Sony 16 50mm Kit Lens Price

Sony beginning introduced mirrorless interchangeable lens cameras with its proprietary Sony E-mount back in 2010, and the first full-frame mirrorless camera, the Sony A7 was launched in 2013. Since then, Sony’southward share of the camera market has grown considerably, and the best Sony cameras
are some of the most popular around.

In a short space of time, Sony lenses have too become considered some of the best camera lenses to buy
(opens in new tab). The all-time Sony lenses are typically the company’due south G Chief lenses, which are large and beautiful merely expensive. For photographers and videographers who demand lenses that are lighter, smaller, or just not quite so expensive, there are plenty of alternatives. And many of these eyes are and then good in their own right that they tin give Sony’s G Chief optics a real run for their coin.

The all-time Sony lenses also tend to be the biggest, which isn’t helpful if your work is travel or street photography, or if you are a vlogger capturing fast-moving events. It’due south really exciting, and then, that Sony is turning its attention to smaller, more compact lenses for users like these.

Nosotros’ve added in Sony’southward Atomic number 26 28-60mm F4-5.6
(opens in new tab), a remarkably compact retracting kit lens originally launched with the Sony A7C
(opens in new tab), but at present bachelor on its own. Information technology’southward not much of a zoom range, but information technology makes for a very meaty camera kit.

What we’ve been really impressed by, though, is Sony’s trio of tiny total-frame primes: the Sony Fe 24mm F2.8G
(opens in new tab), the Sony Atomic number 26 40mm F2.5 1000
(opens in new tab)
(included in this guide), and the Sony Iron 50mm F2.v Yard. All three sacrifice a little in maximum aperture to gain massively in portability, but it’s a fresh approach that nosotros’re interested to see.

We’ve bundled our guide to the best Sony lenses in families, according to focal length types and uses so that information technology’southward easier to discover the type of lens y’all’re looking for. Use the navigation tab on the left to jump to the blazon of lens you’re interested in.

Best Sony lenses in 2022

Why you can trust Digital Camera World


Our proficient reviewers spend hours testing and comparing products and services so you tin can choose the all-time for you. Discover out more about how we test.

Sony Iron standard lenses

(opens in new tab)

Leapfrogging the Zeiss badged Atomic number 26 24-70mm f/4 ZA OSS, this G Master lens is as skilful every bit information technology gets for an own-make Sony standard zoom. Then it should exist, costing about five times the toll of the FE 28-70mm f/three.5-5.half-dozen OSS kit lens. The weather condition-sealed construction of the lens feels really solid and sturdy, and the lens features a customizable focus agree function, along with AF/MF and zoom lock switches. In that location’south no shortage of quality drinking glass in the xviii-element line-upwards, including 1 ultra-high-precision XA (extreme Aspherical) element, two further aspherical elements, one ED (Extra-low Dispersion) chemical element, and one Super ED element. Autofocus is blazing fast for stills and provides smooth and about-silent autofocus transitions during pic capture. There’s no optical stabilizer but this is only an upshot with first-edition Sony mirrorless full-frame cameras that lack in-torso stabilization. Image quality is spectacular in all respects: fifty-fifty when shooting broad-open, sharpness is but phenomenal, throughout the unabridged zoom range.

Read more than:

Sony FE 24-70mm f/ii.8 G Master total review

(opens in new tab)

(opens in new tab)

Also badged as ‘Rokinon’, the Samyang AF 24-70mm F2.8 FE is the company’s first-ever zoom lens merely the manufacturer has certainly striking the ground running. Typical of a ‘trinity’ standard zoom, it combines a classic range of focal lengths with a constant discontinuity pattern. Built for Sony full-frame E-mount mirrorless cameras, it as well works well on APS-C format bodies, with an ‘effective’ 36-105mm zoom range. That said, it’southward typically large and weighs in at only over a kilogram, making it a bit of a hefty proposition for Sony’s smaller cameras. Either way, this Samyang goes head to head with the first-class Sony FE 24-70mm f/two.eight G Chief zoom, just costs just one-half the price.

