Which mirrorless lens should you choose?

After writing a complete guide this year to help you choose the best mirrorless camera for you, I started, as promised, a huge project to help you choose your mirrorless lenses. I have to admit that I originally knew DSLR systems much better, so writing this article took a serious amount of research. I would also like to thank Alex, who will recognize himself, for his valuable help with this work.

Choosing a camera lens is never easy, especially when you’re just starting out, you don’t know the different mirrorless lens ranges, and the choice varies so much from one brand to another that it’s easy to get lost. I’ll admit it: I got lost more than once myself. I had to dig through hundreds of models, if not more. The number of interchangeable lenses available for mirrorless cameras is honestly huge…

As you can probably tell, this article represents a lot of work. I’ve summarized everything you need to know to choose a mirrorless lens, both from a technical point of view and by giving you an overview of the main lens types depending on the kind of photos you want to take. In simple terms: what is each type of lens for, and in which situations does it make sense? Then I move on to what probably interests you most: my mirrorless lens recommendations, organized by sensor size (Micro Four Thirds, APS-C, and full frame), then by brand and use. This article is mainly for anyone who wants to move beyond the kit lens and/or diversify their photo gear. That’s why I spent so much time sorting the options by sensor size and brand. You can jump straight to the section that matches your camera body. I won’t cover compact cameras in this article.

Under each category, you’ll find the most complete tables possible listing the mirrorless lenses available (click the small magnifying glass to open them). I’ll update them as new products are released. Listing all the possibilities is honestly a huge job, and I’ve focused on the classic native brands (Canon, Nikon, Sony, Olympus, Panasonic, Fuji), autofocus lenses from Sigma and Tamron, and the most common third-party brands (Samyang/Rokinon, Zeiss).

Updated: 04/01/2020

For reference, and to avoid repeating the same terms throughout the article:

• FF: full frame / 24×36 sensor
• mFT: sensor also called Micro 4/3, or Micro Four Thirds
• MF: Manual Focus
• AF: autofocus

Let’s be clear from the start: there is no real difference between choosing a DSLR lens and choosing a lens for a mirrorless camera. The criteria to look at are the same. If you want to go deeper, I suggest reading my article on how to choose your camera lens. For now, here is a quick summary of the key points to keep in mind.

This is the most important element when choosing among mirrorless lenses. For beginners who are not familiar with the term, focal length is basically the “zoom level” of your lens. It is the value shown in millimeters on the lens (for example: 35mm, 100mm, 300mm). Some lenses have a fixed focal length (for example, 14mm), while others have a variable focal length (24-70mm). Focal length affects your angle of view: a short focal length (11mm, for example) gives you a wider view than a long focal length (300mm, for example).

Focal lengths are usually divided into three groups:

• Wide-angle / ultra-wide-angle lenses
• Standard zoom focal lengths
• Telephoto lenses

The tricky part, so to speak, is understanding that focal length is always referenced against a full-frame camera, and therefore against a specific sensor size. With mirrorless cameras, there are essentially three sensor formats: Micro Four Thirds, APS-C, and full frame, each with its own dimensions. A Micro Four Thirds sensor is half the size of a full-frame sensor. An APS-C sensor is about 1.5 times smaller.

A focal length will not give the same result depending on the sensor format used. A simple example is standard zoom lenses. You would usually choose between:

• A 24-70mm on a full-frame sensor (large sensor),
• A 16-55mm on APS-C
• A 12-35mm on Micro Four Thirds

As a general rule, brands offer dedicated lenses for the sensor sizes they support. If you’re hesitating between a prime lens and a zoom lens, I suggest reading my full article on the advantages and disadvantages of each.

This is the second most important factor when choosing your mirrorless lens. You could describe it as the lens’s ability to let light in. It is the number written after “f/” on your lens. Remember: the smaller the number (for example, f/1.2), the wider the aperture. Conversely, the larger the number (f/16), the smaller the aperture. Don’t worry, you get used to it after a while.

A wide maximum aperture lets you use faster shutter speeds, helps in low-light conditions, and makes it easier to blur the background to isolate your subject (in other words, reduce depth of field).

