Объектив для портретов
Вот тут надо на секунду остановиться. По сути, в данной категории будут рассматриваться объективы, очень похожие на фикс Sigma 30 mm f/2.8 DN
Однако тут все дело в фокусном расстоянии. Для портретов нам важно оказаться немного ближе к объекту съемки, в то время, как при всех достоинствах фикса мы не можем приблизить картинку. Это значит, что нам нужен объектив с большим фокусным расстоянием
Тут отличным вариантом будет использовать Sigma 60mm f/2.8 DN за 13 тысяч. Вообще Сигма до недавнего времени делала весьма посредственные объективы, но конкретно в этом случае (и в случае с 30mm) мы имеем дело со вполне качественной картинкой по адекватной цене. В результате Sigma 60mm получился быстрым, резким светосильным объективом, позволяющим выдавать картинку с красиво размытым боке.
Как пишут рецензенты из Аdmiringlight.com «этот объектив хорошо сделан, быстро фокусируется и обладает абсолютно ошеломляющей оптикой по изумительно низкой цене».
Одним из главных недостатков данного объектива является отсутствие стабилизатора изображения как у ближайшего конкурента Sony 50mm f/1.8 и невозможность использования так называемой гибридной фокусировке в некоторых последних моделях Sony. К счастью, оба эти недостатка не являются критическими, т.к. при съемке портретов обе эти функции используются не часто.
Problems Resolving Detail
The a6400 is a 24MP camera, a lot more demanding on a lens than the 14.2MP NEX-3 with which the 16mm F2.8 debuted. I tested the 16mm along with Imatest to check its optical performance with a modern camera.
At f/2.8 it scores 1,432 lines on a center-weighted sharpness test. The very center of the frame puts up a good 2,143 lines, but it gives way to blurry results very quickly. We see fewer than 1,000 lines just outside the center, which explains the low average.
The lens gets better at f/4, where the average climbs to a good 2,097 lines. Keep in mind that the sharpest parts of your image will still be at the center, and there is definitely some softness as you move away.
At f/5.6 the lens finally delivers results that are sharp beyond just the center. The average score is a strong 2,867 lines, with outstanding center resolution and good results up to the edges of the shot. Shoot here, at f/8 (2,781 lines), or f/11 (2,610 lines) for landscape images.
See How We Test Digital Cameras
Diffraction is a concern at narrower f-stops. You should skip shooting at f/16 (2,046 lines) and f/22 (1,301 lines).
There is some distortion, about 1.3 percent with a mustache pattern. Mustache distortion isn’t what happens when Tom Selleck gets a bad shave at the barber—it’s a more complex pattern that shows a bit of barrel distortion at the center of the frame and a pincushion effect toward the edges. Thankfully it’s a pretty modest amount.
Likewise, there’s a little vignette when shooting wide open, about a -1.6EV drop at the corners of the frame. But it’s a modest amount and is gone at narrower apertures.
Specifications
I’d get my Sony 16mm f/2.8 new at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay (How to Win at eBay).
Sony calls this the E 16mm f/2.8:
E: E-mount.
Sony’s model number is SEL16F28.
Optics
Sony 16mm f/2.8 optical construction. Aspherical element.
5 elements in 5 groups.
One Aspherical element.
Internal focus.
Diaphragm
Sony 16mm f/2.8. bigger.
7 rounded blades.
Stops down to f/22.
Focal Length
16mm.
When used on APS-C, it sees the same angle of view as a 24mm lens sees when used on a full-frame camera.
See also Crop Factor.
Angle of View
83° diagonal on APS-C.
Internal focus.
No external movement as focused, so no air or dust is sucked in.
Size
2.44″ maximum diameter × 0.89″ extension from flange.
62 mm maximum diameter × 22.5 mm extension from flange.
Weight
2.300 oz. (65.2g) actual measured weight.
Rater 2.4 oz (67g).
Lens (SEL16F28).
ALC-F49S front and ALC-R1EM rear cap.
Pancake Prime
The E 16mm F2.8 fits the definition of a pancake lens, one that barely juts out from the camera body when mounted. It measures 0.9 by 2.4 inches (HW), weighs just 2.4 ounces, and has a thread for 49mm filters. The lens is finished in silver, and the barrel is lightweight metal.