Read our total

Samyang AF 24-70mm F2.8 FE review

(opens in new tab)

In that location’due south been a big uptake of the Sony FE 28-70mm f/3.5-5.6 OSS, largely because it’s a pop kit lens choice with Sony’s full-frame mirrorless cameras. It’s pretty meaty and lightweight for a full-frame compatible standard zoom lens, at 73x83mm and 295g, despite lacking a retractable design. It as well includes a 3-terminate optical stabilizer, which comes in very handy on start-generation A7-series cameras that lack in-body stabilization. A good budget pick, this lens is relatively affordable for an ain-brand Sony standard zoom. With quick autofocus and effective optical stabilization, the lens performs well overall. It ticks all the right boxes for casual, everyday shooting and travel photography, although the maximum field of view is naturally more restrictive than with Sony’s 24-70mm lenses.

Read our full

Sony Fe 28-70mm f/3.5-v.6 OSS review

(opens in new tab)

(opens in new tab)

We rate Sigma’s 24-70mm f/two.8 Art lens for Canon and Nikon full-frame DSLRs very highly. The newer ‘DN’ edition for Sony total-frame E-mount cameras isn’t just a tweak of the original, but rather a complete redesign. The all-new optical path includes no less than six FLD (‘Fluorite’ Low Dispersion) and two SLD (Special Depression Dispersion) elements. Top-notch construction includes comprehensive weather seals and a super-fast, virtually silent stepping motor autofocus organisation. Barrel distortion at 24mm and vignetting at f/2.8 are rather noticeable when uncorrected in-camera but overall handling, functioning, and image quality are excellent, and it’s ultra-sharp. Bokeh is enhanced by an 11-blade diaphragm, whereas the DSLR version of the lens only has nine blades.

Read our full

Sigma 24-70mm f/2.8 DG DN Art review

(opens in new tab)

(opens in new tab)

The Sony FE 24-105mm f/four G OSS isn’t Sony’s ‘best’ standard zoom lens for its full-frame cameras. However, compared with the top-flight Sony 24-70mm f/2.8 G Master, this lens is smaller, lighter, and feels better balanced on A7-serial bodies. It also has a more than generous zoom range and adds optical stabilization which is lacking in the bigger lens, and it only costs about two-thirds of the toll. Sure, yous lose a f/stop in aperture rating compared with the G Master lens, but we call back the 24-105mm is the best Sony lens for affordable everyday photography.

(opens in new tab)

The Sony Atomic number 26 28-60mm f4-five.6 is surprising in a couple of respects. One is that for a kit lens it has an extremely modest ii.1x zoom range. Is it enough? Merely if you are prepared to compromise on the sort of shots you lot tin can get, or you tend to shoot in a narrow focal range anyway. That’due south the bad news. The adept news is that it performs extremely well – far better than you might await from a retracting kit lens. As a kit lens information technology’s limiting, merely yet rather good. Information technology was initially launched as the kit lens for the Sony A7C, but now it’s available separately and when it’s fitted to a regular Sony torso you lot get a camera/lens combo that’south really meaty for a full-frame camera.

Read our full

Sony Iron 28-60mm f/iv-v.half dozen review

(opens in new tab)

(opens in new tab)

Sony’s own-make FE 28-70mm f/3.5-v.half dozen OSS is a popular lens, not least considering it’s oft sold as a kit lens with A7-series bodies. All the same, sharpness away from the middle of the epitome frame is lackluster and the aperture shrinks to a adequately narrow f/5.6 at the long end of the zoom range. This Tamron lens beats the Sony on both counts, with razor-precipitous paradigm quality right into the edges and corners, and a fast f/ii.8 discontinuity rating that remains constant throughout the entire zoom range. That makes information technology two full f/stops faster at the long finish, enabling faster shutter speeds and a much tighter depth of field. Information technology’southward perfect for everyday shooting and a brilliant buy at the price.

Read our full

Tamron 28-75mm f/two.eight Di Iii RXD review

(opens in new tab)

The Sony FE 35mm f2.8 ZA Carl Zeiss Sonnar T* has very compact dimensions of 62x37mm, almost qualifying information technology as a pancake lens, and information technology weighs a mere 120g. It, therefore, forms part of a very discreet parcel when mounted on one of Sony’due south full-frame mirrorless bodies, while the 35mm focal length is the preferred option of many street photographers. The lens is equally at habitation on Sony’s APS-C format mirrorless cameras, where it works well every bit a ‘standard prime’ with an effective focal length of only over 50mm. Information technology has a fast autofocus system and works equally well in manual focus mode, and although vignetting can be noticeable when uncorrected in-camera, that’s not an outcome when using the lens on APS-C format Sony mirrorless cameras.

