ZEISS BATIS 25MM
I PURCHASED THIS LENS TEN YEARS AGO
THE ZEISS BATIS 25MM LENS
I purchased this lens about ten years ago and about five years ago it developed a problem and as a result I can only it on warm sunny days. As a result I specifically sought reports of internal fogging or condensation issues with the Zeiss Batis 25mm f/2, similar to a problem experienced with my own copy where the lens interior becomes foggy and taking hours to clear.
An Expert Analysis of the Zeiss Batis 25mm f/2 E-Mount Lens and its Contemporary Relevance
1. Executive Summary
The Zeiss Batis 25mm f/2 stands as a significant lens within the Sony E-mount ecosystem, representing one of Zeiss's initial forays into crafting autofocus lenses specifically for Sony's full-frame mirrorless cameras. Launched in 2015, it aimed to blend traditional Zeiss optical characteristics – notably rich colour rendition and high contrast – with modern functionalities like autofocus, weather sealing, and a unique OLED information display, all within a relatively compact and lightweight package suitable for mirrorless systems. Optically, it is generally regarded as a strong performer, delivering good to excellent sharpness across the frame, even wide open, and commendable control over flare and distortion.
However, its bokeh rendering is often considered less refined compared to faster f/1.4 alternatives. Regarding the user-reported issue of persistent internal fogging, the research conducted using the available information did not uncover widespread reports of such a phenomenon, suggesting the problem may be specific to the individual unit rather than a common design flaw. In the current market, the Batis 25mm f/2 faces stiff competition, particularly from Sony's own G Master line, such as the FE 24mm f/1.4 GM, which offers a faster aperture, more comprehensive features, and potentially superior optics, albeit at a higher price and greater weight.
It also compares differently to the ultra-compact Sony FE 24mm f/2.8 G, which prioritises portability. Furthermore, Zeiss offers distinct manual focus alternatives within the E-mount: the Loxia series, prioritising tactile control and compact build, and the high-end Otus series, focused on ultimate optical performance without compromise.
The Batis 25mm f/2, therefore, occupies a specific niche, appealing to users who value its characteristic Zeiss rendering and autofocus convenience in a reasonably sized package, especially considering its increased accessibility on the used market.
2. Zeiss Batis 25mm f/2: A Comprehensive Review
Introduction and Market Context
The Zeiss Batis 25mm f/2, alongside the Batis 85mm f/1.8, marked Zeiss's entry into native autofocus lenses designed exclusively for Sony's burgeoning full-frame E-mount mirrorless camera system in 2015. This launch acknowledged the growing trend towards professional use of mirrorless cameras, aiming to provide photographers with high-performance tools tailored to these compact systems. Utilising the well-regarded Zeiss Distagon optical design, typically employed for high-performance wide-angle lenses, the Batis 25mm f/2 sought to deliver the renowned Zeiss image quality – excellent resolution, contrast, and colour – in a package that was both lighter and smaller than traditional DSLR lenses, yet featured modern conveniences like autofocus and weather sealing.
It was positioned as a professional-grade lens, intended for demanding applications like landscape, architecture, street photography, and photojournalism. Its 25mm focal length offers a popular wide-angle perspective, slightly wider than 28mm but generally avoiding the extreme distortion associated with ultra-wide lenses. At its launch, the Batis 2/25 carried a premium price tag of approximately $1299 / €1092. While considered potentially overpriced by some at release, its age means it is now frequently available on the used market at significantly lower prices, making it a more accessible option for enthusiasts seeking Zeiss quality with autofocus.
Optical Characteristics
The optical performance of the Batis 25mm f/2 is a key aspect of its appeal, blending traditional Zeiss traits with corrections necessary for modern high-resolution sensors.
Sharpness: The lens is consistently reported to offer very good to excellent sharpness across the full-frame sensor, extending well into the corners even when used wide open at its maximum aperture of f/2. It holds up well on high-resolution bodies like Sony's A7R series. While perhaps not setting absolute records compared to the very latest flagship primes, its performance is considered highly competent, with many users finding it more than sharp enough for professional work. Some tests suggest it might be slightly less sharp in the very centre compared to the Sony 24mm f/1.4 GM at equivalent wide apertures, but it can exhibit comparable or even superior sharpness towards the edges and corners in certain comparisons. Performance peaks across the frame when stopped down to typical landscape apertures like f/4 to f/8. However, as with many lenses, potential copy-to-copy variation has been mentioned by users, which could influence individual perceptions of sharpness.
Bokeh: The quality of the out-of-focus rendering, or bokeh, is generally described as acceptable but not the lens's standout feature, particularly when compared against faster f/1.4 competitors like the Sony 24mm GM, which can produce a shallower depth of field and smoother blur. The Batis 25mm f/2 can exhibit some common traits associated with modern lenses containing aspherical elements, such as 'onion ring' patterns within highlights in certain conditions. Mechanical vignetting can also cause specular highlights towards the edges of the frame to take on a 'cat's eye' shape rather than being perfectly circular. When stopped down, the 9-bladed aperture can result in highlights taking on a slightly polygonal shape rather than remaining perfectly round. Despite these points, the lens is still capable of producing pleasing subject separation and background blur, especially when focusing on close subjects due to its excellent minimum focus distance.
Chromatic Aberration (CA): The lens demonstrates good control over chromatic aberrations overall. Longitudinal chromatic aberration (LoCA), which manifests as colour fringing in out-of-focus areas (often magenta in the foreground and green in the background, or red/teal as noted in one comparison ), is present when shooting wide open at f/2 but is considered relatively low for a fast wide-angle lens. This LoCA significantly diminishes upon stopping down the aperture to f/2.8 or f/4. While generally well-managed, some users have noted that LoCA can occasionally be noticeable or potentially detract from images with shallow depth of field captured at wider apertures. Lateral chromatic aberration, which typically appears as colour fringing along high-contrast edges towards the corners of the frame, is also present but generally well-controlled and easily correctable during post-processing using lens profiles.
Distortion: Leveraging the Distagon retrofocus optical design, the Batis 25mm f/2 exhibits minimal geometric distortion. This makes it well-suited for subjects with straight lines, such as architecture and landscape photography, where distortion can be particularly undesirable.
Flare Resistance: Thanks to the application of Zeiss's renowned T* anti-reflective coating on the lens elements, the Batis 25mm f/2 generally offers good resistance against flare, ghosting, and loss of contrast when shooting into bright light sources. This coating is designed to minimise internal reflections within the optical system. However, one review did note the possibility of encountering unusual purple or green flare artefacts under specific conditions when pointing the lens directly towards the sun.
Colour & Contrast Rendering: A frequently cited strength of the Batis 25mm f/2 is its image rendering, often described as possessing the characteristic 'Zeiss look'. This typically translates to images with strong contrast, high micro-contrast (which contributes to the perception of fine detail and a 'three-dimensional' quality), and rich, vivid, saturated colours straight out of the camera. Some users explicitly prefer this rendering style over lenses that might be technically more perfect but perceived as flatter or less engaging.
Physical Attributes & Handling
The physical design and handling of the Batis 25mm f/2 reflect its positioning as a modern lens for mirrorless systems, balancing build quality with portability.
Build Quality: The lens features a high-quality construction, typically described as using an all-metal housing or a combination of metal composites and high-tech plastics. This results in a lens that feels solid, robust, and well-crafted, instilling confidence in its durability, while remaining relatively lightweight. The external design is sleek and modern, with smooth surfaces reminiscent of the higher-end Zeiss Otus line. The included lens hood is made of plastic, but it is described as durable and integrates well with the lens's overall aesthetic.
Weather Sealing: A significant feature is the inclusion of dust and weather sealing throughout the lens construction, including special felt and rubber seals within the housing and a distinctive blue rubber gasket at the lens mount. This sealing makes the lens suitable for use in challenging outdoor environments, offering protection against dust, splashes, rain, and snow. Some users consider the Batis line to have among the best weather sealing available for E-mount lenses.
Ergonomics: The Batis 25mm f/2 is designed to be compact and lightweight, measuring 78mm in length (without caps) and weighing 335g. This makes it balance well on Sony's full-frame mirrorless bodies and contributes to a portable setup. The design philosophy is minimalist, featuring only a wide, rubberised manual focus ring on the barrel. It lacks a dedicated aperture ring, AF/MF switch, or any customisable buttons, relying instead on camera body controls for these functions. The focus ring itself is smooth in operation but is positioned quite close to the camera body, which some users find slightly awkward to locate initially. The rubberised surface, while providing good grip, has been noted by some users as being prone to attracting dust.
OLED Display: A unique and innovative feature of the Batis line is the integrated OLED display located on the top of the lens barrel. This electronic display shows the set focusing distance and the corresponding depth of field range. It is designed to be readable even in low light conditions. While a novel concept, its practical utility has received mixed feedback. Some find it helpful, particularly for manual focusing , while others find it difficult to read in bright sunlight or consider it less useful on wider focal lengths like 25mm compared to telephoto or macro lenses. Activating the display typically requires switching the camera to manual focus mode.
Autofocus & Manual Focus Performance
The Batis 25mm f/2 employs modern motor technology for autofocus while offering a focus-by-wire system for manual adjustments.
Autofocus (AF): The lens utilises linear motors to drive the autofocus system, resulting in performance that is generally described as fast, quiet, smooth, and reliable. AF speed is considered quick, with one test measuring approximately 0.6 seconds to focus from infinity to 0.32 metres on a Sony A7R II. Focus accuracy and repeatability are reported to be very good. The autofocus operation is virtually silent, making it suitable for video recording where operational noise could be picked up by microphones. The lens supports modern AF features like Sony's Eye-AF for both stills and video. While generally reliable, isolated user reports exist mentioning issues with specific copies, such as focus hunting or inconsistency, suggesting potential quality control variations or compatibility nuances.
Manual Focus (MF): Manual focusing is achieved via a focus-by-wire system, meaning the focus ring is electronically coupled to the focusing motors rather than mechanically linked. The rubberised focus ring itself moves smoothly. The system features non-linear gearing; the speed at which the focus changes depends on how quickly the ring is turned. This allows for very fine, precise adjustments when the ring is turned slowly, but makes it difficult to perform smooth, consistent, and repeatable focus pulls at a constant speed, which is often desired for videography. This contrasts with the linear response found on some other lenses, like the Sony 24mm GM. The focus-by-wire system also lacks the tactile feedback of traditional manual focus lenses, such as hard stops at minimum focus and infinity. While the OLED display can provide distance information to aid manual focusing , the overall manual focus experience may be considered less intuitive or satisfying for dedicated manual focus shooters compared to lenses with mechanical focusing, such as the Zeiss Loxia series.
Close-Focusing Capabilities
A notable strength of the Zeiss Batis 25mm f/2 is its ability to focus exceptionally close to the subject.
The lens features a minimum object distance (MOD) of just 0.2 metres (20cm or approximately 7.9 inches) from the sensor plane. This allows photographers to get very near to their subjects, enabling dramatic wide-angle perspectives and creative compositions.
At this minimum focus distance, the lens achieves a maximum magnification ratio typically cited as 1:5.2 or 0.19x (though 1:4.8 is mentioned in one source ). This level of magnification is quite useful for a wide-angle lens and is notably better than that offered by competitors like the Sony FE 24mm f/1.4 GM (1:5.4) and the Sigma 24mm f/1.4 Art (1:5.3).
To maintain image quality at these close distances, the Batis 25mm f/2 incorporates a floating elements system in its optical design. This means specific lens groups shift independently during focusing to correct for aberrations that typically become more pronounced at close range, ensuring consistent performance throughout the focusing range.
3. Investigating the Internal Fogging Phenomenon
During my research I specifically requested an investigation into reports of internal fogging or condensation issues with the Zeiss Batis 25mm f/2.
