Viltrox AF 35mm F1.2 LAB Z-mount Review | A Budget S-Line Competitor?

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Hi, I'm Dustin Abbott. As you can see,
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the fire pit's not doing a lot of good
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right now. We definitely are well into
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winter. But fortunately, winter has
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brought us a treat. And that is that
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after eight months of waiting, those of
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you that have been looking for the
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Viltrox Lab 35mm F1.2 to and a native
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Zmount. It is finally here. And while
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the wait lead time was probably longer
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than what any of us would have liked, I
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think that Viltrox has probably played
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this one smart because it feels like
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this is a more polished, more complete
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lens coming to market on Zmount than
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what I've seen with previous Lab series
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releases. They've taken the time to iron
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out the quirks and I think that this is
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really an excellent performer and thus I
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think you're going to really like what
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you find here on Zmount. Now this is an
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interesting situation because unlike on
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Sony where I reviewed it last time, we
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have a premium firstparty option here in
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the Nicor Z 35mm f1.2 S-line lens. That
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lens MSRP is three times the cost of the
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Viltrox, which is just $999,
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making this a really intriguing
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alternative to the S-line lens,
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particularly when you consider that it
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is shockingly smaller and lighter than
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what the S-line uh lens is. So, today
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we're going to dive in and take a closer
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look to see whether or not this is a
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lens that you should consider. Now,
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before we jump into that, in disclosure,
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this lens was sent to me by Viltrox for
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evaluation. However, they have had no
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input at all into this review. They will
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not see it before you. My findings are
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my own. Let's dive in. Let's take a
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look. All right, let's take a closer
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look here. I'll remove the hood. We can
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take a look at the dimensions here. The
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lens is 89.2 mm in diameter, which is
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the same as the E-mount version. It is
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wider through this section to
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accommodate the larger Zmount and that's
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what's going to add some weight to the
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lens primarily, but overall the outer
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dimension doesn't change because as you
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can see that's nowhere near the widest
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part of the lens. That's 3 and 1/2 in in
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diameter. The length is 2 mm longer as
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always and that accommodates that the
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flange distance on Zmount is two uh
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millimeters further out from the sensor
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than what it is on uh on Sony E-mount.
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And so in this case, that makes this
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lens 123.8 millimeters or 4.8 inches in
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length, which by the way is still about
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26.2 millimeters shorter than what the
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S-line lens is. And you can see here in
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comparison with the E-mount version. And
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so that E-mount version is just 2
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millime shorter than the Zmount how much
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bigger the S-line lens is. Up front we
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have 77mm front filter threads. Nice and
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common. And the weight on my scale, I
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haven't seen the official weight, but on
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my scale, it weighs in at 977 gram,
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basically 34 a 12 o, making the S-line
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lens about 90 g heavier than what this
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Vtrox lens is. Now, as far as the
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feature set, we have a control ring here
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that is like like Nikon is a
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customizable control ring and it does
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work as a lot of Nikon lenses in the
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past. works alongside an OLED screen up
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up front. We have the ability to either
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have that ring clicked or decllicked.
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And when it is decllicked, you can move
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smoothly through the aperture options.
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But unfortunately, rather than just
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one/ird stop or equivalent, we actually
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have like one ninth stop for each click.
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So even in the decllicked mode, it's a
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pretty big movement. And also there is a
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bit of lag. And so as you can see here,
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I stopped moving a while ago and the
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aperture is just now changing. And so it
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unfortunately isn't the best lens that I
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have used as far as doing aperture
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racks. You can do them as you can see
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here, but I found out in real world use
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when I'm not on a tripod, it's just too
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much of a rotation to do it in any kind
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of smooth fashion. I should be able to
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do one rotation and be through the whole
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aperture uh options here. But clearly,
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it's going to take more like three of
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those type rotations. So anyway, I don't
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love that implementation there. Now,
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obviously, like any kind of customizable
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control ring, you can apply other
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functions to it if you want and just
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control the aperture from within the
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camera. That's entirely up to you. Now,
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what while we don't have an an iris lock
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button, what we do have the ability to
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do is to program one of the custom
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buttons to that function if you want uh
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to use it in that way. The OLED screen
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will work in conjunction also with the
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custom buttons. And so you can set up AB
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focus for example, you can set one of
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them to go to infinity focus for uh
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doing things like astrophotography. And
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so it is useful and you can even program
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the splash screen so it has something
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custom when it it comes up and the lens
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turns on there. All of that is cute and
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necessarily any kind of you know game
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changer really. Now, if you connect via
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the USBC port to the app on your phone
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or to a computer and even through
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Bluetooth, you have the capability to
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actually change the function of a
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variety of things, including the
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function of both of those buttons. So,
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they're not redundant. In this case,
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they actually can have an independent
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function, not from within the camera,
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but within that app programmed each one
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of them. So, I do appreciate that. We've
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got the AFMF switch here as well. All of
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that is interesting and good. manual
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focus ring moves nicely. I do wish one
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thing that they would add to their app
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is the ability to tweak the behavior
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kind of like what Tamron does to where
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you could change the direction or make
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it linear, nonlinear, change the amount
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of throw. Don't have that option yet,
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but the damping here is nice and because
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the focus motor is responsive,
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everything works well as it should. This
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is a very beautifully made lens. It is a
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magnesium aluminum alloy on the outer
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shell. So, it feels very upscale and
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premium, frankly, more so than what the
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S-line lens does. And of course, that
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does help to contribute to the weight at
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the same time. It does have a thorough
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weather sealing with about 12 total uh
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seal points throughout the lens itself.
