Sony lenses in 2021
Following the recent release of so many Sony mirrorless camera bodies, I thought it fitting to write a roundup of the best Sony lenses available in 2021. I was lucky...
15/09/2021
Following the recent release of so many Sony mirrorless camera bodies, I thought it fitting to write a roundup of the best Sony lenses available in 2021.
I was lucky enough to have access to the full range of native Sony e-mount lenses (thanks Sony Australia!) Sony 85mm f/1.8 FE
This is a great value mid-range prime lens for your Sony FE or E mount. Razor Sharp, great bokeh and light. Strongly recommended!
Check the current price
One of the benefits of Sony mirrorless cameras is the ability to use almost any third-party lens (via a separate mount), allowing photographers to take advantage of Sony's cutting-edge camera technology with some of the best glasses in the world.
This summary has been updated to include both native goals
Sony FE for full frame
,
Sony APS-C lenses for crop sensor
,
and
the latest range of Sigma Art lenses for Sony.
There are clearly plenty of choices for Sony shooters in 2021. So, without further ado, here are the best Sony lenses.
Contents
Best Sony Lenses in 2021
1. Sony FE 55mm f/1.8 ZA Zeiss Sonnar T*
2. Sony E 35mm f/1.8 OSS
3. Sony FE 35mm f/1.4 Zeiss Distagon T*
4.Sony FE 28mm f/2
5. Sony FE 16-35mm f/2.8 GM
6. Sony FE 24-70mm f/2.8 GM
7.Sony FE 85mm f/1.8
8. Sony 24mm E f/1.8 Sonnar T* ZA
Quick Summary Buying Guide
How to Read a Sony Lens
More Sony Lens Reviews
< p>Sony FE vs E Lens FAQsFrequently Asked Questions
Final words
Picture
Product
Features
Sony 50mm f/1.4
BEST ALL ROUND PRIME (FE OR E)
Amazing in low light
Razor Sharp
Beautiful Bokeh
Robust build
See price →
Sony 24-70mm f/2.8
BEST ALL-ROUND ZOOM (FE OR E)
Ultra-fast focusing
Razor Sharp
Beautiful Bokeh
Incredible image quality]
See price →
Sony 70-200mm f/4
BEST ZOOM VALUE (FE OR E)
Good value for money
Light
Razor Sharp
Ideal for travel
See price →
Sigma 30mm f/1.4
BEST VALUE PRIME (E)
Amazing in low light
Versatile focal length
Razor Sharp
Small & Light
See price →
Sony 20mm f/2.8
BEST BUDGET PRIME (E)
Incredible value
< p>Ideal for travelfeather light
Amazingly sharp
See price →
Sony 18-105mm f/4
ZOOM BEST VALUE (E)
Versatile focal range
Excellent value
Excellent image quality
Ideal for travel< /p>
See price →
Sigma 16mm f/1.4
BEST WIDE ANGLE PRIME (E)
Extremely sharp
Excellent image quality
Useful focal length
Solid build
See price →
Sony 16-35mm f/2.8
BEST WIDE ANGLE ZOOM (FE or E)
Incredible image quality
Versatile focal length
Solid build
Sharp Razor
See price →
Sony 85mm f/1.8
BEST VALUE PRIME (FE OR E)
Good value for money< /p>
Light
Quick focus
great bokeh
See price →
1.
< p>Sony FE 55mm f/1.8 ZA Zeiss Sonnar T*Compatibility:
Full Frame (FE) & Crop Sensor (E)
Minimum focus:
0.5m
Filter diameter:
49mm
Cut:
64.4mm (diameter) x 70.5mm (length)
Weight:
Approx. 281g
Click here for the latest price
Let's start this review with one of
sharpest goals
ever produced…all the way back to 2013! It's true, the 55mm f/1.8 is getting long in the tooth...
Announced to complement the early Sony A7 and A7R mirrorless cameras, the 55mm f/1.8 was the perfect match for these groundbreaking devices. Its size/weight went well with smaller bodies, and impeccable Carl Zeiss optics made the most of the A7R's 36MP sensor.
(We actually included this lens in our article on the
best lenses for sony a7 cameras
.)
If you're looking for the sharpest lens at a useful and flattering focal length, it's hard to beat the 55mm f/1.8. 55mm may seem unusual, but the difference between a 50mm and 55mm field of view is minor and you will quickly get used to it.
When mounted on a Sony APS-C body (crop sensor) like the
sony a6000
, the field of view is converted to 85mm, a
classic focal length for portrait photographers
, which strive for flattering, undistorted facial features, nice out-of-focus areas (subject separation), and mid-range zoom that still doesn't make the viewer feel too detached from the image.
Sony makes 50mm 1/0.8 lenses for E and FE mount cameras, but this 55mm is faster to autofocus and sharper, so it's definitely worth it
the extra expense
if you plan to use it a lot.
The T* in its full name (Sony FE 55mm f/1.8 ZA Zeiss Sonnar T*) refers to Zeiss' anti-reflective coating, which improves detail, contrast and clarity, especially in bright light.
