Low light? No problem, of course! This lens shines bright and brings out every detail, well after sunset, or even before sunrise. Moving action? The powerful autofocus motors in this lens, combined with Sony’s amazing face & eye detection. ensure impeccable AF tracking.

Whether you’re a pro photographer, videographer, or a passionate hobbyist, the Sony FE 35mm f/1.4 GM will blow your socks off. It’s worth the investment for its lightweight build, compact size, and breathtaking image quality. Seriously, it tells the story of your special day like nothing else!

Don’t sweat the price tag, either—it’s worth every single penny. Pros swear by it, and it’s the perfect lens to start your photography journey for environmental portraits of any kind, not just elopements. The high-quality optics, precise focus, and ruggedness make it a dream for weddings, elopements, portraits, and even sports, but also a perfect choice for any type of outdoor adventure, travel, and everyday walk-around content creation. Whatever subject you’re into, brace yourself for jaw-dropping photos that’ll leave everyone speechless!

Sony FE 35mm f/1.4 GM Lens | Specifications

FOCAL LENGTH & ANGLE OF VIEW: 35mm, 63°
LENS MOUNT(S): Sony (FE) E-mount
APERTURE & RANGE: max f/1.4 & min f/16, 11 rounded blades
STABILIZATION: none
AUTOFOCUS: Twin XD Linear AF motors, near-silent
MANUAL FOCUS: Yes (Linear response mode available)
OPTICAL CONSTRUCTION: 14 elements, 10 groups
MECHANICAL CONSTRUCTION: Mostly metal, fully weather-sealed
MAGNIFICATION & FOCUS DISTANCE: 0.26x magnification, 9.8″ (25 cm) min. focus distance
FILTER THREADS & HOOD: 67mm, rubberized plastic hood with spring-loaded position lock
SIZE: 3 x 3.88″ (76x96mm)
WEIGHT: 18.5 oz (524g)

PRICE: $1299.99 (B&H)

Sony FE 35mm f/1.4 GM Lens Review | Who Should Buy It?

The Sony FE 35mm f/1.4 GM lens is a true all-rounder for professional photographers and one of my go-to lenses for all of my elopement magic. It’s the secret ingredient for stunning portraits when you want to include a bit more of the surroundings, thanks to its wide focal length and a fast aperture that creates dreamy bokeh while keeping everything looking natural.

I also love the wider field of view compared to 50mm, because 35mm doesn’t add noticeable distortion for most portrait distances like a 24mm or wider portrait could. In other words, it’s perfect for capturing spontaneous moments in many settings, especially active outdoor situations but also in low-light indoor intimate settings.

This is a great lens for documenting moments and events of any kind because you can trust it to not only be sharp and in-focus, but more importantly, capture the real essence of your subjects, events, and environments with a natural perspective. Simply put, compared to more telephoto event journalism, a 35mm gives the viewer a better sense that they’re actually standing there, immersed in the moment!

Landscape photographers can venture off the beaten path and achieve breathtaking results, especially in low-light conditions if they do both landscapes and nightscapes. It’s also excellent when any type of nature photographer or content creator wants to add some blurry foreground magic (and/or background!) to their imagery.

Wedding and event photographers can rely on the Sony FE 35mm f/1.4 GM lens for those lively group shots, vibrant environmental portraits, and all-around wedding coverage. It’s versatile enough to handle any situation, making it a go-to lens for general-purpose photographers who love capturing various subjects and genres.

So whether you’re shooting every day or exploring the world, this lens guarantees top-tier performance, incredible image quality, and a perspective that will make your work stand out. It’s a must-have investment for any professional seeking extraordinary results.

Primary Focus | Wedding Photography & Elopement Photography

Get ready to level up your elopement photography game with the Sony FE 35mm f/1.4 GM lens! This bad boy is a game-changer with its wide aperture and razor-sharp image quality. No more worrying about unpredictable mountain conditions – this lens handles them like a champ. And the best part? It’s lightweight, so your shoulders will thank you.

From breathtaking panoramas to intimate vow ceremony details, this lens does it all. No need to fuss with switching lenses throughout the day – this lens has got you covered. You can capture every magical moment with confidence, knowing that the image quality will be top-notch.

This lens is an absolute must-have if you’re an elopement photographer seeking that mountain magic. It’s your ticket to capturing the love and beauty of couples’ biggest days. Get ready to rock those elopement shoots like a boss!

Sony FE 35mm f/1.4 GM Lens | Pros & Cons

Image Quality

The Sony FE 35mm f/1.4 GM lens is highly regarded for its exceptional image quality by professional photographers and reviewers. It delivers outstanding sharpness, contrast, and minimal distortion, even when shooting wide open at f/1.4. The 35mm is designed to provide top-tier performance and is often considered one of the best lenses in its class.

Sharpness

It is highly regarded for its ability to capture intricate details with clarity, making it a reliable choice for photographers who prioritize sharpness in their images.

Bokeh

With its wide maximum aperture of f/1.4, the lens can create a pleasing and smooth background blur, allowing the subject to stand out. Bokeh is more than just shallow depth, though, and the softness of the blur itself is very important, especially for outdoor portraits in sometimes harsh light. In this regard, Sony delivers beautiful results.

Colors & Contrast

The 35 gives you exceptional color rendition and contrast. It is designed to deliver vibrant, accurate colors and impressive contrast, resulting in visually appealing images. While personal preferences may vary, this lens is known for its ability to reproduce colors faithfully and enhance the overall visual impact of photographs.

Vignetting & Distortion

While there may still be some slight vignetting and distortion present, they are generally well-controlled and easily correctable in post-processing.

Sunstars & Flare

This lens exhibits good control over flares, minimizing their impact on image quality, while making backlit portraits beautifully dreamy, too.

Macro & Close-Up Photography

It’s hard to make a comparison when Sony has better macro-focused lenses on the market, but it still holds up for those detail shots. For wedding photographers, close-ups of details usually don’t need to be anywhere near 1:1 reproduction, anyways!

Design & Durability

I have personal experience with dropping and submerging this lens into a puddle, and the lens barrel & sealing gaskets kept all of the water out! This is what professionals pay for; in a moment of crisis, you’re less likely to experience a disaster.

Overall, the design is very similar to other Sony G-Master prime lenses, and that’s a good thing!

Ergonomics & Portability

The Sony FE 35mm f/1.4 GM lens strikes a balance between excellent image quality and a relatively compact form factor. It is bigger and heavier than f/1.8 options, of course, but it’s honestly surprisingly close to such portable alternatives! Everything on the lens is well-placed and ergonomics are excellent.

Indeed, it is made to be comfortable to handle and easy to use on very long days, with well-placed controls and a smooth focusing ring. The lens’s weight is distributed well, providing a good balance when attached to a camera, even when hand-holding with just your right hand.

Autofocus Performance

It utilizes advanced autofocus technology and a responsive, two-motor (Sony XD linear) focusing system to ensure precise and quick focusing in various shooting scenarios. The lens is designed to capture sharp and well-focused images, even in challenging conditions or with moving subjects. This is, of course, a factor of the camera body too; you’re likely to get a slightly better hit rate with a Sony A1 series, or any of their latest cameras with a dedicated AI-based subject detection processor. Either way, this lens is simply the best of any E-mount 35mm prime, period.

Manual Focus Performance

The Sony FE 35mm f/1.4 GM lens features a linear-capable manual focus ring that is smooth and precise. The focus ring offers a good amount of resistance, making it easy to control and fine-tune focus manually. Although many photographers might never need this, it can come in handy very quickly when you start getting into doing portraits under the stars!

Features & Customizations

The Sony FE 35mm f/1.4 GM lens is a versatile powerhouse! It has Sony’s usual physical aperture ring with the cool de-click switch, plus, of course, an AF/MF switch. There is also a customizable Fn button, but, unfortunately, there is no aperture lock

Value

This lens is almost double the price of the cheaper version, but the difference in image quality is a no-brainer for any professional photographer. It’s an essential prime lens that is half the price of zoom lens options.

Sony 35 GM IIReview | Compared To The Competition

Get ready for a photography game-changer: the Sony FE 35mm f/1.4 GM lens! It’s lighter, higher quality, and sleeker than its f/1.8 G predecessor. Oh, and the even older Sony (Zeiss) 35mm f/1.4? This lens absolutely destroys it, especially in terms of sharpness at ~40-60 megapixels. Simply put, this is the ultimate 35mm lens for any enthusiasts and pros who demand the best.

While you could save some bucks with the older, non-G master version, be warned – you’ll sacrifice a bit of autofocus performance and image quality, as it is a “G” series lens. No professional wants that, of course. The f/1.8 is no slouch, but the f/1.4 is just that much better, is value is absolutely worth it.

Alternatively, let’s consider “what if?” …you’re obsessed with shallow depth? If you’re used to the even greater background blur that you can achieve with, say, a 50mm f/1.2 or an 85mm f/1.4/1.2, then you might consider the Sigma 35 f/1.2 DG DN lens, which provides a slightly wider aperture for shallow depth of field. However, it is MUCH larger and heavier than the Sony. In fact, it’s downright enormous.  Both lenses deliver exceptional performance and are popular among photographers seeking top-quality 35mm lenses, but this Sony wins hands-down for versatility, from its significantly lighter weight, and smaller size, to its vastly superior autofocus reliability.

Of course, Sigma does also make a true direct competitor, the Sigma 35mm f/1.4 DG DN Art. ($799-899) This lens is the closest you can come to matching the Sony G-Master and considering the $600 price difference, it may be an attractive offer. However, as sharp as the Sigma may be, the Sony simply pulls ahead in terms of overall autofocus consistency and precision. With the Sigma, you’ll find yourself double-checking for perfect focus decently often, especially at f/1.4. With the Sony, you barely ever have to worry. That subtle difference is absolutely a deal-breaker for many working pros, of course.

Last but not least, you can find a few other alternatives that may suit an extremely tight budget, such as the Samyang 35mm f/1.4 AF II and Samyang 35mm f/1.8 AF. Both of these lenses are quite decent, but neither comes close to the rugged durability that a working pro will require, especially in rough outdoor conditions.

Sony FE 35mm f/1.4 GM Lens Review | Conclusion

The Sony FE 35mm f/1.4 GM lens is the MVP in my photography kit now, making up 80% of my field time mounded on-camera. It’s a low-light wizard, capturing jaw-dropping image quality even when the sun goes down. And the best part? It’s compact and lightweight, perfect for those epic mountain adventures or marathon wedding days.

Its common price tag is $1,399, but do keep an eye out for savings/rebates (usually around $100) from time to time on B&H.

This lens is the cream of the crop for professional photographers, offering a versatile range of applications that can elevate any shooting scenario. Whether you’re a pro with an expense budget to spend, or a savvy hobbyist content creator looking for that one lens to rule them all, this baby has got your back. It’s the real deal, the A+ player in the lens market that stands head and shoulders above the rest. Get ready to capture some mind-blowing shots with this gem!

Spoiler alert: This lens is top notch and blows version 1 out of the water! The Sony 70-200mm GM 2 is a versatile telephoto zoom lens that delivers quick auto focus, stunning image quality, that is perfect for capturing awe-inspiring landscapes, portrait photos or elopements. As someone who shoots 50+ elopements per year in the mountains, the weight and size difference is a game changer in itself. Combined with its upgraded image quality, advanced features and customizable options, it’s a dream for photographers who are looking to elevate their work and stand out from the competition.

Sony 70-200mm f/2.8 GM II Specifications

FOCAL LENGTH & ANGLE OF VIEW: 70-200mm, 34°-12°
LENS MOUNT(S): Sony E-mount
APERTURE & RANGE: f/2.8-f/22, 11-blade circular diaphragm
STABILIZATION: Optical SteadyShot image stabilization
AUTOFOCUS: Dual XD Linear Motors, AF/MF switch
MANUAL FOCUS: Focus Hold button, focus range limiter, aperture ring
OPTICAL CONSTRUCTION: 17 elements, which reduces the weight by 435 G
MAGNIFICATION & FOCUS DISTANCE: 0.30 x – 400 mm
FILTER THREADS & HOOD: 77mm
SIZE: 3.49 x 8.08” (89 x 205.3mm)
WEIGHT: 2.30 lbs
PRICE: $2,798.00
(Adorama | B&H | Amazon)

Sony 70-200mm f/2.8 GM II Review | Who Should Buy It?

Overall, the Sony FE 70-200mm f/2.8 GM OSS II lens is an excellent choice for professional photographers who require a fast, lightweight high-quality telephoto zoom lens for sports, wildlife, events, and portraits.

It’s also a great choice for enthusiasts who want the best possible image quality and autofocus performance for their Sony full-frame mirrorless camera. The cost will price out a lot of photographers, but it’s worth it for professionals or anyone who can afford it!

Primary Focus | Wedding Photography & Outdoor Portraits, Elopements

For my personal profession as an elopement photographer, I love how lightweight and fast this lens is. It allows me to start further back to get that compression, while coming in tight and grabbing those up close details. This lens allows me to have a seamless workflow and I don’t have to worry about losing quality from shot to shot.

This is a must-have purchase for any wedding, elopement, portrait, or fashion/editorial photographer. It’s also great for wildlife or landscape photography, too.