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Always appreciated. Minimum focus
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distance here is 34 cm. And that allows
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you to get a maximum magnification of
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0.17 times, which is useful, but does
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lag behind the S-line, which is 0.20
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times. It does come with a hood and a
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pouch. The hood doesn't have a lock, but
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it does bayonet on with, you know,
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pretty strong precision there, and so
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it's it works fine. I've had no issues
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with that. The pouch is kind of like a
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Canon L series, you know, pouch. And so
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it's nothing that to me is super
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special, but it is useful. MSRP here is
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really what sets this lab lens apart at
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$999
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and the capability of getting that
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cheaper. There's a discount code in the
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description that'll get you 5% off that
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figure. Obviously, that is hugely
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competitive compared to the MSRP of uh
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basically $3,000 for the S-line lens.
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And so, that makes this a really
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compelling value option. So, let's talk
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autofocus. Autofocus here comes from
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Quad. That's four of their hyper VCM
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focus motors. Now, interestingly, Nikon
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is now starting to embrace voice coil
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motors as well with their SS VCM motors.
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However, the S-line lens only had dual
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STM focus motors because it came just a
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little bit before they begin to
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widespread adopt the SSVCM. And so, in
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this case, really uh the lab lens has a
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bit of advantage. And when I compared my
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direct uh results from my formal focus
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test, I found that definitely the lab
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felt a little bit snappier going back
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and forth. And you can see here it moves
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with very strong elacrity. Not quite
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instant, but not far off either. And so
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it focuses really, really quickly. And
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what's more, focus felt very, very
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confident. I really noted on the day
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that I did a portrait session because I
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was switching back and forth between the
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Lab 35mm and the excellent Nicor uh 24
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to 70mm f/2.8 S-line Mark II lens. And
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that does have their SSVCM focus motor.
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And what I found is that the Viltrox
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felt just as native as what that
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excellent focusing Nicor lens did. And I
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felt really strong confidence. All of
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the portrait shots, almost all of them
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were shot at f1.2. I shot a few at f1.4
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and f2. But I found that focus was just
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fantastic on all of them. And in this
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shot, for example, you can see that
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depth of field, because I was close, is
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tiny at f1.2, but focus is right on the
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iris. So much so that you can actually
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see my reflection in the iris. And in
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that case, even the eyelashes are
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slightly out of focus because depth of
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field is so small. And so focus results
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were really, really impressive. I found,
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you know, for example, this shot of Nala
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on the move that even though again, you
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can see depth of field is tiny, it is
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just nailed. And so autofocus was
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really, really excellent uh for stills
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and all of those situations. Likewise,
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on the video side of things, I really
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felt again that there was an extra layer
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of polish that I haven't seen before
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with any of these kind of higherend
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Viltrox Lab lenses. At first, it seems
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like they kind of get cleaned up by
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firmware as they move along, but in this
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case, it's like they've done the beta
9:19
testing along the way and we've got a
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more polished product here. And so, I
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felt like video, you can see here,
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moving back and forth. There's a bit of
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focus breathing there, but there's good
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confidence moving back and forth. none
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of the kind of pulsing or hesitating
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that I sometimes see. Likewise, when I
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did my hand test, it was just very
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consistent hand to eye, hand to eye
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without any kind of hesitation and
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always made the move rather than in some
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cases I've seen where it just kind of
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gets stuck and doesn't move back and
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forth. So, I really appreciate that.
