Summering: In summary, this is a very good lens in its own right and an excellent choice as a versatile kit lens. The depressed MTF curves simply indicate that advances in Sony's sensor technology are now out-pacing lens performance at the top end. It is very likely that testing with a more-modest sensor in any of Sony's other cameras would lift the resolution figures as the lens itself seems very capable.
Utdrag: When it comes to full frame cameras we’ve got two types of fast standard zoom lenses – we are thinking here about 28–7x mm f/2.8 and 24-70 mm f/2.8 class. In the case of APS-C/DX sensors the situation isn’t so clear any longer. At the beginning 17-5x mm f/2.8 instruments appeared on the market.
Nackdelar: Weak image quality on the edge of the frame near the maximum relative aperture,, Significant chromatic aberration close the maximum relative aperture at both ends of focal range,, Vignetting which is not only high but also higher than that of the competitors,, High and complicated distortion at the widest angle of view,, Average work against bright light.
Summering: Bardzo dobrego obiektywu klasy 16–50 mm f/2.8 nie udało się jeszcze zrobić żadnej firmie. Niestety sztuka ta nie udała się też Sony. Co nie oznacza jednak, że Sony 16–50 mm f/2.8 SSM to obiektyw nieudany. Daleki jestem od takiego stwierdzenia. Obiektyw Sony jest odrobinę droższy od Tokiny, a jednocześnie wyraźnie tańszy od Pentaksa. Gdy Sony kupimy w zestawie z lustrzanką, to jego cena będzie jeszcze bardziej okazyjna, bo nie sięgnie kwoty większej niż 2000 zł.
Fördelar: dobra jakość wykonania,, bardzo dobra jakość zdjęć w centrum kadru,, mała podłużna aberracja chromatyczna,, przyzwoicie korygowana koma,, znikomy astygmatyzm,, bardzo szybki i cichy autofokus.
Nackdelar: słaba jakość obrazu na brzegu kadru w okolicach maksymalnego otworu względnego,, wyraźna aberracja chromatyczna w okolicach maksymalnego otworu względnego na krańcach ogniskowych,, winietowanie nie dość że duże, to jeszcze większe od konkurentów,, duża i skomplikowana dystorsja na najszerszym kącie widzenia,, przeciętna praca pod ostre światło.
Utdrag: The Sony DT 16-50mm F2.8 SSM lens has quite a wide focus ring. There are hard stops at both ends of the range, making it straight forward to set focus at infinity. Polariser users should be pleased that the 72mm filter thread doesn't rotate on focus.
Slutsats: If you're a Sony user looking for a solid and simple-to-use standard zoom, this is a great deal for you. We don't consider the Â£559 price-tag to be too steep for a lens of this quality, especially as it is extremely well-built and tough as old boots. The only things worth considering are slight shadowing on the edges of the frame (only at 16mm though) and its sharpness at 50mm (albeit we only had concerns with a couple of our images).
Sony 16-50mm f/2.8 DT SSM (SAL-1650) - Review / Lens Test
19 mars 2011
Slutsats: The Sony 16-50mm f/2.8 DT SSM doesn't deliver an absolutely flawless job on the NEX 7 but at optimal settings you can achieve very good if not impressive results across the image frame. The center quality is generally superb at mainstream settings and stopped down to f/5.6 the borders and corners are also very fine. At and beyond 35mm you will have to live with a bit of corner softness at max. aperture though. The vignetting is also quite heavy at f/2.8.
Summering: The Sony 16-50 mm has proved to be a very good lens in this test, in combination with the Sony A77 . The Sony 16-50 produces very sharp images. The resolution is sometimes behind the extremely high resolution in the center in the corners. But at aperture 8, the resolution is even very high in the corners, with at least 1500 LW/PH. When the camera performs some corrections, the distortion and chromatic aberration are very low in the jpg files too.
Fördelar: Good optical performances: resolution, distortion and chromatic aberration, Decently built
Nackdelar: sensitive to ghosting, lvignetting at 2.8 could be corrected better
Utdrag: This high-speed, standard-range, Alpha-mount utility zoom scales up to the full-frame equivalent of a 24–75mm on Sony APS-C bodies. When it was introduced with Sony’s remarkable Alpha 77 in mid-2011, Sony insiders referred to the 16–50mm f/2.8 ($700, street) as the camera’s “non-kit kit lens,” and, in fact, the two are often bundled.