Sony 70-200mm f/2.8 GM II Review | Pros & Cons

Image Quality

Here are the highlights of the results from the Sony 70-200mm f/2.8 GM II: beautiful image quality, with excellent sharpness and beautiful bokeh. Also, amazing images when doing close-up shots like wedding day details of rings and other details.

Sharpness

Overall, the Sony 70-200mm f/2.8 GM OSS is one of the sharpest telephoto zoom lenses on the market. When shooting wide open at f/2.8, the lens produces sharp images with good contrast and minimal distortion. As you stop down the aperture, the sharpness and contrast improve even more, producing extremely crisp and finely detailed photos.

Bokeh

Wedding and elopement photographers will love the bokeh of this bad boy. The creaminess thanks to the fast 2.8 aperture and the all-new optical formula help to create smooth, circular bokeh with soft edges that blend seamlessly into the out-of-focus areas of the image. It’s an absolute game changer for mountain weddings in particular, because of how often harsh, “busy” backgrounds are encountered.

Colors & Contrast

You can’t beat or reproduce the colors this lens renders. It is a great choice for photographers who need vibrant color and clear, crisp contrast from their lenses for big moments outside, low-light situations or wedding portraits.

Vignetting & Distortion

The vignetting is perfect when shooting at wide apertures. The lens features built-in correction for vignetting, which helps to reduce the effect and produce even illumination across the frame. The minimal vignetting and distortion make it an ideal choice for a wide range of photography genres, including portrait, wedding, sports, and wildlife photography.

Macro & Close-Up Photography

This isn’t a designed macro lens, but it does have a close focusing distance of 0.96m (3.15ft), which allows you to get reasonably close to your subject and capture some close-up details. It can still be used for close-up photography and can produce excellent results when using the manual focus ring.

Design & Durability

Sturdy and weather-sealed construction for durability in harsh environments is standard for Sony GM lenses, and this one takes it to another level. An impressive 21 weather seal points make this the perfect lens for being outside in any condition. Your clients will need to run for cover long before you do!

Ergonomics & Portability

Sony really outdid themselves with this 2.0 version of their 70-200 GM: it’s lightweight and compact, even though its image quality and performance are so improved. This zoom lens is only 36.9 ounces, making it one of the lightest zoom lenses in its class.

Autofocus Performance

The lens has been updated with Sony’s latest autofocus technology, including two XD (extreme dynamic) Linear Motors for fast and precise focusing. This makes it ideal for capturing fast-moving subjects such as sports or wildlife. For portraits and weddings, it’s an absolute champ.

Manual Focus Performance

The lens has multiple options for manual focus on the lens itself, as well as customizable buttons on the camera body for performing functions such as focus hold or AF-ON.

One neat feature on most Sony bodies is the ability to automatically zoom into a magnified view whenever you touch the manual focus ring, allowing precision to be almost effortless.

Value

In terms of price point, it’s definitely on the high end, but the Sony 70-200mm f/2.8 GM II’s advanced features and stunning image quality make it worth the investment. The images and performance it delivers is as good as, or better than, all other options on the market, and yet it accomplishes this in a lightweight, portable package with as many “bells and whistles” as possible!

Sony 70-200mm f/2.8 GM II Review | Cons

With a lens that is nearly perfect, there is never much to complain about, except for the fact that perfection comes at a steep price. If you’re on a tight budget, then this $2,800 lens is likely not even on your radar.

So, the “con” we can come up with is this, admittedly biased one: as both consumers and as working professionals, we sure wish these lenses could have stayed closer to the $2K range. Having said that, accounting for inflation and the truly significant improvement in image quality, we totally understand why numerous flagship f/2.8 zooms are approaching the $3K mark.

Sony 70-200mm f/2.8 GM II Review | Compared To The Competition

Let’s be honest. Sony gear geeks have been waiting a long time for this upgrade of the 70-200. Indeed, compared to its predecessor, this bad boy rocks. It boasts better image quality and improved autofocus performance. When compared to other same-mount, third-party options, it stands out for its weather-sealed construction and customization options.

The old version is heavier, bigger, and slower. The difference is quite dramatic and it over delivers for the G-Master enthusiast. This is the perfect lens for professional photographers, and we recommend saving up for it if you do full-time paid work. If you own the old version, this is worth trading it in for. If you don’t own a 70-200mm yet and are trying to decide between the older and newer versions, again, just get this one!

However, anyone on a budget might want to consider third-party options. No third party has an E-mount native 70-200mm f/2.8 yet; you’ll have to use an adapter and a Nikon or Canon DSLR lens. Honestly, we would only recommend this if you already own that DSLR 70-200mm, and only until you can save up for this workhorse.

Last but not least, an alternative to the 70-200mm focal length entirely is, of course, the Tamron 70-180mm f/2.8. It’s not in the same league as the Sony, indeed it’s not even close. It lacks stabilization, has a completely minimal user interface without switches or buttons, and is mostly plastic. Having said that, the Tamron is a mere $1,100, so it is certainly suitable for aspiring pros, and can eventually serve as a backup portrait lens, which is something all full-time pros ought to have.

In my opinion, if you are using this to create images for couples’ biggest days, then the price is worth it. You have to have top-notch glass to create top-notch photos, and this lens delivers.

Sony 70-200mm f/2.8 GM II Review | Conclusion

Overall, the Sony 70-200mm GM 2.0 is an outstanding lens that delivers exceptional image quality and performance. It’s almost 29% lighter than the previous model, which makes it a perfect companion for photographers who need a zoom lens in the mountains or on concrete. Though it may come with a high price tag, its advanced features, and customizable options make it worth the investment for those who want to elevate their work.

Check Pricing & Availability:
(Adorama | B&H | Amazon)

Whether you’re a professional photographer or videographer, or a serious hobbyist, the Sony 24-70mm f/2.8 G Master II is sure to impress, ensuring beautiful images that truly tell the story of the special day. While it may be a pricier option than the first version, the investment is worth it for the lower weight & smaller size, and the image quality is top-notch. In this Sony 24-70mm f/2.8 GM II Review, I’ll show you some of the beautiful images it creates that truly capture the spirit of a special day in the mountains.

The lens is also costly and probably overkill for a hobbyist but it is worth the investment for professional photographers seeking to produce high-quality and beautiful imagery. Its lightweight, high-quality optics, smooth and precise focus, advanced image stabilization, and durability make it a reliable and versatile option for capturing a range of photos from weddings and elopements to sports and outdoor landscapes.

Sony FE 24-70mm f/2.8 GM II | Specifications

FOCAL LENGHT & ANGLE OF VIEW: 24-70mm, 84° to 34°
LENS MOUNT(S): Sony E mount (full-frame)
APERTURE & RANGE: f/2.8-22, 11-blade circular aperture
STABILIZATION: Sensor-based stabilization only (with capable camera bodies)
AUTOFOCUS: Yes, 4 XD (extreme dynamic) linear motors
MANUAL FOCUS: Yes (Linear response mode available)
OPTICAL CONSTRUCTION: 20 elements in 15 groups (5 aspherical, 2 high-precision extreme aspherical, 2 extra-low dispersion ed, 2 super ED elements, Nano AR Coating II)
MECHANICAL CONSTRUCTION: Mostly metal barrel; dust and moisture-resistant design
MAGNIFICATION & FOCUS DISTANCE: 0.32x magnification, 0.2 m (8.27 in.) close-focusing
FILTER THREADS & HOOD: 82mm filter thread, Lens hood included
SIZE: 3.5 x 4.7″ / 87.8 x 119.9 mm
WEIGHT: 695 g (1.53 lb.)
PRICE: $2,298

(Adorama | B&H | Amazon)

[Related: Sony FE 50mm f/1.2 GM Review | They Said It Couldn’t Be Done!]

Sony 24-70mm f/2.8 GM II Review | Who Should Buy It?

The Sony 24-70mm f/2.8 GM II lens is a premium zoom lens designed for professional use. Its fast f/2.8 aperture makes it ideal for capturing intimate and emotional moments in low-light settings during elopement events. The lens features advanced features and technologies that ensure sharp and detailed images, even when zoomed in to capture the intimate details of a couple’s special day.

It is a diverse lens, though, and works well in many environments. It will certainly be popular among landscape photographers who are looking for a wide-angle zoom lens, but it’s also great for wedding, portrait, and sports photography, where there is often no time to work with prime lenses. The Sony 24-70 2.8 GM II is certainly great for fashion and real estate photographers due to its incredible sharpness, and overall beautiful image quality. It’s an all-around banger lens that can be used to capture beautiful images throughout the photo industry.

Primary Focus | Wedding Photography

For my personal profession, I love that this lens has an extended focal range that doesn’t compromise quality. This allows me to adapt to different situations that the mountain might throw my way on an elopement shoot. I can start out wide for those epic panromantic shots and get close to those spicy details during the vow ceremony. This lens allows me to start back and work my way forward without trepidation. This is a must-have purchase for any elopement photographer.

Sony 24-70mm f/2.8 GM II Review | Pros & Cons

Image Quality

Overall, this lens is an absolute step up from the original, and produces some of the cleanest images of any glass on the market.

Sharpness – 9/10

The sharpness peaks around f/8, which is great for landscapes, but still offers very clean and sharp image detail all the way wide to f/2.8.

Bokeh – 8/10

Bokeh resulting from the Sony 24-70mm f/2.8 GM II will depend on your subject. I think it’s top-notch for anything nature-related. It takes a slight step back for portrait shots compared to a Sony f/1.4 GM prime, but I’ll have to save that for a future review! ;-)

Colors & Contrast – 10/10

This lens produces images that are true to form. The color grading and editited images are truer than the first version, and that simply makes a photographer’s life easier.

Vignetting & Distortion – 8/10

If you shoot with its optimization profiles left on, (which is the Sony default on most cameras) then you won’t have a problem with distortion and vignetting.

Sunstars & Flare  – 7/10

These special effects look good when stopping down to f/19 to f/22.

Macro & Close-Up Photography – 7/10

It’s hard to make a true comparison when Sony has better macro-focused lenses on the market, but it still holds up for those detail shots.

Design & Durability 10/10

Sony’s “GM” designation means, of course, that you are buying their flagship professional-grade equipment. It is specifically designed to be as sturdy as possible, even in the harshest conditions. So, in addition to being mostly constructed of metal, in the mount and barrel mechanisms, the Sony 24-70 GM2 is fully weather-sealed.

It is also worth mentioning that with four autofocus motors, not only is AF faster, (more on that in a bit!) …but the system will probably turn out to be more robust and have better longevity than the previous version.

Ergonomics & Portability – 9/10

As the specifications make clear, this lens is significantly lighter than its predecessor. Not only that but also, its weight balances in-hand much better, too; by saving weight at the very front of the lens, your wrist really notices the difference in a way that numbers just can’t articulate.

Simply put, if you do long days of hand-holding, whether wedding & portrait photography or other more adventurous activities, you’ll enjoy using this lens.

Autofocus Performance – 8/10

You may not be able to see it from the outside, but autofocus technology took a big leap forward with this “mark 2” lens. It’s hard to quantify, but simply put, it’s a little faster, a little more snappy, and responsive overall, plus, it’s more precise and consistent too.

Manual Focus Performance – 9/10

As with a few other of Sony’s latest flagship lenses, you can now activate a Linear focus mode, in addition to the standard (electronically controlled) manual focus mode. This makes the lens’ focus ring behave very much like a traditional manual focus ring. It’s a useful feature for those who use MF mode a lot, and the precision is impressive.

Features & Customizations – 8/10

In terms of additional features and customizations, the Sony 24-70mm f/2.8 GM II has almost everything Sony can offer. There’s a physical aperture ring, with both de-click and lockout switches. There’s an AF/MF switch, of course, as well as two customizable Fn buttons.

There is also one additional switch on the lens barrel, which controls whether the zoom is tight or smooth. On the detachable hood, there is both a lock switch and a sliding window for turning a circular polarizer.

Value – 9/10

As a name-brand flagship lens, the value of the Sony 24-70mm f/2.8 GM II is on par with its name-brand competitors. That is, it offers incredible image quality, as many professional features as possible, at just over $2K.

In fact, the Sony in particular is arguably a much better value than the Canon and Nikon alternatives, because of how many features it offers, and how incredibly lightweight and portable it is. We’ll talk more about the competition next.

The only more affordable lens that comes even close in quality is, of course, the Sigma 24-70mm f/2.8 DG DN Art. However, that is a third-party lens, so the difference in value may be seen by many as a draw.

Sony 24-70mm f/2.8 GM II Review | Compared To The Competition

If you loved the first version, you will love the second version even more, especially for those who are conscious of gear weight. I personally think the price increase is worth the lighter glass alone, (as someone who literally climbs mountains for elopement photography work!) …but when you take into account the higher quality and compactor size, this is a no-brainer for any gearhead.

You could buy the older version of the 24-70 GM if you are looking to save money, but with that comes a heavier and bigger lens that is also slower (to autofocus) and won’t produce the image quality the GM II will.

