Sony FE 35mm f/1.4 ZA (SEL35F14Z) Lens

Sony FE 35mm f/1.4 ZA (SEL35F14Z) Lens

(38 customer reviews)

£1,459.00

Out of stock

SKU: CA43641 Category:

Description

Sony FE 35mm f/1.4 ZA (SEL35F14Z) Lens

Item details:

Brand new in retail box
Sold by VAT registered UK company
We are a high rated retailer with a track record of excellent service
We only sell high quality products

Additional information

Product code

CA43641
Barcode

4548736001961
Barcode2

0027242888791
Weight

1.5
Brand

Sony

38 reviews for Sony FE 35mm f/1.4 ZA (SEL35F14Z) Lens

  1. Thomas Brigden –

    I have this attached to my A7R and the news is good so far. I shoot landscape and portrait photography and in both areas with the A7R it is absolutely stunning The aperture ring is great and the A7R defaults to auto in most modes if you don’t have much time. Its heavy and its large for a 35mm but its very versatile and I love using it. I am not going to get into the technicalities of other detractors comments I can only say if it wasn’t so large and expensive it would get 5 stars.

  2. Lesley Edwards –

    1) Poor quality control. I have tried 3 copies from ClickElectronics and one second hand – all exhibited unacceptable right sided softness. This is a know QC issue. This lense is made in Malaysia or another SE Asian country – not Japan.For the price this is unacceptable.2) Though this lens is known to be somewhat sharp in the centre at 1.4 (if you get a good copy), the Sigma is sharper. The “look” of photographs taken by this lens compared to the sigma is more pleasing. The canon 35mm 1.4 II is the best 35mm sharpness/QC/look wise.EDIT:Months later, I had the urge to purchase this lens again. On reflection, was it bad luck that I tried 4 lenses that were soft on the right side? I’ve come to the conclusion that this lens is made soft on the right side, as a side effect of having pretty good central sharpness and that zeiss look (excellent for portraits). It’s pretty sharp at 1.4, very sharp after. The right side becomes sharp at over f2 or so. I’ve changed the rating fro 3 to 5 stars as in real world scenarios this lens shines. It produces photographs that are one step beyond the cheaper lenses I have used – because of the character. I picked up my last 35mm 1.4 on auction at £850, though. Not sure I’d purchase it new for £1250 which is what it seems to stay around.

  3. ying –

    This is a good lens, if you can get a good copy. A reputable YouTube reviewer has suggested that only a third of these lenses are sharp. Whatever the percentage is, the lens should only be bought in a store that will let you try multiple copies until you are happy. It is should also be noted that the lens protection in the box from Sony is awful. Just some thin bubble wrap for a lens that is considered premium by any standards. By contrast in-box protection from Zeiss or Voigtlander is outstanding and made to fit snugly around the lens. It is not enough to design a great lens, it also needs to be manufactured, tested and packaged with the utmost care. At this price, that’s what you are paying for. My copy had to be returned. I bought a manual focus 35mm Voigtlander instead and I am waiting for the Batis 40mm to be announced any day now.

  4. June Terrie –

    I am primarily a Canon user. Recently I took the dive into A7S II for a video project and based on my short experience with the A7S II, A7R II and this lens, l strongly feel that If you own any of the A7 II versions, you owe it to yourself to at least rent and try out this true gem of a lens.I used the lens on the A7S II to shoot some 4K video and the bokeh is just amazing.I will update the review in future with some sample images and/video, but for now I am rather impressed by the build quality and the image quality of the lens.