Aperture can be constant (for example, f/2) or variable (for example, f/4-5.6). In the second case, the maximum aperture changes depending on the focal length. For example, with my Canon 70-300mm f/4-5.6, I can shoot at f/4 at 70mm, but only at f/5.6 at 300mm.

With mirrorless lenses, there is also an important nuance linked to sensor size. You cannot directly compare an f/2.8 aperture on a full-frame sensor with f/2.8 on a Micro Four Thirds sensor, which is half the diagonal size. The result will not be the same. To compare like with like, you would need to compare, for example, a 35mm f/1.4 lens on APS-C with a 50mm f/2 lens on full frame to get roughly the same result.

Another example would be comparing a 12mm f/1.4 lens on Micro Four Thirds with a 24mm f/2.8 lens on full frame. The diagonal of a Micro Four Thirds sensor is half that of a full-frame sensor, so the equivalent focal length is doubled to obtain a similar angle of view. As for maximum aperture, and therefore depth of field, the surface area of a Micro Four Thirds sensor is four times smaller than full frame, which explains the two-stop difference. In practice, f/1.4 on Micro Four Thirds is roughly equivalent to f/2.8 on full frame.

Lens stabilization is another element to consider when making your choice. A stabilized lens generally helps reduce camera-shake blur in low light and when using long focal lengths, where a faster shutter speed is usually needed. Keep in mind that stabilized lenses are often more expensive and heavier. Most brands use their own acronym to indicate stabilization.

This is another point worth considering. Every brand offers several ranges, from entry-level lenses to expensive high-end models. In general, the more expensive the lens, the better the build quality and the more resistant it will be to the elements. That said, it all depends on how you shoot. For everyday use, there is no need to focus on a weather-sealed lens. On the other hand, if you travel in difficult conditions (dust, wind, cold) or live somewhere very humid, as I do, it can be worth it for extra peace of mind (even if I store my photo gear in a refrigerated “dry box”…).

Many of you who decide to switch to mirrorless will be interested in the weight and size of both cameras and lenses. In general, an entry-level mirrorless camera will usually be slightly lighter and smaller than an entry-level DSLR. With high-end mirrorless lenses on full-frame bodies, the weight and size advantage over DSLR gear still exists, but it is more limited.

Each brand also uses specific acronyms to indicate, for example, compatibility with APS-C and full-frame formats. The table below summarizes the main brand acronyms.

A quick clarification, because there is already enough here to make your head spin: Sony “A” mount lenses are designed for DSLR-style cameras and therefore do not fit directly on mirrorless cameras. You will often see them listed under the term “SAL.” Sony lenses designed for mirrorless cameras, on the other hand, are labeled “E-mount” or “SEL.”

I wouldn’t say you can categorize every lens and every use perfectly, but overall, certain lenses and characteristics are clearly better suited to specific types of photography. Once again, everything depends on your sensor size.

• For landscape or architecture: a wide-angle or ultra-wide-angle lens is generally recommended, even though it is perfectly possible to shoot this type of image with a telephoto lens. Very often, you’ll use focal lengths around:
  • Micro Four Thirds: 7-14mm,
  • APS-C: 10-17mm
  • full frame: 14-20mm

• For portrait photography: prime lenses are often preferred, depending on whether you want tighter or wider portraits. Most of the time, you’ll use focal lengths around:
  • Micro Four Thirds: 35-50mm
  • APS-C: 50-100mm
  • full frame: 100-135mm

Here is a complete guide to choosing the right camera body and lenses for portrait photography.

• For wildlife and sports photography: telephoto lenses, whether primes or zooms, are generally used to photograph these subjects. You’ll usually look at focal lengths around:
  • Micro Four Thirds : 35-100mm
  • APS-C : 55-200mm
  • full frame : 70-200mm

Of course, your camera’s burst mode and frames per second will also be especially important alongside your lens.

• For macro photography: it all depends on your sensor again but generally you will have focal lengths of around:
  • Micro Four Thirds : 30-60mm
  • APS-C : 60-80mm
  • full frame : 100mm

That’s the general idea of which mirrorless lenses fit which types of photography and the subjects you want to shoot. Now let’s get to the heart of the matter.

