Best Sony 50mm lenses

Since I switched from a DSLR to a full-frame mirrorless camera, I’ve spent a lot of time researching and comparing lenses. So I decided to share that work with you through a series of articles. After helping you choose a 24mm lens for your Sony camera, we’re now going to look at the best 50mm lenses.

A 50mm lens is considered a standard focal length in photography, and it is one of the most versatile options you can own. It is not wide enough to be ideal for landscape or architecture, for example, but it is also not long enough to capture distant details the way a 200mm telephoto lens would. Like a 35mm, it can be used for many types of photography, although the field of view is narrower. Of course, everything also depends on your sensor. On a Sony APS-C camera, a 50mm lens gives you an equivalent focal length of around 75mm. On a full-frame camera, it remains a classic 50mm. If you want an equivalent standard field of view on APS-C, you’ll need to look at something closer to 35mm.

I wanted to take a moment to talk about the 50mm focal length itself. It is obviously longer than a 35mm, but still far from being a telephoto lens. Many photographers say you can shoot almost anything with a 50mm. That is broadly true, although some subjects suit it better than others. I’m thinking especially of portraits with fairly tight framing, particularly on APS-C. That said, you can also use it for close-up details, pets, flowers, night photography, low-light scenes thanks to the wide aperture, or street photography. It will still be too short for wildlife, of course.

Most 50mm lenses have fairly large to very large apertures, usually between f/2.8 and f/1.2. This makes it easier to shoot in low light, keep ISO under control, and use faster shutter speeds to reduce motion blur.

If you are currently looking at the lenses available for Sony mirrorless cameras, you should have a look at this page, where we list all the available lenses by brand!

If you are interested in buying one of the lenses mentioned here, some of the links will redirect you to Amazon. You’ll also find several summary tables throughout the article.

Here, I’ll share the 50mm lenses I consider the most interesting if you own a Sony camera. I’ll separate lenses designed for APS-C sensors, which give you roughly a 75mm full-frame equivalent, from those built for full-frame cameras. I took into account the criteria that matter most to me: image quality, build, optical flaws, compactness, and of course price. From there, it’s up to you to choose the lens that best fits your budget, needs, and shooting style. So, which one should you pick?

Below are the lenses I consider the best 50mm-style options for Sony APS-C cameras. As explained above, because of the crop factor, a 50mm lens on APS-C gives you roughly the same angle of view as a 75mm lens on full frame, so it behaves like a short telephoto. In practice, that means fairly tight framing, which is especially useful for portraits. If you want the equivalent of a classic 50mm field of view on a Sony APS-C camera, I invite you to read our article on the best 35mm lenses for Sony.

Visual

Lens

Features

Best price

Sigma 56mm f/1.4 DC DN Contemp.

• Great sharpness
• Very large aperture
• Compact lens
• All-weather construction

Amazon
B&H

Viltrox 56mm f/1.4 STM E

• Metal construction
• Good sharpness in the center
• Very large aperture
• Aperture ring

Amazon
B&H

Sony E 50mm f/1.8 OSS

• Compact lens
• Average quality/price
• Correct sharpness
• Stabilized lens

Amazon
B&H

Zeiss Touit 50mm f/2.8 Macro

• Great construction
• 1:1 macro ratio
• No optical defects
• Excellent sharpness

Amazon
B&H

Here are the four lenses I think are worth a closer look:

1. Sigma 56mm f/1.4 DC DN Contemporary
2. Viltrox 56mm f/1.4 STM
3. Sony 50mm f/1.8 OSS
4. Zeiss Touit 50mm f/2.8 Macro

You can compare the characteristics of these lenses in the table below.

Want to see all the lenses available for Sony APS-C cameras? You’ll find them right here!

Based on all my research, this Sigma 56mm, sold with its lens hood, is the best option for a Sony APS-C sensor. It belongs to Sigma’s Contemporary lineup, alongside the 16mm and 30mm f/1.4 lenses, which are also designed for APS-C cameras. It is one of the few lenses around this focal length with such a wide aperture, along with the Viltrox 56mm f/1.4, which I discuss below.

