Other Sellers on Amazon
+ Free Shipping
Sony SAL-135F18Z 135mm f/1.8 Carl Zeiss Sonnar T Telephoto Lens for Sony Alpha Digital SLR Camera
|Lens Type||Wide Angle|
|Compatible Mountings||Minolta Alpha|
|Max Focal Length||135 Millimeters|
|Min Focal Length||135 Millimeters|
About this item
- Make sure this fits by entering your model number.
- Carl Zeiss Sonnar T 135mm f/1.8 Telephoto, Wide aperture for amazingly bright telephoto shots, Superb sharpness with Sony Super Steady Shot system
- Close-up focusing capability (less than three feet), Internal Focusing to speed auto-focus response
- 2 ED Glass elements for sharp clear long shots
- Carl Zeiss Sonnar T 135mm f1.8 telephoto with wide aperture for amazingly bright telephoto shots
- Superb sharpness with Sony Super SteadyShot system
- Close-up focusing capability (less than three feet)
- Internal Focusing to speed autofocus response
- 2 ED glass elements for sharp clear long shots
Have a question?
Find answers in product info, Q&As, reviews
Your question might be answered by sellers, manufacturers, or customers who bought this product.
Please make sure that you are posting in the form of a question.
Please enter a question.
Compare with similar items
Sony SEL85F18 85mm F/1.8-22 Medium-Telephoto Fixed Prime Camera Lens, Black
FE 135mm F1.8 G Master Telephoto Prime Lens for Sony E-Mount
Sony FE 135 mm f/1.8 GM | Full-Frame, Telephoto, Prime Lens (SEL135F18GM)
Zeiss 135mm F/2.8 Batis Series Lens for Sony Full Frame E-Mount Nex Cameras, Black
Sony FE 85mm f/1.4 GM Lens
|Sold By||Amazon.com||Amazon.com||Amazon.com||Amazon Global Store UK||Amazon.com||Amazon.com|
|Compatible Camera Mount||Minolta Alpha||Sony E||Sony E||—||Sony E||Sony E|
|Focus Type||Screw drive from camera||Autofocus||Autofocus||Autofocus||Auto/Manual, Autofocus||Auto/Manual|
|Item Dimensions||4.53 x 3.50 x 3.50 inches||4.49 x 3.82 x 4.49 inches||8.39 x 5.00 x 5.51 inches||3.52 x 3.52 x 5.00 inches||5.20 x 3.90 x 3.90 inches||8.30 x 5.00 x 5.50 inches|
|Item Weight||2.31 lbs||0.65 lbs||2.10 lbs||2.09 lbs||1.35 lbs||2.90 lbs|
|Lens Type||Wide Angle||Telephoto||Telephoto||Telephoto||Telephoto||Standard|
|Maximum Aperture||1.8||1.8 millimeters||f/1.80||1.8 millimeters||2.8 millimeters||f/1.4|
|Maximum Focal Length||135 millimeters||85 millimeters||135.00 millimeters||135 millimeters||135 millimeters||85 millimeters|
|Minimum Aperture||22||22||f/22.00||22 millimeters||22 millimeters||16|
|Minimum Focal Length||135 millimeters||35||135.00 millimeters||700 millimeters||135 millimeters||85 millimeters|
|Photo Filter Thread Size||77 millimeters||—||—||82 inches||67 millimeters||67 millimeters|
Whether you need a large aperture to shoot in low light, a suitable shutter speeds for shooting action or creative control of background defocusing, the 135mm lens will reward you with stunning resolution and contrast where it counts. In addition to portraits and landscapes, this focal length is a good choice for indoor sports. Featuring Carl Zeiss T* coating and built-in image stabilization, this lens will make it easier than ever to capture crisp images.
From the Manufacturer
Sonnar T* 135mm F1.8 ZA Telephoto Zoom Lens
Whether you need a large aperture to shoot in low light, a suitable sutter speeds for shooting action or creative control of background defocusing, the 135mm lens will reward you with stunning resolution and contrast where it counts. In addition to portraits and landscapes, this focal length is a good choice for indoor sports. Featuring Carl Zeiss T* coating and built-in image stabilization, this lens will make it easier than ever to capture crisp images.
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.
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.
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.
SERIAL #0196782, MODEL #SAL135F18Z, USA MODEL, FULL 14 DAY SATISFACTION GUARANTEE
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
In different situations, I beat the results with one lens or the other, but these are always the 2 lenses I try to use if I can. For video, I tend to want to use this 135mm lens over ANY other lens, and I have EXQUISITE 4K footage using the A7Rii either with an LAEA-3 adapter, OR-- if it suits your framing, use a METABONES speedbooster ultra for SONY A mount to SONY e mount, something I have not heard about anybody else doing with this lens.
I can tell you, the results you get for video turning this lens into an F1.2 with the METABONES speedbooster ultra are JUST ASTONISHING, especially using either an A7Rii or A7Sii and an ATOMOS 4K recorder. I will have a link to such footage soon! WOW!! the new FLAME versions of the ATOMOS recorders are just delicious!
Using the METABONES speed booster ultra will give you an effective 95mm, however, so you want to have an LAEA-3 on hand so you can use the speedbooster if the framing is appropriate, or use the LAEA-3 to maintain 135mm, and stay at F1.8.
This lens gives you water color effects with concert lighting, and it's AWESOME!! The background blur is more pronounced for concerts than the 85mm G master, and you get right in there at that focal length, getting larger than life images!
