The optical configuration consists of 15 elements in 10 groups with two aspherical elements and one ED element. ED glass helps suppress chromatic aberration, while the aspheres reduce spherical aberration, distortion, and other aberrations such as coma. Nikon’s SIC coatings and Nano Crystal Coat also feature to reduce ghosting and flare.

The Nikon Nikkor Z 85mm F1.2 S adopts two STM-type stepping actuators and uses internal focusing (IF) so there’s no extending barrel. STM stepping motors offer fast, accurate autofocus for stills and smooth and quiet focusing for video, while the adoption of two actuators enables improved optical performance at close range.

Videographers and filmmakers are also likely to be interested in the support for linear focusing on supported cameras, as well as the focus-breathing, which  is said to be “minimized.” The minimum focus distance is a fairly typical 0.85 m (2.79 ft).

Externally, the S-line lens drops the mini LCD of earlier models but retains the customization options via a separate control ring and an additional L-Fn button. The lens is quite substantial with an 82 mm filter thread and weighing 1160 grams (41 oz.). It is available now for around $2,799 / €3,049.

You can view the results for all tested lenses and create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

Key specifications:

• 15 elements with one ED and two aspheres in 10 groups
• Eleven-blade, rounded aperture
• Two STM-type stepper motors with close-range correction
• 82 mm filter thread
• Minimum focus distance: 0.85 m (2.79 ft)
• Weight: 1160 grams (41 oz.)

Test results

We tested the Nikon Nikkor Z 85mm F1.2 S on a 45.7 MP Nikon Z7, which has the highest-resolution sensor in Nikon’s current mirrorless lineup. The lens mounted on the Nikon Z7 achieved a DXOMARK score of 55, which is the highest score in our database for any lens regardless of focal length and indicates especially high image quality.

As you might expect of a modern design, the Nikkor Z 85mm F1.2 S has high sharpness at maximum aperture, especially in the center, and slightly higher levels when stopped down. Some diffraction effects are noticeable at small apertures.

Besides high sharpness levels, the lens’s transmission is another high point and an asset when working in low light levels. At T1.3, it’s just -0.2 EV below the stated F1.2 maximum aperture value. Vignetting is somewhat heavier than expected for a high-speed lens like this, and chromatic aberration is also slightly higher than rivals, even if it is relatively well-controlled. Both are easy to remove when correction profiles are applied in-camera or later in post-production.

Slight pincushion-type distortion is also visible, but it is well controlled and easily corrected. Overall, the Nikon Nikkor Z 85mm F1.2 S is a pricey proposition, but its optical quality can’t be denied.

As always, it’s worth looking through the detailed results and comparing them with rivals to get a clearer idea of the optical performance.

In-depth comparisons

After a long line of 85mm portrait lenses with an F1.4 maximum aperture, Nikon has introduced its first F1.2 model, designed specifically for the mirrorless Z mount. It is not the first 85 mm for that particular mount though, so we’ve compared it with the highly regarded Nikkor Z 85mm F1.8 S. At around $800, it’s some $2,000 less, so you can see what kind of premium the vaunted F1.2 aperture brings with it. We’ve also compared the new mirrorless Nikkor with one of the last great, high-speed 85mm lenses made for the Nikon F-mount by an independent maker, the Sigma 85mm F1.4 DG HSM Art. At around $1,200 the Sigma is competitively priced. All three lenses are tested on cameras with a related 45.7 MP sensor; the mirrorless Nikon Z7 and Nikon D850 DSLR.

You can see an overview of this comparison in our database.

Sharpness

Like so many modern designs particular attention has been paid to sharpness at the maximum aperture, with the Nikon Nikkor Z 85mm F1.2 S having excellent center sharpness measured at over 80% acutance. While sharpness drops in the outer field to 70% in the corners, it’s still an excellent result for a lens with an initial aperture of F1.2. The Sigma Art series, on the other hand, might only be an F1.4, but it is not far behind; indeed it’s practically as sharp in the center wide-open and has slightly better mid- and outer-field sharpness. The same can almost be said for the Nikkor’s smaller brother; it’s somewhere in between the two. At F1.8-2.0 though, the Nikkor Z 85mm F1.2 S is slightly sharper across the field, but it is practically indistinguishable from the Sigma. While that doesn’t sound like much, the F1.2 lenses of a decade or two ago wouldn’t fare as well, especially away from the center.

Stopped down to 2.8-4, the Nikkor Z 85mm F1.2 S increases in sharpness slightly in the center, but it’s at the edges where most of the improvement is made. The Sigma fares well here, too, practically matching the super-fast Nikkor. Even the diminutive Nikkor Z 85mm F1.8 S performs brilliantly with only the edges just slightly behind. Diffraction effects can be seen at F5.6 and above, which gradually lowers sharpness levels with each progressively smaller f-stop, but uniformity is superb right out to the corners.

Chromatic aberration

With lots of expensive glass in the optical design — the ED element being just one component –the Nikon Nikkor Z 85mm F1.2 S has generally well-controlled levels of chromatic aberration. Wide-open through F2.8, levels are low in the center of the frame, but it will be noticeable at the corners with subjects that have high-contrast edges. It’s low for a lens of this speed or brightness. Fringing is easier to control with slower lenses, but the Sigma has exceptionally low levels given that it’s also a high-speed lens. Even the Nikkor Z 85mm F1.8 S has very low color fringing across the image field. Nevertheless, this aberration is easy to remove in out-of-camera JPEGs and in post-processing.

Geometric distortion

The Nikkor Z 85mm F1.2 S has some pincushion distortion where the corners of the projected image extend. Some geometric distortion is more or less inevitable even at this price, and -0.3% for this focal length is still considered to be an acceptable level. The Sigma, on the other hand, breaks the trend here with no detectable distortion, and that is without correction profiles being applied. The slower F1.8 Nikkor has very low levels as well, measured at just 0.1% — exceptionally slight barreling — but this and the pincushion of the F1.2 version can be corrected in-camera and in post-processing if the relevant profiles are enabled, meaning it isn’t worth worrying about.

Vignetting (corner shading)

High-speed lenses like this, even those designed for mirrorless cameras, will exhibit vignetting, and the Nikkor Z 85mm F1.2 S has slightly heavier levels than might be expected when wide-open. However, vignetting tops just -1.6EV in the extreme corners, but the visual weighting is exacerbated by the smaller unaffected central core. On the plus side, vignetting falls away rapidly upon stopping down. At F1.8, levels are lower than the two used in this comparison, and the vignetting is negligible at F2.0 and completely free of any effects at F2.8, which is impressive without any profile correction.

Transmission

Depending on which scale you use (half or third stops), with an initial or maximum aperture of F1.2, the Nikkor Z 85mm F1.2 S can be either +0.5 or + 0.3 EV faster than an F1.4 lens. That’s the theory anyway. In practice, it’s best to measure the actual transmission at the maximum aperture. While it’s not usually issue for stills, it can be important if there’s a big difference and you’re using a handheld light meter for videography or filmmaking.

We measured the Nikkor Z 85mm F1.2 S at T1.3, which is just -0.2 EV “slower” than the F1.2 rated maximum aperture value and a real highlight of the optical design. In contrast, the Sigma 85mm F1.4 measured T1.7, which is some -0.6 EV behind the initial aperture’s stated F-number. In this instance then the F1.2 is over +0.5 EV faster than the Sigma and nearly +1.0 EV faster than the F1.8 Nikkor version, which measured an impressive T1.9.