Read our full

Sony FE 35mm f2.8 ZA Carl Zeiss Sonnar T* review

(opens in new tab)

Although this lens feels quite bulky on a Sony mirrorless torso, it’south still fairly meaty and reasonably lightweight for an f/1.2 lens. Nonetheless, it goes actress-large in terms of features and performance. The weather-sealed construction feels of fully professional person-grade quality, there are two customizable function buttons that fall naturally nether the thumb in both landscape and portrait orientation shooting, and the transmission aperture ring comes complete with a de-click switch for step-less control during video capture. Different most ultra-fast lenses, the Sony maintains spectacular sharpness across the entire prototype frame, even when shooting wide-open. Bokeh is beautifully shine and both lateral and axial color fringing is very negligible. At that place’southward noticeable vignetting when shooting at f/1.2 but this pretty much disappears past f/two, and automated in-camera correction is available anyway.

Read our full

Sony FE 50mm F1.2 1000 Primary review

(opens in new tab)

At that place’southward a lot to beloved about this lens, and then there should be given that it’s pricey for 35mm f/1.8 prime number. It has a solid, weather-resistant construction featuring a metallic barrel and mounting plate, while handling is very refined with a tactile focus ring and customizable function button. The image quality is excellent overall, although there’s some definite vignetting at wide apertures.

Read our full

Sony Iron 35mm f/1.8 review

(opens in new tab)

(opens in new tab)

The Sony FE 40mm f/2.5G is the middle lens in Sony’south new series of compact full-frame mirrorless lenses. For anyone fed up with the front-heavy feel of Sony’s large, heavy zooms, it’due south perfect, completely irresolute the balance and feel of the camera. Like the other two primes in this new series, it’s pocket-sized and light and has an aperture ring that can be de-clicked for video. These three lenses are fifty-fifty the same size and weight (nearly enough), and share the same 49mm filter thread. Nosotros’ve been complaining long enough that Sony lenses are as well big, and now nosotros’ve got these – and they are brilliant. The 40mm is our favorite of the three – just – for its handy standard/wide focal length and edge-to-border sharpness.

Read more:

Sony Fe 40mm F2.5 M review

(opens in new tab)

Sony FE telephoto lenses

(opens in new tab)

The Sony FE 70-200mm f/four Grand OSS is a peachy lens that’s smaller and much lighter than the f/2.8 edition and only costs half the price. It’s truthful that a 70-200mm f/2.8 is seen as a ‘must-have’ lens in any professional person system, but you pay the price very literally, and there’due south a weight punishment with the f/two.eight version (below) too. This f/4 lens is cheaper, lighter, a lot less expensive and only i f-stop slower.

Read our full

Sony FE lxx-200mm f/4 G OSS review

(opens in new tab)

(opens in new tab)

The Sony FE 70-200mm f/2.8 G Master OSS is ane seriously well-specced optic. A banquet of glass includes one double-sided XA (Extreme Aspherical) element, two other aspherical elements, four ED (Extra-low Dispersion) elements and two Super ED elements. At that place’southward non one but two autofocus systems, incorporating a double linear motor plus an RDSSM (Band Drive Super Sonic moving ridge Motor), the latter being used for the heavier forward focus groups. The construction is fully weather-sealed and includes a fluorine coating on the forepart element. Treatment is especially refined, with an autofocus range limiter, customisable focus hold buttons, and dual-way stabilization for static and panning shots.

All this translates into decent performance. Image sharpness is very expert indeed wide-open at f/2.8, throughout the entire zoom range, becoming splendid at f/four. Color fringing is minimal but baloney is a piffling worse than average for this type of lens. In our tests, autofocus speed proved slightly underwhelming compared with competing lenses in its grade. The 2-stop optical stabilizer is less effective than in nearly similar lenses, just its functioning is boosted in later Sony cameras that add in-body stabilization into the equation.

