0:10
hi I'm Dustin Abbott and I'm here to
0:12
give you my review of the Sony 16mm
0:16
F1.8 and this is from their G series now
0:20
Sony's 20mm f1.8G 8G lens had the
0:24
misfortune of releasing just about the
0:26
time that the pandemic was picking up
0:28
across the globe and so in some ways I
0:30
think it maybe didn't get as much
0:32
attention as it might have might have
0:34
under different circumstances but even
0:36
still today in 2025 I think it remains
0:39
one of Sony's hidden gems a really
0:41
really excellent lens sony has built on
0:44
that formula by going even wider from 20
0:46
mm to 16 mm even smaller and about $100
0:51
cheaper and while the Sony FE 16mm f1.8
0:54
does have one significant optical flaw
0:57
that I will highlight in this review it
0:59
is otherwise a really really fantastic
1:01
lens so we're going to explore why this
1:03
$800 wide-angle prime probably should be
1:06
at the top of your list if you're
1:08
looking for a wide-angle prime in
1:10
today's review it's very interesting i
1:13
actually got two Sony lenses at the same
1:14
time for review one of them was this
1:16
lens the other was the 400 to 800 mm G
1:20
lens and as you can see there at two
1:22
extremes of Sony's design spectrum but a
1:26
probably more likely comparison is going
1:28
to be this lens which is Viltrox's
1:30
autofocus 16mm f1.8 it's obviously a
1:33
very natural competitor same focal
1:35
length same maximum aperture and really
1:37
the price is not radically different
1:39
about $250 between the two and yes for
1:42
those of you that are so interested I
1:45
will do a full comparison video where I
1:47
break everything down side by side of
1:49
these two lenses watch for that it will
1:51
be upcoming but what is one thing that's
1:54
really interesting to me that quickly
1:55
stood out to me as I started to do side
1:57
by side tests is that while they're both
1:59
16 millimeter lenses the Sony's actually
2:01
significantly wider than what the
2:02
Viltrox is now there's maybe a little
2:05
bit of give and take with that that I'll
2:07
explore here in just a moment but it is
2:13
105.6° now the one thing that's you
2:16
probably already noticed is that the
2:18
Sony lens manages to be much much
2:20
smaller than what the Viltrox does it is
2:22
only 73.8 mm in diameter by 75 mm in
2:28
2.91x 3 in it weighs in at just 304
2:32
grams or 10.7 ounces which means that it
2:36
is a full 246 grams less than what the
2:39
Viltrox is i'm getting pretty close to
2:42
half the weight which is really quite
2:43
impressive that it is so small and so
2:46
lightweight up front we've got 67 mm
2:49
filter threads and you may not be able
2:51
to see it but on also on that front
2:53
element is a flooring uh coating and
2:56
then throughout the lens to the actual
2:58
mount there are 10 different uh weather
3:01
sealing gaskets as you can see here
3:02
around all the switches and all of the
3:05
rings and so it is a thoroughly weather
3:08
sealed lens it also has a very thorough
3:10
and robust feature set despite being so
3:13
small we've got Sony's full complement
3:15
of approach to aperture here and so that
3:18
starts you can have it clicked and the
3:20
clicking is on definitely on the firm
3:22
side and so when you switch into the
3:24
D-click mode it's surprising how little
3:26
resistance there is there they've also
3:28
got an iris lock that will allow you to
3:30
either lock into or out of that manual
3:33
aperture ring if you maybe if you want
3:36
to make sure you don't go into automatic
3:37
or if you're someone who doesn't like an
3:39
aperture ring you have the option to
3:40
lock right out of it altogether now on
3:43
the dclicked side I did note I I find
3:45
some lenses some cheaper lenses even if
3:47
they have a dclick click option you
3:50
still see very visible steps as you go
3:52
throughout the aperture so it doesn't
3:53
really work for aperture racking very
3:55
smoothly it's not the case here and as
3:57
you can see I was able to do a pretty
3:59
smooth aperture rack without any kind of
4:01
issue and so a kudos to them for uh
4:05
making sure that this actually works and
4:07
so it's not kind of just a wasted
4:08
feature now one thing you may also have
4:11
noticed in that test is that there are
4:12
11 rounded aperture blades and they do
4:14
really a very good job of maintaining
4:16
nice circular shape to the specular
