Description
Sony Sony Carl Zeiss Sonnar T* FE 55mm F1.8 ZA (SEL55F18Z)
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Sony Sony Carl Zeiss Sonnar T* FE 55mm F1.8 ZA (SEL55F18Z)
£739.00
Out of stock
Additional information
| Product code | CA41079 |
|---|---|
| Barcode | 4905524934779 |
| Weight | 0000000000001 |
| Brand | Sony |
20 reviews for Sony Sony Carl Zeiss Sonnar T* FE 55mm F1.8 ZA (SEL55F18Z)
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kicky –
The Sony 55mm f/1.8 Zeiss lens is an excellent choice for any full-frame e-mount Sony interchangeable-lens camera system. Youll be hard-pressed to find an expert who will complain about the image quality. In fact, DxOMark ranks this lens as the ninth sharpest lenses they have ever tested, of approximately ten thousand tested lenses, with an overall score ranking it as the 7th best lens ever reviewed. What is even more impressive is this is acheived at a price of less than $1,000, when some inferior lenses cost as much as 13 times that.The build-quality is sublime, as expected from a Zeiss-branded lens. Focusing movements are precise and smooth. The f/1.8 is bright, and provides bokeh often described as creamy. Given the small-ish size, the lens sits well on the A7R iii camera body. It also feels well-balanced on the smaller and lighter a6500; however using this lens on a crop-senor camera like the a6xxx series you will have a 35mm equivalent focal length of about 78mm, which is more appropriate for portraitures than using it as a standard 55mm lens (which is pretty close to what our eye sees). The quality is great either way, just be mindfull this is an FE mount and therefore optimized for Sonys Full-frame line of cameras.One noticible omission is a lack of optical image stabilization (OSS) built into the lens. Not an issue per-say as Sonys A7 and A9 series have built-in 5-axis stabilization, which is what this lens was built for, thus negating the need for additional in-lens OSS. Even the a6500 has built-in stabilization, but if one intends to use this on an a6000 or a6300 for portraits you may be disappointed by the omitted OSS.Attached image: A7R iii 1/80 second, f/8.0, 12,800 ISO. Original JPEG straight from the camera with the other being a 100% crop. Please note, the high HSO of the image will soften the image to a degree. Most people will not shoot at 12,800 ISO.
Portia4 –
Awesome lens, UNBELIEVABLY SHARP, SUPER FAST AF, GREAT COLOR RENDITION, and whats most impressive is how small, light and compact this lens is. In my opinion it is a perfect lens. There is no need to get the 50 1.4.This lens is worth every dollar. Sure its not a 1.2/1.4 but do you ever really shoot at those apertures?. I tend to shoot around 2.2 so I have enough texture in the skin for retouching. Highly recommend this lens.Instagram: LudwigRose.photo
Ezra White –
This lens is very close to my heart. The perfection and the sharpness that this lens has is truly remarkable. According to DXO mark list this is one of the top 10 sharpest lens in the market currently. One of the best parts about the lens is its lack of weight. Combined with my Sony A7III on a gimbal this produces amazing videos. And it’s even better for portraits.
Mrs E K Cooke –
Used for video on Sony A7s ii
MR DJ WINTER –
Love this lens. Really sharp. First lens to have for full frame sony body
Goustille –
Considered the 7th best lens of all time.
alan lad –
The best Sony 1.8 prime that you can buy.
M. Towles –
This is a fantastic lens with sharpness rivaling the 50 mm Sigma Art and the Sony 50 1.4. While it is not a 1.4 lens (and therefore you won’t get the utmost in shallow dept-of-field), I have been nothing but impressed with it’s sharpness and edge-to-edge resolution (when stopped down a bit, although sharpness wide-open at center is no joke either). Mated to a 42mp sensor I don’t feel it is ham-stringing the sensor in anyway. Sharpness is however not everything, and I do love it’s Zeiss-esque color rendition (a little more cold clinical than a true Zeiss, though) and it’s bokeh is more than adequate for that 3-dimensional pop that is so desired. Being a short and small-statured lens does mean that some minor caveats do exist, those being Color Aberrations and Vignetting. Both are controlled very well but do show their presence especially at large aperture.–This is where I feel these lenses lose a bit to the larger more perfect ART/OTUS/G-Master brethren.Most importantly to me, I am an avid hiker and when I do take pictures of models/subjects I do so at remote locations. Before I moved to a mirrorless full-frame, I was lugging my heavy 50/1.4 and my mirrored full-frame camera for 12(+) miles per hike up and down mountains. That got old and painful quickly and not to mention that the general bulk of what I was carrying was inconvenient for my packs and inconvenient for climbing. I believe this lens is the perfect size for a small mirrorless professional system and has 99% of the image quality needed for all but the very 0.1% of studio shoots or where the extra subject isolation of a F/1.4 (or less) lense is absolutely needed.This lens is a must for any FE-mount Sony Owners out there.
Pedro Coutiño –
This is probably my favorite prime lens currently (used with the a7RII).In the past, the prime lenses I used the most were the Canon EF 50mm f/1.4, and the Olympus 45mm f/1.8 (which is actually 90mm and the depth-of-field is actually about f/3.6 in 35mm equivalent).What I love about using the 55mm f/1.8 with the a7RII, is that besides the great performance of the optics (image quality, accurate/speedy autofocus), I can also put the a7RII in Super 35 mode and use the lens as a 82.5mm f/2.6, which doubles the usefulness of this already wonderful lens. I don’t even feel like I need to get the Zeiss Batis 85mm f/1.8 anymore, since that will add another lens I need to carry around, not to mention the extra cost. Of course, shooting in Super 35 mode will get you only about 18 MP, but that’s plenty enough for most people’s needs.
Mandy Enderlein –
The sharpest lens I’ve ever owned.