On August 28, 2019, the Sony E 4.5-6.3/70-350G OSS lens was introduced.
Sony E 4.5-6.3 / 70-350G OSS
Basic properties
- G-Series Professional Extra Long Focus Lens for Sony Crop Mirrorless Cameras with E-Mount
- Relative hole: 1: 4.5-6.3 to 1: 22-32
- Built-in Image Stabilizer Sony OSS
- Focal length: 70-350 mm (EGF about 105-525mm)
- MDF: 1.1 m
- Maximum magnification ratio 1: 1.33
- Optical design: 19 elements in 13 groups, including 1 aspherical element and 3 low dispersion elements
- Number of aperture blades: 7 pieces
- Focusing with the fast XD motor
- Programmable AF lock buttons
- Zoom lock
- Filter Diameter: 67 mm
- Weight: 625
- Protected enclosure
- Price: about 1000 dollars, AliExpress price
Appearance
All Sony E lenses for APS-C
Fix Lenses:
- Sony 11 mm f/1.8 (announcement) [2022, black, BHphotovideo]
- Sony 15 mm f / 1.4 G (announcement) [2022, black, BHphotovideo]
- Sony 16 mm f/2.8 (overview) [2010, silver, BHphotovideo]
- Sony 20 mm f/2.8 (announcement) [2013, silver, BHphotovideo]
- Sony 24 mm f / 1.8 ZEISS ZA (overview) [2011, black, BHphotovideo]
- Sony 30 mm f / 3.5 MACRO (overview) [2011, silver, BHphotovideo]
- Sony 35 mm f / 1.8 OSS (announcement) [2012, black, BHphotovideo]
- Sony 50 mm f / 1.8 OSS (announcement) [2011, black/silver, BHphotovideo]
Zoom Lenses:
- Sony 10-18mm f / 4 OSS (announcement) [2012, black, BHphotovideo]
- Sony 10-20mm f / 4 G PZ (announcement) [2022, black, BHphotovideo]
- Sony 16-50mm f / 3.5-5.6 PZ OSS (overview) [2012, black/silver, BHphotovideo]
- Sony 16-50mm f / 3.5-5.6 PZ OSS II (announcement) [2024, black/silver, BHphotovideo]
- Sony 16-55mm f / 2.8 G (overview) [2019, black, BHphotovideo]
- Sony 16-70mm f / 4 OSS ZEISS ZA (overview) [2013, black, BHphotovideo]
- Sony 18-50mm f/4-5.6 (overview) [2014, black]
- Sony 18-55mm f / 3.5-5.6 OSS (overview) [2010, black/silver, BHphotovideo]
- Sony 18-105mm f / 4 G PZ OSS (overview) [2013, black, BHphotovideo]
- Sony 18-110mm f / 4 G PZ OSS (announcement) [2016, black, BHphotovideo]
- Sony 18-135mm f / 3.5-5.6 OSS (overview) [2018, black, BHphotovideo]
- Sony 18-200mm f / 3.5-6.3 OSS (overview) [2010, silver, BHphotovideo]
- Sony 18-200mm f / 3.5-6.3 OSS LE (overview) [2012, black, BHphotovideo]
- Sony 18-200mm f / 3.5-6.3 PZ OSS (announcement) [2012, black, BHphotovideo]
- Sony 55-210mm f / 4.5-6.3 OSS (announcement) [2011, black/silver, BHphotovideo]
- Sony 70-350mm f/4.5–6.3 G OSS (announcement) [2019, black, BHphotovideo]
Third-party autofocus lenses for Sony E APS-C:
- Sigma: Sigma C 16 / 1.4 | Sigma A 19 / 2.8 | Sigma EX 19 / 2.8 | Sigma C 30 / 1.4 | Sigma EX 30 / 2.8 | Sigma A 30 / 2.8 | Sigma C 56 / 1.4 | Sigma A 60 / 2.8 | Sigma C 10-18 / 2.8 | Sigma C 18-50 / 2.8
- felttrox: Viltrox 13 / 1.4 | Viltrox 23 / 1.4 | felttrox 27/1.2 | Viltrox 33 / 1.4 | Viltrox 56 / 1.7 | Viltrox 56 / 1.4 | felttrox 75/1.2
- Tamron: Tamron 11-20 / 2.8 | Tamron 17-70 / 2.8 VC | Tamron 18-200 / 3.5-6.3 VC | Tamron 18-300 / 3.5-6.3 VC
- tokina: Tokina 23 / 1.4 | Tokina 33 / 1.4 | Tokina 56 / 1.4 | Tokina 11-18 / 2.8
- Zeiss: Zeiss Touit Distagon 12/2.8 | Zeiss Touit Planar 32/1.8 | Zeiss Touit Makro Planar 50/2.8M
- Hasselblad: Hasselblad E 3.5-5.6 / 18-55 OSS LF | Hasselblad E 3.5-6.3 / 18-200 OSS LF | Hasselblad E 2.8 / 16 LF
- yongnuo: Yongnuo 11 / 1.8 | Yongnuo 16 / 1.8 | Yongnuo 23 / 1.4 | Yongnuo 33 / 1.4 | Yongnuo 50 / 1.8 | Yongnuo 50 / 1.8 II | Yongnuo 56 / 1.4
- TTArtisan: TTArtisan 27 / 2.8 | TTArtisan 35 / 1.8 | TTArtisan 56 / 1.8
- Brightin star: Brightin Star 50 / 1.4
- Meike: Meike 33 / 1.4 | Meike 55 / 1.4
- 7Artisans: 7Artisans 27 / 2.8
- Samyang: Samyang 12 / 2
Many interesting manual solutions are provided by Chinese manufacturers and brands. 7Artisans, TTartisan, Meike, Neewer, PerGear, Kamlan, Brightin star, Mitakon Zhongyi, Venus laowa, Fujian, ARTRALAB, AstrHori other. Autofocus Speed Boosters are also interesting Viltrox Canon EF -> Sony E 0.71X и Metabones Canon EF -> Sony E 0.71X... List of full-frame cameras and lenses Sony FE (Full Frame E) here
Materials on the topic
- Full frame mirrorless systems... Discussion, choice, recommendations.