4:18
highlights and we are actually able to
4:20
get a little bit bigger highlights than
4:23
what you might expect from a 16 mm lens
4:25
for the simple reason that this lens can
4:26
actually focus down very closely if
4:29
you're using autofocus you can focus as
4:31
closely as 15 cm however if you manually
4:33
focus you can actually move 2 cm closer
4:37
up to 13 cm and so your maximum
4:40
magnification is 0.25 if you're using
4:42
autofocus but all the way up to
4:44
0.30 times if you're using that manual
4:47
focus to get a little closer now
4:49
downside of that is as you can see here
4:51
this is how close I had to be to this
4:54
chest piece to produce this image right
4:56
here and so obviously you're going to
4:58
have to get really really close to your
4:59
subject you're almost certainly going to
5:01
need to remove the lens hood to avoid
5:03
shading it or interfering with your
5:05
subject and if you're happen to shoot a
5:07
two-dimensional subject as you can see
5:09
here like from my test chart the plane
5:11
of focus is anything but flat it almost
5:14
seems three-dimensional as you look at
5:16
this image here now Sony's able to
5:18
achieve that close focus capabilities by
5:21
putting some floating elements in the
5:23
design so just so you know with floating
5:24
elements if you have the lens off like
5:26
this and you rock it back and forth
5:28
you'll feel a little bit of a clunk as
5:30
if things are moving back and forth
5:32
inside that's because they're they are
5:34
your lens isn't broken but it is it has
5:36
those floating elements but you can know
5:38
that nothing is wrong because if you
5:40
mount it to the camera and you turn the
5:41
camera on you can do that same thing and
5:43
nothing is moving because now those
5:45
elements are energized it is a purpose
5:47
purposeful part of the design and it's
5:49
what allows it to work so well up close
5:52
the manual focus ring moves very
5:54
smoothly it's on the light side however
5:57
uh the focus motors are nice and quick
5:59
and so there's no lag and so you do have
6:02
a good overall focus experience as noted
6:05
there is a lens hood it's shallow it
6:07
locks into there's no lock but it
6:09
bayonets into place with a good definite
6:11
click and so it holds into place nicely
6:14
no issues there it's shallow enough that
6:16
it shouldn't interfere with using
6:17
filters up front and rotating them so
6:20
obviously this is a very wellexecuted
6:23
package very featurerich and extremely
6:25
compact i love a compact lens like this
6:27
because it just means it's far more
6:29
likely it's going to make it into my bag
6:30
and come along with me when I travel so
6:33
how about the autofocus sony is doing
6:36
probably a better job than any company
6:38
I'm aware of in really nailing autofocus
6:40
at this point and that is that they
6:42
don't really skimp on using their focus
6:44
motor so here even though this is a a
6:46
wide lens we have two of their XD linear
6:50
motors high-owered linear motors that
6:52
are driving autofocus and so that means
6:54
that if anything the focus system is
6:56
overpowered here and so focus is
6:58
extremely fast extremely quiet and as
7:02
you can see whether we're shooting
7:03
indoors or outdoors it just basically
7:05
zips back and forth and so no issues
7:08
with that um and so it it does a great
7:11
job indoors or outdoors and what's more
7:13
because it's a native Sony lens you also
7:16
get the advantage of being able to
7:17
unleash the full burst capacity of your
7:20
camera and so when I'm shooting on a
7:21
camera like my Alpha 1 that means I'm
7:23
getting 30 up to 30 frames per second if
7:26
you're shooting on something like the A9
7:27
Mark III that could be all the way up to
7:29
120 frames per second whereas with a
7:31
third party lens you simply can't do
7:33
that because of an artificially imposed
7:35
limitation from Sony and so uh great to
7:37
be able to have that full capability you
7:40
can also see here that eye tracking it
7:42
works quite well but just understand
7:44
that that's only going to work when
7:46
you're at close focus distances because
7:47
the eye becomes too small in the frame
7:49
with a wide-angle lens to track that and
7:51
so it will switch from the eye to the
7:53
face and after a while it'll switch to
7:55
the body which is all fine because
7:57
everything is going to be in focus at
