It is now over a month since Cameracraft September/October 2023 went out to printed edition subscribers and was released in the App and Pocketmags, and to our digital-only subscribers who received the link to download in a September 1st email.
With main features previewing the season we are now most definitely in – Autumn or Fall – it’s only fair to let the world see the issue with the informative New England Fall article by Jeff Folger, and the introduction to wonderful Welsh waterfalls at this time of year from Jon Rees. And as usual it’s an edition with plenty to read as well as great photography. Please subscribe to our worldwide digital delivery £15 a year to get future issues on the day they are published, or choose the printed edition sent out by mail at the same time. Just click on the cover for the download link to read this edition free!
What does this mean? Well, it means that unless Tamron – the undoubted OEM of this lens just as they are the OEM of the Nikon Z 28-75mm f/2.8 – have redesigned the lens to differ in the rear mount baffles and design from their 70-180mm for Sony E-mount, a 2X converter for the Sony SHOULD be possible despite Sony’s long-standing ban on any third party 2X.
Here is the Sony rear mount.
Below is the Nikon Z-TC2 converter, which has an unusually slim intruding optical tube.
The Nikon Z mount has a register (back focus) of 16mm compared to Sony’s 18mm, which is a fairly neutral aspect as there is more room for the length of a converter barrel, but with the optical design of the Tamron and Nikon counterparts being identical the Sony rear group is 2mm closer to the bayonet mount. This should not affect how a suitably sized optical tube could be positioned.
Sony’s mount is however very much smaller in diameter than Nikon Z, a mere 46.1mm compared to 55mm. That’s nearly 9mm. so looking at the Sony rear mount photo and comparing it with the Nikon can be deceptive. That optical tube is 29mm is diameter, and the rear baffle in the Tamron E-mount would limit any intruding tube to 22mm. However, a modified Tamron E-mount with its rectangular baffle replaced (perhaps a Mark 2?) could have enough clearance with provision for the contact bezel .
We should not forget that Tamron invented the modern teleconverter with the Twin Tamron 135mm f/4.5/225mm f/7.7 (not a 2X, but a 1.7X) launched in 1958 – the lens which pretty much started Tamron’s journey to where they are now.
All of our direct digital download subscribers have now been sent their link to get a high-res PDF of the latest edition – and all those subscribing through Pocketmags or reading on Apple, Amazon or Google devices are enjoying their favourite photographic title.
Every picture tells a story, and we ask our photographers to tell the stories connected with their images. Faye Yerbury explains how someone copied her work by shooting over the shoulder, Paul Hands reveals his best-selling ever jigsaw – a perfect Christmas scene in Olde England! We visit the Beamish Living Museum of the North and a night time shoot with a World War II bomber, see how the Sony A7IV shapes up with major firmware updates, try Tamron’s lovely little 20-40mm f/2.8 zoom, and make prints for D-I-Y photo books and greetings cards using doubled sided inkjet papers
Your compact environmentally friendly photo magazine is less than 10% advertising and every printed copy reaches a reader – no ‘returns’ or landfill from the news trade, subscription only! Sign up here and join our readership helping create a truly independent mag. The digital edition is even better for the environment, you can get it as a top quality PDF download to keep (on this site) or an App from Pocketmags for Kindle, Apple, PC and all devices – https://pocketmags.com/f2-cameracraft-magazine
The latest issue, September/October 2022, takes us to the end of summer with a preview of The Photography Show (Sept 17-21) and tech tests of the £5,000 Leica Q2, Tamron’s £239 24mm f/2.8, the 7Artisans 50mm f/0.95 and the Rogue Round Flash kit which makes ordinary old camera-top flash work like circular reflector systems. It goes lives at 1.00am on September 1st, after our copies go out in the August 30th mail.
We kick off with Danny and Ted’s amazing adventure – our rock photographer’s encounter with heavy metal’s Ted Nugent. Kevin Wilson takes Sigma’s 105mm f/1.4 to Sicily for his daughter’s long-delayed wedding – Iain Poole shoots cars and bikes on the sands of the Yorkshire coast. Kenny Martin pushes the value of learning and training, while in Boston USA we meet Jaypix Belmer and her Hiphop and street culture projects.