- Cropped mirrorless systems... Discussion, choice, recommendations.
- Cropped mirrorless systems that have stopped or are no longer developing
- Digital SLR systems that have stopped or are no longer developing
- JVI or EVI (an important article that answers the question 'DSLR or mirrorless')
- About mirrorless batteries
- Simple and clear medium format
- High-speed solutions from Chinese brands
- All fastest autofocus zoom lenses
- All fastest AF prime lenses
- Mirrored full frame on mirrorless medium format
- Autofocus Speed Boosters
- One lens to rule the world
- The impact of smartphones on the photography market
- What's next (smartphone supremacy)?
- All announcements and novelties of lenses and cameras
Comments on this post do not require registration. Anyone can leave a comment.
Material prepared Arkady Shapoval.
I have only one question - how can there be a professional classic dark zoom with a thoroughly amateur 4,5-6,3?
Nikonovsky 70-300 4,5-5,6 can also be considered professional?
It was made under 350 mm, apparently by this they wanted to say that this is exactly super-telephoto. Canon has a native professional 'dark' 70-300 / 4-5.6 L IS USM, and the price tag is higher than that of this Sony 70-300
Protected case. Image quality. You are scattering these "dark zooms". For a street on a sunny day, 5.6 is quite a focal one. And it is used for such purposes. And together with the stub, even more so - I never complained exactly on the street about such a range of focal lengths. Or can only a two-kilogram fool be professional?
Are you sure that “professional” is not a field of application, namely “Rugged case. Image quality."?
Well, what kind of exposure will be on a sunny day? Somewhere 1/200 - 1/400.
And if you shoot sports? The stabilizer will not help much here, the shutter speed is much shorter than 1/200, which means you will have to raise the ISO. It will be overcast - and already the ISO was not enough. I am already silent about the premises, there is only static and shoot at ISO 3200-6400. If it's something like ballroom dancing, ice ballet - just forget it. 300/4 will do quite well as a “professional” one, 300 / 2,8 is a labor-pro, uncompromising in all respects. And 6,3 is for picky lovers to shoot sparrows in the park at noon, I speak as the owner of 70-300 / 4,5-5,6
Well, a professional, probably, understands that for a full-fledged shooting of sports he needs a faster aperture and, accordingly, a more cumbersome solution.
Canon, in addition to the aforementioned 70-300L, also has a 28-300L - an ultrazoom absolutely unbelievable by the standards of a professional, but in L-performance.
A specific solution, however ...
I recently wrote an article on adapting achromat from a telescope. Focal 330mm, rel. the hole is about 7. There are examples of photos on a sunny morning, in some the shutter speed was 1/4000. Perhaps the two-lens achromat in fact is much lighter than the multi-lens monsters, corny because of fewer reflections. And enlightenment does not improve much. How much about one percent does a single lens reflect? Multiply them by the number of lenses. The result will be scary. That is why in astronomy, where every percent of the aperture is important, either reflectors or two-three-lens refractors are used.
A non-illuminated lens loses about 4-8%, an enlightened one 0.5-1%. So the difference is 8 times
Then the loss of light in the achromat is 2%, in this 19-lens objective it is 19%. Although, probably less, since 1% after the first lens should be taken from 99%. Scratching my turnips, how it should be considered ... In progression, I guess. But all the same, if in the example I gave, I did not shoot with an achromat, but with this lens with a hole closed to 7 (to equalize the conditions), the shutter speed instead of 1/4000 would be roughly 1/3000-1 / 3500, but not 1 / 200.
