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fe16-35和35 2.8 选哪个
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得DA 35mm/F2.8 Macro Limited (微距) 3900宾得DA 35mm/F2.4 1150根本就没可比性.7 或者 Biometer 80/2.8
两者都是二手 2000左右那是杠杠滴。。照人的话 入个宾得 SMC FA 50 1。。
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等待您来回答蔡司推出Batis25/2、85/1.8索尼FE镜头
　作者: 谌默　编辑:
　　【IT168 资讯】柏林当地时间4月22日11时，蔡司德国公司宣布面向FE全画幅E卡口推出一条全新产品线Batis，Batis在FE机身上可实现所自动功能，包括自动对焦。这也是继Touit、Loxia之后蔡司推出的第三条无反产品。首批新发布镜头包括Batis Distagon T* 25mm f/2和Batis Sonnar T* 85mm f/1.8，两款镜头均配备了可同时显示光圈大小的OLED电子对焦距离窗，预计于今年7月上市，售价分别为1,299和1,199美元，约合8,045和7,426人民币。　　蔡司Batis Distagon T* 25mm f/2　　该镜头采用8组10片光学结构，并借鉴了Distagon光学设计，最近对焦距离0.2m。内含4片非球面镜片和5片由特殊材料制成的镜片，从画面中心到边缘都可提供高解析表现。镜头主打建筑摄影和风光摄影，另外蔡司还表示该镜头在近距离题材方面也能提供惊人的成像效果。　　蔡司Batis Sonnar T* 85mm f/1.8　　该镜头很好地填补了FE镜头群没有85mm大光圈自动镜头的缺憾，采用8组11片光学结构，Sonnar光学设计，镜片由特殊类型的制成，以确保卓越的照片质量。该镜头主打大光圈人像摄影、婚礼摄影。　　编辑点评：蔡司的镜头一向品控和口碑都不错，这次出了两款定焦镜头也是万众期待，而且还弄出了OLED电子对焦距离窗，相信很多影友都迫不及待买买买了吧！
镜头卡口：索尼卡口
镜头焦距：APS-C画幅下的35MM规格换算焦距 105-300
滤镜口径：72mm
镜头结构：15-21（组-片）
最近对焦距离：约1.0-1.5m
大学生分期购物销量榜
镜头卡口：索尼卡口
镜头焦距：APS-C画幅下的35MM规格换算焦距 105-300
滤镜口径：72mm
镜头结构：15-21（组-片）
最近对焦距离：约1.0-1.5m
品牌：索尼 SONYSony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS review
The expansion of Sony’s FE lens range continues with the introduction of its latest zoom lens, but how well will the Alpha 7 cameras cope with such a wideangle view? Richard Sibley finds out
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Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS
Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS review
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When the full-frame Alpha 7 and Alpha 7R were introduced last year, one of the concerns voiced by many photographers related to how well the cameras would cope with wideangle lenses. Both Alpha 7 cameras, along with the more recent Alpha 7S, use the Sony E mount – the same mount used in the company’s APS-C-format compact system cameras.
When Sony’s original NEX range of CSCs was released, there was some criticism of the image quality when using wideangle lenses, with distortion and a loss of definition at the edges. This was due to the very short flange-focus distance of E-mount lenses. Alpha 7 cameras feature the same E mount, but their larger full-frame sensors make the problem more difficult to overcome. Wideangle lenses need to have an image circle large enough to retain sharpness at the edges while keeping distortion to a minimum. Sony’s solution to this problem is the new Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS lens.
Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS review – Features
Like the other premium zooms in the FE range, the 16-35mm lens has an f/4 aperture. Although some will bemoan the lack of an f/2.8 aperture, its omission is quite logical. First, a wider maximum aperture would make the lens physically larger, which would defeat the point of a small system. Second, a 16-35mm lens is unlikely to be used for portraits or street photography and will instead find its home with landscapes, architecture and interiors. For such disciplines, the shallow depth of field and extra stop of light afforded by an f/2.8 aperture is largely unnecessary. The lens also features optical image stabilisation, although it isn’t quite as necessary as when using a longer focal length and can be turned on and off in-camera.
