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-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

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

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

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

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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

(

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

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.

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.

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

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

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

)

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

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

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

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

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

Defocu sing of STF lens (

around focus point “a”

Defocusing of conventional lens (around focus point “a”

)

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

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

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

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

Contrast (%)

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

Contrast (%)

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

Contrast (%)

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

Contrast (%)

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

A mode, 1/80 sec., F5.6, ISO 100, Day light wh ite bala nce; Photo: No rifum i Inagaki

S mode, 1/250 sec., F6.3, +1.0 EV, ISO 3200, Auto white balance; P hoto: Shinya M orimoto

At 18 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Mid-range zoom

DT 18–55mm F3.5–5.6 SAM SAL185 5

O ne ED gla ss elem ent and t wo asph erica l elements for superior image quality

0.25m min. focus plus 0.34x max. magnification for close-ups Responsive internal SAM (Smooth Autofocus Motor) autofocus drive Circular aperture for attractive defocusing 35mm equivalent focal length: 27–82.5mm

Aspherical lens ED glass

At 55 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

If you’re the kind of photo enthusiast who likes to carry a camera at all times, whether actively shooting or not, you probably want one small, lightweight lens that won’t be a burden while walking around but will deliver top quality and versatility when a photographic opportunity arises. The SAL1855 is the smallest and lightest zoom in this series, weighing in at only 210 grams while offering an 18–55mm focal length range that will cover most day-to-day subjects. It also features a minimum focusing distance of just 25 centimeters that, combined with 0.34x maximum magnification, will let you get close and explore details. If you want to be prepared for a wider range of subjects the SAL1855 is the perfect companion for the SAL55200-2, the pair providing excellent optical performance from 18mm to 200mm.

• Weight (approx): 210 g

• Dimensions (Dia. x L): 69.5 x 69 mm

• Max. magnification ratio: 0.34x

High magnification zoom

DT 18–200mm F3.5–6.3 SA L182 0 0

Two ED glass elements and three aspherical eleme nts for superior image qualit y Broad zoom range in a compact, lightweight lens Circular aperture for attractive defocusing Internal focusing for fast autofocus and short min. focus distance 35mm equivalent focal length: 27–300mm

At 18 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Aspherical lens ED glass

At 200 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

It will take you from a wide scene-spanning 18mm to far-reaching 200mm telephoto that will let you zoom in on distant subjects, yet the SAL18200 weighs only 405 grams and is no larger than many zooms of more limited range. For these reasons it is an excellent choice for photographers who want to cover as many situations as possible without having to change lenses. In addition to being an outstanding one-lens solution, it features a refined optical design that ensures excellent sharpness and contrast throughout the image at all focal lengths, so you can shoot with confidence in any situation that arises.

• Weight (approx): 405 g

• Dimensions (Dia. x L): 73 x 85.5 mm

• Max. magnification ratio: 0.27x

22 23

P mode, 1/125 sec., F5.6, +0.3 EV, ISO 100, Auto white balanc e, Portrait Creative Style; Photo: No rifumi Inagak i

A mode, 4 se c., F9.0, -1.0 EV, ISO 200, Day light white balance; Photo: Kazu Kob ayashi

At 18 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

High magnification zoom

DT 18–250mm F3.5–6.3 SAL1825 0

Two ED glass elements and two aspherical elements for superior image quality Extra-broad zoom range in a compact, lightweight lens Circular aperture for attractive defocusing Internal focusing for fast autofocus and short min. focus distance 35mm equivalent focal length: 27–375mm

Aspherical lens ED glass

At 250 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Although similar to the SAL18200 in zoom range and performance, the SAL18250 offers a bit more “reach” at the long end that can make a significant difference if you’re shooting sports or wildlife, for example. The tradeoff is a small increase in weight and size, but if you need the extra range the difference is worth it. You get the same outstanding clarity and contrast from the wide 18mm end to full 250mm telephoto, making this lens one of the most useful and versatile for APS-C format cameras and an extremely wide spectrum of subjects.

• Weight (approx): 440 g

• Dimensions (Dia. x L): 75 x 86 mm

• Max. magnification ratio: 0.29x

Mid-range zoom

28–75mm F2.8 SAM SAL2875

Aspherical lens ED glass

At 28 mm

100

Contrast (%)

04812 16 20 048121620

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

At 75 mm

100

Contrast (%)

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Three ED glass elements and four apherical elements for superior image quality Bright constant F2.8 maximum aperture Responsive internal SAM (Smooth Autofocus Motor) autofocus drive Circular aperture for attractive defocusing

* The SAL2875 received the

2010 TIPA Best Expert Lens award.

If you use a 35mm full frame format camera body, this award-winning* lens offers an ideal balance of brightness, zoom range and image quality for a wide range of situations you’re likely to encounter in everyday shooting. The fact that it features a constant, bright F2.8 maximum aperture at all focal lengths offers significant advantages for hand held and low light shooting, as well as for creating gorgeous defocused backgrounds. But you never know when you might need to go a bit longer, so if there’s room in your bag consider taking the 75–300mm SAL75300 along as well: the SAL2875 plus SAL75300 combination gives you a full-frame focal length range from 28mm to 300mm.

• Weight (approx): 565 g

• Dimensions (Dia. x L): 77.5 x 94 mm

• Max. magnification ratio: 0.22x

24 25

S mode, 1/3200 sec., F9, ISO 800, Au to white balance

A mode, 1/1250 sec., F5.6, +0.3 E V, ISO 200, Au to white ba lance, Vivid Crea tive St yle; Photo: Takes hi Hiraya ma

At 55 mm

100

Contrast (%)

03 6912

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Telephoto zoom

DT 55–200mm F4–5.6 SAM SAL55200-2

One ED glass ele ment for superior image quality Mediu m to telephoto range in a light weight lens 9-blade circular aperture for attractive defocusing Responsive internal SAM (Smooth Autofocus Motor) autofocus drive 35mm equivalent focal length: 82.5–300mm

ED glass

At 200 mm

100

Contrast (%)

03 6912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Covering the medium to telephoto stretch of the “standard” zoom range with ample F5.6 brightness at the 200mm end, this lens is a lightweight, easy handling choice for shooting sports and other subjects that require some telephoto reach. On an APS-C format camera the 35mm equivalent focal length at the telephoto end is 300mm, which is long enough to capture tight shots of the action. In terms of compact, lightweight design and optical performance, the SAL55200-2 is an ideal companion for the 18–55mm SAL1855. The pair is light enough to be carried comfortably, providing outstanding image quality from 18mm to 200mm.

• Weight (approx): 305 g

• Dimensions (Dia. x L): 71.5 x 85 mm

• Max. magnification ratio: 0.29x

Telephoto zoom

75–300mm F4.5–5.6 SAL7530 0

Extra-broad zoom range for full-frame cameras High optical performance at all focal lengths Circular aperture for attractive defocusing Double telephoto configuration achieves compact dimensions

At 75 mm

100

Contrast (%)

03 6912

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

At 300 mm

100

Contrast (%)

03 691220 20

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Going out to shoot sports, wildlife, or other distant subjects with a 35mm full frame format camera? Be sure to take this lens along. Its 75–300mm zoom range will let you go from medium perspectives that provide a comprehensive view of the action to tight close-up of individual image elements in an instant. If you want to be ready for just about every conceivable shooting situation, take the 28–75mm SAL2875 along as well, and you’ll have every focal length from 28mm to 300mm covered in a portable two-lens kit that will deliver admirable image quality on high-performance full-frame bodies.

• Weight (approx): 460 g

• Dimensions (Dia. x L): 71 x 122 mm

• Max. magnification ratio: 0.25x

26 27

Fixed Focal Length Lenses

Fixed focal length lenses, commonly known as "prime lens" or simply as "primes," can complement your photographic vision in a number of ways. Although most of the focal lengths offered are also available with zoom lenses, some special-purpose lenses are only available as primes: fisheye lenses and most true macro lenses are examples. And since the optical path only needs to work at one focal

length, it can be optimized to deliver a level of optical performance that is a cut above the average zoom. But many photographers like working with a fixed focal length simply because it always gives them the same angle of view and perspective, making it easier to pre-visualize what the camera will see and thus providing the most consistent, intuitive shooting experience.

