We thought the Sony a1 was an impressive camera, but the image-making company has just topped it with its latest release. The main highlight of the newly released a9 III is its global shutter, the world’s first for a full-frame mirrorless camera. The unique shutter design, along with a powerful Bionz XR processor, allows for a host of impressive specs, including 120 fps, 1/80,000 max shutter speed, and flash sync at any shutter speed. Additionally, the company also announced the FE 300mm F2.8 G Master OSS lens, which offers superb reach and performance in a relatively compact body.

Sony a9 III camera at a glance

• 24.6-megapixel sensor with Bionz XR processor
• Global sensor exposes and reads every pixel at the same time
• 120 fps blackout-free burst shooting
• Improved ergonomics
• 1/80,000 maximum shutter speed
• Flash sync at any shutter speed
• 759 AF points with more sizes of focus area spots
• 8-stops of optical in-body image stabilization
• 6K oversampling for 4K 60p movies
• 4K 120p video without cropping
• Weighs 1.4 pounds
• Available in spring 2024 for $5,999

What is a global shutter?

The star of the show for the a9 III is, by far, its global shutter. Global shutter technology isn’t new, with a handful of cinema cameras utilizing it over the past few years. But the Sony a9 III is the first full-frame mirrorless camera to jump on board. So, why does that even matter? What is a global shutter?

Currently, most cameras rely on a rolling shutter. With the rolling shutter design, the camera’s sensor receives and reads information line by line from top to bottom. This means that there is a delay between the first line of data and the last. That delay can cause problems when capturing fast-moving subjects in photos or videos, resulting in warping and distortion. You likely have seen this in helicopter rotor blades. In photos, those blades can appear curved or bent when in reality, they are straight.

The global shutter design solves this problem by exposing and reading every single pixel on the sensor at the exact same time. That means that the Sony a9 III will benefit from zero distortion in stills and video, which is a significant advantage for those shooting action. It also allows for a range of other benefits, including the ability to work with flash at any shutter speed, including the camera’s max shutter speed of 1/80,000 (no, that’s not an extra zero). This unlimited flash sync even works with third-party flashes. Additionally, there will be no banding from artificial lights or displays. To aid in this, Sony has also employed an Anti-Flicker mode that automatically syncs the shutter with the brightest point in the light’s cycle to keep the exposure consistent in photos and videos.

Sony a9 III details

There are plenty of other things to swoon about in the a9 III beyond the global shutter, though many are dependent on that feature. Sony built the new camera around a 24.6-megapixel full-frame stacked CMOS sensor and Bionz XR processor, which results in eight times the processing power as the a9 II. the five-axis optical in-body image stabilization system allows for eight stops of compensation with the camera alone. You’ll get even more stabilization if using a stabilized lens as well.

On top of fancy guts, the a9 III features a redesigned body with better ergonomics. Sony says the grip is improved to make the camera easier to hold in the palm of the hand, even when using a telephoto lens. It says that it also moved the shutter button up slightly to be in a more natural, comfortable position. It features a four-axis multi-angle LCD touchscreen (the same as the a7R V) and 9.44 million-dot Quad XGA OLED electronic viewfinder. And as we’d expect from a pro-level Sony camera, it is dust and moisture-resistant.

To pair with the pro-level features of the a9 III, Sony is also releasing a new vertical grip—the VG-C5— that offers the same ergonomic design as the new camera. That includes the same shutter button placement and a new custom button (C5) in the same position so that it feels the exact same when switching between horizontal and vertical shooting. The new battery also pulls parallel power instead of drawing from one source and then switching to the other. Sony says that this allows for 15 percent more battery life.

Burst shooting

One of the main selling points of the a9 III is its absurd burst shooting capabilities. This alone will earn it a top spot as one of the best Sony cameras. It is able to shoot 120 fps blackout-free with real-time recognition AF and auto exposure. The fast burst shooting even works with 14-bit raw. Shooting fast bursts is only one piece of the puzzle when documenting action, though. You also have to get the timing right in the first place. To help ensure you get the shot, Sony has added a Pre-Capture function. This new setting allows the camera to continuously record (also up to 120 fps) for up to one second before the shutter is released.

Even when shooting action, you don’t always want your fastest fps setting. Sony has found a clever way to get around that with the Speed Boost function and a newly added a new custom button (C5) on the front of the camera. The new button allows you to instantly switch to a faster, preset speed at any time and then go back to a more reasonable fps just as quickly.

Image selection of 120 fps with Pre-Capture can be massively overwhelming. Sony even considered this when developing the a9 III. It has added a new playback image filter that allows you to select a large number of images at once, along with a function menu that can be used during image playback. The camera also plays back bursts as a video, so you can mark the shots you want without individually pressing through images.

Autofocus

As with other recent Sony releases, the a9 III features a dedicated AI processing unit to support its advanced phase detection autofocus system. It offers Real-time Recognition AF and Real-time Tracking and can detect a wide range of subjects, including humans, cats, dogs, planes, and more. The system can even detect an eye even when the subject is wearing goggles or helmets, is small in the frame, or moving fast. Sony also expanded the sizes of its focus areas to include XS and XL for more control over your focus points.

Sony a9 III video specs & features

Sony emphasized still photography during its announcement with a tagline of “the power of one frame.” But the company certainly didn’t leave video out of the mix in its new camera. The global shutter definitely benefits video shooters since rolling shutter has been a pain point. The a9 III is capable of 4K 60p video oversampled from 6K. It can also shoot 4K 120p without cropping, which is a first for an Alpha series camera. It offers the S-Cinetone profile, S-Log3, 10-bit 4:2:2 capture, and 16-bit raw video over HDMI.

SEE IT

Sony a9 III pricing & availability

Of course, with such an advanced, pro-level camera, we should expect a pro-level price. And indeed, the Sony a9 III is priced at $5,999. It is available for pre-order now and will begin shipping in the spring of 2024.

FE 300mm F2.8 G Master OSS lens details

In case the groundbreaking camera wasn’t enough, Sony has also announced a new lens. Like the camera, the FE 300mm F2.8 G Master OSS lens is also a pro-level piece of equipment geared towards serious sports and wildlife photographers, as is evident in its matching $5,999 price.

As a G Master lens, the new 300mm offering will provide superb resolution and edge-to-edge sharpness. The optical design includes three Super ED (Extra-low Dispersion) glass elements and one ED glass element to reduce chromatic aberration and improve contrast across the frame. The 11-blade circular aperture results in beautiful smooth bokeh. And two XD linear motors drive focus that is fast, precise, and silent. It’s also able to keep up with the fast burst shooting of the a9 III.

Beyond image quality, the best feature of the 300mm f/2.8 GM is its size. The lens weighs just 3.2 pounds, which makes it the lightest lens of its class. For context, it is 40 percent lighter than the 400mm f/2.8 GM and roughly the same weight as the original 70-200mm GM. Sony was also very intentional about how the lens balances, designing it with optimum balance for smooth panning and easier handheld shooting.

The new 300mm telephoto prime lens is compatible with Sony’s 1.4x and 2.0x teleconverters. It offers a function ring to instantly engage the APS-C crop, providing a 420mm view. It is dust and moisture-resistant with magnesium alloy inside and out for a durable, rugged build.

SEE IT

Sony FE 300mm F2.8 G Master OSS pricing & availability

Like the new camera, the FE 300mm F2.8 G Master OSS lens is available for pre-order now for $5,999. It will begin shipping in the spring of 2024.

The post New gear: The Sony a9 III is the first full-frame camera with a global shutter appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Best overall		Sony FE 16-35mm f/2.8 GM		SEE IT	The versatile focal length and fast f/2.8 aperture make this a go-to wide-angle.
Best ultra-wide		Sony FE 12-24mm f/2.8 GM		SEE IT	This lens provides a dramatic ultra-wide perspective.
Best prime		Sony FE 35mm f/1.4 GM Lens		SEE IT	This prime lens offers a moderate wide-angle perspective and fast f/1.4 aperture.

Wide-angle lenses for Sony shooters—and everyone else—represent an essential piece of kit in a well-rounded gear bag. Wide-angle lenses provide a broad, sweeping angle of view. They allow you to show more in a single frame without physically stepping back from the scene, which is sometimes impossible. The wide-focal lengths come in handy in a plethora of photographic situations, from real estate and landscapes to group photos at weddings. They can also help you stretch your creativity and get unique shots that wouldn’t be possible without a wide angle. The best wide-angle lenses for Sony will help you capture anything that calls for that broader viewpoint. 

• Best overall: Sony FE 16-35mm f/2.8 GM
• Best ultra-wide: Sony FE 12-24mm f/2.8 GM
• Best prime: Sony FE 35mm f/1.4 GM
• Best ultra-wide prime: Sony FE 14mm f/1.8 GM 
• Best for video: Sony FE PZ 16-35mm f/4 G
• Best for Sony ASP-C: Sony E PZ 10-18mm f/4 OSS
• Best for astrophotography: Sigma 14mm f/1.4 DG DN Art
• Best third-party: Sigma 14-24mm f/2.8 DG DN Art
• Best budget: Samyang AF 35mm f/2.8 FE

How we chose the best wide-angle lenses for Sony

When selecting the best wide-angle lenses for Sony, we considered the various ways a wide-angle lens can be utilized. We aimed to include a lens for every situation, from portraiture to real estate and even video. Beyond that, image quality was the primary consideration when compiling the included lenses. Aperture was also a significant factor, as many wide-angle situations also require a fast aperture due to limited light. Finally, we considered lens weight, weatherproofing, focusing abilities, additional features like lens controls and markings, and finally, price.

The best wide-angle lenses for Sony: Reviews & recommendations

There is no shortage of wide-angle lenses for Sony cameras. Between Sony’s robust lineup and extensive third-party options, it can be tricky to figure out what to get. Below you’ll find some of our favorites, as well as tips on how to choose.

Best overall: Sony FE 16-35mm f/2.8 GM

SEE IT

Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 82 mm
• Minimum focus distance: 11 inches
• Weight: 1.5 pounds
• Dimensions:  3.5 x 4.8 – 5.4 inches

Pros

• Very sharp even at f/2.8
• Attractive bokeh
• Silent autofocus
• Weather sealed

Cons

• Expensive
• Rather large

Sony’s 16-35mm f/2.8 is a superb choice if you want one wide-angle lens to cover your bases. The focal length range makes it ideal for many genres; it can be your workhorse of a lens even if you shoot a bit of everything (at the wide-angle side, of course). It provides plenty of ultra-wide range for large group shots and even real estate photography but also covers the more subdued end of wide-angles at 35mm for environmental portrait and detail work. You won’t have to switch lenses nearly as much with this option. And it has a fast f/2.8 aperture, making it useful for low-light situations, including astrophotography.

That wide aperture also allows for a shallower depth of field. Combined with the rounded 11-blade diaphragm, you’ll be able to get very attractive bokeh, allowing for portraits with good separation from the background. Two Direct Drive Supersonic Motors control the autofocus, which is essentially silent. The quiet autofocus makes it suitable for video, as you won’t be able to hear annoying focusing noises while recording. 

In terms of construction, as you would expect from a G Master lens, it has a sturdy build with weather sealing. And it has a fluorine coating on the front element to help keep that clean and free of fingerprints and dust. Sony designed this lens with 16 elements in 13 groups, including two extreme aspherical and three standard aspherical, to reduce undesired things like distortion and aberration. As with any lens this wide, you will get some distortion, but Sony cameras automatically adjust for this, so you won’t even have to think about it. Even if you turn that automatic adjustment off, it is easy to correct in editing.

