While visiting the Oswestry Food Festival, I took a few portraits of the vendors with the a7r and was very impressed by the results. The combination of the lens’ excellent sharpness at f/2.8, the 90mm focal length and its beautiful out of focus rendering (which I’ll discuss more below) also make the combo ideal for portraiture.
Sony 90mm macro fe street photography full#
A7R, 1/400, f/8, ISO 800 – Click to open the full res version A7R, 1/100, f/16, ISO 800 – Click to open the full res version For static subjects, on the other hand, it is an excellent combo, especially if you use a tripod. The mix of some minor shutter shock between 1/100 and 1/200, the very high megapixel count, the slow-ish AF system, the long focal length of the lens and the highly magnified view all pose a challenge for hand-held shooting of moving subjects. In all honesty, the A7r would not be my first camera of choice as a macro photographer who mainly shoots moving subjects and moves around a lot. I observed some very slight vignetting at f/2.8 but it is easily fixable in post-production. The extremely shallow depth of field at f/2.8 might lead you to believe that it isn’t as sharp at this aperture but the small sliver that does end up in focus is always tack sharp. Diffraction starts to set it at around f/16, which is perfectly normal. In my findings, the lens was very sharp from f/2.8 all the way up to f/11 with the best performance occurring between f/5.6 and f/8. The logical first choice to test the sharpness of the lens was the A7r with its 36MP full-frame sensor. This lens is a crown jewel in the FE line-up and is a must-have for any serious macro shooter with a Sony E-mount camera, be it full-frame or APS-C.ĭuring my time with the lens, I had the fortune of being able to use it on three Sony bodies: the A7s, A7r and A6000. Where the lens lacks in compactness, it excels in optical performance. Image Quality: Through the lens A7s, 1/1000, f/2.8, ISO 200 I must say that I’m glad Sony chose to make it plastic rather than metal, as that would have only added to the weight.
At a very close range, I prefer to remove the lens hood altogether. It does a good job of protecting the front element but can cast a shadow on your subject if you get too close. The lens comes with an additional plastic lens hood, which makes the lens look even bigger than it actually is.
It can focus as close as 11 inches / 28cm and has a 1:1 magnification ratio. Since only the middle groups of the optical system move, the front element does not protrude when you focus. Being so large, it balances better on the A7s and A7r than on the A6000, and would probably be an even better match for the A7 II or A7r II with their prominent grips. That said, the 90mm is perfectly useable and is lighter than its size would suggest. The Sony 90mm macro in between the Zeiss Batis 85mm and FE 55mm f/1.8 With this lens and others like the FE 35mm f/1.4, it seems that Sony come up against a brick wall in their attempt to create top quality lenses that are compact – one desirable characteristic or the other ultimately winds up being sacrificed. At 130.5mm in length, 79mm in width and 602 grams in weight, it is both larger and heavier than the well-loved Tamron 90mm macro and is about the same size and weight as the Canon 100mm f/2.8. I’m going to get this part out of the way and say it: the 90mm macro is big. Thanks to the good people at Hireacamera, we were able to test the lens for a number of applications over the weekend in locations as varied as the flowery meadows of Llanymynech, the bustling Oswestry Food Festival and Chirk Castle where a half-marathon was taking place. Now, nearly a full year later, the lens is finally on the market and ready to be enjoyed by the macro-loving community. The first encounter we had with the Sony FE 90mm f2.8 macro G OSS was at last year’s Photokina, a mere prototype sitting inside a glass display alongside the other upcoming FE lens prototypes.
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