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Sony doesn’t include a hood, and I didn’t use one when testing the lens. I did notice some flare in shots that might have been lessened by using one, as you can see in the image above. You can use the ALC-SH112 hood, which is bundled with the E 35mm F1.8 OSS and some others.
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The lens is designed for Sony cameras with APS-C image sensors, where it matches the angle of view of a 24mm lens. You can pair it with a full-frame body and use it in a cropped mode, which does cut into image resolution. If you try to capture full-frame images, you’ll see a big black border around the frame, as shown below.
In addition to standard filters, the lens can work with the Ultra-Wide Converter ($159.99), which broadens its angle of view to match an 18mm prime, and there is also a VCL-ECF2 Fisheye Converter ($179.99). Both of these converters also work with the E 20mm F2.8.
The only control of note is a manual focus ring, at the front of the barrel. It turns comfortably, with a little bit of resistance. The manual focus is electronic, and its response changes based on how quickly you turn the ring.
Turn slowly and you’ll make minute adjustments, while a quick twist is used to move from one extreme to the other quickly. The magnification and focus peaking aids built into Sony cameras make manual focus a pleasant experience for photography, though videographers will miss the ability to recreate focus pulls from take to take—the lens isn’t well suited for that specific task.
Autofocus is another matter. The latest cameras offer hybrid focus systems that use phase detection, but the 16mm doesn’t support the technology. It’s limited to contrast focus, which is quick and accurate when it comes to snapping images with single-shot focus (AF-S). But if you switch to AF-C, the experience isn’t the same. The live feed constantly wobbles in and out of focus, which is disconcerting to see in the viewfinder. You’ll still get in-focus shots, though.
Focus is available as close as 9.5 inches. When coupled with the wide angle of view, it gives the lens a very paltry 1:12.8 magnification ratio at its closest focus point. This isn’t one for close-up shots.
There’s no image stabilization in the lens. Sony sells one stabilized APS-C body at this point, the a6500. Pairing the lens with a stabilized body will smooth handheld video and makes it easier to snap handheld shots at longer exposure times. We tested the lens with the a6400, which doesn’t offer stabilization.
Pancake Prime
The E 16mm F2.8 fits the definition of a pancake lens, one that barely juts out from the camera body when mounted. It measures 0.9 by 2.4 inches (HW), weighs just 2.4 ounces, and has a thread for 49mm filters. The lens is finished in silver, and the barrel is lightweight metal.
Sony doesn’t include a hood, and I didn’t use one when testing the lens. I did notice some flare in shots that might have been lessened by using one, as you can see in the image above. You can use the ALC-SH112 hood, which is bundled with the E 35mm F1.8 OSS and some others.
The lens is designed for Sony cameras with APS-C image sensors, where it matches the angle of view of a 24mm lens. You can pair it with a full-frame body and use it in a cropped mode, which does cut into image resolution. If you try to capture full-frame images, you’ll see a big black border around the frame, as shown below.
In addition to standard filters, the lens can work with the Ultra-Wide Converter ($159.99), which broadens its angle of view to match an 18mm prime, and there is also a VCL-ECF2 Fisheye Converter ($179.99). Both of these converters also work with the E 20mm F2.8.
The only control of note is a manual focus ring, at the front of the barrel. It turns comfortably, with a little bit of resistance. The manual focus is electronic, and its response changes based on how quickly you turn the ring.
Turn slowly and you’ll make minute adjustments, while a quick twist is used to move from one extreme to the other quickly. The magnification and focus peaking aids built into Sony cameras make manual focus a pleasant experience for photography, though videographers will miss the ability to recreate focus pulls from take to take—the lens isn’t well suited for that specific task.
Autofocus is another matter. The latest cameras offer hybrid focus systems that use phase detection, but the 16mm doesn’t support the technology. It’s limited to contrast focus, which is quick and accurate when it comes to snapping images with single-shot focus (AF-S). But if you switch to AF-C, the experience isn’t the same. The live feed constantly wobbles in and out of focus, which is disconcerting to see in the viewfinder. You’ll still get in-focus shots, though.
