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Sony FE 16-35mm F/4 G PZ [SELP1635G]

Wide-angle zoom lens • Digital era

Abbreviations

FE The lens is designed for Sony 35mm full-frame digital mirrorless cameras but can be also used on APS-C digital mirrorless cameras.
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.
PZ The lens features electronically driven zoom mechanism.

Features highlight

Extreme AoV @ 16-23mm
Constant F/4
4 ASPH
1 Super ED
2 ED
IF
Dual XD LM
DP/WR
FC
IZ
PZ

Specification

Production details
Announced:March 2022
Production status: In production
Production type:Mass production
Original name:SONY FE 4/PZ 16-35 G
System: Sony E (2013)
Optical design
Focal length range:16mm - 35mm [2.2X zoom ratio]
Speed range:F/4 across the focal length range
Maximum format:35mm full frame
Mount and Flange focal distance:Sony E [18mm]
Diagonal angle of view:107° @ 16mm - 63.4° @ 35mm (35mm full frame)
82.9° @ 16mm - 44° @ 35mm (Sony E APS-C)
Lens construction:13 elements - 12 groups
4 ASPH, 1 Super ED, 2 ED
Diaphragm mechanism
Number of blades:7
Zooming
Zoom type:Rotary
Zooming method:Internal zooming
Additional features:Power Zoom
Focusing
Closest focusing distance:0.28m @ 16mm
0.24m @ 35mm
Maximum magnification ratio:1:4.35 @ 35mm at the closest focusing distance
Focusing method:Internal focusing (IF)
Focusing modes:Autofocus, manual focus
Manual focus control:Focusing ring
Autofocus motor:Dual XD Linear Motor
Focus mode selector:AF - MF
Direct Manual Focus (DMF):Determined by the camera
Optical SteadyShot (OSS)
Built-in OSS:-
Physical characteristics
Weight:353g
Maximum diameter x Length:⌀80.5×88.1mm
Weather sealing:Dust-proof and water-resistant barrel
Fluorine coating:Front element
Accessories
Filters:Screw-type 72mm
Lens hood:Bayonet-type ALC-SH172 (petal-shaped)
Teleconverters:Not compatible

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

Manufacturer description #1

SAN DIEGO, CA – March 22, 2022 – Sony Electronics Inc. today introduced the FE PZ 16-35mm F4 G (model SELP1635G) – a wide-angle power zoom with evolved image quality, high performance AF (autofocus), and superior operability designed to meet the needs of today’s creators.

Developed with Sony’s vast expertise in lens design, the FE PZ 16-35mm F4 G delivers outstanding performance and control in the world’s lightesti full-frame wide-angle power-zoom lens with a constant F4 aperture. The compact hybrid lens offers refined image quality, reliable G lens rendering, and industry-leading AF performance in a remarkably compact form factor that will appeal to both photo and video content creators. The FE PZ 16-35mm F4 G is ideal for everything from video production and vlogging to street and landscape photography, offering a variety of outstanding hybrid features such as incredible resolution, beautiful bokeh, and fast and precise AF. In addition, Sony’s newest lens offers advanced video features including an innovative power zoom function and refined capabilities such as an independent aperture control ring for even more creative control.

“The needs of our community are our top priority. As the content creation landscape continues to evolve and the worlds of still imaging and video continue to merge, we are constantly developing new products to meet this growing demand for hybrid content creators,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “With an advanced feature set and unmatched portability and flexibility, The FE PZ 16-35MM F4 G is perfectly designed to meet these evolving needs and ensure that today’s creators can realize their full vision.”

Evolved Image Quality for Photos and Videos

The FE PZ 16-35MM F4 G offers an extraordinary blend of breathtaking resolution and beautiful bokeh in a lightweight, compact lens. The optical path includes two AA (advanced aspherical) elements and a conventional aspherical element for an accurate image across the frame and 16-35mm zoom range. One Super ED (extra-low dispersion), and one ED glass element control chromatic aberration, while one ED aspherical element controls both chromatic and spherical aberration.

The use of AA elements in an advanced optical design also ensures excellent close-up performance throughout the zoom range – minimum focusing distance is 11 inches (0.28 meters) at 16mm and 9.5 inches (0.24 meters) at 35mm, with a maximum magnification of 0.23x. Additionally, an optimized coating effectively suppresses flare and ghosting for clear, well-defined images.

A circular aperture and carefully designed control of spherical aberration work together to deliver smooth, deep full-frame bokeh that adds visual impact.

High-Performance Autofocus

The FE PZ 16-35mm F4 G utilizes two XD (Extreme Dynamic) Linear motors to control autofocus. The fast response and smooth, quiet operation of this system gives users new creative freedom. With Sony’s flagship Alpha 1 body it is possible to maintain accurate focus while shooting stills continuously at up to 30fps (frames per second)[i] and up to 120fps in movie mode.