Sony a7RII+ 55mm f/1.8 | © Tony Gale
As with all Zeiss lenses, the build quality of the 55mm f/1.8 is excellent, with a metal body and a solid, high-quality feel. Its light weight and small size make it a perfect lens when mounted on a Sony mirrorless camera, making this lens an extremely popular choice with street photographers.
Thanks to a high-speed internal focusing mechanism, the 55mm f/1.8 delivers fast, quiet, and precise autofocus. When testing on my a7R III and an a6000, I found autofocus speeds to be as fast as the fastest DSLR lenses I own, and
much faster
than Sony 50mm offers.
When it comes to image quality, the 55mm f/1.8 provides
Incredibly sharp images
, whether wide open at f/1.8 or narrowed down to smaller apertures - you can expect edge-to-edge sharpness and
incredible detail retention
.
100% zoom on images taken with the 55mm f/1.8 attached to a 42MP a7R III is
breathtaking
- individual eyelashes look like threads on head shots that fill the screen with the 55mm. This lens is also amazing for architectural photography for that reason, although at 55mm you'll obviously need to be able to stand back enough to completely fit your subject in your shot.
The out-of-focus of these creamy bokeh razor-sharp out-of-focus elements is gradual and subtle, and the bokeh itself is beautifully smooth.
Colors are accurate and vibrant, so JPEG shooters who don't want to spend time behind a computer can be sure of a successful shot straight out of the camera. Color rendition obviously also depends on the camera used, but at least with the 55mm f/1.8 you'll know it's not the lens that's letting you down!
All in all, the 55mm f/1.8 is a gem of a lens to have in your camera bag… or even in your jacket pocket, due to its reduced size/weight. I'm a firm believer that small mirrorless bodies should be paired with small, lightweight lenses, and that's just
one of the best
.
Whether you're a fan of wide-angle lenses or prefer to zoom in on your subject, the
55mm f/1.8 offers a versatile focal length perfect for shooting portraits, and delivers class-leading sharpness and first rate Zeiss quality. Strongly recommended!
Why should you buy
If you're looking for the sharpest lens with a useful and flattering focal length, it's hard to beat the Sony 55mm f/1.8.< /p>
Check the latest price →
2.
Sony E 35mm f/1.8 OSS
Compatibility:
Crop Sensor (E)
Minimum focus:
0.3m
Filter diameter:
49mm
Cut :
63mm (diameter) x 45mm (length)
Weight:
Approx. 154g
Click here for the latest price
Still on the subject of small and light lenses that pair perfectly with Sony's mirrorless cameras, the Sony 35mm f/1.8 deserves a high spot on this list.
In fact, I'd go so far as to say it's my favorite lens for a Sony crop-sensor body like the a6000. With half the weight of the camera body, it's the perfect complement to the slim bodies of Sony APS-C sensors.
If you have a full-frame Sony body (lucky you!), feel free to skip ahead to the next recommended lens, since the 35mm f/1.8 is
only for shooters with APS-C sensor
(cropping). Although technically suitable for a full-frame body, you will experience unpleasant vignetting unless you crop the image in-camera.
On a cropped sensor Sony mirrorless camera, this lens will give a field of view of approximately 50mm (52.5mm), which is ideal for a range of subjects. 50mm is a
popular focal length
as it gives an undistorted view of the world and can be flattering for portraits, without making the subject feel detached like a longer lens would. .
While the Sony APS-C sensor does a good job of sucking in as much light as possible, due to the limitations of the smaller sensor size, images captured in low light at higher ISOs can get rather noisy. This is why having a “fast” lens with a large aperture (f/1.8) like the 35mm f/1.8 is a big help.
Opening your aperture to f/1.8 can make the difference between a blurry image (caused by too slow a shutter speed) and a sharp one (where using a wider aperture allows for a faster shutter speed).
Sony a6000 + 35mm f/1.8 | © Rambo Estrada
Likewise, it can be the difference between a noisy image (where a higher ISO is needed to capture enough light) and a clean image (where using f/1.8 allows you to use a higher ISO).
The “OSS” refers to Optical Steady-Shot (image stabilization), a rare feature on prime lenses. Combined with the fast f/1.8 aperture, this is another reason why the 35mm f/1.8 is so good for low-light shooting.
In addition to the benefits of low-light shooting, the 35mm f/1.8's larger aperture helps separate the subject, encouraging sharp elements of focus and creamy out-of-focus elements.
An aperture of f/1.8 also means you'll be able to achieve that coveted "blurred background look" that really separates lesser cameras. Of course, your smartphone's "portrait mode" may be able to do something similar, but the process is much slower with the mobile phone and its sophisticated AI.
Sharpness is decent at f/1.8, but stopping the lens down to f/4-f/8 really gives the best results, if capturing the greatest detail is your primary concern.
I must say that the autofocus speed of the 35mm f/1.8 when mounted to the Sony a6000 was not amazing, especially when the subject was heavily backlit. However, in most normal daylight situations, the lens/camera locked onto the subject fairly quickly, and that wasn't a problem.
