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What you need to know before buying your first lens

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What you need to know before buying your first lens

Updated June 2021

A camera is nothing without a lens, and while the bundled ‘kit’ lenses sold with many interchangeable lens cameras (ILCs) are good enough to get started, they’re quite limiting. If you want to explore the full potential of your camera – and your own creativity – you should consider adding another lens or two to your collection. But with a bewildering variety of lenses out there, how do you know which ones are right for you?

In this guide we’ll lead you step-by-step through the process of understanding the different kinds of lenses available, and choosing the right one for your needs.

Lenses and sensors

Lenses themselves know nothing of the sensor mounted behind them, but different sized sensors change the visual impact of the lens (specifically the focal length and aperture) on the final image.

Among interchangeable lens cameras today there are three commonly-used sensor sizes: Four Thirds, APS-C and full-frame. The examples given in the rest of this article are lenses designed for full-frame bodies but we’ll also discuss what impact sensor size will have.

How are lenses named?

Looking at the lens pages on manufacturers’ websites can be a little intimidating for a budding photographer. Lens names often include long lists of letters and numbers, which certainly sound impressive but can also be thoroughly confusing. Luckily you can safely ignore most of them to start off with, and concentrate mainly on just a few factors:

  • Focal length – this defines how wide or zoomed-in a view the lens provides
  • Aperture – expressed as ‘F’ or ‘f/’ this describes how much light the lens can gather and its ability to blur the image background
  • Image Stabilization – some lenses include optical stabilization units to counteract the blurring effects of hand shake
  • Format – describes the sensor size the lens is designed to work with
  • Lens mount – determines whether the lens will physically fit your camera

We’ll look into each of these in more detail below.

Focal length

The first number used to describe a lens is its focal length; in combination with the camera’s sensor size, this defines the angle of view covered by the lens, with smaller ‘mm’ numbers indicating a wider angle or more ‘zoomed out’ view. Zoom lenses are named using two numbers which indicate the extremes of the range, for example 24-70mm for a typical kit zoom lens. Fixed focal length lenses which don’t zoom (also known as ‘prime’ lenses) just have a single number (e.g. 50mm).

Here, we can see this lens’ key specifications expressed in terms of its focal length span (‘zoom range’) which is 18-35mm, and its minimum aperture range, which is F3.5 at 18mm, and F4.5 at 35mm.

The image below shows how the angle of view varies with focal length. In this instance it shows the effect of these lenses mounted on a full-frame camera. The same focal length lenses, mounted on a smaller, APS-C sensor would give a narrower, more cropped-in angle of view, and an even narrower coverage if mounted on a Micro Four Thirds format camera.

The effect is as is as though you’ve ‘zoomed’ the lens, but instead you’ve only magnified a smaller portion of its projected image. As a result, the focal lengths that are useful on one sensor format will differ from those that you’d use for the same purpose on another sensor.

Illustration showing the coverage given by a series of popular focal lengths. These are shown for a full-frame sensor; each would cover a smaller area if used with an APS-C or Four Thirds sensor.
Lens type 35mm ‘full-frame’ APS-C / DX Four Thirds
Ultra wide angle 24mm and wider 16mm and wider 12mm and wider
Wide angle 28mm 18mm 14mm
Standard (Normal) 50mm 30mm 25mm
Telephoto 80mm and longer 55mm and longer 42mm and longer

For the sake of convenient comparison, lenses are often referred to by their ’35mm equivalent’ focal length; for example a 18-55mm kit lens for APS-C may be described as a 28-90mm equivalent. This means simply that an 18-55mm lens on an APS-C format camera covers the same angle of view as a 28-90mm lens does on a full-frame camera.

Aperture

The aperture specification of a lens describes how much light it is capable of gathering. Aperture simply means ‘hole’; in this context, the hole that lets light pass through the lens and onto your camera’s sensor.

Lens apertures can be expressed in several different ways, with F4, f/4, 1:4 all meaning the same thing. Confusingly, a smaller number means the lens has a larger maximum aperture – a bigger hole – and therefore can gather more light; an F2.8 lens collects twice as much light as an F4, for example.

‘Whole stop’ Aperture values
F1.4 F2.0 F2.8 F4.0 F5.6 F8.0 F11 F16

This table lists the common aperture values that are one ‘stop’ apart: each value lets in twice as much light as the one to its right.

A lens with a larger maximum aperture allows you to shoot in lower light, and (for example) take pictures indoors without using flash. Wide apertures also give decreased depth of field (i.e. how much of the picture in front of and behind the focus point appears sharp), which is an important aspect of creative photography.

Longer lenses give less depth of field for the same aperture, when focused at the same distance. And, because you need a shorter focal length to get the same image framing on an APS-C or Micro Four Thirds camera, you’d need a larger aperture if you want to achieve the shallow depth of field you’d get on a full-frame camera.

