The best Sony portrait lenses

Continuing my series of articles on Sony lenses, today I’m focusing on lenses designed for portrait photography. In a way, this article brings together several guides dedicated to focal lengths that are often used for portraits, especially 35, 50 and 85mm lenses in the Sony ecosystem. Since portrait photography is something many of us shoot regularly, whether we are beginners, enthusiasts or professionals, I wanted to bring together the best Sony lenses for portrait photography. For more detail, you can also read our guide explaining how to choose a lens for portrait photography, a general article covering all the basics.

Although you can shoot portraits with almost any focal length, photographers usually prefer lenses between 35mm and 105mm, or even 135mm, for artistic reasons such as perspective compression and better control of distortion. The 85mm focal length is often considered the classic portrait choice. Likewise, a lens with a large aperture helps create a shallow depth of field and a stronger background blur, the famous bokeh that portrait photographers often love.

If you are thinking about buying a portrait lens, you’ll find in this article a selection of lenses for Sony mirrorless cameras, both APS-C and full-frame. You will find some of these lenses among the best current Sony lenses.

But first, let’s quickly go back over why you might choose a 35mm, 50mm, 85mm or longer focal length, and how to choose between a prime and a zoom lens.

Here, I’ll go through what I consider the most interesting portrait lenses if you shoot with a Sony camera. I made this selection after comparing image quality, build quality, optical flaws, compactness and, of course, price. Of course, I had to make choices, so not every possible lens is included.

Here are what I consider the best Sony lenses for portrait photography if you use a Sony APS-C body. The lenses are sorted by focal length, from the shortest to the longest. If you want to see the other available options, you can check our page listing all the Sony lenses for APS-C.

Launched in February 2016, the Sigma 30mm f/1.4 DC DN is a bright prime lens. Its maximum f/1.4 aperture and 9-blade diaphragm give you good control over depth of field. Its optical formula uses 9 elements in 7 groups, including 2 aspherical lenses and 1 glass element. It is also quite compact, which makes it easy to carry.

For handling, the lens feels well made, with a large and smooth focusing ring. Build quality is solid, with a metal and plastic body. In terms of performance, the sharpness is very good in the center, especially between f/2.8 and f/5.6. That said, uniformity is slightly weaker at the widest apertures. Optical flaws are generally well controlled: vignetting is noticeable at f/1.4, but decreases from f/2 onward. Distortion is slight and easy to correct in post-production.

Overall, the Sigma 30mm f/1.4 DC DN is well suited to street, portrait and reportage photography. It is clearly a high-quality prime lens, with a wide aperture, sharpness and solid construction. Even though the Sigma has some limitations at large apertures, it remains a good alternative at a reasonable price. It gives you a high performance lens without breaking the bank.

Announced in late 2012, the Sony E 35mm f/1.8 OSS is a bright prime lens for Sony E-mount mirrorless cameras. Its optical construction is based on 11 elements in 9 groups, including an aspherical lens element. Thanks to its maximum aperture of f/1.8 and 9-blade circular aperture, it offers a pleasant bokeh effect. Its autofocus is fast and quiet, even when shooting video. For close-ups, the minimum focusing distance (22 cm) and magnification ratio (0.24x) are real advantages.

In terms of construction, the lens is not weather-sealed and has a rather minimalist design. It is not stabilized, but this is not really a problem as it is compatible with the stabilization of Sony cameras. With its 35mm focal length, it is ideal for street, landscape, reportage and portrait photography. Its wide aperture also makes it easier to shoot in low light.

It combines low weight, solid optical quality and real versatility at an affordable price.

The Viltrox AF 56mm f/1.2 Pro is a very bright portrait prime designed for Sony APS-C mirrorless cameras. With its 56mm focal length, it gives roughly the same angle of view as an 84mm lens on full-frame, which makes it especially well suited to portraits. Its f/1.2 maximum aperture helps create strong background separation, while also making the lens useful in low light. It is clearly a more ambitious choice than the classic f/1.4 APS-C portrait lenses.