The 16-35mm focal length of the lens provides a great range for landscape images
Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS review – Build and handling
Weighing 518g and measuring 78 x 98.5mm, this new wideangle zoom is fractionally larger in every dimension than the Sony Carl Zeiss Vario-Tessar T* FE 24-70mm f/4 ZA OSS lens, which measures 73 x 94.5mm and weighs 426g. The 16-35mm follows the same style as the other Carl Zeiss FE lenses, with a minimal, industrial design that uses the DIN 1451 typeface.
The construction is everything you would expect of a Carl Zeiss lens, with a solid all-metal finish, including metal ribbed zoom and focusing rings. I found that the zoom barrel, and the focusing ring, have a good level of resistance, with a very smooth motion. Focusing is done electronically rather than mechanically. However, the glide of the focus-ring rotation and the gearing of the motor means that manually focusing is very precise and fluid enough for video capture.
Optically, the lens is made of ten elements in 12 groups. Of these elements there are five aspherical types, including the front ‘advanced aspherical’ lens, as Sony calls it. These elements help to reduce curvilinear distortions and aid edge sharpness, while three extra-low dispersion elements help to prevent chromatic aberrations. As would be expected, the lens uses Carl Zeiss’s famous T* multi-coating to aid light transmission, and reduce flare and internal reflections, all of which helps to improve colour and contrast over an uncoated lens.
Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS review – In use
There are two key factors to consider when buying a wideangle zoom. The first is the usefulness of the focal-length range, while the second is the quality at the corners of the image. As far as focal length goes, the 16mm setting is very good, and realistically is about as wide as most photographers will want to shoot.
In terms of image quality, I did notice some coloured fringing along high-contrast edges. This is most noticeable towards the edges of the image when shooting at f/4 at the 16mm setting. The aberration is significantly reduced when the aperture is stopped down to f/8, and it is also less noticeable when using the 35mm end. Thankfully, in this digital age, the fringing is easily reduced using raw-conversion software, so it should be of no concern to those who capture raw images. If you shoot JPEGs, the aberrations can be reduced in-camera by switching the Correct Chromatic Aberration custom setting to auto. This sub-menu of the Alpha 7 cameras can also be used to correct distortion and vignetting.
As can be seen, the corner definition at 16mm is very good
You would expect a lens with the Carl Zeiss badge on it to produce extremely sharp images, and the 16-35mm lens doesn’t disappoint. In the centre at 16mm, the lens is as sharp as the 24-70mm f/4 zoom. As you move to the 35mm focal-length setting, the edge is just taken off the sharpness slightly, but the centre resolution is still excellent. What is most impressive is the performance of the lens when wide open. Stopping down to f/5.6 gives images a little more bite, but stopping down once more to f/8 makes virtually no difference.
At the edges, there is obviously a drop in resolution. However, the only real degradation is in the very corners, and the performance seems just as good, if not better, than other, similar full-frame wideangle lenses.
Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS review – Image quality
Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS review – Resolution
Our MTF tests reveal a lens that’s sharpest at wideangle – just as a wide zoom should be. Edge sharpness is highest at 16mm, and decreases significantly on zooming in. This is partly due to field curvature, with the corners focusing at a different distance to the image centre.
Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS review – Shading
Lab tests show that vignetting is worst with the lens at 16mm f/4, which is pretty much what we’d expect. However, the fall-off is quite gradual across the frame, which makes it visually unobjectionable. Zooming in, or stopping down, reduces the vignetting effect.
Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS review – Curvilinear distortion
One advantage of wideangle zooms is that they generally produce less distortion than general-purpose 24-70mm optics, and the 16-35mm is no exception. There’s visible barrel distortion at wideangle, and a little pincushion distortion at 35mm, but neither is really severe. Of course, it can be corrected in software when necessary.
Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS review – Our verdict
As the Sony FE system is still in its infancy, the Sony Carl Zeiss Vario-Tessar T* FE 16-35mm f/4 ZA OSS lens finds itself in the curious position of being the only real option for those wanting a super-wideangle
lens. Of course, it is possible to use Sony A mount or even third-party lenses, but the reality is that this 16-35mm optic produces images that will certainly match the sharpness of these lenses. Yes, there is a drop-off in resolution at the very corners of the frame, but this is a compromise that the laws of physics and current optical design can’t avoid, unless you want the lens to be significantly larger in size.
