In summary
The Sony FE 28mm f/2 lens represents excellent value for money and promises to deliver superior performance on Sony’s α7-series cameras, particularly those with lower resolution (which means most of them).
Meeting expectations for a 42.2-megapixel sensor is a big ask, and the fact that the test lens came as close as it did in our tests is impressive for its price point.
The main downsides we found ““ vignetting, distortion and lateral chromatic aberration ““ can be eliminated in JPEGs with in-camera processing and in raw files with a decent raw file converter. Not much can be done about wide-aperture edge softness but it can be used creatively in some situations.
Fast, quiet and accurate autofocusing make this lens worthwhile for recording movie clips and its wide angle of view is well suited to street photography. Its relatively small size and light weight is easy to carry while weather-resistance enables it to tolerate outdoor use in most weather conditions and its fast maximum aperture makes it a good choice for low-light photography.
Full review
Although Sony’s recently-released FE 28mm f/2 lens (model number SEL28F20) uses the company’s E mount, it has been designed primarily for the α7-series cameras, which have ‘full frame’ sensors; hence the ‘FE’ designation. On a NEX camera body it covers the equivalent of a 42mm field of view because of the 1.5x crop factor. Relatively compact and keenly priced, it requires no stabilisation, since Sony’s cameras have integrated sensor-shift IS systems.
Angled side view of the FE 28mm f/2 lens, shown without its lens caps and hood. (Source: Sony.)
Its optical design consists of nine elements in eight groups and includes three aspherical elements, one of them an AA (advanced aspherical) lens, along with two ED (Extra-low Dispersion) glass elements, which reduce chromatic aberrations and provide improved contrast. Multi-coatings on the ED glass elements reduce flare and ghosting and also improve overall image contrast and quality.
The optical diagram for the FE 28mm f/2 lens showing the positions of the exotic lens elements. (Source: Sony.)
An internal focusing system combined with a linear actuator AF mechanism provide fast and quiet autofocusing and make this lens ideal for both still shooting and video recording. The length of the lens doesn’t change and the front element does not rotate during focusing.
The iris diaphragm has a nine-blade system that closes to create a circular aperture which produces pleasing out-of-focus highlights. Dust- and moisture-resistant seals enable this lens to be used in sub-optimal conditions. It is compatible with Sony’s Ultra-wide and Fisheye converter lenses for even wider perspectives.
The lens is supplied with front and end caps plus a petal-shaped, bayonet-mounted hood that adds about 25 mm to the length of the lens when attached. Its inner surface is matte black to suppress lens flare. It can be reversed over the lens for storage.
This lens is compatible with the optional Sony SEL075UWC ultra-wide converter and SEL057FEC fisheye converter, each of which covers a wider angle of view. These add-on lenses are sold separately.
Who’s it for?
On one of the α7 camera bodies, the 28mm focal length is ideal for landscape and street photography and the fast maximum aperture helps to make it a suitable option for travellers. The relatively small size and light weight of the lens are great for a walkaround lens.
It’s less suited to NEX cameras because the 1.5x crop brings the effective focal length up to almost that of a standard lens and the amount of light that passes through to the sensor is reduced by the 1.5x crop factor. Nevertheless, the compactness of this lens means it wouldn’t be out of place on a NEX camera body.
Build and Ergonomics
As expected for its price, the build quality of this lens is excellent, with a solid-feeling aluminium alloy outer barrel and generous focusing ring. Handling functionality is limited; there’s no distance scale and no AF/MF switch. The only external marking aside from the lens mounting index button is the FE 2/28 label stamped on the top of the barrel behind the focusing ring.
The focusing ring is 24 mm wide and entirely clad with very fine grooves, which provide a comfortable and secure grip. It is located about 10 mm behind the front of the lens.
Because focusing is driven electronically via a linear actuator, the ring turns through 360 degrees when the camera is switched off. When the camera is powered up, this ring turns smoothly and quietly, with a nice degree of resistance to make fine adjustment easy.
The lens barrel is almost devoid of external markings. There’s no distance scale and no AF/MF switch. Internal focusing means the front element doesn’t rotate when focus is adjusted, making it easy to use angle-critical polarisers and graduate filters.
The front element of the lens is close to the end of the barrel and has a diameter of approximately 25 mm. It is surrounded by a black plastic annulus that is about 10 mm wide, the inner edge of which is threaded to accept a 49 mm filter. The lens cap clips into the filter thread, while the hood attaches to the outer rim via a bayonet fitting.
The lens is also ‘weather-sealed’, although we found no rubber ring around the mounting plate. However, the metal mounting plate fits securely to the camera leaving no gaps for moisture or dust to enter.
Performance
We tested this lens on the Sony α7R Mark II camera, which has an effective resolution of 42.4 megapixels. Meeting expectations for this camera will require very high performance standards.
In our Imatest tests, JPEG files taken with the α7R II came closer to meeting expectations for the camera’s 42.2-megapixel sensor than we expected for a lens at this price point. Interestingly, raw files just met expectations, which is an impressive result. (These files can be viewed in our review of the α7R II.)
