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Returnable until Jan 31, 2026 Learn more
Returnable until Jan 31, 2026 Learn more
This item's return window has been extended for the holiday season: Returnable until Jan 31, 2026
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Availability:
12 left in stock
Arrives
Friday, Jan 2
Recently Viewed
Style: Base
Features
- Ideal for landscapes and the a7 series of full frame cameras, ZEISS T (T star) coating to reduce flare and ghosting
- Minimum Focus Distance: 0.92 feet (0.28 m), Maximum Magnification ratio: 0. 19x, Focal-Length: 5/8 - 1-3/8 Inches
- Three ED glass elements suppress chromatic distortion, constant F4 maximum aperture throughout the zoom range
- Built-in Optical Steady Shot image stabilization, dust and moisture resistant design
- Angle of View (35 mm)107-63 Angle of View (APS-C) 83-44. Weight- 18.3 ounce.Optical Design : 12 Elements in 10 Groups
- Mounting Type: Sony E
Description
Vario-Tessar T FE 16-35mm F4 ZA OSS.
Brand: Sony
Focal Length Description: 16-35 millimeters
Lens Type: Wide Angle
Compatible Mountings: Sony E
Camera Lens Description: 16-35mm
Product Dimensions: 3.9 x 3.07 x 3.07 inches
Item Weight: 1.14 pounds
Item model number: SEL1635Z
Is Discontinued By Manufacturer: No
Date First Available: September 14, 2014
Manufacturer: Sony
Frequently asked questions
If you place your order now, the estimated arrival date for this product is:
Friday, Jan 2
Yes, absolutely! You may return this product for a full refund within 30 days of receiving it.
To initiate a return, please visit our Returns Center.
View our full returns policy here.
To initiate a return, please visit our Returns Center.
View our full returns policy here.
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Top Amazon Reviews
Style: Base
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.
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Reviewed in the United States on March 3, 2016 by James S. Leseke
Style: Base
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.
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Reviewed in the United States on July 29, 2020 by Dominick D. Dominick D.
Style: Base
The 16-35 Zeiss is a very sharp, well constructed lens. I am very impressed to say the least. I ran mine through several tests using pages of newspaper stretched against a wall and shooting at different apertures and focal lengths and found it to be very sharp, even at its supposed weak spots such as full aperture at 35mm. There was a minor bit of fall off there though, but in everyday application I really doubt it would even be noticed. Its construction is very well executed with actual machined knurling on its metal focus and zoom rings (not rubber). At the time of this purchase from Amazon, I also purchased the Sony 70-200 E Mount "G" from another large photo retailer and unfortunately found it to be VERY soft at the corners as well as center at several f stops and focal lengths and had to return it. This amazed me for a lens like this. Perhaps I just received a bad copy! Anyway this lens is a true winner and a "must have" for any serious photographer using any of Sony's a7 series cameras.
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Reviewed in the United States on March 14, 2015 by Tech Weenie
Style: Base
Great tool love this lense. Easy to use
Reviewed in the United States on October 17, 2025 by RP