7:58
that point anyway so for stills I had
8:01
zero issues with autofocus it worked
8:03
really really well so how about the
8:05
video side of things again this lens has
8:08
got plenty of power and so you would
8:09
expect that it performs well and that's
8:11
exactly what it does focus pulls are
8:13
fast and you're they're smooth no issues
8:15
there there's no visible steps there's
8:18
no pauses or hesitations what's more you
8:20
can see that focus breathing is fairly
8:22
minimal and so it's not going to be any
8:24
kind of issue and of course because it's
8:26
a Sony lens you will have the advantage
8:28
of Sonus Sony's focus breathing
8:29
compensation to further smooth things
8:32
out if your camera is so equipped i
8:34
found with my hand test that it was
8:36
mostly good there was a few times where
8:38
it stuck on my face rather than
8:41
transitioning to my hand but frankly I I
8:43
blame that more on the fact that because
8:45
of being such a wide angle even putting
8:48
my hand forward you can a lot of times a
8:50
little bit of my face is left unblocked
8:52
and so I think it stayed locked on that
8:54
but again the when it does transition
8:55
back and forth those focus transitions
8:57
are really nice and smooth and so uh and
9:00
I think fairly cinematic and so I don't
9:02
see any kind of real issue there now in
9:04
this clip I had Nala kind of move
9:06
towards me and what I found is that
9:09
focus was moving along with her however
9:11
it's not nailing on her eye all the time
9:13
i think you would have to turn up focus
9:15
speed right now it's it's d-tuned a
9:17
little bit to allow it to be a little
9:19
bit more cinematic if you're wanting to
9:21
track track persistent action I would
9:23
turn up the reactiveness a little bit
9:25
more in camera and so I'm getting that
9:27
get that kind of focus point from like
9:28
her shoulder or neck level up to the eye
9:31
level where it's keeping up there but I
9:33
think I see enough there to understand
9:35
that this lens is going to do fine even
9:37
if you're tracking things that are
9:38
coming towards the camera itself we'll
9:41
take a look now at the image quality and
9:43
I will have my deep dive optical
9:45
breakdown at the end of the video for
9:46
those of you interested in that this is
9:48
an optical design of 15 elements and 12
9:50
groups by the way that's identical to
9:52
what the Viltrox's design is sony's
9:54
design here has seven different exotic
9:56
elements different kinds of aspherical
9:58
elements different kinds of you know
10:01
extreme low dispersion elements of
10:03
different varieties that are in there
10:05
you can see that the MTF it looks really
10:07
really excellent and there's the vast
10:10
majority of the performance all across
10:13
the frame is above the 80% margin and in
10:15
some cases highly above that in fact if
10:18
I did do this comparison chart between
10:20
the Sony and the excellent Viltrox lens
10:23
you can just see how much better the
10:24
Sony lens is there's just a lot more
10:26
above that 80% threshold than what there
10:28
is on the Viltrox however this lens does
10:32
have one fairly huge optical flaw and
10:36
that is that it has a massive amount of
10:38
barrel distortion and part of the reason
10:40
why I think it's a little extra wide is
10:42
that there's extra that's left there to
10:44
give room for correction and then so
10:46
that's just a factor that has to be
10:47
taken into consideration it requires a
10:50
plus 30 to correct for the barrel
10:52
distortion and as you can see if I'm
10:54
manually correcting it doesn't correct
10:56
all that well it's still quite a complex
10:58
mustache style pattern there in fact if
11:01
looking at this there's more distortion
11:04
left after correction than what there is
11:06
before correction on the Vtrox and so
11:08
this is an area where the Sony is just
11:10
way behind the Vtrox this is obviously
11:12
the place where uh Sony's engineers
11:15
compromise to allow us to get such a
11:17
small package there now if you look at
11:19
the JPEG of that which has the in camera
11:22
corrections on you can see that it does
11:24
a fairly good job of correcting for it
11:26
and if I look at this kind of real world
11:28
comparison with some walls you can see
11:31
with the uncorrected RAW it looks
11:32
terrible the corrected JPEG it looks
11:35