  5. Paperino –

    Fantastic. Beautiful rendering of images, very sharp, and out-of-focus bits are very smooth. The aperture ring makes for a much more pleasant shooting experience, and there’s an external switch to de-click the aperture for video. Here’s a comparison of the other 35mm options for full frame Sony E mount:Sony/Zeiss 35mm f/1.4 (SEL3514Z):Pros: brightest, best image quality (this is subjective), declickable apertureCons: size, focus by wire, most expensiveBest for low light, background blur, overall image qualitySony/Zeiss 35mm f/2.8 (SEL35F28Z):Pros: very compact, lowest priceCons: not as bright as others, no aperture ringBest if you need something smallZeiss Loxia 35mm f/2.0:Pros: Fully metal construction, goes down to f/22, direct manual focus, fairly small, declickable apertureCons: No autofocus, no auto aperture settingBest compromise on size/brightness if you don’t need autofocusFor pure image quality, brightness, and background blur, this Sony/Zeiss 35mm f/1.4 (SEL3514Z) is the best. The only downside is the size. If you want something compact at a similar range, you may also consider the Sony 28mm f/2.0 (SEL28F20), which is considerably cheaper than everything else here, but still a very good lens.

  6. Mr SG –

    This lens produces great bokeh despite the wide field of view. I enjoy using it as a versatile walk-around portrait prime, both in daylight and in low-light.On the first generation alpha-7 (ILCE-7 firmware version 2.00; lens firmware version 01; I exclusively use AF-S mode), the autofocus leaves a bit to be desired. Autofocus speeds are not fast enough for fast walking or running subjects. It is also prone to “false positive” focus locks–the camera claims to have focused successfully (green brackets), but the resulting image clearly lacks focus. Capturing multiple frames (i.e. letting autofocus retry a few times) helps mitigate this problem. But clearly this tactic is not appropriate for scenarios where you only have one opportunity to get the critical shot.When I first bought the lens, the aperture also suffered from a sort of glitch: occasionally, when the aperture control ring was turned, the aperture would stop itself down to an f/4-ish diameter and refuse to budge. After a few days of usage this problem disappeared by itself, and I don’t know why.Overall I mostly enjoy using this lens for wide portraits and for low-light photography, where image quality (sharpness and bokeh) is more important than autofocus performance.

  7. Cristof –

    A beautiful beast of a lens. I’ve usually matched this lens with the Sony a6500 as a “normal” lens for that camera. It was not until I put in my A7ii in for cleaning that I fully understood how big this lens is. It’s no less than 85% of the 24-75 G Master 2.8 zoom. It feels about the same as the G Master as well. This is one chunky prime lens.The lens is also about a subtle as a hand-held howitzer is the point I’m trying to get across. So, maybe not the best camera for street photography. But in low light or bad light the lens shines. It’s got that great Zeiss contrast and pop. The bokeh is very smooth but maybe not as good as a pure bokeh machines like the manual lenses put out by Lensbaby or Myer Optic. Be advised there will be no swirling here.I did take the lens out on a prolonged trip as a prime lens for the a6500 and found it be an excellent general purpose lens for the APSC format. It was a tad heavy, but it that did not get in the way of the shooting. Focus was quick, spot on and had little drama. I can not speak for manual focusing as I found no particular need for manual. I will say that there is plenty of grip and plenty of acreage if one wanted to go manual. I also like that one can manually select the aperture on the lens. When placed in “Click” the detents are well marked with the detent into “A” being the most positive. Clickless operation is very smooth with a modicum of friction.I do wonder a bit why this particular example of the Sony/Zeiss collaboration ended up being so beefy. Granted the thing does feel like it could hammer in nails with little effect to the mechanics, but over a long schlep that weight does get to be annoying. It’s a bit of a head-scratcher as the point of mirrorless is supposed to be how gossamer light all the equipment is alleged to be. Sony/Zeiss missed the memo on this particular lens. I guess you could call it a gossamer light tank, but that is a contradiction in terms.All in all, don’t get me wrong, I’m OK with the trade-off. If gossamer light is your kind of thing the 35 ZA 2.8 is there for the asking. This is a lens made to last, and with no apologies. Plus there are times you will need that shallow depth of field and the two extra stops of light this lens provides. You get those benefits along with the aforementioned rock-solid build of the device. Along with that, there is the unmatched QA that Zeiss brings to the table. It’s these kind of considerations that separate Zeiss lenses from the herd over the long run. For me, it was well worth it. It a pure bred, pure blood E mount lens, with unmatched Quality of design and manufacture, not some compromise where you have to mount an adapter. To me that’s worth a few extra dollars.

