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

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A Lenses

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.

Sony’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

Fixed Focal Length Lenses

Teleconverters

E 18-200mm F3.5-6.3 OSS LE

SEL18200LE

Projecting an image

16mm F2.8 Fisheye

SAL16F28

1.4x Teleconverter

SAL14TC

E 55–210mm F4.5–6.3 OSS

SEL55210

A look inside/Read your lenses

20mm F2.8

SAL20F28

2x Teleconverter

SAL20TC

Lens mount and sensor formats

28mm F2.8

SAL28F28

Aperture, f-numbers and depth of field

DT 35mm F1.8 SAM

SAL35F18

Carl Zeiss® Lenses

Main specifications of A lenses

Focal length, angle of view and perspective

50mm F1.4

SAL50F14

Vario-Sonnar T*16–35mm F2.8 ZA SSM

SAL1635Z

Macro photography

DT 50mm F1.8 SAM

SAL50F18

Vario-Sonnar T*DT 16–80mm F3.5–4.5 ZA

SAL1680Z

Hoods and filters

85mm F2.8 SAM

SAL85F28

A lens accessories

Vario-Sonnar T*24–70mm F2.8 ZA SSM

SAL2470Z

Carl Zeiss® optics

135mm F2.8 [T4.5] STF

SAL135F28

Making sense of MTF

DT 30mm F2.8 Macro SAM

SAL30M28

Distagon T*24mm F2 ZA SSM

SAL24F20Z

Planar T*85mm F1.4 ZA

SAL85F14Z

Choosing the right lens

50mm F2.8 Macro

SAL50M28

Sonnar T*135mm F1.8 ZA

SAL135F18Z

A lens technology

100mm F2.8 Macro

SAL100M28

A-mount Lenses

G Lenses

E-mount Lenses

Exclusive to E-mount cameras

Zoom Lenses

E 16mm F2.8

SEL16F28

70–200mm F2.8 G

SAL70200G

Fisheye Converter

VCL-ECF1

DT 11–18mm F4.5–5.6

SAL1118

70–300mm F4.5–5.6 G SSM

SAL70300G

Ultra Wide Converter

VCL-ECU1

70–400mm F4–5.6 G SSM

SAL70400G

DT 16–50mm F2.8 SSM

SAL1650

Sonnar T*E 24mm F1.8 ZA

SEL24F18Z

35mm F1.4 G

SAL35F14G

DT 16–105mm F3.5–5.6

SAL16105

E 35mm F1.8 OSS

SEL35F18

300mm F2.8 G SSM

SAL300F28G2

DT 18–55mm F3.5–5.6 SAM

SAL1855

E 50mm F1.8 OSS

SEL50F18

500mm F4 G SSM

SAL500F4G

DT 18–135mm F3.5–5.6 SAM

SAL18135

E 30mm F3.5 Macro

SEL30M35

DT 18–200mm F3.5–6.3

SAL18200

E 10–18mm F4 OSS

SEL1018

DT 18–250mm F3.5–6.3

SAL18250

E PZ 16-50mm F3.5-5.6 OSS

SELP1650

28–75mm F2.8 SAM

SAL2875

E 18–55mm F3.5–5.6 OSS

SEL1855

DT 55–200mm F4–5.6 SAM

SAL55200-2

E 18–200mm F3.5–6.3 OSS

SEL18200

DT 55–300mm F4.5–5.6 SAM

SAL55300

Ultra wide angle

Wide angle

Normal

Mid-range Telephoto

Telephoto

Super Telephoto

11mm (16mm)

28mm (42mm)

50mm (75mm)

85mm (128mm)

100mm (150mm)

200mm (300mm)

300mm (450mm)

400mm (600mm)

500mm (750mm)