good enough that I suspect people won't
11:37
notice and so I wouldn't even rule out
11:39
this lens for doing real estate type
11:41
work i think as long as you're getting
11:42
the correction it looks okay there's
11:44
probably better choices but I think I
11:46
can make do with it in a pinch if
11:48
necessary fortunately everything else is
11:50
quite good vignette is to the low to
11:53
moderate side particularly for a wide
11:55
angle compact lens i used a plus 52 to
11:58
correct for it but I didn't really
11:59
notice it being much of an issue even in
12:01
uncorrected um images and by the way
12:03
that's an area that definitely excels
12:05
over the Viltrox the Viltrox has about
12:07
double amount of vignette there i also
12:10
found that while there isn't a complete
12:12
lack of longitudinal chromatic
12:13
aberrations they're very very minor and
12:15
obviously with wide-angle lenses there's
12:17
not really a lot of real world
12:18
situations where you end up with that
12:20
kind of fringing anyway far more common
12:22
is the lateral style chromatic
12:24
aberrations that come near the edges of
12:25
the frame and this lens handles that
12:27
like a champ and either on my test chart
12:29
or out in real world results I saw no
12:32
frringing there and so contrast and
12:34
detail right off into the corners is
12:36
looking really quite
12:37
excellent speaking of that sharpness
12:39
this lens is fantastically sharp and
12:42
particularly in the center and the
12:43
mid-frame and as you can see here even
12:45
at f1.8 contrast and detail is fabulous
12:48
in the center of the frame mid-frame
12:50
looks excellent and there's just a
12:51
little bit of falloff into the corners
12:54
and I think a lot of that has to do with
12:55
the amount of correction that's needed
12:57
there in the corner however if you start
12:59
to you know stop down a little bit by
13:03
f2.8 the corners are looking quite good
13:05
and they're excellent from f4 to f8 kind
13:08
of your prime landscape apertures they
13:10
look really really fantastic i found
13:12
that real world detail and contrast just
13:15
looks amazing and definitely comparing
13:17
side by side side I would say that the
13:19
contrast is a little bit better on the
13:21
Sony lens than what it does on the
13:22
Viltrox vtrox is a great lens but the
13:24
Sony lens is better still in those
13:27
metrics defraction is going to start to
13:30
creep in at f11 still looks okay there
13:32
but by f-16 and then particular f-22
13:35
which is the minimum aperture you can
13:36
see that defraction has really softened
13:38
the image now because you can get so
13:41
close to your subject you will be able
13:42
to create some defocused background the
13:45
bokeh is okay it's uh it's not like
13:48
particularly creamy or anything like
13:50
that um it can be a little bit busy in
13:53
certain situations specular highlights
13:55
mostly look okay though they do have a
13:57
little bit of concentric rings inside of
13:59
them and will have a little bit of
14:01
deformation into the corners overall
14:03
however it looks pretty good and again I
14:05
appreciate the fact that you can get
14:08
close to your subjects and gives you
14:09
just some more creative options for
14:11
composing out there flare resistance
14:13
overall is quite good uh there's very
14:16
good contrast there is some mild
14:17
ghosting i actually noticed it less at
14:20
wide open or small apertures and more in
14:22
the middle of the range f5.6 f6.3 you
14:26
see a little bit more of a ghosting
14:27
pattern here but overall looks pretty
14:29
good sun stars I find look nice you get
14:32
a 22-pointed star and they have pretty
14:34
nice definition certainly could add to
14:36
an image and then finally I tested for
14:39
shooting coma and there is some coma
14:41
estigmatism in the corners where those
14:44
uh those star points starting to look a
14:46
little bit like flying insects it's not
14:48
terrible but it's not great either the
14:50
Viltrox is a hair better in that regard
14:52
but of course the Viltrox also has uh
14:55
much more vignette which means that
14:57
towards the corners of the frame you
14:58
have a a different issue to have to
15:00
correct for and so it's wouldn't be my
15:02
top choice for shooting astro but
15:04
certainly it works and it's anything but
15:07
terrible for that so overall outside of
15:09