Two main brands use the Micro Four Thirds sensor format: Panasonic and Olympus. They offer different lenses, but the lenses remain mutually compatible (although you may lose certain functions, such as stabilization, in some cases). In general, you can’t really go wrong, since only Panasonic also offers a separate range of lenses (called “L”) for its more recent full-frame bodies.

Very often, the basic kit lenses from both brands are standard zooms with modest variable apertures, such as the 12-32mm f/3.5-5.6 or 14-42mm f/3.5-5.6. Sometimes you may also choose a telephoto-style lens such as the 14-140mm f/3.5-5.6 or 14-150mm f/4.0-5.6 ED II. Below, I suggest some solid recommendations for each type of photography if you want to upgrade your gear. All the Micro Four Thirds lenses mentioned in the following sections are included in the summary table below. This table also includes all current Micro Four Thirds lenses.

To go into more detail, I also wrote a full article on the best Micro Four Thirds lenses available today, depending on your photography needs.

For landscape photography, I especially recommend using a wide-angle lens, meaning a lens with a wider angle of view than your “12 or 14mm kit” lens. From Panasonic, there are two excellent references, usually positioned around the €700-800 range: the well-known 7-14mm f/4 and the 8-18mm f/2.8-4, which is brighter at 8mm and also useful for low-light photography or night landscapes. Olympus has the excellent 7-14mm f/2.8, which is more expensive because of its constant f/2.8 aperture. For those with a more limited budget who still want a wide-angle lens, you can consider the 9-18mm f/4-5.6 or the very good Olympus 12mm f/2 (although it is less wide). To my knowledge, there are no third-party autofocus wide-angle lenses for Micro Four Thirds. Samyang/Rokinon does offer, in manual focus, a 10mm f/2.8 and a 12mm f/2, both well regarded for their value for money.

Since Olympus became OM System, the brand has added several wide-angle options worth considering, such as the OM System M.Zuiko Digital ED 8mm f/1.8 Fisheye PRO and the OM System M.Zuiko Digital ED 9-18mm f/4-5.6 II.

To my knowledge, there are still no third-party autofocus wide-angle lenses for Micro Four Thirds. Samyang does offer, in manual focus, a 10mm f/2.8 and a 12mm f/2, both very well regarded for their value for money.

Panasonic also offers the 10-25mm f/1.7, a lens with a nice wide-angle field of view (equivalent to 20mm in full frame) and a very large maximum aperture. It is excellent for landscapes, but also for low-light work, although the price is definitely on the high side.

The table below summarizes the wide-angle lens options available (with AF) for the Micro Four Thirds mount.

Everything depends on your use and your budget. I often carry a standard zoom, a wide-angle lens, a telephoto lens, and a bright prime for street or night photography. If you want to upgrade from your kit standard zoom, you can go for the Panasonic 12-35mm f/2.8 II, which is superb with its constant wide aperture, or the 12-60mm f/2.8-4, which is a little cheaper and offers a broader focal range. With Olympus, you’ll want to look at the 12-40mm f/2.8.

For a high-quality all-in-one lens if you travel a lot, I particularly recommend the Olympus 12-100mm f/4 or the excellent, but more expensive, 40-150mm f/2.8. For a prime lens suited to street photography, the Panasonic 25mm f/1.7 is a very good and affordable option.

In short, the main characteristics of the lenses mentioned above are summarized in the table below.

For telephoto lenses, I strongly recommend the Panasonic 35-100mm f/2.8 II, equivalent to 70-200mm in full-frame terms, with a large constant f/2.8 aperture. If you want more reach, the Panasonic 100-300 f/4-5.6 is also a very good option at a reasonable price. On the Olympus side, I think the 40-150mm f/2.8 is the reference. If you want to buy your first telephoto lens on a limited budget, you can go for the Panasonic 45-150mm f/4-5.6.

Since Olympus became OM System, the brand has added some great options for wildlife and sports, including the excellent OM System M.Zuiko Digital ED 150-600mm f/5-6.3 IS if you’re looking for a very long focal length at a price that is still relatively reasonable. For a more classic and brighter focal range, look at the OM System M.Zuiko Digital ED 40-150mm f/2.8 PRO. There are also more expensive options, as well as entry-level choices like the OM System M.Zuiko Digital ED 40-150mm f/4-5.6 R.

