Sigma 35mm 1.2 Art DG DN – Sigma 35mm 1.4 Art DG – Sigma 40mm 1.4 DG
Sigma now offers the DSLR designs 35mm 1.4 Art and 40mm 1.4 Art and the newly designed 35mm 1.2 Art for Sony E-mount cameras. Let us find out what the differences between those 3 are and if there is a reason to get one of the bigger, heavier and more expensive lenses.
Shoot out: SMC Pentax-M 135mm f/3.5 vs. Canon nFD 135mm f/3.5 vs. Panagor PMC auto tele 135mm f/2.8
In my search for a compact but good budget telelens I came across the SMC Pentax-M 135mm f3.5 and the Canon newFD 135mm f/3.5. Later, I also found a Panagor PMC auto tele 135mm f/2.8 in Canon FD mount. These lenses are cheap, light, and small, but how do they perform?
Disclaimer: I only tested one sample of the Canon and Panagor, and two samples of the Pentax. Since these lenses are old there might be more sample variation than usual, other samples might perform slightly better or worse. Both Pentax samples displayed similar performance.
Cover glass from the Sony A7, A7II, Kolari version 2 mod, and Kolari Ultra-Thin mod (from Kolari’s website )
Most rangefinder lenses used on a Sony a7 series camera show some serious issues because of the rather thick filter stack in front of the sensor. There are two ways to deal with this. We have previously discussed the use of front filters to counter the induced field curvature. In this article Sebboh reviews another solution.
This is an extended use review of the Kolari Ultra Thin (UT, also sometimes referred to as version 4) sensor stack modification on a Sony A7. This modification removes the AA filter and IR cut filter from a stock Sony camera and replaces it with an ultra thin 0.2mm thick IR cut filter in order to attempt to provide similar levels of performance to the Leica M9 in dealing with the steep ray angles often produced by rangefinder lenses designed for film. I have shot a UT modified Sony A7 for 6 months now and can confirm that it dramatically improves performance with certain lenses (big thanks to Nehemiah for letting me use his lenses and cameras for the comparisons shown here). I will try to outline what kind of improvements can be expected here and what drawbacks there are to getting the conversion done.
Sony A7 Kolari UT | Carl Zeiss Contax G 21mm f/2.8 Biogon | f/11
This is the long promised Sony FE 1.8/85 vs. Sony FE 1.4/85 GM shootout. This article should clarify what the differences between these lenses are. Even the physical appearance sets both lenses apart. Does the FE 1.4/85 GM also punch in a higher class optically, or just in terms of size and weight? Let’s find it out.
This is a classic shootout article. For sample images and further informations, check out the dedicated lens reviews of the Sony FE 1.8/85 and the Sony FE 1.4/85 GM (coming soon).
With the Sony A6500, Sony has entered the terrain of semi-professional crop cameras. The camera is significantly higher priced than other Sony APS-C cameras, and is directly competing with other smaller format flagship cameras like Fuji X-T2, Nikon D500, Olympus OMD-EM1 Mk2 or the Canon Eos 7D Mk2.
Furthermore, the Sony A6500 is now similarly (or even higher) priced than the Sony A7II. This leaves open the question for many people as to whether they should really spend that much on an APS-C camera, or if they should get a full frame body instead. The comparison is obvious, and legitimate, because the cameras share a few key specifications – like sensor resolution, mount, and sensor stabilization. Let’s check what sets these cameras apart from each other.
Sony α | Leica M | Nikon F/Z New article every week
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