A large aperture such as F1.4 gives a shallow depth of field, blurring backgrounds and foregrounds to isolate a subject in a picture. The 24mm F1.4 used to take this picture also allows you to shoot indoors in low light without having to resort to flash.

It’s worth noting that lenses are usually described by their maximum aperture value. When you see an aperture range written on the side of a lens (e.g. F3.5-5.6), those are the maximum aperture values at the wide and long ends of its zoom range, respectively. You can usually reduce the size of the aperture if you need more of your image to be in focus.

Image stabilization

Image stabilization increases the amount of sharp images you get by correcting vibration caused (usually) by natural hand-shake when shooting without a tripod.

In-body stabilization (where the camera’s sensor moves to counteract accidental movement) is increasingly common, but many lenses offer their own stabilization mechanisms to compensate for shake. In-lens stabilization is especially effective when using long telephoto lenses, where in-body stabilization is generally not as effective. Many cameras can use in-lens stabilization in conjunction with their in-body systems, to provide a greater degree of correction.

Image stabilization systems reduce the blur caused by camera shake, allowing sharp pictures to be taken even in low light, at long focal lengths or at high magnifications.

If you own a camera that doesn’t have stabilization built into the body, you’ll probably want to consider buying stabilized lenses, especially when it comes to telephotos.

The various lens manufacturers all call lens-based optical image stabilization by different names, with corresponding initials in the lens names, so here’s what you need to look out for when buying:

  • Canon – Image Stabilization (IS)
  • Fujifilm and PanasonicOptical Image Stabilization (OIS)
  • Nikon – Vibration Reduction (VR)
  • Sony – Optical Steady Shot (OSS)
  • Sigma – Optical Stabilization (OS)
  • Tamron – Vibration Control (VC)

Format coverage

Having said that sensor format has a significant impact on the way lenses behave, it’s also worth considering that some lenses only work on certain sensor formats. In several instances, camera makers use the same mount for their APS-C and full-frame cameras. In most of these situations, full-frame lenses will work on the smaller APS-C models, but APS-C lenses end up restricting full-frame cameras to a cropped APS-C mode.

Some photographers start with an APS-C camera and then buy full-frame compatible lenses for it, to lower the amount of money they have to spend if they later buy a full-frame camera that uses the same mount. In general, we’d advise buying lenses that suit your needs now, rather than ones that may better suit a camera you don’t yet own.

Lens mounts

Each camera maker uses its own proprietary lens mount, meaning that lenses can’t be swapped across brands; a Canon lens won’t fit on a Nikon body, for example, and you’ll cause damage to both lens and camera if you try. The two exceptions are Micro Four Thirds, which was developed jointly by Panasonic and Olympus, and L-mount, a full-frame collaboration between Leica, Panasonic and Sigma.

Most companies are now focusing their efforts on their Mirrorless camera mounts, so this is where the newest and most advanced lenses are emerging. Many DSLR-mount lenses can be adapted to work on the mirrorless cameras made by the same brand (older designs are less likely to offer a full range of functions) but lenses for mirrorless cameras cannot be used on DSLRs.

Mount Mount type Sensor formats Notes
Canon EF DSLR • Full-frame
EF-S DSLR • APS-C Canon EF-S lenses cannot be mounted on full-frame DSLRs but other brands’ EF-mount APS-C lenses can.
EF-M Mirrorless • APS-C EF and EF-S lenses can be adapted to work on EF-M cameras
RF Mirrorless • Full-frame Most EF-mount lenses work well on RF mount via an EF/RF adapter.
Four Thirds
• Olympus
• Panasonic
Micro Four Thirds Mirrorless • Four Thirds
Fujifilm X Mirrorless • APS-C
L-Mount Alliance
• Leica
• Panasonic
• Sigma
L Mirrorless • Full-frame
• APS-C (TL)
Only Leica has made TL-mount (APS-C) cameras and lenses.
Nikon F DSLR • Full-frame
• APS-C (DX)
F-mount was modernized over many decades but only relatively modern ‘AF-S’ designs offer AF when adapted onto Z-mount cameras
Z Mirrorless • Full-frame
• APS-C (DX)
Pentax K DSLR • Full-frame (FA)
• APS-C (DA)
As with Nikon, there are variants of the K mount, but most lenses work with the latest DSLRs
Sony E Mirrorless • Full-frame (FE)
• APS-C (E)
Other lens makers use ‘E’ for both APS-C and full-frame lenses, so it’s worth checking which format they cover

A number of third party manufacturers, including Tamron, Tokina and Sigma make lenses for other makers’ lens mounts, with the older DSLR mounts benefiting from the widest support. Sony allows some third-parties to make lenses for its mirrorless E-mount system but Nikon and Canon have, so far, been protective of their new Z and RF mounts, meaning there are fewer third-party options available.

