|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.|
|Production status:||● In production|
|Production type:||Mass production|
|Original name:||SONY FE 2.5/40 G|
|System:||● Sony E (2013)|
|Maximum format:||35mm full frame|
|Mount and Flange focal distance:||Sony E [18mm]|
|Diagonal angle of view:||56.8° (35mm full frame)|
|38.9° (Sony E APS-C)|
|Lens construction:||9 elements - 9 groups|
|Number of blades:||7|
|Closest focusing distance:||0.28m [AF]|
|Maximum magnification ratio:||1:5 at the closest focusing distance|
|Focusing method:||Internal focusing (IF)|
|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)|
|Maximum diameter x Length:||⌀68×45mm|
|Weather sealing:||Dust-proof and water-resistant barrel|
|Lens hood:||Bayonet-type ALC-SH166 (dome-shaped)|
This standard prime lens packs the high image quality and beautiful bokeh of the G Lens into a compact design with superb build quality and intuitive operability. Easily carried anywhere and anytime, it's ideal for snap-shooting both portraits and views around town. The fast, precise, and quiet AF is ideal for shooting both stills and movies, ensuring capture of those vital moments.
This is one of our G Lens primes (sold separately), offering different focal lengths but the same external look, 49‑mm filter diameter, compact design, and layout. They're compact enough to carry all three, so you're ready for great shots across a range of scenes and subjects, and the similar weight even makes gimbal rebalancing easy.
The metal (aluminum) finish of the lens body and hood, plus the engraved focal length and aperture markings, emphasize a superb build quality. The ultra-compact lightweight design, the high image quality of the G Lens, the aperture ring, and Linear Response MF deliver intuitive operability that makes shooting a pleasure.
Two linear motors deliver fast, precise AF with superb tracking performance that maximizes camera body performance to capture decisive moments in street snaps, expression changes in portraits, and the like. The fast, precise, and quiet AF with superb tracking performance is ideal for shooting movies as well as stills.
The mechanical design takes maximum advantage of state-of-the-art optics with an effective layout of three aspherical lens elements, and the short flange back unique to mirrorless cameras, to realize stunning compactness and a weight of only 6.2 oz (173 g). The lens is ideal for shooting snaps around town, or movie shooting with a gimbal. Mobility is delivered by the compact design that matches both full-frame and APS-C bodies.
A 7-blade circular aperture is provided, with precise control of the spherical aberration that affects bokeh, delivering the beautiful natural bokeh of the G Lens.
The metal (aluminum) exterior finish of the lens body and hood contributes to reliability through increased strength and durability. The design is also dust- and moisture-resistant, providing reliability in harsh outdoor shooting environments.
The diameter of the threaded hood is equal to the filter diameter of the lens (49 mm), allowing the same cap and filter to be attached to both the hood and the lens barrel for added convenience.
A minimum focus distance of 0.92 ft (28 cm) (AF) / 0.82 ft (25 cm) (MF) provides excellent close-up performance. The lens is useful in many situations like shooting close-ups of flowers or small objects you find around town with a blurred background that makes the subject stand out.
The aperture ring provides the immediacy of operation that professionals seek for still and movie shooting. Click stops can be switched ON for tactile feedback when shooting stills, or OFF to suppress the clicks when shooting movies, for smooth and natural aperture adjustments in combination with the quiet linear motors. This is ideal for situations requiring silence, like stage movie shooting.
Linear Response MF provides a direct response to subtle focus ring adjustments when focusing manually. Ring rotation translates linearly to a corresponding change in focus like a mechanical control, directly reflecting the intent of the photographer and allowing delicate focus adjustments.
The focus hold button is customizable from the camera menu, and can be assigned a function that the user prefers. For example if the Eye AF function that automatically tracks human eyes is assigned, the fingers of the right hand that holds the camera can remain fixed while the left thumb operates Eye AF, for more stable holding.
The diameter of the threaded hood is equal to the filter diameter of the lens (49 mm), allowing the same cap and filter to be attached to both the hood and the lens barrel. Thanks to its internal focus, the front lens element does not rotate, allowing attachment of circular polarizing filters for landscapes, ND filters for movies, etc., giving the user extra creative control.
The "focus mode switch" supports comfortable shooting by enabling instant switching between AF and MF depending on shooting conditions.
The internal focus design maintains the overall length of the lens constant when focusing, allowing easy movie shooting with a gimbal or grip attached.
This lens also balances well on APS-C bodies, providing a wide-angle focal length of 60 mm (35‑mm full-frame format equivalent), useful for shooting a wide range of scenes from snapshots around town to portraits.
