useful choice in low-light situations. Plus, Nikon promises consistent brightness all the way to the corners of the frame. That means you shouldn’t have to worry about removing vignetting in post.

The 135mm telephoto prime can focus as close as 2.69 feet. Although it isn’t a macro lens, you will be able to get some really nice detail images with this optic. As part of the S line, it will offer superb sharpness across the entire image. The transition from out of focus to in focus areas should be very smooth, resulting in an overall impressive image quality.

Nikon NIKKOR Z 135mm f/1.8 S Plena pricing & availability

The NIKKOR 135mm f/1.8 S Plena is priced at $2,496.95. It is available for pre-order now, and will begin shipping on October 30.

The post Nikon announces the NIKKOR Z 135mm f/1.8 S Plena lens for immaculate bokeh appeared first on Popular Photography.

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Camera and lens makers have been busy lately with consistent releases this week. Tamron announced the development of one lens and preorders of another, Sony announced two cameras and a lens, and now Sigma is getting in on the action. The third-party lens maker has just announced two new lenses for Fujifilm X-mount. Both of these lenses have already been available for Sony E-mount, so it is nice to see the lens mount options expanding. The 100-400mm F5-6.3 DG DN OS marks the second zoom lens for X-mount, while the 23mm F1.4 DC DN | Contemporary is the fourth prime lens, rounding out the total number of Sigma options for Fujifilm users to six.

Sigma 23mm F1.4 DC DN | Contemporary details

Thus far, Sigma’s prime lens offerings for Fujifilm cameras included the 16mm F1.4 DC DN | Contemporary, 30mm F1.4 DC DN | Contemporary, and 56mm F1.4 DC DN | Contemporary lenses. The company already made a 23mm f/1.4 for Sony E-mount cameras, and now it is coming to Fujifilm X-mount. It offers a 35mm equivalent angle of view and rounds out Sigma’s set of fast f/1.4 lenses for Fujifilm users.

Sigma designed the lens with 13 elements in 10 groups. That includes three SLD (special low dispersion) glass elements and two aspherical lens elements for sharper, clearer results. It’s designed to minimize flare and ghosting as well. Sigma claims that it will result in high-resolution images even when using the maximum aperture. And that wide aperture, in combination with the rounded nine-blade diaphragm, should result in attractive bokeh as well.

In terms of autofocus, the lens features a high-speed stepping motor. This will provide fast and quiet autofocus that is able to keep up with tracking features in Fujifilm cameras, such as one of our favorites, the X-T5. It can focus as close as 9.8 inches, enabling dramatic closeup shots.

Build quality

Fujifilm cameras with APS-C sensors are fairly compact, and luckily, Sigma built these lenses to fit well on those smaller bodies. The 23mm f/1.4 weighs only 11.8 ounces, and it is just 3.11 inches long, which is tiny. It would be a great travel, hiking, or street photography lens as a result. It uses a filter diameter of 52mm. It features a mount with dust and splash-resistant structure, though isn’t fully weather-sealed. The focus is internal, though, which helps protect the lens somewhat.

Pricing & availability of the Sigma 23mm f/1.4 DC DN | Contemporary

The Sigma 23mm F1.4 DC DN | Contemporary will be available on September 21 for a suggested retail price of $549.

Sigma 100-400mm F5-6.3 DG DN OS | Contemporary details

Sigma released the original 100-400mm F5-6.3 DG DN OS | Contemporary in 2020 for full-frame mirrorless cameras. It’s a versatile lens that is also extremely affordable for the focal length range. It offers a full-frame equivalent angle of view of 150-600mm, making it ideal for wildlife, sports, or event photography.

Build & design

Despite the reach that this telephoto zoom provides, it is quite compact. It weighs 2.5 pounds and is 7.8 inches long. It utilizes an 86mm filter. Sigma built the lens with 16 elements in 22 groups, with one FLD and four SLDs, to correct aberrations and distortion. Sigma promises superb image quality from edge to edge at every focal length.

