![]() ![]() For a macro lens is the apparent extension of the focal length also only beneficial, because you less likely disturb your subject because of that. high optical quality: resolution, distortion, chromatic aberration, and insensitivity to flare are all perfectly fineĪ focal length of 75 mm may be (converted to full-frame) a less widely used fixed focal length, but this lens deserves to be in a camera bag of any quality-conscious photographer (with a camera with an APS-C sensor).In the worst case, the chromatic aberration can be 0.1%. The chromatic aberration is measured by Imatest and averaged under the 0.05%. In practice, you will not encounter visible chromatic aberration when using the Sony 50 mm macro. But at aperture 16, the resolution of jpg files is still around 2000 LW / PH. From aperture 6, the resolution decreases slightly due to diffraction. Interestingly, the resolution in the corners is already just as high as the resolution in the center at aperture 2.8. The resolution of the Sony 50 mm 2.8 lens is very high. The truth is when looking at Medium Format vs Full Frame vs APSC, the argument of what is better comes down to a number of different requirements including purpose, size and budget. ![]() The Sony 50 mm macro is also a very good lens in daily practice. We have not tested this lens as macro lens, where the subject is very close to the lens, but in the same manner as the regular lenses. You rarely encounter such extreme situations in practice. In direct and bright sunlight, a bit of flare is visible, such as the practice shots on the right show. The Sony 50 mm macro 2.8 is not bothered much by flare, like most lenses with a fixed focal length. This is not due to in-camera correction, because the non-corrected RAW file exhibited just as little distortion. The distortion of the Sony 50 mm 2.8 macro is low. ![]()
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