Sony ALC-F55A User Manual

a Lenses

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 the lens function with filters that might be needed to change the
characteristics of the captured light? There is no single right answer for every
photographer and subject. The only certainties are that a choice must be
made and that more high-quality options mean more creative freedom.

So ny’s a lens lineup offers everything the creative photographer needs to
realize their vision. Economy, luxury, versatility, precision, legendary optical
performance… it’s all there. The choice is yours.

Contents

Lenses: How they capture and control light 06

Projecting an image 06
A look inside/Read your lenses 07
Lens mount and sensor formats 08
Aperture, f-numbers and depth of field 09
Focal length, angle of view and perspective 10
Macro photography 11
Hoods and filters 12
Carl Zeiss® optics 13
Making sense of MTF 14
Choosing the right lens 15

lens technology 16

a

A-mount Lenses

Zoom Lenses 18

DT 11–18mm F4.5–5.6 SAL1118 19
DT 16–50mm F2.8 SSM SAL1650 20
DT 16–105mm F3.5–5.6 SAL16105 21
DT 18–55mm F3.5–5.6 SAM SAL1855 22
DT 18–200mm F3.5–6.3 SAL18200 23
DT 18–250mm F3.5–6.3 SAL18250 24
28–75mm F2.8 SAM SAL2875 25
DT 55–200mm F4–5.6 SAM SAL55200-2 26
75–300mm F4.5–5.6 SAL75300 27

Fixed Focal Length Lenses 28

16mm F2.8 Fisheye SAL16F28 29
20mm F2.8 SAL20F28 30
28mm F2.8 SAL28F28 31
DT 35mm F1.8 SAM SAL35F18 32
50mm F1.4 SAL50F14 33
DT 50mm F1.8 SAM SAL50F18 34
85mm F2.8 SAM SAL85F28 35
135mm F2.8 [T4.5] STF SAL135F28 36
DT 30mm F2.8 Macro SAM SAL30M28 37
50mm F2.8 Macro SAL50M28 38
100mm F2.8 Macro SAL100M28 39

G Lenses 40

70–200mm F2.8 G SAL70200G 41
70–300mm F4.5–5.6 G SSM SAL70300G 42
70–400mm F4–5.6 G SSM SAL70400G 43
35mm F1.4 G SAL35F14G 44
300mm F2.8 G SAL300F28G 45

Teleconverters

1.4x Teleconverter SAL14TC 46
2x Teleconverter SAL20TC 46

Carl Zeiss® Lenses 47

Vario-Sonnar T* 16–35mm F2.8 ZA SSM SAL1635Z 48
Vario-Sonnar T* DT 16–80mm F3.5–4.5 ZA SAL1680Z 49
Vario-Sonnar T* 24–70mm F2.8 ZA SSM SAL2470Z 50
Distagon T* 24mm F2 ZA SSM SAL24F20Z 51
Planar T* 85mm F1.4 ZA SAL85F14Z 52
Sonnar T* 135mm F1.8 ZA SAL135F18Z 53

E-mount Lenses

Exclusive to E-mount cameras

54

E 16mm F2.8 SEL16F28 56
Fisheye Converter VCL-ECF1 57
Ultra Wide Converter VCL-ECU1 57
Sonnar T* E 24mm F1.8 ZA SEL24F18Z 58
E 18–55mm F3.5–5.6 OSS SEL1855 59
E 18–200mm F3.5–6.3 OSS SEL18200 60
E 55–210mm F4.5–6.3 OSS SEL55210 61
E 50mm F1.8 OSS SEL50F18 62
E 30mm F3.5 Macro SEL30M35 63

Main specifications of a lenses 64

lens accessories 65

a

Ultra wide angle

11m m (16m m)

A-mount

E-mount

Wide angle

28mm (42mm)

35mm F1.4 G SAL35F14G

Distago n T* 24mm F2 ZA SSM SAL 24F20Z

Vario-Sonnar T* 16–35mm F2.8 ZA SSM SAL1635Z

Vario-S onnar T* DT 16–80mm F3.5 –4.5 ZA SAL1680Z

Vario-S onnar T* 24–70mm F2.8 ZA SSM S AL2470Z

16mm F2.8 Fisheye SAL16F28

20mm F2.8 SAL 20F28

DT 11–18mm F4.5–5.6 SAL1118

DT 16–50mm F2.8 SSM S AL1650

DT 16–105mm F3.5–5.6 SAL16105

DT 18–55mm F3.5– 5.6 SAM SAL1855

DT 18–200mm F3.5– 6.3 SAL18200

DT 18–250mm F3.5–6. 3 SAL18250

E 16mm F2.8 SEL16F28 Sonnar T * E 24mm F1.8 Z A SEL24F18Z E 50mm F1.8 OSS SEL50 F18

E 18–55mm F3.5– 5.6 OSS SEL1855

E 18–200mm F3.5– 6.3 OSS SEL18200

28–75mm F2.8 SAM SAL 2875

28mm F2.8 SA L28F28

DT 30mm F2.8 Mac ro SAM SAL30M28

DT 35mm F1.8 SAM SAL3 5F18

E 30mm F3.5 Mac ro SEL30M35

Normal

50mm (75mm)

Planar T * 85mm F1.4 ZA SAL8 5F14Z

50mm F1.4 SAL50F14

50mm F2.8 Mac ro SAL50M28

DT 50mm F1.8 SAM SAL5 0F18

DT 55–200 mm F4–5.6 SAM SAL5520 0-2

DT 55–200 mm F4–5.6 SAM SAL5520 0-2

E 55–210mm F 4.5–6.3 O SS SEL55210

Mid-range Telephoto

85mm (128mm)

85mm F2.8 SAM S AL85F28

Mid-range Telephoto

100 mm (150 mm)

70–200m m F2.8 G SAL70200 G

75–300 mm F4.5–5.6 SAL75300

70–30 0mm F4.5–5.6 G SSM SAL70 300G

70–40 0mm F4–5.6 G SSM SAL7040 0G

Sonnar T * 135 mm F1.8 Z A SAL13 5F18 Z

135mm F2.8 [T4.5] ST F SA L135F2 8

100mm F2.8 Macr o SAL10 0M28

Telephoto

200mm (300mm)

Telephoto

300mm (450mm)

300mm F2.8 G S AL300F28G

Super Telephoto

400mm (600mm)

Zoom Lenses

Fixed Focal Length Lenses

G Lenses

Carl Zeis s Lenses

E-mount Lenses

* Numbers shown in parentheses

represent the effective focal length
equivalent in 35mm full-frame format
when shooting with APS-C format
interchangeable-lens digital cameras.

