Photographyblog conclusion is:

This lens is an interesting proposition for the E-mount, but is by its very nature reasonably niche. It’s large and cumbersome, but, it’s not too weighty making it ideal for handheld video shots, and arguably for somebody who really wants a wide aperture and flexible focal length choice in one package.
The handling of the Sony E PZ 18-110mm f/4 G OSS makes it an obvious choice for professional videographers who need a super high quality lens setup without the hassle of having to change lenses, but for photographers, it’s likely that other lenses will suit them better.

And AbelCine posted that short video review:

And also Hugh Brownstone has tested the lens:

Sony E PZ 18-110mm store links: [shopcountry 60334].

Christopher Frost tested the 7Artisans 50mm f/1.1 M-mount lens on the Sony A6500. This lens will be available soon in ative E-mount too so it might be interesting for you to check out his video review:

Also Casey Cavanaugh tested this lens:

The Chinese company 7Artisans listed four new E-mount manual focusing lenses on Amazon.com, Amazon.de, Amazon.co.uk, and [shoplink 60402 ebay]eBay[/shoplink].

Kai played one more time with the new Sony A9. He confirms this is a whole new (and insane) experience. And yes, for him the A9 is a game changer.

Sony A9 at [shopcountry 60549].

Luminous Landscape posted their full Sony 12-24mm lens review

The 12-24 Sony lens is not a G-Master, but it should be.  It passed with flying colors for the kind of work I do.  It makes shooting wide-angle fun.  I often find myself taking this lens out of the bag and just having fun with it. I have complete confidence that it will give me sharp images with good contrast and no more distortion than expected. And, I know I can use Capture One to correct for some distortion, especially keystoning.
If you have a Sony system or are thinking of getting one, make sure this lens is in your kit. The price is more than fair when compared to Nikon and Canon. The weight will make using this lens a joy. I tip my hat to Sony for making such an incredible lens that I know many shooters will thoroughly enjoy.

Lens store links: [shopcountry 60805]

Imaging Resource posted their 100-400mm GM field test. And their conclusion is that this is a “A home run for Sony E-mount owners“:

What I like:

• Great build quality
• Excellent image quality
• Good control of chromatic aberration
• Versatile zoom range – and a really nice zoom mechanism
• Impressive close focus capabilities
• Despite being expensive, this is a great value given its unique role in the E-mount lineup

What I didn’t like:

• Quite front-heavy with the APS-C A6500 body
• Autofocus can be slow when focusing on a close subject, especially at the telephoto end
• Focus ring feels loose
• Not easy to remove the tripod foot

While the performance of a zoom lens won’t match a similar prime lens, all else equal, the Sony 100-400mm G Master lens is still incredibly sharp and performs very well. Considering its versatility, build quality, optical quality and price, the Sony 100-400mm GM is a home run and deserves a place in the kit of every Sony E mount shooter in need of telephoto reach. Granted, it is still $2,500 and that is a lot of money, but if you can afford this lens, buy it.

Lens store links: [shopcountry 60806]

Batis 18mm FE lens at [shopcountry 56821].

The very sever folks of Photozone tested the new Zeiss Batis 18mm f/2.8 lens. And there is good news:

The Zeiss Batis 18mm f/2.8 is an excellent ultra-wide prime lens. Most of the image frame is already very sharp at fully open aperture although there is a bit of softness in the far corners. The corner softness is gone at f/4. The range between f/4 and f/5.6 is also the sweet spot where the quality is truly outstanding for a lens in this class. It may be a little surprising but you should stick to f/8 (if possible) instead of f/11 for the best quality in infinity DoF scenes because diffraction is a limiting factor already. Very low lateral CAs and marginal field curvature also contribute to the very high quality. Image distortions aren’t overly pronounced but complex (mustache-style). In critical situations you may prefer to enable image auto-correction for this. That also applies to vignetting which is on the very high side (typical for Zeiss). A real differentiator is the flare resistance. You can, of course, produce a few ghostings if you push it but the Zeiss is about as good as it gets in terms of contra-light performance in this segment.
The build quality is up to professional standards – a metal body, no wobbly parts, weather sealing – but at this price level we expected no less, of course. That being said, we are not a big fan of the slippery surface coating and the dismal quality of the lens cap. The AF speed is good albeit not extremely fast but that’s perfectly fine given the typical usage patterns with such a lens. Zeiss is quite proud of the new OLED display which shows you the focus distance and depth-of-field. Yes, it’s nice, it’s cool but the real killer argument is the image quality.

So should you buy one? We’ll do some more testing of ultra-wide lenses soon but we’d be surprised to see a lens that could outperform this Zeiss lens – therefore highly recommended!

Well done Tamron ehm… Zeiss!

Batis 18mm FE lens at [shopcountry 56821].

Marc Alhadeff posted his full Sony 16-35mm f/2.8 GM review. The conclusion:

The new Sony FE 16-35 F2.8 GM is a jewel that will be a must have for all landscape and architecture photographers
Its build quality is very  good , very light to handle , very fast and reliable AF
Compared to the FE 16-35 F4 Zeiss , quality is the center is roughly the same but borders and corners are way better
Using it at F2.8 is a pleasure with very nice 3D effect and beautiful blurry background, but sometimes quite nervous
So it is worth 2 times the 16-35 F4 Zeiss? With the added F2.8 creative possibility and very high quality of borders / corners : Yes

Lens store links: [shopcountry 60804]