I would immediately recommend the $450 35mm f/1.8 as your primary lens (or as a great alternative the slower Sigma 30mm f/2.8 for $200, or at the other end the $900 Carl Zeiss 32mm f/1.8 if the price doesn't bother you). If you need a telezoom, check out the Sony 55-210 f/4.5-6.3 for just $350. If you want a moderately wide-angle lens, consider the 19mm f/2.8 Sigma for $200.

You might also potentially be interested in the $275 50mm f/1.8 for portraits and perhaps the $350 Sony 20mm f/2.8 pancake for wide-angle viewing and to keep the camera compact.

How we chose (and a few words about focal length)

We've focused on more affordable options first, as this list is aimed at those photographers just getting started in the world of interchangeable lens cameras. When choosing good optics, we note that there are even higher quality options, the price of which ranges around $1,000. These are mainly lenses Carl Zeiss.

For beginners, the limited selection of NEX lenses is both a blessing and a curse. On the one hand, you don't have to waste time comparing dozens of often very similar options to figure out which is best. On the other hand, if you don't like the lenses available, you'll have to be patient until Sony and/or third-party manufacturers release new lenses. Some of these lenses are actually pretty mediocre. But luckily, there are enough good models out there that you won't have too much trouble taking great photos.

Owners of Micro Four Thirds cameras are luckier in this regard. They have a much wider range of lenses available and prices tend to be lower and there is a more substantial consignment market.

Why do we focus on fast lenses? Included with the NEX camera you will undoubtedly get a zoom lens that can cover the widest mid-range. You'll likely get the 18-55mm in the kit, but if you opt for the NEX-6 you'll get a sleeker 16-50mm zoom lens. The 18-55mm is an average quality lens for the kit and the 16-50mm is about the same. It has been criticized for its softness and distortion, although some users think it is quite sharp.

Let's go retro

One of the beauties of Sony NEX cameras is that they are uniquely suited to adapting older manual focus lenses. This is practically the same advantage as with any (mirrorless) system camera. You can easily use an adapter to attach old lenses that will work on your camera.

Sony NEX has another interesting feature called " focus peaking"It illuminates the areas of the frame that are in focus on the camera display, allowing you to manually focus perfectly on what you want. So you can successfully use older lenses from before the autofocus era.

There are third party manufacturers that make manual focus lenses, such as Rokinon, which specializes in wide-angle and fast fixed-distance lenses. Their characteristics are not the most outstanding, but the price is affordable.

What is missing?

The big gap in the NEX line is the lack of a good macro lens. Of course there is 30mm f/3.5 macro, but 30mm is a very short focal length for macro, you have to get close to your subject to get the size you need.

There is also a shortage in portrait lenses. The 50mm prime is pretty close, but it's not quite the focal length traditionally used for portraits.

Let's summarize

First and foremost, we recommend the $450 35mm f/1.8 as a stock fast lens. Or for $200, the slower Sigma 30mm f/2.8 lens is a great, more affordable alternative. Another excellent option is the 32mm f/1.8 Carl Zeiss for $900, if you don't mind the price.

Consider purchasing the Sony 55-210mm f/4.5-6.3 for just $350 when your zoom needs arise. And 19 mm f/2.8 Sigma for 200 USD. useful if you need slightly wider coverage at a fixed focal length.

We present a rating of the best lenses for Sony cameras officially supplied to the market in our country. For ease of perception, we have highlighted the most attractive optics models with A-mount and E-mount, which can be used both on SLT SLR models and on system cameras from this manufacturer.

We present a rating of the best lenses for Sony cameras officially supplied to the market in our country. For ease of perception, we have highlighted the most attractive optics models with A-mount and E-mount, which can be used both on SLT SLR models and on system cameras from this manufacturer.

Which brand lens is better to choose?

Today there is a fairly wide range of optics produced for Sony cameras. The company itself produces a range of lenses that meet the needs of amateur and professional photographers.

The Japanese concern Sony is a leading electronics manufacturer. At the dawn of digital cameras, it was Sony that built the first consumer-grade digital models. Since the acquisition of Konica-Minolta, the company has made its debut in the production of SLR digital cameras and, along with the cameras themselves, began producing a wide range of interchangeable optics. The main partner in this direction for the company is Carl Zeiss.

Other manufacturers:

Along with Sony, the following companies produce a wide range of optics for A and E mounts:

1. Zeiss,
2. Tamron,
3. Sigma,
4. Rokinon

Rating of the best lenses for Sony cameras

All Sony lenses are distinguished by high optical quality, proven design and reliability. Depending on the camera model, they can be equipped with A mounts (for devices with a translucent mirror) or E mounts (for system cameras).

