Best Sony wide-angle lenses

I’ve been passionate about photography for quite some time now, especially when it comes to wide-angle lenses. You’ll already find two complete articles on our website dedicated to the best Nikon and Canon wide-angle lenses, for both DSLR and mirrorless cameras. Following on from those two articles, I’m going to focus here on the best Sony wide-angle lenses for mirrorless cameras.

I’ll therefore focus only on Sony E-mount lenses, the mount used by Sony mirrorless cameras (and not the older A-mount). Some of these lenses are already included in the article about mirrorless lenses, but here I’ll go a step further and share my own take to help you choose the Sony wide-angle lens that best fits your needs, preferences, and budget.

Here, we’ll focus on wide-angle lenses, which are particularly appreciated by landscape and architecture photography enthusiasts. Wide-angle lenses give you a broad field of view and create a real sense of scale and space in the scene in front of you. They can also be very useful indoors, when you don’t have much room to step back and want to capture the whole scene in front of you.

As with my other articles, this guide is based on extensive research and personal experience. I’ll try to update this article whenever Sony (or third-party brands). As usual, you’ll find an image of each lens, a summary of its main characteristics, and of course my personal take.

To make your research easier, I decided to split the article into two sections, according to sensor size. After all, not everyone starts with a Sony A7 III or another full-frame camera; many people begin with an A6000, A6400, or another APS-C camera. For Sony full-frame cameras, I also decided to separate zoom lenses from prime lenses. In any case, I’ll suggest alternatives whenever relevant, especially for full-frame, since many third-party brands offer very interesting lenses, often at much lower prices. So, let’s take a look at the best Sony wide-angle lenses. You will find some of these lenses among the best current Sony lenses.

If you are interested in the Sony system, you should also know that we have written plenty of other articles, including the best 35mm Sony lenses, 50mm lenses, 85mm lenses, as well as our best Sony telephoto lenses.

As far as we can tell, Sony’s APS-C line-up is still quite limited, even though many photographers use this type of camera body. At the time of writing, Sony’s APS-C camera range includes the A5000, A6000, and the more recent A6600.

Note that this section on wide-angle lenses for Sony APS-C was updated in August 2022, to include the three new wide-angle lenses released by Sony in June 2022, and to add more detail to the lens descriptions.

So, in my opinion, these are the best wide-angle lenses for Sony APS-C cameras:

Here are the lenses I consider to be the best wide-angle options for Sony APS-C cameras:

1. Sony E PZ 10-20mm f/4 G
2. Tamron 11-20mm f/2.8 Di III-A RXD
3. Sigma 10-18mm f/2.8 DC CN Contemporary
4. Sony E 11mm f/1.8
5. Samyang AF 12mm f/2 E
6. Sony E 15mm f/1.4 G
7. Sigma 16mm f/1.4 DC DN Contemporary E

To compare these lenses, you can take a look at the table below.

Here are the key points to remember about the lenses listed below.

Visual

Lens

Features

Best price

Sony E PZ 10-20mm f/4 G

• Excellent image quality
• Many useful controls
• Few optical flaws
• Reasonable price (I bought it!)
• Power Zoom, suited for video

Amazon
B&H

Tamron 11-20mm f/2.8 Di III-A RXD

• Bright wide-angle
• Very good image quality/construction
• Average flare resistance
• Good AF / No extra controls
• Larger than the Sony 10-20mm

Amazon
B&H

Sigma 10-18mm f/2.8 DC CN Contemp.

• Compact and weather-sealed
• Constant f/2.8 aperture
• Fast, accurate autofocus
• Excellent image quality

Amazon
B&H

Sony E 11mm f/1.8

• Compact/lightweight lens
• Bright ultra-wide-angle lens (f/1.8)
• Superb image quality
• Few optical flaws
• Very attractive price

Amazon
B&H

Samyang AF 12mm f/2 E

• Good center sharpness
• No extra controls
• Strong optical flaws
• Longer min. focus distance
• Attractive value for money

Amazon
B&H

Sony E 15mm f/1.4 G

• Outstanding image quality
• Very bright wide-angle lens
• Lots of useful controls
• Very visible distortion/vignetting
• Excellent and fast AF

Amazon
B&H

Sigma 16mm f/1.4 DC DN Contemp.

• Very good image quality
• No extra controls
• Ultra-bright wide-angle lens
• More visible optical flaws
• Excellent value for money

Amazon
B&H

In 2022, Sony made a bold move by announcing not one, but three wide-angle lenses for its APS-C mirrorless cameras. Until then, the only really compelling option for shooting wide was the Sony 10-18mm f/4 OSS, which, even though it is starting to show its age, is still an interesting lens to consider. I deliberately placed this new motorized ultra-wide-angle zoom lens, the Sony E PZ 10-20mm f/4 G, at the top of this ranking because I consider it the best option currently available. The lens has also been designed to work beautifully for both video (thanks to its internal motorized zoom) and photography.

With a 62mm filter thread and a slightly wider focal range than the old 10-18mm (15-30mm full-frame equivalent), is impressively compact, weighing only 178 g and barely 5.5 cm in length. it offers exemplary build quality, worthy of Sony’s high-end “G”, a constant f/4 aperture, dust and moisture resistance, and autofocus that is widely regarded as excellent (fast and silent focusing), although with this type of focal length, the AF performance matters a little less in my opinion. In addition, the lens also has a zoom ring, a focus lock button, a focus ring with linear response and an AF/MF switch. Minimum focusing distance is 13 cm at 10mm and 20 cm at 20mm, reduced to 17 cm in MF.

In terms of image quality, it is clearly excellent, with superb center sharpness wide open, whatever the focal length. The edges are already very good, even at f/4. Stopping down to f/5.6 does not improve image quality much, and the lens remains remarkably consistent, putting it almost on par with the Tamron 11-20mm f/2.8 (which I discuss next). Optical flaws are present with barrel distortion between 10 and 15mm, which turns into pincushion distortion at 20mm (classic behavior for a zoom lens). The three aspherical elements and one ED element help keep chromatic aberration perfectly under control and the lens offers good flare resistance. Vignetting is visible, but well managed.

