Sony SEL1635GM 16-35mm f/2.8 Lens Review

My quest for an all around landscape and astrophotography lens continues as I recently received the Sony 16-35 f/2.8 GM lens.  It has all the features I want in a wide angle lens for my Sony cameras but does it beat the Canon EF 16-35mm f/2.8L III USM?

In the Carolinas I like to photograph hidden places, waterfalls, and overlooks that don’t often have much room around them to compose a photo.  Therefore a wide angle zoom lens is essential for me.  I often camp or stay out after sunset to photograph the stars at night so I also need it to be able to shoot at f/2.8 as I don’t want to carry around a separate lens just for night photography.

The best one lens solution I had found so far was the Canon EF 16-35 f/2.8L III using the Sigma MC-11 adapter.  The sharpness was amazing for stars at f/2.8 and landscapes at f/16.  It has a mechanical manual focus ring with an accurately marked distance scale making it easy to check infinity focus in the dark at night.  However the lens has a lot of vignetting, especially at f/2.8 for nightscapes, and correcting for it in Lightroom adds a lot of noise.  While I prefer some vignette to draw the eye to the center of the frame, it was too much and it made panoramas difficult to merge without creating darker “bars” where the vignetting overlaps.

When I unboxed the Sony FE 16-35 f/2.8 GM lens I was initially surprised with how small and light it was.  It is 1.5” shorter and roughly ¼ pound lighter than the Canon with the MC-11 adapter attached.

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I'm not a professional lens tester but wanted to share these photos to help anyone considering purchasing this lens.  These are taken out of Lightroom with minimal processing and 100% crops of the center and corners.  I started out testing the lens against my garage door to check that the lens was well centered.  I have had to return several Sony lenses for having one side out of focus versus the other.  In my comparison I thought the Canon was sharper but I was happy that the Sony was even from side to side and had much less vignetting.  There is also a noticeable difference in the color rendering with the Sony being a bit cooler.

I tested 24mm out in my backyard.  I did seem to notice the Sony lens tended to be front focusing slightly and put in a yardstick for comparison with the focus point on the sticky note.  In the yard the Sony had more contrast and better bokeh.

I added a third lens to test at 35mm between the Sony 16-35 GM, Canon 16-35L iii, and Sony 24-70 GM.  This is a 100% crop from each lens.  The two Sony GM lenses had a similar look and surprisingly I thought the Sony 16-35 GM was the sharpest of the three.

Astrophotography was the one area I was really hoping for an improvement with the Sony 16-35 GM lens.  I finally had a clear night to test both lenses at 24mm, 15 seconds, and f/2.8.  I was very happy not to see any coma or distortion in the stars and the vignetting was improved.

In conclusion I'll be keeping the Sony 16-35 GM lens and selling the Canon.  While I think the Canon 16-35L iii is slightly sharper in some instances the sharpness from the Sony is still excellent.  I would also prefer the mechanical manual focus of the Canon but I thought the focus ring felt slightly stiffer than the Batis 18mm lens which I really didn't like the feel of.  However I like the look of the colors and contrast from the Sony better, the smaller size, and less vignetting which more than make up for the other minor differences.

Athletes in Motion

Often in landscapes I will use neutral density filters (or an app on my camera) to get a long exposure time so that the single photograph will capture some of the movement in the scene around me at that time.  For example flowing water or clouds drifting across the sky.

I wanted to do the same during a portrait session with a few athlete friends of mine after being inspired by Erik Christian's photographs of basketball players.  His concept was to use a colored constant light on the model for the movement and a pop of flash at the end of the exposure to freeze the athlete.  As soon as I saw his work I quickly recreated the setup at home to practice using my son as the model.

The practice helped as it was tricky work to eliminate the background while still getting enough of the colored constant light on the model to track his motion.  To make this easier for my next session I brought in a projector connected to a laptop to provide the colored constant light.  This worked extremely well as the beam was focused and I could create any gel color and pattern I wanted with the computer display.

After the practice this was my process;  Eliminate all the ambient light, f/5.6 aperture to keep the lateral movement in focus, and raised ISO to get visible exposure of the constant light.  Then turned on Key flash and adjusted power to keep from overexposing their shirts.  I used a two second exposure and counted the two seconds aloud for the model to use as queue when to finish the movement. The best results came when the model was still for a fraction of a second to capture the starting pose and timed the finishing pose with the flash at the end of the 2 second exposure. It took several tries to get the ending timing right…

Some additional improvements I would make next time; try increasing the projector brightness and make sure the beam catches the entire model.  Add some fill light flash and/or try adding some back lighting.  Finally smoother, slower, movements by the model, like a dancer would help the aesthetics.

 

Zeiss Batis 18mm f/2.8 Wide Angle Lens for Sony E Mount Review

The Zeiss Batis 18mm f/2.8 lens for Sony E mount full frame cameras is capable of amazing landscape and astrophotography images in a lightweight package.  This is my brief review of it after six months of use for those considering buying one primarily for those reasons.

My product photography image of my *used* lens ended up as Amazon's listing image for the new version...

For my landscape and astrophotography needs a wide-angle lens must be sharp across the frame, take filters, and be f/2.8 at a minimum for night photos.  I often do significant hiking to reach my photo locations and before this lens was getting tired of carrying the Sony FE 16-35 f/4 along with a Rokinon 14mm f/2.8 and/or 24mm f/1.4.  Since it met my requirements I jumped all in, selling the Sony FE 16-35 f/4 and Rokinon 24mm f/1.4…

18mm, 1/320 at f/11, ISO 100

Overall the lens did everything I wanted, images were sharp from center to corner.  The weather sealing is great as it’s often used for close up waterfall images and being outside for hours at a time during night time timelapses.  Also it is very light and easy to carry.

18mm, 1/100 at f/11, ISO 100

However I found trying to photograph landscapes in the Carolinas with a prime lens too difficult.  Other than the coast…we have few wide-open areas that allow you to frame a composition easily by moving around.  This is nothing against the lens but more a function of the subjects I’m photographing.

18mm, 1.6 sec at f/16, ISO 100

Also I did not like the manual focus-by-wire feedback, especially for night photos.  Manual focusing in the dark is hard enough through the Sony’s electronic view finder but I felt like I never knew how much the focus would adjust every time I turned the focus ring.

18mm, 10 sec at f/2.8, ISO 400

While I was happy with the images I did get with the lens, I only used it when I thought I needed it.  I'm sure I missed some shots where I could have used it creatively but not in a safe spot or just too lazy to swap it out.  Therefore I've sold it in favor of a 16-35mm f/2.8 zoom.  The convenience of the zoom allows me the freedom to create more of the composition I want.

18mm, 20 sec at f/2.8, ISO 800

Happy trails Zeiss Batis 18mm f/2.8 lens...a great lens but too specialized for this photographer.