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The 35mm focal length is a staple for almost every photographer, but native options often come with a hefty price tag. I recently took the Meike 35mm f/1.8 Pro AF for a spin to see if this budget-friendly full frame lens could stand up to the rigorous demands of modern high-resolution sensors.
Build Quality and Design
When I first unboxed the Meike 35mm f/1.8 Pro, I was pleased to see Meike had maintained the build quality I saw on their previous Pro lens. Like the Meike 55mm, this lens does a great job of delivering a first-party feel, with grippy rubber, solid composites, and excellent texturing and knurling. While the barrel is primarily made of plastic, it utilizes a high-density material that feels dense and durable rather than hollow or cheap. It weighs in at around 400 grams, which strikes a nice balance. It feels substantial enough to balance well on a full frame body and feel sturdy, but remains light enough to carry around all day for street photography or event work.
The Meike 35mm f/1.8 Pro is a full frame lens, available for Sony and Nikon mirrorless mounts. I tested the E-mount version on my a7R V.
The lens features a metal mount, which is always nice to see. The mount also includes a USB-C port, an increasingly common (and welcome) inclusion from third-party manufacturers. This allows for firmware updates directly to the lens without needing a camera body or a dock, and Meike has already provided a firmware update refining some features on this lens. There is also a rubber gasket at the mount, providing a degree of dust and moisture resistance.
Ergonomically, the lens is well-designed. It features a wide, rubberized focus ring that has a smooth, dampened throw. For those who prefer lens-based controls, there is an aperture ring, which can be declicked or used with subtle 1/3-stop clicks. There is also a dedicated AF/MF switch, making it easy to toggle modes without diving into camera menus.
Autofocus Performance
The last few years have shown that third-party manufacturers have closed the gap with autofocus performance, and the Meike 35mm is yet more proof. It uses an STM stepping motor, and in my testing, I found it to be both quick and virtually silent for photos and videos.
I tested the lens in various lighting conditions, and it locked onto subjects with impressive speed. When using continuous autofocus for tracking moving subjects, the lens kept up easily. While a 35mm doesn’t need the same tracking performance as a 70-200mm, having that confidence to approach environmental portraits or a wedding dance floor is certainly nice.
Flare performance was quite good, with the lens retaining contrast and avoiding distracting “orbs.”
I was particularly impressed by how well it interfaced with Eye AF. It felt native in its responsiveness, which is high praise for a lens at this price point. For video work, the focus transitions were smooth and devoid of jittering. Even as the light levels drop, the f/1.8 aperture gives the autofocus system plenty of light to work with.
Image Quality
I was quite impressed with the sibling of this lens, the Meike 55mm f/1.8, as I found it delivered class-leading quality, beating even lenses that cost 2x as much. Simply put, this 35mm delivers a similar level of performance, matching or exceeding the Sony 35mm f/1.8 in all regards, at half the price.
The center sharpness is excellent, even when shooting wide open at f/1.8. There is a level of micro-contrast here that provides a nice pop to the images, rendering textures with great detail. Corners wide open are good, but not great. Stopping down to f/2.8 improves them, while f/4 makes the corners excellent. The center of the frame starts sharp and stays sharp all the way to the diffraction limit.
The colors are depicted neutrally and accurately, matching all the other lenses I use frequently.
The bokeh is good, but not perfect. With its nine-bladed aperture, the out-of-focus areas are rendered pretty smoothly, but some very busy backgrounds can bleed through. Subject separation at f/1.8 is distinct, creating a three-dimensional look that isolates the subject nicely from the background without looking artificial.
The most prominent issues I encountered were vignetting and longitudinal chromatic aberration (LoCA). At f/1.8, the vignetting is noticeable. While it’s easily corrected in software (and may even be a plus for organic-feeling portraits), it is something to be mindful of if you are shooting in low light and do not want to introduce noise in the corners by lifting the exposure too much.
I also noticed some color fringing in high-contrast transition areas when wide open. Like the softness, this largely clears up as you stop down, but it is present at the maximum aperture.
Video Performance
For videographers, this lens is a hidden gem. The standout feature for video is the control over focus breathing. In my tests, breathing was almost non-existent.
The aperture ring is also a welcome addition for video shooters, allowing for iris control directly on the lens. Combined with the silent autofocus motor, reasonable size, and the versatile 35mm focal length, this lens makes for a compelling option for run-and-gun filmmaking or gimbal work where weight and balance are concerns.
Overall, the Meike 35mm f/1.8 Pro AF is another testament to how good third-party glass has become. It strikes a near-perfect balance between optical performance, build quality, and price. While it has some minor optical flaws wide open, these are limited in scope and impact.
When compared to its predecessor, the older Meike 35mm f/2, this lens is a massive upgrade in every regard. More importantly, it even bests native options like the Sony 35mm f/1.8, offering comparable or superior performance for a fraction of the cost. If you are looking for a fast, versatile prime lens that delivers professional results without breaking the bank, this lens is an easy recommendation.
The Meike 35mm f/1.8 Pro is available now for Sony E mount and Nikon Z mount.
What I Liked
- Excellent center sharpness and micro-contrast
- Fast autofocus performance
- Virtually zero focus breathing
- Includes USB-C port for firmware updates
- Great value for money
What Could Be Improved
- Heavy vignetting at f/1.8
- Corner softness when shooting wide open
- Visible longitudinal chromatic aberration at maximum aperture