before I jump into the first, these three lenses.
I just want to preface this with I've owned other camera system other than Sony.
So my preferences and experience is based on using different lenses from
Panasonic, Canon, some Sony and then my current Sony lineup.
So the first lens we're going to talk about is the Tamerlan 28 75 F 2.8.
But this is the G one, not the more recently released G two.
When I moved over to my Sony system, this was the first lens I ordered.
I've heard pretty unanimous positive reviews on this lens being that it's lightweight
offers that constant F 2.8 aperture, and it's significantly cheaper than the Sony
Alternatives.
But I'd like to give you the things that I like about this lens of the things that I kind of don't like about this lens.
So, yes, this is the Tamerlan third party equivalent to Sony's 24 seventies, and you'll
notice that the zoom range is a little bit different.
It's that 28 to 75.
I both love and hate this difference.
The 28 for me is annoyingly the tiniest bit too tight when it comes to
shooting wide with this land as a running gun.
But then the 75 personally I find is really useful.
I personally bought this lens secondhand from MPB.
As I deal with most of my equipment, I believe I bought it in either good or excellent condition, and I was
very pleased with the overall build, quality and maintenance of this lens.
The zoom ring itself, which something for me people don't talk about zoom rings enough.
The zoom ring itself is smooth, and it's got a nice progression to it.
If you need to do a fast zoom to get to different focal length before a shot, it's really nice.
It doesn't feel like Clanky or anything like that.
It's not too loose.
But at the same time, if you were wanting to do like a slight zoom or something like that, it's
really nice and East Control and making those micro adjustments say if you go for the 35
or the 50 on top of the lens, it's very easy to sort of dial in that little bit.
It doesn't stick.
It's not too fast for me.
It felt like a very smooth experience.
The same does go for the focus ring, but I'm going to complain about focus strings for a second on Sony
Wireless cameras.
This lens, like many Sony E Mount lenses, is focused by wire, which means that it's
actually a non linear focusing system.
Compared to the Canon EF Mount system, which a lot of people will be used to.
You have a physical linear focus ring, so you know, if the focus
ring is here, it's going to be at, say, 1.5 metres.
If you turn it a little bit, it's going to have gone up to three or five metres on these
cameras.
There isn't that same linear muscle memory that you can rely on when manual focusing at first.
For me, that was a big change.
I've had a similar experience with like a lens on my old Panasonic GH five.
I didn't really like that focus by wire system on the Sony cameras.
Luckily, compared to the G H five, the autofocus is stellar.
I've learned the different tricks between toggling between autofocus and manual focus at the right times,
honestly, rarely having to touch the focus ring.
And if I do I tend to rely on focus, peaking and focus magnification.
I've touched a little bit and build equality.
And yes, this lens is incredibly lightweight.
I'm going to pop the actual weight up here in grammes and the same can be said for the second
lens on the list, which I'm currently shooting on right now.
This is the little brother of the 28 75.
This is the Tamerlan 17 to 28 g one don't believe as a G two yet
they probably will be if they rolled out 28 75 g two.
There will be a G two of this one on the way as well.
Together, these two lenses make up the I guess, third party Holy Trinity for the Sony
email system.
So if I was to buy the 70 to 1 80 I believe it is Tamerlan F 2.80 Mt.
Then that would be essentially the holy trinity of constant F 2.8 from
17 mil up to 180 mil.
I find the 17th 28 comes in most handy when I'm shooting some talking head stuff like this.
Most importantly on a lot of client work.
It comes in handy when I either need, yes, an extra just wide, wide shot of the
space as a master shot or as an establishing shot.
But specifically it comes in incredibly handy when using it on a gimbal.
As this lens has no extension when changing the focal length, you can balance the gimbal with it set at 17 or
28 then you'll be able to swap between both of those focal lens without making any major
difference.
The gimbal balancing Obviously elements are moving inside the lens, but it's never enough to throw off your
gimbal balance and get any of that shudder or Judd er on a gimbal.
If the balancing is a little bit off and with that gimbal factor when shooting in four K, if you then crop into
the Super 35 mode on the A seven C plus the clear image zoom, you get up
to think just over 50 mill in total focal length, which makes
the 17 up to ballpark 50 mil.
