Sony's best zoom lenses

I have to admit, it’s been a while since I last wrote about Sony lenses. Here I am again with a comprehensive article to help you choose your standard Sony zoom lens. As a matter of fact, I’ve already started to write quite a lot about the brand, but not on this particular subject. Take a look at the best Sony wide-angle lenses or the best Sony macro.

Standard zoom lenses are often very versatile lenses for photographers. They can be used for landscape, street, wedding, portrait and, to a lesser extent, wildlife photography.

I’m talking about lenses with focal lengths between 20 and 70mm, roughly. The classic standard formats for full-frame lenses are 24-70 mm, while for APS-C cameras this is closer to 18-50 mm (due to the 1.5x crop factor for APS-C format).

I won’t go into the other zooms that cover wider focal lengths (wide and ultra-wide-angle lenses like 16-35mm) or the classic telephoto lenses like 70-200mm and beyond in this article on Sony’s standard zooms! I’ve also put together a summary of the best options if you’re looking for a telephoto lens from Sony.

I thought it would be interesting to give you a quick summary of my opinion on the subject, if you don’t have time to read all the details about the lenses.

For full-frame cameras, the Sony 24-70mm f/2.8 GM II remains by far the best very high-end standard zoom lens. However, it’s also by far the most expensive, so it won’t be for everyone. I’d recommend the Sigma 24-70mm f/2.8 DG DN Art or the slightly cheaper Tamron 28-75mm f/2.8 Di III VXD G2 if you want the same focal length on a tighter budget. At a lower price, these are very good options. The Tamron 35-150mm f/2.8 Di III VXD (not cheap) or the Sony 24-105mm f/4 G OSS are by far the best choices if you’re looking for a more versatile lens with a longer focal length. Finally, the Tamron 20-40mm f/2.8 Di III VXD is still a very good choice for its price if you’re looking for a lens with a shorter focal length but of the same quality.

For Sony APS-C bodies, I’d definitely go for the very good value Sigma 18-50mm f/2.8 DC DN Contemporary. Or if you’re looking for a slightly longer range and have a bit more budget, the Tamron 17-70mm f/2.8 Di III-A VC RXD.

Below is a list of all the standard lenses suitable for Sony full-frame cameras that I’ve described in detail below.

They are listed here in order, and you can click on the name of the lens to find out more about it.

• Sony 24-70mm f/2.8 GM II
• Sony 24-105mm f/4 G OSS
• Sony FE 24-50 mm f/2.8 G
• Sigma 24-70mm f/2.8 DG DN Art
• Sigma 28-70mm f/2.8 DG DN Art Contemp.
• Tamron 28-75mm f/2.8 Di III VXD G2
• Tamron 35-150mm f/2-2.8 Di III VXD
• Tamron 20-40mm f/2.8 Di III VXD
• Sony 20-70mm f/4 G

The main features of the Sony zooms mentioned above are compared in the table below.

By the way, if you haven’t already heard, we have a comprehensive page, updated daily, that lists all the full-frame Sony FE lenses, including, of course, the explosive Sony ones, and all the third-party brands with autofocus and manual focus.

Released in February 2023, the Sony 24mm f/2.8 GM II is positioned as the flagship lens in Sony’s GM (Gold Master) range. The lens has been significantly improved from the marl I, particularly in weight (approximately 200g reduced), length (1.6 cm reduced) and volume (almost 20% reduced). Offering a versatile focal length range of 24-70mm with a constant aperture of f/2.8, this MK II version is part of a range of highly sought-after standard full-frame zooms. It is currently the lightest 24-70mm available from Sony!

With a more complex optical formula featuring 20 elements in 15 groups, including Extreme Aspherical Lens (XA), Super ED and ED glass elements, the build quality of this Sony 24-70 II is exemplary. Tropical weather resistance, 14 internal gaskets and a fluoride coating on the front lens all contribute to its robustness. For fast, accurate focusing, the autofocus system is equipped with 4 XD linear motors. The lens has an aperture ring, two iris lock buttons, a focus hold button and a zoom tension switch. This makes for a very complete, high quality lens.

With an 82 mm filter, the 24-70 II offers exceptional optical quality. Sharpness is excellent even at full aperture, with exceptional sharpness at the center, edges and corners. This quality is consistent throughout the entire range of focal lengths, with very little variation between focal lengths. Closing the aperture slightly improves sharpness. At apertures such as f/5.6, sharpness reaches remarkable levels. Optical flaws (vignetting, distortion and chromatic aberrations) are minimal.

