Review Sony FE 1.8 / 50 (SEL50F18F)

According provided by Sony FE 1.8 / 50 lens (SEL50F18F) many thanks Sony official representative in Ukraine.

Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F), the lens is shown on the Sony a6500


Browse Navigation:

  1. Browse Navigation
  2. In short
  3. History
  4. Main Specifications
  5. Assembly
  6. Focusing
  7. Image quality
  8. Sample Photos
  9. Prices / where to buy
  10. My personal experience with the lens
  11. Results
  12. User Comments
  13. Add your review or question on the lens
Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F)

In short

Sony FE 1.8 / 50 - classic budget fifty for Sony full frame mirrorless cameras. Lightweight, inexpensive, with normal / good image quality and slow auto focus speed.

At the time of this writing, the Sony FE 1.8 / 50 was the cheapest full-frame lens for Sony cameras with E-mount, and one of the easiest lenses for this system (only easier Carl Zeiss Sonnar FE 2,8 / 35 ZA T * for $ 800).

Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F), the lens is shown on the Sony a6500

History

Sony FE 1.8 / 50 was introduced on March 29, 2016 with a lens Sony FE 4.5-5.6 / 70-300 G OSS.

In the line of full-frame such lenses, which are fifty dollars, about fifty dollars and macro fifty dollars, there are the following models:

  1. Zeiss Planar FE T * 1.4 / 50 ZA || Sony SEL50F24Z
  2. Carl Zeiss Sonnar FE 1,8 / 55 ZA T * || Sony SEL55F18Z
  3. Sony FE 2.8 / 50 MACRO || Sony SEL50M28
  4. Sony FE 1.8 / 50 || SEL50F18F (from this review)

List all Sony FE autofocus lenses can see here.

Please note that a similar lens still exists. Sony E 1.8 / 50 OSS (SEL50F18) - It is designed for Sony cameras with APS-C sensor (for crop) and has a built-in image stabilization.

And there is such a lens from a third party - Rokinon / samyang AF 50 / 1.4 FE FULL Frame E-Mount.

Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F) with a lens hood, the lens is shown on the Sony a6500

Main technical characteristics of Sony FE 1.8 / 50 (SEL50F18F):

Review Instance Name Near the front lens 'FE 1.8 / 50 0.45m / 1.48ft Ø49'. The main body 'FE 1.8 / 50 Sony E-mount'. On the label identifier 'Interchangeable Lens SEL50F18F SONY CORP. Made in China '
Basic properties
  • E mount - the lens is designed for E-mount mirrorless cameras. Same as'SEL '. This lens has a short name identifier 'SEL50F18F'.
  • FE - The lens is designed for full-frame E-mount cameras.
  • DC (DDirectly Current) - DC motor for focusing
  • Electronic focus ring
  • DMF (DDirectly Mannual Focus) - direct manual focus
  • Aspherical element in the optical circuit
  • Rounded petals aperture
  • Light weight
Front Filter Diameter 49 mm, plastic thread for filters
Focal length 50 mm, the EGF for Sony cameras with an APS-C sensor is 75 mm.
Zoom ratio 1 x
Designed by for Sony ILCE full-frame digital mirrorless cameras
Number of aperture blades 7 rounded petals
Labels bayonet mount label, hood mount label
Diaphragm F / 1.8 to F / 22
MDF (minimum focusing distance) 0.45 m, maximum magnification ratio is 1: 7.1
The weight 186 g
Optical design 6 elements in 5 groups. The circuit includes 1 aspherical element (shown in purple on the optical diagram). The type of aspherics is unknown. The presence of such elements in the name of the lens is not indicated.
 Optical design Sony FE 1.8 / 50The image of the optical circuit is clickable.
Lens hood plastic, bayonet type, Sony ALC-SH146
Manufacturer country Made in China (Made in China)
Period From March 29, 2016
Price
Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F)

Assembly

Sony FE 1.8 / 50 well assembled. The lens body is made of plastic, metal mount. Sony FE 1.8 / 50 is enough easy and relatively compact.

On the bayonet side, the frame rim forms a 'film hood'- a rectangular opening for a light stream.

The thread for the filters is plastic with a small diameter of 49 mm. Complete with lens plastic lens hood which can be installed in the opposite direction for transportation. In this position, access to the focus ring is completely lost. The lens hood is installed in special grooves on the lens barrel; the lens hood does not move during focusing when the lens barrel extends.

