Camera
Interview: Learn how robotics company MRMC puts cameras where photographers aren’t allowed to go
| MRMC pods containing Nikon D5s and 80-400mm lenses, set up for coverage of the inauguration ceremony at the US Capitol on January 20th 2021. |
How do you cover an event where photographers aren’t allowed? Last month saw the inauguration of Joe Biden as president of the United States, an occasion which would normally see huge crowds of people, from officials, politicians and members of the public, to representatives of the world’s press.
Obviously that wasn’t going to happen this time around, and after the storming of the Capitol Building by a pro-Trump mob on Jan 6th, it became even more clear that Biden’s would be an inauguration like no other.
UK-based and Nikon-owned company MRMC has been creating robotic solutions for event photography for years, putting cameras where it wouldn’t be safe – or permitted – for photographers to go. Since the global pandemic started to bite last year, their remote camera pods have been popping up all over the place, including at the US Capitol on January 20th. To find out more we spoke recently to Sascha Kunze, Broadcast Services Director at MRMC, and Molly Riley, Technical Solutions Manager at Nikon Inc.
The following interview has been edited lightly for clarity and flow.
What does MRMC do?
SK: We have a team of people that supports photographers all over the world, with remote photography solutions. So we design and manufacture the pods that you’ve probably seen installed at various events, including the recent presidential inauguration in the US.
How are robotics used now?
MR: in the context of imaging, we’ve been able to use the robotic pod that MRMC designed in certain locations in the same way as static, remote cameras, where photographers can’t be present. They allow photographers to have more creative control in those locations, and shoot from different vantage points.
Is that a new requirement? Or has the technology only recently become available to meet an existing need?
SK: There’s been a need for remote control for quite some time, and we’ve supported a lot of events now, where there’s been a requirement to put cameras where humans can’t go, like the beams in a roof structure for example. With our pods you can control the camera angle and reframe from that position, whereas with a traditional static camera it would just be guesswork..
We didn’t have a plan for COVID, I don’t think anyone did. But there has definitely been a need this year for photography with social distancing taken into account, too. Because of the global situation over the past year, we’ve continued to develop the product to make everything COVID-safe.
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A closer view of one of MRMC’s pods at the inauguration, showing the motorized positioning controls and data connection leading out from the pod, which enables remote control over practically any distance. |
Your team just recently installed cameras to cover the presidential inauguration. Clearly it was a very different kind of inauguration this year, how long were you planning for the event?
MR: We started planning for the inauguration back before COVID, when we were looking at various different scenarios and different angles for the various news agencies covering the conventions. The MRMC pods hadn’t been used for conventions before so we were in planning for that. And as the conventions got whittled down because of COVID, the robotics became more important, because we could put a robotic pod in a place that a photographer was no longer allowed to go.
We started thinking about how we could help capture the imaging that everybody wants, but without having photographers present
Pre-COVID, our plan for the conventions was to have the pods up in the lighting trusses in the roof, for a different viewpoint. Then that changed, and we were going to position the pods in areas where only a pool photographer was allowed to be. We were working on that plan when the conventions were canceled altogether.
Then we started to think ahead to the inauguration, because we knew access would be very limited. So we started thinking about how we could really help to capture the imaging that everybody wants, but without having photographers present behind the cameras.
Obviously you’ve been working on this for a long time, well before the storming of the Capitol in early January – did the events of Jan 6th affect your planning?
MR: The only thing that changed was the additional security. The planning for this inauguration was always quite last-minute, with changes being made constantly. The events of the 6th definitely increased security concerns, but the original plan still went ahead.
At the inauguration, where were the pods and the camera operators?
MR: We had three pods, and they were all on the center stand. That center stand normally holds about 11 camera positions, which was significantly reduced, restricted to only a small number of media and official government personnel. Two of the photographers using the pods were in a trailer on-site, and a third was inside the Dirksen Senate Office Building, with their own exclusive network. The other operators were in the media compound to the right of the steps and the inaugural platform. So they were approximately 200 feet from the stand where the cameras were located.
At the PyeongChang Winter Olympics, the photographers were in the press center, taking photographs of the coastal compound, 70 miles away
SK: At previous events we’ve operated over far greater distances. For example we had them at the PyeongChang Winter Olympics, and the photographers were in the main press center, taking photographs of the coastal compound, 70 miles away. It all depends on network infrastructure. We could, for example, and we have, operated the pods from the other side of the world.
