Best Sony Lenses

#1. Sony SEL28F20 FE 28mm f/2-22 Standard-Prime

• Type: Standard Prime
• Aperture: f/2–22
• Weight: 7 oz.
• Focal Length: 28mm
• Filter: 49mm
• The high points: Fast, tack sharp, ultra-light, quality build, ergonomics, beautiful bokeh
• The not-so: Part-plastic build, high end of budget, some distortion

One of the main attractions for a prime lens like Sony’s 28mm is its compact design and light weight. It fits any of Sony’s full-frame a7 series cameras like a well-tailored glove.

I love everything about this general-purpose lens. They have used some high-grade aluminum to enhance the physical and visual appeal. That’s a welcome touch in a plastic-obsessed world.

Sony’s FE 28mm F2 produces impressive out of focus effects too. We have the fast aperture, quality optics, and a 9-blade circular aperture to thank for that.

The sharpness—as expected—is edge-to-edge. It’s not surprising when you consider the high standard of lens elements and multi-coating. There’s very little evidence of ghosting or flare.

A lot of lens makers boast about how quiet their autofocus systems are. There’s a lot of hype with many of these claims. Not with this puppy, though. To say it’s whisper-quiet is no exaggeration.

This is a fantastic lens to keep on the camera or ready in the kit bag. It’s also a perfect choice for beginner photographers. It provides simplicity of use and delivers high-quality results every time.

What Reviewers Say

The Sony FE 28mm f/2-22 standard-prime lens has an approval rating of over 90%. It’s not their best-selling prime lens, though. Still, those who buy it appreciate the value that this piece of glass offers.

Users love it for the compact design, lightweight, and image sharpness. It’s a favorite for lifestyle shoots, street, architecture, and landscapes. The pleasing out-of-focus effects get a lot of mention too.

Reviewers do notice the part-plastic build, but they’re quick to say that it feels solid and well-made. They’re right too, and that’s not something all lenses can boast.

Some feedback says this is the best carry-around lens Sony has for FE mount. Most reviews are positive, especially from those shooting with newer A7 series cameras.

There are a couple of gripes. Some comment that the minimum focus should be better. Others complain that the lens is a little on the pricey side for what it is.

What’s Good

Sony’s FE 28mm f/2–22 standard-prime isn’t as fast as their f/1.4 option. Even so, it’s a fast lens that excels in low light. It’s tack sharp too, and it remains impressively sharp with cropped images.

Other attractive features are the ultra-lightweight, compact design, and ergonomic build. These things combined make it a perfect everyday lens. I tried it on a Sony a7 II, and the balance was spot on

The lens has a 9-blade circular aperture that contributes to the gorgeous out-of-focus (bokeh) effects. It’s not quite as smooth as the bokeh on the costlier glass, but it’s not far off and very pleasing.

It’s an unobtrusive prime lens for any a7 series, 35mm full-frame E-mount camera. I also like the fact that Sony adds some dust and moisture resistance to the design.

Lens flare and ghosting are minimal thanks to the multi-coated ED glass. And the autofocus (AF) is fast, accurate, and quiet. This is as near to perfect as a lens gets for its price.

What Could Be Better

This lens is part-plastic, but the material is also what makes it light and portable. But not everyone’s a fan of plastic parts. It’s wise to use a filter for extra front protection.

Some complain that the price is a little on the high side. Again, the part-plastic build makes it seem cheaper than it is for some. But an all-metal construction would surely add to both cost and weight.

I agree that it looks cheap in parts, but it doesn’t feel that way. It also performs exceptionally well. Only you can decide if it offers enough value—for you.

There’s some noticeable distortion when shooting RAW, but it’s not bad at most exposures. It’s also easy to fix post-processing. There are no distortion issues when shooting JPEGs.

Click to See Price: Sony SEL28F20 FE 28mm f/2-22 Standard-Prime

#2. Sony SEL35F18 35mm f/1.8 OSS Prime

• Type: Standard Prime
• Aperture: f/1.8
• Weight: 5.47 oz.
• Focal Length: 35mm
• Filter: 49mm
• The high points: Ultra-lightweight, versatile, fast, IF, OSS, compact, quick focus, sharp
• The not-so: Thin aluminum barrel, chromatic aberrations, price

The Sony 35mm f/1.8 is a favorite prime fixed lens among enthusiasts. Quality lenses don’t get much lighter than this beauty either. I’m serious—you hardly notice its presence.

With the APSC sensor, the field of view (FOV) for this 35mm is closer to 50mm. That’s a perfect FOV for everyday photography. It’s an excellent first investment lens for any budding photographer.

Sony’s 35mm f/1.8 is the ideal go-to lens. It’s the one to grab when you’re mobile and shooting at will. It’s a great piece of glass for spontaneous street shots, action, and low-light conditions.

It’s a lovely portrait lens for people and pets, and produces pleasing out-of-focus backgrounds. This lens also has Optical SteadyShot (OSS) stabilization despite its lightweight and fast aperture.

The OSS and light weight make it ideal for handheld shooting. It’s perfect for capturing fast-moving objects in subpar lighting. These are the shots that would otherwise have gotten away.

What if you need something a little faster, and perhaps slightly better quality? In this case, that would be the Sigma 30mm F1.4 Art DC HSM instead, but that’s nothing for this review.

OK, let’s now see what others have to say about Sony’s 35mm f/1.8.

What Reviewers Say

People love this 35mm, and it ranks well with 90% of owners. It’s easy to judge the popularity of any Sony lens. Just look at the length of real user reviews and the amount of uploaded sample images.