This Sigma is not the lightest APS-C option, but at 280g and 66.5 x 59.5mm, it remains very compact. With a 50cm minimum focusing distance, basic weather sealing at the mount, and solid overall construction, I think it is the best portrait lens for Sony APS-C, where it gives an 85mm full-frame equivalent field of view. The lens only has one wide manual focus ring, which is said to be very good, and no AF/MF switch or custom buttons. Autofocus feedback is very positive overall.

When you compare the image quality of the different lenses in this range, you quickly realize just how good the Sigma 56mm f/1.4 is. It is excellent from full aperture, both in the center and toward the edges, which remain almost as good. Stopping down to f/2 or f/2.8 brings very little improvement because the lens is already so strong wide open. On the optical side, there is noticeable pincushion distortion and strong vignetting at full aperture, but both are easy to correct in post-processing. Chromatic aberrations are limited.

In the end, Sigma offers an almost perfect APS-C portrait lens: compact, well built, optically excellent, and still fairly affordable at around €379. It is a little more expensive than the Sony 50mm f/1.8 OSS, but in my opinion, the Sony remains clearly behind overall.

Viltrox is not as well known as Sigma or Sony, but the brand has been releasing more and more interesting lenses for Sony APS-C sensors, as well as Fujifilm. This 56mm f/1.4 STM is, along with the Sigma mentioned above, one of the only portrait-oriented APS-C lenses in this focal range with such a wide f/1.4 aperture.

The build quality is very good, and even feels better than the Sigma in some ways, with an all-metal construction. It weighs 369g, which is close to the Sigma, but it is slightly larger at 71mm long. There is no weather sealing, but the lens does have a clickless aperture ring, which can be useful if you shoot video. The minimum focusing distance is also longer than on the Sigma, at 60cm versus 50cm.

Image quality is very good, especially in the center and at full aperture. The edges and corners remain a little behind, but stopping down to f/2.8 gives you much more consistent results across the frame. In terms of optical flaws, the Viltrox has less distortion than the Sigma, and what remains can be corrected in post-processing without much trouble. Chromatic aberrations, however, are quite visible. Vignetting and flare are fairly well controlled, and autofocus is generally considered to be on par with the Sigma.

In the end, Viltrox offers a very nice lens for Sony APS-C users. If you shoot video, I would seriously consider it over the Sigma thanks to the aperture ring. It is also about 30% cheaper, which can make a real difference if your budget is limited to under €300. We actually decided to buy this lens for our own Sony APS-C camera. Here is our complete review of the Viltrox 56mm f/1.4 STM.

Among the best 50mm-style lenses for Sony APS-C, the Sony 50mm f/1.8 OSS is also worth considering. It is lighter than the Sigma f/1.4, weighing only 208g and measuring 62mm long. Its maximum aperture is smaller than the first two lenses mentioned above.

The lens is stabilized, sold with a lens hood, and has a very good build quality. The autofocus is reputed to be very fast. However, the image quality offered by this 50mm f/1.8 remains well behind the two f/1.4 lenses mentioned above. At full aperture, it is quite good in the center, but really far behind on the edges. Closing at f/2.8 improves the quality, but if you want your image to be really uniform, you’ll have to close at f/4-5.6.

This lens is now starting to show its age, as it was released in 2011. It also has a few optical flaws, including pronounced chromatic aberrations at full aperture and very visible vignetting. That said, these issues can be corrected in post-processing.

It still has two clear advantages: stabilization, which is useful on non-stabilized bodies such as the A6000 to A6300, and very good build quality. But considering the image quality and the price, I would personally choose the Sigma or the Viltrox instead, as they do not cost much more.

I wanted to include a fourth option for portrait photographers on Sony APS-C. This lens offers the smallest aperture (f/2.8) of the four lenses presented here for APS-C cameras. It has a very good weight but is longer than the 50mm mentioned above (91mm long). Like many Zeiss lenses, the build quality is excellent, even if feedback often points out the manual focus ring as attracting too much dust.

This lens has the distinctive feature of carrying the “Macro” label, and in this case, it really is a true macro lens. It offers a 1:1 magnification ratio and a minimum focusing distance of only 11cm. Image quality is considered excellent in the center from full aperture and remains very good in the corners. Many photographers see it as a genuinely sharp lens.

