dSLR Dad

Imaging Resource has published their review of the SIGMA 18-250mm F3.5-6.3 DC OS HSM lens:

Like most ”vacation” zooms, the trick is to know the parameters where they function best. Sigma’s latest iteration of this lens offers a bit more telephoto performance, for which the integrated optical image stabilization is crucially useful. Unfortunately the lens’ maximum aperture decreases quickly as the lens is zoomed out, to the point where at 80mm, you’re using a ƒ/5.6 lens. This design allows the lens to be kept as small as it is, but at that point you’re needing either a sunny day, an external flash, or a steady hand (even with the image stabilization) to get reasonably sharp photos.

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Popular Photography Magazine has published their lens test report of the Sigma APO 50-150mm F2.8 II EX DC HSM:

Rest on its laurels? Not Sigma. Just look at the updated version of its bright 50–150mm f/2.8 digital-only (DC) zoom ($675, street), part of the company’s top-drawer EX family of glass. Its predecessor performed admirably in the Pop Photo Lab just two years ago (January 2007). Since then, the company’s engineers have twisted, squeezed, and tweaked its design in an attempt (we’re guessing) to catch up to the optical superiority of Tokina’s remarkable 50–135mm f/2.8.

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Photozone has published their review of the Sony SAL-70400G 70-400mm f4-5.6G Lens:

TheSony 70-400mm f/4-5.6 SSM G is an impressive piece of engineering. The resolution figures are very good across the zoom range. Lateral CAs, vignetting and distortions are generally very well controlled and not field relevant.

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The Imaging Resource has published their review of the Sony SAL-70400G 70-400mm f4-5.6G Lens:

Sony has produced an exceptional lens with the 70-400mm ƒ/4-5.6. Sharpness is very good when used wide open, and only improves when stopped down, offering tack-sharp results even at ƒ/5.6. Image quality is little less amazing when used in the 300-400mm range, but considering what Sony’s previous telephoto zooms have offered at 300mm, Sony has come a long way. Chromatic aberration is very low, light falloff is minimal (except when used on the A900, wide open) and distortion is very well-controlled. Combined with the excellent build quality and focusing options, the 70-400mm is definitely built to perform, and perhaps make other camera brand owners slightly jealous.

You can read the entire review at SLR Gear.

Imaging Resource has published their review of the Sony SAL-1118 DT 11-18mm f/4.5-5.6 Super Wide-Angle Zoom Lens:

The Sony DT 11-18mm f/4.5-5.6 is respectably sharp in the central region of the frame, even when used wide open, but its design produces corner softness and barrel distortion. Chromatic aberration is quite high, even for a wide-angle lens, and its lack of a modern autofocus motor makes it somewhat slow to focus, and noisy.

It’s hard to recommend the Sony 11-18mm with the newer, better-performing and less expensive Sigma 10-20mm ƒ/4-5.6 lens hovering on the sidelines. As well, Tamron’s own 11-18mm ƒ/4.5-5.6 exists as another budget alternative, not to mention the older Konica-Minolta version; there are plenty of ways to get the performance this lens offers, without spending top dollar. But for the brand-loyal, the 11-18mm f/4.5-5.6 offers pleasing wide-angle performance.

You read the complete review at SLR Gear.com.

Imaging Resource has published their review of the Sony SAL-100M28 100mm f/2.8 Macro Lens:

When mounted on the A700, the Sony 100mm ƒ/2.8 macro provided excellent results almost across the board; the only possible objection would be that it wasn’t tack-sharp at ƒ/2.8, but at 1.5 blur units, to ask for more would be very demanding. The 24-megapixel sensor of the A900 taxes the optics of the 100mm macro quite heavily, requiring some level of stopping-down to get the best results (our optimum setting being at least ƒ/5.6, if not ƒ/8 for the absolute sharpest).

Otherwise, distortion is non-existent, chromatic aberration is well handled, and there is virtually no light falloff. Focus handling options are very good, making the lens an excellent platform for macro work.

You can read the entire review at SLR Gear.

Photozone has released another in-depth lens test. This time, they are focusing closely on Sony’s Macro Alpha Lens, the 100mm f/2.8 Macro (available now at Amazon and B&H Photo).

