Viltrox Pro AF 35mm F1.4 FE Review

The Viltrox AF 35mm F1.4 PRO is a completionist lens. It completes the full frame PRO series trilogy, joining the 50mm F1.4 and the 85mm F1.4 as high quality lenses in Viltrox’s mid-level series. It also completes Viltrox’s 35mm lineup, joining the cheaper 35mm F1.8 EVO and the high-end 35mm F1.2 LAB as the medium option in the series. The full frame Pro series has developed its own unique optical identity, with slightly less wide open contrast and detail than the LAB series (and sometimes even the EVO series), but very nice bokeh and rendering. They are also big, heavy lenses, and that is more a factor here than with the 50mm or 85mm F1.4 options for the simple reason that Sony’s own 35mm F1.4 GM is very compact, and Sigma’s second generation 35mm F1.4 ART II was much smaller and lighter than the first generation. Viltrox has always raised the price for the 35mm F1.4 PRO relative to the first two lenses in the series. Is the 35mm F1.4 PRO still a compelling option amongst some stiff competition? Find out more in either the video review below or by reading on in the text review.

Thanks to Viltrox for sending me a review copy of this lens. As always, this is a completely independent review. *The tests and most of the photos that I share as a part of my review cycle have been done with the Sony a7RV and the Sony Alpha 1. You can find the listing for the AF 50mm F1.4 Pro FE here.

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Viltrox Pro Series Lens Reviews

APS-C

Full Frame

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SUMMARY:
Summary

The Viltrox AF 35mm F1.4 PRO is a well-constructed lens that completes Viltrox’s PRO series, providing solid performance in terms of bokeh and rendering. However, it is bulky and heavier than its competitors, which may deter potential buyers. While its optical quality is commendable, its price point compared to Viltrox’s other offerings raises questions about its value proposition. Overall, the lens delivers excellent photo quality but faces tough competition from lighter and more affordable alternatives.

Strengths:

Excellent optical performance with pleasing bokeh and rendering.
High-quality build with weather sealing and user-friendly features like a customizable control button and USB-C for firmware updates.
Smooth and silent autofocus suitable for both video and stills.

Weaknesses:

Heavier and larger compared to competitors like Sony and Sigma, making it less portable.
Higher price point among the PRO series without a compelling reason for the premium.
Existential competition from Viltrox’s other offerings, such as the 35mm F1.8 EVO and the LAB series.

The strength of the Pro series has consistently been a great blend between sharpness and rendering. Some lenses have great corrections that allow them to have low aberrations and good contrast, but images look rather flat and uninspiring. Other lenses have nice rendering and bokeh, but lack decent contrast and have blooming on the textures or more fringing than preferred. It is a rare lens that manages to produce both great sharpness and also have soft, creamy bokeh. Like the other two lenses in the series, however, I think the bokeh rendering here is really, really lovely.

Like the other two full frame PRO lenses, the 35mm will use Viltrox’s new VCM (voice coil motor) technology for more thrust and smoother focus action. We’ve got a full set of features, including an aperture ring that be clicked or declicked, a custom/function button, an AF | MF switch, weather sealing, and a USB-C port for easy firmware updates. This is a lens with a GM level of build and features…but one with a much more approachable price tag.

This is a lens capable of producing compelling images with any aperture value…even when shooting at F1.4 to preserve that last light of day.

I don’t think the optics will the problem for anyone, but the size and weight might. Let’s explore the details…

Viltrox Pro 35mm Build and Handling

The first thing to note is that this is definitely a pro-level build quality, which is interesting considering that this is not their most premium lineup. There are more than a few people who have commented that they prefer the less-extreme Pro series over the early LAB lenses. I’m not sure I’m all the way in that camp (those exotic LAB lenses are special), but these Pro lenses are sweet. They have a clean, streamlined design that looks and handles great.

One of my early observations about the PRO series is that I actually preferred the more traditional control scheme over the OLED/customizable control ring of the LAB series. Apparently I wasn’t alone in this, as Viltrox has released an updated version of the 35mm F1.2 LAB that foregoes the OLED and control ring in favor of traditional aperture control. At this point, other than size, the design language of all three lenses is very similar…and it is a great looking trio!

Viltrox has a very clean approach to aperture control, featuring a ring with markings at the one third stop positions and light detents at those places if you have the “clicks” on. You also have a declick option where you can smoothly rack from F1.4 to F16. There is a firmer detent between F16 and the A (automatic) option which will allow aperture to be controlled from within the camera. The one aperture feature that is missing is an iris lock which would allow you to either lock into or out of the aperture ring.

I was able to perform aperture racks in the declicked mode without visible steps.

The iris itself has 11 aperture blades, and these make for a nicely rounded aperture (though with a slight outline of the blades) even when stopped down a fair bit. Here’s F1.4, F2, and F2.8.