Zoom vs. Prime

Zoom lenses have become almost ubiquitous over the past few years, and at first sight buying a lens which is restricted to a single angle of view might seem pointless. But prime lenses still have some very real advantages; compared to zooms they tend to be smaller and lighter, have faster maximum apertures, and give sharper, cleaner images. These factors make them extremely useful for specific purposes, for example low light shooting or blurred-background portraiture where a large maximum aperture is advantageous.

Almost counterintuitively, the restrictive nature of using a single focal length can encourage creativity by forcing you to visualize your composition before you shoot. Shooting with primes forces you to think more about what you want to include and exclude from your photo and also makes you consider where you’re standing, and the impact this has on perspective in your image. For instance, a long focal length, shot from a distance can compress your subject and the background, whereas a wide-angle lens placed near your subject will exaggerate the distance between it and the surroundings.

Fixed focal length ‘prime’ lenses are often much smaller and lighter than zooms covering the same angle of view. This is Nikon’s Z-mount 35mm F1.8 lens alongside its standard 24-70mm F2.8 zoom – the size advantage is obvious.

Some popular lens types

Standard zoom

A standard zoom is a general-purpose lens that covers a range of focal lengths from wide-angle to moderate telephoto. The most obvious example is the kit lens that came with your camera (generally something like an 18-50mm for APS-C or a 24-70mm for full-frame). It offers versatility but can become limiting when you find yourself wanting to get more creative. The kit lens can be upgraded to an optic with more range or a faster F2.8 maximum aperture, with better optical performance, like the Canon RF 24-70mm shown F2.8 below.

Most manufacturers offer general-purpose upgrades to their kit lenses with expanded zoom ranges suitable for a wide range of subjects, such as this Canon RF 24-70mm F2.8.

Telephoto zoom

Often the second lens that photographers buy, a telephoto zoom effectively allows you to ‘get closer’ to your subject by enlarging it within the frame. It’s therefore useful for photographing such things as sports, wildlife, distant nature scenes, or children running around playing. By narrowing your field of view, a long lens can have the effect of compressing your subject and background, often making it appear as though the background is magnified and closer to your subject.

Telephoto zooms such as this Nikon Z 70-200mm F2.8 S allow you to zoom in on your subjects and compress them against the background.

Superzoom

Superzooms are all-in-one lenses which cover a full range of focal lengths from a moderate wide-angle to long telephoto. In one package they combine the range of the kit zoom that came with the camera, plus that of a telephoto zoom, and therefore make perfect general purpose travel lenses. The technical image quality is often not quite as good as two separate lenses, and the maximum aperture tends to be small (a higher F-number), meaning worse low light performance and less ability to achieve shallow depth of field. However, for many users this is more than made up for by their convenience.

Superzoom lenses such as the Tamron 28-200mm F2.8-5.6 Di III RXD encompass a wide range focal lengths from wide-angle to telephoto, in a relatively compact single lens.

Wide-angle zoom

A wide-angle zoom extends the angle of view out beyond that captured with the standard zoom, allowing you to capture broad sweeping vistas or architectural wonders. It’s therefore a popular choice for landscapes, cityscapes, architecture, interior shots, and night- and astro-photography.

Wide zooms such as the Sony 16-35mm F2.8 pictured here let you fit more in the frame.

Macro lens

‘Macro’ is used to describe a lens with extreme close-focusing ability, which allows you to take photographs of small objects such as insects or flowers. Some zoom lenses use ‘macro’ in their name to indicate closer-than-usual focusing ability, but true macro lenses tend to have fixed focal lengths. In general, the longer the focal length, the further away you can be from your subject. (Nikon calls these lenses ‘Micro’ or ‘MC’ lenses instead, which is technically more accurate.)

Macro lenses like the Sigma 105mm F2.8 DG DN Macro allow you to shoot closeups in fine detail.

Fast prime lens

Fast prime lenses come in all focal lengths, from wide angle to ultra-telephoto, but what they share in common is the ability to capture a lot of light, blur backgrounds and offer high optical quality.

We’ve traditionally found 35mm (or the equivalent 23mm or 17mm on APS-C or Four Third sensors) to be a pretty good do-everything focal length, in terms of not being too wide or too zoomed-in. An F1.8 maximum aperture can give shallow depth of field and lets you work in low light without the need for flash, while remaining compact and lightweight. Wider-angle and longer focal length primes are also available, as are lenses with even faster maximum apertures (F1.4 and brighter) that typically offer higher quality optics, let you work in lower light and give even shallower depth-of-field to help isolate your subject.

A ‘fast’ prime, such as this Canon 35mm F1.8, can let you shoot in low light without flash, while isolating your subject against a blurred background. They are also typically smaller than zoom lenses.

Other lens features

There are a few other aspects of build and operation which you may wish to consider when buying a lens:

Autofocus

Autofocus performance can vary significantly between lenses, and autofocus performance can make a huge difference between capturing the perfect moment at a sports event or social occasion and having a frustrating photographic experience.