Unfortunately, Sigma didn’t include a tripod socket on the lens. But, it does make one that you can purchase separately, and it made the area that the socket would attach out of magnesium alloy for strength and durability. The lens mount features a dust and splash-resistant structure, and it utilizes an inner focus system just like the 23mm.

Focusing & handling

Like the 23mm, the 100-400mm features a stepping motor for fast and quiet autofocus. This lens also has the advantage of five stops of image stabilization, making it easier to obtain sharp images. There are two modes for stabilization. Mode 1 is for general photography, while Mode 2 is intended for motorsports and other panning situations. Beyond stabilization settings, the 100-400mm offers a handful of other lens controls. That includes an AF/lock/AF activation switch, focus limiter switch, and zoom lock switch.

Pricing & availability of the Sigma 100-400mm F5-6.3 DG DN OS | Contemporary

The Sigma 100-400mm F5-6.3 DG DN OS will also be available on September 21 for $949.

The post Sigma releases a wide-angle prime and telephoto zoom for Fujifilm X-mount cameras appeared first on Popular Photography.

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The Sony 16-35mm f/2.8 GM was already a fantastic lens. It offered some of the sharpest image quality across all wide-angle zoom lenses, along with remarkably fast autofocus and excellent handling. The second edition, which Sony recently announced, ups the ante and brings some impressive upgrades to the table. That includes a 20 percent weight reduction, making it what Sony says is the world’s smallest and lightest wide-angle zoom lens available. It also gets a few upgrades in terms of handling, such as a dedicated aperture ring, and a closer minimum focus distance.

Sony also announced two new cameras—the a7C II and a7C R— at the same time. This compact lens would pair really well with either of those compact full-frame camera bodies, so it makes sense that the announcements would be coordinated.

Differences between the Sony 16-35mm f/2.8 GM and 16-35mm f/2.8 GM II

Sony 16-35mm F2.8 GM II details

Sony has steadily been updating its trinity (16-35mm, 24-70mm, and 70-20mm) of f/2.8 zoom lenses, with a focus on making them smaller, lighter, and even more capable. It released the updated version of its 24-70mm last year, and the new 70-200mm came out just over a month ago. Now, it’s the 16-35mm lens’ turn, rounding out a set of lenses that are all the lightest in their categories.

The Sony 16-35mm F2.8 GM II weighs just 1.2 pounds and is only 4.4 inches long. That makes it 20 percent lighter than the first edition. That is a significant difference, especially if you are carrying the lens around on your camera all day for an event or carrying it into the backcountry on a hike.

Handling improvements

Beyond the size and weight, Sony made a handful of other improvements to handling that we were glad to see. It now offers a dedicated aperture ring that can be clicked or de-clicked, making it suitable for photographers and videographers. Sony also added a second focus hold button that can be customized to your desired function via the camera menus. Both focusing and zooming are internal, so the center of gravity won’t change at all as you change focus or focal length. That’s another crucial detail for videographers who work on a gimbal. The internal focusing design should also result in an even more responsive autofocus as well.

Other improvements

Sony decreased the minimum focusing distance on the 16-35mm F2.8 GM II, going from 11 inches on the first version to only 8.66 inches on this second iteration. As a result, it sees a good increase in maximum magnification from 0.19x to 0.32x. This adds versatility and makes close-detail shots possible.

Sony upgraded the autofocus system, moving from Direct Drive SSM (DDSSM) to four XD (extreme dynamic) linear motors. Sony says that this results in autofocus that is up to twice as fast as conventional models. It enables fast and accurate autofocus that is very quiet. It can even keep up with the Sony A1’s high-speed continuous shooting abilities. Sony also promised improved focus breathing, which is another plus for videographers.

Build & design details

What hasn’t changed from the first version is build quality. As a GM lens, we expect a durable build, and that is true here. It is dustproof and splash-resistant for great longevity when using the lens outdoors. And a front fluorine coating helps keep the lens surface free of debris and makes it easier to clean.