Conclusion

The 85mm focal length remains a popular choice for portraiture and, high-grade, ultra-fast versions like this are revered by pros and amateurs alike. Such models are also in demand for indoor sports, AF speeds permitting. While we can’t comment on the autofocus performance, the optical quality of the Nikon Nikkor Z 85mm F1.2 S is outstanding. Admittedly, while there’s some lateral chromatic aberration in the outer field, it doesn’t affect much, if at all, image sharpness, and with auto correction enabled in-camera, it is unlikely you would notice it anyway. High image quality combined with high speed always comes at a price, but as a long-term investment, it’s usually money well spent.

In this review, we have compared the Nikon Nikkor Z 85mm F1.2 S mounted on a Nikon Z7 to its closest rivals from other brands. Remember that the lenses may be used on various cameras with different sensors, or in some cases on different camera systems using different mounts, so the results will vary between them.

As usual, you can create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

The post Nikon NIKKOR Z 85mm F1.2 S Lens test appeared first on DXOMARK.

Interestingly, the double-sided aspherical is adopted by the focusing group, which reduces the number of elements used there, and, it is claimed, helps response times and enhances AF-tracking performance. This is aided by a new linear focusing motor using internal focusing, which is said to offer fast, accurate and near-silent operation. The minimum focus distance is a typical 0.45 m (1.48 ft) for this focal length.

In keeping with the high-grade status, the new lens features 11 aperture blades, a robust but compact design, and a dust and splash-resistant structure. Sigma’s proprietary Super Multi-Layer Coating is used to reduce ghosting and flare, plus there’s a water- and oil-resistant coating on the front element. Cosmetically similar to the DSLR version, the new mirrorless lens now features a large aperture ring that is adjustable in one-third stops and has a built-in locking and de-clicking option. Depending on the camera model, an AF lock button can be reconfigured to operate different functions.

With a 72mm filter thread, and weighing 670 grams (23.6 oz.), the lens is around two-thirds the size and weight of the original DSLR version. The new mirrorless lens is available now for around $849 / €949.

You can view the results for all tested lenses and create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

Key specifications:

• 14 elements in 11 groups
• One SLD (Super-Low Dispersion), one double-sided aspherical and one aspherical element
• 11-blade, rounded aperture
• Single HLA (High-response Linear Actuator) AF motor
• Internal Focusing (no extending barrel)
• 72mm filter thread
• Minimum focus distance: 45 cm (17.7 in)
• Weight: 670 grams (23.6 oz.)

Test results

The Sigma 50mm F1.4 DG DN Art was tested on a 60 MP Sony A7R IV and achieved a DXOMARK score of 55 — the highest score so far in our database for system image quality.

Like most modern complex designs, the Sigma 50mm F1.4 DG DN Art is optimized for high image quality at and close to the initial aperture with only small sharpness gains made when approaching F5.6. Standout qualities include excellent uniformity from the initial aperture and excellent transmission measured at T1.5, just 0.2 EV below the stated aperture value.

Somewhat unusually, the lens has fairly noticeable pincushion-type distortion (-0.5%), and vignetting is quite high for a modern design, up to -2.3 EV in the corners at maximum aperture. There’s some slight lateral chromatic aberration, though this is low (3 µm) and easily corrected in post-processing.

Overall, the Sigma 50mm F1.4 DG DN Art delivers excellent image quality. As always, it is worth looking through the detailed results and comparing them with rival designs to get a clearer idea of the image quality.

In-depth comparisons

Sigma’s Art series lenses were originally designed for the DSLR, but the new DG DN Art models have seen a complete redesign of the optical construction to take account of the shorter register of mirrorless cameras. So we’ve compared this new lens with the highly regarded original, the Sigma 50mm F1.4 DG HSM Art on a 45.7 MP Nikon D850, the highest-resolution Nikon DSLR body. At around $950 at the time of launch, some nine years ago now, the new mirrorless version actually has a lower list price. We’ve also compared the new mirrorless Sigma with a rival, the high-end Sony Zeiss Planar T* FE 50mm 1.4 ZA. At $1499 at launch, the Sony-made Zeiss lens was introduced in 2016.

You can see an overview of this comparison in our database.

Sharpness

Like so many modern designs, particular attention has been paid to sharpness at the maximum aperture with the Sigma DG DN. But it is not just sharpness at the center that is a high point, uniformity is also excellent across the field, right into the corners. Sharpness levels improve slightly at each progressive smaller stop to F5.6 where some mild effects of diffraction start to be seen. Stopping down further successively reduces sharpness levels due to diffraction, but at least levels were high to begin with. Sharpness is still excellent at F8, but there is a noticeable lowering by F11 and at F16. Importantly though, excellent uniformity across the field is maintained throughout.

When contrasting this performance with the made-for-DSLR Sigma DG HSM model and the even older Sony-made Zeiss, it is clear to see how designs have changed. The two older lenses have high central sharpness at F1.4, but edge performance is behind the latest design and is particularly noticeable with the oldest of the three, the Sony-made Zeiss. While that lens has the highest peak sharpness, that and the Sigma DG HSM also have some slight astigmatism. Stopped down performance of the Sigma DG HSM and the Sony-made Zeiss is impressive though, with all three performing similarly in sharpness from F2.8.

Chromatic aberration

Color fringing is exceptionally low on the new lens, with it being less than 2 µm microns wide at F1.4 at its most significant, which is to say far away from the center (0 field position on the graph, below) and mostly in the corners (80-100% field position). As the profile is mostly linear, it is easy to correct, either in-camera or in post. The highest levels measure around 3 µm at its peak, which is very low. Sigma’s made-for-DSLR DG HSM model has the highest measured levels culminating at 9 µm, but it  is pretty consistent through the aperture range, and the profile is predictable with it being mostly noticeable in the extreme corners. The Sony-made Zeiss also performs well with fringing maxing at 7 µm in the corners mostly.

Geometric distortion

One concession to the reduced size of the new Sigma 50mm F1.4 DG Art  appears to be the  presence of pincushion distortion. This type of distortion is usually found at longer focal lengths and has the opposing effect of barrel distortion, that is  to say the corners of the projected image extend outwards instead of inwards. Measured at -0.5%, levels are not high, but it is still somewhat unusual at this focal length. The Sigma DG HSM also has some, but at -0.1 %, it is negligible, and the same can be said of the Sony Zeiss lens, which has the same level of barreling (+0.1%).

Vignetting (corner shading)

Fast lenses like this typically have more vignetting than slower lenses, but advances have been made in this area with high-speed modern designs. However, the Sigma DG HSM exhibits slightly higher levels than we would expect, but given the diminutive dimensions, it is perhaps another concession. Vignetting reaches a maximum at -2.3EV in the extreme corners wide open, but the visual effect is exacerbated by a smaller-than-usual bright central core. Vignetting falls away slowly upon stopping down as well and never clears away entirely. In many respects, the older lens of the three the Sony-made Zeiss performs similarly but the Sigma DG HSM has lower levels to start with, and the effects are mitigated completely by F2.8.

Transmission

It might be the smallest of the three F1.4 lenses in this comparison, but in terms of brightness, it is the fastest. The new lens measured T1.5 in our lab, which is just -0.3 EV below the claimed F1.4 maximum aperture value. The older Sigma 50mm F1.4 DG HSM and the Sony-made Zeiss Planar T* FE 50mm F1.4 ZA both measured T1.8, some -0.7 EV apart from the maximum aperture value or F number, which is quite significant. While it is not usually an issue for stills where the camera’s TTL meter compensates for the difference, knowing the actual lens speed can be significant if it is to be used in filming, where the use of an external meter is common, or if the lens is chosen specifically for low-light scenes.

