This main lens, the Sony E 35mm f/1. 8 OSS lens (SEL35F18), offers a viewing angle equivalent to a 52. 5mm lens in a 35mm camera and offers maximum f/1. 8 aperture, optical image stabilization and light weight, compact design. Unlike similarly specified lenses for SLR, this Sony E 35mm f/1. 8 OSS for E-mounted Sony NEX cameras will be released for approximately R$2500. 00 (eMania Photo and Video), which can alienate photographers concerned about their budget. Does the performance of this objective justify the price? We’ll look at that review.
The handling and features of the f/1. 8 OSS Construction and design are typical of E-mounted lenses, with high quality black plastics offering a glossy finish that is used in much of the lens cylinder construction and a metal frame for the lens. Only 155g, the lens is very solid. The low weight ensures that the lens fits perfectly into the most compact camera housings in the NEX series and handles the Sony NEX-6 used for testing very well.
- Therefore.
- Autofocus is very fast and accurate at distances of more than half a meter.
- But sometimes the target may have trouble focusing correctly on closer subjects.
- Applying manual focus settings is a pleasure.
- Thanks to the smooth action of the focus ring.
- Which is perfectly cushioned.
- The minimum focus is 30 cm from the sensor plane.
- Which is quite typical for such a lens.
- Because the focus is done internally.
- The 49mm filter ring does not rotate.
- Making it ideal for use with graduated lenses and polarizing filters.
- A deep petal-shaped sundroin is provided as standard.
- Which is attached to the lens by a bayonet adjustment.
For times when slow shutter speeds are required, this lens is equipped with optical image stabilization. Carefully, sharp hand images can be taken at shutter speeds as slow as 1/6 seconds, which is approximately three steps slower than the usual rule for portable photography.
Performance Sony E 35 mm f / 1. 8 OSS ‘f / 1. 8, the sharpness in the center of the frame is already very good, and the clarity produced for the edges does not fall behind, which is excellent performance for a wide aperture lens like this.
Stopping the aperture improves clarity throughout the frame, with maximum clarity obtained in f/4, where sharpness is excellent throughout the frame.
How to read our charts
The blue column represents the readings of the center of the frame in the different openings and the green of the edges, its average gives the column weighted in red.
The scale on the left side is an indication of the actual resolution of the image. The higher the column, the better the performance of the target. Easy.
Chromatic aberrations are very well controlled, barely exceeding half the width of a pixel at any of the apertures. AC only exceeds half the width of one pixel towards the edges of the frame with the lens stopped below f/5. 6. fringes should pose very few problems, even in large prints or severe clippings at the edges of the board.
How to read our charts
Chromatic aberration is the lens’s inability to focus the sensor or to film all colors of visible light at the same point. Severe chromatic aberration gives a noticeable stripe or halo effect around the sharp edges of the image. It can be cured in The Software.
Apochromatic lenses have special, aspheric, very low dispersion lenses, etc. , to minimize the problem, so they tend to cost more.
For this Sony review, the lens was tested on a Sony NEX-6 using Imatest.
Falling lighting in the corners of the mount is quite reasonable for a target with a maximum aperture of f/1. 8. In f/1. 8, the corners of the frame are 1. 26 darker points than the center of the image and visually uniform lighting is obtained with the lens stopped at f/4 or more.
A very slight, but almost imperceptible, amount of cushion distortion is present in the images taken with this purpose. Imatest has detected a 0. 981% pad distortion, which will be very difficult to detect in normal images. However, if you need absolutely straight lines, you will be glad to know that the distortion pattern is uniform throughout the frame, which should be corrected in the image editing software after a brushstroke.
The supplied lens sunshade does a great job of protecting the lens from external light that can cause reflection problems. Even without the sunshade, this lens is very resistant to reflections and maintains a good contrast even when fired with bright light.
Sharpness Starting with the sharpness of the center, here are some 100% cultures organized from top to bottom by opening. By the way, I remembered to turn off the OSS so that it didn’t introduce vibrations from the red element of the lens into the tests. :
Great aperture af / 1. 8, the detail is hidden to spherical aberration, and the?Pixel? It can be considered ‘soft’. One stop (oh ok, one stop and one third, technically) af / 2. 8, the detail is very In f / 4, the central detail has already reached its peak!F/5. 6 is essentially the same, while diffraction is visibly set to f/11, blunt details and contrast. Speaking of contrast, although it peaks at f/2. 8, it stays very well throughout the aperture range of f/1. 8-11. Now, in some singing cultures:
Seeing as this is the first E-mount lens I tried, I’m sure it’s designed for an APS-C sensor only (I’m still not sure about the Noktor Hyper Prime, I didn’t feel like looking at the curves. Lots of Sony lens reviews. NEX APS-C from the demanding NEX-7 sensor show that the corners are blurry and much more detailed than when these same lenses are used in cameras with less megapixels, such as the NEX-C3 / F3 / 5n / 5r / 6. For me surprise, the corners do a great job here, all things considered. Spherical aberration and vignette hide detail at f / 1. 8, corners are still a bit soft at f / 2. 8, but end up sharply sharpened at f / 5. 6 where detail peaks, diffraction visibly sets, as in centers, at f / 11. Unfortunately, looking side by side at center and corner plantings, I can easily see that corners are never as pretty as those F / 5. 6 in the corners they look more like f / 16 in the centers. In these test results Yes, on Sony NEX-7. However, my infinite sharpness test tells a completely different story. Also, note that the corners of the medium and short distance photography at f / 1. 8-4 are unlikely to be sharp.
