Today’s topic is Best Sony Wide Angle Lens For Landscape Photography. Obviously, you can find a great deal of Best Sony Full-Frame Prime Lenses-related content online. The proliferation of online platforms has streamlined our access to information.

There is a connection between the Best Sony Full-Frame Prime Lenses and The Best Value Landscape Lenses For Sony A6000 information. more searching has to be done for Best Wide Lens For Sony A7Iii, which will also be related to 6 Ultra-Wide Angle Prime Lens Options for Sony Landscape Photographers. Best Sony Wide Angle Lens For Landscape Photography - Best Sony Full-Frame Prime Lenses

157 Things About Best Sony Wide Angle Lens For Landscape Photography | Sony Aps-C Wide-Angle Lens

  • For example, attaching a 50mm full-frame lens to an APS-C camera will make the lens act more like a 75mm or 80mm lens. (The focal length of the lens itself doesn’t change.) This can be super useful if you want more of a super telephoto effect but don’t want to pay for something that expensive. - Source: Internet
  • Making choices in lenses should definitely be driven by logical factors such as image quality, angle of view, low-light performance, and ultimately, which of them would fit your lens budget. Each of the above-listed lenses either set the standard in quality or offer a unique feature or capability over others available in the market. There are definitely many more similar options especially from third-party brands such as the Zeiss Batis 2.8/18, a handful more options from the Sigma Art line, as well as some notable prime lenses from Rokinon. If you have any significant experience with any lenses you would like to add, feel free to tell us about them in the comments. - Source: Internet
  • So how do you choose between the two? To a certain extent, it comes down to preference–and of course, budget–but there are some pros and cons to each. First, lenses made by Sony are designed to work in tandem with its cameras. The biggest asset of that is that it generally results in faster and more accurate autofocus. But, they also can be cost prohibitive. - Source: Internet
  • As such, our other top recommendation for an upgrade pick is the Sigma 14mm f/1.8 DG HSM Art lens, the only other full-frame format lens with a 14mm focal length and an f/1.8 aperture. As an Art-series lens, the Sigma 14mm f/1.8 offers excellent and robust build quality as well as fantastic image quality performance, just like we’ve seen from most, if not all other Sigma Art-series lenses. - Source: Internet
  • When looking for the right lens to buy – especially from third parties – you’ll need to make doubly sure that you’re buying an E-mount lens for your Sony mirrorless camera. (Many third-party developers like Tamron and Sigma make the same lens for a variety of different cameras.) - Source: Internet
  • If you’re looking for more of a bargain and are comfortable with a manual-focus-only APS-C lens, you could always opt for either the 7Artisan 60mm f/2.8 Macro MK II (under $200) or the TTArtisan 40mm f/2.8 Macro (under $100). - Source: Internet
  • Jannik: You can’t go wrong with this lens , especially at the wide end. Performs is best at 20mm, but is also very good at 16mm. Keep the field curvature in mind and focus carefully. - Source: Internet
  • If the Tamron 28-75mm f/2.8 isn’t wide enough for you, your next best bet in the mid-range zoom category is the Sigma 24-70mm f/2.8 DG DN Art lens. - Source: Internet
  • But still, it is good to know more about everything! It is better to search which are the best landscape lens for Sony a7 III because you are searching for a specific type of photography. In the article, you can notice that the aperture of f/2.8 is frequently mentioned; that’s because it is the one that brings sharper images, and we need sharp images of landscapes, right? - Source: Internet
  • Its main competitor, the Sony 35mm f/1.8 is almost $350 cheaper but also slower. The Sony 35mm f/1.4 GM is a somewhat better lens optically, but a full $600 more. - Source: Internet
  • Like many other native E lenses, the 16-70mm is quite compact on APS-C bodies, weighing just 308g. It features a flexible range of 24-105mm in 35mm equivalent terms and a constant f/4 aperture. There isn’t any weather-sealing, which is a shame considering its price, but you can’t really complain about the build quality which consists of an all-metal exterior and nicely damped zoom and focus rings. - Source: Internet
  • Sony also has multiple lines of lenses to cover different budgets. It has the expensive though high-quality GM lineup as well as the more affordable G line. There are also lenses collaboratively built with Zeiss for more variety. Plus, third-party lens manufacturers are filling even more gaps. But no matter what you are looking for, the best Sony lenses will help you take advantage of the features and quality of your Sony camera. - Source: Internet
  • – Light Edition. Only ever used once in 2012 to designate a particularly lightweight lens design. OSS – Optical SteadyShot is Sony’s name for in-lens image stabilization. - Source: Internet
  • There are three main categories of focal lengths, wide-angle, normal, and telephoto. Lenses that have a focal length of 35mm and lower are considered wide-angle lenses, which, as the name suggests, provide a wide angle of view. The wide angle will result in lower magnification and also a less shallow depth of field compared to other focal lengths. They are ideal for landscapes, real estate, group portraits, and event photography. - Source: Internet
  • At f/2.8, it’s not particularly fast, but what it loses in speed it makes up for in its particularly small size. (A faster lens would obviously be larger and heavier.) - Source: Internet
  • Landscape photographers don’t always prefer using prime lenses. This is mostly because of the versatility that zoom lenses offer especially when in shooting scenarios wherein moving closer isn’t a viable option. However, there are prime lenses that make the cut either as alternatives to zoom lenses or as additional options for when their unique attributes come in handy for the shooting scenario. Below are six notable prime lens options that you might want to consider depending on what they uniquely offer and how they fit your preferences. - Source: Internet
  • An “E” without the “F” means the lens was designed specifically for a Sony APS-C camera (i.e. the a6xxx line). It will have a smaller image circle than that of a lens designed for a full-frame sensor. - Source: Internet
  • There are, of course, plenty of other 50mm lenses available for the Sony FE-mount, but the F/1.2 GM stands out not only for its relatively compact size and exceptional optical performance but also for being Sony’s only f/1.2 lens. - Source: Internet
  • Sigma chose to eschew some of the “normal” conventions (i.e. external focusing, no IBIS, etc.) with this lens to focus purely on the optics…and it shows. - Source: Internet
  • Capturing a vast landscape scene is typically done using a wide-angle lens. A lens like this allows you to capture a wider view than you can normally see without turning your head. This is important because it gives the viewer of the photo a sense of the scale and scope of the landscape. Wide-angle lenses are also great for emphasizing depth in a photograph. - Source: Internet
