Best Sony Macro Lenses for E-Mount

Are you fascinated by the world of tiny details? Macro subjects are everywhere, and getting unusually close to them can be both beautiful and fascinating. You can photograph this miniature world with a regular camera lens, but if you want to get as close as possible to small subjects, a dedicated macro lens quickly becomes useful.

So, to continue our series of articles on lenses for Sony mirrorless cameras, today I’m going to help you choose among the best Sony E-mount macro lenses. If your current lens can’t focus close enough to enlarge a subject properly on the sensor, a specialized macro lens will let you work with a wider range of subjects thanks to a design made specifically for close-up precision. In this article, I’ll cover the best autofocus lenses for full-frame and APS-C sensors, along with the best manual options in a comparison table.

Several of the lenses mentioned in this article are among the best Sony lenses available today. And don’t worry: depending on the focal length you choose, many macro lenses can also be used for more general photography, including portraits, street photography, or even landscapes.

If you already know which focal length interests you most, you can also read our dedicated guides to 24mm, 35mm, 50mm, and 85mm lenses to help you choose the right lens for your Sony mirrorless camera.

Looking for the best Sony macro lens? Here’s a quick guide to the best options for different budgets. For more detailed information, you can read our lens reviews.

Choosing a Sony lens is still pretty straightforward in my eyes. Here’s my opinion in a nutshell: if you’re looking for the best macro lens for your Sony full-frame body and budget isn’t an issue, the new Sony FE 100mm f/2.8 Macro GM OSS is now the reference. With its 1.4x maximum magnification, G Master optical quality, optical stabilization, and faster autofocus, it goes further than the already excellent Sony 90mm f/2.8 Macro G OSS. If your budget is tighter and you want something more versatile, for example for portraits, I’d recommend the Sigma 105mm f/2.8 Art FE or the Tamron 90mm f/2.8 Di III Macro VXD. If your budget is tighter still, the Sony 50mm f/2.8 FE Macro would be my pick. And if you don’t mind focusing manually, the Laowa 100mm f/2.8 2x Ultra Macro APO is also an excellent option, with very good build quality and high-quality images for under €500.

For Sony APS-C users, I would definitely go with the Sony 30mm f/3.5 Macro. That said, I wouldn’t overlook the Laowa CF 65mm f/2.8 CA – Dreamer Macro 2X, which delivers better image quality than the Sony, though it is manual focus only, which is generally acceptable for macro photography.

Here are the best macro lenses in Sony E-mount for full-frame and APS-C sensors, in my opinion. This ranking takes into account the criteria mentioned above, but also the price. So, for your mirrorless camera, you’ll find:

• The best Sony macro lenses for full-frame cameras
• The best APS-C Sony macro lenses

To make things easier, I decided to separate the best Sony macro lenses depending on whether or not they offer autofocus. Since some photographers struggle with manual focus lenses, I think this split makes sense. That said, many macro enthusiasts actually prefer manual focus for extra precision. In short, for Sony full-frame cameras, you’ll find:

• Lenses with autofocus (AF)
• Lenses with manual focus (MF)

First, here are the 7 best macro lenses with autofocus for full-frame sensors. You can also take a look at our complete page listing all Sony FE lenses for full-frame cameras.

1. Sony FE 100mm f/2.8 Macro GM OSS
2. Sigma 105mm f/2.8 Art for Sony
3. Sony 90mm f/2.8 Macro G OSS
4. Tokina Firin 100mm f/2.8 DG Macro
5. Sigma 70mm f/2.8 DG Macro Art
6. Sony 50mm f/2.8 FE Macro
7. Tamron 90mm f/2.8 Di III Macro VXD

As you can see, these are all prime lenses with a constant aperture.

The table below compares the main characteristics of the Sony macro lenses covered below.

In the meantime, here are the main takeaways for these different macro lenses.

The Sony FE 100mm f/2.8 Macro GM OSS is now the reference macro lens in the native Sony E-mount lineup. It is not the most affordable option, but if you want the best Sony macro lens for a full-frame camera, this is the one I would put first today. It brings together G Master optical quality, optical stabilization, fast and quiet autofocus, and above all a 1.4x maximum magnification ratio, which goes beyond the classic 1:1 ratio of most macro lenses. You can also check current prices on Amazon and B&H.

