Sony E50mm F1.8 OSS Test Images
Monday, February 20, 2012 at 20:14 ;)
The 50mm F1.8 prime plugs a major gap in my NEX lens kit. I shot about a third of my photos at a similar focal length while I was using the Micro Four Thirds system, so having a comparable NEX lens was essential. For a while I considered getting the Carl Zeiss Sonnar T* 50mm F1.5 ZM. It's faster and, based on my experience with the 35mm Biogon from the same manufacturer, the images it produces will likely go beyond technical excellence.
The Sony lens also has its advantages: it's almost 3 times cheaper and a third lighter than the manual focus Zeiss with an adapter. But in the end it was the integrated image stabilization that tipped the scales in favor of the Sony prime. I prefer having lenses in my kit whose capabilities are differentiated by more than just their focal lengths. Each lens offers something the others don't: the Zeiss Sonnar 24mm F1.8 focuses exceptionally close, the Zeiss Biogon 35mm F2.0 is optimized for manual focusing and the image stabilization of the new Sony 50mm F1.8 lets me shoot hand held at slow shutter speeds.
;)
Amsterdam Row │ NEX-7 + Sony E50mm F1.8 OSS │ 50mm, various apertures and shutter speeds, ISO100I've had a request to post some RAW files taken with the Sony E50mm F1.8 on the NEX-7. I'm happy to oblige, especially considering that I actually got to enjoy some sunshine while standing behind my tripod today. There's enough detail in this scene to get some sense of how image quality holds up at larger apertures and in the corners of the frame. I'd say the results are good; sharpness drops off gradually towards the corners at large apertures. That's much less objectionable than the sudden drop in sharpness I witnessed with Sony's kit lenses (SEL 16/2.8 and SEL18-155/3.5-5.6). Things look very good once the lens is stopped down to F5.6.
For those who want to check out how the Sony 50mm F1.8 OSS performs for themselves, here are the links to the RAW files of the test scene above:
SEL 50mm F1.8 OSS at F2.0
SEL 50mm F1.8 OSS at F2.8
SEL 50mm F1.8 OSS at F4.0
SEL 50mm F1.8 OSS at F5.6
NEX, Sony E50mm F1.8 OSS, gear, sample images
Reader Comments (23)
Thanks for that Bjorn, very interesting as usual...F5.6 looks the best to my eyes...sharpish corners.
I have added a CV15mm to my collection (also excellent like the 35mm f2 Biogon but needs Cornerfix to make it shine...To much magenta cast out from the center otherwise - But really sharp into the corners)...Have my eye on the ZM Planar 50mm as my next purchase.
Hi Barry,
You're acquiring an impressive set of lenses. From what others have reported, the CV15/4.5 may be too problematic on the NEX-7. In my opinion, not being able to use that lens is one of the biggest drawbacks of the NEX-7 over the NEX-5N. Still, I'd like to try the CV15/4.5 to see how severe the color cast actually is and whether removing it has any serious impact on the final images. You coming to Amsterdam? :-)
The ZM Planar 50/2.0 is also interesting. I may add it or something similar in the future. For the moment though, I think the Sony 50/1.8 will meet my needs, despite the fact that the images it produces won't be up to the caliber of those from the Zeiss. When I want that level of results, I can always switch to the Biogon.
If you ever get a chance, I'd be very interested in seeing some photos you took with the CV15/4.5.
Hi Bjorn
Many thanks...Sure would like to meet up with you one day, it would be very interesting I am sure.
In the mean time if you PM me (I suspect that you have my address from your site when I message you) - I will send you a full size DNG and a DNG with cornerfix(ed)...I tend to use F8 as everything is sharp from infinity to 2ft when focusing at 4ft ....The cornerfix profile I made is OK but I will make a better one outdoors (properly colour balanced with a whibal in the shade) when the weather is better....I also found that setting the luminance in cornerfix to 0.25 (suitable for the NEX size sensor) leaves just a tiny bit of vignetting, otherwise I find it looks a bit odd being totally even across the entire image.
I would imagine that cornerfix would correct the colour shift of the 15mm lens on the Nex7 but not make the corners any sharper due to the NEX7 microlenses issue when wide open at f4.5...Although the corners are pretty sharp on the Nex5.