Fisheye

16mm F2.8 Fisheye S AL16 F28

At 16 mm

100

Contrast (%)

03691220

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

A mode, 1/200 sec., F7.1, -0.3 EV, ISO 200, Au to white balance; Photo: Yuji Nukui

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

Once a scientific tool but now a favorite of creative photographers, fisheye lenses forgo the restraints of rectilinear perspective—the complex “correction” that is required to keep straight lines looking straight—to deliver expansive images that cover an extremely wide angle of view with curvilinear perspective. The SAL16F28 provides an extremely wide 180° angle of view on 35mm full-frame format cameras (110° on APS-C format cameras). In addition to eye-catching interpretations of reality, it offers extended depth of field so that you can capture huge vistas in which everything from 20 centimeters to infinity is sharp, even at maximum aperture. Since the bulging front element and wide angle of view prevent the use of external screw-in filters, four selectable internal filter settings are provided: normal, O56 monochrome, B12 red reduction and A12 blue reduction.

• Weight (approx): 400 g

• Dimensions (Dia. x L): 75 x 66.5 mm

• Max. magnification ratio: 0.15x

M mode, 1/125 sec., F11, ISO 200, La ndscape Creati ve Style; Photo: Yuji Nuk ui M mode, 1/125 sec., F11, ISO 200, La ndscape Creati ve Style; Photo: Yuji Nuk ui

Ultra wide angle

20mm F2.8 SAL20F28

At 20 mm

100

Contrast (%)

036912 20

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Wide 94° angle of view on full -fra me cameras Precisely corrected for natural perspective Aberration effectively suppressed throughout the focus range

Rear-focusing mechanism for fast autofocus response

Circular aperture for attractive defocusing

This rigorously corrected lens gives you a wide angle of view for images that benefit from dramatic perspective with minimum distortion. It’s an ideal choice for covering spread-out scenes that you can’t get far enough way from to cover with a “normal” lens. But there’s more: since it has extended depth of field that can keep everything from 25 centimeters to infinity in crisp focus, you can create exaggerated perspective by including very close and very distant objects in the frame. Close objects will loom large, while distant objects appear to recede markedly into the distance. Meticulous attention has been paid to minimizing flare and internal reflections in this advanced design, with the result that excellent sharpness and contrast are maintained through the image.

• Weight (approx): 285 g

• Dimensions (Dia. x L): 78 x 53.5 mm

• Max. magnification ratio: 0.13x

Wide angle

28mm F2.8 SAL28F28

At 28 mm

100

Contrast (%)

036912 20

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Excellent contrast and resolution Compact, lightweight design Built-in slide- out lens hood An outstanding choice for 35mm full-frame and APS-C format cameras

28 millimeters is an extremely versatile focal length that can be useful in a wide variety of situations on both full frame and APS-C format cameras. On a 35mm full frame format camera, 28mm is wide enough to allow comfortable shooting indoors or on the street without producing forced perspective. On an APS-C format camera 28mm is equivalent to a focal length of 42mm, which is close to “normal” in terms of angle-of-view and perspective. For photo enthusiasts who use either or both types of bodies, this lens is a must-have! It’s compact and lightweight, and is a versatile, convenient choice for use either as a main or second lens.

• Weight (approx): 185 g

• Dimensions (Dia. x L): 65.5 x 42.5 mm

• Max. magnification ratio: 0.13x

30 31

M mode, 1/320 sec., F5.6, IS O 200, Cloudy wh ite bala nce (-1); Photo: Kentaro Fu kuda

A mode, 1/320 sec., F2, +0.3 EV, ISO 200, Manual white balance

Normal

DT 35mm F1.8 SAM SAL35F18

At 35 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Excellent sharpness and contrast throughout the image Circular aperture for attractive defocusing Responsive internal SAM (Smooth Autofocus Motor) autofocus drive Bri ght enou gh for handheld shooting in low light 35mm equivalent focal length: 52.5mm

There’s a very good reason why 35mm is one of the most popular focal lengths for use on APS-C format cameras. The full-frame equivalent focal length is 52.5mm, providing “normal” perspective—similar to that experienced with the naked eye—and an angle of view that is suitable for an extremely wide range of subjects. You can shoot anything from landscapes to portraits with this lens, without ever feeling that the perspective is too forced or too flat, or that objects appear distorted. The large F1.8 maximum aperture is another advantage: bright enough to allow hand-held shooting in low light, and capable of producing smooth defocusing effects that can add depth and artistic elegance to your images. As a bonus, the SAL35F18 weighs a mere 170 grams, making it unobtrusive on the camera, in a bag, or even in a pocket!

• Weight (approx): 170 g

• Dimensions (Dia. x L): 70 x 52 mm

• Max. magnification ratio: 0.25x

Normal

50mm F1.4 SAL50 F14

At 50 mm

100

Contrast (%)

036912 20

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Flare effectively controlled for high contrast Outstanding corner-to-corner resolution Bright F1.4 max. aper ture facilitates hand -held shoot ing in low l ight Circular aperture for attractive defocusing

50mm focal length with a maximum aperture of F1.4: this quintessential fast “normal” lens formula has produced some of the greatest photographic masterpieces in history, and continues to serve as a photographic standard to this day. Of course not all 50mm F1.4 lenses are created equal, and the stunning clarity and contrast delivered by the SAL50F14 proves that it is one of the finest in its class. While the in-focus plane is sharp from corner to corner, the combination of F1.4 maximum aperture and circular aperture design makes it possible to elicit silky-smooth defocusing effects to enhance dimensionality and isolate important visual elements. This is a lens that should be part of every serious photo enthusiast’s palette.

• Weight (approx): 220 g

• Dimensions (Dia. x L): 65.5 x 43 mm

• Max. magnification ratio: 0.15x

32 33

M mode, 1/800 sec., F8, ISO 40 0, Auto white balanc e M mode, 1/640 sec., F2.8, - 0.3EV, ISO 200, Man ual white balanc e

Mid-range telephoto

DT 50mm F1.8 SAM SAL5 0F18

At 50 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Compact, lightweight and eminently portable

Circular aperture for attractive defocusing

Responsive internal SAM (Smooth Autofocus Motor) autofocus drive

Bright enough for handh eld sho oting in l ow light

35mm equivalent focal length: 75mm

On APS-C format cameras, for which it is specifically designed, the SAL50F18 functions as a moderate telephoto lens (equivalent to 75mm on a full-frame camera) that can be ideal for shooting portraits as well as for framing and isolating areas of interest in broader, busier scenes. Not only can you isolate the desired subject matter by framing, but you can also take advantage of the lens’s large F1.8 maximum aperture and circular aperture design to isolate your subject from the background by using defocusing. The large maximum aperture also facilitates shooting in low light, a capability that is further enhanced by SteadyShot INSIDE™ image stabilization featured in a series bodies.

• Weight (approx): 170 g

• Dimensions (Dia. x L): 70 x 45 mm

• Max. magnification ratio: 0.2x

Mid-range telephoto

85mm F2.8 SAM SAL85F28

At 85 mm

100

Contrast (%)

048121620

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Compact, lightweight and eminently portable Excellent corner-to-corner sharpness Large maximum aperture plus circular aperture design for smooth defocusing Responsive internal SAM (Smooth Autofocus Motor) autofocus drive

Photographers often choose a large-aperture 85mm lens for portraits for two compelling reasons. First, the 85mm focal length makes it easy to fill the frame with the subject from a comfortable distance, without getting so close that unflattering distortion occurs. And second, a large maximum aperture works with the medium-long focal length to create beautifully defocused backgrounds, so that the subject seems to “pop” out of the image. The SAL85F28 is just such a lens. But it’s not just limited to portraits. It’s a great choice for any situation where you want a bit more magnification than a “standard” focal length provides. And the fact that it is light and compact means that it’s easy to take along as a second lens.

• Weight (approx): 175 g

• Dimensions (Dia. x L): 70 x 50 mm

• Max. magnification ratio: 0.2x

34 35

A mode, 1/400 sec., F4.5, I SO 200 , 5300 K color temperature; Photo: Chu kyo Ozawa P mode, 1/200 sec., F4. 5, ISO 100, Au to white ba lance; Ph oto: Kentaro Fuku da

Telephoto

135mm F2.8 [T4.5] STF SAL135F28

At 135 mm

100

Contrast (%)

036912 20

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Unique Smooth Trans Focus design featuring apodization optics

Sharp in-focus areas with extra-smooth background and

foreground defocusing

Smooth, natural highlight diffusion

Manual focus and manual aperture ring

This unique lens has been specifically designed to deliver smooth transitions between crisp in-focus areas and creamily defocused background and foreground areas. It uses special apodization* optics to produce images that seem to have an extra dimension, with high resolution at the plane of focus, gradually melting away to beautifully diffused out of focus rendition. With some lenses highlights in defocused areas can be distracting, but with this unique Smooth Trans Focus design they retain their natural shape in a way that doesn’t detract from the defocused background or foreground, and there’s no ugly double-line defocusing. The SAL135F28 promises a one-of-a-kind photographic experience. A manual aperture ring is provided for direct, hands-on defocusing control.