In a side note, I see little or no change in the focus or curvature of the field with.
Infinite sharpness To assess how it can function as a landscape lens (since the test graphics focused on a relatively close 2 foot space), I photographed this unspired landscape with a very distant house/mansion (?):
Personally, am I quite surprised by the difference in sharpness to infinity compared to the sharpness in it?Controlled? To record a test chart. For Infinity, a photographer can easily gain sharpness throughout the frame at approximately f/5. While you can extract a little more sharpness from corners to infinity using a digital camera with fewer megapixels, it does a fantastic job in the corners of the NEX. -7 monster resolution However, if you are looking for a clinically sharp lens from one corner to the next, take a look at the Sigma 30mm f/2. 8. I don’t have the lens and I haven’t photographed it with , but does the multiplicity of tests on this little gem on the Internet show surprising results in terms of sharpness as a landscape lens, especially in the NEX-7?
The sharpness of macro A has the ability to focus at a distance of 0. 93 meters. Is it about the same distance as a lens I called it?Poor macro man? Or when I checked the Nikon 35mm f/2. 5 E lens. compact lens, I’m glad to see that it’s able to make macros in general, like medium-sized flowers. The prospect of using a relatively wide-angle lens (compared to a dedicated 50mm/105mm/180mm macro lens) makes macro subjects look larger.
To record a little more sharpness in the framing, stop at f/8
Bokeh An aspect of separation compared to the similar lens (in the field of view) Sigma 30 mm f / 2. 8 is the large aperture f / 1. 8, which provides not only approximately 2. 3 times more maximum light, but also allows a greater depth of separation. However, if blurred areas distract, what is the point?Overall, the Sony 35mm f/1. 8 makes a good show.
For him, the distant background bokeh (left end) is very fluid, especially af / 1. 8-4. The bokeh at the bottom (left) is fluid every time there is one (when it stops, it simply focuses). The foreground (right) is very fluid, but begins to visibly distract af/4. Surprisingly, the bokeh in the foreground (far right) stays smooth up to f/5. 6!One thing to keep in mind is that these statements about the bokeh generally apply at distances close to the average approach. As the focus distance increases, the “remote” background bokeh may be very busy depending on what is behind the subject. Tree branches, for example, may seem annoying even in larger openings.
With its supposed circular opening (listed as a feature on the side of the box), how about handling the blurry reflections?
Unfortunately, the advertised circular aperture is visibly wrong, the hexagonal shape already appears at f / 4; However, the highlights from f / 1. 8 to about f / 2. 5 are beautiful and circular, this is the area where the highlights are likely to appear (except for close focus) . Open, reflections blend smoothly, borderless hard. At f / 2. 8, lighter reflections start to show artifacts and the edges around climax are slightly obvious. Rings and artifacts around and in high beams increase visibility as it is interrupted even more. For softer high light stick around, but going all the way down to f / 4 still looks amazing.
Chromatic aberrations With their f/1. 8 quick aperture, they have the potential not to handle chromatic aberrations very well. To prove this, I recorded the worst branch scenario against an overexposed sky for at least two stops:
It should be noted that the focal point is the right branch, wide aperture, there are a significant amount of violet stripes occupying the entire branch and longitudinal green/magenta stripes at the lower and front edges, respectively. At f/2. 8, however, the most visible violet stripe has disappeared and the other longitudinal stripes are virtually non-existent by comparison. Things have continued to improve ever since, with the Sony E 35mm f/1. 8 OSS shut down, but with a 100% view, the margin is already to a negligible degree. Avoid shooting the bare branches of trees nearby or completely open!?Again, always remember that the above test was the worst case scenario. Most subjects, unless everything you photograph is shaded areas on a beach or otherwise, won’t have as much contrast to the stripes.
I also tried to see if the color aberration correction tool built into the camera helped with JPEG files. Unfortunately, I couldn’t tell the difference between previous aberrations with patches on or off. This may be due to the fact that the lens does not yet have firmware for the camera (see my thumbnail analysis).
Flare The Sony E 35mm f / 1. 8 OSS lens comes with a Sony ALC-SH112 petal-shaped lens. I think keeping the package attached to your dedicated lens is a must, not an option, as it not only helps reduce the glare of the veil, but also prevents large objects (hands/table corners/etc. ) from accidentally touching/crashing into the front element. As such, I tested the performance of the gloss only with the hood, photographed in color to show the different colors of the internal reflections:
The reflection control is double with the Sony E 35 mm f / 1. 8 OSS lens (SEL35F18) The reflection reflection reflections of the elements themselves vary in intensity, visibility and color, depending on where the sun is in the frame (the two bubbles that apparently dance around each other are an optical stabilization effect). Simply moving a small source of powerful light can eliminate or introduce many reflections. Keep this point of view when shooting in the sun!But WOW!Look at the contrast that retains this target when you shoot in the sun!There is no touch of navigation to find, a performance I have not seen in any of my old Nikkors. I think there’s something for these modern target coatings.
