Sony photo lenses. Lenses for Sony E. Best prime lenses

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 translucent Sony mirror They are experienced photographers and do not need such articles of recommendation.

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 verified during.

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 case 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 the most different stories. 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 justified the title of “travel zoom” during our test. 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 version of the portrait lens is offered for a relatively low price. In addition, he showed that such aperture is enough for only the eyes to remain sharp in the portrait, because the depth of field for 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 the course, 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 confirmed by . 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 x 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 35 mm 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 shown, is uniformly sharp across the entire field, aberrations are almost completely corrected thanks to aspherical elements - there are 3 of 5 of them in this lens. The SEL35F28Z is not afraid of rain and dust storm, will not weigh on your pocket due to its weight of 120 g and works with inexpensive filters with a diameter of 49 mm.

Choosing a standard lens for a Sony camera

It is believed that the choice of optics for Sony cameras is significantly narrower than for Nikon and Canon models. It’s difficult to argue with this statement, but there is one interesting nuance. The market leaders gained superiority not due to native lenses, but due to “non-original” lenses. Tokina, Tamron, Sigma and others willingly make models with both F mount (Nikon) and EOS mount (Canon), but they often ignore Sony cameras. It’s difficult to explain in a nutshell why this happened, let’s just accept this fact as an axiom. However, if we compare the number of models and the choice among original glasses, then Sony is not only not inferior to Nikon and Canon, but can even surpass them in some segments.

Firstly, Sony's photography division did not arise out of nowhere. In 2006, the company bought the photography division of Konica Minolta. Sony engineers shrewdly did not invent a new bayonet mount, but left Minolt’s A. This means that the vast array of optics produced by this once top manufacturer can be installed on modern Sony cameras without any problems.

Secondly, such a person has a special love for Sony legendary company like Carl Zeiss. Zeiss lenses are available in different mounts, but only for Sony with autofocus and electronic contacts, which allows these lenses to be considered “native”. Despite the fact that the alliance with Sony somewhat damaged the reputation of Carl Zeiss (primarily because glass for the masses began to be sold under the once very expensive brand), the optics of this company cannot be called unsuccessful.

In general, the choice of standard lenses for Sony is not as meager as adherents of the Nikon and Canon camps like to imagine. In this review we are looking at standard lenses (you can find out what they are).

Sony SAL 18-70 f/3.5-5.6 DT

Groups/elements in the 9/11 optical design.
There are 7 aperture blades.
Filter diameter 55 mm.
Dimensions (max. diameter x length) 66x77 mm.
Weight 236 g.

This is the oldest kit lens that Sony equips kits for beginner photographers. In fact, it is an old film Minolta 28-100, converted to a 1.5 crop with a corresponding change in focal lengths. The rework was unsuccessful. It does not shine with sharpness, color rendition, or optical quality. Even by the standards of whale models, this is not the most successful lens. The main and only thing competitive advantage- low price.

Sony SAL 18-55 f/3.5-5.6 DT SAM

Lens for cameras with crop factor 1.5.
Groups/elements in the optical design are 7/8.
There are 7 aperture blades.
Maximum aperture f/3.5-5.6.
Minimum aperture f/22-36.
Minimum focusing 0.25 m.
Filter diameter 55 mm.
Dimensions (max. diameter x length) 69.5x69 mm.
Weight 210 g.

Sony's second attempt to make a kit lens was much more successful. Despite the significant variation in the quality of different copies, the 18-55 is optically much better than the 18-70 in almost all respects, except for zoom ratio. It is clear that you cannot expect miracles from this “glass” either, but, in any case, with proper skill you can get good shots with it. For beginners, the capabilities of this lens will be enough for the first time, and then you can change it to something more advanced.

Sony SAL 16-105 f/3.5-5.6 DT

Lens for cameras with crop factor 1.5.
Groups/elements in the optical design are 11/15.
There are 7 aperture blades.
Maximum aperture f/3.5-5.6.
Minimum aperture f/22-36.
Minimum focusing 0.4 m.
Filter diameter 62 mm.
Weight 470 g.

