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Sony 24mm, 40mm, 50mm lens review: small saviors


The brand new Sony 24mm f/2.8, 40mm f/2.5, and 50mm f/2.5 are 3 new compact top lenses that every value $599.99 and might be delivery in mid-Might. Whilst they uphold the popularity of high quality Sony has established with the G lineup, it’s their uniformity and small dimension that come as a welcomed wonder.

Uniformity and dimension are so hardly ever a subject matter of dialogue with regard to lenses. As a video-first writer, 67mm, 77mm, and 82mm are commonplace thread sizes in my tools bag. However it appears like with each and every new lens I purchase I’ve to consider the price of a brand new ND filter out or a step-up or down ring. Those 3 new lenses all very easily percentage the similar 49mm filter out thread.

Then there may be weight and dimension. It’s no secret that baggage with full-frame digital camera tools are heavy, and lenses play no small position in that. However this new trio of lenses are small and light-weight sufficient to slot in a compact bag and even your jacket pocket.

All 3 of the brand new Sony top FE lenses are the similar top and width.

Each and every of those lenses options an aperture click on toggle, an autofocus toggle, a programmable button, and an aperture and center of attention ring. They’re all weather-sealed and are 2.5 inches (64mm) in diameter whilst just one.8 inches (45mm) tall. This uniformity is particularly useful when balancing a digital camera on a gimbal, the place steadily the gimbal will wish to be rebalanced with every lens change. I used to be in a position to stability my A7C on a Zhiyun Crane M2 with the 24mm hooked up then simply trade to the 50mm for tighter photographs with no need to rebalance.

There’s an aperture click on transfer at the right-hand aspect of every lens.

Each and every lens has a focal point transfer at the left-hand aspect.

The burden additionally performs crucial position right here. The Zhiyun Crane M2 is a $200 hand held gimbal designed for telephones, motion cameras, and point-and-shoot cameras. The 24mm f/2.8 weighs 162g (5.71oz), the 40mm f/2.5 is 173g (6.10oz), and the 50mm f/2.5 is 174g (6.13oz). Upload the 50mm, the heaviest of the 3 lenses, to the 509g A7C, and at 683g, I used to be nonetheless below the Crane M2’s 720g (1.58lb) weight prohibit. That left me sufficient headroom to place my Rode VideoMicro mic at the digital camera.

A full-frame digital camera with a full-frame lens on a gimbal that small is in reality outstanding, and my hands are endlessly thankful.

The Zhiyun Crane M2 is rated for cameras as much as 720g (1.58lb).

I used to be in a position to mount a shotgun mic onto my digital camera with out going over the gimbal’s weight prohibit.

As a result of there are normally fewer lens components in a main lens than a zoom lens, they’re steadily sharper and feature much less chromatic aberration. Primes additionally typically have wider aperture that may let in additional mild or supply extra inventive keep watch over over the intensity of box in a picture. At f/2.8 and f/2.5 most apertures, none of those 3 lenses will win contests for the blurriest bokeh or probably the most light-gathering skill. However on a full-frame Sony digital camera, they supply sufficient separation between topics and pleasingly blurry backgrounds. Total, all of them seize sharp photographs with a comfortable, painterly center of attention falloff. Despite the fact that I didn’t have some other primes lenses inside the $600 value vary to match them to, I used to be inspired with the sharpness all over the aperture vary and the loss of chromatic aberration.

Footage all for the Sony 50mm f/2.5 G

For a head-to-head comparability between those new Sony primes and different lenses inside this value vary, take a look at the good video Gerald Undone put in combination. It covers the whole lot from chromatic aberration to minimal focusing distance with a good quantity of pixel peeping for the nitpick-y amongst us. Whilst I agree that the bokeh from the Sony primes displays a little an excessive amount of in their blades at upper apertures, I don’t to find the chromatic aberration at the Sony 40mm and 50mm to be noticeable sufficient in real-world photographs to be an issue.