Mirrorless camera systems are still relatively new, and there’s a subtle interplay of optical design and focus motor that effects performance. For instance the ring-type ultrasonic motors that were great for focusing on DSLRs aren’t as well suited to focusing on mirrorless cameras, particularly for the smooth, subtle movements required for video autofocus. As such, it’s difficult to make generalizations, so it’s worth checking reviews of the lens you’re planning to buy.

Electronic manual focus (‘focus by wire’)

Many modern lenses have no physical connection between the focus ring and the focusing lens elements, as was the case in older SLR and DSLR lenses. Many cameras use this to provide speed-sensitive manual focus, where a quick turn of the focus ring results in a bigger focus jump than a slow movement. This lets you jump quickly to the part of the focus range you want, but can be awkward if you’re trying to manual focus while shooting video.

To get round this, some cameras offer a ‘linear’ focus response mode, where the focus always moves by the same amount in response to how much you turn the focus ring: letting you practice and anticipate the amount by which you need to turn the ring.

Manual focus lenses

Although modern autofocus is excellent, there is still a huge number of manual focus lenses on the market. These include designs optimized for shooting video and traditional, high-quality designs, through to unusual, specialist lenses that would be near-impossible to make autofocus along with the creations of small companies without the experience (or access to lens mount protocols) to manufacture AF lenses.

Ultra-wide angle lenses, tilt-shift lenses and some very expensive lenses designed to be mechanically simple but optically excellent are out there, and are worth considering.

Build quality and weather sealing

Premium lenses often include weather sealing. This can extend from an o-ring around the mount through to a series of seals at every joint, as with this Panasonic lens.

As a general rule, the more expensive a lens is, the better built it is likely to be. The kit lenses that come with cameras tend to rather lightweight and plastic in construction. If you spend a bit more, you can get something more durable. Some lenses incorporate environmental seals against dust and water; in general this tends to be towards the top end of the price spectrum, but Pentax and Olympus in particular offer a decent range of mid-priced sealed lenses.

System addict…

One last word. When choosing a camera system to invest in, it’s important to appreciate that the lens has just as great an impact on the image quality as the camera. Lenses tend to last longer than cameras too, becoming obsolete less quickly than bodies, so it can be worth spending a little bit extra to get the quality or flexibility you really want. But, while DSLR systems are much more extensive, most new lens development is focused on Mirrorless cameras, so these may prove more future-proof.

Bear in mind that most mirrorless lens systems are still only a few years old, so they may be missing the type of lens you want, for now. That said, the system with most options isn’t inherently any better than a smaller system that includes all the lenses you need.

Even if you don’t have a very specific application that needs specialized lenses (or other accessories) in mind, it’s worth doing some research before committing to one system or another. Oh, and once bitten by the lens buying bug, many enthusiasts find it hard to stop; you have been warned…

Glossary

Angle of view – Describe the view offered by a lens, measured as the angle between the furthest extremes of the lens’s coverage. If this is confusing, imagine the view in front of you as a semicircle of 180 degrees: a ‘wide-angle’ lens can see a bigger segment of the semicircle than a ‘long’ (telephoto) one.

Depth of field – This describes how much of the scene in front and behind the point of focus appears acceptably sharp. An image with shallow depth of field leaves the background (and foreground) appearing blurry and out-of-focus. An image with deep depth of field contains a greater amount (depth) of sharp detail.

Fast / slow lens – An informal way of describing a lens’ aperture in terms of its relation to exposure time. ‘Fast’ lenses have large maximum apertures (low F-numbers), which allow the use of shorter, ‘faster’ shutter speeds. ‘Slow’ lenses have smaller maximum apertures, and typically require longer, ‘slower’ shutter speeds.

Focal length – Expressed in millimeters, focal length describes the angle of view of a lens. Telephoto lenses have a long focal length, and wide-angle lenses have a short focal length. The longer the focal length, the narrower the angle of view and the more zoomed-in it appears.

Long / wide lens – A way of describing the field of view offered by a lens. Long lenses are more zoomed-in, while wide lenses are zoomed-out and capture a wider angle of view.

Micro Four Thirds – A mirrorless system founded by Panasonic and Olympus, based around a 17.3 x 13mm sensor (224 sqmm) format known as Four Thirds. The system allows some very compact camera/lens packages, particularly for very long telephoto lenses. This system includes some high-end video cameras.

APS-C – A common sensor format used by interchangeable lens camera manufacturers. APS-C format sensors measure around 24 x 15mm (~360 sqmm), and this format offers a balance of image quality, size and price in between Four Thirds and ‘full-frame.’

Full-frame – A sensor format the same size as a frame of 35mm film – the dominant film format of the 20th and early 21st Centuries. Measures 36 x 24mm (864 sqmm), giving a significant image quality benefit compared to smaller formats, but resulting in larger, more expensive camera/lens combinations. Despite the name, sensor larger formats do exist, in sizes known collectively as ‘medium format’.

Prime lens – A lens with a fixed focal length, which cannot zoom in or out. A technical term not to be confused with Amazon Prime.

