Posted on August 24, 2018
Yesterday Nikon finally jumped into the mirrorless game with its Z6 and Z7 announcement, a welcome development that can only keep pushing everyone’s mirrorless technology forward.
I made the switch to mirrorless about four years ago and haven’t looked back. At the beginning mirrorless was touted for its compactness, and while mirrorless bodies (and to a lesser extent, lenses) are more compact, it turns out that, for me at least, it’s the mirrorless viewfinder that has hooked me: with real-time exposure simulation, focus assist (peaking), highlight alert (zebras), and a pre-capture histogram, I don’t think I could go back to a DSLR.
While I shoot with the Sony a7RIII and am very much committed to the Sony mirrorless universe, I’m not going to get into the “my camera can beat up your camera” debate—Nikon makes great cameras and I’m sure their mirrorless bodies will be no exception. In fact, the Z7 looks like it compares very closely to the Sony a7RII, which is a fantastic camera that I still carry as a backup and don’t hesitate to use when the situation calls for it.
As happy as I am with my mirrorless conversion, I do have some insights that might spare Nikon shooters of some of the transition pains I went through when I switched from Canon DSLRs (1DSIII and 5DIII) to the Sony a7R series of mirrorless bodies.
None of these points is a reason to not get a Nikon Z6 or Z7, but for me it would be a reason not to pre-order. Instead, if it were me, I’d wait and let others discover the frustrations so I could go into the non-trivial transition from DSLR to mirrorless with realistic expectations.
I’m guessing that current Nikon shooters will probably endure fewer frustrations than I had with my first mirrorless body, the Sony a7R—Sony was still trying to figure out the whole interface thing that Nikon has nailed (I’ve never been a fan of Nikon’s interface, but Nikon shooters like it and that’s what matters). On the other hand, I was probably more forgiving than Nikon shooters might be because the a7R image quality was so much better for my needs than the Canon 5DIII it replaced. Dynamic range is king in the landscape world, and the a7R gave me 2-3 stops more dynamic range than my 5DIII—slow transition plan notwithstanding, I literally didn’t click another frame after my first a7R shoot.
While I expect the Z6/Z7 bodies will be ergonomically more mature than my original a7R, Nikon’s full frame bodies already deliver exceptional image quality, so most Nikon full-frame DSLR shooters transitioning from the D800/810/850 won’t have the euphoria of much better image quality that sustained me until the release of Sony’s a7RII and (especially) a7RIII.
On the other hand…
(Full disclosure: I’m a Sony Artisan of Imagery)
These Nikon mirrorless cameras are great for committed Nikon shooters who are completely invested in the Nikon ecosystem and have no plans to completely replace their lens lineup. But for any photographer planning to make the full jump to mirrorless that includes all native lenses, I think Sony is (at least) several years ahead of Nikon, and given their resources and commitment, will remain at least that far ahead for many years.
One of the early complaints about the Sony mirrorless system was its lack of lenses compared to Nikon and Canon, but valid as that criticism was, that disadvantage has shrunk to virtually the point of irrelevance, and Sony is already very far along on many more native Sony FE-mount lenses. Sony is several laps ahead of everyone else in the mirrorless world—with deep pockets and its foot hard on the mirrorless pedal, I don’t see that lead shrinking muchsoon.
As good as it is for a first generation offering, the Nikon Z7 is much closer to the 3-year old Sony a7RII than it is to the (already 1-year old) a7RIII, and for sports and wildlife (and anything else that moves), it isn’t even in the same league as the (more than 1-year old) Sony a9.
I have no idea how or when Sony will respond to the mirrorless offerings from Nikon and (soon) Canon, but I’m guessing it won’t be long, and am pretty confident that will be a great day to be a Sony shooter. Competition is great for all of us, and Nikon just gave the mirrorless wave a huge boost that I’m looking forward to riding as far as it takes me.
A few words about this image
I can’t tell you that this is my favorite Sony mirrorless image, but it would definitely be on the list. I chose it for this post because it’s one of the few Sony images I have that used a Canon lens with the Metabones adapter.
Leading a workshop in Yosemite a few years ago, I guided the group to a meadow flooded by the Merced River during a particularly extreme spring runoff year. My widest lens at the time was my Sony/Zeiss 16-35 f/4 (which I love, BTW), but the scene called for something wider. When he photographer assisting me offered to let me use his Canon 11-24 f/4 with my Metabones adapter, I snatched it before he could change his mind. Given that everything in the scene was stationary, I was able to bypass any adapter-induced autofocus frustration and take the time to manually focus (it didn’t hurt that depth of field at 11mm is extremely forgiving).
I’d never used a lens that wide and was so excited by the extra field of view that I returned from Yosemite fully prepared to purchase the Canon lens, adapter or not. Fortunate for my budget (and my back), I let the lens sit in my shopping cart long enough for sanity to prevail. Not only was the Canon lens quite expensive, it weighed a ton, and I had a feeling it wouldn’t be long before Sony offered something similar. Those instincts were rewarded a year later when Sony released a 12-24 f/4 G lens that is just as sharp and half the size (and much less money).
