Camera
Interview: Sony’s Masaaki Oshima – “The Alpha 1 is the first step towards the next decade”
| Masaaki Oshima, Deputy Senior General Manager, Camera System Business Division, at Sony Imaging Products & Solutions. Pictured holding the new Sony Alpha 1. |
Following the launch of Sony’s new Alpha 1 (a1) full-frame mirrorless interchangeable lens camera, we sat down (virtually) with Masaaki Oshima, Deputy Senior Manager of Sony’s Camera division. As well as discussing how the Alpha 1 came into being, we also discussed the changing camera market, and how Sony intends to meet the needs of a new generation of photographers.
This interview has been edited lightly for clarity and flow.
How long has the Alpha 1 been in development?
It’s very hard to answer that – I can’t give you the exact duration of time, but it did take longer than previous models. It was very hard to develop.
The main reason is that it has a totally new imaging sensor. This new sensor has incredible specifications, and integrating it into a camera body in a way that maximizes the power of the sensor was very difficult to achieve. That took a long time.
From the very beginning we’ve been developing this camera for professionals. We aimed to exceed the expectations of both stills and movie shooters. The Alpha 1 is developed with no compromise for top professionals, I think.
What is your wider strategy for growing your professional user-base?
We’re always listening to feedback from professional customers, and reflecting it in our development. The relationships we have with professionals now are very good, and we will continue [to develop] these relationships and create products and services based on their feedback. Professionals provide us with new insights into what they want and how we can improve, they also give us hints on things we have never thought about. I think that once professionals use the Alpha 1 they will love it.
 |
| Sony’s new Alpha 1 is a powerful, versatile mirrorless interchangeable lens camera with a cutting-edge BSI-CMOS sensor. We’ve exposed the sensor here, but normally, with the lens removed, it is protected by the blades of the newly developed mechanical shutter. |
Was 8K video part of the plan from the beginning?
Yes, we think that [the division between] stills and movies is less and less, nowadays. So we aimed to achieve both high quality video and high resolution photos in the same body.
Right now 8K isn’t widely popular, but we’re sure that demand will evolve, and 8K implementation is important in order for us to be successful in the future. And even now, some professionals will be interested in capturing 8K and cropping to 4K, for example. I think that the Alpha 1 is the first step towards the next decade. That’s one of the reasons why we named it ‘Alpha 1’, meaning ‘first step’.
We’ve been talking for a long time about the eventual development of global shutter technology in consumer digital imaging. Is that a technology that Sony is still interested in pursuing?
Sony already launched a global shutter sensor. It’s a small sensor, which is used in security cameras, machine vision and professional camcorders etc. We understand the advantages of global shutter, such as simultaneous data readout, but for commercial use in a full-frame format, there are some challenges around design and engineering, and also production issues. So right now, the new sensor in the Alpha 1 is the most practical.
The sensor in the Alpha 1 is so fast, why did you decide to include a mechanical shutter at all?
Well, thank you for saying so! But it’s not fast enough. Top photographers require a faster flash sync speed, of more than 1/300 sec. So we implemented a mechanical shutter with a totally new structure – a dual drive shutter system utilizing spring and electromagnetic drive actuators.
Are there any other technologies in the Alpha 1 which are completely new, and developed just for this camera?
The sensor and the shutter are both totally new [and unique to the Alpha 1]. The imaging processor and EVF are the same as the Alpha 7S III, but [we] built these into the Alpha 1 with the best tuning to maximize its performance.
 |
| The Alpha 1 and a7S III are the first in a new generation of Sony cameras which feature improved ergonomics, a redesigned body construction, and a new, highly detailed electronic viewfinder. |
Can you tell us more about the construction of the Alpha 1? How is it different?
We’re still using a magnesium alloy body, but the way the parts are combined makes it more rigid. I’m sure you’d like to know about the sealing, and that’s totally different to the previous models. Compared to previous cameras, the a7S III and A1 have a totally new body structure. I can’t give you details, but we’re using very advanced [sealing] technology with the Alpha 7S III and the Alpha 1.