Like most modern lenses, the Sony FE 1.8 / 50 lacks all sorts of tags and switches.

Produced by Sony FE 1.8 / 50 in China.

A little thought not quite on the topic of the review. The Sony FE 1.8 / 50 uses a redesigned but very old optical design based on a Gaussian (reckon as Planar) dual lens design. A similar scheme is used by the overwhelming majority of inexpensive fifty rubles for SLR cameras. The manufacturer indicates the presence of such a scheme as a merit. But there is one important nuance here: this scheme has a very large flange focal distance, which allows it to be used on SLR cameras. This has an effect on the fact that the objective lenses are located only in the front part of the body frame, most of the body frame is just a hollow tube that increases the flange distance. If the engineers had tried, they would have created a much more compact lens, with an optical design specifically for mirrorless cameras, with a short focal distance and, accordingly, with a shorter lens barrel. Remember when the Sony A7 came out, how much talk about a compact full frame was? As a result, 5 fifty rubles have already been released and each is longer / larger than the previous one. By the way, on the subject, I advise you to take a look at the mirrored 'flat' pancake Pentax SMC DA 40mm f / 2.8 XS.

Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F), you can see the shape of the aperture (and this is not a circle)

Focusing

Sony FE 1.8 / 50 focuses slowly. I was uncomfortable shooting with it. The focusing time from infinity to MDF and vice versa is quite long (about 2 times longer than that of a slow Nikon 50 / 1.4G).

Important: there are rumors that flashing slightly increases the focus speed.

The lens uses focus DC motor (ordinary micro motor direct current). The noise level from the motor is low, but nevertheless, the noise is clearly audible and it will affect the quality of sound recorded using the microphone built into the camera.

When used on a camera Sony a6500 I didn’t identify any special problems with focusing, but I want to note that the focus tenacity of the Sony FE 1.8 / 50 with this camera is very low (more of a focus system problem Sony a6500).

During focusing, the front of the body frame rides forwardbut does not rotate. Using polarizing and other specialized filters will be a little difficult.

The minimum focusing distance is 45 cm (the distance from the camera’s matrix to the subject). With such an MDF, the maximum magnification factor is 1: 7.1 (slightly worse than most fifty dollars).

Sony FE 1.8 / 50 does not have a focus mode switch, to change the focus mode to manual / automatic / automatic with manual control, use the camera menu.

Sony FE 1.8 / 50 uses electronic focus ring. During auto focus, the focus ring remains stationary. In manual active focus mode, the focus ring rotates approximately 360 degrees (out of habit, such a long stroke of the focus ring may seem uncomfortable). When extreme positions are reached, the focus ring does not rest, but continues to rotate. The ring is plastic, with a characteristic corrugation, the rotation is smooth, Pancake week, handle it very nice, and the focusing is very convenient.

Other features:

  • Permanent manual focus control only works in DMF focus mode (or by manipulating the switch and the AF / MF button on the camera)
  • The lens has a small 'Focus Breathing' effect (changing the viewing angle during focusing). While focusing on the MDF, the viewing angle becomes narrower.
  • Lens has no scales or useful tags. The focus distance scale can be displayed in EVI or on the camera display.
  • Compatibility with teleconverters is unknown (but are there any converters for Sony E mount?)
  • Sony FE 1.8 / 50 does not have hard stop (hard infinity mechanical stop) which allows you to accurately and quickly focus the lens at infinity under any external conditions.
  • During testing, focus-shift was not noticed (even on MDF)
  • When you turn off the camera, the lens focuses on infinity and thus parks the outgoing front of the frame to reduce its size
  • On camera Sony a6500 sometimes a sound confirmation of focus is triggered before the lens finally focuses. The focus motor adjusts focus for a few milliseconds after the signal sounds.
Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F) with hood in transport mode

Image quality

Overall, in terms of image quality, the Sony FE 1.8 / 50 is a modern balanced lens:

  • a fairly low level of chromatic aberration in the zone of sharpness
  • small blooming (such strong red spots, halos on highly contrasting details)
  • a fairly high level of chromatic aberration in the blur zone (i.e., frying)
  • low vignetting at f / 1.8 on APS-C cameras
  • low distortion
  • F / 3.5-F / 22 diaphragm nuts
  • fairly even circles in the blur zone at F / 1.8-F / 3.5 apertures
  • good contrast
  • bright and large highlights in strong backlight
  • confident lateral operation using a hood
  • neutral / correct color rendition
  • unpretentious bokeh due to the old optical scheme (although it is modernized)
Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F) with original active lens hood

Sample Photos

Photos without processing, on-camera JPEG from the camera Sony a6500, the lens hood was used during shooting.