that barrel distortion optics are really
15:11
quite good despite it being so compact
15:14
here so my conclusion is this i feel
15:16
like an f1.8 lens to me for wide angle
15:19
kind of hits the sweet spot sure there
15:22
are f1.4 options out there but they tend
15:25
to be much much larger um you know weigh
15:28
a lot more cost a lot more i love that
15:30
we can get this compact a package and
15:33
really get a very decently bright
15:35
aperture and of course it's much easier
15:37
to get handholdable shutter speeds with
15:39
a wide-angle lens than what it is with a
15:41
longer lens anyway so I feel even then
15:43
that the bright aperture is a little bit
15:46
less necessary and so to me f1.8 is
15:49
bright enough and it allows you to
15:52
continue to have as we've seen great
15:54
optical performance but also this
15:56
wonderfully compact package i mean this
15:58
is a lens that easily fits into the palm
16:00
of your hand easy to throw into a bag
16:02
easy to bring along no issues there at
16:06
$800 it's not cheap per se but the fact
16:09
that it is $100 cheaper than the 20mm
16:13
f1.8 you know after you know all of the
16:15
inflation since that lens has been
16:17
released tells me that Sony's actually
16:19
being very competitive with the pricing
16:21
here and so $800 for what is an
16:23
extremely good lens outside of that
16:25
barrel distortion I think makes it a
16:26
pretty fair value and again it's not
16:28
radically more expensive than what the
16:30
Viltrox is which is really the only
16:32
other main competitor that's out there
16:35
this is a lens with great autofocus a
16:37
great feature set it's wonderfully
16:38
compact it's extremely sharp and so all
16:42
of that adds up to a lens I think that
16:43
is well worth consideration now if you
16:46
want more information you can check out
16:47
my full text review that's linked in the
16:49
description down below there's buying
16:50
links there also and I we're getting
16:52
close to those pre-orders starting to be
16:54
fulfilled at this point and of course if
16:57
you want a deeper dive into the optical
16:58
performance stay tuned with me right now
17:00
we'll jump into that together okay we're
17:02
going to start by getting the bad news
17:05
out of the way so we're going to like a
17:07
band-aid we're just going to rip it off
17:08
quick here there is a really tremendous
17:11
amount of barrel distortion and so you
17:12
can see here looking at this there's a
17:15
considerable amount of leftover image
17:17
that's there that's not because I framed
17:19
with that additional but rather I was
17:21
framing with these basically right
17:23
inside i used these outside lines as my
17:26
framing guide and so that was how I was
17:28
lined up and there's a lot left over
17:30
that's to allow for electronic
17:32
correction now I've only seen Canon
17:34
really do more than this uh but this is
17:36
bad i mean this is a massive amount of
17:38
distortion and as you can see it's a
17:40
very complex pattern i tried to manually
17:43
correct it as good as I could there is
17:45
no yet no raw profile available for
17:47
Lightroom yet so but I always do this
17:49
anyway so I wanted to see how it would
17:52
correct and as you can see it's just a
17:53
really wavy pattern that's left behind
17:56
now by the numbers this is a plus 30 to
17:59
correct for the distortion vignette far
18:02
less of an issue vignette I used a plus
18:04
52 to correct for it's not bad now while
18:07
there isn't a RAW profile yet available
18:10
I've taken this JPEG out of camera so it
18:12
give you an idea on how well it's all
18:14
going to correct you can see it's not
18:16
flawless um it's a little too complex to
18:18
be corrected flawlessly but it's not bad
18:21
either and so certainly usable and I
18:24
think that's illustrated here if we look
18:26
at the RAW image you can see there's
18:28
just lots of bowed areas where that
18:31
barrel distortion is affecting the image
18:33
if we look on the right this is the JPEG
18:35
out of camera you can see how much of
18:37
the image has been taken away for
18:39
correction if you compare side by side
18:41
remember this is the exact same image
18:42
taken at the exact same time but that
18:45
being said you can see that the lines
18:47
for kind of a real world shot like this
18:49
they all look fine i mean I don't see
18:51