In terms of construction, Viltrox places this lens in its Pro series, with a more refined design and a fairly complete set of controls. Autofocus is driven by a VCM motor, which should make it responsive enough for portrait work, travel and everyday shooting. The lens also includes useful modern touches such as a USB-C port for firmware updates. Naturally, the f/1.2 aperture makes it larger and heavier than simpler APS-C lenses, but that is the trade-off for this level of brightness and bokeh.

In short, this Viltrox 56mm f/1.2 Pro is one of the most interesting APS-C portrait lenses available for Sony E-mount. It will not be the lightest or cheapest option, but if you want a very bright lens with strong subject separation, it deserves to be treated as a main option rather than just another alternative.

First announced in February 2018, the Sigma 56mm f/1.4 DC DN Contemporary is designed for Sony E-mount mirrorless cameras. Its bright f/1.4 aperture provides a shallow depth of field and good image quality, even in low light. Its optical formula is made up of 10 elements in 6 groups, including an SLD glass lens. Its compact size makes it well suited to mirrorless cameras. However, it is not stabilized and relies mainly on the stabilization of compatible cameras.

For handling, the lens is weather sealed and very well made. There is no AF/MF switch. Its 9-blade aperture gives a soft and natural bokeh. On the downside, vignetting is moderate, but can always be corrected in post-production. Distortion is also minimal.

In short, the Sigma 56mm f/1.4 is bright and very capable. Frankly, if you want a high-performance lens for portraits, I recommend it. Considering all that it offers, its price is more than reasonable. In my opinion, it is a strong choice without having to resort to more expensive professional lenses.

The Zeiss Touit 50mm f/2.8 Macro has been available since January 2014 and is a lens with a focal length equivalent to 75 mm in full-frame. It offers a magnification ratio of 1:1 and a minimum focusing distance of 15 cm (very good for macro photography). It also has a 9-blade aperture and a 52 mm filter thread. However, there is no aperture ring or depth-of-field scale.

In the field, sharpness is excellent from the center to the edges at f/2.8. The lens shows slight distortion, while chromatic aberrations are absent. Vignetting remains moderate at full aperture and disappears at f/4. Finally, the autofocus is fast and accurate, but a little noisy, which could be a problem for videographers.

As you can see, if you are demanding for macro photography and are looking for excellent optical quality, this Zeiss will meet your expectations! However, for a similar price, you can get the Sony Zeiss Sonnar T* 55mm f/1.8, which is more versatile. From there, it really depends on what you need most.

Announced in August 2011 (yes, it’s not exactly new!), the Sony E 50mm f/1.8 OSS is an affordable prime lens for Sony E-mount mirrorless cameras. It features a maximum aperture of f/1.8 and a compact, lightweight design. Its optical formula consists of 6 elements in 5 groups, including one aspherical lens. Its minimum focusing distance of 45 cm and 0.14x magnification limit close-up work. Note that it is not weather-sealed.

In terms of performance, the lens offers good sharpness in the center from f/2.8, but the very wide apertures (f/1.8 and f/2) are slightly behind. As for flaws, vignetting is visible at full aperture, but disappears completely at f/4. Distortion is almost non-existent (ideal for architectural and portrait photography). Finally, the autofocus is said to be slow and noisy, although it remains accurate.

In conclusion, the Sony FE 50mm f/1.8 is simply the most affordable E-mount option (at less than €300). It is perfect for beginners and amateurs who want to take portraits.

Introduced in December 2020, the Tamron 17-70mm f/2.8 Di III-A VC RXD is a standard zoom with a focal length range equivalent to 25-105mm in full-frame terms. It offers a f/2.8 fixed aperture, a real advantage for controlling depth of field and shooting in low light. One of its strengths is an excellent optical stabilization system (VC). Its optical construction is based on 16 elements in 12 groups, including two GM lenses and a hybrid aspherical element. Autofocus is fast and silent.