Overall, the Sony 35mm f/1.8 is a
versatile and fun little lens
which is the perfect complement to a small Sony mirrorless body, with image quality that simply isn't possible with the kit lens that came with your camera.
In my opinion, this is the best prime lens for Sony crop sensor camera owners who want a small and light setup with great optical performance. should buy
It's a versatile and fun little lens that's the perfect complement to a small Sony mirrorless body.
Check the latest price →
3. Sony FE 35mm f/1.4 Zeiss Distagon T*
Compatibility:
Full Frame (FE) & Crop Sensor (E)
Minimum focus:
0.3m
Filter diameter:
72mm
Cut:
78.5mm (diameter) x 112mm (length)
Weight:
Approx. 630g
Click here for the latest price
Still on the classic 35mm focal length, the Sony 35mm f/1.4 is my recommendation for Sony full-frame photographers.
< p> I was about to include the excellent Sony FE 35mm f/2.8 here instead, but realized that my love for this lens was mainly due to its size rather than its optical performance . If portability is your main concern, the f/2.8 model is the best choice, but the lens I'm going to tell you about below ismuch better…
Let's get the elephant in the side room first – the 35mm f/1.4 is an expensive lens. Although cheaper than Canon/Nikon equivalents by around $300 (see latest price
here
), I imagine the majority of its owners are either professionals (like me) or hobbyists who place a premium on stellar imaging performance.
The fast 35mm prime lens is a stable of the wedding photography industry, in part for its ability to suck in more ambient light
when light levels are low
, and partly because of its beautiful bokeh. I've owned many iterations of a 35mm lens over my years of shooting DSLRs, so the 35mm f/1.4 was an easy choice as a first lens to buy with my a7R III.
On a full-frame camera, 35mm is incredibly versatile. Wedding photographer or not, the 35mm allows you to fit enough in the frame to tell the story, while being just as suitable for shooting a solo portrait, group shot, landscape image or anything else you like. 'somewhere else.
Sony a7RIII + 35mm f/1.4 FE | © Gold Hat Photography
Add f/1.4 for beautiful subject separation and incredible low-light performance, and you've got pretty much the ultimate prime lens.
for Sony shooters.
One downside with f/1.4 lenses across the board is their size/weight. Canon and Nikon's offerings both top the scales at around 600g (21.2oz), and Sony's is no different, at 630g (22.22oz).
It's a bit smaller though, and paired with a Sony A7 or A9 body it actually feels pretty good - the narrowing of the lens where it meets the camera body creates a gap comfortable for the fingers of your hand that is not holding the camera.
While you can use the 35mm f/1.4 on a crop sensor body like the Sony a6500, I would highly recommend considering the camera + lens setup before making your purchase - the size/weight of the lens will dominate the camera, so it might look quite odd. However, some photographers make this combination work well.
Build quality is top-notch, as you would expect from a Zeiss lens. I wouldn't want to drop it (obviously!), but I'm pretty confident it would survive the drop if I did. I don't know if my toes would, though.
A nice touch is the aperture ring which allows the aperture to be set on the lens. I prefer to assign the camera's command dial to control aperture, but for fans of rangefinders or video shooters, using your other hand to adjust aperture can be handy. You can also choose between a tactile click or a silky roll as you turn the aperture ring.
Sony a7RIII + 35mm f/1.4 FE | © Gold Hat Photography
The bokeh produced by the 35mm f/1.4 is simply amazing. Coming from the Nikon 35mm f/1.4G (included in this
best roundup of nikon lenses
), I noticed a similarity in the smooth transition from focus to focus elements that give images a kind of ethereal personality.
If you need to turn unsightly backgrounds into mush or want to give subjects more than 3 dimensions, this 35mm lens is
unbeatable
p>
in Sony's full-frame lens range.
Autofocus performance is as good as any equivalent DSLR camera I've taken pictures with. Obviously, autofocus speed is largely dependent on the camera itself, but paired with any full-frame Sony mirrorless camera, I'm confident you won't be disappointed.
Sony a7RIII + 35mm f/1.4 FE | © Gold Hat Photography
The “Distagon” in its full name (
Sony FE 35mm f/1.4 Zeiss Distagon T*
) refers to a lens which helps reduce distortion. Although a slight barrel distortion is still apparent, it is nothing to worry about and easily corrected when importing into Lightroom.
An area where the 35mm f/1.4
upgrades
the Nikon and Canon equivalents are sharpness. Even wide open, the center is
with impressive sharpness
, with image detail preserved to the edges of the frame.
I often take portraits at f/2, just to give myself a little margin in case of misfocusing. F/2 on the 35mm f/1.4 seems like the sweet spot in terms of center sharpness and combined with the beautiful bokeh, that pleasing “3D effect” is actually increased.
I could go on and on about this lens, but long story short, the 35mm f/1.4 convinced me that my move from Nikon to Sony for my wedding photography work was a wise one.
It's my 'money' lens, a real workhorse that delivers great images time and time again, and allows me to shoot in near-darkness without flash. Strongly recommended!
Why should you buy
A real workhorse that delivers great images time and time again and lets you shoot in near darkness without flash.