Is the Alpha 1 your best constructed, and best-sealed camera?
Yes. And of course the mechanical shutter now closes when you change lenses, which will provide more durability for professional use. Another reason for a mechanical shutter!
Traditionally, it’s been understood that you can either have high speed, or you can have high resolution. It’s difficult to provide both. How did you achieve this combination in the Alpha 1?
We had to develop a new sensor, and we implemented our latest imaging processor as well as a totally new analog to digital conversion method. That’s how we achieved high resolution and high speed. I cannot give you any additional details, I’m sorry!
 |
| The Sony Alpha 1 (left) shown next to an A7R IV, showing the slightly redesigned top-plate, which now includes a drive mode dial. |
The Alpha 1’s imaging pipeline would appear fast enough to support some of the computational photography features that are becoming more common in smartphones and certain other imaging devices. Are you planning on introducing such features into the Alpha 1 and future cameras?
I watched your DPRTV episode recently about computational photography, and I know you’re interested in it. We haven’t implemented any so-called ‘computational’ photography features in the Alpha 1, but we do have features like Pixel Shift Multi Shooting, and long-exposure noise reduction, and they’re based on the same kind of idea.
In our Cyber-shot range we’ve introduced features for enhanced dynamic range and things like that. I can’t talk about plans for specific features in specific models but fast sensor readout is advantageous [for such features].
Do you have requests from customers for computational photography features? Things like Pro Capture in Olympus Micro Four Thirds cameras.
At the moment, no. We’ve not had those kinds of requests from top photographers. But we may consider it, if we get that feedback. I’m not sure.
What’s next for Sony in autofocus development?
We’ve evolved our autofocus functions, but we still think there’s room to improve. We will continue to strengthen our current technologies, but also will also [continue to develop] object and scene recognition – that will be key.
What do you see as the biggest unaddressed customer need in the consumer DI marketplace right now?
The demand for video, and [the needs of] young creators has not yet been addressed. The COVID-19 situation changed all of our circumstances, and also customers requirements changed, to everything being online. The creativity of young creators, and their desire to improve the quality of their pictures never stopped. So their demands are accelerating! And we have not yet addressed this yet. That’s why for example we’ve introduced concepts like the ZV-1.
 |
| Sony’s upcoming Airpeak Drone, which will be powerful enough to carry an Alpha-series full-frame mirrorless interchangeable lens camera. |
What is your strategy for bringing these young creators into the Sony ecosystem?
They want to shoot high quality pictures and video, but they might not know how to use conventional cameras. The key is to integrate our high technology in a simple, easy-to-use way. So the high-end technology that we developed for the Alpha 1 will be developed further and modified, simplified [and implemented in] ZV-1-type products.
How do you think content creation will be different in the future compared to now?
I think you want me to talk about computational photography again! But before that, as I said earlier, the boundary between stills and video will continue to be less and less [distinct]. So ‘hybrid’ shooters who create stills and movies will need to be satisfied. So we will [make devices] for them. And not only cameras, but the total workflow, from preparation onwards. This workflow is very important. So connecting, transmitting, and editing. That’s key for us.
We recently launched the new professional 5G device, Xperia PRO, and we’ve also announced our Airpeak drone. We will broaden our imaging world not only with cameras but also with smartphones and drones [all working together].
What do you see as the biggest challenge facing Sony’s camera division in 2021?
Since we entered this industry and developed our first mirrorless cameras ten years ago, we have been in a leading position. So we’ll continue to focus on developing our mirrorless cameras and make the market bigger. That’s our biggest challenge, to maintain this position. We will launch other cameras this year, not just the Alpha 1. We’ll never stop innovating and developing, not only cameras but also lenses. We aim to be the leader of this industry, by continuing to offer the best customer experiences.