Download source files in format JPEG can at this link (96 files in the '.JPG' format, 990 MB).

Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F)

My experience

For the system it’s very important to have a budget fifty dollars and I'm glad that Sony went to meet the amateur photographers and introduced the inexpensive / cheap Sony FE 1.8 / 50. The lens has obvious flaws, which, most likely, were calculated in advance so as not to compete with the TOP 50/1.4 (1400 dollars) and 55/1.8 (900 dollars).

Sony FE 1.8 / 50 could not cope with running children at the fountains, and for other tasks, the focus speed was insufficient for comfortable work. If you discard the focus speed and not always sure focus with the camera Sony a6500 (precisely because of the camera), then the bottom line Sony FE 1.8 / 50 is a budget fifty dollar without any special frills. His performance at the level of SLR lenses such Nikon 50 / 1.8G, which also uses one aspherics in its optical circuit and Canon 50 / 1.8 STM.

Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F), retractable front of the frame, the lens is shown on the Sony a6500


Prices

Real prices can be viewed here и here, and so in E-catalog of lenses.

Sony FE 1.8 / 50 is the cheapest lens in the entire autofocus line of lenses for Sony's full-frame mirrorless cameras. Before him, the cheapest was Sony FE 2/28 (Sony SEL28F20), which now costs 2.5 times more expensive.

Comments on this post do not require registration. Anyone can leave a comment. For the selection of a variety of photographic equipment, I recommend E-Catalog, Socket и AliExpress.

Sony FE 1.8 / 50 (SEL50F18F)

Sony FE 1.8 / 50 (SEL50F18F), the lens is shown on the Sony a6500

List of all full-frame autofocus lenses for Sony E

Fixes:

  1. Sony FE 14 mm F / 1.8 GM
  2. Sony FE 20 mm F / 1.8 G
  3. Sony FE 24 mm F / 1.4 GM
  4. Sony FE 24 mm F / 2.8 G
  5. Sony FE 28 mm F / 2.0
  6. Sony FE 35 mm F / 1.4 GM
  7. Sony FE 35 mm F / 1.4 ZA
  8. Sony FE 35 mm F / 1.8
  9. Sony FE 35 mm F / 2.8 ZA
  10. Sony FE 40 mm F / 2.5 G
  11. Sony FE 50 mm F / 1.2 GM
  12. Sony FE 50 mm F / 1.4 ZA
  13. Sony FE 50 mm F / 1.8
  14. Sony FE 50 mm F / 2.8 Macro
  15. Sony FE 50 mm F / 2.5 G
  16. Sony FE 55 mm F / 1.8 ZA
  17. Sony FE 85 mm F / 1.4 GM
  18. Sony FE 85 mm F / 1.8
  19. Sony FE 90 mm F / 2.8 Macro G U.S.S
  20. Sony FE 100 mm F / 2.8 STF GM U.S.S
  21. Sony FE 135 mm F / 1.8 GM
  22. Sony FE 400 mm F / 2.8 GM U.S.S
  23. Sony FE 600 mm F / 4 GM U.S.S

Zuma:

  1. Sony FE 12-24 mm F / 2.8 GM
  2. Sony FE 12-24 mm F / 4 G
  3. Sony FE 16-35 mm F / 2.8 GM
  4. Sony FE 16-35 mm T / 3.1 PZ GC
  5. Sony FE 16-35 mm F / 4 ZA U.S.S
  6. Sony FE 24-70 mm F / 2.8 GM
  7. Sony FE 24-70 mm F / 4 ZA U.S.S
  8. Sony FE 24-105 mm F / 4 G U.S.S
  9. Sony FE 24-240 mm F / 3.5-6.3 OSS
  10. Sony FE 28-60 mm F / 4-5.6
  11. Sony FE 28-70 mm F / 3.5-5.6 OSS
  12. Sony FE 28-135 mm F / 4 G PZ U.S.S
  13. Sony FE 70-200 mm F / 2.8 GM U.S.S
  14. Sony FE 70-200 mm F / 2.8 GM U.S.S II
  15. Sony FE 70-200 mm F / 4 G U.S.S
  16. Sony FE 70-300 mm F / 4.5-5.6 G U.S.S
  17. Sony FE 100-400 mm F / 4.5-5.6 GM U.S.S
  18. Sony FE 200-600 mm F / 5.6-6.3 G U.S.S