Focus is especially critical when shooting slow motion 4K up to 120fps or 8K movies[ii]. The FE PZ 16-35mm F4 G works with Alpha cameras[iii] to reliably focus, and smoothly and silently track even fast-moving subjects. High-thrust XD Linear Motors, optimized optics, and responsive control add up to extraordinarily precise AF performance while keeping the lens compact with internal focus.

Advanced Features for Video Including a New Power Zoom Function

Based on feedback from leading creators, Sony specifically designed the FE PZ 16-35MM F4 G to deliver the refined imagery and control for today’s video needs. It features the latest lens technology to reduce focus breathing as well as focus and axial shift when zooming to ensure the highest quality video is easily captured. Focus, zoom, and aperture operation are also extremely quiet, greatly reducing noise and vibration that can interfere with movie recording.

For the first time in a Sony Alpha lens the FE PZ 16-35mm F4 G uses four XD linear motors for the power zoom function in addition to the two XD linear motors used for focus. With this newly designed electronic power zoom system, the FE PZ 16-35mm F4 G provides advanced control with the response and immediacy of non-powered manual zoom. It features both a zoom ring and a zoom lever with variable zoom speed that makes it easy to execute super-slow, fast or constant-speed change in focal length. Power zoom also minimizes camera shake or movement that can occur when operating a traditional zoom ring, and when used with compatible cameras, users can customize the zoom ring direction to suit shooting conditions. Zoom can also be controlled with the zoom lever on compatible cameras. Remote operation is also possible when using the Imaging Edge™ Mobile app[iv].

As an added benefit, users can operate buttons and controls on compatible cameras or accessories for convenient zoom control, including the GP-VPT2BT Bluetooth Grip and Remote Commander RMT-P1BT to remotely control zoom while the camera is mounted on a gimbal[v].

Furthermore, Linear Response MF ensures high repeatability as the focus ring responds directly and repeatably to subtle control when focusing manually. An aperture ring makes manual aperture/iris control fast, direct, and easy. The aperture ring includes a switch that can select aperture click stops that are ideal for photography or de-click operation for smooth iris control which is ideal for video.

Superior Mobility, Control and Reliability

World-class design and technology come together to deliver a compact, lightweight lens that also includes focus, zoom and aperture/iris rings and power zoom for unprecedented mobility and handling.

Using internal focus and internal zoom, the overall length of the lens remains constant during use for ideal balance and handling. Consistent balance makes this lens an ideal choice for gimbal-mounted movie shooting or use with a matte box. The focus ring can be easily controlled while shooting movies, and the adjacent focus and zoom rings are different sizes so they can be easily operated by feel while viewing the monitor.

More convenient features on the FE PZ 16-35mm F4 G include the Iris Lock Switch that can be engaged to prevent the aperture ring from being accidentally moved between the auto and F4 - F22 settings and the customizable focus hold button for convenient control.

As the world’s lightesti F4 wide-angle power-zoom lens, the FE PZ 16-35MM F4 G weighs just 12 ounces (353 grams), 30% less than the Vario-Tessar T* FE 16–35 mm F4 ZA OSS and is just 3.17 inches x 3.47 inches (80.5mm x 88.1mm) in size with a filter diameter of φ72mm. The lens also has a dust and moisture resistant design[vi], as well as a fluorine front element coating to keep it clean and reliable for outdoor use.

Manufacturer description #2

Product highlights:

  • The world’s lightest full-frame F4 wide-angle power-zoom lens
  • Outstanding resolution in an ultralight compact G Lens (353 g / 12.5 oz)
  • Power zoom using 4 XD Linear Motors for responsive operation and control
  • Reduced focus breathing/shift for refined movie imagery
  • Fast, precise, quiet AF and tracking by 2 XD Linear Motors for movies and stills
  • Naturally rendered bokeh and excellent close-up performance (min focus 9.5”)
  • Consistent balance for easy handling with internal focus and zoom structures
  • Focus, zoom and aperture rings with lock and click on/off functions
  • Constant or variable zoom speed from lens or compatible cameras/remotes
  • Dust and moisture resistant design and front fluorine coating for reliability

Sony’s vast expertise brings you the world’s lightest full frame F4 wide-angle power-zoom lens, giving today’s content creators refined imagery, expression, and control. A new power zoom system in a compact lens is suitable for small crews or solo shooting. It is ideal for stills too, with beautiful G lens™ rendering and astonishing AF (autofocus) performance.