  • Distortion can make ultra-wide lenses challenging. If you are shooting interiors, the last thing you want is dramatic, complicated distortion. Luckily, distortion is very well handled thanks to Sony’s design that includes three extreme aspherical elements and one standard aspherical element. That’s not to say it’s fully absent, but it’s simple barrel distortion at the wide end and pincushion when zoomed in, making it straightforward to correct. - Source: Internet
  • Sharpness is very good even at f/2.8 and the quality of the background blur is decent. Distortion won’t pose a problem as long as you apply the correct lens profile to your image in post production and vignetting isn’t an issue. If the sun is in your frame, you can expect an orb-like green flare to appear in your image, so it is best to keep the lens hood attached at all times to mitigate the effects. - Source: Internet
  • Its fast f/1.8 aperture lets in plenty of light. The 20mm wide angle can capture long, sweeping views of both land and sky. (It’s great for landscapes too.) The images it produces come out wonderfully sharp across the whole frame and with plenty of punch. - Source: Internet
  • Last but not least, plus the best overall, the Sony – FE 16-35mm F2.8 GM! This lens comes also from the Sony brand and by many photographers it is considered as one of the best, of course when it comes to landscape photography. It owns great features that could really help the Sony a7 III camera bring more than it does; Perfection! - Source: Internet
  • Reviews of this lens are all overwhelmingly positive, with users noting the lens’s excellent sharpness, color rendition and it’s versatility – not only due to its zoom design but also by the fact that it readily accepts teleconverters for even more reach. The lens is a bit heavy and expensive, but if you can look past those factors, the Sony FE 70-200mm f/2.8 GM is an absolute stunner. - Source: Internet
  • Planar – Designed in the late 1890s, planar lenses have a symmetrical design, with the aperture placed in the middle of the elements. This allows the lens to stay sharp from center to corner at wide apertures, all with little chromatic aberration. Almost every 50mm lens has some element of Planar design in it - Source: Internet
  • It also has a nine bladed diaphragm which is rounded to give softer and more natural rendering to landscape details and highlights, and at 680g and 82.5x125mm it can save size and weight in a backpack compared to the faster but larger, heavier and more expensive 14-24mm f/2.8. And still offers great build and weather sealing. - Source: Internet
  • The focal length on this one works from 16mm up to 35mm. The amazing accurate focus of this lens is only brought by the Direct Drive Super Sonic Wave AF Motors. On it is not included an image stabilization, but this lens will work pretty well with the in-camera stabilization that Sony a7 III owns. - Source: Internet
  • The only real downside of this lens is its autofocus. It definitely hunts a bit if you’re too close to your subject or in super low light. It’s also not the quietest. Still, it functions great most of the time. - Source: Internet
  • Sony themselves do not (yet?) make macro lenses higher than 1:1 mag. ratio, and generally, most of these high-powered macro lenses are manual-focus only. For our recommendations, we will stick to the more common and more versatile lenses that offer autofocus. Not only can they be used for macro photography, but they also work for more general-purpose photography, even portraiture. - Source: Internet
  • Lenses made for full-frame cameras, on the other hand, have an image circle that’s larger than the APS-C sensor. As a result, full-frame (FE) lenses work just fine on an E-mount APS-C camera, though images will be considerably “zoomed in.” The camera will only show you the part of the image that the lens covers. - Source: Internet
  • The f/2.8 aperture is used during landscape photography because it brings sharper pictures. When it comes to the focal length this lens works from the minimum which is 28mm and moves on to the maximum, which is 70mm. - Source: Internet
  • Landscape photography is all about capturing the beauty of nature, and with the right lens, you can create stunning images of scenery and landscapes. I’ve listed four great lenses perfect for landscape photography on Sony A6000 series cameras. Each of these lenses offers excellent value for the money and will help you capture beautiful photos of nature’s beauty. So if you’re looking for a new lens to take your landscape photography to the next level, check out one of these great options! - Source: Internet
  • For crop-frame shooters, with cameras such as the A6600, A6400, or A6100, using a native APS-C-format lens for landscape photography and other wide-angle shooting is important. You can, of course, use full-frame “FE” format lenses on a crop-frame Sony camera (they all use the same lens mount). The crop-factor introduced by the smaller sensor will reduce some of the wide-angle field of view if you use a full-frame lens. - Source: Internet
  • Cameras that can swap out lenses, like those in Sony’s mirrorless system, don’t work with just any lens. You need to shop for one that’s made for your camera. If you opt for the Sony system, you benefit from a decade’s worth of lens development, which means there are oodles of optics from which to choose. - Source: Internet
  • Sony FE 600mm F4 GM OSS The Sony FE 600mm F4 GM OSS is a big, serious lens for capturing distant action, but its price makes it purely for professionals and very serious enthusiasts. MSRP $12,999.99 MSRP $12,999.99 Sony FE 600mm F4 GM OSS Review - Source: Internet
  • Much like a lens for sports, you’re going to want a lens that offers a nice, longer telephoto focal length. In fact, in some cases, your “sports photography” telephoto lens can do double-duty as a wildlife photography lens. That said, a 70-200mm-style lens may not be telephoto enough for wildlife photography, especially if you want to photograph birds. When choosing a proper wildlife-focused telephoto lens, finding something that reaches out to a least 300mm to 400mm is a good starting point. When photographing wildlife, you probably won’t be able to get very close to your subject, and so having a long telephoto lens will allow you bring that far-off subject up close. - Source: Internet
  • – Gold Master, more commonly “G-Master” lens. Sony’s highest-tier lens. LE – Light Edition. Only ever used once in 2012 to designate a particularly lightweight lens design. - Source: Internet
  • A Carl Zeiss lens is a lens made by Sony using Zeiss design and technology. It uses the Zeiss quality standard, which focuses on resolution and contrast. (Sony partnered with Zeiss for two decades before making their first GM lens in 2016.) - Source: Internet
  • Images come out highly detailed, with great color and contrast. In fact, few zooms at this price point can match the fine detail rendering (i.e., acuity) of this lens. - Source: Internet
  • A wide-angle lens for Sony that left me a very good impression was the Sigma 16mm f/1.4 DC DN C (24mm in 35mm terms). This didn’t surprise me to be honest as I’ve fallen in love with almost every lens in Sigma’s Contemporary and Art series for mirrorless cameras so far! - Source: Internet