Conclusion

When Sigma introduced the Art series for DSLRs, it heralded a change in the standing of that relatively small independent lens maker, and it’s not an exaggeration to say that the series had a profound effect on the market and subsequently on the camera makers’ offerings. The new made-for-mirrorless Sigma 50mm F1.4 DG DN Art series lens takes the optical excellence of the original Art series to new heights. The lens has a superb balance of imaging performance. It has high sharpness levels with excellent uniformity and few real concessions in a relatively small package. The Sigma 50mm F1.4 DG DN Art also has a highly competitive price. With so many 50mm lenses available for the Sony FE mount, the new Sigma 50mm F1.4 DG DN Art series looks like a highly compelling choice.

In this review, we have compared the Sigma 50mm F1.4 DG DN Art mounted on a Sony A7R IV to its closest rivals from other brands. Remember that the lenses may be used on various cameras with different sensors, or in some cases on different camera systems using different mounts, so the results will vary between them.

As usual, you can create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

The post Sigma 50mm F1.4 DG DN Art Sony Lens test appeared first on DXOMARK.

As the replacement for the highly regarded EF 135mm F2.0L USM, one significant new feature is the inclusion of optical stabilization. Canon says it offers up to 5.5 stop compensation by itself and up to 8 stops with a compatible IBIS-equipped camera. To reduce ghosting and flare, there’s a combination of Canon’s Super Spectra and Air Sphere coatings and a fluorine layer on the front element to aid cleaning.

Like many other modern Canon lenses, the RF 135mm F1.8L IS USM adopts a Nano USM AF actuator. The Nano USM offers high-speed AF required for stills as well as smooth and quiet focusing for video. There’s also a closer-than-usual minimum focus distance of just 0.7 m (2.3 ft) resulting in a maximum 0.26x magnification.

Externally, the lens has a manual focus collar and a separate control ring for allocating ISO, exposure compensation, shutter speed or aperture as desired. And there are two customizable buttons providing access to one of 47 functions from the camera. With an 82 mm filter thread and weighing 935 grams (2.1 lbs) the lens is substantial but not overly so. It is available now for around $2099 / €2700.

You can view the results for all tested lenses and create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

Key specifications:

• 17 elements with three UD-type in 12 groups
• Nine-bladed, rounded aperture
• Optical stabilization with 5.5 stop compensation (up to 8 stops with IBIS)
• Nano ultrasonic AF motor
• 82 mm filter thread
• Minimum focus distance: 0.7 m (2.3 ft)
• Weight: 935 grams (2.1 lbs)

Test results

We tested the Canon RF 135mm F1.8L IS USM on a 45 MP Canon EOS R5, currently the highest resolution camera in the lineup. Sensor and lens together achieved a DXOMARK score of 53 points, which indicates exceptionally high image quality and is among the best tested of any focal length.

As a high-grade L-type lens, this new version of the popular 135mm focal length has high and consistent sharpness levels across the frame at all apertures. Transmission is another highlight, with the Canon RF 135mm F1.8L IS USM measuring an exceptionally efficient T1.9. This is just -0.1EV below the stated F1.8 maximum aperture value, making this a highly attractive lens for low-light stills and video capture.

It’s always worth looking through the data to see how the lens performs at individual aperture settings and focal lengths. Note the results don’t include any lens profile corrections, so what you see presented here may differ in use with the profiles applied.

In-depth comparisons

After being a popular choice in the film days, the 135mm focal length started to see something of a comeback with the adoption of full-frame digital camera models as the mainstream choice of serious amateurs and professionals. So we’ve compared the new Canon RF 135mm F1.8L IS USM with the $1600 (at launch) manual focus Zeiss APO Sonnar T* 2/135 which was introduced in September 2012. We have also compared the new Canon with the EF-mount predecessor the EF 135mm F2.0L USM. This model was about $1070 when it was released in April 1996, some 27 years ago. Both lenses are highly-regarded models and made for SLRs, and we’ve tested both on the full-frame 50 MP Canon EOS 5Ds R. According to Canon Japan, the slightly lower-pixel count of the 45 MP Canon EOS R5 has practically the equivalent resolving power of 50 MP Canon EOS 5Ds R making the comparisons between the lenses all the more compelling.

You can see an overview of this comparison in our database.

Sharpness

The Canon RF RF 135mm F1.8L IS USM performed particularly well in sharpness (acutance) at all apertures including at the initial aperture. It has exceptionally high sharpness and uniformity across the image field at the initial aperture of F1.8 achieving over 84% acutance in the center, and maintaining over 80% out to the corners. Even the outstanding Zeiss APO Sonnar T* 2/135 can’t quite match that wide-open at F2.0, and while the Canon EF 135mm F2.0L USM is a close enough match for the Zeiss centrally it’s less so in the outer zones. Stopped down to F2.8-4.0, the new Canon RF mount lens remains sharper than the Zeiss and the older EF version and, notably, even manages to maintain a very high 80% acutance across the field. By F5.6 though the Zeiss offers pretty much the same high sharpness levels across the frame as the new Canon and even the EF version is on par centrally, which goes to show just how good that old Canon EF mount lens was.

Chromatic aberration

With three UD lenses in the optical design, the Canon RF 135mm F1.8L IS USM has generally well-controlled levels of chromatic aberration measuring 6 µm on average across the field. However, the Zeiss has much lower levels and even the older Canon EF mount has slightly less fringing on average across the image field, even if it has slightly higher levels than the RF mount version in the corners of the frame. Given the larger F1.8 initial aperture, it’s perhaps not unexpected but while somewhat troublesome with regards to sharpness levels, this colored fringing is relatively easy to remove in post (production) and with out-of-camera JPEGs. Still, if we’re being super picky, it would have been great to see levels a couple of points beneath 5 µm.

Geometric distortion

At this focal length, some geometric distortion is expected and above 50mm so-called “pincushion” distortion, where the corners of the projected image extend, is quite typical. In this instance, the Canon RF 135mm F1.8L IS USM lens has slightly higher levels than both its 26-year-old predecessor and the more recent yet manual focus Zeiss. Nevertheless, the measured 0.2% value is still considered low. Some slight inwards curving of straight lines or man-made edges may be visible running parallel to the border of the frame, but it’s easy to correct in post and isn’t likely to be an issue to be concerned with.

Vignetting (corner shading)

Vignetting is well compensated for on the Canon RF 135mm F1.8L IS USM, which given the size of the objective lens isn’t totally unexpected. In our tests, the new RF mount lens has only moderate darkening or shading of the corners at full aperture and is completely free of any discernible effects by F5.6. However, competition is stiff and the older Canon EF mount version has the lower vignetting of the three at their respective initial apertures — not just at the maximum levels in the corners — but across the field slightly as well. The Zeiss is also well-controlled across the field into the extreme corners, but it has marginally higher levels than both up to that point at the extreme corners. With the Canon RF mount lens at F2.0 though, to match the initial apertures of the others, it has slightly lower levels than both the Canon EF lens and the Zeiss but then they are free of any of the effects by F4.