Read more:

Sony Fe 70-200mm f/ii.8 GM OSS total review

(opens in new tab)

(opens in new tab)

Larger and nearly twice the weight of many 85mm f/1.four lenses on the market, this Sigma 85mm f/1.4 DG HSM Art is quite a handful. A relative latecomer to Sigma’due south Global Vision party, it wasn’t launched until late 2016, some 2 and a one-half years after the 50mm Art lens. Like in design to the 50mm Sigma, this lens has one aspherical element and two rather than 3 SLD elements, along with a ix-blade diaphragm. Build quality and handling feel nearly identical, although the newer 85mm lens adds conditions seals in its ‘dust- and splash-proof construction. Sharpness is exceptional across the entire image frame, fifty-fifty at the widest aperture of f/one.4, while color fringing and distortion are minimal, and the bokeh is beautifully smooth. All in all, it’s a large optic that goes actress-large in paradigm quality, making it 1 of the all-time portrait lenses
(opens in new tab).

Read our full

Sigma 85mm f/1.4 DG HSM Art review

(opens in new tab)

(opens in new tab)

This Sony lens ticks all the right boxes for portraiture on a total-frame photographic camera, with its 85mm focal length and fast f/1.iv aperture. As such, it works actually well for isolating the main subject against a blurred background. Every bit well equally beingness super-abrupt, the quality of bokeh is wonderfully soft and dreamy, and remains so even when stopping downwardly a lilliputian, helped by a very well-rounded 11-blade diaphragm. It’due south undeniably a very pricey lens simply we’ve estabished that its operation more than than justifies the price.

Read more than:

Sony FE 85mm f1.4 GM full review

(opens in new tab)

(opens in new tab)

Fallen in love with Sony’s premium FE 85mm f1.4 GM, but want something cheaper? Sony’south own Atomic number 26 85mm f1.eight is the respond! It’s only about a third of the cost and less than half the weight of its f/1.4 One thousand-Principal stablemate, so it lightens the load for handheld shooting and is much easier on your bank residuum. Handling is refined, build quality is impressive and image quality is excellent in all respects: center-sharpness is absolutely outstanding, even when shooting wide-open, and information technology remains highly impressive correct out to the extreme corners of the frame. Indeed, there’s about naught to be gained in sharpness past stopping down to f/ii.eight. The quality of bokeh doesn’t match that of the f/1.4 M-Master lens but information technology’s nevertheless very dreamy, and remains shine when reducing the discontinuity a footling.

Read more:

Sony FE 85mm f1.8 full review

(opens in new tab)

(opens in new tab)

While the Iron 85mm f/1.4 G Chief will be seen every bit the most ideal portrait lens by many, this 135mm version gets you closer to y’all sitter while maintaining a natural shooting distance, thus working really well for close-upward portraits, and any other shooting scenario that calls for impeccable image quality at this focal length. The high-grade optical path includes XA (extreme Aspherical), Super ED and regular ED elements, along with an xi-blade diaphragm that maintains a particularly well-rounded aperture when stopping downward a bit. For easily-on aperture control, there’s a physical aperture control ring with ane-third f/cease click steps and a straightforward de-click switch to enable smooth transitions during moving-picture show capture. Along with impressive sharpness and contrast, the lens delivers sumptuously smooth bokeh, helped non only by the long focal length but besides by the sheer optical quality. The simply slight niggle is that defocused lights near the edges and corners of the frame can take on a very elliptical appearance.

Read more:

Sony Fe 135mm f1.eight GM full review

(opens in new tab)

(opens in new tab)

The Samyang AF 135mm F1.8 FE goes head to head with Sony’due south own-brand Sony Iron 135mm f/i.eight 1000 Master lens. It boasts many of the aforementioned high-end features and handling exotica, also as a tough, weather-sealed construction, but costs less than one-half the price to purchase. It’s ideal for tight head shots in portraiture, besides as for sports and wildlife photography, and any fourth dimension you want medium telephoto reach with a fast aperture for isolating the master subject with a tight depth of field, or for freezing motility nether low lighting weather. Autofocus is both fast and virtually silent, and information technology works particularly well with Sony’due south eye-tracking AF manner in portraiture. The lens also features Samyang’s Astro-Focus Mode complete with LED Index for authentic infinity focusing at night. Although sharpness is very impressive, the quality of bokeh is arguably a bigger plus point in terms of image quality. It’due south beautifully smooth when shooting wide-open up at f/1.viii and remains excellent when stopping downward a petty. The 11-bract discontinuity diaphragm ensures that bokeh disks, formed by defocused bright spots, remain very well rounded.