Model SEL-55F18Z (full name Sony Carl Zeiss in the Sonnar T* 55 mm f/1.8 ZA version) is the best lens for full-frame system cameras

This lens has a convenient focal length that is suitable for both landscape and portrait photography. Its distinctive feature is high sharpness when the aperture is open to the maximum and high resolution properties, which allows it to be used on multi-megapixel matrices. Chromatic aberrations, geometric distortions and other unpleasant features are completely absent, which allows you to successfully use the optics on any of the devices with an E mount, including the latest models, for example, the Sony A7r II.

The advantages of the lens include:

• Sharpness throughout the entire range.
• No perspective distortion or chromatic aberration.
• Compact size.
• Reliable housing design.
• Affordable price relative to the Zeiss line.

The only drawback is the fact that this model cannot be used with mirror models.

Sony 16-50 mm with f/3.5-5.6 aperture (SELP1650 series) is the most compact zoom for full-frame system cameras.

This lens is distinguished by its outstanding compactness, good optical quality and affordable price. Designed for Sony system cameras, it is well suited for people who want a compact camera with interchangeable lenses. It is often supplied as a standard lens (the so-called kit option), but it makes sense to purchase such a lens separately if you are just starting out in photography. By the way, this model is well adapted for video shooting.

Advantages of the lens include the following:

• Affordable price and small sizes.
• Built-in autofocus motor.
• Ease.
• Convenient range of focusing distances.
• Fairly high image quality.

The disadvantages include the following:

• Low aperture, which, however, is typical for budget zoom lenses.
• Chromatic aberrations.

Universal Sony DT 35 mm f/1.8 SAM (SAL-35F18 series)

This lens has a universal focal length and is designed for cameras with a translucent mirror and an A mount. At a minimal price, the lens has high sharpness, small size and is extremely lightweight. A great option for those who need a cheap and versatile lens. It is perfect for shooting various scenes from life (including when there is insufficient light in the room) and for half-length portraits. On a crop sensor, it is equivalent to a traditional 50mm lens in terms of ambient coverage.

Pros of the model:

• Lightweight and compact.
• Extremely low price.
• Sharp image.

Flaws:

• Pronounced aberrations.
• Strong geometric distortions.
• Problems focusing on individual instances.

Sony 16-50mm f/2.8 lens (SAL-1650 version): cheap and fast

This A-mount zoom lens is relatively affordable and has a constant aperture, making it good for low-light shooting. At the same time, the lens is light and compact, produces good image quality and can be used on devices not only with a crop matrix, but also on full-frame models (for example, Sony A99).

Advantages:

• Constant aperture.
• Relatively low price.
• Convenient focal range.

The only drawback is an excess of chromatic aberrations when shooting at an open aperture.

Sony 70-300 telephoto lens with variable aperture f/4.5-5.6G and SSM motor (index SAL-70300G)

This telephoto lens offers unrivaled image quality and is capable of working in cameras with both crop and full-size sensors. It is distinguished by fast focusing, sharpness and detail of the resulting images. At the same time, the lens is quite lightweight, and the presence of a built-in motor allows it to be used using an adapter on cameras with an E mount with full support for functions, including automatic focusing.

The advantages include:

• The presence of an ultrasonic focusing motor.
• Image quality.
• Reliable design.

This model has one drawback - the relatively high cost, as well as variable aperture (this factor is typical for most telephoto lenses of this class).

Travel zoom from Sony DT version 18-250 mm (aperture f/3.5-6.3, version SAL-18250)

This model is perfect as the only lens for a camera with an A mount. An option, so to speak, for all occasions. The disadvantages are compensated by the affordable price, and also by the fact that this lens model is often supplied as a second lens for the camera. At the maximum focal length it is a good telephoto lens and provides a fairly beautiful image in the blur zone.

• Relatively small mass.
• Wide focal range.
• Low cost.

Among the shortcomings, there is low sharpness on the sides of the frame at the widest possible (18 mm) viewing angle.

Budget telephoto lens Sony DT with a range of 55-300 millimeters f/4.5-5.6 (version SAL-55300)

This telephoto lens is the most affordable in Sony's A-mount optics line. It is light, compact and perfect as a “pair” to a standard 18-55 mm lens. An additional advantage is that the lens is full frame, and therefore the equivalent focal length for crop sensors will be in the range from 70 to 450 mm. An excellent choice for the beginning photographer who wants to photograph distant objects or wildlife.

Among the advantages of the lens it is worth noting:

• Price
• Wide range of focusing distances.
• Reliable design with locking zoom trunk.

