Joined in 2023 
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The lens shade feels solid and attaches firmly to the lens. It is made from plastics and feels robust enough but not as nice as the shades for other lenses of the ZA line. Size, Weight and Handling With a 7-blade count aperture, point light sources captured with a narrow aperture setting and showing a sunstar effect will have 14 points. For more critical photogrammetric, reconnaissance, mapping and surveying, use a value of +0.40 Photoshop's Lens Distortion tool to remove any residual distortion shot at 3m (10'), although there is some minor waviness left over. The 35mm F2.8 generally compares favourably to other recently-designed full frame 35mm primes. It pretty much matches the Sigma 35mm F1.4 DG HSM for sharpness, but loses out on distortion and vignetting (the latter a consequence of its small optical unit). It's much the same story when we look at the Canon EF 35mm f/2.0 IS USM; the Sony's measured central sharpness is higher, but this substantially reflects the fact that it's tested on a much higher resolution sensor. However if we look at edge sharpness, the two lenses are a pretty close match, and again the Canon has rather lower vignetting and more-tractable distortion characteristics. Summary
This works on all full-frame and crop-sensor Sony E-mount cameras, which are the NEX and A7 series, among others.
The tiny Sony FE 35mm f2.8 ZA Carl Zeiss Sonnar T* is ideal for street photography
Like the Sony FE 55mm lens we reviewed earlier, the FE 35mm Zeiss lens is another extraordinarily sharp lens, on both the full-frame A7R as well as on the NEX-7 sub-frame test camera. Wide-open and throughout the aperture range until around f/16, the centers display impressive sharpness. There's some slight corner softness, however, at all apertures when used on a full-frame camera, but overall it's fairly minor. Using this lens on a sub-frame body significantly reduces softer corners, which is to be expected. a) the product you are asking Sony to price match must be identical to the one being sold by Sony, including matching brand, model number and colour (“Qualifying Product”);
As the aperture narrows, the entrance pupil size is reduced and the mechanical vignetting absolves with the shapes becoming round. At f/2.8 vignetting is severe at close to 2.5 stops. At f/4 it is reduced only a little to about 2 stops and by f/8 it is still at 1.5 stops which is about the highest value I have ever seen at f/8.
Summary
Flare and ghosting are caused by bright light reflecting off of the surfaces of lens elements, resulting in reduced contrast and sometimes-interesting artifacts. In less critical situations performance is fine: Sony a7II | Zeiss FE 2,8/35 | f/11 | full resolution Distortion The f/2.8 lens has a list price slightly higher than the f/1.8 lens but they share the same street price at review time.
The smaller flange distance of the Sony A7R and A7 makes using adapters with a wide variety of third party lenses quite simple, as the A7R/A7 use a standard Sony E-mount. There are other adapters out there allowing users to mount Canon EF lenses and Nikon F-mount glass to E-mount cameras, and the resulting combinations would be too much to list here. It's still worth knowing that the Sony A7R and A7 provide a very flexible full-frame camera platform for fans of lenses from a variety of manufacturers. When used on a camera that utilizes a lens' entire image circle, peripheral shading can be expected at the widest aperture settings. 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. The other problem is that there is a small lag between the moment when you turn the focusing ring and when the lens reacts. It is only a small fraction of a second but detracts from the experience and makes it very hard to focus on anything moving.As usual I’ll have a look at the technical data of the Sony FE 35mm f2.8 ZA first. I’ve rated the features with a [+] (or [++]), when it’s better than average or even state of the art, a [0] if it’s standard or just average, and [-] if there’s a disadvantage. For comparison I use the Samyang AF 35mm f2.8 FE (“Samyang” for short), the Zeiss Batis 40mm f2.0 CF (“Zeiss Batis”), and the Sony FE 35mm f1.4 ZA. Sony does not provide focus distance information on the lens, such as in a window, but makes it available in the viewfinder and rear LCD. Just like with the Sony 55mm lens, this is a new lens category with a brand new type of camera. As such, there aren't any direct alternatives to this lens yet. However, Sony does make the FE 28-70mm ƒ/3.5-5.6 OSS and FE 24-70mm ƒ/4 ZA OSS Carl Zeiss Vario-Tessar T* zoom lenses that will give you the capability of a 35mm focal length, at the expense of some stops on the aperture with both options, though both have optical image stabilization (which is a plus).
the spherical aberration color halo shows little size change as the lens is defocused and stopping down one to two stops generally removes this aberration.
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. It seems ideal as an all-round compact walk around lens. There are some manual alternatives from Zeiss, Voigtländer and Leica, but this Zeiss has autofocus and was made specifically for the new Sony FE mount. I think it's a perfect match for the A7(R). While the price-per-pound of this lens may be high, the price is not high relative to other Sony offerings.
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