The table below summarizes the specifications of the telephoto lenses mentioned.

For macro photography, there is the 30mm f/2.8 from Panasonic and the 60mm f/2.8 from Olympus. OM System also offers a very good 90mm f/3.5 Macro IS PRO.

If you want to go deeper, take a look at our dedicated page listing all the lenses available for the Micro Four Thirds mount. You’ll find Olympus/Panasonic lenses, as well as many third-party options.

For mirrorless lenses designed for APS-C sensors, four brands mainly offer this format: Sony, Fuji, Canon, and Nikon. The mount acronyms for APS-C are: Fuji (X), Sony (E), Canon (EF-M / RF-S), and Nikon (Z DX).

At Sony, “E” mount refers to lenses specifically designed for APS-C sensors. They can be mounted on a Sony full-frame body, but the camera will automatically crop the image to avoid vignetting. In that case, you lose much of the benefit of owning a full-frame body if you are not using lenses designed for it (we’ll come back to that below). “FE” lenses are designed for Sony full-frame cameras, but they can also be mounted on a Sony APS-C body. With Sony, you can also look at third-party brands such as Sigma (DC DN), which offers bright, high-quality lenses. Rokinon and Zeiss also offer some very nice references, with or without autofocus (AF/MF). The lenses mentioned below are listed in the table below, which also includes all lenses for Sony APS-C mirrorless bodies.

For Sony APS-C cameras, there are generally three common kit-style lenses with modest apertures: the 16-50mm f/3.5-5.6, the 16-70mm f/4, and the 55-210mm f/4.5-6.3. When you look more closely, you quickly realize that the APS-C lens selection is still somewhat limited, and many people end up looking at lenses designed for full-frame cameras.

If you own a Sony APS-C body, you have quite a few choices for this type of photography, both from Sony and from third-party brands. At Sony, I would particularly mention the Sony E PZ 10-20mm f/4 G, the one we bought for Mélanie, as well as the very good Sony E 11mm f/1.8 and Sony E 15mm f/1.4 G. Several third-party brands offer very nice alternatives, including Tamron with the Tamron 11-20mm f/2.8 Di III-A RXD and Sigma with the Sigma 10-18mm f/2.8 DC DN Contemp.. Other options also exist for smaller budgets. I’ll let you look at the table below for more details.

If you want to upgrade from your kit standard zoom, the best option, although very expensive, is the Sony 16-55mm f/2.8 G. You may also prefer a lens with a broader focal range, such as the 18-105mm f/4 G OSS or the 70-200mm f/4, which is a full-frame lens.

For prime lenses suited to street photography or everyday use, Sony has a whole series of 35mm f/1.8 and 50mm f/1.8 lenses that do the job very well at a reasonable price, under €350. The Sigma 30mm f/1.4 DC DN also has a great reputation and will be useful as soon as light levels drop.

For wildlife and/or sport, the use of long focal lengths will be recommended. For your first telephoto lens, you can look at the Sony 55-210mm f/4.5-6.3 for example. Depending on your budget, you can choose a 70-200mm (the f/2.8 version is very expensive, the f/4 version much less for example). For a little cheaper and to “zoom in more”, there is also the 70-300mm f/4.5-5.6 G. You will also find a Sony E 70-350mm f/4.5-6.3 G OSS, dedicated to APS-C bodies, for a fair price (under 700€).

In summary below, the few lenses mentioned here

For macro photography, there is the 30mm f/2.8, the 50mm f/2.8, but especially the excellent 90mm f/2.8 G Macro OSS. The latter is also renowned for portrait photography (which could be a “2 in 1”). Be careful this optic fixed on an APS-C sensor will give the equivalent of a 135mm.

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Some clarification on Sony mirrorless lenses. Some of the lenses mentioned in this paragraph are designed for full-frame camera. Although they have the advantage of being fully usable in the case of a full frame upgrade in the future, they lose the advantage of being less heavy/bulky and less expensive if they had been initially designed for APS-C.

