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Sony SAL500F40G

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1. E At 18mm I At 200 mm 100 pomis It will take you from a wide scene spanning 18mm to far reaching 3 a 200mm telephoto that will let you zoom in on distant subjects yet the l SAL18200 weighs only 405 grams and is no larger than many zooms 5 Hi i w of more limited range For these reasons it is an excellent choice for 5 45 t 46 EI photographers who want to cover as many situations as possible o without having to change lenses In addition to being an outstanding an gt 20 one lens solution it features a refined optical design that ensures excellent sharpness and contrast throughout the image oat all focal AMNEM M MEN ME EN lengths so you can shoot with confidence in any situation that arises Distance from optical center Distance from optical center of lens mm of lens mm Weight approx 405 g Dimensions Dia x L 73 x 85 5 mm Max magnification ratio 0 27x Max aperture F8 aperture R T R T TOline pairs mm os 30 line pairs mm R Radial values T Tangential values Spatial frequency 24 Contrast 75 60 40 20 ii T P mode 1 125 sec F5 6 0 3 EV ISO 100 Auto white balance Portrait Creative Style Photo Norifumi Inagaki High magnification zoom DT 18 250mm F3 5 6 3 SAL18250 E Two ED glass elements and two aspherical elements for superior image quality m Extra
2. 0 Distance from optical center of lens mm 3 6 9 12 20 Spatial frequency Max aperture F8 aperture R T R T 10 line pairs mm 30 line pairs mm R Radial values T Tangential values E Excellent contrast and resolution m Compact lightweight design E Built in slide out lens hood 5m An outstanding choice for 35mm full frame and APS C format cameras 28 millimeters is an extremely versatile focal length that can be useful in a wide variety of situations on both full frame and APS C format cameras On a 35mm full frame format camera 28mm is wide enough to allow comfortable shooting indoors or on the street without producing forced perspective On an APS C format camera 28mm is equivalent to a focal length of 42mm which is close to normal in terms of angle of view and perspective For photo enthusiasts who use either or both types of bodies this lens is a must have It s compact and lightweight and is a versatile convenient choice for use either as a main or second lens Weight approx 185 g Dimensions Dia x L 65 5 x 42 5 mm Max magnification ratio 0 13x Normal DT 35mm F1 8 SAM SAL35F18 M mode 1 320 sec F5 6 ISO 200 Cloudy white balance C1 Photo Kentaro Fukuda 100 eo Contrast 76 E r3 I o 0 3 6 Distance from optical cen 9 12 er of lens mm
3. 0 3 6 9 12 0 3 6 9 12 Distance from optical center Distance from optical center of lens mm of lens mm Max aperture F8 aperture R T R T 10line pairs mm MX odas 30 line pairs mm Spatial frequency Weight approx 524 g Dimensions Dia x L 75 5 x 99 mm Max magnification ratio 0 35x R Radial values T Tangential values 67 ELEM Auto Mode 1 200 sec f 9 0 ISO 800 Sunny White Balance High magnification zoom E 18 200mm F3 5 6 3 OSS LE SELI8200LE LED S oss T Aspherical lens ED glass E At 18mm E At 200 mm Distance from optical center of lens mm Spatial frequency B aperture Te Tj Bome pasm R Radial values T Tangential values Distance from optical center of lens mm m 18 200mm f 3 5 6 3 OSS High Magnification Zoom Lens m 18mm wide angle to 200 mm telephoto E Optical image stabilization Optical SteadyShot 5 Excellent image sharpness Significantly smaller and lighter than comparable lenses the Sony SEL18200LE high magnification zoom lens is perfect for a wide range of shooting situations With a compact size achieved in part by downsizing ihe autofocus motor and optical image stabilization unit this lens offers a powerful mix of versatility and image quality perfect for shooting scenarios where a light compact camera and lens combination is optimal The b
4. R Radial values T Tangential values E Two ED glass elements effectively suppress aberration Outstanding sharpness and contrast throughout the zoom range SSM Super Sonic wave Motor for fast quiet autofocus operation E Circular aperture for attractive defocusing m Focus hold and focus range switches offer precision focusing control mH Covering an extremely wide telephoto range with ample brightness this award winning lens can for example take you from an elegant 70mm portrait to a stunning 400mm wildlife shot in an instant without having to change lenses and potentially miss a great shot This is an extraordinarily wide zoom range for a lens in this class but range isn t its only feature Being a high end G Lens with a precision optical path that includes two ED glass elements you can be sure that it will deliver excellent sharpness and contrast right out to the edges of the image at all focal lengths And although long telephoto shots usually require a very steady hand or even a tripod to achieve optimum quality SteadyShot INSIDE image stabilization featured in OC series bodies will vastly improve your chances of capturing stunning handheld telephoto images Weight approx 1500 g Dimensions Dia x L 94 5 x 196 mm Max magnification ratio 0 27x Tripod mount supplied The SAL70400G received the 2009 TIPA Best Expert Lens award and the 2009 2010 EISA Zoom Lens award Wide angle prim
5. 0 4 8 12 16 20 Distance from center of image mm M mode 1 160 sec F4 0 0 3 EV ISO 200 Custom white balance Photo Chukyo Ozawa Telephoto prime Sonnar T 135mm F1 8 ZA SALI35F18Z Auto Clutch ED 3 FMs E Two ED glass elements for superior image quality E Carl Zeiss T coating effectively controls flare and glare E Excellent corner to corner sharpness and high contrast E Zi B m Focus ring with auto clutch does not rotate during autofocus m Focus hold button provides conveniently placed focus hold control ED glass 1 At 135 mm F8 Lin aie F1 8 is a relatively large maximum aperture for a 135mm telephoto lens x and the consistently outstanding performance of this lens throughout 60 its aperture range lets you take full advantage of the extra speed and 40 brightness it provides Whether you need the large aperture to shoot in low light to achieve suitable shutter speeds for shooting action or for creative control of background defocusing the SAL135F18Z will reward 0 4 8 12 16 2 you with stunning resolution and contrast where it counts In addition to Distance from center of image mm E 7 portraits and landscapes with natural proportions and perspective the 135mm focal length of this lens is often a good choice for indoor sports 80 Contrast 20 Spatial frequency R T 10 line pairs mm 135mm is well within telephot
6. 30 line pairs mm R Radial values T Tangential values LS RE m Wide 94 angle of view on full frame cameras Precisely corrected for natural perspective Aberration effectively suppressed throughout the focus range Rear focusing mechanism for fast autofocus response E Circular aperture for attractive defocusing This rigorously corrected lens gives you a wide angle of view for images that benefit from dramatic perspective with minimum distortion It s an ideal Choice for covering spread out scenes that you can t get far enough way from to cover with a normal lens But there s more since it has extended depth of field that can keep everything from 25 centimeters to infinity in crisp focus you can create exaggerated perspective by including very close and very distant objects in the frame Close objects will loom large while distant objects appear to recede markedly into the distance Meticulous attention has been paid to minimizing flare and internal reflections in this advanced design with the result that excellent sharpness and contrast are maintained through the image Weight approx 285 g Dimensions Dia x L 78 x 53 5 mm Max magnification ratio 0 13x 31 32 Wide angle ES M mode 1 125 sec F11 ISO 200 Landscape Creative Style Photo Yuji Nukui SAL28F28 28mm F2 8 E At 28 mm 100 80 60 Contrast 40 20
7. 0 4 8 12 16 20 X Distance from optical center of lens mm Max aperture F8 aperture R T R T 10 line pairs mm vm cce ese 30 line pairs mm TEE mem Spatial frequency All of the MTF charts that accompany the lens descriptions in the latter part of this brochure follow these conventions 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 TECH TALK 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
8. 8 Contrast 0 4 8 12 Distance from center of im 42 16 20 iage mm Distance from center of image mm Teleconverter compatible ED ie if a ED glass At 200 mm 0 4 8 12 16 20 Spatial frequency Max aperture F8 aperture R T R T 10 line pairs mm 30 line pairs mm R Radial values T Tangential values 3 buttons Elec L prom Four ED glass elements effectively suppress aberration mE Constant F2 8 maximum aperture E Outstanding sharpness and contrast throughout the zoom range m SSM Super Sonic wave Motor for fast quiet autofocus operation E Circular aperture for attractive defocusing Focus hold and focus range switches offer precision focusing control The range from 70 to 200 millimeters is where much of the telephoto action occurs The ability to cover that range with a constant F2 8 aperture affords some significant photographic advantages and the outstanding clarity and contrast offered by the SAL70200G multiplies those advantages many times over Although the large F2 8 maximum aperture does make it easier to create beautifully defocused backgrounds there are important advantages for shooting moving subjects as well Larger apertures often referred to as fast as well as bright allow you to use faster shutter speeds to achieve equivalent ex
9. Spatial frequency Max aperture F8 aperture R R T 10line pairs mm 30 line pairs mm R Radial values T Tangential values ESI ECNEN E At 35 mm E Excellent sharpness and contrast throughout the image m Circular aperture for attractive defocusing E Responsive internal SAM Smooth Autofocus Motor autofocus drive m Bright enough for handheld shooting in low light E 35mm equivalent focal length 52 5mm There s a very good reason why 35mm is one of the most popular focal lengths for use on APS C format cameras The full frame equivalent focal length is 52 5mm providing normal perspective similar to that experienced with the naked eye and an angle of view that is suitable for an extremely wide range of subjects You can shoot anything from landscapes to portraits with this lens without ever feeling that the perspective is too forced or too flat or that objects appear distorted The large F1 8 maximum aperture is another advantage bright enough to allow hand held shooting in low light and capable of producing smooth defocusing effects that can add depth and artistic elegance to your images As a bonus the SAL35F18 weighs a mere 170 grams making it unobtrusive on the camera in a bag or even in a pocket Weight approx 170 g Dimensions Dia x L 70 x 52 mm Max magnification ratio 0 25x 33 Normal 50mm F1 4 SALSOF14 A mode 1 320 sec
10. 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 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 The job of varying focal length in a zoom lens requires a fairly complex mechan
11. High performance Carl Zeiss wide angle prime with elegant black metal exterior One ED glass element and two aspherical elements Innovative optical design achieves outstanding corner to corner sharpness Ideal for shooting stills or movies Carl Zeiss quality really shows off the capabilities of the E mount system with outstanding resolution and contrast that can add legendary Zeiss depth and dimensionality to your images This wide angle prime lens delivers superior cornerto corner sharpness even at the maximum F1 8 maximum aperture with minimum distortion and coma It also focuses as close as 16 centimeters providing an unusual combination of close focus and wide angle perspective for 1 4 macro photography The 24mm focal length equivalent to 36mm on a 35mm format camera is an excellent choice for general shooting Many photographers will be happy to leave this lens on their camera most of the time especially since its F1 8 maximum aperture facilitates handheld shooting even in challenging low light situations Movie makers will love this lens too because smooth low noise autofocus and aperture operation mean they can take advantage of its outstanding optical characteristics without worrying about mechanical noise infiltrating the soundtrack Weight approx 225 g Dimensions Dia X L 63 x 65 5 mm Max magnification ratio 0 25x Normal Auto Mode 1 1000 sec f 2 2 ISO 200 Shade white balance E 35mm F1 8 OSS SEL35