Physically, this 100mm remains very reasonable for such a high-end macro lens: 646g, a 67mm filter thread, and a minimum focusing distance of 26cm. Sony has also included plenty of useful controls for close-up work, including a focus range limiter, focus hold buttons, an aperture ring, an AF/MF switch, a SteadyShot switch, and a focus ring that can slide between autofocus and full manual focus. The lens is dust and moisture resistant, and the front element has a fluorine coating, which is always reassuring if you often shoot outdoors.

The big strength of this lens is that it pushes macro work further while staying very usable. The 1.4x magnification ratio lets you get closer than with a standard 1:1 macro lens, and if you use Sony teleconverters, magnification can go even higher. The autofocus is driven by four XD linear motors and is much faster than the older Sony 90mm, while Optical SteadyShot is specifically optimized for close-up shooting. In practice, this makes the lens more comfortable for handheld macro, moving subjects, flowers, insects, product photography, and even portraits.

Optically, this is the most ambitious Sony macro lens so far. The G Master design, 11-blade aperture, internal focusing, and very high sharpness make it a superb option for serious macro photography. The price is clearly the main drawback, especially compared with the Sigma 105mm, Tamron 90mm, or Sony 90mm. But if you want the best native Sony macro lens today and your budget allows it, the Sony FE 100mm f/2.8 Macro GM OSS is the new benchmark.

The Sigma 105mm f/2.8 Macro, one of the longer focal lengths in this selection, is a very good lens that should not disappoint. It has a solid build, dust and moisture resistance, and autofocus, but it lacks image stabilization and a focus distance indicator, which means you’ll need to check focusing information directly on the screen. All of this comes in a fairly well-controlled size and weight: 715g and 13.4cm long.

There is an aperture ring and several controls around the barrel of this prime lens. The Sigma 105mm is a 1:1 lens with a minimum focusing distance of 29.5cm. Thanks to its 9-blade aperture and focusing distance, it produces beautiful bokeh and makes it easy to isolate the subject. Some reviews suggest that the autofocus on this prime could be a little faster. Optically, the quality is excellent from wide open up to f/5.6, and optical defects are well controlled.

Despite its imperfect autofocus, it’s hard to ignore the superb quality of this 105mm f/2.8 DG DN MACRO Art, which still has a few advantages over the Sony 90mm. On the one hand, it’s a little more affordable while delivering better image quality; on the other, its extra 15mm of reach lets you work a little farther from your subjects. Now that Sony has released the FE 100mm f/2.8 Macro GM OSS, the Sigma is no longer my top overall pick, but it remains one of the best-value full-frame macro lenses in Sony E-mount.

The Sony FE 90mm f/2.8 Macro G OSS has long been one of the best lenses Sony has ever made. It is no longer the most advanced native macro lens in the lineup now that the FE 100mm f/2.8 Macro GM OSS exists, but with its dust- and moisture-resistant build, 13cm length, and weight just over 600g, this 90mm remains an impressive lens.

A manual focus system is available by pulling back the focus ring, which is comfortable, smooth, and accurate. Autofocus is very fast. The lens also includes built-in optical stabilization, which makes it easier to get sharp images at slower shutter speeds. The reproduction ratio is a classic 1:1, with focusing possible at 28cm from the subject. The 9-blade aperture produces very soft, pleasant bokeh.

Image quality is impressive, with plenty of detail from the center to the edges, from f/2.8 to f/16. Chromatic aberrations are very well controlled. There is some slight vignetting at the widest apertures and very mild distortion.

It’s still hard not to recommend this excellent Sony 90mm, both for its image quality and for all the features it offers, not to mention its fast autofocus. It is no longer the absolute reference now that the Sony 100mm GM is available, but it remains a very strong choice if you want a native Sony macro lens at a lower price.

Tokina released the Firin 100mm f/2.8 Macro for macro and portrait photography in April 2019. Design-wise, this Tokina is well balanced, weighing 570g and measuring 12.3cm long. On the other hand, it has no optical stabilization or weather-sealed construction.

It can focus at a minimum distance of 30cm, with a 1:1 reproduction ratio. A distance scale and reproduction ratio indicator on the lens help you find your bearings easily. It also has a large, smooth, precise focus ring, but no AF/MF switch. Thanks to its relatively bright f/2.8 aperture and 9-blade diaphragm, the lens produces soft bokeh.

Image quality is very good, especially from f/5.6, and color rendering is beautiful. Vignetting and distortion are minimal, although chromatic aberrations and flare resistance lag behind some other lenses. Autofocus is said to be a little slow and noisy.