The above graph of our Imatest results, based on JPEGs, shows corner softening is an issue at wider apertures but was largely resolved by f/5.0. The peak sharpness in the centre of the frame was at f/3.2 but centre-of-frame sharpness was very good all the way from f/2.0 to f/11, where diffraction caused a rapid decline in resolution. Between f/5 and f/11 resolution was very similar across the frame.
With the in-camera corrections disabled, lateral chromatic aberration hovered around the middle of the ‘low’ CA range. When the camera’s in-camera corrections are enabled, the only incursions into the ‘low’ range occurred with the widest aperture settings; stopped down the results remained within the ‘negligible’ band. In the graph of our Imatest results below, which is based upon uncorrected files, the red line separates the negligible and low bands while the green line marks the start of the moderate CA band.
The review lens delivered images with plenty of detail and well-balanced contrast with the α7R Mark II camera. Colours were also accurately reproduced.
Backlighting was handled well, partly because the camera’s auto DRO command balances highlights and shadows nicely. But we also found no flare artefacts in shots with the sun just outside the lens field of view.
As expected for a wide-angle lens, barrel distortion was very noticeable in converted raw files as well as in JPEGs with in-camera distortion correction disabled. The in-camera correction effectively eliminated this problem and it’s easy to correct in Photoshop as long as the lens profile is pre-loaded.
Vignetting (edge and corner darkening) was also noticeable at f/2.0 in uncorrected files. Stopping down reduced its visibility progressively, although it didn’t completely vanish until about f/3.5. Once again, in-camera correction is available in the α7R II.
Autofocusing was very fast and quiet, thanks to the new Direct Drive SSM AF system, which features a linear actuator mechanism. It took less than a second to refocus on a close subject when the focus had been set at infinity.
Manual focusing is controlled by the camera’s electronics when you turn the focusing ring. In this mode you can focus slightly closer than with autofocusing and the wide focusing ring turns smoothly to provide a decent degree of precision.
The a minimum focusing distance of 25 cm is close for a lens of this type, but not really suitable for photographing small subjects such as flowers and insects, unless you want to show them in an environmental context. Examples are shown below.
Bokeh was neither creamy and smooth nor glaringly unattractive. Some outlining could be seen in bright background highlights and a noticeable cyan fringe could be seen along the borders between white sky and dark foliage but evenly-toned backgrounds appeared smooth enough to pass muster with most photographers.
Conclusion
At an RRP of AU$699 this lens represents excellent value for money and promises to deliver superior performance on Sony’s α7-series cameras, particularly those with lower resolution (which means most of them). As mentioned, meeting expectations for a 42.2-megapixel sensor is a big ask and the fact that the test lens came as close as it did in our tests is impressive for its price point.
The main downsides we found ““ vignetting, distortion and lateral chromatic aberration ““ can be eliminated in JPEGs with in-camera processing and in raw files with a decent raw file converter. Not much can be done about wide-aperture edge softness but it can be used creatively in some situations.
Fast, quiet and accurate autofocusing make this lens worthwhile for recording movie clips and its wide angle of view is well suited to street photography. Its relatively small size and light weight is easy to carry while weather-resistance enables it to tolerate outdoor use in most weather conditions and its fast maximum aperture makes it a good choice for low-light photography.
Several Australian re-sellers have this lens listed at just over or a little less than AU$600 but even at the US price, when currency conversion is applied, you’ll save little or nothing by shopping offshore. And freight and packing costs will shift the US price well above even Sony’s local RRP.
SPECS
Picture angle: 75 degrees (54 degrees with APS-C sensor)
Minimum aperture: f/22
Lens construction: 9 elements in 8 groups (including 3 aspherical and 2 ED elements)
Lens mounts: Sony E-mount
Diaphragm Blades: 9 (circular aperture)
Focus drive: Linear actuator mechanism with internal focusing
Stabilisation: No
Minimum focus: 25 cm with manual focus (29 cm with AF)
Maximum magnification: 0.13x
Filter size: 49 mm
Dimensions (Diameter x L): 64 x 60 mm
Weight: 200 grams
Standard Accessories: Front and end caps plus ALC-SH112 lens hood
TESTS
Based upon JPEG files taken with the α7R Mark II camera.
SAMPLES
Vignetting at f/2.0. (Taken from a raw file.)
Rectilinear distortion. (Taken from a raw file.)
ISO 100, 1/200 second at f/7.1.
ISO 50, 1/125 second at f/8.
ISO 100, 1/500 second at f/8.
ISO 200, 1/400 second at f/7.1.
ISO 100, 1/160 second at f/6.3.
ISO 50, 1/200 second at f/8.
ISO 100, 1/250 second at f/9.
ISO 400, 1/320 second at f/5.6.
Close-up at f/2.0; 1/4000 second at ISO 50.
Close-up at f/2.0; 1/5000 second at ISO 100.
Bokeh in a close-up at f/2.0 with a contrasty background; 1/320 second at ISO 50.
Bokeh in a close-up at f/2.0 with a relatively evenly-lit background; 1/320 second at ISO 50.
Additional image samples can be found with our review of the Sony α7R Mark II camera.
Rating
RRP: AU$699; US$499.99
- Build: 9.0
- Handling: 8.7
- Image quality: 8.9
- Versatility: 8.0