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Sony FE 28-70mm F2 GM Review | Anything Canon can Do, Sony Can Do Better?
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Nov 19, 2024
Photographer Dustin Abbott shares a deep dive review of Sony's new ultimate portrait zoom - the 28-70mm F2 GM. Is this the one you've been waiting for? | This episode is sponsored by Fioboc. Visit Fioboc.com and use code DUSTIN20 for 20% off everything. | Read the Text Review: | Visit the Image Gallery | Check out the DA Merch here: https://bit.ly/TWIMerch | Become a Patron: https://www.patreon.com/dustinabbott | On the Web: http://dustinabbott.net/ | Sign up for my Newsletter: http://bit.ly/1RHvUNp | Instagram: http://bit.ly/DLAinsta | Facebook: http://on.fb.me/1nuUUeH | Flickr: http://bit.ly/1UcnC0B | 500px: http://bit.ly/1Sy2Ngu Follow Craig @ https://www.instagram.com/craigstoffersen/ Want to support this channel? Use these affiliate links to shop at: B&H Photo: http://bhpho.to/1TA0Xge Adorama: https://howl.me/cjU0LKdp3LN Camera Canada: http://bit.ly/DLACameraCan Sony Canada: https://www.thesonyshop.ca/?ref=abbott Amazon: https://amzn.to/3HrY64d Amazon Canada: https://amzn.to/3qG1p18 Ebay: http://bit.ly/DustineBay Into the AM Clothing: https://bit.ly/intotheAMda and use code DUSTIN10 for 10% off Fioboc Clothing: https://tinyurl.com/FiobocDA20 and us code DUSTIN20 for 20% off Make a donation via Paypal: https://www.paypal.com/paypalme/dustinTWI ============================= Table of Contents: ============================= 0:00 - Intro and Concept
View Video Transcript
0:00
[Music]
0:10
hi I'm Dustin Abbott and I'm here today
0:12
to give you my review of the new Sony 28
0:15
to 70 mimet F2 GM lens now for years
0:19
Sony shooters were jealous of Canon's
0:21
own 28 to 70 mm F2 lens but I think that
0:26
that script is about to flip at this
0:28
point because the new Sony GM lens is
0:31
11% smaller it is 36% lighter has much
0:36
better autofocus it's sharper and it
0:39
cost even less and so I guess the
0:42
question is is the new Sony 28 to 70 mm
0:45
F2 GM the prototypical bag of primes
0:49
that people have been looking for well
0:51
let's explore together in today's review
0:54
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f.com so we'll start by talking about
1:47
the build and handling the feature set
1:49
here obviously this is a large lens but
1:53
as noted in the intro it is a smaller
1:55
lens than the equivalent RF lens on
1:58
Canon it is 11 % smaller and it is 36%
2:02
lighter keeping the weight well under a
2:05
kilo whereas the Canon lens is
2:07
considerably over a kilo in weight in
2:09
fact this lens is about the same size as
2:11
the original uh 24 to 70 mm f2.8 G
2:16
Master now the G Master Mark II lens is
2:18
smaller but this is basically the same
2:21
size as that original lens and so just
2:23
to give you those Dimensions it is 92.9
2:26
mm or 3 and 3/4 in in diameter with 86
2:30
mm front filter thread which is you know
2:33
on the larger sides obviously but
2:35
unfortunately physics requires there be
2:38
a very large ENT entrance pupil for this
2:41
kind of optical design to work so yes
2:42
you get a big filter thread up front but
2:45
I mean it's not like uh there aren't 86
2:47
mm filters out there so not the end of
2:49
the world necessarily now the overall
2:51
length is right under 140 mm or about 5
2:56
and 5/8 in in overall length the weight
2:59
here is 918 G or just right over 32
3:04
o now we have the typical broad spectrum
3:08
of features that are a part of this
3:10
design Sony definitely makes these G
3:12
Master lenses to be hybrid in the sense
3:14
that they really work well for either
3:16
Stills or video so that starts with the
3:18
approach to the aperture control here
3:20
aperture is available either clicked or
3:24
by clicking the switch on the lower
3:26
right side of the lens you can declick
3:28
that for doing smooth aperture you're
3:29
racking you have the ability to employ
3:32
an iris lock so that can either lock you
3:34
into the manual focus ring or it can
3:36
lock you out of the manual focus ring if
3:39
you uh prefer to have the clicks it is
3:42
clicked every onethird stop and of
3:44
course the full stops are marked here
3:47
interesting approach instead of having a
3:49
zoom lock this does have a very minor
3:51
extension about 10 mm of additional
3:53
extension when you're focused out
3:55
towards 70 mm however you do have the
3:58
