Fujifilm is quite popular as a travel system and there is a good reason for it and it isn’t necessarily APS-C. Fujifilm introduced a compact set of lenses, affectionately called Fujicrons by the users, named after the Leica Summicron. Instead of putting out lenses with wide open apertures of 1.4 or even f/1.8 like most of the full frame brands, Fujifilm introduced good quality f/2 lenses that were compact, with fast AF and good quality optics.
With full frame and Sony, everything to date has been developed with f/1.4 and f/1.8 apertures with the exception of the 35mm f2.8, a nice compact lens that mirrors the weight and dimensions of Fujifilm 23mm f/2. The problem in Sony’s lens line up is that the 35 f/2.8 is where Sony’s Fujicron equivalents stop. That means if you want to go light, people tend to go with travel zooms like the 24-105 instead of going for 2 or 3 compact primes. This is great if you have the budget for the 24-105mm, or if you’re a zoom users, but not if you’re a prime user or have a limited budget. The advantage with small primes is they still have a larger aperture than a travel zoom so you’re getting better sharpness and low light ability.
I’d like to see Sony introduce more additions to the range, a 24mm f/2.8 and 50mm f/2.8 to complete the combo. You could argue for a 16mm f/2.8 and 85mm f/4 but it would be great just to see the others initially.
What this would start to offer is compact travel options along with alternatives for street photography. If I’m travelling overseas, I’m happy to go with some lightweight lenses.
Why would Sony want to do this?
The one advantage they have is your users don’t have to go to other brands or APS-C to get compact travel options. Fujifilm is a popular brand for travel photos so it would be good to be able to buy lenses in your range without having to go to Fujifilm.
It offers customers a cheap set of entry level primes, but a set of primes that are still decent optical quality.
Maybe there is a market, maybe there isn’t but like most photographers, I’m selfish and I look at what I need. Hopefully it’s something Sony or a third party consider.
Creative Melbourne is a new Facebook group I was invited to join for a model shoot a couple of weeks ago. It was a speed dating style shoot where they organise multiple models and photographers and where you spend some time with each model over a series of locations and about 5 hours, in some cases sharing a model with one or more photographers.
There is one thing I find amazing about Sony users: they seem to have bought into the Sony marketing pitch hook, line and sinker. In fact, I would go as far as to say they took the whole fishing rod.
Any time I see a question about a new lens on the facebook sites, the first responses back point to G master lenses or $2000 Zeiss lenses. It’s like every other lens in Sony mount has rabies. Beginner looking for a first lens: G Master. Intermediate looking for a new lens: G Master. Part-time macro user: G Master. Street lens? G Master. Portrait lens with a $300 budget. Save for longer and get a G Master or the Zeiss 50mm f/1.4. I even had someone try to argue with me that a complete beginner would progress more quickly with a G Master lens. They won’t even have their composition right but apparently, they can master DOF.
Glass is glass, or at least that’s what you normally think. To a large degree, you would expect the focal lengths to at least stay static, but that’s not always the case has my recent move from Fujifilm to Sony shows.
There are the obvious items, like the availability of lenses in specific focal lengths, If it’s not available, it’s not available, but that played less of a factor than I expected.
When I lived in Fujiland, the Fujifilm 90mm (APS-C) quickly became favourite from a focal length perspective. I didn’t have a particular affiliation with the 135mm focal length, I think I originally picked up the 90mm because the AF speed on the Fujifilm 56mm was terrible for kids, but I fell in love with focal length and the compression after that.
With my move to Sony, I started with the Zeiss Batis 85 which is amazing, but after a while buying a 135mm seemed was a foregone conclusion, it was just a question of which one. The Zeiss Batis 135mm F2.8 would have been the logical choice, small and light, but us humans aren’t known for logical choices. This is how the bigger and heavier Sigma 135mm f1.8 ART found it way into my collection. I had a light portrait lens with my Zeiss 85mm Batis so I thought for this one I was going to purchase the beast, and a beast it is…beauty and a beast all in one.