• Weight (approx): 730 g

• Dimensions (Dia. x L): 80 x 99 mm

• Max. magnification ratio: 0.25x

* “Apodization” is the technical term for changing the shape of a mathematical

function; in this case the optical transmission characteristics of the lens.

• For details of STF technology. See pg.17.

Macro

DT 30mm F2.8 Macro SAM SAL30M28

At 30 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

2cm working distance lets you get really clos e Precision optics deliver excellent sharpness and contrast Compact, lightweight, portable design Responsive internal SAM (Smooth Autofocus Motor) autofocus drive 35mm equivalent focal length: 45mm

If you shoot with an APS-C format camera and want a lightweight, compact lens that will handle snapshots and portraits plus macro photography as well, this is it. The 35mm equivalent focal length of this lens is a distinctly “normal” 45mm, making it a good choice for general photography. But when an exquisite little detail catches your eye, you can move in as close as 2 centimeters from your subject to capture macro images with up to 1:1 magnification. The details you focus on will be astonishingly sharp, while the out-of-focus background dissolves into a creamy blur that can really make the details stand out. The SAL30M28 is only 45 millimeters long and weighs a discreet 150 grams, so it can stay on your camera or in your bag at all times without getting in the way.

• Weight (approx): 150 g

• Dimensions (Dia. x L): 70 x 45 mm

• Max. magnification ratio: 1.0x

36 37

M mode, 1/50 sec., F2.8, ISO 400, Auto white balance; Photo: Shinya Mo rimoto P mode, 1/160 sec., F2.8, ISO 40 0, Auto white balan ce; Photo: Kentaro Fukuda

Macro

50mm F2.8 Macro SAL50M28

At 50 mm

100

Contrast (%)

036912 20

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

High-performance macro and everyday shooting with one lens

Accurate autofocus from 1:1 magnification to infinity

Double floating design contributes to outstanding image quality

Circular aperture for attractive defocusing

Focus ring with auto clutch does not rotate during autofocus

Photographers who are attracted to details need a lens that lets them get in close when necessary, filling the frame with their diminutive but fascinating subjects. A lens like the SAL50M28, with a minimum focusing distance of just 20 centimeters and up to 1:1 magnification, can open up a world of creative possibilities. But there’s no need to change lenses when you want to go back to shooting at normal distances. The SAL50M28 offers outstanding optical performance for general photography as well, and its 50mm focal length is a very versatile choice for 35mm full frame format cameras. On APS-C format cameras you get a little more reach, which can be advantageous for some normal subjects as well as macro shooting.

• Weight (approx): 295 g

• Dimensions (Dia. x L): 71.5 x 60 mm

• Max. magnification ratio: 1.0x

Macro

100mm F2.8 Macro SAL10 0 M28

At 100 mm

100

Contrast (%)

036912 20

Distance from optical center of lens (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Stunning macro shots from a comfortable distance Autofocus from 1:1 magnification to infinity Double floating design contributes to outstanding close-up image quality 9-blade circular aperture for attractive defocusing Focus hold button, focus range limiter Focus ring with auto clutch does not rotate during autofocus

Doing macro photography outdoors “in the wild” often means that you can’t get too close to your subject and lighting can’t be easily controlled. That’s when you need a telephoto macro lens like the SAL100M28. Greater working distance means you can capture tight macro shots of small-scale wildlife without scaring it away, and you’re not so close that you need special lighting to illuminate your subject. Of course the SAL100M28 is a first class telephoto lens for normal shooting too, and can be a good choice for portraits or other subjects that require a bit more reach than a normal lens.

• Weight (approx): 505 g

• Dimensions (Dia. x L): 75 x 98.5 mm

• Max. magnification ratio: 1.0x

38 39

G Lenses

Sony G Lenses are an exceptional breed. They inherit a distinguished pedigree from the original Minolta® lens line, with industry-leading Sony design and quality assurance technology added to push their performance to the forefront of twenty-first century photography. G Lenses impart a visual elegance to every aspect of the images they produce:

extraordinary presence at in-focus areas, smoothly dissolving to luscious out-of-focus rendering that can provide a beautiful foundation for captivating photographic art. Their handling is extraordinary too, with intimate operation and response that seamlessly connect the process of taking photographs to the photographer’s imagination.

Telephoto zoom

70–200mm F2.8 G SAL70200G

ED glass

At 70 mm

100

Contrast (%)

048121620

Distance from center of image (mm) Distance from center of image (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

At 200 mm

100

Contrast (%)

048121620

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

A mode, 1/60 sec., F11, ISO 100, Daylig ht white ba lance

Four ED glass elements effectively suppress aberration Constant F2.8 maximum aperture Outstanding sharpness and contrast throughout the zoom range SSM (Super Sonic wave Motor) for fast, quiet autofocus operation Circular aperture for attractive defocusing Focus hold and focus range switches offer precision focusing control

The range from 70 to 200 millimeters is where much of the telephoto action occurs. The ability to cover that range with a constant F2.8 aperture affords some significant photographic advantages, and the outstanding clarity and contrast offered by the SAL70200G multiplies those advantages many times over. Although the large F2.8 maximum aperture does make it easier to create beautifully defocused backgrounds, there are important advantages for shooting moving subjects as well. Larger apertures—often referred to as “fast” as well as “bright”—allow you to use faster shutter speeds to achieve equivalent exposure, making it possible to capture motion that might end up as a blur with a slower lens. The SAL70200G does it all with characteristic G Lens refinement and class.

• Weight (approx): 1340 g

• Dimensions (Dia. x L): 87 x 196.5 mm

• Max. magnification ratio: 0.21x

• Tripod mount supplied

A mode, 1/400 sec., F13, ISO 40 0, Auto white balance; Photo: Ma rk Tille r Continuous Pri ority A E, 1/1250 sec., F5.6, - 0.7 EV, ISO 100, Daylight white balance (+1); Photo: Goh Fujimaki

Telephoto zoom

70–300mm F4.5–5.6 G SSM SAL70300G

ED glass

At 70 mm

100

Contrast (%)

048121620

Distance from center of image (mm) Distance from center of image (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

At 300 mm

100

Contrast (%)

048121620

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

One ED glass element contributes to minimal aberration

Outstanding sharpness and contrast throughout the zoom range

SSM (Super Sonic wave Motor) for fast, quiet autofocus operation

Circular aperture for attractive defocusing

Focus hold and focus range switches offer precision focusing control

The SAL70300G is the smallest and lightest zoom in the current G Lens series, offering an appealing combination of extended zoom range and handling, plus image quality that will satisfy the most demanding photo enthusiast or pro. An ED lens element collaborates with an advanced optical path design to achieve exceptionally low aberration right out to the maximum 300mm focal length, so that your telephoto images benefit from impressive clarity and depth. 300mm is generally considered to be the point at which the “medium” telephoto range ends and the “super” telephoto range begins. Long focal lengths like this require careful handling to prevent camera shake, but SteadyShot INSIDE™ image stabilization featured in a series bodies will help you capture clear, blur-free images in a wider range of handheld shooting situations than would normally be possible.

• Weight (approx): 760 g

• Dimensions (Dia. x L): 82.5 x 135.5 mm

• Max. magnification ratio: 0.25x

• Tripod mount supplied

At 70 mm

100

Contrast (%)

048121620

Distance from center of image (mm)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Super telephoto zoom

70–400mm F4–5.6 G SSM SAL70400G

Manual focus only

Two ED glass elements effectively suppress aberration Outstanding sharpness and contrast throughout the zoom range SSM (Super Sonic wave Motor) for fast, quiet autofocus operation Circular aperture for attractive defocusing Focus hold and focus range switches offer precision focusing control

ED glass

At 400 mm

100

Contrast (%)

048121620

Distance from center of image (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Covering an extremely wide telephoto range with ample brightness, this award-winning* lens can, for example, take you from an elegant 70mm portrait to a stunning 400mm wildlife shot in an instant without having to change lenses and potentially miss a great shot. This is an extraordinarily wide zoom range for a lens in this class, but range isn’t its only feature. Being a high-end G Lens with a precision optical path that includes two ED glass elements, you can be sure that it will deliver excellent sharpness and contrast right out to the edges of the image at all focal lengths. And although long telephoto shots usually require a very steady hand or even a tripod to achieve optimum quality, SteadyShot INSIDE image stabilization featured in a series bodies will vastly improve your chances of capturing stunning handheld telephoto images.

• Weight (approx): 1500 g

• Dimensions (Dia. x L): 94.5 x 196 mm

• Max. magnification ratio: 0.27x

• Tripod mount supplied

* The SAL70400G received the 2009 TIPA Best Expert Lens award and the

2009-2010 EISA Zoom Lens award.