Versatile, fairly light and weather-sealed, the lens feels well built. It is equipped with a 9-blade circular aperture for a pleasant and natural bokeh. Its minimum focusing distance is between 19 cm and 39 cm, which is an advantage for close-up photography, even if it does not replace a true macro lens.

Finally, the Tamron 17-70mm f/2.8 is versatile: it is suitable for landscape, portrait, reportage and travel photography. What’s more, it’s much more affordable than the Sony E 16-55mm f/2.8 G, while offering a longer zoom range and built-in image stabilization. In my opinion, the lens offers excellent value for money. That is enough to make it a very appealing option.

Available from August 2019, the Sony E 16-55mm f/2.8 G is a high-end zoom lens with a fixed f/2.8 aperture. It covers a focal length range equivalent to 24-82.5mm in full-frame, making it very versatile. It is solidly built and weather-sealed. It is relatively compact and lightweight, making it easy to carry. It has an efficient, responsive and quiet autofocus. In addition, its 9-blade aperture promises a soft and creamy bokeh. However, there is no optical stabilization.

In terms of performance, sharpness from f/2.8 is remarkable, from the center to the edges. On the other hand, distortion is noticeable and needs to be corrected in post-production. Vignetting is visible at 16 mm, but disappears at f/5.6. Chromatic aberrations are fairly well managed, although they are noticeable in certain conditions. Thanks to its image quality and versatility, the lens is perfect for reportage, portrait, street and landscape photography.

In short, this Sony is mainly aimed at photographers looking for an alternative to prime lenss without compromising on image quality. The price remains high, but it is still a benchmark standard zoom!

Here is a table summarizing and comparing the main characteristics of the lenses mentioned.

Of course, I haven’t covered all the possibilities here, but here are some alternatives you might consider for a Sony APS-C portrait lens.

As an alternative, I forgot to mention the Viltrox 56mm f/1.4 STM. I had the opportunity to write a full review after several months of testing it. I’m delighted with it!

If you want to go further, we tell you about the best Sony zoom lenses (and third-party brands, of course) for your camera in our article.

Here, I’ll go through the best Sony lenses for full-frame cameras. As usual, choices had to be made and all available lenses will not be listed here. You can have a look at our complete article about Sony FE lenses, where you’ll find a list with all lenses (Sony and third-party brands) usable on this mount. Lenses are listed by focal length (from 35 to 135mm) and from the “best” to the least recommended.

The Sony 35mm f/1.4 GM was introduced in January 2021, after a long wait in the 35mm range. It joins the 24mm f/1.4 GM and 135mm f/1.8 GM in the brand’s high-end category. It stands out for its excellent optics and compactness, making it easier to handle than its direct competitor: the Sigma 35mm f/1.4 DG II Art.

Like all GM lenses, this 35mm has a manual focus ring, a dedicated aperture ring and an AF/MF switch. One of its advantages is its minimum focusing distance of 25 cm, which gives it a higher magnification ratio than other 35mm lenses. Build quality is excellent, and the lens is weather-sealed. Its aperture has 11 circular blades for very good bokeh. As for the autofocus, it is no surprise that it performs well for both still and video images. Optically, the results are extremely sharp, among the very best in this category, alongside the Sigma 35mm f/1.4 DG II Art and 35mm f/1.2 DG II Art. As for flaws, there are very few, apart from a rather pronounced vignetting at full aperture.

In short, this is clearly one of the best 35mm lenses around. It combines performance and compactness. Admittedly, it is expensive, it is even more expensive than the Sigma f/1.2. If you prefer a less expensive alternative, the Sigma 35mm f/1.4 DG II Art will probably make more sense.

The Sigma 35mm f/1.4 DG II Art is the updated version of Sigma’s modern 35mm f/1.4 for mirrorless cameras. It keeps the same place in the lineup: a bright, high-quality 35mm prime that sits between the more extreme f/1.2 version and the smaller f/2 Contemporary. This new generation is more compact and better balanced than the previous model, while still remaining a serious alternative to the Sony 35mm f/1.4 GM.