This lens has two main downsides: Its weight and price. It definitely has a G Master price and costs a pretty penny. And, weighing 1.5 pounds and measuring 3.5 x 4.8-5.4 inches, it’s not a small or light lens. Should you be in a situation where you need to cut back on your kit’s weight, more compact options are available, such as the Sony 16-35mm Vario-Tessar T FE F4 ZA OSS. You lose a stop of light with that particular choice, but it is significantly cheaper and smaller, making it another attractive option.

Best ultra-wide: Sony FE 12-24mm f/2.8 GM

SEE IT

Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: Rear filters only
• Minimum focus distance: 11.02 inches
• Weight: 1.86 pounds
• Dimensions: 3.84 x 5.39 inches

Pros

• Exceptional sharpness
• Fast aperture
• Fast and accurate autofocus
• Weather sealed

Cons

• Heavy
• Bulbous front element doesn’t accept filters

For those who need an ultra-wide viewpoint, Sony’s 12-24mm f/2.8 GM offers exceptional quality. As with all G Master lenses, it comes at a high price, but we believe it’s worth it. While other ultra-wide-angle options are available, they either start at 14mm or only offer a max aperture of f/4. That means you either lose a stop of aperture or 2mm of focal length. And although 2mm might not sound like a lot, it makes a surprising difference. It’s especially noticeable when used in smaller rooms. 12mm may be more than some genres need, but real estate photographers will benefit from the extra bit of reach this lens provides.

Any lens this wide will have at least some distortion, and that holds true for Sony’s 12-24mm. It is very well controlled, however, and you’ll easily be able to correct it. The same is true for vignetting. There is some darkening in the corners, but adjusting without extreme measures is very simple. Sony used its second-generation Nano AR Coating for the first time on this lens, and it does an incredible job cutting out flares and ghosting. It really is impressive how clear images are when the sun is directly in the frame.

Another exceptional aspect of this lens is its sharpness. There is excellent sharpness even when shooting wide open. You will see some slight softness on the edges at f/2.8, though that should be expected. Stopped down, this lens is incredible across the frame.

Of course, there are some downsides, though they are inherent to just about any lens of this type. The front element is bulbous, so you won’t be able to use front filters. But it is compatible with rear drop-in filters, so landscape photographers can still take advantage of those. It’s also a heavy lens, weighing 1.86 pounds. But, there simply aren’t any other wide-angle lenses for Sony that offer a 14mm focal length with an aperture as fast. It’s expensive, yes, but it ticks a lot of boxes.

Best prime: Sony FE 35mm f/1.4 GM Lens

SEE IT

Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/1.4 – f/16
• Image stabilization: No
• Filter size: 67mm
• Minimum focus distance: 9.8 inches
• Weight: 1.2 pounds
• Dimensions: 3 x 3.8 inches

Pros

• Very fast maximum aperture
• Close minimum focusing distance
• Compact size
• Aperture ring can be de-clicked for silent operation

Cons

• Focus breathing is noticeable

A 35mm prime is a great piece of equipment to have in your arsenal. It’s a highly versatile focal length, which is why it’s the lens of choice for photojournalists, event photographers, and even family photographers. 

While the 16-35mm mentioned above obviously offers 35mm, this prime lens provides a faster aperture and is nearly two inches shorter when the zoom lens is set to 35mm. Sigma also offers a 35mm prime with an even faster aperture (f/1.2), but it is twice as heavy and closer to the dimensions of a zoom lens. Sony’s 35mm is nicely compact and lightweight, making it easy to throw in your kit for a trip. It will also balance nicely on your Sony camera and work well on gimbals.

Though wide-angle lenses aren’t typically used for closeups, this lens can focus as close as 9.8 inches, which results in 1:3.8 life-size reproduction. It’s by no means a replacement for a proper macro lens. Still, it will be useful for getting those essential detail shots at weddings while allowing you to quickly return to taking portraits without switching lenses. 

Thanks to the wide f/1.4 aperture and the 11-blade diaphragm, it’s easy to get background blur with beautiful bokeh. You’ll be able to get a nice separation between your subject and the background, perfect for portraits or detail shots. The lens is also extremely sharp, even when wide open or stopped all the way down. You can use essentially any aperture with this one and not worry about losing out on quality. 

Autofocus is quick, accurate, and quiet. However, videographers need to be aware that there is noticeable focus breathing. On the other hand, a plus for videographers is that the focus ring can be de-clicked for silent operation. Although the older version of this lens—the Sony Zeiss 35mm F1.4 ZA—is still very capable and much cheaper, you simply get a lot more quality from this newer version.

Best ultra-wide prime: Sony FE 14mm f/1.8 GM

SEE IT

Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/1.8 – f/16
• Image stabilization: No
• Filter size: Rear filters only
• Minimum focus distance: 9.8 inches
• Weight: 1 pound
• Dimensions: 3.3 x 3.9 inches

Pros

• Lightweight
• Fast aperture
• Smooth bokeh
• Excellent sharpness across the frame

Cons

• Not as versatile as a zoom lens at this range

There haven’t been many options for ultra-wide-angle lenses for Sony, especially as wide as this. So for some, the addition of this 14mm to the G Master line in 2021 was a welcome announcement. While Sigma had a 14mm f/1.8 on the market for a few years already, this Sony alternative weighs almost half as much as Sigma’s and is also an inch shorter. Although the Sigma 14mm is an excellent performer, that size difference is a big deal. And, despite being an older and larger lens, the Sigma and Sony are nearly identical in price. 

14mm is a rather specialized lens and isn’t something you’ll use for every situation. But, there are certain applications where such a wide and fast prime lens is ideal. One such group that will benefit from what this lens has to offer is astrophotographers. In fact, Sony specifically designed some of the lens elements to improve night sky performance. Plus, the f/1.8 aperture and the wide angle of view are perfect for capturing the Milky Way. You’ll be able to keep a faster shutter speed to avoid star trails, resulting in stunning shots of such night sky wonders.

The wide aperture also means that you can get a shallow depth of field despite wide-angles generally being less capable in that regard. The bokeh from this lens is nice and smooth, resulting in very pleasant backgrounds. It can focus as close as 9.8 inches, which you won’t necessarily want to utilize for portraits due to the unflattering results of perspective distortion, but for detail shots of flowers or a wedding tablescape, it may come in handy.

Another perk of this lens is its fast-focusing abilities. Sony put the focusing elements at the back of the lens, closer to the camera, and it can focus very quickly. Action shots of pets are a definite possibility. Focusing is also nearly silent. As with the other Sony prime we mentioned, there is some focus breathing in video work, which is a bummer. But the quality you get in every other aspect makes up for that a bit. 

Best for video: Sony FE PZ 16-35mm f/4 G

SEE IT

Specs

• Lens mount: Sony E, full-frame
• Aperture range: f/4 – f/22
• Image stabilization: No
• Filter size: 72mm
• Minimum focus distance: 9.4 inches
• Weight: 12.5 ounces
• Dimensions: 3.2 x 3.5 inches

Pros

• Affordable
• No focus breathing at all
• Extremely lightweight and compact
• Lots of video-centric features

Cons

• No focal length markings on the lens

Sony definitely had video shooters in mind when they designed the FE PZ 16-35mm f/4 G. While it is a great tool for stills and produces beautifully sharp images, it really shines with video. For starters, both zoom and focusing operations are internal. Internal zoom is perfect for those who use gimbals because it won’t throw off the balance of the gimbal if you need to zoom in or out. The variable speed zoom lever also makes zooming easier while recording because you don’t have to twist your wrist around and hope you don’t bump something else in the process.

The internal focusing operation is extremely fast and totally silent. Even when it has to search for focus a little, which rarely happens, you can’t hear it. Perhaps this lens’s biggest plus is the lack of focus breathing. Because that isn’t present, videos are much smoother and more consistent no matter how much you change your focus.

Still images are very sharp, with the level of detail on par with much more expensive lenses. And while there is some barrel distortion and vignetting, it’s very easy to fix. The f/4 aperture isn’t exceptionally fast, but it still allows for a pleasantly shallow depth of field with excellent bokeh. It can focus as close as 9.5 inches at 35mm, so you can get some fun detail shots with this wide-angle lens.

Perhaps my only complaint is the lack of focal length markings. Instead of being able to quickly glance at the lens to see what focal length you are using, you have to look at the back of the screen or the viewfinder while zooming. It’s a minor annoyance but did cause some frustration. But, the low price of this lens, considering the image quality and features it has, definitely makes it one of the best wide-angle lenses for Sony for video shooters.

Best for Sony ASP-C: Sony E PZ 10-18mm f/4 OSS

SEE IT

Specs

• Lens mount: E-mount, APS-C
• Aperture range: f/4 – f/22 
• Image stabilization: Yes
• Filter size: 62mm
• Minimum focus distance: 9.84 inches
• Weight: 7.94 ounces
• Dimensions: 2.76 x 2.5 – 2.87 inches

Pros

• Compact and lightweight
• Built-in stabilization
• Wide angle of view on a crop sensor
• Good image quality 

Cons

• No weather sealing

Those who use Sony APS-C cameras—such as the a6000—have been quite limited in wide-angle lenses for Sony. Sony released this 10-18mm option in 2013, but beyond this, the only other options are third-party lenses from the likes of Laowa and Rokinon, many of which don’t offer autofocus. 

When factoring in Sony’s 1.5x crop factor, APS-C users will have the full frame equivalent of 15-27mm, a versatile range. It will work well for some portraiture when zoomed in and is wide enough for real estate and astrophotography at the wide end. Most ultra wide-angles have a bulbous front element to prevent screw-on filter use, and though this one protrudes a little bit, it’s recessed enough that screw-on filters are still compatible. That’s a plus for landscape photography especially.

Sony provided three stops of optical stabilization (OSS). Since most of its crop sensor line-up doesn’t have in-body image stabilization, it will be a welcome addition. It’s useful for still photography as it will allow you to use slower shutter speeds without needing a tripod, but it is also essential for video work. You can get away with some handheld video with that stabilization, whereas it may be too jittery without it. And if you pair it with the a6600, you’ll get image stabilization from both the lens and camera for even smoother results.

The image quality is quite good, producing sharp results across the image when stopped down. There is some edge softness when wide open, but that isn’t atypical. At just 7.94 ounces, the body is extremely lightweight and compact. Unfortunately, there is no weather sealing on this lens, so you’ll want to watch out for the environments you use it in. Though this lens isn’t terribly expensive, it is a bit pricey for the category, especially given the lack of weather sealing. 

Best for astrophotography: Sigma 14mm f/1.4 DG DN Art

SEE IT

Specs

• Lens mount: Sony E, full-frame
• Aperture range: f/1.4 – f/16
• Image stabilization: None
• Filter size: Rear filters only
• Minimum focus distance: 11.9 inches
• Weight: 2.6 pounds
• Dimensions: 4 x 5.9 inches

Pros

• Groove for lens heater
• Manual focus lock
• Very sharp even on the edges
• Silent and fast autofocus

Cons

• Bulky and heavy
• Only compatible with rear filters

If you are a serious astrophotographer or landscape photographer, this Sigma 14mm f/1.4 lens will be a fantastic tool in your kit. It offers a groove meant to hold a lens heater, so you can manage condensation and fogging more easily. The manual focus lock keeps your focus dialed in even if you accidentally bump it while working in the dark. Or, you can set up your focus in daylight or at a different location and don’t have to worry about redoing anything.

