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Sony 24-70mm f/4 Vario-Tessar T FE OSS Interchangeable Full Frame Zoom Lens
|Price:||$999.00 & FREE Shipping|
|You Save:||$144.86 (13%)|
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- Angle of view (35mm): 84°-34° ; E-mount Lenses
- Minimum aperture (F): F22
- Minimum Focus Distance : 1.32 ft (0.4 m), Maximum Magnification ratio : 0.20x, 7 aperture blades
- Focal Length: 24mm - 70mm ; Focal Length (35mm) (APS-C) : 36-105mm
- Maximum aperture (F): f/4
- NOTE: User manual is attached - kindly refer it
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|Sold By||Cardinal Camera and Video Center||Amazon.com||Amazon.com||Amazon.com||Cameta Camera||Amazon.com|
|Compatible Camera Mount||Sony E (NEX)||Sony FE||Sony E (NEX)||Sony E (NEX)||Sony E (NEX)||Sony E (NEX)|
|Focus Type||Stepper motor||auto-focus||auto-focus||Piezoelectric||Stepper motor||Stepper motor|
|Item Dimensions||2.87 x 3.74 x 2.87 in||3.43 x 4.09 x 4.69 in||3.07 x 3.9 x 3.07 in||3.19 x 4.69 x 3.19 in||2.52 x 2.8 x 2.52 in||2.44 x 1.46 x 2.44 in|
|Item Weight||0.94 lb||6.56 ounces||1.14 lbs||1.72 lbs||0.62 lb||4.23 ounces|
|Lens Type||Zoom lens||Prime lens||Zoom lens||Zoom lens||Prime lens||Prime lens|
|Maximum Focal Length||70 millimeters||50 millimeters||35 millimeters||240 millimeters||55 millimeters||35 millimeters|
|Minimum Focal Length||24 millimeters||50 millimeters||16 millimeters||24 millimeters||55 millimeters||35 millimeters|
|Photo Filter Thread Size||67 millimeters||49 millimeters||72 millimeters||72 millimeters||49 millimeters||49 millimeters|
Sony Camera Lenses SEL2470Z
From the Manufacturer
Vario-Tessar T* FE 24-70mm F4 ZA OSS Full-frame Zoom Lens
This compact full-frame Carl Zeiss mid-range zoom lens covers a 24mm to 70mm range with a constant maximum aperture of F4, enabling consistent exposure settings at any focal length. This premium lens delivers superlative image quality with full-frame and APS-C E-mount cameras, and dust/moisture resistance means consistently reliable performance.
When changing your aperture to defocus the background, the light sources appear blurred. This ‘bokeh’ effect of the blurred background can be enhanced with circular aperture blades used in this lens. Conventional aperture blades have flat sides creating unappealing polygonal shaped defocussed points of light. α lenses overcome this problem through a unique design that keeps the aperture almost perfectly circular from its wide-open setting to when it is closed by 2 stops. Smoother, more natural defocusing can be obtained as a result.
ED (Extra-low Dispersion) glass
As focal lengths get longer, lenses built with conventional optical glass have difficulties with chromatic aberration, and as a result images suffer from lower contrast, lower color quality, and lower resolution. ED glass dramatically reduces chromatic aberration at telephoto ranges, and provides superior contrast across the entire image, even at large aperture settings. Super ED glass provides enhanced compensation for chromatic aberration.
Aspherical lens elements
Aspherical lens design dramatically reduces spherical aberration while also reducing lens size and weight. Spherical aberration is a slight misalignment of the light rays projected on the image plane. This is caused by differences in refraction at different points on conventional spherical lenses which degrade image quality in large-aperture lenses. Specially shaped “aspherical” elements near the diaphragm restore alignment of light rays at the image plane, maintaining high sharpness and contrast even at maximum aperture and can also be used at other points in the optical path to reduce distortion. Well-designed aspherical elements can reduce the total number of elements required in the lens, thus reducing overall size and weight. Advanced Aspherical (AA) elements are an evolved variant, featuring an extremely high thickness ratio between the center and periphery. AA elements are exceedingly difficult to produce, relying on the most advanced molding technology to consistently and precisely achieve the required shape and surface accuracy, resulting in significantly improved image accuracy and quality.