If you want to go further, take a look at my full guide to all lenses dedicated to Sony APS-C cameras. It includes all Sony lenses, of course, but also around a dozen third-party brands, often with manual focus options, which can be interesting if you have a more limited budget and/or want to try a specific focal length.

With Fuji, things are simpler. The brand only offers APS-C sensors and dedicated lenses. Depending on the Fujifilm mirrorless camera you buy, it may come with different standard zoom lenses. Fuji is one of the only brands to offer a kit lens that opens at f/2.8 at 18mm. For example, you can find the XT-3 paired with the very good 18-55mm f/2.8-4 OIS. Fuji also has two other standard zoom kit lenses: the 15-45mm f/3.5-5.6 and the 16-50 mm f/3.5-5.6 OIS. You will find all Fuji lenses in the table below.

For landscape and architectural photography with a Fuji camera, several lenses are wider than the kit lenses. The 8-16mm f/2.8 R LM WR is an ultra-wide-angle zoom with a constant f/2.8 aperture, although it is very expensive. The more affordable 10-24mm f/4R OIS is a very good reference and the one I would personally recommend more readily. The f/2.8 aperture of the 8-16 mm can help in low light, but I would rather save that money for an even brighter prime lens, which we’ll come back to below. On a more limited budget, also note the very good Fujifilm XF 8 mm f/3.5 WR.

On the third-party brands side, you will also have very good choices at lower prices at Samyang (Samyang AF 12mm f/2 X), Sigma (Sigma 10-18mm f/2.8 DC DN Contemporary X or Sigma 16mm f/1.4 DC DN Contemporary X), Tamron (Tamron 11-20mm f/2.8 Di III-A RXD X), or the Viltrox 13mm f/1.4 STM XF X.

Note that Samyang offers three manual focus lenses with a large aperture (for much less than the brand’s wide-angle lenses): a 10mm f/2.8 (MF), a 12mm f/2 (MF) or a 14mm f/2.8 (MF).

Here is a summary of the lenses mentioned above.

To replace your standard kit zoom with a variable aperture, my recommendation would be to upgrade to the excellent 16-55 mm f/2.8 R LM WR, which sits at the edge of wide-angle territory and offers a constant f/2.8 aperture. But if you can get the 18-55 mm f/2.8-4 kit lens, it may be worth sticking with it, since it’s rare to get f/2.8 on a quality kit lens. Another alternative is the very good 16-80mm f/4.

For travel, I would recommend something versatile like the 55-200mm f/3.5-4.8. It is sometimes found as a lens kit and with its 70-300mm equivalent in full frame format, it is a good lens to cover just about everything when travelling. The equivalent version or almost equivalent with a constant aperture at f/2.8 (50-140 mm f/2.8 R LM OIS WR) is much more expensive and heavier. On a limited budget, you can turn to the Fujifilm XF 70-300mm f/4-5.6 R LM OIS WR.

For street photography, I particularly recommend the 23mm f/1.4 R. It will also be used very well in low light situations for standard shots.

For portrait, you will find quite a few top references, both at Fuji and at third-party brands.

You have the choice depending on the type of portrait desired.

• For wide shots, I would go between a 23mm and a 35mm (equivalent 35/50mm in full-frame): you can find for example: Fujifilm XF 23mm f/1.4 R LM WR, Sigma 23mm f/1.4 DC DN Contemporary X, Fujifilm XF 33mm f/1.4 R LM WR and others!
• For tighter portraits, we will be on focal lengths between 50 and 85mm (equivalent 85 to 100mm on full-frame), such as: Fujifilm XF 50mm f/2 R WR, Sigma 56mm f/1.4 DC DN Contemporary X, Viltrox 75mm f/1.2 AF X

Here are some lenses summarized in the table below, suitable for portrait. They are obviously not all there…

For low light conditions, everything will depend on your budget and what you already own. From Fuji, 16mm, 23mm, 35mm and 50mm with maximum apertures of f/1.4 (more expensive and heavier) and f/2 (cheaper and lighter) can be found. An excellent reference for street, portrait and low light (“3 in 1”) photography is the superb 56 mm f/1.2 R. If you want a wider angle of view, go have a look at the 16 mm f/1.4 R WR.

Here is a brief summary of lenses that are well suited to low-light conditions.