In conclusion, the Sony 24-70mm F2.8 GM II is an exceptional lens, offering an ideal combination of compactness, optical performance and advanced features. Its high price is justified by its robust build quality, responsive autofocus and unrivalled image quality. It’s THE new benchmark for demanding and professional photographers looking for a versatile, high quality zoom lens.

Introduced in February 2018, the Sony FE 24-105mm f/4 G OSS remains an excellent choice if you’re looking for a lens that offers a versatile focal length from 24 to 105mm with a constant f/4 aperture. It will also serve you well for landscapes, portraits, street work and even as a small telephoto lens. It’s the perfect Swiss army knife at an affordable price, ideal for traveling, for example, all in a lightweight (<700g) and short (around 11cm) lens.

The build quality is top-notch, with a build construction that’s already complex for its time (2017), with no less than 17 lenses divided into 14 groups, including special lenses (AA and ED). The front lens has a fluoride coating and is tropicalised. The autofocus is precise, quiet and fast, with very good feedback. The lens has a filter diameter of 77mm and a focusing distance of 38cm. There’s a switch on the barrel to switch between AF/MF and to enable/disable stabilization. Finally, there’s a customisable button. A good point is that the zoom ring is quite hard.

In terms of image quality, this Sony zoom is at the top of its class. Sharpness is already very good in the center, although a little less so at the edges. Sharpness remains very good in the center, whatever the focal length, although it is always a little lacking at the extremes, especially at the longest focal lengths.Closing the aperture to f/5.6 improves sharpness and overall contrast.Overall, this lens offers a very good level of sharpness throughout its focal length range, which is the most important thing. Yes, there are better lenses out there, but at this price it’s a very good choice. Optical flaws such as vignetting and distortion are present, but can be easily corrected in post-production with the right software. For JPEGs, the camera’s built-in correction will do the job.

In conclusion, the Sony FE 24-105mm f/4 G OSS is a versatile and well-built lens. Despite the lack of focus distance indication and the limited depth of field effects at f/4, it offers very good optical performance and a wide focal length range, making it a recommended option for photographers looking for an all-in-one solution. It remains, in my opinion, good value for money for a lens of this type.

This is Sony’s brand new standard zoom lens that has just been released (April 2024). I’ve already found plenty of reviews talking about this lens and singing its praises. The Sony FE 24-50mm f/2.8 G is a very clever choice on Sony’s part, aimed, in my opinion, at photographers looking for a bright, high quality standard zoom without spending too much on a professional zoom. As you can see, the focal length has been shortened compared to the ‘standard’ 70mm, so it sits somewhere between the Sony FE 20-70mm f/4 G and the Tamron 20-40mm f/2.8 Di III VXD. Weighing in at just 440g on the scales and measuring 9.2cm in length, this Sony zoom is light and compact.

The Sony FE 24-50mm f/2.8 G is a top-of-the-line lens in terms of construction. It has a complex optical formula with 16 elements in 13 groups, including two ED elements and four aspherical elements, and the front element is coated with fluorine. On the body, you’ll find a focus hold button, an AF/MF switch, a click aperture ring, and the classic zoom and focus rings. Autofocus is said to be very good, thanks to the dual linear XD motor system. The lens, which extends slightly by 3 cm when zoomed in, is also tropicalized. The focusing distance varies between 19 and 30 cm, with a filter diameter of 67 mm.

The optical performance is almost excellent, with excellent sharpness at the center at full aperture, and very slightly poor at the edges (for quibbling). Closing the aperture to f/4 improves things even more, and you get an evenly sharp image across the entire field. In terms of optical flaws, vignetting and distortion are quite pronounced, although they are always manageable in post-production! Flare resistance is good, as is chromatic aberration management.

In conclusion, the Sony FE 24-50mm f/2.8 G is an interesting option if you’re looking for a lightweight, compact standard zoom, although it’s worth considering the even more compact and much cheaper Tamron 20-40mm. Nevertheless, it remains a very interesting, serious and high-quality option!

Released in November 2019, this Sigma 24-70mm f/2.8 DG DN Art establishes itself as a very interesting option in the Sony full-frame mirrorless market. At the time of its release, it was in direct competition with the Sony 24-70mm f/2.8 GM, which it would surpass and thus become the new benchmark. Since then, Sony’s Mark II has come out, and while it’s better overall, it costs twice as much!

