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Sony 16-35mm f/2.8 ZA Lens

4.8 out of 5 stars 11 customer reviews
| 5 answered questions

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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Technical Details


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This item: Sony 16-35mm f/2.8 ZA Lens
Customer Rating 5 out of 5 stars (11) 4 out of 5 stars (61) 0 out of 5 stars (0) 4 out of 5 stars (67)
Price $2,112.09 $1,348.00 $2,248.00 $1,198.00
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 Aperture 22 22 22 22
Min Focal Length 16 mm 16 mm 16 mm 24 mm
Add to Cart Add to Cart Add to Cart Add to Cart

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Product Description

Product Description

Sony System 16-35mmF2.8 ZA SSM

From the Manufacturer

Sony make . believe

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).

Vario-Sonnar T* 16-35mm F2.8 ZA SSM Zoom Lens

Technology

Circular Aperture
ED (Extra-low Dispersion) glass
Aspherical lens elements

Circular Aperture

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
Focus hold button
Distance encoder

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.

Distance encoder

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.

Additional Features

Internal focusing

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.

Sony make . believe

2008 Sony Electronics, Inc.

All rights reserved. Sony, the Sony logo, Alpha, “&#945” and Super SteadyShot are trademarks of Sony. All other trademarks are trademarks of their respective owners.


Product Information

Product Dimensions 4.5 x 3.3 x 3.3 inches
Item Weight 2 pounds
Shipping Weight 3.3 pounds (View shipping rates and policies)
ASIN B001FORHOW
Item model number SAL1635Z
Customer Reviews
4.8 out of 5 stars 11 customer reviews

4.8 out of 5 stars
Best Sellers Rank #481 in Camera & Photo > Lenses > Camera Lenses > Digital Camera Lenses
#14,047 in Camera & Photo > Camera & Photo Accessories
Date first available at Amazon.com June 17, 2003

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Customer Reviews

Top Customer Reviews

This lens is my favorite so far for the A900, despite it being the most expensive. Before I purchased this lens I already had the 24-70 so I doubted if it was worth the extremely high price tag for basically an extra 8mm focal length. Needless to say, I use this lens more than any other due to the ultra wide 16mm which is super sharp all around when stopped down to f8-f13 making it perfect as a landscape lens. Also it is very useful at 24mm or so, even if you do have the 24-70 since it has less distortion and is slightly sharper since it is in the middle its zoom where the 24-70 is at its widest. Build quality is outstanding, including the lens hood and SSM focusing which works great. If there are any faults with this lens it would be the high level of barrel distortion and vignetting at 16mm, but this is a problem with all ultra wide lenses and this one rates better than the equivalent offerings from nikon and canon (DxOmark tests as my source). I would recommend this lens to any landscape photographer using full frame who wants to take very sharp daytime shots stopped down and low light shots at f2.8 which still produces good images. If using APS-C sonys (which are all but 2) this lens is not worth it since you would be paying a lot of money for a lens that is not very wide and very heavy on the smaller framed APS-C cameras. The CZ16-80 is by far the best choice, along with one of the aps-c ultra wide zooms, even though they would be a few stops slower.
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With the 16-35mm f2.8 lens, Sony/Zeiss have introduced yet another high quality lens to complement their professional grade 85mm f/1.4 Sony SAL-85F14Z 85mm f1.4 Carl Zeiss Planar T Coated Telephoto Lens for Sony Alpha Digital SLR Camera, 135mm f/1.8 Sony SAL-135F18Z 135mm f/1.8 Carl Zeiss Sonnar T Telephoto Lens for Sony Alpha Digital SLR Camera and 24-70mm f/2.8 Sony 24 -70mm f/2.8 Carl Zeiss Vario Sonnar T Zoom Lens for Sony Alpha Digital SLR Cameras lenses.

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.
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I switched from Canon to Sony after 35 years and the Zeiss glass was one of the reasons I did. Cannot beat the clarity, color and sharpness of this lens. For a zoom telephoto it is amazing. It has added a whole new dimension to my landscape photography.
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Well like every new toy I get I want to use this ALL the time. I love the lens. I find that it isn't the ticket for most of my needs, BUT when I do need it nothing else will do. Specific strengths are indoor photography where you want to get the whole crowd, particularly small spaces (i.e. just remodeled a TINY utility room and wanted to get pics) and of course scenery. I did find that unless the scenery is on a grandiose scale - i.e. national park size - my kit lens would do just about as good a job for the finished pic. Where you just can't go wrong is in tight spaces, needing to get group shots and broad scenery. In other applications you'll notice some distortion, because this just isn't the lens for that target. For instance, I tried to shoot flowers on the trail to the scenery and they were focused but distorted - just not the lens for that application. SO - keep it in the bag unless you have those special shots - not going to replace your other lens - this is a specialty guy and it is VERY good at what it does.
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I've shot with Nikon, Canon, Panasonic, and now Sony SLRs and Mirrorless camera.. My favorite camera is and will remain the Canon 5D Mark III. I've owned and used the famed Nikon 14-24mm f/2.8G, and a number of Canon ultra wide angle lenses. But this lens is hands down the best ultra wide angle zoom I've ever used. The clarity, color, and sharpness are beyond any offers from Nikon or Canon.

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.
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