A thorough review of the provided research materials, which include forum discussions from platforms like Fred Miranda frequented by enthusiast photographers and user reviews from retailers , was conducted specifically looking for mentions of "fog", "haze", "condensation", or "internal moisture" related to the Batis 25mm f/2.
Based on this analysis, there were no specific reports found within the provided data that match the user's description of persistent internal fogging taking hours to clear on the Batis 25mm f/2.
The discussions and reviews cover a range of topics, including praise for the lens's rendering and build , debates about its sharpness relative to newer lenses , concerns about copy variation , and isolated reports of autofocus malfunctions with used copies. However, chronic internal condensation or fogging does not appear as a commonly discussed or reported issue for this lens model within this dataset.
The Zeiss Batis lenses, including the 25mm f/2, are explicitly marketed as featuring robust weather and dust sealing, designed for reliable use in challenging outdoor conditions and intended for many years of intensive use. Persistent internal fogging that takes a significant amount of time to dissipate strongly suggests a breach or failure in these seals, allowing moisture to enter and become trapped within the lens barrel.
While temporary external condensation can occur on any lens when moving between significantly different temperature and humidity environments, internal fogging that lasts for hours points towards a potential defect.
Given the general reputation for weather sealing in the Batis line and the lack of widespread reports of this specific internal fogging issue in the provided materials, it is most probable that the problem experienced by the user is specific to their individual copy of the lens. This could be due to a manufacturing defect, damage incurred over time, or a previous improper repair that compromised the seals [my copy was never repaired].
Therefore, the recommended course of action is to have the specific lens unit professionally inspected. Contacting Zeiss customer service or a reputable independent camera lens repair technician would be advisable to diagnose the cause of the sealing failure and explore potential repair options. Attempting to self-repair or ignoring the issue could lead to further damage, including potential mould growth on internal elements.
4. Comparative Landscape: Batis 25mm f/2 vs. Key E-Mount Rivals
When the Zeiss Batis 25mm f/2 was released in 2015, it filled an important gap, offering a high-quality, native autofocus wide-angle prime for Sony's full-frame mirrorless cameras. Since then, the E-mount system has matured significantly, and numerous compelling alternatives have emerged, particularly from Sony itself under its G Master (GM) and G designations, as well as from third-party manufacturers like Sigma. Understanding how the Batis 25mm f/2 compares to these key rivals is crucial for assessing its current value and suitability.
Head-to-Head: Batis 25mm f/2 vs. Sony FE 24mm f/1.4 GM
The Sony FE 24mm f/1.4 GM, launched in 2018, is Sony's flagship offering in this focal range and represents a direct, high-end competitor to the Batis 25mm f/2.
Aperture & Low Light: The most obvious difference is the maximum aperture. The Sony GM boasts a bright f/1.4, a full stop faster than the Batis's f/2. This gives the GM a significant advantage in low-light situations, allowing for lower ISO settings or faster shutter speeds, and enables a shallower depth of field for greater subject isolation.
Sharpness: Both lenses are capable of high resolution. However, comparisons generally indicate that the Sony GM offers superior sharpness, particularly when both lenses are shot wide open or near-wide open, and especially in the centre of the frame. The Batis remains very competitive, especially in the corners when stopped down slightly, but the GM often holds the edge in resolving power. Both deliver excellent results across the frame when stopped down to apertures like f/8.
Bokeh: The quality of the out-of-focus rendering is widely considered superior on the Sony GM. Its f/1.4 aperture combined with an 11-blade circular diaphragm produces bokeh often described as "buttery smooth," "creamy," and natural-looking. The Batis bokeh, while acceptable, can exhibit more texture (like 'onion rings') and less perfectly circular highlights, especially when stopped down.
Rendering/Colour: This is where the Batis often draws praise for its distinct 'Zeiss look,' characterised by strong contrast, rich saturation, and 'pop'. While the Sony GM delivers technically excellent images with high fidelity, some users find its rendering less characterful or even "boring" compared to the Batis. The choice here often comes down to subjective preference.
Features: The Sony GM is more feature-rich. It includes a physical aperture ring that can be de-clicked for smooth video adjustments, a customisable focus hold button, and an AF/MF switch directly on the lens barrel. Its manual focus ring employs a linear response mechanism, which is preferred for predictable focus pulls in video. The Batis features the unique OLED display but lacks any physical buttons or switches on the barrel, and its non-linear manual focus response is less suited for video work.
Autofocus: Both lenses feature fast and quiet autofocus systems driven by advanced motors (Linear motors for Batis, DDSSM for GM). The GM's newer Direct Drive SSM (DDSSM) is claimed to offer significantly greater thrust, potentially leading to slightly faster and more precise performance. Both support modern AF features like Eye-AF.
Build & Size: Both lenses are weather-sealed and built to high standards. However, the Batis 25mm f/2 is noticeably lighter (335g vs 445g) and slightly more compact than the Sony 24mm GM, making it a more portable option.
Price & Value: The Sony FE 24mm f/1.4 GM commands a significantly higher price new compared to the Batis 25mm f/2's original price, and especially compared to current used market prices for the Batis. The value proposition depends heavily on whether the GM's advantages in aperture, features, and outright optical performance justify the extra cost and weight over the Batis's appealing rendering and portability.
Compact Competitor: Batis 25mm f/2 vs. Sony FE 24mm f/2.8 G
Released in 2021 as part of a trio of compact G-series primes, the Sony FE 24mm f/2.8 G offers a different set of trade-offs, prioritising extreme portability.
Aperture: The Batis is a full stop faster at f/2 compared to the Sony G lens's f/2.8 maximum aperture. This gives the Batis an advantage in lower light and for achieving a shallower depth of field.
Size & Weight: This is the Sony 24G's main advantage. It is dramatically smaller and lighter (162g vs 335g), often described as a 'muffin' or 'pancake-style' lens, making it an ideal companion for smaller bodies like the Sony A7C or for situations where minimising kit size and weight is paramount.
Sharpness & Optics: The Batis 25mm f/2 is generally considered the optically superior lens. The Sony 24G, while capable, exhibits significant barrel distortion that relies heavily on software correction, and its corner sharpness may lag behind the Batis, particularly at wider apertures.
Rendering: The Batis is praised for its characteristic Zeiss rendering. The Sony 24G's rendering is considered competent, but some reviews mention potentially busier or less smooth bokeh compared to higher-end options.
Features: Despite its small size, the Sony 24G surprisingly includes more physical controls than the Batis. It features a manual aperture ring (which can be de-clicked), a customisable focus hold button, and an AF/MF switch. The Batis only offers the OLED screen and the focus ring.
Build: Both lenses feature weather sealing. The Sony 24G uses an aluminium exterior finish for durability but incorporates more plastic in its overall construction compared to the more metal-centric build of the Batis.
Price & Value: The Sony 24G was launched at a price point ($598) lower than the Batis's original RRP, but potentially higher than what the Batis can be found for on the used market today. The value of the Sony 24G lies almost entirely in its extreme portability combined with useful features and decent optical performance for its size.
Brief Notes on Other Alternatives
Sigma 24mm f/1.4 DG HSM Art: A popular third-party f/1.4 alternative, often priced significantly lower than the Sony GM. It delivers strong optical performance but is based on an older DSLR design, making it considerably larger and heavier than the native mirrorless options.
Sigma 24mm f/3.5 DG DN | Contemporary: Part of Sigma's compact 'I series', offering good build quality, an aperture ring, and impressive 1:2 macro capabilities in a small package. Mentioned as a potential alternative to the Sony 24mm G.
Samyang/Rokinon AF 24mm f/1.8 FE: A lightweight and relatively affordable f/1.8 autofocus option noted for low distortion and features aimed at astrophotography. Quality control consistency can sometimes be a concern with Samyang lenses.
Sony FE 28mm f/2: An older, very affordable, and lightweight native Sony prime. While competent for its price, the Batis 25mm f/2 is generally considered optically superior in terms of sharpness, distortion control, and rendering quality.
The existence of these varied alternatives underscores that the Batis 25mm f/2, while no longer the newest or fastest option, occupies a specific position. It doesn't match the raw performance or features of the top-tier Sony GM, but it offers a more distinct rendering signature and better overall optical quality than the ultra-compact Sony G, combined with the convenience of autofocus and weather sealing. Its appeal often hinges on a preference for the 'Zeiss look' and its availability at attractive prices on the second-hand market.
5. Exploring Zeiss Alternatives: Loxia and Otus Series
Beyond the autofocus Batis line, Zeiss offers two distinct families of manual focus lenses for the Sony E-mount, catering to photographers with different priorities and shooting styles: the compact Loxia series and the uncompromising Otus series.
The Manual Focus Appeal: Zeiss Loxia Series
The Zeiss Loxia lenses are designed specifically for Sony's full-frame mirrorless cameras, offering a classic, purely manual photographic experience combined with modern lens design.
Overview: Loxia lenses prioritise a highly tactile shooting process. They feature precise, all-metal construction, delivering a reassuringly dense and high-quality feel. Key characteristics include smooth-operating manual focus rings with long rotation angles for precise adjustments, and engraved distance and depth-of-field scales. They also possess manual aperture rings directly on the lens barrel, which include a 'DeClick' feature – allowing the click-stops to be disengaged via a small screw on the mount for smooth, silent aperture adjustments during video recording.
Loxia lenses are known for their compact dimensions, making the camera feel more like a traditional rangefinder. A practical benefit for users of multiple Loxia lenses is that the entire line shares a common 52mm filter thread diameter. Despite being fully manual, they incorporate electronic contacts to transmit EXIF data to the camera and enable automatic viewfinder magnification when the focus ring is turned.
Loxia 25mm f/2.4: This lens serves as a direct focal length alternative within the Loxia family. It is lauded for its superb optical performance, delivering phenomenal sharpness, especially when stopped down slightly, excellent corner-to-corner consistency, and near-perfect correction of geometric distortion. Chromatic aberrations are also very well controlled. Its build quality is considered a step above even the Batis line by some reviewers, with precisely engineered metal components. The manual focus feel is highly praised for its smoothness and precision. Its maximum aperture of f/2.4 is slightly slower than the Batis 25mm's f/2. One minor handling critique mentioned is the limited amount of non-rotating surface on the barrel, which can make mounting and unmounting slightly awkward.
Batis vs. Loxia: The choice between Batis and Loxia fundamentally comes down to a preference for autofocus versus manual focus, and the associated design philosophies. Batis provides the convenience of fast, reliable autofocus and assured weather sealing. Loxia offers a more engaging and precise manual focus experience, potentially a more 'classic' Zeiss rendering (described as 'richer' by one user ), the useful de-clickable aperture ring for video, and consistent sizing across the lens family. While Loxia lenses feature a blue sealing gasket at the mount , there is conflicting information regarding their overall weather sealing compared to the Batis line, with some sources stating Batis is sealed while Loxia is not. Optically, both lines offer excellent performance, though some users perceive a slight edge in image quality or rendering character for the Loxia lenses. Physically, Loxia lenses tend to have smaller diameters but can feel denser and heavier due to their all-metal construction, while Batis lenses might have larger diameters but are generally lighter overall.
The Pinnacle of Manual Focus: Zeiss Otus Series
The Zeiss Otus line represents the apex of Zeiss's optical engineering for still photography and cinematography, prioritising ultimate image quality above all other considerations.
Overview: Originally designed for DSLR mounts (ZF.2 for Nikon F, ZE for Canon EF), the Otus philosophy is to achieve the highest possible resolution, contrast, and correction of aberrations (like chromatic aberration and distortion) across the entire frame, even when shooting at the maximum aperture (typically f/1.4), with absolutely no compromises made for size, weight, or cost. These are large, heavy, exceptionally well-built manual focus lenses designed for demanding professionals who require the best possible optical performance and prefer manual control. They are often regarded as reference standards against which other lenses are measured.