How adaptable are the pods in terms of what cameras and lenses will fit in them?
MR: The pods that we used at the inauguration had a D5 in them with an 80-400mm lens, and there are pods available for mirrorless cameras as well, depending on the client’s needs. There are five different lens configurations, so we can go from 24mm all the way to 500mm.
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| This cutaway shows a Nikon D5 with a telephoto zoom. Both the lens and camera can be entirely controlled via special software, which interfaces with the camera and lens inside the pod. |
This is a perfect time to come up with creative solutions for remote working – has this technology been given a boost as a consequence of the global COVID situation?
SK: Absolutely, from our perspective we’ve seen a huge increase in the number of enquiries. And looking ahead at some of the events coming up, we’re definitely planning on roLling out a lot more robotics, and making them available to any photographers, really, to help them at events and to create a safe environment while still capturing the event. So you could use them at any event, even a wedding.
When you have the remote pods set up, how does it work? How are you actually capturing images?
SK: Inside every pod is a Nikon camera with a Nikon lens. We’ve created a software solution that interfaces with the cameras, which gives full control over all of the standard controls. So even if you’re operating the camera from far away you have the feeling of looking through a viewfinder. You have all of the operational information that you’d get if you were on the ground, but it’s just done over ethernet. The photographer uses our software, called MHC, which stands for Multi-Head Controller software, to operate the pod. And you’ve got all the shooting controls.
How many pods would one photographer be operating?
SK: It really depends on the use-case, but at a typical event we’ve found that in most cases, it’s usually 1:1, so one photographer per camera.
Do you do any automatic or scheduled triggering, or is it all manual remote operation?
The idea is that we give the operator a remote capability, so at this point the pods are not automated. There’s still someone sitting there creatively controlling what the robot is doing and firing the shutter. All we’re doing is adding distance.
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| A typical installation for an MRMC pod – high up, and out of the way. |
A lot of photographers reading this interview are probably thinking ‘oh no, something else that’s going to put me out of a job!’ Do you think that the 1:1 relationship between camera and photographer will continue to be important?
SK: That’s a very real worry, but we do see it as a 1:1 relationship. The robots don’t make the creative decisions – that’s still done by a human. Those special moments that they’re trying to capture, that’s something a photographer has to decide on and look for. I think giving photographers an additional creative ability is a positive. To go back to talking about PyeongChang, there were some events in the evening where the temperature dropped to minus 25C, and we were able to give the photographers the ability to shoot from a warm office.
MR: It’s important to add that with so many outlets now, and so much demand for coverage, agencies want more and more content. So this solution gives them the ability to do that. They’ll be able to shoot from angles that they wouldn’t otherwise be able to.
How are you planning for major events this year? Obviously the Olympics being the main one.
SK: Our planning for the Olympics started long before COVID hit. We actually started planning right after the last Olympics. Press agencies and photographers are allowed onsite visits during the preparation phase, to see where they can shoot from, what the angles are and what lenses they’ll need. We work with photographers to help them understand what robotics are capable of, and also what they need, so that we can develop solutions.
We’re planning on the assumption that the Olympics will go ahead
A lot of our customers who were involved in those initial conversations, we’re still talking, plans are still moving forward, and they’ve made additional robotics requests since then. So we’re ramping up, and our original plans are largely unchanged. We just make sure that the network infrastructure is in place, and the customers have all the technical information they need to build their setups.
We’re planning on the assumption that the Olympics will go ahead, but the robots are so flexible that we can be ready at very short notice.
How important are solutions like this, strategically for Nikon?
MR: I can’t speak on behalf of the company as a whole, but we enjoy having an additional avenue for capturing images. It’s adding to the tools available for our photographers, and it’s important to be able to offer more and more solutions. We have robotic pods up at Fenway Park, for example, for the Boston Red Sox. They can’t put photographers there because of COVID, so they decided to use the pods.
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| A remote pod set up in the roof of a baseball stadium – typically a ‘no go’ area for photographers, for a unique angle on the action below. |
In general terms, where do you see this technology going in the future?
SK: Take the soccer world cup. The roof structures in the stadiums are no-go zones for humans. So you have to have robots there. And because you have the creative control with the robotics, the need is going to increase for creative angles looking at formations or getting the action from behind the goal, and reframing to get crowd celebrations, for example. Those editorial images are really striking, and photographers are realizing that they can get cleaner shots and angles that haven’t been seen before.
