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.
A super fast fifty millimetre lens can be a lot of fun. But arguably it’s not the best all around type of lens to have; it’ll be bigger and heavier than a more modest speed fifty, and likely not as good stopped down. It’s more of an occasional use specialty lens. So it makes sense not to spend vast sums for a Leica Noctilux. No-one makes a modern f1.2; and if and when they do it will no doubt be extremely expensive and very big and heavy. That makes the better legacy 50mm f1.2 lenses well worth investigating.
This review is of one of the better contenders: The OM Zuiko 50mm f1.2. It has a reputation for being usably sharp in the middle wide open, and sharpening up to decent overall performance stopped down. Does it live up to this reputation? Read on!
We are happy to see that Sony keeps expanding it’s budget lens lineup. Especially the Sony FE 2/28 reflects a great value for the price, we also liked the Sony 2.8/50 Macro. The Sony FE 1.8/85 is the latest addition to it.
On the paper, the lens seems to hit a sweet spot between cost, brightness, size and weight. Let’s check if the lens can also deliver optically.
Since the introduction of the Sony A7-series cameras, many people asked for well performing f/2.8 zooms. Although it negates the approach of the small bodies, Sony listened to their customers and developed the no-compromise GM(aster) lens lineup. The Sony FE 2.8/24-70 GM is the first lens of this new series in our hands. In this review I will check the performance of my own copy which I have used for the last three months.
Hi Oliver, can you tell us a little bit about yourself and why you use manual Lenses?”
I am an industrial economist and live near Frankfurt, Germany. Photography has been my hobby for more than 25 years. When I started I was never satisfied with the image quality of analog 35mm film, so I turned to larger formats very soon. Most of my landscape pictures were taken with medium and large format cameras. Of course all lenses were manual focus, so I was accustomed to manual focus from beginning . 😉
With the Sony A900, I switched to digital cameras in 2008 and I was very satisfied with the possibilities of this new medium. At that time, the Sony-Zeiss 24mm SSM lens was my favorite and remained so for many years.
The next steps were the A7R in 2013 and, since last year, the A7RII. I switch slowly and flexibly (thanks to the LE-EA Adapter) from A- to E-Mount, also by reason of the fantastic Zeiss primes for E-Mount, lenses which I wanted to have for a very long time 😉 I use AF Lenses too, but for landscape pictures, I use them mostly by manual focus to get the best control of the depth of field. The Sony cameras are perfect for manual focus.
Since the introduction of the Contax Distagon 2.8/21 in the 1980’s, the 21mm lenses from Zeiss have a long and glorious history of being some of the best wide angle lenses in the world. While the Loxia 2.0/35 and the Loxia 2.0/50 are refined ZM-Designs, the Zeiss Loxia 2.8/21 is the first Loxia lens that features a new optical design. Lets have a look if the Loxia 2.8/21 can keep the heritage alive. 31/05/17 Update by Bastian: I have been using this lens regularly for a year now and Jannik asked me if there is anything I would like to contribute to his review, so I added a few notes and sample images.