1.4x Teleconver ter
SA L14TC

Fisheye Converter
VC L-ECF 1
10mm (15m m

2x Teleconverter
SAL20TC

Ultra Wide Converter
VC L-ECU 1

)

12mm (18m m

)

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
with light,” and lenses are the brushes. After their imagination, lenses are the photographer’s primary creative tools. The way
a lens captures and presents an image to the camera’s sensor determines the visual outcome more than any other factor.
The ability to choose the right lens and use it well is one of the most important skills an aspiring photographer should acquire.

In this brief guide we’ll look at some of the basics that will help you to choose lenses that are suited to your needs, and
make the most out of them to create truly satisfying photographs.

Projecting an image

Our eyes do it, cameras do it, even a simple
light-tight box with a tiny hole in one end will
do it: the feat of turning light into an image
can only be accomplished by first capturing
the light from a scene and projecting it onto
a surface. That surface, the “image plane,”
can be a wall, a piece of film, a sensor, or
the retina in our eye. In all cases the image
is projected upside-down and horizontally
reversed. Let’s take a look at the precursor of
modern cameras, the simplest camera of all:

the pinhole camera. In a pinhole camera a tiny
hole is all that’s needed to project an image.

To make this easier to understand, remember
that light normally travels in straight lines, then try
to imagine the subject being photographed as
being made up of a multitude of points of light of
appropriate brightness and color.

In the example in Figure 1, light from a point at
the top of the tree travels in a straight line

through the pinhole and reaches a point at
the bottom of the image plane, whereas light
from a point at the bottom of the tree ends up
at the top of the image plane after passing
through the pinhole.

The real-world scene becomes an image
projected on the image plane, upside-down
and reversed left-to-right.

Elements and groups

All modern photographic lenses are “compound”
lenses that use a number of lens “elements”
precisely mounted along the same optical axis.
The use of multiple elements allows lens designers
to effectively reduce optical aberrations so you
get nice sharp, clean images.

“Elements” are the individual pieces of specially
shaped glass that make up the lens. A “group”
consists of two or three elements that have been
glued together to function as a unit. Sometimes
groups consist of different types of glass that
have been combined in order to control some
form of aberration. Lenses are sometimes
described in terms of the number of elements
and groups they contain. You’ll hear terms such
as “7-group 9-element lens.”

Zoom and focus mechanisms

The job of varying focal length in a zoom lens
requires a fairly complex mechanism that
translates zoom ring rotation into precise group
movement along the optical axis of the lens. Zoom
mechanisms must be precisely manufactured
to exacting tolerances so that all elements and
groups stay in perfect alignment throughout the
zoom range.

Fixed focal length lenses, also known as “prime”
lenses, generally have the simplest construction
with the fewest groups and elements. Zoom
lenses require a larger number of groups/
elements to support the zoom functionality.

While most lens elements are “spherical,”
meaning that one or more surfaces form part
of a sphere, some lenses include “aspherical”
elements. Aspherical elements have more
complex shapes than simple spherical elements,
and are much more difficult and more expensive
to produce. Aspherical elements are sometimes
used in wide-angle and fast standard lenses,
where they can be effective in reducing certain
types of aberration.

Focusing is sometimes accomplished by moving
the entire lens closer to or further away from
the image sensor plane, although some lenses
employ a “floating construction” in which groups
of elements move independently in order to
maintain optimum optical performance at all
shooting distances.

Lens configura tion exa mple: 7 groups/9 elements

Lens element Lens group

Mount

Aperture

Lens barrel

Aspherical lens (see pag e 16 for more details

ED glass (see pag e 16 for more details

How len s elements and grou ps move in a zoom le ns

Wide

Medium

)

)

A pinhole camera is basically a light-tight box
with a small hole in one end

Figure 1. A simple pinhole of appropriate size
is capable of projecting a sharp but dim image

If a little hole can do all of this, why do we need lenses?

Pinholes can “project” images, but they are limited and inflexible. In
order for the projected image to be sufficiently sharp, the hole must be
very small, but this also means that the projected image is very dim.
In principle, lenses work similarly to the pinhole, but they are capable
of capturing more light from each point on the subject, and therefore
project a much brighter image. A lens can also bring more light into
sharp focus. That’s helpful because it means we can use short sub-

A simp lified cro ss sec tion o f a modern lens and a ty pica l SLR (Single Lens Reflex) type digital camera

Pentaprism (flips the image so it can viewed in proper or ientation

Focal point

Light Lens element

Subject

Optical axis

Interchangeable-lens
(

objective lens

Light reflected by the subject is ef fecti vely collected
and focused by the l ens elements to p roject an
image on the cam era’s image sensor p lane.

)

Focal length

second exposures rather than having to make sure that both the
camera and subject stay perfectly still for many minutes or even hours,
which is usually the case with a pinhole camera. Other advantages are
that lenses can be made in a variety of focal lengths from wide-angle to
capture expansive scenes or telephoto to photograph distant subjects.
Modern lenses are precision optical devices that give photographers
boundless freedom to realize their creative vision by “drawing with light.”

Viewfinder

Camera

Image
sensor plane

Mirror

Figure 2. A lens uses the principle of “refraction”
to gather more light from the subject and project
a sharp, bright image

)

TECH TALK

Refraction: bending light

The physical principle that allows lenses to
gather and focus light is c alled “refraction.”
Refraction causes lightwaves to change speed
and dire ction when they pass from one medium
(

air, for example) to anothe r (glass, for example),
and allows lenses to be designed to “bend” light
in a contro lled way. The “refract ive index” of an
optically transparent medium is a measure of
the spe ed of lig ht in that medium, and the refore
the deg ree to which light will be “bent” by that
medium. Optical materials that have different
refractive indices—conventional optical glass and
ED glass, for example—are sometimes combined
in lenses to achieve the desired characteristics.

Read your lenses

There is a lot of pertinent information
printed or engraved on the outside of
lenses that can help you understand their
characteristics and how to best use them.

Here are a few examples.

Focal length

This is the most basic, most important
characteristic of any lens. Focal length plays
a primary role i n determ ining what ty pes of
subjects and compositions the lens is suitable
for (see pag e 10 for more details).

AF/MF switch

This switch lets yo u switch betwee n
autofocus and manual focus modes.

Telephoto

Distance scale

The distance scale indicates the
approximate distance from the
camera’s image plane to the object
that the camera i s focuse d on.

