Sony Distagon T 24mm F2 SSM has been getting the news over the past season or so for its amazing ‘SLT’ cameras, the mirrorless NEX system and legendary releases of affordable SLRs. But it has also been silently building up a remarkable range of high-end complete structure equipment, headed by an range of Carl Zeiss labeled optics. And it’s into this upper half of the organization’s surprisingly bifurcated manufacturing that the Distagon T* 24mm F2 SSM comes, offering a truly quick and extensive option for Leader 850 / 900 users, while increasing as a well used semi-wide Negatives comparative on APS-C cameras. This lens was shown in advanced pre-production form at PMA a few months ago, and has been fiercely expected by Sony models lovers ever since.
The visual style uses 9 components in 7 groups, such as two aspheric and two Extra-low Distribution glass components to fight aberrations. For the first time in a Carl Zeiss primary, a built-in ultrasonic-type SuperSonic Trend Engine is employed for auto-focus, appealing quick, quiet concentrating and allowing Immediate Guide Concentrate bypass. A round aperture diaphragm, consists of nine rounded rotor blades, is designed to produce an easy, natural version of out-of-focus areas of the structure.
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Sony Distagon T 24mm F2 SSM Key Features
- 24mm wideangle with quick F2 highest possible aperture
- Built-in ultrasonic-type SuperSonic Trend Engine (SSM) for auto-focus, with Immediate Guide Concentrate override
- Alpha install for Sony models and Konica Minolta SLRs
Sony Distagon T 24mm F2 SSM Body And Design
Like Sony other Carl Zeiss-branded connections, the 24mm F2 is a beautifully-constructed item that gives quality, with its effective lines, strong steel entire body system and super-smooth focus band. One part of the gun gun barrel works variety to a huge circular AF/MF modify, plus Sony’s familiar Concentrate Keep key, which can also be customized for such features as details of area review and ‘Intelligent Preview’ based upon on you entire body system used. The lens focuses by moving the back group inner, so its duration (and therefore balance on the camera) never changes.
Lens body system elements
- The lens uses Sony’s Leader install, which is identical to Minolta’s A-type. The silver connections are used for interaction with you, and the dark steel handle manages the aperture. Especially, there’s no closure around the install against dust and water ingress.
- The narrow line is 72mm (shared with the 85mm F1.4), and does not move on concentrating, which helps the use of filtration such as polarizers and fairly neutral solidity gradients.
- The 45mm deep, petal-type ALC-SH110 bonnet is provided as standard and bayonets strongly onto the front of the lens. It’s made from dense dark plastic, with a experienced coating to reduce representation of wander light into the lens, and turns around nicely for storage.
- The perfectly ridged hold on the main objective band is 18mm wide. It moves about 130 levels from infinity to the nearest focus indicate of 0.19m, with a silky-smooth action. The rear-focusing procedure means that the lens’s duration doesn’t modify. The focus band moves a little bit past the infinity indicate, obviously to allow for the effects of normal temperature modifications.
- This huge window shows the main objective distance in both feet and metres. The details of area range is adjusted for use on full structure cameras. If you want to use it on APS-C systems you’ll need to close the aperture down by about a stop and third beyond that noticeable to get the indicated details of area.
- The part of the gun barrel performs variety to Sony’s a little bit non-traditional, but very easy to function circular focus method change, which encompasses the customized focus hold key.
Sony Distagon T 24mm F2 SSM Images Quality
Sharpness is great and remarkably even across the structure start up at F2. It will increase a little towards the sides on avoiding down, but not much. Very best answers are seen around F4 – 5.6; at apertures more compact than about F11, diffraction begins to clearly break down the overall sharpness.
We consider falloff to become obvious when the area lighting drops to more than 1 quit less than the middle. Here we see only two prevents at F2, which reduces progressively on avoiding down – it’s basically gone by F4.
Wide position contacts may not are involved as the apparent option for close-ups, but the 24mm F2 does not do at all poorly in connection with this. Our calculated lowest concentrate range is just 18.5cm, providing a rather limited operating range of about 6.5cm from the top of the lens to the topic, and a highest possible zoom of 0.3x. Image great quality on APS-C is more than appropriate, with amazing sharpness across the structure when ceased down to just F2.8. Barrel distortions is clearly noticeable, but there’s hardly any horizontal chromatic aberration.
The 24mm F2 does extremely well in studio room examining, but point it towards a shiny light and its Achilles’ rearfoot becomes apparent – it’s not always great at controlling surface. This is most challenging on complete frame: in particular, if you place the sun towards the area of (or just outside) the framework then a huge, shiny red surface identify seems to be reverse, which gets ever more described and extreme on avoiding down. Unfortunately you won’t actually identify this in the viewfinder until it’s far too delayed (as the red identify is quite dissipate at F2).
Lateral chromatic aberration is extremely low in our studio room assessments, as well as changes out to have little effect in regular use. It’s hardly noticeable at all on the Leader 700’s 12Mp APS-C indicator, but can become a bit more apparent on the 24Mp complete framework Leader 850 and 900, providing green/magenta fringing towards the sides of the framework. However it’s simple to appropriate in post-processing if necessary, as well as it’s best to do this from RAW. The illustrations below display outcomes with and without CA modification using Adobe Digicam Raw 6.2, with ‘Fix Red/Cyan Fringe’ set to -15 and ‘Fix Blue/Yellow Fringe’ to 15.
One truly suitable, but hard 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 qualifications. With its huge highest possible aperture the 24mm F2 can give a perhaps surprising level of qualifications cloud, and on the whole it does so in a nice-looking style. Remote background scenes are usually delivered well, with identifiable framework but without severe shiny sides to out-of-focus features. Changes to out-of-focus areas when capturing near are also managed well.
Sony Distagon T 24mm F2 SSM Specifications
|Price||• US: $1250
• UK: £1100
• EUR: €1250
|Date introduced||July 2010|
|Maximum format size||35mm Full Frame|
|35mm equivalent focal length (APS-C)
|Diagonal Angle of view (FF)||83º|
|Diagonal Angle of view (APS-C)||63º|
|Lens Construction||• 9 elements / 7 groups
• 2 aspherical elements
• 2 ED glass elements
|Number of diaphragm blades||9, rounded|
|Minimum focus||0.19m / 0.62ft|
|AF motor type||Ultrasonic (SSM)|
|Image stabilization||Via camera body when available|
|Filter thread||• 72mm
• Does not rotate on focus
|Supplied accessories**||• ALC-SH110 hood
• Front and rear caps
• Lens case
|Dimensions||78mm x 76mm (3.1in x 3.0in)|
|Lens Mount||Sony Alpha|