If you are truly on a tight budget, though, the Sigma (mirrorless-made, not the DSLR version) 24-70mm f/2.8 DG DN Art is indeed a lot more affordable. Also, it does offer much sharper images than the original Sony 24-70 2.8 GM.

In our opinion, if this is going to be the primary workhorse lens that you literally pay your bills with, the best investment you can make is to get the flagship name-brand option. This doesn’t need to be the case for every lens you ever use, but at least the one lens you’re going to use the most!

Sony 24-70mm f/2.8 GM II Review | Conclusion

I have always loved the Sony 24-70 GM because of its versatility and image quality. It was always my go-to lens on elopements and adventures in the mountains but the portability needed an upgrade. The new version takes the quality of the old lens and somehow makes it better, lighter, and smaller. This lens is a top-tier get for any professional photographer and offers a wide variety of uses in any profession. It’s great for those who have disposable income, or those who can only afford one lens that “does it all”. An absolute A+ lens on the market.

The Sony FE 24-70mm f/2.8 GM II lens currently is priced at $2,298 at the time of this review, and can be purchased at the links below.
(Adorama | B&H | Amazon)

Make no mistake, the Sony FE 50mm f/1.2 GM is up against some stiff competition from the Canon RF 50mm f/1.2 L and Nikon Z 50mm f/1.2 S. Surprisingly, not only does the Sony hold its own optically, but it’s also the most enjoyable to use in the real world. It’s a winner because of its portability and ergonomic comfort compared to other 1.2’s, and the truly impressive autofocus performance.

With that being said, let’s dive into this review!

Sony 50mm f/1.2 GM | Specifications

• FOCAL LENGHT & ANGLE OF VIEW: 50mm, 47° (full-frame)
• LENS MOUNT(S): Sony E (FE full-frame)
• APERTURE & RANGE: f/1.2 to f/16, rounded 11-blade iris
• STABILIZATION: No
• AUTOFOCUS: independent, floating, (2) focus groups, linear motors
• MANUAL FOCUS: Electronic, linear motor
• OPTICAL CONSTRUCTION: 14 Elements in 10 Groups, 3 XA (extreme aspherical) elements, Nano AR II coating
• MECHANICAL CONSTRUCTION: Metal mount, plastic barrel exterior, full weather sealing
• MAGNIFICATION & FOCUS DISTANCE: 1.3 in, (40 cm) 0.17X magnification
• FILTER THREADS & HOOD: 27mm filter threads; locking rubberized plastic hood
• SIZE: 3.4 x 4.3 in (87 x 108 mm)
• WEIGHT: 1.7 lb (778 g)
• PRICE: $1,998
  (B&H | Adorama | Amazon)

Sony 50mm f/1.2 GM Review | Who Should Buy It?

Although a 50mm lens has almost universal appeal for virtually all photographers, an f/1.2 aperture is definitely a specialty feature. With that in mind, in this section, I’ll mention which photographers ought to really consider the Sony FE 50mm f/1.2 GM, and which might want to consider something else…

Wedding Photography

The 50mm f/1.2 (and f/1.4) prime has historically been many wedding photographers’ absolute favorite lens. Unfortunately, many older primes were not very sharp and were sluggish to focus.

The complete opposite is the case for the Sony 50 1.2 GM, making it one of my top recommendations for wedding photographers who are Sony shooters and who like 50mm. (Personally, I’m a bigger fan of a 35+85mm prime combo.)

One thing that I really appreciate about having f/1.2 (and the especially smooth, creamy bokeh of this Sony GM lens) …is the ability to completely “obliterate” clutter in the background, and draw a viewer’s eye to a subject even amid a chaotic setting. This is an especially beautiful creative tool for wedding photography!

Simply put, this could be the lens that pays your bills and helps define your style as an artist, so I absolutely recommend saving up for it.

Portrait Photography

Portrait photography is a very similar genre to wedding photography, at least during some of a wedding day. However,  “plain” portrait photography is where this 50mm prime lens will shine even more. You’ll be working in mostly controlled situations, where “zooming with your feet” is almost always an option. Also, you can take the extra time to achieve precision with your plane of focus at f/1.2.

There’s just something special about 50mm for portraits, whether it’s a close-up of one or two faces, or it’s a whole group portrait of a family. Indeed, if you line up your subjects perfectly enough, I would even go so far as to photograph large groups at f/1.2 or f/2; if you can use a tripod and take the time to pose your subjects perfectly, the resulting portraits with “impossible” bokeh will be magical.

Fashion & Editorial Photography

Whether you’re photographing families or fashion models, the current generation of Sony GM prime lenses are all professional workhorse lenses. The main thing is, simply deciding if a prime or zoom is right for you as an editorial, commercial, or fashion photographer.

If you do a lot of fashion/editorial work, for example, I’d probably recommend investing in a good 70-200mm f/2.8 lens for solo portraits first, and then worry about a 50mm lens later.

Candid & Street Photography

When you’re photographing candid moments, especially with strangers in public or on the street, it can be beneficial to have f/1.2 at your disposal. This makes it possible to capture portraits in almost any light, even the dark, dim natural light of a city street. Heck, with f/1.2 and the amazing autofocus system on the latest Sony full-frame camera bodies, you could even do portraits by the light of a full moon, if you wanted.

Action Sports & Wildlife Photography

This may not seem like the most useful lens for high-speed action, however, if you’re doing high-speed action of any kind in extremely low light, then f/1.2 can be beneficial. Having a slight improvement in shutter speed could help you freeze action in very dim conditions.

Personally, though, I would rather just have an f/1.4 prime for high-speed action in low light, and I’d rather save my money for a fast-aperture telephoto zoom.

Landscape & Nature Photography

Landscape photography is another realm where you just don’t need f/1.2. And, here’s the thing: If you’re going to be taking all your photos at f/5.6, then quite honestly, almost any modern lens will be about the same sharpness.

Nature photography in general, on the other hand, offers many creative opportunities for selective focus. Think of it as capturing portraits of a natural, static subject.

So, here’s the bottom line: if your landscape photography involves a lot of hiking, or even just walking or travel in general, then I’d recommend something far more lightweight and compact, but equally durable, like the Sony FE 50mm f/2.5. Or, of course, a zoom lens that covers 50mm. Only get this f/1.2 prime if your style of outdoor photography is very much like portraiture itself!

Nightscape & Astrophotography

One of the most exciting things to do with an f/1.2 aperture is, of course, photograph the night sky. It’s my favorite thing to do, period! 50mm is not as useful for astro-lansdcape photography as, say, 24mm, 20mm, or 14mm, and there are some pretty fast primes at those focal lengths, too.

However, if you’re doing a balance of deep-sky astrophotography and “deepscapes” type nightscape photography, then you’ll love what this lens has to offer.

I’d recommend stopping down just a tiny bit, maybe to f/2 or so, in order to get the optimal balance of light-gathering and sharpness, low vignetting, and negligible fringing or aberrations of any kind.

Sony 50mm f/1.2 GM Review | Pros & Cons

In this section, I’ll get technical while trying to remain grounded in real-world applications for this lens. To make a long story short, it’s almost perfect, but not quite. In the real world, what this means is that you’re going to love the images, and only notice any flaws if you’re doing highly technical work.

Image Quality

Ultra-fast primes used to be all the same: they had absolutely terrible image quality when used wide-open, and their only redeeming quality was smooth bokeh wide-open. So, you either bought an f/1.2 prime specifically to use at f/1.2 for buttery bokeh, despite a huge compromise in resolution, …or you bought a slower prime for shooting at stopped-down apertures where the playing field was almost completely level.

Today, things are completely different. Thanks to modern computer design, optics are truly impressive, no matter the aperture. In case you haven’t realized yet, the Sony 50mm f/1.2 GM is definitely one of those lenses: its image quality is truly stellar at all apertures. You can use it at f/1.2 just as easily as you would at f/2.8 or f/8.

Sharpness

Honestly, due to the diffraction that a 60-megapixel full-frame camera has at f/8, I think I’m seeing sharper results from this Sony GM lens at f/1.2-f/2! It’s just that sharp.

In the extreme corners, you do see a bit of softness, when shooting wide-open, and that doesn’t fully improve until f/2.8-4. Having said that, almost the entire image frame is very sharp at f/1.2.

Bokeh

Bokeh is probably the reason you buy this lens, pure and simple. Not only is f/1.2 extremely shallow, but the optics themselves, including the XA elements, (“extreme” aspherical) allow for some of the softest, smoothest blur I have ever seen.

Sony did a beautiful job in terms of combining clinical sharpness with the aesthetic character of creamy, buttery bokeh. Different types of challenging conditions, such as cluttered textures and “bokeh dots”, are all rendered buttery-smooth.

There is a bit of typical “cats eye” bokeh warping in the edges/corners of your frame, of course.

Colors & Contrast

Color and contrast are always subject to raw processing, so many photographers may downplay this area of a lens review. However, I must mention just how little editing I applied to any of the images in this review! Straight out of camera, the raw images from the Sony 50 1.2 GM are just gorgeous.

Contrast is clear and crisp, and colors are beautifully vibrant. In many cases, all I did was set the Picture Profile such as “Vivid” (above) or “Portrait”, or “Landscape”. A few images required slight adjustments to highlights and shadows, of course, but very few required actual enhancements with sliders like Vibrance, Contrast, or Dehaze.

Vignetting & Distortion

Keep in mind that you can turn on the in-camera lens profile and barely ever see much vignetting, and basically zero distortion. However, technically speaking, even with vignetting correction turned on, there is still going to be some faint darkening of corners at f/1.2, which will be noticeable only in images with perfectly smooth-toned areas.

Also, if you turn vignetting correction off, the extreme corners get very dark, and even when stopped down to f/2.8 or f/4, there is still a faint amount of vignetting. (Again, it won’t be noticeable in most real-world conditions.)

If you’re not doing highly technical work such as deep-sky astrophotography, then just leave the vignetting and distortion corrections on, and enjoy! If you are doing technical, critical work, just know that this lens is still one of the best available, despite not being truly flawless.

Sunstars & Flare

Flare dots are well-controlled, thanks to all the optical coatings Sony is putting on their GM-level glass. When you do want flare, and you intentionally shoot into the sun or towards strong backlight, the warm wash of haze is not too overpowering, especially when using the lens hood.

Sunstars, on the other hand, are a bit soft and dull, which is of course the side effect of having such perfectly rounded aperture blades that are optimized for smooth bokeh.

Color Fringing, Aberration, Coma & Astigmatism

This is where “the devil is in the details” for many f/1.2 prime lenses. Modern optical designs are incredibly sharp and resolve 60+ megapixels easily, but when you pixel-peep the corners, you begin to see things like chromatic aberration or coma/astigmatism.

Surprisingly, the Sony 50mm f/1.2 GM performs quite well, at least for an f/1.2 prime. There is very little “blooming” of green/magenta at the edges of focus in portraits, and corner color aberrations are almost completely eliminated with the built-in lens profile applied.

For all you astrophotographers who want pin-sharp stars in the corners of your images, I have more good news: coma and astigmatism are only faintly present; some of the lowest I’ve ever seen on an f/1.2 prime lens. They are definitely still there, of course, especially in images with 40-60 megapixels. You can hit f/2 for maximum resolving power in the corners.

Macro & Close-Up Photography

Many fast-aperture prime lenses are almost useless at their closest focusing distance because they are optimized for sharpness at a greater distance. The Sony 50mm f/1.2 GM is the opposite: even at its absolute closest focusing, sharpness and image quality is incredible. There is a bit of field curvature, as you might imagine. Still, considering its respectable magnification/reproduction ratio (for a non-macro lens) of 0.17X, at its minimum focus distance, it is at least a fun lens to use for general close-up photography such as wedding details or nature close-ups.

Design & Durability

As a G-Master lens, the Sony 50mm f/1.2 GM delivers flagship build quality. It’s truly rugged, with weather sealing of course, plus some of my favorite design features such as the rubberized grippy lens hood that locks firmly in place.

I must say this about overall durability and modern lenses: a lot of people complain about lenses not being all-metal anymore because they hear the trigger word “plastic” and they think a lens is going to completely fall apart at the slightest bump. In my 20 years of experience playing with all different types of lenses, this is simply not the case anymore. The high-grade plastics that are being used these days are actually preferable to all-metal designs, for me, because they absorb or dissipate impact and shock beautifully.

Of course, I haven’t dropped any review lenses on concrete, nor have I held them out in the rain for an hour. But from my experience with lenses that I personally own, and have admittedly done both of those things with, I can vouch for these modern lenses’ incredible durability. Sony’s GM primes are among the best made on the market.

Ergonomics & Portability

This is where, historically, all fast-aperture primes would fail and become highly unattractive to me. I’m one of those photographers who choose prime lenses not so much for their sheer speed, but mainly for their compactness and portability.

In other words, an f/2.8 zoom is more than enough of a fast-aperture lens for me, if I need it. So, when I look for a prime, I don’t mind if it’s “only” f/1.8 or f/2, because that’s still a whole stop faster than f/2.8. More importantly, such “slow” prime lenses are incredibly compact compared to an f/2.8 zoom.