We’re constantly talking to our customers and we have a lot of bookings already for big events that are coming up
At red carpet events, for example, you can put a camera in the lighting trusses, and get your subject surrounded by carpet. We’re constantly talking to our customers and we have a lot of bookings already for big events that are coming up. There’s a huge demand, so we’ll probably have to manufacture more hardware at some point!
We’ve been at the Olympics, we’ve been at the soccer World Cup, we’ve been at the Australian Open, the Commonwealth Games, and at Wimbledon, at film premieres, and at so many events around Europe. I couldn’t list them all, but that gives you some idea of the events that we’re doing. We’re continuing to grow year over year, and motion control is a key part of our strategy [at MRMC].
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Wildlife Photographer of the Year winners
The 11th annual International Landscape Photographer of the Year competition has announced the winners of its 2024 awards, showcasing stunning imagery from around the world. Photographers competed in various categories, including the coveted Landscape Photographer of the Year, requiring a portfolio of at least four images, and Landscape Photograph of the Year, recognizing the power of a single captivating shot.
This year’s competition saw Canadian photographer Andrew Mielzynski, an amateur with a deep connection to the natural environment, claim the top prize for his portfolio of stark images with simple color palettes. Ryohei Irie from Japan captured the Landscape Photograph of the Year award with a mesmerizing image of fireflies illuminating a forest.
Beyond the overall winners, the competition presented awards in specific categories, including Black and White, Aerial, Snow and Ice, and Forest, along with at-large winners. In addition to the overall and category winners, we’ve included several of our favorite photos from the 202 photographs recognized this year. You can visit the competition’s website to see all the winning images or to download its 2024 eBook.
Landscape Photographer of the Year: 1st place
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Photographer: Andrew Mielzynski, Canada
Subject and location: Cono de Arita in the Salar de Arizaro, Atacama Desert in Argentina
Description: The Cono is a perfectly cone-shaped volcano at 3,690 meters above sea level. It’s very graphic due to the contrast between the dark, perfectly formed cone and the bed of white salt that is found at its base.
Copyright Andrew Mielzynski / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 1st place
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Photographer: Andrew Mielzynski, Canada
Subject and location: Winter Cottonwoods, Toronto, Ontario, Canada
Description: During the pandemic, I went out for a walk at a local park during a fierce winter storm. I ran across this scene. It seemed very chaotic, with many layers of trees. I loved how the snow, driven by high winds, was embedded into the bark of the trunks. The snow on the bark created a textural contrast that adds detail and interest to the trees. I took a few frames, trying to simplify the scene in front of me and settled on this one, loving the tones, the depth, the order and the minimalism. Even in a chaotic scene, there seems to be a sense of balance that feels orderly and pleasing.
Copyright Andrew Mielzynski / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 1st place
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Photographer: Andrew Mielzynski, Canada
Subject and location: Found in a roadside ditch near Heathcote, Ontario, Canada
Description: After a melt, we had a flash freeze with extremely cold temperatures and a clear blue sky. I was driving by a ditch on the side of a road that had been filled with water and had to stop and look (as we photographers do, can’t pass a ditch without investigating). This is what I found. Great textures and patterns, tones and flow, with lovely graphic lines creating a dynamic, abstract designs. I love this type of work – it’s so much fun, yet challenging to find just the right composition.