Check latest price →
4.Sony FE 28mm f/2
Compatibility:
Full Frame (FE) & Crop Sensor (E)
Minimum focus:
0.29m
Filter diameter:
49mm
Cut:
64mm (diameter) x 60mm (length)
Weight:
Approx. 200g
Click here for the latest price
Along with the aforementioned 35mm, the Sony 28mm f/2 was the second of 3 lenses I bought when I switched from Nikon to Sony. year.
At just 200g and truly pocket-sized, I imagined this would be my 'everyday lens' for non-professional use, or the lens I'd attach to my new a7 III when travelling. In reality, it turned out to be much more than that…
The 28mm f/2 is currently
the most affordable Sony FE prime lens
(see last price
here
), and an absolute
bargain
compared to
wide angle lenses
of a similar caliber by other manufacturers.
28mm is a somewhat unusual focal length, and it admittedly took me a bit of getting used to. I'm not a fan of shooting intensively with a 24mm, so I was worried that the 28mm would be too wide to the touch, but it's actually not too intimidating.
The 28mm allows you to get closer to the action, while still providing plenty of room in the frame to tell the story through the background or other foreground elements.
Sony a7RIII+ 28mm f/2 FE | © Gold Hat Photography
The Sony 28mm f/2 is also popular on Sony E-mount bodies, offering a 42mm field of view. Due to its small size, it feels great when attached to Sony's crop sensor bodies and is a fun lens to go through.
I find that many Sony full frame camera owners also have a crop sensor
compact cameras
also. By investing in lightweight Sony FE lenses such as this 28mm, it's easy to use the same lens on the smaller crop sensor body and enjoy the inherent image quality of FE glass.
A unique advantage of the 28mm f/2 is that Sony also produces two handy converters that can change the focal length of the lens -
this one
which is 21 mm; and
another
which makes it a 16mm fish-eye!
While this is a cost effective way to create 3 focal lengths, it should also be noted that using converters in this way
decreases the amount of light
that can fit into the lens - these converters change the f/2 to f/2.8 and f/3.5 respectively, although in good light or when using a tripod it won't a problem.
Sony a9+ 28mm f/2 | © Tyler Shortt
Because it's such a lightweight lens, the 28mm f/2's autofocus performance is quiet and lightning-fast. Paired with Sony a7 or a9 series bodies that offer silent shooting, you can focus and shoot without any noise.
Quiet shooting is useful in a whole range of situations, but my favorite place to use lightweight wide-angle lenses like the 28mm f/2 is on the dance floor.
At the end of a long wedding day, the last thing I want to attach to the front of my camera is a big, heavy lens like a 24-70 and 28mm lets you get straight into the action mad about the dance floor, which allows the viewer to feel truly immersed.
When it comes to image quality, the 28mm f/2 is sharp and contrasty throughout the aperture range. Distortion is minimal, but that's probably due to Sony's mirrorless bodies which correct most of the distortion in the camera.
Sony a7RIII+ 28mm f/2 FE | © Gold Hat Photography
I was pleasantly surprised by the amount of bokeh that could be produced at f/2 with this lens. Wide-angle lenses can't really create a lot of out-of-focus unless you get really close to the subject, but when you do, the Sony 28mm f/2 does a great job of creating subject separation.
For that reason, this little lens that I assumed was relegated to photos of my children on vacation is actually very useful when shooting professionally. The 28mm field of view really encourages you to get closer for an immersive feeling, and f/2 can help direct the viewer's eye by blurring the foreground and/or background.
If you've just blown your budget on a new Sony full-frame mirrorless camera and can only save for one lens, the 28mm f/2 would be my recommendation. This makes the camera a joy to hold, has excellent image quality and won't break the bank. Strongly recommended!
Why should you buy
This makes the camera comfortable to hold, has excellent image quality, and won't break the bank.
Check Latest Price →
5. Sony FE 16-35mm f/2.8 GM
Compatibility:
Full Frame (FE) & Crop Sensor (E)
Minimum focus:
0.28m
Filter diameter:
82mm
Cut:
88.5mm (diameter) x 121.6mm (length)
Weight:
Approx. 680g
Click here for the latest price
If you're looking for the best wide-angle zoom lens available for Sony full-frame mirrorless cameras, look no further than the Sony 16-35mm f/2.8 GM. I'll be uploading some sample photos I took in Tokyo soon, but in the meantime read a bit more about this amazing lens.
Owners of the Sony 16-35mm f/4 Zeiss OSS may not want to read any further, but let me say this before we dig any deeper: the Zeiss version is smaller, lighter, cheaper, and can provide exceptional results.
However, it's still not as good as the Sony GM version :-)
GM stands for 'G Master' - Sony's high-end e-mount lenses, similar to Canon's L-series. Watch the video below to see the features that set GM lenses above all others in Sony's lens catalog.
Most of the advantages of G Master lenses over regular Sony lenses, or even Zeiss lenses, are admittedly a bit
difficult to quantify
by the average photographer. After all, it's hard to tell the difference between very good and excellent, when the quality of the lens is already better than most of us will ever need.