With that said, the Sony 50mm f/1.2 is certainly not lightweight or “tiny”, but it’s still one of the lightest, smallest f/1.2 autofocus primes ever made. The ergonomics and overall balance are excellent, and it’s a joy to work with. I might leave it at home if I’m going on a long hike for landscape or nightscape photography, but for portraits, weddings, or any type of general photography where I’m not walking too far, I’d love to have the Sony 50 1.2 GM.

Autofocus Performance

The Sony FE 50mm f/1.2 GM is one of the few lenses to boast one of the best features in modern mirrorless lens tech: dual floating focus motors! I’m not sure exactly how it works, but the theory is simple: With two different sets of focus elements on the move, greater precision, speed, and optical performance are possible.

Simply put, autofocus with the Sony 50 GM is incredible. Not only is it the best of any f/1.2 prime lens I’ve ever used, but it’s also actually on par with other primes and zooms that are the fastest-focusing lenses in existence.

Just 5-10 years ago, especially on DSLR bodies, an f/1.2 prime was a sluggish lens that could barely focus. Things are completely different now, with Sony’s industry-leading autofocus system in its flagship bodies like the A1 and the A9 series.

Manual Focus Performance

The manual focus control is linear on the Sony 50 1.2 GM, which just means it feels realistic and natural. The physical smoothness of the focus ring is amazing, and the precision for fine-tuning makes it easy to do challenging things like focus on stars.

Features & Customizations

The Sony 50mm f/1.2 GM has everything: an aperture ring that can be de-clicked, an AF/MF switch, plus a customizable Fn button. I’ll get more into it next in the Value section, but these add up to the most physical features of any 50mm prime lens.

Personally, instead of a dedicated aperture ring, I do prefer Canon and Nikon’s customizable “control ring” dial that you can use to adjust other settings like ISO or EV comp. Also, I’m a photographer who doesn’t shoot video and therefore doesn’t need to de-click the aperture ring. For this reason, I’m more upset that Sony omitted a complete lockout switch. If you’ve ever accidentally bumped one of your Sony lenses from “A” to f/16 or f/22, then you know what a show-stopper it can be.

Value

It’s definitely hard to assign value to a lens that is so completely in a league of its own. As an f/1.2 autofocus prime that offers incredible image quality, its value is approximately in line with the Canon and Nikon alternatives. It’s actually a better value if you consider the superior offerings of features & customizations that I just mentioned.

However, as a 50mm prime in general, it is at least double if not triple or quadruple the price of other alternatives. There’s no way to overlook the fact that if you’re okay with f/1.4, for example, you can get 75-90% of the performance, for about 1/3 the price.

Honestly, in terms of overall value, it will depend on your priorities. The Sony 50mm f/1.2 GM does offer an incredible value, but the competition is fierce, so we’ll just dive right into that section now…

Sony 50mm f/1.2 GM Review | Compared To The Competition

Depending on what you’re looking for, you might have a vast array of alternatives, or literally none. Why is this? Because, of course, if the 50mm prime you’re looking for must have BOTH  f/1.2 and autofocus, then this is your only real option on the E-mount.

(NOTE: technically, you could adapt an RF or Z-mount lens to the E-mount. However, with the significant hit you take to both autofocus performance and overall reliability, I consider them to only be marginally better than manual focus lenses.)

Most photographers are probably not dead-set on f/1.2, and are happy to consider f/1.4, f/1.8, or even slower prime lenses, depending on their needs and their creative style. With that in mind, I will rattle off my favorite alternatives that you ought to consider.

Sony Full-Frame Mirrorless Standard Primes

The lightest, smallest, and most affordable alternative is in the far opposite corner from this big, heavy, expensive Sony. It’s a lens I reviewed a few years ago: the Samyang/Rokinon 45mm f/1.8. I know, 45mm is not 50mm, but it’s close enough for me. I like this lens because it is absolutely tiny, and dirt-cheap too. If you’re looking for a 50mm prime specifically because you want to travel lightweight, be incognito, and/or save as much money as possible, then this is a great choice at a mere $329-399. Of course, optically and mechanically the Roki-Yang pales in comparison to the Sony.  This is as “apples to oranges” as you can get.

If you want a high-quality, name-brand alternative that is ultralight and tiny, then check out the Sony FE 50mm f/2.5 G. At $598 it is almost twice the price of the Roki-Yang. However, I still like it more than the Sony FE 50mm f/1.8 because that older lens is not a G-quality lens and lacks the aperture ring and AF/MF switch. Unlike the Samyang/Rokinon 45mm, this Sony 50mm f/2.5 is a rugged, pro-quality lens that I’d consider even though its aperture speed is something like two whole stops slower than the f/1.2 GM.

F/1.2, f/1.4, f/1.8, f/2.5…

If you’re craving f/1.4, then neither of these lenses will suffice. Luckily, there is the Samyang/Rokinon AF 50mm f/1.4 FE II. At $649-749, (depending on if the common “Instant Savings” is available) …this is one of the best alternatives for those who crave aperture speed and who aren’t afraid to carry around something a little bigger and heavier than the “kit” f/1.8 primes.

This “mark 2” version of the Samyang/Rokinon AF 50mm f/1.4 is an improvement in every way over its predecessor. It’s built quite solidly and offers weather sealing. It doesn’t have an aperture ring, but it does have a “Custom” switch that you can program (using the not-included USB dock) to change the function of the focus ring. There is also a regular Fn button. Personally, I’m not a big fan of either of these mechanical features; I wish the lens just had a simple AF/MF switch, but I understand this is the way that more affordable lenses are going in order to cram more features in at lower price points.

[Related: Nikkor Z 50mm f/1.2 S Review]

[Related: Canon RF 50mm f/1.2 Review]

All in all, however, let’s be honest: there is no true competition that is native to the Sony E-mount. Its real competitors are the Canon and Nikon equivalents, on their respective mounts. For those who are curious, here is how I think they all compare: Each lens is flawlessly sharp throughout most of the image frame, and each lens offers gorgeously smooth bokeh, as well as excellent optics in every other regard. You’ll only see a slight difference if you pixel-peep the extreme corners, in which case the Nikon pulls ahead by a slight margin, obviously due to its absolutely immense size. Honestly, I’d be happier with the Sony, only because I am not a fan of extremely heavy lenses.

Sony 50mm f/1.2 GM Review | Conclusion

I’ll be the first to admit that f/1.2 prime lenses aren’t meant for every photographer. Some may simply be looking for a smaller, lighter prime lens, and an f/1.8 or f/1.4 prime is better for them. Other photographers may be happy to carry around a big, heavy lens, but unfortunately, ~$2,000 is understandably out of their budget, considering those f/1.8 and f/1.4 alternatives can be found for less than half the price.

Either way, there is also no denying that 50mm is one of the most competitive categories for lenses, especially on the Sony E-mount. Yet, despite the nay-saying regarding the “restrictive” mount diameter, Sony managed to deliver what is now my favorite f/1.2 prime. In fact, it is basically the only f/1.2 prime I would ever consider owning since I actually fall into both of the aforementioned categories: I prefer lighter lenses, and I’m usually on a tight budget.

If you have any questions or thoughts, please leave a comment below!

Check Pricing & Availability

The Sony FE 50mm f/1.2 GM is usually priced at $1,998, with possible rebates of $100-300 available from time to time throughout the year.
(B&H | Adorama | Amazon)

Sony’s E-mount was supposed to be “too restrictive” according to some. This type of lens should not be possible, and yet, here it is in all its ~$3K glory. Indeed, this lens costs about a thousand dollars more than some of its competitors, and more than double what some excellent third-party options cost.

If it wasn’t for the price tag and the nearly 2 lb weight, I would assume that it’s no good. Maybe it’s soft, maybe it has wild distortion and/or severe vignetting. (Which, when corrected, might leave you with the equivalent of 14mm and/or f/4!) Honestly, no f/2.8 zoom that goes to 12mm could be optically excellent, right? Wrong. Absolutely wrong!

Indeed, considering that it costs more than many photographers’ camera bodies, I went into this Sony 12-24mm f/2.8 GM review giving it the benefit of the doubt, and I was not disappointed.

I will tell you right now that you’re probably going to want this lens. Ask yourself this: is it actually right for the photography you do? Honestly, even if money were no object, or even if you actually enjoy lugging around very heavy lenses, I would still recommend carefully considering the pros and cons of this lens, before you take the plunge.

Without any further ado, I’ll get to it! 

Sony FE 12-24mm f/2.8 GM Specifications

• FOCAL LENGHT & ANGLE OF VIEW: 12-24mm (122° to 84°)
• LENS MOUNT(S): Sony FE (Full-Frame)
• APERTURE & RANGE: f/2.8 (constant) to f/22 (minimum)
• STABILIZATION: No
• AUTOFOCUS: Four XD Linear motors in two groups, internal movement
• MANUAL FOCUS: Electronically controlled, linear response, location distance displayed
• OPTICAL CONSTRUCTION: 17 elements in 14 groups, 3 XA, 1 aspherical, 2 Super-ED, 3 extra-low dispersion, Nano AR Coating II
• MECHANICAL CONSTRUCTION: All-metal barrel, fully weather-sealed
• MAGNIFICATION & FOCUS DISTANCE: 0.14x, 28 cm (11.02″)
• FILTER THREADS & HOOD: Rear drop-in filters (no front filter threads)
• SIZE: 146 x 90mm (5.75 x 3.54″)
• WEIGHT: 847 g (1.86 lbs)
• PRICE: $2,998
  (Adorama | B&H | Amazon) 

Sony FE 12-24mm f/2.8 GM Review | Who Should Buy It?

If you have a Sony full-frame mirrorless camera, then you probably already know that their “GM” G-Master line of lenses is their flagship, professional offering.

The Sony 12-24 2.8 GM is definitely that: a no-compromises lens that serious professionals ought to consider, without a doubt.

However, what about beginners, hobbyists, or professionals who don’t necessarily need an exotic wide-angle lens? Honestly, it really depends on the type of photography you do, because there is a chance that this lens is, yes, “overkill”. 

Architecture & Real Estate Photography

If you’re an architecture & real estate photographer, then you absolutely did take note, and maybe even start to drool, when this lens was announced. For this line of work, whether it’s paid or just a hobby, there is simply no such thing as “too wide”.

The Sony 12-24mm f/2.8 GM is absolutely the best lens on the market for this type of photography, because not only is it impressively sharp at all apertures and all focal lengths, but it also has virtually zero distortion, which is extremely important for a genre that has tons of straight lines in essentially 100% of the photos!

This is a situation where you could “make do” with something less, such as the much older Sony FE 12-24mm f/4 G, or the new and optically excellent Sigma 14-24mm f/2.8 DG DN Art, however, if you can afford it, you should treat yourself to the best, as this lens will literally pay your bills doing real estate and architecture work.

Landscape Photography

Landscape photographers, of course, are also going to love the idea of being able to zoom out further than 14mm or 16mm. Especially with the latest trends in popular imagery that I’m seeing on social media; it seems like 12mm, or even 11mm and wider, are often used to dramatically emphasize a foreground element, and create a truly dynamic scene.

Personally, however, I’m not always a fan. In my time with the 12-24mm, I honestly found that a vast majority of the time, I ended up with a lot of empty, negative space around what was a good framing at 14mm or even 16mm. The only time that I felt like I really and truly “needed” 12mm was when I was literally backed into a corner and trying to frame something like a cave or other natural features.

So, it really depends on your style as a landscape photographer. For me, I only found 12mm to be truly useful when I literally had that much interesting scenery (122 degrees horizontal!) to fit in.

Nightscape & Astrophotography

 When you add the night sky to your landscape, of course, then 12mm becomes a lot more useful and exciting. I find myself experiencing a lot more situations where I’m wishing I could fit elements into a scene more comfortably.

You do still run the risk of having “too much space” around the edge of some compositions, I found, because 12mm is indeed much wider than 14mm and 16mm, which many astro-landscape photographers are accustomed to.

However, other times, I really do want 12mm instead of 14mm because that extra space gives the Milky Way or other subjects a little more “room to breathe” in my composition, as opposed to it just barely being at the edge of my scene.

Hands-down, if you shoot astro-landscape photography, then you’ll want this lens about as much as, or even more than, someone who does real estate interiors. Especially considering that (spoiler alert!) it is an absolutely excellent performer wide-open at f/2.8 and 12mm.

Wedding & Portrait Photography

Everything from portraiture to wedding photojournalism could use a wide-angle lens, but if you ask any experienced pro, they’ll probably tell you that they’re just not dying to get to 12mm. It can be useful in very small spaces, but that’s about it…

In fact, most event journalists or large-group portrait photographers aren’t usually going much wider than 16mm or 17mm, because of the natural distortion that occurs, no matter how much “straight lines stay straight”. You just shouldn’t be putting human beings at the very edge of a frame wider than 20mm, if you can avoid it.

The bottom line for me is, you’d have to be doing some pretty exotic, dramatic portraits or event work in order to justify this lens. Otherwise, my go-to wedding & portrait lens is still the simple, compact, affordable Tamron 17-28mm f/2.8, or the similarly compact & lightweight Sigma 14-24mm f/2.8, if you’re OK with forfeiting filter threads in order to gain 14mm, which has been more than enough for every job I’ve ever had in my entire 15-year career as a portrait & wedding photographer.

