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Recommendations for great macro lenses w/ Sony A7II


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Hey there everyone,

I'm currently in the market looking for a great macro lens. The new FE 50mm F2,8 Macro looks promising but seems to be veeery slow in terms of af. And I unfortunately haven't seen any test images, yet.

I'm curious if anyone out there is already shooting a great (lens(+adapter)+body) combo for macros with their A7II.
 

Cheers,
zʇɹɯ
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Got mine just last Friday and, yes, the AF is annoying and might be too noisy for video mode. Still putting it though some tests but I can testify the macro is exceptional, per initial impressions. I'll post a few but upload limitation will affect file size. One thing I did notice shooting macro that 2.8 gave me a great image but when I went f16 the image got shot to hell. Still scratching my noodle over that one.

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It's kind of strange that you're asking about a macro lens for an A7 model and only mention the Sony 50?

 

Ummm, the elephant in the room is the fantastic Sony FE 90mm 2.8 macro. As fast focusing as any macro lens can be expected to be and extremely sharp.

 

Beside the FE 90, I have used my older Minolta 50mm and 100mm 2.8 macros with a LA-EA4 adapter on my A7II and have achieved very nice results.

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........ One thing I did notice shooting macro that 2.8 gave me a

great image but when I went f16 the image got shot to hell. Still

scratching my noodle over that one.

   

Small formats are diffraction limited. You went past the limit.

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.................. Sony FE 90mm 2.8 macro. As fast focusing as any macro lens

can be expected to be and extremely sharp.

 

Beside the FE 90, I have used my older Minolta 50mm and 100mm 2.8 macros

with a LA-EA4 adapter on my A7II and have achieved very nice results.

  

Very handy pair. Mine is similar except instead of your 100/2.8 Minolta my

90/2.8 is a Sigma. The 50/2.8 is unusual for that vintage [Maxxum era] in

that the "1:1 adapter" is built-in .... focuses from infinity to 1:1 continuously.

Add a 24 and you have a perfect trio of primes. My 24 is also Maxxum era. 

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Altough I am not an optical engineer, I will try to clear your view with some issues that are not usually discussed.

One of the main trends in the optical formulas of Sony E and FE lenses is the internal focus. I suspect that Sony's optical designers regard this as the state of the art in their field, or at least the main goal to get the best behavior of the lenses in practical use. I believe that for this feature the lens needs more elements and a larger barrel which so many complain at but don't really understand why.

The first benefit is that the lens size keeps constant from infinite to closest focus. That is great for macro lenses and I will come to it later.

Another great property is that it reduces the focus breath, which means that when you set the field of view that you wish (fix the distance to the subject), that field will remain constant as you turn the focus ring (or AF). If you read the release of the new Sony E PZ 18-110mm f/4 G OSS you will see how they cared to design a parfocal zoom without focus breath for video/movie makers. The resulting price increase, if we ignore other pricing or marketing policies, is quite impressive: $3500 aganst $600 for the 18-105 G (which I have and do love).

The internal focus may be regarded as an upgrade of the floating element, which was an achievement for wide angle and macro lenses. This is a provision to correct for the field curvature as you get closer to the subject. We learn that with single optics you get flat field in just one point of the focus range; farther or closer to that point you get concave or convex field. The problem is minimal within the focus range of the manufacturer, in other words this is the reason for the limit of closer focus of any lens. Which means that when you use an extension tube you will get soft edges on flat subjects. Since long the good macro lenses use the floating element to correct for this and if any extension tube is recommended it comes with extra lenses to correct for the closer focus range.

All that said, it is clear that I mean that the best choice is the FE 90mm f/2.8 Macro G OSS (the new 50 seems to use the oldfashioned cheap design). Optical quality has been atested by many reviwers. Optical stabilization is a great feature for handheld (or even critic tripod setting) macro work. However, for me, the internal focus is the main differential feature that makes this lens far ahead from the other options.