Autofocus full-frame lenses for Sony E / FE mount are also available from other manufacturers: Tamron, Sigma, tokina, felttrox, Samyang, Zeiss batis, Yongnuo, TTArtisan (follow the links for detailed lists of all autofocus lenses)


Results

I used a Sony FE 1.8 / 50 lens with a cropped camera Sony a6500 (they were provided to me together), because I cannot judge some of the capabilities of this lens in full, in the first place it is not clear what image quality at the edges and corners of the frame when using it on full-frame cameras. 24 MP on the other hand Sony a6500 (and this, in terms of a full frame, the same pixel density as that of 54 MP), the lens proved to be worthy.

Advantages

  1. low cost (one of the cheapest full-frame fixed lenses for Sony cameras with E-mount)
  2. light weight, small diameter of the front filter
  3. normal build quality, broad and pleasant to handle the focus ring, lens hood supplied
  4. one aspherical element in the optical circuit
  5. the lens parks the outgoing front of the frame (trunk) while turning off the camera
  6. the possibility of constant manual focus control (but only in DMF mode, whether by manipulating the switch and the AF / MF button on the camera), the lack of rotation of the focus ring during auto focus
  7. long stroke of the focus ring during manual focusing (approximately 360 degrees during slow rotation), smooth focusing
  8. Confident sharpness at F / 1.8 in the center of the frame, good sharpness on covered apertures across the entire field of the frame on APS-C cameras
  9. relatively low level of chromatic aberration, small blooming (pronounced red halos on highly contrasting details)
  10. low vignetting on APS-C cameras
  11. low distortion
  12. lack of focus-shift during iris
  13. normal side light
  14. good contrast, good color rendering (the color will very much depend on the settings for each individual camera and / or post-processing)
  15. some of the optical defects of the lens can be corrected automatically using special functions of the camera and / or original software (distortion, aberration, vignetting)
  16. focus distance is displayed in EVI (All such Sony lenses lack the focus scale and the depth of field zoom, so this is not a drawback)

Disadvantages

  1. low speed auto focus
  2. slight noise while the focus motor is running
  3. lack of internal focusing (the front lens, along with the thread for the optical filters, moves forward towards the MDF during focusing).
  4. the lens undergoes initialization when the camera is turned on (the camera forces the lens to focus at a certain distance and open the aperture to the set value), which increases the time the camera is ready to shoot.
  5. manual focus electronic ring (reduces battery power)
  6. there is no focus mode switch; to switch to manual focus mode, it is necessary to turn on the MF or DMF mode in the camera menu. In modes AF-A (auto), AF-S (single) and AF-C (continuous) lens does not respond to the focus ring, which destroys all the charm of constant manual focus control
  7. only 7 rounded aperture blades, at the values ​​of F / 3.5-F / 22 form a regular 7-gon, which can be seen in photographs in the blur zone (see sample photos)
  8. meager bokeh even at F / 1.8 (a very subjective factor, you can dispute in the comments)
  9. the lens can create large glare in strong backlight (see sample photos)
  10. strong frizhing (aberration blur zone - purple or green fringing contrast objects)
  11. there are no useful features inherent in more expensive models: all-weather protection, image stabilizer, advanced ultrasonic motor, etc.

Materials on the topic

  1. Full frame mirrorless systems... Discussion, choice, recommendations.
  2. Cropped mirrorless systems... Discussion, choice, recommendations.
  3. Cropped mirrorless systems that have stopped or are no longer developing
  4. Digital SLR systems that have stopped or are no longer developing
  5. JVI or EVI (an important article that answers the question 'DSLR or mirrorless')
  6. About mirrorless batteries
  7. Simple and clear medium format
  8. High-speed solutions from Chinese brands
  9. All fastest autofocus zoom lenses
  10. All fastest AF prime lenses
  11. Mirrored full frame on mirrorless medium format
  12. Autofocus Speed ​​Boosters
  13. One lens to rule the world
  14. The impact of smartphones on the photography market
  15. What's next (smartphone supremacy)?
  16. All announcements and novelties of lenses and cameras

Material prepared Arkady Shapoval... Look for me on Youtube | Facebook | VK | Instagram | Twitter.

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Comments: 57, on the topic: Review of Sony FE 1.8 / 50 (SEL50F18F)

  • Jury

    It seems that this kit (camera + glass) is not enough for those who want to buy for $ 1,9k and representatives began to distribute them for reviews, moreover, not only in Ukraine :). Thanks for the review, Arkady.

