The Sony DT 18-70mm 1:3.5-5.6 is Sony’s conventional kit lens provided with their basic DSLRs, which they explain as a flexible common objective lens protecting a wide variety of programs, and which functions aspheric and ED cup lens components for ‘outstanding quality at all central lengths’. The 70mm highest possible central duration expands further into the traditional ‘portrait’ variety as opposed to 18-55mm kit contact contacts generally provided by other producers, providing a perfect viewpoint for people images. The ‘DT’ status is short for ‘Digital Technology’, and indicates that the lens is enhanced for use on digital cameras with APS-C scaled imagers.
This design first saw light of day in This summer 2005 as the ‘Konica Minolta AF DT ZOOM 18-70mm F3.5-5.6(D)’, declared to go along with the Konica Minolta Maxxum 5D SLR. Following Sony’s getting KM’s DSLR business, the lens was soon re-announced in its current Sony designs edition, with presumably only a aesthetic marketing transformation (and the fortunately shortened name) identifying the new edition from old.
- 27-105mm comparative central duration variety
- F3.5-5.6 highest possible aperture
- Alpha install for Sony designs and Konica Minolta APS-C DSLRS
Sony’s plans to focus on the entry-level DSLR market with their group of 3 of entry-level designs in the Leader 200, 300 and 350 will likely be depending for success almost as much on the quality of this lens as the ability of the new cameras; so with companies Nikon, Cannon and Pentax introducing modified kit contact contacts to go along with their newest 12-14Mp DSLRs, can this relatively old design still keep up with the mega-pixel race.
Sony DT 18-70mm Body And Design
The Sony DT 18-70mm appears directly in line with the current kit lens idiom, being a light and portable design of primarily nasty development. However it seems reasonably well-made, with the zoom capability band in particular uncommonly sleek and well-damped. Unfortunately it still experiences from the most common kit lens malaise, with a filter guide concentrate band of disappointingly short travel driving a spinning front factor, which in turn prevents the use of a petal-type lens bonnet. Overall it’s of much the same ilk as the kit contact contacts from the ‘big two’ (Canon and Nikon), whereas those from Pentax and Olympus are rather more perfectly created with appropriate guide concentrate jewelry and excellent lens hoods.
Sony DT 18-70mm Images Quality
Sharpness is maximum during the central duration variety, dropping away a little bit at wideangle and telephoto. The lens also reveals a unique propensity towards smooth in the sides at all central measures and apertures. Ideal answers are (as usual) acquired around F8-11, before the beginning of diffraction; and as always apertures of F22 or more compact are usually best prevented.
Distortion features are usually fairly good; there’s the regular gun barrel distortions at wideangle, with a powerful ‘wave’ personality and area re-correction making application modification relatively challenging. This gradually deminishes in scale through to near-neutrality at Negatives, beyond which we see light pincushion distortion; in real-world conditions distortions is likely to be imperceptible beyond 28mm.
Autofocus is motivated by a screw-drive program from you human body, so AF rate, disturbance and precision is essentially based on you used. On our Leader 700 and 350 analyze systems, we discovered concentrating to be usually quick and precise under most circumstances, although with a certain propensity to battle a bit in low mild, especially at the telephoto end with its slowly highest possible aperture of F5.6.
The Sony 18-70mm reveals amazing control of surface for a kit lens. With the sun placed in the top area of the frame, it reveals no apparent surface styles, except for a small lack of comparison towards the opposite area. Even in strong side- or back-light, it hardly ever reveals much more than a small reduction on the other hand – amazing stuff.
One truly suitable, but difficult to evaluate part of a lens’s efficiency is the capability to provide efficiently blurry out-of-focus areas when trying to separate a topic from the, generally when using a long central duration and large aperture. At 70mm F5.6, this lens can give considerably defocused background scenes, but the cloud design isn’t particularly sleek (although no better or more intense than other similar lenses).
Chromatic aberration is a obvious issue at wideangle configurations, although no more intense than other identical lenses; however it is constantly on the be an issue further into the central duration variety than normal (perhaps due to the prolonged overall range), with obvious green/magenta fringing noticeable even at Negatives. CA also gets a little bit more intense on avoiding down.
We consider falloff to start becoming possibly challenging when the area lighting drops to more than 1 quit below the center. The 18-70mm is something of a celebrity entertainer here, with just a little falloff even start up at 18mm, which basically vanishes on avoiding down even a little bit. It’s quickly the best of the affordable kit contacts in connection with this.
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Sony DT 18-70mm Specifications
|Street price||• US: $190
• UK: £110
|Date introduced||July 2005 (Konica Minolta version); June 2006 (Sony version)|
|Maximum format size||APS-C|
|35mm equivalent focal length (APS-C)||27-105mm|
|Diagonal angle of view (APS-C)||76°- 23°|
|Lens Construction||• 11 elements / 9 groups
• 1 aspherical and 1 ED glass element
|Number of diaphragm blades||7|
|Maximum magnification||0.25x at 70mm|
|AF motor type||‘Screw drive’ from camera body|
|Focus method||Extending front element|
|Filter thread||• 55mm
• Rotates on focus
|Supplied accessories||• Front and rear caps
• Petal-type lens hood PH-RBA 52mm
|Weight||235 g (8.3 oz)|
|Dimensions||66mm diameter x 77mm length
(2.6 x 3.0 in)
|Lens Mount||Sony Alpha / Minolta MA|