This Tokina Firin 100mm is a good macro lens for tighter budgets. You get the essentials: very good sharpness, nice color rendering, and beautiful background blur.

If you’re looking for an alternative to the excellent Sony 90mm, in other words a high-quality macro lens at a more reasonable price, the Sigma 70mm f/2.8 Art is worth considering. Like all Sigma Art lenses, it is very well built, but it is not the most compact option: 13cm and 622g, a legacy of its DSLR-based design.

Because it does not use internal focusing, the lens extends by a little over 5cm at its shortest focusing distance. It has a nice, wide focus ring. A switch lets you quickly move between AF and MF. With focusing down to 25 cm and a maximum magnification of 1:1, it fully deserves the macro label. Its 9-blade construction also makes the bokeh extremely smooth.

It produces very sharp images across the frame, and chromatic aberrations are well controlled, as is distortion.

Of course, no lens is perfect: there is no stabilization, autofocus is a little slow, and with this focal length, you’ll have to get very close to your subject to reach 1:1 magnification, which increases the risk of casting a shadow or scaring small subjects away. But for the price, it’s hard to go wrong with this lens.

If you want a native Sony FE macro lens with good build quality and a very compact size (7cm for 236g), this 50mm is a solid option.

One of this lens’s useful features is the printed distance and magnification scale. You also get a focus range limiter. The 1:1 magnification ratio is achieved at a minimum focusing distance of 16cm. However, the working distance is only 45mm from the front of the lens, which can be difficult with shy subjects, and there is a real risk of casting shadows.

The lens is surprisingly sharp. At f/2.8, it is sharp in the center of the frame, although the corners are a little softer. At f/5.6, however, the image becomes very sharp across the frame. Flare resistance and distortion are very well controlled.

It is a fairly expensive lens, but that’s not surprising for a high-quality Sony lens. I think the Sigma 70mm offers better value, unless you prefer the 50mm focal length, which is more versatile overall.

The Tamron 90mm f/2.8 Di III Macro VXD is a very interesting alternative to the Sony 90mm f/2.8 Macro G OSS. With a maximum aperture of f/2.8 and a minimum focusing distance of 23 cm, it delivers precise close-up shots.

Optically, it uses a 15-element formula divided into 12 groups. The only minor downside is the lack of stabilization, which may be a drawback for some photographers, even though it is not essential for macro work. The bokeh is also pleasant and smooth. Thanks to its responsive autofocus and excellent sharpness, it is clearly designed for macro photography. It can also be used for portraits.

If you’re into macro photography, the Tamron 90mm f/2.8 Di III Macro VXD is an excellent choice. It is a high-performance, solid lens at a very reasonable price.

Here is a summary table comparing the main specifications of the Sony macro lenses for full-frame sensors mentioned above.

Below, you’ll find the manual focus lenses for Sony full-frame cameras that I think are worth considering if you’re looking for a macro lens. I obviously can’t cover every manual focus lens available for Sony (there are too many), but here are a few useful things to know about the ones I consider the most interesting.

The characteristics of these lenses (and a few others not covered in detail) are listed in the table below.

So here are the MF macro lenses I recommend for a full-frame Sony camera:

• Laowa 24mm f/14 2X Macro Probe
• Laowa 25mm f/2.8 2.5-5X Ultra Macro
• Laowa 60mm f/2.8 2X Ultra-Macro
• Laowa 100mm f/2.8 2x Ultra Macro APO
• Voigtlander Macro 65mm f/2 APO-Lanthar
• Voigtlander 110mm f/2.5 Macro Apo-Lanthar

I wanted to say a few words about this rather unique lens, as it is 40cm long (!), which makes it usable in all kinds of situations, even underwater, since the tip of the lens is specified as waterproof up to 20cm. An LED light is also built into the end of the lens. Note that this lens offers a 2:1 reproduction ratio.

Packed in a metal case, the lens offers excellent build quality. Image quality at f/14 (the lens’s minimum aperture) is already very good, and if you stop down to f/22, you’ll get even better results.

Finally, macro fans will love this very unusual lens, even if they will need to use it with a tripod.

Let’s stay with Laowa and talk about another very specialized lens, this time offering a 2.5x to 5x magnification ratio. In practical terms, you can render a subject at more than 5 times its real size in your image. The lens does not transmit EXIF data and, fun fact, it does not have a focus ring. Instead, it has a magnification ring that lets you move from 2.5x to 5x.