Autofocus drive type

Lenses m arked “SAM” or ”SS M” feature
built-in motors that drive the lens’s
focusing mechanism. Lenses that
don’t ha ve intern al motors are driven
by a motor in the camera body
(

see pag e 17 for more detail s).

Maximum aperture

This number represents the maximum
aper ture, or “ f-number,” of the lens
and tells you how “bright” the lens is
(

see pag e 9 for more details).

Lens format

Sony len ses marked “DT” (Digital
Technology) have been specifically
designed for use on APS -C fo rmat
A-mount cameras (see pag e 8 for
more details).

6 7

Lens mount and sensor formats

Aperture, f-numbers and depth of field

Sony A-mount and E-mount systems

Sony a series interchangeable-lens digital cameras are currently produced
in two categories, each of which uses a different lens mount and different
types of lenses. A-mount SLR (single lens reflex) type cameras have a more
traditional shape and utilize moving mirrors or advanced translucent
mirrors. Ultra-compact E-mount cameras don’t use reflex mirrors at all.
Despite their remarkable compactness and portability, E-mount cameras
feature APS-C format sensors and are capable of delivering image quality
on a par with A-mount cameras.

In addition to overall size, the main difference between A-mount and
E-mount lenses is their “flange back distance.” The flange back distance is
the distance from the rear of the lens to the image (sensor) plane. Since
many A-mount cameras have a reflex mirror between the rear of the lens
and the sensor, precipitating the need to have a flange back distance
that allows space for the mirror. E-mount cameras, on the other hand, are
mirror-less and therefore can be designed with a much shorter flange
back distance, allowing the body of the camera to be much smaller and
consequently the lenses as well.

Sensor formats: 35mm full frame and APS-C

You may have heard the term “full-frame” in reference to cameras, but did you know it refers to the
frame size of 35mm film? The image area of a frame of 35mm film is approximately 36mm x 24mm
(

“35mm” is the width of the strip of film), and that’s the size of the image sensor in a 35mm full-frame
format camera. Many interchangeable-lens digital cameras use slightly smaller “APS-C” format sensors
that measure approximately 24mm x 16mm or less. There are a number of other sensor formats,
including smaller sensors in digital point-and-shoot type cameras, but APS-C and 35mm full-frame
formats are the two most commonly used in interchangeable-lens cameras.

It is important to understand that there are two “formats” for A-mount interchangeable lenses as well.
Lenses with an image circle large enough to cover a 35mm full-frame sensor, and lenses with a smaller
image circle that is sufficient for APS-C format sensors. Sony lenses that have “DT” in the model name
are compatible with APS-C format SLR cameras only, while all other lenses will work with both APS-C and
35mm full-frame format cameras.

Image area with

35 mm full-frame image sensor

Image area with

APS-C type sensor

Alignment mark

Electrical contacts

Locking pin

Aperture lever

AF coupler

Flange back distance

Image sensor plane

Lens mou nt

Sony DT lenses

Lenses m arked “DT” (Digital Technology) should
only be used on AP S- C format camera s because
their image circle isn’ t large e nough to f ully
cover a 35mm full frame sensor. If you do us e a
DT lens on a full- frame camera, ex pect to se e
a darkening of the i mage towa rds the edges of
the fram e (vignetting). Although only E-mount
lenses can be directly mounted on E -mount
camera s, DT lenses can be mounted on t hese
cameras via an optional adaptor.

Aperture and exposure

The aperture in a lens—also known as the
“diaphragm” or “iris”—is an ingenious piece
of mechanical engineering that provides a
variable-size opening in the optical path often
used to control the amount of light that passes
through the lens. Aperture and shutter speed are
the two primary means of controlling exposure. For
a given shutter speed, dimmer lighting will require
a larger aperture to allow more light to reach the
image sensor plane, while brighter light will require
a smaller aperture to achieve optimum exposure.
Alternatively, you could keep the same aperture
setting and change the shutter speed to achieve
similar results. The size of the opening provided by
the aperture also determines how “collimated” the
light passing through the lens is. Since this directly

“F-numbers” or “f-stops”

All lenses have a maximum and minimum
aperture, expressed as “f-numbers,” but it is the
maximum aperture that is most commonly quoted
in lens specifications. Take the Sony SAL35F14G,
for example. This is a 35mm F1.4 lens: 35mm is the
focal length and F1.4 is the maximum aperture.
But what exactly does “F1.4” mean? See the
“F-number math” box for some technical details,
but for a practical understanding it’s enough to

F-number =

Focal length

Effective aperture

Effective aperture

(

size of the e ntrance pu pil

Aperture

)

Focal length

Aperture and depth of field

affects depth of field, you’ll need to be in control of
both aperture and shutter speed to create images
that look the way you want them to.

Circular aperture (see pag e 16 for details

)

know that smaller f-numbers correspond to larger
apertures, and that F1.4 is about the largest
maximum aperture you’re likely to encounter on
general-purpose lenses. Lenses with a maximum
aperture of F1.4, F2, or F2.8 are generally
considered to be “fast” or “bright.”

The standard f-numbers you’ll use with camera
lenses are, from larger to smaller apertures:

Effective aperture

25 mm

F4

50 mm

Aperture and focal length values in the illustration are approximate.

200 mm

TECH TALK

F-number math

The f-numbe r is the foc al length of the l ens div ided
by the ef fective diamete r of the ap erture. So in the
case of the SAL3514G lens, when the aper ture is
set to its ma ximum of F1.4, the effective diameter of
the aperture will be 35 ÷ 1.4 = 25mm. Note th at as
the focal length of the lens changes, the diameter
of the aperture at a given f-number will change
too. For example, an aperture of F1.4 in a 30 0mm
telephoto lens would require an effective aperture
diameter of 30 0 ÷ 1.4 ≈ 214mm! That would end up
being a huge, bul ky and ve ry exp ensive l ens, which
is why you do n’t see to o many lon g telephoto
lenses with ver y large maximum aper tures. T here’s
really n o need for the photo grapher to know what
the actual aperture diameter is, but it’s helpful to
understand the principle.

1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22 and sometimes 32
(

for you mathematicians those are all powers of
the square root of 2). Those are the full stops, but
you’ll also see fractional stops that correspond to a
half or a third of the full stops. Increasing the size of
the aperture by one full stop doubles the amount
of light that is allowed to pass through the lens.
Decreasing the size of the aperture by one stop
halves the amount of light reaching the sensor.

