Sony FE 400mm F4.5 GM OSS Review | Lightweight Perfection!

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[music]
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[music]
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>> Sony, like Canon and Nikon, make some
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amazing telephoto prime lenses. The
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problem with most of them is that they
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cost north of $10,000, putting them
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outside of the affordability of most
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photographers. For a long time, myself
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and a whole lot of you have been
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requesting telephoto prime lenses with
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smaller maximum apertures, smaller
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sizes, and far more importantly, much
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smaller price tags. Well, Sony has come
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through and really delivered for us in
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the newly announced 400 mm F4.5 GM OSS
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and 600 mm F6.3
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G Master OSS. I'm reviewing the 400 mm
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today and it is a stunning combination
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of compact size, lightweight, and very
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high performance. Light enough that it
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actually weighs less than a kilogram in
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optimal conditions, and it is compact
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enough that I was able to put the 400
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mm, 600 mm, a Sony A1 Mark II, 1.4 x and
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2x teleconverter all in a medium-size
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Peak Design Camera Cube. I've never been
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able to say that before about any kind
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of telephoto prime before. What's more,
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the 400 mm F4.5 G Master can be had for
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just $2700 US, making it an incredible
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value. So, today we're going to explore
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why this lens has such a seductive
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combination of price, size, but even
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more importantly, performance. This is a
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serious super telephoto lens and it
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performs just like you'd expect from a
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Sony G Master telephoto prime. Before we
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jump in, however, I do want to say a big
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thank you to Sony USA for sending me
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loaner copies of the 400 mm and 600 mm
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lenses. They have had zero input in
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these reviews. However, they will not
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see them before you do. They are
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completely independent reviews. All of
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that aside, let's jump in and let's take
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a look at this bad boy.
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>> All right, let's take a closer look at
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the lens here. So, first of all, quick
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quick breakdown on pricing. Pricing is
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2,699
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US dollars. That compares to 12,999
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for the 400 mm f/2.8.
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Now, the new 600 mm is going to cost
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basically a thousand dollars more, about
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3,700. This lens is relatively compact,
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but even more impressive is how
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lightweight it is. It is 108 mm in
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diameter by 242 mm in length or 4.25
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inches by right under 13 and a half
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inches. But, amazingly, without the
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tripod foot and the hood, it weighs in
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at 994 g. On my scale, it's 998 g and
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right over 1,200 g if you include both
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the lens hood and then also the tripod
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foot. So, no matter how you slice it,
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this is really lightweight. And that
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compares to that 994 g weight compares
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to 2,896
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g or almost 2 kg more for the 400 mm
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f/2.8. And so, obviously, that's a
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really impressive weight savings there.
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What's more, they have designed this to
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where there's only a single front
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element. Most of the optical design is
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nearer the camera body, which gives it a
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really easy hand holdability. The
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balance point is way back here. And so,
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it's really easy to not only hand hold
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it, but continue to support. You don't
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have a lot of weight to support away
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from your body, which is fantastic. Up
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front, we have a 95 mm front filter
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thread. It does come with a nice lens
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hood.
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And that lens hood has the rubberized
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front surface. It has a locking
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mechanism. All of that is fantastic.
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Now, like Sony's other premium telephoto
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primes, there is no aperture ring here.
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However, the aperture iris itself has 11
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aperture blades. We do have a tripod
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collar that can be fully rotated. There
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are no detents, so it freely rotates.
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You're just going to need to line up the
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dots and to lock it down if you want to
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go to the traditional positions.
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Unfortunately, there is still no Arca
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grooves on here. And so, as you can see,
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I had to add on a quick release plate to
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throw it on this little tripod. Now, the
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actual tripod collar is not removable.
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However, the foot itself is very easily
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removable if you want to just carry it
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handheld and save yourself a little bit
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of weight there. Easy to take off, and
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this is a very easy lens to hand hold
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for the reasons we've already discussed.
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It's also fully featured lens. We've got
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an AF/MF switch. We have a switch to
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control whether or not you want
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full-time manual override or not. We
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have a two-position focus limiter.
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Basically, in the limited position, it
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is taking off the close focus
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possibility, starting at 7 m out to
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infinity or the full range there. I
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didn't actually have to use that very
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much because autofocus is fantastic. We
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have a couple of switches dedicated to
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the optical SteadyShot, an on-off
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switch, and then three different modes.