The main drawback is average sharpness and pronounced chromatic aberrations, typical of budget optics.

Sony 18-200 mm f/3.5-6.3 for E-mount (SEL-P18200): a videographer's dream

This zoom lens can be called unique. It is optimized primarily for video shooting, but at the same time has a compact size and is very convenient to use. The difference is smooth zooming over the entire range of available focal lengths. Despite its fairly significant price, it has few competitors for shooting video in a variety of conditions and is capable of replacing several types of optics at once. A nice addition is an effective stabilizer, which allows you to work successfully without using a tripod or rig.

Among the advantages it is worth highlighting:

• Good image quality.
• Smooth picture zooming system.
• Possibility of stepless aperture control.

The lens has two disadvantages:

• high price relative to other lenses in the review;
• adaptation exclusively for matrices with crop factor.

Sony 18-105 mm f/4 G series SELP18105G: “part-frame” flagship

This E-mount lens is one of the best in terms of image quality performance as well as focal length range. The optics are adapted for crop factor matrices, and this is the only limitation for this lens. However, full-frame analogues are much more expensive.

Among the advantages we note:

• Sharpness and fixed aperture.
• Availability of an integrated stabilizer.
• Ultrasonic type fast focusing motor.

The only drawback is the relatively high price for full-frame optics.

Sony 55-210mm f/4.5-6.3 E-mount (SEL-55210)

The inexpensive telephoto lens is designed for system cameras and is distinguished by its combination of low weight and good photo quality. Among the advantages it should be noted:

• Availability.
• Small number of image artifacts.
• Focus speed.

The only shortcomings are low sharpness and slight vignetting.

Which Sony lens should I buy?

The ideal lens from the point of view of versatility is the SAL-18250 version DT 18-250mm (f/3.5-6.3 aperture).

For low-light photography and reportage (or wedding photography), the best choice is the 16-50 mm f/2.8 (SAL-1650 version).

The best option for a cheap telephoto lens is the SAL-55300.

With the advent of new high-resolution full-frame sensors, there is a need for lenses that will be able to unleash their full potential. Sony, one of the first to realize this, introduced the G-Master line in 2016, setting a new standard in the field of photo optics. In this material we will look at the key features of the series, and also follow the development of this line of lenses.

Previously, most often manufacturers pleased us with either sharp lenses or lenses with beautiful bokeh. Apparently, looking at this, Sony, which has enormous experience in the production of optics, decided to produce lenses that could incorporate these two qualities: thanks to a new type of lens, G-Master lenses became ultra-sharp, without losing beautiful defocus.

To understand where Sony gets so much technology and how the company achieved something that no one else has achieved before, let’s look at history.

2003 and 2006: prologue

Back in 2003, the two oldest Japanese manufacturers of photographic equipment, Konica and Minolta, merged into the Konica Minolta holding. It would seem that the two giants of the photo industry should form an indestructible duet that will dictate terms to the entire market. But after a short cooperation over three years, the holding acquires Sony entirely.

In 2006, the photographic division of Konica Minolta was transferred to Sony, and the well-known Sony α brand was born. Thus, the company strengthens its technological position with many years of experience and new employees. Minolta, for example, is known for introducing world's first autofocus 35mmSLR camera. And cooperation in the 1970s with the German company Leitz gave a separate impetus to the development of optics. Minolta lenses are still called the “golden reserve” due to their high sharpness and good contrast. Of course, these characteristics are inherited by Sony lenses, and the G-Master line becomes the crown of optics development.

Further proof that Sony knows how to make revolutionary optics is the CineAlta line, which appeared in 1999. Sony was the first company to make a 4K cinema system... in 2006! Today, its lenses support resolutions up to 8K and are used in the production of major Hollywood films.

Sony Alpha Professionals - Sergey Semenov

Sergey Semenov is an international economist by training. He worked in his specialty for 7 years and then completely went into photography. Moreover, the impetus was the 2008 crisis. During 10 years of work in photography, he visited more than 40 countries. He shoots in the genre of artistic landscape. He holds the post of director of the world-famous AirPano project, the goal of which is to show the most beautiful corners of the planet from a bird's eye view, capturing them in a spherical (360°) format (photo and video). Winner of competitions: “Wildlife of Russia” (held by National Geographic), EpsonPanoAwards, Trierenberg Super Circuit, AdMe Photo Awards, “Golden Turtle”, Photosight Awards, The Best Of Russia. His works are published in such publications as National Geographic, GEO, Der Spiegel, Daily Mail.