anything that's kind of standing out to
18:52
me as being objectionable obviously
18:54
that's really going to help this lens to
18:56
continue to be useful for a lot of these
18:58
applications thanks to getting great
19:00
electronic support from Sony now beyond
19:03
that it is mostly good news yes there is
19:05
a little bit of this green fringing some
19:07
longitudinal style chromat chromatic
19:09
aberration but with a wide-angle lens
19:11
like this there are going to be
19:12
relatively few situations where you
19:14
would ever see what little is there and
19:17
more important would be the lateral
19:19
chromatic aberrations near the edge of
19:20
the frame and they are not quite
19:22
perfectly but pretty close to perfectly
19:24
corrected very clean black to white
19:26
transitions so that means if we go out
19:28
into the real world and we look off into
19:30
the edge of this image where typically
19:33
in all particularly these bare branches
19:36
that you would see the fringing on
19:38
either side of them it's just not there
19:39
and so what that means is that the lens
19:41
is going to resolve really nicely right
19:43
off to the very edge of the frame now
19:45
the MTF suggests that this is a very
19:47
sharp lens particularly in the center
19:49
and mid-frame this is going to be 200%
19:52
magnification i'm going to show you on a
19:53
61 megapixel Sony A7R Mark 5 so here at
19:58
extremely high magnification on very
20:00
high resolution the center is pretty
20:02
much perfect very very precise rendering
20:05
of all the fine details good contrast if
20:08
we move into the midframe it also looks
20:11
excellent really really strong and as we
20:13
kind of pan down here we can see that as
20:16
we get towards the corner it does drop a
20:19
little bit and a lot of that's also too
20:22
you can see it's things are kind of
20:23
dragged and stretched a little bit and
20:25
trying to correct for the distortion we
20:27
can see a pretty similar result in the
20:30
various areas of the frame and so we
20:33
have got a good centering performance
20:35
here as well now in real world use I
20:37
felt like even at f1.8 the real world
20:40
contrast is really great and so you can
20:42
see a lot of pop here into all of these
20:45
branches just a lot of places for
20:47
textures to be mushy they're not it's
20:49
resolving really nicely obviously at
20:52
f1.8 depth of field means it's not going
20:54
to be the same all the way throughout
20:55
the image but everything that's falls in
20:57
that plane of focus really looks quite
20:59
excellent here's one f1.8 and then f2.8
21:03
and so we see in the middle of the frame
21:06
it already looks great obviously
21:07
contrast improves a bit more as you stop
21:10
down a little bit if we pan over here to
21:12
the side you can see a little bit more
21:15
noticeable a difference you know just
21:17
more that the contrast levels are a
21:19
little bit deeper but it already looked
21:21
really good and between f2.8 and f5.6 we
21:25
can see that the details really just
21:27
resolve even more so so contrast becomes
21:30
great right into the corners going back
21:32
to f1.8 in a real world image you can
21:35
see the amount of detail there is just
21:37
really really beautiful contrast looks
21:39
great and of course this being a
21:41
first-party Sony lens with great
21:43
autofocus it means you're getting great
21:45
results even when uh you're in kind of
21:48
an extreme situation and so you know in
21:50
this moment this is f1.8 you know very
21:53
fast action you can't tell cuz it's a
21:55
frozen shot but he's moving very quickly
21:57
here but detail looks great there well
22:00
focused again here a very you know
22:02
precise moment but detail looks really
22:04
good because autofocus is helping the
22:06
lens to achieve its its potential going
22:09
back to the test chart for a moment f2.8
22:11
looks brilliant in the center of the
22:13
frame and f5.6 doesn't look a whole lot
22:16
different but you're going to see that
22:18
difference more up here in the corners
22:19
and you can see that at f2.8 it looks
22:22
good but at f5.6 it looks great nor is
22:25
it a paper tiger if we take a big
22:28
landscape image like this and we just
22:30
poke around in the various details right
22:33
off to the edge of the frame you can see
22:35
that there's just lots of information a
22:38