F4

Shorter focal lengths only require
moderate effective apertures for
sufficient brightness

100 mm

Longer focal lengths require
proportionately larger effective apertures
for the same “f-number” and brightness

“Depth of field” refers to the range between the nearest and farthest objects
in a scene that appear acceptably sharp. In extreme examples of narrow
depth of field, the in-focus depth might be just a few millimeters. At the
opposite extreme, some landscape photographs show very deep depth
of field with everything in sharp focus from just in front of the camera to
many kilometers away. Controlling depth of field is one of the most useful
techniques you have for creative photography.

47° angle

Lens Lens

Image s ensor

plane

*The angle of view values in this example correspond to those of a 50mm lens.

8 9

of view

Same foc using

distance (50 mm

)

32° angle

of view

Image s ensor
plane

Open (large

F2 F2.8 F4 F5.6 F8 F 11 F16 F22

Shallow Depth of field Deep

)

Aperture Close (small

Basically, larger apertures produce a narrower depth of field, so if you want to
shoot a portrait with a nicely defocused background you’ll want a wider aperture
(

lower F-number). There are times when other factors come into play. Lenses of
longer focal lengths are generally capable of producing narrower depth of field.
This is partly because an F1.4 aperture in an 85mm lens, for example, is physically
larger than an F1.4 aperture in a wide-angle 24mm lens. Additionally, the
distance between objects in the scene being photographed will have an effect
on the perceived depth of field as well.

SHOOTING TIP

)

Three keys to effective defocusing

There’s actually more to shooting images with beautifully defocused
backgrounds than simply choosing a bright lens and opening
the aperture up all the way. That’s the first “key,” but sometimes
a large ap erture alone won’t pro duce th e desire d resu lts. The
second key is the distance b etween your subject and t he
background. If the background is ver y close to your subject it
might fall withi n the depth of field, or be so close th at the am ount
of defocusing isn’t suf fici ent. When ever possible, keep plenty of
distance between your subject a nd the background you want to
defocu s. The third key is the focal len gth of the lens you u se. As
mentio ned above, it’s eas ier to get a narrow depth of field with
longer focal lengths, so take advantage of that characteristic as
well. Many photographers find that focal lengths betwe en abou t
75mm and 100mm are ideal for shooting portraits with nicely
blurred backgrounds.

Focal length, angle of view and perspective

Macro photography

Focal plane (image sensor plane

Angle of view
(

measured diagonally

Focal length

Secondary principal point of lens

Focal l engt h vs. angle of view

With 35mm full-frame image sensor Wit h APS- C type im age sensor

16 mm

Fisheye

16 mm 16 mm

18 mm 18 mm

24 mm 24 mm

35 mm 35 mm

70 mm 70 mm

100 mm 100 mm

135 mm 135 mm

250 mm 250 mm

400 mm 400 mm

* Focal len gth in ( ): equivalent focal length when mounted on

interchangeable-lens digital cameras with 35mm full-frame sensors.

)

)

16 mm

Fisheye

(

24 mm

(

27 mm

(

36 mm

(

105 m m

(

150 mm

(

205.5 mm

(

375 mm

(

600 mm

Focal length

Focal length, or focal length range in the case of zooms, will usually be the
foremost consideration when choosing a lens for a specific photograph or
type of photography. The focal length of a lens determines two characteristics
that are very important to photographers: magnification and angle of view.

Maximum magnification ratio

As mentioned on the previous page, the magnification of any lens is
determined by its focal length. For macro photography we are also concerned
with how close we can get to our subject. These two factors, focal length and
minimum focusing distance, determine the lens’s maximum magnification

ratio, sometimes referred to as “reproduction ratio.” The closer you can get to
Longer focal lengths correspond to higher magnification, and vice-versa.
Wide-angle lenses with short focal lengths have low magnification, which

your subject with a lens of a given focal length, the higher the magnification

ratio you’ll achieve.
means you have to get physically close to an average-size subject to fill the
frame. But that also means you can fit large subjects in the frame without
having to shoot from a distance. Telephoto lenses with long focal lengths
have high magnification, so you can fill the frame with subjects that are
further away from the camera.

The classic definition of a macro lens is one that has a maximum magnification

ratio of at least 1:1, or “1x” in lens specifications. This means that a subject can

be reproduced at full size on the camera’s image sensor: a 10mm object can

be projected onto the sensor as a 10mm image when the lens is sufficiently

close to the subject. A maximum magnification ratio of 1:2 or “0.5x” would

mean that the maximum size that an image of the same 10mm object could

TECH TALK

A technical definition of focal length

The focal length of a lens is d efine d as the distance from its secondary prin cipal
point to it s rear focal point w hen focus is set to infinit y. The secondary principal
point is o ne of six “cardinal points” that are us ed as points of reference in a n
optical lens (front and rear focal points, primary and secondary nodal points

Wide Mid-range Telephoto

and primary and secondary principal points). There’s no predefined location
for the secondary principal point in a compound lens—it could be somewhere
inside the lens barrel o r at some p oint out side th e barrel, depending on the
design of the lens—so there’s no easy way to accurately measure the focal
length of a lens yourself.

be projected onto the sensor would be 5mm, or just half its true size.

0.35x

Other macro lens characteristics you should know about

Macro lenses are specifically designed to deliver optimum optical performance

at very short focusing distances, and will usually be sharpest at close range,

but that doesn’t mean that you can only use them for macro photography.

Many macro lenses are also capable of excellent performance when shooting

normal subjects at normal distances as well.

)

Focal length and angle of view

“Angle of view” describes how much of the scene in front of the camera will
be captured by the camera’s sensor. In slightly more technical terms, it is the
angular extent of the scene captured on the sensor, measured diagonally.

)

It is important to remember that angle of view is entirely determined by both
the focal length of the lens and the format of the camera’s sensor, so the
angle of view you get from any given lens will be different on 35mm full frame

Another important characteristic of macro lenses used at short range is that

they have very narrow depth of field. That means they have to be focused very

carefully to get the desired details in perfect focus. A tripod can make focusing

easier in some situations. You might have to stop the aperture down quite a bit

to achieve sufficient depth of field with some subjects. But shallow depth of

field can be an advantage, emphasizing the essential in-focus detail while

defocusing and de-emphasizing distracting background.

1.0 x

and APS-C format cameras. Different lenses of equal focal length will always
have the same angle of view when used with the same-size sensor.

)

The “Focal length vs. angle of view” comparison to the left illustrates this

30mm M acro lens (SAL30M28

)

relationship for both 35mm full frame and APS-C format cameras.