Here’s a look at the aperture iris stopped down to F5.6 – it’s not perfectly round here.

Other features include an AF | MF switch and a custom/Fn button that can be programmed to various functions from within the camera.

The Pro series lenses have all come with thorough weather sealing. This includes a bright red/orange gasket at the lens mount (which I think is very stylish), internal seals at the switches, rings, and near the front element, and a HD Nano coating on the front elements to resist moisture and fingerprints.

Viltrox continues with a trend that other lens makers are now imitating by including a USB-C port in the lens mount that allows you to do firmware updates right to the lens. I’m a fan of this approach, as it eliminates the need for a separate dock or lens station for firmware updates, and I find the process a little more intuitive than even doing firmware updates through the camera. Viltrox gives you a variety of ways to do the firmware updates. Here’s the screen I got after doing a firmware update via their PC app.

As with others in the Pro series, the body is very robust, utilizing an aviation-grade magnesium-aluminum alloy blend. This is similar to the materials used in camera bodies and ensures that the lens will be tough and durable for years of use. It has a black anodized finish that looks classic and and elegant. The lens is understated but attractive, with no loud accent colors or attempts to demand your attention.

There is no lens based stabilization, so you will need to rely upon the in-camera stabilization if your camera is so equipped.

Viltrox has redesigned their bigger front lens caps with a bevel along the front that makes it feel slimmer. The lens also comes with the hood and a leather pouch (similar to Canon L-series lenses). There is some cushion on the bottom, but I don’t find these pouches nearly as useful as a good padded nylon case. The lens hood itself is fine (nothing fancy), though I don’t find that it locks into place quite as tightly as I’d like.

So the build and handling are great, but the bad news is coming. As with the other Pro Series lenses, this is a big, heavy lens. The size and weight easily exceed alternatives from Sony, Sigma, or Sirui. The Sony 35mm F1.4 GM lens is 76 x 96mm and weighs 524g. The Sigma is 35mm F1.4 II is 73 x 96mm and weighs 525g. The Sirui Aurora 35mm F1.4 is 76 x 103mm and weighs 490g. The Viltrox 35mm F1.4 Pro? It is 84.5mm x 111mm and weighs 760g (3.32 x 4.37″, 26.8oz). This is a big, heavy lens that just isn’t competitive with other lenses on the platform in this regard.

So yes, the build quality is great, and the feature set is excellent, but others have managed to do the same at much less size and weight.

The front filter size is 77mm, which is also bigger than most of the competing lenses (though the Viltrox does have less vignette than those lenses).

Like others in the series, the Pro 35mm sports floating elements in its design. This has a very positive benefit that we’ll detail momentarily, but those unfamiliar with this design element may be thrown by the fact that something seems to move (and clunk) a bit inside the lens when you tip it up and down. Floating element groups do in fact move forward and backward when the lens is powered off, though as soon as the lens is powered on, those elements are energized and no longer move. You can then tip the lens up and down and nothing happens. Other brands (including Sony) are increasingly doing similar designs, though I find the Viltrox design to be a little more obvious than some others.

The primary reason for employing floating elements is that it allows the lens to function better at close focus distances. The Pro 35mm can focus as closely as 30cm and produces a decent 0.18x magnification. That’s competitive with the Sigma, better than the Sirui, but worse than the Sony. Here’s what the magnification looks like.

The floating elements aren’t producing higher magnification, but at least we are getting good up close performance.

The manual focus ring is wide, very nicely damped, and provides a great manual focus experience, with good precision, no lag in the focus (as sometimes experienced on mirrorless lenses with their focus-by-wire systems), and a nice amount of focus throw.

The Viltrox Pro AF 35mm F1.4 is a beautifully made lens that handles and functions well, but I’m afraid that the size and weight may be off-putting to some potential buyers, and that is further complicated by the fact that for some reason the MSRP is considerably higher for the 35mm F1.4 Pro ($829 USD) than the 50mm ($549 USD) or 85mm ($598 USD). That doesn’t make it significantly cheaper than the LAB 35mm F1.2 ($999 USD), and not radically cheaper than the Sigma 35mm F1.4 II ($1059 USD, and a really exceptional lens). I suspect this lens will be received less enthusiastically than previous entries for this reason, though they are kicking it off with a 20% Black Friday discount from launch day through Nov 30th, 2026.

Autofocus for Stills

Viltrox has now moved to higher end HyperVCM (voice-coil motor) focus in their recent premium lenses. Thus far they seem to be reserving their multiple-motor “hyper-VCM” focus systems to the LAB lenses, but even the single HyperVCM motor powering focus is nice and snappy in the Pro 35mm. It had no problem tracking Nala and she rolled around in the sun, nailing focus even at F1.4.