Otus ML: Recently, Zeiss announced the 'Otus ML' sub-series, bringing this no-compromise optical design to native mirrorless mounts, including Sony E-mount, Canon RF, and Nikon Z. The initial Otus ML offerings are the 50mm f/1.4 and 85mm f/1.4. While still very expensive (around $2500-$3000 USD), their launch prices are notably lower than the original DSLR Otus lenses.
These lenses maintain the Otus characteristics: large size, substantial weight, all-metal construction, purely manual focus with precise mechanics, and a focus on delivering unparalleled sharpness, colour, and three-dimensional rendering. Even at this level, achieving complete freedom from aberrations like chromatic aberration remains challenging, with some initial discussions suggesting minor CA might still be present.
Positioning vs. Batis: The Otus series occupies a fundamentally different space compared to the Batis line. Otus is purely about achieving the highest attainable image quality through manual focus, regardless of practicality. Batis represents a balance, aiming to deliver excellent Zeiss optical quality combined with the convenience of autofocus and portability suitable for the mirrorless platform. Otus lenses are tools for meticulous, often tripod-based work where manual focus is preferred and optical perfection is the primary goal. Batis lenses are more versatile, suited to a wider range of photographic situations, including dynamic ones where autofocus is essential. There is currently no Otus lens in the 25mm focal length range for E-mount.
The existence of Batis, Loxia, and Otus ML lines for the same mount demonstrates Zeiss's strategy of catering to distinct segments of the market. Rather than a single 'best' approach, Zeiss offers photographers the choice between autofocus convenience (Batis), tactile manual focus control in a compact form (Loxia), or the pursuit of ultimate optical quality via manual focus (Otus), allowing users to select the lens family that best aligns with their individual shooting style, priorities, and budget.
6. Conclusion and Strategic Considerations
The Zeiss Batis 25mm f/2, assessed within the context of the contemporary Sony E-mount landscape, remains a relevant and compelling lens, albeit one with distinct strengths and weaknesses compared to newer alternatives. Its primary strengths lie in its characteristic Zeiss rendering – delivering images with notable contrast, vibrant colours, and 'pop' – combined with good to excellent sharpness across the frame, robust build quality including effective weather sealing, reliable autofocus performance, and excellent close-focusing capabilities, all packaged in a relatively lightweight design.
However, it is no longer the leading edge. Its f/2 maximum aperture is surpassed by f/1.4 competitors like the Sony FE 24mm f/1.4 GM, which also offers generally superior bokeh quality and a more comprehensive feature set including physical controls and video-friendly linear manual focus. The Batis's focus-by-wire system with non-linear response is less ideal for precise manual focus pulls, and its minimalist design lacks the direct controls found on many newer lenses. Furthermore, potential for copy variation exists , and while its unique OLED display is innovative, its practical utility is debatable for many users.
Regarding the my specific concern about internal fogging, the analysis of available information suggests this is likely an issue specific to their lens unit, possibly due to a compromised seal, rather than a widespread design flaw. Professional inspection and repair are recommended.
Choosing between the Batis 25mm f/2 and its rivals requires careful consideration of individual photographic priorities:
For Maximum Aperture, Low Light Performance, and Bokeh Quality: The Sony FE 24mm f/1.4 GM is the clear choice, offering a full stop advantage and superior rendering of out-of-focus areas, though it comes at a higher cost and weight.
For the Best Autofocus Experience and On-Lens Features: The Sony FE 24mm f/1.4 GM again leads with its linear manual focus response, de-clickable aperture ring, and focus hold button, enhancing usability especially for video.
For Prioritising Unique Rendering ('Zeiss Look') with Autofocus: The Batis 25mm f/2 holds strong appeal. If its specific colour and contrast signature is desired, and autofocus is required, it remains a unique proposition, particularly attractive value on the used market.
For Ultimate Portability: The Sony FE 24mm f/2.8 G is unmatched in size and weight, making it ideal for travel or minimalist kits, but this comes with compromises in maximum aperture and potentially overall optical refinement compared to the Batis.
For a Dedicated Manual Focus Experience: The Zeiss Loxia 25mm f/2.4 (or other Loxia lenses) offers superior manual focusing feel, tactile controls (aperture ring), and compact (though dense) build, suitable for those who prefer or require precise manual control.
For Ultimate Manual Focus Optical Quality (Cost/Size No Object): While no direct 25mm Otus exists for E-mount, the Otus philosophy represents the peak for those prioritising optical perfection above all else.
For Budget-Conscious Buyers: Exploring the used market for the Batis 25mm f/2 can offer excellent value. Alternatively, older options like the Sony FE 28mm f/2 or third-party lenses from Sigma or Samyang provide more affordable routes into this focal length range.
In essence, the Zeiss Batis 25mm f/2, while an older design, successfully carved out a niche by blending desirable Zeiss optical traits with the autofocus convenience needed for the mirrorless era. It is a lens chosen not necessarily for having the absolute best technical specifications across the board, but for its specific character, reliable performance, and the balance it strikes between quality, usability, and portability – a balance whose value is often best realised through the accessibility offered by the second-hand market. The "best" lens ultimately remains subjective, contingent upon the photographer's individual needs, shooting style, and budget.
SONY FE 70-200 GII F4
I GOT THIS INSTEAD OF THE F2.8 GM II VERSION
I HAVE DECIDED TO GET THE SONY FE 70-200MM F4 G OSS II [RATHER THAN THE GM II F2.8]
I purchased the original FE 70-200 GM lens when it was launched many years ago and I still use it but I am now trying to the size and weight of my equipment so the F4 version better suits my requirements but I must admit that I am considering to new 50-150mm F2 lens [announced 23 April 2025].
Sony FE 70-200mm F4 Macro G OSS II (SEL70200G2): An In-Depth Analysis
1. Summary
The Sony FE 70-200mm F4 Macro G OSS II (model SEL70200G2) represents a substantial advancement in Sony's E-mount telephoto zoom lens portfolio. Launched in 2023 , it succeeds the original 2014 model (SEL70200G) not merely as an update, but as a reimagined optic incorporating Sony's latest technological innovations.
Key advancements include demonstrably improved optical characteristics, significantly faster autofocus driven by quad XD Linear Motors, and a notably more compact and lighter physical design when retracted. Its most defining feature, however, is the introduction of half-macro (0.5x magnification) capability across the entire 70-200mm zoom range, a world-first for its class.
This versatility is further amplified by full compatibility with Sony's 1.4x and 2.0x teleconverters, enabling reach extension up to 400mm and achieving true 1:1 life-size macro reproduction with the 2.0x attachment. This blend of high performance, portability, and unprecedented close-focusing ability positions the SEL70200G2 as a compelling, albeit premium-priced, alternative to the larger, heavier, and more expensive FE 70-200mm F2.8 GM OSS II (SEL70200GM2), particularly for photographers prioritising versatility, travel-friendliness, and integrated macro functionality over the ultimate low-light capability of an f/2.8 aperture.
A significant design departure from its predecessor is the adoption of an external zoom mechanism, facilitating its reduced retracted length.
2. Introduction: The Evolution of Sony's F4 Telephoto Zoom
The 70-200mm focal length range is widely regarded as a cornerstone lens for countless photographers, offering a versatile reach suitable for portraiture, event coverage, certain types of sports photography, landscape details, and more. Within the Sony E-mount system, the original FE 70-200mm F4 G OSS (SEL70200G), released in 2014 , served as a popular and competent option for many years. However, as Sony's mirrorless camera technology rapidly advanced, the original F4 lens began to show its age, particularly concerning autofocus speed and overall optical refinement compared to newer designs.
The introduction of the FE 70-200mm F4 Macro G OSS II (SEL70200G2) in 2023 marks a significant generational leap. It leverages nearly a decade of progress in lens technology, incorporating Sony's sophisticated optical designs, advanced coatings, and the powerful XD (Extreme Dynamic) Linear Motor autofocus system previously seen in their top-tier G Master lenses. This lens embodies the G Lens philosophy, aiming for a graceful balance between high resolution and attractive background bokeh.
The considerable time between the Mark I and Mark II allowed Sony to integrate substantial technological improvements. The adoption of features like the quad XD Linear Motors and complex optical elements such as Advanced Aspherical (AA) and Super ED glass signifies a move beyond mere incremental updates. These components, common in Sony's more recent and premium offerings, were not part of the original lens's design. This suggests the Mark II is engineered not just to compete but potentially to lead within its category, especially given its unique integration of high-performance macro capabilities.
The SEL70200G2 is targeted towards discerning photographers, encompassing enthusiasts and professionals, who demand high optical and autofocus performance but prioritise portability, reduced weight, and enhanced versatility – particularly the novel macro function – over the absolute light-gathering ability and shallower depth-of-field potential of the FE 70-200mm F2.8 GM OSS II lens. It represents a modern, highly capable telephoto zoom designed to complement Sony's full-frame Alpha camera bodies.
3. Core Specifications of the SEL70200G2
Understanding the technical foundation of the SEL70200G2 is crucial for evaluating its capabilities. The lens features the Sony E-mount and is designed for full-frame sensors, though it can also be used on APS-C bodies where it provides an equivalent focal length range of 105-300mm.
Its defining characteristic is the constant maximum aperture of f/4.0 throughout the 70-200mm zoom range, simplifying exposure control while zooming. The minimum aperture is f/22, and the diaphragm employs 9 rounded blades to promote smooth bokeh.
The optical formula is complex, comprising 19 elements arranged in 13 groups. This includes several specialised elements designed to minimise aberrations and enhance image quality: one Advanced Aspherical (AA) element, one standard aspherical element, three Extra-low Dispersion (ED) elements, and one Super ED element.
Autofocus is driven by a sophisticated system employing four of Sony's high-thrust XD Linear Motors, ensuring speed and precision. The lens incorporates Optical SteadyShot (OSS) image stabilisation.
Perhaps its most notable specification is its close-focusing ability. The minimum focus distance varies from 0.26 metres (10.24 inches) at the 70mm end to 0.42 metres (16.54 inches) at the 200mm end. This enables a remarkable maximum magnification ratio of 0.5x (half life-size) across the entire zoom range.
Physically, the lens has a diameter of approximately 82.2mm and a length of 149mm when retracted to 70mm. It utilises an external zoom mechanism, meaning the barrel extends as it is zoomed towards 200mm, reaching a maximum length of approximately 208.8mm. The weight is approximately 794 grams without the included tripod mount , which itself weighs around 67 grams. The filter thread size is a standard 72mm.
Crucially, the lens is fully compatible with Sony's SEL14TC (1.4x) and SEL20TC (2.0x) teleconverters, significantly expanding its reach and macro potential.
4. Design, Build, and Handling
The SEL70200G2 exhibits the high standard of construction expected from Sony's G Lens line. The main barrel is crafted from metal, providing a solid feel, while the extending inner tube appears to be made from high-quality engineered plastics. The lens incorporates dust and moisture resistance, making it suitable for fieldwork in challenging conditions. The front element features a fluorine coating to repel water, oil, and fingerprints, simplifying cleaning. The off-white finish is typical for professional telephoto lenses, helping to minimise heat absorption during prolonged use in sunny conditions. Overall build quality is consistently praised in reviews as excellent.
A key aspect of its design is the combination of compactness and low weight. Measuring 149mm when retracted and weighing 794g (lens only), it is noticeably shorter and lighter than both its predecessor and the F2.8 GM II alternative. This reduction in size and weight makes it significantly easier to carry for extended periods, such as during travel or hiking, and provides better balance on Sony's typically compact Alpha camera bodies.
The most significant departure in handling compared to the original SEL70200G is the adoption of an external zoom mechanism. The barrel extends by approximately 3.5cm when zooming from 70mm to the 200mm position. This design choice was necessary to achieve the shorter 149mm retracted length, enhancing its portability for packing and transport. However, this represents a clear design trade-off. While internal zoom lenses maintain a constant length and balance point, the external zoom means the lens's physical length changes during operation. Some users may prefer the consistent handling of an internal zoom, and concerns regarding long-term dust ingress due to the "air pump" effect of the extending barrel have been noted, despite the weather sealing. Sony includes a zoom lock switch to secure the lens at the 70mm position during transport. The zoom action itself is reported to be smooth, requiring an 80° rotation of the ring.
