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a Lenses
a Lenses
© 2 011 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
Features and specifications are subject to change without notice.
Sony Electronics
Digital Imaging Division
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San Diego, CA 92127
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a creation Stellar choices for photographic expression Photography is creative. A photographer must make a number of critical choices that will determine the outcome. One of the most influential choices is the lens itself. What is being photographed, under what lighting conditions, and where? What lens will provide the necessary control over composition and perspective, or how motion is captured? Which areas of the image are to be in sharp focus and which are to be out of focus? How will t
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Contents ® Lenses: How they capture and control light 06 Fixed Focal Length Lenses 28 Carl Zeiss Lenses 47 Projecting an image 06 16mm F2.8 Fisheye SAL16F28 29 Vario-Sonnar T* 16–35mm F2.8 ZA SSM SAL1635Z 48 A look inside/Read your lenses 07 20mm F2.8 SAL20F28 30 Vario-Sonnar T* DT 16–80mm F3.5–4.5 ZA SAL1680Z 49 Lens mount and sensor formats 08 28mm F2.8 SAL28F28 31 Vario-Sonnar T* 24–70mm F2.8 ZA SSM SAL2470Z 50 Aperture, f-numbers and depth of field 09 DT 35mm F1.8 SAM SAL35F18 32
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Lenses: How they capture and control light A look inside The linguistic roots of the word “photography” are the Greek words meaning “light” and “drawing.” Photography is “drawing Elements and groups Lens configuration example: 7 groups/9 elements with light,” and lenses are the brushes. After their imagination, lenses are the photographer’s primary creative tools. The way All modern photographic lenses are “compound” Fixed focal length lenses, also known as “prime” a lens captures and presents
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SHOOTING TIP Lens mount and sensor formats Aperture, f-numbers and depth of field Aperture and exposure Alignment mark Sony A-mount and E-mount systems Electrical contacts The aperture in a lens—also known as the affects depth of field, you’ll need to be in control of F-number math Sony a series interchangeable-lens digital cameras are currently produced “diaphragm” or “iris”—is an ingenious piece both aperture and shutter speed to create images The f-number is the focal length of the lens di
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Wide Mid-range Telephoto Focal length, angle of view and perspective Macro photography Focal length Maximum magnification ratio ( ) Focal plane image sensor plane Focal length, or focal length range in the case of zooms, will usually be the As mentioned on the previous page, the magnification of any lens is foremost consideration when choosing a lens for a specific photograph or determined by its focal length. For macro photography we are also concerned type of photography. The focal length of
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® Hoods and filters Carl Zeiss optics Use your lens hood! For many photo enthusiasts, Carl Zeiss lenses have long been the ultimate choice. Many models are available, but the only autofocus Zeiss lenses The lens hoods provided with most interchangeable-lenses are not just currently available for use on interchangeable-lens digital cameras are accessories to be used occasionally. They are an important part of the lens’s those that have been created through close cooperation between Carl Zeis
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TECH TALK Making sense of MTF Choosing the right lens Those MTF (Modulation Transfer Function) graphs that often accompany Take a look at the sample chart below to see how it all works to describe lens specifications are really not as impenetrable as they look, and they can lens performance. The solid green line shows radial contrast values for 10 give you a good idea of how a lens will perform, so it might be worth taking lp/mm detail with the lens wide open. The line is almost flat, indicati
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lens technology a ( ) The technology required to produce first-class interchangeable camera lenses is very sophisticated indeed, and that Internal focusing mechanism SAM Smooth Autofocus Motor applies to every phase of the production process from design through precision parts manufacturing and assembly to In this type of lens, focusing is achieved by moving only the internal elements. SAM is another type of internal lens motor for autofocus drive. While the SSM stringent quality assurance t
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M mode, 1/1250 sec., F8, ISO 200, Auto white balance; Photo: Goh Fujimaki Wide-angle zoom DT 11–18mm F4.5–5.6 SAL1118 One ED glass element and three aspherical elements for superior image quality High contrast throughout zoom range Flare and aberrations effectively subdued Circular aperture for attractive defocusing 35mm equivalent focal length: 16.5–27mm Aspherical lens ED glass At 11 mm At 18 mm 100 100 This lens fits squarely in the “wide zoom” category, offering a range of
