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The following opinions have been automatically translated with Microsoft Translator. | Tamron 35mm f/2.8 Di III OSD M1:2 Pros: Smoothness, sharpness, color neutrality Cons: maybe the TAMRON quality control because the AF is a clear design choice Opinion: Feeling: lens of the digital age, you already know, and for this reason sharp and perhaps a little anonymous in the rendering but no problem on the contrary, it leaves a certain margin of customization in post. We already know that auto-focus is what it is, but it couldn't be otherwise on a similar body and costing 200 euros. If anything, the praise for its real usability goes to the designers who have guaranteed a cost/performance balance to the clear advantage of the latter. In short, it is clear what you buy a similar lens for and I must say that in AF-C on SONY A7 IV it did not have the same responsiveness as a native Sony, such as the 40mm f2.5 or the 24-105 f.4, but it did not miss a shot either. On the other hand, it is likely that from one specimen to another there may be a certain difference in AF performance in low light (this happened to me with a friend's 35). It is also true that it seems to have a toy in your hand because of the low weight, but then when you hold it on for a whole day, your hands and back thank you. Ultimately, a working tool with which one is forced to abandon one's fetishism for the object (I confess that I also struggle a certain amount because the eye also wants its part) but which knows how to repay in terms of quality with the right compromises, never invasive. I want to close with two adjectives: HONEST and DIGNIFIED but I would be unfair because it knows how to go further. For me it's 9.5 full. I wouldn't use it for video but maybe it's superfluous to mention it. sent on April 25, 2024 |
 | Tokina Firin 20mm f/2 FE Pros: compactness, build quality, no CAs, very etched and easy, contacts for data communication to the camera body, filter diameter 62mm Cons: vignetting, backlit ghosting Opinion: MANUAL FOCUS version. Not that you don't know the Tokina brand, especially for the wide-angles, so no surprises about the quality but this lens has something more: the design choice. The 2016 manual focus version was clearly and correctly designed to the needs of perhaps a small circle of photographers, but the feeling is that Tokina listened to them before putting the lens on the market. In less than half a kilo, the 13 elements give a truly appreciable feeling of solidity, it does not reach the levels of the ZEISS LOXIA (metric scale and printed and unengraved diaphragms, plastic lens hood and unusual, although effective) but it is not far from it. The linear focus on a lens like this is really a PLUS, and not a minus, making it versatile enough to be used in astro successfully, despite the fact that there is no MAF block. The physical button to declick the aperture ring is an added value, a ring that returns a nice feedback, as well as the travel of the focus ring: masterfully managed and running beyond infinity. Mine empirical evidence, for heaven's sake, but it is sharp in the center from the maximum aperture (at the right shooting distances) and does not drop much at the corners, where instead a certain vignetting could only appear. The best from f5.6 to f.11 but the performance is always homogeneous, even going further, although the limits of diffraction on such an angle of view must be carefully considered. The focusing is really enjoyable: precise, intuitive and easy, proof for the inexperienced and this is thanks to the excellent return of focus / out of focus guaranteed by the focus peaking of bodies such as the Sony A7 IV. In short, you don't really risk losing a shot if used in the right contexts, but I assure you that even in street ph. MAF has a lot of surprises in store. There is a correction profile on LR, DXO, etc., and the presence of contacts for communicating shooting data to the camera makes the design intent of Tokina engineers clear. In my opinion there is no story as to which example of the Firin to choose between the AF and MF versions, to the clear advantage of the latter for all the reasons expressed above. Underestimated by many but not so in the rest of the countries, USA, UK and Japan above all. Considering that the price from new has dropped to just over 400 euros, it is worth giving it more than a thought. It's a full 9.5 and all its own. sent on April 25, 2024 |
 | Samyang MF 85mm f/1.4 RF/Z Pros: Good balance with Nikon Z7 body - very good resolution - no distortion Cons: Familiarization with focus fine-tuning required - some chromatic aberration Opinion: The main technical data can be found on-line, as well as the main defects, including that of some chromatic aberrations. What is convincing is its construction, its balance on the body of the Nikon Z7 and its resolution. It's true, it doesn't communicate with the camera, but this is implicit in the type of lens and doesn't work against it. This is a lens that makes you rediscover the taste of manual focusing but also its difficulties, albeit with the help of the peak focus. The point is that a similar lens, at large apertures (from f1.4 to f4) clearly has a very shallow depth of field and managing this depth with focus peaking seems easy but it is not entirely, because it requires a familiarity with composition techniques, as well as with photographic technique. That said, if you know what you want, you're already ahead of the game, but keep in mind that in low ambient light, using the lens at f1.4 (which I would avoid doing), with the right compromise between ISO values and shutter speeds, limits its range in my opinion. These environmental conditions make it a highly specific lens or, at least, sectoralize its use. It is a good idea to use it in suitable ambient light conditions, just to be able to afford smaller apertures and greater compositional freedom with a lower percentage of error on the focus. It should be tried and used, in my opinion, after reading texts on the works of Vivian Maier or Edward Weston or Dorothea Lange, so, to feel a little more inspired!. sent on April 01, 2024 |
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