The optical design results in superb image quality overall. Images are sharp and highly detailed, even on the edges and when shooting at that wide f/1.4 aperture. And, for astrophotographers specifically, star shapes are accurate with no fringing or aberrations. There is some distortion, but that’s anticipated for an ultra-wide, and it’s easy to correct in post. The wide aperture and ability to focus as close as 11.9 inches makes it possible to get attractive bokeh and very shallow depth of field, adding to its versatility.

Sigma was very focused on quality with this lens, and didn’t sacrifice anything to cut down on size or weight. As a result, it’s a heavy, bulky lens. But it features a built-in (but removable) tripod collar, so you can have better balance and put less strain on the lens mount when using a tripod. The lens is weather sealed, so you won’t have to worry about condensation when shooting at night. And the lens cap features a new front pinch design and locking mechanism to ensure it stays put no matter what, protecting that bulbous front element.

To read more about the Sigma 14mm f/1.4 DG DN Art, you can check out our full review.

Best third-party: Sigma 14-24mm f/2.8 DG DN Art

SEE IT

Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: Rear filters only
• Minimum focus distance: 11 inches
• Weight: 1.75 pounds
• Dimensions: 3.35 x 5.16 – 5.23 inches

Pros

• Weather-resistant construction
• Affordable
• Very sharp
• Attractive bokeh

Cons

• Bulky
• Only accepts rear filters

While Sony’s 12-24mm offers a slightly wider perspective than this Sigma lens, it’s also more than double the price. And despite the much more budget-friendly cost, the Sigma 14-24mm gives the Sony lens a run for its money in just about every aspect. One of the reasons people typically buy GM lenses is because of the high resolution. But this Sigma lens is just as sharp as the Sony 12-24mm, resulting in highly detailed images.

The autofocus of the Sigma 14-24mm is also just as fast as the Sony 12-24mm. It can fully utilize Sony’s impressive autofocus systems, including tracking moving subjects. And it’s essentially silent when focusing, making this lens a worthy video tool as well. Both the Sony and Sigma offer a bright f/2.8 aperture, though the Sigma features 11 aperture blades instead of the nine found in Sony’s lens. The result is attractive bokeh. And it can focus as close as 11 inches, meaning you can get some fun ultra-wide detail shots.

It’s by no means one of the smallest wide-angle lenses for Sony, but neither is Sony’s. In truth, the primary reason to choose the Sony 12-24mm f/2.8 GM over this Sigma 14-24mm is that you want the extra 2mm of focal length. Those make a surprising difference, though 14mm is plenty wide for most people. If you just want a general ultra-wide with a fast aperture and excellent sharpness, this Sigma will fit the bill.

Best budget: Samyang AF 35mm f/2.8 FE

SEE IT

Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 49mm 
• Minimum focus distance: 1.15 feet
• Weight: 3.02 ounces
• Dimensions: 2.43 x 1.3 inches

Pros

• Weather sealed
• Very affordable
• Extremely lightweight and compact
• Good autofocus
• Produces sharp images

Cons

• Has some color fringing and vignetting

Samyang lenses are often overlooked as quality lenses. But these budget options offer surprising quality and performance for their low price. This 35mm option from Samyang is a versatile focal length with a fast f/2.8 aperture which is useful in situations with minimal light. That wide aperture also produces some nice bokeh, especially from such a budget lens. It’ll be a great tool to have when photographing weddings or events.

Many Samyang lenses, especially on other camera systems, don’t offer autofocus capabilities, but this lens does. And its autofocusing is fast and extremely quiet. You can use it for your videos without dealing with obnoxious focus noises. It’s also accurate, even when using Eye AF tracking for humans or animals.

Images from this lens are nice and sharp, especially as you stop down to the more narrow apertures. Unfortunately, there is a decent amount of chromatic aberration and vignetting, which does impact image quality. Vignetting is easy to remove, but removing chromatic aberrations can sometimes be more challenging. Still, it isn’t overpowering and doesn’t severely impact image quality.

The body of the Samyang 35mm is extremely small, being what is called a pancake lens (an adorable name, if you ask me). It sticks out just 1.3 inches from your camera and weighs a paltry 3.02 ounces. It would be a fantastic travel companion when you want something wide-angle but don’t want to keep your kit lightweight. It doesn’t have any weather sealing, which is unfortunate. Sony’s 35mm pancake lens does offer that, but it is quite a bit more expensive. Overall, you can’t go wrong with this lens for the price.

Things to consider when shopping for the best wide-angle lenses for Sony

When selecting wide-angle lenses for Sony (or any camera, for that matter) there are a handful of important things to consider. What is best for you depends on what subjects you are photographing as well as your shooting style, as not all lenses are suitable for every situation. The items below will help you narrow down your choices and select the optimal lens for your needs.

Zoom vs. prime

This is your first big decision when choosing the best wide-angle lenses for Sony. Do you want a lens with variable focal lengths in one package? Each type of lens has its own strengths and weaknesses. The right choice for you comes down to your shooting style, personal preference, and the type of situations you will use the lens.

Prime lenses offer a single fixed focal length. Because lens manufacturers don’t have to figure out the technology of keeping images sharp and consistent when zooming in and out, prime lenses typically offer higher overall image quality. They are typically sharper and frequently offer a wider maximum aperture than their zoom counterparts. They can also typically offer advantages in terms of cost and bulk. However, because it’s only one focal length, your feet have to do the work if you want to change the magnification level or perspective. You can’t twist the lens to get closer or further away from your subject. Prime lenses aren’t quite as versatile as a result. But, if sharpness and quality are key for you, a prime lens may be the best option.

On the other hand, zoom lenses offer a range of focal lengths in a single body. The amount of zoom you get varies, with many lenses spanning focal length categories. For example, a 24-70mm lens has wide-angle, normal, and short telephoto focal lengths. You can also find entirely wide-angle zoom lenses, such as 12-24mm. The plus of having a range of focal lengths is that the lens is more versatile. You can take one lens with you on a trip instead of three. But, as mentioned, they tend to lose out on sharpness and have a higher price point than prime lenses. For photographers who travel a lot or don’t want to keep track of loads of pieces of equipment, zoom lenses are ideal.

Wide, ultra-wide, and fisheye

A wide-angle lens is considered anything significantly wider than a normal lens. The category typically starts around 35mm. However, within this category of focal length, there are additional subcategories to consider. 

Once you get below 24mm, you get into the realm of ultra-wide-angle lenses. Ultra-wide-angle lenses are generally necessary for real estate photography. They are also ideal for photographing vast expanses of landscapes or night skies. 

Wider still, you get into the fisheye category. Fisheye lenses usually range from 8-10mm on a full-frame camera. They aren’t as versatile as other wide-angle lenses due to the extreme barrel distortion. Instead, they are more specialized, creative tools. If you want really dramatic images, a fisheye can help create that. 

Aperture

Getting a wide maximum aperture on a wide-angle lens is important for two reasons. First, a wider maximum aperture will make the lens better for low-light situations. For example, astrophotographers frequently utilize wide-angle lenses with wide apertures to gather as much light as possible. A wider aperture is also ideal for occasions like wedding receptions, which typically have limited light.

Second, wide-angle lenses provide more depth of field when compared to telephoto or even normal lenses at the same aperture and framing. If you have a wide-angle lens with a maximum aperture of only f/4, you may not be able to get as much background blur as you would like. Other factors contribute to depth of field, of course, but the aperture is an important one. So, if you like to shoot images with pronounced background separation and blur, you’ll want to be sure to get a wide aperture.

Distortion

While telephoto lenses have their own type of distortion, wide-angle lenses tend to have more obvious and less attractive distortion. While it may not matter for some types of photography, avoiding distortion is extremely important for genres like real estate and architectural photography. 

Typically wide-angle lenses suffer from barrel distortion, which results in lines appearing to curve inward. Wide-angle zoom lenses may also have pincushion distortion when zoomed in, but that generally isn’t as noticeable or problematic. Also, though not a product of the lens itself but instead the need to get closer to your subject, wide-angle lenses tend to result in perspective distortion. Perspective distortion results in things like stretched limbs and the appearance of wider faces. That’s why ultra-wide-angle lenses typically aren’t good tight portrait lenses unless you purposefully use the distortion for creative reasons. They can work for environmental portraits, however.

Distortion will increase as you get wider, so a 35mm lens will have less distortion than a 12mm lens, all things equal. So if you want a wide-angle lens but want minimal distortion and don’t need it for any specific use, 35mm might be your best bet. 

It’s also worth noting that not all lenses are created equal. High-end lenses will handle distortion better, and it may be barely noticeable, even with an ultra-wide focal length. Cheap lenses can have terrible distortion, sometimes resulting in a type called mustache distortion, which involves both pincushion and barrel distortion and can be next to impossible to fix in post. If you need a lens with minimal distortion, it is well worth investing in a higher-end lens instead of trying to go cheap. I’ve seen the results of cheap lenses in real estate photography far too often, and it is not pretty.

FAQs

Final thoughts on the best wide-angle lenses for Sony

• Best overall: Sony FE 16-35mm f/2.8 GM
• Best ultra-wide: Sony FE 12-24mm f/2.8 GM
• Best prime: Sony FE 35mm f/1.4 GM
• Best ultra-wide prime: Sony FE 14mm f/1.8 GM 
• Best for video: Sony FE PZ 16-35mm f/4 G
• Best for Sony ASP-C: Sony E PZ 10-18mm f/4 OSS
• Best for astrophotography: Sigma 14mm f/1.4 DG DN Art
• Best third-party: Sigma 14-24mm f/2.8 DG DN Art
• Best budget: Samyang AF 35mm f/2.8 FE

The list of wide-angle lenses for Sony is seemingly endless. Between Sony’s own wide selection and the numerous third-party lenses, the chances are good that if you have a wide-angle focal length in mind, you’ll be able to find a lens that offers that. The best lens for your needs will depend on what subject matter you are photographing and what your shooting style is. No matter what that may be, we’re confident one of the lenses we selected here will meet your needs.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best wide-angle lenses for Sony in 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

The Sony 16-35mm f/2.8 GM was already a fantastic lens. It offered some of the sharpest image quality across all wide-angle zoom lenses, along with remarkably fast autofocus and excellent handling. The second edition, which Sony recently announced, ups the ante and brings some impressive upgrades to the table. That includes a 20 percent weight reduction, making it what Sony says is the world’s smallest and lightest wide-angle zoom lens available. It also gets a few upgrades in terms of handling, such as a dedicated aperture ring, and a closer minimum focus distance.

Sony also announced two new cameras—the a7C II and a7C R— at the same time. This compact lens would pair really well with either of those compact full-frame camera bodies, so it makes sense that the announcements would be coordinated.

Differences between the Sony 16-35mm f/2.8 GM and 16-35mm f/2.8 GM II

Sony 16-35mm F2.8 GM II details

Sony has steadily been updating its trinity (16-35mm, 24-70mm, and 70-20mm) of f/2.8 zoom lenses, with a focus on making them smaller, lighter, and even more capable. It released the updated version of its 24-70mm last year, and the new 70-200mm came out just over a month ago. Now, it’s the 16-35mm lens’ turn, rounding out a set of lenses that are all the lightest in their categories.

The Sony 16-35mm F2.8 GM II weighs just 1.2 pounds and is only 4.4 inches long. That makes it 20 percent lighter than the first edition. That is a significant difference, especially if you are carrying the lens around on your camera all day for an event or carrying it into the backcountry on a hike.

