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Recently I have tested the Sony 4.5-5.6/70-300mm SSM G extensively. I've compared it to eleven "classics" from the Sony/Minolta system - wide open, at f5.6, and f11, using the A900 FF DSLR. I would like the summarize the findings as follows:
At f=100mm the best detail resolution comes from the Minolta 2/100mm. However, the Sony 70-300mm SSM G, the Minolta/Sony 2.8/100mm Macro, the Minolta AF 4-4.5/28-135mm, and the Minolta AF 2.8/80-200mm APO all are very close to the 2/100mm. All these lenses have very little (if any) CAs, and both contrast and detail resolution even in the corners are very good. The three classical Minolta tele zooms from the first ("beercan") generation have less detail resolution in the corners (even when stopped down to f8): Minolta 4/70-210mm, Minolta 4.5-5.6/75-30mm (I), and Minolta 4.5/100-200mm. The only lens checked in this test which can't be recommended for use on the Alpha 900 (at f=100mm) is the Minolta AF 3.5-4.5/35-105mm (first generation, full metal body). I have re-examined the 3.5-4.5/35-105mm using a second copy - and the result was the same.
At f=200mm the 2.8/200mm APO is clearly the best lens. Both the 2.8/200mm and the Sony 4.5-5.6/70-300mm SSM G haven't any CAs. Nothing, nada, niente, not even in the extreme corners, which is quite astonishing. The detail resolution of the Sony 4.5-5.6/70-300mm SSM G at f5.6 is very good, and excellent at f11, but slightly inferior to the 2.8/200mm APO. All other zooms tested here can't match the 70-300mm G SSM (even though I am quite sure the MinAF 2.8/70-200mm APO G SSM would be on par with the 70-300mm SSM G - my copy is in Japan at the moment for re-adjusting the zoom lens mechanism). (IMAGES BELOW)
At 300mm (center) the 70-300mm G SSM has the same detail resolution as the MinAF 2.8/300mm APO at f5.6. Again this is very impressioning. In the corners, however, the 70-300mm SSM G doesn't reach the levels of the (much more expensive) prime. The "big beercan" AF 4.5-5.6/75-300mm is even worse: Wide open the center is as soft as the corners, and even at f11 it just reaches acceptable levels.
OK, the 70-300mm SSM G isn't fast. But in terms of optical performance it certainly deserves the "G" rating.
The test situation was very low in contrast - on purpose, since in such situations the differences between the lenses becomes more obvious.
The distance to the village is about 7km, to the mountain quite exactly 10km.
(SCROLL DOWN FOR THE f=300mm IMAGES)
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Again the old, small, and relatively lightweigth prime from 1989 shines: wide open at f2.8 it delivers better results than any zoom stopped down to f8.
Stopped down the details come clear, without any CA's, and without disturbing differences between radial and diagonal MTFs. A dream lens, only eqalled by the Zeiss Sonnar ZA 1.8/135mm.
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While the Sony 4.5-5.6/70-300mm G SSM doesn't reach the levels of the legendary 2.8/200mm, it is the best of the tested zooms. At f5.6 the corners seem slightly out-of-focus, but that's simply the reuslt of slightly curved image field (the center of this image was perferctly in focus).
At f8 the image has quite a lot of details, no CAs at all (much better than the MinAF 2.8/80-200mm APO!). The only zoom in our system with better results would be the Sony/Minolta 2.8/70-200mm APO G SSM; my sample is, however, in Japan at the moment ...
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Wide open (at f2.8) the Minolta AF 2.8/80-200mm from 1987 is slightly soft even in the center, and considerably more soft in the corners.
Stopping down to f8 increases the detail resolution to very good (but not excellent) levels; at f=200mm some CAs remain visible (only one AD lens).
The 2.8/80-200mm APO has an excellent performance at f=100; comparable to the 4-4.5/28-135mm, and only slightly inferior to the excellent Minolta AF 2/100mm.
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At f=200mm the "big beercan" is clearly the best of the three Minolta AF classicals. Wide open (at f 5.6) the "big beercan" has some problems - while the center is perfectly OK, the corners remain soft. Vignetting is lower than with the AF 4/70-210mm.
Stopping down to f8 or better f11 resolves most problems apart from the CAs; they are comparable to the 2.8/80-200mm APO.
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The well known AF 4/70-210mm is a good performer in the 80-135mm range, but at 200mm there are some limits. Even stopping down to f8 doesn't really improve the situation. |
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Finally the last of the three "beercans", the small 4.5/100-200mm. Again, the image is quite sharp in the center, but the corners are far from being perfect. While the lens is quite well rated in the internet (mainly based on experience with APS-C-DSLRs), I would not recommend it for use on the Alpha 900. |
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The Minolta AF 2.8/300mm APO G HS (same optical design with two large AD lens elements as the previous AF 2.8/300mm APO from 1986) is clearly the best of the three lenses tested. At f2.8 the corners are similar to the Sony 4.5-5.6/70-300mm at f11. The lens delivers its best results at f5.6; therefore I have shown at this aperture (instead of f11). We can see some chromatic aberrations (CAs), but the overall performance is quite OK even at the 24MP Full Frame sensor.
Be aware that the current Sony 2.8/300mm SSM G lens is a different optical design (based on the Minolta 2.8/300mmAPO G SSM from 2003). The 2.8/300mm G SSM is said to have an outstanding performance. It has three large AD lenses, a higher detail resolution, much less flares than the Canon counterpart, and a built-in SSM ultrasonic AF motor |
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The center resolution of the Sony 4.5-5.6/70-300mm G SSM is outstanding. Wide open at f5.6 there are as many details as with the 2.8/300mm stopped down to f5.6 (results not shown here); here the lens performs much better than the elder Minolta 4.5-5.6/75-300mm (I).
Not entirely surprising, the full frame corners can't really compete with the much more expensive 2.8/300mm prime. Wide open they are quite soft, and vignetting is an issue. At f11 however the detail resolution is good, vignetting has gone, and CAs are well controlled.
While for portrait & reportage the Sony 70-300mm G SSM can be used wide open even on FF DSLRs, it should be stopped down to f11 for landscapes.
If used on APS-C-DSLRs, the lens is very good at all focal lengths - even wide open.
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The Minolta AF 4.5-5.6 is said to be one of the best telezooms from Minolta (along with the 2.8/80-200mm APO, the 4.5-5.6/100-300mm APO and the 4.5-6.7/100-400mm APO). The lens hit the market in 1986 and was priced well above the widespread AF 4/70-210mm (CHF 1090.-- instead of CHF 390.--). While this lens is quite good at f=200mm, it lacks detail resolution and contrast at f5.6/300mm. Even in the center the details are "mushy".
Stopped down to f11 the situation improves clearly, but the lens doesn't reach the levels of the 2.8/300mm at f2.8 ...
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