A picture speaks louder than words right. Many of those who review the Sony 35mm f/1.8 fixed prime lens like to share their photos. You can see plenty of portraits, pets, close-ups, and groups, etc.

It seems like a lens to keep on the camera unless there’s good reason to swap it. Incredible, phenomenal, and outstanding are common adjectives to describe user’s delight in this glass.

The out-of-focus, buttery bokeh effect gets plenty of mention too. Photographers also appreciate the low-light capability, image stabilization, and fast autofocus. But the lens isn’t free from criticism.

Some find it overpriced for a standard prime and suggest cheaper alternatives. And although the AF performance gets a lot of praise for stills, it’s not as popular among videographers.

What’s Good

This 35mm prime lens by Sony is so light it’s not normal, but it’s welcome. It has a fast, bright f/1.8 maximum aperture that makes it a truly versatile piece of glass.

The Sony SEL35F18 35mm f/1.8 excels in low light, so it’s an ideal choice for evening photography. It also produces the most beautiful defocused backgrounds to isolate subjects.

The internal focusing (IF) mechanism is an essential feature. IF adds to the lens’ compact design, but that’s not all. It also means no external movements, so it has a faster focus (AF) response.

The OSS (Optical SteadyShot) is Sony’s optical image stabilization and effective for low-light shooting. It’s whisper quiet, too. The inaudible OSS is especially useful for video when using an internal mic.

The Sony 35mm f/1.8 OSS prime lens is a no-brainer for anyone who works with this focal length.

What Could Be Better

Most photographers prefer a quality all-metal build over a plastic construction, even though metal’s heavier. This lens uses an aluminum and plastic combination to save weight.

The complaint is the aluminum alloy finish is more of a gimmick than it is practical. The problem is the metal’s a super-thin shell over plastic. It’s an issue because many people don’t like the way it feels.

These things are subjective, and the finish doesn’t affect the optical performance. On that note, some chromatic aberration (CA) is evident wide-open, but it’s easy to fix post-edit.

The final con refers to the price as it divides many photographers. Some think it’s excellent value and have no qualms about the cost. Others disagree and suggest it’s about 100 dollars overpriced.

The latter group is comparing it to Sigma’s 30mm F1.4 Lens for Sony E mount of course.

Click to See Price: Sony SEL35F18 35mm f/1.8 OSS Prime

#3. Sony 55mm F1.8 Sonnar T FE ZA Prime

• Type: Standard Prime Lens
• Aperture: f/1.8
• Weight: 10 oz.
• Focal Length: 55mm
• Filter: 49mm
• The high points: Size & weight, build quality, image quality, fast autofocus (AF)
• The not-so: Useless lens hood, price

Next up is the Sony 55mm F1.8 Sonnar T FE ZA full frame prime lens. You may wonder why I didn’t opt for the much cheaper Sony FE 50mm f/1.8. Well, there are some significant differences.

The lesser Sony FE 50mm f/1.8 is a decent budget-end lens with average everything. It’s better suited for static or slow moving photography. It’s a good choice if you often shoot at this focal length.

The Sony FE 55mm f/1.8 Zeiss here is in a different league. It has exceptional optical performance right across the frame (APS-C and Full Frame). It’s a lens for keeps if this is your usual field of view.

The first noticeable thing with this lens is its astounding contrast and sharpness. It checks all the quality boxes, even at the widest f/1.8 aperture. Many lenses disappoint at the wider end.

The distortion levels with this lens are low at best, even with an overly critical eye. And any vignetting is more than acceptable for a chunk of glass in this category.

If I had to find a gripe, it would be with the cost. I know quality comes at a price, but I still think it’s a tad on the high side for an F/1.8 prime lens. You may disagree.

What Reviewers Say

So, how does Sony’s 55mm F1.8 Sonnar T FE ZA fare with reviewers? Well, despite the high-ish price tag, from our research over 90% of those who leave feedback are happy snappers (and it’s also our top a6500 lens pick).

Most consider this an excellent choice for Sony full-frame E-mount camera systems. Sharpness gets a lot of praise from owners. It also fares well with DxOMark independent image quality measurements.

For many reviewers, this is the sharpest lens they’ve ever owned. It’s probably among the most expensive piece of glass for a lot of amateurs too. Still, very few complain about the price.

The feel, handling, and quality build help to justify the lens’ cost. It’s not the kind of glass people snap up on impulse either. But it’s the lens of no regrets for most of those who take the plunge.

Reviewer’s Gripes

There are few shared complaints. Those I saw were from folks who bought a defective secondhand product and videographers. The latter group finds the focus by wire a major hassle.

It’s fair to say that not all videographers are unhappy though. I’m sure there are a few other individual complaints around too. Good luck climbing over mountains of positive feedback to find them.

What’s Good

The aspherical elements in the Sony Sonnar T FE 55mm F1.8 ZA means there’s less glass. This internal construction also helps to reduce the size and weight of this quality 10-ounce lens.

The build quality is exceptional and adds to the lens’ overall appeal. It has that solid feel that only comes with an all-metal barrel. The lens mount is also metal, and the included hood is 50/50.

Not everyone’s a fan of the petal-shaped hood (see below). The internal build consists of seven elements in five groups. And the circular aperture has nine blades that produce beautiful bokeh.

There are plenty of compliments on the image quality, as the Sonnar T FE 55mm checks all the right boxes. It’s noted for spectacular sharpness, enhanced contrast, and reduced glare.

Autofocus (AF) performance can vary depending on the camera used. The consensus among most photographers is that the AF is fast, accurate, and silent. Reports of AF-hunting are minimal.