Copyright Andrew Mielzynski / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 2nd place
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Photographer: Ignacio Palacios, Australia
Subject and location: Pumice Field, La Puna, Argentina
Copyright Ignacio Palacios / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 2nd place
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Photographer: Ignacio Palacios, Australia
Subject and location: Seven Colors Mountain, Siloli Desert, Bolivian Altiplano
Copyright Ignacio Palacios / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 2nd place
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Photographer: Ignacio Palacios, Australia
Subject and location: Arita Cone, La Puna, Argentina
Copyright Ignacio Palacios / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 3rd place
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Photographer: Gheorghe Popa, Romania
Subject and location: Early Autumn, Vânători Neamț Natural Park, Romania
Copyright Gheorghe Popa / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 3rd place
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Photographer: Gheorghe Popa, Romania
Subject and location: Poisoned Beauty, Geamăna, Apuseni Mountains, Romania
Copyright Gheorghe Popa / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 3rd place
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Photographer: Gheorghe Popa, Romania
Subject and location: Whispers of the Sunken Trees Cuejdel Lake, Romania
Copyright Gheorghe Popa / The International Landscape Photographer of the Year
Landscape Photograph of the Year: 1st place
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Photographer: Ryohei Irie, Japan
Subject and location: Traces of Light, Ichinomata, Yamaguchi Prefecture, Japan
Description: The Landscape Photograph of the Year Award went to Ryohei Irie of Japan. He likes the mysterious atmosphere created by the standing dead trees and firefly light. “I have been visiting this Subject and location for several years during the firefly season, and it is an interesting place because the intensity and length of the firefly light and the Subject and location where the fireflies fly vary greatly, depending on the year and time of day, resulting in completely different works, even when photographed in the same way.”
Copyright Ryohei Irie / The International Landscape Photographer of the Year
Landscape Photograph of the Year: 2nd place
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Photographer: Justinus Sukotjo, Indonesia
Subject and location: Mother Care Framing, Walakiri Beach, Sumba Island, Indonesia
Copyright Justinus Sukotjo / The International Landscape Photographer of the Year
Landscape Photograph of the Year: 3rd place
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Photographer: Himadri Bhuyan, India
Subject and location: The Flow, Sohra, Meghalaya, India
Copyright Himadri Bhuyan / The International Landscape Photographer of the Year
The Black and White Award
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Photographer: J. Fritz Rumpf, United States
Award: The Black and White Award 2024
Subject and location: White Tie Affair. Death Valley National Park, California, USA
Copyright J. Fritz Rumpf / The International Landscape Photographer of the Year
The Aerial Award
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Photographer: Benjamin Barakat, Switzerland
Award: The Aerial Award 2024
Subject and location: The Final Dune, Namibia
Copyright Benjamin Barakat / The International Landscape Photographer of the Year
The Snow and Ice Award
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Photographer: Jeroen van Nieuwenhove, Iceland
Award: The Snow and Ice Award 2024
Subject and location: Isþyrlu – Ice Swirl, Scoresbysund, Greenland
Copyright Jeroen van Nieuwenhove / The International Landscape Photographer of the Year
The Forest Award
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Photographer: Shirley Wung, Taiwan
Award: The Forest Award 2024
Subject and location: Fireflies flying in the Misty Mountains, Wufeng Township, Hsinchu, Taiwan
Copyright Shirley Wung / The International Landscape Photographer of the Year
The Exciting Sky Award
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Photographer: Federico Delucchi, Italy
Award: The Exciting Sky Award 2024
Subject and location: Aurora, meteor shower and other cool stuff, Rocca la Meja, Italy
Copyright Federico Delucchi / The International Landscape Photographer of the Year
Other top entries
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Photographer: Laura Bennet, United States
Subject and location: Sumba Island, Indonesia
Copyright Laura Bennet / The International Landscape Photographer of the Year
Other top entries
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Photographer: William Preite, Italy
Subject and location: Pale di San Martino, Falcade, Dolomites, Italy
Copyright William Preite / The International Landscape Photographer of the Year
Other top entries
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Photographer: Siegfried Makedanz, Germany
Subject and location: Sandfellsjökull Glacier Lagoon, Southern Iceland
Copyright Siegfried Makedanz / The International Landscape Photographer of the Year
Other top entries
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Photographer: Sabine Weise, Germany
Subject and location: Moonscape Overlook, Utah Badlands, USA
Copyright Sabine Weise / The International Landscape Photographer of the Year
Other top entries
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Photographer: Yuriy Vantowski, United States
Subject and location: Mount Bromo, East Java, Indonesia
Copyright Yuriy Vantowski / The International Landscape Photographer of the Year
Other top entries
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Photographer: Tanay Das, India
Subject and location: Kistwa, Himalaya, Jammu and Kashmir, India
Copyright Tanay Das / The International Landscape Photographer of the Year
Other top entries
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Photographer: Rajesh Jyothiswaran, United States
Subject and location: Texas, United States
Copyright Rajesh Jyothiswaran / The International Landscape Photographer of the Year
| Images: Canon, Nikon |
It wasn’t long ago that many of our reviews of APS-C cameras had to come with a warning: no matter how good the body was, you were almost certainly going to be limited by lens selection. This was especially true with Nikon and Canon’s mirrorless cameras. Sony has followed its longstanding tradition of letting third parties build out a healthy selection of lenses, and the selection for Fujifilm’s APS-C-only X-mount is second to none, but Nikon’s Z mount and Canon’s RF mount appeared to be almost completely locked down. As a result, you could count the number of APS-C lens options available on your fingers.