That said, after spending a day shooting with the 16-35mm f/4 Zeiss and this
Sony 16-35mm f/2.8
GM, I am convinced that the latter is worth
the extra cost.
I don't want to spend too much time trying to compare these two great lenses, because neither is the "right" choice. Let's just say that if the sharpness, clarity and low light performance/
the ability to blur the background
is the most important for you, keep reading ;-)
< p>16-35mm is an extremelyuseful
for all types of photographer. 16mm on a full-frame camera provides an expansive field of view, perfect for everything from wide panoramic shots to environmental portraits (as long as the subject is away from the camera and not placed at the edge of the frame!)
35mm is also a great focal length as discussed earlier, but the advantage of this lens is not being able to shoot at 16mm or 35mm, but rather having the ability to change the field of view between those two distances.
You are not buying the Sony 16-35mm f/2.8 as a replacement for your 35mm prime lens.
The 16-35mm has also become popular with
< p> wedding photographers,especially on the dance floor of all venues. The 16mm lets you capture crazy, in-your-face moments, and the versatility of zooming out to 35mm lets you capture a wider angle when the action gets more varied.
Considering 680g, this is a
big goal
, with similar proportions to the 35mm f/1.4 described above. I was pleasantly surprised that it was
much lighter
than the Nikon equivalent (of 320g), and also the Canon version (of 110g).
As you would expect, given the price of a G Master lens, the image quality of the Sony 16-35mm f/2.8 is simply
incredible
. Shot wide open at f/2.8,
images are sharp
, and this level of detail remains throughout its focal range.
If you can get close enough to the subject, the bokeh exhibited by the Sony 16-35mm f/2.8 is smooth and creamy, although to really maximize the effect you'll need to shoot at 35mm.
pixel website
DXOMark
named him the
top rated wide angle zoom
, with a sharpness score that blew the Canon/Nikon versions out of the water.
If you're looking for a wide-angle zoom lens with the best image quality and can justify the price, there's simply no better option than the Sony 16-35mm f/2.8. The f/4 Zeiss version is an affordable and tempting alternative, but you'll wonder how much better your image could have been…!
Why should you buy
A wide angle zoom lens with the best image quality and can justify the price.
Check the latest price →
6. Sony FE 24-70mm f/2.8 GM
Compatibility:
Full Frame (FE) & Crop Sensor (E)
Minimum focus:
0.38m
Filter diameter:
82mm
Cut:
87.6mm (diameter) x 136mm (length)
Weight:
Approx. 886g
Click here for the latest price
If you want a lens that can handle just about any shooting scenario
and produce clear, vibrant and sharp images with incredible detail, the Sony 24-70mm f/2.8 should be at the top of your wish list.
Let's start with the bad news - here's one
dear
. If you're coming from Nikon or Canon you'll be used to the high price of f/2.8 zooms, the price is more easily justified - there's a lot of crazy engineering that goes into producing a fixed aperture lens of this caliber .
You can see the latest price of this mid-range Sony zoom lens
here
. Now that you've gotten over that initial shock, why on earth am I recommending such an expensive lens in a roundup that's supposed to satisfy the average photographer?!
Simple - because it is the
best
. Yes, there is a version
f/4 Zeiss
and even a
28-70mm f/3.5-5.6
Sony also offers … but they are all
upgraded
by the 24-70mm f/2.8.
Remember when everyone started using prime lenses because they were sharper and better quality than zooms? Well those days are over
more
- the 24-70mm f/2.8 is just as sharp as any Sony lens I've ever shot with - it's up there with the Sony 55mm we talked about earlier, and it's all from a lens that can take you from wide angle to portrait in a jiffy!
Sony a7RII+ 24-70mm f/2.8 | © Tony Gale
If you've never taken a picture with a 24-70mm lens before, you're in for a treat
.
. I call it “lazy lens” because you can literally shoot an entire wedding with just one, barely moving your feet all day!
24mm is wide enough to take the whole church or that epic landscape, and 70mm gives
a nice squeeze
for a bridal portrait.
f/2.8 was considered below average for low-light photography, but with the high ISO capabilities of full-frame cameras these days, it's
more than enough
.
Additionally, shooting near the 70mm end of the focal range at f/2.8 produces creamy bokeh that turns out-of-focus elements into
porridge
– very useful for unsightly backgrounds at weddings, for example.
At f/2.8, the 24-70mm f/2.8 is impressively sharp in the center of the frame throughout the zoom range. At f/4 sharpness improves, but let's face it: you'll be shooting this bad boy
wide-open
most of the time, so it's good to know that it works well like that!
One small issue I noticed was ghosting when shooting towards the sun - this is an area where the coated glass of the 24-70mm f/4 Zeiss is superior, but I don't consider it a big problem. Such imperfections add a certain character to lens flare, with a certain unpredictability that's fun to play with.
Sony a7RII+ 24-70mm f/2.8 | © C-Gee Photography
The quality of the bokeh is really excellent, with round and sharp highlights throughout the entire focal length, thanks to 9 rounded aperture blades. As long as you get close enough to the subject, you can get
impressive bokeh
even at 24mm.