Despite being a G lens rather than a G Master, the SEL70200G2 features a comprehensive suite of physical controls reminiscent of Sony's high-end telephotos. It includes switches for AF/MF selection, enabling/disabling Full-time Direct Manual Focus (DMF), a three-position Focus Range Limiter (Full / 0.26-3m / 3m-∞), OSS (Optical SteadyShot) On/Off, and a three-position OSS Mode switch. Additionally, three customisable focus hold buttons are strategically placed around the barrel for easy access in both horizontal and vertical orientations. The focus ring offers smooth operation with a generous 205° rotation angle. One notable omission, however, is a dedicated aperture control ring, a feature present on the F2.8 GM II and some other recent Sony lenses. This suggests Sony reserves this tactile control primarily for its GM line or specific prime lenses, possibly for differentiation or cost management.
The lens includes a removable and rotatable tripod collar, allowing for easy switching between landscape and portrait orientations when mounted. Some reviews note the collar lacks detents or click-stops for precise alignment and the foot itself does not feature an integrated Arca-Swiss compatible dovetail, requiring a separate plate for mounting on most professional tripods. The foot provides standard 1/4"-20 threaded sockets.
A petal-shaped lens hood (model ALC-SH176) is supplied. One review observed that this hood lacks the rubberised front rim found on the Mark I's hood, making the lens less stable if stood upright on the hood.
5. Optical Performance Deep Dive
The SEL70200G2 is built upon Sony's G Lens heritage, aiming for high resolution balanced with pleasing bokeh. Manufacturer claims highlight excellent corner-to-corner resolution and contrast, attributed to the advanced optical design incorporating AA, Aspherical, ED, and Super ED elements.
Independent reviews largely corroborate these claims, reporting impressive sharpness across the frame. Centre sharpness is frequently described as excellent, even wide open at the maximum f/4 aperture. Performance remains strong throughout the zoom range. While centre sharpness often rivals premium lenses, achieving peak sharpness across the entire frame, particularly in the extreme corners, may necessitate stopping down slightly to f/5.6 or f/8, depending on the focal length. Some minor variations in edge performance across the zoom range have been noted, for instance, a slight dip at 200mm compared to mid-range focal lengths. The lens exhibits high contrast levels, contributing to image clarity. Compared to its predecessor, the Mark II shows improved corner sharpness and better flare resistance, while centre sharpness is often comparable.
Bokeh, the quality of out-of-focus areas, is described favourably by Sony as "exquisite" and "gorgeous," aided by the 9-bladed circular aperture and optimised spherical aberration control. Reviews generally find the bokeh smooth and aesthetically pleasing. However, given the f/4 maximum aperture, it's acknowledged that the lens isn't capable of the extreme background separation of an f/2.8 optic. Minor imperfections in the bokeh have been observed under scrutiny, including a subtle "onion ring" pattern (concentric circles within highlights) and slight outlining of highlights, particularly when stopped down or in close-up macro shots. Towards the edges and corners of the frame, highlights may take on a "cat-eye" shape due to mechanical vignetting, though this is less pronounced than on some lenses and improves upon stopping down.
Geometric distortion is present in uncorrected RAW files. Typically, this manifests as slight barrel distortion at the 70mm end, transitioning to noticeable pincushion distortion towards the 200mm end. However, modern mirrorless cameras automatically apply lens profile corrections to JPEG images (and RAW files in supporting software). These corrections are reported to be highly effective, rendering final images virtually free of distortion.
Chromatic aberrations are well-controlled, thanks to the inclusion of multiple ED and Super ED glass elements. Lateral chromatic aberration (colour fringing along high-contrast edges, especially towards the periphery) is minimal, particularly after automatic correction. Longitudinal chromatic aberration (LoCA or bokeh fringing – colour shifts in out-of-focus areas) is also very low, with only a hint of fringing visible at f/4, effectively disappearing by f/5.6.
Flare resistance appears to be good, likely benefiting from Sony's advanced coatings (Nano AR Coating was specified for the Mark I ). Reviews indicate the lens handles bright light sources well, minimising ghosting and flare , and performs better in this regard than the Mark I.
Vignetting, or light fall-off towards the corners, is noticeable in RAW files when shooting wide open at f/4, particularly at the 70mm and 200mm ends of the zoom range. Stopping the aperture down by one or two stops significantly reduces vignetting. As with distortion, in-camera corrections effectively mitigate vignetting in JPEG output. The level of RAW vignetting was noted by one source as slightly higher than average for its class.
The overall optical performance demonstrates a high level of refinement, delivering excellent sharpness and contrast. However, achieving this in a compact design relies on the expectation that residual aberrations like distortion and vignetting will be addressed through digital corrections, a common approach in contemporary lens design. This strategy allows optimisation for key parameters like size, weight, sharpness, and the unique macro capability, accepting correctable optical compromises elsewhere.
6. Autofocus and Stabilisation Capabilities
The autofocus system in the SEL70200G2 represents a significant technological upgrade over its predecessor. It employs four of Sony's high-thrust XD (Extreme Dynamic) Linear Motors, with two motors dedicated to each of the lens's two floating focus groups. This sophisticated arrangement is key to the lens's performance.
Sony claims an autofocus speed increase of up to 20% compared to the original SEL70200G. Reviews consistently confirm this, describing the AF as extremely fast, highly precise, virtually silent, and very responsive. This level of performance makes the lens suitable for demanding applications, including capturing fast-moving subjects. It fully supports the high-speed continuous shooting capabilities of advanced Sony bodies, such as the 30fps blackout-free shooting on the Alpha 1.
Autofocus tracking performance is also enhanced. The lens can maintain focus on moving subjects even while the focal length is being changed (zooming). Furthermore, tracking autofocus is reported to function effectively even during macro shooting, a scenario where AF can often struggle. While generally reliable, one review noted occasional focus misses when attempting to track very close subjects moving rapidly.
For videography, the AF system offers several advantages. The XD Linear Motors operate near-silently, preventing unwanted noise intrusion in recordings. The lens features Linear Response MF, ensuring that manual focus adjustments via the focus ring translate directly and predictably, mimicking the feel of mechanical focus. Crucially, focus breathing (the slight change in focal length that can occur when focus is shifted) is effectively suppressed optically, and the lens also supports the software-based breathing compensation function available in compatible Sony cameras. Focus shift and axial shift during zooming are also minimised.
Image stabilisation is provided by Sony's Optical SteadyShot (OSS) system built into the lens. This system works cooperatively with the in-body image stabilisation (IBIS) found in most Sony Alpha cameras, providing enhanced stabilisation effectiveness. A dedicated switch on the lens barrel allows the user to select between three stabilisation modes (Mode 1 for general use, Mode 2 for panning, Mode 3 for unpredictable movement). The performance of the OSS system is rated highly. One reviewer documented achieving consistently sharp handheld shots at 200mm with shutter speeds as slow as 1/3rd of a second on an Alpha 7RV, suggesting close to six stops of real-world compensation. Another estimated effectiveness around the 4-stop mark. Effective stabilisation is particularly beneficial for telephoto shooting and critical for maintaining a steady viewfinder image when composing shots at high macro magnifications. One reviewer even perceived the OSS on the F4 G II to be subjectively better than that on the F2.8 GM II.
The combination of a cutting-edge AF system and effective image stabilisation significantly enhances the SEL70200G2's usability across a wide range of shooting scenarios, from fast action stills to precise macro work and smooth video capture, marking a substantial improvement over the capabilities of the original F4 G lens.
7. Revolutionary Macro Functionality
Arguably the most groundbreaking feature of the SEL70200G2 is its integrated macro capability. Sony claims it is the world's first zoom lens in its class to offer half life-size (0.5x) magnification across its entire 70-200mm focal length range. This feature fundamentally changes the lens's versatility compared to typical telephoto zooms.
This 0.5x magnification is achieved thanks to significantly reduced minimum focus distances (MFD). At the 70mm wide end, the lens can focus as close as 0.26 metres (10.24 inches), while at the 200mm telephoto end, the MFD is 0.42 metres (16.54 inches). This represents a dramatic improvement over the original SEL70200G, which had a much longer MFD of 1 metre and could only achieve a maximum magnification of 0.13x.
*Working distance is measured from the front of the lens to the subject.
The ability to maintain 0.5x magnification while varying the focal length provides unique creative possibilities. Photographers can choose the framing and perspective that best suits the subject without sacrificing the close-up capability. The working distance (the space between the front of the lens and the subject) varies with focal length. At 70mm, the working distance is quite short (under 10cm), which might be challenging for illuminating subjects or photographing skittish insects. However, at 200mm, the working distance increases to approximately 20cm, offering more space and potentially being more practical for certain types of macro subjects. Compared to a dedicated 90mm macro lens at 1:2 magnification, the zoom lens at 200mm offers a similar or slightly shorter working distance.
Image quality during macro shooting is reported to be very good, delivering sharp, detailed images with pleasing colours. The effective Optical SteadyShot system is a significant asset for handheld macro photography, helping to counteract camera shake and stabilise the viewfinder image during composition.
This built-in macro function greatly enhances the lens's utility. It becomes suitable for capturing close-up details of nature (like flowers, insects, textures), food photography, product shots, and more, potentially eliminating the need for photographers to carry a separate dedicated macro lens in many situations.
While revolutionary for a telephoto zoom, some reviewers qualify the capability as "half-macro" or suitable for "casual macro photography," acknowledging that dedicated prime macro lenses offering 1:1 magnification natively might still be preferred by specialists requiring the highest possible magnification without attachments. Nonetheless, the integration of such strong close-focusing performance across the entire zoom range is a major differentiator for the SEL70200G2.
8. Unlocking Full Potential with Teleconverters
A significant functional upgrade of the SEL70200G2 compared to its predecessor is its full compatibility with Sony's 1.4x (SEL14TC) and 2.0x (SEL20TC) teleconverters. This compatibility was either absent or not officially supported on the original SEL70200G , and its inclusion dramatically expands the Mark II's versatility.
Attaching the teleconverters extends the lens's focal reach. The 1.4x TC transforms the lens into a 98-280mm f/5.6 zoom, while the 2.0x TC creates a 140-400mm f/8 zoom. This allows the lens to cover subjects at greater distances, encroaching into the territory typically requiring longer, dedicated super-telephoto lenses.
Beyond extending reach, the teleconverters synergise powerfully with the lens's inherent macro capabilities. The 1.4x TC increases the maximum magnification from 0.5x to an impressive 0.7x across the extended zoom range. The 2.0x TC takes this even further, enabling the lens to achieve true life-size 1:1 macro reproduction. This means the SEL70200G2, when paired with the SEL20TC, can function as a genuine 1:1 macro lens across a 140-400mm focal range.
A crucial technical detail is that attaching the teleconverters does not change the lens's minimum focusing distance. Consequently, achieving 1:1 magnification with the 2.0x TC attached occurs at the same close distances (0.26m - 0.42m depending on zoom setting) as achieving 0.5x natively. This results in a significantly longer working distance compared to typical 90mm or 100mm prime macro lenses when achieving 1:1 magnification, which can be highly advantageous for lighting subjects or photographing easily disturbed creatures.
Performance with teleconverters is reported to be strong. Autofocus remains effective, even with the 2.0x TC attached. While some degree of image softening is generally expected when using any teleconverter , results with the SEL70200G2 are considered good. One user perspective suggested the 1.4x TC offered a "sweet spot" in terms of balancing reach, aperture (f/5.6), and magnification (0.7x).