Read more:

Samyang AF 135mm F1.eight Atomic number 26 total review

(opens in new tab)

(opens in new tab)

There’s no denying that the Sony FE 100-400mm f/iv.5-v.half-dozen G Master OSS is a large lens, simply surprisingly, it’due south barely whatever bigger than the 70-200mm f/two.8, slightly less heavy, and no more expensive. That’s despite having twice as much telephoto reach, albeit with a variable discontinuity that shrinks to f/5.vi at the long end of the zoom range. Although physically but 5mm longer than the 70-200mm, it lacks an internal zoom mechanism so the inner barrel extends when zooming toward the long end of the zoom range. Up-marketplace build and handling characteristics are very similar to those of the 70-200mm f/2.viii Thou Master lens, simply this 1 adds a variable torque adjustment for the zoom ring. Once more, the Optical SteadyShot is very constructive and the autofocus system is super-fast, this time based on a combination of double linear motor and DDSSM (Direct Drive SSM) systems.

Read our total

Sony Fe 100-400mm f/4.v-5.half dozen G Master OSS review

(opens in new tab)

(opens in new tab)

Fast super-telephoto lenses on full-frame cameras are always expensive, and the Sony Fe 200-600mm F5.half-dozen-6.three G OSS is no exception, only compared to fast super telephoto primes information technology’s actually not THAT expensive, and probably merely about falls within an achievable price range for keen amateurs. It doesn’t boast Sony’south Yard Master badge of optical excellence, and it does have a relatively restricted maximum aperture of f/5.6-6.iii, simply in the stratospheric world of total-frame super-telephotos, this one is both constructive and doable.

Read our full

Sony Iron 200-600mm f/5.6-half-dozen.3 Thou OSS review

(opens in new tab)

Sony FE broad-angle lenses

(opens in new tab)

Following on the heels of Sony’s Fe 12-24mm f/4 G zoom, the new One thousand Master edition delivers the aforementioned ultra-wide viewing angles merely goes a f/stop wider in aperture. The f/4 lens is withal on sale and a lot cheaper, so don’t rule it out. By necessity, the front end optical elements of this f/2.eight version are considerably larger only the lens is reasonably lightweight and easily manageable. It certainly goes large in terms of performance, with outstanding prototype quality and rapid autofocus, making it well worth the typically high asking cost for a G Master lens. Earlier, the Sony FE 16-35mm f/2.8 G Master was the widest f/2.8 G Master lens in the Sony range, but the new Sony Iron 12-24mm f/ii.viii G Master has stolen its crown.

Read our full

Sony FE 12-24mm f/2.8 G Master review

(opens in new tab)

Featuring exotic glass that includes two ultra-high-precision XA (Extreme Aspherical) elements, the Sony Iron 16-35mm f/2.eight G Master
(opens in new tab)
was Sony’s top-quality broad zoom until the arrival of the even wider Sony FE 12-24mm f/two.8 G Primary
(opens in new tab). Having said that, many might detect the 16-35mm range merely a little more usable, and information technology does take conventional filters where the 12-24mm lens does not.. Other highlights include nano-structure coatings, a continue-clean fluorine coating on the front chemical element, and extensive weather seals. There’s a fast and constant f/2.8 aperture and, when stopping down, the aperture remains extremely well-rounded thanks to an 11-blade diaphragm. The DDSSM autofocus system is incredibly accurate and the lens also features a customizable focus concur push on the barrel. For outright quality, this is the best Sony lens for landscapes, interiors, travel, and other subjects where infinite is tight.

Read our total

Sony Iron sixteen-35mm f/two.viii G Master review

(opens in new tab)

(opens in new tab)

Neatly picking up the baton from Tamron’southward 28-75mm standard zoom, this 17-28mm lens takes you into the ultra-wide-angle territory. Information technology very much follows arrange, with the same loftier-stop, atmospheric condition-sealed build quality, fast and constant aperture rating, quick and almost silent RXD (Rapid eXtra silent stepping drive) autofocus arrangement, and, best of all, the same terrific image quality. Corner-to-corner sharpness is particularly impressive for an ultra-wide-angle lens, even when shooting at the widest aperture. It doesn’t quite lucifer Sony’s sixteen-35mm lenses for maximum viewing bending simply it comes very shut, and it’s great value at the toll.

