Looking for the best Sony lenses? Whether y’all accept an APS-C Sony camera for a full-frame model like the Sony A7R IV, we’ve tested all of the best lenses to assist you find the right ones for your camera and style of photography.
If y’all’re relatively new to Sony cameras, here’southward a quick introduction to them. Sony has two distinct line-up of mirrorless cameras. The APS-C range is aimed at beginners to enthusiasts, while the full-frame range is bachelor for enthusiasts upwards to professionals.
Sony took the photographic world by storm back in 2013, with the launch of its showtime A7 mirrorless camera. This diminutive yet powerful body speedily grew into a whole series of A7 and A9 cameras, which take gone from force to strength. Information technology took no less than five years for the biggest names in traditional cameras to catch up, with Canon and Nikon only launching its first full-frame mirrorless cameras in 2018, namely the Canon EOS R and RP, and the Nikon Z7 and Z 6.
With such a lengthy caput start, Sony put those v years to skilful use. Information technology designed and brought to the market a succession of impressive full-frame compatible lenses, while too ramping upwards its range of APS-C format lenses for its pop line of A6000 series camera bodies. Whatever blazon of prime number or zoom lens y’all need for your Sony total-frame or APS-C format body, you’ll be able to detect an own-brand Sony lens to fit the bill. The but catch is that sometimes the nib tin can be a little steep, so we’ve taken value into consideration besides in this in-depth guide to the best Sony lenses.
Best Sony Cameras
But equally with conventional SLRs, contained manufacturers have kept an eye on Sony’s progress and started designing prime and zoom lenses that compete with own-brand optics. Some of the latest from the likes of Sigma and Tamron deliver like or fifty-fifty better performance than Sony’due south own lenses, while undercutting them for price. Let’due south take a closer look at the best buys to arrange a range different requirements.
While Sony lenses tin can be shared across all of its bodies as the mountain is the same regardless of sensor size, many are specifically designed to be used on either the total-frame bodies, or the APS-C bodies. In this guide we’ll be taking a await at lenses which are available for both systems – and will note if they are all-time suited to full-frame or APS-C, or are good for both.
All-time Sony lenses 2022 at a glance:
- Sony FE 24mm f/1.4 GM
- Sony Iron sixteen-35mm f/ii.eight GM
- Sony FE 85mm f/ane.4 GM
- Sigma 24-70mm f/2.8 DG DN Art
- Sigma xiv-24mm f/2.viii DG DN Art
- Sigma 50mm f/1.4 DG HSM Fine art
- Sony FE 85mm f/1.8
- Sigma 85mm f/i.4 DG HSM Art
- Sony FE 200-600mm f/5.6-6.3 One thousand OSS
- Sony Distagon T* Atomic number 26 35mm f/1.4 ZA
- Sony Vario-Tessar T* FE 24-70mm f/4 ZA OSS
- Sony Iron 90mm f/2.8 Macro 1000 OSS
- Sony FE lxx-200mm f/four G OSS
- Sony FE 100-400mm f/iv.5-5.6 GM OSS
- Sony Eastward sixteen-55mm F2.8 G
- Sony East 70-350mm F4.5-six.3 One thousand OSS
Best Sony lenses in 2021:
The FE 24mm f/1.4 GM is Sony’s newest wide-angle prime number lens and also the company’s eighth loftier-end G Master lens. Sony has designed the lens around four primal criteria: resolution, bokeh, speed, and a compact and lightweight blueprint. It doesn’t disappoint. Image quality is stunning, with excellent sharpness across the frame, while the 11-bract round aperture renders polish and natural-looking bokeh. Focusing is swift thanks to the Direct Bulldoze SSM (DDSSM), while it weighs in at just 445g (15.7oz). That’s quite a bit lighter than Canon’south 24mm f/1.iv (650g / 22.9oz), Nikon’s 24mm f/1.four (620g / 21.9oz) and Sigma’s 24mm f/1.4 (665g / 23.5oz). The merely real downside is the hefty price tag.