  • GM, or Gold Master lenses are Sony’s premium, top-of-the-line lenses. They’re designed to fulfill all professional requirements, from exceptional image quality and performance to weatherproofing and a superior design build. They are designated on the lens with a white G on an orange square. - Source: Internet
  • The autofocus of this lens is fast and also essentially silent. That’s a plus if you shoot video or will be photographing in quiet spaces like churches. Unfortunately, there are no focus or depth of field scale markings on the lens, which means you can’t focus at a specific distance as easily. But, there is a focus hold button on the lens body. It’s a customizable button as well, should you want to use it for something else. - Source: Internet
  • This Sigma lens features 16 elements in 12 groups, and it also owns two FLD elements, two SLD elements, as well as three aspherical elements. The aperture is a 9-blade rounded one and it works with a range from f/2.8 to f/22. - Source: Internet
  • As is standard on G Master lens, it is fully weather sealed, so you won’t have to worry about bringing it into tough environments. It’s also made of tough polycarbonate, which helps cut down on the weight. And the included lens hood comes with the welcome addition of a sliding window, which allows you to check and adjust your circular polarizer much more easily. It’s a small thing but is definitely a nice touch. - Source: Internet
  • Distagon – A design system Zeiss uses for its wide and ultra-wide angle, retrofocal lenses. These lenses are often heavy, as they are pretty complex. The Sony Zeiss Distagon T* FE 35mm F1.4 ZA is the only Distagon lens available for Sony E-mounts. - Source: Internet
  • An exceptional lens. It outperforms the already very good 4/16-35 while only weighting 165g more. The only downside is the very significant price tag. - Source: Internet
  • One of the most helpful things was the reduction in size compared to its predecessor. Telephoto lenses are not light pieces of kit, so anything companies can do to shave off weight is welcome. At 2.3 pounds, the updated version of this 70-200mm is a full pound lighter than the original. That will make a significant difference if you are holding this lens for a full day of shooting. - Source: Internet
  • Though we’ve not yet reviewed the FE 85mm f/1.8 in-house, user reviews, as well as other reviews from industry colleagues, are overwhelmingly positive for this compact full-frame prime lens. Reviewers praise the lens’ sharpness, size and bokeh as well as its overall value, with a price right at or a little under just $600, depending on sales or discounts. Overall, on a budget or not, the little Sony FE 85mm f/1.8 hits all the high marks for a solid portrait prime for Sony photographers. - Source: Internet
  • Sony’s lens lineup continues to expand and improve, filling the needs of more photographers. Its best lenses offer truly exceptional quality and maximize its cameras’ impressive features. Plenty of entry-level and beginner-friendly Sony lenses come at more approachable prices, so if you are just getting started, you won’t need to spend a small fortune on a single piece of equipment. - Source: Internet
  • The maximum size of the aperture of a lens – or f/number – determines how “fast” a lens is. Faster lenses let in more light, allowing you more wiggle room when working handheld in darker environments. They also allow you to photograph a narrower focus plane, putting your subject in focus while blurring everything in front and/or behind it. - Source: Internet
  • At f/2 sharpness is already excellent in the centre but the best results can be found between f/4 and f/5.6. The corners are softer at the fastest apertures and you’ll encounter some vignetting but this is to be expected. Distortion can be corrected via the lens profile in Lightroom but chromatic aberration, which is present up until f/8, is a bit trickier to eliminate. As for flare, it can appear in scenes with bright light sources but I never found it overly invasive. - Source: Internet
  • It’s also worth looking out for weather sealing, so that a little rain doesn’t put a premature end to your whole shoot. Also, pay attention to the filter compatibility. Many ultra-wide lenses can’t take front-mounted filters at all because of their bulbous front element, while others will require ones with a sizeable filter thread. Filters can be hugely important in landscape work, so it’s worth thinking about the filter setup when you buy a lens. Check out our guide to the best filters for landscape photography to get an idea of the kinds you might use. - Source: Internet
  • When it comes to recommending a landscape lens for a Sony mirrorless camera, there are several options to consider, ranging from the ultra-wide 12-24mm range to a more versatile 24-70mm. Our top pick for a Sony mirrorless landscape lens, one that offers a classic ultra-wide to wide zoom versatility, high image quality and a solid value, is the Sigma 14-24mm f/2.8 DG DN Art lens. - Source: Internet
  • Though we’ve not seen this lens in our lab, user reviews for the lens are largely positive, with owners noting the lens’s great sharpness, good close-focusing performance and affordable price point. Some criticize its slower AF performance, so keep that in mind if you shoot lots of moving subjects – however, the lens is designed for macro photography, so AF speed isn’t generally a priority. Overall, a sharp and affordable lens that serves as a great entry into the world of macro photography. - Source: Internet
  • Why Trust Us? Our experience with lenses for Sony Alpha cameras and how we tested Your author Mark has been shooting weddings professionally with Sony cameras for several years, using many different Sony prime and zoom lenses, as well as 3rd party e-mount options. Co-author Usnea has been using Sony cameras for 6 years, shooting landscape, nature, action, and travel photography using primarily native Sony lenses. For testing, Mark used the latest Sony a7IV full-frame mirrorless camera to evaluate a selection of Sony FE-mount lenses and a Sony a6100 for lenses designed for the APS-C format. The recommended lenses in this guide were chosen based on Mark & Usnea’s own personal experience, results of lens reviews by our various Shotkit authors (also professional photographers), and over 120 hours of combined research and analysis. We are not sponsored by any of the brands that appear here, and our opinions are completely unbiased - in short, you can trust what we say! - Source: Internet
  • A telephoto lens typically has a focal length of 80mm or larger (50mm on an APS-c camera body). This lens allows you to make distant items appear larger in the image’s frame. Landscape photographers will use telephoto lenses to capture the details of a distant scene. - Source: Internet
  • When it comes to photographing the night sky, astrophotography isn’t really tied to any one focal length lens, technically, but oftentimes you want to capture a broad, expansive view of the night sky, stars, galaxies and the like. To do that, one needs a wide-angle or ultra-wide-angle lens, something very short, often less than 24mm, in order to capture a wide perspective. Additionally, another key factor for a good astrophotography lens is a wide or bright maximum aperture – the brighter, the better in order to gather as much light as possible and keep the ISO levels down as much as possible. So while astrophotography compositions can come in all sorts of framing and perspectives, we’re going to recommend a couple more common types of lenses: ultra-wide-angle lenses with bright apertures. - Source: Internet