Minimal CA, Distortion, and Vignetting

Chromatic aberration (CA) is almost absent with this quality glass. You could find some slight fringing around the extreme corners if you go looking for it. Any CA is auto-corrected shooting JPEGs.

It’s a similar story with distortion, also impressively low. Critical eyes may notice a little barrel distortion on closer inspection. Any distortion is also auto-corrected when shooting JPEGs.

There is some evident vignetting at the wider apertures on full-frame cameras. A little vignetting is normal for a fast, high-quality prime lens like this one. It’s also simple to fix post-processing.

What Could Be Better

Some people are so disappointed with the lens hood that they knock a star off because of it. Others love it and say it does a good job. So, who is right? I suppose it comes down to preference.

One complaint is that the included hood is too big, bulky, and awkward for the lens. The shade sits over the filter threads as well, but a lot of people don’t like that arrangement.

No one can flout the price tag, especially for a fixed prime lens with this angle of view (AOV). It’s a lens that photographers either ignore because of its price or they buy it with no regrets.

If the 55mm focal length works for you, then so will the quality and value.

Click to See Price: Sony 55mm F1.8 Sonnar T FE ZA Prime

#4. Sony SEL85F18 85mm F/1.8-22 Short-Telephoto

• Type: Telephoto Prime
• Aperture: f/1.8–22
• Weight: 19.4 oz.
• Focal Length: 85mm
• Filter: 67mm
• The high points: Impressive sharpness, fast aperture, focus hold, 9-blade diaphragm, AF motor
• The not-so: Plastic barrel, busy bokeh, some vignetting and flare

Sony’s 85mm F/1.8-22 is a high-quality short-telephoto lens. Some refer to it as the pint-sized Powerhouse, so are they right? Well, it has a nice build and is comfortable to hold. That’s a good start.

It doesn’t have the stunning good looks of the ISS Batis 1.8 85mm E-Mount. But then it’s half the price of that glass, and therefore not in direct competition with it. Sony’s 85mm F/1.8-22 is still exceptional.

I know folks complain of the all-plastic barrel, but it’s a robust, good quality plastic. Fans say it’s less fragile than the thin aluminum finish found on many of Sony’s lenses. They’re probably right too.

The image sharpness is consistent for a lens in this category. Clarity is on the high side of average at the widest f/1.8 aperture setting. Sharpness becomes striking across the frame as you stop down.

Bokeh is also pleasing, although some may find it a little busy compared to some lenses. Out-of-focus effects can be subjective though. I doubt this lens will disappoint anyone getting into portraiture.

Is it perfect—no. Wider apertures produce some noticeable vignetting. It’s also prone to a little lens flare when shooting into the light. But nothing is dominant, and this lens does deliver on its promises.

What Reviewers Say

You won’t find too many bad reviews from photographers who bought a new one of these puppies. The review ratings sit at around 95% favorable, and that tells us plenty.

The first thing I see looking through the reviews are the usual compliments for quality glass. These include the build, image sharpness, brightness, handling, and value. That’s a lot of boxes right there.

Defocused areas get a fair amount of positive mention. The fast, accurate, and near silent autofocus, light weight, and portability factor are other pros.

Those who know the G Master and Zeiss 85mm recognize the limitations of this lens in comparison. But the savings made by opting for the Sony 85mm F/1.8-22 make it a worthy choice.

View some of the ultra-sharp user portraits to appreciate the real quality of this glass. No one is saying it’s 100% perfect, but it’s as near as damn it for the price.

No Common Complaints

The tiny handful of reviewers who don’t like this lens loathe it with venom. I won’t list their complaints here because they’re more personal dislikes than shared issues.

The final section in this review looks at some of my criticisms. None of these are likely to put anyone off, but they’re observations that need a mention all the same.

What’s Good

Image sharpness with this quality 85mm lens is remarkable. Central sharpness is faultless even at the widest f/1.8 aperture setting. The sweet spot (edge-to-edge sharpness) is at f/4 through to f/8.

The most noticeable drop in image sharpness is at f/22 where it becomes a little soft at the edges.

The focus hold button is a unique feature used to customize various camera functions. It also happens to be something of a secret ‘unmarked’ feature that few users know how to fully exploit.

The focus hold menu lets users customize the button to do all kinds of useful things. One example is to set it up for ‘Eye AF’. The lens then automatically diverts to Eye AF the moment you press the button.

This 85mm telephoto lens is fast, and that makes it perfect for portraits. It’s a nice perspective for other types of photography, but it shines with people. Think detailed faces and defocused backgrounds.

It Gets Better

The 9-bladed diaphragm helps to enhance the dreamy out-of-focus backgrounds or bokeh. I’d describe the smooth bokeh effect as ‘simply gorgeous,’ but I know it’s subjective (see next section).

The Sony FE 85mm f/1.8 has an impressive autofocus (AF) system too. The double linear motor system does away with the need for gearing. That makes the AF quiet as well as fast and accurate.

Other features include dust & moisture resistance, AF/MF switch, and Internal focusing (IF). Yes, there’s a lot to love with this lens, and its affordable price tag makes it even more appealing.

What Could Be Better

One of the complaints with this lens is its plasticky finish. It does have a hard, black plastic barrel, but I don’t think it’s anywhere near as plasticky as some lenses. Both the mount and filter thread is metal.

Most folks don’t have a problem with plastic lenses if they’re solid. After all, it keeps the weight down. The lens hood, though, is a cheap, plastic product that looks like it would damage easily.

I described the bokeh as gorgeous earlier, but not everyone agrees. But there’s bad bokeh, and there’s preferred bokeh. I can see that most bokeh critics for this lens base their opinions on preference only.

If the out-of-focus effects don’t appeal to you, then it becomes a major buying decision.

