Amateur Photographer – 13 July 2019

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LENS TEST Testbench

Resolution

Even a cursory glance at our Applied Imaging

MTF tests, measured on the 42.4MP Alpha 7R III,

reveals that this lens is something well above the

ordinary. It’s not just the central resolution that’s

breathtaking, but also how close the corners come

to matching it. This remarkable sharpness also

means that you can happily use the lens at smaller

apertures than you might expect, as there are so

few aberrations to compound diffraction blurring.

Sony FE

135mm F1.8 GM

Curvilinear distortion

Looking closely at our test shots, it’s just about

possible to see a hint of pincushion distortion. But

it’s so mild that you’ll never notice it in practical

use. It’s also easy to correct in raw processing,

while engaging distortion compensation in the

camera’s menu eliminates it from the JPEGs.

Shading

With the aperture set wide open, around a stop of

vignetting is visible, much as we’d expect. But the

gradual fall-off profile means that it’s not visually

objectionable – indeed it will usually enhance your

images rather than spoil them. This vignetting

effect disappears on stopping down to f/2.8.

Centre Corner

f/1.8 f/2.8

SMIA TV = -0.6%

I’ve reviewed a lot of Sony’s premium lenses

over the past couple of years, and the fi rm

continues to impress with its ability to make

near-perfect optics. The FE 135mm F1.8

GM continues this run of form, with its

combination of supreme sharpness and

gorgeous bokeh likely to appeal strongly to

portrait and wedding photographers. I can’t

imagine anyone being disappointed by the

images it produces. Compared to 85mm

alternatives, it’ll give a more fl attering

perspective and greater background blur.

The complicating factor, though, is that

its Sigma and Zeiss rivals are capable

of producing equally fi ne images at a

signifi cantly lower price. So ultimately

you’re paying a hefty premium for desirable

touches such as a physical aperture ring,

and the confi dence of perfect compatibility

with Sony cameras for

both stills and video

shooting. But if you

want the very best

short-telephoto portrait

lens available for Sony

full-frame mirrorless,

this is surely it.

Verdict

Stopped down, the lens gives truly exceptional image quality Sony Alpha 7 II, 1/2000sec at f/8, ISO 100

Price £1,749

Filter diameter 82mm

Lens elements 13

Groups 10

Diaphragm blades 11

Aperture f/1.8-22

Minimum focus 0.7m

Length 127mm

Diameter 89.5mm

Weight 950g

Lens mount Sony E

(full frame)

Data file

GOLD

silently, and unerringly accurately. When
shooting portraits, using Eye AF gave
particularly impressive results. However, on
the older Alpha 7 II, it’s not as fast and is
more likely to hunt for focus in marginal light,
at which point there can be value in limiting
the focus range.
Alternatively, on those occasions when AF
fails, fl icking the switch on the side of the barrel
engages manual focus. This uses a focus-by-
wire system, but Sony’s Linear Response MF
brings a very natural feel to the process, similar
to using a traditional manual prime. If you like
having full-time manual override of autofocus,
simply set the camera to its Direct Manual
Focus (DMF) mode.

Performance
If you’re spending £1,850 on a lens, obviously it
had better be good. Thankfully the FE 135mm
F1.8 GM is, by any sensible measure, totally
spectacular. Indeed it’s diffi cult to imagine how
a lens could perform much better optically.
Sharpness is stupendous, even at f/1.8, to
the extent that for portraits you might fi nd
yourself wishing for a touch of fl attering
softness instead. Engage Eye AF and you’ll
fi nd every eyelash rendered with exquisite
defi nition. The zone of sharp focus fades away
beautifully to defocused blur, with almost no
perceptible colour fringing to spoil the effect.
Out-of-focus areas are rendered with a lovely
smoothness – this lens really is a bokeh
master. Stopped down, fi ne detail is delineated
all the way across the frame. Crucially, the lens
is just as well behaved at all focus distances,
from infi nity to close-ups.
Technically there is, perhaps, a tiny amount
of pincushion distortion, but you’d really have
to go out of your way to see it. Flare resistance
is really impressive, with the lens completely
unfazed by shooting into the light. Thankfully,
though, some vignetting is seen wide open,
to help frame your subject and provide the
characteristic fast-prime aesthetic.