Zoom lens – A lens whose field of view (described in terms of focal length) can be adjusted, allowing you to zoom-in or out on a subject, to achieve a different composition without changing your position.

35mm / full-frame equivalent – A way of understanding the characteristics of a lens when used on a non-full-frame camera by relating it to the 35mm film format that’s familiar to many photographers. Most commonly used in reference to focal length: e.g a 28mm lens on an APS-C camera is equivalent to a 42mm lens on a full-frame camera.

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Ulanzi’s 52mm MagFilter Magnetic Filters offers interchangeable filters for smartphones

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Ulanzi’s 52mm MagFilter Magnetic Filters offers interchangeable filters for smartphones


Image: Ulanzi

Lens filters for smartphones are not a new concept. Designed to give photographers more creative and technical control over their images, there are several types on the market today that can control how much light comes into the camera, reduce reflections and flare or add more vibrancy to your images with different color tones.

Up until a few years ago, photographers wanting to add a physical filter to a smartphone would need to attach a clamped filter that sits at the top of the phone’s camera lenses or use a third-party smartphone lens with filters.

Although useful, clamps tend to be bulky and aren’t always the easiest to align with your camera. Third party lenses offer more accuracy, but good-quality options can cost in excess of $100, without the inclusion of filters.

Ulanzi aims to be different by offering a lightweight foldable adapter ring that snaps on to the center of your MagSafe compatible device or case, which the manufacture says leads to a quicker workflow and more accurate alignment of the filter to the camera lens on the back of the phone. On an iPhone 14 or 15 it works by magnetically attaching to the rear using Apple’s MagSafe attachment system.

For users without an iPhone, there are workarounds through the use of third-party smartphone cases with magnetic ring plates that emulating MagSafe. WIth such a case, you can attach Ulanzi’s adapter to the ring plate and use the filters as normal.

As we reported last week, the concept isn’t new. Tiffen recently released a similar product with its MagSafe 58mm Filter Mount. Both products approach a solution to adding filters in a similar manner but differ in design. The Ulanzi opts for compactness with a foldable design.

The Tiffen comes with one polarizing filter (you can buy other filters separately) at around $40. In contrast, the Ulanzi’s version comes as a kit for $219 with an ND filter, a polarizing filter, one soft focus filter and a selection of color effect filters. There’s a storage case as well. Having multiple filters packed in may be enticing to users seeking to experiment with different filters and want the simplicity of having them all packaged together.


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Tamron announces 28-75mm F2.8 Di III VXD G2 for Nikon Z mount

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Tamron announces 28-75mm F2.8 Di III VXD G2 for Nikon Z mount


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Tamron has announced it will release its popular 28-75mm F2.8 Di III VXD G2 fast standard zoom for Nikon’s Z-mount.

Nikon already sells a 28-75mm F2.8 with an optical formula and calculated MTF charts that are a match for Tamron’s original, stepper-motor driven 28-75mm F2.8 Di III RXD. The newer, linear-motor-driven G2 model features improved optical performance.


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The G2 uses a more complex 17 element / 15 group design and has a fractionally shorter minimum focus distance (18cm/7.1″ vs 19cm/7.5″) to deliver very slightly increased maximum magnification. The G2 is also a fraction lighter than the Nikon-branded 28-75mm, weighing 550g (19.4oz), rather than 565g (19.9oz). On the E-mount versions, Tamron claimed the VXD linear motor design was twice as fast as the RXD version.

The focal length range makes the 28-75mm a wide to short-telephoto lens for Nikon’s full-frame Z-mount cameras but could, in principle, be used as a 42-113mm equivalent on DX APS-C bodies, if you wished.

Click here to see the Tamron 28-75mm F2.8 G2 gallery shot on Sony E-mount

The announcement adds a more affordable option for Nikon’s Z-mount users, but the hope has to be that, letting Tamron compete against its own-brand lenses, might also indicate some relaxation of Nikon’s restrictions around the mount. As the footnotes make clear, this lens is “developed, manufactured and sold under the license agreement with Nikon Corporation.”

The Tamron 28-75mm F2.8 Di III VXD will be available from April 18th at an MSRP of $999. This is $100 more than the E-mount version and a match for the current price of the Nikkor Z 28-75mm F2.8. It’s $200 below Nikon’s launch price for the Nikkor version.

TAMRON announces the launch of fast-aperture standard zoom lens for “Nikon Z mount system”

28-75mm F/2.8 Di III VXD G2 (Model A063) for Nikon Z mount

March 27, 2024, 11pm ET / 8PM PT, Commack, NY – Tamron announces the launch of the 28-75mm F/2.8 Di III VXD G2 (Model A063), a fast-aperture standard zoom lens, for Nikon Z mount full-frame mirrorless cameras1. The lens will be available April 18, 2024, at $999 USD / $1399 CAD.