Working distance (approx. 2 cm/0.8 in. at 1x magnification

)

Perspective

With long focal lengths, foreground and background objects will often appear

Minimum focusing distance (approx. 13 cm/5.1 in. at 1x magnification

to be closer together in the final image. This effect is sometimes called “telephoto
compression,” although it is not actually caused by the lens itself. What really

)

happens is that when using a telephoto lens, you will need to be further away
from your subjects. As such, the distance of the subject from the background
relative to the subject’s distance from the camera lens becomes smaller and

Working distance (approx. 16 cm/6.3 in. at 1x magnification

smaller the further away the photographer stands. From that perspective
they actually are closer together! Another way of saying this is that since both

)

the foreground and background objects are at a considerable distance

Minimum focusing distance (approx. 35 cm/13.8 in. at 1x magnification

from the camera, their relative sizes in the final image will be closer to reality.
When shooting with a wide-angle lens you normally need to get close to the
foreground subject so that it is sufficiently large in the frame, which is why
more distant objects look comparatively smaller. The difference in apparent

)

perspective is actually a result of how far you are from your subject.

Minimum focus and working distance

The “minimum focusing distance” lens specification can be confusing.

Minimum focusing distance is measured from the subject to the rear focal

point of the lens, which is at the image sensor plane in the camera body.

)

The term “working distance” is used to describe the distance between the

subject and the front element of the lens.

If a lens is specified as having an 0.2 meter (20 centimeter) minimum

focusing distance, for example, depending on the thickness of the

)

24mm focal length,*
84° angle of view

* 35mm format equivalent

300mm focal length,*
8° angle of view

camera body and the length of the lens, you might only have a few

)

Image sensor plane

)

)

100mm Macro lens (SA L10 0 M2 8

Image sensor plane

centimeters of working distance when focused at the minimum focusing
distance in order to take a 1:1 macro shot. Being that close to your
subject can make lighting difficult (special macro flashes and ring lights
are available to overcome this type of lighting problem), focusing can
be difficult if the subject or camera moves even slightly, and you’re likely
to scare away living subjects at such close distances. If any of those
problems occur, you need to choose a macro lens that has a longer focal
length for more working distance.

)

10 11

Hoods and filters

Carl Zeiss® optics

Without lens hood (flare, poor contrast

Visible ghosts

How len s hoods work

Extraneous light

Light needed for
image formation

Lens hood

)

With lens hood (no flare, high contrast

Enlarged view No ghosts

Use your lens hood!

The lens hoods provided with most interchangeable-lenses are not just
accessories to be used occasionally. They are an important part of the lens’s
optical system and should always be used in order to ensure optimum
performance. There are exceptions, such as when an on-camera flash is
used and the lens hood casts a shadow, but for most shooting situations
the lens hood should be on the lens, not in your bag. If your lens has a
built-in extending hood, it should be extended when you’re shooting.

)

Even though a lenses are uncompromisingly designed with multi-coated
elements and other internal features that minimize flare and ghosting, these
problems can still occur if extraneous light is allowed to enter the lens. And
although the effects of flare might not be obvious in all images, it can subtly
degrade contrast and prevent you from capturing the strongest possible
image. Strong backlighting, particularly near the edge of the image, can
cause ghosts even when a lens hood is used. In such situation the only
solution is to reframe the shot so that the problematic light source is excluded.

Lens hoods block extraneous light

Any light entering the lens that does not come directly from the scene being
photographed is extraneous light that needs to be eliminated. Light that
grazes the front element at a steep angle or bounces around inside the lens
barrel will degrade image quality. A lens hood that is properly designed for
the lens on which it is used will effectively block extraneous light that does
not contribute directly to the image, ensuring that the lens will deliver the
highest resolution and contrast it is capable of. Although most lens hoods
for normal to telephoto focal lengths are basic round designs, lens hoods
for wide angle lenses often have a “petal” shape that is designed to block
unwanted light without intruding into the corners of image area.

For many photo enthusiasts, Carl Zeiss lenses have long been the ultimate

choice. Many models are available, but the only autofocus Zeiss lenses

currently available for use on interchangeable-lens digital cameras are

those that have been created through close cooperation between Carl Zeiss

AG and Sony for the a series cameras.

The scientific approach

It was Ernst Abbe of Carl Zeiss AG who first

applied scientific principles to lens design, rather

than relying on trial-and-error experience. A

significant portion of the history of photographic

lens development centers on the Protar, Planar

and Sonnar designs that featured advanced

optical paths based on those principles. In many

ways the history of Carl Zeiss AG is the history

of photographic lenses.

Protar

(

189 0 -

®

)

Planar®

(

1896 -

)

The Carl Zeiss lenses that started it all

Protar

Developed by Dr. Paul Rudolph in 1890, this

lens was one of the original Anastigmat series.

The design was named “Protar” (from the Latin

“proto,” or “first”/”origin”) in 1900. The front

group was a standard achromatic combination

of low-refractive-index crown glass and high-

refractive-index flint glass, but the rear group

was an innovative achromatic doublet using

Jena glass, with high-refractive-index crown

glass and low-refractive-index flint glass. The front

and rear elements were located on either side

of the diaphragm,

effectively suppressing

chromatic aberration.

This design evolved to

become the Unar lens

and later the Tessar.

Planar

Another Paul Rudolph design, developed in 1897.
Initially this design was called the “Anastigmat
Series IA.” It features a symmetrical 6 -element
4-group Gaussian design that facilitates the use
of large apertures. The “Planar” name is derived
from the flatness of the image. Planar lenses are
appreciated for their superb image depth and
rich color reproduction.

Tessar®
(

)

1902-

The Carl Zeiss traditions of innovative technology
and uncompromising quality are alive in
today’s

series lenses as well.

a

Sonnar®

(

)

192 9 -

Petal hood Round hood

The unmatched T* (T-star) coating

The fact that lens coating technology—vapor deposition of a thin, even

Circular polarizing filters for
improved contrast and color

Circular polarizing (PL) filters can be used to eliminate reflections and glare
from reflective surfaces such as glass and water, but landscape photographers
find them most useful for increasing contrast and saturation in skies, foliage and
other icons of the landscape genre. In all cases the filter works by eliminating
reflections, but in the latter, it is eliminating reflections from airborne dust and

Without circular PL filter
(

reduced contrast

)

With circular PL filter
(

increased contrast and deep saturation

water vapor, thus removing a veil of glare and allowing the true colors of the
scene to come through.