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First mode being your standard kind of
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balanced, second being for panning, and
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the third mode being the dynamic that
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focuses on stabilizing at the point of
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capture, less on stabilizing the
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viewfinder itself. We also have four
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different function buttons located all
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the way around the lens, so you always
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have one close to hand. It's just one
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single function, and that is assigned
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from within the camera body. We also
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have Sony's customizable function ring
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here, which can be assigned a variety of
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different values from within the camera,
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and so you can use that for a preset
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focus positions. You can If you want to
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use it to rock to select between full
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frame and APS-C, I mean, there's a
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variety of different functions you can
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apply to that. But, we definitely have a
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very similar feature set to what we have
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on the higher-end telephoto primes,
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except for we don't have any kind of
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drop-in filter option. But, there's a
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lot going on here. The lens has a lot of
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controls. It's easy to use. We have a
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weather sealing gasket here at the lens
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mount, and as a G Master lens, it is
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fully weather sealed all throughout the
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lens itself. Also, fluorine coating here
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on the front element. The lenses both
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come with this nice zippered padded
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case, and one of the things I like when
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it comes to the 400mm, which isn't quite
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true with the 600mm because it's a
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little bit longer, is that you can fit a
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both the lens with a camera body
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attached, and it zips up, you know, just
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fine here. And so, that provides an easy
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way to transport it. I actually even
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strapped it on the back of my bike and
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when I was going out shooting, and just
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with some of the attachment points, I
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strapped it down, and that way I could
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have quick access to the camera and the
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lens ready to go if a shot presented
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itself. Minimum focus distance here is
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2.5 m, and I estimate the magnification
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level to be about 0.18 times. The 600 mm
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has a little bit higher level of
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magnification than the 400 mm.
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Obviously, the 400 mm's magnification
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can be helped, however, if you attach
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either the 1.4 times or two times
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teleconverter. If you add the 1.4 times,
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you have a 560 mm equivalent lens with a
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maximum aperture of F6.3. Put the two
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times teleconverter on there, you have
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an 800 mm lens with a maximum aperture
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of F9. All in all, this is a beautiful
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package, and the standout feature here
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is just how amazingly lightweight this
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lens is for a 400 mm F4.5 prime lens.
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So, let's talk autofocus. Sony has
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equipped the 400 mm with basically the
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same focus system that we see in the 400
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mm F2.8 G Master that cost more than
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$10,000 more. Namely, we have two XD
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linear motors that are working in tandem
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to drive focus back and forth. It has
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the same focus capabilities in terms of
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algorithms and thrust to keep up with
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the A9 Mark III at 120 frames per second
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or on some of Sony's other cameras when
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filming at 4K 120. As you can see here,
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no problem in keeping up with that
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action even if we're shooting that 4K
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120. And so, autofocus has plenty of
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thrust, plenty of speed, and of course,
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that first-party confidence that you
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would expect from a top-notch Sony prime
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lens matched to a top-notch Sony sports
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camera. On my A1 Mark II, I was able to
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effortlessly track action, and again, I
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want to say thank you to my friends at
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Jen Gar Goldens, and they have a new
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champion that's going to stud, and then
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so, they needed photos of him, and I
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needed photos for these lenses, and so,
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it was a match that worked out well for
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both of us. But I had literally zero
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issues with tracking action. They wanted
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more of a
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kind of profile type shots and action,
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and so I shot a lot of panning shots.
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Every one of them is perfectly focused.
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Zero issues with that.
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I had no problem when I threw on the 1.4
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times teleconverter. Again, perfectly
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focused results and then I even threw on
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the Viltrox two times teleconverter
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because that's the one that I have and
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we shot a long sequence of what they
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would do when they are leading the dog
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in events and it's a little bit slower
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action but again in that setting no
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problem in keeping up with all the
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action there. Likewise, whenever I
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attempted to do bird in flight, instant
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pick up in terms of acquisition and zero
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effort in trying to track the bird. Even
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in shots like this where you can see
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that there's only a tiny bit of the eye
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that's not obscured by the wing and yet
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focus is staying locked on there. So
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autofocus was really really spectacular.
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Now on the video side of things,
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obviously these lenses because of their
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length they're going to be used less
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often for video than what they are for
10:36
stills. However, there are some
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applications for sports or wildlife
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where someone might be shooting video.