Very usable and flexible focal lengths.
When you're using it on a gimbal, the last thing you want is in the middle of a client job when momentum is up and
you're making progress on taking off shots and you need something at a 50 and then you have to say, I need
to put down my gimbal takeoff lens put under the lens, rebounds the gimbal, then we can shoot
again.
That break often is easily avoidable if you're able to just crop in using this lens.
Third on my list is the Sam Yang 24 mil F 2.8, and you might be thinking, Hey,
this guy doesn't have any Sony lenses I have.
Personally, I've had the 40 mil g lens and I've had the 51.8.
Not what.
I didn't like those lenses in terms of how often they were getting used.
It wasn't really making sense to me at the time.
So the Sam Young 24 millimetres in a couple of videos on this lens very recently, So I'm gonna drop those in the
description in the pin comment below the Samsung 24 mil, I had used the 35 mil
the other filmmakers I know had purchased.
They bought the A seven s three and realised they had no money left for for
decent glass, and the only lens they bought for a period of time was a 35 mil.
I used it a little bit and thought, Wow, this is really cool Pancake 35 mil lens.
That's fantastic.
I never decided to pick up that lens.
Instead, I picked up the 40 mil f 2.5 g lens, which really, really enjoyed,
enjoyed having a physical aperture ring.
I've just been going through a bit of a Fuji phase, like you know how it is.
I was flirting with the physical aperture rings on mirror less cameras, Um,
but after a period of time, decided that the 40 mil wasn't getting used enough for me personally.
Couldn't shoot talking heads to fight this.
I have mentioned this in the other Sam Young videos.
The Samsung 24 mil is fantastic at being both a talking head
video, and it's like this.
I can go 24 right now.
It would get me this focal length, which is very useful for filming any sort of talking
head solo stuff, but also shooting street photography.
I've just been using it recently Really, really nice.
I really enjoyed 24 as a sort of establishing street photography, focal length and then
also cropping in gets you to about a 36 38 mil, which is close to what my Fort
Mill was.
And it's close to what the obviously the 35 mil version of this lens now, compared to both
my Tamerlan lenses, the Sam Yang is not a lens that I would really take with me on a job.
So it's much more for my personal use and for my sort of online content creation
usage.
I wouldn't rock up to a job with my Sam Yang.
My road video might pro on my A seven c on my switch
pod and be like running around doing a quick little tabletop vlog.
That's obviously not going to happen on a client gig.
The Tamerlan lineup of the 17th 28 28 75 do that job
brilliantly.
You put those lenses on a seven s three, and actually this is the Tamerlan 28
75 on the A seven s three with a cage on, and once you add a monitor to this and
you have a side handle on here, it's a pretty Beastie serious piece of kit that
clients tend to look at and go.
Oh, that's nice compared to If I rocked up with the A seven C and this T
little Sam young lens on, they're not going to take that seriously.
It looks a bit more consumer camera because, to be honest, a little bit, it is
definitely going to be context that work better for smaller pancake lenses versus larger
zoom lenses.
That might seem like a really superficial thing to talk about in terms of lenses and when to use them.
But if you've had any experience freelancing or running a video production business, you'll know what I'm talking
about.
Sometimes you can show up with a pretty powerful camera and good glass on a gimbal,
and a client will look at it and go.
Is that it?
Because sometimes you work with a marketing director who's been around since the print media days,
and they're used to someone coming in with a shoulder mount of DV camcorder and a
sound even the producer, the clipboard.
Not to say that you shouldn't do those things sometimes, but you know, if you're showing up for a small scale shoot.
They're going to be surprised when you're showing up with something that's not much bigger than an iPhone 13 pro Max.
So those are my three current E Mount lenses, and they're the ones that I've kept over time had the
both the tamarins over 18 months that Sam Yang is a pretty new edition, but so far it is
doing me all sorts of good.
I have got 1/4 lens reappearing into my line up so they will be videos on that coming out very, very soon.
I've enjoyed this video.
If you have please subscribe to the Channel, I will see you in the next one.