Optical defects are almost non-existent on this lens. However, the autofocus is considered as average by many users, especially in video (noise).

In the end, this Zeiss is a superb, well-built lens with excellent image quality, but the price is really high, close to €900, and not easy to justify, even if it is a true macro lens. At that price, you can almost buy a full-frame lens such as the Sony 55mm f/1.8 ZA Sonnar T*.

In the table below, you will find the characteristics of the 4 lenses mentioned above.

There are also several other third-party brands offering 50mm lenses for Sony APS-C cameras. I have selected these for you:

For those of you using a full-frame Sony camera, here is a summary of the 50mm options I consider the most interesting.

Visual

Lens

Features

Best price

Sony 50mm f/1.2 GM FE

• Awesome sharpness
• Very wide aperture
• Superb bokeh
• Many options

Amazon
B&H

Sigma 50mm f/1.2 DG DN Art

• Ultra-bright f/1.2 aperture
• Smooth, creamy bokeh
• Fast, accurate autofocus
• Weather-sealed construction

Amazon
B&H

Sony 50mm f/1.4 GM FE

• Superb sharpness
• Very well constructed
• Sharp images
• Excellent value for money

Amazon
B&H

Sigma 50mm f/1.4 DG DN Art

• Superb sharpness
• Good construction
• Excellent value for money
• Compact

Amazon
B&H

Sony 50mm f/1.4 ZA Planar T*

• Great build construction
• Excellent sharpness
• Lower price
• Aperture ring

Amazon
B&H

Sony 55mm f/1.8 ZA Sonnar T*

• Compact lens
• Metal construction
• No optical defects
• Very good sharpness

Amazon
B&H

Samyang 45mm f/1.8 FE AF

• Compact lens
• Good build construction
• Good sharpness
• Low price

Amazon
B&H

Samyang 50mm f/1.4 FE AF II

• Not stabilized
• Good construction
• Very good sharpness
• Good price

Amazon
B&H

Here are the lens details.

1. Sony 50mm f/1.2 GM FE
2. Sigma 50mm f/1.2 DG DN Art
3. Sony 50mm f/1.4 GM FE
4. Sigma 50mm f/1.4 DG DN Art
5. Sony 50mm f/1.4 ZA Planar T*
6. Sony 55mm f/1.8 ZA Sonnar T*
7. Samyang 45mm f/1.8 FE AF

8. Samyang 50mm f/1.4 AF II

You can refer to the table below to compare the lenses’ characteristics.

Sony was a little late compared with Canon and Nikon, which had already released 50mm f/1.2 lenses for their RF and Z mounts, but since March 2021, the brand has offered this impressive Sony 50mm f/1.2 GM FE. As a reminder, “GM” refers to Sony’s very high-end G Master lenses.

Sold with its lens hood, this lens is surprisingly compact for an f/1.2 optic, especially compared with its direct competitors. At 778g and 10.8cm long, it is one of the lightest and shortest lenses in its class. It has weather sealing, but no optical stabilization. As on other Sony GM lenses, you get a de-clickable aperture ring, a manual focus ring, an AF/MF switch, and two customizable buttons that can be used, for example, to lock focus.

Image quality is very close to excellent, which is exactly what you would expect at this price. Sharpness is already excellent in the center at full aperture, and only slightly behind on the edges and corners, where it remains very good. Stop down to f/1.8 and then f/2.8, and the image becomes beautifully homogeneous. In terms of optical flaws, there is some vignetting at full aperture and a little chromatic aberration in difficult situations, but both are easy to manage in post-processing.

The bokeh produced by this large aperture is beautiful. Sony also integrated three XA elements to improve background rendering, along with Nano and fluorine coatings to reduce flare, ghosting, fingerprints, and marks on the front element.

In the end, Sony offers what I consider one of the best options for anyone looking for an excellent 50mm lens for a full-frame Sony camera. Of course, there is a serious price to pay, and this lens will mostly appeal to demanding amateurs or professionals. As a more affordable alternative, you can also have a look at the excellent lens below.