Ian Knaggs perseveres despite creating images which he doesn’t like. Mark McNeill’s new book on Amazon, Britain by Night, gets four pages with a following feature on dark sky astro photography from Kate Hughes. Tim Goldsmith wonders which of today’s cameras will ever be as legendary as the Nikon F – and we show the results of our second Assignment, plus a Rearview Gallery devoted to black and white.
ExpoImaging, Inc., creators of the Rogue FlashBender speedlight modifiers, today announced new Rogue Round Flash Magnetic Modifiers for popular round flashes and rectangular speedlight flashes including Godox V1, Godox R100, Godox HR200 head for AD200, Geekoto GT 250, Geekoto GTR, and Westcott FJ80. Compatibility with Profoto A1, Profoto A1x, and Profoto A10 flashes requires the Rogue PF Adapter. Photographers want their speedlight modifiers to be easy-to-use, lightweight, and durable, and the new Rogue Round Flash Modifiers are all those things. Each modifier component is made from impact-resistant materials to withstand drops and conveniently stack together, whilst the white silicone dome collapses to save space in your gear bag. Rogue Round Flash Modifiers stay put because each magnetic component incorporates six custom-designed neodymium magnets, which provide a strong attachment force to the flash. The custom design safely and securely keeps the magnets within the modifier ring.
Rogue Flash Adapter has a stretchy silicone mount that enables a quick attachment to speedlight flashes using a metal ring mount to attach other magnetic modifier components.
Small adapter is compatible with Godox TT350, Canon 430, Nikon (SB600, SB800), Nissin (i40, i60A), Sony F32, and other similar sizes. The larger standard adapter is compatible with Canon 580, Godox 685, Nikon SB900, Nissin Di700A, Sony F60, and other similar sizes
Rogue Flash Gel Lens Enables users to attach colour gels to circular flashguns by placing gels between the magnetic Gel Lens. Unlike other magnetic modifiers, the unique design safely captures the neodymium magnets and keeps them in place.
Compatible with Godox (V1, R100, and HR200 head for AD200), Geekoto (GT 250, GTR) and Westcott FJ80Requires the Rogue PF Adapter (sold separately) to be compatible with Profoto flashes (A1, A1x, and A10)Can be used with rectangular speedlight flashes when combined with the Rogue Flash Adapter (Standard or Small)
Rogue Flash Grid 45 The Rogue Flash Grid 45 provides a popular grid angle for spotlighting control when shooting classic portrait or commercial product photography. Use alone to create a circle of light with a 45-degree spread or stack together to create smaller light circles.
Compatible with Godox (V1, R100, and HR200 head for AD200), Geekoto (GT 250, GTR) and Westcott FJ80Requires the Rogue PF Adapter (sold separately) to be compatible with Profoto flashes (A1, A1x, and A10)Use with rectangular speedlight flashes when combined with the Rogue Flash Adapter
Rogue Flash Diffuser Dome Great for wedding, event, and portrait photography, the Rogue Flash Diffuser Dome snaps securely to the flash and softly diffuses the light from shoe mount flashes.
Attaches directly to the flash with the Rogue Flash Gel Lens included in its baseCompatible with Godox (V1, R100, and HR200 head for AD200), (GT 250, GTR) and Westcott FJ80Requires the Rogue PF Adapter to be compatible with Profoto flashes (A1, A1x, and A10)
Rogue Round Flash Gels Place Rogue Round Flash gels between any two magnetic modifier components to add a colour correction or vibrant colours for your portrait photography. Available in two sets including the Ultimate Portrait Collection and the Colour Correction Collection.