  8. Stephanie –

    I got this lens from my girlfriend as a gift. The lens might be big for others, but for me it balance well with the a7ii. I love the design of this lens esp the aperture ring. It feels good in your hand and I can’t put this lens down the moment I got it from my mail. Its beautifully constructed with metal except for a plastic lens hood. I have FE 55 1.8 which is very sharp but this lens outshine the 55 1.8. Yes, this lens is expense but it compensates well with the design and the beautiful images produced by this lens. Good job Sony .Yes, I would recommend this to a friend

  9. Archie –

    Quick and DirtyPros:-Resolution wide open-Smooth bokeh-Minimal CA and Distortion-Very good build quality-Aperture ring is a nice bonusCons:-Expensive-Very large and heavy for a mirrorless lensI have an affinity for the 35mm focal length, as the FOV a 35mm lens provides is ideal for the type of shooting I do: environmental/journalistic style portraits (I shot weddings for four years, but have since gotten out of it), and casual landscape shooting when travelling. As such, the Sony FE 35 1.4 is a lens that I’ve been longing for since I picked up the Sony a7r when it was first released. ClickElectronics delivered my pre-order a day earlier than expected and I was able to use the lens for a shoot I had lined up. My initial thoughts are that given the image quality it delivers, this very large (in mirrorless terms) and expensive lens has a very specialized appeal in the realm of the Sony A7 system…especially considering the vast number of (native and adapted) alternatives available. But when considering a 35mm lens, for those who prioritize optical quality above all else, the FE 35 1.4 is absolutely worth the price of admission.Optically, the lens is superb and unlike some of the other offerings from Sony, is actually worthy of the Zeiss badge it dons. What makes this lens unique in terms of optical performance, is its ability to deliver tack sharp in focus areas, and buttery smooth out of focus areas, even with a wide FOV that pulls a lot of background elements into the frame. Most 35mm lenses I’ve owned involve some trade-off between the two. They’re either sharp wide open with nervous bokeh (Sigma 35 1.4 ART), or pleasing bokeh but softer in focus areas (Canon 35L). The Sony’s ability to frame a tack sharp subject against a buttery smooth, yet complex/interesting backgrounds creates a sense of dimension (pop) that is very much unique to this lens. That’s where the money is with this lens.I did some pixel peeping at 100% while testing this against the Sigma 35 1.4 ART, and both the Sony and the Sigma lose resolution towards the borders of the frame. This is typical for large aperture lenses as fast aperture optical designs often yield lenses with curved fields of focus that affect resolution in the corners. I do not consider this a knock against fast aperture lenses, including the Sony FE 35 1.4, however, as sharpness across the frame is not a critical component of the type of photographs typically taken at fast apertures. If you’re buying an F1.4 lens, chances are you’re stopping the lens down, and the corners will be thrown out of focus anyway. Even when framing portraits according to the rule of thirds, your subject will favor the center of the frame.Taking that into consideration, while the 35mm focal length is convenient for framing landscapes, it is not as ideal as slower wide angle lenses that tend to have flatter fields of focus, and are more consistently sharp across the frame. The FE 16-35 F4 OSS would be a better alternative to anyone who favors landscapes and is more critical of edge to edge sharpness.I haven’t downloaded the lens profiles for this yet, however, I’ve found that there is very little needed in terms of optical correction. Chromatic aberration is very minimal, as is distortion. There’s some vignetting wide open, but this should be easily corrected via lens profiles (I actually don’t mind a little vignetting, for creative purposes). It was overcast yesterday, so I can’t speak to how this lens handles flare just yet.Supposedly the lens’ AF system benefits somehow from the IBIS and AF system in the A7II, but I’ve got an a7r so I can’t speak intelligently about this. On the a7r, the lens focuses as well as the