Released in April 2024, the Sigma 50mm f/1.2 DG DN Art is positioned as a high-end lens for Sony E-mount. It offers a very bright f/1.2 maximum aperture and stands out with an optical formula made up of 17 elements in 12 groups, including four aspherical elements. Its 13-blade diaphragm is also one of its strengths, helping produce soft, creamy bokeh and strong subject separation. It is not stabilized, but autofocus is modern, fast, and accurate.

Build quality is serious, with weather sealing designed to handle demanding conditions. For such a bright lens, it remains fairly compact, so it is not especially difficult to carry. Sharpness is excellent: even at full aperture, images are sharp, detailed, and consistent. For video, autofocus tracking is also very good. Thanks to its f/1.2 aperture, it is especially appealing for portraits, street photography, and low-light situations. The natural bokeh will also please photographers looking for a more creative rendering. The lack of stabilization may be a drawback for some people, especially for handheld video.

As you can see, the Sigma 50mm f/1.2 DG DN Art is aimed mainly at demanding photographers who want a high-performance lens in a relatively compact package. Its price is still more “reasonable” than its direct competitor, the Sony 50mm f/1.2, while image quality appears to be very close. In my opinion, it is an excellent bright and versatile choice.

Available since March 2023, the Sony 50mm f/1.4 GM FE shook up Sony’s 50mm lineup by offering another excellent high-end option. Weighing just 516g and measuring 9.6cm long, it strikes a very good balance between compactness and optical performance. It sits nicely between the Sony FE 50mm f/1.2 GM, which is much more expensive, heavier, and longer, and the older Sony 50mm f/1.4 ZA Planar T*, which is still good but clearly starting to age.

Build quality is excellent, with the kind of materials and finish you would expect from Sony’s GM range. The lens feels sturdy and, like the Sony FE 50mm f/1.2 GM, includes an AF/MF switch, an iris lock, a focus ring, and of course an aperture ring, all of which feel very well made. Its optical formula includes 14 elements in 11 groups, with two Extreme Aspherical elements and one ED glass element to help limit chromatic aberrations. The lens is weather sealed and has a 38cm minimum focusing distance, which is quite useful compared with several other lenses in this range.

Optically, this is again very close to what Sony does best. Test results are generally close to the f/1.2 version, which says a lot about the quality of this lens. Sharpness is excellent in the center from full aperture and improves further when stopped down slightly. Vignetting and distortion are present, but easy to correct in post-production. Flare and chromatic aberrations are not major concerns.

In conclusion, Sony has produced another excellent lens that fits perfectly into its current lineup. Both build quality and image quality are there. It is still expensive, but it offers better value than the f/1.2 version. If you want a great Sony 50mm without going all the way to f/1.2, this is an excellent choice.

In February 2023, Sigma finally released a long-awaited lens: the Sigma 50mm f/1.4 DG DN Art. It arrived in an already competitive market, but its aggressive pricing makes it an excellent high-end alternative to the much more expensive Sony 50mm f/1.4 GM and Sony 50mm f/1.2 GM. It also competes with the Samyang 50mm f/1.4 AF II, which is cheaper but sits a little below it overall. In terms of size, it falls between the two Sony models, weighing 660g and measuring 11.5cm long. Sigma’s positioning feels very well judged.

The construction is superb, with 14 elements in 11 groups, including three aspherical elements and one SLD element to reduce chromatic aberrations. On the barrel, you’ll find an AF/MF switch, an aperture lock switch, a focus ring, a focus hold button, and an aperture ring, all of which feel very high quality. The lens is also weather sealed against dust and moisture. Autofocus is excellent thanks to Sigma’s HLA motor. The lens is not stabilized, has a 45cm minimum focusing distance, and uses 72mm filters.

Optically, this is again a very strong lens. At full aperture, sharpness in the center is exceptional, while the edges and corners are already very good. Stop down to f/2 and the image becomes beautifully homogeneous. There are some optical imperfections, including visible vignetting and pincushion distortion, but they are easy to correct in post-processing. Some chromatic aberrations can appear in certain situations, but again, nothing difficult to manage. Bokeh is said to be soft and pleasant.