option here on the right side of the
4:00
barrel to choose between either a smooth
4:02
or a tight ring and so if you use the
4:05
smooth it's easy to just zoom in and out
4:07
here no problem if you employ the tight
4:10
you still can zoom but there's a whole
4:12
lot extra damping or weight on that and
4:15
so it's not as quick of an action the
4:17
reason for this I've actually seen this
4:19
mostly just employed on telephoto zooms
4:22
before is that rather than having a zoom
4:24
lock you can instead employ this because
4:26
what this allows you to do is basically
4:28
select whatever particular focal length
4:30
that you want and so if you're really
4:31
wanting to shoot say at 55 mm you can
4:35
employ that tight setting and it's
4:38
pretty much going to keep you locked at
4:39
that particular focal length you can
4:41
move it if you want but it's very
4:42
unlikely that you're going to just
4:44
inadvertently bump and move it so very
4:46
useful for that useful if you're
4:47
carrying it on a harness even if you're
4:49
getting a little bit of rubbing you know
4:51
as you walk along it's probably not
4:52
going to move that along so a really
4:54
nice kind of extra feature that's
4:56
employed there we have two different uh
5:00
function or custom buttons here one on
5:02
the left side one on the top and so you
5:04
have it either in a horizontal or a
5:06
vertical shooting position you have an
5:07
AF MF switch there as well we have a
5:10
thorough weather ceiling all throughout
5:12
starting with the gasket at the lens
5:14
mount coating on the front element and
5:16
then seal points all throughout and so
5:19
obviously a professional grade lens with
5:20
a professional grade of build now the
5:24
body itself is a mixture of metals and
5:27
engineered Plastics it feels tough it
5:29
feels durble it feels like a g Master
5:31
lens basically everything that you would
5:33
expect at this point our maximum
5:35
magnification comes at 70 mm it's a 38
5:40
CM uh minimum Focus distance all
5:42
throughout the zoom range so at 70 mm
5:44
you can achieve a maximum magnification
5:46
of 0.23 times magnification so right
5:49
under a 1:4 ratio uh not like incredibly
5:52
high but certainly high enough to be
5:54
useful to get closeup shots to add some
5:57
creativity to your work now the included
6:00
lens hood here it not only has a locking
6:02
mechanism it also has a place where you
6:05
can access filters when it's mounted so
6:07
if you're using a circular circular
6:09
polarizing filter or something similar
6:11
you can reach in there and you can
6:12
rotate it without having to reach in
6:14
from the front it also comes with the
6:17
typical nylon pouch that is included
6:19
with GM lenses like this the aperture
6:23
Iris itself has 11 blades which allows
6:25
you to have a nicely circular aperture
6:27
but also means that when you stop down
6:30
to small apertures you're going to get a
6:32
22p pointed Sunstar that at 28 mm it
6:35
looks pretty good as you can see here
6:38
overall a very nice level of build and
6:41
while the final price has not been
6:42
released as of the day that I'm doing
6:44
this review I expect it to be somewhere
6:46
in the 28 to$ 2900 us range making it
6:50
somewhere between1 and $200 cheaper than
6:53
what the equivalent Canon lens is so
6:55
overall a very nice package here that
6:57
manages to be smaller and life but as
6:59
we're about to see even higher
7:02
performing that higher performance
7:04
starts with the autofocus design I
7:07
really applaud what Sony has done with
7:09
their kind of more exotic type lenses
7:12
those are the lenses where in previous
7:14
generations autofocus would be slowed
7:16
down more sluggish rougher but now what
7:19
we're seeing is that by them employing
7:21
multiple Focus Motors in fact in this
7:23
case we have four of their XD which
7:26
stands for extreme Dynamic linear Motors
7:29
that are employed here so with those
7:31
four Motors it means that it provides
7:33
enough thrust to make autofocus really
7:36
as fast as a good telephoto lens in fact
7:39
they've designed this lens where it can
7:40
keep up with 120 frames per second uh
7:43
when shooting with the A9 Mark I for
7:45
example or for those that are video
7:47
Shooters to have real-time autofocus
7:50
even if you're shooting at 120 or even
7:52
240 frames per second during video
7:55
capture so having all of that thrust
7:57
means as you can see here that your
