Sony E 15mm F/1.4 G [SEL15F14G]

Ultra-wide angle prime lens • Digital era

Sony E 15mm F/1.4 G [SEL15F14G]

Abbreviations

E The lens is designed for Sony APS-C digital mirrorless cameras only.
G Professional lens with high quality optics and robust build. Meets the highest standards and provides excellent performance and flawless image quality unachievable with traditional optical technologies.

Production details

Announced:June 2022
Production type:Mass production
Production status: In production
Original name:SONY E 1.4/15 G
System:Sony E APS-C (2010)

Features highlight

APS-C
Extreme AoV
Ultra fast
3
ASPH
1
Super ED
1
ED
IF
Dual
LM
Lightweight
DP/WR
⌀55
filters

Specification

Optical design
Focal length:15mm
Speed:F/1.4
Maximum format:APS-C
Mount and Flange focal distance:Sony E [18mm]
Diagonal angle of view:86.6° (Sony NEX/a/ZV APS-C)
Lens construction:13 elements - 12 groups
3 ASPH, 1 Super ED, 1 ED
Internal focusing (IF)
Diaphragm mechanism
Diaphragm type:Automatic
Aperture control:Aperture ring (Manual settings + Auto Exposure setting)
Number of blades:7 (seven)
Focusing
Closest focusing distance:0.2m [AF]
0.17m [MF]
Maximum magnification ratio:1:8.33 at the closest focusing distance
Focusing modes:Autofocus, manual focus
Manual focus control:Focusing ring
Autofocus motor:Dual Linear motor
Focus mode selector:AF - MF
Direct Manual Focus (DMF):Determined by the camera
Optical SteadyShot (OSS)
Built-in OSS:-
Physical characteristics
Weight:219g
Maximum diameter x Length:⌀66.6×69.5mm
Weather sealing:Dust-proof and water-resistant barrel
Fluorine coating:-
Accessories
Filters:Screw-type 55mm
Lens hood:Bayonet-type ALC-SH171 (petal-shaped)
Teleconverters:Not compatible

*) Source of data: Manufacturer's technical data.

35mm equivalent focal length and speed

In terms of FoV & DoF
Camera series [Crop factor] Focal length SpeedMax MR Dia. angle of view
Sony NEX/a/ZV APS-C [1.53x] 23mm F/2.11:5.44 86.6°

Manufacturer description #1

SAN DIEGO, June 1, 2022 /PRNewswire/ -- Sony Electronics Inc. today has expanded its E-mount lens lineup with the introduction of the power zoom G lens E PZ 10-20mm F4 G (model SELP1020G), versatile G lens E 15mm F1.4 G (model SEL15F14G), and the ultra-wide prime E 11mm F1.8 (model SEL11F18). The three newest additions bring Sony's E-mount lens family to a total of 70 different models, offering more options than ever for still, video and hybrid content creators.

The first new lens, the E PZ 10-20mm F4 G is the world's smallest and lightest, ultra-wide angle, constant F4 APS-C power zoom lens. This compact zoom lens brings together outstanding G Lens imagery, impeccable autofocus (AF) performance, and versatile power zoom. The end result is a lens that remains a constant length throughout the zoom range and offers refined visual expression and operability that only a power zoom lens can provide.

The second new lens, the E 15mm F1.4 G, offers beautiful shallow depth of field plus superb G lens resolution in a versatile APS-C lens design, empowering users with vast creative potential. This compact and lightweight prime lens delivers dynamic imagery, and includes excellent AF (autofocus) capabilities, along with high operability and control. The E 15mm F1.4 G is great for both still and cinematic imagery.

The E 11mm F1.8 is a compact large aperture, ultra-wide APS-C prime lens designed for vloggers and shooting video on the go. With a 35mm full-frame equivalent of 16.5mm, this lens delivers outstanding corner-to-corner resolution, gorgeous bokeh and fast, reliable AF for dramatic expression and stunning selfie-style content.

"Amidst the ever-changing camera market, Sony's commitment to creating industry-leading tech for all its customers is unwavering," said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. "In recent years we've seen a growing customer demand for video-and-vlogging-first products that are lightweight and include creator-driven features. We see the APS-C platform as the perfect option for these video-first and hybrid creators, and we're dedicated to creating new products that will allow them to capture and create in ways they never could before."

E 15mm F1.4 G

G Lens Resolution and Beautiful Bokeh

The E 15mm F1.4 G lens has a wide 15mm view with impressive G lens resolution. Three aspherical elements in an advanced optical design effectively compensate for distortion and deliver excellent corner-to-corner resolution, despite the lens' wide 15 mm angle of view. The addition of one ED (Extra-low Dispersion) glass element and one Super ED glass element effectively suppresses chromatic aberration.

The large F1.4 maximum aperture, precisely controlled spherical aberration and circular aperture mechanism make it easy to produce smooth, background bokeh for an artist effect.

