The world's first F1.8 full-frame mirrorless zoom has arrived...

Three primes in a variable focal length single zoom lens instead.

Very handy for narrative work and not only, if you ask me BTW : )

I guess 2x zoom would make it heavier and even bigger... the opposite of its purpose for use in a mirrorless device.

- EAG :- )
 
I guess I just don't understand what this lens is about with only a 1.6x zoom. I'd rather have an f/2.8 with more focal length range, or carry a couple of lightweight primes that can be quickly swapped. Are you buying one yourself?
 
It's interesting that it sits smack dab in the middle of my least used focal lengths. I suppose I like the 40-45mm range for handheld work, but this is not a range that I use for interviews, details, or for wider establishing shots.
 
I guess I just don't understand what this lens is about with only a 1.6x zoom. I'd rather have an f/2.8 with more focal length range, or carry a couple of lightweight primes that can be quickly swapped. Are you buying one yourself?
Seems to me like it targets wedding videographers, among others. I'm not getting one because I'd still miss f/1.2-1.4, as well as (I assume) better optical quality.

But if you really want a fast lens and 1.8 is enough for you, it handles the situations where I'm shooting on a normal lens and sometimes need to go wider for group and scenic shots. I'd still need another rig with a telephoto (maybe they'll make a matching FF telephoto zoom like they did for S35.) So, all in all I'd say that the Tamron 35-150 f/2-2.8 is probably a better choice if you want a fast zoom. The difference between 1.8 and 2 is pretty small, although I think that the Tamron ramps aperture quickly as you zoom in so when you get to 50 it's not a 2. But that's a lens I've put in my cart numerous times before I remind myself how much I'd miss my primes.

Right now for wedding portraits run&gun I'm leaning towards a 3-camera situation. Primarily shooting on a 50, secondarily on a 135. And a 24 around for the odd scenic shot. And the big question is how to rig/holster them for greatest speed and convenience, which is a work in progress. I've got it down so carrying 2 cameras and switching is pretty fast and smooth. 3 is still a challenge.

But I've covered weddings only using 1 camera on a 50mm for most of the day. Theoretically, a 28-45 would be similar but with a wide angle readily available. It's not a zoom. It's a prime with benefits.
 
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One of my daughters is getting married in Newport this month. I honestly wish I could afford to hire you to shoot it.
 
I have the 18-35 stigma for my S35 canon. (A similar FOV I guess)

The range is interesting.. because it is
a) not long enough
b)not wide enough


But then there is this weird spot of interest where somehow shooting the perfect three shot sequences (16-24-70/s35, intro, portrait, ecu detail) becomes a little predictable, a little much like playing four on the floor on your drum kit.

The sort of shooting you probably can learn from a Doug DVD or see daily on CNN or NBC or Netflicks. The sort of shooting that may fund a family!

Now the lens that is not long or wide I feel fits into certain 'softer' projects.

I decided to try and make a whole film on my 18-35 sometime. It will probably be an award winner!

I think the lense is therefore interesting.. but is gonna be a fail unless you have sat down and thought how you might use it.
 
Get back to me when someone drops an L-mount like the Tamron 35-150mm F/2-2.8.
That lens is an absolute BEAST.

https://www.tamron-usa.com/product/lenses/a058.html

Amazing timing for you to post that just as the L Mount Lens version of the Samyang AF 35-150mm f2-2.8 got announced!
 
Amazing timing for you to post that just as the L Mount Lens version of the Samyang AF 35-150mm f2-2.8 got announced!
AFAIK the Samyang 35-150 is markedly inferior to the Tamron. Tamron has massive zoom lens experience. This is, I think, Samyang's 2nd zoom ever
 
With the Sigma 28-45mm f/1.8, yeah, the range is a bit weak, but the fast aperture makes it interesting with high-megapixel bodies like the Sony A1, A7R, and Canon R5 (if they ever offer the lens in RF mount).

In crop modes on these cameras, S35 still gives you good resolution, more telephoto (42-66.5mm), and still an equivalent f/2.7.

For the price, that’s not too bad.
 
AFAIK the Samyang 35-150 is markedly inferior to the Tamron. Tamron has massive zoom lens experience. This is, I think, Samyang's 2nd zoom ever
That's why Sony bought into Tamron some years back. Because of their quality and QC on builds. They own roughly 15% of Tamron Stock. Sony also license the IP of their AF system technology and algorithms to Tamron. Hence the performance of the later Tamron E-Mount glass is almost indistinguishable from that of the native Sony AF glass. And often with far less lens breathing.

Chris Young
 
That's why Sony bought into Tamron some years back. Because of their quality and QC on builds. They own roughly 15% of Tamron Stock. Sony also license the IP of their AF system technology and algorithms to Tamron. Hence the performance of the later Tamron E-Mount glass is almost indistinguishable from that of the native Sony AF glass. And often with far less lens breathing.

Chris Young
I wasn't aware of this. Good to know - appreciate you sharing. May be in the market for some new lens' this year.
 
I know this discussion wasn't about a 35-150 F/2.0-2.8 but as an overview of Tamron's quality and AF performance this DP Review is worth watching. I know three shooters doing mainly TV interviews and associated B roll for a couple of sports programs, and they are using this lens on their FX6 and A7Siii cams. Two of them say the lens is hardly ever off their FX6s. Having edited a fair bit of their material where this lens was used, it's got me to the point that it is at the top of my lens list if I can justify its purchase work wise. For a video shooter, the lens's programming options re focus throw range and linear/non-linear focus settings are a big plus in my opinion.

EDIT: Forgot to mention. The Tamron 35-150 zoom ring operates in the same direction as the native Sony glass, the Nikon way, as opposed to the Canon way. Unlike some Sigmas that turn the Canon way. This often froze my muscle memory when using some Sigma glass that operated in the reverse direction.

Chris Young

 
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