Sony LCL60AM, ALCSH0006 Portraits, Macro and close-ups, Landscapes, Sports, Snapshots, Wildlife

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Making sense of MTF

Choosing the right lens

Those MTF (Modulation Transfer Function) graphs that often accompany lens specifications are really not as impenetrable as they look, and they can give you a good idea of how a lens will perform, so it might be worth taking a few minutes to learn what they mean.

MTF describes a lens’s ability to resolve finely spaced black and white lines printed on a test target.As the lines get closer together they start to blur and blend together as the limits of the lens’s resolving ability are reached. MTF is plotted for multiple levels of subject detail (Y axis) at a number of points from the optical center of the lens to its periphery (X axis).The more lines per millimeter the lens can resolve, the better the resolution and contrast of the lens.* This resolving power is expressed as line pairs per millimeter (lp/mm), and sometimes as the more scientific sounding “spatial frequency.”

*For more info about these closely related terms, refer to the “Resolution, contrast and sharpness” column below.

Take a look at the sample chart below to see how it all works to describe lens performance.The solid green line shows radial contrast values for 10 lp/mm detail with the lens wide open. The line is almost flat, indicating that resolution is constant at approximately 93% from the center to the periphery of the lens. Very good.The solid red line shows contrast with the same parameters except that the aperture has been stopped down to F8. The red line is higher than the green line, indicating that stopping down has improved resolution somewhat.

Basically, the higher and flatter the line, the better the performance for the corresponding set of parameters.The smaller the distance between the green and red lines, the more consistent the performance of the lens is over a range of aperture settings.The smaller the gap between the solid and dotted lines, the more attractive the defocusing is likely to be.

That’s really all you need to know to glean useful information from an MTF chart. Just remember that comparing MTF graphs of different lenses is really only meaningful if both lenses have similar focal lengths.

Portraits

For most portraits, the person being photographed is the most important element of the photograph, so it can be effective to de-emphasize other non-essential elements. The usual way of doing this is

to defocus the background so the viewer gets a sense of location without being distracted from the main subject by too much surrounding detail. Choose a lens that has a large maximum aperture and a focal length between about 75mm and 150mm for flattering perspective, and so that you don’t have to get uncomfortably close to your subject.The Planar T* 85mm F1.4 ZA (SAL8514Z), DT 50mm F1.8 SAM (SAL50F18), 85mm F2.8 SAM (SAL85F28), 135mm F2.8 [T4.5] STF (SAL135F28) and E-mount 50mm F1.8 (SEL50F18) are excellent choices for this type of photography.

Macro and close-ups

“True” macro lenses that can be used to shoot extremely clear, detailed images of very tiny subjects have a maximum magnification ratio of 1:1 (1x), and that limits your choices. Use the DT 30mm F2.8 Macro

SAM (SAL30M28), 50mm F2.8 Macro (SAL50M28), or E-mount 30mm F3.5 (SEL30M35) for stationary subjects that you can get very close to, or the 100mm F2.8 Macro (SAL100M28) where a bit more working distance is required.You can also shoot impressive close-ups such as flowers with any lens that has a maximum magnification ratio of about 0.25x or more and a sufficiently short minimum focusing distance.The 75-300mm F4.5-5.6 zoom (SAL75300) is good for this type of close-up shooting, or you could use the 70-300mm F4.5-5.6 G SSM (SAL70300G) for truly stunning image quality.

The X (horizontal) and Y (vertical) axes of the chart correspond to the following values:

• X: Distance from the optical center of the lens to

a point near its periphery, measured in millimeters.

Y: The degree of contrast measured at each point, expressed as a percentage.

Indicates excellent performance with high contrast and resolution at the center of the lens.

Indicates the level to which resolution and contrast are maintained at the periphery of the lens.

Green: Contrast value at maximum aperture

YRed: Contrast value at F8

100

80

 

60

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

(%)

40

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Contrast

20

 

 

 

 

 

 

X

 

 

 

 

 

 

 

 

 

 

 

 

 

 

0

4

8

12

16

20

Distance from optical center of lens (mm)

Landscapes

Although you can use anything from wide angle to telephoto lenses for landscape photography, you’ll probably get the most use out of wide lenses that can capture the grandeur and scale of nature

at its best. A wide-angle zoom such as the Vario-Sonnar T* 16-35mm F2.8 ZA SSM (SAL1635Z) would be an excellent choice because it covers a range of focal lengths that are extremely useful for landscape photography with outstanding resolution and contrast. Stopped down to F8 or F11 lenses in this focal length range will give you sufficient depth of field to keep the entire scene in sharp focus. Hint: include prominent foreground objects to give your

Sports

Since sports almost invariably involve fast action, usually at a distance, you’ll want to use a telephoto lens that’s “fast” enough to allow the use of action-freezing shutter speeds. The 300mm F2.8 G telephoto

prime (SAL300F28G) is an outstanding choice for this genre, but if you want the framing versatility of a zoom the 70-200mm F2.8 G (SAL70200G) is a great alternative.You could even use the SAL14TC 1.4x Teleconverter or SAL20TC 2x Teleconverter with either of these lenses to provide more reach for distance subjects or to grab close-ups of the action. Of course there are always exceptions: if you can get close to the action you might be able to use a fast

A number of parameters are represented by different line types on the MTF chart, as defined by a legend that accompanies each chart.Those parameters are:

landscape images a greater sense of scale.

wide-angle prime or zoom to capture a more dynamic perspective.

Two lp/mm values: often 10 lines per millimeter and 30 lines per millimeter.