Distortion, vignetting, and lens flare—though evident at certain exposures—are negligible. There’s certainly nothing major in any of these areas to downgrade this lens.

Click to See Price: Sony SEL85F18 85mm F/1.8-22 Short-Telephoto

#5. Sony SEL100F28GM 100mm F2.8 Medium-Telephoto

• Type: Telephoto Prime
• Aperture: f/2.8
• Weight: 24.7 oz.
• Focal Length: 100mm
• Filter: 72mm
• The high points: Fast aperture, defocus, quality build, fast AF, OSS, close focus, AF/MF switch
• The not-so: Not ideal for low light, plastic parts, price

Meet Sony’s 100mm f/2.8 prime telephoto lens with STF (Smooth Trans Focus) technology. It’s ideal for photographers who need to isolate wedding shots, portraits, and wildlife, etc., to perfection.

What I love most about this lens is its ability to tweak the bokeh effect. Sometimes you want the background to be slightly out of focus and not blurred to oblivion. This lens lets you do that.

Likewise, you can choose a full-on buttery bokeh effect if you want to isolate the subject entirely. The defocus capability makes this a priceless lens for a lot of photographers and one of great value.

There’s a lot to like with this glass, and a lot of technology has gone into making it what it is. Alas, it’s not budget-friendly. But it is excellent value for any photographer who can justify the price tag.

What Reviewers Say

There are very few user reviews on this full-frame E-mount lens because of its high price. Those who do invest in this quality glass are not backward in coming forward with their opinions.

Some of the feedback is predictable and other is less obvious. The excellent build quality, sharpness, smooth bokeh, and portrait capability gets heaps of praise.

The absence of any severe chromatic aberration (CA) and lens flare also get a big thumbs-up. Color rendition, fast AF, OSS, and Selectable Macro mode are a few of the other welcome features.

This lens also has its critics despite the G Master design. And there’s no escaping the fact that it’s heavy. The minimum focus distance should have been closer say some disappointed critics.

Reviewers are not happy with the autofocus (AF) in low light either. The AF tends to hunt somewhat, and that interferes with low-light and fast-shooting photography.

What’s Good

The Sony 100 f/2.8 G Master lens is another fast aperture quality chunk of glass. It’s a beautiful medium telephoto for photographers who prefer to work in bright, natural light.

It may not be the fastest glass, but it’s still workable. The lens sports an incredible 11-blade circular aperture. This iris brings out the most attractive bokeh ever, or ‘bokehlicious’ as some call it.

People have their ideas of how a perfect out-of-focus background should look. I doubt anyone could say this bokeh is anything less than flawless, smooth, and pleasing to any eyes.

This lens is for anyone who wants to produce ultra-sharp subjects bordering on 3-dimensional. It’s for those who dare to invest in glass that guarantees consistent high performance with a top-quality build.

The physical lens feels solid—and quite heavy—yet comfortable in the hands. It has some degree of protection from dust and moisture too. It’s not full weatherproofing, but it’s something at least.

Two Lenses in One, Says Sony

The autofocus (AF) performance is quiet, smooth, and accurate. But then we’ve come to expect this from a G Master lens that sports Direct Drive SSM (DDDSSM) technology.

Optical SteadyShot (OSS) image stabilization is vital for a lens with this heft. Photographers can shoot by hand and still produce sharp images thanks to the effective OSS technology.

Another welcome feature is the lens’ close-up capability (Selectable Macro mode). It’s something that adds to the value for sure, or as Sony puts it: it’s like having two lenses in one.

The final highlight is the auto/manual focus control. Photographers can switch between AF and MF in a nanosecond using the AM/MF switch at the side.

What Could Be Better

This lens is not the best choice for low-light photography despite the f/2.8 aperture. There are faster options (apertures & AF), though none match the exceptional bokeh of this one.

The autofocus capability of this lens is exceptional—in good lighting. However, it won’t impress anyone who needs to shoot in failing light conditions. There are plenty of reports of AF hunting.

The lens has a fair amount of plastic in its construction, but there are metal parts too. Some folks resent paying top dollar for a part plastic barrel, but it does help to keep the weight down.

Sony’s 100mm f/2.8 G Master lens is an overpriced chunk of quality glass for amateurs. But it’s a fabulous value for those who make money from their photography and need what it offers.

Click to See Price: Sony SEL100F28GM 100mm F2.8 Medium-Telephoto

#6. Sony SEL1018 10-18mm Ultra-Wide-Angle Zoom

• Type: Ultra-Wide-Angle Zoom
• Aperture: f/4
• Weight: 8 oz.
• Focal Length: 10–18mm
• Filter: 62mm
• The high points: Ultra-wide-angle, constant f4 aperture, image quality, build, Built-in OSS
• The not-so: Some chromatic aberration, slow AF in low light, pricey for E-mount

This is the Sony 10-18mm f/4 OSS E-mount wide-angle lens, topping our best a6000 lenses list, and the first of my zoom picks. It has an all-metal body that’s a solid as a tank, or at least it feels that way in the hands.

You might want to shortlist this lens if the focal range works for you. Lenses like this are why you have a small Sony budget mirrorless camera. It’s compact, lightweight, wide, sharp, and stable.

Once I began to shoot with this thing I could tell it was a little workhorse—a lens for keeps. The zoom function is ultra-smooth. And the built-in gyro sensors provide powerful lens-based image stabilization.

I’d say this is the must-have lens for anyone who takes sweeping wide-angled landscapes. It allows creative types to get incredible perspectives on points of focus.

It’s also a fantastic piece of glass for shooting architecture. Think building interiors, either for artistic purposes or real estate. Vloggers also find it useful, as do folks who record interviews.