A-mount

35mm F1.4 G SAL35F14G

70–200mm F2.8 G SAL70200G

Distagon T* 24mm

SAL24F20Z

70–300mm F4.5–5.6 G SSM SAL70300G

Vario-Sonnar T* 16–35mm F2.8 ZA SSM

SAL1635Z

70–400mm F4–5.6

G SSM SAL70400G

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

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

Sonnar T* 135mm F1.8 ZA

SAL135F18Z

300mm F2.8 G SAL300F28G2

500mm F4

G SSM SAL500F4G

Planar T* 85mm F1.4 ZA SAL85F14Z

16mm F2.8 Fisheye SAL16F28

28–75mm F2.8 SAM SAL2875

DT 55–300mm F4.5–5.6 SAM SAL55300

20mm F2.8 SAL20F28

28mm F2.8 SAL28F28

50mm F1.4 SAL50F14

85mm F2.8 SAM SAL85F28

135mm F2.8 [T4.5] STF

SAL135F28

Zoom Lenses

Fixed Focal Length Lenses

DT 30mm F2.8 Macro SAM SAL30M28

50mm F2.8 Macro SAL50M28

100mm F2.8 Macro SAL100M28

G Lenses

Carl Zeiss Lenses

DT 11–18mm F4.5–5.6 SAL1118

T 35mm F1.8 SAM SAL35F18

DT 50mm F1.8 SAM SAL50F18

E-mount Lenses

DT 16–50mm F2.8 SSM SAL1650

* Numbers shown in parentheses

DT 16–105mm F3.5–5.6 SAL16105

represent the effective focal length

equivalent in 35mm full-frame format

DT 55–200mm F4–5.6 SAM

SAL55200-2

when shooting with APS-C format

DT 18–55mm F3.5–5.6 SAM SAL1855

interchangeable-lens digital cameras.

DT 18–135mm F3.5–5.6 SAM SAL18135

DT 18–200mm F3.5–6.3 SAL18200

DT 18–250mm F3.5–6.3 SAL18250

1.4x Teleconverter

2x Teleconverter

E-mount

E 16mm F2.8 SEL16F28

Sonnar T* E 24mm F1.8 ZA SEL24F18Z

E 50mm F1.8 OSS SEL50F18

SAL14TC

SAL20TC

E 10–18mm F4 OSS SEL1018

E 18–200mm F3.5–6.3 OSS SEL18200

E 18–200mm F3.5–6.3 OSS LE SEL18200LE

Fisheye Converter

Ultra Wide Converter

E 18–55mm F3.5–5.6 OSS

SEL1855

VCL-ECF1

VCL-ECU1

10mm (15mm)

12mm (18mm)

E 30mm F3.5 Macro SEL30M35

E 55–210mm F 4.5–6.3 OSS

SEL55210

E 35mm F1.8 OSS SEL35F18

E PZ 16-50mm F3.5–5.6 OSS SELP1650

Lenses: How they capture and control light

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.

A pinhole camera is basically a light-tight box	Figure 1. A simple pinhole of appropriate size	Figure 2. A lens uses the principle of “refraction”
with a small hole in one end	is capable of projecting a sharp but dim image	to gather more light from the subject and project
		a sharp, bright 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	second exposures rather than having to make sure that both the
order for the projected image to be sufficiently sharp, the hole must be	camera and subject stay perfectly still for many minutes or even hours,
very small, but this also means that the projected image is very dim.	which is usually the case with a pinhole camera. Other advantages are
In principle, lenses work similarly to the pinhole, but they are capable	that lenses can be made in a variety of focal lengths from wide-angle to
of capturing more light from each point on the subject, and therefore	capture expansive scenes or telephoto to photograph distant subjects.
project a much brighter image. A lens can also bring more light into	Modern lenses are precision optical devices that give photographers
sharp focus.That’s helpful because it means we can use short sub-	boundless freedom to realize their creative vision by “drawing with light.”

A simplified cross section of a modern lens and a typical SLR (Single Lens Reflex) type digital camera

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

	Focal point	Viewfinder
	Light Lens element	Viewfinder
	Light Lens element	Camera
	Subject	Camera
	Subject
	Optical axis	Image
	Optical axis	sensor plane
		Mirror
	Interchangeable-lens	Focal length
	(objective lens)	Focal length

Light reflected by the subject is effectively collected and focused by the lens elements to project an image on the camera’s image sensor plane.

TECH	TALK

Refraction: bending light

The physical principle that allows lenses to gather and focus light is called “refraction.” Refraction causes lightwaves to change speed and direction when they pass from one medium (air, for example) to another (glass, for example), and allows lenses to be designed to “bend” light in a controlled way. The “refractive index” of an optically transparent medium is a measure of the speed of light in that medium, and therefore the degree 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.