)

Neutral density filters

Sometimes the light is so bright that you’re forced to use smaller apertures or
faster shutter speeds than you want to. Neutral density (ND) filters reduce the
amount of light entering the lens without affecting the color or tonal balance
in any way, and can be very useful in this type of situation. Suppose you
want to shoot a waterfall using a shutter speed that’s slow enough to blur the
moving water and create a sense of motion, but the lighting at the scene is

Without ND filter With ND filter

12 13

(

reduce d light for slower shutter speed

too bright. An ND filter will reduce the light intensity so that you can use the
relatively slow shutter speed required to achieve the desired effect.

)

coating on the lens surface to reduce reflections and maximize transmission—

was originally a Carl Zeiss patent is well known. The Carl Zeiss company also

developed and proved the efficacy of multi-layer coatings for photographic

lenses, and this is the technology that became the T* coating.

Until the introduction of coated lenses, the lens surface would reflect a large

percentage of the incoming light, thus reducing transmission and making

it difficult to use multiple elements in lens designs. Effective coatings made

Light source

Image sensor

Reduced reflection

it possible to design more complex optics that delivered significantly
improved performance. Reduced internal reflection contributed to minimum
flare and high contrast.

The Carl Zeiss T* coating is not simply applied to any lens. The T* symbol
only appears on multi-element lenses in which the required performance
has been achieved throughout the entire optical path, and it is therefore a
guarantee of the highest quality.

Uncoated lensCarl Zeiss coated lens

Light source

Image sensor

Uncontrolled reflection

Making sense of MTF

Choosing the right lens

Those MTF (Modulation Transfer Function) graphs that often accompany
lens specifications are really not as impenetrable as they look, and they can
give you a good idea of how a lens will perform, so it might be worth taking
a few minutes to learn what they mean.

MTF describes a lens’s ability to resolve finely spaced black and white lines
printed on a test target. As the lines get closer together they start to blur and
blend together as the limits of the lens’s resolving ability are reached. MTF
is plotted for multiple levels of subject detail (Y axis) at a number of points
from the optical center of the lens to its periphery (X axis). The more lines per
millimeter the lens can resolve, the better the resolution and contrast of the
lens.* This resolving power is expressed as line pairs per millimeter (lp/mm),
and sometimes as the more scientific sounding “spatial frequency.”

* For more info about these closely related terms, refer to the “Resolution, contrast

and sharpness” column below.

Take a look at the sample chart below to see how it all works to describe
lens performance. The solid green line shows radial contrast values for 10
lp/mm detail with the lens wide open. The line is almost flat, indicating
that resolution is constant at approximately 93% from the center to the
periphery of the lens. Very good. The solid red line shows contrast with the
same parameters except that the aperture has been stopped down to F8.
The red line is higher than the green line, indicating that stopping down has
improved resolution somewhat.

Basically, the higher and flatter the line, the better the performance for the
corresponding set of parameters. The smaller the distance between the
green and red lines, the more consistent the performance of the lens is over
a range of aperture settings. The smaller the gap between the solid and
dotted lines, the more attractive the defocusing is likely to be.

That’s really all you need to know to glean useful information from an MTF
chart. Just remember that comparing MTF graphs of different lenses is really
only meaningful if both lenses have similar focal lengths.

Green: Contrast value at maximum aperture

Y

The X (horizontal) and Y (vertical) axes of the chart
correspond to the following values:

• X: Distance from the optical center of the lens to
a point near its periphery, measured in millimeters.

• Y: The degree of contrast measured at each point,

expressed as a percentage.

A number of parameters are represented by different line types on
the MTF chart, as defined by a legend that accompanies each
chart. Those parameters are:

• Two lp/mm values: often 10 lines per millimeter and 30 lines

per millimeter.

• Two different aperture settings: lens wide open and F8.

• Two orientations of line pairs in relation to the lens: “R” (radial =

lines parallel to the radius of the lens), and “T” (tangential = lines
perpendicular to the radius of the lens).

All of the MTF char ts that accompany the lens descriptions in the latter part of this brochure follow these conventions.

Indicates excellent performance
with high contrast and resolution
at the center of the lens.

Indicates the level to which
resolution and contrast are
maintai ned at the periphery
of the lens.

100

80

60

40

20

Contrast (%)

048121620

Distan ce from optical center of le ns (mm

Spatial frequency

10 line pairs/mm
30 line pairs/mm

Resolution, contrast and sharpness

Although it is possible to have high resolution and low contrast, or vice versa, in the
context of MTF measurements these terms mean almost the same thing. Both good
resolution and contrast are necessary for a lens to be perceived as “sharp.” We’re
talking about “micro-contrast” here, which is the ability of a lens to differentiate
between tiny details that have similar tonal values. Micro-contrast is different from
global contrast, the overall range of tones in an image that people usually associate
with the term “contrast.” MTF measurements are useful because they show us the
relationship between a lens’s resolution and contrast in graphic form that makes it
easy to judge how the lens will perform in real-world applications.

Red: Contrast value at F8

Max. aperture

R RT T

F8 aperture

Portraits

For most portraits, the person
being photographed is the
most important element of
the photograph, so it can be
effective to de-emphasize
other non-essential elements.
The usual way of doing this is
to defocus the background so the viewer gets a sense of location without
being distracted from the main subject by too much surrounding detail.
Choose a lens that has a large maximum aperture and a focal length
between about 75mm and 150mm for flattering perspective, and so that
you don’t have to get uncomfortably close to your subject. The Planar T*
85mm F1.4 ZA (SAL8514Z), DT 50mm F1.8 SAM (SAL50F18), 85mm F2.8 SAM
(

SAL85F28), 135mm F2.8 [T4.5] STF (SAL135F28) and E-mount 50mm F1.8

(

SEL50F18) are excellent choices for this type of photography.

Landscapes

Although you can use
anything from wide angle to
telephoto lenses for landscape
photography, you’ll probably
get the most use out of wide
lenses that can capture the
grandeur and scale of nature
at its best. A wide-angle zoom such as the Vario-Sonnar T* 16-35mm F2.8 ZA

X

)

SSM (SAL1635Z) would be an excellent choice because it covers a range
of focal lengths that are extremely useful for landscape photography with
outstanding resolution and contrast. Stopped down to F8 or F11 lenses in
this focal length range will give you sufficient depth of field to keep the entire
scene in sharp focus. Hint: include prominent foreground objects to give your
landscape images a greater sense of scale.