  • What’s more, it’s both lighter and more compact than pairing the Nikon AF-S 14-24mm f2.8 G with an adapter, making it a good excuse for Z-mount users to go all in and opt for the native lens. While there is some distortion evident if you leave it uncorrected, there’s no reason you ever would leave it uncorrected, with Nikon’s automatic correction profiles ready and able to swoop in and take care of matters. - Source: Internet
  • UWA lenses developed very fast during the last decades. The age of these 17mm legacy lenses shows clearly when they are compared to modern options. Nevertheless, they are pretty usable if you give the files some love in postprocessing (removal of CA’s and sharpening). - Source: Internet
  • With a focal range roughly equivalent to 27-202mm on a full-frame camera, the Sony 18-135mm f/3.5-5.6 OSS is a perfect all-in-one lens for APS-C shooters who don’t do a lot of low-light photography or shots needing a shallow depth of field. - Source: Internet
  • If price is no object and you want the top-of-the-line telephoto zoom lens for sports photography, the Sony FE 70-200mm f/2.8 GM lens is the go-to lens. Sony’s flagship mid-telephoto zoom lens, the 70-200mm G Master lens, features fantastic image quality, swift autofocus and rugged, durable construction. It’s also quite pricey, as one might imagine, at around $2,600. - Source: Internet
  • The build quality is good, with its mixed metal and plastic construction, but the loose focus ring is somewhat annoying, as is the lack of a hyperfocal scale and electronic contacts to transfer EXIF data. That said, it is one of the only f/1.4 lenses for Sony APS-C, so it remains a unique offering in this category. - Source: Internet
  • As you’d expect from a wide-angle lens, there is lots of distortion and vignetting but both can be corrected by applying the lens profile. Chromatic aberration isn’t an issue and flare will only show up if you shoot directly into a strong light source. Thanks to its minimum focus distance of 25cm, you can comfortably work with this lens even in tight spaces. - Source: Internet
  • With its funnel-like shape and large front element, it isn’t particularly small compared to many of the primes in the Sony APS-C range but it is portable and well-balanced on a body like the a6500. Most of the barrel is constructed from solid metal, with the exception of the smooth rubber focus ring which is very precise and enjoyable to use. Unfortunately, unlike the Fujifilm version of this lens (pictured above), it doesn’t have an aperture ring. - Source: Internet
  • – Full-frame E-Mount lens. G – Gold Series lens. Sony’s second-highest lens tier. - Source: Internet
  • The sharpness of this lens is superb, especially when stopped down to f/5.6. It also works superbly with Sony’s autofocus system. - Source: Internet
  • Though Sigma already released an 85mm f/1.4 HSM Art DSLR lens some years back, this “DG DN” version has been redesigned for mirrorless cameras, namely Sony E-mount and L-mount cameras. The lens has been redesigned for mirrorless, utilizing a new optical formula and a new AF system powered by a stepper motor. All in all, the updated 85mm f/1.4 DG DN Art is a stunning portrait prime for Sony (or L-mount) mirrorless cameras. - Source: Internet
  • We have no association with any lens manufacturer apart from occasionally loaning a lens for a review. Before any short introduction we tell you how long we have used a lens and if we have borrowed it from a manufacturer. But in most cases we have bought the lenses new from retail stores or on on the used market. - Source: Internet
  • The most popular focal range in all of the photography, the 24-70mm zoom is one of the most versatile in the industry. The wider end (24mm) is suitable for both landscapes and interiors. The longer end (70mm) allows for nice portraiture. - Source: Internet
  • Image quality is excellent, even wide-open, at both ends of the zoom range, and the weight savings really go a long way at making the Tamron zoom a pleasure to use for long periods of time. Plus, if you’re an APS-C Sony shooter, the lens also works very well with these smaller cameras compared to longer, heavier telephoto options. All in all, with excellent image quality, fast AF performance, compact construction and a fantastic price point, it’s no surprise that the Tamron 70-180mm f/2.8 Di III VXD got the nod onto our Lens of the Year picks for 2020 as a Telephoto Zoom Lens of Distinction. It’s an excellent telephoto zoom for Sony sports photographers. - Source: Internet
  • An exceptional lens. This is one of the rare cases where a zoom outperforms many primes. If you can live with the lack of a filter thread and accept a little worse flare resistance then it is a very attractive lens. - Source: Internet
  • David replaced his Batis 18mm 2.8 with the Sony FE 14mm 1.8 GM. Because this 14mm lens is so good he doesn’t mind cropping a bit so could sell his Batis 18mm 2.8. - Source: Internet
  • If you’re looking for the best of the best and are less concerned with cost-saving, then the Nikon Z 14-24mm f/2.8 S should be right up your alley. The ‘S’ designation means it’s a premium Z-mount lens, designed for serious enthusiast and professional users who don’t want to compromise on optical quality. And as such, it delivers – in our review, we found the Nikkor Z 14-24mm f/2.8 S to be capable of producing images with absolutely stunning sharpness, in a range of situations. - Source: Internet
  • An all-purpose lens that most Sony APS-C users will want in their collection is the 16-70mm f/4 ZA. Although sharpness is generally excellent through zoom and aperture ranges, it delivers the best results at the widest angle between f/4 and f/11, which is good news for landscape photographers. The performance deteriorates a little in the corners and at the longest focal length (70mm). - Source: Internet
  • In our review, we praised the lens’s image quality performance, even when used wide open – which is very impressive. The super-wide aspect ratio is also very fun to use, offering a unique perspective for some very dramatic images. We also noted the lens performed very well in controlling comatic aberrations. Though originally designed as a DSLR lens, Sigma has since come out with a native Sony E-mount version of this lens, helping do away with the need to use a mount adapter. - Source: Internet
  • Yes, you can connect a Nikon lens to a Sony mirrorless camera body. You just need a Sony E-mount adapter. For more information, see the section above. - Source: Internet
  • Ultimately, the decision to get a prime or zoom lens comes down to how and what you will use the lens for, as well as personal preference. Some photographers prefer to only use prime lenses, while others use a mix or perhaps even all zoom. Each has its advantages and disadvantages, so there is no right or wrong answer here. - Source: Internet
  • Sony cameras use either an A-mount or an E/FE-mount. A-mount lenses work with Sony DSLRs. Sony’s mirrorless cameras use the E-mount and/or FE-mount. - Source: Internet