Those photographers who want a wideangle zoom should be very pleased with this Sony Carl Zeiss 16-35mm f/4 lens, but those who will make little use of the 16mm setting may do better to buy the 24-70mm f/4 lens, or wait to see if Sony produces a 24mm fixed lens at some point in the future.
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In autumn many species of waders head south and settle around the UK coastline. Oscar&&主题：Batis 25F2 还是 FE351.4, 请指点
泡网分: 1.525
注册: 2014年03月
我手上有 A7 + 551.8， 打算 再进一台A7RII。
之前想 1635F4 + 351.4 的这个组合
现在想 来一个 Batis25F2 算了。
我是拍妻拍娃党， 喜欢拍 环境人像 + 风光， 现在很乱，请帮忙梳理一下。
微信扫一扫分享
&浏览：8786&&回帖：57 &&
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liangzhunyu 发表于
我手上有 A7& &551.8， 打算 再进一台A7RII。
之前想 1635F4& &351.4 的这个组合
现在想 来一个 Ba...都买
iPhone6 iOS8.1.2 客户端发布
泡网分: 1.023
注册: 2008年06月
liangzhunyu 发表于
我手上有 A7 + 551.8， 打算 再进一台A7RII。
之前想 1635F4 + 351.4 的这个组合
现在想 来一个 Batis25F2 算了。
我是拍妻拍娃党， 喜欢拍 环境人像 + 风光， 现在很乱，请帮忙梳理一下。
谢谢大师说：唯有都买，方能破解
泡网分: 0.177
注册: 2014年12月
取中間28/2完美解決
泡网分: 0.082
注册: 2014年05月
毫无疑问是35/1.4，买25/2还不如16-35
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注册: 2010年12月
当然买batis25，mtf40线超过70，能够和莱卡28 2.0持平的水准，完胜CN的24 1.4。
我是佳能用户，准备入手7rii，镜头，就先买这个了，300多克，非常轻巧，且素质令人满意。
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batis 25 2
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wmf113 发表于
当然买batis25，mtf40线超过70，能够和莱卡28 2.0持平的水准，完胜CN的24 1.4。
我是佳能用户，准备入手7rii...不会看那个图
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注册: 2010年12月
liangzhunyu 发表于
不会看那个图很简单的，各家厂商官网都有标注含义。
简单的说，batis25目前是这个价位同焦段最好的，中心到边缘分辨率都很好。
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wmf113 发表于
很简单的，各家厂商官网都有标注含义。
简单的说，batis25目前是这个价位同焦段最好的，中心到边缘分辨率都很好。...那我进252.0.& &就可以了？
252.0拍人像环境怎么样？
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liangzhunyu 发表于
那我进252.0.& &就可以了？
252.0拍人像环境怎么样？这个焦段拍环境人像当然没问题。我以前用24 1.4拍过不少。
这颗25重量只有CN两家24的一半重量，300克而已，而且MTF超越CN同规格，和莱卡m28 2.0持平，喜欢广角的话，还有其它选择？
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wmf113 发表于
这个焦段拍环境人像当然没问题。我以前用24 1.4拍过不少。
这颗25重量只有CN两家24的一半重量，300克而已，而且MTF...广角只有1635了，国内哪里买到batis？
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你们难道不觉得batis还有otus全系列都丑的难以形容吗？
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liangzhunyu 发表于
我手上有 A7 + 551.8， 打算 再进一台A7RII。
之前想 1635F4 + 351.4 的这个组合
现在想 来一个 Batis25F2 算了。
我是拍妻拍娃党， 喜欢拍 环境人像 + 风光， 现在很乱，请帮忙梳理一下。
谢谢你好，楼主土豪
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蓝色的忧伤 发表于
你们难道不觉得batis还有otus全系列都丑的难以形容吗？还好吧，我觉得听现代的。。。
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注册: 2006年09月
liangzhunyu 发表于
那我进252.0.& &就可以了？
252.0拍人像环境怎么样？不好控制。
相对来说35容易一些。
泡网分: 0.19
注册: 2013年05月
lovexxxx 发表于
batis 25 2过一年索尼出个24 1.4
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liangzhunyu 发表于
那我进252.0.& &就可以了？
252.0拍人像环境怎么样？广角拍环境人像挺好的，比如可以拍出长腿mm
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keen005 发表于
过一年索尼出个24 1.4出了再说，目前只能看已有的。
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注册: 2004年06月
就焦段当然25好,体积也是25完胜,
看不出35又任何胜算,一档光圈再防抖和高感面前也显得不那么重要了.