This seamless integration with teleconverters fundamentally elevates the SEL70200G2. It transforms from a versatile telephoto zoom with excellent macro capabilities into a potential multi-lens replacement solution for photographers seeking to minimise their kit. The ability to cover standard telephoto duties, reach up to 400mm for more distant subjects, and achieve true 1:1 macro, all with one lens and compatible teleconverters, represents a compelling value proposition and a significant advantage over lenses lacking this synergy.
9. Mark II vs. Mark I: A Generational Leap
Comparing the FE 70-200mm F4 Macro G OSS II (SEL70200G2) directly with its predecessor, the FE 70-200mm F4 G OSS (SEL70200G), reveals the extent of the advancements made over the nine years separating their releases.
Optically, the Mark II generally offers superior performance. It exhibits improved corner sharpness, particularly at wider apertures, and demonstrates better control over flare and ghosting. While centre sharpness is often comparable between the two models , the Mark II's refinements contribute to a more consistent image quality across the frame. The Mark I, however, exhibits slightly less native geometric distortion.
The autofocus system represents a night-and-day difference. The Mark II employs four advanced XD Linear Motors, compared to the Mark I's older Super Sonic wave Motor (SSM) system. This results in significantly faster (claimed 20% increase), quieter, and more precise autofocus in the Mark II, with superior tracking capabilities and support for modern features like focus breathing compensation. While the Mark I's AF was adequate for many tasks , the Mark II's system is on par with Sony's latest high-performance lenses.
In terms of physical design, the Mark II is both shorter when retracted (149mm vs 175mm) and lighter (794g vs 840g, lens only). This improved portability is achieved through the adoption of an external zoom mechanism in the Mark II, contrasting with the Mark I's internal zoom design which maintained a constant physical length during operation. This change in zoom type is a fundamental handling difference, offering benefits in packing size for the Mark II but potentially sacrificing the consistent balance and perceived robustness of the Mark I's internal zoom.
The most dramatic functional upgrade lies in the macro capability. The Mark II achieves an impressive 0.5x magnification across its entire zoom range with minimum focus distances between 0.26m and 0.42m. The Mark I, by contrast, offered only a meagre 0.13x magnification at a distant 1-metre minimum focus. This enhancement transforms the Mark II into a genuinely useful tool for close-up photography.
Furthermore, the Mark II gains full compatibility with Sony's 1.4x and 2.0x teleconverters, a feature not officially supported or widely utilised with the Mark I. This adds significant flexibility for extending reach and achieving even higher macro magnifications (up to 1:1).
Other improvements in the Mark II include potentially enhanced Optical SteadyShot performance , the inclusion of three focus hold buttons versus the Mark I's single button, and a dedicated switch for Full-time DMF.
In essence, the FE 70-200mm F4 Macro G OSS II is not just an update but a comprehensive redesign, leveraging newer technologies to deliver substantial improvements in autofocus, macro performance, teleconverter compatibility, and overall optical refinement, albeit with a shift in handling due to the external zoom design.
10. Choosing Your Path: F4 G II vs. F2.8 GM II
For photographers considering a high-quality 70-200mm zoom for the Sony E-mount system, the choice often comes down to the FE 70-200mm F4 Macro G OSS II (SEL70200G2) and the FE 70-200mm F2.8 GM OSS II (SEL70200GM2). While both are excellent lenses, they cater to different priorities and budgets.
The most obvious difference is the maximum aperture. The F2.8 GM II offers a full stop advantage over the F4 G II, letting in twice as much light. This is significant for shooting in low-light conditions (e.g., indoor events, concerts, dimly lit sports venues) where it allows for lower ISO settings or faster shutter speeds. The wider f/2.8 aperture also enables a shallower depth of field, which can be desirable for isolating subjects from the background, particularly in portraiture. Furthermore, the F2.8 GM II maintains wider apertures when used with teleconverters (f/4 with 1.4x, f/5.6 with 2.0x), which is beneficial for autofocus performance and light gathering compared to the F4 G II's f/5.6 and f/8 effective apertures with the same TCs.
However, the advantages of the f/2.8 aperture come at a cost – primarily in size, weight, and price. The F4 G II is considerably more compact (149mm retracted vs 200mm) and significantly lighter (794g vs 1045g) than the F2.8 GM II. This makes the F4 lens a much more appealing option for photographers who prioritise portability, such as those engaging in travel, hiking, or landscape photography, or simply those who prefer a lighter, less conspicuous setup. The smaller size also tends to balance better on Sony's mirrorless bodies.
The F4 G II holds a distinct advantage in its macro capabilities. Its native 0.5x magnification across the zoom range surpasses the F2.8 GM II's respectable but lower 0.3x maximum magnification. Moreover, the F4 G II's ability to achieve 1:1 macro with the 2.0x teleconverter provides a level of close-up versatility unmatched by the GM lens. For photographers who frequently shoot close-up subjects alongside telephoto work, the F4 G II's integrated macro function could potentially eliminate the need to carry a dedicated macro lens, further enhancing its value and convenience.
Cost is another major differentiator. The F4 G II is priced substantially lower than the F2.8 GM II, with the difference amounting to thousands of dollars/pounds. For photographers who do not absolutely require the f/2.8 aperture, the cost savings offered by the F4 G II are significant.
Handling preferences also play a role. The F4 G II utilises an external zoom mechanism, while the F2.8 GM II features an internal zoom. Some users prefer the constant length and balance of internal zoom, while others may favour the shorter retracted size of the external zoom for packing. Additionally, the F2.8 GM II includes a physical aperture ring, which the F4 G II lacks – a point of preference for tactile control. User experience can be subjective; one user found the GM II's zoom ring overly sensitive.
While both lenses deliver outstanding image quality, the F2.8 GM II bears the G Master designation, signifying Sony's highest optical and build standards. It might offer subtle advantages in edge-to-edge consistency or bokeh rendering, though the F4 G II is widely praised for its excellent optical performance.
Ultimately, the choice depends on the individual photographer's needs and priorities. The F4 G II is the logical choice for those prioritising portability, versatility (especially macro), and value, primarily shooting in good light or comfortable with higher ISOs. The F2.8 GM II remains the premium option for those who demand the best possible low-light performance, maximum subject isolation via shallow depth of field, and potentially the ultimate in optical refinement, and are willing to accept the associated increase in size, weight, and cost.
11. Consolidated Pros and Cons (SEL70200G2)
Based on the analysis of specifications, features, and user reviews, the key strengths and weaknesses of the Sony FE 70-200mm F4 Macro G OSS II can be summarised as follows:
Pros:
Excellent Optical Quality: Delivers high sharpness and contrast, particularly in the centre, comparable to high standards.
Class-Leading Macro Capability: Unique 0.5x magnification across the entire zoom range offers exceptional close-up versatility.
Advanced Autofocus System: Quad XD Linear Motors provide extremely fast, precise, quiet, and reliable AF performance with excellent tracking.
Effective Image Stabilisation: Optical SteadyShot works well, especially in conjunction with IBIS, aiding handheld shooting.
Compact and Lightweight: Significantly more portable than its predecessor and the F2.8 alternative, ideal for travel and extended use.
Full Teleconverter Compatibility: Seamlessly works with 1.4x and 2.0x TCs, extending reach to 400mm and enabling 1:1 macro.
Video-Friendly Features: Suppressed focus breathing, quiet AF, and Linear Response MF enhance usability for video production.
Comprehensive Controls: Offers a good array of physical switches and customisable focus hold buttons for operational flexibility.
High Build Quality: Robust construction with dust and moisture resistance ensures durability.
Good Flare Control: Manages stray light effectively, maintaining image clarity.
Cons:
External Zoom Design: Barrel extends during zooming, which may affect handling consistency and raise long-term sealing concerns for some users.
Premium Price Point: Considerably more expensive than the original Mark I and relatively costly for an f/4 telephoto zoom.
Reliance on Digital Corrections: Achieves optimal results partly through software correction of noticeable native distortion and vignetting.
Tripod Collar Limitations: Lacks integrated Arca-Swiss compatibility and rotational click-stops, requiring additional accessories or careful alignment.
No Aperture Ring: Omits a physical aperture control ring, which some photographers prefer for tactile operation.
Minor Bokeh Imperfections: Under certain conditions, bokeh can exhibit slight onion-ring patterns or cat-eye shapes towards the corners.
Occasional AF Limits: Autofocus might occasionally struggle with very close, fast-moving subjects.
The lens's primary appeal stems from its remarkable versatility, combining strong telephoto performance with groundbreaking macro capabilities and excellent portability. The main considerations for potential buyers revolve around the handling implications of the external zoom design and whether the feature set justifies the premium price for an f/4 lens.
12. Conclusion: A Versatile Telephoto Redefined
The Sony FE 70-200mm F4 Macro G OSS II (SEL70200G2) is far more than a simple successor; it is a redefinition of what can be expected from a constant f/4 telephoto zoom lens. It successfully integrates Sony's latest advancements in optical design, autofocus technology, and image stabilisation, resulting in a lens that delivers performance significantly beyond its Mark I predecessor. The image quality is generally excellent, particularly centre sharpness, and the autofocus system is exceptionally fast, quiet, and capable, meeting the demands of both high-speed stills photography and modern video production.
Its defining characteristics, however, are its remarkable macro capability and seamless teleconverter compatibility. The ability to achieve 0.5x magnification across the entire zoom range natively, and true 1:1 macro with the 2.0x teleconverter, provides an unprecedented level of versatility. This feature alone transforms the lens from a standard telephoto zoom into a powerful multi-purpose tool, potentially reducing the need for photographers to carry a separate macro lens.
This enhanced capability is delivered in a package that is notably lighter and, when retracted, more compact than both the original F4 G and the current F2.8 GM II. This makes it an outstanding choice for photographers who prioritise portability and travel-friendliness without wanting to compromise significantly on performance.
Naturally, there are trade-offs. The adoption of an external zoom mechanism, while enabling the compact retracted size, is a departure from the constant-length design some prefer. The f/4 maximum aperture, while sufficient for many scenarios, cannot match the low-light prowess or extreme subject separation capabilities of an f/2.8 lens. Furthermore, the lens commands a premium price, reflecting its advanced technology and unique feature set.
In conclusion, the Sony FE 70-200mm F4 Macro G OSS II stands as a highly accomplished and exceptionally versatile lens. It successfully carves its own niche, appealing strongly to photographers who value a blend of high-quality telephoto reach, outstanding portability, and genuinely useful close-up capabilities within a single optic. For travel, landscape, nature, event, and even daytime sports photographers, as well as videographers seeking a lightweight, high-performance zoom, the SEL70200G2 presents a compelling, albeit significant, investment. It makes the choice between Sony's F4 and F2.8 70-200mm options less about simply aperture and cost, and more about the specific blend of features and overall system utility that best suits the individual's creative needs.
SONY TELECONVERTERS
DO THEY WORK BETTER WITH NEW GM LENSES
SHOULD I GET A SONY TELECONVERTER [SOME HAVE ADVISED AGAINST DOING SO]
I am considering a Sony teleconverter with my new 70-200mm f/2.8 GM OSS II lens, especially given its macro capabilities. While I was previously advised against them, the dealer's suggestion to consider one now, particularly the 1.4x, makes sense given the advancements in both lenses and teleconverters. At €600 each, it's a considered purchase so I have yet to decide as I have only suitable lens but maybe one could be suitable for the rumoured 50-150mm F2 ... assuming that it is announced 23 April 2025.
Sony Teleconverter Performance with Newer 70-200mm Lenses: A Comparative Analysis
Introduction: Setting the Scene - Teleconverters and the Sony Ecosystem
Teleconverters are valuable tools for photographers, providing a means to extend the reach of existing lenses without the immediate need for an entirely new optic. By magnifying the image projected by the primary lens, they bring distant subjects closer, effectively increasing the focal length. This capability can be particularly advantageous in scenarios where physical proximity to the subject is limited, such as wildlife or sports photography.