For handling, this Sigma keeps the controls you would expect from a serious prime: a manual focus ring, a dedicated aperture ring, an AF/MF switch and customizable buttons. The 11-blade diaphragm helps produce smooth, natural bokeh, which is exactly what you want for environmental portraits. Autofocus has also been improved with a Dual HLA system, making the lens more convincing for both stills and video. Image quality is excellent, with strong sharpness and very good consistency across the frame. As always, a few optical flaws may remain, but they are easy to manage in post-production.

In conclusion, the Sigma 35mm f/1.4 DG II Art is probably the most balanced 35mm option in this selection. It is not as bright as the f/1.2 version, but it is smaller, lighter and easier to recommend for everyday portrait work. If you want a serious 35mm lens without going for the larger f/1.2 model, this is the one I would look at first.

Introduced in 2020, the Samyang 35mm f/1.8 FE AF is the part of Samyang’s “Tiny” range of bright optics. It stands out for its compact and lightweight format. It is much easier to handle than the lenses presented above. It is also the one I chose for myself.

Although the lens is not stabilized, it is weather-sealed. It offers a maximum aperture of f/1.8, which opens up a wide range of photographic possibilities. It also has a manual focus ring, a customizable ring and an autofocus that receives very positive feedback for both still and video images. In terms of image quality, sharpness in the center is exceptional from f/1.8, even if the edges are a little less sharp. For better uniformity, simply go closer to f/2.8. The main criticisms are a few optical imperfections, such as rather pronounced aberrations at full aperture. Flare control could also be improved. Finally, the bokeh is creamy and pleasant.

As you can see, this is a high-quality lens that combines image quality, high-performance autofocus and robust construction. In my opinion, it’s an excellent balance, and much more affordable than the Sony FE 35mm f/1.8. If you ask me, it’s a better option than the Sony equivalent.

The Samyang 35mm is a quality lens that will be a very nice alternative for smaller budgets. The proof is simple: I chose it myself. Here is my full review of this lens.

The Sigma 35mm f/1.2 DG II Art is one of the most ambitious 35mm lenses available for Sony FE cameras. This second-generation version keeps the spectacular f/1.2 aperture, but becomes much more realistic to use in the field thanks to a more compact and lighter design. It remains a premium, expensive lens, but it is now easier to recommend than the first version if you want the strongest possible subject separation at 35mm.

In terms of construction, the lens is weather-sealed and built to Sigma’s Art standards. It has a large focusing ring, a dedicated aperture ring, an AF/MF switch and useful physical controls. Autofocus is now driven by an HLA motor, and the optical formula has also been redesigned. Image quality is excellent from full aperture, with a strong rendering and very soft background blur. The 11-blade aperture also helps keep the bokeh pleasant when stopping down. As with most very bright lenses, some vignetting and optical flaws can appear, but they are manageable.

In short, this Sigma 35mm f/1.2 DG II Art is the lens to consider if you want a unique rendering and a very bright 35mm for portraits, weddings or low-light work. It is still not the most discreet or affordable choice, but compared with the first version, it feels like a much more mature lens.

The table below summarizes the main features of the above 35mm models.

But of course there are many other alternatives to consider at this focal length. Here are just a few:

To answer Canon and Nikon, Sony launched the Sony 50mm f/1.2 GM FE in March 2021. It is a “GM” lens, which means “high-end”. This lens stands out for its wide aperture and compact size. In fact, it is the lightest and shortest lens in its class.

In terms of construction, it is weather-sealed but not stabilized. For handling, it has the usual GM features such as the click-stop aperture ring, manual focus ring and AF/MF switch. In terms of optical quality, sharpness in the center is exceptional from f/1.2, even if the edges are slightly less sharp. At f/2.8, the image becomes consistent across the frame. There are very few flaws: vignetting and aberrations are visible in extreme conditions, but can always be corrected in post-production. Finally, the bokeh is soft and natural.

Frankly, with this 50mm f/1.2 GM, you are getting one of the strongest standard primes available for full-frame Sony cameras. Of course, all this performance comes at a price… But it’s still a good investment if you can afford it and want to treat yourself. I can also recommend a less expensive solution, which is just below.