Read our full

Tamron 17-28mm f/2.8 Di III RXD review

(opens in new tab)

(opens in new tab)

At that place’south a raft of 20mm ultra-broad-angle prime lenses for Eastward-mount full-frame cameras just for a long fourth dimension, they’ve only been available from independent manufacturers similar Sigma, Tamron, Samyang/Rokinon, and Tokina. Sony finally joined the fray with its ain rather fabulous 20mm f/1.viii lens. Information technology has a tough, weather-sealed construction and a top-grade optical path. High-speed autofocus combines with splendid treatment, helped past the inclusion of a loftier-precision manual focus ring, a customizable autofocus hold push button, and an aperture ring with a de-click switch. Image quality is admittedly phenomenal in all respects, with stunning sharpness, gorgeous color rendition, and absolutely minimal coma, distortion, and color fringing. It’s a pricey lens, but you lot become what you pay for.

Read our full

Sony FE 20mm f/1.8 M review

(opens in new tab)

(opens in new tab)

Tamron offers a trio of wide-angle primes for Sony total-frame E-mount cameras, with 20mm, 24mm, and 35mm focal lengths. But if you lot’re going to go wide, it may as well be the widest of the bunch. All three lenses share a mutual aperture rating of f/2.8 and a filter size of 67mm. The primes have a tough human action to follow, as we’ve been hugely impressed with the Tamron 17-28mm and 28-75mm constant-aperture f/2.8 zooms. Keeping in step, this 20mm lens is very lightweight in build and price tag but goes big on performance with sumptuous prototype quality.

Read our full

Tamron 20mm f/2.8 Di Iii OSD review

(opens in new tab)

(opens in new tab)

Smaller and lighter than Sony’due south 20mm f/1.viii, yet about equally fast, Sigma’s 20mm F2 is a simply superb wide prime. Despite being such a lightweight lens, it features a robust, total-metal construction and high-quality optical path. Intuitive handling combines with impressive image quality: the Sigma delivered very skillful levels of sharpness in our real-world tests, correct out to the corners of the frame even when shooting wide-open at f/ii. Vignetting is quite severe at apertures wider than f/5.6 but in-photographic camera corrections are generally available for this too as for distortion. Autofocus is fast and well-nigh-silent, based on a stepping motor. Overall, this is an platonic ultra-wide-angle lens for architectural interiors, sweeping landscapes, astrophotography and more besides.

Read more:

Sigma 20mm F2 DG DN | C full review

(opens in new tab)

(opens in new tab)

Pocket-size and lightweight for a 24mm f/1.eight lens, this Samyang lens nevertheless feels strongly built and incorporates conditions seals. Information technology also packs a real punch, with fast, virtually silent, and consistently authentic autofocus, equally well as excellent image quality in all respects. Handling is enhanced by a customizable autofocus hold button and a customizable dual mode switch, while the groovy LED illumination makes infinity focusing like shooting fish in a barrel for use as an astrophotography lens. The combination of a wide viewing angle and fast aperture rating further enhances the appeal to astrophotographers, but this lens is just as useful for everything from sweeping landscapes to architectural interiors. Every bit usual, this Samyang lens is likewise available under Rokinon branding in North America, as the Rokinon 24mm F2.8 AF Sony E.

Read our full

Samyang AF 24mm F1.8 Atomic number 26 review

(opens in new tab)

(opens in new tab)

While the Sony Distagon T Fe 35mm f/1.four has been around for a while at present, Sony’south now got another fast 35mm prime in the shape of the FE 35mm f/1.4 Grand Master: a premium option that sits in a higher place the older optic. A mix of an ultra-fast maximum aperture and pocket-sized wide-angle focal length means information technology’s a very versatile lens, suited to anything from portraits and weddings, to mural and astrophotography. As you’d wait, it isn’t inexpensive, only it delivers a spectacular optical performance. It’south not the smallest 35mm prime we’ve seen, but the handling really impressed, with a perfectly weighted ‘de-clickable’ aperture ring, to the smooth and light focus ring. A lovely lens, merely information technology inevitably comes at a hefty price.