A look inside

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.”

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.

Lens configuration example: 7 groups/9 elements

Lens element

Lens group

Mount

Aperture

Lens barrel

Aspherical lens (see page 16 for more details) ED glass (see page 16 for more details)

Zoom and focus mechanisms

The job of varying focal length in a zoom lens	Focusing is sometimes accomplished by moving
requires a fairly complex mechanism that	the entire lens closer to or further away from
translates zoom ring rotation into precise group	the image sensor plane, although some lenses
movement along the optical axis of the lens. Zoom	employ a “floating construction” in which groups
mechanisms must be precisely manufactured	of elements move independently in order to
to exacting tolerances so that all elements and	maintain optimum optical performance at all
groups stay in perfect alignment throughout the	shooting distances.
zoom range.

How lens elements and groups move in a zoom lens

Wide

Medium

Telephoto

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 determining what types of subjects and compositions the lens is suitable for (see page 10 for more details).

AF/MF switch

This switch lets you switch between autofocus and manual focus modes.

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 marked “SAM” or ”SSM” feature built-in motors that drive the lens’s focusing mechanism. Lenses that don’t have internal motors are driven by a motor in the camera body

(see page 17 for more details).

Maximum aperture

This number represents the maximum aperture, or “f-number,” of the lens and tells you how “bright” the lens is (see page 9 for more details).

Lens format

Sony lenses marked “DT” (Digital Technology) have been specifically designed for use on APS-C format A-mount cameras (see page 8 for more details).

Lens mount and sensor formats

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.

Alignment mark

Electrical contacts

Locking pin

Aperture lever

AF coupler

Flange back distance

Image sensor plane

Lens mount

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	Image area with
35 mm full-frame image sensor	APS-C type sensor

Sony DT lenses

Lenses marked “DT” (Digital Technology) should only be used on APS-C format cameras because their image circle isn’t large enough to fully cover a 35mm full frame sensor. If you do use a DT lens on a full-frame camera, expect to see

a darkening of the image towards the edges of the frame (vignetting). Although only E-mount lenses can be directly mounted on E-mount cameras, DT lenses can be mounted on these cameras via an optional adaptor.

47° angle	32° angle
of view		of view
Lens			Lens

	Same focusing
Image sensor	distance (50 mm)	Image sensor
Image sensor
plane
plane		plane
		plane

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

Aperture, f-numbers and depth of field

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

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.

“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

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:

TECH	TALK

F-number math

The f-number is the focal length of the lens divided by the effective diameter of the aperture. So in the case of the SAL3514G lens, when the aperture is set to its maximum of F1.4, the effective 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 300mm telephoto lens would require an effective aperture diameter of 300 ÷ 1.4 ≈ 214mm! That would end up being a huge, bulky and very expensive lens, which is why you don’t see too many long telephoto lenses with very large maximum apertures. There’s really no need for the photographer 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.

Focal length
F-number = Effective aperture	Aperture
F-number = Effective aperture	Aperture
Effective aperture
(size of the entrance pupil)
	Focal length


		Aperture and focal length values in the illustration are approximate.
Aperture and depth of field

“Depth of field” refers to the range between the nearest and farthest objects		Basically, larger apertures produce a narrower depth of field, so if you want to
in a scene that appear acceptably sharp. In extreme examples of narrow		shoot a portrait with a nicely defocused background you’ll want a wider aperture
depth of field, the in-focus depth might be just a few millimeters. At the		(lower F-number). There are times when other factors come into play. Lenses of
opposite extreme, some landscape photographs show very deep depth		longer focal lengths are generally capable of producing narrower depth of field.
of field with everything in sharp focus from just in front of the camera to		This is partly because an F1.4 aperture in an 85mm lens, for example, is physically
many kilometers away. Controlling depth of field is one of the most useful		larger than an F1.4 aperture in a wide-angle 24mm lens. Additionally, the
techniques you have for creative photography.		distance between objects in the scene being photographed will have an effect
		on the perceived depth of field as well.