Editor’s note: Barnaby Britton
This interview was the first time I’ve spoken to Mr Oshima, and his pride and excitement following the launch of the new Alpha 1 was clear in our conversation. Sony has made significant inroads in recent years with professional photographers, getting its cameras and lenses into the hands of an increasing number of photojournalists and sports photographers, a process aided by the signing of deals with major organizations and agencies. These days, Sony’s mirrorless cameras can be found everywhere from sports stadiums to the White House, which is something that would have seemed like a pipe dream back when the original A7 and A7R were released almost a decade ago into a market dominated by Canon and Nikon DSLRs.
Sony hasn’t always had the best reputation for ruggedness, but according to Mr Oshima, durability was a major priority in the design of the Alpha 1
According to Mr Oshima, the Alpha 1 is the most ‘pro’ of Sony’s professional ILCs to date, and accordingly, it took longer to develop and more difficult to bring to market than previous models. It’s certainly a highly complex camera, which – along with the recently announced a7S III – represents something of a new direction for Sony in terms of ergonomics and build. Sony hasn’t always had the best reputation for ruggedness, but according to Mr Oshima, durability was a major priority in the design of the Alpha 1 (which helps to explain why despite its super-fast sensor it still has a mechanical shutter: to protect the sensor).
 |
| Sony sees the Xperia PRO smartphone as being a companion device to its high-end cameras for video professionals. |
Only time will tell whether the Alpha 1 ends up being regarded in the long run by photographers as ‘the first step towards the next decade’ but the depth of its feature-set (including 8K video) is certainly among the most future-proof of any full-frame camera that we’ve seen, including high-tech competitors like Canon’s EOS R5.
Curiously though, despite its high-speed sensor and formidable processing power, the Alpha 1 doesn’t offer much in the way of computational photography tricks. This is a shame, because assuming professionals could get used to a slightly new way of working, a feature like Olympus’s ‘Pro Capture’ in the a9 II and / or Alpha 1 would be quite something. We’re still waiting for Sony to get more confident about redefining traditional ideas of exposure, too, to help photographers make the most out of the company’s current-generation dual-gain BSI-CMOS sensors. Hopefully one day.
More new cameras and lenses are promised in 2021, and a continued commitment to innovation across Sony’s product lineup
So what comes next? Mr Oshima hints at an increasingly blurry boundary between stills and video imaging, and continued development of object and scene recognition. If that’s starting to sound like computational photography, well, we’ll see. Either way, he also promises more new cameras and lenses coming in 2021, and a continued commitment to innovation across Sony’s product lineup. As Sony builds out its high-end smartphones (and kudos to the company for finding a niche for that technology with the creator community) and drones, we’d also expect to see more of a focus on end-to-end workflow, and hardware integration across the company’s wider product portfolio.
Leave a Reply
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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
 |
Photographer: Laura Bennet, United States
Subject and location: Sumba Island, Indonesia
Copyright Laura Bennet / The International Landscape Photographer of the Year
Other top entries
 |
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
 |
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
 |
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
 |
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
 |
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
 |
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.
 |
|
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.
 |
|
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.
|
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 |
-
Solar Energy3 years agoDLR testing the use of molten salt in a solar power plant in Portugal
-
world news1 year ago
Gulf, France aid Gaza, Russia evacuates citizens
-
Camera1 year agoDJI Air 3 vs. Mini 4 Pro: which compact drone is best?
-
world news12 months ago
Strong majority of Americans support Israel-Hamas hostage deal
-
Camera4 years agoCharles ‘Chuck’ Geschke, co-founder of Adobe and inventor of the PDF, dies at 81
-
Solar Energy12 months agoGlencore eyes options on battery recycling project
-
Camera1 year agoSony a9 III: what you need to know
-
TOP SCEINCE7 months agoCan animals count?
Pingback: Plastic solar cells combine high-speed optical communication with indoor energy harvesting
Pingback: Airports could generate enough solar energy to power a city: Study |