If you want to go further with your choice, I invite you to read my page listing all the Fujifilm lenses for the X-mount.

It is necessary to distinguish 2 mounts for Canon APS-C mirrorless cameras: the old 2012 mount (Canon EF-M) which has not yet been officially discontinued but is probably nearing the end, and the RF-S mount, more recent.

Canon EF-M mount

Canon’s arrival on the mirrorless camera market is later (2012) and the number of lenses associated with this type of body is very limited. It is the EF-M designation that refers to Canon lenses for APS-C. For information, bodies will often be sold to you with the following kit lenses: EF-M 15-45mm f/3.5-6.3 IS STM and the EF-M 18-150mm f/3.5-6.3 IS STM.

To move towards a wider-angle lens (landscape/architecture), I recommend the EF-M 11-22mm f/4-5.6 IS STM. The Sigma 16mm f/1.4 DC DN Contemporary is a nice alternative with a very large aperture. If manual focus doesn’t bother you, you can look at Samyang, which offers three manual-focus, large-aperture lenses, which may be very interesting: the 10mm f/2.8, the 12mm f/2 and the 14mm f/2.8.

For street photography and low light, you can choose the excellent EF-M 32MM f/1.4 STM. Finally, for travel and wildlife/sports photography, you can turn to the EF-M 55-200mm f/4,5-6,3 IS STM.

Note that recently in 2019, Sigma now offers 3 large-aperture lenses compatible with the Canon EF-M mount: the 16mm f/1.4 and the 30mm f/1.4, which will work very well for night and low light, and a 56mm f/1.4 that will suit portrait very well.

For more details on lenses for Canon EF-M, I have written a complete page that lists all available lenses, both with autofocus and manual focus.

Canon RF-S mount

The mount is still recent at the time I am updating this article and the choices are not huge. But here are some interesting points to note.

If you are looking for a lens with a wide field of view (e.g., wide-angle for landscape), then you will have some nice options, both at Canon and among third-party brands with Sigma and Tamron. Here are the possibilities below.

If you are looking for a longer focal length, there are only a few references for now. We find the Canon RF-S 55-210mm f/5-7.1 IS STM, at a very affordable price.

With the 2019 launch of its Nikon Z50, the brand also enters the race for APS-C mirrorless cameras.

At the time I’m writing this article, as with Canon RF-S lenses, the choice of Nikon Z APS-C lenses is still quite limited. For rather wide shots (landscapes/architecture), you can look at the Nikon Z DX 12-28mm f/3.5-5.6 PZ VR which offers a wide 12mm focal length, but also at third-party brands that offer superb fast alternatives, like the Viltrox AF 13mm f/1.4 Z or the Sigma 16mm f/1.4 DC DN Contemporary Z!

You will also find several fairly standard options for portrait, street photography, such as the (inexpensive) Nikon Z DX 24mm f/1.7, the very bright Viltrox AF 27mm f/1.2 Z or the very good Sigma 30mm f/1.4 DC DN Contemporary Z. For a longer focal length, the choice is for now very limited, notably to the Nikon Z DX 50-250mm f/4.5-6.3 VR.

Note that “Z Dx” lenses will be compatible with Nikon’s full-frame mirrorless bodies (Z6, Z7) but only the central part of the sensor will obviously be used (normal since these are not full-frame lenses to begin with). Be aware that it is indeed a “Z” mount compatible with Nikon F lenses (DSLR). With the use of an FTZ adapter, Nikon DSLR lenses can be used on the Z50 body (and also on the Z6/Z7). Make sure to check compatibility anyway, as some people seem to have issues adapting certain lenses…

The largest sensors that remain relatively accessible in mirrorless cameras are full-frame sensors, also known as “24×36” sensors. These cameras are usually the most expensive and heaviest, but also often the most complete. Sony full-frame lenses can be mounted on an APS-C body. For other brands, adapter rings may be required. You then simply apply the conversion factor of about 1.5 to calculate the equivalent focal length. For example, a 200 mm lens on a full-frame camera is equivalent to a 300 mm lens on an APS-C sensor.