Open (large)				Aperture			Close (small)

F2	F2.8	F4	F5.6	F8	F11	F16	F22

Shallow	Depth of field	Deep

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 aperture alone won’t produce the desired results. The second key is the distance between your subject and the background. If the background is very close to your subject it might fall within the depth of field, or be so close that the amount of defocusing isn’t sufficient. Whenever possible, keep plenty of distance between your subject and the background you want to defocus. The third key is the focal length of the lens you use. As mentioned above, it’s easier 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 between about 75mm and 100mm are ideal for shooting portraits with nicely blurred backgrounds.

Focal length, angle of view and perspective

Focal plane (image sensor plane)

Angle of view (measured diagonally)

Focal length

Secondary principal point of lens

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.

Longer focal lengths correspond to higher magnification, and vice-versa. Wide-angle lenses with short focal lengths have low magnification, which 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.

				TECH		TALK
				TECH
Focal length vs. angle of view					A technical definition of focal length
Focal length vs. angle of view					The focal length of a lens is defined as the distance from its secondary principal

	With 35mm full-frame image sensor	With APS-C type image sensor
	With 35mm full-frame image sensor	With APS-C type image sensor			point to its rear focal point when focus is set to infinity. The secondary principal
					point is one of six “cardinal points” that are used as points of reference in an

					optical lens (front and rear focal points, primary and secondary nodal points
			Wide		and primary and secondary principal points). There’s no predefined location
					for the secondary principal point in a compound lens—it could be somewhere
	16 mm	16 mm			inside the lens barrel or at some point outside the barrel, depending on the
	Fisheye	Fisheye			design of the lens—so there’s no easy way to accurately measure the focal
					length of a lens yourself.
					length of a lens yourself.
	16 mm	16 mm			Focal length and angle of view
		(24 mm)
					“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
	18 mm	18 mm			angular extent of the scene captured on the sensor, measured diagonally.
	18 mm	18 mm			It is important to remember that angle of view is entirely determined by both
		(27 mm)			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
					and APS-C format cameras. Different lenses of equal focal length will always
	24 mm	24 mm			have the same angle of view when used with the same-size sensor.
	24 mm	24 mm
		(36 mm)			The “Focal length vs. angle of view” comparison to the left illustrates this
			-Mid
					relationship for both 35mm full frame and APS-C format cameras.

	35 mm	35 mm	range		Perspective
	35 mm	35 mm



					With long focal lengths, foreground and background objects will often appear
					to be closer together in the final image.This effect is sometimes called “telephoto
	70 mm	70 mm			compression,” although it is not actually caused by the lens itself.What really
	70 mm	70 mm			happens is that when using a telephoto lens, you will need to be further away
		(105 mm)
					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
					smaller the further away the photographer stands. From that perspective
	100 mm	100 mm			they actually are closer together! Another way of saying this is that since both
	100 mm	100 mm			the foreground and background objects are at a considerable distance
		(150 mm)
					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
	135 mm	135 mm			more distant objects look comparatively smaller.The difference in apparent
	135 mm	135 mm			perspective is actually a result of how far you are from your subject.
		(205.5 mm)

250 mm	250 mm
	(375 mm)

400 mm	400 mm
	(600 mm)

* Focal length in ( ): equivalent focal length when mounted on interchangeable-lens digital cameras with 35mm full-frame sensors.

Telephoto

24mm focal length,*	300mm focal length,*
84° angle of view	8° angle of view
* 35mm format equivalent

Macro photography

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 your subject with a lens of a given focal length, the higher the magnification ratio you’ll achieve.

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 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.

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.

1.0x

30mm Macro lens (SAL30M28)

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

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

Image sensor plane

100mm Macro lens (SAL100M28)

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

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

Image sensor plane

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

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.

Hoods and filters


Without lens hood (flare, poor contrast)			With lens hood (no flare, high contrast)

Visible ghosts

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.

How lens hoods work

Extraneous light

Light needed for image formation

Lens hood

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.

