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  1. #1
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    Question The Zeiss 24mm f/2 ...

    Where the heck is it?

    Finally, after two years, SONY tells the world they actually have another decent professional lens coming out ... and it's the second quarter and STILL no lens!

    What gives?
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

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  2. #2
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    from memory, and someone pls correct me if i'm wrong, but sony announced that the lens would come sometime this year and it was still in pre-production mockup. (not even a final finished version of the lens available at PMA), ie: i wouldnt be expecting it for another few months yet.

    i suspect that you knew all that but you;re just in a whinging frame of mind. lol

    not sure what it is that you cant seem to be able to do with your kit of a thousand lens' that you so desperately hang for anything new. its not like you take super challenging photos where top end glass is essential to get the shot. well, not from what i've seen anyway.
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  3. #3
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    Thumbs up Focusing in on an improvement ...

    Actually, you are right, Mate. I would like to have something positive to discuss concerning the SONY monolith, other than the continued reduction of information and rather dismal outlook of where the DSLRs seem to be heading.

    Excuse me, I thought I heard a flushing sound.

    Anyway ... I still would love to see a "decent" (meaning sharp when wide) 200mm f/2 or wider aperture lens in the line up. It seems to have been ignored. Something very interested photographers could agree on as the ad hoc standard in all photography. I mean there is the CZ 135mm f/1.8 ... the 300mm f/2.8 G SSM and the new 500mm f/4 G SSM ... but, that gap ... at 200mm for the full frame ... seems a trifle odd when unaddressed.

    While having an assortment of glass is tremendously satisfying, there is something to be said for a new item in the inventory, just to keep the ball rolling. I have noticed that my older Minolta 24mm f/2.8 just seems to be lacking that "killer sharp focus" on the Full Frame digital sensor that I am looking for, out of a PRIME. The α850(FF) does a good job of showing you this difference between it and the α700(APS-C). I am hoping the new Zeiss might achieve it. It's worth a look see, eh? Shooting wide ... sharp from side-to-side.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  4. #4
    Join Date
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    Quote Originally Posted by DonSchap View Post
    ......clip......

    Anyway ... I still would love to see a "decent" (meaning sharp when wide) 200mm f/2 or wider aperture lens in the line up. It seems to have been ignored. Something very interested photographers could agree on as the ad hoc standard in all photography. I mean there is the CZ 135mm f/1.8 ... the 300mm f/2.8 G SSM and the new 500mm f/4 G SSM ... but, that gap ... at 200mm for the full frame ... seems a trifle odd when unaddressed.
    You've got the Minolta, you don't need another.
    .....clip..... I have noticed that my older Minolta 24mm f/2.8 just seems to be lacking that "killer sharp focus" on the Full Frame digital sensor that I am looking for, out of a PRIME. The α850(FF) does a good job of showing you this difference between it and the α700(APS-C)...............
    Are you saying that it's not sharp in the borders on FF?

  5. #5
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    Quote Originally Posted by DonSchap View Post
    Actually, you are right, Mate. I would like to have something positive to discuss concerning the SONY monolith, other than the continued reduction of information and rather dismal outlook of where the DSLRs seem to be heading.
    hold on hold on hold on. stick to the topic. they have announced that the 24/2 is on its way. you're just complaining cos its not available right NOW. so wait a while and it'll be here, whats the problem ? 24/2 is a tidy little lens, its no 24/1.4 like the new nikkor but it'll be cheaper, smaller and lighter...plus its a stop faster than the normal 2.8 glass. its a bloody good announcement.
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  6. #6
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    Talking Produce it ... in time for the summer.

    Again ... something new to look at. The Minolta AF 24mm f/2.8 does a fair job, but it has some design issues that I find a little troubling. Also, they are also a little hard to find, in the overall picture (pardon the pun). I got mine second hand and immediately took it over for a "noticeable" and common BF issue correction, just like the 28mm had on my DSLRs. You will notice a scar on the lens' DOF window, but it has no effect on the operation of the lens.

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    It is a relatively small lens, easily a "pocket-able" size, like the 28mm f/2.8 and all the Minolta and SONY 50mm lenses. It has a 55mm filter ring, which is also quite common for Minolta lenses. Unfortunately, you cannot use a typical ring flash on it, at all, because that is a huge vignette-issue on the Full Frame.

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    Ring-Flash vignette on 24mm f/2.8 mounted on α850

    So, although you can conveniently mount the ring-flash ... unless you significantly crop, it is kind of pointless.

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    Ring-Flash vignette on 28mm f/2.8 mounted on α850

    Even on a Minolta AF 28mm f/2.8 lens, the ring flash causes havock with its vignette.

    In fact, anything you mount, standard UV filter, CP filter or otherwise, on the front of the 24mm lens, you run the risk of vignetting, due to its shallow optical design. It cuts the FOV nearly right to the optical edge, requiring the use of a low profile filter, which precludes any front filter threads to secure the standard lens cap to.

    I hope the Zeiss lens offers a more thought out, practical solution for the use of filters and such.
    Last edited by DonSchap; 04-03-2010 at 11:59 PM.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  7. #7
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    the 24-70 zeiss 2.8 works for me

  8. #8
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    The weight difference is almost mind-boggling, Steve. You are comparing a 8 oz "cutie" to a nearly 30 oz "Bahama Mama." That's quite shift in balance and overall neck-bearing weight.
    Don Schap - BFA, Digital Photography
    A Photographer Is Forever
    Look, I did not create the optical laws of the Universe ... I simply learned to deal with them.
    Remember: It is usually the GLASS, not the camera (except for moving to Full Frame), that gives you the most improvement in your photography.

    flickr & Sdi

  9. #9
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    expect the zeiss to be considerabley bigger and heavier than that. so you may not get what you want after all.
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  10. #10
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    Quote Originally Posted by DonSchap View Post
    Again ... something new to look at. The Minolta AF 24mm f/2.8 does a fair job, but it has some design issues that I find a little troubling. ...clip....
    Sorry to keep pulling you up Don but you say "design issues" and then only list vignetting with a ring flash.
    The design issue is with the flash not the lens; maybe it was intended for use on a 50mm macro.

    I've owned a 24mm for donkeys years (from new) and never had a problem with vignetting. I do own step-up rings, however.
    Since the A700, the 24mm gets less use than the 17-35mm zoom simply because it's no longer wide at 36mm. It is, not unexpectedly, sharper than the zoom.

    16-35mm Zeiss would be nice.

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