This should be seen as an “extreme” macro lens built for very high magnification. In practice, it requires experience and especially focus stacking, which means combining several photos with very narrow focus areas at this magnification level to increase depth of field. A tripod will also be mandatory. Clearly, we are far from a classic macro lens, but magnification specialists and enthusiasts will love it.

Another Laowa lens: this 60mm f/2.8 offers more classic macro possibilities, although it still reaches a 2:1 ratio. As always with Laowa lenses, build quality is very good, and the lens has two rings, one for aperture and one for focus. The minimum focusing distance is 18.5cm.

Image quality is already very good wide open (which is not the most important point in macro photography) and improves when you stop down a little. However, there is very strong distortion (which can be corrected in post-processing in Lightroom) and heavy vignetting. For anyone interested in the “very small world,” this lens is clearly worth considering. If you’re interested in this focal length, don’t hesitate to look at the excellent Voigtlander Macro 65mm f/2 APO-Lanthar too.

I’ll finish this Laowa section with a more classic focal length: the Laowa 100mm. Like all Laowa lenses, the design is very good, with an all-metal build, although there is still no EXIF transmission. The lens has both a focus ring and a clickless aperture ring.

Image quality is very good across the frame from wide open, although it is still below what you can get from the excellent Voigtlander 110mm f/2.5 Macro APO-Lanthar. Optical defects are very limited. In the end, this Laowa 100mm remains a very good option if you are looking for this type of focal length without spending at least twice as much on the Sony 90mm (with AF) or the Voigtlander 110mm (MF only).

I’m now moving on to a brand that some photographers may be less familiar with: Voigtlander. This German brand offers beautiful, high-quality manual focus lenses. This 65mm has an excellent all-metal build, with a thin aperture ring at the front of the lens and a focus ring with large ridges for very comfortable handling. The lens offers a 1:2 magnification ratio, which will be enough for many photographers.

Image quality is excellent across the whole frame from wide open (f/2), even though wide apertures are not usually used much in macro photography. Optical defects are generally very well controlled. In the end, many photographers consider this Voigtlander an exceptional lens, even though it does not have autofocus or weather sealing. It is still quite a substantial lens (625 g).

I’ll finish my manual focus recommendations for Sony full-frame cameras with this Voigtlander 110mm f/2.5. This is the brand’s second lens designed specifically for macro photography, and this one offers the famous 1:1 magnification ratio. As with the 65mm, build quality is excellent, with a metal body and the two rings you need (aperture and focus). Note that the lens extends significantly in the macro position.

Image quality is excellent from f/2.5 (wide open) and even better across the frame at f/4. Sharpness is on par with the excellent Sony 90mm f/2.8 Macro G OSS, or even better. The focus ring is also said to be superior, with a very precise 360° rotation possible from 35cm to 70cm from the subject. Optical defects are almost nonexistent. In the end, this lens comes close to perfection, even if some photographers will still prefer the more versatile Sony 90mm because of its autofocus. But for pure macro work, it is clearly a lens to consider.

Here are the summarized characteristics of the lenses mentioned above (at the beginning of the table), along with other manual focus macro options that I did not cover in detail.

Here are the summarized characteristics of the lenses mentioned above (at the beginning of the table), along with other manual focus macro options that I did not cover in detail.

If you have a Sony APS-C camera, I’ve made things easier by separating my recommendations into autofocus and manual focus (MF) lenses. In macro photography, many people (myself included) prefer manual focus for better precision. Even if you’re not using them professionally, I really recommend taking a look at the MF lenses listed below. So here they are:

• Sony lenses with autofocus for APS-C cameras
• Manual focus lenses for Sony APS-C cameras

The table below summarizes the main specifications of the two lenses discussed below.

Anyway, I also invite you to take a look at our complete page listing all Sony and third-party lenses for Sony APS-C mount.

For your information, you can of course use full-frame Sony E-mount macro lenses on an APS-C camera, but you’ll need to apply a 1.5x crop factor. So a 105mm lens will give you the field of view of a 160mm lens on APS-C. We actually wrote a full article explaining sensor size and how it influences our photos.

If you have an APS-C camera, I suggest two specific autofocus lenses.

1. Sony 30mm f/3.5 Macro
2. Zeiss Touit 50mm f/2.8 Macro

The table below summarizes the main specifications of the two lenses discussed below.

Here is a quick summary of the main points to remember about these two APS-C macro lenses (with autofocus).

