Sony FE 50 mm f/1.4 GM
5. Chromatic and spherical aberration
Chromatic aberration
Photos below show clearly that the Sony FE 50 mm f/21.4 GM doesn't have practically any problems with longitudinal chromatic aberration. Colouring remains slight even at the maximum relative aperture and in out-of-focus areas positioned further away; it certainly won't be noticeable in real life photos. |
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Correction of lateral chromatic aberration is equally good and a graph below presents its performance depending on the aperture value and the detector used in the test.
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The aberration increases on stopping down the aperture and the biggest difference can be noticed when you pass from the maximum relative aperture to f/2.0; then the graph becomes flatter. All values, we reached, never exceeded 0.04% and it means lateral chromatic aberration is very low practically everywhere – a round of applause!
What's interesting, in this category the tested lens also proved to be slightly better than its faster brother that could reach even near 0.07%.
| A7R III, RAW, f/1.4 | A7R III, RAW, f/8.0 |
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Spherical aberration
In first photos of this chapter it would be difficult to notice any focus shift effect. Still, if you take a closer look you can see a slight depth of field shift toward the lens. Additionally, defocused circles of light we got before and behind the focus differ a bit – the second one features a slightly accented rim.Both effects prove that the Sony FE 50 mm f/1.4 GM doesn't correct spherical aberration in a perfect way but the intensity of these phenomena is not especially high. Additionally, by f/1.4 the lens flaunts its excellent sharpness without any characteristic blurry areas that are usually connected to bad correction of spherical aberration. The conclusion is only one: the level of this aberration is medium at most.
| A7R III, f/1.4, before | A7R III, f/1.4, after |
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