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Frankly, the biggest challenge a lot of
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times with video these lenses is going
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to be really just getting the framing
10:47
right. And once you have that, there's
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no problem with the focus part. Focus
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transitions back and forth are, you
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know, good. No problems with that. Focus
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breathing is well controlled and of
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course you have the advantage of having
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the focus breathing compensation on a
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lot of Sony's cameras that will help to
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basically mathematically eliminate focus
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breathing and so no issues on that front
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there.
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As far as the actual footage, it looks
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fantastic. The
11:14
optical steady shot here in the lens,
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you know, working in combination with
11:18
cameras is able to provide reasonably
11:20
smooth handheld footage and of course we
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have the advantage many of us of being
11:24
able to add further stabilization in
11:27
post though with tiny bit of crop there.
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But the The of the day it is perfectly
11:31
usable for video, even though that
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probably won't be the primary
11:34
application for things here. Okay, we
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have an optical design of 22 elements in
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16 groups, including three super extra
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low dispersion elements and one extra
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low dispersion elements. I don't have
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access to the MTF charts because this is
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a pre-release, so we'll just jump right
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into what we can assess here. When it
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comes to vignette and distortion, you
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can see that this is a very
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well-corrected lens. There is the
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tiniest amount of pincushion distortion
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and the tiniest amount of vignette. Both
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are very, very easily corrected. It's
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like I dialed in like a minus one to
12:02
correct for that, and then only like a
12:05
plus 12 to correct for the vignette.
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Very, very easy. There's You could shoot
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with this lens all day and not notice
12:12
any kind of
12:13
issues with vignette or distortion. Now,
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if I add in the 1.4 times, you can see
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it introduces a little bit of barrel
12:19
distortion. Vignette doesn't really
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increase very much, however, and then
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finally with the Viltrox two times, you
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can see that it actually reduces some of
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that barrel distortion, and so it
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becomes a little bit more neutral.
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There's a tiny amount of barrel
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distortion and just a hair more
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vignette, but really with none of these
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combinations is this any kind of issue
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at all. When it comes to any kind of
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fringing, also no issue there. You can
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see that even with these highly
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reflective surfaces and, you know,
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moving towards defocus, there is just no
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issue at all. We have great contrast,
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great detail, and no kind of fringing on
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these transition areas. Likewise with
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this shot here, we have a beautiful
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portrait of this golden retriever, and
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you can see right up here in the rough
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at the top and then in this transition
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area here, both areas where you could
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see some fringing, you don't. The
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contrast and detail are just exquisite.
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And look at how nice the transition from
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focus to defocus is. Really beautiful.
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Likewise, when it comes to lateral style
13:13
chromatic aberrations, no issues in the
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corners there. So, taking a look at
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resolution and contrast, we're shooting
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on a 61 megapixel A7R Mark V, and then
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we're going to be looking at results at
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a 200% level of magnification. Quick
13:27
caveat, I have to do these tests
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outdoors and you can see when I'm
13:31
testing with the two-time teleconverter,
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I'm a long way away from the chart. And
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so, there are extra variables when
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shooting outdoors. And so, you know,
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we'll look at the charts, but there's
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also some just real-world elements mixed
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in here because it is a I can't control
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all of the variables.
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But, that being said, looking in the
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center of the frame, we've got a
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fantastic result. You can see that it's
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high sharpness, high contrast. Mid-frame
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looks just as good. I mean, it looks
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really, really crisp, really fantastic.
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As we pan down, we can see that just
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everywhere we go that detail and
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contrast is just holding up beautifully.
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We can see it's a nice flat plane of
14:10
focus. Uh we can see very good centering
14:12
and consistency all across the frame.
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So, for point of comparison, here is the
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400 mm end of the 100-400 mm f/4.5 GM,
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which, by the way, as zooms go, it is
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awesome.
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You can see in the center of the frame
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that while the zoom is fantastic, it's
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not quite as good as far as just the
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basic details as what the prime is.
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There's just a little bit more
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information there. It's just rendered a
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little bit more crisply. We move into
14:38
that mid-frame zone. Both of them look
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fantastic, very, very close, but I would
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give the edge to the prime lens. Just
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these Look at the writing here. Contrast
14:47
definitely favors the prime lens and
14:49
there's just a little bit more pop to
14:51
everything. Moving down towards the
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corners, both of them are excellent. In
14:54
this case, I would actually say that the
14:56
zoom is arguably a hair better in the
14:58
corners, but both of them are just
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really, really fantastic. As I said,
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we'll temper those, you know, chart
15:04
results with some real-world results.