If the ultra-wide to wide-angle range suits you, this lens is likely to live on your camera.

What Reviewers Say

Sony’s 10-18mm is a popular ultra-wide-angle (UWA) zoom with a lot of fans. Over 85% of reviewers would recommend this lens to others. They like it for the high-quality build and overall performance.

Reviewers talk of the excellent sharpness, especially the wide-open center sharpness. Flawless edge-to-edge sharpness kicks in once stopped down to f5.6. Users like the fast, accurate autofocus (AF) too.

The direct manual focus or DMF is another welcome feature. One of the lens’ main attractions, though, is its weight of just eight ounces. The light weight makes it an ideal travel camera companion.

People write of how the wide angles work for interiors, food, large groups, and landscapes. It’s also a popular choice among vloggers working in tight spaces.

A few people complain about the price, but they still buy it. The most commonly shared gripe is corner softness at the wider end, but it’s not bad enough to deter folks.

What’s Good

This is an excellent ultra-wide-angle (UWA) zoom lens. The constant f/4 aperture makes it a valued piece of glass. It captures dramatic perspectives that only a super-wide-angle can.

A 7-blade circular aperture results in excellent bokeh effects that truly isolate the subject. It’s a go-to lens for photographing interiors, sweeping landscapes, and larger group shots.

Image quality for Sony’s 10-18mm F4 OSS is exciting, and the reason it’s here. Central sharpness is flawless, and the slightly softer edges don’t distract. Overall sharpness improves by stopping down.

The lens handles color fringing and distortion remarkably well for a super-wide-angle. It’s better than expected, and there are no nasty surprises on image quality.

It’s a lightweight lens, but the built-in Optical SteadyShot (OSS) stabilization is still welcome. The 4-stops of image stabilization lets you take handheld, noise-free shots in low light.

What Could Be Better

There’s a little chromatic aberration (CA) with this lens, most evident in brighter sunlight. Any distracting CA or distortion is easy to correct using post-processing software.

The autofocus tends to slow down when light levels fall. Slowing AF is quite typical of NEX contrast-detect systems. That doesn’t make it any less frustrating. It’s super-fast in normal daylight though.

The price of the Sony 10-18mm wide-angle zoom raises a few eyebrows. There is no shortage of negative comments about the cost. A lot of photographers think it’s an f/4 lens priced as an f/2.8.

This glass gets few complaints other than the price and slowish aperture gripes.

Click to See Price: Sony SEL1018 10-18mm Ultra-Wide-Angle Zoom

#7. Sony SEL1635GM 16-35mm F/2.8-22 Zoom

• Type: Wide-Angle to Standard Zoom
• Aperture: f/2.8–22
• Weight: 24 oz.
• Focal Length: 16–35mm
• Filter: 82mm
• The high points: Build, outstanding sharpness, gorgeous bokeh, fast & accurate AF, low CA
• The not-so: Heft, reverse-zoom, the high price tag

My second zoom pick is Sony’s 16-35mm f/2.8–22 Zoom lens. It has a constant f/2.8 max aperture that creates a shallow depth of field (DOF) and maintains exposure. OK, let’s dig a little deeper.

This lens is in Sony’s premium G Master range. You can use it with APS-C E mount cameras or the full-frame FE mount. So, does it live up to the high standards and reputation of G Master glass?

Yes, is the short answer. It’s a rectilinear zoom that provides an ultra-wide-to-wide-standard angle of view (AOV). The wider end is ideal for interiors, landscapes, architecture, and group shots, etc.

The 35mm end provides a normal perspective that’s useful for everyday photography. It’s not the lightest lens, but Sony has balanced it well. That makes it comfortable to hold and easy to handle.

Its build is solid and the ergonomics are first-rate. There’s even dust and moisture resistance for added protection. The mechanics of this lens are silky-smooth, and that adds to the user experience.

Lens sharpness is superb across all focal ranges. Chromatic aberration (CA) is evident at the wider settings, but it’s nothing serious and easy to fix when necessary. It won’t always be necessary.

Out of this World Out-of-Focus

The circular aperture has 11 blades. That means out-of-focus backgrounds that are out of this world. It brings an almost 3-dimensional look to what is, in fact, a 2-dimensional image. It’s simply stunning.

The only thing about this lens that makes me cringe is its price. Everything else is A+ in my book. The cost also means it doesn’t fly off the shelves, and that results in less user feedback.

What Reviewers Say

A lot of people would like to get their hands on the Sony 16-35mm f/2.8-22 zoom. Alas, it’s out of reach for a lot of folks with its price tag of well over 2000 dollars. That means fewer reviews too.

This is the kind of lens that users know what they’re getting before they buy it—warts and all. The high-quality build is a given as a GM lens, but users still like to highlight it.

The bokeh (out-of-focus areas) at 35mm is gorgeous, say reviewers. And the fast f/2.8 aperture at 16mm lets in heaps of light. Reviewers love the extra light as it shows up plenty of wide-angle details.

People also appreciate the dust and moisture-resistance. Despite this, I couldn’t find anyone who tested its environmental protection claims. Me too, not at this price, but it’s still welcome.

Reviewer’s Gripes

I only came across a couple of shared gripes, but they were more observations than moans. One is the size of the lens (bulk), and the other was a little noticeable vignetting when using filters.

The only people who complain about the price of this lens are those who want one. No owners moan about the cost in their feedback. That tells us plenty about the overall satisfaction users share.

What’s Good

The build quality of the Sony FE 16-35mm f/2.8 G Master is exceptional. The controls fall naturally at the fingertips and provide silky-smooth functions.