Transmission

In theory, there isn’t that much between a lens with a maximum aperture of F2.0 and F1.8 — it should be just 0.3 EV — however, in practice that’s not always the case. Measuring the transmission at maximum aperture reveals the real “speed” of a lens and while it’s not a big deal for stills, it’s an important consideration if you intend to use it for filming, particularly when matching with other lenses. We measured the Canon RF 135mm F1.8L IS USM wide open at T1.9, just -0.1 EV “slower” than the theoretical F1.8 maximum aperture value. In contrast, the EF version measured T2.3, which is -0.4 EV “slower” than the new RF mount model. Best of all in terms of transmission was the Zeiss, which measured T2.0, which is the same as the reported initial aperture value, meaning there really isn’t a lot between it and the RF mount lens as the F1.8 maximum suggests.

Conclusion

High-speed 135mm lenses were common in the late heydays of the film era but were gradually supplanted by the convenience and flexibility of the 70-200mm F2.8. With the rising popularity of full-frame digital cameras, especially hybrid models offering video, not to mention the range of dedicated cinema cameras based on the same mounts, the 135mm focal length has seen a something of a revival. As a result, the introduction of the Canon RF 135mm F1.8L IS USM wasn’t unexpected and essentially replaces the highly regarded EF 135mm F2.0L USM, a widely adopted and relatively affordable lens known for its superb handling and optical quality. While handling is outside the remit of our testing, the new RF mount lens has outstanding image quality, particularly in terms of sharpness and uniformity at the initial aperture but also when stopped down as well. With the “faster” or wider initial aperture, 17 element design and optical stabilization there’s a certainly premium to be paid for this new version, but while the price is likely to be widely debated image quality like this never comes cheap.

In this review, we have compared the Canon RF 135mm F1.8L IS USM mounted on a Canon EOS R5 to its closest rivals from other brands. Remember that the lenses may be used on various cameras with different sensors, or in some cases on different camera systems using different mounts, so the results will vary between them.

As usual, you can create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

The post Canon RF 135mm F1.8L IS USM Lens test appeared first on DXOMARK.

The Yongnuo features 9 elements in 8 groups and comes with low-dispersion glass and an alloy body. A rubber seal on the rear mount adds some weather protection. Firmware can be updated via a USB Type-C port and overall design and construction are similar to the company’s 50mm and 85mm options.

Coming in at a very attractive price point, the Yongnuo has the potential to be a great prime option for budget-conscious Sony photographers. Let’s see how it shapes up in our DXOMARK Lens tests.

You can view the results for all tested lenses and create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

Key specifications:

• Nine elements in eight groups
• Nano-multilayer coating process
• Seven blade aperture
• DSM AF motor
• 52 mm filter thread
• Minimum focus distance: 0.35 m (13.8″)
• Weight: 295 grams (0.65 lb)

Test results

We tested the Yongnuo YN 35mm F2S DF DSM on the 61 MP Sony A7R IV, where the camera sensor and lens together achieved a DXOMARK score of 43. This is only 2 points shy of the Sony Carl Zeiss Distagon T* FE 35mm F1.4 ZA, which is multiple times the price of the Yongnuo. Overall, the Yongnuo YN 35mm F2S DF DSM is a great option for Sony photographers who are willing to give up a tiny amount of image quality in exchange for some substantial monetary savings.

The Yongnuo YN 35mm F2S DF DSM delivers impressively sharp images, especially at the center of the frame. Astigmatism is well under control when stopping down a little, and distortion is well within acceptable limits. For photographers who can live with some chromatic aberration and vignetting the Yongnuo offers very decent image quality at a fraction of the price of Sony’s in-house options.

In-depth comparisons

We compared the Yongnuo lens to the Sony Carl Zeiss Distagon T* FE 35mm F1.4 ZA and the Sony FE Carl Zeiss Sonnar T* 35mm F2.8 ZA, all tested on the same camera. The Distagon offers a slightly faster aperture than the Yongnuo but is a lot bigger and heavier. Most of all, it’s also a lot more expensive. The Sonnar comes with a slower F2.8 aperture but is by far the most compact and lightweight lens in this comparison. It’s not quite as expensive as the Distagon but still in a noticeably higher price bracket than the Yongnuo.

You can see an overview of this comparison in our database.

Sharpness

The Yongnuo YN 35mm F2S DF DSM performed very well in sharpness (acutance) testing. It has good center sharpness at the maximum aperture of F2.0 achieving an acutance of just under 80%. There is a slight drop off towards the edges and corners where we measured acutance of around 75%. Stopping down to F4 will improve things at the edges and increase acutance to just under 80%. This is also where corner sharpness reaches its maximum.

When compared at F2.8, neither the Distagon nor the Sonnar can match the Yongnuo’s corner sharpness, but the Distagon is a touch better at the center. At F2.0 the Distagon’s sharpness advantage at the center is more noticeable, but so is its disadvantage in the corners. Overall, the Yongnuo compares well to the Sony in-house competition, offering good sharpness across the frame.

Chromatic aberration

The Yongnuo controls lateral chromatic aberration pretty well at the center of the frame across all apertures but shows higher levels of CA than the Sony lenses towards the edges of the frame.  Compared at F2.8, the Sonnar lens is the best at the center of the frame, the Distagon is better than the competition at the edges.

Geometric distortion

Geometric distortion is acceptably well under control on the Yongnuo lens, but a slight negative distortion effect is noticeable. Overall, the level of distortion is very similar on the three lenses in this comparison.

Vignetting (corner shading)

Vignetting is quite noticeable on the Yongnuo YN 35mm F2S DF DSM when shooting wide open. There is a noticeable improvement when stopping down to F4, but some corner shading remains even at the smallest aperture settings. At F2.0, there is quite a noticeable difference to the Distagon, which controls vignetting better. The difference with the Distagon changes somewhat at F2.8 where the Sonnar’s performance falls behind the other lenses.

Transmission

The measured T-stop relative to the quoted F-stop is nice to know if you’re using your lenses for videography, but it isn’t really relevant for stills. Transmission may indicate how the lens handles flare and ghosting, but that’s not what is tested here. In any case, with a 2.2 T-stop measurement, the Yongnuo sits between the two Sony lenses, which is what you would expect given the different maximum aperture values. The Yongnuo shows approximately a -0.3 EV difference against the reported F-stop, the Distagon comes closer to -0.5, the Sonnar is quite close to the reported value.

Conclusion

The Yongnuo YN 35mm F2S DF DSM offers very good sharpness at the center of the frame, and distortion is well under control. Chromatic aberrations and vignetting are somewhat more intrusive than on Sony’s Distagon lens with the equivalent focal length, but if you can live with the slightly slower aperture and are willing to spend the time it takes to correct CA and vignetting in post production, the Yongnuo lens offers a very similar level of image quality at a considerably lower price point.

In this review, we have compared the Yongnuo YN 35mm F2S DF DSM mounted on a Sony A7R IV to its closest rivals from other brands. Remember that the lenses may be used on various cameras with different sensors, or in some cases on different camera systems using different mounts, so the results will vary between them.

As usual, you can create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

The post Yongnuo YN 35mm F2S DF DSM Lens test appeared first on DXOMARK.

A DSM motor allows for quiet focusing, which is useful for video capture, but manual focus operation is of course possible as well. A USB Type-C port is on board to facilitate user-friendly firmware updates. Overall, design, construction quality and feature set are very similar to Yongnuo’s 50mm and 85mm prime lens options.