The 28-75mm F2.8 G2 is compact and easy to use yet has excellent optical performance and is compatible with the latest digital cameras with increasingly high pixel resolution. The AF drive uses a linear motor focus mechanism VXD (Voice-coil eXtreme-torque Drive) that is fast, highly accurate and quiet. The lens also excels at close-up shooting, achieving an MOD (Minimum Object Distance) of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7. Additionally, the lens design takes operability into consideration by including a coating with excellent scratch resistance on the barrel of the lens and a rubber focusing ring for a comfortable, secure grip among other features.

TAMRON pioneered the category of compact fast-aperture standard zoom lenses for mirrorless models. Now the 28-75mm F2.8 G2 will be available for Nikon Z mount as the ideal everyday lens for Nikon full-frame mirrorless camera users.

Product highlights

1. Best image quality in the standard zoom lens class

The new zoom leverages the latest design expertise and comprises an optical construction with 17 elements in 15 groups. Two optimally arranged LD (Low Dispersion) and GM (Glass Molded Aspherical) lens elements control optical aberrations to the highest degree. The lens provides high-resolution performance from edge-to-edge and corner-to-corner over the entire zoom range, even at wide open aperture. In addition, the soft, beautiful, round bokeh that can be achieved with a fast-aperture lens adds a distinctive dimension, especially to portraits. The overall compact size and high performance can be used advantageously with top-class, ultra-high-resolution mirrorless cameras.

2. Fast, quiet VXD linear motor for high-speed and high precision autofocus

The AF drive system employs TAMRON’s VXD linear motor focus mechanism. The high-speed, high-precision AF is exceedingly responsive and provides dependable and accurate focusing performance from MOD to infinity, despite the fast F2.8 aperture. The lens delivers excellent focus tracking of moving objects, so you are always ready for fast action. Additionally, the focus motor is quiet, so it’s ideal for shooting both still images and video in situations that demand low noise.

3. Lightweight and compact

The 28-75mm F2.8 G2 is a fast-aperture standard zoom lens with a remarkably compact and lightweight design, just 4.7” (119.8mm) long. The maximum diameter is 75.8mm and it weighs only 19.4 oz. (550g). Filter size is 67mm. With a size that’s easy to carry and a light weight that’s well-suited for handheld shooting for extended periods, the 28-75mm F2.8 G2 will surely become your favorite zoom for travel, street shooting, everyday carry, and spontaneous photo opportunities.

4. MOD of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7 for creative close-ups

The 28-75mm F2.8 G2 features an MOD of 7.1” (0.18m) at the wide end. The working distance shrinks to around 1.7” (4.4cm) when used at MOD. Because the maximum magnification ratio is 1:2.7, you can get close to your subject for wide macro photography, enabling powerful visual impact with the subject positioned large in the frame while keeping a wide view of the background.

5. TAMRON Lens Utility™ expands the possibilities of still photography and video shooting

The 28-75mm F2.8 G2 is compatible with the dedicated TAMRON Lens Utility software developed in-house by TAMRON that empowers users to easily update the lens to the latest firmware without going through the camera2 and includes functions to support focusing operations and other actions when shooting still images or video. By utilizing a wide range of functions3, users can expand the breadth of expression in still images and video. For example, A-B Focus allows users to limit focusing to two pre-selected focus points, shifting focus from one subject to the other with just a click of the Focus Set Button. Users can also choose between Linear and Non-Linear, which affects how the focus shifts during manual focusing.

6. Enhanced overall lens design for user-friendly operation

Every individual part of the lens has been carefully scrutinized, right down to the fine details, resulting in an enhanced design that optimizes both operability and ergonomics. The surface of the lens exterior is glossy black. Improved abrasion resistance makes the lens barrel harder to scratch and resists fingerprints. Additionally, the grip performance has been improved. The smoothly curved, elegant surface of the brand ring creates a dignified appearance with a design that signifies functional beauty and high quality.

7. Moisture-Resistant Construction and Fluorine Coating provide extra protection

1. The lens for Sony E-mount previously launched on October 28, 2021.

2. To connect your PC and lens, use the TAMRON Connection Cable (USB Type-A to Type-C/ Model CC-150, or USB Type-C to Type-C/ Model CC-350) sold separately. To connect your smartphone and lens, use the TAMRON Connection Cable (USB Type-C to Type-C/ Model CC-350) sold separately. Lens firmware updates are not supported with the Mobile version. Performing firmware updates requires the TAMRON Lens Utility for PC and a computer.

3. The ring function (Focus/Aperture) is not supported for Nikon Z mount.

Tamron 28-75mm F2.8 Di III VXD G2 specifications

(Length and weight refer to E-mount version)



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Sony announces major firmware upgrades for a1, a9 III, a7S III and a7 IV

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Sony announces major firmware upgrades for a1, a9 III, a7S III and a7 IV


Photo: Dan Bracaglia

Sony has announced major firmware updates for four of its current full-frame range, bringing many features and behaviors up to its latest standards and adding C2PA authenticity verification capabilities.