With a minimum focusing distance of 6.7 inches (0.17 meters) and maximum magnification of 0.15x when manual focus is used, impressive close-ups can be achieved for both stills and video.

AF Performance That Makes Full Use of Camera's Speed Potential

Fast, precise, quiet AF and tracking for both stills and video is achieved with two advanced linear motors. This maximizes the speed potential of the camera body used to maintain accurate focus, even when focusing on fast-moving subjects.

The E 15mm F1.4 G uses Sony's latest lens technology to reduce focus breathing so that angle-of-view variations are minimized for smooth, stable video. It also supports the breathing compensation function provided in compatible Alpha series bodies, minimizing breathing that can hinder post-shoot editing.

Excellent Control and Reliability for Stills and Video

Linear Response MF (manual focus) ensures that the focus ring responds directly and linearly to subtle control when focusing manually. Focus ring rotation translates directly to a corresponding change in focus, so control is immediate, repeatable and precise.

By combining aspherical elements and an effective design, this lens achieves a large aperture and high resolution in a lightweight 7.7 ounces (219 grams) lens that is only 2.6 inches (66.6 mm) in diameter and 2.74 inches (69.5 mm) in length. Despite its compact dimensions, the E 15mm F1.4 G includes an aperture ring for direct, intuitive control with an aperture click switch that can be switched ON or OFF: ON for tactile feedback that lets the user "feel" the stops, or OFF for smooth, continuous, silent aperture control. The OFF setting enables smooth and stable control for video and is also ideal when silent operation is essential.

A focus hold button and focus mode switch are also provided for extra flexibility. The focus mode switch makes it possible to quickly switch between AF and MF as needed.

A wide angle of view, compact dimensions, and light weight make it ideal for shooting starry skies, landscapes, architecture, and indoor scenes, as well as subjects that require mobility such as sports. The E 15mm F1.4 G is designed with dust and moisture resistancevi providing extra reliability for outdoor use in challenging conditions.

Manufacturer description #2

With stunning G Lens rendering and expressive F1.4 bokeh this 15 mm (35mm full-frame equivalent: 22.5 mm) wide-angle prime lens for APS-C cameras can deliver dynamic perspectives. Whether you’re shooting stills or movies, superb operability and AF performance combine with compact, lightweight portability for multifaceted versatility.

An innovative optical design that includes three aspherical elements effectively corrects field curvature and aberration, achieving outstanding resolution throughout the lens’s wide 15 mm field of view, even at full F1.4 aperture. One ED (Extra-low Dispersion) glass element and one Super ED glass element further suppress chromatic aberration and effectively reduce peripheral color fringing.

This lens’s large F1.4 aperture makes it possible to produce beautiful bokeh that is enhanced by precisely controlled spherical aberration and a 7-blade circular aperture. 0.17 meter minimum focus and 0.15x maximum magnification let you get close to the subject while producing deep background bokeh. Impressive close-up capability is an advantage for movies as well as stills.

The small size and low weight of this lens make it a perfect match for compact APS-C cameras. A design that maximizes the benefits of aspherical elements and the short mirrorless flange back distance delivers stunning performance in a lens that is only 2-5/8 x 2- 3/4" (66.6 x 69.5mm) and weighs only 7.8 oz. (219 g). A great choice for wide-angle landscapes, architecture, interiors, and snapshots in general.

With an internal focus mechanism that keeps overall lens length constant while focusing, this lens is easy to handle in a wider range of situations. A consistent center of gravity also means that gimbal balancing is easier. The lens’s small size and low weight provide important handling advantages too. Advanced optical design minimizes focus breathing and reduces unwanted angle-of-view shifts in movies.

Two linear motors give this large-aperture lens impressively fast, precise autofocus and tracking performance for both stills and movies. AF and tracking are so responsive that the full speed potential of the camera used can be fully realized so that even fast or erratically moving subjects can be reliably captured.

The focus ring features Linear Response MF for direct manual focusing that responds like mechanical focus. There is also an aperture ring with an click stop on/off switch for intuitive aperture control, a focus hold button and focus mode switch for extra focus control versatility. And to ensure maximum reliability in challenging outdoor conditions, this rugged lens has a dust and moisture resistant design.

Classification

  • Professional lens (Top class)
    • Combination of focal length and speed meets professional demands
    • Dust-proof and water-resistant barrel
    • Linear motor

Typical application (5)

Landscapes • Cityscapes • Buildings • Interiors • Travel photography

Lenses with similar focal length

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

Linear motor

AF - MF

AFAutofocus mode.
MFManual focus mode.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

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Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Fixed focus

There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.

Internal focusing (IF)

Conventional lenses employ an all-group shifting system, in which all lens elements shift during focusing. The IF system, however, shifts only part of the optics during focusing. The advantages of the IF system are:

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/1.4 on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.