This is a very versatile lens, covering both wide angle and moderate telephoto, while being relatively compact and lightweight. They love him for his versatility. The optical characteristics of this model are average: it is superior to whale models, but does not reach professional optics. The downside of this lens is the price (about 16 thousand rubles), which should be considered overpriced. However, for the sake of the versatility of this model, the high price tag is forgiven. It is especially popular among tourists and travelers: you don’t have to take anything else on a trip other than 16-105.

Sony SAL 24-105 f/3.5-4.5

Groups/elements in the optical design are 11/12.
There are 7 aperture blades.
Minimum aperture f/22-27.
Minimum focusing 0.5 m.
Filter diameter 62 mm.
Dimensions (max. diameter x length) 71x69 mm.
Weight 395 g.

Another Minolta development, which was embodied in life sony. Despite the complete similarity in focal lengths, the lens is not an analogue of Canon, being inferior to it in all respects. The Kenon model is a professional L-series lens, and the Sonev one is the initial “glass” for cameras with a full-frame matrix, which lacks stars from the sky. There is little point in its existence: focal lengths are inconvenient for a crop lens, and full-frame owners are usually advanced enough not to shoot with such a simple lens.

Sony SAL 16-50 f/2.8 SSM DT

Lens for cameras with crop factor 1.5.
There are 7 aperture blades.
Maximum aperture f/2.8.
Minimum aperture f/22.
Minimum focusing 1 m.
Filter diameter 72 mm.
Dimensions (max. diameter x length) 81x88 mm.
Weight 577 g.

Prior to the release of this lens, Sony did not have a model for advanced enthusiasts. 16-50 closed this niche. It cannot be called unique in terms of optical characteristics; if you look at the picture from it very closely, then weak spots you can find it. However, this is a fast lens with a constant aperture of 2.8, and it costs only 25 thousand rubles. This is an excellent combination that can be forgiven for minor optical flaws. Competitors' similar lenses are more expensive.

Sony SAL 28-75 f/2.8 SAM

Lens for full-format cameras.
Groups/elements in the optical design are 14/16.
There are 7 aperture blades.
Maximum aperture f/2.8.
Minimum aperture f/32.
Minimum focusing 0.38 m.
Filter diameter 67 mm.
Dimensions (max. diameter x length) 77.5x94 mm.
Weight 565 g.

One of the most controversial lenses in the system. This is a very ancient model. It was developed in the 90s by Tamron, then produced under the Minolta brand, Sony engineers only built an ultrasonic motor into it without touching the optical circuit. The lens is not bad. It does everything well with sharpness and contrast, and it reproduces colors adequately and does not suffer from aberrations. Here's the contradiction. The price of the lens hints that this is a professional model, with corresponding requirements for design and reliability, but in this regard the 28-75 f/2.8 has nothing to brag about. This fact makes determining the potential audience of “glass” somewhat difficult. For amateurs it is a bit expensive (although 35 thousand rubles for a full-format lens with a constant f/2.8 aperture is cheap by the standards of other systems), but for professionals it is rather weak. Focal lengths also add inconsistency, which are good on a full frame, but not on a cropped one.

Sony SAL 18-200 f/3.5-6.3 DT

Lens for cameras with crop factor 1.5.
Groups/elements in the optical design are 13/15.
There are 7 aperture blades.
Filter diameter 62 mm.
Dimensions (max. diameter x length) 73x85.5 mm.
Weight 405 g.

There is a similar hyperzoom in model range almost any optics manufacturer, but Sony turned out to be one of the most unsuccessful. While Nikon and Canon 18-200 can boast of quality higher than that of a kit lens, Sony does not - it’s exactly the same kit, only with very wide focal lengths. To be fair, it should be noted that the price of the Sony hyperzoom is cheaper than its competitors, but this does not really save it. The only possible area of application is travel photography, although the 16-105, even despite its smaller focal range, looks more interesting in this role.

