Overall though, I just can’t get excited about it.
Pros and Cons
- Small size
- Sharp image quality
- Pretty darn close focusing range
- Smooth bokeh
- Loud focusing motors, so it isn’t so great for autofocusing video
We tested the Sony 50mm f2.8 Macro ([amazon_link asins=’B01LC8GMV4′ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’e01c8785-d8f2-11e6-bc81-87966b0efe69′]) with the Sony a7 ([amazon_link asins=’B00FRDUZXM’ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’ebbc730b-d8f2-11e6-b900-1731577e998a’]), and the Flashpoint Zoom Lion Flash ([amazon_link asins=’B01HE7HBAS’ template=’PriceLink’ store=’thephobl-20′ marketplace=’US’ link_id=’085c54c3-d8f3-11e6-889a-4787e07916fd’])
Specs taken from the our new post
|Lens Specifications||Type||Interchangeable lens|
|Product name||FE 50mm F2.8 Macro|
|Lens mount||Sony E-mount|
|Format||35mm full frame|
|35mm equivalent focal-length (APS-C) (mm)||75mm|
|Lens construction (groups-elements)||7 groups / 8 elements|
|Angle of view (APS-C) *1||32°|
|Angle of view (35mm)||47°|
|Maximum aperture (F)||F2.8|
|Minimum aperture (F)||F16|
|Number of aperture blade||7|
|Minimum focus distance (m)||0.16m|
|Minimum focus distance (ft)||0.53′|
|Maximum magnification ratio (x)||1.0x|
|Filter diameter (mm)||55mm|
|Image stabilization (SteadyShot)||– (body-integrated)|
|Teleconverter compatibility (x1.4)||Incompatible|
|Teleconverter compatibility (x2.0)||Incompatible|
|Dimensions dia. x length (mm)||70.8mm x 71mm|
|Dimensions dia. x length (in.)||2-7/”8 x 2-7/8″|
|Weight (approx.) (g)||236g|
|Weight (approx.) (oz.)||8.4 oz|
|Supplied accessories||Lens front cap||ALC-F55S|
|Lens rear cap||ALC-R1EM|
If you take a look at the Sony 50mm f2.8 Macro lens, then what you first spot is this big front surface. The front element is pretty recessed which essentially gives the lens its own built in lens hood.
The body itself is nothing too amazing. It’s mostly comprised of a smooth surface with a manual focusing ring towards the front. When you move towards the back, you’ll see the body become slimmer.
On the side of the lens, you’ll find switches and a button. Generally speaking though, you’ll probably just ignore this.
The top of the lens has its name branded straight up and ready for you to look at when pulling it out of your camera bag.
Like most of Sony’s 50mm lenses, this one is pretty affordable and you can tell in its build quality. It’s not weather sealed and even though it doesn’t feel super incredibly cheap, it’s not built anywhere as well Sony’s higher end lenses.
But you have to expect that.
Ease of Use
Luckily, this lens is pretty simple to use. Essentially, it’s all just about pointing and shooting. You’ve got focus limiters on it; but the toughest part to work with may be Sony’s different types of focusing if you’re not used to them. But if you are, then you won’t have any problems.
The focus motors on this lens are pretty loud–so loud that when trying to shoot video with autofocus, the lens will easily be picked up by the camera’s internal microphone or a shotgun mic attached. It’s also pretty slow.
Again though, that’s what you get with a more affordable lens.
The images from the Sony 50mm f2.8 Macro are sharp, but of any of Sony’s 50mm full frame lenses for the E mount this lens is the least sharp. It isn’t bad per se, but Sony has many other absolutely better options available. Still though, I can’t say this is a bad lens but in my opinion it isn’t a super fantastic lens either.
On a very personal level, I hate the 50mm field of view. I’m much more of a 35mm type of guy and even though I’ve been using the 50mm f2.8 Macro to take some really nice photos, in my eyes, I think that you’d be better served with a longer macro lens and the company’s other 50mm lens offerings.
The bokeh from this lens is surely there but even at macro ranges it isn’t anything absolutely mind blowing. It’s creamy and it’s nice. But both the company’s 50mm f1.4 and 50mm f1.8 have nicer bokeh renditions.
Here’s something that’s always a big problem with macro lenses. However, this lens doesn’t seem to have any sort of major chromatic aberration issues. The images exhibit no purple fringing or major issues involving distortion. So kudos to Sony for that one.
Here’s where I really am perhaps most pleased with this lens. The colors are very, very nice. They feel almost film-like, but they’re still not really there. Still though, there are better options on the market.
Like all lenses, you’re going to get the absolute sharpest images when you shoot with a flash. In this case, even when shooting with a flash, I still genuinely feel that I’ve seen sharper images from many other options.
Extra Image Samples
I have to be honest about this one, this isn’t at all Sony’s strongest 50mm lens offering. Their 50mm f1.8 FE does a better job at a more affordable price point. Arguably, just using macro extension tubes with that lens could help more. The 50mm f2.8 Macro feels almost like a bastardized lens. It’s not uber expensive, but I don’t feel like it’s amongst the company’s strongest performers at a budget level. I wouldn’t recommend it for many things. I bought the 50mm f1.8, and feel that it’s a significantly better option. If Sony had made this lens longer, like a 60mm lens, I think that that would have made more sense. But another 50mm?
As I typed up these conclusions, I headed over to 500px and Flickr to see if anything majorly jaw dropping has been shot with this lens. Unfortunately, that’s not the case.
Sony’s 50mm f2.8 Macro receives three out of five stars. It’s not a bad lens, but it isn’t a great one either.