This compact, lightweight, full-frame constant F4 wide-angle power zoom lens delivers superb G Lens image quality. It includes two AA (advanced aspherical) elements, a Super ED (Extra-low Dispersion) element, and an ED element to effectively suppress distortion and aberration. A circular aperture and controlled spherical aberration enhance bokeh quality, while 9.5-inch (0.24 meter) minimum focus enables stunning close ups.

In addition to smooth, versatile power zoom, this remarkably compact lens minimizes jarring angle of view shifts that can occur when focusing or zooming so that stable, high quality movie footage can be easily captured. Focus, zoom, and aperture operation are also extremely quiet, greatly reducing noise and vibration that can interfere with movie recording.

A new power zoom system driven by four XD (Extreme Dynamic) Linear Motors for the first time in an α lens provides smooth control with the immediacy of manual zoom. Even subtle zoom ring rotation is precisely detected and instantaneously converted to zoom operation. A continuously variable zoom lever makes it easy to execute super-slow constant-speed zooms, and zoom can be remotely controlled while the camera is mounted on a gimbal

Two XD (extreme dynamic) Linear Motors deliver quick, quiet, low-vibration autofocus while maintaining compact lens dimensions. Tenacious, reliable AF can smoothly track subjects while shooting high frame rate photos or movies. With a compatible body it is possible to maintain accurate focus while shooting stills continuously at up to 30 frames per second and movies up to 120fps. Subjects are smoothly tracked even while zooming.

Independent zoom, focus, and aperture rings on this compact lens offer flexible, intuitive creative control. Responsive zoom control is indispensable for movies, and Linear Response MF ensures that the focus ring responds directly to subtle control when focusing manually. The aperture ring has an aperture click switch that allows the click stops to be turned off when smooth, seamless aperture adjustment is required.

Although this compact wide-angle zoom lens weighs just 353 g (12.5 oz), it does not compromize functionality or performance in any way. Its length remains constant while focusing and zooming for optimal balance and handling, which also makes it ideal for gimbal-mounted movie shooting or with the use of a matte box. Impressive portability and a dust/moisture resistant design make it a great choice for just about any subject or situation.

Typical application

landscapes, interiors, buildings, cityscapes, travel

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35mm full frame

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

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

Professional lens (Top class)

One of the best slow wide-angle zooms

According to lens-db.com; among lenses designed for the same maximum format and mount.

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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.

XD 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.

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.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Fixed focus

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

Overall linear extension

The entire lens optical system moves straight backward and forward when focusing is carried out. This is the simplest type of focusing used mainly in wide-angle and standard prime lenses. It has the advantage of introducing relatively little change in aberrations with respect to change in focusing distance. With telephoto and super telephoto lenses this method becomes less beneficial in terms of operability because of the increased size and weight of the lens system.

Front group linear extension

The rear group remains fixed and only the front group moves straight backward and forward during focusing. This method is primarily used in zoom lenses and allows to design comparatively simple lens construction, but also places restrictions on zoom magnification and size reduction.

Front group rotational extension

The lens barrel section holding the front lens group rotates to move the front group backward and forward during focusing. This method of focusing is also used only in zoom lenses.

Internal focusing (IF)

Focusing is performed by moving one or more lens groups positioned between the front lens group and the diaphragm.

Methods of internal and rear focusing have the following advantages:

Rear focusing (RF)

Focusing is performed by moving one or more lens groups positioned behind the diaphragm.

Methods of internal and rear focusing have the following advantages:

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.

Rotary zoom

The change of focal length is achieved by turning the zoom ring and the manual focusing - by turning the separate focusing ring.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Push/pull zoom

The change of focal length and the manual focusing is achieved by one and the same ring. The change of focal length happens when the photographer moves the ring towards the mount or backwards and the rotation of the ring leads to change of focus.

Push/pull zooming allows for faster change of focal length, however conventional method based on the rotation of the zoom ring provides more accurate and smooth zooming.

Zoom lock

The lens features a zoom lock to keep the zoom ring fixed. This function is convenient for carrying a camera with the lens on a strap because it prevents the lens from extending.

Power Zoom

The lens features electronically driven zoom mechanism. It provides smoother, more natural zoom movements than you could accomplish by hand.

The Holy Trinity of lenses

The Holy Trinity of lenses refers to a three-lens set that covers a focal length range from the ultra-wide focal length of 14-16mm all the way long to the telephoto focal length of 200mm. The set typically consists of a 16-35mm ultra-wide angle zoom lens, a 24-70mm standard zoom lens and a 70-200mm telephoto zoom lens and usually represents the best constant-aperture zoom lenses in a manufacturer's lineup. The set is designed to cover almost every genre of photography, be it landscapes, architecture, portraits, weddings, sports, travel or even wildlife (with teleconverter). However, it is also expensive, large and heavy.