I purchased the earlier LTM version after a lot of thought and reading what others recommended, not just because I wanted silver...But because it can focus nearer than the newer version despite them being optically identical, it is smaller, lighter, cheaper and comes free with the plastic OVF as opposed to the £200 extra for the less well thought of metal OVF...only downside it does not have a filter thread as opposed to the newer version...But filters on UWA are less important to me anyway and even that can be overcome with a $20 adaptor from cameraquest if need be.
Hi Björn,
thank you very much, did appreciate the courtesy!
Tonight I'll give your RAWs a shot, but judging on the web look the lens seems quite interesting indeed. Especially at that price point, should I add?
thanks again
Corrado
Hey Björn, i played a bit with these raws. especially the one at f/5.6 is interesting as it is impressively sharp. will try to make a "sharp" conversion and send it to you.
Unfortunately i still didn't have time to have a look at your RAWs you uploaded at dropbox. I just got my x14-42 lens and I am testing it out and analysing the samples. So far this lens seems to be quite a dud. I already ordered an exchange to see if really all of them are like this!
Cu, O.
Hi Olaf,
Sorry to hear about your X14-42. I hope you eventually get a good or at least acceptable one. On paper this lens is such an exciting offering: never before has so much reach been offered in such a compact package. But I guess, like everything else, there are some compromises involved.
Yes, by F5.6 the Sony 50/1.8 is very sharp. I'd still say that the Zeiss 24/1.8 is even a little sharper and the Zeiss 35/2.0 is the sharpest of the bunch. Still the Sony 50/1.8 is very good and the difference isn't large, especially considering its price and the fact that it's also stabilized.
I'm really looking forward to seeing your best result from the file. Even more so if you let me in on the secret of how you achieved it. It's always best to learn from an expert ;-)
Hi Barry,
Thanks for your kind offer, I sent you an email.
I didn't know that the older LTM version focuses closer; I'd probably go for that as well if I chose to get the CV15/4.5. I'm also interested in the CV12/5.6 but will put off a decision on either of those until I see what Sony comes up with for its wide angle zoom. I prefer a prime, but if the Sony zoom is optically acceptable then it would offer a wide angle solution without the need to correct for color casting. Personally, I wouldn't be so worried about the lack of a filter thread either. I've used my Lumix 7-14 for thousands of photos in all kinds of conditions and the front element is still in pristine condition.
Hi Bjorn
Well I have just sent you an email with a 5N/CV15 @ F8 dng attachment...Which shows the magenta cast...I tried to send a corrected cornerfixed dng in a separate email but unfortunately to no avail, because the file size was about 32mb's!
So I converted it to jpg to keep it smaller in yet another email...You should now be able to flick between the two of them to give you some idea of the cornerfix correction and check the sharpness of the leaves in the top right corner.
Hope this helps
Cheers Barry
The amount of resolution that the NEX-5N is capable of with the CV15/4.5 mounted in front of it is spectacular. You can really see that in the fine branches behind the church. It would be nice if the CV15/4.5 were to produce similar results on the NEX-7, but I guess you can't have everything. Thanks for going to the effort of sending those, Barry!
Hi Bjorn
Thanks for that, I converted the dng/cornerfix version to dng huffman compression as you suggested (thanks for the tip)...Hopefully you should have new mail.
If you want the 5N/CV15 cornerfix profile just let me know...But I am sure you would make your own up - Thats half the fun.
It would be great if you could get your hands on a CV15 sample if only just to test...I would be very interested for one how it would perform on your Nex7!
Cheers Barry
Hi!
Just got my copy this evening and I've been playing with it briefly.
One thing I've noticed though is when stopping down beyond 1.8 the iris opens up fully when focusing.
This produces a slightly annoying sound if you really listen to it. I'm just wondering if I'm doing anything wrong or if this is just the way it's supposed to be.
Truth be told, I'm pretty new to this and currently shooting with a Nex-5 (soon to be a Nex-7)
/FIlip
Hi again Björn,
I had a look to the sample files you've so kindly made available...
the f/5.6 sample being sharper and more contrasted, f/4 still good enough; f/2.8 I'd say sufficient perhaps, but f/2 is definitely _much_ less sharp, especially in the corners of course, and unfortunately also affected by hefty amounts of magenta chromatic aberration (some cyan also, more toward the corners)
I'd classify the lens approx in the same league of a Canon 50/1.8, give or take, besides from price (Canon: 1/3) and image stabilisation (Canon: N/A) of course.
