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Sony 16-35mm f/2.8 ZA Lens
|Price:||$2,112.09 & FREE Shipping. Details|
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- Aperture (Max.) - f/22
- Aspheric Elements - 3(3 surface)
- Blades - 9 aperture blades
- Filter Diameter - 77mm
- Focal Length - 24-52.5mm
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|Aperture Control Design||Aperture controlled by camera|
|Compatible Lens Hood Part Number||petal shape hood|
|Compatible Mountings||Sony/Minolta Alpha|
|Item Dimensions||3.27 x 3.27 x 4.49 inches|
|Item Display Weight||0 pounds|
|Item Weight||1.98 pounds|
|Lens Type||Zoom lens|
|Macro Focus Range||0.28 m|
|Maximum Aperture Range||F2.8|
|Maximum Focal Length||35 mm|
|Maximum Format Size||35mm full frame|
|Minimum Focal Length||16 mm|
|Number of Diaphragm Blades||9|
|Number of Elements||17|
|Number of Groups||13|
|Photo Filter Thread Size||77 mm|
|Real Angle Of View||107 Degrees|
|Shipping Weight||3.3 pounds|
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This item: Sony 16-35mm f/2.8 ZA Lens
|Shipping||FREE Shipping||FREE Shipping||FREE Shipping||FREE Shipping|
|Sold By||Amazon.com||Amazon.com||Beach Camera Same Day Shipping||Amazon.com|
|Compatible Mountings||Sony/Minolta Alpha||Sony E (NEX)||Sony/Minolta Alpha||Sony E (NEX)|
|Dimensions||3.27 inches x 4.49 inches x 3.27 inches||3.07 inches x 3.9 inches x 3.07 inches||3.27 inches x 4.49 inches x 3.27 inches||2.87 inches x 3.74 inches x 2.87 inches|
|Item Weight||1.98 pounds||1.14 pounds||1.92 pounds||Information not provided|
|Lens||Zoom lens||Zoom lens||Zoom lens||Zoom lens|
|Maximum Aperture||Information not provided||Information not provided||2.8 f||2.8 f|
|Max Focal Length||35 mm||35 mm||35 mm||70 mm|
|Min Focal Length||16 mm||16 mm||16 mm||24 mm|
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From the Manufacturer
Vario-Sonnar T* 16-35mm F2.8 ZA SSM Zoom Lens
Get dramatic landscapes and interiors with the unique SAL1635Z. This Carl Zeiss lens is a super-wide angle 16-35mm zoom. And it's a super-fast f2/8. Thanks to Sony's SteadyShot in-camera stabilization, this is the world's only large-aperture, full-frame-capable, wide-angle zoom with the benefit of image stabilization (as of Sept. 2008).
When changing your aperture to defocus the background, the light sources appear blurred. This ‘bokeh’ effect of the blurred background can be enhanced with circular aperture blades used in this lens. Conventional aperture blades have flat sides creating unappealing polygonal shaped defocussed points of light. α lenses overcome this problem through a unique design that keeps the aperture almost perfectly circular from its wide-open setting to when it is closed by 2 stops. Smoother, more natural defocusing can be obtained as a result.
ED (Extra-low Dispersion) glass
As focal lengths get longer, lenses built with conventional optical glass have difficulties with chromatic aberration, and as a result images suffer from lower contrast, lower color quality, and lower resolution. ED glass dramatically reduces chromatic aberration at telephoto ranges, and provides superior contrast across the entire image, even at large aperture settings. Super ED glass provides enhanced compensation for chromatic aberration.
Aspherical lens elements
Aspherical lens design dramatically reduces spherical aberration while also reducing lens size and weight. Spherical aberration is a slight misalignment of the light rays projected on the image plane. This is caused by differences in refraction at different points on conventional spherical lenses which degrade image quality in large-aperture lenses. Specially shaped “aspherical” elements near the diaphragm restore alignment of light rays at the image plane, maintaining high sharpness and contrast even at maximum aperture and can also be used at other points in the optical path to reduce distortion. Well-designed aspherical elements can reduce the total number of elements required in the lens, thus reducing overall size and weight. Advanced Aspherical (AA) elements are an evolved variant, featuring an extremely high thickness ratio between the center and periphery. AA elements are exceedingly difficult to produce, relying on the most advanced molding technology to consistently and precisely achieve the required shape and surface accuracy, resulting in significantly improved image accuracy and quality.