Handling improvements

Beyond the size and weight, Sony made a handful of other improvements to handling that we were glad to see. It now offers a dedicated aperture ring that can be clicked or de-clicked, making it suitable for photographers and videographers. Sony also added a second focus hold button that can be customized to your desired function via the camera menus. Both focusing and zooming are internal, so the center of gravity won’t change at all as you change focus or focal length. That’s another crucial detail for videographers who work on a gimbal. The internal focusing design should also result in an even more responsive autofocus as well.

Other improvements

Sony decreased the minimum focusing distance on the 16-35mm F2.8 GM II, going from 11 inches on the first version to only 8.66 inches on this second iteration. As a result, it sees a good increase in maximum magnification from 0.19x to 0.32x. This adds versatility and makes close-detail shots possible.

Sony upgraded the autofocus system, moving from Direct Drive SSM (DDSSM) to four XD (extreme dynamic) linear motors. Sony says that this results in autofocus that is up to twice as fast as conventional models. It enables fast and accurate autofocus that is very quiet. It can even keep up with the Sony A1’s high-speed continuous shooting abilities. Sony also promised improved focus breathing, which is another plus for videographers.

Build & design details

What hasn’t changed from the first version is build quality. As a GM lens, we expect a durable build, and that is true here. It is dustproof and splash-resistant for great longevity when using the lens outdoors. And a front fluorine coating helps keep the lens surface free of debris and makes it easier to clean.

Sony adjusted the optical design slightly, with the 16-35mm F2.8 GM II featuring 15 elements in 12 groups. The company says that the new design “effectively arranges the extremely high surface precision XA (extreme aspherical) lens” which results in high-resolution results when shooting at the maximum f/2.8 aperture across the entire zoom range. We look forward to testing out this lens in the near future to see just how much better the image quality and performance are.

SEE IT

Sony 16-35mm F2.8 GM II pricing & availability

The Sony 16-35mm f/2.8 GM II is available for pre-order now for $2,298. That’s only $100 more than the Sony 16-35mm f/2.8 GM. With all the improvements this lens offers, it may be worth the upgrade for many, and it is definitely worth getting this version if you are in the market for a new wide-angle zoom. It will begin shipping on September 28.

The post The Sony 16-35mm F2.8 GM II zoom lens is even more impressive than its predecessor appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Imaging powerhouse Sony has decided to go all in and announce two cameras and a lens at once. The cameras expand the Alpha 7C series, moving the line from a single, do-it-all, full-frame camera to two options with slightly different purposes. Both cameras take advantage of tech from a7 IV and a7R IV, resulting in advanced features in highly compact bodies. The a7C II continues the legacy of the original, with the most notable upgrades being the 33-megapixel sensor and BIONZ XR image processor. The new a7CR shares many of the same features and specs as the a7C II but boasts a 61-megapixel sensor for high-resolution images. Here’s what we know about the cameras so far.

Sony a7C II at a glance

• 4.88 x 2.8 x 2.5 inches
• Weighs 1.1 pounds
• Full-frame 33-megapixel, back-illuminated sensor
• 10 fps continuous shooting with AF/AE tracking
• 4K 30p video oversampled from 7K
• Built around an advanced AI-processing unit for improved autofocus abilities
• Built-in image stabilization with 7 stops of correction

Sony a7C R at a glance

• 5 x 2.87 x 2.5 inches
• Weighs 1.1 pounds
• Full-frame 61-megapixel, back-illuminated sensor
• Dedicated AI-processing unit for advanced subject recognition
• Built-in image stabilization with 7 stops of correction
• Pixel Shift Multi Shooting for even higher resolution stills
• 4K 60p video
• Up to 8 fps with AF/AE
• Comes with the GP-X2 grip extension

Sony Alpha 7C II details

The original a7C—released roughly three years ago—has been a very popular camera thanks to its excellent image and video performance and full-frame sensor. It utilized much of the same tech as the larger a7 III but did so in a much smaller body. The camera was an ideal choice for travel and street photography because of its highly compact size. The a7C II continues that tradition, and borrows many of the features from the a7 IV.

a7c II build & design

Expectedly, the a7C II keeps its diminutive form. It measures 4.88 by 2.8 by 2.5 inches and weighs just 1.1 pounds. Sony bumped the sensor from 24.2 megapixels to 33 megapixels in this second edition, which is back-illuminated. And it updated to the latest BIONZ XR image processing engine for high imaging performance across the board.

There is a 2.36 million-dot (approx.) XGA OLED electronic viewfinder, which is the same as the a7C. The magnification has increased from 0.59x to 0.7x, however. There’s a vari-angle LCD with 1.03 million dots and touchscreen capabilities. And Sony built the camera with a dust and moisture resistant design for better durability.

Video performance

As a more compact version of the a7 IV, the a7C II offers robust video features. That includes 4K 30p video with 7K oversampling or 4K 60p video as well. It is equipped with S-Log3 for 12 stops of dynamic range, allowing for more gradation even in scenes with heavy contrast. You can record with LUTs in camera or take advantage of S-Cinetone for a cinematic look right out of the camera without any additional post-processing. And it offers Active Mode image stabilization for smoother handheld shooting.

Improved autofocus abilities

As we’ve come to expect from camera releases, Sony promises improved autofocus abilities. Sony built the a7C II with the same AI-processing unit as the a7R V for more advanced subject recognition. It enables Real-time Recognition AF and utilizes “human-pose estimation technology” to track a subject with very high accuracy. The camera also expands the existing tracking possibilities from just people and animals to birds, insects, cars, trains, and airplanes.

The a7C II uses 759 phase detection autofocus points that cover 94 percent of the image area when shooting still. That means it can recognize the subject even when they are only taking up a small area of the frame. Thanks to the latest AF algorithms, the camera can achieve high AF precision down to EV -4.0, improving low-light performance. There is a Focus Priority mode that enables more reliable autofocus in those situations or when using a smaller aperture.

SEE IT

Pricing & availability

The Sony a7C II will be available this fall in black or silver for $2,198 for the body only. You can also purchase a kit with the 28-60mm lens for $2,498. It will be available for preorder beginning August 30 at 10 am Eastern.

Sony Alpha 7C R details

The a7C R is a brand new camera, but follows the same formula as the a7C II. It is essentially an a7R V in a tiny body. In fact, Sony says that it is 29 percent lighter with approximately 53 percent less volume than the a7R V. The a7C R shares most of the features and specs as the a7C II, though it offers a higher resolution of 61 megapixels, giving it an edge for still photography. Should you want even more resolution, you can use the Pixel Shift Multi Shooting which takes multiple images and combines them on a computer for ultra-high resolution results.

The a7C R comes with the grip extension GP-X2 for better ergonomics when holding the camera for a long time or using heavy lenses. The grip is $159.99 on its own, and does not come with the a7C II. To help obtain sharp images, it is equipped with seven-step optical five-axis in-body image stabilization, which can detect and correct blurring down to the individual pixel level.

Video performance

The a7C R shares most of the same video features as the a7C II. The main exception is that 4K footage is oversampled from 6K instead of 7K. But it still offers S-Log3, the ability to import LUTs when shooting in Log mode, S-Cinetone, Active Mode stabilization, and more.

SEE IT

Pricing & availability

The a7C R will be available this fall in black or silver for $2,998 for the body only. Preorders will begin on August 30 at 10 am Eastern. At this point, Sony is not offering any kit versions of this camera, so you’ll have to buy a lens separately.

The post New gear: Sony a7C II and a7C R full-frame mirrorless cameras appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Best overall		Sony A1		SEE IT	Built for working professionals, this mega-camera can shoot 50-megapixel images at super-fast speeds. It’s ready for literally anything.
Best for upgrading to full-frame		Sony A7 IV		SEE IT	Sony has been refining the A7 line for a decade now and this is a great starting point.
Best for advanced amateurs		Sony A6600		SEE IT	Built for advanced amateurs and enthusiasts, this is where you’ll find Sony’s fastest autofocus.

Sony cameras have come a long way in the last decade. The electronics giant moved from a line of compact cameras to being one of the most dominant manufacturers in the camera business. Its current lineup contains everything from beginner-friendly compacts to super-pro-level mirrorless cameras with industry-leading sensors. All those choices can make picking the best option a challenge. Luckily, Sony’s camera lineup has a logical progression. And as long as you know what you’re looking for, there’s likely a camera in the mix that will suit your needs. Here, we’ll run down some of the most important things to consider when shopping for the best Sony cameras. 

• Best overall: Sony A1
• Best for upgrading to full-frame: Sony A7 IV
• Best compact camera: Sony RX100 VII
• Best for advanced amateurs: Sony A6600
• Best for aspiring content creators: Sony ZV-1 II

How we chose the best Sony cameras

The writers and editors at Pop Photo have decades of experience with just about every camera brand out there. We have hands-on experience with many of the cameras on this list, and I myself have used Sony cameras almost exclusively for the past five years. 

When making the selections in this buying guide, we first considered the full range of Sony’s offerings and the different types of photographers, videographers, and creators who use them. We aimed to choose options that would meet the needs of most people and situations. Image and video quality, autofocus abilities, battery life, usability, and price were all key factors in our decisions. 

The best Sony Cameras: Reviews & recommendations

Whether you are just getting started, taking your vlogging and content creation to the next level, or a pro looking for a new camera body, one of these options is sure to fit your needs.

Best overall: Sony A1

SEE IT

Specs

• Resolution: 50 megapixels
• Sensor size: Full-frame
• Lens mount: Sony E
• Image stabilization: Sensor-Shift, 5-Axis
• Memory card slots: Dual slot: CFexpress Type A / SD (UHS-II)
• Weight: 1.6 pounds
• Dimensions: 5.07 x 3.81 x 2.74 inches

Pros

• Fast burst shooting is ideal for action
• Produces superb high-resolution photos
• Class-leading electronic shutter
• Excellent autofocus

Cons

• Expensive

This $6,500 beast is the true alpha in Sony’s Alpha lineup. Its full-frame 50-megapixel sensor can crank out full-res images at up to 30 fps. And that fast burst rate still takes advantage of full AF and AE capabilities and can continue for 155 compressed raw frames. That means you can take it into the studio and shoot high-res commercial work, then step out onto the sidelines at a football game and blast away at a super-high framerate to capture fast action. 

The a1 isn’t just for still shooting, either. It’s capable of high-quality 8K 30p video capture with the full width of the sensor. The footage is oversampled from 8.6K, resulting in highly-detailed content. Or, you can lower the quality to UHD 4K for 120 fps with a 10 percent crop. The camera also provides advanced color control, including S-Cinetone, S-Log2, and S-Log3 for 15 stops of dynamic range.

As we hope to see on such a high-performing camera, the autofocus system is stellar. The hybrid AF system covers 92 percent of the sensor and can function down to -6 EV. It offers Real-time Eye AF with a dedicated bird mode. Overall, the Sony a1 is not just the best Sony camera at the moment, it’s easily one of the best cameras you can buy right now, period. 

