Like other extended-range zoom lens, the FE 24-240mm can cover everything from wide-bending landscapes to telephoto close-ups – and everything in betwixt. The variable f/iii.5-6.three aperture helps go on lens size and weight relatively depression for a lens with a 10x zoom range.
Born optical stabilisation provides skillful control of unwanted blur acquired by camera shake and the stabilisation in the lens can complement the sensor-shift IS in the photographic camera torso to maximise its furnishings. Internal focusing plus the linear AF motor make focusing quick, authentic and well-nigh silent, making this lens ideal for use when recording video clips.
The 240mm focal length is long enough for sports and wildlife shooting. Dust- and moisture-resistant sealing make this lens usable in a wide diversity of weather condition conditions and rubberised command rings make handling easier in low temperatures.
Announced in March 2015, the FE 24-240mm f/3.5-vi.3 OSS is Sony’s showtime ‘all-in-one’ lens for its full-frame East-mountain cameras. Spanning a 10x optical zoom range it comes with born Optical SteadyShot stabilisation and is grit- and moisture-resistant, making it ideal for travellers. Although it’s been designed primarily for ‘total frame’ Iron mount cameras and nosotros reviewed it on the new α7C torso, this lens tin likewise be used on Sony’s E-mountain APS-C format cameras where it will provide an equivalent zoom range of 36-360mm.
Angled view of the Sony Fe 24-240mm f/iii.5-6.3 OSS (SEL24240) lens without the supplied lens hood. (Source: Sony.)
The optical design of the FE 24-240mm f/3.five-6.3 OSS lens contains 17 elements in 12 groups. One extra-depression dispersion (ED) drinking glass element is included to reduce chromatic aberrations and color fringing while v aspherical elements reduce astigmatism, field curvature, blackout and other aberrations. Internal focusing is driven by a piezoelectrically-controlled linear motor that provides fast and accurate autofocusing.
A vii-bladed iris diaphragm closes to produce a circular aperture that provides smooth bokeh. The lens is usually supplied with front and rear caps plus the ALC-SH136 lens hood, although information technology wasn’t provided with the review lens.
Who’southward it For?
Like other extended-range zoom lens, the FE 24-240mm can cover everything from wide-bending landscapes to telephoto close-ups – and everything in between. The variable f/3.5-6.three aperture helps go along lens size and weight relatively low for a lens with a 10x zoom range.
Built-in optical stabilisation provides good control of unwanted blur caused by camera shake and the stabilisation in the lens can complement the sensor-shift IS in the camera body to maximise its effects. Internal focusing plus the linear AF motor brand focusing quick, accurate and well-nigh silent, making this lens ideal for use when recording video clips.
The 240mm focal length is long enough for sports and wildlife shooting. Dust- and moisture-resistant sealing make this lens usable in a wide variety of weather conditions and rubberised control rings brand handling easier in low temperatures.
Build and Ergonomics
Comparatively compact for its 10x zoom range, the Fe 24-240mm f/3.5-half dozen.3 OSS lens is labelled ‘Made in China’, where the visitor owns a number of factories. Information technology’s worth noting that the α7C camera we used to review this lens as well carries a ‘Made in China’ label. Sony’southward Japanese design facilities would be responsible for the design of both products and Japanese staff would oversee the manufacturing processes.
The Iron 24-240mm lens is solidly built and also dust- and moisture-resistant. Perhaps surprisingly, it feels comfortable on the small α7C camera body, largely because much of its weight is towards the camera cease of the butt.
The lens consists of an outer barrel plus two blackness polycarbonate inner barrels that extend when the lens is zoomed in. At the 240mm position, roughly 70 mm is added to the overall length. The front element does not rotate, assuasive angle critical attachments to exist used without hassles while zooming.
There are merely two control surfaces on the outer barrel: a 50 mm wide zoom ring towards the front and a 13 mm wide focusing ring behind information technology. Both rings have ribbed rubber-like grip bands and the zoom ring ends in an unribbed, v mm broad band on which focal length marks for the 24mm, 35mm, 50mm, 70mm, 100mm, 150mm and 240mm positions. These are lined upwardly confronting a white mark on the seven mm wide fixed department of the lens immediately behind the zoom band.
Equally is usual with extended-range zoom lenses, the maximum and minimum aperture settings change every bit you zoom in, as shown in the table beneath. Diffraction is likely to reduce image sharpness from near f/16 on, so there’s no real advantage in using smaller discontinuity settings.
|Maximum discontinuity||Minimum discontinuity|
Because focusing is driven from the photographic camera, the focusing ring turns through a full 360 degrees when power is shut off. This arrangement as well ways there’due south not much tactile feedback when you use manual focusing.
Behind the focusing ring, the lens butt slopes in to end in a direct section about 5 mm broad, which ends in the metallic mounting plate. There’s no zoom lock but the lens assembly is relatively tight then it’due south probably not necessary. No other external controls or displays are provided.
The inclusion of built-in optical stabilisation partly accounts for its 780 gram weight, although general build quality is amend than average for this blazon of lens. The solid metal mounting plate fits snugly to the photographic camera body.
One nice characteristic of this lens is the inclusion of a lens hood, which is often an optional extra with kit lenses. The petal-shaped hood is like shooting fish in a barrel to fit and can be reversed on the lens for transport.
Extended-range zoom lenses are non expected to deliver top-quality performance only they will earn marks for consistency and a relative lack of aberrations. Every bit tested on the α7C, the Atomic number 26 24-240mm f/iii.5-six.3 OSS sample rated as slightly to a higher place average in both respects. The graph below shows the results of our tests beyond the lens focal length and apertures ranges.