    • Arkady Shapoval

      Yes, Sony is always happy to give something on the reviews.

      • Jury

        it’s nice to read and understand that Nikon doesn’t have that bad with glasses, especially with the price). We are waiting for the camera review.

  • Dmitriy

    Here is a good, high-quality lens ... But there is no charm that old optics have. Even with the G-44, the picture is more interesting, although it is inferior in resolution, sharpness in corners, contrast, etc.

    • Arkady Shapoval

      For the most part, the concept of charm is the optical flaws of lenses (like in the same Helios, geometric vignetting, poor enlightenment, weak contrast = charm).

      • Dmitriy

        I understand. And I write about the same. But still it’s nice when the lens has a picture, there is something unusual in it.

        • Michael

          I also became convinced for a long time that the “charm” of old glasses or devices is essentially a matter of taste, but from a technical point of view, imperfections or distortions. For me, it is better to have an apparatus and a lens that accurately conveys the image. Of technically high-quality photos to make a picture for every taste is not difficult, but the reverse is not done nothing. And the argument - do not want to mess around - not an argument, because even for standard raw-converter nikon have a large number of ready-made and editable profiles that allow you to build in the camera profile, and a single click in the converter converts the image to suit individual needs. I have been using both manual and modern optics for a long time. In particular, there is Helios 81H Nikon 50 1.8G. Helios And, of course, technically weaker than Nikon. And all that can give Helios can be obtained with Nikon with minimal effort. But here is something that can be easily obtained with the Nikon, it is not necessary to wait from Helios.

          • Onotole

            Tell me, what profile do I need to put on my D7000 in order to receive the famous Helios 50-n twisted bokeh with 1.8 / 81G?

            • Valentine

              Here profile will not help, because the "famous Twisted bokeh" - is as much a diagnosis as "unique charm of the Soviet glasses."

              • Michael

                Charm just can simulate and profile shape of the bokeh is not (the distortion is not about that). True 81st Helios is not so much bokeh curls, so what about the famous, perhaps, not to him. Strongly twists mottled background Hindu 50-2 - almost in clear terms in the background. But this whole undertaking with twisting the background details is absolutely not for everybody. And yes, it is possible to imitate - no profiles, of course, but a straightforward operation in the editor: divide your subject and background, twirled background details, merged back. I played it a couple of times with Gelik, and Indian, and with the editor, but then I never used it again. For me smooth bokeh Nikon looks much more solid and curvature Helios Industar. And if you like, then shoot to your health. Your will how to shoot and how to shoot - you great shots. For me, the old mural glasses are already a historical fact, and are often overvalued by sellers who tell wonderful fables about their properties.

            • Georgy

              Oh, those lovers bokeh ... famous, twisted, original, unique, unique - that did not come up to the glass vparit unnecessary exorbitant prices. There are, of course, those who believe in this themselves, displaying with pride the dull creations made on these glass. There is also a small group of creative connoisseurs who use glass wisely, including the respected Arkady. But they do not collect all the trash in a row without raskhvalivalivayut his high dignity and right to left, such as adequately evaluate the real possibilities of glass and its place among the other glasses.

              • zengarden

                The fact of the matter is that modern lenses are too "correct", and therefore somewhat boring; In old Soviet optics, due to undercorrected distortions, the picture can be more interesting - these are spherical aberrations in Jupiter-8 (soft image for portraits), and geometric vignetting as a side effect of correcting higher-order aberrations ("background twisting"). Another thing is that you won't shoot with such lenses all the time, but as a "creative" one - quite.

              • Valentine

                zengarden, once I got a commercial shooting results in so-called creative style. Unfortunately, I picked it up and studied the portfolio, so to change anything he could not. The author was not a fan of boring lenses and full-frame cameras of past generations. I was shocked by the fact that this type passed off as masterpieces. Overexposed photos, reduced contrast, a total distortion of the colors, banal mistakes tricks so that people simply smeared, etc. Therefore, let yourself take off as they want. But customers do their creative fad - it is over the top.

            • Alfred

              Onotole, houchu answer you essentially: c Nikon Nikkor 50mm 1.8G may be obtained without the use of a twisting background profiles and without changes in the editor - ie directly in the process of shooting. Look at an example of how wide open twisted by a motley background and Nikon, and Helios. Moreover, Helios has a noticeable sagging of the contrast in the open, while Nikon remains at his best.