7:59
typical autof Focus changes are
8:00
basically just instantaneous it's goes
8:02
from one point to another no drama in
8:04
between no you know obvious movement at
8:07
all it just does it and so autofocus
8:09
it's extremely fast it's extremely quiet
8:12
it's extremely smooth and thus thus it
8:15
is great whatever you're doing if you're
8:17
trying to capture action for example
8:19
like the basketball a action that I've
8:21
captured here plenty of speed there to
8:23
keep up shooting on my Alpha 1 um also
8:26
if you're wanting to shoot portrait
8:27
sessions you have the ability to lock Lo
8:29
onto the eye or in wedding scenarios
8:32
where you're going to get just well
8:33
focused results even in lower lighting
8:36
conditions I didn't really see any slow
8:37
down this lens is really fast and
8:39
autofocus is fantastic so for Stills
8:43
you're going to be delighted with the
8:44
lens's performance when it comes to
8:46
Stills and you will be equally delighted
8:48
when it comes to the video performance
8:51
first of all while this lens isn't
8:52
perfectly power focal it is very close
8:55
to it close enough that even if you were
8:57
in manual focus and you were just doing
8:59
a a zoom shot you probably would be okay
9:02
but if you have autofocus engaged as you
9:03
can see here it is so smooth and making
9:06
whatever little micro adjustments it
9:08
needs to that you really just don't
9:09
notice autofocus at work so as a
9:11
byproduct you're able to get really good
9:13
performance um that allows you to have
9:16
something very similar to a par focal
9:19
type
9:19
experience that smoothness of the focus
9:23
Motors carries on to the focus pools and
9:25
as you can see here they're really
9:26
beautifully damped uh very confident
9:28
going back and forth but they're not
9:30
jumpy um it's it's a nicely smooth
9:33
experience there you also will see that
9:36
there's extremely low Focus breathing
9:38
and that's with Focus breathing
9:39
compensation turned off obviously
9:41
whatever little tiny bit is there you
9:43
could eliminate by turning that on in
9:45
your camera body I will also note that
9:48
that translates to a really I I it
9:50
really stood out as being exceptional in
9:51
my hand test and that not only is it
9:55
confident transitioning from the hand to
9:57
the eye and back but because Focus
9:59
breathing is so low there is there's no
10:01
obvious Focus change it's just as if the
10:04
hands in Focus then the eyes in the
10:05
focus then the hands in Focus it's
10:08
really really great performance I can
10:09
see this being a great lens for if
10:11
you're wanting to do interview type
10:13
shots and where you're pulling from one
10:15
uh subject to another very very smooth
10:17
performance when it comes to that I also
10:20
found that just in general out in
10:21
shooting video clips that if there shots
10:24
that I included some kind of focus
10:26
change that focus is not jarring or
10:29
abrupt but it is nicely cinematic in the
10:31
way that it moves from one subject to
10:32
another so if you're wanting to use
10:34
autofocus during video capture this is
10:36
really about as good as what I've seen I
10:39
also have been filming another number of
10:40
my video episodes for this channel
10:43
obviously I couldn't advertise that I
10:44
was using it since the lens was still
10:46
under embargo but uh I've had perfect
10:49
results for that it's locked on
10:50
perfectly on my face the footage has
10:52
looked really nice and chrisp so it's a
10:54
great video lens as well so how about
10:57
the image quality now I'll give you an
10:58
over viiew here and there will be a deep
11:00
dive breakthrough at the end of the
11:02
video Optical design here is 20 elements
11:05
in 14 groups that includes a lot of
11:07
different exotic elements for one it
11:09
includes three of Sony's kind of unique
11:12
um extreme aspherical elements their XA
11:15
elements three is the most that they've
11:17
ever put in any Optical design before it
11:20
also has one extra low dispersion
11:22
element three super low dispersion
11:24
elements and then three normal
11:26
aspherical elements as a part of that
11:28
what I found that has stood out to me
11:30
about this lens is that even when you're
11:31
shooting at The Wider focal length even
11:33
like 28 mm you can see from this shot
11:35
for example that there's just really
11:37
good three-dimensional pop if you're in