With the sun in the back, the images come out of the 24-70mm f/2.8 are
vivid, crisp, contrasty and extremely sharp
. The distortion is typical of a 24-70mm lens, with pronounced barrel distortion at 24mm, though this is all easily fixable in Lightroom.
If you're coming from another camera system, investing in two full-frame Sony mirrorless bodies and multiple lenses may be out of your budget. Invest in a single case and only in the
24-70mm f/2.8
signifie que vous aurez toutes vos distances focales couvertes, et peut signifier un
entrée plus pratique
dans le monde de Sony pour un usage professionnel.
Tant que le poids de cet objectif ne vous dérange pas, je ne trouve vraiment aucune raison de ne pas de le recommander à tout type de tireur plein format Sony. C'est un objectif coûteux, mais il pourrait s'agir du seul objectif dont vous ayez besoin.
Why should you buy
Avec le soleil dans le dos, des images du Sony 24 -70 mm f/2.8 sont vifs, nets, contrastés et extrêmement nets. Ce pourrait être le seul objectif dont vous avez besoin.
Vérifiez le dernier prix →
7. Sony FE 85mm f/1.8
Compatibility:
Plein format (FE) & Capteur de culture (E)
Mise au point minimale:
0,8m
Filter diameter:
67mm
Cut:
78mm (diamètre) x 82mm (longueur)
Weight:
Approx. 371 g
Cliquez ici pour le dernier prix
Vous vous souvenez que j'ai mentionné que j'avais acheté 3 objectifs lorsque je suis passé de Nikon à Sony? Eh bien, ce Sony 85mm f/1.8 était le troisième objectif sur lequel je me suis installé.
Pour vous donner un peu d'arrière-plan, j'avais l'habitude de filmer avec deux Nikon D750, avec des objectifs 35mm et 85mm f/1.4 (voir mon équipement installé ici). I love the look of images shot at f/1.4, but felt that I could easily get by with f/1.8 – the trade off in light gathering ability was more than worth it for the reduction in size/weight and price.
You can check the current price of this lens here – you'll appreciate the fact that it's
over $1,200 cheaper
than Sony's f/1.4 G Master offering, and about $700 less than the f/1.8 Zeiss Batis version.
Sony a7RIII +85mm f/1.8 | © Gold Hat Photography
So when I switched to Sony, I decided on the 85mm f/1.8 and haven't looked back. (If there was an f/1.8 35mm, I would've got that too!)
With the compression at 85mm, I find that the bokeh at f/1.4 is almost
too
much. For all you Canon 85mm f/1.2L shooters, shooting wide open with that lens is like cheating – you can turn pretty much any background to a complete mushy creamy mess!
f/1.8 on an 85mm lens looks great to me, and at only 371 g, it's the
perfect complement
to a lightweight Sony mirrorless body.
Sony a7RIII +85mm f/1.8 | © Gold Hat Photography
Even on an APS-C sensor body like the
Sony A6500
, the 85mm f/1.8 feels good, although 127.5mm as a focal length (with the crop sensor conversion) is admittedly a little less versatile.
Build quality is decent, although not the all-metal tank-like build you'll see with G Master or Zeiss lenses. The barrel is made from sturdy plastic, and the mount and filter thread are metal. I actually prefer this construction over an all-metal lens, since they're just
so much lighter
.
A nice touch is a 'focus-hold' button on the side of the lens, which can be customised to control various other functions – I have mine set to control Eye AF.
As for image quality, this is another f/1.8 Sony lens that really excels with its sharpness. As with the 55mm f/1.8 we discussed earlier, the 85mm f/1.8 achieves incredible amounts of detail – zooming in 100% with the Sony A7R III files is mind-blowing.
Sony a7RIII +85mm f/1.8 | © Gold Hat Photography
DXO Mark compared the Sony 85mm f/1.8 with the other Sony/Zeiss 85mm variants and found it to be the sharpest of the bunch. It also exhibits very little distortion.
The images I've shot professionally with the
Sony 85mm f/1.8
look fantastic at f/1.8, but to me, the lens really excels when stopped down to f/4~f/5.6, where images become even more contrasty and sharp, almost leaping off the screen.
If you're coming from another camera system and have always used f/1.4 lenses, give the 85mm f/1.8 a shot before sinking your cash into other options. With the incredible high ISO performance of Sony full frame cameras, you won't miss the 2/3 of a stop when the sun falls, and you won't miss it even if you're a bokeh-whore!
For this price, I recommend the 85mm f/1.8 for any photographer who needs a versatile portrait focal length at a good price, which complements the size of a Sony mirrorless camera.
Why You Should Buy
For any photographer who needs a versatile portrait focal length at a good price, which complements the size of a Sony mirrorless camera.