Visual

Lens

Features

Best price

Sony E 30mm f/3.5 Macro

• Good construction
• Compact/lightweight
• Short focusing distance (9.5cm)
• Very good sharpness in the center
• Few optical defects
• Reasonable price

Amazon
B&H

Zeiss Touit 50mm f/2.8 Macro

• Excellent design
• Compact lens
• AF a little slow
• Superb image quality in the center
• Useful for other purposes
• Slightly pricey

Amazon
B&H

Released in 2011, this lens is starting to look a little dated, but Sony still hasn’t really replaced it with a newer APS-C macro option. The Sony E 30mm F3.5 Macro is an ultra-compact lens, measuring just 6cm long and weighing 138g. That makes it very light, easy to carry, and easy to use in the field, with a clear focus on macro photography. With a price of around €220, it remains a solid option without breaking the bank.

Made from good-quality plastic, the lens feels solid. There is a high-quality manual focus ring on the barrel. The lens has 7 aperture blades, which produce relatively pleasant bokeh. It offers a 1:1 ratio, but the 9.5 cm focusing distance makes it rather difficult to use. You have to get very close to your subject, which can be tricky with living subjects, for example.

As for image quality, it is very good in the center at full aperture, while the edges remain a little softer. Sharpness improves as you stop down to f/8, which is useful since you will often close the aperture in macro photography to maximize depth of field. Flare and chromatic aberrations are relatively well controlled, although they can appear in certain situations. The bokeh, while not perfect, remains soft and pleasing to the eye.

In conclusion, the Sony E 30mm F3.5 Macro is not perfect, but for anyone who wants to try macro photography, especially with still subjects, it is an excellent choice, particularly given its compact size and very affordable price.

Here’s a nice 50mm lens from Carl Zeiss. With its solid, elegant body, 9 cm length, and 290g weight, it remains a compact lens.

It has an electromechanical focus ring and diaphragm. The reproduction ratio is 1:1, with a minimum focusing distance of 15cm. As always with this focal length in macro, you’ll need to be careful to avoid casting shadows on your subject. Its f/2.8 aperture and 9-blade construction produce very soft bokeh. Autofocus is a little slow.

Image quality is sharp in the center at full aperture, while the edges are a little softer. Distortion is very limited, although chromatic aberrations could have been better controlled.

Here, you get the Zeiss name, Zeiss performance, and a small, light, well-made lens. I recommend it if macro is your thing, or if you want a good 50mm lens for both general use and macro.

Here is the comparison of the lenses mentioned above.

In addition to the two autofocus lenses mentioned above, I thought it would be useful to talk about two manual focus lenses designed for Sony APS-C sensors. One of them, the 7Artisans, is still a very interesting lens with a very good price-to-quality ratio. The other, the Laowa, is more aimed at “pure macro” enthusiasts who want to go further into macro photography and have a higher budget. So here they are:

• 7Artisans 60mm f/2.8 Macro Mark II
• Laowa CF 65mm f/2.8 CA – Dreamer Macro 2X

I have summarized the characteristics of both lenses in the table below.

While the first version of this 7Artisans was not especially interesting, the brand produced a much better Mark II version. This manual focus lens is fairly well built, lighter than version I (350g vs. 550g), quite compact, and offers a reduced minimum focusing distance of 17.5cm. The filter size is 49mm.

From an ergonomic standpoint, you get a large, fairly well-finished focus ring and a clickless aperture ring. Be aware that EXIF data is not transmitted to the camera with this lens. Image quality from the 7Artisans is good at full aperture, but you will need to stop down to f/5.6 for a more even image. The sharpness improvement over version I is apparently not huge. On the other hand, the Laowa 65mm listed below delivers much better image quality than this 7Artisans.

However, results at longer distances (for example for portrait photography) are fairly average, and this is clearly a lens designed for macro photography. There are also some noticeable optical defects, especially rather average flare resistance.

In the end, especially considering the price (less than €200), this 7Artisans lens is still a very good choice for pure macro use if you have a limited budget. The Laowa below is much better, but also much more expensive.

This is definitely one of the best, if not the best, Sony APS-C macro lenses if you’re not afraid of manual focusing, which is rarely a problem in macro photography. Reviews of this Laowa 65mm are really excellent. The lens, which does not transmit EXIF data to the camera, is light (322g, a little more than the 7Artisans mentioned above) and offers a minimum focusing distance of 16.5cm and a 52mm filter size. It also provides a 2:1 magnification ratio.