11:39
that range of uh you know 2 to 3 m 8 to
11:43
10 feet I just found really good
11:45
three-dimensional pop with a background
11:47
that is blurred out and a subject that
11:49
really stands out so really great micro
11:51
contrast all throughout I also noted
11:54
that when it comes to the fact that they
11:56
stayed at 28 mm rather than trying to go
11:58
to 24 m mm means that there's a payoff
12:01
in terms of the optical performance uh
12:03
there is very minimal Barrel Distortion
12:05
at 28 mm A Plus 8 to correct nothing
12:08
significant at all vignette is is really
12:10
surprisingly low just a plus 15 to
12:13
correct so that really big front element
12:15
certainly pays dividends here at the 70
12:18
mm telephoto end there is a minimal pin
12:20
cushion Distortion I corrected with a
12:22
minus three again vignette very very low
12:25
just a plus 16 to correct so well under
12:27
a stop on both the wide and telephoto
12:30
ends very impressive I found very
12:32
minimal amounts of longitudinal
12:35
chromatic aberration there is a little
12:36
bit of fringing there but not enough
12:38
that I really noticed it much in real
12:40
world shots I basically spotted no
12:43
lateral type chromatic aberration near
12:44
the edge of the frame now when it comes
12:47
to the sharpness I was testing on a 61
12:49
megapixel Sony A7 R5 body results the
12:53
crop results will be shown at 200%
12:55
magnification to show off any kind of
12:57
flaw there isn't really any flaw to
12:58
point to however wide open at 28 mm I
13:02
saw incredible sharpness very even
13:04
sharpness all across the frame right
13:06
into the corners everything looks very
13:07
very crisp as you stop down you'll get
13:10
just a little bit more it's really so
13:12
good throughout the zoom range at f2 the
13:15
only reason you need to stop down is if
13:16
you want more depth of field because
13:18
you've got pretty close to maximum
13:19
sharpness already you'll get a tiny bit
13:21
more contrast as you stop D but that
13:24
just means that landscape shots look
13:26
fantastic whether you're shooting at
13:28
wide aperture or shooting at more narrow
13:30
apertures it all looks fantastic on a
13:33
high resolution body like this I'll
13:35
start to see some softening at f11 due
13:37
to defraction and it'll become more
13:38
pronounced at F-16 and then at F22 which
13:41
is the minimum aperture here moving on
13:44
throughout the zoom range I found that
13:46
35 mm had slightly better Corner
13:48
performance and about equal performance
13:50
elsewhere 50 mm if anything was just
13:54
even a little bit better really really
13:56
impressively good and then 70 mm was
13:58
basically as good as 50 mm it's a really
14:01
really consistent performance all
14:03
throughout it's incredibly sharp
14:05
incredibly good contrast now typically
14:07
when I'm evaluating a lens like that my
14:09
concern is a lens that is so well
14:11
corrected is going to kind of lose its
14:13
personality when it comes to the
14:14
rendering I was pleasantly surprised
14:16
here however and I felt like the
14:18
rendering was really quite good I liked
14:20
just the look of images apart from the
14:22
the technical Excellence I feel like
14:24
there is some nice rendering some so to
14:27
the lens colors are very nice the
14:29
bouquet as you can see is really quite
14:32
soft and creamy and I like the fact that
14:34
I felt like bokeh quality was good
14:36
throughout the zoom range not just on
14:38
the telephoto end of it I really felt
14:40
like it performed really really nicely I
14:42
also found that coma control was very
14:44
good an opportunity to shoot stars and I
14:47
found that there was basically no
14:50
comatic Distortion near the corners of
14:51
the frame so really good performance
14:53
there even zooming into 70 mm for a
14:56
different kind of look again I felt like
14:58
the performance was quite good there so
15:00
is the lens perfect well not quite I did
15:02
find one area where I felt like it
15:04
lacked some and that's when it comes to
15:05
flare resistance at both wide apertures
15:09
here at f2 and then stop down to f11
15:11
there's a surprising amount of both
15:13
ghosting and veiling and particularly
15:15
the ghosting is a problem for me you get
15:17
those Blobs of color it's it's hard to
15:20
eliminate those out of images so you're
15:21
going to have to be a little bit careful
15:23
when you have a back lit subject at the