When you mount the camera on a tripod or macro stand, getting closer to your subject may be tricky. Autofocus fights back and forth, so manual focus is easier to use. But, as the lens tube extends trying to acchieve focus, the subject field changes, so you must reset your tripod or stand. In repro work it is better to calculate the reproduction ratio, fix the lens focus to that ratio then move the stand head (the whole camera) until focus is acchieved. The same is recommended for handheld macro. That is for old fashioned designed lenses. With internal focus we do not expect autofocus fighting and it is even easier to use manual focus after deciding the distance.

In fact, the internal focus works in a way that the aparent focal lens is changed as you go from infinite to closer focus. The 90mm Macro G closer focus is 28cm at 1:1. That is about the value of a 70mm lens (4x70=280). It means that while you are focusing closer, the lens is actually zooming out proportionaly, which is the reason that the field keeps constant.

Things may not be absolute as all this explanation, but in practice nothing compares to the new lens design, specially with the use of new glasses available, aspheric molding and the advanced computer design.

Get the ninety! It is worth all this technology, nothing best!

If you had an APSC SONY (A6000, 63000, 65000, A5000, Nex6, 7...) then you would have a second option, the Zeiss Touit 50mm f/2.8 Macro. To confirm my explanation, this is what you find in its description on the seller's site:

 

A complex floating lens system ensures a uniform length when focusing and provides consistently sharp performance. The optical design includes two aspherical elements and two anomalous partial dispersion elements which minimize lateral and longitudinal chromatic aberrations. Its nearly circular 9-blade diaphragm combined with depth of field control enables imaging with a soft, pleasing, out-of-focus background.

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Gilgenberg has a Sigma 105, a good brand which has good reviews. But I couldn't find internal focus on its specifications.

Sigma has two interesting options for Macro tele lens with internal focusing and optical stabilization:

 

Sigma 150mm f/2.8 EX DG OS HSM APO Macro

 

Sigma 180mm f/2.8 APO Macro EX DG OS HSM

The 150 seems to perform better from the tests that I've seen. Then you need adapters, which I don't like. But I should get one A-mount to fit my A99 and maybe my future A99II.

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i have the the Sigma 105mm F2.8 OS with LA-EA4

 

It has awesome fast AF and great IQ and a very good OSS

 

the Sigma 105 mm F2,8 EX Makro EX DG APO HSM IF OS

 

has internal focus,

 

and as said AF is very fast when you use it as Portrait lens 

 

as macro lens it is better to use manual focus 

 

but i think this is for every AF macro lens

 

If you are focused on macro, autofocus is not very usefull. So you can look for an manual focus legacy lens, and the best out there ist Tokina 90 mm f/2.5 also known as Bokina because of its beautifull bokeh.

It is really nice to get such positive recommendations from photographers that are satisfied with the gear they've used for so much time. Very trustful.

I really believe that the Sigma 105 and the Tokina 90 have excelent performance. The OP asked just for that, good experience with lenses (+adapters).

My approach goes rather to the "if I were you" manner. I prefer to discuss the ideal lens for someone that is building up a system to work with.

Then, my first focus is to see if there is a native lens (which fits without adapter, transmits info to the camera and may get in body correction) available with the desired properties.

Adapters are great when you already have a lens that you've used for some time. If you can rely on that lens, it is better to get an adapter for the new system than to buy a new lens and risk discovering that it is worse than the old one. However, using adapters has many drawbacks or limitations when compared with the native lens capabilities. If you dislike some features (noise, focus ring, focus fighting...) in the lens made for the new system, then maybe you are not yet comfortable with it or even you should try other brand (I mean the whole system). A system is not just one camera features, you choose the whole pack or bust. Adapters are good to ease the transition, reducing the cost of it, allowing you to keep expensive and/or reliable lenses, but the final goal for someone that want to profit all the features of the new system is to work only with native lenses (except for unconventional settings), which I mean lenses made for that mount with electronic contacts, be them from the original or independent manufacturers.

Sony has a great FE mount macro lens, the 90mm, one of the best lenses for many of the testers we find online. Its cost (new) is almost the same for any of the independent makers lenses here mentioned plus adapter. Why would someone get other option with limitations just to save 10% or less? While Sigma or Tamron don't provide us native FE lenses we can't count on them (unless, as I've said, we already own one of their great glasses).