Read our in-depth
Sony Iron 24mm f/1.4 GM review
The Zeiss-badged Sony Vario-Tessar T* FE xvi-35mm f/4 ZA OSS has been the main choice for Blastoff users after a high-quality wide-angle zoom lens, just the arrival of the Sony Iron 16-35mm f/2.8 GM now makes that decision much harder. A stop faster at f/2.eight, this is a larger piece of glass that weighs in at 680g. Build quality is fantabulous and includes a total set of weather-seals, while the eleven blade rounded aperture diaphragm delivers ultra-smooth bokeh. Focusing is fast and silent, while the prototype quality is stunning – the perfect partner for cameras like the 42MP Alpha A7R 3 and the newer 61-megapixel A7R IV.
This is a stunning lens and the perfect optic for cute portraits. The 11 blade rounded diaphragm helps produce sumptuously soft and dreamy bokeh in defocused areas. Sharpness across the unabridged frame is very good at f/1.4 – and stunning at f/2.eight and beyond. Sony’south Nano AR coating fends off ghosting and flare, while lateral and longitudinal fringing are both minimal. The focus agree button and de-click aperture ring option are nice bonuses, with the latter working very well when shooting video.
Sigma’s Fine art lenses have an uncompromising design ethic that goes all out for enabling artistic flair and creativity, no matter if they end upward being quite large and weighty. The 24-70mm f/2.8 standard zoom for Catechism and Nikon SLRs is typical of the breed but the new ‘DN’ version for Sony mirrorless cameras is more of a complete redesign than a simple tweak with a different mounting plate. It’s also most 200g lighter, making it more manageable on a svelte Sony mirrorless trunk, but is however pretty weighty at 830g.
Sigma has certainly thrown the total weight of its technological expertise into the lens. It has a complex optical path of xix elements. Of these, in that location are three aspherical elements, half dozen top-performance FLD (‘Fluorite’ Depression Dispersion) elements and two SLD (Special Low Dispersion) elements. In addition to Sigma’s usual Super Multi-Layer Coating, there’s a make new Nano Porous Coating, to further reduce ghosting and flare.
The lens is impressive mechanically also every bit optically. Its stepping motor autofocus arrangement is very fast and virtually silent in operation, and comes complete with the usual electronically coupled focus ring, which enables very precise manual adjustments. Meanwhile, aperture control is based on an 11-bract diaphragm which remains very well-rounded when stopping down, helping to retain attractive bokeh.
Image quality is mostly fabled, with superb sharpness and contrast, and absolutely negligible colour fringing. The only minus points are that barrel distortion is rather noticeable at the short end of the zoom range and vignetting is quite astringent at f/ii.viii, merely automated in-camera corrections are available for both of these aberrations.
Own-brand Sony broad-bending zooms include the FE sixteen-35mm f/2.8 One thousand Chief and the Atomic number 26 12-24 f/4 G. This new Sigma lens goes wider than the 16-35mm while matching its fast and constant f/2.8 aperture, although information technology doesn’t get quite as broad equally the ‘slower’ f/iv lens. For our coin, the Sigma is really an platonic compromise in terms of zoom range and aperture rating. And speaking of coin, it massively undercuts both Sony lenses for purchase price.
Like Sigma’south 24-70mm Art standard zoom for Sony mirrorless cameras, this one has evolved from a very popular lens that was designed for Catechism and Nikon SLRs. Over again, there are considerable differences in the construction of the East-mount version, starting with the optical path. The veritable feast of glass includes 3 aspherical elements, consummate with a large-diameter, ultra-high-precision one at the forepart. Further back, in that location’s an FLD (‘Fluorite’ Depression Dispersion) element and no less than five SLD (Special Low Dispersion) elements. Also like the standard zoom, the ultra-broad lens uses both Super Multi-Layer Blanket and Nano Porous Coating, which requite a noticeable reduction in ghosting and flare, compared with the older SLR lens.
As usual in ultra-wide lenses, the lens hood is an integral part of the barrel and protects the bulbous, protruding front element. As such, at that place’s no attachment thread for the direct mounting of filters. However, the new East-mount version of the lens adds a gel filter slot in its mounting plate, complete with a locking device, and comes with a template for cutting gel filter material to size.