This is another Sony lens that boasts dust and moisture resistance, but it’s not full weatherproof. It’s still a level of protection that many competing lenses don’t provide.

A useful petal-shaped bayonet type lens hood (included) clicks then locks into place. The manual focus ring glides without effort yet provides perfect resistance for confident control.

Lens sharpness is superb and predictable across the focal range and exposure combinations. Central sharpness is incredible from the widest 16mm at f/2.8 through to f/8.

There’s some softening at the edges shooting at 16mm, f/16–f/22, but it’s nothing serious. All focal ranges and exposure settings have their sweet spots. Overall, though, image quality is outstanding.

Other Quality Features of this G Master Zoom

Defocus areas or bokeh are beautiful at the 35mm end. The 11-bladed diaphragm and circular aperture add to the smoothness of the out-of-focus blur. The dramatic bokeh impact is awe-inspiring.

Autofocus for the Sony FE 16-35mm f/2.8 G Master is fast, smooth, precise, and quiet. Sony achieves this with their two Direct Drive Supersonic Wave Motor (DDSSM) technology.

DDSSM provides high-torque focusing at low speeds. It also boasts a rapid yet smooth start/stop response. Manual focus control is as simple as using the AF/MF switch at the side of the lens.

Chromatic aberration (CA) and distortion are at an absolute minimum with this glass. That includes its wider end. And you can tackle any issues that might intrude with software if you need to.

It’s the two ED (Extra-low Dispersion) elements that diminish CA. And Sony’s unique Nano AR Coating does a great job at keeping lens flare and ghosting to a minimum.

There’s a lot to marvel at with this competent and costly G Master zoom.

What Could Be Better

The FE 16-35mm f/2.8 GM zoom is not what you’d call a heavy lens, but it’s not light either. It’s also a tad on the bulky side. Still, the heft is also a result of the solid build and high-quality optics.

The lens has a telescopic reverse-zoom function that can be awkward for new users. That’s because it works the opposite way to regular telephoto zooms. It’s fine, but fiddly till you get familiar with it.

The cost of this lens is out of reach for everyone but amateurs with deep pockets and pros. Over 90% of those who buy it think the lens offers excellent value, so it’s costly, but worth it.

Click to See Price: Sony SEL1635GM 16-35mm F/2.8-22 Zoom

#8. Sony Full Frame 24-105mm F/4 Zoom

• Type: Standard to Telephoto Zoom
• Aperture: f/4
• Weight: 23 oz.
• Focal Length: 24–105mm
• Filter: 77mm
• The high points: Sharp, constant F4 aperture, focus hold, AF/MF switch, smooth AF, bokeh
• The not-so: Slowish aperture at the wide end, price, AF hunting

The Sony 24-105mm F4 starts a little narrower and goes a lot further than the previous pick. It’s a capable full-frame E-mount G lens and one that either appeals to you or it doesn’t—range-wise.

What we have here is another sharp optic. And by sharp, I refer to both the aperture and focal ranges. The f/4 aperture saves a few dollars if you can live without the faster f/2.8.

Sony’s FE 24-70mm f/4 ZA OSS lens is smaller and lighter, but it lacks the extra reach. I’d say stick with the 24-105mm if you can use its full focal range.

I could see the real attraction with this lens after a couple of days shooting. They’ve thought about the design carefully. And the sturdy body is well-balanced despite its 23 ounces.

It’s a practical outdoor lens too. It has dust & moisture resistance, and the front lens element has a fluorine coat for added protection.

My only real gripe is that the f/4 aperture is slow for the telephoto end. That’s about it.

What Reviewers Say

Sony’s full frame 24-105mm zoom has a constant f/4 max aperture. Reviewers find it a versatile, high-quality walk-around zoom for all kinds of photography. The weight and balance is spot on say users.

How this G-lens design sits and feels depends on the camera it’s attached to. But as a zoom, it’s no heavier—and maybe a little lighter—than other brands in the same category.

People buy this lens because it has a useful focal length—for them. They also talk of its sharpness, Optical SteadyShot Image Stabilization, and manual focus button. Colors and nice bokeh are praises.

I got the impression that this lens has two uses. One is as the only glass the photographer needs. Others have it along with a couple of choice prime lenses to make up their kit.

The Light Fall-Off (Vignetting) Gripe

The only serious gripe is with the strong vignetting at 24mm and F4. Vignetting has almost gone by f/5.6 and becomes non-existent at f/8. It’s also much less of an issue in the mid-zoom range.

Reviewers note how shading reappears again at the telephoto end. It’s less evident than at wide-angle, but it’s still visible. Most users don’t see this as a major drawback as its easily fixed post-edit.

What’s Good

This lens is tack sharp and much sharper than the older Zeiss lenses from yesteryear. You can expect ultra-sharp well-exposed results not only at f/4 but across all settings.

Corner-to-corner sharpness is not a given, not even with high-cost, high-quality glass. But it is with this full-frame 24-105mm f/4 standard-zoom. The predictable performance is a great comfort.

Another valuable feature is the Constant f/4 maximum aperture. That means the lens can maintain exposure and depth of field (DOF) control throughout the entire zoom range.

The lens has a few smaller, less noticed touches that can make a big difference. There are the rubberized rings that make it much easier to operate in colder temperatures.

Another convenience is the button to lock the lens hood into place. There’s also the customizable focus-hold button that provides added convenience and more professional control.

Users can quickly switch between auto and manual focus control via the lens’ convenient AF/MF switch. Manual focus is often necessary in certain situations, and you can do it in an instant.