15:06
You can see here that we look at this
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grackle here that the detail in the
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feathers and look at there and just his
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talons that are there, everything is
15:16
just super crisp and very nice
15:18
transition to defocus there. Here's a
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shot, you know, while moving and you can
15:23
see here that the detail and the
15:25
contrast in the fur all looks nice even
15:28
at a, you know, fast movement. Likewise
15:30
here when shooting the seagull in the
15:33
air and you can see just, you know, even
15:35
in the movement shots all the detail is
15:37
really fantastic. Here with a more
15:40
stable object you can see that the
15:42
detail is just really, really just
15:44
fantastic. All those transitions are
15:46
really nice and clean. Here's another
15:48
shot where I've intentionally shot
15:49
through some foliage just to provide a
15:52
natural frame and again, look at the
15:53
amount of detail that is there. It's
15:55
just, I love the sharpness, the contrast
15:58
from this lens. One final bird in flight
16:00
shot and you can see again if I zoom
16:02
into that, it's the focus is nailed,
16:05
detail and contrast are awesome. So does
16:07
it have more in the tank? Well, let's
16:08
see what happens when we stop it down to
16:10
F5.6.
16:11
In the center of the frame, the results
16:13
are largely the same. There's maybe a
16:15
hair more contrast but nothing
16:17
meaningful there. Likewise if we look in
16:19
the mid frame, it already was pretty
16:21
close to perfect and so it looks very,
16:24
very similar. If we look up here into
16:26
the corner, we can see that as we get
16:28
close to the edge of the frame, there's
16:30
definitely some improvement
16:32
but I would say that you're mostly
16:33
seeing that improvement as you get
16:35
towards the edge of the frame, not so
16:36
much in the center or the mid frame. Now
16:38
from F5.6 to F8, I don't really see much
16:41
of any kind of further improvement. In
16:43
fact, I would say there's a mild
16:45
regression. So F5.6 seems to be kind of
16:49
the pinnacle of sharpness with the lens.
16:51
Now after F8, you'll start to get
16:53
diminishing returns as we get on down
16:55
into the level of diffraction. So F11's
16:58
a little softer, F16 and then by the
16:59
time you get to the minimum aperture of
17:01
F32, you can see that a lot of the
17:03
sharpness and contrast has been robbed
17:05
away due to diffraction. Now how about
17:07
if we add that 1.4 times teleconverter
17:10
on there and so we have got 560mm F6.3.
17:14
We can see in the center of the frame,
17:16
it's still looks really, really
17:18
fantastic. Mid frame looks awesome. Down
17:21
into the corners looks awesome. I mean,
17:24
it holds up really, really well with the
17:26
1.4 times. Now, if I add on that Viltrox
17:29
2 times, you can see it definitely takes
17:32
more of a hit. It's not quite as sharp.
17:35
Detail is not quite as high. Contrast
17:38
isn't you know, it looks a little bit
17:40
more washed out. Remember that we
17:41
already saw that the bare lens is
17:42
softening at F8 relative to F 5.6. And
17:46
so, it's also starting to do with a bit
17:48
of diffraction there already. Here's a
17:50
real world shot at 560 mm F6.3. This is
17:55
an action shot, obviously. Even at 200%
17:57
level of magnification, you can see that
17:59
all of the detail there is really nice.
18:02
And if we drop to a more typical 100%
18:04
magnification, you can see that it just
18:06
looks gorgeous. No complaints about
18:08
that. And what's more, as I look towards
18:10
the transition towards defocus, all of
18:12
that is still nice and soft. Now, here's
18:14
a shot at 800 mm F9. And if we zoom into
18:18
that, you can see that you know,
18:20
contrast and detail is still pretty
18:22
good. Definitely very, very usable, but
18:24
it's not quite as pin sharp as what it
18:26
was before. And again, looking at the
18:28
transition to defocus, I think it's a
18:30
little busier in this transition zone,
18:33
but it still looks quite good overall.
18:35
And so, this is a lens that holds up
18:36
really well with the teleconverters.