42 43

A mode, 1/250 sec., F1.4, ISO 200, Viv id Creative Sty le; Photo: Yuji Nukui S mode, 1/80 sec., F14, ISO 100, Fl ash; Photo: N ick Webster

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Wide-angle prime

35mm F1.4 G SAL35F14G

One aspherical element contributes to outstanding image quality

even at maximum aperture

High resolution and contrast throughout the image area

Circular aperture for attractive defocusing

Focus ring with auto clutch does not rotate during autofocus

Focus hold and focus range switches offer precision focusing control

Aspherical lens

At 35 mm

100

Contrast (%)

048121620

Distance from center of image (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

35mm prime lenses are a staple for many photographers. The angle of view provided by this focal length is one of the most comfortable and versatile on both 35mm full frame format and APS-C format cameras, and with that, this lens can be used for anything from close-ups to landscapes. The SAL35F14G, with its superb optics and large F1.4 maximum aperture, is one of the finest fast 35mm lenses in its class. In addition to no-compromise G Lens construction and quality throughout, it features an optical design that includes an aspherical lens element that contributes to consistently superior, low-distortion image quality right up to the F1.4 maximum aperture. You can shoot wide open in low light knowing that the entire scene will be captured with equally superb clarity and contrast. The large maximum aperture and circular aperture design are also an advantage when you want to isolate your subject from a busy background, for example, allowing you to defocus unwanted detail so your subject stands out.

• Weight (approx): 510 g

• Dimensions (Dia. x L): 69 x 76 mm

• Max. magnification ratio: 0.2x

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Telephoto prime

300mm F2.8 G SAL300F28G

Three ED glass elements effectively suppress aberration Exceptional sharpness and contrast throughout the image area SSM (Super Sonic wave Motor) for fast, quiet autofocus operation Circular aperture for attractive defocusing Focus hold and focus range switches offer precision focusing control

ED glass

At 300 mm

100

Contrast (%)

048121620

Distance from center of image (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

If you’re serious about shooting sports, nature, or wildlife, or just about any subject that moves and needs to be shot from a distance, this is a lens that you’ll want to have in your kit. 300mm is the sweet spot for a wide range of telephoto applications, and its large F2.8 maximum aperture makes it possible to use motion-stopping shutter speeds when shooting fast action, as well as to control depth-of-field for creative defocusing. Chromatic aberration can be a problem in telephoto lenses, but the SAL300F28G uses three ED elements in a top-class optical design that reduces aberration to a minimum, ensuring high resolution, high contrast image quality at all aperture settings. A minimum focusing distance of just 2 meters is another advantage that is rare in a lens of this type, letting you take advantage of telephoto characteristics at close range.

• Weight (approx): 2310 g

• Dimensions (Dia. x L): 122 x 242.5 mm

• Max. magnification ratio: 0.18x

• Tripod mount supplied

44 45

Vario-Sonnar

Distagon

Vario-Sonnar

Sonnar

Teleconverters

1.4x Teleconverter

SAL14TC

2.0x Teleconverter

SAL20TC

SAL7030 0G wit h SAL20TC, A mode, 1/500 sec., F6. 3, -0.3 E V, ISO 200, Daylight white balance; Photo: Kazu Kobayas hi

Optics designed to deliver uncompromised image quality

Increase focal length without degrading resolution or contrast

Compatible with: SAL7020 0G (AF and MF m odes), SAL30 0F28G (AF and MF m odes),

SAL70400G (MF mode only) and SAL135F28 (MF mode only).

The SAL14TC and SAL20TC teleconverters are a great way to extend your telephoto range without having to carry more large lenses. The SAL14TC provides a 1.4x increase in focal length with a 1-stop light loss, so when used with the SAL300F28G, for example, you have the equivalent of a 420mm lens with a maximum aperture of F4. The SAL20TC doubles focal length with a 2-stop light loss, so the same SAL300F28G lens becomes a 600mm super-telephoto with a maximum aperture of F5.6. For sports, wildlife and landscapes, the SAL14TC and SAL20TC teleconverters can give you maximum reach with minimum gear to carry.

1.0 x 1.4x 2.0x

• Images manipulated to simulate teleconverter magnification.

Carl Zeiss® Lenses

Carl Zeiss AG, founded in 1846, is a legend in the field of camera optics. The company was responsible for many of the innovations that have raised the quality of photographic imaging to the high standard we enjoy today, and is revered for its unswerving dedication to delivering nothing less than the best. Sony is proud and honored to be working with Carl Zeiss AG on the

development and production of top-class lenses for Sony

series cameras. In fact, these are the only autofocus

Carl Zeiss lenses currently available for use on digital singlelens reflex cameras, meaning that Sony camera users have exclusive access to legendary image quality that many consider to be the ultimate in photographic expression.

Planar

A mode, 1/50 sec., F8, - 0.3 EV, ISO 20 0, Daylight white balanc e, B/W Creati ve Styl e; Photo: Kentaro Fu kuda A mode, 1/800 sec., F8, +0.7EV, ISO 200 , Manual w hite bal ance

At 16 mm - Open

100

Contrast (%)

048121620

Distance from center of image (mm)

At 30 mm - Ope n

100

Contrast (%)

048121620

Distance from center of image (mm)

Wide-angle zoom

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

One Super ED glass element, one ED glass element and three aspherical

elements for superior image quality

Carl Zeiss T* coating effectively controls flare and glare

Constant F2.8 maximum aperture

Outstanding sharpness and contrast at all aperture settings

Quiet, responsive interna l SSM (Super Sonic wave Motor) autofocus drive

Aspherical lens ED glass

Super ED glass

At 16 mm - F8

100

Contrast (%)

048121620

Distance from center of image (mm)

At 30 mm - F8

100

Contrast (%)

048121620

Distance from center of image (mm)

Focus mode switch and focus hold button offer precision focus control

Although it is a wide-angle zoom, and an ideal supplement to a highperformance mid-range zoom, the 16–35mm range of this lens will satisfy the core focal length requirements of many photographers who shoot primarily indoors or in the city. At the other end of the spectrum it can be a great choice for spacious landscapes as well. Regardless of where or how the SAL1635Z is used, its advanced coated optical path delivers exceedingly crisp images with striking contrast, without the aberration and peripheral light falloff that commonly plague wide-angle zooms. That same superlative quality is maintained throughout the zoom range, even at the maximum F2.8 aperture.

• Weight (approx): 860 g

• Dimensions (Dia. x L): 83 x 114 mm

• Max. magnification ratio: 0.24x

At 16 mm - Open

100

Contrast (%)

048121620

Distance from center of image (mm)

At 80 mm - Ope n

100

Contrast (%)

048121620

Distance from center of image (mm)

Mid-range zoom

Vario-Sonnar T* DT 16–80mm F3.5–4.5 ZA SAL1680 Z

Two aspherical elements for outstanding image quality at all apertures Carl Zeiss T* coating effectively controls flare and glare Outstanding sharpness and contrast at all focal lengths Circular aperture for attractive defocusing Compact, lightweight high-performance zoom 35mm equivalent focal length: 24–120mm

Aspherical lens

At 16 mm - F8

100

Contrast (%)

048121620

Distance from center of image (mm)

At 80 mm - F8

100

Contrast (%)

048121620

Distance from center of image (mm)

Because it has been designed specifically for APS-C format cameras, the SAL1680Z is the lightest and most compact zoom in the Carl Zeiss lineup. It also offers the greatest zoom range in the lineup, making it a superb single-lens solution for many APS-C format photographers. Its 35mm equivalent focal length range of 24–120mm may be all you’ll ever need for day-to-day shooting. And of course it delivers acclaimed Carl Zeiss optical performance and handling, with image quality that rivals the best prime lenses at any focal length. Although the maximum aperture isn’t as large as the 35mm full-frame format lenses in this series, circular aperture design makes it possible to get creative with beautifully smooth defocusing effects. The SAL1680Z is quite simply the most versatile, economical way to experience Carl Zeiss quality on an a series APS-C format body.