  • The widest lens on the list, equating to 13.5mm in 35mm terms, is the Laowa 9mm f/2.8 Zero-D lens. We’ve only ever tested it on Fujifilm X Series cameras but it is also available for Sony APS-C. - Source: Internet
  • At 77.6х87mm and 385g it’s highly portable, but that doesn’t mean any compromise in optical quality with four aѕрhеrісаl and four extra-low dispersion elements. While this is a fairly minor upgrade on the previous version of this lens, as we pointed out in our review, landscape photographers will appreciate the addition of weather-sealing, which justifies the extra cost outlay. - Source: Internet
  • Zeiss Loxia 2/50 4.5 The Zeiss Loxia 2/50 is one of the best modern manual focus lenses out there, and is worthy of being called Editors’ Choice. $699.00 at Amazon See It (Opens in a new window) Zeiss Loxia 2/50 Review - Source: Internet
  • A lens whose performance comes very close to that of the Sigma 19mm is Sony’s own 20mm f/2.8 (30mm in 35mm format). The main difference is that despite falling into the “budget” lens category, it is still $150 more expensive than the 19mm. - Source: Internet
  • Smooth Autofocus Motor; A cheaper AF motor used primarily on Sony’s kit lenses. XA – Extreme Aspherical; the lens contains Sony’s top-of-the-line aspherical element that produces extremely high resolution with beautiful out-of-focus areas. Reserved for Sony GM lenses. - Source: Internet
  • Picking a lens for travel and street photography can be a difficult task. For street photography, you might lean towards something small, lightweight and discreet, whereas for travel purposes, you’ll likely do well with some zoom versatility. In both cases, though, you’ll probably want to keep your Sony camera kit as simple and as lightweight as possible; in other words, a single-lens setup. Think: walking around on vacation, exploring a new city or going on a hike. Having a light but versatile camera setup is key. - Source: Internet
  • The build is professional-quality, with full weather sealing, which you usually only get on higher-end lenses. And it has a fluorine-coated front element to help keep that clean and free of dust and fingerprints. Though it’s not large compared to full-frame lenses, it is a bit big when paired with tiny APS-C cameras, which some may not appreciate. Sony’s Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS is a much smaller –and more affordable–option, but you will lose a stop of aperture and get a lower image quality. - Source: Internet
  • Tamron is a very famous and well-known name in the industry of lenses. It indeed has the best ones that you could ever look for, and the Tamron 28-75mm F/2.8 Di III VXD G2 is definitely one of them! Its ability to work with the Sony a7 III camera is more than great! However, it is a standard lens that works pretty normally. - Source: Internet
  • Landscape photography is all about capturing the beauty of nature. One of my all-time favorite cameras is my Sony A6500. I take it everywhere with me, and it has proven to be an excellent camera for landscape photography. With its high resolution, outstanding focusing system, and built-in image stabilization, this camera reliably creates stunning landscape photos. But to get the most out of the scene, you need to pair it with the right lens. - Source: Internet
  • If the Sony FE 85mm f/1.8 is too slow for you and you have a bit more to spend, take a look at this beautiful 85mm f/1.4 Art lens by Sigma. - Source: Internet
  • Sony mirrorless cameras are wide-ranging both in price and features, generally offering something for every level of photographer, and are also capable for nearly every type of photographic pursuit, be it landscape photography, portraiture, sports and wildlife or astrophotography. But, the key to capturing stunning photos (or video) of your desired subject is getting the right lens for the job. While your kit lens may be pretty good, making a small investment in additional lenses can dramatically boost the creative flexibility of your camera – and the quality of your photos. - Source: Internet
  • The lens can focus as close as 11 inches. It’s no macro, but it does mean you can take some nice detail shots with good background separation, especially thanks to the f/2.8 aperture. And, because of the high resolution of this lens, those detail shots–and anything else, of course–will be remarkably clear and sharp. It’s even sharp when wide open, which isn’t typically the case. - Source: Internet
  • Wide-angle zooms come in all shapes, sizes and prices, so it can be difficult to know which to choose. What’s also often important to landscapers is a combination of light weight, ease of use, and image sharpness. Light weight because you don’t want to lug it about, ease of use because you may be wearing gloves (a good control ring is your friend here), and image sharpness because you’ll often be stopping down to capture as much detail as possible. - Source: Internet
  • When it comes to picking a lens for portraiture, you’ll most likely want something with some telephoto reach. Wide-angle lenses, on the other hand, can distort and accentuate facial features in an unflattering way, whereas a longer standard-focal length or short telephoto lens will capture a more natural, more pleasing representation of your subject. Traditionally, an 85mm prime lens has been a classic portrait go-to, offering a good focal length for natural-looking portraits and good subject isolation thanks to the wider aperture than what you typically find on a kit zoom lens. The wide aperture helps blur out the background of your shot and help your subject stand out more. - Source: Internet
  • Best APS-C Landscape Lens Sigma 18-50mm f/2.8 DC DN Contemporary This lens is my top pick due to its excellent quality, wide aperture, and low weight. This is a great lens to bring wherever your feet take you. Buy at Amazon - Source: Internet
  • Sony has clearly been focusing on video aspects in most of its gear, and this lens is no exception. It features a power zoom mechanism to make zoom control easier during a recording session. It also has Optical SteadyShot image stabilization, which, when paired with a Sony camera that has in-body stabilization, will give you much smoother videos. - Source: Internet
  • This Sony lens is packed with two Extra-Low Dispersion Elements, three aspherical elements, and two XA elements. The blade of the aperture is really unbelievable, it is an 11-blade circular aperture which makes the lens work perfectly well with portraits as well, because of the amazing bokeh effect. The range of the aperture is quite normal, it works from f/22 and goes up to f/2.8, for sharper pictures and it keeps the exposure and the depth of field. - Source: Internet
  • Happily the build quality leaves nothing to be desired. The metal chassis feels solid and hefty and the built-in lens hood suits the lens very well. Being a very compact lens, it is also a good match for Sony APS-C cameras. The ribbed focus ring is very smooth and precise, as is the de-clicked aperture ring. I only wish they’d included the f/11 marking on the barrel as I use this value quite often. - Source: Internet