18:38
Now, if we look at the minimum focus
18:39
distance and the up close result, it's
18:41
actually really fantastic. Look how
18:43
crisp all of that detail is. There's a
18:45
lot of punch there. It's a really nice
18:47
flat plane of focus. And so, that means
18:49
that even as we look down towards like
18:51
these stamps that are right towards the
18:53
very edge of what's being captured,
18:55
still looks really nice and crisp. So,
18:57
great up close as well. Here's a real
18:59
world example. And again, if we punch
19:01
into 100%, you can see that all of the
19:04
detail there on the flesh of the apple,
19:06
it's all very, very nice. The transition
19:08
to defocus is beautiful.
19:10
Here's another up close shot. And again,
19:12
you can see just how much punch there
19:14
is. There, all of that detail is really,
19:16
really nice. Transition to defocus is
19:18
nice.
19:20
This is a shot that really kind of stood
19:21
out to me showing with that compression
19:23
what kind of a beautiful result you can
19:25
use even for something as simple as
19:27
this. And you can see like great detail
19:29
and contrast everywhere. And then that
19:32
background is just beautifully blurred.
19:34
Another shot here as we kind of head
19:36
towards some of the fall, you know,
19:37
wildflowers. You can see that all of
19:40
that is rendered really, really nicely.
19:42
Going back to Phoenix, our champion
19:44
here, you can see another portrait of
19:46
him. And I just I really love these
19:48
shots. I love that crisp little line of
19:50
focus and then a really nice transition
19:52
towards defocus. And you can see that as
19:55
we go out in those layers out of focus,
19:57
it's really, really nicely handled. And
19:59
then, of course, the detail and contrast
20:01
on his face, fantastic. Now, on the
20:04
flare resistance side of things, this
20:05
does have Sony's Nano AR Coating Mark
20:08
II. And while it's going to be pretty
20:10
rare that, because it's such a narrow
20:12
angle of view, that you're actually
20:13
going to be pointing at a bright light,
20:15
I had no problems. You can see that, you
20:17
know, it didn't have any kind of major
20:19
flare issues. Held up really, really
20:20
nicely in that kind of setting. Top to
20:23
bottom, this is a really gorgeous
20:25
optical instrument. So, what's my
20:27
conclusion? I think that Sony has nailed
20:29
it with the 400mm f/4.5 G Master.
20:34
In many ways, I feel like this lens
20:35
fulfills the vision of what Sigma set
20:37
out to do a few years back with their
20:39
own 500mm
20:40
f/5.6 Sport lens. I really like that
20:43
lens, but of course, it was hampered
20:45
here on Sony by the fact that you had
20:47
the limited burst rate. And then also,
20:49
it didn't work with teleconverters.
20:51
The fact that this lens works not only a
20:53
bit, but works perfectly well with
20:55
Sony's teleconverters and even the
20:56
Viltrox 2x teleconverter, makes it an
20:59
incredibly versatile lens. Not to
21:01
mention the fact that you can get the
21:03
full burst rate out of any of your Sony
21:05
sports cameras.
21:07
What's more, this is my favorite of the
21:09
two newly announced G Master prime
21:11
lenses
21:12
for the simple reason that I think that
21:14
that F4.5 starting maximum aperture just
21:17
gives you more versatility. It gives you
21:19
more options in the lighting conditions
21:21
that you can use and the fact that it
21:22
plays so well with teleconverters, I can
21:24
throw on the 1.4 times and have 560 mm
21:28
F6.3, basically almost giving me the 600
21:31
mm 6.3. And then if I want even more
21:34
reach throwing on the two times
21:35
teleconverter gets me out to 800 mm and
21:38
a still usable maximum aperture of F9.
21:41
What's more, I actually prefer the
21:43
rendering from the 400 mm F4.5. I feel
21:46
like the bokeh is a little bit smoother.
21:48
It's just an amazing lens and if you're
21:50
interested at all at a 400 mm focal
21:52
length, this lens to me is a complete
21:54
no-brainer. It does everything amazingly
21:57
well and it gets you into a Sony G
22:00
Master prime telephoto lens for more
22:03
than $10,000 less than the 400 mm F2.8
22:08
GM OSS. That makes this lens an
22:10
incredible winner. If you want more
22:12
information, feel free to check out my
22:14
full text review which is linked in the
22:15
description down below. As always,
22:17
thanks for watching. Have a great day
22:19
and let the light in.

Sony FE 400mm F4.5 GM OSS Review | Lightweight Perfection!

Dustin Abbott

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