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lovexxxx 发表于
广角拍环境人像挺好的，比如可以拍出长腿mm也就是说象腿都不要紧，有了这头象腿可以变鸡腿
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小胖子 发表于
就焦段当然25好,体积也是25完胜,
看不出35又任何胜算,一档光圈再防抖和高感面前也显得不那么重要了.我进25F2.0 主要是拍环境人像
泡网分: 0.362
注册: 2014年01月
别买FE351.4，这个和你的FE55 1.8相距太近了，使用上没太多新鲜感，你现在缺的是广角人像。
泡网分: 0.278
注册: 2013年05月
wmf113 发表于
当然买batis25，mtf40线超过70，能够和莱卡28 2.0持平的水准，完胜CN的24 1.4。
我是佳能用户，准备入手7rii，镜头，就先买这个了，300多克，非常轻巧，且素质令人满意。Zeiss 的MTF通常都是用模拟计算出来的结果，而徕卡的MTF都是实测出来的，而且木有水份，虽然我也准备收batis 25 2，但我不认为在实际测试中会比M28 2A 强。
泡网分: 1.525
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猪屁屁公园 发表于
别买FE351.4，这个和你的FE55 1.8相距太近了，使用上没太多新鲜感，你现在缺的是广角人像。那要买哪个好？
泡网分: 33.486
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注册: 2006年05月
liangzhunyu 发表于
那要买哪个好？FE3514跟FE5518没有重叠，要交代环境尤其室内相对狭窄环境，35mm和f1.4就更有必要，另外35mm在仰望或俯视时已经有很明显的广角透视了，拍娃拍妻跟5518真没有什么重复 本帖最后由 om 于
00:04 编辑
泡网分: 0.315
注册: 2015年03月
TA31RCO 发表于
Zeiss 的MTF通常都是用模拟计算出来的结果，而徕卡的MTF都是实测出来的，而且木有水份，虽然我也准备收batis 25 2，但我不认为...蔡司一直是实测，徕卡反倒不清楚
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泡网分: 1.525
注册: 2014年03月
FE3514跟FE5518没有重叠，要交代环境尤其室内相对狭窄环境，35mm和f1.4就更有必要，另外35mm在仰望或俯视时已经有很...om兄，252.0拍环境人像怎么样？我手上有352.8。&&551.8
本帖由 iPhone 4S 客户端发布
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注册: 2006年05月
liangzhunyu 发表于
om兄，252.0拍环境人像怎么样？我手上有352.8。&&551.8liang兄弟，24-28mm之间的焦段我认为都是很好的“人像”镜头，但这个“好”是基于一定的难度为前提，如果把FE1635变焦理解成镜头焦段灵活，那么24-28mm我则理解成需要拍摄者的视角和洞察力的灵活。拍摄者与拍摄对象的距离变动、拍摄对象在环境中所处的构图位置、景深和透视的变化、背景杂音元素、俯视仰视侧视等等，相较于35和55，用24-28mm拍摄出来的变化会大得多，因此片子质量好坏的变数也会更大，用另外一句话说，就是24-28mm需要更高的所谓广角焦段驾驭力（当然，我相信孰能生巧）
我自己用24mm和28mm比较多，25mm跟24mm相对接近，我对24mm的理解就是，环境人像少不了这个焦段，然而使用频率比不上50和35，一方面原因就是上面提到的驾驭力不够，另一方面就是平时身边没有太多合适场景可以利用（杂音元素太多）...但是，一旦能拍到自己满意的画面，那么这张片子肯定能在脑海中留下深刻印象，弥足珍贵嘛
总的来说，上Batis 25mm拍人像怎么样的问题，我觉得不是这个镜头本身怎么样的问题，而是使用者能把它发挥得怎么样的问题，因为我们需要更多构图上的考量和画面时机的配合。25/2，无论如何，跟35和50的用途重合性，是非常有限的。如果说50是环境中的人像，35是人像与环境，那么24-28则是人像所处的环境。
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