As expected, JPEG files showed slightly lower resolution than would exist expected for the 24-megapixel sensor in the review camera merely resolutions were acceptably consistent across the zoom range. Edge softening was much as expected for a lens of this type.
Because our Imatest tests were conducted with all the in-camera corrections enabled, we too checked a option of raw files captured simultaneously to identify areas that were potentially problematic. The raw files nosotros measured turned in resolutions that ranged from slightly in a higher place their equivalent JPEGs to substantially higher. Only they also showed chromatic aberrations required some correction.
Fortunately, lateral chromatic aberration is corrected automatically in the camera so low values are expected in JPEG files, although we found traces of coloured fringing in some JPEG shots in loftier contrast areas. The graph below shows lateral chromatic aberration in JPEGs remained well within the lower portion of the ‘negligible’ band for all focal length and discontinuity settings. (The red line marks the border between ‘negligible’ and ‘depression’ CA.)
Considering both vignetting and rectilinear distortion are automatically corrected by the photographic camera’s JPEG processing, we had to assess these potential problems past looking at uncorrected raw files. Vignetting was obvious in uncorrected raw files, particularly at the 24mm focal length, where in that location was strong corner darkening. With all the other focal lengths, vignetting was less astringent, although it declined with increasing focal length.
It’s common to run across rectilinear baloney in lenses of this type so some degree of distortion was expected in uncorrected files. While severe barrel baloney was seen in uncorrected raw files at 24mm, information technology was relatively depression by 35mm and at 50mm it had segued into slight pincushion baloney, which increased as the lens was zoomed in.
Backlighting was handled very well by the review lens, even though it was supplied without the regular lens hood. We found no evidence of flare artefacts and ghosting and flare were negligible, even when the light source was inside the frame. Unlike other aberrations, flare isn’t corrected automatically in the photographic camera, so this is a proficient effect.
Autofocusing was ordinarily fast and accurate, including when the lens was used for recording movie clips. The only faltering we found was when moving quickly from wide-bending to full telephoto position, where some hunting for focus occurred. This is understandable, given the distance range that had to be covered.
Bokeh at the widest apertures was much equally you’d await from a lens of this type. Defocused areas appeared relatively choppy at 24mm and nosotros establish some outlining around brilliant highlights at longer focal lengths.
Picture bending: 61 degrees to vi degrees l minutes
Minimum discontinuity: 22-40
Lens structure: 17 elements in 12 groups (including v aspherical and one ED elements)
Lens mount: Sony FE mountain
Diaphragm Blades: 7 (round aperture)
Weather resistance: Dust and moisture resistant
Focus drive: Piezoelectric linear motor
Stabilisation: Optical SteadyShot
Minimum focus: 50 cm at 24mm; 80 cm at 240mm
Maximum magnification: 0.27x
Filter size: 72mm
Dimensions (Diameter x L): lxxx.5 x 118.five mm
Weight: 780 grams
Standard Accessories: Forepart and rear caps, lens hood (ALC-SH136)
Distributor: Sony Australia; 1300 720 071
Based on JPEG files taken with the α7C camera.
Based on CR3.RAW files converted into 16-bit TIFF format with Sony’s Imaging Edge Desktop software.
Vignetting at 24mm f/three.5.
Vignetting at 35mm f/4.0.
Vignetting at 50mm f/4.5.
Vignetting at 70mm f/five.0.
Vignetting at 100mm f/5.half dozen.
Vignetting at 150mm f/half dozen.three.
Vignetting at 240mm f/6.3.
Rectilinear distortion at 24mm.
Rectilinear distortion at 35mm.
Rectilinear baloney at 50mm.
Rectilinear baloney at 70mm.
Rectilinear distortion at 100mm.
Rectilinear distortion at 150mm.
Rectilinear distortion at 240mm.
24mm focal length, ISO 100, 1/200 second at f/ix.
240mm focal length, ISO 125, 1/400 second at f/8.
240mm focal length with 2x Clear Image Zoom, ISO 125, 1/250 2nd at f/eight.
240mm focal length with 4x digital zoom, ISO 125, i/500 second at f/viii.
Strong contre-jour lighting; 24mm focal length, ISO 100, ane/g second at f/9.
Backlit scene; 24mm focal length, ISO 100, one/400 2nd at f/9.
Crop from the above paradigm magnified to 100% to prove slight fringing and edge softening.
Close-upwards at 24mm focal length, ISO 125, 1/200 second at f/7.1.
Shut-upwards at 240mm focal length, ISO 125, 1/320 2d at f/7.i.
Bokeh at 24mm focal length, ISO 100, 1/grand second at f/3.five.
Bokeh at 240mm focal length, ISO 100, one/320 second at f/6.3.
Close-up at 240mm focal length; ISO 100, 1/320 second at f/6.3.
240mm focal length, ISO 100, 1/500 second at f/8.
240mm focal length, ISO 100, one/250 second at f/8.
240mm focal length, ISO 100, 1/320 second at f/9.
240mm, ISO 640, one/800 2d at f/8.
240mm focal length, ISO 640, 1/500 2d at f/6.3.
240mm focal length, ISO 800, 1/100 2nd at f/8.
200mm focal length, ISO 800, 1/1250 second at f/8.
240mm focal length, ISO 640, 1/800 2d at f/vii.i.
80mm focal length, ISO 640, i/250 second at f/eight.
35mm focal length, ISO 640, 1/640 2d at f/8.
152mm focal length, ISO 64, 1/xxx second at f/8.
Samples from video clips can be found with our review of the Sony α7C camera.
RRP: AU$1479; United states$1050
- Build: 8.8
- Treatment: viii.8
- Image quality: 8.8
- Autofocusing: 8.8
- Versatility: nine.0