Focus is available as close as 9.5 inches. When coupled with the wide angle of view, it gives the lens a very paltry 1:12.8 magnification ratio at its closest focus point. This isn’t one for close-up shots.
There’s no image stabilization in the lens. Sony sells one stabilized APS-C body at this point, the a6500. Pairing the lens with a stabilized body will smooth handheld video and makes it easier to snap handheld shots at longer exposure times. We tested the lens with the a6400, which doesn’t offer stabilization.
Объектив-блинчик
Камеры Sony довольно компактны. Это значит, что их можно использовать в уличной фотографии, делая снимки так, что объект съемки этого даже и не заметит. При подобном сценарии использования большой объектив становится главной помехой. Поэтому существуют сверхтонкие модели, получившие название блин или блинчик.
Одним из лучших вариантов является объектив Sony 20mm f/2.8 за 24 тысячи рублей. Он не может похвастаться каким-то особым качество изображения, но его главное достоинство заключается в балансе размера/качества. В ширину он около 2 см, поэтому размеры объектива плюс небольшой корпус камеры позволяет носить его в кармане брюк совсем как мыльницу. При этом качество фотографий будет выше чем у мыльницы и значительно выше чем у смартфонов.
Еще одним достоинством данного объектива является то, что к нему можно прикрутить адаптер Sony VCL-ECU1 Ultra Wide Converter, дающий более широкий угол или получить функцию так называемого рыбьего глаза c помощью Sony VCLECF1 Fisheye Conversion Lens. Не сказать, чтобы Sony афишировало эту возможность, но у многих людей получилось сделать это без особых проблем.
Problems Resolving Detail
The a6400 is a 24MP camera, a lot more demanding on a lens than the 14.2MP NEX-3 with which the 16mm F2.8 debuted. I tested the 16mm along with Imatest to check its optical performance with a modern camera.
At f/2.8 it scores 1,432 lines on a center-weighted sharpness test. The very center of the frame puts up a good 2,143 lines, but it gives way to blurry results very quickly. We see fewer than 1,000 lines just outside the center, which explains the low average.
The lens gets better at f/4, where the average climbs to a good 2,097 lines. Keep in mind that the sharpest parts of your image will still be at the center, and there is definitely some softness as you move away.
At f/5.6 the lens finally delivers results that are sharp beyond just the center. The average score is a strong 2,867 lines, with outstanding center resolution and good results up to the edges of the shot. Shoot here, at f/8 (2,781 lines), or f/11 (2,610 lines) for landscape images.
Diffraction is a concern at narrower f-stops. You should skip shooting at f/16 (2,046 lines) and f/22 (1,301 lines).
There is some distortion, about 1.3 percent with a mustache pattern. Mustache distortion isn’t what happens when Tom Selleck gets a bad shave at the barber—it’s a more complex pattern that shows a bit of barrel distortion at the center of the frame and a pincushion effect toward the edges. Thankfully it’s a pretty modest amount.
Likewise, there’s a little vignette when shooting wide open, about a -1.6EV drop at the corners of the frame. But it’s a modest amount and is gone at narrower apertures.
Time for an Update
Sony has paid a lot of attention to its full-frame system since its 2013 debut, sometimes to the detriment of its more compact APS-C system, which uses the same lens mount. The E 16mm F2.8 is a victim of neglect—a lens designed when mirrorless cameras were in their infancy, and one that has long been available at a price point trending toward budget.
We’ve seen what Sony’s biggest rival in the APS-C space, Fujifilm, has offered its user base with this year’s Fujinon XF 16mm F2.8 R WR. But you can’t use a Fujifilm lens on a Sony camera, or vice versa.
If you’re invested in the E-mount system, Sony instead offers the slightly pricier, and even slimmer, E 20mm F2.8, to photographers looking for a small, but high-quality, wide lens. It’s not quite as wide, of course. If you find its angle restrictive, and aren’t shopping for a pancake lens specifically, the Sigma 16mm F1.4 DC DN Contemporary is a terrific alternative for the Sony system, and our Editors’ Choice.
Sony E 16mm F2.8
2.5
See It
$248.00 at Amazon
MSRP $249.99
Pros
- Very small and light.
- Affordable.
- Wide angle of view.
Cons
- Dated optics.
- Not sharp until f/5.6.
- Limited to contrast focus.