Sony adjusted the optical design slightly, with the 16-35mm F2.8 GM II featuring 15 elements in 12 groups. The company says that the new design “effectively arranges the extremely high surface precision XA (extreme aspherical) lens” which results in high-resolution results when shooting at the maximum f/2.8 aperture across the entire zoom range. We look forward to testing out this lens in the near future to see just how much better the image quality and performance are.

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Sony 16-35mm F2.8 GM II pricing & availability

The Sony 16-35mm f/2.8 GM II is available for pre-order now for $2,298. That’s only $100 more than the Sony 16-35mm f/2.8 GM. With all the improvements this lens offers, it may be worth the upgrade for many, and it is definitely worth getting this version if you are in the market for a new wide-angle zoom. It will begin shipping on September 28.

The post The Sony 16-35mm F2.8 GM II zoom lens is even more impressive than its predecessor appeared first on Popular Photography.

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Tamron has been busy lately, with consistent lens announcements over the past few months. It’s keeping the ball rolling with two separate announcements. Sony users will soon be getting an extremely versatile lens in the form of what Tamron says is the world’s first 17-50mm lens for full-frame mirrorless cameras. This lens is just in the development phase, so there are still lots of unknowns, but Tamron did supply some enticing details.

For Nikon users, the wait for a new third-party lens is nearly over. Tamron has provided a purchase date and new details for the recently announced 35-150mm f/2-2.8 lens for Nikon Z mount. Keep reading to find out more.

What is the Tamron 17-50mm f/4 Di III VXD?

Options for wide-angle and ultra-wide-angle zoom lenses can be a bit limiting. Many top out at 35mm or even less, or they don’t offer an ultra-wide perspective. As a result, you’ve traditionally had to choose from two options. You could opt for something not quite so wide in order to reach the normal focal length range. Or you could be okay with purchasing two lenses and swapping back and forth when you want both ultra-wide-angle and normal perspectives.

Tamron is aiming to offer a solution with its 17-50mm f/4 Di III VXD for Sony E-mount cameras. Having an ultra-wide perspective and normal perspective in one lens is ideal, as it prevents as many lens switches. It would be an ideal choice for travel, as you could get sweeping views and closer details or portraits, all with the same lens. Tamron explains that this is “the ideal ‘walk around’ lens,” and as long as the performance is up to snuff, we’d have to agree.

Tamron Tamron 17-50mm f/4 Di III VXD details

The Tamron 17-50mm will offer a constant f/4 aperture. That isn’t all that wide, but is reasonable for the zoom range and likely means that the price will also be reasonable. The lens will feature the company’s VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism, which should result in fast, quiet, and precise autofocus. Tamron is building the lens with internal zoom, meaning the lens won’t change length at all when you zoom in or out. That’s an ideal feature for videographers who use a gimbal, as you won’t need to rebalance the stabilizer if you change the focal length.

Adding to the versatility of the lens is its close focusing abilities. Tamron says that it will offer a minimum object distance (MOD) of just 7.5 inches at the wide end and 11.8 inches at 50mm. That means you’ll be able to get some nice detail shots with this lens. The lens will feature a moisture-resistant construction and fluorine coating and utilize a 67mm filter thread. Tamron is promising excellent image quality throughout the zoom range. We look forward to testing it out this fall when it is expected to be available.

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The Tamron 35-150mm F/2-2.8 Di III VXD for Nikon Z mount is available for pre-order

Announced only a month ago, Tamron has now provided additional details and a shipping date for its second Nikon Z mount lens. This versatile lens will feature Tamron’s VXD linear motor focus mechanism, a maximum aperture of f/2 to f/2.8, and a maximum magnification ratio of 1:5.7 at the wide end. It weighs 2.6 pounds and is 6.3 inches long. It also will provide access to the Tamron Lens Utility app. In the app, you can update firmware and also utilize features that support focusing operations for photo and video applications.

The Tamron 35-150mm f/2-2.8 Di III VXD for Nikon Z is available for pre-order now for $1,999. It will begin shipping on September 21.

The post Tamron announces development of a 17-50mm lens for Sony cameras appeared first on Popular Photography.

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