In conclusion, Sony delivers an excellent lens here if you are looking for a compact, lightweight, high-quality lens, perfect for both video and photography. This lens is particularly well suited to people traveling light, and fans of landscape or architectural photography. The Sony E PZ 10-20mm f/4 G remains, in my opinion, the best choice today, far ahead of the old Sony E 10-18mm f/4 OSS, which, by the way, may no longer be worth considering given the relatively small price difference. It is the wide-angle zoom with the best ergonomics here, and the only one with a motorized zoom.

In June 2021, Tamron released an ultra-wide-angle zoom lens, the Tamron 11-20mm f/2.8 Di III-A RXD. At launch, it was a real breakthrough and clearly the best choice at the time for anyone looking for a wide-angle lens, for landscape or architecture, for example. I decided to rank it behind the new Sony E PZ 10-20mm f/4 G, but this Tamron still offers an excellent overall package. With its constant f/2.8 aperture, the lens remains quite compact at only 335 g and about 8.6 cm (but almost twice as heavy as the new Sony 10-20mm). At the time of its release, it far outperformed the aging Sony 10-18mm f/4 OSS that I’ll mention next. It is still one of the main options if you are looking for an ultra-wide-angle zoom lens with an f/2.8 aperture. However, brighter prime lenses are also available.

The lens has a standard 67mm filter thread and fairly good build quality, similar to the brand’s dedicated full-frame lenses, but not quite as refined as the new Sony E PZ 10-20mm f/4 G. Note that the lens is moisture resistant and has a fluorine coating. However, there are no extra convenience features, as this is a very simple barrel, without any buttons (no switch, no customizable button), the goal being, as you might expect, to keep production costs down. Autofocus is considered quite good, fast, and quiet, better than the old Sony E 10-18mm f/4 OSS, but surely slightly behind the newer Sony 10-20mm f/4. Minimum focusing distance is also a bit longer, between 13 and 20 cm depending on the focal length. However, you do benefit from the f/2.8 aperture, which lets you create nice background blur to separate your subject if needed.

Image quality is also excellent. Until the release of the new Sony E PZ 10-20mm f/4 G, it was the benchmark. Recent reviews mention a quality equivalent to the new Sony E PZ 10-20mm f/4 G, or even better according to some reviews. Wide open, the center is excellent, whatever focal length you use and the edges are still very good. Stopping down to f/4 gives an even more even image and at f/5.6, the image will be perfect, which is useful, as this aperture is often used with this type of focal length to get the whole image sharp. Regarding optical flaws, there is moderate distortion and vignetting at 11mm (which can be corrected in post-processing), low chromatic aberration, but fairly average flare resistance. The lens is also perfectly suited to astrophotography.

In conclusion, this Tamron 11-20mm f/2.8 Di III-A RXD is a great lens for a Sony APS-C body. Although it is much heavier and longer than the new Sony E PZ 10-20mm f/4 G, it does have the advantage of an f/2.8 aperture, which opens up more creative possibilities, even if we are still talking about short focal lengths. The lens is however less suited for video than the Sony 10-20mm f/4. So, if you’re looking for a bright ultra-wide-angle zoom for your APS-C camera, it is still an excellent choice. Those looking for a more video-oriented setup and a more compact lens should look at the Sony E PZ 10-20mm f/4 G.

Available since October 2023, the Sigma 10-18mm f/2.8 DC DN Contemporary is a very solid ultra-wide-angle zoom lens. It features a compact size and rugged, weather-sealed build. With a constant f/2.8 aperture and a 7-blade diaphragm, the lens can produce pleasant background blur. Autofocus is fast and accurate, but the lens is not stabilized.

In terms of optical performance, the lens offers excellent sharpness. Wide open, it delivers sharp results in the center and at all focal lengths. The edges are good from f/2.8 and excellent at f/5.6. As for optical flaws, distortion is visible at 10mm but decreases at 18mm, while vignetting remains moderate and can be corrected in post-processing. Chromatic aberrations are very low and flare resistance is decent.

In short, this ultra-wide-angle zoom is ideal for architecture, landscape, and even astrophotography. Compared to its competitors, its main advantage is its excellent value for money. Compared to the Tamron 11-20mm f/2.8, it is both lighter and cheaper, while offering equivalent image quality. In my opinion, it is a very good alternative that ticks a lot of boxes!

Alongside the Sony E PZ 10-20mm f/4 G, Sony also released two new ultra-wide-angle prime lenses, including the Sony E 11mm f/1.8. This 11mm, equivalent to about 16mm on a full-frame sensor, is ideal for landscape, architecture and even astrophotography thanks to its short focal length. It is simply Sony’s shortest prime lens, with a very large f/1.8 aperture. Available for around €600, this lens is very interesting if you need a very short focal length with a large aperture. The lens is particularly light (181 g) and compact (5.8 cm long), almost identical to the Sony E PZ 10-20mm f/4 G.

The lens, which has a filter size of 55mm, offers superb build quality, on par with the Sony E PZ 10-20mm f/4 G. Ergonomically, there is an AF/MF switch on the barrel and a focus lock button that can be customized in-camera. Autofocus, thanks to its two linear motors, is fast, silent and very precise. Note that the focus ring offers a linear response when focusing manually. The minimum focusing distance is very short, about 15 cm in AF and 12 cm in MF. Coupled with the very large f/1.8 aperture, you can get a nice bokeh in the background, with a very soft rendering.

In terms of image quality, this lens delivers superb results. Sharpness is already very good in the center at full aperture and improves slightly and becomes excellent across the whole image at f/2.8. Note that the Tamron seems to match this Sony E 11mm f/1.8 at f/2.8 which also says a lot about the quality of the Tamron. If you compare it to the other 11/12mm available for Sony E APS-C mount, this 11mm remains the best, well ahead of the Samyang and other manual-focus lenses in image quality, build, and ergonomics. Optical flaws exist, but are very well corrected in post-processing, especially vignetting (negligible at f/4) and very strong distortion at full aperture. Chromatic aberrations are very low and flare resistance is said to be very good.

In the end, Sony delivers a very high-quality lens here, probably the best in terms of image quality at this very short focal length. Optical flaws are present but can be corrected very well with Lightroom or other software. Its excellent autofocus, its remarkable compactness (weight/size), and its very large aperture, make it a very appealing lens to consider for landscape, architecture or astrophotography. With weather resistance and very good build quality, I can only recommend it.