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Likewise, as I approached the camera, I
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felt like it did a really good job. I
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stepped out of frame and there is my
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only concern is that I felt like it took
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a little bit longer than what I would
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like to pick me back up and you can see
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it does it within a couple of seconds
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but it wasn't as confident in that
10:05
situation as with the Nicor 24 to 70
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Mark I lens that I was reviewing and I
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did that test just back to back and
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definitely the Nicor was better in that
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situation but that's really about the
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only complaint that I can come up with.
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So, there is a bit of focus breathing,
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although it's certainly no worse than
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what the S-line lens is. And also, I
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felt like that, you know, in general, my
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focus transitions back and forth in
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various situations, they were all fine.
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And so, uh, I think that Viltrox has
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done a great job delivering a pretty
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polished product here as far as
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autofocus on both stills and video. So,
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taking a look at this optical design, we
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have 15 elements in 10 groups. And this
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is the same optical design as the
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E-mount version I reviewed back in
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April. You can see here that we have a
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total of five extra- low dispersion
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elements, three high refractive index
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elements, and two extreme aspherical uh
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lenses as a part of the design. You can
11:03
see that the quantity of distortion is
11:06
very mild here. However, it's also not
11:08
linear. And so you can see a little bit
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of a bulge here in the center and in the
11:12
corners. So, you know, that's just a pin
11:14
cushion style distortion. But if you try
11:16
to correct for that, you're going to
11:17
create barrel style in the center. So
11:19
it's a bit of a a conundrum there. Here
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I dialed in just a minus2 to correct a
11:24
little bit for those corners, but you
11:26
can see it does create just a little bit
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of center bulge there. Vignette is
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moderately heavy. I needed a plus 70 to
11:34
correct for it. Now, for a bit of
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perspective here on the right, I've got
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the Nicore 35 F1.2S. You can see it has
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a very mild amount of barrel distortion,
11:43
but it's more linear and easier to
11:45
correct. However, it does have a bit
11:47
more vignette, needing a plus 77 to
11:50
correct rather than plus 70. So, a
11:53
little bit of give and take between the
11:54
two lenses, but neither one of them is
11:56
bad really. In most shots, this one, for
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example, I've got very straight lines
12:00
all across the frame. Zero correction
12:02
here with this shot with the lab lens.
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And you can see everything looks nice
12:06
and straight. If you had this composed
12:09
right up near the top, you would
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probably see that little bit of bulge
12:12
there, but that would be kind of an odd
12:14
composition anyway. So, most of the
12:16
time, you'll probably be fine. When it
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comes to fringing, you can see that
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there is a tiny bit of longitudinal
12:22
style chromatic aberration. A little
12:24
before, a little after. It's not
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pronounced at all. If we take a look
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here, we can see that there is a little
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bit of fringing on some of those
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shiniest areas, but again, if we step
12:34
back for a moment, it's not enough to
12:36
actually be noticeable at a global
12:38
level. Likewise, if we look at the
12:40
specular highlights, there's a tiny bit
12:42
of fringing around them, but not enough
12:44
to stand out. So, in general, I don't
12:46
consider that to be much of a real world
12:48
issue. Now, as we look at the geometry
12:51
here, you can see that there is, you
12:53
know, a bit of that lemon or cat eye
12:55
shape near the edge. It's far from the
12:57
worst that I've seen. By f1.4, it's
12:59
starting to correct some. By f2, we've
13:03
got basically circular shapes across the
13:05
frame, though you can see those 11
13:08
aperture blades just a tiny bit. But in
13:11
general, I would say that the impression
13:13
is mostly circular. Now, lateral style
13:15
chromatic aberrations are very slightly
13:17
more pronounced on the Zmount version
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than what I saw on the E-mount version.
13:22
Something about that wider diameter of
13:24
that mount just changes things a little
13:26
bit. It's still not bad and I didn't
13:28
really notice it in real world shots,
13:29
but on my chart I can see a bit of that
13:32
fringing there. So, how about resolution
13:34
and contrast? This is on a 45 megapixel
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Z8 and this is shown at 200%
13:38
magnification. Center of the frame looks
13:41
fantastic. Very crisp and sharp. Good
13:44
detail, good contrast. Mid-frame is
13:47
good, but not as good as what the center
13:49
is. We can see a pretty good consistency
13:52
from here to here. And if we pan down
13:54
into the corner, we can definitely see
13:56
that we have sharpness and contrast out
13:59
into the extreme corners. So, for the
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fun of it, let's compare it to the
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S-line lens. And so, in the center of
14:06
the frame, we can see that probably a
14:08
slight edge goes to the Viltrox. It just
14:11
has a little bit more definition.