• Weight (approx): 445 g

• Dimensions (Dia. x L): 72 x 83 mm

• Max. magnification ratio: 0.24x

48 49

A mode, 1/30 sec., F11, +0.7 EV, ISO 100, Auto white balance; P hoto: Mike Jon es M mode, 1/500 se c., F8, -1.7 EV, ISO 200, Suns et Creati ve Styl e, D- Range O ptimize r Lv2; Photo: Kentaro Fukuda

At 24 mm - Open

100

Contrast (%)

048121620

Distance from center of image (mm)

At 70 mm - Open

100

Contrast (%)

048121620

Distance from center of image (mm)

Mid-range zoom

Vario-Sonnar T* 24–70mm F2.8 ZA SSM SAL2470Z

Two ED glass elements and two aspherical elements for superior image quality

Carl Zeiss T* coating effectively controls flare and glare

Constant F2.8 maximum aperture

Outstanding sharpness and contrast at all aperture settings

Quiet, res ponsive internal SSM (Super Sonic wave Motor) autofocus drive

Focus mode switch and focus hold button offer precision focus control

Aspherical lens ED glass

At 24 mm - F8

100

Contrast (%)

048121620

Distance from center of image (mm)

At 70 mm - F8

100

Contrast (%)

048121620

Distance from center of image (mm)

If you insist on prime-lens image quality but envy the convenience of variable focal length, here’s a lens that brings the best of both worlds together. For many discriminating photographers it is a lens that will stay on the camera most of the time. Its versatile 24mm to 70mm zoom range covers a wide gamut of shooting situations, and its extraordinary sharpness and contrast are fully retained at all focal lengths and apertures. Whether you’re shooting a tight indoor scene at 24mm, a portrait at 70mm, or anything in between, you’ll feel and see legendary Carl Zeiss quality in every shot.

• Weight (approx): 955 g

• Dimensions (Dia. x L): 83 x 111 mm

• Max. magnification ratio: 0.25x

Wide-angle prime

Distagon T* 24mm F2 ZA SSM SAL24F20Z

Aspherical lens ED glass

At 24 mm - Ope n

100

Contrast (%)

04812 16 20 048121620

Distance from optical center of lens (mm)

At 24 mm - F8

100

Contrast (%)

Distance from optical center of lens (mm)

Two ED glass elements and two aspherical elements for superior image quality Carl Zeiss T* coating effectively controls flare and glare Quiet, res ponsive internal SSM (Super Sonic wave Motor) autofocus drive Focus ring with auto clutch does not rotate during autofocus 9-blade circular aperture for attractive defocusing

Representing the wide end of the A-mount Carl Zeiss prime lens range, the 24mm focal length of this model provides a wide perspective on 35mm full-frame format cameras, and a closer-to-normal equivalent focal length of 36mm on APS-C format cameras. Photographers who value a singleprime approach to general shooting will love this lens, as will those who appreciate the subtle but tangible quality advantage that a first-class prime provides. Use it indoors, on the street, or in the wild for images that can bring your artistic vision to life. In addition to unimpeachable optical performance and refined overall handling, this lens offers particularly responsive, quiet autofocus operation and a minimum focusing distance of just 19 centimeters that lets you explore your subjects at close range.

• Weight (approx): 555 g

• Dimensions (Dia. x L): 78 x 76 mm

• Max. magnification ratio: 0.29x

50 51

A mode, 1/320 sec., F2, ISO 200, 5300K co lor temp erature; Photo: Chukyo Ozawa

M mode, 1/160 sec., F4.0, - 0.3 EV, ISO 200, Custom white bala nce; Photo: Ch ukyo Ozawa

At 85 mm - Ope n

100

Contrast (%)

04812 16 20

Distance from center of image (mm)

Mid-range telephoto prime

Planar T* 85mm F1.4 ZA SAL85F14Z

Outstanding sharpness and contrast at all aperture settings

Carl Zeiss T* coating effectively controls flare and glare

9-blade circular aperture for attractive defocusing

Focus ring with auto clutch does not rotate during autofocus

Focus mode switch and focus hold button offer precision focus control

At 85 mm - F8

100

Contrast (%)

04812 16 20

Distance from center of image (mm)

85mm focal length, F1.4 maximum aperture and precision Carl Zeiss T* coated Planar optics: it all adds up to superlative performance and handling for portraiture or medium-telephoto landscapes. The delicate, nuanced “drawing” of the Planar design makes it possible to capture subtleties of light and texture that can give images extraordinary depth and presence. Graceful reproduction of skin tones and textures is a characteristic that is prized by photographers and subjects alike. Shooting comfort is another feature of this refined lens. A wide focus ring with auto clutch mechanism does not rotate during autofocus operation, and a focus hold button on the lens itself lies right under your fingertips for easy access.

• Weight (approx): 640 g

• Dimensions (Dia. x L): 81 x 75 mm

• Max. magnification ratio: 0.13x

At 135 mm - Open

100

Contrast (%)

04812 16 20

Distance from center of image (mm)

Telephoto prime

Sonnar T* 135mm F1.8 ZA SAL135F18Z

Two ED glass elements for superior im age quality Carl Zeiss T* coating effectively controls flare and glare Excellent corner-to-corner sharpness and high contrast Focus ring with auto clutch does not rotate during autofocus Focus hold button provides conveniently placed focus hold control

ED glass

At 135 mm - F8

100

Contrast (%)

04812 16

Distance from center of image (mm)

F1.8 is a relatively large maximum aperture for a 135mm telephoto lens, and the consistently outstanding performance of this lens throughout its aperture range lets you take full advantage of the extra speed and brightness it provides. Whether you need the large aperture to shoot in low light, to achieve suitable shutter speeds for shooting action, or for creative control of background defocusing, the SAL135F18Z will reward

you with stunning resolution and contrast where it counts. In addition to portraits and landscapes with natural proportions and perspective, the 135mm focal length of this lens is often a good choice for indoor sports. 135mm is well within telephoto territory, and usually requires careful handling to avoid image blurring due to camera shake, but on a series bodies with SteadyShot INSIDE™ image stabilization you’ll find it easier than ever to capture crisp images when shooting hand held.

• Weight (approx): 995 g

• Dimensions (Dia. x L): 88 x 114.5 mm

• Max. magnification ratio: 0.25x

52 53

E-mount Lenses

These compact, high-performance lenses are the cornerstone of a new category of still and video cameras that attest to the paradigm-shifting power of Sony innovation. They have been designed from the ground up to be used with the newest generation of ultra-compact APS-C format Sony camera and camcorder bodies, delivering big-camera image quality and features in astonishingly small but capable packages.

In addition to advanced optics and sophisticated handling, the E-mount zooms incorporate proven Optical SteadyShot™ image-stabilization technology from Sony camcorders that can significantly reduce blur due to camera movement in both stills and movies. Sony E-mount lenses are windows to a new world of imaging freedom and quality.

Auto mode, . 6 sec., F2.8, +0. 25 EV, ISO 800, Auto white b alanc e; Photo: Davi d McCla in

SEL16F28 with VCL-ECF1, E 16mm F2.8 with Ultra W ide Converter, 1/3200 sec, F/6.3, ISO 20 0, Auto white balance

100

Contrast (%)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Wide-angle prime

E 16mm F2.8 SEL16F28

Ultra-slim (22.5 mm) and lightweight with high-quality metal exterior

5-element design with one aspherical element for top-class optical performance

Ideal for shooting stills or movies

Circular aperture for attractive defocusing

Built-in motor delivers smooth, quiet autofocus operation

35mm equivalent focal length: 24mm

Aspherical lens

At 16 mm

Combine this compact wide-angle prime lens with any E-mount camera for a totally new photographic experience. Mounted on any of the slim bodies for which it is designed it becomes part of an extraordinarily compact, portable photographic system that can slip comfortably into a coat pocket, ready to shoot at any time. In action it gives you wide 16mm coverage (equivalent to a 24mm lens on a full-frame 35mm camera) for comfortable shooting in situations ranging from cramped indoor settings to sweeping landscapes, and the large F2.8 maximum aperture is ideal

036912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

for handheld shooting in low light. The SEL16F28 is an excellent choice for both stills and movies, particularly since its quiet autofocus/aperture operation will contribute to high-quality movie sound.

• Weight (approx): 67 g

• Dimensions (Dia. x L): 62 x 22.5 mm

• Max. magnification ratio: 0.078x

Fisheye Converter

VCL-ECF1

Ultra Wide Converter

VCL-ECU1

Without converter

Fisheye and Ultra Wide Converters

Although the 16mm SEL16F28 is a wide-angle lens, these converters can give you an even wider view. The VCL-ECF1 Fisheye Converter goes a step further with a 180° angle of view that is equivalent to a 15mm lens on a 35mm full-frame format camera, with fascinating curvilinear “fisheye perspective.” The VCL-ECU1 Ultra Wide Converter provides an angle of view equivalent to that of an 18mm lens on a 35mm full-frame format camera, making it possible to shoot dramatic wide-angle scenes with extended depth of field. Both converters attach securely with bayonet mounts, ensuring optimum optical alignment and image quality. Furthermore, these converters cause no light loss so f-stop values remain unchanged.