Let’s see how the much more affordable YN 35mm F2Z DF DSM compares against Nikon’s own NIKKOR Z 35mm f/1.8 S in our DXOMARK Lens tests.

You can view the results for all tested lenses and create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

Key specifications:

• Nine elements in eight groups
• Nano-multilayer coating process
• Seven blade aperture
• DSM AF motor
• 52 mm filter thread
• Minimum focus distance: 0.35 m (13.8″)
• Weight: 295 grams (0.65 lb)

Test results

We tested the Yongnuo YN 35mm F2Z DF DSM on the 46 MP Nikon Z7, where the camera sensor and lens together achieved a DXOMARK score of 38. This ties the score of Nikon’s own NIKKOR Z 35mm f/1.8 S which is more than double the price of the Yongnuo.

Overall, the Yongnuo YN 35mm F2Z DF DSM is a great option for budget-conscious Nikon Z photographers, offering better sharpness than the NIKKOR lens. However, stronger vignetting and more noticeable chromatic aberrations are drawbacks to keep in mind.

In addition to good sharpness at the center of the frame, astigmatism is well under control on the Yongnuo for Nikon when stopping the lens down a little.  Distortion is well managed and chromatic aberration and vignetting are easily rectified in post processing, making the Yongnuo an enticing offer if you can spare a little extra time to optimize image quality after the shot.

In-depth comparisons

We compared the Yongnuo lens to the NIKKOR Z 35mm f/1.8 S, which was also tested on the Nikon Z7. The NIKKOR offers a slightly faster aperture than the Yongnuo. It’s also a little more compact and more lightweight, but overall, the two lenses are pretty close in terms of dimensions and weight. As mentioned above, the NIKKOR is significantly more expensive than the Yongnuo.

You can see an overview of this comparison in our database.

Sharpness

The Yongnuo YN 35mm F2Z DF DSM achieved very good results in our sharpness (acutance) tests. Center sharpness is good at 80% wide open. There is a noticeable drop-off towards the edges, though, where we measured just under 70% acutance. Stopping down increases sharpness across the frame, though, and best results are achieved at aperture F4.

When compared to the NIKKOR Z lens, the Yongnuo’s sharpness is slightly ahead, or at least on par, at pretty much all aperture settings. The difference is most noticeable at F2 and diminishes somewhat as both lenses are stopped down.

Chromatic aberration

Lateral chromatic aberration is controlled pretty well at the center of the frame at all aperture settings, but CA levels are higher towards the edges of the frame. Overall, the Nikon lens controls this image artifact better than the Yongnuo at all apertures.

Geometric distortion

Geometric distortion is kept within acceptable limits on the Yongnuo lens, but our measurements do show a slight negative distortion. Distortion on the NIKKOR is on a very similar level.

Vignetting (corner shading)

Vignetting is quite evident on images captured wide open with the Yongnuo YN 35mm F2Z DF DSM. Stopping down to F4 will mitigate the effect noticeably but some corner shading remains at all aperture settings. On the NIKKOR lens, vignetting wide open (F1.8) is approximately on the same level as on the Yongnuo at F2. Vignetting is less noticeable across the scale on the NIKKOR when comparing to the Yongnuo at the same aperture settings.

Transmission

The measured T-stop relative to the quoted F-stop is nice to know if you’re using your lenses for videography, but it isn’t really relevant for stills. Transmission may indicate how the lens handles flare and ghosting, but that’s not what is tested here. With a 2.2 T-stop measurement, the Yongnuo does not quite match the NIKKOR at 1.8, which is what you would expect given the different maximum aperture values. The Yongnuo shows approximately a -0.3 EV difference against the reported F-stop, the NIKKOR is closer to the reported value.

Conclusion

The Yongnuo YN 35mm F2Z DF DSM comes with a slightly slower aperture than Nikon’s NIKKOR Z 35mm f/1.8 S but delivers very good sharpness at the center of the frame and keeps distortion well under control. Our tests found chromatic aberrations and vignetting to be more noticeable on the Yongnuo lens than on the NIKKOR, but given the Yongnuo’s significantly more affordable price point, its overall performance is quite impressive, making it a great alternative any budget-conscious Nikon Z shooters.

In this review, we have compared the Yongnuo YN 35mm F2Z DF DSM mounted on a Nikon Z7 to its closest rivals from other brands. Remember that the lenses may be used on various cameras with different sensors, or in some cases on different camera systems using different mounts, so the results will vary between them.

As usual, you can create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

The post Yongnuo YN 35mm F2Z DF DSM Lens test appeared first on DXOMARK.

With a new optical layout, Sony has completely revised the optical construction, increasing the number of overall elements from 18 to 20. In addition to two Super ED elements, there are two further ED elements to control fringing and five aspherical elements, two being high precision XA (extreme aspherical) types to mitigate spherical aberrations. The lens features 11 aperture blades for improved circular highlights when stopped down, and it adopts Nano AR Coating II to reduce flare and ghosting. The lens design also minimizes focus “breathing” and focus shift, according to Sony.

The Sony FE 24-70mm F2.8 GM II zoom has four linear AF motors offering “advanced lens control” with quiet, smooth yet high-speed focusing even when tracking. A floating focus mechanism promises improved sharpness at all distances, and inner focusing offers a closer-than-expected minimum focus distance of just 0.21-0.3m (8.25-12”) with a maximum magnification of 0.32x.

Externally, the new lens features soft rubberized zoom and manual focus rings and a dedicated aperture collar with “de-clicking” and locking options for video use. It also features two (programable) focus hold buttons and controls AF.

Although the new lens has an 82 mm filter thread, it is claimed by Sony to be the smallest and lightest in its class at just 695 grams (24.6 oz.) and some 20% lighter than the original model. It is available now for around $2,300/€2,400.

You can view the results for all tested lenses and create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

Key specifications:

• 20 elements in 15 groups
• 2 Super ED, and 2 ED elements
• 5 aspherical, and 2 extreme aspherical (XA)
• 11 blade, circular aperture
• 4 linear AF motors
• 82 mm filter thread
• Minimum focus distance: 0.21-0.3m (8.25-12”)
• Weight: 695 grams (24.6 oz.)

Test results

We tested the Sony FE 24-70mm F2.8 GM II on the 61 MP Sony A7R IV where the lens and sensor achieved an excellent overall DXOMARK score of 39 points. This rating places it at the top of recent test results for this focal range ahead of the original Sony GM lens and even slightly in front of the previous best models; the Nikon Nikkor Z 24-70mm F2.8 S and earlier, made for DSLR, Canon EF 24-70mm F2.8L IS USM.

Strong points include exceptional sharpness as well as improved astigmatic behavior and lower distortion than its predecessor and, it should be noted, Sony has achieved this in a smaller and nearly 200g lighter package.

It’s always worth looking through the data to see how the lens performs at individual aperture settings and focal lengths. Note the results don’t include any lens profile corrections, so what you see presented here may differ in use with the profiles applied.

In-depth comparisons

Like the recently updated FE 70-200mm F2.8, the Sony FE 24-70mm F2.8 GM II is used to showcase the company’s most advanced lens technology and this focal ratio will appeal to a wide range of photographers. We’ve paired it here with the 61MP Sony A7R IV, Sony’s highest-resolution body.

We’ve also compared the new lens with its predecessor introduced in 2016, the similarly priced ($2,200, at launch) Sony FE 24-70mm F2.8 GM, also on the Sony A7R IV. In our tests, there isn’t much difference between the original lens on the older 47.5 MP Sony A7R II and 61 MP A7R IV and likely the reason for the introduction of the new GM II model.