Reflections occur at the air-glass boundaries, so 13% because groups 13. If you can shoot the sun and you can not meet the limit of 1/8000)) Your pictures from 1/4000 in the review are greatly underexposed. Normal parameters were in the sun in the region of 1/500, in the shade - 1/125. So that 1/200 is quite similar
"Sotka" in Av mode often missed the exposure, and then I myself was a little surprised that with such a dark lens the shutter speed of 1/4000 jumped out. In general, yes, this lens is for the sun, beach, sea, snow, sunsets, sunrises, the moon. Everything…
Any amateur lens in the hands of an amateur. That is the day with professional equipment.
Ahah ..)) Well, yes, the developers do not understand anything, and you, of course, are an expert. How does the photo industry generally hold without your opinion ?! Poor pros do not even know that they use dark amateur glasses: D
The developers (together with the marketers) wrote the word PRO, well, or they attached a red or gold ring, and people like you are happy: “Yes, it can't be that cheap (and $ 1000 is really cheap for Sonya lenses) toys are sold to us. kind of true-super-pro, we will of course buy and ask for more ”.
On health, I do not dissuade anyone and do not interfere.
I would not be surprised if you are a “wedding man”. They love to scatter the word "darkzum".
Guys ... Do not worry ... In a professional lens, lenses are polished at the end of production with Goya paste, and lenses in amateur lenses at the end of production are just fine sandpaper ... This is for an amateur lens to shoot shitty, and a pro - good ... In short, pro-lenses do well, but amateur ones are bad ... And the diaphragm has nothing to do with it ... A wide aperture is not a sign of a professional segment ... Because capitalists are driven by only one goal - the desire for profit ... They have no other goals ... And they will do anything to you, whatever whatever ”you bought ... Now there is no photography industry ... What is now is called by a different word ...
Professional equipment is primarily distinguished by its reliability and convenience. But the appointment is another matter. On the other hand, aren't the bombiles with amateur carcasses “professionals”? This is their profession, which means they are. It's another matter whether they are masters of their craft or not.
I have a friend who has been a little amateur photographer recently and has scraped up an old D800. And he also has the main job in the usual sense of photography, not connected in any way, and nevertheless he has to do 200-300 snickers a day, this is the usual technical photographic fixation, without a hint of art. The quality is also not demanding, not the freshest smartphone would be enough, but he uses an old Sony soap box, one of the cheapest, he says so it is more convenient for him to take hundreds of photos than on a smartphone: a smart can sit down in the middle of the day, charge in the field there is no time and nothing, but here - a pair of replaceable batteries and it's in the bag.
Well, so: for him, this soap box, produced somewhere in 2010, on which not a single inscription has remained unwritten, is the most professional technique, because with the help of it he makes his living, and the D800 is the most there is an amateur one, because he shoots rural landscapes on it in his free time as a hobby that does not bring (and should not, there is not even such a goal) a penny for him, and using the D800 for his professional purposes is inconvenient, unreasonable and sometimes physically impossible (fotik needs to be shoved into all sorts of pipes, where the D800 simply does not fit).
So it turns out that if you approach by such principles, then the very concept of “professional photographic equipment” is nonsense.
The criteria are set by the manufacturer, and they earn money the more convenient it is. I mean that a dark zoom can be professional - maybe someone needs it. The point is in a fast canoe, if it still tightens the aperture? Sometimes you look at measurements of high-aperture PRO-lenses, and sharpness across the entire field is only given with a tightened aperture.
About your friend - I'm also an amateur, the working camera is a smartphone, because it is more convenient to watch from it.
Actually, the picture will be different for a covered trade union than for a dark one.
Like the price. But there are also dark lenses after all.
* He earnestly prays to the Lord to resurrect St. Joseph for the restoration of the photo industry in a particular country for the sake of individual lovers *
I'm more interested in why they didn’t put a stub in 16-55? This is the only (only!) Zoom for Sony E APS-C without a stub. At the same time, the new a6100 goes without a stub
Carcasses with a stabilizer do not take well.
By the way, I was mistaken, there was another Sony E 18-50 lens without a stub (which went to the a3500 with a whale)
I was confused by something else - some focal ones are not cropped ... I'm talking about 70 mm.
Nikon also has two cropped 70-300. In terms of, roughly speaking, it is 100-500. Here + is the same.
Are these the new AF-Ps? All weird and weird, especially considering the model without VR.
Yes, Nikon DX AF-P Nikkor 70-300mm 1: 4.5-6.3G ED VR и Nikon DX AF-P Nikkor 70-300mm 1: 4.5-6.3G ED.
70mm in terms of crop is quite a portrait focal length for the street, and at the long end - a super televik. Complete with a whale wide-angle lens and a high-aperture fifty-kopeck piece - that's okay.
Judging by the first photographs, the lens is sharp right from the open. The weight is adequate, the price is also not like space. It will definitely be in demand, and even I think it will take part of the sales from full-frame counterparts on the E-mount.