In the world of full-frame mirrorless cameras, there are four main brands: Sony, Nikon, Canon, and Panasonic, plus Leica. Sony offers the widest choice of lenses. Canon, Nikon, and Panasonic arrived later in full-frame mirrorless, so their ranges took longer to grow, even though the selection is now much stronger than it used to be.

As a reminder, here are the abbreviations used for full-frame lenses: Sony (FE), Nikon (Z), Canon (RF) and Panasonic (L). It’s also worth noting that with all four brands, you can choose lenses from third-party brands such as Sigma (DG), Tamron and Rokinon/Samyang. However, these will probably be offered by the others too, particularly Panasonic thanks to its alliance with Sigma. Canon and Nikon offer a few Samyang alternatives with manual focus, but these are much cheaper.

Here are the 4 brands that offer full-frame mirrorless cameras (Nikon, Canon, Panasonic and Sony)

If you purchase a full-frame kit (lens and camera body) from Sony, you will usually be offered one of the following lenses: a 28-70mm f/3.5-6.3, an 85mm f/1.8 or a 24-240mm f/3.5-6.3. Below are some suggestions for upgrading to better equipment according to your needs. The main focus will be on Sony lenses (Sony and Sony Zeiss), as well as well-known third-party brands such as Sigma and Tamron. However, there are many more options available if you consider other third-party brands and manual focus lenses.

As always, wide-angle lenses are often recommended. At Sony, you have a huge number of options, although prices are generally high. I can’t list all the possible lenses here, but here are a few references:

• For a limited budget (<€600): you will have only a few choices in the shortest focal lengths and you will necessarily have to turn to third-party brands, for example the Viltrox AF 16mm f/1.8 FE, Sigma 17mm f/4 DG DN I C, Tamron 20mm f/2.8 Di III OSD M 1:2 (the one I bought), or the Sony 24mm f/2.8 G FE. I’ve summarized these references in the table below

• For a larger budget (€650-1,200): here too you have a wide choice and it will all depend on your preferences between zooms and primes. In this price range, my best recommendation would go to the Sigma 16-28mm f/2.8 DG DN Contemp. and the Tamron 17-28mm f/2.8 Di III RXD if you’re looking for a zoom, and rather to the Sony 20mm f/1.8 G, Sigma 20mm f/1.4 DG DN Art. or Sigma 24mm f/1.4 DG DN Art. for bright primes. I’ve summarized these lenses below, although others do exist!

• For a large budget (> €1,200): the choice will be immense here as well. You will have access to the very high-end from Sony and Sigma, with the classic 12-24mm (f/2.8 or f/4), 14mm primes (f/1.8 f/1.4), ultra-wide-angle zooms as well such as 16-25mm, 16-35mm or the excellent 24mm f/1.4. My personal recommendations would be the Sigma 14mm f/1.4 DG DN Art, the unusual Sony FE 16-25mm f/2.8 G or the Sony FE PZ 16-35 mm f/4. I’ve summarized in the table below all the full-frame lenses for Sony FE in this price range. The choice is there!

For those who want to upgrade to a better standard zoom lens than the kit (28-70mm f/3.5-6.3), I particularly recommend taking a look at the excellent 28-75mm f/2.8 Di III RXD, which everyone loves. Sony also offers two 24-70mm f/2.8 but which remain very expensive in my opinion to explain the price difference with the Tamron (at half price).

If you want a versatile lens of high quality that is highly appreciated, I particularly recommend the Sony 24-105mm f/4. The disadvantage is that you will be limited to 105mm, which is not very long for a focal length. To “zoom in more” you can choose a 70-200mm (f/4 or f/2.8 depending on your budget and the desire to be carrying a heavy lens).

For street photography (and in low light), I recommend the Sigma 50mm f/1.4 or 85mm f/1.4 DG without hesitation. If you are a little tight on budget, look for the 50mm 1.8 versions from Sony, or the 85mm f/1.8 which also has a very good reputation.

For portrait photography, I would also recommend 50mm for a wide portrait and 85mm, or even 135mm for a close-up portrait. You will have the choice of staying at Sony or going over to Sigma. You could use a 50mm f/1.8 for example from Sony and a 135mm f/1.8 DC from Sigma. Samyang also offers the Samyang 135mm f/1.8 FE AF.