For an idea of how it might compare against a rival system, we’ve selected the $2,300 (again, at launch in 2019) Nikon Nikkor Z 24-70mm S F2.8 mounted on the 47.5 MP Nikon Z7. Although the Z7 has been replaced by the Z7 II, the sensor is understood to be the same and would give a similar if not identical result. The Nikkor Z 24-70mm S F2.8 and Nikon Z7 combination is a formidable pairing and highly relevant as a benchmarking exercise.

You can see an overview of this comparison in our database.

Sharpness

High-speed wide-angle zooms like this adopt complex designs and can vary quite a bit in performance across the zoom range, especially at their initial aperture. The new Sony GM II challenges that and has only a marginal difference from the wide to the tele end. Sharpness is also very high throughout the zoom range and it has very good to excellent uniformity, with greatly reduced astigmatic-like behavior over its predecessor. The improvement is particularly noticeable over the widest and longest focal lengths where the original GM model exhibited quite high levels. By contrast, the new lens shows some astigmatic behavior over the 35-50mm range but in general, it is very well controlled and almost on par with the Nikkor. Despite that, the Nikkor not to mention the original GM loses out in sharpness towards the longer end. It is particularly noticeable wide open at the longer focal lengths and both have to be well-stopped down before they approach the sharpness of the new GM II.

Chromatic aberration

Overall, the new Sony FE 24-70mm F2.8 GM II is exceptionally well controlled in respect of lateral chromatic aberration. Some fringing may be noticeable at the periphery on high contrast edges at the shorter focal lengths (peak levels of around 11µm at 24mm), but given that the results are without profile correction this is very impressive for a zoom. Levels are very low and well-controlled across the image field even in the extreme corners through the zoom range out to 70mm, though that can also be said for the other two even if they’re not quite at the same low level as the GM II.

Geometric distortion

Distortion characteristics of the new Sony have also been improved. At its widest 24mm, the GM II has the equivalent 0.8 % barrel as its predecessor, but it’s lower than the Nikkor, which is approaching a rather high 1.0 % (before profile correction), and the GM II is better controlled than both throughout the range. At 28mm, barrel distortion is just 0.3 % changing to -0.3 % pincushion at 35mm. After that, pincushion increases slightly to -0.5% at 50mm through to 70mm. That’s all rather remarkable given the reduced size and weight over the original.

Vignetting (corner shading)

With the GM II’s smaller size, you might also expect higher vignetting but that’s not the case here. Overall, the new lens has about the same levels when averaged, however, the characteristics vary between the two models. The new GM II has about the same peak values and a slighter smaller central core free of vignetting than its predecessor wide open at 24-28mm, but then that position reverses over the 35-70mm range. The new lens also mitigates the effects sooner than the original on stopping down over the same 35-70mm range, though it’s about the same over the more noticeable 24-28mm range. Against the Nikkor, the GM II is slightly better controlled at every focal length.

Transmission

Given this is likely to be a popular choice for video, it’s interesting to see how Sony has tackled the transmission values of the new lens. While the T3.2 is slightly higher than the original as well as the rival Nikkor, the consistent T3.2 value at every focal means there’s no unsightly density (exposure) change during zooming. It’s likely one concession to the smaller size, but exposure consistency in a zoom aimed at video and filmmaking is highly valued.

Conclusion

High-speed F2.8 zooms like this have been used to showcase the best in technology since the type was introduced, but rarely do we see such a considered and thorough overhaul between versions. With this update, Sony has revamped just about everything they could. With all of the enhancements, many would have been satisfied with it equaling its predecessor in optical performance; however, the result is not only the smallest and lightest of its type, but Sony has also raised the bar optically. Given the similar price range (at launch) and the overall improvements, the Sony FE 24-70mm F2.8 GM II is a solid choice over the original and highly attractive option for Sony users or indeed anyone considering the Sony system.

In this review, we have compared the Sony FE 24-70mm F2.8 GM II mounted on a Sony A7R IV to its closest rivals from other brands. Remember that the lenses may be used on various cameras with different sensors, or in some cases on different camera systems using different mounts, so the results will vary between them.

As usual, you can create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

The post Sony FE 24-70mm F2.8 GM II Lens test appeared first on DXOMARK.

Inside it has a relatively complex construction consisting of 11 elements arranged in 10 groups. The design adopts a single asphere and no less than 5 SLD low dispersion type glass elements to mitigate chromatic aberration.

The Sigma 90mm F2.8 DG DN | Contemporary uses a single stepper AF motor for smooth and quiet focusing. Sigma has also added internal focusing for improved responsiveness and, as an added benefit, there’s no extending barrel either. Also welcome is a closer-than-expected minimum focus distance of just 0.5m (1.6’), and a useful maximum magnification of 0.2x.

With a 55 mm filter thread, the lens is highly compact and lightweight at just 295 grams (10.4 oz). It is available now for around $639/€599.

You can view the results for all tested lenses and create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

Key specifications:

• 11 elements in 10 groups
• 1 aspherical, 5 SLD elements
• 9-blade, rounded aperture
• Stepper motor with IF
• Metal build
• 55 mm filter thread
• Minimum focus distance: 0.5 m (1.6’)
• Weight: 295 grams (10.4 oz)

Test results

We tested the Sony E-mount version of the Sigma 90 mm F2.8 DG DN | Contemporary on the highest resolution body in the line-up, the 61 MP Sony A7R IV. The lens and sensor as a system achieved an overall DXOMARK score of 39 points, which is a good score but a little lower than others competing in the same space.

While the new model has excellent transmission, overall sharpness levels are a little on the low side, and they’re held back somewhat by astigmatism in the outer field. It also has relatively high levels of lateral chromatic aberration, peaking at 17 µm. Pincushion distortion, measured at 1.2%, is another weak point, which is unusual to see at this focal length. Finally, vignetting is also a little high given it is a modest F2.8 lens.

It’s always worth going through the data to see how the lens performs at individual aperture settings. Also bear in mind that the results don’t include any software correction.

In-depth comparisons

The Sigma 90 mm F2.8 DG DN | Contemporary is likely to be used for portraits and for selective framing generally, so we’ve compared the new lens with the around $800 Sony FE 85 F1.8. For an idea of how it might compare with a high-end model, we’ve also selected the $1,100 Sony FE 90 mm F2.8 Macro G OSS. While this lens might not look like a direct rival for your cash, many photographers choose a short tele macro for portraiture as it can also be used to crop in tightly. While Sigma has a much shorter minimum focus distance than many others at this focal length, a typical standard short tele would find closing in on facial details such as eyes and eyelashes or lips difficult or even impossible without an extension tube.

You can see an overview of this comparison in our database.

Sharpness

Short telephoto lenses like this are typically easy to design and usually have very high sharpness levels. While the older Sigma performs pretty well in the center of the frame from the initial aperture, levels aren’t quite as high as either the Sony FE 85 mm F1.8 or the more expensive Sony FE 90 mm F2.8 Macro G OSS at their respective initial apertures. Moreover, at F2.8 – F5.6 and particularly at F4, there are quite high levels of astigmatism in the outer field, which holds back sharpness overall. When stopped down to F8 and above, all three lenses have similar sharpness levels, albeit perhaps with the Sigma being just slightly behind the other two.