Released in January 2022, this Samyang is the brand’s first autofocus lens for Sony APS-C bodies. This is good news and gives more options for those looking for a very short focal length and (as a bonus) a large aperture, with extra creative possibilities, including separating your subject from the background. It can be considered as a direct competitor of the Sony E 11mm f/1.8 mentioned above. It is a very nice evolution of the brand’s older manual-focus version (Samyang 12mm F2 NCS CS) which used to be one of the best wide-angle lenses for Sony APS-C cameras. The lens remains fairly compact, at 237 g and 5.9 cm long. It is a little larger than the Sony E 11mm f/1.8.

The lens, with a filter size of 62mm, is said to be moisture- and dust-resistant. Build quality is very good with a large textured focus ring. However, the lens lacks any extra convenience features (AF/MF switch or customizable buttons), which keeps both production costs and the final price down. Autofocus is said to be very good, fast, and quiet. The minimum focusing distance, however, is “quite long” (compared to the 12 cm of the Sony E 11mm f/1.8), about 20 cm, but the large aperture at f/2 will still allow you to get nice background blur as soon as you get close to the subject.

In terms of image quality, the center is already very good wide open, while the edges remain very average. Stopping down to f/2.8 and then f/4 improves both quality and overall consistency. However, you will have to close even more to get a perfectly even image. Finally, center image quality is remarkable from f/4-f/5.6. However, the latter remains less even than the Sony E 11mm f/1.8 and the two zooms in this ranking. Optical flaws are the main downside of this Samyang. Vignetting and distortion are rather well managed while flare resistance is very average. Chromatic aberrations are also quite present, even if they are easy to correct in post-processing.

In conclusion, if we consider value for money, Samyang offers a very interesting lens here for only €350. Center sharpness is superb, autofocus and build quality are excellent, and even if we can notice more pronounced optical flaws and less sharpness on the edges compared to the other lenses at the top of this ranking, the Samyang AF 12mm f/2 E still costs less than half as much as the others. As often, budget will guide your choice. If you have a bigger budget, you can look at the Sony E 11mm f/1.8 (prime lens) or at the Tamron 11-20mm f/2.8 Di III-A RXD, the latter offering better image quality, more versatility thanks to its zoom range, but for twice the price!

Alongside the Sony E 11mm f/1.8 and the Sony E PZ 10-20mm f/4 G, Sony released another wide-angle lens, the Sony E 15mm f/1.4 G. Equivalent to 22.5mm on a full-frame camera, this focal length, combined with its very large aperture, is perfectly suited to landscape, architecture, and astrophotography. Worthy of Sony’s “G” range, we are clearly dealing with a very high-end Sony lens. Although they are not really in the same range, it competes with the last lens in this ranking, the Sigma 16mm f/1.4 DC DN Contemporary. The lens is remarkably compact and lightweight (219 g for 7 cm long).

The lens offers excellent build quality, worthy of the Sony G series with several useful controls, such as an AF/MF switch, a de-clickable aperture ring, a focus lock button that can be customized in-camera and a focus ring with linear response in MF. Note that the lens also features weather-sealed construction. Autofocus is said to be excellent, smooth, fast and quiet. The minimum focusing distance (20 cm in AF and 17 cm in MF), coupled with the very large aperture (f/1.4), allows for nice, soft bokeh.

Image quality from the Sony E 15mm f/1.4 G is excellent in the center wide open and very good even at the edges, which is still remarkable. Stopping down to f/2.8 gives a perfectly even image with a remarkable quality. This is among the best options available in the 15/16mm range, above the already very good image quality that the Tamron 11-20mm and the Sony 10-20mm can produce. Up to f/2.8, this Sony E 15mm f/1.4 G offers better image quality than its direct competitor, the Sigma 16mm f/1.4 DC DN Contemporary (which costs about half as much, let’s not forget…). Distortion and vignetting, however, are very present, while chromatic aberrations and flare are very well managed.

To conclude, Sony offers one of the best options here, but of course, that comes at a cost, with the lens priced around €850. If you are looking for a bright wide-angle lens that gives you many creative possibilities, ideal for landscapes, architecture, and indoor photography, then this is one of the best options! This Sony is superior in many ways to the Sigma 16mm f/1.4 DC DN Contemporary (which is still very good), but the Sigma costs about half as much. Depending on your budget and priorities, you can decide which lens to choose.

I’ll end this ranking of the best wide-angle lenses for Sony APS-C cameras, with this ultra-bright lens from Sigma. Until the release of the Sony E 15mm f/1.4 G, this was the option to consider for those looking for wide-angle and brightness. The introduction of the Sony 15mm has changed things a bit, although they are not in the same range or at the same price! Sigma offers a very bright wide-angle prime lens, but its compactness is only average. The lens is indeed quite large for an APS-C lens, 405 g and 9.2 cm long. In fact, it is twice as heavy as the Sony E 15mm f/1.4 G.

The lens has a filter thread of 67mm and has a relatively good build quality. It is described as dust- and splash-resistant. There is also a large ribbed focus ring. The lens, however, lacks convenience features like an AF/MF switch or customizable buttons. Autofocus is said to be quite good, but behind the Sony E 15mm f/1.4 G. The minimum focusing distance is quite long (25 cm) while the Sony 15mm focuses down to only 15 cm (bearing in mind that the lens is also shorter). Nevertheless, the very large aperture allows a very soft bokeh in the background.

In terms of image quality, it is already very good across the whole image at full aperture. Closing at f/2.8 allows you to get a perfectly even image that can compete with the Sony E 15mm f/1.4 G at f/2.8. Moreover, beyond f/2.8–f/4, the difference between the two lenses will be barely visible. We are therefore looking at an excellent lens with good image quality. Optical flaws, certainly correctable in post-processing, are still present with strong chromatic aberration and a marked sensitivity to flare. Distortion and vignetting are present, but can be corrected very well with Lightroom.

In the end, Sigma delivers a lens with very good value for money. For around €350, you get an ultra-bright wide-angle lens that offers very good image quality. The lens is certainly not perfect and its very average compactness and optical flaws are worth keeping in mind. That said, this lens remains, in my opinion, very good value for money for those who do not have the budget to afford the Sony E 15mm f/1.4 G.

In summary, here are the key features of the Sony APS-C wide-angle lenses.

For those who want to go even further and take a look at all the wide-angle lenses (and other focal lengths) for Sony APS-C cameras, here is our complete guide regularly updated with the latest releases.