Sony 7RM3, F 6.3, 1/250 s, ISO 400, 70 mm

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Sony 7RM3, F 8, 1/160 s, ISO 1600, 26 mm

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2016: the appearance of the first three Sony G-Master models

Three years have passed since the presentation of the full-frame Sony A7 and A7R, and it becomes clear that the further, the more new full-frame high-resolution matrices require special lenses. These are exactly what Sony is presenting, demonstrating three models at once: everyone’s favorite zoom lenses F.E. 24–70 mmF/2.8 GM and FE70–200 mmF/2.8 GM OSS, as well as portrait prime FE 85 mm F/1.4 GM. All lenses receive XA aspherical lenses.

XA lenses are some of the highest quality in the world. It is thanks to them, or rather, thanks to precise processing when producing a surface of 0.01 microns, that the lenses provide high resolution and beautiful bokeh.

	FE 24–70 mm F2.8 GM	FE 85 mm F1.4 GM	70–200 mm F2.8 GM OSS
Focal length
Maximum aperture value (F)
Minimum aperture value
Viewing Angle (35mm / APS-C)	84°-34° / 61°-23°		34°-12° 30’ / 23°-8°
Aperture blades
Minimum focusing distance		AF 0.85 meters, MF 0.8 meters
Filter diameter
Groups/elements

“These lenses are very difficult to manufacture, and for us it turned out to be a kind of challenge: how much precision can we achieve?” - Masanori Kishi, Deputy General Manager of Lens Design Department

The FE 24-70mm F/2.8 GM lens has such a quality of resolution at any focal length that any discrete lens would be envious. The model is designed for full-frame E-mount cameras, but it is also possible to use it with APS-C matrices (the focal length in this case becomes 36–105 mm). The 9-blade F/2.8 aperture remains unchanged at any focal length. Inside is a system of four types of lenses, providing excellent detail.

Frequency response (MFT) graphs show how well a lens reproduces the smallest details:

Sony Alpha Professionals - Vlad Shutov

He has been engaged in photography professionally since the 80s of the last century. Graduated from Moscow State University named after M.V. Lomonosov (philological faculty), Institute of Journalism Excellence (photojournalism) at the Union of Journalists of the USSR. Member of the Union of Photographers of Russia. Participant of 15 personal exhibitions. He taught at the Academy of Photography. Gives lectures and conducts master classes.

“Sony 24-70/2.8 GM is a real reportage lens, fast and tenacious when autofocusing. It, of course, cannot boast of such bokeh as its “longer” brother, but it is good for its sharpness, lack of bunnies and versatility of use.” - Vlad Shutov.

Joining the 24-70 is the FE 70-200mm F/2.8 GM OSS, which provides powerful resolution for closed-aperture reportage shooting and beautiful bokeh for portraits. It becomes possible to block the tracking focus using three programmable buttons on the body (number 5 in the illustration). Once you have achieved precise focus, press this button on the lens barrel - the focusing plane will be locked in its current position. Once you have the focus accurately, press this button on the lens barrel and the focal length will be locked at the current position. This button can also be assigned a preview function using the camera's custom settings. In addition, there are controls for autofocus, stabilizer and distance limiter.

The lens is dust and moisture resistant. The illustration shows the locations of the sealing elements.

The optical design of the lens is complex: 23 elements are included in 18 groups.

“The Sony 70-200/2.8 GM OSS covers my favorite focal length range. It focuses very quickly, so much so that even tracking autofocus works perfectly - there are practically no misses. This lens is very sharp, but at the same time shows excellent bokeh, and for me this model can be said to be a standard lens. I use it not only when shooting on the street, but often in the studio.” - Vlad Shutov

The latest lens presented in 2016 is the FE 85 mm F/1.4 GM portrait lens with an extended aperture ring. Sony says this lens will shoot 8K video. And this is not hard to believe, given that today the 42.4-megapixel matrix in the Sony A7R III produces 7952 × 5304 images and 4K video with a resolution of 3840 × 2160 with stunning detail.

The portrait lens has an 11-blade aperture with rounded elements. This design provides a perfectly round opening, which helps create particularly soft areas in the defocus zone. For videographers, there is an aperture click control switch - in the smooth aperture mode there will be no sharp jumps, which will allow you to change the values ​​​​right while recording video.

2017: the already legendary line is replenished with a new trio

The FE 100 mm F/2.8 STF GM OSS, FE 16–35 mm F/2.8 GM and FE 100–400 mm F/4.5-5.6 GM OSS models appear on the market.