Sony a1 f/w v2.00

Firmware v2.00 for the Sony a1 is perhaps the most extensive, adding features that have appeared in other models in the three-and-a-bit years since it was launched, such as the lens breathing compensation function. It also adds a handful of new features and modifications of behavior, including an option to ensure the EVF remains on, regardless of the LCD position, and relay playback of images across multiple media. Among the extensive list of additions an updates are features such as Timecode Sync, previously only available in Sony’s Cinema Line cameras.

A series of FTP options, including SFTP support are also added.

The firmware doesn’t activate the C2PA function – which not only authenticates the camera and date/time but also that the photo is of a 3D subject, not a photo of a photo – but instead adds the capability to the camera. Once installed, users need to activate a separate license via the Creators’ App to use the function.

Sony a7S III f/w v3.00

Firmware v3.00 brings many of the updates seen in the a1, including Timecode Sync, breathing compensation and relay playback. It also adds the ability to close the mechanical shutter when the camera is turned off, to mitigate dust ingress, and the ability to transfer Raw files to smartphones.

In addition to the C2PA capability, firmware v3.00 includes the ability to add DCI 4K 24p shooting. Again a license needs to be downloaded to a camera running the new firmware to actually activate the function.

Sony a7 IV f/w v3.00

As one of the most recently updated cameras on this list, the a7 IV gains fewer features than the other cameras here. But in addition to C2PA capability, it adds network streaming, direct cloud upload support and an expansion of the features accessible via software development kit (SDK).

Sony a9 III f/w v2.00 [Expected April 9th]

As the newest of the cameras here, the a9 III receives fewer additions and updates than the a1 and a7S III, as in many instances they are gaining the features that the latest a9 introduced. However, in addition to details such as outputting lens names in video file metadata, the a9 III gains the promised ability to use the camera’s full shutter speed range when continuous shooting. But beyond this, the a9 III gains a small array of feature expansions and refinements being added across the four cameras, including the ability to extract stills from video capture, to take advantage of its lack of rolling shutter.

{PressRelease}

Sony Electronics Delivers Firmware Updates including C2PA Compliancy as a Next Step to Ensure Authenticity of Images

SAN DIEGO, March 27, 2024 – Today, Sony Electronics delivers the highly anticipated firmware updates for the Alpha 1 (Ver. 2.00), Alpha 7S III (Ver. 3.00), Alpha 7 IV (Ver. 3.00), and after April 2024, the Alpha 9 III (Ver.2.00). The update contains some of Sony’s most impactful technology, including Camera Authenticity Solution, the proprietary in-camera digital signature and C2PA (Coalition for Content Provenance and Authenticity) format support1. Together, these tools will make it possible for news agencies to ensure the authenticity of images, contributing to industry efforts to protect creators, and society from fake imagery.

Additionally, the firmware updates include many requested features to improve everyday use. The update evolves shooting functions and post-shooting workflow and brings advanced movie features like breathing compensation. It also includes new remote-control capabilities, new features for professional applications, and expanded access to cloud services applications.

“There is nothing more core to our mission than listening to the voices of the photographers, videographers, and filmmakers who shoot with Sony Alpha cameras. We know this community has been asking for these updates, and we’re happy to deliver. Each of these updates are designed to promote ease of use for our creators and allow them to maximize the strengths of their cameras,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We’re especially pleased to deliver C2PA compliancy with this update. This compliancy paired with our unique digital signature technology, allows us to offer the most secure and comprehensive solution to protect professional photographers, news agencies, and society from manipulated imagery.”

Camera Authenticity Solution

Last year, Sony announced its commitment to developing technology in its cameras to aid in the fight against manipulated imagery and AI-generated fakes. The severity of this issue is only increasing and it’s a complex problem that requires the focus and attention of our entire industry.

One critical part of the solution is making more Sony cameras C2PA compliant. C2PA is a Joint Development Foundation project, where Sony is a steering committee member. C2PA aims to develop an end-to-end open technical standard to provide publishers, creators and consumers with opt-in, flexible ways to understand the authenticity, and provenance of different types of media. The C2PA is a standards-setting body that will develop technical specifications on content provenance and authentication by certifying the source and history of media content. With this firmware update, the authenticity information embedded on images from Alpha 1, Alpha 9 III, Alpha 7S III, and Alpha 7 IV can be maintained from capture through publication. This provides professional photographers with the ability to preserve their digital signature from the camera, while tracking the editing history throughout revisions.

Another critical component of the solution is Sony’s in-camera digital signature technology2 that signs images in real-time. This new feature certifies the authenticity of an image at the point of capture and creates a ‘digital birth certificate’ that is retained throughout revisions. The signature contains metadata including 3D-depth information captured through the proprietary technology in the image sensor developed by Sony. This depth information can show if the image captured was of an actual 3D object, vs a photograph of an image or video, providing an extra level of protection and even more assurance of the content’s authenticity, and making Sony’s solution especially unique for photojournalists and news agencies.

