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Poor people can play full-scale! Sony A7 series most cost-effective lens evaluation article 1: Minolta old mirror "small three yuan" of the AF17-35mm f2.8-4
**Foreword**
Those who have ever played with a camera might have heard of Minolta. Although the name has become less common over time, it once stood for excellence in the photography world. Even today, the Minolta X700 is still widely used by many photographers.
The camera industry has always been tough, and companies that prioritize quality often struggle to survive. Minolta and Pentax were two of the most sentimental brands in Japanese photography, both thriving during the film era. However, with the rise of digital cameras and the increasing demand for affordability, the landscape changed dramatically. In the film era, camera lenses were mostly made of metal, offering a solid feel. But as the market evolved, some brands started cutting costs to capture more customers—Canon and Nikon did this best and quickly rose to prominence.
Pentax and Minolta, on the other hand, remained relatively conservative, resisting the trend of cost-cutting. While Pentax still exists today, it has shifted towards being more of a "paint factory," surviving mainly in niche markets focused on nostalgia and value. It even sold its camera division to Ricoh, but the brand still lives on.
Minolta had a harder time. It first merged with Konica and then completely exited the camera market, selling its business to Sony.
Sony took over Minolta’s camera division and introduced the first single-lens reflex (SLR) camera without a mirror, followed by the micro-four-thirds system, which significantly reduced the size of interchangeable lens cameras. The well-known A7 series is a full-frame mirrorless camera, making high-end photography more portable and affordable.
However, despite its early success, the lens ecosystem for Sony’s system wasn't fully developed at first. Compared to Canon and Nikon, the cost-performance of full-frame lenses was lower, and there was limited support from third-party manufacturers like Tamron or Sigma.
But Sony's advantage lies in its short flange distance, allowing users to mount a wide variety of lenses. This opens up countless options for creative shooting. Unfortunately, most of these adapted lenses require manual focus, which can be frustrating for portraits or fast-moving subjects.
Still, Sony’s acquisition of Minolta wasn’t just a business move—it was a technical continuation. The A-mount and E-mount systems are compatible, and Minolta’s autofocus lenses can be used directly on Sony’s mirrorless cameras.
That said, the E-mount’s card slot isn’t universal. However, Sony has not left its users hanging. The fourth-generation LA-EA4 adapter ring now allows Minolta’s autofocus lenses to be mounted on the A7 with excellent focusing speed.
Huh? It seems I've gone off-topic a bit. Let's get back to the main point.
Minolta had a range of excellent autofocus lenses, and among them, three stand out: the so-called “Small Ternary.†These lenses are known for their high quality and affordable prices.
They are:
- AF Zoom 17–35mm f/2.8 (22)–4
- AF Zoom 35–70mm f/4 (22)
- AF Zoom 70–210mm f/4 (32)
These lenses are called “small ternary†because they offer great performance at a very reasonable price. I currently have all three in my collection (or at least close enough), and I want to give you a hands-on review.
The first one we’ll look at is the **AF Zoom 17–35mm f/2.8 (22)–4D**, also known as “Kemei†due to its production during the Konica-Minolta merger.
Equipment used: Sony A7 with LA-EA4 adapter.
**Price**
Since it's a budget-friendly full-frame lens, price is important. This lens is the most expensive of the small ternary, but how expensive is it exactly?
Looking at second-hand listings, the price usually hovers around 2000 yuan. That’s not bad at all for such a versatile lens.
**Exterior**
[Image 1]
[Image 2]
[Image 3]
[Image 4]
[Image 5]
[Image 6]
I have it in hand, except for the rear cover. The lens is quite large, with a 77mm filter thread. The body is made of plastic, and the zoom and focus rings are wrapped in rubber. The rotation feels smooth and satisfying.
You can tell it’s built to last.
**Focusing**
Since it's an older lens adapted for use on a modern mirrorless body, I was a bit worried about the focusing speed. Let’s see how it performs.
Tested under low-light conditions, the focusing speed was surprisingly good. Even in poor lighting, it focused quickly and accurately.
**Sharpness**
Here are the results:
[Image 7] – 17mm
[Image 8] – Center at 100%
Even when fully open, the resolution is very high, and each aperture setting offers similar sharpness. The performance is impressive.
[Image 9] – Edge at 100%
The edge sharpness is decent but not outstanding.
[Image 10] – 24mm
[Image 11] – Center at 100%
[Image 12] – Edge at 100%
[Image 13] – 35mm
[Image 14] – Center at 100%
[Image 15] – Edge at 100%
**Bokeh**
Although it's a wide-angle lens, with a maximum aperture of f/2.8 and a minimum focusing distance of 30cm, it can create nice blur. The circular aperture produces soft, round bokeh, giving a pleasing aesthetic.
[Image 16] – 17mm at f/8 to f/2.8
[Image 17] – 24mm at f/8 to f/3.2
[Image 18] – 35mm at f/8 to f/4
**Flare Control**
Despite being an older lens, the flare control is surprisingly good.
[Image 19] – 24mm at f/16 to f/3.2
**Color**
Minolta lenses are known for their "oily" color rendition. However, this lens is less oily compared to others in the small ternary group.
[Image 20] – 17–35mm
[Image 21] – 70–210mm (comparison)
**Distortion**
At 17mm, there's visible barrel distortion and a slight vignette.
[Image 22] – 17mm end
By 24mm, the distortion is much less noticeable.
[Image 23] – 24mm
At 35mm, there's a slight pincushion distortion, but it's barely visible.
[Image 24] – 35mm
**Close-up Performance**
The closest focusing distance is 30cm, which is quite close for a wide-angle lens.
[Image 25] – 17mm end
[Image 26] – 35mm end
**Summary**
1. The lens is relatively large, which affects portability, but the build quality is solid.
2. Focus speed is fast and reliable.
3. Center sharpness is excellent, while edge sharpness is average.
4. Bokeh is soft and pleasant.
5. Flare control is very good for an old lens.
6. Color rendition is less oily than other Minolta lenses.
7. Distortion is more noticeable at 17mm, but manageable at 24mm and 35mm.
8. Close-up performance is good for a wide-angle lens.
Overall, this lens is definitely worthy of its title as one of the “Small Ternary.†At a second-hand price below 2000 yuan, it’s an absolute steal for budget-conscious photographers.
Just saw the DXO score for the FE 16–35mm F2.8 GM, and it’s the highest in its class! Beating many SLR competitors—this is truly a pride of the E-mount system!
But looking at the price on Jingdong, it's 17xxx... Still, I know my heart will keep playing with it.
Well, next time I’ll take a look at the AF Zoom 35–70mm f/4 (22), another member of the small ternary. It’s just as affordable and worth every penny.