lot of textures that have been gathered
22:39
it looks really really fantastic this is
22:42
an extremely sharp lens you've probably
22:44
heard me frequently say that I consider
22:46
f11 to be pretty much the smallest
22:48
aperture that I'm willing to go to when
22:50
I'm using a high resolution camera and
22:53
you can see the reasons why by f11 it's
22:55
not looking as good but still looking
22:57
very good but by f-22 the minimum
22:59
aperture you can see the image is just
23:01
really really much softer and that's due
23:04
to the effects effects of defraction so
23:06
again if at all possible I would say go
23:09
as small as f11 and don't go beyond that
23:12
so as mentioned previously while you can
23:14
get a very high degree of magnification
23:16
if you're working with a two-dimensional
23:17
subject the plane of focus is not fast
23:19
at all in fact it looks like the ship is
23:21
kind of sailing right off of the flat
23:24
bill and that's because there is so much
23:26
field curvature here so just be aware of
23:29
that it's actually going to work better
23:31
with a three-dimensional object you can
23:33
see it's it's actually the perspective
23:35
is not great but you're able to kind of
23:38
use that as a point of emphasis and so
23:40
it's not as destructive here's the
23:42
difference just toggling back and forth
23:44
between this would be the autofocus
23:46
result this is the manual focus result
23:48
so you can get a little bit closer you
23:50
can get a slightly higher degree of
23:51
magnification if you uh manually focus
23:54
in now without being right on top of the
23:57
lock and you'd be surprised at how close
23:59
I was but not anywhere near the minimum
24:01
focus distance but you can see that the
24:03
detail on the lock looks fantastic the
24:06
bokeh quality I can only say that's okay
24:09
i don't consider that to be exceptional
24:10
at all here I'm you know right on top of
24:13
the subject near minimum focus distance
24:15
so the background is more strongly
24:17
blurred out it's better but it's Don't
24:20
expect this lens to be like crushing
24:22
backgrounds and making them really soft
24:24
and creamy that's not realistic flare
24:26
resistance overall is good so here's a
24:28
pretty typical shot where the sun might
24:30
be right out of frame you can see
24:32
contrast is holding up perfectly here
24:34
where a very bright directional sun is
24:36
in the frame at f1.8 again contrast is
24:39
holding up very well just a very very
24:42
minor little ghosting artifact right
24:45
there nothing bad uh here stop down to
24:47
f11 you can see that there's a little
24:50
bit of a prismatic pattern from you know
24:52
stopping down but again it's holding up
24:54
really well what's interesting here is
24:57
that there is you might be able to see
25:00
here in this image where I've composed
25:02
to where it allows more of that to show
25:04
up there is a little bit of a ghosting
25:06
pattern but it's not strongly pronounced
25:08
in fact I see it more stopped down
25:10
towards the middle of the range this is
25:14
now maybe you don't mind that at all i'm
25:16
just pointing it out and so you can be
25:18
aware of it you will also see here going
25:20
back to f11 in this shot that the
25:23
sunbursts look to me really quite good
25:25
uh 22-pointed star from the 11bladed
25:28
aperture and uh you know the the blades
25:31
have nice precision i think that that's
25:32
going to add rather than distract from
25:35
image finally taking a look here at Coma
25:39
and so you know the good news is is that
25:42
star points are nice and crisp here in
25:44
the center of the frame there's very low
25:46
fringing and so that doesn't mar the
25:48
image and you can see that as we get off
25:50
into the corners that's where we start
25:52
to see that aigmatism and so the stars
25:54
start to look like they're taking wings
25:56
and trying to fly out of the frame um
25:59
but it's it's also not the worst that
26:02
I've seen by far and obviously because
26:05
those star points occupy such a small
26:07
portion of the frame the general
26:09
impression you're going to get I think
26:10
is just good overall so thanks for
26:13
sticking through the optical breakdown i
26:14
hope it's helped you to make a more
26:16
informed decision whether or not this is
26:17
a lens for you as always thanks for
26:20
watching have a great day and let the