15:24
way that you compose the way that you
15:26
shoot so you can minimize that rather to
15:29
maximize it in your shots so my
15:32
conclusion is this outside of that one
15:34
area when it comes to flare resistance
15:37
this is a really exceptional lens I
15:39
would say that it really delivers on the
15:41
concept of delivering really primik
15:44
results you know all throughout that
15:46
Zoom range I think it could legitimately
15:48
replace you know a 28 mm lens a 35mm
15:52
lens a 50mm lens maybe not an 85 it's
15:55
not quite there but all the way up to 70
15:57
mm it's incredibly useful and delivers
16:00
just incredible results which I think
16:03
that there are only a handful of primes
16:05
out there that could either match or
16:07
exceed so really really great results I
16:09
like the 3D Pop I like the overall
16:11
rendering I like the bouqu and of course
16:13
the sharpness is fantastic through the
16:16
lens so yes it is a lot of money at the
16:19
end of the day but it also could
16:21
legitimately replace multiple primes in
16:23
your bag and for those uh portrait or
16:26
wedding photographers or even Event
16:28
Photographers that want extra
16:30
flexibility with that I think that
16:32
they'll love the lens provided that they
16:33
have a nice thick wallet to pay for it
16:36
and nice strong shoulders to carry the
16:38
weight of it throughout a day of
16:39
shooting now if you want more
16:41
information you can check out either my
16:42
full text review that's Linked In the
16:44
description below also links there to an
16:46
image gallery and some buying links and
16:49
if you want a deeper dive into the
16:50
optical performance stay tuned with me
16:52
right now let's jump in and take a look
16:54
all right let's break down the details
16:56
here so you can see starting with
16:58
distortion vignette at 28 mm you notice
17:01
that vignette is so light it's really
17:03
basically a non-factor there is a bit of
17:05
barrel Distortion as you can see here
17:07
nothing too extreme I used a plus eight
17:10
to correct for it here and that
17:12
correction itself is not perfect there
17:14
will be obviously a correction profile
17:16
that'll do a better job than that but
17:18
not bad overall and for vignette it was
17:21
only a plus 15 to correct just very very
17:23
low no issues there now when we move
17:26
towards the telephoto end you can see
17:27
that that's inverted to it a little bit
17:29
of ping cushion Distortion you can see
17:31
here again on the right side this is a
17:33
manual correction A minus three to get
17:35
to this point again it's not 100%
17:37
perfect but out in real world use it
17:40
would be perfect enough you probably
17:41
would never notice that I will also note
17:44
that a little when it comes to Portrait
17:45
sugar a little bit of pink cushion
17:47
Distortion Like This is actually good
17:49
it's flattering and makes people look a
17:51
little bit Slimmer and so people tend to
17:53
like that also you'll see once again
17:55
that vignette continues to be a nonissue
17:58
just a plus 16 to correct for it here
18:00
now when it comes to longitudinal style
18:03
chromatic aberration that come before
18:04
and after the plane of focus you can see
18:06
really not a whole lot to see here very
18:09
very little fringing to uh to pick up on
18:12
either direction you can see here in a
18:14
real world shot that there is on these
18:16
really reflective surfaces there's a
18:18
little bit of a green fringing there
18:20
nothing too significant and you know for
18:23
example in a shot like this which has a
18:25
lot of high contrast edges you can see
18:27
that the micro contrast is just
18:29
fantastic and there's very little
18:31
fringing I see just the tiniest bit of a
18:33
blue green after the plane of focus but
18:35
I don't think it's significant enough to
18:37
be any kind of negative impact certainly
18:39
nothing showing up in the specular
18:41
highlights that are completely defocused
18:43
there what you end up as a result of
18:45
this is really really fantastic I would
18:47
say exceptional micro contrast and so as
18:50
I look at the textures here and how just
18:52
how clean they are even at f2 I'm really
18:55
really impressed this is definitely a
18:57
better resolve of a lot of all like the
19:00
little grains and scratches in the metal
19:02
here really really impressive end result
19:04
likewise in a shot like this where
