Putting inside as many as four elements made of low dispersion glass might suggest that the producers were serious about fighting off longitudinal chromatic aberration. The photos we got indeed prove that the Sony instrument doesn't have any problems in this area – a round of applause!
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Now let's check how the Sony FE 70-200 mm f/4 GM OSS II corrects lateral chromatic aberration – two graphs, presented below, show the performance on the edge of the APS-C sensor and on the edge of full frame.
The middle of the focal range fares the best here – results are very low no matter what aperture you employ. The focal length of 200 mm is just slightly weaker and in its case the results are really on the borderline of low and very low levels. Strange things can be observed at the shortest focal length for a change. The producers tried to fight off aberration in the range most often used by photographers so from f/4.0 to f/5.6 but on more pronounced stopping down this aberration starts to increase to high levels. Such a performance leaves bad taste in your mouth, especially as you deal here with a telephoto instrument with a moderate zoom ratio.
A7R III, RAW, APS-C, 70 mm, f/16.0
A7R III, RAW, FF, 135 mm, f/5.6
Spherical aberration
First photos, presented in this chapter, don't feature any focus shift effect – it seems spherical aberration is not present. Still, its influence is visible in case of circles of light we got before and after the focus. Both at 135 mm, and at 200 mm the second circle has an accented, lighter rim. It means that, after all, spherical aberration hasn't been corrected perfectly well.