      • NE

        Slightly off topic, but still .. After hearing about the "charm" associative and similar thought to vinyl and a "warm" tube sound.

        • zengarden

          “Warm tube sound” is also caused by a large number of spurious harmonics.
          Those. sound "wrong", but pleasant to the ear. True, it is possible to discern something like that only in the presence of hearing, on high-quality equipment and the appropriate sound material. But audiophiles best left alone - there are quirks that fotodrochery nervously smoking in aside :)

          • Valentine

            To whom is it pleasant? Only someone who all his life to that used normal and undistorted sound already taken can not. Others, who are listening to music (not individual sounds are not separately low, not high separately) on the modern equipment, can not tolerate this "sand" and other spurious trash. Similarly, with these lenses: twisted bokeh, warm colors, vivid photos - funny sometimes it's all read or watch the video. Uncritical attitude fraught exhibiting itself as a universal ridicule.

            • Onotole

              That's right, except for one thing:
              Disrespect for the tastes of others is fraught with exposing oneself as a universal laughing stock.
              And then there are people who listen to it on any hardware _muzyku_ what is, even with the radio receiving and they also do not understand the talk about some kind of equipment that lamp that "modern". Just like there are photographed on the phone, and a bar of soap and do not understand where does some bokeh, quality in general if the main thing in the picture - what is depicted there.
              Thus, keep in mind your opinion - not unity of the faithful. Just one of the.

              • Jhoe

                And health - let them hear, let them shoot at Soviet glass, let the buzz from ccd matrix, let them do the identification of a wide range of film, twisted bokeh, etc. People write correctly: just do not have it to give to the quality of higher orders. It's just distortion and imperfection in fact. Yes, they can be used creatively. Sometimes they give an interesting effect. A knowledgeable person can use this effectively for himself. The problem is that all this is highly overrated. As a result, many novice or not too well versed photographers after reading articles and posts about the unique bokeh and unique color rendition start to get sick of buying unnecessary old junk. And then cruelly disappointed in this. And many of those who are about these unique opportunities writes - vparivayut newcomers this junk at exorbitant prices.

              • Arkady Shapoval

                Everything is approximately true.

            • Vitaly N

              In vain they remembered modern equipment - it basically has little to do with “pure” sound, even with high price tags. It can be equated to universal zooms, but not to fixes, even ancient ones. What seems to be “pure sound” is the work of sound processors, and distortions at average power often do not correspond to the declared ones at all. It's better not to remember the frequency characteristics at all - “rock”, “jazz” presets, etc. already hint at the class of equipment.

              • Valentine

                Modern equipment is different. And not always for the expensive, you can get a very good sound. Similarly, with cameras - modern technology when used correctly gives a very good result. Fortunately, there are the normal tests of Soviet and contemporary glass, from which is perfectly visible, what are their strengths and weaknesses really are.

      • Alexander Pyshny

        For the most part, claims to old and new lenses about their flaws in transmitting contrast, color and light in all manifestations can also be presented to artists who paint with varying degrees of approximation to reality. Their paintings, which is characteristic, do not get worse from this. And optical imperfections, distortions, lens features are just the limitations within which any photographer works. The only difference is that some photographers are looking for opportunities to squeeze maximum or even more out of optics and a camera to realize their creative intent, while others complain that one, the other, the third, the fifth and the tenth interfere. As a rule, of course, the blame for such cases is the lens, camera, designer, inventor who could not straighten the curves from birth of the hand to this unfortunate photographer.

        • Andrei

          That's all - talk to the poor. There are such "limitations" that turn the lens in the junk. Moreover, what was junk in 1980 remains so in 2018. And what was a thing in the 80s, basically remains a thing today. The figure in this respect, little has changed.

  • Sergei

    In general, it’s not expensive, but Nikon’s 50mm 1,8 is cheaper and I think it’s much better

  • Oleg

    As for size, there is no Leica charm with its miniature. Regular in size half an angle like on a DSLR. And where is all this compact mirrorless? Kenon 100d plus fifty fifty \ 50 will not be much more. If the cameras are small, the optics are usually not compact at all.

    • Passer

      Charm Lake only in disgusting cameras and overpriced price tags. The main plus of Leica is in optics, but manual focusing on an insane price tag makes it useless. Even the fanatics of the watering can already give up on the valuables that Watering can ache.

