There have been instances where one wonders—Will lens makers introduce optics that offer some character? While most lenses today offer stereotypical, clinically sharp images (much of which is a result of such demands), some groups want lenses to add flare when shooting against the sun. Sony lenses are often known to adhere to the former, but there was a time when they came close to creating a perfect optical system that offered character, but it failed.
The lens we are writing about is the Sony 100mm f2.8 G Master OSS STF FE. The STF stands for trans smooth focus, which means it offers extra lens elements that act like an ND filter, helping you cut down light by about 2 stops. Some of its other features also include an optical apodization (APD) element for magnificent bokeh, nano AR coating for clarity, and Direct Drive SSM (DDSSM) for fast focus lens control.
The design is pretty nice, too. It offers weather sealing, a focus limiter on the base of the lens, an aperture ring at the center of the lens, and a focus ring at the front. It also has a plastic exterior with textures similar to the other G Master lenses, and it feels quite nice in your hands.
What was confusing was how the lens works. With the built-in ND filter, the T-stop rating is at f5.6. So, when using a flash, you have to +2 to your total output, and it also means you are better off shooting in manual light. In addition, the image quality, which is nice, is still missing something. As we said in our review:
Now here’s where I’m very torn. Is the image quality good? Yes. But personally, I feel like the Laowa 105mm f2 STM has A LOT more character to it and its image quality. Don’t get me wrong, the Sony 100mm f2.8 STM G Master OSS lens is amazingly good when it comes to overall image quality, but I still feel like there’s something missing.
Similarly, we found the colors muted and the bokeh acceptable. For us, the 85mm f1.4 G Master made much more sense. When we compared it to Laowa, we found the 105mm delivered better skin tones and colors, but it lacked sharpness. Sony, however, excelled here. In a way, Sony created the perfect lens designed for a ‘digital’ look with excessive sharpness.
This may not be an issue for many photographers, but it is for those who prefer good in-camera tones. To simplify it further, it was like choosing Kodak over Fujifilm’s film rolls, since the former offers slightly more purple tones than Fujifilm’s green tones.
Perhaps, if Sony had worked around this more, they would have introduced a perfect lens for many photographers. Alas, one can only dream of these things.