Carl Zeiss T* (T-star) coating
Coated optics were pioneered by Carl Zeiss - and this superb lens features the Carl Zeiss T* (T-Star) coating that virtually eliminates lens flare, internal reflection and light scattering that can otherwise occur at glass-to-air surfaces. The T* coating contributes to outstanding image quality, with high contrast and uniformly excellent resolution right out to the image edges. Not simply applied to any lens - the T* symbol only appears on multi-element lenses in which the required performance has been achieved throughout the entire optical path, therefore guaranteeing the highest quality.
Lens-based optical image stabilization
Gyro sensors built into the lens detect even the slightest movement, and the stabilization lens is precisely shifted to counteract any image blur that might occur. The use of precision, quiet linear motors and technology inherited from high-end Sony professional camcorders results in exceptionally quiet, effective image stabilization that contributes to high-quality movies as well as stills.
Only the middle groups of the optical system move to achieve focus, so the overall length of the lens does not change. Other important benefits include fast autofocusing and a short minimum focusing distance. Also, the filter thread at the front of the lens does not rotate, which is convenient if you’re using a polarizing filter.
2013 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Sony is not responsible for typographical and photographic errors. Features and specifications are subject to change without notice.
All rights reserved. Sony, the Sony logo, (a) and Super SteadyShot are trademarks of Sony. All other trademarks are trademarks of their respective owners.
Top customer reviews
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+: Well Built
+: Nice, easy to use hood
+: Good focal range
-: Corners 24-35mm and 60-70mm (all apertures)
-: Vignetting correction of RAW leads to colored rings in some scenes (Can disable)
-: Focus is slow indoors with A7 or A7R
-: strong color shifts on edges uncorrected (visible while doing composition as well).
Bottom Line: The lens performs like a lens at half the price point, the 28-70mm is as good over shared range.
Before you get defensive on my rating, realize that I have tested maybe 100 lenses or more formally using charts and software. I realize charts don't paint the entire story, but I don't think the real world pictures were much different. This lens just doesn't stand up under scrutiny and doesn't really meet standards that I would consider a professional quality lens should meet. Consider this a very good build quality kit lens.
Sample variation does differ between lenses, and I have no reason to suspect that I had an inferior sample. A good copy of the 28-70mm should be nearly as good as this lens, especially when used at f/7.1 or f/8 where you are likely going to be using a lens.
I think where this lens is still good is if you want to use it at f/4, it doesn't really improve much beyond that, so if you would shoot wide open this is a good lens, but it isn't great landscape/travel lens where you would likely be shooting stepped down. My opinion is an f/4 lens should be good stepped down and an f/2.8 lens should emphasize center performance wide open since you will usually be using the f/2.8 lens in poor light and the f/4 lens in good/medium light.
Shooting at 24mm f/4 and you are greeted with extreme barrel distortion and nearly black corners in RAW (until Lightroom or your converter of choice profile is available). If you have vignetting correction on in camera the vignetting is still pretty serious, but you also can end up with concentric circles from where the software corrections have been done. For this reason I recommend shooting with shading correction off in camera, and correct it in software on computer which does a better job. This might only be visible in say a snowy landscape shot where the white makes the colors shifts obvious. There is no noticeable field curvature at 24mm, center focus was best for corners as well. The corners are just soft.
By 50mm the distortion is very strongly pincushion in RAW (again, until profiles are available), but performance across the frame is pretty good and uniform here and it actually improves on stepping down the lens.
By 70mm performance has deteriorated severely in the corners, and things don't improve much stopping down. There is noticeable field curvature at 70mm, so focus corners or center depending on your subject.
What is worst about this lens is the corners are pretty flat, even stopping down. Most lenses are bad wide open and that is to be expected in the corners, but most improve by f/8. This lens doesn't. F/8 and 24mm hardly looks any different than f/4 and 24mm. Again, 50mm improves stopping down, but not the extremes for the lens.