FE55 1.8 and FE 35 2.8. In good light, it focuses quickly and is comparable to a DSLR. It hunts in low contrast light, however this is a pitfall of the a7r’s contrast detect AF system, not the lens.Build quality is top-notch (as it should be for the price this lens commands). The lens is a full metal construction, which has a more premium feel, however, I’ve learned to appreciate that lenses with a high quality plastic construction (like the Canon 24-70 2.8 MKII) are less prone to knicks and scratches. The aperture ring is a nice touch, and I’m appreciating the ability to adjust the aperture via the lens more than I expected to. Very useful, given how crammed the controls on the a7r’s body are.The zoom ring is very robust, though it feels a bit stiff. It’s a focus by wire lens, and while still not as responsive as a mechanical focus lens, it lags very minimally. The focus ring has a long throw, which makes it easier to make precise movements to the focal plane (much more precise than the twitchy focus of the Sony FE 55 and 35 2.8). The downside is that you have to turn the ring quite a bit to move the focal plane longer distances. The long throw and stiff ring makes manual focus a very precise, but slower process relative to other lenses.All of that said, it has to be acknowledged that for a mirrorless lens, the FE 35 1.4 is massive. It’s massive for a 35mm lens even by FF DSLR standards. For reference, its wider, and is only slightly shorter than the Sigma 35 1.4 ART WITH the metabones smart adapter attached. This, if anything, is a testament to the design of the lens (it employs a retrofocus design for optical reasons, even though a simpler design would have technically been possible for a mirrorless body), and the superior optical quality of this lens can be credited to its size. Unfortunately in the world of lens design, there is still an existing trade-off between size and optical performance, and the FE 35 1.4 is not a lens for those who prioritize the former.For those who do prioritize size, the FE 55 is a much smaller lens, and you don’t lose much in real world use going from 1.8 to 1.4. The FE55 has a very different FOV from the 35MM FOV though, so it is not by any means an apples to apples comparison. The unique 3 dimensional look that the FE 35 is able to produce is a function of the wide angle FOV that frames your subjects against a slightly exaggerated background. This, however, is a need that is specific to environmental portraits and journalistic photos. Outside of that, the FE55 is likely the better choice from both a size and price perspective. The FE 35 2.8 and Zeiss Loxia 35 f2 are other smaller and cheaper alternatives. You’re giving up the ability to open the aperture up to 1.4 (the loxia is also a manual focus only lens), but that may be a worthwhile trade-off to many people out there. If you’re willing to forgo useable autofocus and can deal with the minor, but existing, quirks of adapting lenses, then you have a vast array of other cheaper and smaller alternatives such as the Sigma 35 1.4 ART, Canon 35F2IS etc etc.All things considered, as good as this lens is, it appeals to a very specifically to those who prioritize uncompromisingly good optical quality in a fast aperture 35mm lens, and are willing to pay for it. I can’t fault this lens for anything other than its price and size, and chances are that if you’re considering this lens, you understand what the value proposition is. As such. I’ll give it a 5 star rating for excelling at what the lens is intended to do. That said, it’s hard to recommend this lens to anyone who doesn’t put a lot of value in takings shots with a 35mm aperture @ f1.4. The caveat to my 5 start rating is that those who cannot specifically identify a need for a high quality fast aperture 35mm lens and/or are willing to live with some compromises, might be better suited by the multitude of smaller and more affordable alternatives out there.Edit: Pictures speak a thousand words, so I’ve added a photo from the aforementioned shoot. Not the most interesting shot in the set, but a simple composition that is minimally processed, and a good representation of the ‘character’ of the lens.

  10. LCSJ –

    Love this lens for weddings! Allows me to shoot from afar with clear and crisp images!

Add a review