Enhance your portrait photography with multiple shades of flash gelsGel diameter of 71.5mm fits other round flash modifier systemsCompatible with Godox (V1, R100, and HR200 head for AD200), Geekoto (GT 250, GTR) and Westcott FJ80
Bundle Kits for Round Flashes and Rectangular Speedlight Flashes The new Rogue Round Flash Modifiers are also available in kits with the most popular modifiers bundled for round flashes or rectangular speedlight flashes. For photographers exclusively using round flashes, the Rogue Round Flash Kit comprises the essential light modifiers, including the Rogue Flash Grid 45, Rogue Flash Gel Lens, Rogue Flash Diffuser Dome, 3-Gel Sample Set, and a storage pouch. This kit allows for the modification of two round flashes simultaneously using the grid or diffuser dome with the included sample gels. For photographers using round flashes and rectangular speedlight flashes, the Rogue Round Flash Kit + Rogue Flash Adapter bundle includes the Rogue Flash Grid 45, Rogue Flash Gel Lens, Rogue Flash Diffuser Dome, 3-Gel Sample Set, storage pouch, and a Rogue Flash Adapter (standard or small). This bundle allows for the modification of 2 flashes simultaneously (round flash or rectangular speedlight flash) using the grid or diffuser dome with the included sample gels.
Rogue Round Flash Magnetic Modifiers Compatible with Rogue FlashBenders v3 The Rogue FlashBenders v3 design is compatible with the new Rogue Flash Magnetic Modifiers. Previous versions of the Rogue FlashBenders are not compatible with the new magnetic modifiers.
The first magazine test of the new Tamron reached Cameracraft readers in our March/April edition. Now that other magazines are reviewing the lens, it’s time to release David Kilpatrick’s practical user report on-line.
IT’S THE MIDDLE of a dark winter and the new Tamron super-fast ‘group to portrait’ zoom has been doing the rounds of dealers, and we get the chance to use the lens for a good test period starting in January just as the days are getting longer. It’s 3pm and it looks like 4pm with heavy cloud. A quick exposure check says why this lens will be a priority purchase, in a hurry, for wedding photographers. Fortunately the days get brighter and longer during the time trying out this versatile lens.
So many weddings have been postponed due to earlier Covid venue restrictions. To get 1/125s shutter speed, which is very much needed to ensure expressions and fairly small movements are not motion-blurred, it was ISO 2500 at f/2.8 on the day the lens arrived. Between this and the end of useful daylight that changes rapidly to ISO 6400 and beyond, and eventually to 1/30s. Any sensible wedding photographer would now be digging out the f/1.4 lenses, firing up the battery flash kit and hoping the indoor setting works well.
However, there’s a zoom now for Sony full frame users which can cover most weddings or outdoor portrait sessions on its own, replacing a fast 35mm and 50mm and most of the range of a 70-200mm f/2.8.
The new Tamron 35-150mm manages to hold its widest aperture of f/2 from 35mm to just short of 40mm, and doesn’t drop to f/2.8 until 80mm.
f/2 35 to 39mm
f/2.2 40 to 59mm
f/2.5 60 to 79mm
f/2.8 80 to 150mm
This is good, as so many zooms with a fast minimum focal length lose a third or half a stop with a mere nudge of the ring – those 17-35mm f/2.8-4 lenses made for SLRs were often f/3.2 at 18mm! With studio flash you might set f/2 and start work at the short end of the zoom, but with so many systems studio or location now being TTL and high-speed sync of one kind of another this probably doesn’t matter. Set the lens to f/2.8 or any smaller aperture, and it acts as a constant aperture zoom
How about the chosen focal length range? I’d argue that 28-135mm, with similar aperture benefits, is more useful because there’s a chance of never needing to change lenses. There’s a quick way to check what matches 35mm for groups, using just the long side of a landscape frame. It’s almost the same as the 36mm dimension of the sensor, with an angle of 55° covered horizontally. If you’ve got an APS-C sensor it matches 23mm, on MFT 17mm, on Fujifilm GF and other popular 50MP medium format models it’s 44mm, on the biggest like Hasselblad HD6-100C it’s 53mm.