Petal hood

Round hood

Without circular PL filter	With circular PL filter
(reduced contrast)	(increased contrast and deep saturation)

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 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
		too bright. An ND filter will reduce the light intensity so that you can use the
Without ND filter	With ND filter	relatively slow shutter speed required to achieve the desired effect.
	(reduced light for slower shutter speed)

Carl Zeiss® optics

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®	Planar®	Tessar®	Sonnar®
(1890-)	(1896-)	(1902-)	(1929-)

The Carl Zeiss lenses that started it all

Protar Planar

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.

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.

The Carl Zeiss traditions of innovative technology and uncompromising quality are alive in today’s A series lenses as well.

The unmatched T* (T-star) coating

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

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.

Carl Zeiss coated lens		Uncoated lens
Light source		Light source
Light source
	Image sensor	Image sensor
	Image sensor

Reduced reflection	Uncontrolled reflection

Making sense of MTF

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.

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.

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

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

Green: Contrast value at maximum aperture

	Y			Red: Contrast value at F8
	Y
	100
	80
	60
	40
(%)
Contrast	20
Contrast							X
	0	4	8	12	16	20	X

Distance from optical center of lens (mm)

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).

Spatial frequency	Max. aperture			F8 aperture
		R	T	R	T
10 line pairs/mm
10 line pairs/mm
30 line pairs/mm
30 line pairs/mm

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

TECH TALK

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.

Choosing the right lens

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.

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.

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.

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.

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 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.

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.

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.

A 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				ED and Super ED glass
Aspherical lens elements				ED and Super ED glass

Spherical aberration, slight misalignment at				Chromatic aberration in conventional
Spherical aberration, slight misalignment at				Chromatic aberration in conventional
the image plane between light that has passed				optical glass elements can reduce contrast,
through the center and periphery of a simple				resolution, and color fidelity, particularly at
spherical lens, can become a noticeable				longer focal lengths. ED (Extra-low Dispersion)
problem in large-aperture lenses.The most				and Super ED glass were developed with
effective solution is to use one or more specially				refractive index and dispersion characteristics
shaped aspherical elements near the aperture				specially tailored to counter this problem.
stop to restore perfect alignment at the image				Lenses that include ED or Super ED glass
plane, thus maintaining high contrast even				elements provide superior contrast and
with the aperture wide open.Aspherical lenses				resolution throughout the image even at
with the aperture wide open.Aspherical lenses				resolution throughout the image even at
arranged far from the aperture stop can minimize image distortion and flatness				large aperture settings.

of the image plane.Well-designed aspherical lens can reduce the number of elements in the lens for less overall size and weight.

Spherical lens

Aspherical lens

Conventional glass

ED glass

Super ED glass

Image

sensor

plane

Image sensor

plane

Auto clutch

Floating lens mechanism

The auto clutch mechanism decouples the focus ring so that it does not

This focusing feature is particularly important in certain lenses that are

rotate during autofocus operation.This allows the lens to be cradled in one

designed for close focusing. It maintains optimum lens performance and

hand without interfering with autofocus operation, for improved shooting

therefore maximum sharpness right down to the minimum focusing distance

comfort and versatility.

by moving “floating” elements independently when focusing, rather than

moving the entire optical assembly as a whole.

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

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.

Internal focusing mechanism			SAM (Smooth Autofocus Motor)


In this type of lens, focusing is achieved by moving only the internal elements.			SAM is another type of internal lens motor for autofocus drive. While the SSM
The overall length of the lens remains constant, and the filter mounting			motor described above is piezoelectric, the SAM motor is electromagnetic in
thread at the front of the lens remains stationary during focusing.The latter			operation, but provides similar benefits: responsive autofocus operation that
characteristic is an advantage when using a polarizing filter. Other advantages			does not require mechanical coupling from the camera body.
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.

AC voltage,

Phase B

		AC voltage,
Rotor	Stator	Phase A
Rotor	Stator

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

STF lens

A unique A lens feature currently available only in the SAL135F28, STF (Smooth Trans Focus) is an optical technology that is aimed specifically at creating the smoothest, most visually pleasing defocusing effect possible while retaining full resolution and contrast at in-focus areas. STF technology employs a special “apodization” element that causes the intensity of defocused point light sources to fade out radially so that no sharply defined edges or geometry remain.The result is extraordinarily creamy defocusing that goes beyond the capabilities of conventional lens technology.