Check Latest Price →
8. Sony 24mm E f/1.8 Sonnar T* ZA
Compatibility:
Crop Sensor (E)
Minimum Focus:
0.16 m
Filter Diameter:
49mm
Size:
63 mm (diameter) x 65.5 mm (length)
Weight:
Approx. 225g
Click here for the latest price
I'll finish this roundup with a little bit of a controversial choice. There's no doubt that this Sony 24mm f/1.8 is the best standard wide angle lens available for crop sensor Sony E mount cameras, but its price definitely isn't for everyone.
I think it's a fair assumption to say that the majority of professionals use full frame cameras, given the choice. Fujifilm shooters are 'limited' to APS-C or Medium Format, but Sony shooters can decide between crop sensor and full frame.. and most pros choose full frame.
So it's also a fair assumption to say that if your primary body is a crop sensor Sony, you're not earning money via photography. See where I'm going here?
So for a crop sensor prime lens such as the 24mm f/1.8 to cost almost as much as the camera itself (see latest price here), you're going to ruffle some feathers amongst hobbyists!
Sony NEX 7 +24mm f/1.8 | © Alan Chen Photography
However, I believe that whatever your profession and whatever the camera you own, it's always a good decision to invest in the best possible lens you can afford… and in this case, that's the
Sony 24mm f/1.8
.
So what are you getting for your money? Well first off, attaching this lens to your Sony crop sensor body transforms it into a 35mm equivalent focal length with a fast f/1.8 aperture.
35mm is ideal as a walkaround lens, wise enough for landscapes or architecture and still good for an environmental portrait.
The size and weight balances nicely on the Sony a6XXX series bodies. Build quality is all-metal as to be expected from Carl Zeiss, and it's a huge step-up from the plasticky kit lens.
As for image quality, the 24mm f/1.8 is impressively sharp right across the frame, especially when stopped down to f/4. At f/1.8 there's slight corner softness, but nothing that distracts, and if you get close to your subject, you're rewarded with some beautiful bokeh thanks to 7 rounded diaphragm blades.
It's fair to say that any of the Sony products with the word 'Zeiss' on the side really excel in image quality, especially the fast primes such as this one.
Sony a6000 +24mm f/1.8 | © Duy Nhât Phan
Colour rendition is excellent with the Sony 24mm f/1.8, and images are clear, vibrant and contrasty, but this obviously depends too on the camera used. On the Sony a6000 I used for testing, auto-focus speeds were excellent, and JPEGs looked great straight out of camera.
If you own a Sony crop sensor body and crave the the advantages and flexibility of using a 'real' 35mm lens (as opposed to one that's labeled '35mm', but converts to around 50mm on APS-C), the 24mm f/1.8 is simply the best lens you can buy.
If you want to get the most out of every mega pixel in your Sony a6XXX body, investing in premium Zeiss optics will really open your eyes, especially if you're used to variable aperture zoom lenses, such as the ones that typically come bundled with cameras. Highly recommended!
Why You Should Buy
The best standard wide angle lens available for crop sensor Sony E mount cameras.
Check Latest Price →
With several lens manufacturers catering to the Sony E mount, as well as Sony's own amazing lens lineup, you can't help feeling a bit overwhelmed by choice!
Many photographers come to Sony from
Nikon or Canon
, so their first question is whether they can still use their existing non-native lenses on their new Sony body.
Using Canon lenses on a Sony body is definitely possible via adapters
like these
, and it's fun to experiment with other 3rd party lenses too, but I always recommend using a native lens where possible.
Based on the past few months I've had testing a selection of the lenses, these are the ones that I've chosen as a solid base for any Sony full frame or cropped sensor e-mount camera owner.
Remember that FE lenses can be used on all Sony mirrorless cameras (at a 1.5* focal length multiplication).
If you want to know
what lenses to buy for your Sony camera first
, this quick summary should help:
If you're looking for an affordable, fun and tiny prime lens for your Sony APS-C sensor (E mount) camera, the
Sony 20mm f/2.8
is my pick.
Small and light as a lens cap, you can blur the background
on the cheap
, and the image quality is surprisingly good too.
If you want to step up the image quality considerably on your a6xxx series camera, the
Sigma 30mm f/1.4
is a good bet – that fast maximum aperture will deliver great bokeh, and get you out of trouble in low-light too.
As for
FE mount (full frame) Sony cameras
, my favourite prime is the Sony 35mm f/1.4 which I reviewed below. However, I decided to include the
Sony 50mm f/1.4
in the table above, since 50mm seems to be a more popular focal length for many photographers. Both are outstanding lenses.
For zooms, the f/2.8 G Master lenses are the cream of the crop, whether you own FE or E mount. If you've got the bucks, the
Sony 16-35mm f/2.8
,
24-70mm f/2.8
and
70-200mm f/2.8
aka the 'holy trinity', are unbeatable in quality.
However, for half the price, I'd recommend you check out the f/4 variants too. Unless you're shooting in low-light all the time, f/4 plus image stabilization and Sony's excellent high ISO capabilities may be all you need.
Tea
Sony 70-200mm f/4
, for instance, is great value for money, and perfect for both Sony crop sensor or full frame cameras (it becomes a 105-300mm equivalent on APS-C).
