Yes, the Sony FE 28mm f/2 is
that much wider. Uncorrected for distortion it's probably a 26mm
lens, but correcting for said distortion will eat that 2mm up. Sony
planed on using software distortion with this petite lens,
as well as vignetting correction. Typically I ignore some distortion,
but the Sony doesn't have some distortion, it has a lot. In real
use I'd correct it, so the corners would be stretched and look even
worse than they do in the uncorrected crops used in the test.
Center crops at 1/6400 f/2.8
Thirty-four years. That's how
much older the Nikon 28mm f/2.8 Ai-S is. Remarkably similar in the
center although I'd give the venerable Nikon the nod. The sharpness of
the Sony extends more gracefully to the
extreme corner, but the Nikon sharpens considerably faster as it moves
away from the very extreme corner, just look at the porch railing.
Both at 1/6400 f/2.8
Vignetting is so similar at
skip the overall view and move on to the crops.
The light and especially
the dry grass and trees make things so different that it's tough to
judge, but I don't see a significant sharpness difference here
Very different, on the
Nikon look at the sharp porch railing and purple CA on the edge of the
building, and the sharpness falls off past the power line. The Sony is
less sharp overall, but doesn't have CA and the lesser sharpness
the very corner.
Off center crop at 1/1600
Similar to f/4 but the
Nikon continues to improve into the corner. Except for those last 50
pixels it's killing the newer lens.
at 1/800 f/8 for either lenses so we skip to just off center crops.
At f/8 the Nikon really
starts to sing while the Sony looks similar, nice but still not crisp.
Diffraction takes a toll at f/11 and they all look the same in the
center, and quite similar in the corner.
It's almost more
interesting to see how the Sony FE 28mm f/2 changes from f/2.8 to f/11
in the corner - really not an incredible amount.
distance wide open with the 28mm f/2.8 AIS.
infinity distance the Sony FE 28mm f/2 is really nothing too
impressive. Decent sharpness but it fades in the corners which never
really sharpen up, lots of distortion but minimal CA. Infinity is just
one side of the store, let's take a look at the Sony at shorter
Minimum focus distance
and f/2 1/50 ISO 400 on the A7
Bokeh is a strong
point for the Sony FE 28mm f/2
Sony A7, Sony 28mm FE @ 1/500 f/2 ISO 100
It has a great look, here at f/2.2, this image is already cropped considerably.
Sony A7, Sony 28mm FE @ 1/4000 f/2.2 ISO 100
Fantastic flare resistance.
Sony A7, Sony 28mm f/2 @ 1/400 f/4.5 ISO 100
This image shows just how tricky depth of field can be with this lens, not how it's slightly back focused even at 50' and f/2.5
Sony A7, Sony 28mm f/2 @ 1/2000 f/2.5 ISO 100
the end of testing my feelings about the Sony FE 28mm f/2 are rather
ambivalent. As mentioned before the bokeh is in general very nice for a
wide angle. It has moments of glory and frusteration, mostly do to
oddly shallow depth of field and poor infinity performance. In the end
it's not the end all be all 28mm f/2, that
has yet to be found. For landscape the Nikon Nikkor 28mm f/2.8 Ai-S
outperforms it, but then the Nikon is outclassed for up photojournalist
style work because of the Sony's superior bokeh, AF and subject
separation at f/2. I was hoping to own just one 28mm lens and
unfortunately, this isn't it.
Sony A7, Sony 28mm f/2 @ 1/400 f/2 ISO 200
Here at f/4 we see how the background still has fantastic blur for a wide lens.
Sony A7, Sony 28mm f/2 @ 1/50 f/4 ISO 400
On a tripod at 1/8 f/18 ISO 100
A whole new round of testing in Test Two.