12. 305 g Spatial frequency Dimensions Dia x L 71 5 x 85 mm Max aperture F8 aperture e H a P p Max magnification ratio 0 29x R T R T 10 line pairs mm 30 line pairs mm R Radial values T Tangential values 27 Telephoto zoom F ur rM a M Mode 1 200 sec F8 0 ISO 200 Sunny white balance DT 55 300mm F4 5 5 6 SAM _ SAL55300 it wi ED glass At 200 mm g 5 g Is o s Distance from optical center Distance from optical center of lens mm of lens mm ote pamm 20 ne pairs mm R Radial values T Tangential values Compact lightweight design Superb value and performance Zoom range 55 300 mm 4 5 1 4 m minimum focus ED Glass for sharp imaging Get a superb all purpose telephoto zoom lens at a great value with the Sony SAL55300 55 300mm f 4 5 5 6 lens An excellent all around addition to your kit this lens covers the medium to long distance telephoto range used most often by family photographers It also provides close minimum focusing distance of about 4 5 feet 1 4m ideal for tight shots of people natural subjects and close up details Its compact lightweight design makes it easy to carry as your standard or accessory lens All your shots will benefit from the Sony Super SteadyShot image stabilization system built into your Sony Alpha DSLR camera 35mm equivalent 82 5 450mm Weight
13. Mid range zoom Vario Sonnar T 24 70mm F2 8 ZA SSM SAL2470Z A mode 1 30 sec F11 0 7 EV ISO 100 Auto white balance Photo Mike Jones Aspherical lens ED glass E At 24 mm Open E At 24 mm F8 100 WH 80 80 2 EO g eo 60 E o 8 0 E t 4 Ea O 2 a 0 4 8 1 6 2 0 4 8 1 6 2 Distance from center of image mm Distance from center of image mm E At 70 mm Open E At 70 mm F8 ES ed a 80 RES a Spatial frequency R T 2 wo s m B 0 NS E R 4 7 mud E x 10line pairs mm 9 S a 20 line pairs mm 9m m 40 line pairs mm_ 0 4 8 1 6 2 0 4 68 12 6 2 R Radial values T Tangential values Distance from center of image mm Distance from center of image mm 52 E Two ED glass elements and two aspherical elements for superior image quality E Carl Zeiss T coating effectively controls flare and glare E Constant F2 8 maximum aperture 5 Outstanding sharpness and contrast at all aperture settings 5 Quiet responsive internal SSM Super Sonic wave Motor autofocus drive 5m Focus mode switch and focus hold button offer precision focus control If you insist on prime lens image quality but envy the convenience of variable focal length here s a lens that brings the best of both w
14. SAL1680Z 10 14 24 120 83 20 7 circular aperture 22 29 0 24 0 35 o 62 petal bayonet 72x83 2 7 8x3 3 8 445 15 3 4 hood ALC SH0005 case E DT 16 80mm F3 5 4 5 ZA sow E Ts SAL2470Z 13 17 36 105 61 23 84 34 9 Circular aperture 8g 0 25 0 34 o v petal bayonet 83x111 3 3 8x4 3 8 955 33 1 4 hood ALC SH101 case S Carl Zeiss Lens 24 70mm F2 8 ZA SSM o 53 Distagon T 24mm F2 ZA SSM SAL24F20Z 7 9 36 61 84 9 circular aperture 22 0 29 0 19 o 72 petal bayonet 78x76 3 1 8x3 555 19 5 8 hood ALC SH110 case 54 Planar T 85mm F1 4ZA SAL85F14Z 7 8 127 5 19 29 9 circular aperture 22 ONS 0 85 o 72 round bayonet 87x75 3 1 4x 2 7 8 640 22 5 8 hood ALC SH0002 case F 55 Sonnar T 135mm F1 8 ZA SAL135F18Z 8 11 202 5 12 18 9 circular aperture 22 0 25 0 72 o 77 round bayonet 88x114 5 3 1 2x4 5 8 995 35 1 8 hood ALC SH0003 case 3 58 E 16mm F2 8 SELI6F28 5 5 24 83 7 circular aperture 22 0 078 0 24 o 49 62x22 5 2 1 2x 29 32 67 2 3 8 59 Fisheye Converter VCL ECFI 4 A 15 0 62 0 13 66x44 2 5 8 x 1 3 4 50 5 1 4 case 3 59 Ultra Wide Converter VCL ECU1 3 3 18 0 75 0 18 66x44 2 5 8 x 1 3 4 25 4 3 8 case E 60 Sonnar T E 24mm F1 8 ZA SEL24F18Z 7 8 36 61 7 circular aperture 22 0 25 0 016 49 63x65 5 2 3 8x2 1 2 225 8 front amp rear caps a 61 E 35mm F1 8 OSS SEL35F18 8 6 52 5 44 7 circular aperture 22 0 15 0 99 49 petal clip on 62 2 x 45 2 1 2 x 1 13
15. Tangential values Auto mode 6 sec F2 8 0 25 EV ISO 800 Auto white balance Photo David McClain SELI6F28 Ultra slim 22 5 mm and lightweight with high quality metal exterior 5 element design with one aspherical element for top class optical performance 3 Ideal for shooting stills or movies 31 Circular aperture for attractive defocusing m Built in motor delivers smooth quiet autofocus operation 35mm equivalent focal length 24mm Combine this compact wide angle prime lens with any E mount camera for a totally new photographic experience Mounted on any of the slim bodies for which it is designed it becomes part of an extraordinarily compact portable photographic system that can slip comfortably into a coat pocket ready to shoot at any time In action it gives you wide 16mm coverage equivalent to a 24mm lens on a full frame 35mm camera for comfortable shooting in situations ranging from cramped indoor settings to sweeping landscapes and the large F2 8 maximum aperture is ideal for handheld shooting in low light The SEL16F28 is an excellent choice for both stills and movies particularly since its quiet autofocus aperture operation will contribute to high quality movie sound Weight approx 67 g Dimensions Dia x L 62 x 22 5 mm Max magnification ratio 0 078x Fisheye Converter Ultra Wide Converter VCL ECF1 VCL ECUI Without converter Fisheye and Ultra Wide Converters Although the 16mm SEL16F28 is a wide
16. improved resolution somewhat Basically the higher and flatter the line the better the performance for the corresponding set of parameters The smaller the distance between the green and red lines the more consistent the performance of the lens is over a range of aperture settings The smaller the gap between the solid and dotted lines the more attractive the defocusing is likely to be That s really all you need to know to glean useful information from an MTF chart Just remember that comparing MTF graphs of different lenses is really only meaningful if both lenses have similar focal lengths Green Contrast value at maximum aperture Y Red Contrast value at F8 Indicates excellent performance _ 100 us EE with high contrast and resolution Ee oe at the center of the lens ac asses 60 Indicates the level to which resolution and contrast are maintained at the periphery 40 of the lens e t 20 g c o O 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 Ip 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
17. responsive autofocus operation that does not require mechanical coupling from the camera body STF lens 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 EU 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 Piezoelectric element AC voltage Phase B AC voltage Phase A Stator Rotor Rotor Stator SSM consists of a rotor left and a stator right on which plexoelectric elements are mounted A unique amp 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 de
18. 210mm with consistently outstanding optical performance all the way In 35mm full frame equivalent terms that s a wide zoom range of 82 5mm to 315mm providing plenty of reach for outdoor sports or nature photography Built in Optical SteadyShot OSS image stabilization is a huge advantage when shooting at longer focal lengths or in low light making it easy to capture crisp stable images at up to four shutter speeds lower than would normally be possible And if you shoot movies as well as stills the built in motor contributes to quiet yet responsive autofocus and aperture operation that keep your movie soundtrack free from mechanical noise Weight approx 330 g Dimensions Dia X L 63 8 x 108 mm Max magnification ratio 0 225x Main specifications of Ot lenses Max magnification Min focus m 35mm equivalent Lens configuration focal length Angle of view Angle of view Min aperture Distance Filter dia Dimensions Dimensions Weight Weight Provided Category Description Model name No of aperture blades Hood shape mount group element APS C mm APS C 35mm full frame F Stop OS encoder mm Dia x L mm Dia x L in approx g approx oz accessories 19 DT 11 18mm F4 5 5 6 SAL1118 12 15 16 5 27 104 76 7 circular aperture 22 29 0 125 0 25 Oo 77 petal bayonet 83x80 5 3 3 8x3 1 4 360 2 3 4 hood ALC SH0009 20 DT 16 50mm F2 8 SSM SAL1650 13 16 24
19. 22 0 15 0 2 b End petal fixed 75x66 5 2 15 16x2 5 8 400 4 1 8 incl 1x filter integrated 31 20mm F2 8 SAL20F28 9 10 30 70 94 7 circular aperture 22 0 13 0 25 72 petal bayonet 78x53 5 3 1 16x2 1 8 285 0 1 16 hood ALC SH0013 32 28mm F 28 SAL28F28 5 5 42 54 75 7 22 0 13 0 3 49 ARR 65 5x42 5 2 9 16x1 11 16 85 6 1 2 33 DT 35mm F1 8 SAM SAL35F18 5 6 52 5 44 7 circular aperture 22 0 25 0 23 o 55 round bayonet 70x52 2 8x2 1 8 70 6 hood ALC SH111 34 50mm F1 4 SAL5OF14 6 7 75 32 47 7 circular aperture 22 0 15 0 45 Oo 55 round bayonet 65 5x43 2 9 16x1 11 16 220 7 3 4 hood ALC SHOO11 es 35 DT 50mm F1 8 SAM SALSOF18 5 6 75 32 7 circular aperture 22 0 2 0 34 o 49 petal bayonet 70x45 2 7 8x 1 13 16 70 6 36 85mm F2 8 SAM SAL85F28 4 5 127 5 19 29 7 circular aperture 22 0 2 0 6 Oo 55 round bayonet 70x52 2 8x2 1 8 75 6 1 8 hood ALC SH111 PULSA 37 nes M SALI35F28 Fed 202 5 12 18 See 31 132 0 25 0 87 m round bayonet 80x99 3 1 8x3 7 8 730 25 3 A hood ALC SHO014 case 38 DT 30mm F2 8 Macro SAM SAL30M28 5 6 45 50 a 7 circular aperture 22 1 0 0 129 o 49 Z 70x45 2 7 8x1 13 16 50 5 1 4 99 50mm F2 8 Macro SAL50M28 6 7 75 32 47 7 circular aperture 32 1 0 0 2 Oo 55 71 5x60 2 13 16x 2 3 8 295 10 3 8 2 40 100mm F2 8 Macro SAL100M28 8 8 150 16 24 9 circular aperture 32 1 0 0 35 Oo 55 round bayonet 75x98 5 3x4 505 18 hood ALC SH0007 42 70 200mm F2 8 G SAL70200G 16 19 105 300 2
20. And second a large maximum 60 to produce images that seem to have an extra dimension with high 8 aperture works with the medium long focal length to create beautifully 8 resolution at the plane of focus gradually melting away to beautifully 5 3g defocused backgrounds so that the subject seems to pop out of the 8 Bis diffused out of focus rendition With some lenses highlights in defocused 2 image The SAL85F28 is just such a lens But it s not just limited to portraits It s 2 areas can be distracting but with this unique Smooth Trans Focus design a great choice for any situation where you want a bit more magnification they retain their natural shape in a way that doesn t detract from the ge TREE ERR than a standard focal length provides And the fact that it is light and ERE car TENES TERES E defocused background or foreground and there s no ugly double line Distance from optical center of lens mm compact means that it s easy to take along as a second lens Distance from optical center of lens mm defocusing The SAL135F28 promises a one of a kind photographic experience A manual aperture ring is provided for direct hands on Weight approx 175 g i Max aperture F8 aperture i Spatial frequency Es apanui z ai Dimensions Dia x L 70 x 50 mm Spatial frequency 77 P T R P T defocusing control TO linepaitszmm n ree et n Max magnification ratio 0 2x
21. ED glass At 50 mm 60 40 20 0 3 6 9 12 Distance from optical center 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 apertu
22. EELE 150 mm b 400 mm 400 mm z 600 mm p M oBuDi pIlA Oojoudeje Focal length in equivalent focal length when mounted on interchangeable lens digital cameras with 35mm full frame sensors TECHTA 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 A technical definition of focal length The focal length of a lens is defined as the distance from its secondary principal 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 and primary and secondary principal points