Sony’s unique Direct Drive Super-Sonic Motor System (DDSM) is no small detail. The DDSM and internal focusing (IF) system are super-fast, whisper-quiet, and accurate.

Internal focusing has other valuable benefits too. There is no external rotation as the lens focuses. That means no sucked in dust or dirt, and any special effects filters stay in position.

Bokeh is often one of the central buying decisions for a lot of photographers. Well, this is the go-to lens for out-of-focus areas that melt away. Seriously, subjects pop out against the creamiest backgrounds.

There are a couple of other stand-out features of this G-lens that are worth a mention. One is the Optical SteadyShot (OSS) Image Stabilization. The other is Sony’s unique Nano AR Coating.

What Could Be Better

There’s not a big list of things to complain about with this lens. It would have been nice if it had a faster maximum aperture. But that would also mean a higher cost, and this puppy’s already pricey.

There are a few reports of AF hunting in low light. I didn’t get to test it in dim light or with high-contrast backgrounds. Still, there is enough feedback to know that AF hunting can be a problem.

AF hunting is more of an issue for folks who need to shoot a lot using natural light, including twilight. It’s also something to think about for videographers where it becomes even more of a buying issue.

Click to See Price: Sony Full Frame 24-105mm F/4 Zoom

#9. Sony 18-200mm F3.5-6.3 Zoom

• Type: Standard to Telephoto Zoom
• Aperture: f/3.5–6.3
• Weight: 16.16 oz.
• Focal Length: 18-200mm
• Filter: 62mm
• The high points: Tack sharp, build, built-in AF, image stabilization (IS), nice bokeh
• The not-so: Internal flash shadow, zoom ring positioning, slow tele end aperture

My penultimate pick is the Sony 18-200mm F3.5-6.3 E-mount zoom. The versatile range is ideal for anyone who needs a single lens to shoot in a variety of situations without having to swap glass.

At just over a pound, this is not a heavy lens for a zoom in its class. The lightweight factor makes it an even more appealing all-around product. Switching from sweeping landscapes to portraits is easy.

Sony’s 18-200mm F3.5-6.3 is an excellent choice for sports and wildlife, too. It doesn’t have the fastest aperture, but it has optical image stabilization. The OSS gives more handheld shooting potential.

The speed and softness of the autofocus are impressive. And the swap is both smooth and fast if you need to switch to manual focus. New users may find the manual focus ring oversensitive at first.

Feel and handling are essential qualities with any lens, and especially zooms. Good handling lets you concentrate more on the photography and less on the equipment.

I found the lens sharpness to be more than pleasing up to 100mm. There’s some loss in definition at 200mm, but even that’s acceptable to all but the most critical of eyes.

Chromatic aberration (CA), vignetting (shading), and distortion are all evident at various settings. There are no nasty surprises, though. There’s nothing that a little post editing can’t fix if necessary.

My Conclusion

I’d say the Sony (NEX) 18-200mm F3.5-6.3 slightly exceeds expectations. The optical quality is predictable for a zoom in its class. The design and light weight make it a worthy contender in my book.

The lens feels natural to the touch, better than many other Sony branded lenses. So, is it worth the price tag? Yes—if its focal range gets plenty of use. No—if you don’t exploit the range that it offers.

What Reviewers Say

Sony’s 18-200mm F3.5-6.3 is a zoom lens for those who want extra reach. It has a user approval rating of over 70%. While that’s an excellent score, it’s not as good as some of Sony’s other lenses.

Most users compliment this glass for its handling. They like the smooth zoom function and fast autofocus (in good light). The effective optical image stabilization gets plenty of praise as well.

Most people—though not all—find the lens compact, light, and well-balanced for a zoom. These opinions differ depending on the user’s experience and cameras of course.

The circular aperture is a much-loved feature. It produces a more natural and pleasing defocusing effect than flat aperture types. The slow aperture range, however, is not so welcome.

Users are quite critical of how image quality drops off the more they zoom in. How bad it gets depends on lighting and exposure settings. The AF can also hunt in low light and high-contrast situations.

What’s Good

Sony’s E-mount 18-200mm F3.5-6.3 OSS offers excellent value. The sharpness is acceptable across the range up to 100mm. At 200mm you won’t win any awards, but it’s still more than okay.

Users with realistic expectations tend to be happy with what this lens offers on the image front. Another appeal is that it’s lighter and more compact to the similarly priced predecessor.

The build is good. It consists of high-quality satin black plastic and a metal lens mount. The filter ring is also plastic (not so good). The focus ring is about ½” wide and has large ribs for better grip.

The Zoom ring functions well and seems tighter than the previous model. That’s a good thing as it means no creep. A few complain that it’s too stiff, but it’s a personal gripe rather than a fault.

The Built-in Benefits

Internal autofocus (IF) is a welcome feature with any lens. Only the middle groups move to accomplish focus, so the physical length doesn’t change. There’s no rotation of the front filter thread either.

Having built-in autofocus results in faster focusing and no disruption to special effects filters. Add to this the lens-based optical image stabilization and you get sharp, blur-free handheld photos.

Finally, there’s the bokeh effect, and no serious photographer should be without it. The Sony E-mount 18-200mm F3.5–6.3 OSS has a seven-blade, circular diaphragm that enhances the defocus.

What Could Be Better

There’s an issue with this lens if you use the built-in flash with NEX cameras. The shots turn out with a dark shadow in the lower left corner. How Sony missed this during the testing stage is beyond me.

Another design flaw is the zoom ring’s position. It’s far down from the camera body, and that makes it awkward for some hands. And the reverse-zoom adds to the tricky handling for new users.

The final gripe is the slow f/6.3 aperture at the tele end. You need to adjust the ISO to compensate. No one buys this lens for low-light shooting. Still, it can produce pleasing low light results with support.

