On the other hand, this ‘kit’ focal length comes with some drawbacks. So, if you’re still interested in this neat little lens, then let’s dive right in. But for portrait photography, street photography, and walkaround photography, sharpness is less important than you might think. No, you won’t want to use it for landscape photography, where every little detail matters. This is obviously a problem, but I don’t think it’s disqualifying. It’s noticeably soft when zoomed out to 16mm, and it only improves marginally when zoomed in. Unfortunately, I’ll tell you right now that the Sony 16-50mm f/3.5-5.6 just doesn’t perform well in terms of sharpness. When combined with Sony’s generally impressive autofocus algorithms, you can easily use this lens for action photography or fast street shooting.Īnd I’ll discuss its image quality, which is the make or break feature for a lot of photographers. I’ll discuss its autofocus capabilities, which are surprisingly good for such a cheap lens. If you want to use the Sony 16-50mm f/3.5-5.6, then you need to take care of it. After only a few minutes with this lens, it was clear that I couldn’t just toss it around and expect it to hold up. In addition, the wonderfully soft bokeh opens up completely new dimensions in isolating persons from the background.I’ll discuss its build quality, which is below average. Your results will be much more satisfying and your scrap will be reduced to a minimum. The picture happens, you focus, and the lens focuses where it should focus. In combination with the lens, the strength of the focus system clearly comes into effect here because together, they manage to capture this very fraction of a second. That’s why I chose the combination of Sony a7 III and SIGMA 85mm F1.4 DG HSM | Art. Emotions are spontaneous and within fractions of a second, the moment, this one moment that, when looking at the picture, makes tears spring to your eyes … this moment is gone if your equipment isn’t working perfectly and isn’t very well tuned. A gust of wind then made sure that the hair in Sophie’s face blew and I shot the photo…īeing a passionate portrait photographer, I want to capture emotions. The weather was excellent (low sun) and I asked Sophie to “integrate” into the hedge in order to amplify the effect and make it more harmonious. The idea was to take a few pictures with the hedge to get some depth into the picture. This is Sophie at the end of our shooting day. This allowed me to reliably use this lens for vlogging, even in the low evening light. The autofocus of this lens was fast and accurate, in both photo and video modes shooting on the Sony a7 III. And since it’s an Art lens, as with all the other Art lenses I’ve tried and owned, it’s incredibly sharp even wide open at f1.4, so while the foreground and background lost focus, my subject never did. With the SIGMA 24mm F1.4 DG HSM | Art, I was able to get that wide angle of view that really shows off the subject’s surroundings, while shortening that depth of field enough to render the background and foreground out of focus, like I wanted. To start with, I don’t want everything to be sharp and that’s often the biggest hurdle with wide angle lenses, since the depth of field gets very deep very quickly, leaving very little bokeh to separate subject from foreground and background. When it comes to urban photography and shooting portraits in the streets, I like to show as much of the surrounding architecture and movement as possible.
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