The FE 100 mm F/2.8 STF GM OSS becomes the first autofocus lens with an apodization element, and also receives the abbreviation STF in its name - Smooth Trans Focus optics allows you to achieve spectacular bokeh. Previously, this technology was used in Minolta lenses and later Sony in the 135 mm F/2.8 model.

APD filter Aspherical lens Low dispersion glass

The apodization element works on the principle of a gradient ND filter: it slightly darkens the edges, weakening various aberrations that can occur at the edges of the image. The number of aperture blades is 11.

The FE 16–35 mm F/2.8 GM is one of the most popular lenses in the line today. At 35mm, many photographers use the lens as a portrait lens. The 11-blade diaphragm, already traditional for the series, produces almost perfect bokeh on a full-format sensor. The optical design consists of 16 elements in 13 groups.

“Sony 16-35/2.8 GM is fast and sharp. It, like all wide-angle lenses, has some vignetting when the aperture is fully open and at the short end, but, again, it can be easily removed in a photo editor. As a summary, I will answer the question: are these lenses worth the money? Yes, they do. Should you buy them? If you have a Sony R camera - of course!” - Vlad Shutov

FE 100–400 mm F/4.5-5.6 GM OSS is a fast and quiet sports lens, and today it is Sony's longest zoom lens. On APS-C matrices, the focal length increases to 150–600 mm. Dual DDSSM linear drives ensure fast focusing and clear subject tracking. The new motorized focusing system Direct Drive Super Sonic wave Motor allows you to focus even at the minimum depth of field. The motorized DDSSM system is quiet, making it ideal for video shooting where the focus point is constantly changing during video recording. The lens itself is smaller and lighter than its closest competitors.

Sony Alpha Professionals - Anton Unitsyn

Anton Unitsyn proves by his example that sometimes it is not only possible, but also necessary to seriously change your life. It would seem that he was destined for a wonderful career as a physicist. He graduated from Novosibirsk State University and worked for 5 years at the Institute of Chemical Kinetics and Combustion of the Siberian Branch of the Russian Academy of Sciences. And suddenly he dropped out of graduate school to go into professional photography. But the result that he immediately showed in a new area surprised everyone. Three dozen international (collective) exhibitions. Winner of many competitions. Publications in various media. Laureate of the Russian Government scholarship for cultural and artistic workers in 2015, laureate of the Russian Ministry of Culture scholarship in 2012 and 2014. Teaches photo reporting at the Faculty of Journalism of NSU.

“100-400 mm lenses, like any telezoom, are rare guests in my backpack. I really like Robert Capa's quote: “If you couldn't get a good shot, you couldn't get close enough.” Therefore, a telephoto camera ends up in my hands when I physically cannot get closer to the object being photographed. This was the case with the sports filming of the regatta in Croatia. The yachts travel at a relatively long distance; there is no opportunity to move between them during the race. This is where super-telephoto distances come in handy, allowing you to compress the space for interesting rhythms and angles and take close-ups. The lens performed brilliantly. I used aperture 5.6 for all cases as it is available across the entire focal length range. Excellent fast, tenacious focusing pleasantly surprised me, given the fairly closed aperture. All images are exceptionally sharp, on the 24 MP of my A9, very nice drawing. I took a number of close-up portraits of regatta participants using this particular lens.

In general, I am very afraid of the word “ideal” - in my opinion it is something unattainable. However, the 100-400 certainly comes very close to that line. In a year I will have to film a regatta again, but this time in Italy, and, in principle, there is an opportunity to take the new 400 2.8. But I will give preference to the 100–400 as it is lighter, more compact and more flexible to use due to its wide range of focal lengths.” - Anton Unitsyn

Sony ILCE-9 , F 5.6, 1/1250, ISO100, 100 mm

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Sony ILCE-9 , F 4.5, 1/1250, ISO100, 100 mm

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Sony ILCE-9 , F 5.6, 1/1000, ISO100, 355 mm

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“I really like to capture all sorts of details when shooting in the city, from rooftops or from mountains, and often 200 mm is not enough. So I switched to 100–400 mm with pleasure; It's just a pity that the weight has let us down - it's too heavy. But the 100-400 works great with an extender, and when I photographed bears in Kamchatka, the extender helped a lot, turning the lens into a super telephoto without losing autofocus and without compromising on quality. Obviously, these two lenses are amazing in quality, the bodies are monolithic! Ergonomics are beyond praise. The kit includes smart cases in which lenses can be transported separately. For me, there is only one drawback - these are different diameters, so I have to carry a whole bunch of different filters.” - photographer Sergey Semenov

Sony 7RM3, F 5.6, 1/5000, ISO100, 100 mm

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Sony 7RM2, F 11, 1/800, ISO800, 100 mm

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2018: discrete breakthroughs

This summer, another long-focus lens from the G Master series will be released - the FE 400 mm F/2.8 GM OSS prime. Lightweight for its class, the model is designed for sports and wildlife photography. Along with the company's portrait cameras, the FE 400 has an 11-blade aperture that produces remarkable bokeh.

