![]() One of the strongest features of this lens has to be the bokeh. It happens at f11 quite a bit more than it would normally with other lenses, too. For what it’s worth though, we expected this lens to be much sharper, but we’re still happy with the results in specific applications.Īt f22 (yes a macro lens is only going down to f22) you’ll see the image quality really start to break apart. Sony created the perfect balance for portraiture and general shooting. But you generally won’t have this problem here. When photographing a model, a lens that’s way too sharp can result in causing issues with the skin and the way it looks. It’s sharp, but it’s not bleeding sharp–and that’s what we want from a portrait lens. ![]() When shooting portraits with this lens, we were pleasantly surprised with the sharpness. ![]() To get the most, you’ll need to process the images and work specifically with the color channels.īut don’t worry, it’s not all too bad! Sharpness This is a natural feature of adding a flash to create specular highlights in a scene.Īt the macro range, you also really start to see the color muting that is more associated with portrait lenses. To get even more details from the images, you’ll want to add around one extra stop of power from your flash to the image. We tested this with a powerful flash as you can see in the photo to the left. For this reason, you’ll want to focus stack your macro photos. At f11 it starts to fall apart and beyond that, it positively crumbles harder than many other 90mm macro lenses do. For what it’s worth, the image quality up to f8 is incredible. Given this is a macro lens, we’re sure that there are photographers that will obviously utilize that feature. Don’t bother autofocusing, just manually focus. When it comes to shooting at the macro ranges, the focusing slows down quite a bit–though it’s still faster than a DSLR. Of course, we always chose the focusing point manually and that’s what we’re going to tell everyone to do. The Sony 90mm f2.8 Macro G OSS was always quick to focus and only missed the focusing around 8% of the time with the A7r Mk II and the A7. This has to do with how depth of field works. Yes, this is a lightweight lens, but longer focal lengths usually take some extra time to achieve focusing than wider focal lengths. While there is optical stabilization, we found that it’s still best to use a tripod. When shooting at the macro ranges, you’ll want to use the camera’s Live view and magnification feature over focus peaking. However, there are times when this can be done by accident, so just be careful when using the lens. It’s a nice change, and one that we greatly appreciate. While most lenses need to be switched to MF mode via the menu system, this lens lets you do it by pushing/pulling the focusing ring. Ease of Useįor the most part, you’re slapping the lens onto the camera, focusing and shooting. The bumps that it encountered surely let us know that it’s worth the build when everyone and their mother floods Union Square and squishes against one another. Though we didn’t run this lens under water or take it out into the rain, it surely survived commuting around the NYC subway system with it strapped to my side. When reversed, the hood covers the focusing ring area and the push/pull mechanism is pretty much not able to happen because you can’t get a good grip on it. With the hood attached, the lens becomes a bit larger–and for what it’s worth we’d prefer it to be attached. When the camera doesn’t have IS, the lens does all the work. When activated with a camera that has image stabilization, the two will work together. The switches are a focus limiter and OSS activation. ![]() This is one of Sony’s first lenses to incorporate this. The focusing ring moves forward and backward to enable manual or autofocus focusing. Move to around the top and where we can spot the focusing ring, switches, and a little button right by the G designation. We start our ergonomics tour with the front of the lens where we can find a 62mm filter thread. On the outside, it feels like a metallic tube with buttons and switches–and that’s because it pretty much is. The Sony 90mm f2.8 Macro G OSS is a lens that seems very much designed like other macro lenses–and it essentially is. Taken from the B&H Photo listing of the lens PerformanceĬomparable 35mm Equivalent on APS-C Format Focal Length: 135 mm We tested the Sony 90mm f2.8 OSS with the Sony A7 and the Sony A7r Mk II along with the Paul C Buff Einstein E640 monolight. Perhaps this was done specifically for portraits, but you’re mostly going to rely on the capabilities of the Sony sensors–which are very good.
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