Two different aperture settings: lens wide open and F8.

Two orientations of line pairs in relation to the lens:“R” (radial = lines parallel to the radius of the lens), and “T” (tangential = lines perpendicular to the radius of the lens).

Spatial frequency

Max. aperture

F8 aperture

 

 

R

 

T

R

 

T

10 line pairs/mm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

30 line pairs/mm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Snapshots

The term “snapshot” refers to

Wildlife

Since you can rarely get close,

All of the MTF charts that accompany the lens descriptions in the latter part of this brochure follow these conventions.

Resolution, contrast and sharpness

Although it is possible to have high resolution and low contrast, or vice versa, in the context of MTF measurements these terms mean almost the same thing. Both good resolution and contrast are necessary for a lens to be perceived as “sharp.” We’re talking about “micro-contrast” here, which is the ability of a lens to differentiate between tiny details that have similar tonal values. Micro-contrast is different from global contrast, the overall range of tones in an image that people usually associate

any photo opportunity that arises spontaneously.You’re shooting snapshots when you take your camera for a walk in the park, or on vacation, or even when you’re in “serious”

street-shooting mode.The key is to capture the moment, and that requires mobility and speed. Some photographers prefer to use a prime lens with a focal length they’re comfortable with for this type of shooting: a “simple is faster and better” approach. Others choose a compact mid-range zoom like the 28-75mm F2.8 SAM (SAL2875) for maximum versatility. If you’re going to be shooting snaps indoors or in evening or early morning light you’ll want to choose a lens with a large maximum aperture.

super-telephoto is the first focal length choice for shooting wildlife. Of course you won’t need that much magnification if you’re shooting pets at home, but in the wild you’ll

want to be as far away as possible, to avoid scaring off your subject and for safety.The 300mm F2.8 G telephoto prime (SAL300F28G) with the 1.4x or 2x Teleconverter (SAL14TC or SAL20TC) is probably the most suitable choice.

Not only does that combination give you the reach you’ll need, but the quiet, responsive operation of the SSM autofocus drive will be an advantage as well. Hint: the above lens/teleconverter combination will give you even more reach when used on an APS-C format body.

with the term “contrast.” MTF measurements are useful because they show us the relationship between a lens’s resolution and contrast in graphic form that makes it easy to judge how the lens will perform in real-world applications.

In the product pages that follow, this star icon identifies lenses: prime lenses that offer outstanding value in compact, lightweight designs that are ideal for photographers at all levels. Each lens in the series is suited for a particular type of photography, such as portraiture or macro, for example.

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Contents Lenses Creation Contents If a little hole can do all of this, why do we need lenses? Elements and groupsZoom and focus mechanisms Refraction bending light Three keys to effective defocusing Sony A-mount and E-mount systems Aperture and exposure Number mathOther macro lens characteristics you should know about Focal lengthMaximum magnification ratio Technical definition of focal lengthUse your lens hood Scientific approachNeutral density filters Scene to come throughResolution, contrast and sharpness PortraitsMacro and close-ups LandscapesRear focusing mechanism Aspherical lens elements ED and Super ED glassAuto clutch Floating lens mechanism SSM Super Sonic wave MotorZoom Lenses DT 11-18mm F4.5-5.6 SAL1118Weight approx 470 g DT 16-50mm F2.8 SSM SAL1650DT 18-55mm F3.5-5.6 SAM SAL1855 DT 18-200mm F3.5-6.3 SAL1820028mm to 300mm DT 18-250mm F3.5-6.3 SAL1825028-75mm F2.8 SAM SAL2875 DT 55-200mm F4-5.6 SAM SAL55200-2 75-300mm F4.5-5.6 SAL75300Providing outstanding image quality from 18mm to 200mm High-performance full-frame bodiesFixed Focal Length Lenses 16mm F2.8 Fisheye SAL16F28SAL28F28 20mm F2.8 SAL20F2828mm F2.8  DT 35mm F1.8 SAM SAL35F18 50mm F1.4 SAL50F14DT 50mm F1.8 SAM SAL50F18 85mm F2.8 SAM SAL85F28135mm F2.8 T4.5 STF SAL135F28 DT 30mm F2.8 Macro SAM SAL30M2850mm F2.8 Macro SAL50M28 100mm F2.8 Macro SAL100M28Lenses 70-200mm F2.8 G SAL70200G70-300mm F4.5-5.6 G SSM SAL70300G 70-400mm F4-5.6 G SSM SAL70400G35mm F1.4 G SAL35F14G 300mm F2.8 G SAL300F28G4x Teleconverter 0x TeleconverterVario-Sonnar T* 16-35mm F2.8 ZA SSM SAL1635Z Vario-Sonnar T* DT 16-80mm F3.5-4.5 ZA SAL1680ZVario-Sonnar T* 24-70mm F2.8 ZA SSM SAL2470Z Distagon T* 24mm F2 ZA SSM SAL24F20ZPlanar T* 85mm F1.4 ZA SAL85F14Z Sonnar T* 135mm F1.8 ZA SAL135F18ZMount Lenses Fisheye Converter Ultra Wide Converter 16mm F2.8 SEL16F28 Sonnar T* E 24mm F1.8 ZA SEL24F18Z 18-55mm F3.5-5.6 OSS SEL1855Unwanted camera noise 18-200mm F3.5-6.3 OSS SEL1820055-210mm F 4.5-6.3 OSS SEL55210 50mm F1.8 OSS SEL50F18 30mm F3.5 Macro SEL30M35Main specifications of a lenses Lens accessories DI11012