Sony SELP-1650, SEL-55210, SEL-30M35, SEL18200LE, SEL-1855 Lens Brochure

...

a Lenses

Features and specifications are subject to change without notice.

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

DI11012

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

DT 35mm F1.8 SAM SAL3 5F18

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 18–135mm F3.5–5.6 SAM SAL18135 23 DT 18–200mm F3.5–6.3 SAL18200 24 DT 18–250mm F3.5–6.3 SAL18250 25 28–75mm F2.8 SAM SAL2875 26 DT 55–200mm F4–5.6 SAM SAL55200-2 27 DT 55–300mm F4.5–5.6 SAM SAL55300 28

Fixed Focal Length Lenses 29

16mm F2.8 Fisheye SAL16F28 30 20mm F2.8 SAL20F28 31 28mm F2.8 SAL28F28 32 DT 35mm F1.8 SAM SAL35F18 33 50mm F1.4 SAL50F14 34 DT 50mm F1.8 SAM SAL50F18 35 85mm F2.8 SAM SAL85F28 36 135mm F2.8 [T4.5] STF SAL135F28 37 DT 30mm F2.8 Macro SAM SAL30M28 38 50mm F2.8 Macro SAL50M28 39 100mm F2.8 Macro SAL100M28 40

G Lenses 41

70–200mm F2.8 G SAL70200G 42 70–300mm F4.5–5.6 G SSM SAL70300G 43 70–400mm F4–5.6 G SSM SAL70400G 44 35mm F1.4 G SAL35F14G 45 300mm F2.8 G SSM SAL300F28G2 46 500mm F4 G SSM SAL500F4G 47

Teleconverters

1.4x Teleconverter SAL14TC 48 2x Teleconverter SAL20TC 48

Carl Zeiss® Lenses 49

Vario-Sonnar T* 16–35mm F2.8 ZA SSM SAL1635Z 50 Vario-Sonnar T* DT 16–80mm F3.5–4.5 ZA SAL1680Z 51 Vario-Sonnar T* 24–70mm F2.8 ZA SSM SAL2470Z 52 Distagon T* 24mm F2 ZA SSM SAL24F20Z 53 Planar T* 85mm F1.4 ZA SAL85F14Z 54 Sonnar T* 135mm F1.8 ZA SAL135F18Z 55

E-mount Lenses

E 16mm F2.8 SEL16F28 58 Fisheye Converter VCL-ECF1 59 Ultra Wide Converter VCL-ECU1 59 Sonnar T* E 24mm F1.8 ZA SEL24F18Z 60 E 35mm F1.8 OSS SEL35F18 61 E 50mm F1.8 OSS SEL50F18 62 E 30mm F3.5 Macro SEL30M35 63 E 10–18mm F4 OSS SEL1018 64 E PZ 16-50mm F3.5-5.6 OSS SELP1650 65 E 18–55mm F3.5–5.6 OSS SEL1855 66 E 18–200mm F3.5–6.3 OSS SEL18200 67

Exclusive to E-mount cameras

E 18-200mm F3.5-6.3 OSS LE SEL18200LE 68 E 55–210mm F4.5–6.3 OSS SEL55210 69

Main specifications of a lenses 70

lens accessories 72

Ultra wide angle

11m m (16m m)

A-mount

E-mount

E 10–18mm F4 OSS SEL1018

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

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

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 18–135mm F3.5–5.6 SAM SA L18135

E 16mm F2.8 SEL16F28

E 18–200mm F3.5– 6.3 OSS SEL18200

E 18–200mm F3.5– 6.3 OSS LE SEL18200LE

E 18–55mm F3.5– 5.6 OSS SEL1855

E PZ 16-50mm F3.5 –5.6 OSS SELP1650

Wide angle

28mm (42mm)

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

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

28mm F2.8 SA L28F28

DT 30mm F2.8 Mac ro SAM SAL30M28

DT 18–200mm F3.5– 6.3 SAL18200

DT 18–250mm F3.5–6. 3 SAL1825 0

Sonnar T * E 24mm F1.8 Z A SEL24F18Z

E 30mm F3.5 Mac ro SEL30M35

35mm F1.4 G SAL35F14G

28–75mm F2.8 SAM SAL 2875

DT 35mm F1.8 SAM SAL3 5F18

E 35mm F1.8 OSS SEL35F18

Normal

50mm (75mm)

Planar T * 85mm F1.4 ZA SAL 85F14Z

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 50mm F1.8 OSS SEL50 F18

E 55–210mm F 4.5–6.3 O SS SEL55210

Mid-range Telephoto

85mm (128mm)

DT 55–30 0mm F4.5–5.6 SAM SA L55300

85mm F2.8 SAM S AL85F28

Mid-range Telephoto

100 mm (150 mm)

70–200m m F2.8 G SAL7020 0G

70–30 0mm F4.5–5.6 G SSM SAL70 300G

70–40 0mm F4–5.6 G SSM SAL7040 0G

Sonnar T * 13 5mm F1.8 ZA SAL135F18Z

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

100mm F2.8 Macr o SAL100M28

Telephoto

200mm (300mm)

Telephoto

300mm (450mm)

300mm F2.8 G S AL300F28G2

Super Telephoto

400mm (600mm)

1.4x Teleconver ter SA L14TC

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

)

Zoom Lenses

Fixed Foc al 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.

2x Telecon verter SAL20TC

Ultra Wide Converter VC L-ECU 1 12mm (18m m

)

Super Telephoto

500mm (750m m)

500mm F4 G S SM SAL500F4G

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 configu ration example: 7 g roups/9 ele ments

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 elemen ts and groups move in a zoom lens

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 cross se ction of a m odern lens and a typical S LR (Single Lens Reflex) type digital camera

Pentaprism (flips the image so it can viewed in proper orientation

Focal point

Light Lens element

Subject

Optical axis

Interchangeable-lens (

objective lens

Light reflected by th e subject is e ffectively colle cted and focused by the lens element s to project an image on the camera’s image senso r plane.