Read our total

Sony Atomic number 26 35mm f/1.4 Yard Principal review

(opens in new tab)

Sony Fe Macro lenses

(opens in new tab)

At its minimum focus altitude of 0.28 metres, the Sony Atomic number 26 90mm f/2.8 Macro G OSS lens delivers full 1.0x or one:1 magnification. That basically ways that small objects are reproduced on the photographic camera’due south image sensor at full life size. Naturally, if you’re filling the whole paradigm frame with something as small as a postage stamp stamp, the potential for massively enlarging tiny details is enormous. Beautifully congenital, this lens has upward-marketplace handling attractions including a customisable focus hold button, autofocus range limiter switch and Optical SteadyShot. Given that transmission focusing is oft preferred for extreme shut-upwards shooting, there’due south too a handy push-pull mechanism in the focus ring, for switching between auto and manual focus modes. Autofocus lives upwardly to its billing in terms of speed and accuracy, while the OSS (Optical SteadyShot) organization works well in general shooting but is relatively ineffective in macro photography. Prototype quality is very good in all respects, with excellent sharpness even wide-open at f/2.8, and the edges and corners catch upward nicely when stopping downwards a fiddling. More than importantly for a macro lens, sharpness remains very good at narrow apertures, often required to get more than a tiny depth of field.

Read more than:

Sony FE 90mm f/two.8 Macro G OSS total review

(opens in new tab)

Sony E-mountain APS-C lenses

(opens in new tab)

At that place aren’t likewise many ultra-broad zooms out at that place for Sony APS-C mirrorless cameras, but this offering is conveniently meaty and lightweight while still packing a punch with expert overall performance, a constant f/4 aperture rating throughout the zoom range, and 3-end optical stabilization. The latter is quite rare on an ultra-wideangle zoom lens, and very useful if you lot have one of Sony’s un-stabilized A6000-series cameras. In terms of image quality, centre-sharpness is excellent throughout the zoom range just corner-sharpness is relatively lackluster at 10mm, fifty-fifty when stopping downward the aperture. Thankfully, color fringing is pretty negligible at any combination of focal length and aperture setting, fifty-fifty towards the corners of the image frame, and distortion is quite well controlled.

Read more than:

Sony East 10-18mm F4 OSS full review

(opens in new tab)

(opens in new tab)

Given that Sony’s A6000-series APS-C cameras are congenital for speed, information technology makes sense to go a lens that tin can go along upwardly with them. Step forward, Samyang’southward AF 12mm F2.0 E, a highly capable Sony East-mountain lens with super-snappy autofocus, and enough image quality to make the about of those APS-C sensors. The previous 12mm f/2 from Samyang was transmission-focus just, which doesn’t really suit the vibe of the A6000 series, so it’s good to encounter this new optic correcting that upshot.

Images from the Samyang AF 12mm F2.0 Eastward wait fantastic, with excellent sharpness fifty-fifty when shooting wide open. You might notice some lateral chromatic abnormality throughout the aperture range, but this can be easily corrected in-photographic camera; the aforementioned goes for the pocket-sized vignetting and fringing that tin can crop upwards occasionally. This lens really punches in a higher place its weight for an optic at this cost and is a tremendous addition to the kit purse of any Sony APS-C user.

Read our total

Samyang AF 12mm F2.0 Due east review

(opens in new tab)

(opens in new tab)

There is an older Sony Vario-Tessar T E 16-70mm f/4 ZA OSS which is cheaper and lighter than this lens and has optical stabilization, but the maximum aperture is f/four, so the new Sony East sixteen-55mm f/2.eight Thousand is, we call up, the best ‘pro’ lens for Sony APS-C cameras. As a standard lens with a classic zoom range, the Sony E 16-55mm f/two.8 M ticks nearly all the right boxes. It delivers sumptuous image quality with fabulous sharpness and dissimilarity, along with pleasant bokeh. Treatment is very refined, with the addition of a customizable focus hold push button, stiff build quality, and weather seals. Autofocus is super-fast and deadly authentic. The but downside is the lack of optical stabilization.