What’s more, focus is perfectly silent, without any accompanying noise or drama. I can put the lens right next to my ear and focus and not hear anything. It’s a remarkably quiet focus motor.

I had good results using the Nikon Z-mount version as a part of a portrait session. Results were well-focused throughout.

Like other Pro series lenses, major focus changes are not quite instantaneous, but there is only a split second lag, and focus not only moves quickly but arrives with great confidence. I had excellent precision even on narrow subjects.

And look at that beautiful rendering!

I’ve used other lenses in this series for wedding work, and had zero issues with nailing focus in ceremonies and receptions.

When shooting portraits at a distance (and at F1.4), focus was always accurate.

As with all third-party lenses, burst rate will be limited to 15FPS with autofocus, though that’s probably less of a limiting factor with a fast 35mm prime. You’ll rarely use a lens like this for sports or wildlife, so there isn’t much to complain about here.

Video AF

One of the chief advantages of the move to VCM from STM is that VCM moves in a linear fashion as opposed the steps involved with an STM (stepping motor), which means that the likelihood of smooth focus transitions in video is higher. Such proves to be the case here, as focus transitions are nice and smooth. They happen with good pace, but are smooth and well damped.

Focus breathing stands out as being extremely well controlled even at F1.4, with minimal change to the size of objects whether in or out of focus. This helps those focus pulls feel more cinematic.

My “hand test” where I alternatively block and unblock the camera’s view of my face with my hand went well, with smooth and confident transitions from my hand to my face and back. The low focus breathing makes those focus changes very smooth, with none of the “lurching” effect one gets with lenses with heavier focus breathing. This is certainly an area of advantage over the Sony GM lens.

Generally autofocus for video was great in all my clips and also the episodes for my YouTube channel that I filmed on it. Focus was stable and confident on Sony FE.

Viltrox Pro AF 35mm F1.4 Image Quality

The Pro 35mm sports an optical design of 16 elements in 12 groups. This includes 3 ED (extra low dispersion) elements, 4 HR (high refractive index) elements, and 2 UA (ultra-precision aspherical) lenses (one of Viltrox’s newest exotic elements). The resulting MTF (look at the lighter black lines for F1.4 at 30 LPmm) shows a strong center and midframe (all either at or above 80%) and a mild dip in the corners at F1.4, with a little lower center sharpness at F8 but a remarkably consistent performance all across the frame. The sagittal axis at F8 is literally a straight line!

So, on paper, how does this compare to the Sigma 35mm F1.4 II (a really exceptional lens)? The Sigma is slightly sharper across the frame across the MTF, but we’ll do a quick comparison on the charts.

In my chart tests (disregard the shutter speeds as two different lighting systems were used), I find that the Sigma is consistently sharper and has more contrast, though not by any significant margin.

Moving on vignette and distortion, we find one area where the bigger design of the Viltrox pays some dividends. I needed a -4 to correct a little bit of pincushion distortion but vignette was only -44 to correct. I needed a +81 to correct the vignette on the Sigma, with the Sony GM needing a figure in the high 60s.

I saw very little need to do any correction in real world images. This one, for example, is completely uncorrected.

While the LAB series typically delivers almost zero fringing, the PRO series lenses often show a little. That’s true here, though I see more before the plane of focus than after on my test chart, which is unusual.

If I look at my Dad’s old SLR, I find that fringing is well controlled on the shiny bits though there is a it of yellow fringing around the specular highlights beyond.

Nothing too concerning here. This looks nice and clean. I also found shooting into high contrast scenes didn’t produce issues with fringing.

Lateral style chromatic aberrations (LaCA) found in the contrast transitions near the edge of the frame were well controlled. I didn’t see issues either on my test chart…

…or in real world results near the edge of the frame.

Overall this is another Viltrox lens that takes care of almost all the necessary corrections optically.

So let’s return to focus on resolution. These results are shot on a 61MP Sony a7RV and the crops are shown at roughly 200% magnification level. Here’s a look at the test chart that the crops are taken from.

If we zoom in and look at the 200% crops from the center, mid-frame, and lower right, we discover that sharpness is fairly consistently good across the frame. Contrast isn’t top-notch, but certainly good.

The lens is certainly capable of achieving crisp, detailed results even at F1.4.

While depth of field will be a factor in most landscape-style shots shot at F1.4, the lens is capable of delivering quite good results across the frame.

As we’ve seen, I don’t think the microcontrast quite matches what either the Sony GM or the Sigma ART II can provide, but there’s probably enough for most everyone here.

There’s a nice jump of contrast and detail at F2:

The corners are improved a bit, but they already looked quite strong.

By F2.8 the corners are about as sharp as I ever seen them on any lens.

When shooting landscapes or for group photos, there is perfect detail across the frame.

Landscape results look fantastic. Great colors, great contrast, and great detail.