However, the integration of additional optical elements into the light path inherently introduces potential trade-offs, most notably concerning image quality and light transmission. Historically, the use of teleconverters has been met with varying degrees of acceptance, with some photographers embracing the added versatility and others wary of the potential for image degradation. Within the Sony ecosystem, past perceptions of teleconverter performance, especially concerning the 2x models, have often leaned towards caution, with recommendations frequently advising users to prioritise native lenses for optimal results.
This blog post aims to re-evaluate this perspective in light of Sony's advancements in both lens and teleconverter technology, specifically focusing on the performance of current teleconverter models when paired with the more recent iterations of their popular 70-200mm lenses. The central objective is to investigate whether these newer combinations have overcome the limitations of the past and to provide a comprehensive analysis comparing the utility of a teleconverter versus the acquisition of a dedicated lens with a longer focal length.
A Look Back: The Historical Performance of Sony Teleconverters
Historically, the performance of Sony teleconverters has been a subject of discussion among photographers, with a general understanding that the 1.4x model offered a more practical balance between increased focal length and minimal impact on image quality compared to its 2x counterpart.
Many users in the past found the 2x teleconverter to introduce a level of image degradation that often outweighed the benefits of the doubled focal length. This historical viewpoint suggests that while the concept of extending lens reach was appealing, the execution, particularly with the 2x models, presented challenges in maintaining the high optical standards expected by serious photographers. This prior understanding forms a crucial backdrop against which the current performance of Sony teleconverters with newer lenses must be evaluated, as the user's query directly stems from this historical context.
The fundamental principles of optics dictate that inserting additional glass elements, as teleconverters do, can lead to certain compromises. These typically manifest as a reduction in the amount of light reaching the camera sensor, effectively decreasing the lens's maximum aperture. For instance, a 2x teleconverter reduces the aperture by two full stops, while a 1.4x converter results in a reduction of approximately one stop. This loss of light not only affects the photographer's ability to shoot in low-light conditions but also impacts the depth of field achievable. Furthermore, the magnification process inherent in teleconverters can also amplify any existing optical aberrations in the primary lens, potentially leading to a decrease in overall sharpness, contrast, and an increase in chromatic aberration. These inherent limitations are important to acknowledge when considering the overall utility of teleconverters.
Adding to these optical considerations, Sony's teleconverters have historically been designed with specific compatibility in mind. They are not universally applicable to all lenses within the Sony E-mount system. Instead, they are engineered to work seamlessly with a select group of their higher-end native lenses, often identified by their white barrels. This limited compatibility means that a photographer must either already own or plan to purchase one of these designated lenses to take advantage of Sony's teleconverter offerings. This restriction influences the decision-making process, as the investment in a compatible primary lens is a prerequisite for utilising the teleconverter.
The Modern Era: Evolution of Sony 70-200mm Lenses and Teleconverters
In recent years, Sony has introduced significant advancements in its lens technology, including notable updates to its popular 70-200mm lens lineup. The Sony FE 70-200mm f/2.8 GM OSS II (SEL70200GM2) represents a substantial evolution from its predecessor, boasting a remarkable weight reduction of approximately 29%. This lighter build enhances handling and portability, making it a more appealing option for a wider range of photographers. Beyond the reduction in weight, the Mark II version also incorporates improved features, enhanced autofocus capabilities, and advancements in image quality performance. Its autofocus system, driven by XD (extreme dynamic) linear motors, is notably faster, with claims of being up to four times quicker than the original model. These improvements suggest a lens that might interact more favourably with teleconverters than previous generations.
Similarly, Sony has also released the FE 70-200mm f/4 Macro G OSS II (SEL70200G2), which introduces a unique half-lifesize (0.5x) macro capability across its entire zoom range. This lens also benefits from a more compact and lighter design compared to its predecessor. Furthermore, it retains the ability to use Sony's teleconverters, which, when coupled with its macro functionality, allows for even greater close-up magnification (up to 0.75x with the 1.4x TC and 1:1 with the 2.0x TC). The inclusion of macro capabilities alongside teleconverter compatibility positions this lens as a versatile tool for photographers with diverse shooting needs.
Complementing these lens advancements are Sony's current 1.4x (SEL14TC) and 2x (SEL20TC) teleconverter models. User reviews for the SEL14TC often highlight its excellent picture quality and ease of use, with positive experiences reported even when paired with the new 70-200 F4 G II.
Similarly, some users of the SEL20TC have shared positive feedback, noting excellent results even with lenses like the 100-400GM. However, it remains important to acknowledge the inherent optical principles, as reviews of the FE 2x Teleconverter still mention the two-stop light loss and a reduction in overall image quality as distinct penalties. Despite these limitations, the continued availability and positive user experiences suggest that Sony has refined its teleconverter designs to better complement its evolving lens technology.
Performance Analysis: Newer Teleconverters and 70-200mm Lenses
The 1.4x Teleconverter: Balancing Reach and Image Quality
Analysis of user reviews and test results indicates a generally positive reception for the Sony 1.4x teleconverter (SEL14TC) when used with both the newer 70-200mm f/2.8 GM OSS II and f/4 Macro G OSS II lenses. Many users find that this teleconverter strikes a favourable balance between extending the focal length and maintaining a high level of image quality. For instance, one user specifically noted that the SEL14TC "works a treat" and delivers excellent picture quality when paired with the new 70-200 F4 G II. Similarly, a user of the 70-200mm II found it to be remarkably sharp and to hold up well with the x1.4 converter. This sentiment is echoed by others who consider the decrease in image quality and autofocus performance with the 1.4x TC to be minor and acceptable for the added reach. The combination is even described as versatile, suggesting its practical utility in various shooting scenarios.
When the 1.4x teleconverter is attached, the 70-200mm f/2.8 GM OSS II transforms into a 98-280mm f/4 lens. This provides a useful extension at the telephoto end while only reducing the maximum aperture by one stop. For the 70-200mm f/4 Macro G OSS II, the resulting lens becomes a 98-280mm f/5.6 optic. This combination also offers increased reach with a manageable one-stop reduction in maximum aperture. A user who opted for the 1.4x TC with the F4 G OSS II found it to be "Absolutely worth it," noting that the magnification was sufficient for their needs and the sharpness was clearly superior to that achieved through digital cropping. This suggests that for many photographers, the 1.4x teleconverter provides a valuable extension of their lens's capabilities without significant drawbacks.
The 2x Teleconverter: Has Performance Improved?
The performance of the Sony 2x teleconverter (SEL20TC) with the newer 70-200mm lenses appears to be more complex, with a wider range of user experiences reported. While historical perspectives often cautioned against 2x teleconverters due to significant image degradation, some newer feedback suggests potential improvements, particularly when paired with the 70-200mm f/2.8 GM OSS II. One source even suggests that this combination could be a "winner". A video review noted the autofocus performance of the 2x TC with the 70-200mm f/2.8 GM OSS II as quite impressive. However, other users still observe a softening of the image, especially when critically evaluating sharpness.
When the 2x teleconverter is used, the 70-200mm f/2.8 GM OSS II becomes a 140-400mm f/5.6 lens. This provides a substantial increase in reach, effectively doubling the original focal length, but at the cost of two stops of light. For the 70-200mm f/4 Macro G OSS II, the resulting lens is a 140-400mm f/8 optic. The f/8 maximum aperture in this configuration represents a significant reduction in light-gathering capability, which could limit its usability in less than ideal lighting conditions. User experiences with the 2x TC on the 70-200mm II have been mixed.
One user initially found disappointing results at f5.6 but noted a considerable improvement in contrast and sharpness when stopping down to f8, achieving results comparable to the GM 100-400mm.
Another user reported being "more than happy" with the 70-200 II when used with both teleconverters, suggesting satisfactory results even with the 2x. However, there is also the perspective that the 2.0x TC might be pushing the limits of the f4 G II lens. The general consensus still leans towards the 1.4x being the better option for maintaining image quality, but the performance of the 2x with the newer, high-quality 70-200mm lenses appears to be better than historical perceptions might suggest.
The Fork in the Road: Teleconverter vs. Dedicated Longer Lens
For photographers seeking to extend their telephoto reach with a Sony system, the decision often comes down to whether to use a teleconverter with an existing lens, such as a 70-200mm model, or to invest in a dedicated lens with a longer native focal length, such as the Sony FE 100-400mm f/4.5-5.6 GM OSS or the Sony FE 200-600mm f/5.6-6.3 G OSS. Each approach offers its own set of advantages and disadvantages across various performance parameters.
Image Quality: A Pixel-Level Examination
When evaluating image quality, the consensus generally favours dedicated longer lenses over using a 70-200mm lens with a 2x teleconverter, particularly when scrutinising images at a pixel level. While some users find the image quality at 400mm to be surprisingly similar between the 70-200 F2.8 GM II with a 2x TC and the 100-400mm GM F4.5-5.6, the dedicated lens often exhibits better control over chromatic aberration. Some users have reported a noticeable softening of images when using the 2x TC on the 70-200GM II. Conversely, the 1.4x teleconverter tends to have a less pronounced impact on image quality, offering a more subtle trade-off for the increased reach. The Sony 100-400mm GM OSS is often regarded as a sharper lens than the 200-600mm G OSS, although the latter provides significantly more reach. Adding a 2x teleconverter to the 100-400mm can lead to a noticeable reduction in overall image quality, especially in terms of sharpness at the corners. Ultimately, while the 70-200mm with a teleconverter offers flexibility, photographers prioritising the highest possible image quality at longer focal lengths will likely find a dedicated lens more appealing.
Autofocus Performance: Speed and Accuracy Under Scrutiny
Autofocus performance with teleconverters has seen improvements, particularly with newer Sony camera bodies and lenses. While some older reports indicated a noticeable slowdown in autofocus speed when using a 2x teleconverter, more recent experiences, especially with the 70-200mm f/2.8 GM OSS II, suggest that the autofocus remains quite responsive even with the 2x TC. The Sony 100-400mm GM OSS and 200-600mm G OSS lenses are both known for their capable autofocus systems, which are often preferred for demanding action and wildlife photography. However, even these dedicated lenses can experience a slight reduction in autofocus speed and accuracy when used with teleconverters. The 70-200mm f/2.8 GM OSS II is particularly noted for its rapid autofocus capabilities, which may help to mitigate some of the potential slowdown associated with using a teleconverter.
Aperture and Low-Light Capabilities: The Trade-offs
The use of teleconverters invariably results in a reduction of the lens's maximum aperture, which directly impacts its low-light performance. The 70-200mm f/2.8 GM OSS II, when paired with a 2x teleconverter, becomes a 140-400mm f/5.6 lens. This is still a relatively fast aperture compared to the native f/4.5-5.6 of the 100-400mm GM OSS or the f/5.6-6.3 of the 200-600mm G OSS. However, the 70-200mm f/4 G OSS II with a 2x TC results in a much slower f/8 aperture, which could be limiting in lower light conditions. The 70-200mm f/2.8 model retains a low-light advantage even with the teleconverter compared to the dedicated longer lenses. When teleconverters are added to the 100-400mm or 200-600mm, the maximum aperture becomes even narrower, further impacting their low-light capabilities.
Physical Attributes: Size, Weight, and Ergonomics
The Sony 70-200mm lenses, particularly the GM II, are significantly lighter and more compact than both the 100-400mm GM OSS and the 200-600mm G OSS. Adding a teleconverter does increase the size and weight of the 70-200mm, but the resulting package is generally still more portable than the dedicated longer lenses. The internal zoom mechanism of the 70-200mm f/2.8 GM OSS II is also preferred by some users over the external zoom of the 100-400mm. For photographers who prioritise portability and ease of handling, the 70-200mm with a teleconverter can be an attractive option.