  • Sony a7 III is one of the most famous and of the greatest cameras that Sony has ever created! It is a full-frame mirrorless camera that works perfectly with the staggering combination of the 24.2MP BSI full-frame sensor and the BIONZ X image processor. I would also like to mention that this camera is perfect when you use it for landscape photography. - Source: Internet
  • Interesting and cheaper alternative to the 10mm 5.6 and 12mm 5.6 Voigtlander lenses, but optically not as good as the 9mm 5.6 - Source: Internet
  • 70-200mm is another one of those classic focal lengths, especially for anyone who takes portraits or photographs weddings. It’s an ideal range that allows for subtle telephoto action and pretty significant magnification in the same lens. This is Sony’s second iteration of this focal length, released in October 2021, and it has some big improvements. - Source: Internet
  • Sony makes some impressive, highly capable cameras, and if you own one, it’s only natural that you want quality Sony lenses to go with it. While lens options used to be somewhat limited, Sony has expanded its range in recent years. You’ll now find just about any focal length you want, with plenty of zoom and prime choices. - Source: Internet
  • – Gold Series lens. Sony’s second-highest lens tier. GM – Gold Master, more commonly “G-Master” lens. Sony’s highest-tier lens. - Source: Internet
  • Anti-Reflective; the lens contains Sony’s nano-coating technology. All G and GM lenses have this. DDSM – Direct Drive SuperSonic Motor; Designed for moving large, heavy focus groups in some Sony lenses. - Source: Internet
  • Sony has two main lens mount styles for its cameras: the A-mount and the E-mount. The A-mount is for its DSLRs (cameras with a mirror). The E-mount is for its mirrorless line – both APS-C and full-frame. - Source: Internet
  • Focal length is possibly the most important decision to make when choosing a lens. Put simply, focal length determines the angle of view–how much you see in the image–and magnification–how large things appear. Focal length also impacts depth of field, or how much is in focus within your image. So, when you are shopping for a lens, you need to decide what type of images you want to create and what focal length will get you there. - Source: Internet
  • The constant f/4 aperture is a welcome sight on this budget zoom lens. Many lenses of this price range will have a variable max aperture, which results in losing stops of light as you zoom in. The constant aperture offers better low-light performance and gives you more creative control. - Source: Internet
  • Wide-angle zooms aren’t always the fastest, which generally isn’t a problem as you’ll likely be working at narrower apertures for landscapes anyway. However, if you’re prepared to pay extra, you can get large-aperture wide-angle zooms for working in low light. There are also a few features you probably don’t need to worry about, like image stabilisation, as landscape photographers tend to work on tripods. - Source: Internet
  • The build quality is on par with most Sony APS-C lenses: it has a black plastic finish and a metal lens mount. Despite being an ultra wide angle lens, it is fairly compact, tipping the scales at just 225g. The focus ring and zoom ring are adjacent to each other, yet you can tell the difference between them thanks to the difference in size. Both are pleasant to use. - Source: Internet
  • It may take a while to master focusing on this lens, but once you do, you’ll absolutely fall in love with what it can do. (The key is to understand that it was built for Macro photography, not so much as a multi-purpose lens.) - Source: Internet
  • Unfortunately, the lower price point does mean something has to have been sacrificed. There is some significant pincushion distortion across the zoom range, especially as you zoom in. And the image quality isn’t anything extraordinary. Image centers are sharp, but the edges lose out. But, the approachable price of the lens and versatility of the zoom range still make it a worthwhile choice for APS-C users. - Source: Internet
  • If you shoot landscapes on a Sony mirrorless camera with an APS-C format sensor like the A6400 or A5100, you’ll want an equally small, lightweight but dependable wide-angle zoom. The 10-18mm F4 OSS is just that, offering a streamlined design that’s still weather sealed. At 225g and 70х63.5mm it’s genuinely pocket sized, so can be brought along as the accompaniment to a standard zoom, and it takes 62mm filters and adapter rings, which keeps space – and cost – down, too. - Source: Internet
  • Starting this article with the amazing Sigma 28-70mm F2.8 DG DN lens, which as you can notice is listed as the best budget. It may be considered expensive, for someone, however, when compared to the other ones in this article it is cheaper. - Source: Internet
  • Light, compact, and available for under $700, it’d be easy to assume that this was just a mediocre lens. In reality, however, the Tamron 28-75mm f/2.8 can more than pull its weight in both image quality and performance. - Source: Internet
  • These are the top lenses that are optimized for Sony Alpha APS-C sensor cameras, also known as having a ‘crop-sensor.’ They work on both older models from the Sony NEX range, as well as anything from the a6xxx range (e.g. a6100, a6400, etc.). - Source: Internet
  • It’s a robust, complete lens system that benefits from Sony’s early bet on mirrorless, along with support from numerous third parties. Ultra-wide, macro, telephoto—it’s all covered, in one form or another. But figuring out which lens is right for you can be tough, especially if you’re just getting started with the system. - Source: Internet
  • Wide-angle lenses typically have a focal length of 35mm or smaller (20mm on an APS-c camera body). This lens captures a wider view than you can normally see without turning your head. This is important because it gives the viewer of the photo a sense of the scale and scope of the landscape. Wide-angle lenses are also great for emphasizing depth in a photograph. - Source: Internet
  • Finally, telephoto lenses are anything over 70mm. They have a narrow field of view, high magnification, and are capable of extremely shallow depth of field. Thanks to the high magnification, they are perfect for sports and wildlife photography or anything that you aren’t able to get close to your subject. They also are excellent for portraits because they lend themselves to fantastic separation between the subject and background, helping your subject stand out. - Source: Internet
  • If you’re using a Nikon DSLR with an APS-C format sensor (Nikon’s DX range) the Nikon 10-20mm f/4.5-5.6 G AF-P DX VR can open up a world of landscape opportunities beyond the grasp of a standard zoom. - Source: Internet
  • A good mid-range zoom is a must for almost every kit, but finding one of the best Sony lenses for less than $1000 isn’t so easy….that is, until Tamron came out with the 28-75mm f/2.8 Di III VXD G2. - Source: Internet
  • The 12mm is small, lightweight manual focus prime with a metal chassis and a plastic finish. It doesn’t feature weather-sealing but the aperture ring is very precise and its focus ring is sufficiently stiff that it won’t move accidentally when shooting landscapes or astrophotography. Sadly it lacks a proper hyperfocal scale which is a bit odd considering this is a manual focus lens. - Source: Internet