Best for upgrading to full-frame: Sony A7 IV

SEE IT

Specs

• Resolution: 33 megapixels
• Sensor size: Full-frame
• Lens mount: Sony E
• Image stabilization: Sensor-Shift, 5-Axis
• Memory card slots: Slot 1: CFexpress Type A / SD (UHS-II), Slot 2: SD/SDHC/SDXC (UHS-II)
• Weight: 1.4 pounds
• Dimensions: 5.2 x 3.8 x 3.1 inches

Pros

• Well-rounded feature set 
• Superb image and video quality
• Excellent autofocus performance
• Effective image stabilization

Cons

• Only 6 fps burst shooting at the highest quality

While the A1 is overkill for most photographers, the A7 IV provides an excellent mix of features that should appeal to a very wide group of people. Sony updated the fourth iteration of the a7 line with a new 33-megapixel back-side illuminated sensor. And it improved the color science, with more accurate colors coming straight out of the camera.

From a video perspective, the a7 IV is capable of 4K 60p, which is oversampled from a 4.6K capture area for better detail. Or you can opt for 4K 30p with 7K oversampling. Added to this camera is focus breathing compensation, resulting in even smoother footage. And it’s fitted with Sony’s impressive autofocus, which includes AI-based subject recognition and tracking with real-time Eye AF.

This is a great entry point into full-frame mirrorless that will let you build on it for years to come, though it is somewhat pricey. If you would like to save a little money, the a7 III isn’t far behind the a7 IV in terms of performance and features and is $400 cheaper at the time of writing. 

Best compact camera: Sony RX100 VII

SEE IT

Specs

• Resolution: 20.1 megapixels
• Sensor size: One-inch
• Lens mount: N/A
• Image stabilization: Digital and optical in integrated lens
• Memory card slots: Single slot: SD/SDHC/SDXC
• Weight: 10.65 ounces
• Dimensions: 4 x 2.29 x 1.69 inches

Pros

• Very compact
• Excellent autofocus
• Quality integrated lens
• Good image and video quality

Cons

• Expensive for a compact camera
• Camera body is slick

When it comes to true compact cameras, the RX100 VII is still probably the all-around best Sony camera you can get. Its one-inch sensor pairs with a 24-200mm f/2.8-4.5 equivalent Zeiss lens to produce image quality that smartphone cameras can’t touch. And the focal length range is highly versatile, making it an ideal choice for travel.  

The RX100 VII offers impressive autofocus tracking that works well for both stills and video. It’s capable of high-quality UHD 4K 30p video recording with effective stabilization. It produces quality jpegs with good colors and is capable of producing raw files should you want more editing freedom. And you can shoot bursts up to 20 fps, making it a worthwhile tool for documenting action. 

The three-inch rear screen tilts up so that you can use it for selfies or vlogging. Or, you can use the pop-up eye-level viewfinder if you don’t want to hold the camera out in front of you to shoot. If you can’t afford the most recent model, you can go back a few generations and get a still-great little camera for less money.

Best for advanced amateurs: Sony A6600

SEE IT

Sony’s flagship APS-C camera has a truly impressive spec sheet. It houses Sony’s familiar 24.2-megapixel sensor but promises the “world’s fastest” autofocus system. While your real-world mileage may vary on the claim, you will get excellent AF tracking as well as 5-axis image stabilization built into the body to combat the results of shaky hands. 

Though the camera produces excellent still photos, it’s also capable of UHD 4K 30p video. The 4K video uses full pixel readout and is oversampled from 6K, providing highly detailed results. And there is no recording limit, so you can capture long takes. 

If you can’t swing the A6600’s price tag, Sony also still sells some older versions that can still hang with the best of them. The A6400, for example, will cost you less than $900 on the current market, and it offers many of the same features you’ll find in the A6600. Or, if you are looking for something slightly more advanced than the A6600, the Sony announced A6700 this summer. It’s available for pre-order now, but on paper, it seems it will surpass the A6600, and we look forward to testing it in the near future. 

Best for aspiring content creators: Sony ZV-1 II

SEE IT

Sony’s original ZV-1 was an extremely popular vlogging camera, and the second iteration keeps that tradition going. The ZV-1 II still utilizes a 1-inch 20.1-megapixel sensor, but Sony upgraded it to a stacked design for faster readout times. It’s capable of 4K 30p video with digital stabilization. And it offers 5x slow or 60x quick motion in S&Q mode for more creative control. 

The other major change on the ZV-1 II is the wider lens. The camera now features an integrated 18-50mm (35mm equivalent) lens. That’s less range than the original, but it provides a wider angle, which is ideal for vlogging. And it utilizes Sony’s Hybrid AF system, resulting in fast and accurate autofocus with impressive tracking abilities. 

The ZV-1 II features a built-in ND filter for cutting down exposure by three stops, which allows you to get bokeh even when shooting in bright sun. And there are lots of built-in creative modes, so you can spend less time editing your content and more time shooting. It’s an ideal choice for those just getting started with vlogging or who don’t want to fuss with their content too much.

Things to consider before buying the best Sony cameras

Sony makes an expansive list of cameras covering many different categories. As a result, it can be hard to figure out what actually makes sense to buy for your needs. Below are some key things to look out for and think about when buying a new Sony camera. 

Camera type

Sony makes both mirrorless cameras with interchangeable lens systems and compacts with integrated lenses. Mirrorless cameras are great because they offer lots of options and features. The ability to change lenses to what fits a particular situation is also a plus, and you can typically choose from higher-quality glass as well. 

But if you’re never planning to switch lenses, why pay for the privilege? Modern compact cameras have really stepped up their performance in recent years to occupy the high-end space in which smartphones still can’t compete. For example, Sony’s RX100 IV offers many of the same features you’ll find in a mirrorless camera, including a 20.1-megapixel sensor and super-fast autofocus with 315 AF points covering 65 percent of the sensor. 

Sensor size

Within Sony’s interchangeable lens cameras, you’ll find two sensor sizes: Full-frame or crop sensors, otherwise known as APS-C. Each sensor size has its advantages and disadvantages. What is best for you is dependent on what you plan on shooting and how you will be using your camera. 

APS-C cameras are more affordable and are thus typically labeled as beginner-friendly cameras. Sony offers a nice range of APS-C cameras with truly advanced features, however, making them worthwhile even for pros. And there are options for still shooters and video-focused creators alike. 

While the full-frame sensor of the a1 can meet the needs of just about every type of photographer, even at the highest levels, some of us don’t have the need–or the budget–for that kind of purchase. You don’t have to hop into the full-frame series at the deep end, however. Sony’s original A7 line debuted back in 2013 as the first full-frame mirrorless camera to hit the market. It was a straight-down-the-middle body that offered solid performance across the board for hybrid shooters. Sony has continued that tradition with each A7 update.

Don’t neglect the specialty cameras

If you want to shoot hardcore pro video with Sony cameras, then the company has a whole line of them, including the FX3 and the FX6V. Those cameras, however, require a heavy-duty budget to go along with your production. Almost any of the Sony mirrorless cameras–and even the compacts–will shoot excellent video. But if you’re looking for something built specifically for video at a more affordable price point, you’ll want to check out Sony’s ZV lineup, which is the company’s vlogging line of cameras.

Get a camera you can grow into

If you’re planning to really grow your photographic skills, you’ll want a camera that can grow with you. Similarly, if you’re already an advanced shooter, you don’t want to buy a body that will hold you back with its lack of features. Looking across the Sony full-frame lineup, you’ll find a number of cameras that serve specific needs. 

The A7R IV boasts a massive 61-megapixel sensor with 15 stops of dynamic range, which is great for studio, portrait, and commercial shooters. On the other side of the coin, the A9 II shoots 24.2-megapixel photos but excels at sports with its advanced AF system and 20 fps capture speed. The $3,500 A7S III has an even lower megapixel count at just 12 mp. It excels at super low-light and video shooting. 

FAQs

A final word about finding the best Sony cameras

• Best overall: Sony A1
• Best for upgrading to full-frame: Sony A7 IV
• Best compact camera: Sony RX100 VII
• Best for advanced amateurs: Sony A6600
• Best for aspiring content creators: Sony ZV-1 II

Sony has a ton of fantastic cameras to offer. They cover just about every specific need different photographers and videographers could ask for. While finding the best Sony camera for you may take some time, you’ll end up with a solid base on which you can build your gear kit over the years. 

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best Sony cameras in 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Best overall		Sony FE 24-70mm f/2.8 G Master II		SEE IT
Best ultra-wide angle		Sony FE 12-24mm f/2.8 GM		SEE IT
Best telephoto		Sony FE 70-200mm f/2.8 GM OSS Lens		SEE IT

Sony makes some impressive, highly capable cameras, and if you own one, it’s only natural that you want the best Sony lenses to go with it. While lens options used to be somewhat limited, Sony has expanded its range in recent years. You’ll now find just about any focal length you want, with plenty of zoom and prime choices. 

Sony also has multiple lines of lenses to cover different budgets. It has the expensive though high-quality GM lineup as well as the more affordable G line. There are also lenses collaboratively built with Zeiss for more variety. Plus, third-party lens manufacturers are filling even more gaps. But no matter what you are looking for, the best Sony lenses will help you take advantage of the features and quality of your Sony camera.

• Best overall: Sony FE 24-70mm f/2.8 G Master II
• Best ultra-wide-angle: Sony FE 12-24mm f/2.8 GM
• Best wide-angle: Sony FE 16-35mm f/2.8 GM
• Best telephoto: Sony FE 70-200mm f/2.8 GM OSS Lens
• Best for portraits: Sony FE 85mm f/1.4 GM Lens
• Best APS-C: Sony E 16-55mm f/2.8 G
• Best macro: Sony FE 90mm f/2.8 Macro G OSS
• Best budget: Sony E PZ 18–105 mm F4 G OSS APS-C

How we picked the best Sony lenses

The writers and editors at PopPhoto have decades of experience in just about every area of photography. We have used and tested an extensive variety of lenses from various manufacturers, including Sony. When compiling this list of lenses, we used a mix of personal experience, editorial reviews, and customer feedback. We prioritized image quality in making our selections, as that is the most crucial aspect of any lens. We also looked at lens size, maximum apertures, weather sealing, and autofocus capabilities. Finally, we also took into account any additional features such as image stabilization and video-centric tools.

The best Sony lenses: Reviews & Recommendations

Best overall: Sony FE 24-70mm f/2.8 G Master II

SEE IT

Why it made the cut: The second version of this versatile focal length has a fast aperture, and at just 1.5 pounds, it’s lighter than any other 24-70mm on the market.

Key features:

• Weight: 1.5 pounds
• Dimensions: ​​3.5 x 4.7-6 inches
• Filter thread: 82mm
• Minimum focusing distance: 8.3 inches

Pros

• Lightweight and compact
• Very responsive and quiet autofocus
• Superb image quality
• Attractive bokeh

Cons

• Expensive

24-70mm is perhaps the most versatile zoom lens you can have. It goes from a solid wide-angle to a short telephoto, making it a great all-arounder. That versatility earns it the top spot here. Released in June of 2022, this is Sony’s second iteration of the classic 24-70mm focal length. The update came with some very worthwhile improvements, most notably the more compact size. It’s 20% lighter than the first version and 16mm shorter. It’s the lightest 24-70mm available across any company. Thanks to its compact size and focal length range, it’s a perfect travel lens. 

Sony also improved the autofocus abilities of this lens, resulting in faster and quieter focusing than the original version. That’s partly thanks to the fact that it’s powered by four XD (extreme dynamic) Linear motors. It’ll pair perfectly with the very intelligent autofocus of Sony’s cameras. Unfortunately, Sony didn’t fully solve everything related to focusing. While the focus breathing (a phenomenon in which the field of view changes as you focus) has been reduced from the first version, some lingered. It’s minimal, but it is something to keep in mind if you will be using this for videos.