One other lens recommendation is the
Sony 85mm f/1.8
, which is a lightweight, affordable prime lens that's perfect for portraits, delivering sharp, contrasty images with beautiful out-of-focus areas.
On a Sony e mount camera like the a6000, it'll become a 142mm lens, also great for portrait photography.
Before we dive head first into the Sony lens reviews, it's important to understand what all the letters in the lens name mean.
Here's an example of a lens that's quite a mouthful:
Sony lens naming conventions can be a little confusing…
The above lens is the
Sony FE 70-200mm f/4 G OSS
. Let's break those words and abbreviations down:
FE – any lens that covers a 35mm sized sensor (designed for use on Sony's full frame mirrorless cameras)
70-200mm – the focal length
f/4 – the maximum aperture range
G – 'Gold' lenses are Sony's highest quality professional-grade lenses
OSS – 'Optical SteadyShot' is Sony's in-built lens image stabilization
Other Sony lens abbreviations you may see include:
ZA – 'Zeiss Alpha', or any Sony lens featuring Carl Zeiss
SSM – 'SuperSonic Motor' is for extremely fast and silent Autofocus
SAM – 'Smooth Autofocus Motor', usually seem on Sony's lower-end lenses
ED – 'Extra-low Dispersion' glass elements designed to reduce chromatic aberrations
SAL – 'Sony Autofocus Lens'
DT – 'Digital Technology', refering to lenses that are designed for Sony APS-C sensor cameras
SEL – Sony autofocus lenses designed for E-mount
In the reviews below, I've removed the superfluous lette ring after the main elements of each lens name in the interests of simplicity – feel free to click through to each lens on Amazon to see the entire lens name.
I've selected the lenses above based on my own personal experience (thanks Sony USA/Australia/Japan for the loans!)
The cameras used for testing were the full frame
a7R III
(reviewed
here
), the
a7 III
(reviewed
here
), and the crop sensor
a6000
(reviewed
here
).
Be sure to check out
this guide to the best lenses for the Sony a6000
for some more Sony e mount lens recommendations for the crop sensor format, and my guide to the
best Sony accessories
for what I'm currently using with my Sony cameras.
Also, this guide to the
best lenses for Sony a6400
shooters should be useful too.
It's important to understand the difference between Sony FE and Sony E-mount lenses (we've ignored Sony A mount lenses in this review, which are for Sony's non-mirrorless range of cameras).
FE refers to a lens designed to cover a Sony full frame (35mm) sensor. Since APS-C sensors are smaller, the FE lenses can also be used on the Sony APS-C sensor range (also known as NEX), albeit at a 1.5x focal length and maximum aperture multiplication.
Lenses labeled 'E'
cannot
be used on FE-mount cameras (a7 and a9 series).
Frequently Asked Questions
Will Sony FE lenses work on a6000, a6300, a6400 & a6500 bodies?
Yes, at a 1.5x focal length and maximum aperture multiplication. All FE lenses are compatible with the Sony a6000 series and all other Sony e-mount crop sensor cameras.
This means you can own a Sony a7 or a9 series camera and
share the lenses with your Sony a6500
, Sony a6300, Sony a6400 or whatever other Sony APS-C sensor camera.
[Related:
Sony a6300 lens guide
,]
Is Sony NEX an E Mount?
Yes it is. NEX stands for “New E-Mount eXperience”, with the branding no longer used on newer Sony cameras.
Does Sony a7 & a9 use E Mount lenses?
The Sony a7 and Sony a9 series are full frame mirrorless cameras, so must use the
FE range of lenses
which have been designed to cover the entire 35mm sensor.
What's the difference between Sony E Mount and A Mount?
Left: Sony A mount | Right: Sony E mount
Sony A Mount lenses are designed for Sony Unique Translucent Mirror type camera bodies (the
Sony α system
).
Sony E Mount lenses are designed for Sony mirrorless camera bodies.
Do all Sony Alpha lenses fit on all Sony cameras?
No. The E-mount is used on the Sony mirrorless camera system (Alpha 7, 6000, 500o and NEX series cameras).
The A-mount is used on Sony Unique Translucent Mirror (essentially DSLR) cameras.
FE lenses can be used on E mount cameras, but E lenses cannot be used on FE mount cameras.
This is the list of lenses I'd provide any friend who'd just invested in a Sony full frame or crop sensor body.
It's by no means an exhaustive list since every photographer's needs are different.
However, I believe that this roundup provides a solid selection of all-round lenses that give the best bang for the buck, or simply provide the absolute best image quality at a given focal length.
I'm interested to hear if you agree or disagree with any of my choices, so please feel free to leave a comment below to continue the discussion. As mentioned previously, I'd also like to hear about your favourite 3rd party lenses which you use mount on Sony camera bodies.
Editor's Choice
Sony 85mm f/1.8 FE
This is a great value medium range prime lens for your FE or E mount Sony. Razor sharp, great bokeh and lightweight. Highly recommended!
Check Current Price
Disclaimer: All recommendations are impartial and based on user experience, with no bias to the products or the brand. The products in this post may contain affiliate links.
491
4
495
SHARES