Build quality is very good, with a large focus ring. It is fairly similar to the Laowa 100mm, although that lens is designed for full-frame cameras. As far as image quality is concerned, sharpness is already excellent in the center at full aperture, and stopping down to f/5.6 results in a perfectly even image. Optical defects are very limited: no chromatic aberrations (hence the “CA” in the name), no vignetting, but rather average flare resistance. For portraits, this 100mm equivalent will also work very well and delivers superb image quality at longer focusing distances.

To conclude, Laowa has produced a very nice lens here, much better than the 7Artisans in every respect. It is still more expensive (about 2.5x), but it can also be useful for portraits. A lens I particularly recommend.

Here is the comparison of the two lenses mentioned above.

Of course, this type of lens is no exception to the rule: as with any specialized lens, there are several criteria to consider when choosing a macro lens. If you want to know how to choose a lens in general, I’ll let you refer to this article.

Although lens sharpness is important in macro photography, there are three other major aspects to consider when buying a macro lens.

Also known as the “magnification ratio,” this refers to the relationship between the size of the subject projected onto your camera sensor and its actual size. Macro photography generally involves shooting with a magnification ratio of at least 1:1. This means the subject appears life-size on the camera sensor.

For example, if I photograph a 3 cm butterfly at a 1:1 ratio, its projection on the sensor will also measure 3 cm.

Note that while many lenses include the word “macro” in their name, the term only really makes sense if the specifications show a maximum magnification ratio of 1:1.

The minimum focusing distance is the shortest distance between the subject and the camera sensor that allows proper focus. The working distance is the distance from the subject to the front of the lens.

As a general rule, in macro photography, you want a minimum focusing distance that lets you get close enough to reach 1:1 magnification, but ideally with a working distance that does not block light, cast shadows, or scare the subject away if you are photographing living things.

Choosing the right focal length is, as always, part of the process of choosing a lens according to your needs.

• Short focal lengths (between 35mm and 60mm) allow you to include more of the environment in your photo and show a wider perspective. They have a very short focusing distance (around 10 to 13cm), so you can get as close as possible to your subject, which is ideal when the subject is static.
• Standard focal lengths (between 70mm and 110mm) are the most versatile. The minimum focusing distance is longer (about 15 cm), which gives you more working distance at 1:1 and reduces the risk of insects escaping. However, they do have narrower angles of view, so there is less background to include in your image.
• Long focal lengths (150mm or longer) are heavy and bulky. You need to know how to use these lenses for macro photography, which is why it is rare to find these telephoto lenses among the best macro lenses.

For more details, I invite you to read our complete article on macro lenses. In that more in-depth guide, I discuss the idea of maximum aperture for this type of lens and the associated depth of field. I also talk about whether it makes sense to buy a stabilized lens when many macro photographers routinely use a tripod.

If you are looking for a macro lens for your Sony camera, chances are you have heard of extension tubes. These are simply hollow tubes (without glass elements) that reduce the focusing distance to your subject, increasing the magnification ratio. They are an inexpensive and interesting macro accessory if you want to start macro photography with Sony on a tight budget.

The benefit of this solution, aside from the low cost, is that it does not change image quality (since it is just a hollow tube). The main drawback is the loss of light as you stack the tubes.

For Sony cameras, there are some reliable extension tube references. To mention only the best ones:

• Velo EXT-SFED: 10 and 16mm (B&H)
• FotodioX Macro Extension Tube: 7, 14 and 28mm (Amazon / B&H)
• FotodioxX Pro Extension tubes 10 and 16mm (Amazon / B&H)
• Kenko DG Extension: 10 and 16mm (Amazon / B&H)
• Viltrox Automatic Extension Tube: 10 and 16mm (B&H)
• MEIKE MK-S-AF3A Metal Auto Focus Macro Extension Tube (Amazon)

I hope this article about the best macro lenses for Sony E-mount helps you choose your next lens, and that photos of flowers, insects, plants, and water drops soon fill your memory cards. So, which lens should you choose? If budget is not an issue, the Sony FE 100mm f/2.8 Macro GM OSS is now my first recommendation and the new native benchmark. If you want a more affordable full-frame option, the Sigma 105mm f/2.8 Art, Sony 90mm f/2.8 Macro G OSS, and Tamron 90mm f/2.8 Di III Macro VXD all remain very strong alternatives.

If you want to complete your Sony lens collection, don’t hesitate to check our article on the best Sony wide-angle lenses.

See you soon,

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.

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