With Fisheye Converter

With Ultra Wide Converter

5756

S mode, 1/125 sec., F4, ISO 1600, Au to white balance

M mode, 1/320 sec., F4.5, IS O 200, Au to white ba lance, Vivid Crea tive St yle; Photo: Yayoi Sawada

At 24 mm - Ope n

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Wide-angle prime

Sonnar T* E 24mm F1.8 ZA SEL 24F18Z

High-performance Carl Zeiss wide-angle prime with elegant black metal exterior

One ED glass element and two aspherical elements

Innovative optical design achieves outstanding corner-to-corner sharpness

Ideal for shooting stills or movies

Aspherical lens ED glass

At 24 mm - F8

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Carl Zeiss quality really shows off the capabilities of the E-mount system, with outstanding resolution and contrast that can add legendary Zeiss depth and dimensionality to your images. This wide-angle prime lens delivers superior corner-to-corner sharpness even at the maximum F1.8 maximum aperture, with minimum distortion and coma. It also focuses as close as 16 centimeters, providing an unusual combination of close focus and wide-angle perspective for 1:4 macro photography. The 24mm focal length, equivalent to 36mm on a 35mm format camera, is an excellent choice for general shooting. Many photographers will be happy to leave this lens on their camera most of the time, especially since its F1.8 maximum aperture facilitates handheld shooting even in challenging low-light situations. Movie makers will love this lens too, because smooth, low-noise autofocus and aperture operation mean they can take advantage of its outstanding optical characteristics without worrying about mechanical noise infiltrating the soundtrack.

• Weight (approx): 225 g

• Dimensions (Dia. X L): 63 x 65.5 mm

• Max. magnification ratio: 0.25x

At 18 mm

100

Contrast (%)

036912

Distance from optical center

of lens (mm)

100

Contrast (%)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Mid-range zoom

E 18–55mm F3.5–5.6 OSS S EL185 5

Compact, lightweight 3x zoom with high-quality metal exterior Three aspherical elements for top-class optical performance Ideal for shooting stills or movies Internal OSS (Optical SteadyShot™) image stabilization Circular aperture for attractive defocusing Built-in motor delivers smooth, quiet autofocus operation

Aspherical lens ED glass

At 55 mm

036912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

35mm equivalent focal length: 27–82.5mm

This lens offers a superb balance of form and function: ample zoom range in a compact design that weighs only 194 grams yet is remarkably comfortable to hold and operate. The 18–55mm zoom range, corresponding to 27–82.5mm on a 35mm full-frame format camera, is ideally designed for comfortable framing and capture of most subjects encountered in daily life or on vacation, and a built-in Optical SteadyShot image stabilization system makes it possible to produce sharp images even when shooting handheld in low light. The OSS system is so effective that you’ll be able to capture blur-free images at shutter speeds up to four steps slower than would be possible without image stabilization. And thanks to extremely smooth, quiet autofocus and aperture operation, you don’t have to worry about unwanted camera and lens noise infiltrating your movie soundtracks.

• Weight (approx): 194 g

• Dimensions (Dia. x L): 62 x 60 mm

• Max. magnification ratio: 0.3x

58 59

A mode, 1/3200 sec., F5.6, -0.7 EV, ISO 2 00, Auto w hite bal ance; Photo: Chukyo Oza wa

A mode, 1/20 sec., F5, - 0.3EV, ISO 80 0, Auto white balan ce

At 18 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

100

Contrast (%)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

High magnification zoom

E 18–200mm F3.5–6.3 OSS SEL182 0 0

Versatile extended-range 11x zoom with high-quality metal exterior

Four aspherical elements for top-class optical performance right out

to the image edges

Ideal for shooting stills or movies

Internal OSS (Optical SteadyShot™) image stabilization with Active Mode

Circular aperture for attractive defocusing

Aspherical lens ED glass

At 200 mm

036912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Built-in motor delivers smooth, quiet autofocus and aperture operation

35mm equivalent focal length: 27–300mm

If you’re a photographer/videographer who needs maximum speed, versatility and mobility to rapidly respond to a wide range of shooting situations, from portraits and snapshots to sports, this is a lens you should consider. It features an extensive 11x zoom range, from wide 18mm to 200mm telephoto with impressive image quality all the way. The advanced Optical SteadyShot image stabilization system included in this lens will not only make it easier to shoot blur-free stills at long focal lengths, but it also has an automatic Active Mode that will help keep your movie images steady as you move around with the camera while shooting at the wide end of the zoom range. Another feature that contributes to high-quality movie production is extremely quiet autofocus and aperture operation that will keep your soundtracks free of unwanted camera noise.

• Weight (approx): 524 g

• Dimensions (Dia. x L): 75.5 x 99 mm

• Max. magnification ratio: 0.35x

At 55 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

100

Contrast (%)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Telephoto zoom

E 55–210mm F 4.5–6.3 OSS SEL55210

Compact, lightweight 3.8x telephoto zoom with high-quality metal exterior Two ED glass elements and two aspherical elements for superior image quality Ideal for shooting stills or movies Internal OSS (Optical SteadyShot™) image stabilization Built-in motor delivers smooth, quiet autofocus and aperture operation Circular aperture for attractive defocusing

Aspherical lens

At 210 m m

036912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

35mm equivalent focal length: 82.5mm–315mm

An ideal complement to the 18-55mm zoom range of the SEL1855, this

3.8x zoom lens takes you from 55mm out to 210mm with consistently outstanding optical performance all the way. In 35mm full-frame equivalent terms that’s a wide zoom range of 82.5mm to 315mm, providing plenty of reach for outdoor sports or nature photography. Built-in Optical SteadyShot (OSS) image stabilization is a huge advantage when shooting at longer focal lengths or in low light, making it easy to capture crisp, stable images at up to four shutter speeds lower than would normally be possible. And if you shoot movies as well as stills, the built in motor contributes to quiet yet responsive autofocus and aperture operation that keep your movie soundtrack free from mechanical noise.

• Weight (approx): 330 g

• Dimensions (Dia. X L): 63.8 x 108 mm

• Max. magnification ratio: 0.225x

60 61

A mode, 1/800 sec., F2.0 , ISO 100, Au to white ba lance

Auto mode, 1/1000 se c., F3.5, ISO 20 0, Auto white balan ce

100

Contrast (%)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Mid-range telephoto

E 50mm F1.8 OSS S EL5 0F18

Compact, lightweight mid-range telephoto prime with high-quality metal exterior

Ideal for shooting stills or movies

Bright F1.8 maximum aperture

Internal OSS (Optical SteadyShot™) image stabilization

Built-in motor delivers smooth, quiet autofocus and aperture operation

Circular aperture for attractive defocusing

35mm equivalent focal length: 75mm

At 50 mm

A focal length that is perfect for portraiture and a range of other subjects, a bright F1.8 maximum aperture, Optical SteadyShot (OSS) image stabilization and impressive image quality. Put it all together in a lens that is surprisingly compact and lightweight and you have a winning combination: the SEL50F18. The large maximum aperture and Optical SteadyShot are worthy features in their own right, but working together they make it possible to shoot crisp, clear images under low-light conditions that would be beyond the capabilities of a

036912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

conventional lens. The F1.8 maximum aperture and a circular aperture design also join forces to create gorgeous defocusing effects. Add responsive, quiet autofocus and aperture operation, and you have a lens that is ideally suited to shooting movies as well as stills.

• Weight (approx): 202 g

• Dimensions (Dia. X L): 62 x 62 mm

• Max. magnification ratio: 0.16x

100

Contrast (%)

Spatial frequency

10 line pairs/mm 30 line pairs/mm

Macro

E 30mm F3.5 Macro SEL30M35

Compact, lightweight 1:1 macro lens with high-quality metal exterior O ne ED gla ss elem ent and t wo asph erica l elements for superior image qualit y Ideal for shooting stills or movies Internal focus: the minimum working distance does not change Built-in motor delivers smooth, quiet autofocus and aperture operation Circular aperture for attractive defocusing

Aspherical lens ED glass

At 30 mm

036912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

35mm equivalent focal length: 45mm

Macro photography can be a creative, educational and thoroughly enjoyable pursuit. The SEL30M35 has been designed to offer versatile, high-performance macro capabilities in a lens that is compact, lightweight and easy to use. At the time of release the SEL30M35 is, in fact, the lightest interchangeable 1:1 macro lens available anywhere! It is a true 1:1 macro lens with a 2.4 centimeter minimum working distance that allows tiny subjects and details to be rendered with excellent resolution and contrast. But it also functions as an excellent “normal” lens for day-to-say shooting, and a smooth, quiet internal lens drive system makes it suitable for shooting movies as well. The SEL30M35 is a great choice for a second lens that will let you explore the world in creative new ways. A dedicated lens hood that won’t get in the way when shooting close is included.