But things are changing. Over the past year, we’ve seen several APS-C lenses announced and released for Canon and Nikon cameras, filling notable gaps in the first-party lens lineups. But while the situation is improving, it’s clear that the two companies are still in control.
This week, Sigma released four APS-C primes for Canon’s RF mount, making good on its promise to release six licensed lenses for the system – earlier this year, it released the 10-18mm F2.8 and 18-50mm F2.8. Meanwhile, Nikon has allowed Sigma to release select primes for Z-mount – a trio of F1.4 primes at 16, 30, and 56mm. It’s worth noting the company’s 23mm F1.4 is the only one of its APS-C primes that it hasn’t brought to Z-mount; it likely isn’t a coincidence that Nikon’s only first-party APS-C prime lens is a 24mm F1.7.
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Sigma’s APS-C prime lens lineup is quite good, and now most of them are available for almost any mirrorless APS-C camera.
Image: Sigma |
However, Nikon hasn’t stopped companies like Viltrox and Sirui from releasing a slew of Z-mount APS-C prime lenses, complete with autofocus. If you pick up a Nikon Zfc or Z50II, you can get anywhere from a 13mm F1.4 (20mm equiv.) to a 75mm F1.2 (113mm equiv.) to go with it, as well as most of the classic focal lengths in between.
Your choices are no longer limited to a few first-party options, manual-focus only lenses, or glass meant for full-frame bodies
This is an important change for APS-C shooters. Even going back to the DSLR days, it’s felt like many manufacturers have viewed the format as a stepping stone to full-frame rather than something enthusiasts and pros might consciously choose. Neither Canon nor Nikon have been particularly prolific when releasing new APS-C glass. But with the gates being slightly opened, you’re no longer limited to a few first-party options, manual-focus-only lenses from third parties, or heavier, more expensive full-frame lenses. Now, there’s at least some selection of third-party lenses with autofocus to choose from, alongside Canon and Nikon’s offerings.
This isn’t to say that you can now buy any APS-C camera you want and be assured that all the lenses you want will be available – you are still at the mercy of what Canon and Nikon wish to allow. While plenty of primes are available for Z-mount APS-C cameras, no fast zoom lenses are available; Nikon’s all start at F3.5 and end at F5.6 or F6.3.
In fact, there are currently no third-party APS-C zooms available for Nikon Z-mount at all, despite the fact that two have made the jump from E and X-mount to RF – it also goes without saying that there are many others more available on Fujifilm and Sony’s systems. That’s a bummer for anyone looking to step up from the kit lens or wanting to shoot sports or birds in anything but ideal lighting without having to shell out for and lug around a full-frame 70-200mm.
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Tamron has promised to bring its 11-20mm F2.8 APS-C lens to Canon RF mount this year as well – no word on Z-mount, despite Tamron bringing some of its full-frame lenses to Nikon.
Image: Tamron |
RF mount at least has the two constant F2.8 zooms thanks to Sigma, with one more on the way from Tamron, though those are all at the wide end. However, there are far fewer autofocus primes available for Canon, as manufacturers like Sirui and Viltrox aren’t producing them. That’s not surprising; a representative for the latter once said that Canon had told it to stop producing products for RF mount. The 85mm F1.4 lens that Samyang announced for the system in 2020 also disappeared from the market not long after.
In a perfect world, these problems wouldn’t exist. Canon and Nikon would make the lenses that their APS-C cameras needed to stand on their own feet as a real alternative to full-frame options, and there would be robust competition from third parties, which would be allowed to make whatever lenses they want.
None of that seems particularly likely. However, at least those who choose to shoot with a smaller sensor in a Canon or Nikon body have gotten a wider choice of lenses, even if they’re still bound by the companies’ rules.