STF lens

Apodization optical element

A	a

b c

Defocusing of STF lens (around focus point “a”)

Conventional lens

A	a

b c

Defocusing of conventional lens (around focus point “a”)

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.

M mode, 1/1250 sec., F8, ISO 200, Auto white balance; Photo: Goh Fujimaki

Wide-angle zoom

DT 11–18mm F4.5–5.6 SAL1118

Aspherical lens ED glass

		At 11 mm					At 18 mm
	100						100
	80						80
	60						60
(%)	40					(%)	40
Contrast	20					Contrast	20
	0	3	6	9	12		0	3	6	9	12
	Distance from optical center						Distance from optical center
	of lens (mm)						of lens (mm)
				Spatial frequency Max. aperture						F8 aperture
							R	T		R	T
				10 line pairs/mm
				30 line pairs/mm
							R: Radial values		T: Tangential values

One ED glass element and three aspherical elements for superior image quality High contrast throughout zoom range

Flare and aberrations effectively subdued Circular aperture for attractive defocusing 35mm equivalent focal length: 16.5–27mm

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 , 1/250 sec., F5.6, ISO 400, Manual white balance

Mid-range zoom

DT 16–50mm F2.8 SSM SAL1650

Aspherical lens ED glass

		At 16 mm					At 50 mm
	100					100
	80						80
(%)	60					(%)	60
Contrast	60					Contrast	60
Contrast	40					Contrast	40
	40						40
	20						20
	0	3	6	9	12		0	3	6	9	12
	Distance from optical center						Distance from optical center
	of lens (mm)						of lens (mm)
					Spatial frequency		Max. aperture			F8 aperture
							R	T		R	T
					10 line pairs/mm
					30 line pairs/mm
							R: Radial values		T: Tangential values

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 design 35mm equivalent focal length: 24–75mm

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

M mode, 1/100 sec., F8, ISO 200, Daylight white balance, Landscape Creative Style; Photo: Norifumi Inagaki

Mid-range zoom

DT 16–105mm F3.5–5.6 SAL16105

Aspherical lens ED glass

	At 16 mm		At 105 mm

	100						100
	80						80
(%)	60					(%)	60
Contrast	60					Contrast	60
Contrast	40					Contrast	40
	40						40
	20						20
	0	3	6	9	12		0	3	6	9	12

Distance from optical center	Distance from optical center
of lens (mm)	of lens (mm)

Spatial frequency	Max. aperture			F8 aperture
		R	T	R	T
10 line pairs/mm
10 line pairs/mm
30 line pairs/mm
30 line pairs/mm
	R: Radial values T: Tangential values

One ED glass element and two aspherical 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

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

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

A mode, 1/80 sec., F5.6, ISO 100, Daylight white balance; Photo: Norifumi Inagaki

Mid-range zoom

DT 18–55mm F3.5–5.6 SAM SAL1855

Contrast (%)

Aspherical lens ED glass

	At 18 mm				At 55 mm
100					100
80				(%)	80
				(%)	60
60				Contrast	60
40				Contrast	40
20					20
0	3	6	9	12	0	3	6	9	12
Distance from optical center					Distance from optical center
of lens (mm)					of lens (mm)
			Spatial frequency Max. aperture					F8 aperture
					R	T		R	T
			10 line pairs/mm
			30 line pairs/mm
					R: Radial values		T: Tangential values

One ED glass element and two aspherical 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

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

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

Mid-range telephoto zoom

DT 18–135mm F3.5–5.6 SAM SAL18135

DT 18-200mm f/3.5-5.6 mid-range zoom lens

DT lens design for optimum DSLR performance

Silent, high-speed AF drive via SAM

Excellent wide-angle to long telephoto shots

Aspherical lens ED glass

		At 18 mm					At 135 mm
	100					100
	80						80
(%)	60					(%)	60
Contrast	60					Contrast	60
Contrast	40					Contrast	40
	20						20
	0	3	6	9	12		0	3	6	9	12
	Distance from optical center						Distance from optical center
	of lens (mm)						of lens (mm)
				Spatial frequency			Max. aperture			F8 aperture
							R	T		R	T
				10 line pairs/mm
				30 line pairs/mm
							R: Radial values		T: Tangential values

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

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