  • anonym

    Is it worth taking a good aperture fifty dollars for a full frame or is it better to buy a aperture 85ku? 50 / 1.8 and 85 / 1.8 are available.

    • Arkady Shapoval

      Goals, tasks?

  • Sergei

    There was such a glass, on A7m2. I sold it, I regret it, the firmware helps, I confirm. They say that with the latest camera firmware, AF has become even better. AF is the only weak point, for the kind of money there is nothing better. In general, the glass is very similar to Hexanon 50 / 1.7 and similar minolts, only sharper and counter holds better. It’s worth taking, but only BU, there are a lot of them on the market now and at a good price.

  • Novel

    The gray cat is so sad!

  • Artem

    Oh my god, the focusing speed is two times lower than that of my afs nikon 50mm 1.4G, so what’s the manual?))) I think my nikkor is dumb, but it seems Sonya did it here too! Ahaha

    • Passer

      A very subjective story. I had both Nikkor 50 1.4G (D was also there, but it is slightly faster than Nikon's G) and Sony FE 50 1.8. The A7iii has no problems at all. Good both speed and accuracy.

  • Sergeyich

    Haste, haste, haste ...
    Arkady very accurately noticed that no one counted the optical design of Sony’s lens, for a shorter working length. And this applies not only to FE 1.8 / 50, but most of their optics. Look at the fixes though SEL, even FE, they are all longer than SAL.

    AFlenses.net had an article about the stupidity and shortsightedness of Sony's full-frame mirrorless developers. I will write about it briefly.
    First there was the E mount for cropped NEX mirrorless cameras. And then they, without changing the diameter of the lens mount and working distance, shoved into this system the entire frame. Whether the time is running out, or want to unify, like Nikon ... But then it turned out that the diameter of the lens mount E is too small for a full-frame, very difficult to do on-camera image stabilizer, so as not to suffer the frame edge. In the matrix, with the bayonet, no stock to move left and right, up and down. Otherwise the picture would go beyond the boundaries of the field of view of the reduced diameter of the lens. Bayonet become a limiting factor. Therefore, stabilization is possible only in the FE lenses that adds to the size, weight and price.
    Then it turned out that the working distance is too short, and if the development of extra wide angle optics, the light is at a very high angle to the edges of the matrix, which is why the frame edges suffer again chosen for a complete frame. Even Zeiss said that the creation of FE sverhshirokougolnika is their technological challenge ...
    Therefore, Sony will never have an analogue to the full-frame Canon EF 8-15mm f / 4.0L Fisheye USM.

    Now I’ll say it on my own.
    Perhaps in the future, some of this will be overcome.
    Here came the new (G-series) Sony FE 12-24mm F4 G for $ 1700, but it’s still not Canon’s over-wide with a price of $ 1100.

    Draw your own conclusions.

    • Arkady Shapoval

      well, 12 mm on the bottom frame is still super-wide, and 8-15 is a circular fish-eye, there is nothing to do with 8 mm to the edges.

      • Sergeyich

        ... .In obviously strong vignetting on Sony E.

    • Michael

      Now it’s clear about the low aperture of Sony E lenses

      • Sergeyich

        The Sony L lens block could be 26,5 mm closer to the matrix (44,5-18 = 26,5).
        Incidentally, the diameter of the bayonet E - 46,1 mm diameter bayonet A - 49,7 mm. That's why in the full-frame dslr-a850 and 900, as well as the slt-a99-camera was installed to stabilize the matrix that is the pride of the company. In bezzerkalke A9 have already mentioned the existence of on-camera stabilization ... after almost 4 years, Sony has decided this problem.

    • Oleg

      I read recently on the site Prophotos, this lens: Sony FE 100mm F2.8 STF GM OSS. It's funny that the geometric aperture him 2.8, and the light transmittance of 5.6, ie 4 times less. Sony introduces artificial vignetting to remove aberration, I even came to mind Soviet engineers with their "Helios." Some kind of dances with tambourines for this Sonya, especially with her optics. It turns out that it will wash background as 2.8, but the shutter speed will be as in 5.6, in its essence is a dark lens that is compensated Stabia. But he will probably have a price: Mom, do not worry, because it's the same Sony

      • Michael

        More than a year has passed, but here I really got bombed +)) He washes the background better than 2.8. This is like a specialized lens for creating uniform blurring of the background and high-quality separation of the subject from this background. And he has TWO diaphragms.
        Before you make any conclusions and accusations, I advise you to try to understand and realize that all this is, this is the STF. And by the way, E-shny STF - is, as I understand it, the world's only autofocus lens on this technology.