Sony’s solution also helps protect the authenticity of content by including an Image Validation Site, which verifies the image even after edits have been made by C2PA-compliant editing software. This service confirms the authenticity of the photo was taken by a specific camera and that the object of the photo is 3D. This service will initially be offered to select news media agencies, expanding to other agencies at a later date.

Sony’s Camera Authenticity Solution overview diagram
Example image of 3D Image verification

Shooting and Playback Updates

The firmware updates include over 10 new features, as well as improvements to existing features, designed to improve the user’s overall shooting experience. These improved capabilities showcase Sony’s commitment to continuing to evolve the functionality of Sony’s existing camera models. A few highlights of the firmware update functions include:

  • Relay Playback: Enables seamless sequential playback from one memory card slot to another on the Alpha 1, Alpha 7S III, and Alpha 9 III.
  • Playback Filter Condition: Lets users categorize image playback based on select criteria including date, folder, file format, and more on the Alpha 1 and Alpha 7S III
  • Breathing Compensation: The highly requested Breathing Compensation function3 is now available on the Alpha 1 and Alpha 7S III.
  • Upgrade DCI 4K / 24.00p Upgrade License on Alpha 7S III: via a free downloadable license through Creators’ Cloud4.
  • Sync Release function: Enables simultaneous shutter release with two or more multiple cameras connected to the main camera5 on the Alpha 1 and Alpha 9 III.
  • Focus frame display: Focus frame will be displayed on the Remote Camera Tool screeniii on the Alpha 1 and Alpha 9 III.
  • Enhanced image stabilization: The camera body and lens effectively work together to correct larger blurs6 on the Alpha 1.
  • Increased upper limit of recordable images in a folder from 4,000 to 9,999 on the Alpha 1, Alpha 7S III, A7 IV, and Alpha 9 III.
  • Matching the time code with other devices is now possible with a dedicated adapter cable (sold separately)7 on the Alpha 1 and Alpha 7S III.
  • Up to 20 IPTC presets can be on the Alpha 1 and Alpha 7S III.
  • Custom Grid Line is available as a paid license basis for some models8.

File Transfer and Network Connectivity

Additional updates aimed to optimize the post-production workflow efficiency include improvements to International Press Telecommunications Council (IPTC) preset and File Transfer Protocol (FTP) transfer operability. To streamline processes for users, expanded cloud upload and application services will be available. Key updates include:

  • Cloud upload (camera direct) function allows users to upload images directly to the Sony’s Creators’ Cloud9. Key additional features include simplified camera software updates, direct camera registration to the Creators’ Cloud, and a flexible system for uploading, storing, and sharing content. Additionally, the capability to manage video and LUT files via mobile apps, along with the transfer of RAW files to smartphones, optimizes the creative process in fast-paced environments.
  • FTP Transfer Improvements: A “Protected Images Only” option for the Auto FTP Transfer and a “Protect Image in FTP Transfer” option for the FTP transfer function have been added. Available on the Alpha 1, Alpha 7S III, and Alpha 9 III.
  • Support for USB streaming10 on the Alpha 1.
  • Secure File Transfer Protocol (SFTP) has been added to secure protocol on the Alpha 1, Alpha 7S III, and Alpha 9 III and WPA3-SAE is now supported for wireless LAN on the Alpha 1 and Alpha 7S III.
  • Network streaming enables direct live streaming from the Alpha 7 IV to a streaming sitevii.
  • Expansion of app support with Creators’ App and Monitor & Control app now supported with the Alpha 1 and Alpha 7S III.

Many of these updates are applicable to multiple cameras, however for a list of each body’s specific update please check the Sony website.

Exclusive stories and exciting new content shot with Sony’s imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony α – Alpha brand.

1. This feature is available to some news organizations at the press release timing.
2. Both Sony’s in-camera digital signature technology and C2PA compliancy are currently available through a separate upgrade license.
3. For compatible lens information, please refer to the support page (https://www.sony.net/dics/breathing/)
4. For regional app/service availability, check here. To use this service, it is necessary to download and install the upgrade license.
5. Remote Camera Tool Version 4.1.0 is required to activate the function.
6. For compatible lens information, please refer to the support page (https://www.sony.net/dics/func1002/)
7. A dedicated adapter cable, which is sold separately, is required to connect to the timecode source equipment.
8. Availability varies depending on country and region. Available through the Upgrade and License Management Suite at https://ulms.sony.net.
9. For regional app/service availability, check here. Creators’ App Ver.2.3.1 or later is necessary. Settings must be made in the Creators’ App in advance. For more information, please visit the Creators’ App support website (https://www.sony.net/ca/help/opr/)

10. When connecting to a device with a USB Type-C port, please use a commercially available USB cable or a conversion adapter.

{/PressRelease}



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