Click to See Price: Sony 18-200mm F3.5-6.3 Zoom

#10. Sony FE 100-400mm F4.5–5.6 GM OSS

• Type: Telephoto Zoom
• Aperture: f/4.5–5.6
• Weight: 49.28 oz.
• Focal Length: 100–400mm
• Filter: 77mm
• The high points: G Master design, tack sharp, OSS, fast and quiet AF, 9-blade circular aperture
• The not-so: Heft, slow aperture, price

My final pick is also the most expensive one here. A professional would say that anyone who quibbles over the price can’t afford it. So, what makes the Sony FE 100-400mm F4.5–5.6 GM OSS so unique?

This lens is a futuristic beast and would probably look more at home on a robotic space mission. Here on earth, though, it’s a serious chunk of high-quality glass. It certainly excels in all the crucial areas.

Sony launched the FE 100-400mm F4.5–5.6 at around the same time as their a9. The a9 is a quality full-frame mirrorless CMOS sensor camera. I doubt this was a coincidence.

Mounted on the a9, you’ve got a lens and a camera working in total harmony. It’s a match made in heaven for perfectionists of action, nature, and sports photography. And yes, paparazzi too.

The G Master design tells us a lot about this lens without the need to go into too much detail. The excellent sharpness, precise, fast focus, and amazing bokeh are all givens.

It’s a lens that works well with any E-mount camera from Sony. The a9 is where it’s most at home though. And its ability to shoot silently at 20fps is no small detail.

What Reviewers Say

The Sony FE 100-400mm F4.5–5.6 GM OSS is an exceptional lens aimed at pro photographers. Over 95% of owners would happily recommend this chunk of high-quality glass to their peers.

Reviewers talk of the incredible image quality, but then they would. You can’t expect anything less than exceptional for a G Master Design at this price.

Sony’s image stabilization system (OSS) is invaluable for a lens of this heft. It works well too. It lets photographers take tack-sharp photos by hand at slower shutter speeds. So, what about the weight?

Well, no one pretends it’s anything other than heavy, but it’s not a design fault. It’s because of what the product packs into its barrel. Savvy photographers will use a shoulder carry-strap to ease the load.

Experienced photographers also know that this lens is not overly cumbersome for a superzoom. It’s just a case of getting accustomed to it, that’s all.

Almost Perfect but Not Quite

The ultra-clear, razor-sharp, photos help to make this lens almost perfect, say owners. One criticism is that the OSS is not ideal for filming wildlife. It’s fine for stills, but it’s not up to par for video.

Despite the quality of this lens it still has disappointing apertures. Reviewers acknowledged the fact that they’re slow at both the wide and telephoto ends. The lens also extends as it focusses.

These observations are unlikely to influence the buying decisions of most users. The video complaint is a serious one, but then this is primarily a photographer’s, not videographer’s, lens.

What’s Good

Anyone who knows anything about the G Master line expects excellence. But excellence is also subjective. Any lens is only valuable if the photographer can exploit its full potential.

The G Master design guarantees remarkable resolution, excellent sharpness, and marginal aberrations. It sports Super-ED and ED lens elements and Sony’s unique Nano AR coating.

Okay, so the maximum aperture range is nothing to shout about, but it serves a purpose. It results in a lighter weight, more compact design, and a lower price tag.

That last point is no small detail when you consider how much this beast retails at.

The sharpness of this lens is phenomenal, and that’s not a word to use lightly. It’s razor sharp, corner-to-corner, over the whole focal range at wide open apertures.

Inside the Sony FE 100-400mm f/4.5-5.6 GM OSS

The OSS (Optical SteadyShot) image stabilization (IS) is crucial for a lens of this size. The OSS means fewer blur-free images typically caused by camera shake and slow shutter speeds.

Owners of Sony a-series cameras get an even better deal. The lens’ OSS stabilization system works in conjunction with select camera’s sensor-shift type IS. The results are even more impressive.

Sony’s FE 100-400mm GM telephoto zoom autofocus (AF) system doesn’t disappoint. That’s thanks to the built-in Direct Drive Supersonic Wave Motor (DDSSM). I won’t get into the mechanics of it here.

Just know that the DDSSM is a high-performing high-tech system that works incredibly well. The result is autofocusing that’s fast, almost silent, and most important of all, precise.

No lens is complete unless it can boast about its bokeh. Okay, so Zooms can’t compete with primes. But the rounded 9-blade diaphragm with this beauty produces some gorgeous defocus.

What Could Be Better

This beast is heavy for any photographer who’s used to standard zoom lenses. It’s a good idea to work with a tripod or at least a monopod as one adjusts to the heft.

The lens’ 50 ounces may not sound or feel that heavy at first, but give it a while. Even burly types are going to need relief from this lens hanging around the neck after some time.

The size and weight is off-putting for some. For others, it’s a minor inconvenience—something to tolerate as they get used to the glass. The next disadvantage is the maximum variable apertures.

This is not a fast lens by any stretch of the imagination. You can’t use the widest f/4.5 aperture across the full focal range. Therefore, it’s not an ideal lens for low-light action.

The only choice is to crank up the ISO (noisy) to freeze action when the light falls. It’s still an excellent lens if it meets a photographer’s style, needs, and photographic expectations.

Worthy Investment?

It has a hefty price tag that buyers must justify. The Sony FE 100-400mm F4.5–5.6 GM OSS is an excellent choice if it checks all the right boxes. It’s a waste of good money if it doesn’t.

Click to See Price: Sony FE 100-400mm F4.5–5.6 GM OSS

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