The build quality of this Sigma is really very good, with three buttons on the barrel: an AF/MF switch, a zoom lock and a customizable button (AFL). The lens is not stabilized, but tropicalized. It accepts standard 82mm screw-in filters and comes with a lens hood. The lens has 11 blades, which provides quality bokeh and interesting magnification for macro photography (although the Sony Mk II does this better now). The external zoom works counterclockwise.

As far as image quality is concerned, it remains remarkable, at a very high level. Sharpness is very good in the center at full aperture, especially at focal lengths between 24 and 35mm. At longer focal lengths it is a little less, and it is recommended to close the aperture to obtain more homogeneous images. Vignetting and distortion are present. However, they can be easily corrected in post-production. There are few chromatic aberrations.

In conclusion, for Sony users looking for a versatile lens at a more than fair price, the Sigma 24-70mm f/2.8 DG DN Art is an essential choice. Its exceptional performance in both still and video photography, its robust construction and its competitive value for money make it an excellent investment. Despite some minor optical flaws, this lens offers a good balance between build quality, autofocus performance and image quality.

Released in February 2021, Sigma surprised everyone with the release of this ultra-compact (10-13 cm in length depending on the zoom level) and lightweight (only 470g) standard zoom lens, following hot on the heels of the Sigma 24-70mm f/2.8 DN. If we compare it to the brand’s standard, it ‘loses’ 4mm at its shortest focal length and a few special features, but the price is even more attractive at around €850! Overall, it sits between the Sigma 24-70mm f/2.8 DG DN Art and the Sigma 16-28mm f/2.8 DG DN Contemporary, both of which are much more expensive. It competes directly with the Tamron 28-75mm f/2.8 Di III VXD G2.

In terms of build quality, the lens is very well made and consists of 16 elements in 12 groups, including FLD, SLD and aspherical elements. Compared to its big brother (24-70mm), it has only one AF/MF switch and is less waterproof, with a single seal on the bayonet. The lens is also not stabilized. The focusing is done by an STM motor, which is described as quite quiet, fast and precise, and works very well in low light. The lens has a diameter of 67mm and offers a variable focusing distance from 19cm to 38cm.

The overall performance of the lens remains excellent according to all reviews. The center is very good from full aperture at all focal lengths. The corners and edges are a bit behind, and you’ll have to close at f/4 and then f/5.6 to get perfect homogeneity across the image. In terms of optical flaws, vignetting and distortion are present and visible, although they are correct and can be corrected in post-production software (or by activating the automatic corrections on the camera body if you shoot in JPEG). Chromatic aberrations and flare are also very well controlled.

In conclusion, this Sigma 28-70mm is a very nice package, light, discreet, compact and of very good quality. Yes, we lose a little in the wide angle, but otherwise it’s an excellent value for money that Sigma offers here.

The first version of this standard zoom lens offered by Tamron already had a very good reputation. Three years later, the brand decided to launch a second generation, the Tamron 28-75mm f/2.8 Di III VXD G2. It really competes with the Sigma 28-70mm f/2.8 DG DN Art Contemporary mentioned above, but also with the more expensive Sigma 24-70mm f/2.8 and the Sony 24-70mm f/2.8 II. The changes from the V1 mainly concern the new VXD autofocus motor, the optical construction, a slight improvement in the magnification ratio and the ergonomics. Weight (540g) and length (11.8cm) remain almost identical to the V1.

The build quality of this Tamron zoom (not stabilized, but tropicalized) is very good. The lens consists of 17 elements in 15 groups, including LD and GM lenses. The overall quality is much better than the I version and has a solid feel. The zoom and focus rings are much improved. The lens has a USB-C port for customizing the lens with the Tamron Lens Utility software (and also for updates). The lens still has a diameter of 67mm and a focusing distance of 18 to 38 cm (depending on zoom). There’s no AF/MF button (like on the V1), but a customizable button on the barrel locks the basic focus. A big improvement is the autofocus system with a VXD motor (like on my 70-180mm), which is much more responsive.

In terms of optical performance, this Tamron is one of the best, offering excellent quality from full aperture, with very even sharpness across the entire frame. The homogeneity of this lens is really excellent, even if we look at the edges/corners, which remain very good. Optical flaws such as distortion and vignetting are present, but can largely be corrected. Chromatic aberrations are not a problem.