Candid & Street Photography

While the Sony 12-24mm f/2.8 GM is not a diminutive, incognito lens at all, (in fact it’s the biggest ultra-wide zoom ever made, I think?) …it is still a really cool option for street photography and that type of wide-angle candid imagery.

Whether you’re trying to squeeze in a whole urban downtown scene with skyscrapers or other architecture looming over you, or you’re trying to fit a tiny room into your frame as a photojournalist, the Sony is a champ.

Once again, however, I have to recommend first trying out 14mm or 17mm to see if they’ll work for you, before going all-in with this 12-24mm. Honestly, most of my candid, casual photography is more likely to be done on a 24mm or 35mm prime, actually.

Fashion & Editorial Photography

High-end portrait work might call for some more serious wide-angle focal length options if there is a specific look you are going for or a particularly challenging environment. However, again, I suspect that most high-end commercial work that involves human subjects is going to see the widest focal lengths of around 24mm, so for the few times when ~12mm might be useful, I can’t really imagine needing more than something that is already rather exotic and professional-grade, like the Sigma 14-24mm f/2.8 Art.

Sports, Extreme Sports, Action Adventure Photography

All types of extreme sports and adventures can really benefit from ultra-wide focal lengths because you often never know exactly where the action is even going to occur, or you simply want to capture a sense of scale that makes your adventure/athlete subject become just a part of the landscape.

Alternately, maybe you’re simply going for that up-close, dramatic in-your-face look that uses perspective distortion to emphasize a subject while again including virtually everything in the background. Either way, 14mm is already really fun for this, and let me tell you, 12mm is even more fun!

Sony FE 12-24mm f/2.8 GM Review | Pros & Cons

I hinted at this already, but here it is, plain and simple: This lens is optically near-perfect, however, the only way to achieve such a feat was to make it massively large and heavy. Plus, of course, Sony believes that they can charge whatever they want for a lens that is truly peerless.

Indeed, I honestly doubt if Canon or Nikon will make a competing f/2.8 zoom that goes to 12mm any time soon, so, that’s it! Technically, this lens has no competition.

Image Quality

Of course, the numbers on the spec sheet don’t mean much if the image quality is terrible. There are quite a few third-party lenses on the market today that go to such ultra-wide focal lengths as 12mm and even 11mm or wider, however, they are all quite sub-par in terms of image quality. They have significant distortion, and/or severe vignetting, and oftentimes, just plain “mush” for corners.

This is not the case with the Sony 12-24 2.8 GM; its image quality is nearly perfect.

Sharpness

Sharpness at all focal lengths and all apertures is truly impressive. There is no “weak spot” at 24mm, or somewhere in the middle, that you have to watch out for as with older zooms, including the Sony 16-35mm f/2.8 GM. (More on that later!)

Indeed, as you can see above, the central image area is not just sharp at f/2.8 and 12mm, it is so sharp that it almost appears to be out-resolving the 60-megapixel Sony A7R IV. In other words, of we see a 70-megapixel or 80-megapixel Sony A7R V or Sony A7R VI, …this lens will be ready for that next-generation camera.

Bokeh

If you do get super-close to a subject and are able to blur the background, then you’ll get decently smooth results. However, this isn’t exactly the type of lens you buy for its bokeh, even though it’s f/2.8 as opposed to f/4. Even if you’re obsessed with image quality, you should be buying this lens because it offers 12mm.

Colors & Contrast

As a GM (G-Master) class lens, the Sony 12-24mm f/2.8 offers gorgeously clear, crisp images that look beautiful in-camera on any of the current-generation Sony cameras. Having said that, post-processing is highly subjective, of course, so all I can say is that the 12-24 GM doesn’t have any color casts, aside from what I’m about to mention next…

Vignetting & Distortion

First, let’s talk about what you see when you look at an un-edited photo, with your Sony camera’s lens correction profiles set to “Auto”: You will see a nearly perfect image! Virtually zero distortion, and not much vignetting to speak of, even at f/2.8 and 12mm.

This is truly impressive, but that’s what you get when there is so much glass in an optic, and when you are paying nearly $3K. You get a relatively bright, well-corrected professional lens.

What if you turn the in-camera correction profile off, and observe the “natural” vignetting and distortion? Surprisingly, it is still very low in both regards. There just isn’t much distortion or vignetting even at 12mm and f/2.8. This truly is a bright-transmission, well-corrected optic.

Having said that, there is a downside that I absolutely must warn you about, especially if you heavily edit your photos and are pushing the limits of what is possible at high ISOs. If you leave the in-camera corrections on, you may run into the same issues that have been plaguing almost all mirrorless lenses for years now.

Unfortunately, the correction profile may cause a donut-shaped vignetting artifact, which may be barely visible on a smooth-toned (empty blue sky?) image. However, at higher ISOs, the distortion correction will create a really nasty pattern that gets more visible as you increase your sharpening and any micro-contrast sliders such as Texture or Clarity.

If you shoot under such conditions and edit your photos heavily, then I recommend simply turning off the in-camera profile corrections entirely, and applying just a minimal amount of manual vignetting correction to your own taste.

Sunstars & Flare

Flare is impressively well-controlled for a lens with such a bulbous front element, and thanks to all the exotic coatings there are virtually no “dot” flare aberrations. You have to basically be putting the sun right in the corner of your image frame in order to start seeing anything annoying, and even then you can often eliminate it by just slightly recomposing your shot.

Sunstars are well-defined by f/8 or f/11, but they’re not actually very “pointy” or sharp. Unfortunately, most all Sony GM lenses have smoothly rounded aperture blades and optics that are optimized for creamy bokeh, instead of needle-sharp sunstars. This is unfortunate because we’re talking about a 12-24mm lens, but on average, I do suspect that more photographers care about bokeh than sunstars, of course.

Color Fringing, Aberration, Coma & Astigmatism

For all you nightscape photographers out there, here’s your good news: This lens has impressively low coma, astigmatism, and color fringing! Don’t believe me? Here’s the toughest test possible: 12mm, f/2.8, and the Sony A7R IV, the highest-resolution full-frame sensor on the market.

Let’s go straight to the extreme corners of the frame since we already know that the center is absolutely tack sharp…

This level of impressive performance is likely why the lens includes so much glass; every little aberration is very well-corrected, even in the corners at 12mm and f/2.8. It’s not absolutely flawless, but it’s still on par with the best, and that is an impressive feat.

Macro & Close-Up Photography

 Getting up-close with a 12mm lens is actually quite fun! I did not have too many opportunities, but the perspective distortion you can achieve is a really interesting creative tool.

When focusing at this lens’ minimum focus distance, you aren’t going to see any loss of image quality, although the plane of focus isn’t very flat and you shouldn’t expect sharpness to be possible both dead-center and in the corners at the same time.

Design & Durability

The Sony FE 12-24mm f/2.8 GM definitely feels like a rock-solid flagship lens. In fact, when you first pick it up, you might even wonder if the guts of the lens literally contain rocks, because yeah, that much glass is really heavy!

I’m not done complaining about the size/weight yet, but I will say that the physical durability of this lens is excellent. As a G-Master flagship lens, it is fully weather-sealed. However, that exposed front element shouldn’t be left out in a torrential downpour for too long!

Ergonomics & Portability

Again, this lens is massive. If you thought those 14-24mm f/2.8 zooms from years past were heavy, this one says, “hold my beer!”

A lot of photographers who are in good shape (and who are young enough to not know what arthritis or a knee injury feels like) will say, “why do some people complain about how big and heavy pro lenses are? Maybe you should go to the gym!”

Honestly, we’re well past that point with this Sony 12-24mm f/2.8. It’s just too heavy for some uses. I am willing to lug many pounds/kilograms of gear up mountains, in fact, my backpacks often clock in at ~50 lbs, but I have to draw the line somewhere!

Here is the best way I can explain it: If I bring this lens on an adventure or trip, it’s not just adding weight to my back/shoulders/hips. It is taking up the space and weight that another lens could occupy. I’d prefer to be able to bring 3-5 lenses on even the most rugged, strenuous adventures, and THAT weight adds up.

So, to most photographers, the Sony 12-24mm f/2.8 GM isn’t that bad if you’re not walking very far from your car or studio, and if you’re not holding it to your eye for hours on end. You’ll probably love this lens, and the size/weight won’t be a deal-breaker.

Ergonomically, it is definitely front-heavy, and you’ll want to hold it with both hands as if you’re holding a 70-200mm f/2.8, even if you’re only hoisting it for a minute. 

Autofocus Performance

Sony’s latest GM lenses have the absolute best in autofocus technology, with speed and precision that mirrorless setups could have only dreamed of 5+ years ago.

Which is a good thing, too, because honestly, at 12mm, the depth of field is so deep that you’ll almost never know if you’ve missed focus just a little unless you’re zooming in to 100% magnification and focusing manually. Even for active situations in low light, I rely on Sony’s autofocus technology 99% of the time.

Manual Focus Performance

Focusing manually is very easy with this lens because once you magnify live view, perfect sharpness is very easy to see.

This is often a problem with other third-party lenses that you might consider which go to 12mm or even 11mm, such as Laowa/Venus Optics, or Irix, etc: the lenses just aren’t perfectly sharp when their aperture is wide-open, so nailing focus is a lot harder, even with “marching ants” turned on.

Features & Customizations

This particular Sony GM lens has both an AF/MF switch and a customizable Fn button. It does not, however, have an aperture ring, and of course, it is un-stabilized. You obviously can’t fit threaded filters on the front of this thing, but there is a slot for gel filters in the back.

Honestly, I have no complaints. I don’t particularly care for aperture rings on modern lenses like the Sony FE 50mm f/1.2 GM. (Review coming soon!) they’re just too easy to bump out of place, and even if they do come with a lock switch, it just means that I’m really not going to use the feature!

I do appreciate the relatively customizable “control rings” that appear on some Canon RF and Nikon Z mirrorless lenses, though. I do wish that the Sony lenses which did have an aperture ring, were more customizable than just controlling aperture alone. Having said that, I understand that Sony’s advantage is often for video shooters who appreciate the de-clicking feature more than other customizations.

Value

 Here is where you’re going to have to ask yourself the serious question: Is this lens really worth three thousand dollars?

The answer is yes if you need a zoom that goes to f/2.8, and, if not, then, …it’s complicated! Considering everything I’ve already mentioned about what type of photography you do, hopefully, you already know whether or not this lens will be worth it to you. If you’re still not sure, don’t worry, next I am going to make it even more clear by comparing this lens against its closest competitors.

Sony FE 12-24mm f/2.8 GM Review | Compared To The Competition

Sony’s E-mount has a ton of options now. In fact, thanks to third-party lens makers, Sony has by far the most options, including dedicated wide-angle and ultra-wide focal lengths.

Of course, no other f/2.8 zoom goes to 12mm, yet. There is the Sony FE 12-24mm f/4, which is much older and optically inferior. So, even if you plan to take all your photos at f/8, you’ll still want to get this flagship lens if you pixel-peep images for sharpness, etc.

There is the Canon 11-24mm  f/4 L, which is a DSLR-mount lens that you might consider if you are ready for something approximately the same “ouch factor” in terms of price and weight, but you’d rather have 11mm f/4 instead of 12mm f/2.8.

Other than that, you’re mostly going to be considering alternatives that either compromise on zoom range, and/or compromise on image quality. Nothing really comes close to the Sony 12-24mm f/2.8 GM.

Do You Really Need 12mm?

Before I recommend the best alternatives, though, I want to ask an even more important question: Do you actually need 12mm? Honestly, a lot of the time, I just don’t…

Technically speaking, ask yourself: do you photograph subjects that are often challenging to fit into the frame? Even at 16mm or 14mm? Then give 12mm a try, of course.

Creatively speaking, it’s a bit more subjective, but the same question applies: have you played with dramatic ultra-wide focal lengths before? Do you already know how much you like such focal lengths as 17mm or 14mm? Simply put, if you love the dramatic effects you can get with 14mm, then you might want to try 12mm.

Also, here’s one other thing to consider: What about cropping? You may want to “get it right in-camera”, but it’s not always about framing the perfect 2:3 aspect ratio scene. What about cropping a panorama?

In the above example, I created a 1:3 aspect ratio crop, which is a 20-megapixel image when using the Sony A7R IV. Alternately, when cropping just a bit more modestly to a 1:2 aspect ratio, I’d have a respectable 30-megapixel image!

Sometimes it might be easy to zoom in to ~24mm and capture multiple frames for a panorama, however, when there is water involved, I really dislike having to deal with ripples/waves in panorama stitching! The above image would have been impossible, or at least highly impractical, without a 12mm lens.

Best Sony 12-24mm f/2.8 GM Alternatives

The top two alternatives I’d recommend are the Sigma 14-24mm f/2.8 DG DN Art, and the Tamron 17-28mm f/2.8. Why not the Sony 16-35mm f/2.8 GM, you may ask? Because it is from an older generation of optics that is simply inferior. It’s expensive and heavy, and yet it’s not optically excellent, and even has a noticeable discrepancy between sharpness at 35mm versus 16mm.

[Related: Sigma 14-24mm f/2.8 DG DN Art Review | The new Sony FE Ultra-Wide Champion?]