Unfortumately, the new Sony 50mm f/2.8 Macro was designed on the oldfashioned way, with no internal focus, the whole barrel moving to get close focus. For that point and the disavantages I've mentioned earlier, I would not recommend it and would rather get one independent with adapter... if Sony didn't have its own native option. Anyway, the Sony FE 50mm may be a good option if you have limited budget.

In my explanation I did not emphasise that while the IF Macro changes the apparent FL in close focus, the perspective is kept, which is great in many aplications, such as repro work. When close (the 90 IF at 1:1) the perspective is the same as that of a conventional 70 mm (at 1:1), not that much different than what you would get with the 50 (minimum distance 28 x 19 cm). So I like to think that you have a lens with multiple behaviors, keeping the ideal point of view in the macro range (for those experienced, the small telephoto, or short long focal [?!] is the ideal FL for close range and repro work).

 

As for my own experience, that's a long story. But to be short:

While I have 1 A7RII and 2 A6000, I still use A-mount (A99) for repro work in the studio. I have the Sony 100mm f/2.8 Macro and a Sigma 70mm f/2.8 Macro. None of the lenses have internal motor or IF. 24 Mp is enough when you make copies of images smaller than 40x60 cm, which is about the native enlargement at 240 DPI. I also copy slides, so with 35mm originals I get similar results as with scanners with 4000 lines. Even so, I am amazed with the release of the A99II, I must get one (while keeping my oldfashioned macros)!

I also use two Mamiya 645 Macro lenses, the 80mm f/4 and the 120mm/f/4 with Mirex Tilt and Shift adapters, for close objects with full control of perspective and (mainly) plane of focus. That way I work like I did with the view cameras (4x5" and 8x10"). For the 4x5" I had and still keep the Rodenstock Sironar Macro 210mm, which gives the same perspective as the 70mm in full frame 35!!! Got it?

For that kind of work in the 35mm format, still done by many professionals, the best Macros shoud be TS, as Nikon (24, 45, 85)  and Canon (24, 45, 90) have on their lines (all have close focus but not true macro). I had the 24mm TS Nikon, but unfortunately the resolution was bad at the edges (beside distortion) so that it was unuseable off center (which means a waste of money). The only practical way to work with these lenses (as with my TS adapters) is in lifeview, then the mirrorless (and SLT) cameras (with focus assist) are best fitted for it.

I also have a Mamiya bellows with full tilt and shift, which combined with adapters and good APO enlarging lenses may render nice views beyond 1:1. However I still need to explore it fully.

Sorry for this self exhibition. Back to the straight answer and my sincere recomendation:

Get the FE 90!

 

All the best.

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Ok,… sorry for being so quiet after setting this thread up. I've been on the road over the weekend and didn't sync my forum-password to my mobile devices.

 

It's kind of strange that you're asking about a macro lens for an A7 model and only mention the Sony 50?

 

Ummm, the elephant in the room is the fantastic Sony FE 90mm 2.8 macro. As fast focusing as any macro lens can be expected to be and extremely sharp.

 

Beside the FE 90, I have used my older Minolta 50mm and 100mm 2.8 macros with a LA-EA4 adapter on my A7II and have achieved very nice results.

 

You are right, that's strange but I will try to explain:

I'm currently using the lovely Zeiss Sonnar® T* FE 35 as my everyday-lens and a Zeiss Batis 1.8/85 for portraits and some studio setups on my A7II. When I'm out in the wild I love to shoot macros from time to time. The 35mm is great but it's a bit too weak when it comes to focusing distance. I mentioned the Sony 50 because on one hand it would fit nicely in between the two focal length and on the other it's a standard (focal length) lens, that would also work well for some spontaneous shots, without the need to switch lenses. If I'd go for a longer focal length I'd be more restricted to portraits and tele shots.

That's pretty much the reason I only mentioned the Sony 50.

If it would exist I'd love a Batis 60mm Macro. The Sony Macro G OSS mit FE 90 mm F2.8 surely is a stellar lens but it's a wee bit too expensive for my taste and doesn't have the focal length I'm looking for.

 

I like the convenience of AF but would be super confident with a pure MF lens. I also been looking at the old Leica R Lenses,… they seem to be a pretty good deal for the price but I cannot manage to find an adaptor that works for that purpose.