In conclusion, this Tamron 28-75mm f/2.8 Di III VXD G2 is very attractive, with very good build quality, excellent optical performance and excellent value for money. Compared to the Sigma 28-70mm mentioned above, I’d still give it a much better price. A great choice if you’re looking for a quality all-round lens without spending a fortune!

Introduced in 2021, this lens is positioned as a very versatile top-of-the-range zoom lens, offering Sony photographers the chance to have a bright, high-quality zoom lens with a remarkable focal length that is suitable for a wide range of situations. At around €1,800, it’s a near-perfect lens, even ideal as a replacement for the 28-75mm f/2.8 and 70-180mm f/2.8 (which I own). Its very wide aperture for this type of zoom will please many people!

In terms of build quality, we’ve clearly moved up from what Tamron used to offer. The lens is very well built and remains resistant to dust and moisture. There’s a smooth zoom ring and a focus ring that works very well, the latter of which can be customized into an aperture ring via the Tamron Lens Utility. Thanks to the USB-C port, you can also upgrade the firmware of the lens. The lens consists of 21 elements in 15 groups. Several aspherical and low dispersion elements are used to minimize chromatic aberrations. Thanks to the VXD system, autofocus is said to be excellent. Of particular note is the 82mm filter diameter.

In terms of optical performance, this is a very high-end lens. Sharpness is excellent in the center at full aperture, although it improves as the aperture closes, especially at the edges. In terms of optical flaws, there is a high degree of vignetting at full aperture, classic distortion for this type of zoom (high barrel distortion at 35mm and high pincushion distortion at 150mm) and a fairly low level of chromatic aberration. All of this can be easily corrected in post-production using image profiles.

In conclusion, Tamron offers a very fine, versatile, well-built lens with excellent sharpness. It’s perfectly suited for a very wide range of photographic fields, such as weddings, portraits, events and all low light conditions. You really can’t go wrong with this lens!

Released in October 2022, this is a great new lens from the Japanese manufacturer Tamron. Unlike the usual standard 24-70mm focal lengths, Tamron is introducing a completely different lens, shorter in its wide angle and also shorter in its longest focal length, the Tamron 20-40mm f/2.8 Di III VXD. The result is a very light and compact lens, weighing only 365g at a length of 6.6cm. So here’s a lens that will appeal to a lot of people for its compactness, including me, so I can take it with me on my travels!

The lens has 12 elements divided into 11 groups and also incorporates a coating to limit chromatic aberration. This is a very good quality lens, with durable materials and an excellent finish. However, the lens has few options on the barrel, with only a focus ring and a zoom ring. There is no AF/MF switch and no customizable buttons. The overall look is sturdy, though not as sturdy as Sigma or Sony lenses. The lens also has a USB-C port, so it can be updated via the Tamron Lens Utility. The lens has a high quality VXD autofocus system that offers fast and silent focusing.

In terms of optical quality, this is still a top-of-the-line lens, with very good image quality in the center at full aperture. The image quality is a bit less good at the edges. However, it improves considerably at f/4 to produce a sharp, homogeneous image. As for optical flaws, there is barrel distortion at 20mm and pincushion distortion at 40mm. This is typical for this type of zoom. Flare and chromatic aberration did not cause us any particular problems and remained controlled. Although this is not a lens that specializes in bokeh, it is relatively good.

In conclusion, the Tamron 20-40mm f/2.8 Di III VXD is a great choice if you’re looking for a standard zoom lens that’s lightweight, compact and ideal for traveling! The price/performance ratio remains excellent, especially when you compare its qualities with other top-of-the-line lenses that are still much more expensive without doing much better!

This standard zoom lens was released in August 2023. It is a real innovation in the range of standard zooms for Sony FE-mount cameras. More compact and lighter than its predecessors and competitors, the lens weighs just 488g for a length of 99mm, making it very easy to use. Of course, there’s also the very special 20mm focal length. This is much shorter than conventional zooms, which often start at 24mm, making it ideal for even wider shots (e.g. landscape/architecture).