Chromatic aberration

With fringing peaking at 17µm on the Sony A7R IV, quite high levels of lateral chromatic aberration were measured in the lab. While this is considerably higher than either the “faster” or “brighter” Sony FE 85 mm F1.8 or the more optically complex but more expensive Sony FE 90 mm F2.8 Macro G OSS it’s not necessarily a deal-breaker as the high levels mostly occupy the corners and is easy to remove in software. The star here is the Sony FE 90 mm F2.8 Macro G OSS, which is well-controlled across the field.

Geometric distortion

Given the short tele focal length, the pincushion distortion measured at 1.2% is quite high. Both Sony lenses — the Sony FE 85mm F1.8 and Sony FE 90mm F2.8 Macro G OSS — show minor barrel distortion at 0.3% and 0.2%, respectively. Like the lateral chromatic aberration measurements, this and the vignetting don’t take any profile correction into account, so it’s likely that some software correction in your workflow will improve the outcome.

Vignetting (corner shading)

Vignetting is another shortcoming that’s easily controlled either using the camera or editing software to selectively lighten the corners. That may be just as well as the Sigma 90 mm F2.8 DG DN has quite high levels for a lens with a modest F2.8 initial aperture and it still has some visible vignetting at F5.6. While it’s not much of an issue, the Sony FE 80 mm F1.8 has slightly less at F1.8 and the Sony FE 90 mm F2.8 Macro G OSS has around 0.7 EV less at the maximum and a much larger central core without visible vignetting of the other two.

Transmission

Transmission is one area where the Sigma 90 mm F2.8 DG DN lens excels, and it’s an important attribute, especially with hybrid models offering video capture. At T2.9 the Sigma 90 mm F2.8 DG DN is just -0.1 EV lower than the manufacturer’s stated maximum F-number. While that’s a win for the Sigma lens, both Sony’s have good transmission as well, with the Sony FE 85 mm F1.8 being just -0.2 EV behind at T2.0 and the Sigma 90 mm F2.8 DG DN measuring T3.2 or -0.4 EV lower than the stated F-number.

Conclusion

Not everyone wants large and heavy high-speed lenses, so there’s clearly an opportunity for compact high-quality primes. With such strong contenders in Sony’s lineup at this focal length, though, it is perhaps no surprise to see Sigma offering something a little different with the Sigma 90 mm F2.8 DG DN | Contemporary lens. Despite some slight shortcomings, many of which can be overcome with software correction, image quality is very good overall. What’s more, if portraiture is your thing, thanks to its small size, great build, and relatively affordable pricing, the Sigma 90 mm F2.8 DG DN | Contemporary looks like a super-compelling option.

In this review, we have compared the Sigma 90 mm F2.8 DG DN Contemporary mounted on a Sony A7R IV to its closest rivals from other brands. Remember that the lenses may be used on various cameras with different sensors, or in some cases on different camera systems using different mounts, so the results will vary between them.

As usual, you can create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

The post Sigma 90 mm F2.8 DG DN (for Sony) Lens test appeared first on DXOMARK.

The lens features 9 elements in 8 groups and comes low-dispersion glass. Firmware is upgradeable via a USB Type-C port and a metal bayonet with gold-plated contacts promise durability and reliable communication with the camera body.

With a significantly lower sticker price than the more established competition the Yongnuo looks like a viable alternative for budget-conscious Sony photographers. Let’s see how it shapes up in our DXOMARK Lens tests.

You can view the results for all tested lenses and create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

Key specifications:

• Nine elements in eight groups
• Nano-multilayer coating process
• Seven blade aperture
• DSM AF motor
• 58 mm filter thread
• Minimum focus distance: 0.8 m (30.5″)
• Weight: 346 grams (0.76 lb)

Test results

We tested the Yongnuo YN 85mm F1.8 S DF DSM on the 61 MP Sony A7R IV, where the camera sensor and lens together achieved a DXOMARK score of 51 points. This is an excellent score and makes the Yongnuo the best 85mm lens for full-frame E-mount cameras in our database, albeit by a tight margin of only 2 points over the Sony FE 85mm F1.4 GM.

The Yongnuo YN 85mm F1.8 S DF DSM delivers impressively sharp images, even at the maximum aperture. This is especially true at the center of the frame. Astigmatism is well under control when stopping down a little and transmission is on a similar good level as for comparable lenses.

It’s not all positives, though, and Yongnuo photographers will have to make some compromises. Our testers observed a lot of lateral chromatic aberrations and sharpness drops off significantly towards the edges of the frame. Vignetting is visible as well at all aperture settings from F1.8 to F4. Vignetting is visible as well at all aperture settings from F1.8 to F8.

In-depth comparisons

We compared the Yongnuo lens to the Sony FE 85mm F1.8 and the Carl Zeiss Batis 85mm F1.8 Sony FE all tested on the same camera. Both comparison lenses offer the same maximum aperture as the Yongnuo but are longer and heavier. Most of all they’re quite a bit pricier as well. Let’s see if the more affordable Yongnuo YN 85mm F1.8 S DF DSM can keep up with the competitors from the more established manufacturers.

You can see an overview of this comparison in our database.

Sharpness

The Yongnuo YN 85mm F1.8 S DF DSM performed especially well in sharpness (acutance) testing. It has very good center sharpness at the maximum aperture of F1.8 achieving a high acutance of just over 85%. However, there is a drop off towards the edges and corners where we measured acutance of around 70%. Stopping down to F4 will improve things at the edges and increase acutance to just under 80%. At F8 corner sharpness reaches its maximum and decreases when the lens is stopped down further.

Neither the Sony lens nor the Zeiss can match the Yongnuo’s center sharpness at F1.8 but the Sony is slightly better at the edges. When stopped down to F2.8 all three lenses are at a very similar level at the center but the Sony offers better corner sharpness than the Yongnuo and Zeiss, and pretty good uniformity across the field.

Chromatic aberration

The Yongnuo has pretty high levels of lateral chromatic aberration at all apertures and things get slightly worse as you stop down. Both the Sony and Zeiss control the effect much better, with lateral chromatic aberration much less noticeable. The more expensive Zeiss is a touch better than the Sony but there really isn’t much between them despite the price difference.

Geometric distortion

As you would expect at a 85mm focal length geometric distortion is well controlled on all three lenses but the Sony is a touch more uniform across the field than the Zeiss and Yongnuo.

Vignetting (corner shading)

Vignetting is quite noticeable on the Yongnuo YN 85mm F1.8 S DF DSM when shooting wide open. There is a noticeable improvement when stopping down to F4 but some corner shading remains even at the smallest aperture settings. At F1.8 the Yongnuo does well compared to the competition. It’s on a similar level as the Sony and noticeably better than the Zeiss. However, vignetting is reduced more on both comparison lenses by stopping down. From F2.8 onwards the Sony and Zeiss are noticeably better than the Yongnuo, with not much difference between the two at most aperture settings.

Transmission

The measured T-stop relative to the quoted F-stop is nice to know if you’re using your lenses for videography but it isn’t really relevant for stills. Transmission may indicate how the lens handles flare and ghosting, but that’s not what’s tested here. In any case, with a 1.9 T-stop measurement the Yongnuo is very close to the Sony and Zeiss which we both measured at 2. All three lenses show approximately a -0.3 EV difference against the reported F-stop.

Conclusion

Photographers who shoot with the Yongnuo YN 85mm F1.8 S DF DSM get excellent sharpness at the center of the frame but will have to make some compromises, especially in terms of corner softness and chromatic aberrations. Build quality and materials are also not quite on the same level as the comparison lenses from Sony and Zeiss but essentially the Yongnuo offers a high level of quality at a fraction of the price of its competitors, making it an enticing option for budget-conscious shooters.