Alternatives:

I’ll end with a few words about two alternatives worth considering, although I didn’t want to cover them in detail. First, a few words about the Viltrox 13mm f/1.4 STM E, released in early 2022. According to the first reviews, this lens also delivers very good, fairly consistent image quality, but is held back by its flare resistance and the presence of chromatic aberrations. Still, it remains an option at about the same price as the Samyang AF 12mm f/2 E.

Finally, the Zeiss Touit 12mm f/2.8 needs no introduction. Everyone agrees that sharpness is excellent across the whole image. The lens also has few optical flaws. However, the lens seems far too expensive in my opinion to be seriously considered. If I had to choose, and if I wanted such a short focal length, I would go for the new Sony E 11mm f/1.8 which, besides costing much less (around €600), offers an aperture more than one stop faster (f/1.8 vs f/2.8 for the Zeiss).

Yongnuo has also just released an 11mm and a 16mm (although they are not easy to find).

Here is a summary table of the few alternatives I would recommend in addition to those mentioned.

I deliberately chose to separate wide-angle zoom lenses from prime lenses. You can then choose one or the other according to your photography style and what you want to shoot. Although zooms offer greater versatility, choosing a wide-angle prime lens will give you larger apertures and sometimes better image quality.

Here are all the wide-angle and ultra-wide-angle lenses I recommend, including both zooms and primes, for a full-frame Sony camera.

If you want to compare these lenses, you can use the table below for zooms and the other one for prime lenses. By the way, if you are looking to update your lens, you can have a look at this Sony page listing the latest firmware updates.

If you want to go into more detail, I suggest you take a look at our complete page listing and detailing all the lenses available for the Sony FE mount. There, you will find all the wide-angle lenses mentioned below (prime and zoom).

Released in July 2020, this Sony ultra-wide-angle zoom lens remains the best Sony currently offers among zoom lenses. Image quality is simply outstanding at full aperture, both in the center and at the edges. Sharpness is clearly superior to the other wide-angle lenses discussed below.

On the other hand, the price is very high, and so is the weight, even though it was marketed as lightweight: 847 g. Note that you can’t use standard screw-in filters. However, you can place rear ND filters at the back of the lens. If it fits your budget, you won’t be disappointed.

Announced in April 2024, the Sony FE 16-25mm f/2.8 G is a bright ultra-wide-angle zoom lens for full-frame E-mount mirrorless cameras. It features a constant f/2.8 aperture and an 11-blade circular aperture. Its optical formula uses 16 elements in 13 groups, including 3 ED and 3 aspherical lenses. Its minimum focusing distance ranges from 18 cm at 16mm to 24 cm at 25mm, with a maximum magnification of 0.23x.

Its design is weather-sealed, while its size and weight make it compact and easy to carry. Its autofocus ensures fast and silent focusing. On the other hand, there is no optical stabilization. Image quality is exceptional, with very good sharpness in the center at full aperture. The edges are a little soft at f/2.8, but improve at f/4 or f/5.6. Chromatic aberration is also well controlled. Finally, bokeh is soft and natural, although limited by the short focal length.

In conclusion, the Sony FE 16-25mm f/2.8 G is a good compromise between quality and affordability. To give you an idea, it is much cheaper than the Sony FE 16-35mm f/2.8 GM II, while offering a similar level of quality (albeit with a shorter focal length). In my opinion, it is a very good ultra-wide-angle zoom lens!

In June 2022, after releasing the 28-70mm f/2.8 to compete with Tamron’s 28-75mm f/2.8 (among others), Sigma announced the introduction of the 16-28mm f/2.8 Contemporary to compete with Tamron’s 17-28mm f/2.8.

The Sigma appears to outperform the Tamron and even seems to be able to compete with the much more expensive 16-35mm f/2.8 and f/4 from Sony. Autofocus performs well, better than the Tamron again, although the Tamron is not especially fast to begin with. Flare and chromatic aberration are well controlled, distortion is significant but easily corrected in software. Coma is visible in astrophotography so a prime lens may be a better choice for that use.

For around €900, a very reasonable price considering the quality of this lens, it is one of the first options to consider if you are looking for an ultra-wide-angle zoom for photography. It is also quite light and compact. I might actually consider it to replace my Tamron 20mm.

The Sony FE 16-35mm f/2.8 GM II is part of Sony’s new generation of professional ultra-wide-angle zooms. Compared with its predecessor, it has a much more compact and lightweight design, while remaining rugged and weather-sealed. It features a constant f/2.8 aperture and an 11-blade circular aperture. It also has an optical formula comprising 15 elements in 12 groups. The lens has a minimum focusing distance of 20 cm and a maximum magnification of 0.32x. This is a major improvement over previous versions.

In terms of performance, the lens offers good image quality from the center to the edges, especially at 24mm and 35mm. Sharpness is much better than on the old version, especially at the edges. As for optical flaws, vignetting has been significantly reduced, while distortion is better managed. For video, focus breathing has been eliminated, which is a real advantage for videographers.

In conclusion, this zoom remains a benchmark in its category. It is versatile and offers excellent optical quality. It is perfect for landscape, architecture, and documentary photography. It is clearly not cheap, but it will be excellent for professional photographers and demanding enthusiasts.

In early 2022, Sony released the 16-35mm f/4 G PZ. Until then, Sony offered an f/2.8 GM version which was quite large and expensive, as well as an f/4 designed in association with Zeiss but which was starting to show its age and didn’t offer a high level of performance. So Sony released its own modern version.

This 16-35mm f/4 G differs in several ways. First, it is Sony’s first G-series zoom lens with a de-clickable aperture ring. The PZ acronym, for Power Zoom, indicates that its zoom can be driven electrically by a switch on the lens rather than with the mechanical ring (but the latter remains present) or by an external control to make transitions between focal lengths smoother. Optical quality is excellent wide open. Obviously, there is significant vignetting and distortion, especially at the shortest focal lengths, but this is common with this kind of zoom. It is currently the lightest and most compact full-frame zoom lens covering focal lengths from 16 to 35mm.

Of course, all these features and this level of build quality come at a price, since it costs almost €1,500. That is not much more than the old Sony Zeiss, which is inferior in all aspects, except for its stabilization, which is less important nowadays thanks to modern in-body stabilization. For video, it is one of the best choices. On the other hand, for photography, unless you specifically want the lightest and most compact zoom in its category, it may be better to choose the 16-28mm f/2.8 C from Sigma, much cheaper and also very good.