If you want an excellent all-around f/2.8 wide-angle zoom for your Sony full-frame mirrorless camera, then for well under $1,000 you can’t go wrong with the Tamron. By making the compromise on zoom range, which is admittedly significantly less than 16-35mm, you gain an incredible level of portability that most photographers will really appreciate. Also, it’s incredibly sharp!

For the pixel-peepers who do want to go as wide as possible, (and who hopefully have a 24-70mm or 28-70mm lens to complement it) …the Sigma 14-24mm f/2.8 DG DN Art costs a little more than the Tamron, and weighs a bit more too, however, it is truly a flagship-level optic. Considering that you have to have a pretty extreme, dramatic style for 12mm to make that much of a difference from 14mm, I think that most photographers, though certainly not all, will prefer the more reasonable Sigma.

Having said all that, what if you really do want 12mm? The alternatives all fall short. there are a handful of primes that hit either 12mm or 11mm, (and maybe even some lenses that hit 10mm?) however none of them appear to deliver the same optical performance as the Sony, not by a long shot.

Sony FE 12-24mm f/2.8 GM Review | Conclusion

If you want the absolute best ultra-wide zoom ever made, this is it. Sony, Nikon, Canon… No full-frame option can offer what the Sony FE 12-24mm f/2.8 GM offers.

Hopefully, by now, I have repeated the key points enough for you to know whether or not it’s actually right for you! The truth is, there are a lot of excellent choices out there, both E-mount (third-party) and for other mirrorless mounts, so I would say, “you can’t go wrong”, but that’s not the whole story, of course.

Choose the best ultra-wide zoom for the type of photography you do, and you will not regret it! If you decide that the Sony 12-24 2.8 GM is right for you, then you will certainly be blown away.

Check Pricing & Availability

The Sony FE 12-24mm f/2.8 GM is available for $2,999 from Adorama, B&H, and Amazon.

During the past decade, Sony has focused heavily on adding new optics and innovative technology to their lens lineup. As a result, Sony’s line of zoom lenses in particular rank among the best available for photographers today. In this article, we’ve compiled a list of the best Sony zoom lenses to help you find the best lens to fit your particular photography needs!

The Difference Between APS-C and FE Models

Before diving into our selections, it is important to note that Sony sells two types of mirrorless cameras, and with them, two types or formats of lenses. You have the FE E-mount lenses, which are made for full-frame Sony mirrorless cameras, and the “regular E” E-mount lenses, which are made for “Super 35” (APS-C crop sensor) Sony mirrorless cameras.

A full-frame Sony sensor is, in fact, approximately the size of a 35mm piece of film, whereas APSC sensors are smaller, and require a crop factor of 1.5X in order to relate any focal length to what it would appear as on full-frame.

The APS-C cameras and lenses are more often used by hobbyists, enthusiasts, travelers, or vloggers, but also by  professional photographers in some cases as they are indeed highly capable.

That said, while both Sony E and FE models have lenses for wide-angle, standard, and telephoto zooms, professionals tend to gravitate toward full-frame sensors and lenses for higher resolutions and more flexibility in terms of focal lengths and shallow depth of field.

Of course, many photographers start with a crop-sensor camera and later upgrade to a full-frame camera. So, in other words, if you’re getting truly serious about photography while working with an APS-C camera, you might want to consider buying FE lenses since they will cover your image sensor. The opposite is not the case; if you mount an E (APS-C)  lens on a full-frame (FE) camera, there will be black circles around the edges of your images unless you crop to Super-35 mode.

To help you with your selections, we’ve segmented the top three choices for both E and FE models. This way, whichever Sony camera body you’re using, or hoping to own one day, you can find which lens suits your camera mount and your photography style best!

Zoom Lenses for Sony APS-C

When you purchase a camera with bundled lens, chances are your new lens is a standard zoom. A standard zoom is capable of capturing a moderate wide-angle view when zoomed out and enough capacity when zooming in for a portrait.

If you bought an APS-C model, your camera bundle may come with a compact 16-50mm retractable lens or the 18-135mm lens that provides a longer zoom ratio. Whatever the case may be, if you’re looking for an upgrade, here are some options you should consider.

Sony E 16-55mm f/2.8 G

When it comes to the best Sony zoom lenses, you’ll notice that some of their offerings have the letter “G” embedded in their name. The reason for this is because Sony’s G series are considered to carry its mark of outstanding image quality and superior build. The absolute top-of-the-line belongs to the full-frame G Master series; unfortunately there are currently no APS-C lenses with “GM” on them.

The Sony E 16-55mm is certainly a GM-level, professional lens with a constant f/2.8 aperture and amazing overall performance. The build quality is rock-solid, though not all-metal, and fully weather-sealed.

Pros:

• Professional, GM-grade zoom in a compact G lens
• Perfect APS-C equivalent to the popular 24-70mm on full-frame
• Fluorine optical coating
• Weather-proof with dust and splash protection
• Quick and quiet autofocus

Cons:

• Not optically stabilized
• Utilizes profile corrections to eliminate distortion
• Expensive “almost GM” price tag

Tamron 17-70mm f/2.8 Di III-A VC RXD

For those who want a greater zoom range and stabilization, you can achieve that by sacrificing just one millimeter off the wide-angle end, and choosing the impressive Tamron 17-70mm f/2.8.

This is truly a flagship APS-C lens for Sony, with its constant f/2.8 aperture that offers one of the most impressive magnifications of any f/2.8 zoom ever made. Optically, it is going to provide beautiful images with professional image quality, and the VC stabilization ensures more “keeper” images, especially at 70mm in low lighting.

Physically, despite its minimalistic design and polycarbonate body construction, this lens is sturdy and fully weather-sealed.

Pros:

• Professional f/2.8 aperture
• Impressive, unprecedented zoom range
• Excellent optical image quality
• Weather-proof with dust and splash protection
• Quick and quiet autofocus
• Relatively affordable (especially compared to full-frame and name-brand equivalents)

Cons:

• Minimal physical controls (no AF/MF switch, no VC stabilization switch)
• Utilizes profile corrections to eliminate distortion & correct vignetting

Sony E 18-135mm f/3.5-5.6 OSS

Although this lens is a little expensive for a varialbe-aperture “kit” zoom, this reasonably-sized zoom with a rather wide range (Equivalent to ~28-200mm on full-frame) is one of the best that Sony has to offer.

It is relatively solidly built; though it may not be flagship quality, it is far more sturdy than entry-level options.

In terms of performance, this lens offers stabilization, a very wide zoom range, and surprisingly sharp images. Whether you’re capturing memories of a summer vacation or photographing a subject on the street, this lens has got you covered.

Pros:

• Sharp image quality
• Minimal distortion and vignette
• Compact
• 1:3:4 magnification
• 5x zoom power
• Great optical stabilization

Cons:

• Dim, variable aperture
• Does not provide as wide-angle of a view as other options
• Not waterproof
• No dust protection

Sony E 70-350mm F4.5-6.3 G OSS

An impressive telephoto optic that offers considerable zoom range, especially when you remember to multiply its focal length by 1.5x to perceive its equivalent to full-frame. (In other words, this gives a viewing angle similar to a 105-525mm!)

This lens is both is a compact and heavy-duty lens that will get the job done. This lens is designed for APS-C models (such as the Alpha 5000) can also work for the full-frame, Alpha 7 and 7R.

This lens delivers a constant f/4 aperture, optical stabilization, and a 4.4x zoom that is impressive enough to use for daily photography, outdoor shoots, travel vlogs, and more personal use.

Pros:

• Amazing optical stabilization
• Sturdy build with integrated hood
• Compact
• Sharp images throughout the zoom range
• 4x zoom ratio

Cons:

• Visible softness at edges
• Minimal distortion
• Expensive

Standard Zoom Lenses for Sony Full-Frame Mount

Most of Sony’s full-frame camera offerings don’t include a lens upon purchase. If you want to get started, you’ll need to discover what type of photography you’re going to embark on and start your research from that point.

If you’re looking to capture photographs and videos that range from portraits, landscapes, videos of professional quality, standard zoom lenses are the way to go. Here are some of our top picks.

Sony FE 24-70mm f/2.8 GM

This revolutionary lens is part of the top-tier G Master (GM) lens series. When it comes to photo quality, the Sony FE 24-70mm offers vivid and sharp images that professionals will love. Plus, its constant f/2.8 aperture is very beneficial for professional photographers who cover events such as weddings or celebrations in low light conditions.

When it comes to build, this lens is housed in a metal and polycarbonate barrel with full weather sealing. In addition, it has an integrated reversible lens hood with rubberized focus and zoom rings.

Pros:

• Very sharp images
• Wide aperture f/2.8
• Solid build quality and weather-sealed

Cons:

• Visible distortion
• No image stabilization
• Expensive

Sony FE 24-105mm F4 G OSS

If you’re looking for a little bit more than a 24-70mm focal range, the 24-105mm zoom range is highly popular. One of the great things about this Sony lens is that it provides amazing image quality, on par with GM lenses, with a “G-series price tag”.

This lens is perfect for event photographers who shoot with more available light (as opposed to dimly lit indoor conditions), or of course outdoor landscape adventures, travel, or simply everyday casual day photography.

The in-body stabilization will keep both your photos and video footage sharp and crisp. Its lightweight body is made up of a polycarbonate barrel with textured rubber on the manual focus rings and zoom controls, and there are both autofocus and stabilization switches, plus a focus lock button.

Pros:

• 4x zoom range
• Fast focus
• Built-in stabilization
• Constant maximum aperture
• Compact and lightweight
• Splash and dust protection

Cons:

• Noticeable dim corners (when image correction is off)
• Visible edge softness (when shooting at wider angles)
• Slightly expensive (For an f/4 “kit” lens)

Sigma 24-70mm f/2.8 DG DN FE

If you’re on the search for a budget-friendly, versatile and high-performing lens, the Sigma 24-70mm is a great selection. It delivers astounding sharpness, improved color accuracy, and clarity that can compare with Sony’s lenses, and it offers the coveted, fast f/2.8 aperture!

This lens works well with capturing images with natural lighting plus, you can exercise control over photo depth. When it comes to build, you’ll notice the brass mounting plate and the rubberized hood. It is also weather-sealed, making it a durable companion against rain and moisture.

Pros:

• Super-fast and silent autofocus
• High-tech optical design
• Durable and superb build
• Pro-grade handling

Cons:

• Heavy for standard zoom
• Noticeable distortion and vignetting without correction

RELATED READ: Is Sony’s E-Mount “Too Small”?

Wide Zoom Lenses for Sony Full-Frame Mount

Whether you are a professional landscape photographer or are someone who is seriously dedicated to capturing breathtaking scenes on various travels, a wide-angle zoom lens is ideal for your photography style!

With the help of a wide zoom lens, you can photograph more of the surrounding environment and choose from the variety of framing options that just aren’t possible with, and shockingly different from, most “normal” lenses. Here are our top choices for wide zoom lenses suitable for your full-frame Sony mount.

Sony FE 12-24mm f/2.8 GM

Capturing ultra-wide scenes such as vast landscapes or the night sky, without sacrificing their quality, can be overwhelming or impossible without the right tool. With the help of a Sony FE 12-24mm, details are never compromised. Even on high-resolution Sony sensors, you’ll be stunned by the sharpness (and unique perspective) that it provides.

The lens features an array of advanced optical designs that includes aspherical, XA, super ED, and ED elements. All of these are integrated to deliver accurate rendering, astounding sharpness, and amazing color accuracy.

Pros:

• Vivid colors, sharp images
• Ultra-wide maximum viewing angle
• Robust build and weather-resistant
• Flourine coating for moisture protection
• Impeccable handling

Cons:

• Hood isn’t removable
• Expensive
• Enormous, heavy

Sigma 14-24mm f/2.8 DG DN

Carrying a heavy lens may not prove to be a great feat for professional photographers who like to move from one place to another. The good thing is, the Sigma 14-24mm is much smaller and lighter than most other ultra-wide zoom lenses, especially those that go wider than 16-17mm. Despite its relatively light weight and decently portable size, this lens delivers an incredibly wide field of view.

It features a brand-new optical design (totally different from the DSLR-made Sigma 14-24 HSM) that delivers stunning sharpness and other aspects of image quality.

Pros:

• Super-fast and precise focus
• Lightweight and compact structure
• Weather, dust, and moisture-resistant

Cons:

• No stabilization
• Omits filter threads
• Faint distortion and vignetting (using the profile will eliminate this!)

Sony FE 16-35mm f/2.8 GM

If you are an event photographer who deals with low-light or artificial lighting, the Sony FE 16-35mm lens will help you capture wonderful memories at both ultra-wide and medium-wide focal lengths, with its extension to the very popular focal length of 35mm.

Image quality is excellent throughout the zoom range, though mostly in the central part of the image frame.

In terms of features, its optical design incorporates two extra-low dispersion, two XA, and three aspherical elements to reduce chromatic aberrations and control spherical aberrations.