As is standard on G Master lens, it is fully weather sealed, so you won’t have to worry about bringing it into tough environments. It’s also made of tough polycarbonate, which helps cut down on the weight. And the included lens hood comes with the welcome addition of a sliding window, which allows you to check and adjust your circular polarizer much more easily. It’s a small thing but is definitely a nice touch.

Where this lens shines, of course, is its sharpness. It’s supremely sharp, even edge to edge when wide open and throughout the zoom range. It really is capable of producing some spectacular images. And, thanks to the 11-blade iris diaphragm, the bokeh is very smooth and attractive. Sony also improved the close focusing of the second iteration, and you can now focus as close as just 8.3 inches. It’s not a true macro lens, but you’ll be able to get some nice detail shots with it. 

Best ultra-wide-angle: Sony FE 12-24mm f/2.8 GM

SEE IT

Why it made the cut: It has a faster aperture than anything else this wide, fast and accurate autofocus, and minimal, easily corrected distortion.

Key features:

• Weight: 1.86 pounds
• Dimensions: 3.84 x 5.39 inches
• Filter thread: 11.02 inches
• Minimum focusing distance: Rear drop-in filters only

Pros

• Excellent sharpness
• Fast autofocus
• Fastest aperture available for a lens this wide
• Distortion and vignetting are well-handled. 

Cons

• Bulbous front element prevents the use of screw-on filters
• Heavy

Ultra-wide-angle lenses are a bit of a niche product, but they are essential pieces of equipment for the likes of real estate and landscape photographers. They also are a fun tool for making creative and unique images. They provide dramatic, sweeping views and allow you to show more in a single frame. Sony’s ultra-wide stands out from the competition because it is the widest f/2.8 zoom you can buy. No other zoom lens is this fast and this wide. 

Distortion can make ultra-wide lenses challenging. If you are shooting interiors, the last thing you want is dramatic, complicated distortion. Luckily, distortion is very well handled thanks to Sony’s design that includes three extreme aspherical elements and one standard aspherical element. That’s not to say it’s fully absent, but it’s simple barrel distortion at the wide end and pincushion when zoomed in, making it straightforward to correct. 

Another issue common to ultra-wide-angle lenses is ghosting and flare. Since they are so wide, they tend to show flares if the sun is pretty much anywhere other than directly behind you. Yet this lens handles those things remarkably well, making them much less of an issue. That’s partially a result of the built-in lens hood, which doubles as protection since the front element is bulbous and sticks out. And, for photographers who love their sunstars, this lens creates some beautiful ones.

As we would expect from G Master lenses, the resolution is exceptional. It produces some of the sharpest images from any ultra-wide available. There is a slight hint of softness on the edges, but it’s incredibly minimal, which is impressive for something this wide. Your images won’t be as sharp if you stop down to f/22, but at the rest of the aperture and zoom range, the image quality is stunning. Also typical of G Master lenses is a rather high price. If you want to save some money but lose out on a little bit of range, Sigma’s 14-24mm f/2.8 is also a superb option at a much lower price.

Best wide-angle: Sony FE 16-35mm f/2.8 GM

SEE IT

Why it made the cut: With a fast f/2.8 aperture, beautiful bokeh, and silent autofocus, this wide-angle zoom is ideal for a range of applications.

Key features:

• Weight: 1.5 pounds
• Dimensions: 3.5 x 4.8-5.4 inches
• Filter thread: 82 mm
• Minimum focusing distance: 11 inches

Pros

• Extremely sharp, even wide open
• Silent and fast autofocus
• Beautiful bokeh
• Includes a focus lock button

Cons

• Some softness on edges when zoomed in
• No focus markings on the lens

16-35mm is an ideal focal length range for covering a wide range (no pun intended) of situations. It’s wide enough to do interior and real estate work, but having the ability to zoom to 35mm makes it perfect for group photos and some portraiture. The fast f/2.8 aperture makes it great in low-light situations, and the 11-blade rounded aperture allows for beautifully smooth bokeh. It would be a great lens to have in your kit if you are a wedding or event photographer.

The autofocus of this lens is fast and also essentially silent. That’s a plus if you shoot video or will be photographing in quiet spaces like churches. Unfortunately, there are no focus or depth of field scale markings on the lens, which means you can’t focus at a specific distance as easily. But, there is a focus hold button on the lens body. It’s a customizable button as well, should you want to use it for something else. 

The lens can focus as close as 11 inches. It’s no macro, but it does mean you can take some nice detail shots with good background separation, especially thanks to the f/2.8 aperture. And, because of the high resolution of this lens, those detail shots–and anything else, of course–will be remarkably clear and sharp. It’s even sharp when wide open, which isn’t typically the case. 

It is a heavy lens for this focal length, and there are lighter and more compact options out there. If you don’t mind losing a stop of aperture, Sony’s own 16-35mm Vario-Tessar T FE F4 ZA OSS weighs–and costs–about half as much.

Best telephoto: Sony FE 70-200mm f/2.8 GM OSS Lens

SEE IT

Why it made the cut: Sony’s second iteration of its 70-200mm is lighter, faster, and produces better images. 

Key features:

• Weight: 2.3 pounds
• Dimensions: 3.46 x 7.87
• Filter thread: 77 mm
• Minimum focusing distance: 15.7 inches

Pros

• Lightweight for a telephoto of this range
• Durable build quality
• Instant manual focus override
• Fast focusing

Cons

• Tripod foot isn’t Arca mount compatible

70-200mm is another one of those classic focal lengths, especially for anyone who takes portraits or photographs weddings. It’s an ideal range that allows for subtle telephoto action and pretty significant magnification in the same lens. This is Sony’s second iteration of this focal length, released in October 2021, and it has some big improvements.

One of the most helpful things was the reduction in size compared to its predecessor. Telephoto lenses are not light pieces of kit, so anything companies can do to shave off weight is welcome. At 2.3 pounds, the updated version of this 70-200mm is a full pound lighter than the original. That will make a significant difference if you are holding this lens for a full day of shooting. 

The lens now has fully internal zoom, so you won’t have to compensate for any additional length when zooming in. The internal zoom makes it well balanced, which makes for better handling. An aperture ring has been added to the lens, which you can de-click for silent operation. And it has a focus limiter, which is ideal for situations where you roughly know the distance your subject will be. 

A big area of focus for Sony on this lens was the autofocus system, which it significantly improved. It is now powered by four XD Linear motors, which Sony says allows it to focus four times faster. It can track subjects at 20 or 30fps, so if you are using the a1, the lens can keep up. Focus is also silent, perfect for video work. This lens’s improvements specific to video were also crucial since Sony has geared its cameras towards hybrid shooters. As a result, focus breathing was drastically reduced, a Linear Response MF system was added, and it has full-time instant manual focus override for when you need to fine-tune focus quickly. 

All these upgrades don’t come cheap, though. So if you want to save some money, the first generation 70-200mm is still a worthy purchase. Or, if you don’t mind a little less reach and no stabilization, Tamron’s 70-180mm f/2.8 is also a good choice.

Best for portraits: Sony FE 85mm f/1.4 GM Lens

SEE IT

Why it made the cut: 85mm is a staple in portrait photography, and Sony’s GM version features a fast f/1.4 aperture and truly incredible sharpness and image clarity.

Key features:

• Weight: 1.8 pounds
• Dimensions: 3.52 x 4.23 inches
• Filter thread: 77 mm
• Minimum focusing distance: 2.62 feet

Pros

• Incredible sharpness
• Fast and silent autofocus
• Customizable focus hold button
• Fast f/1.4 aperture

Cons

• Heavy
• No in-lens stabilization

If you take a lot of portraits, 85mm is something you should have in your bag (or on your camera). This focal length offers the ideal amount of telephoto reach and its resulting benefits without putting you at a significant distance from your subject. The f/1.4 aperture of this G Master lens means that you can get a very shallow depth of field, creating excellent separation between your subject and the background. And it also is superb in low-light situations. Granted, there is no in-lens stabilization, but most Sony cameras offer it at the body level, and the fast aperture helps.

This lens utilizes Sony’s Linear Super Sonic wave Motor for focusing. It is fast and quiet, though it won’t be instant if you are making a big switch in where you are focused. On the side of the lens, you will find a focus hold button, which, like other Sony lenses, can be programmed to something else should you want. It also has an aperture ring that can be clicked or de-clicked for video. Also good for video is the lack of focus breathing. And, like all GM lenses, it is fully dust and moisture sealed. 

Of course, we have to talk image quality. This lens possibly produces the sharpest and highest resolution images of any 85mm f/1.4 available right now. Images are crisp and clean with little aberration or fringing. There’s also essentially no distortion. The bokeh is quite nice, which is an asset for portraiture. Though the Samyang 85mm may be even smoother, and that lens is quite a bit more affordable and a bit lighter. At the end of the day, it comes down to where your priorities are: Sharpness or bokeh. If sharpness is number one to you, the Sony should be your pick.

Here are even more expert reviews of the best sony lenses for portraits.

Best APS-C: Sony E 16-55mm f/2.8 G

SEE IT

Why it made the cut: APS-C photographers don’t need to miss out on quality optics. This standard zoom lens has the fastest aperture of any other Sony APS-C lens and offers superb image quality.

Key features:

• Weight: 1.09 pounds
• Dimensions: 2.87 x 3.94-5.3 inches
• Filter thread: 67 mm
• Minimum focusing distance: 1.08 feet

Pros

• Weather sealed
• Excellent image quality
• Bright and constant f/2.8 aperture
• Nearly silent autofocus

Cons

• No in-lens stabilization

Those who use Sony crop sensor cameras still get access to that classic standard zoom (plus a little extra) with this lens, as it provides a full-frame equivalent of 24-82.5mm. With a max aperture of f/2.8, it offers the fastest aperture of any Sony zoom lens. And, unlike many APS-C zoom lenses, it has a constant maximum aperture, so you don’t lose out on stops of light when you zoom in. 

The image quality from this lens is truly excellent. You’ll get sharp images edge to edge, even wide open at f/2.8 and throughout the zoom range. The nine-blade aperture results in pleasing bokeh, so you can get excellent separation between your subject and the background. Though it’s not a macro lens, it can focus as close as roughly a foot, and thanks to the 82.5mm equivalent focal length, it can handle some detail shots. 

Autofocus is fast and accurate. Of course, this somewhat depends on the camera you pair it with, but most newer Sony cameras have impressive autofocus, so you shouldn’t have to deal with any focus hunting with this lens. Videographers or those taking photos in quiet spaces will appreciate just how quiet the autofocus is. And should you want to use manual focus while recording video, it is sensitive and responsive, picking up on small movements of the focus ring for easy adjustments. 

The build is professional-quality, with full weather sealing, which you usually only get on higher-end lenses. And it has a fluorine-coated front element to help keep that clean and free of dust and fingerprints. Though it’s not large compared to full-frame lenses, it is a bit big when paired with tiny APS-C cameras, which some may not appreciate. Sony’s Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS is a much smaller –and more affordable–option, but you will lose a stop of aperture and get a lower image quality. 
Looking for a different focal length for your APS-C Sony camera? Check out our complete list of the best Sony A6000 lenses here.

Best macro: Sony FE 90mm f/2.8 Macro G OSS

SEE IT

Why it made the cut: With a 1:1 macro reproduction, excellent sharpness, and smooth bokeh, Sony’s 90mm macro lens will help you create stunning detail shots. 