In contrast to the 400 mm telephoto, a new wide-angle model was released in September 2018 - the FE 24 mm F1.4 G Master, which, together with the FE 85 mm, becomes the fastest model in the line. The weight of the 24mm lens is only 445 grams, which is an order of magnitude lighter than competing models. For example, a similar model from Sigma weighs almost twice as much. The lens uses a 13-element system, two of which are XA lenses. The DDSSM autofocus drive gives videographers fast, accurate and quiet focusing. In addition, it is possible to disable aperture stops to smoothly change exposure while recording. The body has a programmable autofocus lock button, as well as an AF/MF switch. Like all lenses in the G Master series, the FE 24mm F1.4 is dust and moisture resistant.

Instead of a summary, a few more words about technology

Aspherical XA lenses, which were already mentioned in the article, is a unique proprietary Sony technology developed specifically for the G-Master series, which allows for ultra-high sharpness at all focal lengths. In the manufacture of aspherical lenses, more complex and precise technologies are used than for spherical lenses. This achieves high surface processing precision of 0.01 microns.

Resolution 50 line pairs/ mm allows you to convey subtle contrast transitions. When designing lenses, Sony engineers eliminated optical aberrations, in particular chromatic ones.

Perfect bokeh. When designing a lens, in parallel with increasing resolution and improving frequency-contrast characteristics, you need to constantly monitor the quality of bokeh. For this purpose, the simulation method was used. In addition, each lens is adjusted manually. The higher the resolution, the better the lens conveys subtle contrast transitions. To achieve this, a number of optical aberrations, in particular chromatic, and coma, were completely eliminated at the design stage.

New drive. When focusing, lens position sensors are used. For each model in the G-Master line, the drive is designed separately. For example, in the FE 70-200mm F/2.8 GM OSS model, the optical elements are divided into two groups, each of which has its own autonomous drive. The result is smoother focusing when shooting photos and videos. Additionally, linear drive technology is used - direct, non-contact electromagnetic focus control for fast response and extremely quiet operation. This ensures easy operation and quiet operation both when taking photos and recording videos.

Today, seven lenses in the G-Master line give photographers an unlimited field of activity in completely different categories: sports, outdoor photography, portraits, urban photography, architecture and much more.

The Sony system today includes more than 70 branded lenses only, not counting dozens of models from third-party manufacturers - there is plenty to choose from! In this review, we included lenses with E mount, which are divided into two classes: FE are designed for full-frame cameras, and E - for those equipped with APS-C sensors. System A is, unfortunately, not so popular today. Most often, owners of DSLRs and cameras with a translucent mirror from Sony are experienced photographers and do not need such recommendation articles.

Universal zoom

Sony FE 24-70mm f/2.8 GM (SEL2470GM)

This universal high-aperture zoom for full-frame cameras belongs to the top-end G Master series, in all of whose lenses the developers managed to combine excellent bokeh and sharpness worthy of a 42-megapixel matrix, starting from an open aperture.

The sought-after range of focal lengths and high aperture make the SEL2470GM lens a universal working tool for a reporter, a wedding photographer and, in general, any serious all-round photographer. Three aspherical elements and two low-dispersion glass elements provide benchmark-level uniform sharpness at any focal length, as we were convinced of during the test.

ILCE-7RM2 / FE 24-70mm F2.8 GM SETTINGS: ISO 100, F2.8, 1/1600 s, 70.0 mm eq.

The lens focuses from 38 cm, the speed and accuracy of autofocus is ensured by a modern fast drive such as Direct Drive SSM. Sony Nano AR coating reduces glare and extraneous reflections, due to which the lens creates a high-contrast image. The beauty of bokeh highlights is ensured by a rounded 9-blade diaphragm and a unique optical design. In general, when creating the G Master series, the developers managed to achieve the almost impossible: combine high sharpness with beautiful bokeh. The zoom mechanism is locked so that the inner lens tubes do not move forward under their own weight. The SEL2470GM is made in a metal dust and waterproof housing. Its length is 136 mm, diameter is 87.6 mm, thread diameter for filters is 82 mm. The SEL2470GM weighs a respectable 886 grams.