In conclusion, Sigma got this one right, offering a high-end lens at a price that seriously challenges the competition. Build quality, sharpness, and autofocus are all excellent, and many photographers will likely choose this Sigma 50mm f/1.4 DG DN Art over Sony’s f/1.4 and f/1.2 options, which remain much more expensive without necessarily offering a major advantage for everyone. In my opinion, this is one of the best value-for-money choices in the Sony 50mm market.

Released in 2016 and priced at around €800 less than the Sony 50mm f/1.2 GM FE mentioned above, the Sony 50mm f/1.4 ZA Planar T* is still worth considering. It is almost the same size and weight as the newer Sony 50mm f/1.2, which says a lot about Sony’s work on that compact f/1.2 design. Like the f/1.2, this lens has weather sealing but no stabilization. Build quality is excellent, with both an aperture ring and a manual focus ring.

Image quality is remarkable, even in the center at full aperture. The edges and corners remain excellent as well. Stopping down to f/2 gives you a very clean and homogeneous image. Optical flaws are almost nonexistent, and what little remains can be corrected very easily in post-processing.

It will depend on the camera you have, but even on an A7RIV, the result is excellent. You will hardly see the difference between this lens and the Sony 55mm f/1.8 ZA Sonnar T* on a less pixelated sensor, for example.

All in all, this lens delivers superb image quality at a much lower price than the newer 50mm f/1.2, even if “lower” is still relative here. If you choose this lens, you are unlikely to be disappointed.

Here is another Sony “50mm,” although technically it is a 55mm. It is the smallest of the group, with a more modest f/1.8 aperture. It is also light at 281g and fairly short at 7cm. The minimum focusing distance is 55cm, and build quality is very good thanks to its metal construction. However, it only has one focus ring, with no aperture ring for video shooters and no button on the barrel. It is therefore a simpler and more discreet lens.

The image quality is almost identical to the Sony 50mm f/1.4 ZA Planar T*. You will only be able to perceive the difference in sharpness of these two on a very pixelated camera, as on the Sony A7R IV of 61MP. Optical defects are also almost non-existent. The bokeh quality of this lens released in 2013 is sometimes a bit criticized, but in practice, you’ll be hard pressed to see any difference with other lenses.

In the end, this 55mm f/1.8 is still a beautiful lens, offering excellent image quality in a much more compact package than the f/1.4 and f/1.2 options listed above. If you don’t need an aperture ring for video, and if you shoot on a full-frame body such as the A7III, this lens could still be a very good match, and at a lower price.

Another lens in this focal range worth considering is the Samyang 45mm f/1.8 FE AF. This very compact lens, only 162g and 5.6cm long, belongs to Samyang’s “Tiny Series.” Compared with the lenses above, it is much smaller. Build quality is quite good, with a mix of metal and quality plastic. It is worth noting, however, that the lens is not weather sealed and has no buttons on the barrel. You only get a good-quality focus ring.

Regarding image quality, this small 45mm is not outdone. From full aperture, at f/1.8, the image quality is really good in the center. From what I could see, we are not far from the sharpness of the Sony 50mm f/1.4 ZA Planar T*, at f/1.4. Closing to f/2 and then f/2.8, the image quality improves again over the whole image, but still remains a bit behind in the corners/angles. The 50mm f/1.4 is better, but I remind you, at a price 4 times higher! The lens has some optical defects (chromatic aberrations), but nothing that can’t be corrected in post-processing.

To sum up this very nice 45mm, you get a pleasant, compact lens with very good autofocus, nice bokeh thanks to the f/1.8 aperture, and very good center sharpness. The edges are a little behind, but whether that matters depends on how you shoot. It lacks weather sealing, but at around €350, it remains excellent value for money in my opinion.

At the end of 2021, Samyang updated its 50mm f/1.4. To be honest, it needed a refresh, as the first version was not very convincing in terms of performance and did not live up to the 85mm in the same range.

There used to be relatively few good 50mm options for Sony that did not cost a fortune like the Sony 50mm f/1.2 or the Zeiss f/1.4. This second Samyang version improves almost everything: optical performance, autofocus, weight, compactness, minimum focusing distance, and weather sealing. It still shows quite a lot of chromatic aberration, but that is not the most serious flaw since it can usually be corrected fairly easily.