Carl Zeiss T* (T-star) coating
Coated optics were pioneered by Carl Zeiss - and this superb lens features the Carl Zeiss T* (T-Star) coating that virtually eliminates lens flare, internal reflection and light scattering that can otherwise occur at glass-to-air surfaces. The T* coating contributes to outstanding image quality, with high contrast and uniformly excellent resolution right out to the image edges. Not simply applied to any lens - the T* symbol only appears on multi-element lenses in which the required performance has been achieved throughout the entire optical path, therefore guaranteeing the highest quality.
Focus hold button
Once you’ve adjusted focus to where you want it, pressing this button on the lens barrel will keep the lens locked to that focusing distance. The preview function can also be assigned to this button through the camera’s custom settings.
The distance encoder plays an integral part in ADI flash metering, which delivers high precision flash metering that is unaffected by the reflectance of subjects or backgrounds. The distance encoder is a lens component that directly detects the position of the focusing mechanism, and sends a signal to the CPU in order to measure distance to the subject. During flash photography, this data is very useful in calculating how much flash output is appropriate to the scene.
Only the middle groups of the optical system move to achieve focus, so the overall length of the lens does not change. Other important benefits include fast autofocusing and a short minimum focusing distance. Also, the filter thread at the front of the lens does not rotate, which is convenient if you’re using a polarizing filter.
SSM (Super Sonic wave Motor)
SSM is a piezoelectric motor that contributes to smooth and silent AF operation. The motor produces high torque at slow rotation, and provides immediate start and stop responses. It is also extremely quiet, which helps keep autofocusing silent. Lenses that feature SSM also include a position-sensitive detector to directly detect the amount of lens rotation, a factor that improves AF precision overall.
2008 Sony Electronics, Inc.
All rights reserved. Sony, the Sony logo, Alpha, “α” and Super SteadyShot are trademarks of Sony. All other trademarks are trademarks of their respective owners.
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Top Customer Reviews
The only alternative to this lens is the rare and coveted Minolta 17-35mm f3.5 G lens. I have tested both lenses using the Imatest lens test software. At an aperture of f3.5, the Sony/Zeiss 16-35 lens at 16mm exhibits better corner sharpness and less chromatic aberration than does the Minolta 17-35 G lens at 17mm. The only advantage of the Minolta 17-35 lens is that it is smaller and lighter than the Sony/Zeiss 16-35 lens.
A review of the Sony/Zeiss 16-35 lens may be found at the lemondedelaphoto web site. It is written in French but it can be translated via Google.
I got a Sony A99 just so that I could shoot with these incredible Zeiss autofocus lenses. There are only a handful of them. The Sony/Zeiss 135mm f/1.8 Carl Zeiss Sonnar T was the first one I shot with. It's hands down the best portrait lens I've ever used.
This lens doesn't go as wide as the Nikon 14-24mm f/2.8G, but it goes to 35mm on the long end. And it's more compact than that Nikon beast. For me the 25-35mm range is so much more useful than the 14-15mm I'm not getting on the wide end. This is a matter of style, taste, and choice, but for me personally, 16mm is plenty wide enough for just about any landscape shot. I don't like the perspective distortion you get at wider angles, unless you can display the image on a large wall--then they look really cool, but the perspective distortion at normal print sizes or on the computer screen just isn't very pleasing.
The corners are pretty sharp wide open and you don't get the smearing that you get with most UWA lenses. Very sharp as you get to the long end.
The only shame is that this lens isn't made in Canon or Nikon mounts, or in the new Sony E-mount. The A-mount is being surpassed by the E-mount, and you have to use an expensive adapter to use this lens on an E-mount camera. I'm not sold on the E-mount system, as the native zoom lenses are mostly F4 or smaller aperture. I like having the F2.8.
These are just first impressions. I'll update the review as I have more time with this gem.
Most Recent Customer Reviews
Its very well made. I knocked it a star because of the price to performance ratio. Too expensive for what its able to do. Read morePublished 21 months ago by A. Tu
Took the lens on vacation and used it to shoot large Panographs. Lens is sharp and worked well.
Lens is clear of dust etc.. Read more
Sharp, solid, well made, incredible glass although a bit expensive, but for nature photography is the best you can getPublished on January 19, 2013 by Alberto Rada