Sigma redesigned its 14-24mm f/2.8 HSM Art for DSLR cameras and created a mirrorless version. This version is lighter and more compact than the DSLR version. Although it remains heavier than Sony’s 16-35mm f/2.8, it also comes at a much lower price. Its image quality is a little lower than the 16-35mm but still very good and very consistent, with a slight advantage in the middle of the zoom range.

Like the 12-24mm, this lens does not allow the use of screw-in filters and will therefore require a special filter holder system. For those looking for a landscape lens and who often use ND and GND filters, this may be a reason to skip it. However, for convenience, ND filters can be placed on the back of the lens. If you don’t mind using filter holders and you need a zoom lens that can go down to 14mm with an f/2.8 aperture, this will be a much more affordable option (relatively speaking, since its price is already very high for many people) than the 12-24mm and 16-35mm f/2.8. Its autofocus is also very good.

Let’s be clear: among the wide-angle zooms mentioned above, this is the lens with the weakest image quality. Image quality is not bad and remains decent, but lower. This lens has a short focal range and is not as bright as the Sony/Tamron lenses mentioned above.

In addition, it does not allow the use of conventional screw-in filters, which makes it less practical for landscape photographers. Considering the asking price (around €1,500), I wouldn’t really recommend buying it. You might as well choose the Tamron 17-28mm or the Zeiss 16-35mm f/4, which are both cheaper, optically better, and compatible with filters.

Below is a summary of the lenses mentioned above.

After updating the article, I finally decided to place the Tamron 17-28mm f/2.8 Di III RXD as an alternative wide-angle zoom, replacing it with the better Sigma 16-28mm f/2.8 DG DN Contemporary which I placed second in the ranking. However, here are a few interesting things to know about this lens. This unstabilized lens, released in July 2019, also offers superb image quality. It’s slightly behind the Sony 12-24mm f/2.8 GM mentioned above, but at least equal to, or even better than, the very famous Sony 16-35mm f/2.8 GM (see below). It is known for being very consistent across the frame.

Tamron made a very strong impression when releasing this one, offering an ultra-wide-angle lens of very high quality and for an unbeatable price, almost three times cheaper than the Sony 16-35mm f/2.8. Admittedly, the focal range is a bit short, but I don’t think it is that limiting, and the weight remains reasonable (500 g). If you have a “tighter” budget and are still looking for a high-quality lens, this Tamron would be the best wide-angle zoom for Sony FE. Importantly, you can use screw-in filters on this Sony wide-angle lens. We just published the complete review of this Tamron 17-28mm f/2.8. A great result for a reasonable price.

I also decided to remove the Sony 16-35mm f/4 ZA Vario-Sonnar T* OSS from the list of interesting wide-angle zoom lenses following the update of my article. Here is some information about it, though. This lens, built by Zeiss and marketed for Sony, is also a nice option to consider. It is offered at a slightly higher price than the Tamron 17-28mm. However, you lose one aperture stop since the maximum aperture remains at f/4 on this 16-35mm. Sharpness is generally lower than on all the lenses mentioned above, but still decent.

This lens is, however, stabilized and light (although heavier than the Tamron) and is more affordable than the 12-24mm f/2.8 and 16-35mm f/2.8 from Sony. If you don’t need the extra stop of light and if you still want a good-quality lens, this Zeiss may be what you’re looking for.

Regarding possible alternatives among wide-angle zooms, I’ll mention only two of them. Firstly, Sigma offers a 14-24mm f/2.8 DG DN Art which, based on feedback, remains a nice alternative if you’re looking for an ultra-wide-angle lens with a large aperture. Image quality is clearly behind the Sony FE 16-35mm f/2.8 GM, but the lens is still half the price, so it could be worth thinking about. The big drawback, though, the Sigma does not accept standard screw-in filters or standard 100mm filter holders. For those looking for a landscape lens and often using ND and GND filters, this may be a good reason to skip it. To get by, however, you can place ND filters at the back (rear filters).

Finally, Laowa offers a 10-18mm f/4.5-5.6 FE. However, performance is far below all the lenses mentioned above. In addition, the lens has manual focus, strong distortion, strong vignetting, and significantly lower sharpness. Admittedly, the price is still three times cheaper than a Sony and half the price of a Tamron/Sigma …

There is a very large number of ultra-wide-angle and wide-angle lenses available for a full-frame Sony camera body. So, I won’t list them all and the ranking below is mainly from the shortest to the longest focal lengths.

Below, you will find the summary table of the best Sony wide-angle prime lenses.

It is also important to note that there are a large number of very interesting alternatives (depending on your needs, preferences, and especially your budget). I’ll detail what I found and share my analysis. This is not an absolute truth, just my own view after considering the different lenses you might think about in addition to the 5 mentioned below. Here is the summary table of the alternatives to consider.

If you are interested in a prime lens, please feel free to check out our complete guide to the best 24mm lenses for Sony.

After the 135, 24, and 35mm GM lenses, Sony continued expanding its G Master range with this 14mm f/1.8. The build quality is exemplary, worthy of the GM range, while keeping size and weight relatively well controlled given the lens’s specifications (especially compared to its only real competitor, the Sigma DG HSM Art, which weighs 1.12 kg). Despite how difficult it is to design a consistent 14mm lens, this one delivers a very high level of quality even wide open, but it is better to stop down to f/2.8 to improve the edges. Vignetting is high, but this is the price to pay for keeping the lens compact, and in-camera lens corrections or the use of software will easily solve the problem.

Although a wide-angle lens with such a large aperture is appealing for astrophotography, the defects on the edges of this one make it less suitable for this type of use, and it may be better to choose the 20mm f/1.8 instead. But if you are into landscape, architecture, or other fields, this 14mm is the best in its category and its price reflects that. Keep in mind though that, as with zooms covering this focal length, the use of filters will require a filter holder system.

The Sigma 14mm f/1.4 DG DN ART is an ultra-wide-angle lens with an exceptional f/1.4 aperture (quite rare at this focal length). The lens is designed for astrophotography and landscape photography, with a focus on high optical performance. Its weight and dimensions are clearly impressive. It is also solidly built and weather-sealed. Its optical formula comprises 15 elements in 12 groups, including aspherical and low dispersion glass elements.

Its ultra-bright aperture is one of its strengths: it performs well even in low light. The sharpness is remarkable from f/1.4, especially in the center. The edges improve as you close the aperture. The autofocus is fast and quiet.

