For me, the lens sits on a NEX-5T (the one with phase and contrast AF). In this combination, the lens delivers in the dissolution test of some specialized publications resolution / sharpness, which lies at the physical maximum. In other words: The 16 MP are actually exploited and not "wasted" as the kit lens; w ith the corresponding effective resolution under those tests between 5 and 6.6 MP. And it shows! After reading prior to the purchase of the NEX-5 from alleged AF problems, I took after the first shooting with the kit lens that the slight blur is due. But can a supposedly bad AF always be next? hardly likely. After I had drawn the SEL50F18, was crystal clear: It's not the AF, but the kit lens. That the SEL50F18 the 16 MP full advantage, it is believed at once if you zoom into the picture. Bang Sharp, no comparison with the kit zoom.
But:
Unfortunately, the lens has significant problems with color longitudinal errors, less or no with lateral chromatic aberration. The latter can be corrected to some extent, the former not. Who wants to deal with it, finds plenty of literature to the Internet. Accordingly, the size of the transverse chromatic aberration with the distance from the image center; the picture is different in size or less for each wavelength / color because each wavelength is different degrees bent. This can be theoretically correct somewhat later, for example, with DxO Pro.
"Unfortunately," But that is not the problem of this lens, but the longitudinal chromatic aberration; there arise before such color shifts and behind the focal plane, the depth of field varies wavelength. The smaller the total depth, the greater the effect. Here we have a 1,8er lens with potentially very shallow depth of field - voilá. If I have understood correctly, then this problem can be corrected, although already in the lens, but only for a particular focus. Accordingly, longitudinal chromatic aberration were in practice virtually no way to avoid, reduce only by large depth of field. Well. If one now compares the kit zoom (max. Focal length 50 mm / 5.6) with the SEL50F18 with the same aperture 5.6 at close range, then the kit zoom intersects better - no chromatic aberration, when SEL50F18 they are always still recognizable. However, the SEL50F18 is much sharper. So you can choose the disease. If you shoot with the SEL50F18 with Aperture 1.8 on a about 2-3 meters distant high-contrast target, light purple / green color shifts are still noticeable - on the screen. Whether this can be seen at a closing date, of course, depends on the magnification. DxO Pro can be practically disappear the purple shadow indeed; However, the remains "green twin".
I hate chromatic aberrations. Out of sheer desperation, I have then looked for very high-quality lenses - only to find that among other things, also occurs in lenses beyond the 1,000 EUR from Zeiss. Somehow reassuring again, because it shows the really exceptionally good price / performance ratio of SEL50F18.
For AF:
In contrast to the older NEX 5-models has the 5T both contrast and phase-AF. Of course, the camera is looking for more, the darker it is, it's not a night vision camera. Humans have the same problems with the eyes, but noted less of it. ME do not hang the related skills along with the lens, but only with the camera. There is however often brought in Rezis with the lens in context, I can say this: The SEL50F18 makes at the 5T as a good and quick job, even in the Dismal.
Operation:
The part has a relatively wide ring, which allows you to manually focus. Some is the reduction to large, one must turn to much to go through the focus range. Well - if you have a fast lens, you have frequently to achieve shallow depth of field. Since it is particularly important that one can set precisely, and that is greatly facilitated by a large reduction. A little bit less likely the reduction already be added, but it is absolutely fine so when using DMF. Whoever says that is unfavorable when filming, let him a designated lens use (for example, the kit zoom with power zoom ring plus "+/-" - key) or use the AF. This here is clearly not designed for filming.
Feel:
Any Rezi commentator asserts that part would be primarily of plastic. So when some one immediately recognizes that it never had the part in hand. It is of course made of metal, looks like fresh from the lathe, simple, no tutu. Geil. I like this pure technical optics. Why the thing black paint? Too bad that the NEX-5T has not even a complete metal casing, but in silver looks the combination in my eyes from class. Anything but retro, thank goodness.
--- Note from 01:06:14:
Now I have read elsewhere that it is to concern Plastic. So if that's true, then it is the metallischste plastic that I have ever seen. It looks like twisted metal as. In one piece with a gloss, I have not seen in a plastic-metal Simulation The comparison has at Silver NEX-5T housing made directly to the part, and clearly visible from plastic. I can not believe that the objective of plastic to be still. For a very short time I had the Panasonic Lumix GM-1 with the kit zoom made of silver plastic - terribly expensive impression. So if Sony metal has reinvented: Congratulations!
Size:
Apart from the photos, is known before buying. Some complain anyway. Just this: The thing stays with me on it forever. Despite the CAs hated the thing is great fun, and with regard to the focus and intensity there is no comparable alternative.