The Bottom Line
The Sony E 16mm F2.8 was one of Sony’s first mirrorless lenses. It’s still on sale, but is in dire need of an update for use with modern cameras.
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Recommendations
This Sony 16mm f/2.8 is a tiny little lens for when you want to carry as little as possible.
If you want to count every pixel at 300% then man-up and get the ZEISS 24mm f/1.8, but if all you want is great pictures while carrying as little as possible, by all means consider this tiny body-cap alternative.
Normally I pass on lens converters, but seeing the novelty of this lens, there’s no reason not to try out the discontinued VCL-ECU1 0.75× ultra-wide converter which is easy to get at eBay for about $80 if you know How To Win at eBay, or the VCL-ECF2 fisheye converter which is sold new.
I’d get my Sony 16mm f/2.8 new at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay (How to Win at eBay).
I use a clear (UV) protective filter instead of a cap. I only use a cap when I throw this in a bag with other gear, otherwise I leave a clear protective filter on my lens at all times instead of a cap so I’m ready to shoot instantly.
The very best protective filter is the Multicoated Hoya HD 49mm which uses hardened glass and repels dirt and fingerprints.
For less money, the B＋W 49mm 010 is an excellent filter, as are the multicoated B＋W and the basic multicoated Hoya filters, but the Hoya HD is the toughest and the best.
Filters last a lifetime, so you may as well get the best. The Hoya HD stays cleaner than the others since it repels oil and dirt.
This junk-free website’s biggest source of support is when you use those or any of when you get anything, regardless of the country in which you live. Sony does not seal its boxes in any way, so never buy at retail or any other source not on since you’ll have no way of knowing if you’re missing accessories, getting a defective, damaged, returned, store demo or used lens. I use the stores I do because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the for the best prices, service, return policies and selection.
Thanks for helping me help you!
Ken, Mrs. Rockwell, Ryan and Katie.
Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten.
Performance
You may notice the Borrow Lenses sticker on the side of the lens; I was a little leery of outright purchasing the 20mm, since it isn’t a lens I could offload for a similar amount on Craigslist quickly, so I rented a copy for Labor Day weekend. I’m glad I rented the lens, because after using it for a few days, I found it’s just not the right performance vs. compactness tradeoff for my style of shooting.
I could prattle on with words, but a picture speaks more eloquently:
«But wait,» you say, «that picture doesn’t look so bad!»
You’re quite right—at least not when scaled down for web viewing or social media sharing. But I like to have more flexibility with my photos; and if a lens doesn’t do much better than my smartphone in common scenarios wide open, I don’t see the value (again, for me—it may be different for you!).
Let’s zoom in and see where the problem lies—here’s a 100% crop at f/2.8 (from the above picture) on the focal point—the chain on the right side of the swing:
Not horrible, but you can really see the performance compromise Sony had to make for this lens when you drop down to f/8:
Everything’s sharper, and not just from the smaller aperture. Coma is better controlled, and the general ‘haziness’ across the frame (and especially bad out from the center) goes away—but only beyond f/4. And I really don’t want an f/4 or f/8 lens, I want f/2.8 so I can pocket the camera and get a decent shot in any condition!
To give a more extreme point of comparison, here’s the same FOV and 100% crop from my D750 and the Nikon 24-70mm f/2.8G lens:
Obviously, it’s an entirely different optical system… and the setup weighs a couple pounds more… but if you’re used to the latter image clarity (even when wide open at f/2.8!), and you’re willing to compromise a bit, down to the level that, say, the Sigma 30mm f/2.8 Art provides, the 20mm at f/2.8 is a step too far. In similar conditions, I can get as good a shot from my iPhone’s camera, albeit upscaled slightly. I don’t want to lug around a one pound dedicated camera just to get images marginally better than the itsy-bitsy camera on my smartphone!
It is a decent lens. I would say as decent as the kit lens, without the ability to zoom and without OSS. For closer subjects, the bokeh is a little nicer than the kit lens, and if you stop it down a little, it passes up the quality of the kit lens at 20mm. I’m not disappointed with the quality, in fact I got a number of keepers from a walk around the St. Louis Zoo:
It’s just that the quality isn’t that much better than what I get with my iPhone, which I always have on me, and which fits even better into my pocket.