Technically, the FE 40/2.5 G is a very successful model, since it has a compact and lightweight weather sealed barrel, an efficient autofocus motor and is suitable for both photography and videography. However, if you evaluate it in terms of focal length and speed, the lens will no longer look so impressive. Although the FE 40/2.5 G is formally a wide-angle lens (since its focal length is less than diagonal of a full-frame sensor, which is 43.27mm), it does not provide a wide enough field of view to comfortably shoot wide-angle scenes (architecture, interiors, expansive landscapes), especially if it is not possible to increase the focusing distance. On the other hand, the focal length is too short to shoot portraits with impressive background blur. The situation doesn't get any better when using this lens on an APS-C camera. An equivalent focal length of 60mm provides too narrow field of view for this lens to be used as a standard lens, and the background blur will not be so impressive as with lenses specially designed for portrait photography.
With this in mind, the typical use cases for this lens are likely to be casual photography and vlogging. It is rather difficult to imagine shooting any other subjects with this lens (however, it does not mean that it is impossible).
landscapes, interiors, buildings, cityscapes, full to mid-body portraits, photojournalism, weddings, parties, carnivals, live concerts, street, travel
Sorted by manufacturer name
|1.4||Samyang AF 35mm F/1.4 FE (Rokinon) • ⌀67||Pro||2017 ●||Compare||1||4|
|1.4||Samyang AF 35mm F/1.4 FE II (Rokinon) • ⌀67||Pro||2022 ●||Compare||1||3|
|1.8||Samyang AF 35mm F/1.8 FE (Rokinon) • ⌀58||2020 ●||Compare||1||2|
|2.8||Samyang AF 35mm F/2.8 FE (Rokinon) • ⌀49||2017 ●||Compare||1||2|
|1.8||Samyang AF 45mm F/1.8 FE (Rokinon) • ⌀49||2019 ●||Compare||1||3|
|1.2||Sigma 35mm F/1.2 DG DN | A • ⌀82||Pro||2019 ●||Compare||2||3|
|1.4||Sigma 35mm F/1.4 DG DN | A • ⌀67||Pro||2021 ●||Compare||2||3|
|1.4||Sigma 35mm F/1.4 DG HSM | A • ⌀67||Pro||2012 ●||Compare||2||4|
|2.0||Sigma 35mm F/2 DG DN | C • ⌀58||2020 ●||Compare||0||4|
|1.4||Sigma 40mm F/1.4 DG HSM | A • ⌀82||Pro||2018 ●||Compare||2||4|
|2.8||Sigma 45mm F/2.8 DG DN | C • ⌀55||2019 ●||Compare||0||3|
|1.8||Sony E 35mm F/1.8 OSS [SEL35F18] • ⌀49 • APS-C||2012 ●||Compare||1||2|
|1.4||Sony FE 35mm F/1.4 GM [SEL35F14GM] • ⌀67||Pro||2021 ●||Compare||2||3|
|1.8||Sony FE 35mm F/1.8 [SEL35F18F] • ⌀55||2019 ●||Compare||1||3|
|2.8||Sony FE Carl Zeiss Sonnar T* 35mm F/2.8 ZA [SEL35F28Z] • ⌀49||2013 ●||Compare||1||1|
|1.4||Sony FE ZEISS Distagon T* 35mm F/1.4 ZA [SEL35F14Z] • ⌀72||Pro||2015 ●||Compare||1||3|
|2.8||Tamron 35mm F/2.8 Di III OSD F053 • ⌀67||2019 ●||Compare||3||3|
|2.0||ZEISS Batis Distagon T* 40mm F/2 CF • E67||2018 ●||Compare||3||3|
The higher a lens is on the list, the better it is in its class
Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.
According to lens-db.com; among lenses designed for the same maximum format and mount.
You are already on the page dedicated to this lens.
Cannot compare the lens to itself.
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.
|MF||Manual focus mode.|
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 (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 (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.
High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.
Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.
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.
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.
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 (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 (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 (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.
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 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 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),
CF – crop-factor of a sensor,
FL – focal length of a lens.
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 – 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.
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.
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.
The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.
The distance from the front edge of the lens to the subject at the maximum magnification.
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".
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.
Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.
There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.
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.
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.
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.
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:
Focusing is performed by moving one or more lens groups positioned behind the diaphragm.
Methods of internal and rear focusing have the following advantages:
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.
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.
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.
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.
Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.
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 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.
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.