The price is higher than the first version, around €750, but the difference is clearly justified. It remains an interesting choice for anyone looking for a bright 50mm without moving into Sony GM prices.

You can compare the characteristics of the lenses mentioned above in the table below:

For those wishing to go further and considering a longer focal length, we wrote a complete article on the best Sony 85mm lenses!

As you might expect, there are many other 50mm lenses available for the Sony mount. I won’t go into detail on every possible alternative, but here are a few more options to consider if the main lenses above don’t fully convince you. You will find their characteristics in the table below.

Here are four older or more compact alternatives:

1. Sigma 45mm f/2.8 DG DN Contemp
2. Sony 50mm f/2.5 G FE
3. Sony 50mm f/1.8
4. Samyang 50mm f/1.4

Let’s quickly talk about the Sigma 45mm f/2.8 DG DN Contemporary. This lens is part of the new “I” series from Sigma, characterized by light (235g) and compact (4.8cm long) lenses. The quality of construction all metal is great, especially since the lens has an all-weather construction. There is an aperture ring (not retractable for video) and a manual focus ring (that many find too thin). The image quality is said to be good at full aperture at f/2.8, without being exceptional. In the end, this is a very well-built lens (better than the Samyang 45mm), but the image quality and autofocus being a little bit lower and the price higher, I would rather recommend the Samyang 45mm f/1.8 FE AF.

Another lens you can consider is the Sony 50mm f/2.5 G FE. It is one of the new compact (4.5cm long) and light (only 174g) lenses. Its build quality is said to be very good, and the presence of two rings is worth noting (one for manual focus and the other for aperture, which can be unclicked for video). The image quality is also great at full aperture, quite like the Samyang 45mm. In the end, this lens is an excellent alternative, but I find the price too high to consider it (around 700€). For half this price, an extra aperture, a similar weight (and certainly a more plastic construction), I’d opt for the Samyang 45mm f/1.8 FE AF.

Another possibility, although less interesting in my opinion, is the Sony 50mm f/1.8. It is light at 186g and fairly compact at 6cm long. Build quality is correct, but there is no stabilization and no weather sealing. Autofocus is known to be average. Sharpness is quite soft at full aperture, but it improves and becomes very good around f/4. If you are on a tight budget and looking for an entry-level 50mm under €200, it remains an option.

The last lens I wanted to mention is the Samyang 50mm f/1.4. The reviews I read all point in the same direction. Even though build quality is decent, despite the lack of weather sealing, image quality is not great at full aperture, and you’ll need to stop down to at least f/2.8 to get good results. Add to that average autofocus, a fairly heavy and bulky body, and some optical flaws such as chromatic aberrations, and I would not particularly recommend it. For less money and much less weight, you can find better options, such as the Samyang 45mm f/1.8 FE AF.

Since this article was first written, a few more recent compact alternatives have also appeared. The Sigma 50mm f/2 DG DN Contemporary is a very interesting option if you like the metal build and compact design of Sigma’s I Series, while still keeping good optical performance and an aperture ring. At the more affordable end, the Viltrox AF 50mm f/2 Air FE is also worth watching: it is very light, compact, and designed for full-frame Sony E-mount cameras. Finally, the Viltrox AF 55mm f/1.8 EVO is a newer 55mm option with an APO design, an aperture ring, a compact all-metal build, and a very attractive price. I would keep these lenses in mind if you are looking for a modern, compact alternative rather than one of the larger f/1.4 or f/1.2 models.

As with Sony’s 24mm and 35mm lenses, there are plenty of manual focus 50mm lenses available. Some are very good, while others are less convincing.

I’ll let you take a closer look at the different manual alternatives in the table below.

As mentioned in my articles on the best 24mm and 35mm lenses for Sony cameras, I will not repeat everything I already covered in our guide to choosing a lens. Still, it felt important to go over the main technical elements to consider when choosing this type of lens.

I won’t talk about focal length here, since this article is dedicated to one fixed focal length. In my opinion, maximum aperture is therefore the first thing to think about.