14:13
Textures just pop a little bit more
14:15
contrast just a little bit better. As we
14:17
move to the mid-frame, however, the
14:19
situation reverses. The S-line lens
14:22
looks a little bit better in the center
14:24
of the frame. If we pop down into the
14:27
corners here, we can see that definitely
14:30
it's it's pretty close. The Viltrox
14:33
looks very slightly better up in this
14:35
corner. Again, you can see that it's
14:37
close, but you can see that there's a
14:39
little bit more detail on the face of
14:41
the queen here. And definitely if we
14:43
look at all of this text, it is much
14:45
crisper as you get towards the edge of
14:47
the frame on the Viltrox lens. You can
14:49
see here another f1.2 shot which a
14:51
little bit less extreme, a little bit
14:53
further back. And so you can just see
14:54
how beautiful the amount of detail is
14:57
there. And that the skin tones, they
14:58
look very natural. They're not waxy
15:00
looking at all. It's a very impressive
15:02
looking lens or image. And then you can
15:04
look at the image, you know, broadly.
15:06
And the rendering is really lovely out
15:08
of it. Now, by the time you stop down to
15:10
F2, you're basically in like ridiculous
15:12
territory. It is just so incredibly
15:15
sharp. You can see that these textures
15:17
here on the right at F2 just kind of pop
15:19
right off the page. And now, if we look
15:21
at the mid-frame, the mid-frame is
15:23
looking crisper as well. Up here into
15:25
this corner, you can see that right out
15:27
into the corners. I mean, it just looks
15:29
bright and sharp and high contrast.
15:32
Very, very impressive. If we go back to
15:34
the S-line lens for a moment, we can see
15:36
in the center of the frame that Viltrox
15:38
advantage, if anything, is actually
15:40
grown a little bit. It's even sharper
15:42
now in the center of the frame. However,
15:44
the mid-frame advantage does still
15:46
remain for the S-line lens. And it's
15:48
really, really strong in this zone. Very
15:50
impressive. And that's true if we look
15:51
on both sides of the frame here. Uh if
15:54
we pop down and look at some other
15:55
places, it's just holding up really,
15:57
really fantastically well. If we look up
15:59
here into the corner, however, the
16:01
Viltrox advantage remains and it is
16:03
definitely still sharper in the center
16:05
of the frame. You can easily read the uh
16:08
writing here, the Latin phrase here.
16:10
Whereas on the the S-line lens, it's
16:13
it's pretty much mush. It would be much
16:15
harder to make out. Looking again at a
16:17
portrait shot at f2, you can see that it
16:20
is just I mean, look at how clearly
16:23
defined all of those eyebrow hairs are.
16:26
It's very, very impressive. And if we
16:27
look like at the snowflakes that are
16:29
caught in the hair and the contrast in
16:31
the hair itself, it's just really,
16:33
really impressively good. It's a such a
16:35
strong lens optically. So already by f2,
16:37
we'd achieve pretty much perfect
16:39
sharpness. So if we stop on down to f2.8
16:41
and f5.6, I would say that f5.6 in the
16:45
center of the frame looks no better than
16:47
f2.8. We are already pretty much at the
16:49
peak. Mid-frame looks fantastic, though
16:51
I think there you're going to see a bit
16:53
of advantage. F5.6 looks stronger there
16:56
in the mid-frame. And looking up here
16:57
into the corner, I mean, it is it's
17:00
really really strong. If anything, as we
17:02
stop on down, there seems to be a little
17:04
bit like of additional fringing um that
17:06
comes into play just because of how
17:09
sharp and high contrast the image is.
17:11
And so here at f2.8, it looks pretty
17:13
flawless. end here. If we're looking at
17:16
colors and detail, like if you're
17:18
shooting for landscape, I mean, this is
17:20
kind of a big landscape image or lens,
17:23
but you know, obviously if you owned it,
17:25
you would want to use it for a variety
17:26
of purposes. You can see that it is just
17:29
remarkably sharp and crisp throughout
17:30
the frame. Now, starting at f11, you'll
17:33
start to see some effects from
17:34
defraction. It's still looking really
17:36
good. Remember, this is at 200%
17:38
magnification. At f-16, which is the
17:40
minimum aperture, it's softer still, but
17:43
at the same time, I mean, you can still
17:44
read everything well. I suspect in a
17:46
real world shot at 100% magnification,
17:48
it would still look fine if you wanted
17:50
to go there. Now, definitely one
17:52
advantage for the Nicor lens is the
17:54
quantity of magnification. You can see
17:56
it's able to get you much closer here on
17:58
the right than what the Viltrox is on
17:59
the left. Both of these lenses, however,
18:01
do produce really, really nice and crisp
18:03
images up close. And so I mean not no
18:06
one's going to complain about the the
18:08
contrast and the detail you get up close
18:10
from either lens, but you definitely get
18:12
more of it with the Nicor lens. As far
18:14
as bokeh and rendering more broadly shot
18:17
I think really shows off I mean how
18:19
beautiful that falloff is. And so I mean
18:21
that narrow slice of focus is right
18:24
where it should be. The image falls away
18:26
very nicely without any kind of hard
18:28
edges. Nala wins the prize for posing
18:31
for these shots. But you can see some of
18:33
that lemon shape there and some of these
18:35
specular highlights. But if you look at
18:36
the other things that are kind of non
18:39
highlights, you can see that there isn't
18:42
really any kind of harsh edges. Looks
18:44
good. And obviously the subject has a
18:45
nice three-dimensional quality. Looking
18:47
at a portrait shot here with layers, you
18:50
know, before and after. This is at f1.2.