Cost-Benefit Analysis: The Financial Implications
From a purely financial perspective, purchasing a teleconverter is generally more cost-effective than investing in a dedicated longer lens. This can be a significant factor for photographers who only occasionally require the extended reach. For instance, using a teleconverter with an existing 70-200mm lens to achieve a 400mm equivalent is less expensive than buying a separate 100-400mm or 200-600mm lens. However, if the longer reach is a frequent requirement, the benefits of the potentially superior image quality and handling of a dedicated lens might justify the higher cost.
Voices from the Field: User Experiences and Community Insights
The experiences shared by Sony users on various photography forums and review sites provide valuable real-world perspectives. There is a general consensus that the 1.4x teleconverter performs admirably with the newer 70-200mm lenses, offering a good balance of reach and image quality. Opinions on the 2x teleconverter are more varied, with some users reporting satisfactory results, especially with the f/2.8 GM OSS II, while others still observe a noticeable softening of the image.
In terms of use cases, the 70-200mm with teleconverters is often favoured for its versatility and portability in scenarios like travel and general photography. For wildlife and sports photography, where longer reach is often paramount, dedicated lenses like the 100-400mm and 200-600mm are frequently recommended, although the 70-200mm f/2.8 GM OSS II with a teleconverter can serve as a more portable alternative for certain situations.
Making the Informed Decision: Recommendations Based on Usage Scenarios
For wildlife photography, while the 70-200mm f/2.8 GM OSS II with a 2x teleconverter can provide a more portable option, the Sony 200-600mm G OSS or the Sony 100-400mm GM OSS (potentially with a 1.4x teleconverter) are generally better suited due to their longer native reach and often superior image quality at those focal lengths. The f/4 model with a 2x TC might not be ideal for serious wildlife work due to the slower aperture.
In sports photography, the Sony 70-200mm f/2.8 GM OSS II, either by itself or with the 1.4x teleconverter, stands out as a versatile choice offering fast autofocus and good reach for many situations. The 2x teleconverter can extend the reach further, but the potential for softness and the f/5.6 aperture should be considered, especially in lower light.
For portrait photography, the 70-200mm range is excellent on its own, and teleconverters are typically not necessary unless extreme compression is desired.
For travel and general use, the 70-200mm f/2.8 GM OSS II or the f/4 Macro G OSS II with the 1.4x teleconverter offer a compelling combination of versatility and portability, providing increased reach without excessive bulk. The 2x teleconverter can provide even more reach but with more noticeable compromises in image quality and aperture.
Conclusion: Weighing the Options - Versatility vs. Specialisation
In conclusion, the performance of Sony teleconverters, particularly the 1.4x model, has indeed improved with the latest generation of 70-200mm lenses, offering a more viable option for extending focal length than in the past.
The 2x teleconverter also shows enhanced performance, especially with the 70-200mm f/2.8 GM OSS II, although it still involves more significant trade-offs in terms of image quality and light loss.
The decision of whether to opt for a teleconverter or a dedicated longer lens hinges on the photographer's specific needs and priorities. Teleconverters provide a cost-effective and versatile way to increase reach without carrying multiple large lenses, making them suitable for photographers who need occasional extra magnification and prioritise portability. However, for those who frequently shoot distant subjects and demand the highest possible image quality, investing in a dedicated lens like the 100-400mm GM OSS or the 200-600mm G OSS is likely the more rewarding long-term solution.
Ultimately, the optimal choice depends on a careful consideration of the trade-offs between versatility, cost, image quality, and the primary photographic pursuits of the user.
STILL AWAITING MY A1 II
EXPECTING A FUJI GFX100RF
MAY NOT GET A LEICA
THE A1 HAS BEEN DELAYED THE FUJI GFX100RF IS DUE IN MAY [NOT SURE IF I NEED THE LEICA Q3 43]
The delivery of the A1 has been delayed, and the Fuji GFX100RF is expected in May. I'm currently weighing up whether I still need the Leica Q3 (or Q3 43).
My predicament stems from having pre-booked hotel rooms across Ireland, yet I'm still awaiting a suitable camera. Initially, I was leaning towards the Leica Q3 43, as it was readily available, albeit at a considerable cost. However, the unexpected early availability of the Fuji GFX caught my attention, as I'd previously understood it might be delayed for many months.
Upon its release, I promptly purchased the Sony A7RIV. Shortly after its arrival, a trip to Belfast resulted in an unfortunate fall due to a loose paving stone. This incident damaged my camera, my ribs, and a Voigtländer lens. Since then, the A7RIV has exhibited intermittent faults. While I still use it, its reliability is questionable. Nevertheless, I've continued to invest in Sony's original lenses.
When the A7RV was announced, I placed a pre-order. After a lengthy wait, I decided to cancel it to save for the A1. By the time I could afford the A1, the A1 II had been launched. I placed and paid for an order in November/December 2024 and am still awaiting its arrival. I was offered the option to switch to a Fujifilm GFX100SII, but I was hesitant as I was starting to consider more compact alternatives. I did briefly consider a second-hand unit, but the prospect of acquiring a set of suitable lenses was unappealing.
My exploration of other options led me to consider the Leica Q3 43, knowing I could finance it by May 2025. Then, in April 2025, the Fuji GFX100RF was announced.
I attended a presentation of the camera here in Dublin, and a few days later, I was informed that one would be available to me by the last week of May. Furthermore, I could have any colour, as long as it was black. So, I anticipate having a camera for my week-long visit to Belfast at the end of May.
Therefore, I never acquired the A7RV, and while I'm still awaiting the A1 II (possibly arriving in June/July), my collection of GM II lenses means I won't cancel my order, especially as I'm not interested in any current Sony alternatives.
I've more or less decided against the Leica Q3/43, assuming the Fuji meets my expectations."
Navigating the Summit: A Strategic Analysis of the Sony A1 II, Fuji GFX100RF, and Leica Q3 in a High-End Photographic Toolkit
I. Introduction: Navigating the Peaks of Photographic Technology
A. Acknowledging My Position:
The current photographic landscape presents a wealth of high-performance imaging tools, prompting both enthusiasts and professionals to carefully consider the strategic composition of their equipment.
The described situation – awaiting the delivery of a flagship Sony A1 II while simultaneously integrating the unique capabilities of the Fuji GFX100RF, and reconsidering a planned acquisition of a Leica Q3 or Q3 43 – represents a privileged position. It allows for equipment decisions driven not primarily by budgetary constraints, but by the pursuit of optimal photographic capability, user experience, and the avoidance of functional redundancy.
This analysis aims to provide an expert perspective on this specific scenario, evaluating the distinct roles these cameras play and offering guidance on the most strategically sound path forward. The context provided by past experiences, including issues with a previous Sony A7RIV and the subsequent commitment to the Sony ecosystem through significant investment in Version II GM lenses and the A1 II pre-order, underscores the importance of reliability and maximising the potential of the chosen primary system.
B. Introducing the Contenders:
At the heart of this assessment are three distinct photographic instruments, each representing a pinnacle of design and technology within its respective category:
Sony A1 II: As the anticipated successor to the formidable A1, this camera represents the zenith of Sony's full-frame mirrorless technology. It embodies a philosophy of ultimate versatility, promising exceptional speed, high resolution, state-of-the-art autofocus, and comprehensive video features, all supported by the mature and extensive E-mount lens system in which significant investment has already been made.
Fuji GFX100RF: This camera stands out as a significant innovation within the medium format market, packaging a 102-megapixel sensor into a rangefinder-style body. It offers a fundamentally different approach to image capture compared to full-frame systems, emphasising ultimate image quality, unique tonal rendering, and a distinct handling experience, marking a deliberate step into the medium format realm.
Leica Q3/Q3 43: Representing the archetype of the premium full-frame fixed-lens compact camera, the Leica Q series prioritises exceptional build quality, intuitive operation, and the singular optical signature of its integrated Summilux lens. It embodies a philosophy of deliberate constraint, focusing on the purity of the shooting experience with a fixed focal length. However, it shares the same sensor as my A7RIV.
C. Defining the Core Question:
The central consideration is whether the Leica Q3/43, despite its own merits, offers a sufficiently unique and valuable proposition to justify its inclusion alongside the already formidable combination of the Sony A1 II and the Fuji GFX100RF.
Does the GFX100RF, with its distinct medium format sensor and rangefinder styling, adequately fulfil the desire for a 'different' high-quality shooting experience, thereby rendering the Leica Q3 potentially redundant within this specific, high-capability toolkit? Or does the Q3 carve out a niche – perhaps in portability or its specific fixed-lens character – that remains unfilled? This report will dissect the capabilities, philosophies, and potential synergies of these systems to provide a clear recommendation.
II. The Core Systems: Defining Capabilities & Philosophies
A. Sony A1 II & GM Lens Ecosystem: The Apex Predator
Overview: The Sony A1 II, building upon the legacy of its predecessor, is positioned as the system engineered for peak performance across the widest possible range of photographic disciplines. It is the embodiment of a "do-it-all" philosophy at the highest level, expected to deliver uncompromising speed, substantial resolution, industry-leading autofocus capabilities, and professional-grade video functionality.
Performance Expectations: The original A1 set benchmarks with capabilities like 30fps blackout-free continuous shooting and highly sophisticated real-time tracking autofocus, proving indispensable for demanding genres such as sports, wildlife, and photojournalism. The A1 II is anticipated to refine and potentially elevate these capabilities further, solidifying its role as the high-performance engine of the photographic kit. Its predecessor's 50MP sensor struck a potent balance between detail capture and processing speed; the A1 II is expected to maintain or enhance this resolution, ensuring competitiveness with other high-megapixel bodies while retaining its speed advantage. This combination of high resolution and extreme speed clearly differentiates it from systems prioritising one aspect over the other.
System Investment & Inertia: A critical factor in this analysis is the substantial existing investment in Sony's top-tier Version II GM lenses. These lenses are optically engineered to resolve immense detail and perform optimally on high-resolution, high-speed bodies like the A1 II. This investment represents not just sunk cost, but a deep integration into a specific ecosystem. Familiarity with the system, muscle memory developed through use, and the sheer breadth of optical choices available create significant operational advantages. Consequently, the A1 II and its associated lenses naturally assume the role of the primary, "default" system. Any potential addition, like the Leica Q3, must offer compelling advantages to overcome the inherent convenience, versatility, and optimised performance already present within the established Sony framework. The bar for justification is therefore elevated; the question is not merely whether the Q3 is a good camera, but whether it adds indispensable value beyond what the comprehensive Sony system already provides.
B. Fuji GFX100RF: The Medium Format Experience, Redefined
Overview: The Fuji GFX100RF distinguishes itself immediately through its 100-megapixel medium format sensor. However, its identity extends beyond resolution; it incorporates rangefinder-style ergonomics and leverages Fujifilm's renowned colour science and lens design. The larger sensor format inherently influences image characteristics, offering potential advantages in tonal gradation, depth of field rendering, and the sheer level of detail achievable.
Image Quality and Handling: The GFX system consistently earns accolades for its exceptional image quality, characterised by fine detail, smooth tonal transitions, and a distinct rendering often described as having a "medium format look" or enhanced "presence" compared to full-frame output. Fujifilm's Film Simulations add another layer of unique character directly out of camera. While image quality is paramount, the handling experience is also distinct. GFX cameras, including the RF model, are generally regarded as more deliberate instruments compared to flagship full-frame mirrorless bodies. While autofocus performance has steadily improved within the GFX line, it typically does not match the blistering speed and tracking tenacity of systems like the Sony A1 series. The rangefinder-inspired design of the GFX100RF offers a specific tactile appeal, differentiating it from SLR-style grips common on other GFX models and most mirrorless cameras. This ergonomic choice caters to photographers who appreciate that particular way of interacting with a camera.