    • Passer

      We made you water, you wrote complete nonsense both about the bayonet and about the optics and the facts confirm this, there is no better optics line than Sony has now, I generally keep quiet about the cameras, they have gone to an unattainable level. A7Siii and A1 are another confirmation of this. PS Ultra-wide 12-24 covers any task intended for it. If you need a fish-eye, ok, buy an adapter and remove it once every 1 years.

  • Skai

    Yes, as mentioned above udelal sony nikon :-) Now sonievskie fifty dollars bears the palm of the brake autofocus 50mm Lenses :-). Firmware 0.3 the last, A7s - slow PPC. Continuous AF fidgets constantly, in general can be used to slow shooting or handles focus :-) image quality as for me - ebb in the open is better Nikon 1.4d possible to open a hole equal to 1.4g (if Nikon preload to 1.8) is necessary confront them head-on the same plot in the same light conditions, then we can make a more developed conclusions.
    Despite the slanting autofocus, I liked the lens with its lightness, wide focusing ring, and the way it looks organically with the hood on the camera. image quality - much better than the old manual glass through an adapter, all the same modern design, though deprived lens is the image, but gives fair results with which to work with.

  • R'RёS,R ° F "RёR№

    Good lens, which is full frame, which is sprinkled. But with the latest update firmware v3 - autofocus particularly spoiled. He became slow and inaccurate. With firmware v2 had no such problems. Not the most nimble was, but focused and confident with the system of determining who was quite convenient to shoot portraits of him.

    With the new firmware, he crawls back and forth and it’s impossible to take pictures properly, it’s faster and more accurate to remove the manual than with such autofocus.

    Maybe someone knows how to roll back to the old firmware version?

    • Passer

      Just reset the camera settings and reflash again, I have no problems at all, everything works quickly and clearly

  • Anton

    Hello everyone, take p1 and buy a converter attachment on your ebay and attach the plate from below and get a front lens width of 12 cm and a total size of 11-18 f2.8 the whole set is 25000 rb, but no one is wide in the world - the globe will not take such photos panoramas and without any pillow, etc. and no longer need to look for shirikov holes and do not waste time

  • Dmitriy

    Something about this lens in retail sales in Ukraine
    I do not find. Strange somehow ...

  • Beginner photogolic

    All about bokeh started about the "correctness" of the image. And as for me stub and autofocus + picture quality is much more important twined bokeh. Helios, even with aperture 2, will be useless trash in those conditions where a fix with a stub will allow you to shoot at long exposures with your hands.

    • Oleg

      "What is important" in this case can not be consumed as "generally", but only situationally. Therefore, people buy not one, but several (sometimes many) lenses in order to get what they like best in every situation. Need autofocus and stub - set a single lens, wanted Twisted bokeh - other.

  • insane

    On my camera it was said that phase autofocus is not supported by this lens .. specify such a VERY IMPORTANT trifle ??

    • Arkady Shapoval

      And then for the camera?

  • anonym

    In general, the lens is not bad, I didn’t use it much on the A7, well, autofocus is slow, the picture is good, the bokeh is nice, now it is idle since I sold the camera.

    • Passer

      A7 of the first series? it's just that on old A7i-A7ii autofocus basically works so-so, but everything is fine on A7iii / A7Rii / A7Riii

  • Artem

    Ohoho can not seem to decide on the fifty dollars or 35 2,8mm from samyang, aperture against compactness + Focus speed ... (after the first 28-70 avtofiks whale). sometimes I want to take a walk a7 walk, but the size of an adapter or a whale in the way.

  • Igor

    Arkady mentioned pentaksovsky CD 40 mm, and I would like to say "FOR" sorokovke by Canon 2,8, I immediately pinned to the adapter through its Sonya, and even with an adapter this wonderful pancake was very harmonious on the camera, and the whole bunch of look very compact. Image quality was also excellent, even on 7R. Why, indeed, the Sony instead of the banal and non-compact poltosu (which have enough) not to release a compact sorokovke, which will be cheaper Zeiss 35mm?

  • Alexander

    Very good and complete review. Special thanks for the photos of people - very often they review the lens purely with photos of nature

  • anonym

    Thanks for the review! It’s a little strange in my opinion to test a full-frame lens on a cropped camera ..

  • Roman_Loft

    Download 1 gig to see the photo is problematic. Are there easier ways to look at the source? Preferably on a7m2

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