As you can see, the Sigma 14mm f/1.4 DG DN ART is an interesting high-end alternative to the Sony 14mm f/1.8 GM. The Sigma is definitely an investment, but it offers a brighter aperture with more advanced options. If you are looking for the best optical quality in an ultra-wide-angle, this is the lens for you!

The Sigma 15mm f/1.4 DG DN ART Fisheye, announced in March 2024, is positioned as the first full-frame autofocus fisheye with an aperture of f/1.4 and a diagonal field of view of 180°. It consists of 21 elements in 15 groups, including several special lenses (FLD, SLD and aspherical) to limit chromatic aberrations. The autofocus is fast and efficient. Its imposing size makes it a rather bulky lens.

In terms of handling, its design makes shooting easier in demanding conditions. The lens offers remarkable sharpness from f/1.4, with good control of vignetting and chromatic aberrations. In astrophotography, its control of coma is exceptional, allowing stars to be sharp right to the edge.

Ultimately, this Sigma is a lens aimed primarily at professional photographers. Its optics are exceptional, its construction is top-notch and its autofocus is powerful. As you can imagine, all of this comes at a price. But if you have the budget, go for it!

Among all the 20mm wide-angle options available, this Sony is simply the best in my opinion. It offers superb build quality (and is reputed to be dust- and splash-resistant), and despite strong vignetting at full aperture, center image quality is excellent. It’s all about excellence here. On the other hand, edges and corners lag behind, but they are still good. As soon as you stop down to f/2.8, image quality improves across the whole frame. This is a very good choice for astrophotography, for example.

Overall, I would say that if you can afford this 20mm, you won’t be disappointed! Especially since this lens has a nice f/1.8 max. aperture which can help in low light and can create quite nice bokeh – although this is relative, because you rarely buy a wide-angle lens for the bokeh it can produce. In fact, we fully reviewed this lens. Don’t hesitate to read our review of this 20mm Sony lens!

In early 2022, Sigma expanded its Contemporary “I” series with the release of the 20mm f/2 DG DN. While it’s not necessarily the focal length many expected from Sigma at the time, it rounds out the range a little more and can be a companion to the 35mm f/2 for those who felt that 24mm was still too close.

This 20mm provides a great alternative to Sony’s 20mm f/1.8 and a nice option for Panasonic, Leica and Sigma L-mount users. The build quality is top-notch, like all I-series lenses, with an all-metal barrel and lens hood as well as an aperture ring (unfortunately not clickable). The image quality is excellent in the center wide open and the edges reach the same grade very quickly, from f/4, being already very good from f/2.8. Vignetting and distortion are present but easily corrected, and flare resistance is good, though not perfect. It has very little coma and astigmatism, which is good news for astrophotography. AF is fast and accurate.

For around €700, usually €300–400 less than the Sony f/1.8, it is a very solid deal for all E- or L-mount camera users. The only cheaper option from Sony is the Tamron 20mm f/2.8 (the one I personally bought), which is not as good and not as well built.

If you are looking for a lightweight, compact, weather-sealed Sony wide-angle lens, this Tamron 20mm could very well be the perfect lens for you. This 20mm offers very good image quality in the center, even wide open (f/2.8). The edges lag a little behind, but still very good. By stopping down to f/4, you’ll get exceptional image quality across the entire image, equal to the Sony 20mm f/1.8 G, which is still the 20mm reference. However, autofocus could be better according to feedback, and to my own experience!

The only thing to know, obviously, is that the lens does not have a very large aperture (like the Sony). But an aperture of f/2.8 coupled with the internal stabilization of Sony cameras will do very well, even in low light. You might think you’ll be able to blur your backgrounds less with an aperture of f/2.8 (instead of f/1.8), but that’s without considering the 1:2 magnification ratio of this Tamron, which lets you focus as close as 12 cm to the subject. The depth of field can therefore become very shallow. Considering the price tag, around €300, this is still the best 20mm option in my opinion if you are on a budget. There’s a reason why I bought it and tested it! Here is my full review of this Tamron 20mm for Sony.

In August 2022, alongside the 20mm, Sigma released the 24mm f/1.4 art. It aims to rival the Sony 24mm f/1.4 GM, considered one of the best 24mm ever designed by many.

Although image quality is good wide open, it is better to stop down to f/2.8 to get the most out of it. The center is excellent from f/1.4, better than the Sony GM apparently, but the edges lag behind. At smaller apertures, the two lenses are almost equally good. It has few flaws, with a strong vignetting at full aperture that quickly diminishes but can be corrected by software. Chromatic aberrations are also well controlled, as is flare. On the other hand, coma is visible at full aperture, making it less interesting for astrophotography than the Sony GM or the 20mm Art.

The 24mm Art is therefore extremely interesting considering its €900 price tag, much lower than the Sony GM, with only slightly greater weight and size.

As with 20mm lenses, there is a wide choice of 24mm lenses. Once again, Sony takes the lead here, because in my opinion, this is the best one available today. Note that there are only a few 24mm lenses offering such a large maximum aperture. Wide open, image quality in the center is already extremely good. But where Sony really excels is that they managed to offer good image quality on the edges and corners as well (which is rare at full aperture).

Build quality is still good (like the 20mm), chromatic aberration is well managed, but it has a strong vignetting at f/1.4 (-2.7 f-stops). The only drawback is its very high price. All of this makes it a perfect lens for passionate amateurs with a comfortable budget and/or semi-professional or professional photographers.

This lens was recently released by Samyang. The brand offers a 24mm lens with a large aperture at f/1.8, weather-sealed construction, and remarkable image quality, even wide open (f/1.8). Closing at f/2.8 makes it even better and delivers excellent consistency across the frame.

Minimum focusing distance is short (19 cm), allowing you to create nice background blur, especially when combined with the lens’s maximum aperture. At the announced price (less than €500), this is a really interesting lens if you are looking for a quality 24mm wide-angle lens, without going over budget (the Sony 24mm GM, although better, costs three times more).

So, we’ve reached the end of what I consider to be the best Sony wide-angle prime lenses. Their characteristics are summarized below.

For those who want to jump straight to the comparisons, this table compares alternative lenses for focal lengths between 9 and 15mm, and here is the comparison of alternatives for lenses between 18 and 24mm.