Snapshots

The term “snapshot” refers to
any photo opportunity that
arises spontaneously. You’re
shooting snapshots when you
take your camera for a walk
in the park, or on vacation, or
even when you’re in “serious”
street-shooting mode. The key is to capture the moment, and that requires
mobility and speed. Some photographers prefer to use a prime lens with a

TECH TALK

focal length they’re comfortable with for this type of shooting: a “simple is
faster and better” approach. Others choose a compact mid-range zoom like
the 28-75mm F2.8 SAM (SAL2875) for maximum versatility. If you’re going to
be shooting snaps indoors or in evening or early morning light you’ll want to
choose a lens with a large maximum aperture.

In the product pages that follow, this star icon identifies lenses: prime lenses that offer outstanding value in
compact, lightweight designs that are ideal for photographers at all levels. Each lens in the series is suited for a
particular type of photography, such as portraiture or macro, for example.

Macro and close-ups

“True” macro lenses that can
be used to shoot extremely
clear, detailed images of very
tiny subjects have a maximum
magnification ratio of 1:1 (1x),
and that limits your choices.
Use the DT 30mm F2.8 Macro
SAM (SAL30M28), 50mm F2.8 Macro (SAL50M28), or E-mount 30mm F3.5
(

SEL30M35) for stationary subjects that you can get very close to, or the
100mm F2.8 Macro (SAL100M28) where a bit more working distance is
required. You can also shoot impressive close-ups such as flowers with any
lens that has a maximum magnification ratio of about 0.25x or more and a
sufficiently short minimum focusing distance. The 75-300mm F4.5-5.6 zoom
(

SAL75300) is good for this type of close-up shooting, or you could use the
70-300mm F4.5-5.6 G SSM (SAL70300G) for truly stunning image quality.

Sports

Since sports almost invariably
involve fast action, usually at
a distance, you’ll want to use
a telephoto lens that’s “fast”
enough to allow the use of
action-freezing shutter speeds.
The 300mm F2.8 G telephoto
prime (SAL300F28G) is an outstanding choice for this genre, but if you want
the framing versatility of a zoom the 70-200mm F2.8 G (SAL70200G) is a great
alternative. You could even use the SAL14TC 1.4x Teleconverter or SAL20TC 2x
Teleconverter with either of these lenses to provide more reach for distance
subjects or to grab close-ups of the action. Of course there are always
exceptions: if you can get close to the action you might be able to use a fast
wide-angle prime or zoom to capture a more dynamic perspective.

Wildlife

Since you can rarely get close,
super-telephoto is the first focal
length choice for shooting
wildlife. Of course you won’t
need that much magnification
if you’re shooting pets at
home, but in the wild you’ll
want to be as far away as possible, to avoid scaring off your subject and for
safety. The 300mm F2.8 G telephoto prime (SAL300F28G) with the 1.4x or 2x
Teleconverter (SAL14TC or SAL20TC) is probably the most suitable choice.
Not only does that combination give you the reach you’ll need, but the quiet,
responsive operation of the SSM autofocus drive will be an advantage as
well. Hint: the above lens/teleconverter combination will give you even more
reach when used on an APS-C format body.

14 15

lens technology

a

The technology required to produce first-class interchangeable camera lenses is very sophisticated indeed, and that
applies to every phase of the production process from design through precision parts manufacturing and assembly to
stringent quality assurance testing and more. Sony brings a distinguished history of excellence in all of these areas to
bear in producing the a lenses. You’ll feel the difference in the way a lenses handle, and you’ll see the difference in
the superior image quality they deliver.

Aspherical lens elements

Spherical aberration, slight misalignment at
the image plane between light that has passed
through the center and periphery of a simple
spherical lens, can become a noticeable
problem in large-aperture lenses. The most
effective solution is to use one or more specially
shaped aspherical elements near the aperture
stop to restore perfect alignment at the image
plane, thus maintaining high contrast even
with the aperture wide open. Aspherical lenses
arranged far from the aperture stop can minimize image distortion and flatness
of the image plane. Well-designed aspherical lens can reduce the number of
elements in the lens for less overall size and weight.

Aspherical lens ED glass

Image
sensor
plane

Image
sensor
plane

ED and Super ED glass

Chromatic aberration in conventional
optical glass elements can reduce contrast,
resolution, and color fidelity, particularly at
longer focal lengths. ED (Extra-low Dispersion)
and Super ED glass were developed with
refractive index and dispersion characteristics
specially tailored to counter this problem.
Lenses that include ED or Super ED glass
elements provide superior contrast and
resolution throughout the image even at
large aperture settings.

Conventional glassSpherical lens

Image s ensor
plane

Image s ensor
plane

Super ED glass

Image s ensor
plane

Internal focusing mechanism

In this type of lens, focusing is achieved by moving only the internal elements.
The overall length of the lens remains constant, and the filter mounting
thread at the front of the lens remains stationary during focusing. The latter
characteristic is an advantage when using a polarizing filter. Other advantages
include fast autofocus response and reduced minimum focusing distances.

Rear focusing mechanism

This focusing configuration has similar advantages to internal focusing,
described above, but focusing is achieved by moving the rear lens elements
rather than the internal elements.

SSM (Super Sonic wave Motor

SSM is an advanced direct-drive piezoelectric motor that is capable of
delivering high torque even at low speeds, with almost instantaneous start/
stop response. Its fast response and low-noise operation translate directly into
quick, quiet autofocus operation. SSM lenses also include position detection
for enhanced focusing precision. Other advantages of this advanced drive
system are that the focus ring does not rotate during autofocus operation, and
you can directly switch to manual focusing by simply rotating the focus ring.

)

SAM (Smooth Autofocus Motor

SAM is another type of internal lens motor for autofocus drive. While the SSM
motor described above is piezoelectric, the SAM motor is electromagnetic in
operation, but provides similar benefits: responsive autofocus operation that
does not require mechanical coupling from the camera body.

)

STF lens

A unique a lens feature currently available only in the SAL135F28, STF
(

Smooth Trans Focus) is an optical technology that is aimed specifically at
creating the smoothest, most visually pleasing defocusing effect possible
while retaining full resolution and contrast at in-focus areas. STF technology
employs a special “apodization” element that causes the intensity of
defocused point light sources to fade out radially so that no sharply defined
edges or geometry remain. The result is extraordinarily creamy defocusing
that goes beyond the capabilities of conventional lens technology.

STF lens

Apodization optical element

A

a

b

c

Auto clutch

The auto clutch mechanism decouples the focus ring so that it does not
rotate during autofocus operation. This allows the lens to be cradled in one
hand without interfering with autofocus operation, for improved shooting
comfort and versatility.