At the end of the day, that’s better for everyone interested in APS-C, because it means that cameras like the EOS R7 and Z50II are competitive with the Sony a6700 and Fujifilm X-T5 in a way that they wouldn’t have been with an extremely limited lens selection. With any luck, this trend will continue, and the APS-C landscape will become more competitive – even if Canon and Nikon aren’t giving it their full attention.
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The FE 28-70mm F2.8 GM, attached to the newly-announced a1 II.
Photo: Mitchell Clark |
Sony has announced the FE 28-70mm F2 GM, a zoom lens that trades 4mm at the wide end for an aperture that’s a stop brighter than the one found on a classic 24-70mm F2.8. It’s the company’s first constant F2 zoom lens for its E-mount cameras.
The lens’s optical formula consists of 20 elements in 14 groups, with three aspherical lenses, three super ED elements, and one ED element. It uses an 11-blade aperture. The front element has an oil and water-resistant flourine coating, and the lens is moisture and dust resistant.
It’s far from a compact lens, though it’s not as monstrously large as you might expect – it weighs in at 918g (32 oz) and is around 140mm (5.5″) long. It has an 86mm filter thread.
Sony makes it obvious what lens it’s competing with; highlighting that it’s 36% lighter and 11% smaller in diameter than Canon’s RF 28-70mm F2 L lens while claiming better corner-to-corner sharpness. The company also says the lens’s four linear motors can focus even when shooting at 120fps, and emphasized that they’re quieter than the older ring-type ultrasonic style motor in the Canon F2. In fairness, that lens was one of the original RF-mount releases, announced in 2018.
“Sony makes it obvious which lens it’s competing with”
The quieter operation should help when shooting video. Other pluses for video: it has an internal focusing mechanism which should make it easier to use the lens on a gimbal, the ability to switch the aperture ring into clickless mode and supports the focus breathing compensation mode included on some Sony bodies. You can also set the manual focus ring to have a linear response, which should make focus pulls easier.
The lens has a variety of switches and buttons. There are two customizable focus hold buttons, an Iris lock switch, the aperture click switch and a zoom smoothness switch that lets you adjust between “smooth” and “tight” torque settings.
It’s not the fastest zoom lens available for E-mount: at the time of writing, that prize goes to Sigma’s 28-45mm F1.8, though that model has substantially less reach on the tele end and only a 1/3EV increase in light-gathering ability.
The FE 28-70mm F2 GM will be available in mid-December and has an MSRP of $2,899.
Sony Electronics Announces Its First Constant F2 Aperture Zoom Lens: The Full-Frame 28-70mm F2 G Master™
The Unique Combination of a Versatile Focal Range, Large F2 Aperture, and Compact Form Factor
SAN DIEGO, Nov. 19, 2024 – Sony Electronics Inc. introduces the 28-70mm F2 G Master, the first1 Sony zoom lens with a constant F2 aperture and 77th lens in the Sony E-Mount lineup. This full-frame lens offers a versatile focal range from 28mm to 70mm while delivering prime-like2 bokeh with its constant F2 aperture. Despite its wide aperture and zoom range, the 28-70mm F2 G Master remains compact, lightweight, and well-balanced, making it ideal for both photography and video applications. This combination of zoom range, large aperture, and compact design makes this an innovative and versatile lens for portrait, sports, wedding, event, and video professionals.
“Our goal with the 28-70mm F2 G Master was to create a high-performing zoom lens that could be a strong single lens alternative to multiple primes,” said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “We prioritized a lightweight design during the engineering process as we knew that was a critical factor for real-life, practical use. And in a manner that only Sony can do, we were able to deliver a small, standard F2 zoom lens that does not sacrifice image quality. We’re proud to add this to our G Master series and believe it is one of the most innovative lenses ever offered to professionals.”
Sharp Imagery and Beautiful Bokeh
The 28-70mm F2 G Master produces extremely sharp corner-to-corner results throughout the entire zoom range, even while shooting wide open at F2. The high-resolution output is made possible by the three XA (extreme aspherical) elements and three aspherical elements built within the lens that minimize aberrations. The lens also features a floating focusing system that helps maintain internal stability. This focusing mechanism enables an impressive minimum focusing distance of up to 14.8 inches (0.38m) throughout the entire zoom range.