If you’re looking for interesting alternatives offering ultra-wide-angle shots, I think there are three manual-focus alternatives you can consider. Laowa offers a 9mm f/5.6 FF RL as well as an 11mm f/4.5 FF RL. With a viewing angle of 135°, the 9mm from Laowa is simply the widest (non-Fisheye) lens available for Sony FF bodies. However, you won’t be able to add a screw-in filter, unlike the 11mm from Laowa. Reviews are very positive about this 9mm, even better (in image quality, chromatic aberration, coma, minimum focusing distance) than the Voigtlander 10mm f/5.6 ASPH (also with manual focus).

Apart from the Laowa 14mm f/4 FF RL Zero-D mentioned above, there are several other third-party brands offering lenses with a focal length of 14mm. I’m mainly thinking of the Samyang AF 14mm f/2.8 FE, which offers autofocus, a larger aperture and better vignetting control, but which is overall not as good as the Laowa in my opinion – especially regarding image quality which lags behind, especially at the edges and corners. Sigma also offers a 14mm f/1.8 ART DG HSM, a lens built for DSLRs and adapted to mirrorless cameras. This lens is known for excellent sharpness, even wide open. However, it does not accept screw-in filters, is much bulkier (size/weight) and, above all, costs three times more than the Samyang or the Laowa.

You can also consider the Laowa 15mm f/2 FE Zero-D, but I personally would not recommend it considering its price and performance. Finally, Voigtländer also offers a 15mm f/4.5 ASPH III which has a very good reputation.

Here is a summary table of interesting alternatives to consider for focal lengths between 9 and 15mm on a full-frame camera.

For this type of focal length, Samyang offers an 18mm f/2.8 FE. Here, we’re not in the same league as the Zeiss Batis 18mm. Image quality is decent in the center, but clearly weaker at the edges and corners. Strong vignetting should also be noted (larger than the Zeiss). Its build quality also lags behind. However, depending on your photography style (if you like shallow depth of field), this Samyang could be a very nice alternative to the Zeiss. Sold for less than €400, it is clearly a lens to consider if you are looking for an inexpensive 18mm or 20mm lens that still delivers good image quality.

Regarding lenses with a focal length of 20mm, there are also many alternatives. The Sony mentioned above remains the best of all in my opinion, but it is clearly not affordable for everyone. If you want to stick with an autofocus lens, I mainly see three interesting alternatives. The Sigma 20mm f/1.4 DG HSM Art is a very nice lens, but originally designed for DSLR cameras and then adapted to mirrorless cameras. The result is a very heavy lens (almost 1 kg, compared to the 370 g of the Sony f/1.8). Its image quality is also known to be very good, and this lens offers the widest maximum aperture available for a 20mm, i.e. f/1.4. I’ll talk about it below, but only the Voigtlander 21mm f/1.4 Nokton ASPH (with manual focus though) offers a similar large aperture. This Sigma is as expensive as the Sony 20mm f/1.8.

Finally, still with autofocus, Tokina also offers the Firin 20mm f/2 FE AF. According to several tests, center image quality is excellent, as good as the Sony 20mm f/1.8. It is the edges, and especially the corners, that lag behind the most. Unfortunately, the lens is not weather-sealed, and its price is still higher, between the Tamron and the Sony. However, it is still an option worth considering as well!

I won’t go into as much detail about manual-focus lenses, but I will mention here three lenses I find interesting to look at more closely: the Zeiss 21mm f/2.8 Loxia Distagon T*, the Voigtlander 21mm f/1.4 Nokton ASPH, and finally the Viltrox 20mm f/1.8 ASPH FE. The Zeiss remains in my opinion the best one, but at a very high price (more expensive than the Sony 20mm, despite lacking AF and having a smaller maximum aperture). The Voigtländer also has a good reputation but is also expensive. Finally, the Viltrox remains a very good alternative. For less than €400, this lens offers very good image quality in the center, but once again, the edges/corners are quite soft. Depending on your photographic practice, this will not really matter, and for such an inexpensive lens with a large aperture at f/1.8, it is very good value for money. You will not find any equivalent in 20mm at this price with such a wide aperture.

With the exception of the Sony 24mm, I think the Zeiss Batis 25mm f/2 Distagon T* is a very nice alternative for those looking for a very high-quality wide-aperture lens, offering superb image quality (as good as the Sony), with autofocus and a nice compact build (lighter than the Sony). Considering its size and weight, I wouldn’t necessarily recommend the Sigma 24mm f/1.4 DG HSM Art, which offers a larger aperture, but is quite imposing. Nevertheless, its image quality is said to be good, and it costs half as much as the Sony 24mm! Note that Sigma has recently released the 24mm f/3.5 DG DN I C, a 24mm lens optimized for mirrorless cameras. Early reviews also show good image quality, but it is certainly not in the same category as f/1.4 or f/2 lenses. If you are not interested in shallow depth-of-field pictures on a wide-angle lens, I think it is a great alternative to consider, for about €500. Another autofocus option comes from Tamron, a 24mm f/2.8 Di III OSD M 1:2. It is also a very nice alternative offering very good image quality and a very compact size for only €350. Finally, there is also the Samyang 24mm f/2.8 FE AF, which is certainly less good than the others, but people looking for a 24mm with AF on a small budget will be delighted as it only costs €250.

Finally, it should be noted that there is also the Zeiss 25mm f/2.4 Loxia, a well-known manual-focus 25mm offering very good image quality. It is especially well known and appreciated by videographers.

To help you compare them, here is the summary table of the alternative lenses you can consider, for focal lengths between 18 and 24mm.

Before choosing your Sony wide-angle lens, you need to know which factors to consider in order to make a well-informed choice. I won’t repeat everything I wrote in my article on the best wide-angle lenses, but I’ll summarize it for you in the small drop-down section below. As all these elements are already in the article mentioned in the link above, I have deliberately decided to hide them by default.

The sensor of your camera is the most important element of your camera body, the part that collects the light through your wide-angle lens. At Sony, things are quite simple as there are only two sensor sizes: APS-C sensors and full-frame sensors (also called 24x36mm or FF).

Regarding Sony wide-angle lenses (and associated third-party brands), there are lenses built for APS-C cameras, such as the Sony 10-18mm f/4 OSS or the Rokinon 12mm f/2. These lenses can be mounted on a full-frame camera, but with automatic image cropping (loss of field of view and megapixels). Conversely, there are also Sony lenses for full-frame cameras (“FE” range). These can be mounted on an APS-C A6600-type camera. However, you should keep in mind that they are often heavier, bulkier, and more expensive. Sony only offers a few wide-angle lenses for APS-C format, so you may consider using full-frame wide-angle lenses instead.