Circular aperture

Standard lens apertures appear as a flat-sided polygon when the lens is
stepped down, the number of sides corresponding to the number of blades
in the aperture. This results in the familiar polygonal out-of-focus highlights
seen in many photographs. Almost all a lenses feature a unique circular
aperture that contributes to smooth, natural defocusing.

Comparison of aperture design

Conventional aperture Circular aperture

Floating lens mechanism

This focusing feature is particularly important in certain lenses that are
designed for close focusing. It maintains optimum lens performance and
therefore maximum sharpness right down to the minimum focusing distance
by moving “floating” elements independently when focusing, rather than
moving the entire optical assembly as a whole.

Focus hold button

Press this button to lock focus at the current
setting. The focus hold button is on the lens
barrel right under your fingertip for convenient,
fast operation.

Focus range limiter

This feature can be used to limit focus range
when you need the quickest possible autofocus
response. On some lenses a single “limit” range will
match the characteristics of the lens (near focus
limit on macro lenses, for example), while some
lenses have a “near/far” limit range switch.

Piezoelectric

AC voltage,
Phase B

AC voltage,

RotorStator

SSM con sists of a rotor (left), and a stator (right) on which plexoelectric
elements are mounted.

Phase A

element

Stator

Rotor

Conventional lens

A

Defocu sing of STF lens
(

around focus point “a”

a

b

Defocusing of conventional
lens (around focus point “a”

)

c

)

16 17

Zoom Lenses

The advent of the digital age—both in terms of photography
itself and the tools used for optical design—has made high­performance zoom lenses more accessible and easier to
use than ever before. Not only are zoom lenses a great way
to be ready for any photo opportunity, but the freedom to
rapidly change framing and composition without having

to change the camera position offers creative flexibility
that is just too appealing to ignore. In many situations, that
speed and freedom can be the key to grabbing shots that
would otherwise be missed. Advanced Sony design and
manufacturing technology delivers outstanding image
quality with unparalleled zoom versatility and convenience.

At 11 mm

100

80

60

40

20

Contrast (%)

036912

Distance from optical center
of lens (mm)

Spatial frequency

10 line pairs/mm
30 line pairs/mm

Wide-angle zoom

DT 11–18mm F4.5– 5.6 S A L1118

One ED glass ele ment and three aspheri cal ele ments 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 18 mm

100

80

60

40

20

Contrast (%)

036912

Distance from optical center
of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

This lens fits squarely in the “wide zoom” category, offering a range of
focal lengths that are indispensable for serious indoor and architectural
photography as well as any other situation that demands wide-angle
coverage. City scenes, crowded markets, historical ruins… all of these are
subjects that can benefit from the wide perspectives this lens provides.
It’s also a great lens for shooting dynamic images with deep perspective.
Although wide angles present more opportunities for image-degrading
lens flare, the SAL1118 features special elements and design that reduce
flare and aberrations to a minimum for crisp, high-contrast images even
under difficult conditions.

• Weight (approx): 360 g

• Dimensions (Dia. x L): 83 x 80.5 mm

• Max. magnification ratio: 0.125x

M mode, 1/1250 sec., F8, ISO 20 0, Auto white balan ce; Photo: Goh F ujimaki

19

M mode , 1/250 sec., F5.6, I SO 400, Manual w hite bal ance

M mode, 1/100 sec., F8, ISO 200, Da ylight w hite bal ance, Landscap e Creative Styl e; Photo: Nori fumi In agaki

At 16 mm

100

80

60

40

Contrast (%)

20

036912

Distance from optical center
of lens (mm)

Spatial frequency

10 line pairs/mm
30 line pairs/mm

Mid-range zoom

DT 16–50mm F2.8 SSM SAL16 50

Three ED gl ass ele ments and two as pheri cal elements fo r superior image qual ity
Bright constant F2.8 maximum aperture
SSM (Super Sonic wave Motor) for fast, quiet autofocus operation
Circular aperture for attractive defocusing
Dust and weather resistant desi gn
35mm equivalent focal length: 24–75mm

Aspherical lens ED glass

At 50 mm

100

80

60

40

Contrast (%)

20

036912

Distance from optical center
of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

The SAL1650 packs first-class optical performance and a versatile
zoom range into a lens that is remarkably compact and lightweight.
At the wide end you have a 16mm focal length that is ideal for
interiors, sweeping landscapes, or creating visual impact with powerful
perspective. Zoom out to the 50mm end for mid-range telephoto reach
that can bring details and distant subjects closer. What’s more, you have
a constant F2.8 maximum aperture throughout the entire zoom range.
That makes shooting in low light easy, especially when the lens is used
with a body that includes SteadyShot INSIDE™ body-integrated image
stabilization. A large maximum aperture also provides plenty of margin
to stop down for increased depth of field or to freeze fast motion. The
SAL1650 additionally features a circular aperture that, combined with
the F2.8 maximum aperture, contributes to beautiful defocusing effects.

• Weight (approx): 577 g

• Dimensions (Dia. X L): 81 x 88 mm

• Max. magnification ratio: 0.2x

At 16 mm

100

80

60

40

Contrast (%)

20

036912

Distance from optical center
of lens (mm)

Spatial frequency

10 line pairs/mm
30 line pairs/mm

Mid-range zoom

DT 16–105mm F3.5–5.6 SAL1610 5

O ne ED gla ss elem ent and t wo asph erica l elements for superior
image quality
High resolution and contrast throughout zoom range
Circular aperture for attractive defocusing
Focus ring with auto clutch does not rotate during autofocus
35mm equivalent focal length: 24–157.5mm

Aspherical lens ED glass

At 105 mm

100

80

60

40

Contrast (%)

20

036912

Distance from optical center
of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Zoom range can be a very subjective and personal choice, hinging on
individual shooting style and preferred subjects. The 16–105mm range
of this lens is a “sweet spot” for many photographers, wide enough at
the 16mm end to capture indoor scenes and long enough at 105mm
to fill the frame with relatively distant subjects. Comfortable handling is
another plus, facilitated by a compact, lightweight design and an auto­clutch mechanism that prevents focus ring rotation during autofocus
operation, so you can comfortably cradle the lens in your hand while
shooting. Of course comfort isn’t everything. A precision optical design
delivers superb image quality throughout the entire zoom range.

• Weight (approx): 470 g

• Dimensions (Dia. x L): 72 x 83 mm

• Max. magnification ratio: 0.23x

2120