23. Two aspherical elements for outstanding image quality at all apertures 5 Carl Zeiss T coating effectively controls flare and glare amp Aspherical lens SALT680Z E Outstanding sharpness and contrast at all focal lengths Circular aperture for attractive defocusing E Compact lightweight high performance zoom m 35mm equivalent focal length 24 120mm Because it has been designed specifically for APS C format cameras the SAL1680Z is the lightest and most compact zoom in the Carl Zeiss lineup It also offers the greatest zoom range in the lineup making it a superb single lens solution for many APS C format photographers Its 35mm equivalent focal length range of 24 120mm may be all you ll ever need for day to day shooting And of course it delivers acclaimed Carl Zeiss optical performance and handling with image quality that rivals the best prime lenses at any focal length Although the maximum aperture isn t as large as the 35mm full frame format lenses in this series circular aperture design makes it possible to get creative with beautifully smooth defocusing effects The SAL1680Z is quite simply the most versatile economical way to experience Carl Zeiss quality on an X series APS C format body Contrast 16 Distance from center of image mm E At 80 mm F8 100 Contrast 0 4 8 Distance from center of image mm Weight approx 445 g Dimensions Dia x L 72 x 83 mm Max magnification ratio 0 24x
24. angle lens these converters can give you an even wider view The VCL ECF1 Fisheye Converter goes a step further with a 180 angle of view that is equivalent to a 15mm lens on a 35mm full frame format camera with fascinating curvilinear fisheye perspective The VCL ECUI Ultra Wide Converter provides an angle of view equivalent to that of an 18mm lens on a 35mm full frame format camera making it possible to shoot dramatic wide angle scenes with extended depth of field Both converters attach securely with bayonet mounts ensuring optimum optical alignment and image quality Furthermore these converters cause no light loss so f stop values remain unchanged SELI6F28 with VCL ECF1 E 16mm F2 8 with Ultra Wide Converter 1 3200 sec F 6 3 ISO 200 Auto white balance With Ultra Wide Converter At 24 mm Open Wide angle prime S mode 1 125 sec F4 ISO 1600 Auto white balance Sonnar T E 24mm F1 8ZA SEL24F18Z RENE Aspherical lens ED glass At 24 mm F8 100 100 B eeu ee 80 60 60 40 40 Contrast 75 Contrast 75 20 20 0 3 6 9 12 Distance from optical center of lens mm 60 0 3 6 9 12 Distance from optical center of lens mm Spatial frequency R T 10 line pairs mm 20 line pairs mm 40 line pairs mm xl poem R Radial values T Tangential values
25. choice for general photography But when an exquisite little detail catches your eye you can move in as close as 2 centimeters from your subject to capture macro images with up to 1 1 magnification The details you focus on will be astonishingly sharp while the out of focus background dissolves into a creamy blur that can really make the details stand out The SAL30M28 is only 45 millimeters long and weighs a discreet 150 grams so it can stay on your camera or in your bag at all times without getting in the way Weight approx 150 g Dimensions Dia x L 70 x 45 mm Max magnification ratio 1 0x Macro M mode 1 50 sec F2 8 ISO 400 Auto white balance Photo Shinya Morimoto 50mm F2 8 Macro SAL50M28 Contrast 76 0 Distance from optical center of lens mm 3 6 9 12 20 Spatial frequency Max aperture F8 aperture R T R T 10 line pairs mm 30 line pairs mm R Radial values T Tangential values E High performance macro and everyday shooting with one lens 5 Accurate autofocus from 1 1 magnification to infinity E Double floating design contributes to outstanding image quality m Circular aperture for attractive defocusing m Focus ring with auto clutch does not rotate during autofocus Photographers who are attracted to details need a lens that lets them get in close when necessary filling the frame with their diminutive but fascin
26. es we The SEL 1018 super wide angle zoom lens is perfect for taking photos of Measuring just 3 16 29 9mm when fully retracted this SELP 1650 retractable b E f BS sweeping landscapes and producing striking images with emphasized zi E zoom lens is super compact and easy to carry so you can quickly whip Me perspective If you re seeking a wider minimum focal length than m Su E n Soe out your camera and spontaneously grab shots as they occur It s perfect 60 60 offered by standard wide angle zoom lenses the SEL 1018 is the ideal 60 DELL LN 6 fae for traveling and other scenarios that require a lightweight compact 3 N choice for you Featuring a minimum focal length of only 10mm 15mm H E camera and lens combo It covers a 16mm to 50mm range 35mm 5 0 E An in 35mm camera equivalency the SEL 1018 wide angle zoom lens g S 6 equivalent 24 75mm for flexible shooting and is equipped with one ED 2 m delivers highly detailed super wide angle photos With a constant m a extra low dispersion and four Aspherical elements resulting in a high maximum aperture of f 4 through the entire focal length range you ll performance lens that is surprisingly compact be able to use the widest aperture at every focal length Even in low o 3 6 9 12 0 3 6 9 12 li o 3 6 9 12 0 3 6 9 12 Weight approx 116 g ight you can take advantage of the bright aperture to utilize fast f 4 i Distance from optical center Distan
27. for use with APS C format interchangeable lens digital cameras Use with 35mm full frame When mounted on a series cameras with APS C type sensors the actual angle of view will be equal to the one obtained at the focal length approx 1 5 times longer than stated 70 digital cameras 0900 0850 not guaranteed 3 Lens compatibility operation in AF and MF modes with SAL70200G SAL300F28G MF only with SAL135F28 SAL70400G 4 Without tripod mount In principle amount of light coming into a lens will decrease at image periphery If it becomes too dark adjust the aperture setting by 1 or 2 stops down 71 5 Exclusive to SEL16F28 Carl Zeiss filter High grade Carl Zeiss filters with exclusive T coating optimize the superb performance of your lenses effectively reducing flare and ghosting A thin profile also prevents vignetting Circular PL Filter ND Filter MC Protector Circular polarizing filters improve contrast Neutral density filers attenuate light to allow Multi coated protectors are coated on both in overly bright light and remove glare a longer exposure or larger aperture than sides protecting lenses from damage without and reflections required without affecting colors type ND8 causing unwanted flare or reflections VF 49CPAM 49mm VF 67CPAM 67mm VF 49NDAM 49mm VF 67NDAM 67mm VF 49MPAM 49mm VF 67MPAM 67mm VF 55CPAM 55mm VF 72CPAM 72mm VF 55NDAM 55mm VF 72NDAM 72mm VF 55MPAM 55mm VF 72MPAM 72mm VF 62CPAM 62mm V
28. fsa Three ED glass elements and four apherical elements for superior image quality Aspherical lens ED glass Bright constant F2 8 maximum aperture Responsive internal SAM Smooth Autofocus Motor autofocus drive Circular aperture for attractive defocusing Lig LENS The SAL2875 received the 2010TIPA Best Expert Lens award At 28 mm At 75 mm 100 EK d cse If you use a 35mm full frame format camera body this award winning lens 80 qn eei Na d pr d m a offers an ideal balance of brightness zoom range and image quality for a A N Y A No me xD wide range of situations youre likely to encounter in everyday shooting The z m A S 3 fact that it features a constant bright F2 8 maximum aperture at all focal H i N a BEN lengths offers significant advantages for hand held and low light shooting O Ne as well as for creating gorgeous defocused backgrounds But you never know when you might need to go a bit longer so if there s room in your bag consider taking the 75 300mm SAL75300 along as well the SAL2875 plus SAL75300 combination gives you a full frame focal length range from 28mm to 300mm 20 20 0 4 8 12 16 20 o 4 8 12 16 20 Distance from optical center of lens mm Distance from optical center of lens mm Max aperture F8 aperture Weight approx 565 g R T R T Dimensions Dia x L 77 5 x 94 mm 10lin
29. lens length does not change 2 DMF Direct Manual Focus Modes Versatile focus hold with 4 buttons on lens 35mm equivalent 105mm to 300mm Featuring a new high performance optical design a quiet high speed SSM Super Sonic Wave Motor autofocus drive system with enhanced object tracking and an anti glare Nano AR coating the SAL300F28G2 super telephoto Sony G lens delivers both high contrast and beautiful bokeh effects at levels far surpassing those of existing 300mm f 2 8 lenses Take advantage of fast internal focusing and two DMF direct manual focus modes for tack sharp images in any situation Designed with outdoor use in mind the front and back of the unit as well as the area around the focus ring are specially constructed to help prevent water penetration Weight approx 2340 g Dimensions Dia x L 122 x 242 5 mm Max magnification ratio 0 18x 100 3 buttons Electronic EI Ge ttt do d ED glass F3 e Contrast 8 I I o 0 Distance from optical center of lens mm 4 8 12 16 20 Spatial frequency Max aperture F8 aperture R T R T 10 line pairs mm 30 line pairs mm R Radial values T Tangential values High performance ultra telephoto lens with 500mm fixed focal length Ideal for sports wildlife and other demanding imaging applications requiring very high magnification Bright F4 0 maximum ape
30. 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
31. 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 21 Mid range zoom A mode 1 80 sec F5 6 ISO 100 Daylight white balance Photo Norifumi Inagaki DT 18 55mm F3 5 5 6 SAM 5AL1855 qu Aspherical lens ED glass E At 55 mm 100 El S i 2 S 2 S gt Contrast Contrast S v S 0 amp 6 9 12 0 3 6 9 12 Distance from optical center of lens mm Distance from optical center of lens mm Max aperture F8 aperture R T R T 10 line pairs mm ee 30 line pairs mm R Radial values T Tangential values Spatial frequency 22 fresc romar ED L C ea E 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 EEEE 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 lig
32. to say shooting and a smooth quiet internal lens drive system makes it suitable for shooting movies as well The SEL30M35 is a great choice for a second lens that will let you explore the world in creative new ways A dedicated lens hood that won t get in the way when shooting close is included Weight approx 138 g Dimensions Dia X L 62 x 55 5 mm Max magnification ratio 1x 63 A M Mode 1 40 sec f 8 0 ISO 100 Incandescent white balance M Mode 1 160 sec f 11 ISO 200 Sunny white balance Wide angle zoom Mid range zoom E 10 18mm F4 OSS SELIOI8 E PZ 16 50mm F3 5 5 6 OSS SELP1650 m 10 18 mm super wide angle zoom lens with a maximum aperture of FA 3 Minimum focal length of 10 mm 15 mm in 35 mm camera equivalency f Aspherical lens ED glass E Compact and lightweight design for excellent portability thanks to retract ability down to a mere 29 9 mm POWER ZOOM for smooth zooming with superb operability and quietness ED glass and Aspherical lens elements for excellent performance with reduced aberrations Built in image stabilization _ EN Hd m Superbly detailed images m Built in OSS image stabilization Optical SteadyShot EE a Aspherical lens Super ED glass E At 10 mm E At 18 mm 3 At 16 mm E At 50 mm ne
33. x 45 mm Max magnification ratio 0 2x 35 P M mode 1 640 sec F2 8 0 3EV ISO 200 Manual white balance A mode 1 400 sec F4 5 ISO 200 5300K color temperature Photo Chukyo Ozawa Mid range telephoto Telephoto 85mm F2 8 SAM SAL85F28 135mm F2 8 T4 5 STF SALI35F28 35mm full frame Kiyansamielimicelan w Manual focus only Mieleterela i larelmexelanleleliieli E Compact lightweight and eminently portable E Unique Smooth Trans Focus design featuring apodization optics m Excellent corner to corner sharpness m Sharp in focus areas with extra smooth background and F 7 E Large maximum aperture plus circular aperture design for smooth defocusing foreground defocusing m Responsive internal SAM Smooth Autofocus Motor autofocus drive E A N B E At 85 mm E At 135 mm m Smooth natural highlight diffusion E Manual focus and manual aperture ring Photographers often choose a large aperture 85mm lens for portraits for This unique lens has been specifically designed to deliver smooth two compelling reasons First the 85mm focal length makes it easy to fill Sa Hi transitions between crisp in focus areas and creamily defocused ve the frame with the subject from a comfortable distance without getting gt background and foreground areas It uses special apodization optics g so close that unflattering distortion occurs