Key features:

• Weight: 1.32 pounds
• Dimensions: 3.11 x 5.14 inches
• Filter thread: 62 mm
• Minimum focusing distance: 11.02 inches

Pros

• Excellent optics
• Very accurate autofocus
• 1:1 macro reproduction
• Has a focus range limiter switch

Cons

• Has to be stopped down for best sharpness

Macro photography requires specific skills and gear to get right. One of these tools is a dedicated macro lens. In order to be a true macro lens–some as labeled as such but don’t meet this qualification–it must provide 1x (also called 1:1) or great magnification. Luckily, this Sony lens ticks that box. The 90mm focal length helps with macro photography, as you can keep some distance and prevent your shadow from casting onto the subject. It also provides better depth of field. 

This macro lens shines most in regards to its autofocus. It is incredibly accurate, which is essential when the spot you are focusing on is potentially only a fraction of an inch. It’s also fast, thanks to Sony’s use of its Direct Drive SuperSonic Wave Motor. Should you need even more autofocus speed, there’s a focus limiter with three ranges between 11 to 19.7 inches, 19.7 inches to infinity, or full. That keeps it from searching for focus where you know you don’t need it. Lastly, it’s silent, making it suitable for macro videos. 

Should you want to switch to manual focus for extra precision and creative control, Sony made it easy on this lens. Simply slide the focus ring forward or back to switch. Other mirrorless lenses that rely on focus-by-wire can be a bit challenging to manually focus as it isn’t very repeatable and there aren’t typically focus distance markings. Sony kept the focusing distance and magnification scale on the lens and used hard stops on the focus ring at either end. It’s also more exact than manually focusing with other mirrorless lenses. Overall it will allow you to be really precise with your macro images or videos. 

Best budget: Sony E PZ 18–105 mm F4 G OSS APS-C

SEE IT

Why it made the cut: If you don’t want to spend a fortune on a lens for your Sony camera, this APS-C lens offers a versatile zoom range and a constant f/4 aperture.

Key features:

• Weight: 15.1 ounces
• Dimensions: ​​3.1 x 4.3 inches
• Filter thread: 72 mm 
• Minimum focusing distance: 1.48 feet

Pros

• 5.8x zoom
• Constant f/4 aperture
• Built-in stabilization
• Power zoom mechanism

Cons

• Strong pincushion distortion
• Lacks sharpness on edges

As another APS-C lens, Sony’s 18-105mm provides a lot of versatility at an affordable price. It has the full frame equivalent of 27-157.5mm, giving you a bit of wide-angle and some good telephoto reach at the same time. It would be a great all-arounder to bring while traveling as opposed to needing to pack multiple lenses. 

The constant f/4 aperture is a welcome sight on this budget zoom lens. Many lenses of this price range will have a variable max aperture, which results in losing stops of light as you zoom in. The constant aperture offers better low-light performance and gives you more creative control. 

Sony has clearly been focusing on video aspects in most of its gear, and this lens is no exception. It features a power zoom mechanism to make zoom control easier during a recording session. It also has Optical SteadyShot image stabilization, which, when paired with a Sony camera that has in-body stabilization, will give you much smoother videos.

Unfortunately, the lower price point does mean something has to have been sacrificed. There is some significant pincushion distortion across the zoom range, especially as you zoom in. And the image quality isn’t anything extraordinary. Image centers are sharp, but the edges lose out. But, the approachable price of the lens and versatility of the zoom range still make it a worthwhile choice for APS-C users.

Things to consider before buying the best Sony lenses

Zoom or prime

Ah, the age-old lens question. First, what is the difference between the two? Prime lenses have a single focal length, such as 85mm. They are more simple to construct because of that, so they typically produce sharper images, are capable of a wider aperture, and are cheaper. They are also smaller and lighter thanks to that single focal length. But, it also means you have to be able to physically move closer or further away if you want to change the composition and magnification. They may not be as versatile because of that, so you’ll likely find yourself changing lenses more often. And if you go on a trip, it means you have to bring more than one if you want focal length options.

Zoom lenses have a range of focal lengths in a single body. That allows you to give the appearance of getting closer or further away from your subject without moving an inch, which is very convenient. And if you travel, you may be able to bring two or even just one lens and still have the option of a wide range of focal lengths. There is a catch, of course. Typically the image quality isn’t as sharp as what you’ll get with a prime. And they can get quite pricey, especially if you want a fast lens. 

Ultimately, the decision to get a prime or zoom lens comes down to how and what you will use the lens for, as well as personal preference. Some photographers prefer to only use prime lenses, while others use a mix or perhaps even all zoom. Each has its advantages and disadvantages, so there is no right or wrong answer here. 

Focal length

Focal length is possibly the most important decision to make when choosing a lens. Put simply, focal length determines the angle of view–how much you see in the image–and magnification–how large things appear. Focal length also impacts depth of field, or how much is in focus within your image. So, when you are shopping for a lens, you need to decide what type of images you want to create and what focal length will get you there. 

It’s also worth noting that when we talk about focal length, we are referring to the lens on a full frame camera. Crop sensors (APS-C) will essentially crop in, resulting in a smaller angle of view than the lens specifies. For example, Sony cameras have a crop factor of 1.5x, so a 35mm lens on an APS-C camera will have the equivalent focal length of 52.5mm. 

There are three main categories of focal lengths, wide-angle, normal, and telephoto. Lenses that have a focal length of 35mm and lower are considered wide-angle lenses, which, as the name suggests, provide a wide angle of view. The wide angle will result in lower magnification and also a less shallow depth of field compared to other focal lengths. They are ideal for landscapes, real estate, group portraits, and event photography. 

A normal or standard lens is one that most closely replicates human vision. That’s generally considered to be around 50mm. They are extremely versatile lenses and one every photographer should have in their arsenal. Plus, a prime normal lens is generally very affordable and compact, making it more approachable and easy to keep with you even when traveling.

Finally, telephoto lenses are anything over 70mm. They have a narrow field of view, high magnification, and are capable of extremely shallow depth of field. Thanks to the high magnification, they are perfect for sports and wildlife photography or anything that you aren’t able to get close to your subject. They also are excellent for portraits because they lend themselves to fantastic separation between the subject and background, helping your subject stand out.

Third-party or Sony

You may think that if you want quality on your Sony camera, you need to go with a Sony lens, otherwise known as a first-party lens. While that was fairly accurate in the past, third-party lenses–lenses made by different manufacturers than the camera–continue to improve, with options that rival or even surpass first-party lenses.

So how do you choose between the two? To a certain extent, it comes down to preference–and of course, budget–but there are some pros and cons to each. First, lenses made by Sony are designed to work in tandem with its cameras. The biggest asset of that is that it generally results in faster and more accurate autofocus. But, they also can be cost prohibitive.

Third-party lenses are typically more affordable. They also can offer different focal lengths, giving you more options beyond what Sony has to offer. However, while there are some fantastic third-party lenses out there, there are also some awful ones. Image quality can be quite low from certain third-party lenses. And, with some third-party options, you may lose the ability for the lens to communicate with the camera, resulting in only manual focus and, at times, the need to manually adjust the aperture as well. Be sure to closely evaluate any lens you are considering, but especially third-party lenses.

Aperture

Lenses will specify the maximum aperture in the name of the lens. That number is important to pay attention to for two reasons. First, a wider maximum aperture means that the lens will let in more light, making the lens better for low light conditions. For certain situations, it may not matter, but for things like astrophotography or event and wedding photography, having a fast lens–or one with a wide aperture–is essential. Second, aperture is one factor that determines depth of field. If you want to have a shallow depth of field, you’ll need a wide aperture. 

If you are looking at zoom lenses, you may see a range given, such as f/4.5-5.6. This range means that as you zoom in, you will get a smaller aperture. More affordable zoom lenses typically have a range instead of a fixed maximum aperture, but it can be frustrating and limiting while shooting, especially in low light situations. If you don’t want to deal with that, you may need to budget a bit more to get a lens with a fixed max aperture instead.

FAQs

Final thoughts on the best Sony lenses

• Best overall: Sony FE 24-70mm f/2.8 G Master II
• Best ultra-wide-angle: Sony FE 12-24mm f/2.8 GM
• Best wide-angle: Sony FE 16-35mm f/2.8 GM
• Best telephoto: Sony FE 70-200mm f/2.8 GM OSS Lens
• Best for portraits: Sony FE 85mm f/1.4 GM Lens
• Best APS-C: Sony E 16-55mm f/2.8 G
• Best macro: Sony FE 90mm f/2.8 Macro G OSS
• Best budget: Sony E PZ 18–105 mm F4 G OSS APS-C

Sony’s lens lineup continues to expand and improve, filling the needs of more photographers. Its best lenses offer truly exceptional quality and maximize its cameras’ impressive features. Plenty of entry-level and beginner-friendly Sony lenses come at more approachable prices, so if you are just getting started, you won’t need to spend a small fortune on a single piece of equipment.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best Sony lenses in 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Sony released its original 70-200mm f/4 E-mount lens nine years ago. So to say that it was due for an upgrade may be an understatement, and we were excited to see the announcement of this lens. This is the 50th full-frame E-mount lens, and Sony hasn’t skimped when it comes to upgrades. It’s smaller and lighter than the older version, adds impressive close-focusing capabilities, and is even sharper than the original. We’re very much looking forward to testing it out in the near future, but for now, here’s what we know.

Sony FE 70-200mm f/4 Macro G OSS II at a glance

• 1.7 pounds
• 3.25 x 5.875 inches
• 0.86-1.38 foot minimum focusing distance
• 72mm filter diameter
• Circular 9-blade aperture
• 0.5x magnification throughout zoom range
• Dust and moisture resistant
• Built-in optical image stabilization

SEE IT

Sony FE 70-200mm f/4 Macro G OSS II details

Sony’s updates to this 70-200mm lens resulted in a compact and lightweight telephoto zoom offering. In fact, it’s 15 percent shorter and 15 percent lighter than Sony’s first take on the f/4 version of this popular focal length. It weighs 1.7 pounds and is only 5.8 inches long. It does rely on external zoom, so it will be longer when you zoom in. But Sony explained that it was more important to them that the lens is compact when packed away, which is what they have achieved here. The lens offers Sony’s SteadyShot stabilization with a new MODE3 setting for working with moving subjects. There is also a focus range limiter and a full-time DMF switch for instantly switching from auto to manual focus.

In terms of basic build quality, the lens is dust and moisture-resistant. And it features a front fluorine coating to keep away fingerprints, dust, water, and oil. There are four XD linear motors, which Sony claims increase autofocus speed by up to 20 percent during still shooting compared to the precious model. It also says that tracking performance has improved by approximately twice as much. And for video shooters, there should be very minimal focus breathing.

Sharpness has also been improved with this lens, with Sony calling it “silly sharp.” That sharpness remains throughout the zoom and aperture range and across the entire image. The promised image quality improvement is in part thanks to the advanced aspherical lenses for resolution and contrast improvements and ED (Extra-low Dispersion) glass, which minimizes chromatic aberrations.

Macro abilities

Perhaps the most impressive and exciting feature of this lens is its macro capabilities. The Sony 70-200mm f/4 offers 0.5x magnification at every focal length, which Sony says is a world’s first. That means that you’ll get the same magnification while achieving drastically different images as you zoom in and out. It’s quite unusual to have a magnification ratio stay consistent throughout the zoom range, so this is awesome to see.