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M mode , 1/250 sec., F5.6, ISO 400, Manual white balance M mode, 1/100 sec., F8, ISO 200, Daylight white balance, Landscape Creative Style; Photo: Norifumi Inagaki Mid-range zoom Mid-range zoom DT 16–105mm F3.5–5.6 SAL16105 DT 16–50mm F2.8 SSM SAL1650 T hree ED glass elements and two aspherical elements for superior image quality O ne ED glass element and two aspherical elements for superior Bright constant F2.8 maximum aperture image quality ( ) SSM Super Sonic wave Motor for fast, qui
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A mode, 1/80 sec., F5.6, ISO 100, Daylight white balance; Photo: Norifumi Inagaki S mode, 1/250 sec., F6.3, +1.0 EV, ISO 3200, Auto white balance; Photo: Shinya Morimoto Mid-range zoom High magnification zoom DT 18–55mm F3.5–5.6 SAM SAL1855 DT 18–200mm F3.5–6.3 SAL18200 One ED glass element and two aspherical elements for superior Two ED glass elements and three aspherical elements for superior image quality image quality Broad zoom range in a compact, lightweight lens 0.25m min. focus
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P mode, 1/125 sec., F5.6, +0.3 EV, ISO 100, Auto white balance, Portrait Creative Style; Photo: Norifumi Inagaki A mode, 4 sec., F9.0, -1.0 EV, ISO 200, Daylight white balance; Photo: Kazu Kobayashi High magnification zoom Mid-range zoom DT 18–250mm F3.5–6.3 SAL18250 28–75mm F2.8 SAM SAL2875 Two ED glass elements and two aspherical elements for superior image quality T hree ED glass elements and four apherical Extra-broad zoom range in a compact, lightweight lens elements for superior imag
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S mode, 1/3200 sec., F9, ISO800, Auto white balance A mode, 1/1250 sec., F5.6, +0.3 EV, ISO 200, Auto white balance, Vivid Creative Style; Photo: Takeshi Hirayama Telephoto zoom Telephoto zoom DT 55–200mm F4–5.6 SAM SAL55200-2 75–300mm F4.5–5.6 SAL75300 One ED glass element for superior image quality Extra-broad zoom range for full-frame cameras Medium to telephoto range in a lightweight lens High optical performance at all focal lengths 9-blade circular aperture for attractive defocusi
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A mode, 1/200 sec., F7.1, -0.3 EV, ISO 200, Auto white balance; Photo: Yuji Nukui Fisheye 16mm F2.8 Fisheye SAL16F28 180° angle of view on full-frame cameras Curvilinear perspective for unique, expansive images Crisp image quality throughout the focus range Four selectable internal filter settings At 16 mm 100 Once a scientific tool but now a favorite of creative photographers, fisheye lenses forgo the restraints of rectilinear perspective—the 80 complex “correction” that is required to
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M mode, 1/125 sec., F11, ISO 200, Landscape Creative Style; Photo: Yuji Nukui M mode, 1/125 sec., F11, ISO 200, Landscape Creative Style; Photo: Yuji Nukui Ultra wide angle Wide angle 20mm F2.8 SAL20F28 28mm F2.8 SAL28F28 Wide 94° angle of view on full-frame cameras Excellent contrast and resolution Precisely corrected for natural perspective Compact, lightweight design Aberration effectively suppressed throughout the focus range Built-in slide-out lens hood Rear-focusing mechanism for fast
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( ) A mode, 1/320 sec., F2, +0.3 EV, ISO 200, Manual white balance M mode, 1/320 sec., F5.6, ISO 200, Cloudy white balance -1 ; Photo: Kentaro Fukuda Normal Normal 50mm F1.4 SAL50F14 DT 35mm F1.8 SAM SAL35F18 Excellent sharpness and contrast throughout the image Flare effectively controlled for high contrast Circular aperture for attractive defocusing Outstanding corner-to-corner resolution ( ) Responsive internal SAM Smooth Autofocus Motor autofocus drive Bright F1.4 max. aperture facil
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M mode, 1/800 sec., F8, ISO 400, Auto white balance M mode, 1/640 sec., F2.8, -0.3EV, ISO 200, Manual white balance Mid-range telephoto Mid-range telephoto DT 50mm F1.8 SAM SAL50F18 85mm F2.8 SAM SAL85F28 Compact, lightweight and eminently portable Compact, lightweight and eminently portable Circular aperture for attractive defocusing Excellent corner-to-corner sharpness ( ) Responsive internal SAM Smooth Autofocus Motor autofocus drive Large maximum aperture plus circular aperture desig
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A mode, 1/400 sec., F4.5, ISO 200, 5300K color temperature; Photo: Chukyo Ozawa P mode, 1/200 sec., F4.5, ISO 100, Auto white balance; Photo: Kentaro Fukuda Telephoto Macro [ ] 135mm F2.8 T4.5 STF SAL135F28 DT 30mm F2.8 Macro SAM SAL30M28 Unique Smooth Trans Focus design featuring apodization optics 2cm working distance lets you get really close Sharp in-focus areas with extra-smooth background and Precision optics deliver excellent sharpness and contrast foreground defocusing Compact,
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M mode, 1/50 sec., F2.8, ISO 400, Auto white balance; Photo: Shinya Morimoto P mode, 1/160 sec., F2.8, ISO 400, Auto white balance; Photo: Kentaro Fukuda Macro Macro 50mm F2.8 Macro SAL50M28 100mm F2.8 Macro SAL100M28 High-performance macro and everyday shooting with one lens Stunning macro shots from a comfortable distance Accurate autofocus from 1:1 magnification to infinity Autofocus from 1:1 magnification to infinity Double floating design contributes to outstanding image quality Do