In terms of construction, the lens boasts a very solid build quality, with the majority of the structure being made of metal. Ideal for video, there is a clickable aperture ring for continuous control. There are also two switches on the lens: the AF/MF switch and the focus hold button. The lens has an autofocus system with XD linear motors. This makes the AF fast and precise. With a minimum focusing distance of 25 cm, the lens is tropicalized (14 seals), making close-ups easy. Note the 72mm filter diameter.

In terms of optical performance, the 20-70mm f/4 shows excellent sharpness at full aperture at 20mm, especially in the center and at the edges, although the extremes can be a bit softer. Sharpness improves considerably as the aperture is closed, with excellent, consistent quality at f/8. As for optical flaws, the lens shows little vignetting or distortion, although there is some barrel distortion at 20mm, which is easily corrected in post-production software. Thanks to the quality of the coatings applied to the lenses, chromatic aberrations are minimal.

In conclusion, I’d recommend this Sony FE 20-70mm F4 G if you’re looking for a versatile lens that can cover your wide-angle (landscape) needs as well as a small telephoto (everyday scenes). With a price tag of around €1,100, it still seems a bit expensive!

The table below compares the main features of the various standard full-frame lenses mentioned above.

If you have a Sony APS-C camera, here’s the list of Sony zooms I recommend:

• Sigma 18-50mm f/2.8 DC DN Contemporary
• Tamron 17-70mm f/2.8 Di III-A VC RXD
• Sony E 16-55mm f/2.8 G
• Sony E PZ 18-105mm f/4 G OSS

The main features of these lenses are compared in the table below.

We have a page dedicated to Sony E lenses for APS-C cameras, which is updated daily, if you’re looking for other lenses.

Designed specifically for Sony E-mount APS-C cameras, this lens was released in 2021 (at the same time as the L-mount) and then in December 2023 for Fujifilm’s X-mount. This standard zoom has very interesting dimensions: 7.7 cm long and weighing only 285 grams, it is a very light and compact lens. There are only a few equivalents, apart from the Tamron 17-70 mm f/2.8 VC RXD (which is even more expensive) and the Sony E 16-55 mm f/2.8 G, which is “older” and much more expensive! Sigma offers the cheapest and lightest option in its category and a very interesting focal length range (classic for an APS-C).

The construction of the lens is relatively good, but the quality is not as good as the Tamron/Sony lens above. Note that the lens is not tropicalized, but has a seal on the mount. The Sigma is not optical stabilized and does not come with an aperture ring. The only parts of the body are the zoom ring, which is of good quality. The focusing ring is quite thin. The autofocus is handled by a conventional STM motor, which remains precise and fast. The lens accepts 55mm filters and has a minimum focusing distance that varies between 12 and 18cm depending on the focal length. The maximum magnification is a very interesting 0.36x.

In terms of optical performance, the sharpness is impressive at full aperture in the center and throughout the image, with a slight dip at the edges. When you close the aperture, the image becomes even more homogeneous, especially at f/5.6. There are optical imperfections, particularly a noticeable barrel distortion at 18mm and pronounced vignetting, but these can be largely corrected in post-production. Chromatic aberrations are reduced and well controlled.

In conclusion, the Sigma 18-50mm f/2.8 DC DN offers excellent value for money and positions itself as a very good choice for photographers looking for an affordable, versatile and compact zoom lens. Despite some compromises, its very good image quality and compactness make it an ideal candidate for travel, street and everyday photography.

Released at the beginning of 2021, here’s a lens that will please every photographer with a Sony APS-C camera. It’s a real breath of fresh air, with a very versatile zoom and a relatively large f/2.8 aperture. In comparison, it offers a bit more than the Sigma 18-50mm f/2.8 DC DN, but is still a bit more expensive. This zoom weighs in at 525g and is 12cm long, making it a fairly compact lens and a great alternative, especially when compared to Sony’s much more expensive APS-C zooms.

The lens is made up of 16 elements divided into 12 groups, including low-distortion aspherical lenses to manage chromatic aberrations as effectively as possible. The construction of the lens is of good quality with a satin finish. It should be noted that there are no switches on the body of the lens, which some photographers may miss (such as the AF/MF switch and to activate the stabilization). The lens has a 67mm filter and the minimum focusing distance varies between 19 and 39cm depending on the focal length.