If you want more than 0.5x macro capabilities, the lens is compatible with Sony’s 1.4x and 2.0x teleconverters. With the 2.0x teleconverter, you can achieve a true 1:1 magnification ratio for life-size macro images at every focal length. Many people frown on teleconverters because of a loss of image quality, but Sony claims that the image quality should remain excellent, which is an exciting possibility. A 70-200mm lens is already extremely versatile, but if you can throw on a teleconverter to extend that reach to 400mm, that’s huge. For context, Sony’s 400mm prime will cost you $12,000. Or you could opt for the 100-400mm lens, but that will still run you $2,398.00 compared to a $548.00 teleconverter.

Pricing & availability

The Sony FE 70-200mm f/4 Macro G OSS II is available for pre-order now for $1,698.00 and will begin shipping in early August.

The post Sony updates its 70-200mm f/4 lens with macro capabilities appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Sony has been primarily focused on full-frame cameras for the past few releases. So it was about time to see a new APS-C offering, and this one sure doesn’t disappoint. The new a6700 takes advantage of the cutting-edge features found in the company’s more expensive full-frame models. And the result is what Sony says is its “most advanced APS-C mirrorless camera to date.” The $1,400 price tag includes a 26-megapixel back-illuminated sensor and BIONZ XR processing engine, providing 4K 120p video capabilities and 11 fps burst shooting. And if that wasn’t enough, Sony also announced a new shotgun mic—the ECM-M1—and a 70-20mm f/4 lens. Here’s what we can expect from this new Sony mic and flagship camera.

Sony a6700 at a glance

• 26 effective megapixels
• 4k video up to 120 fps
• 5-axis stabilization for 5 stops of correction
• 14 stops of dynamic range
• S-Cinetone picture profile
• AI processing unit taken from the a7R V
• Real-time recognition autofocus
• Brand new focusing system with 759 phase-detection points
• 11 fps burst shooting with AF/AE tracking
• Weighs 1.1 pounds with battery and memory card

SEE IT

What is the Sony a6700?

Sony’s new a6700 is an APS-C interchangeable lens camera. However, instead of playing specifically to beginners like Canon has been of late, the a6700 is an advanced option suitable even for professionals looking for a backup camera or a compact camera for travel. It weighs only 1.1 pounds and measures just measures only 4.8 × 275 × 3 inches. That’s 35 percent smaller than the already tiny Canon R7. And while tiny cameras are typically not very nice to hold, Sony said it improved the grip on this body to make it more comfortable even with the compact size. It certainly looks more robust and comfortable in photos, and we are looking forward to testing it ourselves in the near future.

It utilizes the Sony E mount, meaning you can use any of Sony’s full-frame, crop sensor, and Cinema Line E mount lenses with it.

Sony a6700 mirrorless camera details

Camera body & build

Sony built the a6700 with a magnesium alloy body that is dust and moisture-resistant. Sony redesigned the dials and controls on this camera, and it offers a customizable front dial along with a switching dial for still images, movies, and S&Q modes. In terms of ports, it gets a micro HDMI port and USB-C power delivery. There’s a single SD card slot, which is expected for a camera at this level.

One thing we were glad to see is that the camera offers an eye-level electronic viewfinder. It’s a 2.36 million dot XGA OLED EVF, which Sony says is as bright as A7R V. There’s also a vari-angle 1.03 million dot resolution touchscreen with an intuitive touch interface and the improved menus seen in the most recent Sony cameras.

Sony packed the inside of this camera with some high-end pieces of tech that trickled down from its pricier models. That includes a BIONZ XR processing engine and a back-illuminated sensor, which Sony says is the most advanced 26-megapixel sensor yet. And it also gets the AI processing unit from the a7R V, meaning the autofocus capabilities of this camera punch far above its weight.

Video capabilities

The Sony a6700 is a true hybrid camera and, as such, gets a suite of robust video features. For starters, the 4K footage is oversampled from 6K, resulting in superb quality. It also gets the new slow-motion upgrade that recently came to the ZV-E1 right out of the box, so you’ll be able to shoot 4K 120p or FHD 240p (albeit with a 1.3x crop) right away.

The camera features S-Log3, S-Gamut3.Cone, S-Cinetone and assignable user LUT’s. It provides 14 stops of dynamic range for greater flexibility when editing. Sony also said that there’s a new AE algorithm to detect skin area and control exposure accurately, resulting in an auto exposure that is 20 percent more accurate than before. The AI processing unit also helps with achieving a more accurate white balance. Both of those features could be really big deals for those who don’t want to mess with post-production as much.

On top of all that, there’s also an AI-driven Auto-Framing mode. This mode automatically changes the composition by following the recognized subject. It can zoom to a level you set and pan with you as you move. And it can automatically pan between subjects as well. The auto framing could be incredibly helpful for solo videographers or to just simplify the shooting process, even if you do have extra hands.

The a6700 is fitted with 5-axis stabilization, which results in 5 stops of shake correction. And Sony also fitted the camera with pixel-level shake detection for even better performance.

Sony a6700 still shooting

As a hybrid camera, there are also plenty of appealing specs for photographers. It’s capable of 11 frames per second with both the electronic and mechanical shutter. That burst rate works with AF/AE tracking as well. There is a 1,000 frame jpg buffer, and 59 uncompressed raw buffer.

A unique feature of the a6700 is the anti-flicker shooting. The camera is able to automatically detect flicker from artificial light and then time the shutter to minimize its effect. You can also choose shutter speeds down to 1/10th of a shutter speed to get rid of banding.

Autofocus capabilities

Sony cameras have led the way in regard to autofocus for some time. And this camera is no different. It features a new autofocus system that utilizes 759 phase-detection points for 93 percent coverage of the sensor. And as mentioned, the AI processing unit found in the a7R V made its way to the a6700. This is only the third Sony camera to get an AI process unit, and it enables highly accurate real-time tracking and subject recognition.

The a6000 series already offered human and animal recognition, but now the Sony a6700 can accurately identify humans, animals, birds, insects, cars, trains, and airplanes. It can estimate human poses and see 30 different parts of the human body and is able to differentiate between right and left sides. Sony said that improved Eye AF by 60 percent, which will be interesting to see firsthand. It also said that animal and bird performance is increased by 40 percent, and is able to track head, body, and eyes on a wider range of subjects. Finally, it can recognize and track various vehicles and get as granular as insect heads and bodies.

Sony a6700 pricing & availability

The new Sony a6700 is available for pre-order starting today for $1,398.00 for the body only. It’s also available as a kit with the PZ 16-50mm f/3.5-5.6 OSS lens for $1,498.00 or with the 18-135mm f/3.5-5.6 OSS lens for $1,798.00. The camera will begin shipping in early August.

SEE IT

ECM-M1 mic details

Not to be overshadowed by the fancy new camera, Sony also announced a new compact shotgun microphone. Sony says that it “is the world’s first shotgun microphone with eight dial-selectable audio recording models.” It utilizes four microphone capsules and Sony’s beamforming technology to offer plenty of pickup modes, including true stereo. The ultra-directional mode is ideal for capturing sound from the front within a 30-degree area while suppressing other sounds. This makes it perfect for interviews or self-recording situations.

On the mic, you’ll find a new mode dial with a locking mechanism for easy switching between modes. It features a noise-cut filter to reduce background noise and a low-cut filter to minimize vibration and low-frequency noise. And it supports four-channel recording (on compatible cameras), which allows for safety recording in omnidirectional mode with channels three and four, while you use channels one and two for selected directivity.

The ECM-M1 is compact and lightweight, weighing just 2.3 ounces. And, when paired with a compatible camera, all you need to do to use the mic is clip it onto the Multi Interface Shoe. There’s no need for extra cables or batteries in the mic itself.

ECM-M1 pricing & availability

The Sony ECM-M1 is available for pre-order now for $348.00 and will also begin shipping in early August.

The post Sony releases the a6700: An advanced APS-C camera appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

The Sony ZV-E1 has only been available since April, but Sony has already announced an update to the full-frame vlogging camera. The camera was already quite excellent, with 4K video up to 60 fps. But now, with this free upgrade, the camera will be capable of 4K up to 120 fps. It joins an impressive lineup of Sony cameras capable of 4K 120p, including the Alpha 1 and Alpha 7S III, and the FX6, FX3, and FX30 from Sony’s Cinema Line.

Beyond the frame rate boost for 4K recording, the ZV-E1 upgrade will also enable Full HD 240p recording. Both of these settings will result in smooth slow-motion footage. It makes the camera much more versatile, opening up new opportunities for those who want to get creative with their filming.

How to install the ZV-E1 upgrade

If you already own a ZV-E1, you get access to this upgrade as of today, June 28. Installation is simple as well. The upgrade license can be found on Sony’s Creators’ Cloud. If you aren’t familiar, the Sony Creator’s Cloud provides a range of services and applications designed for the entire creative process, from the initial shoot to collaboration with other creators. It includes the Creators’ App, which is a mobile app for transferring your content from the camera directly to the cloud.

You can either log in to a Creator’s Cloud account or download the license without signing in. Either way, you will need the serial number of your camera. Once downloaded, you can complete the installation with an SD card or with a USB plug-in. The upgrade is free, as is the Creators’ Cloud.

The post The Sony ZV-E1 gets an upgrade to improve slow-motion recording appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

It’s no secret that memory cards keep getting larger and larger in capacity. At the start of the year, Lexar announced a two-terabyte CFexpress Type B card, which is the largest of that class. Anglebird’s one-terabyte card, which was also released earlier this year, was the highest capacity for CFexpress Type A. That is, until now. Sony has announced a new CFexpress Type A card with 1920GB—nearly two full terabytes—of storage. That’s almost double the previous max capacity. It also announced a 960GB card at the same time, both of which fall in the TOUGH line of cards. While the large storage may be nice, the Sony CEA-M Series TOUGH 1920GB CFexpress Type-A card commands a jaw-dropping $1,400 price.

Sony CEA-M Series TOUGH 1920GB & 960GB CFexpress Type A details

Sony’s TOUGH memory cards are, as the name explains, rugged and durable cards. They feature an IP57 rating, making them dust and water-resistant. Sony says the cards are 10 times stronger than the CFexpress Type A standard. They are rigidity tested to 150 newtons of force, so you don’t have to worry about them bending or snapping, and can survive falls up to 24.6 feet. Plus, they can handle extreme temperatures, X-rays, electrostatic environments, and intense UV light.

It’s clear that the focus of the new cards—especially the 1920GB version—is capacity. Both the 1920GB and 960GB versions offer up to 800MB/s read, and 700MB/s write speeds. That’s slightly slower than the Angelbird card, which provides max speeds of 820 MB/s read and 730 MB/s write.

The Sony cards carry the Video Performance Guarantee (VPG) 200, which means that they should offer stable recording at 200 MB/s. That’s interesting since the lower-tier CEA-G Series cards offer minimum sustained write speeds of 400 MB/s. You’ll have to choose whether you want durability and capacity (the CEA-M series), or speed (CEA-G Series).

SEE IT

Sony CFexpress Type A 1920GB & 960GB pricing & availability

Should you have the cash and want the largest capacity card possible, the Sony CEA-M Series TOUGH CFexpress Type A cards are both available for preorder today. The 960GB card will cost you $780, while the larger 1920GB capacity is priced at $1,400. They will ship on June 19th.

The post Sony’s 2TB CFexpress memory card costs as much as some cameras appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.