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Here's a video of the autofocus and noise generator in action before I return the dog...

 

https://www.youtube.com/watch?v=gbDJib7MvkE

 

 

That AF-C focus pulsing, on a static subject, is fairly normal for a Sony Camera. I have a RX100 which does the same thing. For that focus mode you need a moving target. Not saying its right ... just not a lens problem itself.

 

A comparison of the MTF chart for the Sony 50 Macro and 90 Macro is illustrative, so is the price difference between the two.

 

 

The Milvus 50/2M might be a good alternative, its manual focus, which solves quite a few problems. I'm thinking about that or the 100/2M myself, but want an adapter which has full electric communications with the camera (to activate Focus Assist/Zoom). Don't think such an adapter exists? At least not for Nikon, perhaps Canon ...

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I can affirm, that that AF-C pulsing is pretty normal. I think it's because the camera "awaits" some kind of movement in that focus mode. If you're in the wild and framing a subject while walking AF-C works brilliant (given you have a lens capable of fast AF, like a Sony/Zeiss 35 or Zeiss Batis 85) it also does work great for sporty settings.

Yes, that Milvus 2/50M looks (almost!) perfect for what I'm looking for. I'd also love that Touit 2.8/50M

But both lenses just seem to be work-arounds. If I'd buy a brand new lens I'd rather want it to be a native e-mount and 35mm full-frame instead of buying a brand new Zeiss where I'd need an adaptor or would have to shoot on a cropped sensor.
There is no Batis 50 or 60, yet so there's still hope that a native Zeiss macro might be coming. In the meantime it's the Sony 50M vs 90M I guess – I'd rather go for the 90 in terms of speed and quality but the 50 is more up my alley in terms of focal-length.

 

And then there's that vast amount of legacy lenses and classics. Leica R's are absolutely stunning glass to put in front of your camera only problem is that the required adaptors are pretty much non existent.

 

So,… let's wait and see, I guess. I'll post some images as soon as I have any satisfying solutions at hand regarding the topic.

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.................................

 

And then there's that vast amount of legacy lenses and classics. Leica R's are absolutely stunning glass to put in front of your camera only problem is that the required adaptors are pretty much non existent.

 

 

 

i use Leica R Summiron 90mm on A7S...wonderful lens ..... i use a cheap chinese adapter cost 10 € that work´s great....... there are plenty at ebay

 

i think the Leica Macro-Elmarit-R  2,8/60mm would be great on A7 also as portrait lens

 

very nice is also the Pentax Asahi Super Macro Takumar 50mm 1:4...not as good as the Sigma 105mm or the FE90mm but much cheaper and very compact

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Canon FDn 50mm f3.5 macro + adapter -> under $100 and excellent quality. My personal choice. Also, for about $50 more, the Micro-Nikkor 55mm Ais, either the f3.5 or f2.8 version.

 

I also have the amazing f2.5 90mm Tamron SP for portraits - I've heard the Vivitar Series 1 is just as good, if not better, but I personally don't like the feel of the Series 1 lenses. These come for around $150 - $200 for a good one.

 

The new, low cost Sony 50mm lenses have disappointing AF on my older A72,  so I would avoid them. Decent AF will push the prices up a lot, and is of limited use for macro anyway...

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i use Leica R Summiron 90mm on A7S...wonderful lens ..... i use a cheap chinese adapter cost 10 € that work´s great....... there are plenty at ebay

Sound great! Could you provide some eBay links? Would be great to know which adapter you're using.

 

Canon FDn 50mm f3.5 macro + adapter -> under $100 and excellent quality. My personal choice. Also, for about $50 more, the Micro-Nikkor 55mm Ais, either the f3.5 or f2.8 version.

Thanks for that info! Will definitely take a look at these.

 

 

Any decent images would also be great to see how the final results turn out.

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  • 8 months later...
Guest Jaf-Photo

Check out the old manual Tamron 90mm f2.5. It's a great lens with nice sharpness, colour and bokeh. It's quite affordable too.

 

Another top tip is the legendary "Bokina" lens, i.e. Tokina AT-X 90mm f2.5. Super-smooth focus transitions, hence its name.

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