Sony 35mm F/18 Oss Alpha E-mount Prime Lens

This is an APS-C (cropped-sensor) lens that works on all Sony E-mount cameras. This consists of all the variations of NEX, A9-, A7-, A6xxx and A5xxx collection cameras. Both lenses are vulnerable to flare, but it not often poses a difficulty in a real-world state of affairs except you shoot into direct sunlight. This is as a end result of the lens hood does a good job of mitigating flare and ghosting in most situations, and when it does seem, it isn’t significantly invasive. Below you can find examples of the worst flare I encountered throughout my testing period. Had I slightly adjusted my composition, I might have decreased its intensity.

sony 35mm f/1.8 oss alpha e-mount prime lens

Built-in Optical SteadyShot™ picture stabilisation within the lens ensures smooth, blur-free photographs and movies when capturing handheld. Interestingly, when set to their minimal focus distance (30mm for the 35mm / 39mm for the 50mm), they actually produce a really comparable composition. This is due to the magnification being nearly similar (0.15x for the 35mm / zero.16x for the 50mm). Despite the 50mm being taller and barely heavier than the 35mm, the 2 lenses are actually very similar when it comes to their design. Their barrels are constructed from high quality plastics encased in a easy metal shell that comes in either black or silver. There are not any lateral shade fringes as shot on Sony’s cameras which normally right for them anyway.

Optical Performances / Performances Optiques

The solely limitation to image sharpness is your ability as a photographer. It’s the least proficient who spend the most time worrying about lens sharpness. Skilled photographers make great pictures with whatever digicam is of their arms; I’ve made some of my finest images of all time with an irreparably damaged camera!

At f/4 and f/5.6, the 35mm continues to enhance whereas the results from the 50mm stay roughly the identical as f/2.8. At these values, the lenses reach their peak efficiency and are fairly comparable if we exclude the distinction in magnification. Stop right down to f/2.eight and we see a noticeable bounce in sharpness and contrast from the 35mm.

Pattern Images

The 50mm produces little or no native distortion and that which does exist is both corrected in-camera or in a post-production software similar to Lightroom with the native lens profile . In truth, when you disable the profile corrections in Lightroom, there is hardly any distinction between the corrected and uncorrected versions. Do the same with images taken with the 35mm and you’ll notice a small adjustment to the acute corners. Reference imageAt this distance, both lenses are somewhat soft at their fastest aperture of f/1.eight however sharpness visibly improves by f/2.8. Between the two, the 50mm seems ever-so-slightly sharper than the 35mm at both values.

It causes colored fringes on out-of-focus highlights, seen as green-cyan fringes on backgrounds and magenta-red fringes on foregrounds. Spherochromatism is common in quick lenses of moderate focal length when capturing contrasty gadgets at full aperture. Both lenses feature Optical SteadyShot, which is Sony’s version of optical stabilisation.

Most Copy Ratio

If you need to shoot at f/1.eight in direct sunlight, you will want a 49mm Tiffen 0.9 three-stop ND filter until your digital camera has shutter speeds of at least 1/8,000, otherwise you’ll get overexposure. Optical Image Stabilization (OIS, IS or VR ) works properly, giving me two to 4 stops of real-world enchancment. We’re all totally different, but I get one hundred pc tripod-equivalent sharpness hand-held at 1/8 of a second more often than not. If this 1,200 × 900 pixel crop is about 12″ wide on your display screen, then the whole picture printed at this similar excessive magnification would be about 40 × 60″ (1 × 1.5 meters). If this 1,200 × 900 pixel crop is about 6″ extensive in your screen, then the entire image printed at this same high magnification would be about 20 × 30″ (50 × 75cm). If this 1,200 × 900 pixel crop is about 12″ extensive in your display screen, then the entire image printed at this identical insanely excessive magnification would be about 40 × 60″ (1 × 1.5 meters).

At their shared quickest aperture of 1.8, both lenses produce round specular highlights at the centre of the body. At the corners and edges, this symmetry offers way to a “cat’s eye” form. Check worth of Sony 50mm f1.8 on B&H Photo.Both have seven round aperture blades, an aperture vary of 1.8 to 22, a 49mm filter thread, and Sony’s optical stabilisation system . Because they’re so small and lightweight, they’re a superb match for any camera in Sony’s APS-C range, from the high-end a6500 to the tiny NEX 3N, and may simply fit inside a jacket pocket. Two such primes for the Sony APS-C system are the E 35mm f/1.eight OSS and the E 50mm f/1.eight OSS (a mid-telephoto lens).

The 50mm, being a longer focal size, just isn’t solely capable of better topic separation and a smoother out-of-focus rendering nevertheless it additionally produces larger bokeh balls than the 35mm. And whereas the 35mm’s bokeh balls are speckled and feature noticeable “onion rings”, the 50mm’s are clean and virtually featureless. Starting at f/8, each lenses begin to indicate some very slight indicators of diffraction which intensify past f/11.

With the 50mm, which is an extended focal length, I managed a sharp shot at 1/5 of a second following a quantity of attempts however my success rate was higher between 1/10 and 1/15 of a second. Both lenses are at their sharpest between f/5.6 and f/11 and the outcomes are fairly similar. Below you can find the dimension and weight table of the ‘Wideangle Prime Lenses in Sony E Mount for measurement comparability purposes. Size of a lens is a crucial deciding factor when evaluating two lenses.Sony FE 35mm F1.eight is the longer of the two lenses at 73mm.

When used on APS-C, it sees the same angle of view as a 50mm lens sees when used on a full-frame digicam. It additionally works on full-frame cameras, which mechanically crop their sensors to APS-C. This all-content, junk-free web site’s greatest supply of help is if you use these or any of those hyperlinks if you get something, whatever the country during which you reside. Aspherical lens elements minimise distortion whereas ED (Extra-low Dispersion) glass elements present superior contrast, decision, and colour constancy.