ACADEMY
ULTIMATE GUIDE TO LENSES
DSLR AUTOFOCUS ZOOMS
If you want the ultimate in versatility, light weight, complete integration with your camera system and ultimate affordability, then an autofocus zoom lens designed for DSLR or mirrorless cameras is the way to go. All the camera manufacturers have their own extensive ranges, which can go from super-small and light to super-long or ultra-wide at a higher price. Often, camera manufacturers will have at least a couple of versions of a zoom lens. Typically, one range will be the high- end, professional version that usually has a faster maximum aperture, better build quality, faster AF motors and better weather sealing, although they are usually bigger, heavier and more expensive. For example, Canon has its professional-dedicated range of L lenses, and Sony has its G Master series –many of which are built in collaboration with Zeiss. Canon also offers its EF-mount lenses in the EF-S series for crop-sensor cameras, and Sony has E and FE lenses. Both have the same mount but only FE lenses cover the image circle of a full-frame sensor. Many own-brand manufacturer zoom lenses have built-in image stabilisation, and often work in tandemwith the camera body to bring amazing levels of stability
to your shooting. Olympus, for example, mates its pro-level zooms to its built-in image stabilisation on its professional cameras like the OM-D E-M1 Mark II, to bring incredible levels of shake-free shooting. Similarly, Panasonic’s MFT cameras like the GH5 match up with the 12-60mm f/2.8-4 Leica-branded zoom to offer incredible anti-shake properties. If image stabilisation is important to you, it’s crucial to do your research and pick the right lens and camera combo. For example, the filmmaking-focused Panasonic GH5S and Fujifilm X-H1 don’t have any image stabilisation built in, so you must buy a lens with it if you want anti-shake correction. Two of the most popular do-all lenses are from Canon in the shape of the 24-70mm f/2.8L II USM or 24-105mm f/4L IS USM II lenses. Matched up with a 70-200mm f/2.8L IS USM III telephoto zoom, it gives a hugely wide range with a relatively fast speed, great optical quality and solid build. Many filmmakers started with Canon DSLRs – such as the EOS 5D Mark II – and bought these lenses to match. Now, they also fit the Canon C-series of cinema cameras as well as the Panasonic EVA1, Blackmagic Ursa series and Pocket Cinema Camera 6K (plus high- end Red cameras). They are often used on Sony cameras with an adapter, too. Sony’s range of E-mount lenses are impossible to convert to other mounts, so if you invest in Sony glass
then you’re committed to their system. However, one of the benefits of using dedicated lenses rather than via adapters is that it unlocks the potential of the camera’s autofocus system, such as in the case of the Sony A7 series. Until recently, that has meant you were locked into buying Sony’s own range of lenses, which are excellent but often pricey. However, now some independent lens brands are muscling in on the action and offering more affordable alternatives to Sony-brand zooms in the full-frame FE mount. Tamron and Sigma are two of the first manufacturers to offer FE-mount zooms at prices to undercut Sony. The cheapest and lightest by far is the £700/$799 Tamron 28-75mm f/2.8 Di III RXD. Its build quality isn’t in the same league as the Sony and Sigma versions, but optically it’s not far off and works just as well in most shooting situations. It’s a mid- range, mid-price standard f/2.8 zoom for Sony full-frame, which is what many have been crying out for. In terms of autofocus speed, the Tamron cooperates beautifully with the Sony system– thanks to its newly-developed AF drive system specifically for Sony. It feels every bit as fast as a native Sony lens. Sigma’s new 24-70mm f/2,8 AF DG DN Art lens for Sony E mount is from the company’s high-end Art series, and costs £1049/$1099 compared to the £1699/ $2198 Sony 24-70mm f/2.8 G Master version. It’s slightly smaller and lighter, and we test it in this issue. Sigma also offers a full range of AF lenses in the new full-frame L-Mount, to suit cameras like the Panasonic S1, Leica SL and Sigma fp full-frame mirrorless cameras. “If image stabilisation is important to you, it’s crucial you pick the right lens and camera combo”
IMAGES DSLR lenses are perfect when matched to the same manufacturer’s body, such as this Olympus set-up (top), but can also work on cine cams like this Red (below)
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SPRING 2020 PRO MOVIEMAKER
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