Finally, you should keep in mind that a Sony 16-35mm f/4 lens (so, for full-frame) mounted on an APS-C body will no longer feel truly wide-angle because of the 1.5 crop-factor. You’ll instead get the equivalent of a 24-52mm…

Sony has two mounts. This article will not cover the A-mount since it is the one dedicated to Sony DSLR cameras, such as the α3000, the α77 II or the most recent α99 II, which is now discontinued by Sony. The other mount, the one we’ll talk about here, is the E mount, associated with mirrorless cameras, like the recent A6600 and the A7/A9 series. You should know that adapter rings allow you to mount A-mount lenses on E-mount bodies, but I do not recommend it overall. I generally recommend choosing lenses designed for their mount.

If you’re looking for a wide-angle lens, chances are you’re already familiar with this term. This is the number indicated in millimeters on your lenses. It can be a single number, such as 12mm, 50mm or 200mm, for a prime lens where you can’t zoom in, or two, such as 16-35mm, 24-70mm, whereas a zoom lens gives you a range, allowing you to change your focal length.

Your focal length simply determines your field of view when you place your eye in your viewfinder (for Sony mirrorless cameras, whenever you look through your EVF – Electronic Viewfinder).

For wide-angle lenses, we are talking about “wide-angle” focal lengths, as the name suggests, meaning short to very short focal lengths. We can consider wide-angle:

• On a full-frame camera (type A7 III, A9): between 20 and 35mm (below 20mm, it will be an ultra-wide-angle),
• On an APS-C format (type A6000, A6600): between 14 and 24mm (below 14mm, it can be considered ultra-wide-angle).

Conversely, a telephoto lens (even narrower angle of view) is used to zoom in on distant subjects. These lenses have longer focal lengths, beyond 85mm. They are suitable for distant details, wildlife or sports photography.

As a reminder, the aperture of your lens is characterized by the number after “f/”. The smaller the number “f”, the larger the aperture – and conversely, the larger the number “f”, the smaller the aperture. Owning a Sony wide-angle lens with a large aperture can help you in many ways. First, you will be able to let more light reach your sensor, which will allow you to shoot at faster shutter speeds. Secondly, the larger your maximum aperture is, the more you will be able to reduce the depth of field and so get nice background blur.

Generally speaking, wide-angle lenses are often used for landscape or architecture photography. In these cases, you will very often use smaller apertures such as f/8 or f/12 to maximize the depth of field of your scene (keep the whole image in focus). However, in other specific genres like street, night, indoor, astrophotography or landscape photography in low light (without a tripod), having a large aperture will allow you to compensate for the lack of light in the scene. Let’s take an example: you have a 16-35mm f/4, and when you shoot, you get the following parameters: ISO 3200, f/4, 1/30. If you had a maximum aperture of f/2.8, you could have shot at 1/60 (double shutter speed) or ISO 1600 (less noise).

However, you should also know that, at the same aperture, the shorter the focal length (as in the case of wide-angle lenses), the greater the depth of field. This is the concept of hyperfocal distance, which I still need to explain one day on our blog. To give you an example, let’s say you shoot with a 15mm on an A7 III-type camera (full-frame). You are in front of a landscape, and you want the whole scene to be sharp. As soon as you focus more than 3 m away, with your 15mm set to f/2.8, the whole scene will be sharp. There will be little reason to stop down, except to use the lens’s sharpest aperture, which is often around f/5.6-f/8. Having the option to open the aperture will allow you not to increase your ISO and/or to use a longer exposure time.

In practice, you rarely buy a wide-angle lens to get a nice background blur. Even if you can take pictures with relatively shallow depth of field, this is not really the primary purpose of these lenses.

This is a question you’ll have to ask yourself, especially if you shoot without a tripod most of the time. If you use a tripod, then stabilization won’t be useful. On the other hand, when you’re going to shoot static subjects handheld (landscape, architecture), stabilization will allow you to reduce your shutter speed while limiting blurry shots.

At Sony, the stabilization system is called OSS, for Optical Steady Shot. A large majority of Sony mirrorless cameras have in-body image stabilization. There are also many stabilized lenses. Sony cameras automatically combine lens stabilization with body stabilization, when both have it.

Once again, it all comes down to your preferences. There is no magic formula, and we can no longer say that all prime lenses are always better than zooms. The only things I think are important to note are that zooms offer more versatility, and prime lenses are generally brighter (which can be interesting depending on your use, for example for night or astrophotography).

I think this is a very important point, especially for landscape photographers like me. I’d rather spend time with my filters than on post-processing software like Lightroom or DXO. So, you have to be aware that some of the wide-angle lenses mentioned in this article do not allow the standard use of screw-in filters (polarizing or ND for example).

Indeed, some lenses have a curved front lens and/or a lens hood that does not unscrew. In this case, you have no choice but to use an expensive filter holder system, in 150mm or 180mm, with the associated filters as well. This is something I have personally thought a lot about.

To sum up, you have two ranges at Sony. E lenses are dedicated to APS-C sensors. They are generally lighter and cheaper than FE lenses, which are dedicated lenses for full-frame cameras.

A few more things to note:

• The G range: equivalent to “Gold”, this indicates that the lens belongs to Sony’s high-end range (a white G on a black background).
• The GM range: equivalent to “G Master”, this sits above the standard “G” range which is supposed to correspond to the very high end of Sony’s line-up according to Sony. It is designed to very high standards (durability, weather sealing, etc.) and is identified with a white G on a red background.
• The ZA range: this indicates that the lens was designed by the Zeiss brand.

Although this article covers the best Sony wide-angle lenses, it will of course feature all the brands offering lenses for Sony cameras. So, I will talk about Zeiss, Sigma, Tamron, Tokina, Rokinon/Samyang or Laowa Venus lenses, to name only the most famous. Other lesser-known brands also offer lenses for Sony, such as Meike, Viltrox, Zenit or 7 Artisans.

We’re now at the end of this very long article. I hope you will find it useful when choosing your Sony wide-angle lens. You should find what you’re looking for in this list. Feel free to tell me what you think of my selection, and if you have one of these lenses, don’t hesitate to leave a comment!

See you soon for more Sony gear guides!

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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