  • Already at f/2.8 the sharpness across frame near infinity can be very good but mind a little field curvature. The contrast improves when stopping down to f/4.0. Coma correction wide open is also very good which makes this a great lens for astrophotography. - Source: Internet
  • Our pick for crop-sensor photographers is the Sony E 10-18mm f/4 ED OSS. Offering the widest-angle zoom range in the Sony E-mount lens lineup, the 10-18mm lens offers a 15-27mm-equivalent field of view, which makes it a versatile and capable landscape photography lens. Though we have not reviewed this lens, user reviews and other reviews are by and large extremely positive, with praise going to its optical performance in most situations, its lightweight and compact design, built-in image stabilization and the ability to use front screw-on filters. With a price of around $800, it won’t set you back too much. - Source: Internet
  • Now, much like the other categories on this list, you also have a choice of prime (single focus length) or a zoom lens. Prime wildlife lenses can often be quite large and expensive, with some of the benefits there being fantastic optical quality and brighter apertures, which let them perform in lower light and have gorgeous shallow depth of field. That said, it’s hard to look past the versatile of a zoom lens, which is why we’re focusing on zoom lenses here for our recommendations. - Source: Internet
  • 16-35mm is an ideal focal length range for covering a wide range (no pun intended) of situations. It’s wide enough to do interior and real estate work, but having the ability to zoom to 35mm makes it perfect for group photos and some portraiture. The fast f/2.8 aperture makes it great in low-light situations, and the 11-blade rounded aperture allows for beautifully smooth bokeh. It would be a great lens to have in your kit if you are a wedding or event photographer. - Source: Internet
  • For sports photography, you’ll most likely want a telephoto lens, something with reach to help bring the action up close. You’ll most likely not be able to get right up next to the sidelines, so a longer telephoto lens will be critical to getting pleasing, action-packed sports photos. Now, depending on the particular sport you’re photography, how much telephoto reach you’ll need can vary dramatically, but a classic go-to for many different popular sports, such as football, soccer, basketball and tennis, is a 70-200mm lens – and a 70-200mm f/2.8 variety, if possible. - Source: Internet
  • Second widest rectilinear lens there is in a small package. Downsides are huge vignetting throughout the aperture range and maximum aperture of only f/5.6. - Source: Internet
  • A normal or standard lens is one that most closely replicates human vision. That’s generally considered to be around 50mm. They are extremely versatile lenses and one every photographer should have in their arsenal. Plus, a prime normal lens is generally very affordable and compact, making it more approachable and easy to keep with you even when traveling. - Source: Internet
  • An UWA lens almost without real flaws. Can be combined with the Magic Shift Converter to create a 17mm 4.0 Shift lens - Source: Internet
  • The Sony Zeiss 55mm f/1.8 Sonnar T* lens is a huge favorite among many, many Sony shooters. Its excellent optics, strong autofocus performance, and compact size make it more than worth its price (which admittedly is a bit steep for an f/1.8). - Source: Internet
  • Editor’s Choice Sony FE 50mm f/1.8 The best Sony lens for everyday photography on a budget. Great image quality and classic focal length (Also great as an 85mm lens on APS-C). CHECK AMAZON PRICE CHECK B&H PHOTO PRICE - Source: Internet
  • For the price, the image quality of this lens is amazing. Photos come out startlingly sharp, nicely contrasty, and with great color. The bokeh is nice and creamy, and there’s nothing distracting in the out-of-focus areas. - Source: Internet
  • The zoom design of a 70-200mm lens provides excellent versatility for a variety of sports subjects, and the 200mm reach at the long end is a really solid telephoto focal length for distant subjects. An f/2.8 aperture, though not absolutely critical for every sports photography endeavor, helps in several ways, including more pleasing subject isolation (out-of-focus backgrounds) and simply letting more light into the lens. The latter will let you shoot with faster shutter speeds, helping you get crisp, blur-free action shots; plus, it will help if you need to shoot indoors or in other lower-light situations, letting you also shoot with a lower ISO setting (and thus less noise and grain). - Source: Internet
  • You should also consider the lens family. Sony gives its better optics a G designation and reserves the GM (G Master) moniker for its highest-quality lenses. If you own a high-resolution a1 or a7R model, it’s often worth it to splurge on a GM lens, but you can usually get excellent results with more affordable lenses if you work with an a7 or a6000 camera. - Source: Internet
  • Choosing an upgrade option here is quite tricky because, at the time of publishing this article, Sony has just recently announced an FE 14mm f/1.8 GM lens that appears to be an all-out stunning lens, particularly for astrophotography. However, as it’s so new, we’ve not yet had any chance to get hands-on with the lens, and reviews around the web are also few and far between – particularly from other owners since the lens is not yet in stock. - Source: Internet
  • The Sony FE 20mm f/1.8 is very new, debuting just this past year. We’ve not reviewed the lens ourselves yet, but user reviews across the web note the lens’s sharp image quality performance, fast AF, small size and good control over coma (or comatic aberration) – a type of optical distortion that can occur to point light sources, such as stars. A lens with low comatic aberration is an important quality to consider when looking for an astrophotography lens. - Source: Internet
  • Sure, primes will get you better optical quality. But lugging a bag of five or six lenses is no small matter if you’re tramping through the lakes, and changing lenses in wet weather is not recommended. A good zoom lens, as long as it’s high-quality, can be a much more pragmatic choice. You just have to make sure that you do indeed get a good one. - Source: Internet
  • This wide-angle zoom is designed for Canon cameras with an APS-C sensor, like the Canon EOS 90D or 250D. It gives a view similar to a 16-35mm lens on a full-frame body, so there’s plenty of options for big scenes. And being made to be compact and lightweight at only 83.5×89.8mm and 385g, it’s a great choice for landscape photographers who’re doing extensive hiking. - Source: Internet
  • It’s also worth noting that when we talk about focal length, we are referring to the lens on a full frame camera. Crop sensors (APS-C) will essentially crop in, resulting in a smaller angle of view than the lens specifies. For example, Sony cameras have a crop factor of 1.5x, so a 35mm lens on an APS-C camera will have the equivalent focal length of 52.5mm. - Source: Internet
  • Sony sells two types of mirrorless cameras. The a6000 series and ZV-E10 are built around the APS-C size, and its a1, a7, and a9 cameras use the larger full-frame format. Because of this, you need to be a bit careful and ensure that you buy the right lens for your camera. Sony consistently names its APS-C lenses with an E designation, while full-frame options get FE, but third parties don’t always follow suit. - Source: Internet