Among Sony’s 50mm options, this Sony 55mm f/1.8, released in 2013, is clearly the most compact and lightweight, with a slightly more modest aperture. It has a minimum focusing distance of 55 cm and is made entirely of metal. One small detail: it has only one focus ring.

In the field, the image quality of this lens is very similar to that of the Sony 50mm f/1.4 ZA Planar T*. The difference in sharpness is only noticeable on high-resolution sensors, such as the Sony A7R IV. In addition, optical flaws are generally well controlled.

In short, more than 10 years after its launch, this 55mm f/1.8 is still a benchmark! If you are looking for a high-performance compact lens, there is a good chance you will be very happy with it! You just have to take into account the lack of an aperture ring… If that is not essential for you, then this lens is a good choice.

At this focal length, the Samyang 45mm f/1.8 FE AF is positioned as an ultra-compact lens. It weighs 162 g and is 5.6 cm long. Compared to the lenses mentioned above, it is much lighter and easier to carry. Despite being made of plastic and metal, build quality is good. However, it is not weatherproof.

In terms of image quality, the result in the center is very good. By stopping down to f/2 or f/2.8, the overall result is better, even if the corners remain a little out of focus. Of course, the Sony 50mm f/1.4 offers better quality, but at four times the price. Finally, chromatic aberrations remain limited.

In short, this 45mm f/1.8 is an interesting and affordable alternative with an efficient autofocus, a pleasant bokeh and good image quality. Although I can understand that the lack of weather sealing and the slight lack of sharpness at the edges might be a drawback for some, it offers excellent value for money.

The Sigma 50mm f/1.4 DG DN Art is a good alternative to the well-known and much more expensive Sony 50mm f/1.4 GM FE. It also competes with the Samyang 50mm f/1.4 AF II, which is slightly inferior but more affordable. Its reasonable weight and dimensions make it a good compromise between the Sony f/1.4 and f/1.2, while offering good optical performance.

The optical formula consists of 14 elements in 11 groups, including three aspherical lenses and an SLD element to limit chromatic aberrations. The lens is also weather sealed for more demanding shooting conditions. Although there is no optical stabilization, the autofocus is fast, accurate and silent. In terms of results, sharpness in the center is remarkable from f/1.4, while the edges are already very good. To improve consistency, it is best to close the aperture to f/2. There are still some imperfections, such as pronounced vignetting and chromatic aberrations that become visible in extreme conditions. Bokeh is soft and natural, and backgrounds are beautifully rendered.

In conclusion, the 50mm f/1.4 DG DN Art is a premium lens that offers good value for money. Between its meticulous construction, exceptional sharpness and fast autofocus, it makes a strong impression. I recommend it if you want to avoid spending as much with the Sony 50mm f/1.4 and f/1.2 (both much more expensive).

Here is a summary of these lenses:

There are, of course, many alternatives at this 50mm focal length for portrait photography. I won’t list them all, but here are a few that I think are worth a closer look.

The Sigma 85mm f/1.4 DG DN Art remains one of the best 85mm lenses available for full-frame Sony cameras. This weather-sealed lens is an improved version of its predecessor. It is a high-quality lens that remains fairly compact. It is also lighter and shorter than the Sony 85mm f/1.4 GM.

The build quality is excellent. It has a manual focus ring and an aperture ring. One useful detail is the aperture lock button. There is also an 11-blade aperture, which produces a nice bokeh effect. Feedback on the autofocus speaks for itself: it is considered to be the best, superior to the GM. In terms of performance, the image quality at full aperture is remarkable, from the center to the edges. Stopping down toward f/2 improves it even further. Finally, there are some flaws such as vignetting and distortion, but these can be completely corrected in post-production.

As you can see, I think this is the best lens on the market. Simply put, it has almost everything: exceptional image quality, beautiful bokeh, all in a fairly compact format. What’s more, this Sigma is almost half the price of the Sony FE 85mm f/1.4 GM. In other words, if you want high quality, it’s clearly a good deal!

