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

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Spherochromatism, erroneously called color bokeh by laymen, isn't usually seen in slow wide-angle lenses, but I can see some in this lens. The Sony FE 35mm ƒ/2.8 Zeiss has a close focusing distance of 1.15ft (35cm) with a maximum magnification of 0.12x (1:8.6 ratio), and as such, doesn't provide very good macro performance. Stop down to f/4 for a noticeable resolution and especially contrast increase for impressive image quality. Sony does not publish extension tube specs nor do they manufacture these items, but third-party Sony extension tubes are available.

I saw no ghosting at all but in critical situations you will se some veiling flare. Sony a7II | Zeiss FE 2,8/35 | f/2.8 | developed with default settings in LR Vignetting can be corrected during post processing with increased noise in the brightened areas being the penalty or it can be embraced, using the effect to draw the viewer's eye to the center of the frame. Looking at the specs and measurements, the Sony FE 35mm f/2.8 ZA Lens vs. Sony FE 35mm f/1.4 ZA Lens comparison shows the f/2.8 lens dramatically smaller and lighter than the f/1.4 lens. These f/11 defocused highlights are not showing great quality and the other two examples seem a bit harsh. That this moderately wide angle of view invites a subject distance (perspective) that creates a natural perspective and makes the viewer feel present in the image is one reason.All in all the FE 2.8/35 has some strong selling points: It is very small, feels very nice and it performs remarkably well at f/2.8, if this matters to you the price might be justified. If you remove the size from the equation it is a good performer wide open but below average at smaller apertures and the high price will be hard to justify. The Carl Zeiss 2.8/35 work on any camera with an E-mount. Be it a full frame camera like the Sony a7 or an APS-C camera like the Sony a6000. On an APS-C camera it is equivalent to a 52.5/4 on a full frame camera. Build Quality Vignetting steadily/gradually decreases until about 1.2 stops of shading remains in the corners at f/16 and beyond.

I am used to manual lenses where the focusing ring is coupled directly to the focusing helicoid and I am faster and as precise with them. So manual focus works okay but it isn’t very enjoyable (says a hardcore manual lens user). Image Quality Vignetting and Color Shift Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii) with the mid and especially the periphery of the image circle showing the greatest amount as this is where the greatest difference in the magnification of wavelengths typically exists.I always prefer my lenses to be razor sharp in the corners in case that feature is needed and this lens performs very well in this regard. Hot Extra 5% - 10% Savings Payboo Deal at B&H ends Tomorrow – Canon EOS R5, R3, and Many Other Items Included!

An extremely low lens element count (7 elements in 5 groups) along with Zeiss T* anti-reflective coatings helps control flare and our standard flare testing that uses the sun in the corner of the frame produces almost no flare effects from this lens, even at f/16. Sony FE 2/28– A different focal length of course but many people buy just one of both lenses for their kit. The FE 2/28 is quite a bit larger and the FE 2.8/35 has sharper edges and corners at f/2.8. I think the FE 28 is a bit sharper in the corners around f/8 but of course you will sometimes have to correct the spectacular distortion. I think the 28 works great in a kit with the FE 1.8/55 while the FE 2.8/35 is the better one lens solution. So, this lens opens very wide relative to zoom lenses and not very wide relative to prime lenses, part of the formula required for the ultra-light weight and tiny size. 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 This lens is not optically stabilized, but Sony generally takes care of that omission with Steady Shot or IBIS (In-Body Image Stabilization).Foreground bokeh is very smooth as well. Sony a7 | Zeiss FE 2,8/35 | f/2.8 |default setting | full resolution With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide though it is always better to not have the problem in the first place. One nice touch is that all the markings are engraved and filled with paint. Not just printed on the hull like with the FE 2/28. 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. [+] Above: Moving sideways for a closer look at the rendering shows a reasonable degree of subject separation and while the effect can be attractive, there are fairly defined edges to some of the blurred elements.

Above: Here’s the Sony 40 2.5 on the left and the Sigma 45 2.8 on the right, both at their maximum apertures and from the same distance. With a slightly longer focal length, it’s no surprise to find the Sigma delivering a slightly tighter view with slightly bigger bokeh balls, but otherwise their rendering style is pretty similar. The Sigma on the right may exhibit a little less outlining on its blobs, but both contain textures and share similar shapes as you close their apertures-down. Benefiting from being stopped down 2 stops, the f/1.4 lens shows less spherical and axial CA at f/2.8 and the f/2.8 lens shows less lateral CA. So I think the Carl Zeiss Sonnar FE 2.8/35 ZA is a good choice if you are looking for a very small but capable lens. It works okay as a small landscape lens so I wouldn’t hesitate to take it with me when a light kit is essential. But more often when weight and size doesn’t matter that much I would take a sharper and easier to focus manual 35mm lens with me. With one focal length to be designed for, prime lenses often have low amounts of geometric distortion and this is one of those.

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This works on all full-frame and crop-sensor Sony E-mount cameras, which are the NEX and A7 series, among others. Image sharpness depends more on you than your lens, and lens sharpness doesn't mean much to good photographers. It's the least skilled hobbyists who waste the most time blaming fuzzy pictures on their lenses, while real shooters know that few photos ever use all the sharpness of which their lenses are capable due to subject motion and the fact that real subjects are rarely perfectly flat. In the examples below, look at the fringing colors in the out of focus specular highlights created by the neutrally-colored subjects. To visualize where 35mm fits among other common focal lengths, I'll borrow a focal length range example from a zoom lens review.