Sony SAL 18-250 f/3.5-6.3 DT

Lens for cameras with crop factor 1.5.
Groups/elements in the optical design are 13/16.
There are 7 aperture blades.
Maximum aperture f/3.5-6.3.
Minimum aperture f/22-40.
Minimum focusing 0.45 m.
Filter diameter 62 mm.
Dimensions (max. diameter x length) 75x86 mm.
Weight 440 g.

With this lens, Sony engineers went further and made an even longer zoom, the magnification ratio was 13.8x. This lens turned out to be slightly better than the 18-200, even despite the increase in focal range. In any case, I no longer want to compare pictures from it with point-and-shoot cameras. 16-105 is also inferior, but not as critical as 18-200, so for photographers who don’t have too much high requirements quality, this lens can even be recommended as the only one included. But you shouldn’t expect miracles from him either.

Carl Zeiss SAL 16-80 f/3.5-4.5 DT ZA

Lens for cameras with crop factor 1.5.
Groups/elements in the optical design are 10/14.
There are 7 aperture blades.
Maximum aperture f/3.5-4.5.
Minimum aperture f/22-29.
Minimum focusing 0.35 m.
Filter diameter 62 mm.
Dimensions (max. diameter x length) 72x83 mm.
Weight 445 g.

This was the first lens for Sony from Carl Zeiss, and it made a lot of noise. It was after this model that Carl Zeiss began to be accused of being pop. The lens, by the way, is not bad at all. It has high contrast, dense, rich color, and a very noble background blur, which is rarely found in zoom lenses. Without a doubt, the 16-80 has no analogues in terms of quality among lenses with the same focal lengths from other manufacturers: both the 15-85 from Canon and the 16-85 from Nikon are optically worse. Everything would be fine, but 16-80 costs almost 35 thousand rubles, and for such a price you can and should find fault with it. There are two complaints - strong chromatic aberrations and poor design. In general, the lens is more than good, but in terms of price-quality ratio it is far from ideal.

Carl Zeiss SAL 24-70 f/2.8 ZA SSM

Lens for full-format cameras.
Groups/elements in the optical design are 13/17.
There are 9 aperture blades.
Maximum aperture f/2.8.
Minimum aperture f/22.
Minimum focusing 0.34 m.
Filter diameter 72 mm.
Dimensions (max. diameter x length) 83x111 mm.
Weight 955 g.

This lens costs 75 thousand rubles, which could immediately put an end to its market prospects if it weren’t so good. If after the release of the 16-80 many blamed Carl Zeiss for compromising, then with the 24-70 there are no such questions - it really is a lens the highest level. It is widely accepted as one of the best 24-70 f/2.8 zooms of any brand, perhaps even the best on the market. this moment. He has no shortcomings. Excellent resolution and sharpness straight from an open aperture, high contrast, pleasant color and background blur, reliability and indestructibility. In general, the lens is a dream, but this dream is more expensive than almost all cameras in the Sony line, and this the only fact, which overshadows the pleasure of using this lens.

Let's summarize. The line of standard Sony lenses includes models of popular focal lengths, as well as several exclusive ones. The set is quite extensive, it contains both kit lenses like 18-70 and masterpieces like 24-70, and is quite balanced. There is a choice for both beginning photographers and professionals. Advanced amateurs who want and know how to take high-quality photographs, but cannot spend too much money on a lens, have not been forgotten either. For them, 16-50 is optimal. The only thing missing from the lineup is optics with a constant f/4 aperture.

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 better options High Quality, the price of which fluctuates around $1000. 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, fortunately, there are enough good models, so you don't have much difficulty 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? Together with NEX camera you will undoubtedly get a zoom lens that can cover the widest into the mid-range. The kit will likely include the 18-55mm, 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 almost 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.