Available from April 2020, the Samyang 75mm f/1.8 FE AF is positioned as a direct competitor to the Sony FE 85mm f/1.8. Its dimensions and weight make it a very compact and lightweight lens.

It is also very well built. The lens is part of Samyang’s ‘Tiny Series’. It has a manual focus ring and a customizable button that can be used in two modes. The autofocus is considered to be good and responsive. In terms of performance, the lens offers excellent image quality in the center at full aperture. The edges lack sharpness, but improve at f/2.8 and offer good uniformity throughout the image. Finally, the bokeh is very good, another advantage for portraits.

In conclusion, the Samyang 75mm f/1.8 FE AF offers strong performance at a low price! Frankly, if you’re on a tight budget and want a good quality lens for portraits, it is hard to go wrong!

The Samyang AF 85mm f/1.4 FE II, introduced in 2022, is an improved version of its predecessor, the famous Samyang AF 85mm f/1.4 FE (which was already excellent). It offers a new optical formula with four HR lenses and one ED lens. Its autofocus has been improved to be faster and quieter. With its bright f/1.4 aperture and nine-blade circular aperture, it produces soft, pleasant bokeh. The focusing distance has been reduced to 85 cm.

In terms of results, the lens offers very good sharpness in the center from f/1.4, even if the edges are not as sharp. On the downside, there is noticeable vignetting at full aperture and some chromatic aberration. Of course, these can always be corrected in post-production.

In conclusion, the Samyang AF 85mm f/1.4 FE II is a strong choice for both videographers and portrait photographers. It offers excellent value for money, so it is definitely worth considering!

The Sony 85mm f/1.4 GM II has become a reference point for portrait photography. Its optical construction is based on 14 elements in 11 groups. Its autofocus is powered by two XD linear motors, making it fast and accurate, with good subject tracking. Even if it is not stabilized, Sony’s in-body stabilization can help compensate of Sony cameras. Its weight and dimensions are reasonable, while its construction is solid and weather-sealed.

In terms of performance, the lens offers very good sharpness, with excellent consistency throughout the image. Compared to the GM I, it performs noticeably better. It handles flaws such as chromatic aberrations and stray light well.

In short, this Sony has a lot to offer (although it is not cheap), such as its remarkable optical quality, its effective focusing and its control of optical defects. If you are looking for a Sony lens that combines performance and versatility, this is the one to consider!

Here is a summary of the features of these lenses.

Of course, there are plenty of other options. Special mention also goes to these other lenses:

Announced in February 2019, the Sony FE 135mm f/1.8 GM has established itself as a premium lens in the G-Master series. Its wide aperture of f/1.8 is an advantage when shooting in low light. Its optical construction consists of 13 elements in 10 groups, including an Extreme Aspherical Lens (XA), a Super ED Lens and an ED Lens. Its 11-blade circular aperture helps create smooth background blur, which is exactly what you want for portraits.

In terms of autofocus, the lens offers fast and silent focusing, even when tracking subjects and shooting video. Thanks to its minimum focusing distance (70 cm), combined with its magnification ratio (0.25x), the lens can be used for close-ups. It is worth noting that it is weather-sealed and delivers high-quality results. On the other hand, it lacks built-in stabilization. This can be a limitation depending on the conditions of use, especially without a tripod.

In conclusion, the Sony FE 135mm f/1.8 GM is rather light compared to its competitors, such as the Sigma 135mm f/1.8 DG HSM Art. We agree that it is not cheap, but it will be perfect for professionals or enthusiasts looking for high-end and creative optics.

While Samyang already offered the Samyang 135mm f/2 ED UMC with manual focus for Sony mirrorless cameras (adapted from the DSLR version), they decided to release an autofocus version in early 2022. This autofocus version attracted a lot of attention, because it directly competes with the Sony 135mm f/1.8 GM which is obviously excellent.