Diffraction is an unfortunate reality on higher resolution cameras, so you will see a faint softening by F11 and a more obvious softening by the minimum aperture of F16, though frankly results at 100% will still look fine.

I would say that raw sharpness and contrast has not been the calling card of the PRO series, however. The magic here is in the rendering, which has consistently been amongst the very best at a given focal length.

While the microcontrast isn’t off the charts at large apertures, I do feel like the 3D pop from the lens is quite excellent.

If you move back a few feet, you find what I consider the sweet spot for this lens. It delivers an awesome combo of sharpness and contrast at F1.4 on the subject, but also gives you a really lovely background rendering.

I would argue that a lens like the Sigma 35mm F1.4 ART II will give you more microcontrast and detail, but the 35mm F1.4 Pro will give you more lovely rendering and softer backgrounds.

I also think that color rendition is excellent, with nice levels of saturation and good “pop” due to nice contrast.

Flare resistance is a bit of a mixed bag. In some situations I like the glow and find the flare artifacts soft enough that they just add character to the image.

The backlighting was actually intense in the image above, but I feel like the Viltrox has handled it very nicely.

At smaller apertures, however, the flare pattern becomes more strongly defined, though I do find the 22 pointed sunstar somewhat interesting.

That stronger ghosting pattern at smaller apertures can be more destructive to images.

This is a fairly strong performer for astrophotography. It has a bright maximum aperture and low vignette, allowing it to really suck in those distant points of light. What’s more, star points look very crisp even at F1.4, and there’s only some mild coma smear in the corners.

I don’t think that the optics are going to hold the Viltrox AF 35mm F1.4 PRO FE back. Enjoy the images in the mini-gallery here.

Conclusion

I’ve really loved the PRO series overall, but I see a few potential issues that might hold the PRO 35mm F1.4 back. The first is that Viltrox already has two excellent 35mm options available, with the wonderful 35mm F1.8 EVO serving as an excellent compact option, while the not-much-bigger and not-much-more-expensive 35mm F1.2 LAB is one of the better 35mm lenses ever made. The Viltrox AF 35mm F1.4 PRO is in many ways an excellent lens, but it isn’t as exotic as the LAB and not as practical as the EVO. It is also too big and too heavy for the class of lenses it is competing against. It is nearly 250g heavier than the Sony and Sigma lenses it competes against, and the higher price tag relative to the rest of the PRO series also means that it won’t be as attractive on just price alone.

It’s a bit too bad, as this is actually a really lovely lens optically, and in the big scheme of things, the price is fairly reasonable. But I also don’t see a clear and compelling reason why this lens should be more than $200 more expensive than the other lenses in the series. You can save somewhat by buying from Viltrox directly and using the code DUSTINABBOTT.

If you can tolerate the bigger size and weight, you can potentially save some money relative to the Sigma 35mm F1.4 II or the Sony 35mm F1.4 GM and get a lens that does have a beautiful optical performance. I would personally save up the extra $200 and go for the Sigma instead. It’s the more complete package and has a much more compelling size. The math could change in the future if Viltrox lowers the price on the Pro 35mm F1.4 to be more in line with other lenses in the series. I do like the Pro 35mm in many ways, but there is a LOT of competition for this lens…and some of the best competition comes from Viltrox themselves.

Pros:

Optical Quality: Delivers sharp images with a well-rounded focus, achieving good detail even at F1.4.
Bokeh and Rendering: Produces beautiful bokeh and smooth background rendering, making it ideal for portrait and artistic photography.
Build Quality: Constructed with aviation-grade magnesium-aluminum alloy, ensuring durability and robustness.
Weather Sealing: Equipped with weather sealing for outdoor photography, making it resistant to moisture and dust.
Feature Set: Includes a declickable aperture ring, customizable function button, and an AF/MF switch for easy operation.
Autofocus Performance: Features fast, silent, and accurate autofocus, suitable for both stills and video work.
Floating Elements Design: Enhances close focusing capabilities (30cm) and yields competitive magnification results.
USB-C Connectivity: Facilitates easy firmware updates without needing additional equipment.
Good Vignette Control: Offers low vignette compared to similar lenses, enhancing corner performance.
Color Rendition: Provides vibrant colors and good contrast, making it suitable for various photography styles.

Cons:

Size and Weight: Heavier (760g) and bulkier than competitors like Sony’s GM and Sigma’s ART series, making it less portable.
Price Point: At $829, it is more expensive than the other two lenses in the PRO series, which raises concerns regarding value.
Heavy Competition: Faces stiff competition from both Viltrox’s own lineup (like the 35mm F1.8 EVO and 35mm F1.2 LAB) and established brands like Sigma and Sony.
Flare Resistance: Handles backlighting reasonably well, but with challenges at smaller apertures

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GEAR USED:

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