This angle of view works well because many rooms have Golden Ratio dimensions, not unlike an A4 page. Stand near one end of a 5 x 7m room, put a group at a comfortable distance away from the opposite wall, and you’ll cover it well with some of the side walls visible. In a square room, you can just take in the opposite wall with no sides visible. The working distance gives scope for bounced flash, there’s no distortion of body or face width towards the ends of a group even if it’s tightly composed.
In fact having the wide-angle end limited to 35mm may improve your group photography and weddings in particular by making you keep that little bit of extra distance.
However, the real world sometimes throws difficult spaces and camera distances at you. This new Tamron is not an all-in-one outfit. It’s almost essential to have a 24mm, or a zoom such as Tamron’s 17-28mm or Sony’s 16-35mm.
Tamron 35-150mm performance
The optical performance of the 35-150mm is well above expectations for an f/2-2.8 design. It’s better than any past attempt at ƒ2.8 on a similar range, and this is down to mirrorless versus SLR body thickness. You can use it wide open at any focal length and be sure of sharpness in the plane of focus, and that is pretty flat corner to corner despite considerable pincushion distortion growing from 50mm to 150mm. The built-in and Adobe lens profiles are essential but not identical – while in-camera JPEGs are very well balanced across the frame, the default Adobe vignetting correction is much too strong.
Without correction this lens loses between one and two stops of light in the outer field when used wide open, with a central zone of around 20mm diameter representing the nominal aperture. The lens profiles boost the gain to compensate and if you set the Sony A7RIV to its ISO invariant optimum of 400, faces at the extreme ends of a group may be recorded as if ISO 1600 was used. For the best results, shoot raw and don’t underexpose (no need to follow the expose to the right mythology though). If you use the Adobe Lens Profile, adjust the vignetting to minus 60 for full aperture shots if you want to remove the effect. If you stop down to ƒ5.6 it’s pretty much gone anyway.
There’s a strong case for just letting the wide aperture vignetting be – don’t correct it at all. Many pictures will look better, including landscapes, portraits and most street shots. The distortion correction, on the other hand, is worth leaving turned on. Because the lens has pincushion rather than barrel distortion over most of its range, the corners don’t get stretched, it’s the centre of the image which is expanded slightly. As this is the sharpest area the correction tends, if anything, to even out the finest detail rendering over the frame unlike barrel distortion correction which degrades the corners visibly in many cases.
When Sony’s 90mm G macro was constantly being called the best lens ever, I tried three examples and all fell short of the standard expected. Just for interest I set the Tamron 35-150mm to 90mm (actually reported 91…) and shot a series from wide open to smaller apertures, on the same architectural distance subject I’d used for the Sony. Despite being on 60MP not 42MP the Tamron zoom was clearly much sharper across the frame than the Sony.
But – it’s a fast superzoom. Plenty of expert voices on Facebook will assure you it can not possibly be as good as a modest range zoom or an acclaimed macro prime. Don’t take their word for it, try the lens. And now we need to look at the downside of such an ambitious superzoom – it’s a large and heavy lens, it uses an unusual internal and extending hybrid zoom design, and it doesn’t focus into the semi-macro range like most other Tamron and competing lenses now do.
My first step was to replace my slim camera strap with an extra wide heavy duty neoprene Optek – the springy shock-damping handled almost 1.9kg of combined camera and lens round my neck well enough. Often I hold my camera in my right hand ready to lift to the eye and shoot, and don’t let the weight hang on a strap. It was like having a 70-200mm f/2.8 to handle and many users are happy with that all day. I’m not that keen on the 82mm filter thread, but that’s what it has to be.
The lens hood has a single bayonet release button set in its rim, and you need to get it the right way up to fit. It’s very secure once on.
Then you come to the advanced aspects – this is a very fast focusing near-silent voice coil drive (VXD) design, and has three control buttons plus zoom lock, AF/MF and a three-position Custom function switch. With the aid of USB connected software (no dock needed) the lens can be customised for aspects like focus barrel direction/speed and even function (change to control ƒ-stop), and two preset focus points via the buttons.
The zoom ring is placed near the body with the focus ring being the main much deeper front barrel. This is the opposite to existing Tamron zooms and takes some getting used to, but it’s practical with the size and weight of the lens.
