Sony SEL35F28Z E Mount Full Frame Sonar T* FE 35 mm F2.8 Zeiss Prime Lens - Black

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These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data. In terms of autofocus for movies, the 40 2.5 is smooth, quiet and confident. In comparison the Sigma 45 2.8 also refocuses smoothly and quietly in movies, and now that it’s in AFC mode, the distracting hunting seen on the AFS test earlier has gone. So effectively a draw here. Optics: The Sony FE 35mm f2.8 ZA has 7 elements in 5 groups (including three aspherical elements). The Sony FE 35mm f1.4 ZA has 12/8 elements/groups, the Zeiss Batis 9/8, and the Samyang 7/6. [+]

This works on all full-frame and crop-sensor Sony E-mount cameras, which are the NEX and A7 series, among others. The lens focuses in around 0.5 sec on a Sony A7R II from infinity to 0.43m (1:10 magnification), which is fast. The Sony FE 35mm f1.4 ZA lens is equally fast while the Zeiss Batis is even faster at 0.35 sec. The focus ring is 16mm wide. It moves very smoothly and can easily be operated with one finger just like other mirrorless lenses with focus by wire operation.Stop down to f/4 for a noticeable resolution and especially contrast increase for impressive image quality. The 35mm shows an unusual distortion profile, with somewhat pronounced barrel distortion that appears only towards the corners of the frame (a 1:1 crop from the centre would look near-perfectly corrected). This distortion will be visible in geometrical compositions such as architectural shots, and require profiled corrections in post-processing. Looking at the specs and measurements, the Sony FE 35mm f/1.8 Lens vs. Sony FE 35mm f/2.8 ZA Lens comparison shows the f/2.8 amazingly weighing half as much With the exception of a small number of specialty lenses, the wide aperture bokeh in the corner of the frame does not produce round defocused highlights with these effects taking on a cat's eye shape due to a form of mechanical vignetting. I often press whatever lens I'm reviewing at the time into the around-the-house, walk-around, general-purpose lens role and 35mm usually works very well for this.

If this 1,200×900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 27 × 40" (67 × 100 cm). Spherical aberration along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration but is hazier) are other common lens aberrations to look for. To find out how the Sony FE 35mm f2.8 ZA performs I tested it against the Sony FE 35mm f1.4 ZA and the Zeiss Batis 40mm f2.0 CF on the 42MP A7R II body and also compared it to the Sigma 35mm f1.4 Art. So if you’re looking for a mild wide-angle prime for your Sony mirrorless camera, you’ve come to the right place! Spherochromatism, erroneously called color bokeh by laymen, isn't usually seen in slow wide-angle lenses, but I can see some in this lens. If this 1,200×900 pixel crop is about 12" (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 53 × 80" (1.35 × 2 meters).

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Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light which can be oriented either away from the center of the frame (external coma), or toward the center of the frame (internal coma). The only issue I could see are some onion rings which can appear in critical situations. Sony a7ii | Zeiss FE 2,8/35 | f/2.8 Sunstars One stop of shading is the amount often used as the visibility number, though subject details provide a widely-varying amount of vignetting discernibility.