18:52
And so the subject is very crisp as
18:55
we've come to expect here. Here's
18:57
another portrait shot to show us the uh,
18:59
you know, out of focus areas. And you
19:01
can see again for and after the bokeh
19:04
looks really really pleasing. And I
19:05
found using the E-mount version for
19:07
eight months now that I just really love
19:09
the rendering of the lens. Now the one
19:12
maybe Achilles heel of the optical is
19:14
that in some situations you're
19:16
definitely going to get some ghosting
19:17
artifacts and the S-line lens is
19:19
unquestionably better in this regard.
19:21
Now you know this image for example, I
19:23
thought it handled the flare. The sun is
19:25
right in the frame right up here. I
19:27
thought it handled it pretty well. But
19:28
then there will be other shots like
19:30
this. It's all about the composition
19:31
where I'm getting a bit of a ghosting
19:33
artifact here that, you know, kind of
19:35
comes into the frame. And in this shot
19:37
here, stopped down a bit, you know,
19:39
you're getting some of these ghosting
19:40
artifacts. And here you can see as I
19:43
begin to stop the lens down during a
19:45
video clip, you can see how that that
19:48
you flare and ghosting pattern becomes
19:50
just more pronounced as you stop the
19:51
lens down. So, what's my conclusion?
19:54
Well, you've probably already figured
19:55
out that I'm pretty impressed with this
19:57
lab lens, and I feel like it's a really,
20:00
really competitive option here on Zmount
20:02
considering the fact that it is
20:04
optically and and in terms of autofocus,
20:07
it is so close to the S-line lens and
20:10
performance, but literally at onethird
20:12
of the price. And while I think that
20:14
there are some advantages for the S-line
20:16
lens, I think it would be hard to make
20:19
an effective argument that the Nicor
20:21
lens is worth three times as much as
20:23
this lab series lens. Now, I recognize
20:25
that some of you are not going to be
20:26
comfortable with a third-party lens
20:28
generally or a Viltrox lens. And if
20:30
that's the case, uh there's not much I
20:32
can do about that. But for those of you
20:34
that are interested in having a
20:35
high-erforming 35mm f1.2 to lens and
20:39
don't have the budget to go to the Nicor
20:41
lens. I'm really glad that this Viltrox
20:43
Lab lens exists because I think there
20:46
are going to be a lot of people that are
20:47
going to fall in love with it. Yeah,
20:49
it's big and it's heavy, but it's not
20:51
like the alternative is any less so. If
20:55
anything, it is bigger and heavier and
20:57
so I think that that makes it a little
20:59
bit less of a compelling argument
21:00
against the Lab series lens here on
21:03
Zmount. So, at the end of the day, kudos
21:05
to Viltrox for taking their time on this
21:08
one and making sure that we get a nicely
21:11
polished, nicely complete product at
21:13
launch. And I think that it is well
21:15
worth your consideration. I'm Dustin
21:17
Abbott and if you want more information,
21:18
you can check out my full text review
21:20
that's linked in the description down
21:21
below. It is a fresh review here for
21:24
Zmount and so it dives into even greater
21:26
detail on all of these aspects if you
21:28
want to check that out. There are buying
21:30
links there and a discount code if you
21:31
want to save a bit of money off of that
21:34
MSRP. And as always, thanks for
21:36
watching. Have a great day and let the
21:38
light in.

Viltrox AF 35mm F1.2 LAB Z-mount Review | A Budget S-Line Competitor?

Dustin Abbott

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Viltrox AF 35mm F1.2 LAB Z-mount Review | A Budget S-Line Competitor?

Dustin Abbott