If you want to know more about Sony FE lenses, I have listed on one page all the Sony FE lenses and around a dozen third-party brands offering lenses for this mount.

Panasonic’s arrival in the full frame world is fairly recent, at the beginning of 2019, with the launch of the S1, S1R and S1H bodies. The selection of native lenses is therefore a bit limited but you will undoubtedly find what you’re looking for more and more now.

If you want to know all the lenses available for the L mount (full-frame and APS-C), just click on the link above!

Here are a few references I recommend by focal type:

• For landscapes/architecture/wide shooting:
  • For zooms, I would suggest: Panasonic Lumix 14-28mm f/4-5.6 MACRO L, Panasonic Lumix S PRO 16-35mm f/4 L or Sigma 14-24mm f/2.8 DG DN Art L
  • For primes: Sigma 14mm f/1.4 DG DN Art L, Sigma 17mm f/4 DG DN I C L or Panasonic Lumix S 18mm f/1.8 L
• For low-light photography, I recommend turning to the Sigma 35mm f/1.4 DG HSM Art L or the Sigma 28mm f/1.4 DG HSM Art L
• For portraits, opt for the Sigma 85mm f/1.4 DG DN Art L which has an excellent reputation,
• For street photography, you can turn to the Sigma 24mm f/1.4 DG HSM.

Canon’s entry into the world of full frame mirrorless was made via the Canon R and Canon RP. With the update of this article, you can imagine that the number of lenses at Canon for this RF mount has indeed increased. So here are a few recommendations (there would be others, but we have to keep it limited)

• I particularly recommend the Canon RF 14-35mm f/4 L IS USM for landscape and architecture photography. On a smaller budget, I would turn without hesitation to the Canon RF 16mm f/2.8 STM
• For portraits, there are several possibilities, of course. My preference would be the Canon RF 50mm f/1.8 STM (small budget) or the excellent Canon RF 85mm f/1.2L USM (but which remains very expensive). Note the Canon RF 85mm f/2 Macro IS STM as an alternative with a 1:2 ratio for macro as well
• For travel, a Canon RF 24-105mm F4L IS will be very interesting in many situations. If you are looking for something more versatile but brighter, you can turn to the RF 28-70mm F2L USM.
• For street photography or low light, I would personally choose the 50mm f/1.2 or the 35mm f/1.8 (much cheaper and with a good reputation).
• For long focal lengths, the RF 70-200mm f/2.8 L IS remains a reference. But there are also more affordable options!

To go even further, you can take a look at my page dedicated to the list of lenses for Canon RF. There you will find both all current Canon RF lenses, updated daily, but also all the third-party brands that produce RF-mount lenses, such as Samyang and also Laowa.

Nikon is in a similar position to Canon here, with a later arrival and a selection that was initially limited, although things have moved quickly since then.

A few references:

• For landscape photography, I particularly recommend the Nikkor Z 14-30 f/4 S. Also note the Nikon Z 17-28mm f/2.8
• The Nikkor Z 85mm f/1.8 S will be perfectly suited to portrait photography.
• The Nikkor Z 35mm f/1.8 S and the Nikkor Z 50mm f/1.8 S will work very well for street photography and in low light. For those looking for wide-angle lenses with a large aperture, there is also a 24mm f/1.8. For telephoto work, Nikon now offers several Z-mount options, including lenses such as the Nikkor Z 70-200mm f/2.8, 70-180mm f/2.8, 100-400mm f/4.5-5.6, and 180-600mm f/5.6-6.3. For a standard zoom when traveling, for example, you can turn to the 24-70mm f/2.8 (or f/4, it all depends on the budget).

If you want more details on all the lenses available for the Nikon Z mount, here is the dedicated page!

That brings me to the end of this guide to choosing a mirrorless lens! I’ll try to keep this list as up to date as possible as new lenses are released. This article is the result of a lot of research and cross-checking. If you enjoyed the work behind it, found it useful, and want to support the blog, you can use one of the links in the article to choose your lens, at no extra cost to you. I hope this guide helps you choose your future lens. If you spot any errors or omissions, and that can happen, don’t hesitate to contact me!

Did you find this post helpful for your next purchase? 🙂

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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