Build quality is excellent and the structure features comprehensive weather-seals. Treatment is similarly top-drawer. The autofocus system is fast and unerringly accurate, and image quality is stunning in terms of sharpness and contrast, even when shooting wide-open up at f/two.eight. Notwithstanding, whereas the SLR edition of the lens is virtually a ‘zero distortion’ optic, the DN version produces noticeable barrel baloney in the 14-16mm sector of its zoom range. Even then, this tin exist automatically corrected in-camera.
This lens has already garnered much acclamation since its release v years agone, being prized for its sharpness. Not merely that, but at a fraction of the cost of Sony’southward ain Planar T* Iron 50mm F1.4 ZA optic, this is a very tempting option for street, portrait and nature photographers who need that wide f/i.4 aperture, be it for working in low light or for isolating subjects from their environs. It’s not the smallest 50mm f/1.4 lens of its kind, although it seems that the extra bulk is necessary in club to deliver the kind of imaging performance nosotros observe hither.
This fairly mesomorphic optic however only weighs in at a pretty small 371g cheers to a predominantly plastic construction, but balanced really nicely on the Alpha A7R II nosotros tested information technology with. The design is very clean – so much so that in that location’s no distance or DOF scales, but those niggles aside, it’southward a swell portrait lens. Focusing is squeamish and brisk while the nine-blade diaphragm delivers to actually beautiful bokeh. Optically, there’s niggling to error it on either – it’s incredibly sharp at the centre of the frame through the aperture range. If you tin can’t justify 1 of the more exotic Sony portrait lenses, this is a neat option.
A classic portrait focal length and a wide f/ane.4 aperture are the main draws of this lens, as is the fact that it can be had at a far more agreeable cost than Sony’southward own G-Master version. Like that lens, it’s fairly big and heavy (fifty-fifty more so here, in fact), only it rewards with a robust build, fast focus and excellent paradigm quality. Sharpness is first-class at the widest f/1.4 aperture, and this only improves one time you lot terminate downward a touch, while bokeh is nice a natural – a key consideration for portraiture. The deep focusing ring also makes manual focus very pleasing when y’all demand to use this. Overall, a wonderful lens at a wonderful cost.
Sony’s Atomic number 26 100-400mm f/4.5-5.half dozen K Master OSS is undeniably a cracking lens, merely if you want even more telephoto achieve, the new 200-600mm delivers information technology in fine style and is better value.
With a tough, weather-sealed construction, it’s platonic for everything from action sports and wild fauna photography to shooting birds and aircraft. The maximum 600mm focal length is epic on a full-frame body and gives an absolutely phenomenal 900mm ‘constructive’ reach on Sony’s APS-C format cameras, thanks to the 1.5x ingather factor.
Handling is excellent, with well thought-out controls that take finer the same layout to those of the smaller 100-400mm lens. Three customisable focus-concord buttons are fitted effectually the lens barrel and there’s an autofocus range limiter. It’s enhanced in the 200-600mm lens, however, enabling you to lock out either brusque or long focus range and the optical stabilizer gains a tertiary switchable mode.
Again, modes one and two are for static and panning shots respectively. The new third pick only applies stabilization during actual exposures, making it easier to track erratically moving objects. The optical stabilizer is even more than effective when working in conjunction with the sensor-shift stabilization of Sony’s recent camera bodies.
Helped past the inclusion of one aspherical element and five ED (Extra-low Dispersion) elements, sharpness and contrast are outstanding for a super-telephoto zoom and amazingly consistent throughout the unabridged zoom range, correct upward to 600mm. Color fringing and pincushion baloney are as well very negligible at all focal lengths. Autofocus is super-fast and, unusually for a super-telephoto zoom, the concrete length remains abiding at all focal lengths. All in all, this is a fabulous lens for both full-frame and APS-C format Sony cameras.