In terms of performance, the Tamron 17-70mm f/2.8 offers excellent sharpness in the center and at full aperture, although image homogeneity improves when the aperture is closed. Compared to the price of the Sony E 16-55mm f/2.8 G, it clearly has nothing to be ashamed of, especially when you consider the price in the balance. There is some classic distortion for this type of zoom lens, as well as some vignetting, but the overall effect is decent and manageable without too many problems in post-production. Chromatic aberrations are generally not a problem and the lens remains very resistant to flare.

In conclusion, this Tamron is an excellent choice if you have a Sony APS-C body. The lens is extremely versatile, lightweight, compact and has good optical performance. Like the Sigma, it’s perfect for travel, street and everyday photography, as well as landscapes and portraits. For an APS-C body, this is certainly the best choice without breaking the bank!

Released in early 2021, the Sony 16-55mm f/2.8 G was released at almost the same time as the much cheaper Tamron 17-70mm f/2.8 Di III-A VC RXD, its main competitor. The lens is slightly more compact and lightweight, weighing in at 496g for a length of 10cm, all with a fixed aperture of f/2.8. Despite its excellent quality, the price remains quite high, especially for an APS-C zoom. Nevertheless, it remains an excellent, versatile and high-quality lens.

In terms of construction, we’re looking at excellence, with a build quality far superior to that of the Sigma and Tamron zooms mentioned above, all with a barrel equipped with an AF/MF switch and a focus hold button. The lens is made up of 16 elements in 12 groups, including special lenses to reduce chromatic aberrations. The lens is also tropicalized with a dust and moisture resistant coating. The autofocus is of excellent quality thanks to the XD linear motor, known for its speed and discretion. The lens has a standard 67mm filter and a minimum fixed focusing distance of 33cm.

The optical performance of this Sony APS-C zoom is impressive at full aperture and improves even more at a slightly smaller aperture. The edges and extremities are almost as good as the center of the image, proving the high quality of the sharpness. As far as optical flaws go, there is very pronounced distortion at the shortest focal length and some vignetting, but these are manageable in post-production. Chromatic aberrations are quite low and flare is well controlled, although some competing lenses do better in this respect.

In conclusion, the Sony 16-55mm f/2.8 G remains an excellent choice if you’re looking for a professional Sony zoom for your APS-C body without the limitations of heavier and longer full-frame zooms. However, I can’t help but think that the Tamron might be the better choice when you consider the price/performance ratio of the two lenses. But if you’re looking for the very best in optical quality and construction, you can’t go wrong with this lens!

Here’s a lens that’s clearly getting started, having been released in 2013! The Sony PZ E 18-105mm F4 G OSS is a versatile lens that is ideally suited for Sony’s A6000 series of APS-C bodies. Its extremely wide focal length range means it can be used in a wide range of photographic applications. The lens weighs only 427g for a length of 110mm, which is still acceptable for a lens in this range.

In terms of construction, even though it’s not new, the lens is very well built, with a metal design that inspires confidence. There are two classic rings on the barrel, one for zoom and the other for focus. There is also a switch to change the zoom electronically, as this is a motorized zoom (hence the ‘PZ’). The lens is not stabilized, which is always a point to consider. The lens is not tropicalized. The minimum focusing distance varies from 45 to 95 cm from the shortest to the longest focal length.

Optical performance is more than very good, especially for an APS-C zoom. Sharpness is already very good at full aperture, although the corners are still a bit out of focus. Closing the aperture, however, improves the situation considerably and gives a very homogeneous image, especially between f/5.6 and f/8. In terms of optical flaws, there’s not much to criticize. Distortion and vignetting are present, but can be largely corrected in post-production. Chromatic aberrations and flare are relatively well controlled.

All in all, the Sony PZ E 18-105mm f/4G OSS is a very good choice if you’re a Sony APS-C photographer looking for a versatile lens that can be used for both stills and video thanks to its motorized zoom. For its current price (€500-600), we think it represents excellent value for money.

Here’s a summary of the various lenses mentioned above.

I’m coming to the end of this article on Sony’s best zoom lenses, both for APS-C bodies and the brand’s full-frame cameras. There’s plenty to choose from, and plenty to enjoy, even if you don’t have a huge budget. In any case, I hope this article and my research will help you make the choice that suits you best.

If budget isn’t an issue for you, don’t hesitate to treat yourself. You’ll find excellent quality alternatives from third-party manufacturers at much lower prices, so don’t hesitate to shop around.

See you soon for another Sony article. In the meantime, be sure to check out our full guide to the best Sony 35mm lenses for environmental portraiture.

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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