Therefore, I’ve decided to skip buying a copy of the 20mm f/2.8, and am (at least for now) sticking with my less-compact-but-noticeably-sharper Sigma 30mm f/2.8 Art. I switch to the kit lens when I do short video clips, but the Art is almost a permanent fixture due to it’s compact size and solid performance on the a6000.
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Performance
I’d get my Sony 16mm f/2.8 new at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay (How to Win at eBay).
Bokeh
As a wide lens, nothing ever gets that far out of focus so bokeh, the feel or quality of out-of-focus areas as opposed to how far out of focus they are, isn’t that important. If you somehow are able to get much out of focus, then bokeh is only fair:
Davis 6250 weather station, 12 March 2019. Sony A6400, Sony 16mm f/2.8 wide-open at f/2.8 at 1/4,000 at ISO 100, Perfectly Clear. bigger or camera-original file.
As with all lenses, if you want to throw the background as far out of focus as possible shoot at the largest aperture (f/2.8) and get as close as possible.
Distortion
At least as shot on the Sony A6400, the Sony 16mm f/2.8 has no visible distortion because the A6400 corrects it automatically.
If you turn distortion correction OFF there is complex pincushion distortion that best corrects with a correction factor of -1.7 in Photoshop’s lens correction filter. There will still be some residual wavy «mustache» distortion after Photoshop correction; just leave the camera at its default and there won’t be any.
Sony 16mm f/2.8. bigger.
There is tiny electronic focus ring and that’s it.
It’s all hard aluminum on the outside.
Falloff
Falloff is invisible with the camera’s default correction ON.
I’ve greatly exaggerated it here by shooting pure gray and displaying it against more gray. It won’t look this bad in actual photos::
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Sony 16mm f/2.8 falloff, correction ON.
2019 KenRockwell.com. All rights reserved. |
If you go out of your way to turn correction OFF then you can see some at f/2.8 and maybe f/4, and for actual photos (not tests of flat fields) it’s gone by f/5.6:
|
Sony 16mm f/2.8 falloff, correction turned OFF.
2019 KenRockwell.com. All rights reserved. |
Flare & Ghosts
It has a very simple optical design, so there are few air-to-glass surfaces to lead to reflections that cause flare and ghosts, thus this is a very flare-resistant lens.
See samples at .
Lateral Color Fringes
There are no color fringes as shot on modern Sony cameras which correct them by default.
If you go out of your way to disable these automatic corrections there are healthy red/cyan fringes.
Macro Performance
It doesn’t get very close, but it is sharp at f/8:
Casio G-Shock Solar Atomic Watch at close-focus distance at f/8, 09 March 2019. bigger or camera-original file.
1,200 × 900 pixel crop from above. bigger or camera-original file.
If this 1,200 × 900 pixel crop is about 6″ (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 × 30″ (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12″ (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 40 × 60″ (1 × 1.5 meters).
It’s not that sharp at f/2.8, which you shouldn’t be using for macro anyway:
Casio G-Shock Solar Atomic Watch at close-focus distance at f/8, 09 March 2019. bigger or camera-original file.
1,200 × 900 pixel crop from above. bigger or camera-original file.
If this 1,200 × 900 pixel crop is about 6″ (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 × 30″ (50 × 75cm).
If this 1,200 × 900 pixel crop is about 12″ (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 40 × 60″ (1 × 1.5 meters).
Mechanical Quality
Sony 16mm f/2.8. bigger.
This Sony 16mm f/2.8 is all plastic on the inside, with a metal mount and aluminum outer skin and manual focus ring.
Sharpness
Lens sharpness has nothing to do with picture sharpness; every lens made in the past 100 years is more than sharp enough to make super-sharp pictures if you know what you’re doing. The only limitation to picture sharpness is your skill as a photographer. It’s the least talented who spend the most time worrying about lens sharpness. Skilled photographers make great images with whatever camera is in their hands; I’ve made some of my best images of all time with an irreparably broken camera! Most pixels are thrown away before you see them, but camera makers don’t want you to know that.
