Bokeh: it’s something that Sony users and paid reps talk about nearly endlessly as if the world is meant to be judged by it. You probably think this article is about the Sony RX1R camera series. But indeed, it’s not. It’s about the other dream that’s a bit quieter and that you probably don’t realize you still have. If you’ve been a Sony user since the Minolta days or the DSLR days, then you’ll understand what I’m talking about. I doubt it will ever happen, but a release of the Sony Classic Lenses would be something many of us would adore.
If you’re saying that the lenses wouldn’t be sharp enough to resolve the sensor, then you’re wrong. The lenses can surely resolve the sensors, but they don’t necessarily take full advantage of the sensor’s potential. It’s similar to a 45MP sensor not taking the fullest advantage of a G Master lens, which can probably resolve up to 100MP. So it means that you’re getting potentially softer images, and that’s perfectly fine. I think that photographers don’t really need something super high-end, optically speaking, at least. What’s more, I think that a re-release could mean that these lenses have a new housing with better build quality, weather resistance, and new autofocus. However, it should be emphasized that the purpose of these lenses has to do with the image quality.
You might say that I can probably get the same look with a Pro Mist or Glimmer Glass filter. But it’s indeed not at all the same thing. There’s character to these older lenses that can’t be had just by slapping a filter onto the front of the lens or using Vaseline.
Of course, I’m not just talking about the older Minolta 70-210mm f4 beer can lens. Instead, I also mean that others should be included.
First off is the Sony 135mm f1.8 A mount. When we reviewed this lens in 2012, we said that it was incredibly sharp on the 24MP sensor a99 we used. “The Sony 135mm f1.8 exhibits some of the sharpest lens performance I’ve seen from any optic at f1.8 (wide open),” we said in our review. “With that said, though, you’ll need to keep in mind a couple of parameters when shooting this wide open:”
The Classic Sony Zeiss 85mm f1.4 is a lens that probably won’t make the cut because Sony and Zeiss don’t really work together anymore. Instead, Sony and Tamron are BFFs. However, it had some very beautiful image quality that is something that I still adore even today.
The first Sony 50mm f1.4, which was a port of the Minolta lens, was also pretty incredible. It had nice bokeh, good skin tons, and a beautiful fall-off that really makes people look incredible. In 2013, one of Sony’s last A-mount lenses was a revamped version of this lens done in collaboration with Zeiss. That lens, too, was pretty great.
I’ve often wondered what it was about images that I’ve shot years ago that are so appealing. Often, I’ve wondered if it was the camera sensors, the lenses, the people, the memories of good times, etc. In truth, I think it was the lenses in combination with lower megapixel sensors and less algorithmic processing of the images. Even image noise at ISO 6400 back then looked nice.
Sadly, I’m pretty sure that Sony would tell me and others to just go ahead and buy the older lenses again. But they surely can’t deny an entire market of people who want lenses like this. Sony and other brands are very centered on trying to please content creators. But truly, they’re never going to outdo the iPhone.
Photographers surely do want these classic lenses — I mean, look at what Leica does with re-releasing classics. Voigtlander and various Chinese manufacturers do the same thing. Instead of rejecting photography history, I sincerely think that Sony needs to embrace it and accept that the choices that they’ve made are organically still part of themselves. And more importantly, they need to enter the stage of their life where they dive back into their past and embrace the experiences they could have. Don’t get me wrong, their products are good, but they provide milk when I ask for cream.