• Weight (approx): 138 g

• Dimensions (Dia. X L): 62 x 55.5 mm

• Max. magnification ratio: 1x

62 63

Main specifications of

lenses

Mount Category Page Description Model name

19 DT 11–18mm F4.5 –5.6

20 DT 16–50mm F2.8 SSM SAL16 50 13/16 24-75 83°-32° — 7 (circular aperture

21 DT 16–105mm F3.5 –5.6

22 DT 18–55mm F3. 5–5. 6 SAM SA L185 5 7/8 27–8 2.5 76 °–2 9° — 7 (circular aperture

Zoom Lens

Fixed Focal

Length Lens

A-mount

G Lens

Teleconverter

Carl Zeiss Lens

E-mount E -Mount Lens

1: With interchangeable-lens digital cameras incorporating APS-C type image sensors. 2: Exclusively designed for use with APS-C format interchangeable-lens digital cameras. Use with 35mm full-frame digital cameras 5: Exclusive to SEL16F28.

(

900/a850) not guaranteed. 3: Lens compatibility: operation in AF and MF modes with SAL70200G/SAL300F28G, MF only with SAL135F28/SAL70400G. 4: Without tripod mount.

23 DT 18–200 F3.5 –6.3

24 DT 18–250 F3.5– 6.3

25 28–75 mm F2 .8 SAM SAL2875 14/16 4 2–112 .5 5 4°– 21° 75°–32 ° 7 (circular aperture

26 DT 55–20 0mm F4 –5.6 SAM

27 75–300mm F4.5–5.6 SAL 75300 10/13 112.5 –4 50 21°– 5°20 ' 32°–8°10 ' 7 (circular aperture

29 16mm F2.8 Fisheye SAL16 F28

30 20mm F2.8 SAL20 F28 9/10 30 70° 94° 7 (circular aperture

31 28mm F.28 SAL28F28 5/5 42 54° 75° 7 22 0 .13 0.3 — 49

32 DT 35mm F1.8 SAM

33 50 mm F1. 4 SA L5 0F14 6/7 75 32° 47° 7 (circular aperture

34 DT 50mm F1.8 SAM

35 85mm F2.8 SAM

135mm F.28 [T4.5] STF

(

MF operation only

37 DT 30m m F2.8 Macro SAM

38 50mm F2.8 Macro SAL50M28 6/7 75 32° 47° 7 (circular aperture

39 100mm F2.8 Macro SA L10 0M2 8 8/8 150 16° 24° 9 (circular aperture

41 70 –200 mm F2.8 G SAL70200 G 16/19 105–300 23°–8 ° 34°–12°30' 9 (circular aperture

42 70–3 00mm F4.5–5.6 G SSM SAL7030 0G 11/ 16 105 –4 50 23°–5° 20' 34°–8 °10' 9 (circular aperture

43 70–40 0mm F4–5.6 G SSM SAL70400G 12/18 10 5– 600 23°–4 °10' 3 4°6°10 ' 9 (circular aperture

44 35mm F1.4 G SAL35F14G 8/10 52.5 4 4° 63° 9 (circular aperture

300 mm F2.8 G

(

Built to order

46 1.4x Teleconverter

46 2x Teleconverter

Vario-Sonnar T*

16–35mm F2.8 ZA SSM

Vario-Sonnar T*

DT 16–80mm F3.5– 4.5 ZA

Vario-Sonnar T*

24–70mm F2.8 Z A SSM

51 Dis tagon T* 24mm F2 ZA SSM SAL24F20Z 7/9 36 61° 84° 9 (circular aperture

52 Plana r T* 85mm F1.4 ZA SAL85F14Z 7/ 8 1 27.5 19 ° 29° 9 (circular aperture

53 Sonnar T* 135mm F1.8 ZA SA L135 F18 Z 8 /11 202.5 12 ° 18 ° 9 (circular aperture

56 E 16mm F2.8 SE L16F 28 5/5 24 83° — 7 (circular aperture

57 Fisheye Converter

57 Ultra Wide Converter

58 Sonnar T* E 24m m F1.8 ZA S EL 24 F18Z 7/ 8 36 61° — 7 (circular aperture

59 E 18–55m m F3.5–5.6 OSS SE L1855 9/ 11 2 7–8 2.5 76°–29 ° — 7 (circular aperture

60 E 18–200mm F3.5 –6.3 OSS SEL1 82 00 12/ 17 27–300 76°– 8° — 7 (circular aperture

61 E 5 5–210mm F 4.5 –6.3 OS S SEL 55210 9/13 82. 5–315 29 °–7°30' — 7 (circular aperture

62 E 50mm F1.8 OSS SE L5 0F18 8/9 75 32° — 7 (circular aperture

63 E 30mm F3.5 Ma cro SEL30M35 6/7 45 50° — 7 (circular aperture

)

SA L1118 12/15 16.5 –27 104°–76° — 7 (circular aperture

SA L1610 5 11/1 5 2 4–1 57.5 8 3°–15 ° — 7 (circular aperture

SA L182 00 13/15 27–300 76°– 8° — 7 (circular aperture

SA L182 50 13/16 27–375 76°– 6° 30' — 7 (circular aperture

SAL55200-2 9/13 82.5–300 29 °–8° — 9 (circular aperture

SAL35F18 5/6 52.5 44° — 7 (circular aperture

SA L5 0F 18 5/6 75 32 ° — 7 (circular aperture

SAL85 F28 4/5 1 27.5 19 ° 29° 7 (circular aperture

SA L135 F28

SAL30M28 5/6 45 50° — 7 (circular aperture

SAL30 0F28G

SA L14T C 4/5 — — — — — — — — — 6 4 x 20 2-1/2 x 13/16 170 6 case

SAL2 0TC 5/6 — — — — — — — — — 64 x 4 3.5 2 -1/ 2 x 1- 11/16 20 0 7- 1/1 6 case

SA L163 5Z 13 /17 24– 52.5 83°–4 4° 107°–63° 9 (circular aperture

SA L168 0Z 10/ 14 24 –120 83°–20° — 7 (circular aperture

SAL2470Z 13/ 17 36 –105 61°– 23 ° 84°–34° 9 (circular aperture

VCL-ECF1 4/4 15 — — — — 0. 62 0 .13 — — — 66 x 44 2-5/8 x 1-3/4 15 0 5 -1/4 case

VCL- ECU1 3/3 18 — — — — 0 .75 0.18 — — — 6 6 x 44 2- 5/8 x 1-3/4 12 5 4 -3/8 case

Lens configuration (

group/element

8/ 11 (

incl. 1x filte r

6/8 (incl. APD element 1/2)

12/13 (

incl. 1x filte r

35mm equivalent focal length

)

(

)

APS-C

24 110 ° 18 0° 7 22 0.15 0.2 —

202.5 12 ° 18 °

450 5°2 0' 8°10' 9 (circular aperture

(mm

)

Angle of view

(

)

APS-C

Angle of view (

35mm full-frame

No. of aperture blades

)

9 (auto) 10 (manual

)

Max. magnification

)

ratio (x

Min. focus (m

0.3 (wide)– )

0.5 (tele

)

Distance

Filter dia. (mm)

encoder

72 peta l 81 x 88 3 -1/4 x 3 - 1/2 577 20 hood (AL C- SH117

55 round/bayonet 6 9.5 x 69 2 - 3/4 x 2 -3 /4 210 7- 1/2

67 petal/bayonet 77. 5 x 94 3-1/8 x 3-3/4 565 20 hood (ALC -S H109

55 round/bayonet 71 x 122 2-13/16 x 4 -13/16 460 16 -1/4 hood (ALC-SH0007

4x kind (

integrated

55 round/bayonet 6 5.5 x 43 2 -9/16 x 1-11/16 220 7-3 /4 hood (AL C- SH 0011

55 — 71.5 x 60 2 -13/16 x 2- 3/8 295 10- 3/8 —

55 round/bayonet 75 x 98. 5 3 x 4 505 18 hood (ALC-SH0007

77 petal/bayonet 87 x 196.5 3-1/2 x 7-3/4 1,3 40

62 petal/bayonet 82.5 x 135.5 3- 3/8 x 5 -3/8 76 0 2 6 -3 /4 hood (ALC -S H103), case

77 petal/bayonet 94.5 x 196 3- 3/4 x 7- 3/4 1,5 00

55 petal/bayonet 69 x 76 2- 3/4 x 3 510 18 hood (ALC-SH0001), case

42 (

exclusive

77 petal/bayonet 83 x 114 3 -3/8 x 4-1/2 860 30 -3/8 hood (ALC -S H106), case

77 petal/bayonet 8 3 x 111 3- 3/8 x 4 -3/ 8 955 3 3-1/ 4 hood (ALC -S H101), case

72 petal/bayo net 78 x 76 3 -1/8 x 3 555 19- 5/8 hood (AL C- SH11 0), case

72 round/bayonet 87 x 75 3 -1/4 x 2-7/8 6 40 22- 5/8 hood (ALC-SH0002), case

77 round/bayonet 88 x 114.5 3-1/2 x 4-5/8 995 35 -1/8 hood (ALC-SH0003), case

49 — 62 x 22 .5 2-1/2 x 29/32 67 2- 3/8 —

49 petal/bayonet 62 x 60 2-1/2 x 2-3/8 194 6- 7/8 hood (AL C- SH11 2

67 petal/bayonet 75.5 x 9 9 3 x 4 524 18 -1/ 2 hood (ALC -S H109

Hood shape/mount

petal/fixed 75 x 66.5 2-15/16 x 2 -5/8 400 1 4 -1/ 8 —

)

roun d/ integrated

round/clip-on 122 x 242.5 5 -1/16 x 9-3/8 2,310

)

Dimensions: Dia. x L (mm

65.5 x 42.5 2- 9/16 x 1 -11/16 18 5 6 -1/2 —

)

Dimensions: Dia. x L (in.

