Whichever brand of camera you have few can complain at the choice of zooms available but there’s real dearth of primes for APS-C format DSLRs. Sony’s range leans heavily on the Konica Minolta legacy but the DT 30mm f/2.8 Macro SAM is a completely new design. Used with APS-C sensors the 30mm matches the field of view of a 45mm on full-frame, a handy focal length for general shooting as well as having the flexibility of a macro to achieve 1:1 (life-size) view in a petite package. Attached to Alpha 450 a 14.2-megapixel camera with a fixed screen, the 30mm Macro has a similar finish and is a good match in terms of size and balance.

The ergonomics are excellent too, even if the exterior is somewhat frugal-looking.The focus ring is thin, for example, but there’s a rubber ring around the leading edge that’s used both to assist focus and absorb the odd bump or two. It lacks any depth of field scale too, sadly something that’s often missing on much more expensive macro lenses. And, there are scant few niceties – there’s no focus limiter, nor declutching of the focus ring during auto-focus – meaning you have to be careful not to obstruct the ring as spins back and forth.

Elsewhere there are signs of the lens being made to a tight budget, as well. It has a plastic barrel and a polycarbonate mount, which accounts for it weighing next-to-nothing. And it uses a front group to focus, at times you’ll be working just a couple of centimetres from the front element, as the barrel extends 2cm. Lighting subjects at this distance can be tricky as can using the optical viewfinder to compose and focus. However, I suspect this lens has been made for the legions of snappers who’ve become accustomed to using the incredible close focusing abilities of digital compact cameras with the benefit of live view.  When matched with one of the Sony models boasting a titling screen, such as the A550, the DT 30mm would come into its own for low-level close-ups.

For all that, the lens is a good performer optically. At f2.8 there’s some softening and vignetting at the edges but chromatic aberration is very low, disappearing when stopped down. While lacking a hood the front element is exposed, but both flare and ghosting are minimised by some very effective internal baffles and lens coatings. Distortion is very low too, and with a flat field it’s an ideal lens for copying. As for sharpness, the corners aren’t far behind the centre throughout the aperture range and performance at the maximum aperture is good. You’ll need to stop down a way to get the best from it, indeed, you won’t see much of an improvement in image quality till f8. But it’s all there, in reserve, if you need it, and handy if you intend to use the lens as an all-rounder. From f11 you’ll likely notice the gentle fall away in performance, but there’s still good resolving power at f16 to combine additional depth-of-field for macro shots.

But perhaps where it scores so highly is, as a so-called walk-around lens. If you’re a Sony DSLR owner you’ll benefit immediately from the camera’s built-in image stabilisation, plus the natural field of view combined with the macro ability makes the little DT 30mm an essential purchase. While it may have a few shortcomings, it’s an incredibly likeable lens and with a street price of around £130 you won’t ever feel like you’ve been short-changed.

Final Verdict Sony’s 30mm Macro may have a plastic barrel and mount and look unconventional yet it’s image quality and versatility is easily worth its asking price. OVERALL

Debbi’s passionate about all things photographic: from the latest digital kit to the greatest techniques to capture a scene. She’s been at the helm of the photography portfolio of magazines, websites and more for three years.