82points
Sony FE 16-35mm f/2.8 GM
77points
Zeiss Batis 18mm F2.8
Comparison winner
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37 facts in comparison
Sony FE 16-35mm f/2.8 GM vs Zeiss Batis 18mm F2.8
Sony FE 16-35mm f/2.8 GM
Zeiss Batis 18mm F2.8
Why is Sony FE 16-35mm f/2.8 GM better than Zeiss Batis 18mm F2.8?
- 17mm longer maximum focal length?
35mmvs18mm - Has full-time manual focus?
- 0.06m shorter minimum focus distance?
0.19mvs0.25m - 2mm shorter minimum focal length?
16mmvs18mm - 8° wider maximum angle of view?
107°vs99° - Front element doesn't rotate?
- 0.09x Better magnification factor?
0.19xvs0.1x - 1.2x greater zoom range?
2.2xvs1x
Why is Zeiss Batis 18mm F2.8 better than Sony FE 16-35mm f/2.8 GM?
- Can focus to infinity?
- 350g lighter?
330gvs680g
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User reviews
General info
The device is protected with extra seals to prevent failures caused by dust, raindrops, and water splashes.
A metal mount is generally superior to a plastic mount as it is more durable.
We consider a lower weight better because lighter devices are more comfortable to carry. A lower weight is also an advantage for home appliances, as it makes transportation easier, and for many other types of products.
A longer maximum focal length allows you to focus in on a small part of a scene, and offers a narrower angle of view than shorter focal lengths.
A shorter minimum focal length allows you to get more of the scene in the photo, and offers a wider angle of view than longer focal lengths.
The front element doesn’t rotate. This is important if you use filters, as some such as polarising or gradient filters have to be orientated a certain way.
It comes with a lens hood so that you don’t have to buy it separately. These are used to block strong light sources, such as the sun, from the lens to prevent glare and lens flare.
The lens hood can screw onto the lens in reverse so that you can keep it on your camera at all times, ready to use.
A telephoto lens allows you to zoom in on far away objects. This is particularly useful when you need to photograph a subject from a distance, such as wildlife photography, or even in some cases street photography where you can’t get near the subject.
Optics
Optical image stabilization uses gyroscopic sensors to detect the vibrations of the camera. The lens adjusts the optical path accordingly, ensuring that any type of motion blur is corrected before the sensor captures the image.
At the shorter end of the lens you get the widest angle of view. This allows you to fit more of the scene into the photograph (based on APS-C format).
At the longest end of the lens you get the narrowest angle of view. This allows you to fit a small portion of the scene into the photograph, such as when you are zooming in on a subject (based on APS-C format).
A true macro lens has a magnification of 1:1. This means that the image produced is a life-size representation of the subject being photographed.
The zoom range is the ratio between the longest and shortest focal lengths. A higher zoom range means that the lens is more versatile.
Aperture
With a wider aperture the sensor can capture more light, helping to avoid blur by enabling a faster shutter speed. It also provides a shallow depth of field, allowing you to blur the background to focus attention on the subject.
With a wider aperture the sensor can capture more light, helping to avoid blur by enabling a faster shutter speed. It also provides a shallow depth of field, allowing you to blur the background to focus attention on the subject.
Similar to the number of aperture blades, rounded blades affect the way the light gets through to the sensor. Rounded blades, often only found on more expensive lenses, improve the appearance of the out-of-focus areas. This allows you to attain better, softer looking bokeh in your photos.
The aperture controls how much light gets through to the camera’s sensor. More blades is often an indicator of a better quality lens. It also allows you to achieve much nicer looking bokeh when blurring out your background, whereas a lens with less blades will often produce harsher, more polygonal bokeh.
A smaller aperture reduces the amount of light reaching the sensor. This is important in bright conditions where a wider aperture could result in your image being overexposed. Another advantage is that with a smaller aperture you get a greater depth of field, and can keep all of the image in focus.
A smaller aperture reduces the amount of light reaching the sensor. This is important in bright conditions where a wider aperture could result in your image being overexposed. Another advantage is that with a smaller aperture you get a greater depth of field, and can keep all of the image in focus.
Focus
Many lenses allow you to focus to infinity. This is essential when you wish to take photos including far off objects, such as when shooting landscapes, in order to make sure everything is sharp and in focus.
Lenses with a built-in focus motor can autofocus even if the camera does not have its own focus motor.
With full-time manual focus, you can move the focus ring whilst it is in AF (autofocus) mode. This means that you can make manual adjustments once the AF has finished, without changing to manual mode.
Lenses with built-in focus motor focus faster and more quietly than lenses without a focus motor which rely on the camera's body focus motor.
This is the closest distance that the lens can focus. A shorter minimum focus distance allows you to get closer to your subject, and is particularly important when doing macro photography.
Benchmarks
1.sharpness result
Unknown. Help us by suggesting a value. (Sony FE 16-35mm f/2.8 GM)
Unknown. Help us by suggesting a value. (Zeiss Batis 18mm F2.8)
The sharpness result from the DxOMark set of metrics. This result is based on the MTF (modulation transfer function) measurement, and gives an overall indication of the sharpness of images produced by the lens. Tested with Nikon D7000 or Canon 7D. Source: DxOMark.
2.chromatic aberration
Unknown. Help us by suggesting a value. (Sony FE 16-35mm f/2.8 GM)
Unknown. Help us by suggesting a value. (Zeiss Batis 18mm F2.8)
The lateral chromatic aberration result from the DxOMark set of metrics. Chromatic aberration is a type of distortion which results in color fringing along edges within the image. Tested with Nikon D7000 or Canon 7D. Source: DxOMark.
3.DxOMark score
Unknown. Help us by suggesting a value. (Sony FE 16-35mm f/2.8 GM)
Unknown. Help us by suggesting a value. (Zeiss Batis 18mm F2.8)
DxOMark is a set of tests to measure the performance and quality of lenses and cameras. The DxOMark score is the overall score given to the lens. Tested with Nikon D7000 or Canon 7D. Source: DxOMark.
4.distortion
Unknown. Help us by suggesting a value. (Sony FE 16-35mm f/2.8 GM)
Unknown. Help us by suggesting a value. (Zeiss Batis 18mm F2.8)
The distortion result from the DxOMark set of metrics. Distortion in the lens refers to the variation of magnification throughout the image. More distortion will result in straight lines being recorded incorrectly in the image. Tested with Nikon D7000 or Canon 7D. Source: DxOMark.
5.transmission
Unknown. Help us by suggesting a value. (Sony FE 16-35mm f/2.8 GM)
Unknown. Help us by suggesting a value. (Zeiss Batis 18mm F2.8)
The transmission result from the DxOMark set of metrics. Transmission refers to the amount of light that reaches the sensor through all of the glass elements of a lens, with a lower TStop signifying more light. This is important as less light reaching the sensor can lead to the requirement of higher ISOs or slower shutter speeds. Tested with Nikon D7000 or Canon 7D. Source: DxOMark.
6.vignetting
Unknown. Help us by suggesting a value. (Sony FE 16-35mm f/2.8 GM)
Unknown. Help us by suggesting a value. (Zeiss Batis 18mm F2.8)
The vignetting result from the DxOMark set of metrics. Vignetting refers to when the brightness of an image changes from the center towards the edges, resulting in darkened corners. A result of 0 is perfect and the image will have no vignetting. Tested with Nikon D7000 or Canon 7D. Source: DxOMark.
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