Vignette As a lens designed by APS-C with a quick aperture, it is subject to a significant vignette.
Using lightroom 4, f/1. 8 tile correction sliders requires a very large amount of 70 and an average value of 15. In f/2. 8, the amount of 35. For f/4 is required, you only need to add 15. All tokens essentially disappear in f/5. 6.
Although? In addition to the possible shallow depth of field provided af/1. 8, a small vignette can help separate the subject.
Interestingly, the camera’s tile correction tool corrects dark corners when recording JPEGs. The reason this tool works and the chromatic aberration tool might not be because the mosaic characteristics are easily recognizable, while the chromatic aberrations are lens specific (this is just a guess), but the checkbox of Chromatic aberration removal on the LR4 does not remove everything).
Distortion Prime lenses, especially “normal” lenses, are known to have little or no distortion of geometrically straight lines in a photograph. Fortunately, that’s the norm.
Since there is virtually no distortion to correct, I didn’t even bother to test the camera distortion correction for JPEG.
OSS Efficiency The undeniably definitive feature of OSS is the inclusion of optical stabilization. At first, this could lead to problems such as the decentralization of the mixture, but at least in my copy, OSS does not decrease the image quality to a measurable level. The degradation that will occur with this target in use is if you forget to turn off the power when shooting on a tripod, which can sometimes be difficult to remember. Because there is no movement to compensate for the target, the elements will move with prolonged exposures. , making the images blurry.
But how does the OSS help with filming? I’ve already figured out how you can make portable videos nice and fluid, but are you testing how that helps with the 35mm f / 1. 8 appeal? portable photography in low light at very slow shutter speeds? This is crucial. After discussing the advantages of the “real world” shutter speed (based entirely on my ability to hold my hand) and the advantages over the classic 1 / focal length rule (at 35mm), Sony’s image stabilization E 35mm f / 1. 8 OSS is surprisingly efficient. When taking 10 burst photos with support in various settings, I found that my reliable maximum shutter speed without OSS (at least 7 out of 10 clear shots) was 1/30. When activating the OSS, it was reduced to 1/4 (or a quarter of a second!) For a generally reliable shutter speed. That’s a good three stops to improve the shutter speed based on my own holding skills! Compared to the 1 / focal length rule (where we consider the 35mm f / 1. 8 lens at 52. 5mm), the 35mm f / 1.
So let’s do some numerical calculations. This means that the Sony E 35mm f/1. 8 OSS can provide eight times more light than an un stabilized device of the same specifications (despite the subject’s movement). So for me, instead of having to photograph OSS-free lenses at ISO 1600 to 1/60, I can easily take pictures at ISO 100 to 1/4 with 35mm f/1. 8!Even compared to the lens of the E-mount kit, where the maximum aperture of 35 mm would be approximately f / 4. 5, photographing the large 35 mm f / 1. 8 aperture lets in approximately 5 times more light. In this scenario (assuming the OSS works so well on both lenses), a photographer can photograph moving objects better in low light than the kit lens. While the 35mm open 1/10 engraved lens kit for a photo, at 35mm f/1. 8, could easily handle 1/50.
Two note elements. First, optical stabilization produces an almost inaudible hum when the elements move (you can simulate it by slightly shaking the camera against the ear). The sound is inaudible in movie recordings. Second, all photos in this review (test photos not included) were recorded on a portable device, just to give an idea of the power of the OSS.
Pros and Cons Advantages? Good build quality, but can a plastic construction to save weight be a ballast for those who come from all metal lenses?Fluid operation in most shooting situations, do you see the disadvantages?Great sharpness in most of the opening range, especially in the center, but even in the corners of the rugged NEX-7?No field curvature or noticeable change of focus? Most bokeh tend to be mild and distraction-free, see the drawbacks?Do blurry reflections generally look good with larger apertures (f/1. 8-4)?Manageable chromatic aberrations af / 2. 8 inches?Zero canopy rocket?Zero distortion?Extremely effective optical stabilization for long exposure photos and fluid videos?Is the focus closely short?A super compact and lightweight E-mount lens that offers a “fast” field of view?50 that many NEX photographers have been waiting for since the introduction of the camera line
A plastic construction? Situation-specific concentration problems lead the entire operation to a critical s leading point. D’ACCORD? Wide open sharpness?Isn’t sharpness at distances close to average consistent with infinity?Isn’t it a really circular aperture when the lens is stopped?In some situations, can bokeh be problematic, as with tree branches?Do particularly sharp blurry reflections have many artifacts? Chromatic aberrations are not well controlled and close to?Control?Reflections reflections, depending on the location of the light source in the frame?Heavy vignettes with a complicated and open pattern, do you need up to f/5. 6 to get rid of it?It’s not cheap, for this field of view in a camera without a mirror