)

Focal length

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

Viewfinder

Camera

Image sensor plane

Mirror

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

)

TECH TALK

Refraction: bending light

The physical principle that allows lenses to gather and focus li ght is called “refraction.” Refraction causes lightwaves to change speed and dire ction when they pass fro m one medium (

air, for example) to anothe r (glass, for example), and allows lenses to b e designe d to “bend” light in a contro lled way. The “refractive index” of an optically transparent medium is a measure of the spe ed of light in that medium, and therefore the deg ree to which l ight 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 in determinin g what types of subjects and compositions the lens is suitable for (see pag e 10 for more details).

AF/MF switch

This switch lets you switch betwe en 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 is focused on.

Autofocus drive type

Lenses m arked “SAM” or ”SSM” feature built-in motors that drive the lens’s focusing mechanism. Lenses that don’t ha ve internal m otors are driven by a motor in the camera bo dy (

see pag e 17 for more details).

Maximum aperture

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

see pag e 9 for more details).

Lens format

Sony len ses marked “DT” (Digital Technology) have been specifically designed for use on A PS- C format A-mount camera s (see pag e 8 for more details).

6 7

Circular aperture

(

see pag e 16 for details

)

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 APS -C form at cameras because their image circl e isn’t larg e enough to fully cover a 35mm full frame sensor. If you do u se a DT lens on a full-frame camera, expect to see a darkening of the ima ge towards the edges of the fram e (vignetting). Although only E-mount lenses can be directly mounted o n E-mou nt camera s, DT lenses can be mounted o n these 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 pupi l

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-number is t he focal length of the lens divided by the ef fective diameter of the a perture. So in the case of the SAL3514G lens, when the aperture is set to its ma ximum of F1.4, the e ffective diameter of the aperture will be 35 ÷ 1.4 = 25mm. Note that 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 300 ÷ 1.4 ≈ 214mm! That would e nd up being a huge, bulk y and very ex pensive lens, which is why you do n’t see too ma ny long telephoto lenses with very l arge maximum apertures. There’s really n o need for the photographer to know wha t 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 F11 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.

)

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 produce the desired re sults . The second key is the distance betwe en your subject and the background. If the ba ckground is ve ry close to your subject i t might fall within th e depth of field, or be so close that the amount of defocusing isn’ t suffic ient. Whenever possible, keep plenty of distance between your subject and the background you want to defocu s. The third key is the focal le ngth of the l ens you use. As mentio ned above, it ’s easier to get a narrow dept h of field wi th longer focal lengths, so take advantage of that characteristic as well. Many photographers find that focal le ngths bet ween about 75mm and 10 0mm are ideal for shooting portraits with nicely blurred backgrounds.

SHOOTING TIP

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 ength vs . angle of view

With 35mm full-frame image sensor Wit h APS-C t ype image se nsor

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 length in ( ): equivalent focal length whe n 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 defin ed as the distance from its secondary principal point to it s rear focal point when focus is set to infinity. The se condar y princip al point is o ne of six “cardinal points” that are use d as points of reference in an 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 or at som e point outside the barrel, depe nding on the design of the lens—so there’s no ea sy way to accura tely measure the focal length of a lens your self.

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 0M 28

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 charts that accompany the lens descriptions in the latter par t 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 peripher y of the lens.

100

Contrast (%)

048121620

Distan ce from optical center of l ens (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 a t 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 SA L1118

One ED glass element and three a spheric al elements for super ior 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 Fuji maki

M mode , 1/250 sec., F5.6, I SO 400, Ma nual white ba lance

M mode, 1/100 sec., F8, ISO 200, Daylight white balance, Landscape Crea tive Styl e; Photo: Norifumi Inagak i

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 SAL165 0

Three ED glass elements and two aspherical elements for superior image quality 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 des ign 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 SAL16105

O ne ED glass e lement and two aspherical elements for su perior image quality High resolution and contrast throughout zoom range Circular aperture for attractive defocusing Focus ring with auto clutch does not rotate during autofocu s 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, Dayli ght white bal ance; Photo: Norifumi Ina gaki

M Mode, 1/800 sec., f8.0, ISO 200

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 SAL1855

O ne ED glass e lement and two aspherical elements for su perior 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

Mid-range telephoto zoom

DT 18–135mm F3.5–5.6 SAM SA L18135

DT 18-200 mm f/3.5-5.6 mid-range zoom lens DT lens design for optimum DSLR pe rformance Silent, high-s peed AF drive via SAM Excellent wide-angle to long telephoto shots

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 135 mm

100

Contrast (%)

036912

Distance from optical center of lens (mm)

Max. aperture

R RT T

R: Radial values T: Tangential values

F8 aperture

Developed to provide the most ideal focal range for normal use— covering frequently-used focal lengths between 18mm and 135mm— the Sony SAL18135 mid-range zoom lens enables rich expression for a wide range of shots. Direct Manual Focus (DMF) allows you to switch between AF and MF without removing your eyes from the viewfinder to seize fleeting photo ops with ease. Plus, enjoy smooth and quiet AF thanks to the Smooth Autofocus Motor (SAM), which also improves AF response when shooting moving subjects. And with a single ED glass lens element as well as a pair of Aspherical lens elements, the SAL18135 delivers images with low levels of color aberration for excellent image quality in any setting.

• Weight (approx): 398 g

• Dimensions (Dia. x L): 76 x 86 mm

• Max. magnification ratio: 0.25x

22 23

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