19:06
you're shooting through the Slayer
19:08
towards very bright Beyond there's lots
19:10
of opportunities along these edges for
19:12
there to be lots of fringing which I've
19:14
seen on weaker lenses you can see that
19:16
the micro contrast and detail is
19:18
fabulous and fringing is just really a
19:20
nonissue there likewise when it comes to
19:23
lateral style chromatic aberration even
19:25
here at very high magnification this is
19:27
about 200% and no correction enabled you
19:30
can see that there really isn't anything
19:32
to point to it's almost perfectly clean
19:34
so of course all of that points to
19:36
towards a very high resolution and
19:38
contrast in result and we can see here
19:41
200% magnification 61 megapixels center
19:44
of the frame looks flawlessly sharp at
19:46
this is at 28 mm F2 you can see here
19:50
that mid-frame looks really fantastic as
19:54
we uh go down here good performance here
19:58
equally good performance here that
19:59
you're not seeing any kind of drop off
20:01
and as we get towards the edge of the
20:02
frame you can see that that resolution
20:04
really just comes right out to the very
20:05
edge of the frame very impressive so
20:08
because we're starting at such a high
20:09
level stopping down to f2.8 it doesn't
20:12
make a significant difference I mean
20:14
there might be the tiniest bit of more
20:17
contrast but I don't know I I don't
20:19
really notice a whole lot here it all
20:21
looks great already and uh and looking
20:24
down towards this side looking you know
20:27
it's basically equally Fant fantastic
20:29
not a whole lot to pick up here it looks
20:31
largely the Same by F4 I would say
20:34
there's very slightly more contrast
20:36
that's picking up there so just a very
20:38
slightly higher performance but again
20:40
you know F2 was already so good that
20:43
you're probably not going to notice this
20:44
if you're not in such an extreme uh
20:47
situation like we are here looking at
20:49
200% that peak level of performance is
20:51
going to stay through f5.6 F and through
20:54
f8 great landscape apertures shooting
20:57
landscapes obviously you're going to get
21:00
just really beautiful results I mean
21:02
even here where I'm you know limited a
21:03
little bit by the fog in the scene you
21:05
can see however that the detail and
21:07
contrast is just stunningly good in the
21:09
frame defraction will start to show a
21:11
bit of drop off by the time you hit f11
21:13
and by the time you get to the minimum
21:14
apture of F22 you can see that the image
21:17
is is significantly softened due to the
21:19
effects of defraction now if we compare
21:21
35 mm to what we saw at 28 mm we can see
21:25
in the middle of the frame they look
21:26
roughly equal as we get down towards the
21:29
corners however you can see that the
21:30
corners are just a little bit sharper so
21:33
just a little bit more consistent a
21:35
sharpness profile I would say just a
21:36
little bit more contrast the darks or
21:39
dark levels are a little bit lower in
21:41
this area than what we see at 28 mm so a
21:45
a Mild improvement certainly there 50 mm
21:48
however is a noticeably just a little
21:50
bit better you can see that now our
21:52
contrast and micro contrast there is
21:54
just really really fantastic if we come
21:56
back here for a moment you can see
21:58
compared to 35 mm that everything is
22:01
darker still there's just definitely
22:02
more pop to overall textures and even if
22:05
we look up into like the the very upper
22:08
corner you can just see how just really
22:11
really excellent the performance is
22:13
right off into the corners now of course
22:15
very critical is the ability to carry
22:17
that through the very end of the zoom
22:18
range at 70 mm and if 50 mm represented
22:22
a high water mark we can see at 70 mm
22:25
there's really not any drop off it is I
22:27
would say just about every bit as good I
22:29
would say just a little bit less sharp
22:31
here in the mid-frame uh looking down
22:33
into the corners however it is very
22:36
close very similar look at the other
22:38
side and we can see that up here as well
22:41
it looks very very good and so it's just
22:43
fantastically sharp and very
22:44
consistently sharp all throughout the
22:46
zoom range so of course for portrait
22:48
work even shooting at f2 you're going to
22:51
have all the sharpness that you could
22:52