34. 1 in at 1x magnification 30mm Macro lens SAL30M28 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 Minimum focus and working distance Image sensor plane 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 Visible ghosts How lens hoods w
35. 10 line pairs mm jo Weight approx 730 g 30 line pairs mm 30 line pairs mm Dimensions Dia x L 80 x 99 mm R Radial values T Tangential values R Radial values T Tangential values Max magnification ratio 0 25x Apodization is the technical term for changing the shape of a mathematical function in this case the optical transmission characteristics of the lens For details of STF technology See pg 17 37 38 Macro P mode 1 200 sec F4 5 ISO 100 Auto white balance Photo Kentaro Fukuda DT 30mm F2 8 Macro SAM SAL30M28 Ea t E At 30mm 40 Contrast 20 0 Distance from optical center of lens mm 3 6 9 12 Spatial frequency Max aperture F8 aperture R T R T 10 line pairs mm 30 line pairs mm R Radial values T Tangential values Em 2cm working distance lets you get really close E Precision optics deliver excellent sharpness and contrast E Compact lightweight portable design m Responsive internal SAM Smooth Autofocus Motor autofocus drive m 35mm equivalent focal length 45mm If you shoot with an APS C format camera and want a lightweight compact lens that will handle snapshots and portraits plus macro photography as well this is it The 35mm equivalent focal length of this lens is a distinctly normal 45mm making it a good
36. 16 55 5 5 hood ALC SH112 a 62 E 50mm F1 8 OSS SEL50F18 8 9 75 32 7 circular aperture 22 0 16 0 39 49 62x62 2 1 2x2 1 2 202 7 front amp rear caps Ei E Mount Lens 63 E 30mm F3 5 Macro SEL30M35 6 7 45 50 7 circular aperture 22 1 0 0 095 49 cap type 62x55 5 2 1 2x 2 1 4 38 5 front amp rear caps lens hood ALC SH113 2 64 E 10 18mm F4 OSS SEL1018 10 8 15 27 109 76 7 circular aperture 22 0 1 0 82 o 62 petal clip on 70 0 x 63 5 2 7 8 x 2 1 2 225 8 hood ALC SH123 9 65 E PZ 16 50mm F3 5 5 6 OSS SELP1650 9 8 24 75 83 32 7 circular aperture 22 36 0 215 0 82 o 40 5 petal clip on 64 7 x 29 9 2 5 8 x 1 3 16 16 4 1 front amp rear lens cap E 66 E 18 55mm F3 5 5 6 OSS SEL1855 9 11 27 82 5 76 29 7 circular aperture 22 32 0 3 0 25 o 49 petal bayonet 62x60 2 1 2x 2 3 8 94 6 7 8 hood ALC SH112 E 67 E18 200mm F3 5 6 3 OSS SEL18200 12 17 27 300 76 8 E 7 circular aperture 22 40 0 35 B dard o 67 petal bayonet 75 5x99 3x4 524 18 1 2 hood ALC SH109 2 68 E 18 200mm F3 5 6 3 OSS LE SEL18200LE 13 17 27 300 76 8 7 circular aperture 22 40 0 27 1 64 62 round clip on 68 x 97 1 2 3 4 x 3 7 8 460 16 3 front amp rear lens cap s 69 E 55 210mm F4 5 6 3 OSS SEL55210 9 13 82 5 315 29 7 30 7 circular aperture 22 32 0 225 1 49 round bayonet 63 8x108 2 1 2x4 1 4 330 12 front amp rear caps lens hood 9 1 With interchangeable ens digital cameras incorporating APS C type image sensors 2 Exclusively designed
37. 2 500mm F4 G SSM SAL500F4G 47 E 50mm F1 8 OSS SEL50F18 62 DT 18 135mm F3 5 5 6 SAM SAL18135 23 E 30mm F3 5 Macro SEL30M35 63 DT 18 200mm F3 5 6 3 RAM Ee 720 0 24 E 10 18mm F4 OSS SEL1018 64 DT 18 250mm F3 5 6 3 SAL18250 25 E PZ 16 50mm F3 5 5 6 OSS SELP1650 65 28 75mm F2 8 SAM SAL2875 26 E 18 55mm F3 5 5 6 OSS SEL1855 66 DT 55 200mm F4 5 6 SAM SAL55200 2 27 E 18 200mm F3 5 6 3 OSS SEL18200 67 DT 55 300mm F4 5 5 6 SAM SAL55300 28 Ultra wide angle Wide angle Normal Mid range Telephoto Mid range Telephoto Telephoto Telephoto Super Telephoto Super Telephoto 11mm 16mm 28mm 42mm 50mm 75mm 85mm 128mm 100mm 150mm 200mm 300mm 300mm 450mm 400mm 600mm 500mm 750mm A mount m 35mm F1 4 G SAL35F14G np 70 200mm F2 8 G SAL70200G L 4 I Er Distagon T 24mm F2 ZA SSM SAL24F20Z pum 70 300mm F4 5 5 6 G SSM SAL70300G E 3 Vario Sonnar T 16 35mm F2 8 ZA SSM SAL1635Z i P 70 400mm F4 5 6 G SSM SAL704006 gt Vario Sonnar T DT 16 80mm F3 5 4 5 ZA SAL1680Z Ub 6 p Po Tire Vario Sonnar T 24 70mm F2 8 ZA SSM SAL2470Z Sonnar T 135mm F1 8 ZA SALI35F18Z ia a Planar T 85mm F1 4 ZA SAL85F14Z dv 300mm F2 8 G SAL300F2862 500mm F4 6 SSM SAL500F4G 16mm F2 8 Fisheye SAL16F28 NT 28 75mm F2 8 SAM SAL2875 1 v DT 55 300mm F4 5 5 6 SAM SAL55300 20mm F2 8 SAL20F28 28mm F2 8 SAL28F28 Zoom Lenses b SOmm F1 4 SALSOFIA germ F2 8 SAM SALB5F28 T 135mm F2 8 4 5 STF SALI35F28 Fixed Focal Length Lenses DT 50mm F1 8 SAM SALS
38. 3 8 34 12 30 9 circular aperture 32 0 21 i o 77 petal bayonet 87x196 5 3 1 2x 7 3 4 1 340 47 14 hood ALC SH0010 case 8 43 70 300mm F4 5 5 6 G SSM SAL70300G 11 16 105 450 23 5 20 34 8 10 9 circular aperture 22 29 0 25 1 2 Oo 62 petal bayonet 82 5x135 5 3 3 8x5 3 8 760 26 3 4 hood ALC SH103 case 3 G Lens 44 70 400mm F4 5 6 G SSM SAL70400G 12 18 105 600 23 4 10 34 6 10 9 circular aperture 22 32 0 27 ES Oo UE petal bayonet 94 5x196 3 3 Ax 7 3 4 1 500 53 hood ALC SH107 case 3 45 35mm F1 4 G SAL35F14G 8 10 52 5 44 63 9 circular aperture 22 0 2 0 3 Oo 55 petal bayonet 69x76 2 3 Ax3 510 18 hood ALC SH0001 case 3 46 300mm F2 8 G SSM Built to order SAL300F28G2 10 11 450 5 20 8 10 9 circular aperture 32 0 18 2 0 o 42 exclusive round clip on 122x242 5 5 1 16x9 3 8 2 340 82 1 2 es QUAE mew 9 s 47 500mm F4 G SSM Built to order SAL500F4G 14 11 750 3 10 5 9 circular aperture 32 0 135 40 42 excluswe round clip on 140x3675 5 5 8 x 14 1 2 3 460 122 bitur ul a fiter ud 48 1 4x Teleconverter SALI4TC 4 5 o 64x20 2 1 2 13 16 170 6 case y Teleconverter 2 48 2x Teleconverter SAL20TC 5 6 o 64x43 5 2 1 2x1 11 16 200 7 116 case E Bon usene sonnerie SALI635Z 13 17 24 52 5 83 44 107 63 9 circular aperture 8g 0 24 0 28 o v pelal bayonet 83x114 3 3 8x4 1 2 860 30 3 8 hood ALC SH106 case 16 35mm F2 8 ZA SSM sy Vario Sonnar T
39. 6 2 and depth 300mm is generally considered to be the point at which the medium telephoto range ends and the super telephoto range begins Spatial frequency Max aperture F8 aperture Long focal lengths like this require careful handling to prevent camera shake 10 line pairs mm R T R T but SteadyShot INSIDE image stabilization featured in series bodies 30 line pairs mm L will help you capture clear blurfree images in a wider range of handheld R Radial values T Tangential values shooting situations than would normally be possible Weight approx 760 g Dimensions Dia x L 82 5 x 135 5 mm Max magnification ratio 0 25x Tripod mount supplied 43 44 Continuous Priority AE 1 1250 sec F5 6 0 7 EV ISO 100 Daylight white balance 1 Photo Goh Fujimaki Super telephoto zoom 70 400mm F4 5 6 G SSM 5AL 0400G 3 buttons Electronic Manual focus onl 35mm full frame f Teleconverter compatible EJ HB EM a ED glass E At 400 mm 100 MR T ie ee 80 I 60 LI 60 I t t ie o 40 t 40 e e O 2 O 20 0 4 8 12 16 20 0 4 8 12 16 20 Distance from center of image mm Distance from center of image mm Spatial frequency Max aperture F8 aperture R T R d 10 line pairs mm po 30 line pairs mm
40. 75 837 32 7 circular aperture 22 0 2 0 3 Oo 72 petal 81x88 3 1 Ax3 1 2 577 20 hood ALC SH117 21 DT 16 105mm F3 5 5 6 SAL16105 11 15 24 157 5 83 15 7 circular aperture 22 36 0 23 0 4 Oo 62 petal bayonet 72x83 2 7 8 X3 3 8 470 6 9 16 hood ALC SH105 22 DT 18 55mm F3 5 5 6 SAM SAL1855 7 8 27 82 5 76 29 7 circular aperture 22 36 0 34 0 25 Oo 55 round bayonet 69 5x 69 2 3 4x 2 3 4 210 7 1 2 E EN 23 DT 18 135mm F3 5 5 6 SAM SAL18135 11 14 27 202 5 76 12 7 circular aperture 22 40 0 25 0 45 o 62 petal clip on 76 x 86 3x 3 1 2 398 4 front amp rear lens cap 24 DT 18 200 F3 5 6 37 SAL18200 13 15 27 300 76 8 7 circular aperture 22 40 0 27 0 45 Oo 62 petal bayonet 73x85 5 2 7 8 X3 3 8 405 4 5 16 hood ALC SH0008 25 DT 18 250 F3 5 6 3 SAL18250 13 16 27 375 76 6 30 7 circular aperture 22 40 0 29 0 45 Oo 62 petal bayonet 75x86 3x3 3 8 440 5 1 2 hood ALC SH104 26 28 75mm F2 8 SAM SAL2875 14 16 42 112 5 54 21 75 32 7 circular aperture 32 0 22 0 38 Oo 67 petal bayonet 77 5x94 3 1 8x3 3 4 565 20 hood ALC SH109 27 DT 55 200mm F4 5 6 SAM SAL55200 2 9 13 82 5 300 29 8 9 circular aperture 32 45 0 29 0 95 Oo 55 petal bayonet 71 5x85 2 7 8 X3 3 8 305 0 3 4 hood ALC SH102 28 DT 55 300mm F4 5 5 6 SAM SAL55300 12 9 82 5 450 29 5 5 20 9 circular aperture 22 29 0 27 1 48 o 62 round clip on 77x116 5 3 1 8x4 5 8 460 6 3 front amp rear lens cap 30 16mm F2 8 Fisheye SALI6F28 SAU s 24 110 180 7
41. F 77CPAM 77mm VF 62NDAM 62mm VF 77NDAM 77mm VF 62MPAM 62mm VF 77MPAM 77mm Diameter size Lens Cap Front Lens Cap G Front Lens Cap Carl Zeiss Front Lens Cap Rear Lens Cap Rear Lens Cap With OC logo ALC R55 ALC RIEM Filter dia 49 55 62 67 72 77mm Filter dia 55 62 77mm Filter dia 62 72 77mm ALC F49A ALC F62A ALC F72A ALC F55G ALC F77G ALC F62Z ALC F77Z A mount E mount ALC F55A ALC F67A ALC F77A ALC F62G ALC F72Z Lens Hood Mount Adaptor Both the LA EA1 and EA2 adaptors allow you to attach A mount lenses to your E mount Petal shape Round shape 4 camera The LA EA2 is the world s first adaptor to leverage Sony s exclusive Translucent Mirror Photo ALC 5H0001 Photo ALC SHO003 Technology to provide super fast and accurate Phase Detection AF as well The LA EA2 adaptor lt Formodelinumbers see pg 5 has a translucent mirror built in between the two mounts that directs a small portion of the light to the phase detection AF sensor in the Lens Case Mount Adaptor bottom of the unit 8 8 8 i LCL 60AM LCL 90AM LCL 140AM Fits all lenses Fits all lenses Fits all lenses Translucent up to L 80mm up to D 110mm up to L 160mm REO COR DD OIdU Dia 80mm Dia 90 mm Dia 110mm cul tme Continens AR NEX 3 NEX 5 NEX C3 and NEX VG10 require firmware update to use LA EA2 adaptor www esupport sony com With hood and cap attached Mount Adaptor LA EA2 Trademarks amp Remarks isa trademark of So
42. F2 0 3 EV ISO 200 Manual white balance I o ao s gt 89 60 EZ 5 IS S 40 o 20 0 3 Distance from optical center of lens mm 6 9 12 20 Max aperture F8 aperture Spatial frequency T R T 10 line pairs mm 30 line pairs mm 34 R Radial values T Tangential values m Flare effectively controlled for high contrast E Outstanding corner to corner resolution m Bright F1 4 max aperture facilitates hand held shooting in low light m Circular aperture for attractive defocusing 50mm focal length with a maximum aperture of F1 4 this quintessential fast normal lens formula has produced some of the greatest photographic masterpieces in history and continues to serve as a photographic standard to this day Of course not all 50mm F1 4 lenses are created equal and the stunning clarity and contrast delivered by the SAL50F14 proves that it is one of the finest in its class While the in focus plane is sharp from corner to corner the combination of F1 4 maximum aperture and circular aperture design makes it possible to elicit silky smooth defocusing effects to enhance dimensionality and isolate important visual elements This is a lens that should be part of every serious photo enthusiast s palette Weight approx 220 g Dimensions Dia x L 65 5 x 43 mm Max magnification
43. FI8 EE Aspherical lens At 35 mm 40 8 t 9 o 20 0 3 6 9 12 Distance from optical center of lens mm Spatial frequency Max aperture F8 aperture R R 10 line pairs mm 30 line pairs mm R Radial values T Tangential values Compact lightweight fixed F1 8 lens New optical design for excellent peripheral sharpness and contrast Built in image stabilization Silent and smooth high speed focusing ideal for shooting movies Superb focusing operation High performance and a compact design make the SEL 35F18 prime lens an ideal second lens that s easy to carry around while capturing the action It s perfect for a wide variety of photos including snapshots while strolling night shots thanks to the bright maximum aperture and portraits with beautifully defocused backgrounds Newly designed optics reduces spherical aberration and coma for sharp images even when shooting wide open Combined with built in Optical SteadyShot image stabilization your photos and videos will be crisp clear and blur free Weight approx 155 g Dimensions Dia X L 62 2 x 45 mm Max magnification ratio 0 15x 61 A mode 1 800 sec F2 0 ISO 100 Auto white balance Mid range telephoto E 50mm F1 8 OSS SELSOFI8 E At 50mm 100 go I 4 3 ine i m e Ces 8 l 5 40 20 0 3 6 9 12 Distance from optical ce
44. 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 TECHTA 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 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
45. 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 relatively slow shutter speed required to achieve the desired effect 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 amp 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 The Carl Zeiss lenses that st
46. OF18 E mount Lenses yr DT 30mm F2 8 Macro SAM SAL30M28 ut 50mm F2 8 Macro SAL50M28 D viy 100mm F2 8 Macro SALIOOM28 G Lenses Carl Zeiss Lenses b DT 11 18mm F4 5 5 6 SAL1118 Q F1 8 SAM SAL35F18 m a DT 16 50mm F2 8 SSM SAL1650 Numbers shown in parentheses represent the effective focal length ET DT 16 105mm F3 5 5 6 SAL16105 equivalent in 35mm full frame format when shooting with APS C format ib DT 18 55mm F3 5 5 6 SAM SAL1855 Gb DT 55 200mm F4 5 6 SAM SAL55200 2 interchangeable lens digital cameras nip DT 18 135mm F3 5 5 6 SAM SAL18135 hie DT 18 200mm F3 5 6 3 SAL18200 E DT 18 250mm F3 5 6 3 SAL18250 J a E m D 1 4xTeleconverter 2x Teleconverter mount B E 16mm F2 8 SELI6F28 Uim Sonnar T E 24mm F1 8 ZA SEL24F18Z Y E 50mm F1 8 OSS SEL50F18 SALI4TC SAL20TC xh E 10 18mm F4 OSS SEL1018 0p E 18 200mm F3 5 6 3 OSS SEL18200 6 J E E 18 200mm F3 5 6 3 OSS LE SEL18200LE Fisheye Converter Ultra Wide Converter Cur E 18 55mm F3 5 5 6 OSS SEL1855 VCL ECF1 VCL ECUI gm i 10mm 15mm 12mm 18mm A E 30mm F3 5 Macro SEL30M35 UB E 55 210mm F 4 5 6 3 OSS SEL55210 im E 35mm F1 8 OSS SEL35F18 ip 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 creati
47. SONY make believe 0 Lenses SONY make believe 2012 Sony Electronics Inc All rights reserved Reproduction in whole or in part without written permission is prohibited Features and specifications are subject to change without notice Sony Electronics Digital Imaging Division 16530 Via Esprillo Drive San Diego CA 92127 DI11012 0 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 X 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 Lenses How they capture and control light 06 Fixed Focal Length Lenses 29 Teleconverters Projecting an
48. There s no predefined location for the secondary principal point in a compound lens it could be somewhere inside the lens barrel or at some point outside the barrel depending on the design of the lens so there s no easy way to accurately measure the focal length of a lens yourself 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 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 relationship for both 35mm full frame and APS C format cameras Perspective 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 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 subj
49. 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 aa ow 47 angle of view 32 angle of view 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 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 requ
50. 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 elephoto 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 compact lightweight designs that are ideal for photographers at all levels Each lens in the series is suited for a In the product pages that follow this star ico
51. approx 3460 g Dimensions Dia x L 140 x 367 5 mm Max magnification ratio 0 135x 47 Vario Sonnar l Distagon E i Vario Sonnar F 1 i Sonnar SAL70300G with SAL20TC A mode 1 500 sec F6 3 0 3 EV ISO 200 Daylight white balance Photo Kazu Kobayashi MM ida I Teleconverters 1 4x Teleconverter SALI4TC Optics designed to deliver uncompromised image quality Increase focal length without degrading resolution or contrast Compatible with SAL70200G AF and MF modes SAL300F28G AF and MF modes SAL70400G MF mode only and SAL135F28 MF mode only The SAL14TC and SAL20TC teleconverters are a great way to extend your telephoto range without having to carry more large lenses The SALTATC provides a 1 4x increase in focal length with a 1 stop light loss so when used with the SAL300F28G for example you have the equivalent of a 420mm lens with a maximum aperture of FA The SAL20TC doubles focal length with a 2 stop light loss so the same SAL300F28G lens becomes a 600mm supertelephoto with a maximum aperture of F5 6 For sports L wildlife and landscapes the SAL14TC and SAL20TC teleconverters can give you maximum reach with minimum gear to carry QI r S S S S SAL20TC Carl Zeiss AG founded in 1846 is a legend in the field development and production of top class lenses for Sony D of camera optics The company was responsible for Q series cameras In fact these are the only a
52. approx 460 g Dimensions Dia x L 77 x 116 5 mm Max magnification ratio 0 27x Fixed Focal Length Lenses Fixed focal length lenses commonly known as prime lens or simply as primes can complement your photographic vision in a number of ways Although most of the focal lengths offered are also available with zoom lenses some special purpose lenses are only available as primes fisheye lenses and most true macro lenses are examples And since the optical path only needs to work at one focal length it can be optimized to deliver a level of optical performance that is a cut above the average zoom But many photographers like working with a fixed focal length simply because it always gives them the same angle of view and perspective making it easier to pre visualize what the camera will see and thus providing the most consistent intuitive shooting experience 30 100 Fisheye A mode 1 200 sec F7 1 0 3 EV ISO 200 Auto white balance Photo Yuji Nukui 16mm F2 8 Fisheye SALI6F28 At 16 mm 80 60 40 Contrast 76 20 0 Distance from optica 3 6 9 12 center of lens mm 20 Spatial frequency Max aperture F8 aperture R R 10 line pairs mm 30 line pairs mm R Radial values T Tangential values 180 angle of view on full frame cameras Curvilinear perspective for u
53. are and glare E Quiet responsive internal SSM Super Sonic wave Motor autofocus drive m Focus ring with auto clutch does not rotate during autofocus E 9 blade circular aperture for attractive defocusing Representing the wide end of the A mount Carl Zeiss prime lens range the 24mm focal length of this model provides a wide perspective on 35mm full frame format cameras and a closer to normal equivalent focal length of 36mm on APS C format cameras Photographers who value a single prime approach to general shooting will love this lens as will those who appreciate the subtle but tangible quality advantage that a first class prime provides Use it indoors on the street or in the wild for images that can bring your artistic vision to life In addition to unimpeachable optical performance and refined overall handling this lens offers particularly responsive quiet autofocus operation and a minimum focusing distance of just 19 centimeters that lets you explore your subjects at close range Weight approx 555 g Dimensions Dia x L 78 x 76 mm Max magnification ratio 0 29x 53 3 At 85 mm Open amp ME M 60 1 Lem E as piss E a gt c EE o O r 1 0 4 8 12 16 20 Distance from center of image mm 54 A mode 1 320 sec F2 ISO 200 5300K color temperature Photo Chukyo Ozawa Mid range telephoto prime Planar T 85mm F1 4 ZA SAL85F14Z E Outstanding sharp
54. arted it all Planar 1896 Protar 1890 OD Sonnar 1929 Tessar 1902 yw 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 The unmatched T T star coating 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 The Carl Zeiss traditions of innovative technology and uncompromising quality are alive in today s series lenses as well The fact that lens coating technology vapor deposition of a thin even coating on the lens surface to reduce reflections and maxi
55. ating subjects A lens like the SAL50M28 with a minimum focusing distance of just 20 centimeters and up to 1 1 magnification can open up a world of creative possibilities But there s no need to change lenses when you want to go back to shooting at normal distances The SAL50M28 offers outstanding optical performance for general photography as well and its 50mm focal length is a very versatile choice for 35mm full frame format cameras On APS C format cameras you get a little more reach which can be advantageous for some normal subjects as well as macro shooting Weight approx 295 g Dimensions Dia x L 71 5 x 60 mm Max magnification ratio 1 0x 39 P mode 1 160 sec F2 8 ISO 400 Auto white balance Photo Kentaro Fukuda Macro 100mm F2 8 Macro SALIOOM28 Stunning macro shots from a comfortable distance Autofocus from 1 1 magnification to infinity Double floating design contributes to outstanding close up image quality 9 blade circular aperture for attractive defocusing Focus hold button focus range limiter Focus ring with auto clutch does not rotate during autofocus Doing macro photography outdoors in the wild often means that you can t get too close to your subject and lighting can t be easily controlled That s when you need a telephoto macro lens like the SAL100M28 Greater working distance means you can capture tight macro shots of small scale wildlife without scaring it away and you re not so
56. broad zoom range in a compact lightweight lens n AI n um B Circular aperture for attractive defocusing i Internal focusing for fast autofocus and short min focus distance 35mm equivalent focal length 27 375mm Aspherical lens ED glass E At 250 mm 00 Although similar to the SAL18200 in zoom range and performance the 80 SAL18250 offers a bit more reach at the long end that can make a significant difference if you re shooting sports or wildlife for example 60 The tradeoff is a small increase in weight and size but if you need the K Contrast 40 Sech extra range the difference is worth it You get the same outstanding clarity and contrast from the wide 18mm end to full 250mm telephoto 20 making this lens one of the most useful and versatile for APS C format cameras and an extremely wide spectrum of subjects 0 3 6 9 12 Distance from optical center of lens mm 0 3 6 9 12 Distance from optical center Weight approx 440 g of lens mm Dimensions Dia x L 75 x 86 mm Spatial frequency Max magnification ratio 0 29x Max aperture F8 aperture R T R T 10 line pairs mm 30 line pairs mm R Radial values T Tangential values 25 A mode 4 sec F9 0 1 0 EV ISO 200 Daylight white balance Photo Kazu Kobayashi Mid range zoom 28 75mm F2 8 SAM SAL2875 eo Pie
57. 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 7 2 68 RU w 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
58. ce from optical center ix Distance from optical center Distance from optical center Dimensions Dia X L 64 7 x 29 9 mm of lens mm of lens mm shutter speeds without needing to increase ISO sensitivity of lens mm of lens mm Max magnification ratio 0 215x A Max aperture F8 aperture Weight approx 225 g A Max aperture F8 aperture Spatial frequency R T R T Dimensions Dia x L 70 x 63 5 mm Spatial frequency R T R T 10 line pairs mm vv Max magnification ratio 0 1x 10 line pairs mm m demens Rus 30 line pairs mm 30 line pairs mm R Radial values T Tangential values R Radial values T Tangential values 64 65 a M mode 1 320 sec F4 5 ISO 200 Auto white balance Vivid Creative Style Photo Yayoi Sawada Mid range zoom E 18 55mm F3 5 5 6 OSS SEL1855 APS C format loss Compact lightweight 3x zoom with high quality metal exterior Three aspherical elements for top class optical performance J TO a Ideal for shooting stills or movies Internal OSS Optical SteadyShot image stabilization Circular aperture for attractive defocusing Built in motor delivers smooth quiet autofocus operation 35mm equivalent focal length 27 82 5mm Aspherical lens ED glass At 55 mm 100 This lens offers a superb balance of form and function ample zoom range in a compact design that weighs o
59. cifications 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 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 0 35x Working distance approx 2 cm 0 8 in at 1x magnification ra Minimum focusing distance approx 13 cm 5
60. close that you need special lighting to illuminate your subject Of course the SAL100M28 is a first class telephoto lens for normal shooting too and can be a good choice for G Lenses Sony G Lenses are an exceptional breed They inherit a Contrast extraordinary presence at in focus areas smoothly dissolving 3 Distance from optical center of lens mm F8 aperture Spatial frequency T portraits or other subjects that require a bit more reach than a normal lens Weight approx 505 g Dimensions Dia x L 75 x 98 5 mm Max magnification ratio 1 0x Wome parm ome parm R Radial values T Tangential values distinguished pedigree from the original Minolta lens line with industry leading Sony design and quality assurance technology added to push their performance to the forefront of twenty first century photography G Lenses impart a visual elegance to every aspect of the images they produce to luscious out of focus rendering that can provide a beautiful foundation for captivating photographic art Their handling is extraordinary too with intimate operation and response that seamlessly connect the process of taking photographs to the photographer s imagination E At 70 mm Telephoto zoom DEEN A mode 1 60 sec F11 ISO 100 Daylight white balance 70 200mm F2 8 SAL70200G 100 E 8 L3 S N Contrast
61. ding itself and the tools used for optical design has made high that is just too appealing to ignore In many situations that lens flare the SALTTT8 features special elements and design that reduce E flare and aberrations to a minimum for crisp high contrast images even performance zoom lenses more accessible and easier to speed and freedom can be the key to grabbing shots that Distance from optical center Distance from optical center under difficult conditions use than ever before Not only are zoom lenses a greatway would otherwise be missed Advanced Sony design and nes ail nas P Wei approx to be ready for any photo opportunity but the freedom to manufacturing technology delivers outstanding image Spatial trequenoy Mox aperure FE aperture AD endore Da xO baa uS rapidly change framing and composition without having quality with unparalleled zoom versatility and convenience 10 line pairs mm m Max magnification ratio 0 125x 30 line pairs mm R Radial values T Tangential values M mode 1 250 sec F5 6 ISO 400 Manual white balance M mode 1 100 sec F8 ISO 200 Daylight white balance Landscape Creative Style Photo Norifumi Inagaki Mid range zoom Mid range zoom At 16 mm 60 40 Contrast 76 Contrast 76 20 0 3 6 9 12 Distance from optical center of lens mm DT 16 50mm F2 8 SSM 5ALI650 WAM Aspherical lens
62. 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 mirrorless 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 Alignment mark Electrical contacts Locking pin Aperture lever AF coupler Flange back distance Image sensor plane Lens mount 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 C 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 ens 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
63. e A mode 1 250 sec F1 4 ISO 200 Vivid Creative Style Photo Yuji Nukui 35mm Fl 4G SAL35F14G 100 Ai Contrast 20 35mm full frame f 4 Wy Aspherical lens m At 35 mm sae as Sh EE 80 60 o 0 4 68 2 6 2 Distance from center of image 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 ENSE E One aspherical element contributes to outstanding image quality even at maximum aperture High resolution and contrast throughout the image area Circular aperture for attractive defocusing Focus ring with auto clutch does not rotate during autofocus Focus hold and focus range switches offer precision focusing control P m 35mm prime lenses are a staple for many photographers The angle of view provided by this focal length is one of the most comfortable and versatile on both 35mm full frame format and APS C format cameras and with that this lens can be used for anything from close ups to landscapes The SAL35F14G with its superb optics and large F1 4 maximum aperture is one of the finest fast 35mm lenses in its class In addition to no compromise G Lens construction and quality throughout it features an optical design that includes an aspherical lens element that contributes to consistently superior low distorti
64. e Mode Versatile extended range 11x zoom with high quality metal exterior Four aspherical elements for top class optical performance right out to the image edges E HAE Ideal for shooting stills or movies Internal OSS Optical SteadyShot image stabilization with Active Mode Circular aperture for attractive defocusing Built in motor delivers smooth quiet autofocus and aperture operation Aspherical lens ED glass 35mm equivalent focal length 27 300mm At 18 mm At 200 mm If you re a photographer videographer who needs maximum speed versatility and mobility to rapidly respond to a wide range of shooting situations from portraits and snapshots to sports this is a lens you 60 should consider It features an extensive 11x zoom range from wide 18mm to 200mm telephoto with impressive image quality all the way The advanced Optical SteadyShot image stabilization system included in this lens will not only make it easier to shoot blur free stills at long focal lengths but it also has an automatic Active Mode that will help keep your movie images steady as you move around with the camera while shooting at the wide end of the zoom range Another feature that contributes to high quality movie production is extremely quiet autofocus and aperture operation that will keep your soundtracks free of unwanted camera noise 60 Contrast 75 40 i 40 20 20
65. e pairs mm ee Max magnification ratio 0 22x 30 line pairs mm Spatial frequency R Radial values T Tangential values 26 80 F 60 40 Contrast 75 20 S mode 1 3200 sec F9 ISO800 Auto white balance Telephoto zoom DT 55 200mm F4 5 6 SAM SAL55200 2 EXEJEY One ED glass element for superior image quality Medium to telephoto range in a lightweight lens ED glass 9 blade circular aperture for attractive defocusing Responsive internal SAM Smooth Autofocus Motor autofocus drive 35mm equivalent focal length 82 5 300mm Covering the medium to telephoto stretch of the standard zoom range with ample F5 6 brightness at the 200mm end this lens is a lightweight easy handling choice for shooting sports and other subjects that require S some telephoto reach On an APS C format camera the 35mm equivalent Contrast 75 i M focal length at the telephoto end is 300mm which is long enough to capture tight shots of the action In terms of compact lightweight design and optical performance the SAL55200 2 is an ideal companion for the 0 3 6 9 12 Distance from optical center of lens mm 18 55mm SAL1855 The pair is light enough to be carried comfortably EU MAL providing outstanding image quality from 18mm to 200mm Distance from optical center of lens mm Weight approx
66. ect 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 they actually are closer together Another way of saying this is that since both the foreground and background objects are at a considerable distance 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 24mm focal length 84 angle of view 300mm focal length 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 spe
67. focal lengths require proportionately larger effective apertures for the same f number and brightness Aperture and focal length values in the illustration are approximate 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 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 fhe perceived depth of field as well SHOOTING Tip Lens Same focusing Image sensor distance 60 mm plane The angle of view values in this example correspond to those of a 50mm lens Lens Image senso
68. focused 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 b Defocusing of STF lens around focus point a Conventional lens Defocusing of conventional lens around focus point a M mode 1 1250 sec F8 ISO 200 Auto white balance Photo Goh Fujimaki Wide angle zoom DT 11 18mm F4 5 5 6 SALI118 EAXEJEG E 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 Aspherical lens ED glass At T1 At 18 mm z This lens fits squarely in the wide zoom category offering a range of ux v 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 The advent of the digital age both in terms of photography to change the camera position offers creative flexibility Although wide angles present more opportunities for image degra
69. htweight 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 SAL5520022 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 Contrast 80 o 3 v 8 E At 18 mm M Mode 1 800 sec f8 0 ISO 200 Mid range telephoto zoom DT 18 135mm F3 5 5 6 SAM 5AL18135 CSS oe Ea qe m Aspherical lens ED glass E At 135 mm 100 Contrast o 3 6 Distance from optical center of lens mm o 3 6 9 12 Distance from optical center 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 m DT 18 200mm f 3 5 5 6 mid range zoom lens m DT lens design for optimum DSLR perfor
70. image 06 16mm F2 8 Fisheye SAL16F28 30 1 4x Teleconverter SAL14TC 48 E iue NN E a p A look inside Read your lenses 07 20mm F2 8 SAL20F28 31 2x Teleconverter SAL20TC 48 Lens mount and sensor formats 08 28mm F2 8 SAL28F28 32 Aperture f numbers and depth of field 09 DT 35mm F1 8 SAM SAL35F18 33 icc 3 P Focal length angle of view and perspective 10 50mm F1 4 SAL50F14 34 Se ceesLofisdo e Main specifications of lenses 70 MEETS elei eel T DT 50mm F1 8 SAM SAL50F18 35 Vario Sonnar T 16 35mm F2 8 ZA SSM SAL1635Z 50 Boca SIS 12 85mm F2 8 SAM SAL85F28 36 Vario Sonnar T DT 16 80mm F3 5 4 5 ZA SAL1680Z 51 i Carl Zeiss optics 13 135mm F2 8 T4 5 STF SAL135F28 37 Vario Sonnar T 24 70mm F2 8 ZA SSM SAL2470Z 52 6 lens accessories 72 Making sense of MTF 14 DT 30mm F2 8 Macro SAM SAL3OM28 38 Dis feos T Ainin FAZA SEM SADAF oes Choosing the right lens 15 50mm F2 8 Macro SAL50M28 39 Fior ssm dis BASIC M Q lens technology 16 100mm F2 8 Macro SALIOOM28 40 semel te dep E s BL Ise Mele A mount Lenses G Lenses 41 E mount Lenses Exclusive to Emount cameras 57 Zoom Lenses 18 70 200mm F2 8 G SAL70200G 42 E Emm FA SELIGEZA 58 SS I o T e SAL70300G 43 Fens Convene WORE 2d DT 11 18mm F4 5 5 6 SAL1118 19 70 400mm F4 5 6 G SSM SAL70400C An Ultra Wide Converter VCLECU 59 DT 16 50mm F2 8 SSM SAL1650 20 35mm 14 G SAL35F14G 45 Sonnar T E 24mm F1 8 ZA SEL24F18Z 60 cr DE ec Seles A 300mm F2 8 G SSM SAL300F28G2 46 Emu ue ess SELSIG ol DT 18 55mm F3 5 5 6 SAM SAL1855 2
71. ire 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 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 page 16 for details Teen TAE 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 All lenses have a maximum and minimum aperture expressed as f numbers but it is the maximum aperture that is m
72. ism that translates zoom ring rotation into precise group movement along the optical axis of the lens Zoom mechanisms must be precisely manufactured 1o exacting tolerances so that all elements and groups stay in perfect alignment throughout the zoom range 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 configuration example 7 groups 9 elements Lens element Lens group Lens barrel Aspherical lens see page 16 for more details EDglass see page 16 for more details How lens elements and groups move in a zoom lens p 4 B HIE Telephoto AO 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 dis
73. m Max magnification ratio 0 16x Macro E 30mm F3 5 Macro SEL30M35 Auto mode 1 1000 sec F3 5 ISO 200 Auto white balance Aspherical lens E At 30mm ED glass 60 40 Contrast 20 0 3 6 9 12 Distance from optical center of lens mm Spatial frequency Max aperture F8 aperture R R T 10 line pairs mm 30 line pairs mm R Radial values T Tangential values Compact lightweight 1 1 macro lens with high quality metal exterior One ED glass element and two aspherical elements for superior image quality Ideal for shooting stills or movies Internal focus the minimum working distance does not change Built in motor delivers smooth quiet autofocus and aperture operation Circular aperture for attractive defocusing 35mm equivalent focal length 45mm Macro photography can be a creative educational and thoroughly enjoyable pursuit The SEL30M35 has been designed to offer versatile high performance macro capabilities in a lens that is compact lightweight and easy to use At the time of release the SEL30M35 is in fact the lightest interchangeable 1 1 macro lens available anywhere It is a true 1 1 macro lens with a 2 4 centimeter minimum working distance that allows tiny subjects and details to be rendered with excellent resolution and contrast But it also functions as an excellent normal lens for day
74. mage sensor sensor plane plane Auto clutch Auto Clutch 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 glass ED glass bx Fb Super ED glass i gt y mage sensor plane Image sensor plane Image sensor plane Floating lens mechanism 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 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 FHB Standard lens apertures appear as a flat sided polygon when the lens is stepped down the number of sides corresponding to
75. mance E Silent high speed AF drive via SAM W Excellent wide angle to long telephoto shots 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 23 S mode 1 250 sec F6 3 41 0 EV ISO 3200 Auto white balance Photo Shinya Morimoto High magnification zoom DT 18 200mm F3 5 6 3 5AL18200 E Two ED glass elements and three aspherical elements for superior image quality Broad zoom range in a compact lightweight lens s Circular aperture for attractive defocusing 7 e am m Internal focusing for fast autofocus and short min focus distance mu m 35mm equivalent focal length 27 300mm Aspherical lens ED glass
76. mize 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 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 it difficult to use multiple elements in lens designs Effective coatings made Carl Zeiss coated lens i Light source Reduced reflection Light source Ea Lamy i _ ie r FE 4 1a eaa has been achieved throughout the entire optical path and it is therefore a guarantee of the highest quality Uncoated lens Image sensor 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 whi
77. n identifies lenses prime lenses that offer outstanding value in particular type of photography such as portraiture or macro for example 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 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 EU Super ED and Super ED glass ED PED 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 Spherical lens Image I
78. ness and contrast at all aperture settings E Carl Zeiss T coating effectively controls flare and glare p E E 9 blade circular aperture for attractive defocusing Focus ring with auto clutch does not rotate during autofocus E Focus mode switch and focus hold button offer precision focus control 5 At 85 mm F8 85mm focal length F1 4 maximum aperture and precision Carl Zeiss T coated Planar optics it all adds up to superlative performance and 60 handling for portraiture or medium telephoto landscapes The delicate 40 nuanced drawing of the Planar design makes it possible to capture subtleties of light and texture that can give images extraordinary depth and presence Graceful reproduction of skin tones and textures is a characteristic See ae EL that is prized by photographers and subjects alike Shooting comfort is another feature of this refined lens A wide focus ring with auto clutch SpaliaiTequenzy R 5 mechanism does not rotate during autofocus operation and a focus hold 10 line pairs mm button on the lens itself lies right under your fingertips for easy access 20 line pairs mm 40 line pairs mm Weight approx 640 g R Radial values T Tangential values Dimensions Dia x L 81x75mm Max magnification ratio 0 13x Contrast At 135 mm Open 40 Contrast 20
79. nique expansive images Crisp image quality throughout the focus range Four selectable internal filter settings Once a scientific tool but now a favorite of creative photographers fisheye lenses forgo the restraints of rectilinear perspective the complex correction that is required to keep straight lines looking straight to deliver expansive images that cover an extremely wide angle of view with curvilinear perspective The SAL16F28 provides an extremely wide 180 angle of view on 35mm full frame format cameras 110 on APS C format cameras In addition to eye catching interpretations of reality it offers extended depth of field so that you can capture huge vistas in which everything from 20 centimeters to infinity is sharp even at maximum aperture Since the bulging front element and wide angle of view prevent the use of external screw in filters four selectable internal filter settings are provided normal O56 monochrome B12 red reduction and A12 blue reduction Weight approx 400 g Dimensions Dia x L 75 x 66 5 mm Max magnification ratio 0 15x Ultra wide angle M mode 1 125 sec F11 ISO 200 Landscape Creative Style Photo Yuji Nukui 20mm F2 8 SAL20F28 40 Contrast 76 20 0 3 6 Distance from optical center of lens mm g 12 20 Max aperture F8 aperture Spatial frequency R T R 10 line pairs mm ov
80. nly 194 grams yet is remarkably comfortable to hold and operate The 18 55mm zoom range corresponding to 27 82 5mm on a 35mm full frame format camera is ideally designed for comfortable framing and capture of most subjects encountered in daily life or on vacation and a built in Optical SteadyShot image stabilization system makes it possible to produce sharp images even when shooting handheld in low light The OSS system is so effective that you ll be able to capture blur free images at shutter speeds up to four steps slower than would be possible without image stabilization And thanks to extremely smooth quiet autofocus and aperture operation you don t have to worry about unwanted camera and lens noise infiltrating your movie soundtracks 80 60 60 40 40 Contrast 75 Contrast 76 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 Max aperture F8 aperture R T R T Weight approx 194 g 10 line pairs mm e deed Dimensions Dia x L 62 x 60 mm 30 line pairs mm gt Max magnification ratio 0 3x Spatial frequency R Radial values T Tangential values 66 Contrast 75 A mode 1 3200 sec F5 6 0 7 EV ISO 200 Auto white balance Photo Chukyo Ozawa High magnification zoom E 18 200mm F3 5 6 3 OSS SELI8200 Activ
81. nter of lens mm Spatial frequency Max aperture F8 aperture R R T 10 line pairs mm 30 line pairs mm 62 R Radial values T Tangential values Compact lightweight mid range telephoto prime with high quality metal exterior Ideal for shooting stills or movies Bright F1 8 maximum aperture Internal OSS Optical SteadyShot image stabilization Built in motor delivers smooth quiet autofocus and aperture operation Circular aperture for attractive defocusing 35mm equivalent focal length 75mm A focal length that is perfect for portraiture and a range of other subjects a bright F1 8 maximum aperture Optical SteadyShot OSS image stabilization and impressive image quality Put it all together in a lens that is surprisingly compact and lightweight and you have a winning combination the SEL5OF18 The large maximum aperture and Optical SteadyShot are worthy features in their own right but working together they make it possible to shoot crisp clear images under low light conditions that would be beyond the capabilities of a conventional lens The F1 8 maximum aperture and a circular aperture design also join forces to create gorgeous defocusing effects Add responsive quiet autofocus and aperture operation and you have a lens that is ideally suited to shooting movies as well as stills Weight approx 202 g Dimensions Dia X L 62 x 62 m
82. ny Corporation E mount SteadyShot INSIDE Optical SteadyShot and G Lens are trademarks of Sony Corporation Carl Zeiss is a registered trademark of Carl Zeiss AG All other company and product names mentioned herein are used for identification purpose only and may be the trademarks or registered trademarks of their respective owners
83. o territory and usually requires careful ps PE IL handling to avoid image blurring due to camera shake but on series R Radial values T Tangential values bodies with SteadyShot INSIDE image stabilization you ll find it easier Than ever to capture crisp images when shooting hand held Weight approx 995 g Dimensions Dia x L 88 x 114 5 mm Max magnification ratio 0 25x 55 SS E mount Lenses These compact high performance lenses are the cornerstone of a new category of still and video cameras that attest to the paradigm shifting power of Sony innovation They have been designed from the ground up to be used with the newest generation of ultra compact APS C format Sony camera and camcorder bodies delivering big camera image quality and features in astonishingly small but capable packages In addition to advanced optics and sophisticated handling The E mount zooms incorporate proven Optical SteadyShot image stabilization technology from Sony camcorders that can significantly reduce blur due to camera movement in both stills and movies Sony E mount lenses are windows to a new world of imaging freedom and quality Wide angle prime E l mm F2 8 APS C format _ He Aspherical lens B At 16 mm S amp 8 T S o Distance from optical center of lens mm Spatial frequency F8 aperture 10 line pairs mm er ome parm R Radial values T
84. on image quality right up to the F1 4 maximum aperture You can shoot wide open in low light knowing that the entire scene will be captured with equally superb clarity and contrast The large maximum aperture and circular aperture design are also an advantage when you want to isolate your subject from a busy background for example allowing you to defocus unwanted detail so your subject stands out Weight approx 510 g Dimensions Dia x L 69 x 76 mm Max magnification ratio 0 2x 45 a A Mode 1 2500 Shutter Speed f 2 8 Aperture ISO 320 M Mode 1 2000 sec F4 0 ISO 200 Auto White Balance Standard Creative Style Telephoto prime Telephoto prime 300mm F2 8 G SSM SAL300F28G2 500mm F4 G SSM SAL500F4G 46 4 buttons Electronic KEXES E E E re AER UE ED glass At 300 mm 100 u MM gt 80 Se 8 60 E o O 40 20 0 4 8 12 16 2 Distance from optical center of lens mm Spatial frequency Max aperture F8 aperture R T R T 10line pairs mm 30 line pairs mm R Radial values T Tangential values G Series 300mm f 2 8 G Super Telephoto SSM Super Sonic wave Motor for fast auto focus New Nano AR Coating with nano precision structure High performance AF with enhanced object tracking Dust and moisture protection design 3 ED Glass Elements for greater visual accuracy Fast Internal Focusing
85. ork Extraneous light Light needed for image formation Without lens hood flare poor contrast 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 amp 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 extraneou
86. orlds together For many discriminating photographers it is a lens that will stay on the camera most of the time Its versatile 24mm to 70mm zoom range covers a wide gamut of shooting situations and its extraordinary sharpness and contrast are fully retained at all focal lengths and apertures Whether you re shooting a tight indoor scene at 24mm a portrait at 70mm or anything in between you ll feel and see legendary Carl Zeiss quality in every shot Weight approx 955 g Dimensions Dia x L 83 x 111 mm Max magnification ratio 0 25x 100 Contrast 75 8 8 S E At 24 mm Open 100 Wide angle prime M mode 1 500 sec F8 1 7 EV ISO 200 Sunset Creative Style D Range Optimizer Lv2 Photo Kentaro Fukuda Distagon T 24mm F2 ZA SSM SAL24F20Z SIE Aspherical lens ED glass E At 24 mm F8 per NOI gt 80 2 S Pe x 6 60 m E N c S X O 40 x 20 o 4 8 12 16 2 0 4 8 12 106 2 Distance from optical center of lens mm Distance from optical center of lens mm Spatial frequency R T 10 line pairs mm 20 line pairs mm 40 line pairs mm R Radial values T Tangential values er EHe EY E Two ED glass elements and two aspherical elements for superior image quality E Carl Zeiss T coating effectively controls fl