With minimum focusing of 85cm at 150mm to 33cm at 35mm, the subject scale is 1:5.9 and 1:5.7 respectively – that’s a field around 9.5 x 14cm, so not in the wedding ring shot class but fine for flowers, hands and many other close-ups. The 9-blade aperture creates a very attractive smooth defocus and if there are lights or candles in the background this lens gives full aperture bokeh discs, not clipped ellipses, at focal lengths from 35 (f/2) to 60mm (f/2.5) and with only a hint of cat’s eye shape at the extremes of the shot at 80mm (ƒ2.8). Longer than this and you’ll see some degree of this effect though using an APS-C or smaller crop cuts out the more visibly ellipsoid highlight bubbles. Depending on the light source you’ll see some ‘orange peel’ texture which is typical of zooms using moulded aspherical elements – there are many ways to remove this from finished edits. There are no ‘onion ring’ effects which are much harder to remove and occur with lenses using older aspherical moulding methods.
As for real cat’s eyes, the lens behaves perfectly with Sony’s animal and human face detection and eye AF and even managed to keep up with the most impossible close range movement of chickens – fine for eye sharp focus if not for the shutter speed.
This lens has a USB-C connection (no cover, it’s a waterproof port) and the Tamron Lens Utility, on 64-bit PC or Mac, can customise functions. After thinking the utility was not working (on three different systems) because it said Lens Not Connected when it was, I found you ignore this and click on the Start button for the functions you want to modify – like changing the 1, 2 and 3 positions of the Custom switch to alter the behaviour of the focus ring (direction, linearity, use as aperture ring) or lens buttons (AF/MF, A-B Focus, Preset Focus, Assign Function from Camera, or Clear Settings).
All three lens buttons do the same, which might be missing some useful tricks such as two focus points assigned to different buttons. A-B focus and Preset distance have selectable focus speeds, and are strictly Movie functions (you have to press the Record button in Movie mode to program the distances, then use the lens buttons to activate the focus change during filming). The lens is fairly silent in focusing but an external microphone is desirable. It has almost no focus breathing regardless of the focal length set, though use at full aperture will produce some shifts as the bokeh expands and contracts – the real angle of view remains very constant from close-up to infinity.
This lens costs £1,599 so you need to know you need it to invest. It hardly came off the camera in six weeks partly because of the convenience of not having to change lenses, and just carrying the camera and this one lens.
The new 20mm f/2 DG DN Contemporary lens for full frame E and L mounts from Sigma will sell for under £650 in the UK from February 25th. It extends their compact, metal barrel prime ‘I’ series range which includes f/2 models in 24mm, 35mm and 65mm focal lengths.
It also offers a filter-friendly alternative to the very large and heavy 20mm f/1.4 Art lens. It uses 62mm filters, weighs 370g and is just 72.4mm long (much the same as the 24mm f/2). It has a magnetic lens cap and all metal construction, including the bayonet lens hood. A second plastic clip-in lens cap is also supplied. The design with a physical aperture ring is similar to Sigma’s high-end ciné lenses.
It uses three high-precision glass-molded aspherical lens elements, one SLD element, and one FLD element. Suppression of sagittal coma flare makes the 20mm f/2 ideal for night sky with stars near the extreme corners of the field.
Other specifications include:
Lens construction: 11 groups, 13 elements
Angle of view: 94.5
9 rounded diaphragm blades
Minimum aperture: f/22
Minimum focusing distance: 22cm
Maximum magnification ratio: 1:6.7
Inner focus system
Compatible with high-speed autofocus
Compatible with Lens Aberration Correction
Support DMF and AF+MF
Nano Porous Coating
Super Multi-Layer Coating
Focus Mode Switch
Petal-type lens hood (LH656-03)
Magnetic metal lens cap (LCF62-01M)
Mount with dust and splash resistant structure
Support for switching between linear and non-linear focus ring settings (for L-Mount only)
Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
Designed to minimise flare and ghosting
Every lens checked using proprietary MTF measuring system