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DPReview TV: Favorite episodes and a subscriber challenge
It’s been almost three years since we launched our new YouTube channel, DPReview TV. Since then, we’ve published almost 250 episodes including product reviews, how-to videos, and more. These videos have allowed us to bring you more photo-related content than ever before, including reviews of products we may not have been able to cover in the past.
Hopefully, we’ve also managed to entertain you along the way. If so, you can help us by subscribing to our channel!
If we hit our goal, Jordan will have to shoot the next several episodes using classic cameras of your choosing.
We’re running a subscriber challenge to see if we can reach 300,000 subscribers by Valentine’s Day (Feb. 14). If we hit our goal, Jordan will have shoot the next several episodes using classic cameras of your choosing. (Pentax K-01, anybody?)
Just subscribe to our YouTube channel to get new videos every week, and make sure to tell us what camera you want Jordan to shoot with in the comments.
For inspiration, we’ve picked ten of our favorite episodes from the wayback machine to remind us how much fun we’ve had over the past few years.
Sony a7 III review
This was DPReview TV episode #1. Fun fact: in the opening scene, Jordan’s son Liam really thought his dad was moving to Seattle.
Chris: “This was a really tough episode to put together. We were still working for The Camera Store at the time, yet wanted to have a full review ready when we announced the move to DPReview. Despite a lot of late nights and evening shoots, I think this really captures the excitement we had about joining the DPReview team.”
Fujifilm X100V review
The improvements to Fujifilm’s X100V camera were big enough that we put one of Chris’s quotes right on the title card for the video: “Yeah, it’s really good.”
Jordan: “It’s bizarre to think that I shot this episode with a tiny little X100V, on a giant monopod with a bunch of audio stuff dangling off it. The episode still turned out great though, and I think it’s due to shooting everything on a the camera’s 35mm equivalent lens, undeniably the greatest focal length of all!”
Best mid-range full-frame mirrorless shootout
This episode may be recent, but it’s relevant to a lot of photographers right now. If you’re getting ready to make the leap to a mirrorless camera, make sure to watch this video first.
Jordan: “These roundup episodes have become a staple of the channel, and I’m always impressed how Chris is able to keep each one unique and engaging. Team S5!”
Tamron 28-75mm F2.8 review
Chris and Jordan have reviewed a lot of lenses, but one that keeps getting a ton of views on YouTube is the Tamron 28-75mm F2.8. (Which may also explain why it’s always checked out from the DPReview gear cabinet.)
Chris: “Ah, the early days of DPReview TV when we were constantly struggling to acquire the cameras and lenses we needed. Fortunately, in this case, the older camera body was overshadowed by the fun locations we found.”
Macro photography with Don Komarechka
Before joining DPReview TV as a part time host himself, Chris and Jordan hosted renowned macro photographer Don Komarechka to share some of his macro photography magic.
Chris: “While it may look like some of our macro subjects were planned, Don just arrived in Calgary with a backpack full of macro gadgets, and we went to a park to see what we could find. I think that’s why the episode works so well, we’re all figuring it out as we go with the assistance of an absolute master macro photographer.”
Leica SL2 first impressions from Wetzlar, Germany
After traveling all the way to Leica headquarters in Wetzlar, Germany, Chris tried to score a free Leica for his birthday. Did it work?
Jordan: “One of the amazing things about making DPReview TV is the opportunity to meet the people responsible for some of our favorite cameras and lenses. The culture at Leica is very different from any other camera manufacturer, so it was a fun challenge to try and capture that difference with this video. Being able to shoot the episode using a $70,000 cinema prime didn’t hurt either!”
Travel tripod shootout
If you’re like us, you’re probably itching for the day you can travel again. In this travel tripod shootout, we compared four top models from Manfrotto, Peak Design, Gitzo and Surui.
Jordan: “The honesty of Chris’s kids in the intro delights me. Also, the ‘Tripod Vibration Calibration Device’ is a classic Chris idea that sounds ridiculous, but actually worked great.”
Nikon Z7 first impressions review
Remember when Nikon launched the Z6 and Z7? It was so top secret that Nikon arrived at our office with briefcases handcuffed to their wrists and black helicopters circling overhead. Chris and Jordan had to fly to Seattle where we tested the new models together in secrecy.
Chris: “On our first trip to Seattle we finally met all of the DPReview staff. Fortunately, they all turned out to be great people. Whew.”
Canon EOS 90D and M6 II at Michelin Raceway
Oh, how we miss travel. In this episode, Chris and DPReview editor Carey Rose put Canon’s subject tracking to the test at the Michelin Raceway in Atlanta.
Jordan: “I was unable to come on this trip, but had an unexpectedly fun time editing the footage. Chris and Carey have fantastic back and forth chemistry that I’d like to see expanded into a buddy cop series or sitcom.”
Laowa 24mm F14 probe lens
A long, narrow lens called the ‘probe’ is just begging for some NSFW jokes. So much, in fact, that Chris added a short intermission to the episode so you could do exactly that.
Chris: “When Laowa asked if we wanted to take a look at this lens, I was pretty unsure. It seemed like far too much of a niche tool to be interesting to many photographers. Of course, the 325,000 views proves I still never know when something will interest the masses.”
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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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