Footage all for the Sony 40mm f/2.5 G

All over my time with those 3 lenses, I shot with the 24mm probably the most. When taking pictures in RAW, this 24mm has simply the correct amount of warp on the edges that each provides energy to the topic and brings the viewer’s eye to the middle of the body. That is precisely the impact I’m in search of from a wide-angle lens, however for other folks preferring a extra linear symbol this can be off-putting. This can be a nice lens for selfies and structure. I may additionally see myself the use of this lens for vlogging, once I wish to seize each me and my surroundings.

Footage all for the Sony 24mm f/2.8 G

The 40mm’s and 50mm’s center of attention falloff is even and relatively shocking. When opened as much as f/2.5, the utmost aperture, the background is blurred to the purpose of gooeyness. And whilst the 40mm can deal with portraits, it’s additionally simply vast sufficient to paintings for positive panorama photographs, too.

The 40mm vs. 50mm taken from the similar spot at ISO500 f/2.5.

Each and every lens has twin linear motors for speedy and quiet autofocus, which is very best for taking pictures video. There’s a little bit of focusing respiring, however it’s now not common sufficient to be an issue. I want the minimal center of attention distance used to be a little nearer, despite the fact that, particularly at the 24mm the place the closest it may well center of attention is 9.4 inches (24cm). The $550 Sigma 24mm f/3.5 has a 4.25-inch (10.8cm) minimal center of attention distance, and when taking footage of vegetation, for instance, this shut center of attention can carry a viewer into the flower, a spot we hardly ever are. It’s tough to drag that shot off with the Sony lens.

I used to be in a position to pack my Sony A7C, with one of the vital 3 lenses hooked up, and the 2 last primes all into my fanny pack.

The bag closed simply and had room to spare for hand sanitizer and my pockets.

Despite the fact that those primes are a ways from the least pricey of their class, what made me love taking pictures with them is their uniform dimension with out compromising controls to be had on the click on of a button, high quality, or climate seal. I will transfer between them with no need to rebalance my gimbal or in reality even modify to other controls — all of them really feel the similar at the entrance of my digital camera.

Sony in any case has given me an revel in I’ve but to have with a G lens: portability. Taking 3 top lenses on a stroll is one thing I by no means do as a result of a unmarried zoom lens saves house and weight. However with those 3 lenses, I used to be in a position to hold a unmarried fanny pack and now not really feel confused through the burden of them.

At the video entrance, I welcome 3 lenses that each one percentage the similar filter out thread so I don’t must maintain more than one units of step-up or down rings for my ND filters. I additionally recognize the close to silent autofocus and talent to toggle the aperture ring’s click on off and on.

When taking this picture, my Sony A7C’s autofocus device known those lenses as a face.

The 40mm and 50mm lens hoods have filter out threads on each the lens and the lens hood for simple mounting.

When paired with the Sony A7C, those lenses make for a compact bundle.

The brand new Sony 24mm f/2.8, 40mm f/2.5, and 50mm f/2.5 are all compact with out compromise and at a worth that’s top however now not out of achieve. You’ll get quicker lenses, you’ll get more cost effective lenses, and you’ll get even smaller lenses. However you are going to be hard-pressed to search out this mixture of portability and function in the rest in Sony’s lineup.

I’m completely welcoming Sony’s large push towards high quality cameras and lenses that gained’t ruin my again additionally. Subsequent forestall: compact zooms with quicker, consistent apertures, please.

Sony 24mm f/2.8 lens

Costs taken at time of publishing.

Sony’s 24mm f/2.8 lens is light-weight and compact, a really perfect fit for the A7C digital camera.

Sony 40mm f/2.5 lens

Costs taken at time of publishing.

Sony’s 40mm f/2.5 lens is small in dimension and is flexible sufficient for each portraits and a few panorama paintings.

Sony 50mm f/2.5 lens

Costs taken at time of publishing.

The 50mm f/2.5 lens from Sony is a compact, commonplace lens with the power to make a choice from clicked or clickless aperture ring.

Correction: A prior model of this text incorrectly said those have been Sony G Grasp lenses. They’re Sony G lenses. We be apologetic about the mistake.

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