This said, this is one of the softest modern lenses I’ve tested in the lab — but I have no problem making with it (more at ). It’s sharp in the center, but the sides are progressively worse as shot at larger apertures. For the sharpest results at the sides, shoot at around f/11 to f/16 and you’re fine for normal photos.
Sunstars
With a rounded 7-blade diaphragm this 16mm only makes sunstars on brilliant points of light at the smallest apertures.
Click any to enlarge:
Click any to enlarge.
Практика фотосессий. Возможные искажения в портретной фотографииСамый простой и ясный пример.
Time for an Update
Sony has paid a lot of attention to its full-frame system since its 2013 debut, sometimes to the detriment of its more compact APS-C system, which uses the same lens mount. The E 16mm F2.8 is a victim of neglect—a lens designed when mirrorless cameras were in their infancy, and one that has long been available at a price point trending toward budget.
We’ve seen what Sony’s biggest rival in the APS-C space, Fujifilm, has offered its user base with this year’s Fujinon XF 16mm F2.8 R WR. But you can’t use a Fujifilm lens on a Sony camera, or vice versa.
If you’re invested in the E-mount system, Sony instead offers the slightly pricier, and even slimmer, E 20mm F2.8, to photographers looking for a small, but high-quality, wide lens. It’s not quite as wide, of course. If you find its angle restrictive, and aren’t shopping for a pancake lens specifically, the Sigma 16mm F1.4 DC DN Contemporary is a terrific alternative for the Sony system, and our Editors’ Choice.
Best Lens Picks
- The Best Fujifilm Lenses for 2020
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Further Reading
- Tamron Details Affordable 70-180mm F2.8 Zoom Lens
- The Best Sony Mirrorless Lenses for 2020
- The Best Nikon Lenses for 2020
- The Best Canon Lenses for 2020
- Oops! $13K Camera Lens Sells for $95 Due to Prime Day Error
Introduction
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B&H Photo — Video — Pro Audio I buy only from . I can’t vouch for below. |
This Sony 16mm f/2.8 is a tiny, low priced lens with performance to match. It sees the same angle of view on APS-C cameras as a 24mm lens sees on full frame.
This lens isn’t much bigger than a body cap.
It’s probably the lightest lens I’ve tested, at just 2.3 oz./65g, because it’s both tiny and made mostly out of plastic, with aluminum exterior vanity trim.
It came out with Sony’s very first NEX mirrorless APS-C cameras in May, 2010.
It’s compatible with the discontinued VCL-ECU1 0.75× ultra-wide converter and the VCL-ECF2 fisheye converter. The VCL-ECU1 0.75× ultra-wide converter converts this to a 12mm lens, which is equivalent to an 18mm lens on full-frame. The VCL-ECU1 0.75× ultra-wide converter is easy to get at eBay for about $80 if you know How To Win at eBay. The VCL-ECF2 fisheye converter is sold new.
I’d get my Sony 16mm f/2.8 new at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay (How to Win at eBay).
Good
Fast and silent autofocusing.
Simple optical design make it very resistant to flare and ghosts.
Electronic manual focus ring.
Aluminum external trim.
Tiny.
Light.
Inexpensive.
Bad
Electronic focus ring, like most mirrorless lenses, has no direct mechanical connection to the optics. It only works when you have the camera set just right.
Optics fitting the price.
The Lens
First, an overview of what you’re getting:
The lens has a thin but usable manual focus control ring. It’s fly-by-wire, so the feedback is a little funky compared to lenses where focus is mechanically tied to the focus ring, but it works well enough with focus peaking when needed. The thinness of this lens is great for a compact walkaround camera setup, but it also makes getting it off the camera very slightly annoying, since you have to ‘pinch’ in around the free-spinning focus ring to get a grip on it. This might only be an issue for those with larger hands, though.
Speaking of thinness, how about a comparison to two other small E-mount lenses I have:
From the left: The kit lens (Sony 16-50mm f/3.5-5.6 OSS), the 20mm f/2.8 being reviewed, and the Sigma 30mm f/2.8 Art.
This lens is seriously compact; it’s like Sony took the kit lens and sliced it cleanly in half. That’s definitely the best attribute of the lens, and probably the reason you’re reading this review. But size isn’t everything—otherwise nobody would carry around two pound 35mm f/1.4 prime lenses!
But it does look great on the a6000:
