![]() ![]() With the release of the new Fujifilm 16mm f/2.8 lens, there’s a small chance Sony could reconsider releasing a second generation.Īnd another reason this is the worst E Mount lens: Sony still sells this in silver-only. The focal length is great for architecture, street shooting, and even astrophotography if you don’t mind the horrible corners. That’s why despite all of its shortcomings, I find myself mounting it on my a6300 far more often than I would have thought. Here’s the view at 16mm, and here’s what you get with the Ultrawide Converter: 12mm of awesomeness. The Sony E 16mm f/2.8 lens is a great proposition: compact and light, has decent autofocus and it can take adapters. The “DSLR Gear, No Idea” campaign was funny and I remember wanting one of the NEX cameras. When Sony launched the E Mount system we were promised a simpler way of taking photos, but with the same DSLR image quality. 24mm full frame equivalent portraits can be nice only if you can separate the subject from the background. With the 16mm I found myself pretty limited. Both of them have OSS and the latter can be a passable portrait lens if you have enough space to work with. Neither of these won any awards for optical performance, but at least they are much more versatile. It’s A Primeīefore the E 16mm f/2.8, Sony released the 18-55mm and the 18-200mm lenses. The reason I’m using “hopeless” to describe the corners is simple: Sony seems to have given up when it comes to anything but the center of the image. Even though I bought my 16mm used, other users have reported the same problem – it’s absolutely hopeless in the corners. The 16mm Sony handles the size and weight aspect of a pancake very well, but the optical performance isn’t something to be happy about. You sacrifice great sharpness for portability. Pancakes aren’t known for their image quality. Here’s why it’s the worst lens you can have as a Sony user. It was released in 2010, a time Sony clearly wasn’t considering creating professional mirrorless cameras. ![]() While street shooters who want to prefocus to a certain distance may look askance at us, they should be keen to note that this lens also doesn’t have a distance scale for manually focusing in that manner anyhow.This is the Sony E 16mm f/2.8, one of the first lenses made for the E Mount system. So it’s not like you can look and manually focus with the camera off anyway. Sure, the camera needs to be powered on to focus the lens, but it’s also a camera with an electronic viewfinder. Lens g -Spedficallydesigned for digital Four iirinls System mmzms - 35mm. We found the electric focusing pleasantly responsive, though, and didn’t find it a detriment at all. OLEE500 Kit with 14-45mm Zuiko.OLEE500K Kit. Autofocus purists might balk at the fact that this Tamron focuses electronically by sending an electric signal to a motor when you turn the focusing ring, rather than using a mechanical helicoid to move the lens elements. The same is true of the darkened corners you might see at the lens’ widest apertures, though some people like this effect, too. If you shoot RAW, it’s easy to correct this in image editing software. But if you enable distortion correction in your Sony camera, the distortion will be fixed for you in your JPEGs. Uncorrected you’ll definitely notice straight lines bending outward (aka barrel distortion) on this lens, which can be a fun effect. That means it’s good for up-close macro shots. The M1:2 designation in the name refers to the fact that the lens has a magnification of 1:2 at its closest focusing distance of 4.3 inches. Either lens is a great choice, and which one to choose ultimately comes down to whether you prefer to eke out a slightly wider view (the Sigma) or want a tiny bit more telephoto reach (the Tamron). And this can be minimized in most image editing software if you don’t enjoy the effect. Both the Sigma and Tamron show some distortion at their widest zoom settings, but nothing egregious. Wirecutter’s lead editor for cameras, Phil Ryan, brings his 24-70mm lens with him whenever he can bring only one zoom with him for the day. Both are sharp lenses with zoom ranges that cover most of your needs on an average day of shooting, let in enough light to keep shooting even as the sun sets for the day, and can limit your depth of focus at f/2.8 enough to keep your subjects well isolated (visually) from the background. The lens is expected to be available this Fall. Low-light fans who shoot full frame and are looking for an everyday lens more akin to our upgrade pick for APS-C above should consider either Sigma’s 24-70mm f/2.8 DG DN Art or Tamron’s 28-75mm f/2.8 Di III RXD. August 23, 2023, Commack, NY Tamron announces the development of the 17-50mm F/4 Di III VXD (Model A068), a wide-angle zoom lens for Sony E-mount full-frame mirrorless cameras. ![]()
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