This new Samyang 135mm AF manages to be almost as good as the Sony, or even better on some points like flare and chromatic aberration resistance. The lens is lighter than the Sony version and much lighter than the Sigma 135mm version, which is impressive given its design heritage. The image quality is excellent and compares very closely with the Sony. Reviews mention a slightly slower AF than the Sony.

In addition, there is a distance limiter, which helps you control the focus range and a customizable button, as on the Sony G. For almost half the price of the Sony, Samyang delivers a brilliant 135mm here, perfect for outdoor portraiture. A real bargain in my opinion.

In mid-2022, Sony decided to renew its 24-70mm f/2.8, the standard pro zoom lens for full-frame, although the previous version was only released in 2016 (a six-year life cycle for a pro version of a lens is relatively short, which shows that the first version was really lacking).

This new version, released at the same price as the previous version, is therefore much more expensive than the Sigma Art but, unlike the GM I, it delivers better performance in almost every area. It is lighter, a little shorter when retracted, offers excellent image quality from full aperture at all focal lengths, has the same features as the GM I and the Sigma Art and more (clickless aperture ring and “IRIS lock” switch), an even better AF and an even closer minimum focusing distance with almost no focus breathing.

The Sigma Art is still an excellent choice but, this time, if you are willing to spend the price of the GM I, you are clearly better off choosing this GM II to have the best Sony can offer.

Launched in May 2024, the Sigma 24-70mm F2.8 DG DN II Art is a strong update to its predecessor. There have been significant improvements in terms of size, weight and ergonomics. The lens has a fixed aperture of f/2.8, an 11-blade diaphragm and a weather-sealed construction. In addition, its latest-generation autofocus provides fast, efficient focusing for both still and video photography. For close-ups, it has a minimum focusing distance of 17 to 34 cm and a maximum magnification ratio of 1:2.7 to 1:4.

The performance of this Sigma is exceptional. Sharpness is excellent from f/2.8 in the center, while the extremes are optimal from f/4. At 70 mm, it even offers one of the strongest resolutions in this category. Bokeh is soft and pleasant, even at f/5.6. Chromatic aberrations and distortion are also well controlled.

Frankly, the Sigma 24-70mm f/2.8 DG DN II is excellent value for money compared to the Sony FE 24-70mm f/2.8 GM II, which costs twice as much. What’s more, its focal length makes it suitable for a wide range of photography, including portraiture, reportage, travel and events. In my opinion, this version II is a great success for Sigma.

While Tamron decided to release the excellent Tamron 70-180mm f/2.8 Di III VXD that I decided to buy because of its quality and price, Sony was, for a while, a bit behind. So, at the end of 2021, Sony finally decided to release a Mk Ifirst version of its famous 70-200mm f/2.8.

This second version offers a better package than the first version which was starting to show its age. The image quality is exceptional from full aperture and stopping down does not improve much. The lens offers all the classic options of GM lenses such as the distance limiter (used to limit the focus area), three stabilization modes and an aperture ring (a first for Sony on a zoom). The lens is also 500g lighter than the first version.

You have here the very best if you are looking for a bright standard zoom, but at a high price. If you are on a tighter budget and looking for a quality lens, my Tamron 70-180mm f/2.8 is still a very strong choice.

Announced in September 2023, the Tamron 70-180mm f/2.8 Di III VC VXD G2 is the second generation of a popular Sony E-mount telephoto zoom (I personally own the V1). It retains the fixed aperture of f/2.8, but now has optical stabilization. Its optical formula comprises 20 elements in 15 groups, including aspherical and low dispersion elements. Its autofocus is remarkable for its precision and silence.

The weather-sealed lens offers good performance, in particular exceptional sharpness from f/2.8. The bokeh is pleasant, although it could be better. In backlighting, the lens controls flare and chromatic aberrations, while distortion and vignetting are present but can be corrected in post-production.

In short, the Tamron is an excellent choice for portrait, sports and nature photography, thanks to its wide aperture and effective autofocus. It stands out for its stabilization, compact size and excellent value for money. In my opinion, it is an interesting alternative to the much more expensive Sony FE lenses.