87. ost 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 Fnumber math box for some technical details but for a practical understanding it s enough to F number Focal length Effective aperture Aperture Effective aperture size of the entrance pupil Focal length Aperture and depth of field know that smaller fnumbers correspond to larger apertures and that F1 4 is about the largest maximum aperture youre 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 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 Effective aperture E 100 mm 25 mm Shorter focal lengths only require moderate effective apertures for sufficient brightness Longer
88. posure making it possible to capture motion that might end up as a blur with a slower lens The SAL70200G does it all with characteristic G Lens refinement and class Weight approx 1340 g Dimensions Dia x L 87 x 196 5 mm Max magnification ratio 0 21x Tripod mount supplied E At 70 mm m Contrast Contrast 0 4 8 12 16 20 0 4 Distance from center of image mm Distance from center of image mm b dt a 34 8 A mode 1 400 sec F13 ISO 400 Auto white balance Photo Mark Tiller Telephoto zoom 70 300mm F4 5 5 6 G SSM _ SAL 0300G ep Re He One ED glass element contributes to minimal aberration Outstanding sharpness and contrast throughout the zoom range ED glass SSM Super Sonic wave Motor for fast quiet autofocus operation Circular aperture for attractive defocusing Focus hold and focus range switches offer precision focusing control EHEHEHE E At 300 mm The SAL70300G is the smallest and lightest zoom in the current G Lens series mS offering an appealing combination of extended zoom range and handling 60 plus image quality that will satisfy the most demanding photo enthusiast or 40 pro An ED lens element collaborates with an advanced optical path design to achieve exceptionally low aberration right out to the maximum 300mm focal length so that your telephoto images benefit from impressive clarity 8 132
89. r plane Open large Aperture F4 F5 6 F2 F2 8 F8 Shallow Depth of field Close small F22 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 Deep 75mm and 100mm are ideal for shooting portraits with nicely blurred backgrounds i 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 vs angle of view With 35mm full frame image sensor With APS C type image sensor 16mm Fisheye 3 16 mm 100mm
90. ratio 0 15x M mode 1 800 sec F8 ISO 400 Auto white balance Mid range telephoto DT 50mm F1 8 SAM SAL50F18 E At 50mm E o o Contrast 76 M o 0 Distance from optical center of lens mm 3 6 9 12 Spatial frequency Max aperture F8 aperture R R T 10 line pairs mm 30 line pairs mm R Radial values T Tangential values E Compact lightweight and eminently portable m Circular aperture for attractive defocusing m Responsive internal SAM Smooth Autofocus Motor autofocus drive m Bright enough for handheld shooting in low light m 35mm equivalent focal length 75mm On APS C format cameras for which it is specifically designed the SAL50F18 functions as a moderate telephoto lens equivalent to 75mm on a full frame camera that can be ideal for shooting portraits as well as for framing and isolating areas of interest in broader busier scenes Not only can you isolate the desired subject matter by framing but you can also take advantage of the lens s large F1 8 maximum aperture and circular aperture design to isolate your subject from the background by using defocusing The large maximum aperture also facilitates shooting in low light a capability that is further enhanced by SteadyShot INSIDE image stabilization featured in OC series bodies Weight approx 170 g Dimensions Dia x L 70
91. re contributes to beautiful defocusing effects Weight approx 577 g Dimensions Dia X L 81 x 88 mm Max magnification ratio 0 2x Contrast 75 20 100 DT 16 105mm F3 5 5 6 5AL16105 APS C format Auto Clutch pes Aspherical lens ED glass At 105 mm 80 60 Contrast 75 40 20 o 3 6 9 12 Distance from optical center of lens mm 0 3 6 9 12 Distance from optical center 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 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 auto clutch mechanism that prevents focus ring rotation during autofocus operation
92. rive 3 Focus mode switch and focus hold button offer precision focus control B At 16 mm F8 i 3 Although it is a wide angle zoom and an ideal supplement to a high performance mid range zoom the 16 35mm range of this lens will satisfy The core focal length requirements of many photographers who shoot primarily indoors or in the city At the other end of the spectrum it can be a great choice for spacious landscapes as well Regardless of where or how the SAL1635Z is used its advanced coated optical path delivers exceedingly crisp images with striking contrast without the aberration and peripheral light falloff that commonly plague wide angle zooms That same superlative quality is maintained throughout the zoom range even at the maximum F2 8 aperture Contrast 0 4 8 Distance from center of image mm B At 30 mm F8 Weight approx 860 g Dimensions Dia x L 83 x 114 mm Max magnification ratio 0 24x Contrast 75 0 4 8 2 6 2 Distance from center of image mm 20 line pairs mm 40 line pairs mm R Radial values T Tangential values Ses equency R T EX E At 16 mm Open 100 Contrast a Distance from center Contrast o 4 8 Distance from center of image mm 12 of image mm A mode 1 50 sec F8 0 3 EV ISO 200 Daylight white balance B W Creative Style Photo Kentaro Fukuda Mid range zoom Vario Sonnar T DT 16 80mm F3 5 4 5 ZA APS C format 1 FED IFT E
93. road focal length coverage of the lens from 18mm wide angle to 200mm telephoto 27mm to 300mm in 35mm equivalence makes it an ideal high magnification travel lens for a wide range of shots Capture expansive landscapes charming portraits with pleasantly blurred backgrounds even sports and nature shots Optical SteadyShot OSS technology cuts down on blur caused by camera shake and reduces reliance on high ISO settings when shooting in dark environments Weight approx 460 g Dimensions Dia X L 68 x 97 1 mm Max magnification ratio 0 27x Contrast 75 Telephoto zoom A mode 1 20 sec F5 0 3EV ISO 800 Auto white balance E 55 210mm F 4 5 6 3 OSS SEL55210 fiat Aspherical lens E At 210 mm Contrast 75 Distance from optical center of lens mm FB aperture T Distance from optical center of lens mm omme parm R Radial values T Tangential values Compact lightweight 3 8x telephoto zoom with high quality metal exterior Two ED glass elements and two aspherical elements for superior image quality Ideal for shooting stills or movies Internal OSS Optical SteadyShot image stabilization Built in motor delivers smooth quiet autofocus and aperture operation Circular aperture for attractive defocusing 35mm equivalent focal length 82 5mm 315mm An ideal complement to the 18 55mm zoom range of the SEL1855 this 3 8x zoom lens takes you from 55mm out to
94. rture allows use of faster shutter speeds to broaden shooting opportunities Advanced optical design with 11 elements in 10 groups including three ED Extra low Dispersion glass elements Exclusive AR Nano Coating by Sony on lens surfaces cuts reflections for extremely low ghosting and flare New SSM Super Sonic wave Motor drive circuit for extremely high speed autofocus ideal for capturing fast moving subjects 9 blade circular aperture for beautiful defocus bokeh effects Enhanced operability with four focus hold buttons two way DMF Direct Manual Focus mode button and focus range switch Supplied carbon fiber lens hood lined with black velvet fibers for high absorption of incident light Weather resistant design with interlocking seals to protect against effects of dust and moisture Perfect for photographing athletes and wild animals this lens provides ideal performance thanks to impressive specifications such as a bright f 4 aperture and the ultra telephoto 500mm focal length Lens construction includes 11 elements in 10 groups specially developed to deliver beautiful background and foreground defocusing Its smooth circular aperture formed by 9 aperture blades contributes to rounder more beautiful bokeh A Nano AR Coating and velvet lining also minimize flare eliminate opacity and tighten blacks Furthermore three ED Extra low Dispersion glass elements compensate for color aberration to realize sharper image quality Weight
95. s 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 reduced contrast Without ND filter With circular PL filter increased contrast and deep saturation P E With ND filter reduced light for slower shutter speed 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
96. tance from the camera s image plane to the object that the camera is focused on Autofocus drive type Lenses marked SAM or SSM feature SAM 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 C cyan 1 aperture or f number of the lens and tells you how bright the lens is see page 9 for more details Lens format EN 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 amp 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 n traditional shape and utilize moving mirrors or advanced translucent LY mirrors Ultra compact E mount cameras don t use reflex mirrors at all p di Despite their remarkable compactness and portability Emount cameras feature APS C format sensors and are capable of delivering image quality on a par with Amount 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
97. te 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 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 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 Ip 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
98. 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 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 Figure 2 A lens uses the principle of refraction to gather more light from the subject and project a sharp bright image 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 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 Light Lens element Optical axis sensor plane Mirror Interchangeable lens objective lens Focal length n
99. the number of blades in the aperture This results in the familiar polygonal out of focus highlights seen in many photographs Almost all amp lenses feature a unique circular aperture that contributes to smooth natural defocusing Comparison of aperture design Circular aperture Conventional aperture 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 SAM 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 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
100. utofocus be many of the innovations that have raised the quality of Carl Zeiss lenses currently available for use on digital single photographic imaging to the high standard we enjoy lens reflex cameras meaning that Sony camera users have today and is revered for its unswerving dedication to exclusive access to legendary image quality that many eim 3 delivering nothing less than the best Sony is proud consider to be the ultimate in photographic expression and honored to be working with Carl Zeiss AG on the 2 0x Teleconverter 1 0x 1 4x 2 0x Images manipulated to simulate teleconverter magnification Spatial frequency 10 line pairs mm 20 line pairs mm 40 line pairs mm T Tangential values E At 16 mm Open E Contrast 75 4 o Distance from center of image mm E At 30 mm Open Contrast 0 4 Distance from c 8 2 16 20 enter of image mm A mode 1 800 sec F8 0 7EV ISO 200 Manual white balance Wide angle zoom Vario Sonnar T 16 35mm F2 8 ZA SSM Ean EN Ed EE BEI GE Hee Aspherical lens ED glass Super ED glass SAL1635Z el E One Super ED glass element one ED glass element and three aspherical elements for superior image quality i Carl Zeiss T coating effectively controls flare and glare Constant F2 8 maximum aperture Outstanding sharpness and contrast at all aperture settings Quiet responsive internal SSM Super Sonic wave Motor autofocus d
101. ve 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

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