  • For its compact size my favorite is the Voigtlander 15mm 4.5 SWH E. It still finds it’s way into my bag regularly, and during long hikes in the mountains it often is the only lens I carry. - Source: Internet
  • The Sigma 85mm f/1.4 Art lens also happens to be lighter, sharper, and quicker focusing than Sony’s GM version, all while costing a full $700 less. Many feel that its image quality also matches the GM, but that might be more a matter of taste. - Source: Internet
  • Giving an equivalent 15-30mm view, at 230g and 77x73mm lens is seriously tiny, making it suitable for the most arduous hikes. But just because it’s small, it doesn’t skimp on the image quality. This lens uses three aspherical lens elements within its construction to give rich, natural colour and excellent sharpness. - Source: Internet
  • Sonnar – Sonnar Zeiss lenses use the Zeiss classic “Sonnar” design invented by Dr. Ludwig Bertele in the late 1920s. They feature a fast aperture, lightweight design, and fantastic contrast – all with a minimum of flare. - Source: Internet
  • One of the key characteristics of a typical landscape lens is a wide-angle or ultra-wide-angle focal length, which for full-frame cameras is generally 24mm or shorter. These types of lenses let you capture more of the scene, which makes them ideal for landscape photography. Imagine a dramatic mountain vista, a wide-open field or a massive waterfall: A wide-angle lens is a good choice for all of these shooting scenarios. Wide-angle lenses are also great for emphasizing a foreground subject. Shoot wide and get in close, and your subject will dominate the frame. - Source: Internet
  • The lens now has fully internal zoom, so you won’t have to compensate for any additional length when zooming in. The internal zoom makes it well balanced, which makes for better handling. An aperture ring has been added to the lens, which you can de-click for silent operation. And it has a focus limiter, which is ideal for situations where you roughly know the distance your subject will be. - Source: Internet
  • The f/4 maximum aperture might not scream low-light landscapes, but it’s only a stop slower than the EF 16-35mm f/2.8L III USM so can easily be made up in ISO, it’s constant, and will save you about £1000. If you’re caught without a tripod, the lens’s Optical Image Stabilizer is rated at four-stops, so that could get you out of a (dark) hole, too. Weighing a reasonable 615g, it’s by no means huge either, at 83x113mm and boasts some decent weather sealing. - Source: Internet
  • While it comes with excellent build quality and quick, accurate autofocus, the real reason to buy this lens is for its speed and superb lowlight performance. Its f/1.4 maximum aperture is just about as fast as you can buy. - Source: Internet
  • The first thing that should be said about this lens is that it is tiny – so tiny in fact that you should have no trouble finding a spot for it inside your camera bag or your jacket pocket. It features a solid metal build (albeit without weather-sealing) and comes with a clicking aperture ring and smooth focus ring complete with a distance scale. Included is a small petal shaped lens hood. Make sure it is perfectly straight, otherwise it may cause some dark shading in the corners of your image due to the wide nature of the lens. You can also fit 49mm filters to the front. - Source: Internet
  • My biggest concern with this lens is the questionable build quality and the quality assurance problems. Out of 6 lenses I mounted on my camera 4 were badly decentered (of which 3 were new from different dealers). Focus scale is often totally misaligned. Front group is often a bit wobbly. - Source: Internet
  • Both E-mount lens lines, E and FE, are compatible with Sony APS-C camera bodies. Sony E-mount lenses are designed specifically for use with Sony APS-C mirrorless cameras, such as the a6000 series. These lenses offer a smaller form factor and lighter weight than their full-frame counterparts. Sony FE lenses are designed with Sony full-frame mirrorless cameras and offer superior image quality and low-light performance. - Source: Internet
  • Another issue common to ultra-wide-angle lenses is ghosting and flare. Since they are so wide, they tend to show flares if the sun is pretty much anywhere other than directly behind you. Yet this lens handles those things remarkably well, making them much less of an issue. That’s partially a result of the built-in lens hood, which doubles as protection since the front element is bulbous and sticks out. And, for photographers who love their sunstars, this lens creates some beautiful ones. - Source: Internet
  • Image quality from this super-zoom lens is outstanding, offering very sharp performance across the zoom range. The narrower and variable aperture design helps maintain the lens’s smaller size but at the expense of low-light performance. That said, modern Sony cameras do very well with high ISOs, so the dimmer aperture it probably a tradeoff that most will overlook. The build quality is also excellent, with rugged, weather-sealed construction, and the internal-zooming design keeps the lens balanced and avoids lens creep that we often see with long-zoom lenses that extend. All in all, one of our favorite Sony lenses for wildlife photography! - Source: Internet
  • Those who use Sony crop sensor cameras still get access to that classic standard zoom (plus a little extra) with this lens, as it provides a full-frame equivalent of 24-82.5mm. With a max aperture of f/2.8, it offers the fastest aperture of any Sony zoom lens. And, unlike many APS-C zoom lenses, it has a constant maximum aperture, so you don’t lose out on stops of light when you zoom in. - Source: Internet
  • I have been using the Voigtlander 10mm 5.6 and reviewed the Laowa 10-18mm 4.5-5.6, but both lenses had one flaw too much and I wasn’t really happy with them. - Source: Internet
  • Autofocus is fast and accurate. Of course, this somewhat depends on the camera you pair it with, but most newer Sony cameras have impressive autofocus, so you shouldn’t have to deal with any focus hunting with this lens. Videographers or those taking photos in quiet spaces will appreciate just how quiet the autofocus is. And should you want to use manual focus while recording video, it is sensitive and responsive, picking up on small movements of the focus ring for easy adjustments. - Source: Internet
  • As another APS-C lens, Sony’s 18-105mm provides a lot of versatility at an affordable price. It has the full frame equivalent of 27-157.5mm, giving you a bit of wide-angle and some good telephoto reach at the same time. It would be a great all-arounder to bring while traveling as opposed to needing to pack multiple lenses. - Source: Internet
  • As you can notice, this lens is listed as the best premium but why is that so? Well, the only manner to explain that is that the Sony FE 100-400mm F4.5–5.6 GM OSS comes with a super high-end price, but always consider that this lens also comes with high-end features, especially when used with the Sony a7 III camera! - Source: Internet
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