Sony Carl Zeiss Vario-Tessar T* 24-70mm f/4 ZA OSS (SEL2470Z)

The SEL2470Z is a versatile zoom that's more affordable than the previous G Master model. The main difference is in aperture ratio. This lens loses a whole exposure level to the previous one. And its bokeh is not so gorgeous. However, it will provide high-quality shooting in all popular genres, including close-up and subject photography. The SEL2470Z is also well suited for travel, since its body is dust and waterproof, while being quite light and compact. Length - 94.5 mm, diameter - 73 mm, thread diameter for filters - 67 mm, and weight - 426 grams.

The SEL24105G is for photographers who want a versatile lens with a wider range than 24-70mm without sacrificing image quality. A practical focal length range of 24-105 mm, a constant aperture of f/4 and a minimum focusing distance of 0.38 m meet these requirements. This lens is capable of replacing a couple of more highly specialized ones due to a successful balance of characteristics.

ILCE-7RM3 / FE 24-105mm F4 G OSS SETTINGS: ISO 320, F4, 1/80 sec, 34.0 mm eq.

This versatile lens is ideal for those who want to travel light and shoot a variety of subjects. It will also be useful for reporters; it will perform well in all situations when there is no room in the bag for a second lens or there is no time to change optics. A tenfold range of focal lengths, a dust- and moisture-proof design and an optical image stabilizer are an excellent, even unique, combination of capabilities.

The SEL24240 fully lived up to the title of “travel zoom” during our testing. The optical design includes five aspherical elements and one of low-dispersion glass. The lens provides high contrast and good sharpness throughout the entire frame.

ILCE-7RM2 / FE 24-240mm F3.5-6.3 OSS SETTINGS: ISO 1600, F6.3, 1/250 s, 240.0 mm eq.

The rounded 7-blade diaphragm contributes to beautifully shaped highlights in the blur zone, which is a rarity in the world of superzooms. The lens, 118.5 mm long and 80.5 mm in diameter, is quite heavy - 780 grams. The autofocus drive is linear, the focusing is internal (the lens frame does not rotate), the lens focuses starting from 0.5 m. But in terms of its optical qualities, it is still inferior to the previously mentioned models.

Telezoom

Sony FE 70-200mm f/4 G OSS (SEL70200G)

Among portrait optics in the Sony system, the SEL85F18 lens is the best in terms of price and quality ratio. This is a moderate telephoto lens with a fairly high aperture, shallow depth of field, soft pattern and beautiful bokeh. The 85mm focal length provides a field of view angle at which a close-up face fits into the frame exactly at the distance from which we are accustomed to seeing each other. Thanks to this, facial proportions are conveyed without distortion.

The f/1.8 aperture is not a record by the standards of portrait optics, because there is a model SEL85F14GM with an f/1.4 aperture, but our portrait version is offered at a relatively low price. In addition, our test showed that this aperture is enough to ensure that only the eyes remain sharp in the portrait, since the depth of field for a close-up is only 7 mm.

ILCE-7M2 / FE 85mm F1.8 SETTINGS: ISO 400, F1.8, 1/3200 s, 85.0 mm eq.

The amount of spherical aberration is specially selected so that the lens combines high resolution and beautiful bokeh. The beauty of the latter is also enhanced by the rounded 9-blade diaphragm. For ease of focusing, the SEL85F18 has a wide sensitive ring, as well as a button that can be assigned, for example, to activate eye autofocus. The portrait is compact - 78x82 mm and weighs only 371 grams. The thread for filters is 67 mm. The lens comes complete with a round hood type ALC-SH150. It is worth adding that at the time of writing this test, this portrait camera is one of the best, in our opinion, among all systems in terms of price and image quality.

Wide angle

Sony FE 12-24mm f/4 G (SEL1224G)

This is an ultra-wide-angle zoom with the shortest focal length in the Sony E full-frame optics system (12 mm). It provides a very wide field of view, necessary in landscapes and for creating interesting shots that use strong perspective as an artistic device. In addition, this lens is orthoscopic, that is, it does not distort vertical and horizontal lines, but transmits them straight in the frame, which will allow the SEL1224G to be successfully used in interior and architectural photography.

The optical design of the lens includes four aspherical elements, and three low-dispersion elements and one ultra-low-dispersion element are used to correct chromatic aberrations.

ILCE-7RM2 / FE 12-24mm F4 G SETTINGS: ISO 400, F14, 1/60 sec, 12.0 mm eq.

The SEL1635Z is a Zeiss full-frame ultra-wide-angle zoom with built-in image stabilization and a constant f/4 aperture. Compared to the previous lens, this one is more compact and affordable. Its coverage angle is also smaller, so its capabilities are more modest when shooting a similar set of scenes. However, the dust and waterproof design and optical stabilizer increase its attractiveness in the eyes of landscape photographers, reporters and, in general, all photographers who happen to shoot in difficult conditions.

