Sony 16-35mm Vario-Tessar T FE F4 ZA OSS E-Mount Lens

This is a great travel lens. It can capture landscapes as well as close up portraits. The G Master may be better for night photography, but that feature was not worth double the price. This lens is great, it is fairly light, sharp, and I have gotten great color through the lens.Pros:-This lens is sharp. I have had no complaints or times I wished it was sharper.- While not the lightest lens on earth, it is light enough to carry around all day with no problems.- I think the colors look great through this lens and have never had problems.Cons:-F4 may be limiting for some people. I don't think most would utilize F2.8 of the GM lens, but if you truly need a lens for night photography then go for the nicer lens.

I purchased this lens along with the Sony a7s2 about a month ago to use for my real estate photography business. I have been quite satisfied with it.If you read my review on the camera body itself then you'll know that the camera was the driving force in the decision. I needed THAT camera in order to get the best dynamic range out of that slog3 picture profile for shooting video in houses. I wanted it for the smaller 12mp size that the camera puts out on still as compared to my a6000.At the time, this 16-35mm lens was the clear choice. Here's why:For Stills: you need a good wide angle lens for interiors. On my crop sensor lens I was using a 12mm prime lens from Rokinon...basically 18mm on a full frame camera. Once I got this lend I found that I actually liked shooting at 20mm a bit more and on larger homes, the ability to zoom to 24mm has been useful when I need to not shot the off-camera flash stands that are set up to light the scene and would otherwise creep into the filed of view at a wider angle.This lens works well for video too. I really love my prime lenses because you can set them up hyperfocal and then never have to worry about focus. EVERYTHING is in focus on a real estate shot when hyperfocal. That's one thing less to worry about. But when shooting video in slog3 the camera will not shoot at an ISO lower than 1600. That is really quite high. On my very first attempt, I had really terribly overblown windows because I didn't know that you should put the s2 in "shutter priority" mode when filming.Shutter priority allows the camera to stop down the aperture on the fly in order to restrict the amount of light coming into the camera when approaching high-light areas like exterior windows. But this only works if you have a fly-by-wire lens like this 16-35mm from Sony. Something like the 21mm Loxia would not work because it's a manual aperture lens.The ability to shoot all the way to 16mm wide is a plus too. While 20mm is my normal preferred focal length for stills with this lens I shoot all my walk-through videos at 16mm. Continuous focus controlled by the camera keeps everything in focus as I walk through the house filming.Here are the downsides:1) Barrel Distortion - there's a good bit of it and it's not fully corrected with Lightroom profiles.2) Needs to Go a BIT Wider - I am constantly faced wtih the issue that I need the lens to go to 14mm in small bathrooms...but it doesn't have it. It frustrates me.At this point this is still my main lens. My a7s2 is permanently fixed to my video rig and I now have an a7iii as well which I use for stills. The lens jumps from one to the other when I shift gears. I do plan on purchasing the 12-24mm soon for my stills camera at which point this lens will remain permanently attached to the a7s2 on the gimbal.Ultimately though I plan to get the 18mm 2.8 Batis for the video camera on the gimbal at which point this lens will be homeless and I plan on selling it. Even though it's going to be phased out of my camera bag I still rate it 5-stars in spite of the fact that I see it as a comprimise lens. It's not as idea for stills as I'd like and it's not as ideal for video as I'd like. But the price is right and for someone on a budget it will do the job nicely until you can build up the coin to get more specialized lenses for specific applications.

If you own any of the E-series Sony digital cameras, stop looking around: this is your ultra-wide zoom. It's got the Zeiss pop, the tack sharpness, and great bokeh. Stopped down, and pushed to the super-wide portion of the zoom the depth of field goes on forever. On the full frame it covers every wide angle option, if with the normal amount of distortion typical of a ultra-wide zoom. No pain, no gain gentle reader.If you own the APSC series of Sony cameras, this is still a worthy walk about lens that goes from normal to fairly wide with the penalty of a one stop over the competition. Over a prime 1.4 it gets a whole lot more painful, at F 4 this is nobodies idea of a night shooter. The compromise here is that the lens is rather slow, and you quickly run out of options in the dark because the APSC series cameras get noisier quicker than their full-frame stablemates. Pumping up the ISO on the 6000 / Nex series cameras (or any of the SLTs series other than the full frame A99) is just not the same as doing the same on the full frames. Sorry kiddies, physics is physics and photons are photons, there's no way around this. One stop can be the difference between a usable photo and something less so. Two stops, even more so.Placed on a solid Tripod and used for its designed purpose, sweeping landscapes and architectural shots, this lens is just awesome. Jammed into a tight spot, you can zoom out and get shots that more "normal" wides just are unable to supply. You can get up close and personal with this lens and there hangs a tale. This means that cropping a marginal photo in post is not necessary, you can get it right in camera and without having to put life and limb in danger. This is a real world problem when things like barbwire and twisty roads power packed with motorcycles and zooming cars get in your way. It is also a real issue when working is super-tight environments where you subject is is in one place and a big honking obstruction like a wall or building is right next to it. I can not tell you how many images were possible only because of the reach of the lens.This lens is one of my go-to lenses in my goody bag, there are almost no shoot where this little gem does not get placed on my full frame and the whole business get placed on a tripod. This is my weapon of choice when shooting landscapes and architectural shots, it gets more work than my 24-70 and spends more time on the camera than it's bigger brother. Because it almost always is on a camera, on a tripod it creates more considered and well composed shots. Your mileage may vary from mine but if you have a full frame this lens not only belongs in your bag or backpack but deserves pride of place. On a APSC shooter it's very worthy, if more limited, walk about option than the G series 2.8. It's sharper, has better pop, and all that deliciousness that Zeiss brings to the table but it is a full stop slower and has no telephoto reach to speak of. As a "normal" lens for the APSC cameras, it's a bust, get it's purpose-built brother the 35mm 1.4 or 35mm 2.8 if you are looking for a "normal" in APSC format. For the smaller format the lens is a sold four stars, maybe even four and half, but there are too many compromises here to give it five stars on the NEX / 6000 series cameras, that is a bridge too far; it's too slow, and lacks too little reach, any discussion of bokeh is a very mixed bag as the F 4 brings a bit too much depth of field to the game in even in full format. the bokeh is great, don't get me wrong it's typical Zeiss buttery, creamy goodness with just a touch of nervousness, but forget trying to erase either your foreground or background to nothingness, that is a job for the prime 1.4. This lens is in it's element stopped down to an 8 or 11, even 5.8 is more than decent. Opened up, meh, it's a little soft in the corners and still provides more depth of field than you probably want in most situations. In that it is a very standard super-wide with all the baggage that entails, the distortion that has to be fixed in post, the softness when fully open, serious weirdness in your shots when not absolutely level when at the widest part of the zoom. If you know about super-wides, you know the drill. If you love this type of lens this particular example is one of the best, and for Sony Full Frame Cameras-- it is the best, full stop; until Sony gets around to making a G Master 16-35 that clocks in at a 2.8.