By the way: the scene was really a good one for spotting defects, an excellent choice.
My only perplexity being the other image you've made available in the meantime, the eye close-up... I guess the crop is from the center, I suppose you've dutifully processed the RAW file, but stilll...image quality and sharpness are excellent. And at f/1.8! Go figure...
Thanks again!
Corrado
Hi Corrado,
I'm glad these files are helpful to you. Like you say, it is a good scene for spotting lens defects, with lots of fine detail in the corners as well as high contrast edges and straight lines. It is, however, not the only type of photo I would take with a 50mm (75mm FF equivalent) lens. First indications are that the lens does quite well wide open in soft (indoor) light with subjects at close range. The crop of the eye is an example of that. Yes, it is from the central area of the frame; I've added an image showing the location of this crop in the entire frame. Of course it's post processed, but not what I would consider that heavily. If you like, I will send the file to you by email.
Filip,
Don't worry, this is normal behavior with the NEX primes. All of mine - the 16/2.8, 24/1.8 and the 50/1.8 - open up the aperture to focus. The elements in the 16mm pancake are so small you don't really hear it, but it's audible in the two bigger lenses.
Interestingly, on my GF2 the Panasonic Lumix G primes also focus with he aperture wide open. However, they do not stop down to the shooting aperture until you press the shutter fully. So you don't get a depth of field preview when you change the aperture or when you half press the shutter to lock focus. On the NEX-7, the depth of field is updated in live-view as you rotate the aperture wheel. So you can see the effect that the chosen aperture has on the out-of-focus areas of the photo before you take it - and without having to engage a DOF preview. Of course this means that you'll hear the clicking sound of the aperture opening up to focus. That doesn't bother me though and I much prefer having a constant DOF preview.
Hi Björn,
thanks for your offer, but given the 100% crop I think there's no purpose for me to investigate also the "eye crop" raw file.
I didn't know the NEX primes do focus at full aperture, stopping down just a shoot time... I don't own a NEX prime yet, but judging on the 'WYSIWYG' philosophy of the mirrorless world I'd have thought it was the other way around. But it definitely makes sense, as it does for 'traditional' DSLRs.
cheers
Thanx for the response Björn!
Can someone explain for me the exact reason for this behavior though? Couldn't say that I was way too familiar with the acronym "WYSIWYG"
/Filip
@Filip:
WYSIWYG is an old saying of us IT guys (What You See Is What You Get), but I think it applies to modern mirrorless cameras as well.
The idea behind focussing at full aperture is that your camera gathers much more light (which in the DSLR world implies also a brighter viewfinder), thus making life easier for the autofocus system.
Actually that helps when manual focussing as well, since you see more clearly what you're focussing on (which in low-light conditions can be a bitch). DSLRs do not have the SONY "focus peaking" feature, not that I know of at least...
Apparently the same goes for Sony primes on NEX cameras.
Cheers
Corrado
The only disadvantage to focusing at max aperture is if the lens you're using has focus shift issues. From what I've read about the ZA 24 1.8 E, for example, it exhibits slight focus shift, which can cause inaccuracies with the auto focus. I get my NEX-7 today, actually, and will be testing this weekend.
Ben,
Congratulations on your new NEX-7!
I haven't noticed any focus inaccuracies with the Zeiss 24/1.8 myself. Wouldn't the camera's AF algorithms be able to compensate for any focus shift that occurs? If a face is detected, the camera should even have a pretty good idea how far a subject is from the front of the lens. In any case I would be very interested in hearing about the results of your tests.
Hi Corrado,
The NEX-7's live view display is in fact WYSIWYG; the lens opens up only for a split second to acquire focus upon half pressing the shutter. This is different than the Panasonic GF2 which keeps the aperture open all the time until you press the shutter fully to take a photo. That's certainly not WYSIWYG and it meant checking DOF was only possible by pressing the preview button. I like Sony's approach of offering a more or less full time DOF preview better.