want and so here you can see just a
22:55
great amount of detail and then of
22:56
course all the textures in uh Barn
22:59
boards behind her look really fantastic
23:01
uh taking a look here if we punch into a
23:04
pixel level I mean look at just how
23:06
Exquisite the detail is around those
23:08
eyelashes and on the lips it's just
23:10
incredibly
23:12
good now of course even when you're
23:15
dealing with the the issue that we've
23:16
already discussed which is this lens is
23:18
flare prome you can see that if we're
23:21
actually looking at it a pixel level
23:23
that all the detail is still there it's
23:25
just that veiling does uh kind of
23:27
eliminate some of the contrast and
23:29
obviously some of these ghosting
23:30
artifacts I don't love now here at our
23:33
minimum Focus distance we can see that
23:34
in the plane of focus everything is
23:36
really fantastic obviously we've already
23:38
seen this lens has amazing contrast so
23:40
that holds up even up close we can also
23:43
see however that you're not going to get
23:44
a perfectly flat plane of focus there's
23:47
a little bit of a kind of a sharpness
23:48
bulge in the center of the frame most of
23:50
the time that's not going to matter too
23:52
much in real world shots you know for
23:54
example here in this little tiny flower
23:56
you can see that you know in the area
23:58
where I'm I'm focused the detail is
23:59
really really
24:01
superb another shot here with some uh
24:04
dried leaves and you can see here that
24:07
again all that detail right up close
24:09
looks really fantastic and of course
24:11
you're able to get a nicely strongly
24:12
blurred background likewise in this shot
24:15
here we're not seeing any issues with
24:17
chromatic aberration that are limiting
24:19
the sharpness and so you got great
24:21
sharpness here you can see that shooting
24:23
at f2 you're going to get a little bit
24:25
of deformation to specular highlights
24:27
here's a shot at f2.8 again with those
24:29
lights right towards the edge for the
24:31
most part they're nice and circular here
24:33
at this at this stage and of course we
24:35
can see if we look in at the very narrow
24:38
plan of focus the detail is just
24:40
stunningly good here's another shot here
24:43
which again got both of these things
24:45
going on here so I mean great detail and
24:47
contrast and you can see down here as we
24:48
look towards the edge down in this Zone
24:51
everything's still nice and circular
24:52
appear nice and circular it's just right
24:54
off when you get towards that very edge
24:56
you can see that there's a little bit of
24:57
geometry
24:58
deformation as discussed we can see that
25:01
it's a very good performance for
25:02
shooting the night sky as well so star
25:05
points are obviously very nice and crisp
25:07
as we move towards the edges I see very
25:10
very little coma there it's really
25:12
impressive actually how little is there
25:15
it's a really great result and if we
25:17
zoom in further here at 70 mm not
25:20
necessarily what you would always choose
25:22
but it works just fine and if you want a
25:24
tighter view of the night sky still
25:26
working good I would say just a tiny bit
25:28
more coma here than what I saw at 28 mm
25:31
but still a very strong performance the
25:34
flare is not strong and actually I'm a
25:37
little bit surprised by how much flare
25:38
is present here and so that certainly is
25:41
going to be an issue if you're shooting
25:42
at F this is at f11 and so you can see
25:44
that ghosting pattern really well
25:46
defined but even if I just open wide up
25:49
to F2 you can see that there's still
25:52
that ghosting pattern present along with
25:54
a little bit more veiling there here
25:56
it's better because even though I'm
25:58
shooting at f11 I've blocked a lot of
26:00
the sun through the tree and so that I
26:03
could get a better look at the Sunburst
26:05
effect which looks pretty decent in this
26:07
shot but even still you still see some
26:09
of that ghosting pattern there so
26:11
obviously that is the one area of
26:13
weakness and what is an otherwise a
26:15
pretty Flawless Optical performance and
26:18
so as you can see from the deep dive
26:19
into the optical performance this is a
26:22
pretty exceptional Optical instrument as
26:24
always thanks for watching have a great
26:27
day and let the light in
26:29
[Music]
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