This lens tends to be my favorite over the 85mm G master for stills as well, although there are often times when I prefer the G master.
If you had to ask what is my favorite lens over all, it is THIS lens, though, and I give it 15 stars!! THE MOST exciting lens possible for video with it's sweeping and thin depth of field--- WOW!!! it's incredible to go through the fast focal range when recording video, from a close up subject that just dissolves into the invisible, then on to the upcoming view in the background!! there's really nothing like it! Watch videos on you-tube demonstrating this lens for video, and soon you will be able to see the results I have have with concerts using this lens as well.
The video is more entertaining to watch than viewing it live with your own eyes, no question! THAT is a strong sign of what I'm trying to achieve... That you can beat REAL LIFE view with your own eyes, and this lens certainly seems to always come through in that department.
I kid thee NOT--- I noticed that there were some 30 or so bystanders on the balcony next to my camera that were watching my 7 inch monitor of my Atomos Shogun Flame the whole time instead of just watching it with their own eyes!
And, yes, when I got that home to the 63 inch monitor, I could see the whole story!! OH WOW!! (If you would also like to say WOW!, WHOA, and NO WAY!!, this is the lens for you!).
Using the METABONES speedbooster did make the outer edges significantly softer than the dead on in focus center, BUT-- it gives a REALLY nice 3D effect that I find highly desireable. Using the LAEA-3 did NOT make such soft outer edges, but is also a MONSTER combo.
I also own the LAEA-4, and it is QUICK and snappy to auto focus for stills. People go nuts over the blown out backgrounds from this lens, and the 85mm G master, and having these as your power pair is going to give you the results that people are AMAZED by.
I wonder how this lens compares to the CANON zeiss F2.0?? I am extremely interested in that lens so I can use a DEC REGAIN for CANON to Sony E mount. I would expect similar results to using the SONY A mount 135mm F1.8 with a METABONES speedbooster ultra.
With the DEC adapter, FOR THE SAME PRICE or LESS than the METABONES adapter, you get REMOTE CONTROL aperture, and focus control, with lockable focus points for FLAWLESS focus pulls that are AWESOME for concerts.
THAT is what is lacking about using the SONY 135mm F1.8 instead of the CANON F2.0, THAT YOU CAN'T USE THE DEC REGAIN remote control adapter with the Sony A mount lenses. What, an F1.3 or F1.4 instead of an F1.2? pretty close. Close enough to use CANON instead just because of the DEC regain wireless remote control adapter (which works from across any concert hall!! AWESOME RANGE!!).
When I get the CANON 135mm F2.0, I will do a comparison review on you-tube. I looked for such a video and did not find one.
ALSO--- there is the CANON red-ring 135mm F2.0 that is significantly less than the ZEISS version new and used--- IS IT REALLY WORTH IT to go ZEISS over the red ring? The zeiss can be 3 times more money when buying used!
Any input regarding the differences between the Sony A mount F1.8, the CANON ZEISS F2.0, and the CANON red ring F2.0 would be HIGHLY appreciated!
You know what would be SO COOL? Sony E MOUNT 135mm F1.8 (or better!) with the same focus ring that the e mount 90mm F2.8 macro has-- how it clicks from auto focus to manual focus like that, AND a de-clickable aperture ring, AND an 11 blade aperture!!
THAT would be THE ultimate lens, especially if it could be even lower than F1.8, say F1.4!! THAT would DESTROY the NIKON 105mm F1.4.
SONY-- Are you by chance paying any attention? hint hint..... hook me up with that lens when you release it!
I use this lens with a LA-EA4 adapter on my Sony A7rii. The images are outstanding.
The lens is an older screw mount design so it needs an adapter with a built in motor (LA-EA4). Focusing is noisy but the quality of the images are outstanding.
I purchased this lens a while ago and is one of my favorite. I cannot justify buying the outstanding sigma 135 1.8 Art lens that just came out. I think the images are comparable. The advantage of the sigma is that with the MC-11 adapter, you could get near native AF and eye focus. So if I was purchasing now I would buy the Sigma.
I will not be making the swap though.
I think the Sony 135 1.8 lens will be perfect with the Sony A99II too, with fast native AF.
Biggest concern is Sony's atrocious service reputation. They are terrible, I hope this lens does not need service anytime soon.
From what I hear Sony's service is abysmal. They don't have their own service centers unlike Canon. They have outsourced their service to another company that has a terrible reputation. Most of the feedback is they treat these expensive lenses and cameras as disposable and service cannot be done for various reasons.
I'm quite concerned so I still have a lot of my canon lenses that can be serviced my Canon's excellent service centers both in the west and east coast. I purchased this lens because it's a gem while keeping my fingers crossed.
I am hoping that Sony will fix these issues and open their own service centers for both professionals and non-professionals, so that they fully support their excellent products. I hope they understand that this is a vital part of the photography business unlike consumer electronics.
Purchased the Sony FE 135 1.8 GM. Fantastic optical quality, unfortunately rendering is sterile for portraits. The GM lens is made in China while the SAL is Japan made.
The SAL-135 1.8 ZA has far superior rendering and is sharp too. This is the perfect lens. I now use it with the Sony LA-EA5 adapter and the Sony A7R IV. This new adapter enables, eye AF with tracking making an incredible lens even better by bringing it up to modern focus standards. In addition since there is no mirror involved, it gets even better with a true 1.8 aperture!
Still highly recommended!! Get this lens before it’s no longer available.
I wish it would have have weather sealing.