This lens is really good at 50mm f/8, which makes it an expensive 50mm f/8 lens. I am not saying it is a bad lens, just that the price doesn't match the performance. I wouldn't say it is better than the kit 28-70mm (good copy).
Comparison to the Sony 28-70 kit lens:
1) In objective, reproducible testing under controlled conditions by DXOmark, the Zeiss 24-70 f/4 is better than the Sony 28-70. The lab tests show that the score of the 28-70 would be even worse if it didn't have very good sharpness in the center at a couple of focal lengths and apertures. There's nothing wrong with the 28-70, but it's not performing miracles for its price. It is certainly better than some of the cheap kit lenses that Canon and Nikon bundle with their digital SLRs, but those lenses are typically 50% less expensive than the Sony 28-70.
2) The superior optical performance measured does not account for the better color rendition of the Zeiss T* lens coatings on the 24-70. Lens tests are done at one frequency of light, so the color contrast is not measured. Zeiss T* coatings are well known for retaining the subtle differences between hues, lending vitality and a 3D realism to images. The 24-70 has this Zeiss lens character as is evident in the numerous examples online of photos taken with it.
3) The Zeiss has a much more usable 24mm wide angle. The difference between a 28mm and 24mm wide angle is significant. Working indoors, a 24mm really opens the field of view to encompass a room and capture the space. 28mm is much more constrained than the 4mm difference might suggest. Canon and Nikon have adopted 24mm as the standard wide angle on their professional zooms because it makes a significant difference in practice. The 28-70 simply can't compete.
4) The f/4 maximum aperture also makes the 24-70 significantly more useful as an all around lens that can live on the camera. At the 70mm end it can produce much shallower depth of field to serve as a portrait lens in a pinch, and when working indoors the 24-70 lets in more light to keep the ISO from introducing too much noise. If you are shooting indoors at f/5.6 on the Sony kit lens, you can't choose a shutter speed high enough to freeze action in a subject that isn't sitting still as a rock. The extra amount of light on the Zeiss means you can double the shutter speed, significantly improving you ability to catch a clear photograph. Image stabilization is irrelevant if your subject is moving.
5) The Zeiss is suitable for shooting video while the Sony kit lens is not. A fixed aperture throughout the zoom range means you can change focal length while shooting video without getting any shifts in exposure or depth of field. This is a significant advantage for the Zeiss.
6) The Zeiss is better constructed. It's not that much bigger physically, but the quality of materials means that it has more heft. It's not heavy (less than a pound), but the extra heft means it has more inertia in your hand--it's inherently more stable when shooting handheld. It's also more durable with fewer plastic parts.
7) The Zeiss is weather sealed. The Sony kit lens is not.
8) The Zeiss actually tests a bit better overall than the Nikon professional level 24-70 and the Canon 24-70. Both of those lenses are twice the size of the Zeiss due to the larger f/2.8 aperture, and they also cost quite a bit more. The Zeiss is an excellent lens in the wide to normal zoom category, even when considering other camera systems.
Comparison to the Zeiss prime lenses for the Sony full-frame E-mount:
1) The 24-70 is not as good as the 55/1.8 or the 35/2.8 at focal lengths and apertures where they overlap. This is expected and is true for lenses from every manufacturer: you can't make a zoom that competes with a prime lens (unless you do such a poor job on the prime lens that the zoom happens to be as good).
2) The Zeiss 55/1.8 is one of the best lenses currently in production. It set such a high bar that people are unusually critical of the 24-70 even though it is completely unreasonable. Looked at soberly, the 24-70 is one of the best normal zooms around. The tradeoff in maximum aperture to keep a small portable size is an excellent one.
3) You can keep the 24-70 and one of the two primes together in a small bag and produce images that are as good as (or better) than those from a DSLR setup with twice the bulk and weight.
Although I would be happy for Zeiss to work a miracle in this zoom lens for the Sony E-mount, I can't be disappointed if they match the excellent performance of Nikon and Canon lenses that weigh twice as much and cost significantly more.
Most recent customer reviews
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NO focus scales (!?): -2 stars (this is inexcusable for such a high priced lens.Read more