The Deliberate Shooting Niche: The GFX system's strengths align naturally with photographic genres that benefit from a measured approach – landscape, architecture, studio portraiture, and fine art reproduction. Its relative performance characteristics make it less suited for capturing fast, unpredictable action compared to the A1 II. This distinction is not merely a limitation but can be viewed as a feature. The GFX100RF encourages a slower, more considered photographic process, focusing attention on composition, light, and subject interaction. This provides a valuable experiential counterpoint to the Sony A1 II's emphasis on capturing the decisive moment, however fleeting. The GFX system already introduces a significantly different way of seeing and shooting, potentially fulfilling the need for a departure from the primary full-frame workflow and reducing the impetus to seek yet another distinct experience via the Leica Q3.
C. Leica Q3/43: The Art of the Focused Instrument
Overview: The Leica Q series, exemplified by the Q3 (and potential variants like a Qe), operates on a distinct philosophy: pairing a high-resolution full-frame sensor with a single, optically exceptional fixed prime lens – the Summilux 28mm f/1.7 ASPH. – within a meticulously crafted, minimalist body. It champions the idea that creative potential can be unlocked through simplification and focus.
Lens, Experience, and Portability: The cornerstone of the Q3's appeal is its lens. Reviews consistently extol the virtues of the 28mm Summilux, praising its sharpness, micro-contrast, pleasing bokeh, and overall rendering characteristics. It is widely considered one of the finest lenses ever integrated into a compact camera. Beyond the lens, the Q series is lauded for the sheer "joy of use." The tactile satisfaction of its physical controls, the premium materials and construction, the streamlined menu system, and the overall responsiveness contribute to a highly engaging shooting experience. This focus on the process of photography is central to the Leica value proposition. Furthermore, the Q3 offers significant portability compared to interchangeable-lens systems like the A1 II (especially with a GM lens attached) or the GFX100RF, positioning it as a potential candidate for an "everyday carry" or travel camera.
Image Quality Context and the Fixed Lens: The Q3's 60MP full-frame sensor delivers excellent image quality. However, within the context of this specific user's toolkit, it doesn't offer the unique sensor-size advantage of the GFX medium format system, nor is it expected to match the specialised speed and autofocus prowess of the A1 II. Its strength lies in the synergy between its high-quality sensor, the specific character of its Summilux lens, and the overall user experience. In the case of the Q3, the fixed 28mm lens is the defining characteristic, representing both a potential creative catalyst and a significant constraint. It forces the photographer to engage actively with composition and perspective, moving within the scene rather than relying on zoom. For some, this limitation fosters discipline and a unique way of seeing. For others accustomed to the flexibility of interchangeable lenses, it can feel restrictive, particularly when faced with situations demanding longer or wider focal lengths. The core appeal of the Q3, therefore, hinges significantly on an embrace of this fixed-lens philosophy as a deliberate creative choice.
III. Analysing Synergy & Potential Redundancy: The Core Dilemma
A. GFX100RF vs. Leica Q3/43: Complementary Tools or Overlapping Niches?
A direct comparison reveals fundamental differences between the Fuji GFX100RF and the Leica Q3, suggesting they occupy distinct spaces rather than overlapping significantly in technical capability.
Image Quality: The GFX100RF's primary advantage lies in its 102MP medium format sensor, delivering a level of detail resolution and a specific rendering (tonality, depth transitions) that is characteristic of the larger format. It excels in applications where maximum detail and nuanced tones are paramount, such as landscape and studio work. The Leica Q3, while offering excellent 60MP full-frame quality, is defined more by the unique character imparted by its fixed 28mm Summilux lens. Its strength lies in capturing scenes with a specific wide-angle perspective and environmental context, rendered with the lens's signature look. The nature of the image quality produced by each camera is fundamentally different; technical overlap in terms of the final "look" is minimal.
Handling & Experience: The physical interaction with each camera is markedly different. The GFX100RF, despite its rangefinder styling, remains a medium format system, generally encouraging a more deliberate pace due to its size, handling dynamics, and potentially slower operational speed compared to smaller formats. The Leica Q3, conversely, is designed for immediacy and engagement. Its compact size, integrated lens, tactile manual controls, and simplified operation foster a direct and intuitive connection between the photographer and the scene. The shooting experiences offered are thus poles apart.
Portability & Use Case: This is perhaps the most significant point of divergence. The Q3 is inherently more portable than the GFX100RF system (body plus lens) and also generally more compact than the A1 II with most GM lenses attached. This makes the Q3 a strong candidate for travel, street photography, or as an "always with you" camera for spontaneous opportunities – a role neither the A1 II nor the GFX typically fills with the same ease.
Despite these clear technical and experiential differences, the question of redundancy requires a deeper look beyond specifications. It's essential to consider the role each camera plays within the photographer's overall process and habits. The GFX provides a unique image quality proposition and encourages a specific, methodical approach. The A1 II offers supreme versatility and speed. The Q3 presents portability, simplicity, and a specific lens character for spontaneous or minimalist shooting. While these roles appear distinct on paper, the practical reality is that the GFX already provides a significant departure from the A1 II experience. Does the photographer, that's me, need another distinct shooting experience offered by the Q3, or does the GFX adequately satisfy the desire for an alternative process? The potential redundancy, therefore, is less technical and more practical: will the Q3 be carried and utilised frequently enough alongside the other two powerful systems to justify its place, or will it remain sidelined due to the compelling capabilities of the A1 II and GFX?
B. Justifying the GFX Acquisition: Its Unique Place
The decision to acquire the Fuji GFX100RF appears strategically sound within the context of building a diverse, high-capability toolkit alongside the Sony A1 II. Its value proposition extends far beyond simply adding more megapixels. The tangible difference in image rendering attributable to the larger medium format sensor – the specific way it handles tones, depth, and detail – provides a genuinely distinct visual signature. Furthermore, the more deliberate shooting process it encourages offers a valuable counterpoint to the high-speed capabilities of the A1 II. The GFX100RF successfully introduces a different imaging modality (medium format) and a different approach to image creation, ensuring minimal direct overlap with the capabilities of the high-performance full-frame Sony system.
C. The Case For (and Against) the Leica Q3/43:
Evaluating the potential addition of the Leica Q3/43 requires weighing its unique attributes against the capabilities already secured with the A1 II and GFX100RF.
Arguments "For" the Q3:
Unique Experience: The blend of Leica's renowned build quality, intuitive tactile controls, the specific rendering of the Summilux 28mm lens, and the inherent simplicity of a fixed-lens design offers a distinct and highly engaging shooting experience not replicated by either Sony or Fuji.
Portability/Everyday Carry: It fills a clear gap in portability. It is significantly smaller and lighter than the A1 II (with lens) or the GFX system, making it ideal for situations where carrying a larger kit is impractical or undesirable.
Creative Catalyst: The constraint of the fixed 28mm lens can act as a powerful creative stimulant, forcing a more considered approach to composition and perspective, potentially strengthening the photographer's vision within that focal length.
Complementary Focal Length: The classic 28mm focal length might naturally complement the existing GM lens collection, which likely includes standard zooms or primes at other focal lengths (e.g., 35mm, 50mm, 85mm, 135mm).
Arguments "Against" the Q3:
Potential Role Overlap (Experiential): With the GFX100RF already providing a "deliberate shooting" experience distinct from the A1 II, does the Q3's specific alternative experience offer enough additional value to warrant adding a third system? The need for another alternative might be diminished.
Fixed Lens Limitation: While potentially liberating for some, the inability to change lenses is an undeniable limitation. Will the user frequently encounter situations where 28mm is unsuitable, leading to frustration when compared to the flexibility of the A1 II and GFX systems?
Cost vs. Usage Frequency: Although budget is not the primary constraint, the substantial cost of the Q3 necessitates justification through regular and meaningful use. Given the immense capabilities of the A1 II and GFX, will the Q3 receive sufficient "shooting time" to provide value commensurate with its price and its place in the kit
SONY A7RV CAMERA BODY
The Sony Alpha A7RV (or α7R V) is a high-resolution full-frame mirrorless camera that was introduced in October 2022. It's the successor to the popular A7RIV, and while it shares the same 61.0MP sensor, it boasts significant improvements in autofocus performance, image stabilization, and video capabilities.
Here's a breakdown of the key differences between the A7RV and its predecessor, the A7RIV:
Advanced Autofocus System: The A7RV features a new AI-powered autofocus system that uses deep learning to recognize and track a wider variety of subjects, including humans, animals, birds, insects, cars, trains, and airplanes. This results in significantly improved accuracy and reliability, especially in challenging shooting conditions.
Improved Image Stabilization: The A7RV has an upgraded 8-stop in-body image stabilization system, which is a significant improvement over the 5.5 stops offered by the A7RIV. This allows for sharper handheld shots in low light and when using telephoto lenses.
Enhanced Video Capabilities: The A7RV can record 8K video at 24/25p and 4K video at up to 60p with 10-bit 4:2:2 sampling.
It also offers improved video features like S-Cinetone and S-Log3 picture profiles, as well as breathing compensation when used with compatible Sony lenses.
Upgraded LCD Screen: The A7RV has a new 4-axis multi-angle touchscreen LCD, which offers more flexibility for framing shots from different angles.
Higher Resolution EVF: The electronic viewfinder (EVF) on the A7RV has a resolution of 9.44 million dots, compared to 5.76 million dots on the A7RIV. This provides a more detailed and immersive viewing experience.
Is the A7CR an alternative?
Yes, the Sony A7CR is a viable alternative to the A7RV, especially for photographers who prioritize portability and affordability. Launched in August 2023, the A7CR shares the same 61MP sensor and AI-powered autofocus system as the A7RV, but in a much smaller and lighter body, similar to the A7C series. Here's why someone might prefer the A7CR:
Compact Size and Weight: The A7CR is significantly smaller and lighter than the A7RV, making it more comfortable to carry around and travel with.
Lower Price: The A7CR is priced lower than the A7RV, making it a more accessible option for budget-conscious photographers.
Excellent Image Quality: Despite its smaller size, the A7CR delivers the same impressive image quality as the A7RV, thanks to its shared sensor and processor.
However, it's important to note that the A7CR has some limitations compared to the A7RV:
Reduced Video Features: The A7CR lacks 8K video recording and has some limitations in 4K recording compared to the A7RV.
Less Robust Build: The A7CR has a more compact build, which may not be as durable as the A7RV's magnesium alloy body.
Fewer Physical Controls: The A7CR has a more streamlined design with fewer physical buttons and dials, which may not be ideal for photographers who prefer direct access to settings.
Recommended Lenses for the A7RV and A7CR:
The A7RV and A7CR are compatible with Sony's extensive lineup of E-mount lenses. Here are a few recommendations based on different shooting styles:
Versatile Zoom:
Sony FE 24-70mm f/2.8 GM II: A professional-grade zoom lens that offers excellent image quality and versatility for everyday shooting.
Sony FE 24-105mm f/4 G OSS: A more affordable option that still delivers great performance and image stabilization.
Wide-angle:
Sony FE 16-35mm f/2.8 GM: A high-quality wide-angle zoom lens ideal for landscapes and architecture.
Sony FE 20mm f/1.8 G: A compact and lightweight prime lens with a wide field of view.
Telephoto:
Sony FE 70-200mm f/2.8 GM OSS II: A professional telephoto zoom lens perfect for sports and wildlife photography.
Sony FE 100-400mm f/4.5-5.6 GM OSS: A versatile telephoto zoom lens with a long reach.
Prime Lenses:
Sony FE 50mm f/1.2 GM: A fast prime lens that excels in low-light conditions and produces beautiful bokeh.
Sony FE 85mm f/1.4 GM: A classic portrait lens with exceptional sharpness and rendering.
Sony FE 35mm f/1.4 GM: A versatile prime lens suitable for a variety of subjects.
Ultimately, the best lens for you will depend on your specific needs and shooting style. Consider factors like focal length, aperture, image stabilization, and budget when making your decision.
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