Discharged with the Sony Alpha A65 and A77 cameras, the Sony 16-50 F/2.8 DT is an APS-C good lens with a most extreme gap setting of F/2.8 paying little mind to the central length chose. Mounted on a camera body with an APS-C sensor, the lens will create a compelling field of perspective of roughly 24-75mm. The lens takes 72mm channels and acknowledges a petal-formed hood, which is incorporated with the lens. The Sony 16-50mm F/2.8 is booked to be accessible for roughly $800 in October 2011.
The Sony 16-50mm F/2.8 created some sharp pictures, maybe marginally more keen in the wide edge contrasted with telephoto. At 16mm and F/2.8, the lens gives great corner to corner sharpness, drawing nearer tack-sharp levels in the focal point of the edge. Ceased down to ƒ/4, it’s as sharp as sharp gets, with only a touch of delicate quality in the corners. There’s no obvious increase halting down to F/5.6, and diffraction constraining appears to set in at F/8 where there’s a slight general decrease in sharpness. This delicate quality proceeds from F/11 – F/16, lastly F/22, where it turns out to be entirely delicate undoubtedly.
Design and Features:
At 24mm, we note basically the same results as we found at the 16mm setting, with somewhat better sharpness at 24mm. At 35mm, our lens demonstrated some light de-focusing at F/2.8, with the range of sharpness showing up in the upper quadrant of the edge; corner delicateness is somewhat misrepresented. Ceased down to F/4, and pictures turn out to be sharp once more, significantly more keen at F/5.6 (seemingly, one of the most keen settings of the lens). Once more, diffraction constraining sets in at F/8 and sharpness debases through to F/22.
Zoomed into 50mm, the lens is to some degree delicate at F/2.8, reverberating the de-focusing we noted at 35mm; once more, stop down to F/4, and the issue leaves. At 50mm and F/4 we’re seeing verging on indistinguishable results for sharpness as we found at 35mm, and this pattern proceeds through to F/22. It’s intriguing to note that completely ceased down execution (F/22) is best at the 50mm setting.
On the Sony A350 body, the lens took well under one second to center from nearest center to vastness, so it is quick without a doubt. Little center changes happen about in a flash and quietly. The front component doesn’t turn, making life simpler for polarizer clients.
Corner shading is genuinely light on the 16-50mm F/2.8. It’s most unmistakable at 16mm, where there is constantly some level of shading; the most noticeably bad guilty party is at 16mm and F/2.8, where we note corners which are upwards of 3/4 EV darker than the inside. At some other setting, it’s not as much as that; at some other central length, the main setting which delivers any corner shading of note is 16mm, where you’ll see corners that are a half-stop darker than the middle. The Sony 16-50mm F/2.8 DT presents itself as a competent stroll around zoom lens; mated with the more up to date A65 or A77 bodies, which seem to right its slight issues with chromatic variation, the blend attempts to create astounding photos.
The Sony 16-50mm F/2.8 delivers some odd results for chromatic deviation. Joyfully, the lens’ best execution happens where it’s well on the way to be utilized – at F/2.8. Somewhere around 16mm and 35mm, chromatic distortion increments as the lens is halted down, turning out to be more conspicuous and appearing as fuchsia green bordering in territories of high differentiation. At 50mm, this pattern turns around unexpectedly; now the lens demonstrates a standard measure of chromatic variation at F/2.8, and enhances as it’s ceased down. By F/5.6 at 50mm, there is almost no CA to talk about. The Sony 16-50mm F/2.8 demonstrates some genuinely conspicuous barrel twisting at 16mm (a full +1% in the corners), yet this diminishes effortlessly as the lens is zoomed in. There is a state of equality around 30mm where there is neither barrel nor pincushion contortion. At 50mm, we take note of some light pincushion bending in the corners; about – 0.1%.