Read our full

Sony East xvi-55mm f/2.8 G review

(opens in new tab)

(opens in new tab)

The choice of standard zoom lenses for Sony’s APS-C mirrorless cameras is narrower than you’d await. The xvi-50mm ‘pancake’ standard zoom sold with many A6000-serial cameras is very small-scale and convenient but non terribly good optically. Otherwise, the Zeiss Vario-Tessar (above) is a good purchase merely has a constant f/4 maximum discontinuity, and while the brand new Sony E 16-55mm F2.8 1000 fixes that with a constant f/2.viii aperture, it’s big and expensive… and none of them accept much of a zoom range. This is why we really rate the Sony E eighteen-135mm F3.5-5.6 OSS. It’s compact, groovy, and affordable, information technology offers a really expert zoom range, and – different almost every other long-zoom lens – it holds its performance even at full zoom. If you lot utilise a raw processing program that doesn’t automatically use lens corrections you’ll see how much digital corrections are needed, but if that’s the price you pay for this level of optical quality, we’ll take it!

Read our total

Sony E 18-135mm F3.5-v.6 OSS review

(opens in new tab)

(opens in new tab)

The Sony Due east 30mm f/3.5 Macro is really inexpensive and gives a skilful performance. The just drawback is that due to its 35mm focal length, the closest focus distance of nine.5cm for full ane.0x macro magnification puts the front of the lens only 2.4cm from the object yous’re shooting. This can bandage a shadow over the object if shooting under ambient lighting, as well every bit scaring away bugs and other tiny creatures yous may be trying to shoot. Yet, if yous only shoot macros occasionally and don’t want to spend a fortune on a lens yous won’t use very oft, this lens is simply perfect.

(opens in new tab)

The Sony Due east 70-350mm f/4.5-6.three Yard OSS is a really welcome addition to the Sony lens line-up. Designed specifically for APS-C format Sony Due east-mount cameras, information technology sports a 5x zoom range equating to 105-525mm on a full-frame body. It might not have an ultra-fast maximum aperture, simply the modest f/4.v-6.iii aperture rating enables a much more compact, lightweight build, at a more affordable toll. Image quality is also very impressive for a lens of this class and while information technology doesn’t have the world’s most effective optical stabilizer, you can however await a good hit rate of sharp handheld shots. Overall, this is a lens that’s big on performance only refreshingly modest and lightweight for handheld shooting.

Read our total

Sony E 70-350mm f/4.5-6.3 G OSS review

(opens in new tab)

If you’re looking for a lightweight, affordable alternative to the standard 24-70mm f/2.8, the Sigma 28-70mm f/ii.8 DG DN | C ticks all the boxes. Information technology’s not quite equally wide at the wide end, but if you can go by without that actress 4mm the Sigma is an impressive bit of kit considering the price. The lens feels well-congenital, the focus and zoom rings are shine, and you can rotate from 28-70mm in one roughshod swoop. The i downside is that it’south not fully weather-sealed, so we wouldn’t recommend using information technology in the pouring rain.

Read our full

Sigma 28-70mm f/two.8 DG DN | C review

(opens in new tab)

This wide-bending 23mm lens is typical of others in the Viltrox trio (with the 33mm and 56mm) boasting a fast f/1.4 aperture rating. As such, information technology tin deliver a tight depth of field, at least at fairly brusk focus distances, and enables fast shutter speeds for freezing motion fifty-fifty nether low lighting conditions. Weighing 260g, it’due south pocket-sized and lightweight for an f/1.4 prime and feels a very natural fit on Sony’s smaller mirrorless cameras.

Optical highlights include two ED (Extra-low Dispersion) elements and two HR (Loftier Refractive index) elements, along with Hd Nano multi-layer coatings to combat ghosting and flare. The autofocus organisation is based on a quick and super-quiet stepping motor and the focusing blueprint ensures minimal focus breathing, which is another plus betoken for videographers.

Read our full

Viltrox AF 23mm F1.iv review

(opens in new tab)

How we test lenses

We examination lenses using both real earth sample images and lab tests. Our lab tests are carried out scientifically in controlled conditions using the Imatest testing suite, which consists of custom charts and analysis software that measures resolution in line widths/film height, a measurement widely used in lens and photographic camera testing. We find the combination of lab and real-discussion testing works best, as each reveals different qualities and characteristics. Y’all can find out more about how we exam and review on Digital Photographic camera World
(opens in new tab).

You might like to look at the

best lenses for Sony A6000

(opens in new tab)

cameras, or head to the

best mirrorless cameras

(opens in new tab)

you lot can go if that’s the type of camera that you’re interested in. Wondering what the difference is betwixt the

Sony A7R IV vs A7R 3 vs A7R Ii

(opens in new tab)
?