The Sony 100mm f/2.8 macro is able to produce very sharp results combined with a negligible amount of distortions, vignetting and lateral CAs. However, longitudinal (axial) chromatic aberrations can be quite a problem in out-focus areas (f/2.8-f/5.6) resulting in a magenta to greenish tint in some situations – this is not unusual but unfortunate nonetheless. The build quality of the lens is fine although it doesn’t win any crown when looking towards the competition a la Micro-Nikkor 105mm f/2.8G ED-IF AF-S VR or the Canon EF 100mm f/2.8 Macro. Same goes for the AF speed which does still rely on the slotted drive screw rather than Sony’s faster SSM (ultrasonic AF drive). The biggest problem of the Sony 100mm f/2.8 macro is probably its price tag – at around 600US$ it is substantially more expensive than the third-party alternatives without offering much if anything on top.

Regarding the third party alternatives referenced above. For around $200 less, a Sony dSLR Dad looking for value should check out the Sigma 105mm f/2.8 EX DG Macro Lens. You can read the entire review over at Photozone here.

I’ve begrudgingly kept my Canon EF 50mm f/1.8 II Lens, mainly because the actual lens assembly pops-out of the housing from time-to-time so I can’t sell it. At $80 it is a great value, but it’s not the sharpest knife in the drawer (until f/2.8). I was looking at the Canon 50mm f/1.4 USM Lens (available at Amazon and B&H Photo), but it seems somewhat soft at the corners, even on a digital body. It also doesn’t have the same high quality feel as Canon’s excellent EF 85mm f/1.8 USM Lens (which I loved, available at Amazon and B&H Photo).

Well, leave it to Sigma to announce a quality, large aperture alternative, the new 50mm F1.4 EX DG HSM standard lens. It will be offered in Sigma, Canon, Nikon, Pentax^*, Sony^* lens mounts. The * means if your Pentax or Sony camera body does not support HSM, auto focus will not be available. With any luck, this 50mm f/1.4 will be match the quality of their fantastic Sigma 30mm f/1.4 EX DC HSM Lens. Hopefully, Sigma will release this at a street price under $300.

Excerpts from the Sigma Press Release (2008-3-18):

• Standard lens with large maximum aperture of F1.4.
• It creates sharp images with high contrast and ensures superior peripheral brightness.
• Incorporates molded glass aspherical lens, perfectly correcting coma aberration and creating superior image quality.
• Super multi-layer lens coating reduces flare and ghosting.
• Hyper Sonic Motor HSM ensuring silent, high-speed AF. (more…)

Something for you Sony dSLR Dads. Photozone.de has added a review of the Sony SAL-50F14 50mm f/1.4 Lens (available at Amazon and B&H Photo):

The Sony 50mm f/1.4 Lens is a typical representative of the standard lenses that were designed back in the 70s to 80s. The max. aperture (f/1.4) should be generally avoided due to weak contrast, poor borders and a significant amount of longitudinal chromatic aberrations (LoCA). The image quality is already vastly improved at f/2 including a technically better (smoother) bokeh. The truly excellent peak performance is reached around f/4. As to be expected neither distortions nor vignetting are real issues but lateral CAs could be lower for a fix-focal length lens.
The build quality is pretty decent and the conventional screw-driven AF is very fast although somewhat dated regarding Sony’s SSM (supersonic motor) ambitions. At around 320€/US$ the lens is priced at the upper end compared to the other major brands – maybe some food for thought over at Sony.

You can read the entire Sony SAL-5014 50mm f/1.4 Lens Test Report here .

Sony has announced two full frame lenses at PMA2008 this year. The headliner is the SAL2470Z Vario Sonnar T* 24-70mm f/2.8 ZA, co-developed with Carl Zeiss. This gives a fast, high quality zoom lens to Sony Alpha and Minolta dSLR Dads. It should to be fantastic optically. It has to be, because when the Full-Frame Alpha 24-Megapixel Flagship comes out this year, it will turn small optical flaws into gross inadequacies.

The SAL70300G 70-300mm f/4.5-5.6 G was also announced. Both models feature Sony’s Super Sonic wave Motor (SSM) technology. (more…)