Weight:

)

(

approx.) (g

Weight:

)

(

)

approx.) (oz.

47 -1/4 hood (ALC -S H0 010), case

53 hood (ALC -S H107), case

81 -1/ 2

Provided accessories

(

optional)

hood (ALC -S H108

hood, slot-in circular polarizing filter, lens strap, hard case

)

Min. aperture (

F-Stop

22–29 0.125 0.25 77 petal/bayonet 83 x 80.5 3- 3/8 x 3-1/4 360 12- 3/4 hood (ALC-SH0009

22 0.2 0.3

22–36 0.23 0.4 62 petal/bayonet 72 x 83 2-7/8 x 3 -3/8 470 16- 9/16 hood (ALC -S H105

22–36 0.34 0.25

22–40 0.27 0.4 5 62 petal/bayonet 73 x 85.5 2 -7/8 x 3- 3/8 405 14 - 5/16 hood (ALC-SH0008

22–40 0.29 0.45 62 petal/bayonet 75 x 86 3 x 3-3/8 440 15 -1/2 hood (ALC -S H104

32 0.22 0.38

32–45 0.29 0.95 55 petal/bayonet 71.5 x 85 2-7/8 x 3- 3/8 305 10 -3/4 hood (ALC -S H102

32–28 0.25 1.5

22 0.13 0.25 — 72 petal/bayonet 78 x 53.5 3 -1/ 16 x 2 -1/ 8 285 1 0 -1/16 hood (ALC -SH 0013

22 0.25 0.23 55 round/bayonet 70 x 52 2-7/8 x 2-1/8 170 6 hood (AL C- SH111

22 0.15 0.45

22 0.2 0.34 49 p etal/bayonet 70 x 45 2-7/8 x 1-13/16 170 6 —

22 0.2 0.6 55 round/bayonet 70 x 52 2- 7/8 x 2-1/8 175 6 -1/8 hood (AL C- SH111

31 (T32)0.25 0. 87 — 72 round/bayonet 8 0 x 99 3 -1/8 x 3-7/8 730 25 -3/4 hood (ALC -SH 0014), case

22 1.0 0 .129 49 — 70 x 45 2-7/8 x 1-13/16 15 0 5 -1/4 —

32 1.0 0.2

32 1.0 0.35

32 0.21 1. 2

22–29 0.25 1. 2

22–32 0.27 1. 5

22 0.2 0.3

32 0.18 2.0

22 0.24 0.28

22–29 0.24 0.35 62 petal/bayonet 72 x 83 2 -7/8 x 3- 3/8 445 15 -3/4 hood (ALC-SH0005), case

22 0.25 0.34

22 0.29 0 .19

22 0.13 0.85

22 0.25 0.72

22 0.078 0.24

22 0.25 0.016 — 49 — 63 x 65. 5 2-3/8 x 2-1/2 225 8 fro nt & rear cap s

22–32 0.3 0.25

22–40 0.35

22–32 0.225 1 — 49 round/bayonet 63.8 x 108 2-1/2 x 4-1. 4 330 12 fro nt & rear caps, lens hood

22 0.16 0.39 — 49 — 62 x 62 2- 1/2 x 2 -1/ 2 202 7 front & rear caps

22 1.0 0.0 95 — 49 cap ty pe 62 x 55.5 2 -1/2 x 2 - 1/4 138 5 front & rear cap s, lens ho od (AL C- SH11 3

• When mounted o n a series cameras with APS -C type sen sors, th e actual a ngle of v iew will b e equal to t he one obta ined at t he focal l ength ap prox. 1.5 times l onger t han state d.

• In principl e, amount o f light co ming into a l ens will d ecrea se at imag e perip hery. If it b ecome s too dark , adjust the aper ture set ting by 1 or 2 s tops down.

Specifications are based on the latest information available at the time of printing, and are subject to change without notice.

)

lens accessories

Carl Zeiss® filter

High-grade Carl Zeiss filters with exclusive T* coating optimize the superb performance of your lenses, effectively reducing flare and ghosting. A thin profile also prevents vignetting.

Circular PL Filter

Circular polarizing filters improve contrast in overly bright light, and remove glare and reflections.

VF-49CPAM VF -55CPA M VF - 62CPAM

(

49mm)

(

55mm)

(

62mm

)

VF - 67CPAM VF -72CPAM VF -77CPAM

(

67mm

(

72mm)

(

77mm

Lens Cap

Front Lens Cap

With logo. Filter di a. 4 9/55/62/67/72/77m m

ALC -F49A ALC- F55A

ALC- F62A AL C - F 67A

ALC-F72A AL C - F 77A

G Front Lens Cap

Filter dia. 55/62/77mm

ALC- F62G

Lens Hood

Petal shape

(

Photo: ALC-SH0001

) (

Lens Case

ND Filter

Neutral density filers attenuate light to allow a longer exposure or larger aperture than required, without affecting colors (type: ND8).

)

VF- 49NDAM VF- 55NDAM VF- 62NDAM

(

49mm)

(

55mm

(

62mm)

ALC - F77G

Round shape

Photo: ALC-SH0003

For model numbers, see pg. 65

)

VF - 67NDAM VF - 72NDAM VF - 77NDA M

(

67mm

(

72mm)

(

77mm

Carl Zeiss Front Lens Cap

Filte r dia. 62/72/77mm

ALC- F62Z

ALC-F77ZALC- F55G

ALC-F72Z

Mount Adaptor

)

Mount Adaptor LA- E A1

)

Rear Lens Cap ALC-R55

MC Protector

Multi-coated protectors are coated on both sides, protecting lenses from damage without causing unwanted flare or reflections.

VF -49MPAM VF-55MPAM VF - 62MPAM

(

49mm)

(

55mm)

(

62mm

)

VF - 67M PAM VF -72MPAM VF -77M PAM

(

67mm

(

72mm

(

77mm

(Diameter size)

)

Rear Lens Cap ALC-R1EM

Both the L A-EA1 and EA2 adaptors allow you to attach A-mount lenses to your E-mount camera. The LA-EA2 is the world’s first adaptor to leverage Sony’s exclusive Translucent Mirror Technology to provide super fast and accurate Phase Detection AF as well. The LA-EA2 adaptor has a translucent mirror built-in between the two mounts that directs a small por tion of the light to the phase detection AF sensor in the bottom of the unit.

* NEX-3, NEX-5, NEX-C3 and NEX-VG10 require firmware

update to use LA-EA2 adaptor. www.esuppor t.sony.com

LCL - 60AM

Fits all l enses up to (L) 80 mm*, (

Dia.) 80mm

Trademarks & Remarks

• a is a trademark of Sony Corporation.

• SteadyShot INSIDE, Optical SteadyShot and G Lens are trademarks of Sony Corporation.

• Carl Zeiss is a registered trademark of Carl Zeiss AG.

• All other company and product names mentioned herein are used for identification purpose

only, and may be the trademarks or registered trademarks of their respective owners.

LCL - 90AM

Fits all l enses up to (L) 110 mm*, (

Dia.)90 mm

LCL - 140AM

Fits all l enses up to (L) 16 0 mm*, (

Dia.) 110 mm

* With hood and cap attached

Mount Adaptor LA-EA2

NEW

Features and specifications are subject to change without notice.

Sony Electronics Digital Imaging Division 16530 Via Esprillo Drive San Diego, CA 92127

DI11012

Sony ALC-F55A User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual