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If f/2.8 results are not sharp, this f/2.8 lens could become an even narrower f/4 lens in practical use. When used on a camera that utilizes a lens' entire image circle, peripheral shading can be expected at the widest aperture settings. Note that images from most cameras require some level of sharpening but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens.
Low light AF performance is OK, but noticeably not as good as the wider aperture FE 35mm lenses being simultaneously reviewed. Above: Side by side there doesn’t appear to be that much between them, but each feels quite different in use.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. 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.
The effect of different colors of the spectrum being magnified differently is referred to as lateral (or transverse) CA (Chromatic Aberration).
Like taking a foreign-language class for a language in which you are already fluent, this lens gets an easy A+ for anyone shooting with the Sony system. 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. [+] Vignetting steadily/gradually decreases until about 1.2 stops of shading remains in the corners at f/16 and beyond.
There will be some spherochromatism if you aren't in perfect focus, but that's a completely different aberration. This lens does not have a gasket seal on the mount, but "dust- and moisture-resistant construction" is claimed.Extension tubes are hollow lens barrels that shift a lens farther from the camera, which permits shorter focusing distances at the expense of long-distance focusing.
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. 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. Above: Both lenses are described as being dust and splash-proof with subtle rubber grommets at their mounts, although thorough resistance may not extend to their entire barrels so bear that in mind. APS-C format cameras using lenses projecting a full-frame-sized image circle avoid most vignetting problems.AF-operation of both Sony ZA lenses and the Zeiss Batis is inaudible from the outside or if you record video with the built-in microphone. As you pull focus, you’ll notice some focus breathing: the image of the Sony FE 35mm f2.8 ZA becomes 6% more magnified when I adjusted the focus from infinity to 0.43m. This could be distracting when shooting videos but is par for the course: the other lenses in this comparison all increase their magnification between 5% and 6%. The lens seems to be built to high standards with a metal hull and a focusing ring which has zero play so it feels very nice.
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