Pros:

• Versatile wide-angle coverage
• Quick autofocus
• Crisp, sharp images
• Fixed f/2.8 aperture
• Dust and moisture resistant
• Focus hold button

Cons:

• Edge softness at 35mm zoom angle
• Faint distortion
• Omits in-lens stabilization
• Dim corners (vignetting) at f/2.8

Telephoto Zoom Lens for Sony Full-Frame Mount

Professional photographers love working with telephoto lenses. After all, it helps elevate your photography both creatively and technically. However, there are more reasons why both professionals and aspirants love fiddling with a telephoto zoom lens.

With the help of a high-performance telephoto zoom lens, a photographer can create a dramatic effect through the subject’s relationship to its background. Furthermore, it improves the quality of portraits and emphasizes the dramatic blur of backgrounds. As such, a photographer can exercise the limits of his creativity to the fullest!

Sony FE 70-200mm f/2.8 GM II

This brand-new optic belongs to the G Master lens series which indicates it is a true-professional grade zoom. Portrait, close-range sports, wildlife, and events photographers will surely delight themselves with this workhorse of a lens.

With its optical image stabilization, focus limiter and stabilization mode switches, focus hold buttons, aperture dial, and tripod collar, …this lens is built to deliver vivid, crisp, and sharp images in the most demanding conditions!

When it comes to build, you can expect nothing but the best quality. Its metal barrel is built for heavy-duty use and is finished in white (a common color choice for premium telezoom lenses). Of course, it is fully weather-sealed against moisture and other external elements.

Pros:

• Astounding image sharpness in the image center
• Optical image stabilization
• Internal zoom
• Bright, constant f/2.8 aperture
• Rotating tripod collar and removable foot
• Teleconverter compatibility
• Heavy-duty construction

Cons:

• Shows some distortion and other image quality issues in image corners
• Expensive

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

Another lens that is a contender to the telephoto zoom lineup is Sony FE 100-400mm. It is a member of the G Master lens and lives up to expectations with its array of features. It is regarded as one of the longest FE lenses available in the market right now and delivers amazing sharpness, astounding resolution, and amazing sharpness. This lens integrates two ED elements, Nano AR coating, and one super ED element.

What’s more, this lens is equipped with a Direct Drive SSM autofocus system as Optical SteadyShot image stabilization for outstanding performance at varying focal lengths. When it comes to build quality, this lens is known for its lightweight and compact design, at least for a flagship-grade optic. It is reliable, sturdy, and weather-resistant.

Pros:

• In-lens stabilization
• Amazing telephoto zoom range
• Adjustable zoom tension
• Focus hold and limit tension
• Removable tripod foot
• Teleconverter compatibility

Cons:

• Dim corners when shot wide open
• Does not deliver the brightest aperture
• Expensive

Tamron 70-300mm f/4.5-6.3 Di III RXD

If you’re looking for a lens that doesn’t break your wallet (or your back) and offers an impressive telephoto zoom range in a compact package, the Tamron 70-300mm is a good option. This lens is ideal for any type of photography where you don’t want to compromise on image quality, yet you might be interested in saving a lot of space and weight in your camera bag. This lens is truly tiny!

When it comes to performance, its optical design offers impressive sharpness (and other aspects of image quality) throughout the entire zoom range.

Unfortunately, this lens lacks optical stabilization, which is a drawback especially at the telephoto end where the aperture is a relatively dark f/6.3, and where optical stabilization would be much more useful than sensor-based stabilization or IBIS.

Pros:

• Useful zoom range
• Sharp, high-quality images
• Weather-resistant build
• Incredibly compact

Cons:

• Missing optical stabilization

Conclusion | Best Sony Mirrorless Zoom Lenses

The future of photography continues to evolve, and we couldn’t be more excited to discover what’s in store! Whether you are engaged in wedding and portrait photography, wildlife, or landscape photography, there’s a Sony zoom lens that’s perfect for you.

Always keep in mind, of course, that you may want to “future proof” your investment by shopping for full-frame lenses, but at the same time, don’t buy a lens that is just too big and heavy for personal style as an artist!

We hope that our selections above help you make one of the greatest investments you’ll make in photography. If you have a favorite that didn’t make the list, share it with us in the comments below!

Video: 5 Tips to Maximize the Shallow Depth of Field Effect In Your Portraits

Rather than a prime lens, I’ll be using the Tamron 28-75mm f/2.8 G2. This is to show that you can still achieve a great shallow depth of field effect with a zoom lens. I paired this lens with a Sony a7III Mirrorless Camera. The key is to always shoot at the widest open aperture.

Our model today is Kiara so be sure to visit her on Instagram. Let’s dive in.

Tip #1: Change Your Angle

Let’s begin by taking our first portrait of Kiara against the bushes. While the image isn’t bad, the scene lacks the shallow depth of field effect because the background itself isn’t very deep.

To change this, we want to find a scene with a foreground that leads into the subject and a background that goes far back. This sidewalk is perfect as the leading lines draw our eyes right to Kiara. The distance in the background also allows it to fall off into a nice blur.

Tip #2: Backlight Your Subject

I always find that backlighting adds depth to the image. I took the photo at the widest focal length and widest aperture and got this great image.

Tip #3: When Wide, Step Close to Your Subject

When shooting wide angles, you have to be close to your subject to get that shallow depth of field. I then stepped in and got a shot from closer up using the same focal length and aperture.

Here are the two images for comparison. Notice the difference in shallow depth of field effect between the two images.

Tip #4: Exaggerate the Effect by Zooming In and Stepping Back

I took the lens up to 75mm and took an image with the same framing. At this focal length, the background is compressed and the depth is exaggerated.

Here are the images side by side.

Tip #5: Add a Foreground

Adding a foreground is a great way to add to the shallow depth of field effect. Ideally, the foreground will also be backlit. I had Kiara stand in the grass and took the image through the leaves.

Putting It All Together

Now it’s time to put it all together. Here are the final images using these techniques to maximize the shallow depth of field effect.

Conclusion

I hope you enjoyed this video/article. Understanding these techniques is a great way to make the most of your portraits, even when you may not have a prime lens. Even with a zoom lens, you can still get great shallow depth of field effects. Be sure to check out SLR Lounge Premium where we have courses on all things photography. In addition, check out Visual Flow for intuitive lighting based presets and retouching tools like we used in this tutorial.

Lastly, this tutorial was edited using LUT’s by Gamut, which you can find here.

Thanks for joining us this week and we’ll see you next time!

Indeed, full-frame mirrorless cameras are becoming increasingly common now, with Canon, Nikon, Sony, Panasonic, and Sigma all having competition priced at under $2,000. In a previous article, I compared the three newest cameras, including the A7C ($1798) plus the Nikon Z5 ($1,296) and the Panasonic S5. ($1,997)

Believe it or not, but to be totally honest (spoiler alert!) the Sony A7C wasn’t the hands-down winner. The market is getting that competitive. Sony’s mirrorless technology does have advantages, but let me just put it this way, and let me know if it makes sense: Sony definitely did NOT make an “A5” to compete directly with the Panasonic/Nikon 5’s. They made the A7C, and I’m inclined to assume that the “C” stands for “consumer”.

Sony is smart, though, and the A7C makes that clear. The camera’s strengths are exactly the types of features that will be attractive to any beginner, consumer, or even serious, experienced hobbyist. Oppositely, the camera’s omissions or weaknesses are only going to matter to the aspiring professionals, or current pros who may have already worked with, say, a Sony A7 III and therefore might know what they’re missing when they hold an A7C.

Without any further ado, I’ll dive into this Sony A7C review and explain which types of photography the camera could be perfect for, where it might fall short, and which exact advantages or disadvantages you might want to give extra consideration to, depending on what type of photography or videography you do.

Sony A7C Specifications

• SENSOR: 24-megapixel, full-frame, BSI CMOS sensor, BIONZ X processor
• LENS MOUNT: Sony E, (FE full-frame)
• STILL IMAGES: 6000×4000 ARW (raw, compressed or uncompressed) & JPG
• VIDEO: 4K 30p max 100 Mbps, MP4, XAVC S, H.264, S-Log3 Gamma
• ISO: 100-51200 (expandable to ISO 50-204800)
• AUTOFOCUS: 693-point hybrid AF, face/eye detection, Real-Time Tracking (both photo & video)
•  SHOOTING SPEED (FPS): 10 FPS max
• SHUTTER SPEEDS: 30 sec to 1/8000 sec (mechanical shutter up to 1/4000 sec, flash sync 1/160 sec
• STABILIZATION: Yes, 5-stops, 5-axis IBIS
• VIEWFINDER: 2.36M-dot EVF, 0.59x magnification, 100% coverage
• LCD: 921K-dot touchscreen, fully-articulating
• CONNECTIVITY: USB-C, (PD) micro HDMI, microphone, headphone, Bluetooth, wifi, NFC
• STORAGE: SD (one slot) HC/XC, UHS-II supported
• BATTERY: NP-FZ100, (2280 mAh) 740-shot CIPA rating
• BODY CONSTRUCTION: metal alloy, weather-sealed
• SIZE: 4.9 x 2.8 x 2.4 in. (124 x 71.1 x 59.7 mm)
• WEIGHT: 1.1 lb (509 g)
• PRICE: $1,798 (body-only), $2,098 (with 28-60mm lens kit), $2,896 (with 24-105mm lens kit)

Sony A7C Review | Who Should Buy It?

At a glance, the Sony A7C is basically a full-frame version of the entry-level Sony A6100 or A6400. It adds a fully-articulating LCD screen on the (out)side, and IBIS (stabilization) on the inside, but honestly? It really is a full-frame version of Sonys most beginner-oriented camera.

This makes the camera one of the lightest, most compact full-frame cameras on the market, which is perfect for some photographers. However, it also means that anyone who is looking to get really advanced, and do a lot of high-end work, might really miss certain things like the dual command dials, dual C1/C2 top buttons, etc.

I’m going to do my best to consider different popular genres of photography, and describe why you would or would not want to consider the Sony A7C.

Portrait & Wedding Photography

Most casual photographers are going to be taking pictures of their friends, family, and important life events of any kind; everything from weddings to family reunions, maternity, newborn, kids, high school seniors, …everything!

The good news is, the Sony A7C is almost perfect for the casual photographer who just wants an excellent camera that balances portability with amazing face/eye-detection autofocus, impressive image quality, and an incredible lens selection to suit any and every occasion. Whether it is everyday life or a once-in-a-lifetime event, bringing this camera along would be a great idea.

The bad news is that the lightweight, compact, affordable package did require some compromises. Externally, it’s got the buttons and dials of a beginner camera. Internally, it’s got plenty of speed and power, but it does lack dual card slots, which is a feature that pretty much every camera worth more than $1K has now, and most working professionals prefer to have.

So, could you use it for professional work? Yes, absolutely! But, is the A7C an optimal choice for full-time pro photographers? No; at best, it’s a secondary/backup camera that you would pair with a Sony A7-series or A9-series.

Candid & Street Photography

Aside from portraits, weddings, and other types of photography that often lead to professional aspirations and paying work, the rest of candid, street, and everyday life is really and truly what the Son y A7C is well-suited for.

Throw the A7C in Aperture priority mode, set Auto-ISO to “fast”, turn on Face+Eye AF, and basically trust the camera to nail every photo perfectly every time! If you’re not the type of photographer who is constantly controlling every setting that the camera has to offer, then you’ll appreciate the simplified interface, and the capable, reliable autofocus system, and the lightweight portability overall.

For walk-around, candid, street, travel, and basically any kind of photography from everyday activities to exotic vacations, the Sony A7C is a very capable camera, especially when you pair it with a fantastic super-zoom like the Tamron 28-200mm f/2.8-5.6. (Yes, that’s right, a superzoom lens that has a professional f/2.8 aperture on the wide end!)

That’s the other advantage of Sony’s E-mount in general; you get such a wide variety of lens options, from high-end flagship options to affordable and/or portable, compact, “modest” lenses, perfect for any and every type of photography imaginable.

For these reasons, the Sony A7C gets my top recommendation for all types of general photography.

Vlogging & Video

This is arguably the main purpose for which the Sony A7C was created. Combine a fully articulated LCD, IBIS, and a fantastic face/eye detection AF system in one of the most lightweight full-frame camera bodies on the market, and you’ve got an excellent vlogging camera.

If I am not mistaken, it’s actually the lightest full-frame camera body on the market with IBIS, which is a fact that every vlogger whose arms ever got tired (and shaky) will really appreciate.

Last but not least, pair it with a perfect vlogging lens like the Sony FE 20mm f/1.8 G, and, well, we’ve literally checked all the boxes for the perfect setup.

Action Sports & Wildlife Photography

The Sony A7C offers 10 FPS shooting and a decent buffer, so, as long as you’re not photographing the Olympics or other professional sports, the shooting speed and the autofocus tracking will be more than enough for anything fast-paced, from your kids’ sporting events to that wildlife safari adventure you’ve been saving up for.

Having said that, what if you mostly do telephoto photography, where “reach” is everything, and what if you mostly work in lighting conditions that are, shall we say, half-decent? If you’re never going much higher than ISO 1600 or 3200, then I honestly have to recommend the Sony A6600. I just prefer the crop factor for telephoto work, plus, the A6600 costs less yet offers more physical functions.