In this review, we have compared the Yongnuo YN 85mm F1.8 S DF DSM mounted on a Sony A7R IV to its closest rivals from other brands. Remember that the lenses may be used on various cameras with different sensors, or in some cases on different camera systems using different mounts, so the results will vary between them.

As usual, you can create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

The post Yongnuo YN 85mm F1.8S DF DSM Lens review appeared first on DXOMARK.

In addition to two super ED elements, there are three further ED elements, with one also being aspherical to mitigate chromatic aberration. It also has three further aspherical elements, one being a high precision XA type to mitigate the grinding and polishing marks, or “onion” rings, seen in circular out-of-focus highlights.

In addition to optical stabilization, the lens has weather-resistant sealing, and the front element has a fluorine coating to aid in cleaning. The design also minimizes focus “breathing” and focus shift, according to Sony.

As well as modifying the optical construction, Sony has improved the AF and the new model adopts no less than four linear AF motors promising high-speed focusing and accuracy. It also has a closer-than-expected minimum focus distance of just 0.4-0.82m (15.7-32.3”), and a maximum magnification of 0.3x.

Externally, the lens is packed with controls. There are relatively wide rings for zooming and manual focus, programable focus hold buttons, focus limiter and IS mode switches, and a ‘de-clickable’ aperture control ring with a lock.

With a 77 mm filter thread, the lens is relatively compact and now weighs just 1045 grams (36.9 oz.). The new model is available now for around $2,800/3,000€.

You can view the results for all tested lenses and create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

Key specifications:

• 17 elements in 14 groups
• 1 aspherical ED, 2 Super ED, and 2 ED elements
• 1 extreme aspherical (XA) and 2 aspherical elements
• Image stabilized
• 11 blade, circular aperture
• 4 linear AF motors
• 77 mm filter thread
• Minimum focus distance: 0.4-0.82m (15.7-32.3”)
• Weight: 1045 grams (36.9 oz.)

Test results

Our test engineers evaluated the Sony FE 70-200mm F2.8 GM OSS II on the 61 MP Sony A7R IV, where the lens and sensor are measured together as a system achieved an overall score of 41, which is the best-corrected lens in its class. While close overall in terms of optical performance to the previous 2016 version, the new model has higher sharpness and slightly lower lateral chromatic aberration and vignetting.

It’s always worth going through the data to see how the lens performs at individual aperture settings. Also bear in mind the results don’t include any software correction.

In-depth comparisons

While the Sony FE 70-200mm F2.8 GM OSS II is principally aimed at sports and action photographers, we’ve paired it with the Sony A7R IV as it’s the highest resolution body in Sony’s line-up and the best to test acutance and chromatic aberration. We’ve also compared the new lens with its predecessor, the around $2,000 Sony FE 70-200mm F2.8 GM OSS, on the same camera body so the results are directly comparable.

For an idea of how it might compare with a rival, our test engineers selected the $2,600 Nikon Nikkor Z 70-200mm F2.8 VR S mounted on the 47 MP Nikon Z7. While the Nikkor might not be as “stretched” on a body with a slightly lower resolution, which will probably be reflected in the acutance and CA comparisons, it remains useful when comparing between systems.

You can see an overview of this comparison in our database.

Sharpness

Telephoto zooms nearly always perform better in the mid to short focal lengths than at their longest, and we’re beginning to see manufacturers working to improve this. While the older Sony already performs well at 200mm wide open in the center at just over 80% acutance, the mid-to-outer zone has some astigmatic-like behavior and lowers sharpness slightly. With the new Sony FE 70-200mm F2.8 GM OSS II, Sony has not only increased sharpness in the center to 85% acutance, but also has improved sharpness and uniformity in the outer zone.

At the other end of the zoom range, there’s an improvement in uniformity and while sharpness is at similar levels centrally, the new lens has better sharpness out to the corners. Where the Nikkor Z 70-200mm F2.8 VR S is a little weak at 200mm, by comparison, it performs well at 70mm and is slightly sharper than the new Sony wide open, at least in a small central core. One whole stop down from the initial aperture the differences between all three are minimal, but the astigmatic behavior of the older Sony is clear.

Chromatic aberration

The new Sony FE 70-200mm F2.8 GM OSS II is very well controlled in terms of lateral chromatic aberration, especially at the longer end of the zoom range where the lens has the lowest levels of the three. Levels are far lower at 200mm than either its predecessor or its rival, the Nikkor Z 70-200mm F2.8 VR S. Given that the results are published without any profile correction applied to reduce the effect, this is all very impressive. However, with levels peaking around 10 µm at 70mm when wide open, the new lens isn’t quite as strong. While the results are still quite low, both the older 2016 Sony version and the Nikkor Z have lower levels.

Geometric distortion

Compared with the original GM version, the distortion characteristics of the new Sony are quite different. Most telephoto zooms show barrel-type distortion at the wider end changing to some pincushion at the longer lengths. While that’s typical of the earlier GM version, the new Sony FE 70-200mm F2.8 GM OSS II has no measurable distortion at 70mm. Instead, there’s some slight pincushion after zooming in slightly, that gradually increases through the range to 200mm where it peaks at -0.6%. In that respect, the new Sony behaves much more like the Nikkor Z 70-200mm F2.8 VR S but even then all three have relatively low distortion.

Vignetting (corner shading)

Vignetting is another shortcoming that’s well-controlled in the Sony FE 70-200mm F2.8 GM OSS II. And in this group, it’s the best lens of the three. Even so, the heaviest effects are visible at the longer end. While there’s not much between wide open at 200mm, the new model has a wider central core free of vignetting than the other two and less darkening of the corners than the Nikkor Z 70-200mm F2.8 VR S or older Sony, in that order. What’s more, the new model is almost free of vignetting just one stop down from the maximum at every other focal length.

Transmission

With just about every mirrorless camera offering hybrid movie and stills capability, knowing the transmission may come in useful, especially with zooms where it might be possible to see the effects in the footage. In this regard, the Sony FE 70-200mm F2.8 GM OSS II performs well with a fairly consistent T3.1 and only a very minor difference between -0.2-0.3 EV from the stated aperture value. The Nikkor Z 70-200mm F2.8 VR S is very similar while the older Sony is slightly less consistent over the range, measuring -0.3-0.4 EV behind the stated aperture values.

Conclusion

The original Sony FE 70-200mm F2.8 GM OSS was already a very good performer, but it looks as if pressure from rivals (Canon’s RF 70-200mm F2.8 weighs just 1070 g) to lower the weight in this type has resulted in this newer GM2 version. Against its predecessor and the relatively new Nikon Nikkor Z 70-200mm F2.8 VR S (which at 1440 g is just 40 g less than the original Sony), the Sony FE 70-200mm F2.8 GM OSS II performs well and comes out in front, but it’s not by a large margin. While the weight advantage is nice to have the new model comes with quite a hefty price tag attached.

In this review, we have compared the Sony FE 70-200mm F2.8 GM OSS II mounted on a Sony A7R IV to its closest rivals from other brands. Remember that the lenses may be used on various cameras with different sensors, or in some cases on different camera systems using different mounts, so the results will vary between them.

As usual, you can create your own comparisons and in-depth analyses using our interactive image lens comparison tool.

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