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Posted on May 19, 2017
For about three weeks I’ve had to bite my tongue about two new Sony lenses I got to try out a few weeks ago. But yesterday Sony announced their brand new 16-35 f2.8 GM and 12-24 f4 G lenses and I’m free to share.
I spent most of this week just outside of Santa Barbara, California with a hundred or so Sony Artisan and Creative Collective photographers at Sony’s Kando Summit. This event was revelatory in many ways: Not only did I get to commune with fellow Sony Artisan’s who had previously been just names on e-mails and pictures on Facebook, I also learned that the future of photography is in the very capable hands of the Collective members—such an impressive group of creative, intelligent young adults.
For most of the Summit the hardware show-stealer was the brand new Sony a9—each of us got our own a9 to play with (but not to keep) for the duration of the event, along with many great photo opportunities (models, sets, and demonstrations) provided to us by Sony. Without going into a lot of detail, I predict that time will prove that the Sony a9 is an actual photography game changer and not just another “next great camera” cliché.
But the availability of the a9 wasn’t a surprise; the surprise (to almost everyone else) was the announcement of the new 16-35 and 12-24 lenses, and their instant availability (again only to borrow). Since I’d already had nearly a week of quality time with them, I passed on this opportunity, but had to jump aside to avoid being trampled by a stampede of photographers intent on getting their hands on these two new lenses.
Don Smith and I were just wrapping up our back-to-back Columbia River Gorge workshops when Sony asked us if we could stay a couple of extra days to try out their two new (super-secret) lenses. They overnighted them to us, and since we had them for a week, Don and I decided we had time to try them for a couple of extra days at our favorite locations closer to home. For me that was Yosemite (Don went to Big Sur). Since I knew I wanted the 12-24 in Yosemite, I took the 16-35 for our two extra days in the CRG.
First Impressions: 16-35 f2.8 GM
The first thing that struck me about this lens was its compactness. As a landscape shooter always on a tripod, I value compactness over speed in a lens, but this one gives me both. Of course it’s not as compact as my Sony/Zeiss 16-35 f4, but it’s noticeably more compact than my Canon 16-35 f2.8 was. I was also pleased with its smoothness of operation and speed of focus—this lens is definitely a joy to use.
Of course compactness and ease of use mean nothing if a lens isn’t sharp, and I can tell you with certainty that this lens is as sharp as we’ve come to expect Sony’s GM lenses to be—that is, ridiculously sharp from corner to corner and throughout the aperture range. I haven’t really taken the time to do a/b tests against any other lenses (I leave the pixel-peeping to others), but I did magnify many images to 100% (on my 27-inch iMac Retina 5K monitor) and can’t imagine that I have any lenses sharper than this one (including primes).
First Impressions: 12-24 f4 G
Even more than with the 16-35, the 12-24 blew me away with its compactness. I’ve handled the Nikon 14-24 f2.8 many times, and actually used Canon’s 11-24 f4, and as sharp as those lenses are, the first thing I remember about those lenses is their heft—they’re beasts, and just too heavy to carry in my bag for regular use. Not so with the Sony 12-24: This lens is 1/3 the weight of Canon’s 11-24—in fact it’s noticeably lighter than the Canon 24-105, and not much heavier than the Canon 17-40. Wow.
Like the 16-35, this lens just felt good on my camera and in my hand. The operation was smooth, and focus was fast and easy. Having rarely shot with a lens this wide, I found myself frequently surprised by how much more I could get in my frame at 12mm than I can at 16mm—suddenly things not possible with a single click before were very doable. With so many views of very large and close subjects (such as El Capitan and Half Dome), this lens was made for Yosemite. And I did an actual double-take at the top of the trail to lower Yosemite Fall when I realized I could get the entire fall and a sunstar (with the sun behind my right shoulder) in one frame (see the gallery below).
Sharpness? Again, I didn’t do any pixel peeping beyond magnifying my images to 100%, but they looked every bit as sharp as the Canon 11-24 images that blew me away when I used it a year ago. I will own this lens the first day it’s available.
About this image
On the first evening with our new toys, Don and I went to Catherine Creek on the Washington side of the Columbia River Gorge. At the trailhead Don headed off in one direction and I went in the other, eventually ending up at this tree that I remembered from previous visits.
With the wind blowing like crazy, probably 25-35 MPH, this lens was perfect for the wide scenes that deemphasize motion. To further ensure against any motion blur I bumped my ISO to 400 and went to work. I started by balancing the tree with a small waterfall that was down the hillside to my left, but when a surprise rainbow fragment popped out above the Columbia River I quickly shifted position. My exposure variables were already set, so all I had to do was compose, focus, and shoot. Good thing, because the rainbow faded quickly and I only had time for a handful of images before it was gone completely.