Landscape Photography

Landscape photographers often go for the highest-megapixel cameras on the market, and today that means at least 42 megapixels, and possibly as many as 61, for Sony’s E-mount. For this reason, the A7C’s 24-megapixel sensor might not catch your eye if you’re really serious about landscape photography.

Honestly, though? 6000×4000 pixel images are still huge. You can make very large prints with that! For this reason, I still recommend the A7C for those landscape photographers who are looking to travel light, without forfeiting the amazing full-frame image quality, or rugged (weather-sealed, metal body) physical build.

Nightscape & Astrophotography

The Sony A7C really excels at achieving great image quality at high ISOs. For candid and most types of general photography, literally every full-frame camera these days offers excellent image quality up to ISO 3200 or even 6400. However, with subjects like astro-landscapes, things are just a little more demanding and having low noise, high detail, and great dynamic range are important.

In this regard, the Sony A7C’s 24-megapixel sensor is one of the best around. Simply put, if you ever find yourself complaining about shadow noise at any ISO lower than, say, 12800, …then it’s your own fault for not nailing a decent exposure; it’s not the A7C’s fault.

Sony A7C Review | Pros & Cons

I’ve outlined the advantages and disadvantages quite extensively already, so, I’m going to list each aspect of a camera review and simply give my notes based on the last year’s field testing. Long story short? There is very little to complain about, aside from the entry-level ergonomics.

Image Quality

24-megapixel full-frame sensors are everywhere these days, and for years they’ve all been excellent, offering amazing dynamic range, impressively low noise levels all the way up to ISOs as high as 6400 or even 12800 for professional work, or maybe ISO 25600 for more casual (or emergency) shooting conditions.

Simply put, if 24 megapixels is enough for you, then you’ll love the images from the Sony A7C. These days, however, 40-60 megapixels has become more common and popular, but it’s really not necessary for most types of photography unless you truly do make lots of very large prints, which is one thing that is very common in landscape photography.

Alternately, from telephoto action sports and wildlife to wedding and portrait photography, at least some photographers who use 40-60 megapixel cameras have gotten in the convenient habit of throwing their Sony camera in “Super-35” mode, and turning their one prime into two primes, or giving their telephoto zoom a little extra reach, so to speak. This could be counted as a drawback of having “only” 24 megapixels, but, I will leave the “how much cropping is too much/lazy?” debate for the comment section.

The colors coming from the Sony A7C sensor are beautiful if you happen to shoot JPG, and quite decent if you are working with raw files in Adobe Lightroom. (They are also gorgeous if you open raw files in Capture One!)

In terms of video, the A7C offers plenty of quality, though not a very stunning technical spec sheet. In other words, the video itself is detailed and has good dynamic range, thanks to being full sensor width (oversampled from 6K) and the options for DRO and S-log capture. However, there is still no 4K 60p video, or higher-quality compression, though, which many other cameras in this price range have been offering for a while now.

Autofocus Performance

Sony’s mirrorless autofocus performance is the best, plain and simple. Their technology is now on its fourth generation,  and that’s only counting the original full-frame E-mount cameras. Thist latest-gen hybrid AF system has precise, reliable focus points all over the viewfinder, and the Real-Time Tracking sticks like glue to any subject you point the camera at. Human face/eye, animal face/eye, and any other subject; the Sony A7C won’t let you down.

Design & Durability

Despite its compact size and entry-level ergonomic design, the A7C is still a sturdy, durable camera. It’s got metal in the body frame itself and is weather-sealed. “They” never say if it’s the same high-end level of weather sealing as, say, a Sony A9 II or Sony A1, however, suffice it to say, the A7C will stand the test of time.

Design-wise, I can appreciate that there is a nice balance between portability and a decently comfortable grip. On other cameras in the price range, (*cough* Fuji X-T4 *cough*) you might get more buttons and dials, but you don’t always get comfortable grip/thumb ergonomics.

On the negative side, I should mention that both the touchscreen LCD and the “tiny” little EVF felt a bit entry-level. These were definitely two areas where Sony has opted to save a little money; I’ve personally gotten quite accustomed to the bigger, gorgeous viewfinders of all the slightly higher-end cameras. That, and I am also left-eyed, so I really can’t use the touchscreen LCD to control AF points because my nose and cheek are constantly touching it.

Features & Customizations

In terms of features, I already mentioned earlier in this Sony A7C review just how packed and perfect it is. If you do photos and/or videos of everyday life, whether it’s vlogging or just candid lifestyle photojournalism, the feature set is perfect.

In terms of customizations, the A7C does leave a little bit to be desired. Unlike the higher-end A7-series and A9-series, there are not as many “C1” etc buttons, and there is no front command dial or AF point control joystick.

This might not be a problem if you are already using the Fn Menu, or going deep into the main menu, to change important settings like the AF mode or AF area. However, if you like to manually control lots of settings without taking your eye away from the viewfinder, and move your AF point around with ease using a physical joystick, then you might really enjoy a Sony A7 III instead, despite its age. (Or, wait and see what a Sony A7 IV offers; more on that later!)

Value

The Sony A7C costs $1,798, which isn’t much less than the usual $2K price tag of many predecessors plus its higher-performance competitors. Honestly? Sony picked a tricky price point for what is an “entry-level” camera body.

I will talk about all of the best competitors next, but here is the verdict on the A7C’s actual value: for just $200 more you can get cameras with a lot more professional functionality. Alternately, if you really do want an entry-level, affordable full-frame camera, ~$1.8K might still be a bit steep…

Having said that, keep in mind that I literally just had almost nothing to complain about on the A7C, aside from the beginner-oriented ergonomics and the lack of dual card slots. If neither of those things bothers you, and especially if you’d actually prefer to save a bit of weight compared to more traditional camera ergonomics, then you should definitely get the A7C.

Sony A7C Review | Compared To The Competition

As I mentioned at the beginning of this review, the full-frame mirrorless playing field has gotten quite packed in the last 2-3 years. I’ve lost count of how many there are now!

Here’s the bottom line: Most of the older full-frame mirrorless cameras are pretty inferior to the modern, cutting-edge options like the A7C. Mirrorless cameras that are more than 2-3 years old have terrible autofocus, terrible battery life, and are generally inferior to a good DSLR.

So, for that reason, if you’re looking for a bargain, the first thing I am going to do is strongly encourage you to consider ONLY the relatively new cameras from the newest 1-2 generations.

Sony A7C vs Nikon Z5, Nikon Z6 II

With that said, let me break it down for you: The strongest competition to the Sony A7C, in terms of sheer value and bang-for-your-buck, is undeniably the Nikon Z5. At a mere $1.3K for the body, or $2.1K for the body with the excellent Nikon Z 24-200mm lens, Sony just can’t compete in terms of price. Also, you can get the Nikon Z5 with their compact 24-50mm kit lens for ~$1.6K, or a refurbished Z5 and 24-200mm kit for just $1.9K. So, across the board, Nikon wins when it comes to affordable, current-generation full-frame mirrorless cameras.

However, the Z5 can’t compete with the A7C in terms of shooting speed, or overall responsiveness/speed in general, with its 4 FPS and viewfinder blackout time. So, if you’re doing a lot of fast action photo/video work, the Nikon loses to the Sony. For almost all kinds of photography without high-speed subjects, though, the Z5 takes the cake.

Other than the Nikon Z5, the Sony A7C does present a very good value against all of its competitors, despite the ergonomic setbacks.

However, in the Nikon camp, if you can bump up to just under $2K then you can get an excellent, flagship-grade camera in the Nikon Z6 II. At just ~$200 more than the Sony A7C, the Z6 II is a better overall value. Unless you’re a vlogger, maybe.

Sony A7C vs Canon EOS R(?)

When it comes to the Canon RF mirrorless mount, I am basically waiting to see if there is a “Canon EOS RP mark 2” camera before I make any Canon recommendation for the sub-$2K price point.

It may sound shocking and/or downright biased to not recommend a Canon RF camera at all, to compete with the Sony A7C in particular, but the truth is this: the original Canon EOS R is now almost 3 years old, and a quirky 1st-gen product, while the slightly newer, entry-level Canon EOS RP is quite limited in its sensor performance for both photo and video. It also lacks IBIS, and can’t compete in terms of autofocus performance or battery life. So, despite the (now) $999 price tag, I can’t recommend the EOS RP anymore.

Before you leave a comment accusing me of being anti-Canon, let me say this: I can absolutely imagine a Canon EOS RP mk2, in the form of an affordable version of the Canon EOS R6, and it could be a truly incredible, high-performance camera at a very tempting price! Canon’s RF system has come a long way and I’m excited to see what they put forth in the next ~1 year.

Sony A7C VS Panasonic S5

Anyone who does have a little more money to spend and is looking for an even more capable camera in terms of both photo and video, the Panasonic S5 stands out from the crowd of other ~$2K cameras (like the Sony A7III and the Nikon Z6 II) because it offers some of the best 4K video specs around.

Unlike the Sony A7C, the Panasonic S5 offers dual card slots for your professional work, and fully professional ergonomics with plenty of buttons and dials. Its fully-articulated LCD screen does mean it’s great for not just video/cinema, but specifically vlogging, too.

Sony A7C VS Sigma fp

For those who are serious video shooters, maybe even aspiring movie makers, the Sony A7C spec sheet once again does have some limitations versus this unique, cinema-oriented full-frame mirrorless camera: the Sigma fp with its 4K RAW video capability.

Indeed, this full-frame mirrorless camera, at a mere ~$1,7K whenever rebates are in session, offers 4K 30p RAW video capability. Unfortunately, while the Sigma fp does have excellent heat dissipation for all-day video work, and of course stunning image quality, it does lack a viewfinder as well as an articulated LCD screen. It also lacks IBIS, too.

Suffice it to say, if you’re a vlogger, or any other kind of photographer/videographer who is looking for an all-around camera, the Sony A7C is the better choice, but if you’re looking for a specialized camera body and system that is highly capable in terms of serious, professional video work, then I cannot emphasize just how amazing the image quality out of the Sigma is. (See my Sigma fp review here!)

Sony A7C VS Sony A6600, Fuji X-T4

I would get a lot of nasty comments if I didnt mention these slightly similarly-priced APSC (1.5x crop) sensor alternatives, of course. Basically, because you’re going down one sensor size, but are still paying almost the same as the A7C, you do get more physical features from both the Sony A6600 and the Fuji X-T4.

The Fuji in particular, as their brand’s X-mount flagship body, is one of the most fully-spec’d cameras on the market, boasting everything from dual card slots and IBIS to decently high-end video specs. It has a fully-articulated LCD, and indeed some famous landscape photographers have vlogged with the X-T4, though it is a bit of a hefty camera.

Sony’s A6600 is basically the A7C but with slightly more physical controls. It does also have IBIS, but lacks a fully (side) articulating LCD, and dual card slots. As I mentioned earlier, if you do lots of telephoto wildlife/sports photography, you might consider the A6600 instead; otherwise, the A7C is the more well-rounded camera.

Sony A7C VS Sony A7 III (Sony A7 IV?)

Last but not least, I would be remis if I didn’t mention the next-closest Sony alternative, and its inevitable successor. Basically, the Sony A7 III is getting a little old, but is still a great camera, with more professional-grade ergonomics and customizations, despite the noticeably older autofocus system. Personally? As much as I like having the A7C’s cutting-edge AF system, I do prefer the phsycal controls (and the dual card slots) of the A7 III.

Honestly? I’ve said this before, and I’ll continue to repeat it until we see the A7 III’s unknown replacement: for anyone who is truly serious about advancing their photography, the A7C could feel a bit limiting, and I just can’t help but wonder what a “Sony A7 IV” might have to offer.

If you take the existing Sony A7R IV and A7S III, and apply that improved body styling and vastly improved AF system to what the baseline A7 camera has historically offered, you could get a truly legendary camera, and it might only be $1,999, or maybe $2,199 at most. For serious hobbyists and/or aspiring pros, that’s the camera to look out for. (Or, consider the Nikon Z6II, or the Panasonic S5, depending on how those systems seem to jive with you better!)

Sony A7C Review | Conclusion

All in all, the verdict on the Sony A7C is quite simple: If you haven’t already been working with a Sony A7 III and gotten to love the ergonomics, let alone an A7R IV or A9/A1, then you will probably be very happy with the way the A7C feels in your hand, and you will only experience moderate frustration if you do a ton of button/dial customization and are used to having one or two additional Fn/C buttons and/or dials.

Other than that, if you can afford the A7C’s price tag which isn’t exactly entry-level once you add a lens or two, then you’ll be very satisfied with the camera’s actual performance. The autofocus is the absolute best around, (aside from the high-powered Sony A9 II and Sony A1, of course) and the feature set is very tempting when you consider its well-rounded performance for not just casual everyday photos, but everything from fast-action sports/wildlife, to adventure/travel. Oh, and don’t forget vlogging.

Sony made the right camera for their lineup, at the time. As it approaches its 1-year birthday, the Sony A7C is still one of the best full-frame mirrorless cameras available.

Check Pricing & Availability

The Sony A7C is available for $1,798 as a body-only, or $2,098 with the Sony 28-60mm lens, or $2,896 with the Sony 24-105mm lens.