ILCE-7RM2 / FE 16-35mm F4 ZA OSS SETTINGS: ISO 100, F11, 2s, 16.0mm eq.

Macro lenses are rarely suitable for anything other than macro photography, but the SEL90M28G, as we saw during testing, amazingly combines the capabilities of an excellent macro lens, a decent portrait lens and a moderate reportage telephoto. However, first of all, this is a serious macro lens that will be useful to a wide range of photographers for both professional and creative photography.

The lens focuses from a distance of 28 cm, providing a 1:1 shooting zoom. The autofocus system has three switchable focusing distance ranges. This solution eliminates the possibility of searching for sharpness where there is definitely none, thereby speeding up autofocus. To make autofocus work even more confidently and make it easier for the photographer to frame, an optical stabilizer is provided. The focus ring has a wide distance scale for easy manual distance adjustment.

ILCE-7RM2 / FE 90mm F2.8 Macro G OSS SETTINGS: ISO 6400, F9, 1/60s, 90.0mm eq.

The lens body is dust and waterproof, which allows you to shoot outdoors without fear of, for example, morning dew or rain. The bokeh of the SEL90M28G, by the standards of macro lenses, is soft and evenly filled with highlights. The latter have a neat shape thanks to a 9-blade diaphragm. Therefore, the lens is quite suitable for shooting with high requirements for bokeh.

ILCE-7RM2 / FE 90mm F2.8 Macro G OSS SETTINGS: ISO 640, F2.8, 1/200s, 90.0mm eq.

In portraits, the SEL90M28G will work out all the details of the skin, and do it quite softly. Even the “Portrait” preset turned on in the camera is enough so as not to soften the image further. In a report, this lens will appear simply as a 90 mm prime with an f/2.8 aperture and ringing sharpness right from an open aperture. The SEL90M28G is not too big or heavy: it weighs 602 grams, is 130.5 mm long, has a diameter of 79 mm, and a thread diameter for filters of 62 mm.

Universal prime lens

Sony Carl Zeiss Sonnar T* 55mm f/1.8 ZA

The Sony Carl Zeiss Sonnar T* 55mm f/1.8 ZA, otherwise known as the SEL55F18Z, successfully combines the properties of a normal lens and a portrait lens, as our test confirmed. This fifty-kopeck piece will be suitable for owners of all cameras with a Sony E mount, regardless of the sensor format: on crop cameras it will work as an excellent portrait camera, and on full-frame cameras it will work as a universal “fix” that can be used to photograph almost anything well.

The SEL55F18Z focuses from 50 cm, which is enough for close-up shooting of small objects, such as flowers. In general, it is very well balanced.

ILCE-7RM2 / FE 55mm F1.8 ZA SETTINGS: ISO 100, F1.8, 1/160 s, 55.0 mm eq.

The SEL55F18Z's aperture is not record-breaking, but the image is sharp, starting from an open aperture. In backlight, although glare appears, the images do not lose contrast. Aberrations are noticeable at an open aperture, but already at f/2.8 the image is flawless. The diaphragm is rounded, with nine blades. The bokeh is smooth, beautiful and without swirling.

The lens looks strict and simple: a black matte metal body, the only moving part is an electronically driven focusing ring. The SEL55F18Z weighs only 281 grams and its dimensions are 70.5×64.4 mm, due to which the most inexpensive filters with a diameter of 49 mm are needed. A shaped hood is included in the kit.

Sony Carl Zeiss Sonnar T* FE 35mm F2.8 ZA

Also known as the SEL35F28Z, this lens is for anyone looking for a compact all-rounder. With full-frame cameras it works as a moderate wide-angle lens, and with APS-C cameras as a normal field of view lens. The main advantage of this lens is its compactness: a camera of the A7 family with it can be put into a jacket pocket - the length of the lens together with the mount is 36.5 mm.

ILCE-7RM2 / FE 35mm F2.8 ZA SETTINGS: ISO 500, F2.8, 1/60 sec, 35.0 mm eq.

The aperture of the SEL35F28Z, by the standards of prime lenses, is moderate, only f/2.8, but it is enough for shooting in the dark and for blurring the background. The picture, as our test showed, is uniformly sharp across the entire field, aberrations are almost completely corrected thanks to aspherical elements - there are 3 out of 5 of them in this lens. The SEL35F28Z is not afraid of rain and dust storms, will not weigh on your pocket due to its weight of 120 g and works with inexpensive filters diameter 49 mm.