The Sigma 70-200mm f/2.8 DG DN OS Sports is positioned as a high-end telephoto zoom. It features an optical construction based on 20 elements in 15 groups, including three aspherical elements, six FLD elements and two SLD elements. Its strengths include an 11-blade aperture and a minimum focusing distance of 65 cm at 70 mm and 100 cm at 200 mm. It is equipped with a high-performance autofocus and stabilization system that allows a gain of up to 7.5 stops.

For handling, the lens is solid and weather-sealed. It has several controls, such as a manual aperture ring, three customizable buttons and an Arca-Swiss foot collar. On the other hand, its weight and dimensions make it rather imposing, even cumbersome. In the field, the depth of field is remarkable, especially between 70 and 100 mm. Thanks to its wide aperture and natural bokeh, this lens is ideal for portraits, wildlife and sports photography.

At around €1,700, the Sigma 70-200mm f/2.8 DG DN OS Sports is on a par with its competitors, such as the Sony FE 70-200mm f/2.8 GM OSS II. What’s more, it costs almost half as much. In other words, this bright telephoto zoom is an affordable alternative!

Here is a summary of the lenses

A portrait lens is generally chosen based on two main features.

You will usually choose the focal length that gives the portrait a natural perspective, the goal being to give the face and body realistic, harmonious — even flattering — proportions.

Experienced portrait photographers generally recommend that you stand at least 2 meters away from your subject. For perspective, 135mm for close face portraits, 85mm for head-and-shoulders shots and 50mm for full-length portraits are good starting points to get a natural perspective. Here, I’m talking about a full-frame camera. Remember that with APS-C format, there is a crop factor to take into account (about x 1.5). So, for an APS-C sensor, you would rather consider 85mm for face portraits, 50mm for bust portraits and 35mm for full-body portraits.

Of course, these are only general guidelines, and it is quite possible to shoot portraits with 35 or 50mm focal lengths (close to the human eye) to capture both the atmosphere and the subject! Ideal when doing street portraits, for example.

When shooting outside, longer focal lengths make it easier to isolate your subject from its context. With a short focal length, the context, even blurred, will always be present.

Large apertures offer two main advantages:

• First, they let you play more with depth of field to better isolate your subject by accentuating the background blur, the famous bokeh.
• Second, more light reaches the sensor and so you can use a faster shutter speed to freeze movement more easily, or to reduce the ISO sensitivity and get better image quality.

The vast majority of portrait photographers use prime lenses. There are several reasons for this:

• First, the price. This is not a technical point, but if you consider buying a zoom lens, for the same aperture, the zoom will often be more expensive than a prime lens, although there are some very expensive prime lenses like the 135mm f/2.8 Zeiss Batis (1500€), as well as cheaper zooms like my 70-180mm f/2.8 Tamron (1200€).
• Second, the maximum aperture of your lens. At best, you will get a maximum aperture of f/2.8 on a zoom. Which is also the smallest maximum aperture you can get on an 85mm! Most of them open at f/1.8 or f/1.4. Also, you will have more creative possibilities, especially to better blur your foreground/background and make your subject stand out more easily.
• Finally, compactness. You should know that zooms are often large, both in terms of length and weight. However, there are heavy prime lenses such as the 35mm f/1.4 (600g) while the Sigma 28-70mm f/2.8 DG DN weighs only 450g.

In the end, I think it is a very personal choice. Zooms will often be more versatile, but less bright. A matter of taste!

That brings us to the end of this article dedicated to the best Sony portrait lenses. I hope that after all this research, you have found what you need for your next lens purchase! If you enjoyed our article, you can support our blog and our work by purchasing your lens through the links in this article (without it costing you anything extra, of course). If you want to check out the longer focal length options, you can have a look at our article on the best Sony telephoto lenses.

If you want to complete your kit, or simply continue reading about photography equipment, you can also read the article detailing the best wide-angle lenses for Sony cameras!

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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