In the case of a 50mm, you will have the choice between maximum apertures of f/1.2 (for the most recent Sony) and f/2.8, for the less bright lenses. As a reminder, the aperture is simply the number behind the “f/” marked on the barrel of your lens. You quickly get used to it, but basically, the smaller the number, the brighter the lens (and vice versa). Don’t forget that having a large aperture on a lens will allow you to:

• Better blur your background (or foreground) and better bring out your subject (larger aperture = more blur = shallow depth of field, simply put).
• Shoot faster. Indeed, remember that the three exposure parameters are connected (aperture, shutter speed and ISO). A lens opening at f/2.8 instead of f/4 will allow you to shoot twice as fast (as there is twice as much light reaching the sensor). This is one of the reasons why they are called “fast lenses”. The larger the maximum aperture, the more expensive the lens,
• Avoid going too high in ISO. Indeed, being able to shoot at f/2 instead of f/2.8 (thus to let in twice as much light to your sensor) will allow you to go from ISO3200 instead of ISO6400.

Then you need to ask yourself how much you actually need a very wide aperture on a 50mm lens. On a wide-angle lens, the benefit can be more limited, especially for landscape photography. But on a 50mm, a wide aperture can be genuinely useful for portraits or for isolating different subjects. In my opinion, there is a real advantage to having a large aperture here. After that, your budget will probably set the limit, and it also depends on what you like to photograph.

As with most lenses, the wider the maximum aperture, the heavier, larger, and more expensive the lens will usually be.

Your type of use is another point to consider, even if I find it a little less decisive with a 50mm. With this kind of lens, you can shoot a bit of everything: everyday life, portraits, pets in the garden, or details around the house. In the end, I do think a wide aperture is useful on a 50mm. So if you can choose an f/1.8 or f/1.4 lens that fits your budget, it is definitely worth considering.

You may smile because we are talking about prime lenses here, but it is still a question you may ask yourself: should you buy a zoom lens that includes 50mm, such as an 18-55mm kit lens, instead?

There is no need to overcomplicate it: an 18-55mm zoom will not offer an aperture as large as a 50mm prime. At best, some zooms will give you f/2.8. A wider aperture gives you more creative and technical flexibility in photography. Zooms are also generally longer and heavier than a fixed 50mm. Prime lenses will almost always be brighter.

Most 50mm lenses do not have stabilization. However, you will be able to use your large aperture and the stabilization of Sony cameras (mainly full frame) to limit motion blur.

Not all the 50mm lenses mentioned below have weather sealing. This can be useful if you shoot in difficult conditions, such as rain, fog, sand, or snow, or if you travel a lot. If you only use your 50mm in good weather and in the middle of the day, it matters less in my opinion. Still, as I often say, a lens that can handle more can also handle less.

This is something to consider if it matters to you. Personally, a difference of 100g or 200g does not change much, but I understand that it can be important depending on how you shoot. If you go hiking and carry your gear for several days, it can make a difference. The same is true if you need to carry your camera and lens for hours during a wedding.

I don’t think buying a manual focus lens is especially interesting today. I’m not saying there are no good ones, but for a 50mm, especially if you photograph moving subjects or portraits, I don’t think it is really worth it. For landscape photography with a wide-angle lens, why not. For a 50mm, autofocus remains much more practical.

That is always a big question when buying a lens. You will hear every possible opinion on the subject. As you’ll see, for APS-C, the lens I find the most interesting is not from Sony, but from Sigma.

For full frame, Sony offers some of the best 50mm lenses available. However, Sony lenses are generally very expensive, and that price is not always easy to justify in my opinion. In the 50mm range, Sony lenses are often considered better than third-party options, but Sigma, Samyang, and now Viltrox also offer interesting alternatives for much less.

That brings us to the end of this article about the best 50mm lenses for Sony. I hope it helps you see things more clearly before making your choice. Feel free to tell me what you think of this ranking, or to share your own experience using a 50mm lens day to day.

See you soon for a new article on Sony lenses. In the meantime, we have also written a guide to the best Sony wide-angle lenses of the moment!

Written by Sylvain PONS

I've been passionate about photography since 2010, learning as I went along. Today, I dedicate myself to guiding others in their choice of camera gear and sharing a variety of tips to improve their photography skills.

Despite our care, a mistake may have slipped into this article. If you find any, please don't hesitate to let us know so we can correct it as soon as possible and keep our information up-to-date!