Staying true to the G Master lens lineage, the lens’ aperture up to F2 produces extraordinary bokeh, ideal for creating images that showcase a shallow depth of field. The 28-70mm F2 amplifies the G Master bokeh standards through a newly designed 11-blade circular aperture unit. Chromatic aberrations, which cause color fringing within photos, are effectively minimized with three Super ED (extra-low dispersion) elements and one ED element built within the lens. Additionally, Sony’s Nano AR Coating II reduces flare and internal reflections, ensuring clear images, even when strong light sources are present in the frame.
Compact, Lightweight Design Without Compromising Quality
The 28-70mm F2 G Master is one of the most advanced mirrorless camera lenses manufactured with a total 20 different lens elements arranged within 14 internal groups. Despite the advanced optical design, the lens remains compact at 3.6 x 5.5 inches (92.9 x 139.8mm) and lightweight at approximately 32.3 ounces (918g). The combination of imaging performance and a compact form factor offers an innovative solution that meets the demands of industry professionals.
Precise Autofocus Tracking with Instant Response
Reliable and responsive autofocus is delivered through the lens’ four XD (extreme dynamic) linear motors powered by advanced control algorithms. This smooth performance system provides accurate and quick focus tracking, often essential in many professional use cases like weddings and sports. This lens is fully compatible with Sony’s Alpha 9 III‘s high-speed continuous shooting capabilities of up to 120 frames per second3 with AF/AE (autofocus/autoexposure) tracking, even while zooming.
Designed for High-Performance Video Shooting
Along with its F2 aperture, the zoom range of the 28-70mm G Master provides a versatile video option that can cover standard field-of-view shots and tighter compositions up to 70mm. This lens minimizes focus breathing through its build and compatibility with the Breathing Compensation feature on various Alpha bodies4. Its high autofocus performance ensures reliable focus even when recording in high frame rates up to 4K 120p / FHD 240p5. Additionally, the XD linear motors and newly developed aperture unit operates silently, preventing any lens noise from being captured during filming.
The lens is ideal for gimbal use with a minimal zoom extension of approximately .68 inches. The compact form factor and short external zoom helps maintain gimbal balance, even at varying focal lengths.
Operability and Reliability for Versatile Control
Key control features include Linear Response MF for intuitive manual focusing, adjustable zoom ring torque, and an aperture ring with a click ON/OFF switch. The lens also offers two customizable focus hold buttons, an iris lock switch, and an AF/MF switch. The 28-70mm F2 G Master has an 86mm filter diameter and a convenient window on the lens hood for variable filter adjustments.
For durability, all buttons and switches are sealed with silicone gaskets, and critical areas are designed to resist dust and moisture6. This ensures reliability, even while using in challenging outdoor environments. Additionally, a fluorine coating on the front element repels contaminants for easy cleaning.
Pricing and Availability
The 28-70mm F2 G Master will be available in December 2024 for approximately $2,899.99 USD and $3,999.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
A product video on the new 28-70mm F2 G Master can be viewed here: https://youtu.be/7Y_O5YYQIl0
For detailed product information about the 28-70mm F2 G Master, please visit: https://electronics.sony.com/imaging/lenses/full-frame-e-mount/p/sel2870gm
Exclusive stories and exciting new content shot with the new 28-70mm F2 G Master and Sony’s other imaging products can be found at www.alphauniverse.com, a site created to inform, educate, and inspire content creators.
Sony FE 28-70mm F2 GM Specifications
| Principal specifications | |
|---|---|
| Lens type | Zoom lens |
| Max Format size | 35mm FF |
| Focal length | 28–70 mm |
| Image stabilization | No |
| Lens mount | Sony E, Sony FE |
| Aperture | |
| Maximum aperture | F2–20 |
| Minimum aperture | F2–20 |
| Aperture ring | Yes |
| Number of diaphragm blades | 11 |
| Optics | |
| Elements | 20 |
| Groups | 14 |
| Special elements / coatings | 3 aspherical, 3 super ED, 1 ED |
| Focus | |
| Minimum focus | 0.38 m (14.96″) |
| Maximum magnification | 0.23× |
| Autofocus | Yes |
| Motor type | Linear Motor |
| Focus method | Internal |
| Distance scale | No |
| DoF scale | No |
| Physical | |
| Weight | 918 g (2.02 lb) |
| Diameter | 93 mm (3.66″) |
| Length | 140 mm (5.51″) |
| Sealing | Yes |
| Colour | Black |
| Filter thread | 86 mm |
| Hood supplied | Yes |
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