The first 35mm prime lens to be launched for total-frame Eastward-mount bodies was the dinky petty Iron 35mm f/two.8, designed along Zeiss’south Sonnar principles. The newer f/1.4 Distagon lens is massive by comparing, measuring 79x112mm and weighing 630g. However, it’s ii f-stops faster and has a much more sophisticated feature prepare. Unusually for an E-mount lens, there’due south a transmission discontinuity ring. As a bonus, you can select one-3rd click steps or click-gratis rotation, the latter being platonic for shooting movies. Sharpness is exemplary, right beyond the whole epitome frame, chromatic abnormality is simply slight and barrel distortion is extremely depression for a 35mm lens.
Different most up-market zoom lenses for DSLRs, this ane has a widest available aperture of f/4 rather than f/2.8, which helps to brand its size and weight a ameliorate match for the comparatively pocket-sized A7 serial bodies. Every bit with most Zeiss-badged eyes, the physical blueprint looks minimalist, without any switches for machine/manual focus modes or on/off for the OSS (Optical SteadyShot) stabilizer. Yet, the metallic lens barrels feel beautifully engineered and the build is dust/moisture resistant. Sharpness is good and very consequent throughout the zoom and discontinuity ranges although the corners go a footling soft at longer zoom settings.
At its closest focus distance, this 90mm lens gives full 1.0x macro reproduction, ideal for monstrous enlargements of tiny bugs and other small objects. Attractions include top-quality glass, quick and ultra-quiet autofocus, OSS (Optical SteadyShot) stabilization and a nicely rounded ix-blade diaphragm. Image quality and handling are first-class, and the lens isn’t just a one-fob macro pony. The combination of a 90mm focal length and fairly fast f/two.8 aperture brand the lens equally useful when y’all want to minimise depth of field for portraiture or still life.
Two rear-mounted OSS (Optical SteadyShot) stabilization switches select on/off and static/panning modes. A further two switches are on hand for auto/manual focus modes, and to lock out the close autofocus range below three metres. Unusually for this class of 70-200mm f/4 lens, there’s also a set of 3 focus-hold buttons towards the front end of the lens, plus a tripod mounting neckband. The optical path includes plenty of premium drinking glass, plus Sony’s Nano AR Coatings. Sharpness and contrast are generally very adept, although extreme border and corner-sharpness drops off at 70mm when using an aperture of f/4, and at 200mm throughout the discontinuity range. Ultimately, this lens is a highly competent telephoto zoom with fantabulous handling.
The Iron 100-400mm f/iv.5-five.6 GM OSS is Sony’s only lens for information technology’s mirrorless cameras that covers a focal length greater than 200mm, then it’s only likewise it’south a keen lens. Until more than defended telephoto primes become available, this is a great partner of the Alpha A9, and isn’t much bigger than Sony’s 70-200mm f/2.8. Focusing is incredibly tranquillity and quick, while the built-in optical stabilization means you can reduce photographic camera-milk shake past five stops. Optically, results are very expert. Don’t expect results to lucifer rival primes, but sharpness is very proficient.
Sony’due south very beginning 16-55mm lens for its APS-C cameras with a constant f/2.viii aperture shows that the company doesn’t see its smaller sensor cameras as second rate. A superb walk effectually lens, offer an equivalent of 24-82.5mm in full-frame terms, the lens is compact and lite, with excellent sharpness from corner-to-corner. Y’all can use it for all sorts of subjects, with its flexible focal length existence well-suited to street, landscapes, travel and even portraiture. This lens is particularly well-matched with higher-level APS-C cameras, such equally the recently announced a6600.
Designed to appeal to those shooting sports, wildlife and action with fast cameras like the Sony a6600, the lxx-350mm f/4.5-6.3G OSS super-telephoto lens is an exciting new addition to Sony’southward APS-C range. It promises high optical performance, with congenital-in optical image stabilisation, plus typical M main lens sharpness from corner to corner. Offering 5x optical zoom, the lens is still relatively lightweight and would be a great add-on to any kit bag.
- Best mirrorless camera
- Best entry-level mirrorless camera
- Mirrorless vs DSLR: 10 cardinal differences
- Full-frame cameras: practice y’all really need one?