Here’s a round-up of all the native fullframe E-mount FE lenses for Sony a7, a7R, a7S, a7II, a7RII, a7SII, a7 III, a7R III & a9 cameras
[Please note that all of these lenses will also work on Sony APS-C E-mount mirrorless cameras including Sony a6500, a6300, a6000, a5100, a5000 & Sony NEX mirrorless cameras.]
Just Announced:
Sigma announced their first nine fullframe E-mount lenses based on their existing DSLR designs. While offering the same high-performance optical design as other lenses in the Art line, the new Sony E-mount models will feature a newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed.
SIGMA 14mm F1.8 DG HSM Art Lens for Sony E | Price: $1,599
Fast and wide, this unique wide-angle prime designed to produce high-resolution, well-corrected imagery. As part of the Art line of lenses, this lens utilizes both FLD and SLD glass elements to control chromatic aberrations and color fringing for notable clarity. Four aspherical elements, including the front large-diameter precision-molded glass element, also contribute to reducing distortion and spherical aberrations for improved sharpness and accuracy.
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SIGMA 20mm F1.4 DG HSM Art Lens for Sony E | Price: $899
This fast wide angle prime pairs a sophisticated optical design with a robust physical construction. Comprised of 15 elements in 11 groups, the lens design includes two “F” Low Dispersion (FLD) elements, five Special Low Dispersion (SLD) elements, and two aspherical elements to significantly reduce chromatic and spherical aberrations, as well as limit distortion for clean, sharp, and evenly illuminated imagery.
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SIGMA 24mm F1.4 DG HSM Art Lens for Sony E | Price: $849
Characterized by its advanced optical construction and robust physical design using three “F” Low Dispersion (FLD) elements and four Special Low Dispersion elements help to achieve a marked reduction in chromatic aberrations, while a pair of aspherical elements, with one positioned in the rear of the lens, minimize a variety of additional distortions and aberrations
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SIGMA 35mm F1.4 DG HSM Art Lens for Sony E | Price: $899
Pairing a versatile focal length with a bright maximum aperture, this a wide-angle prime is characterized by its advanced optical design. The combination of one F Low Dispersion (FLD) element and four Special Low Dispersion (SLD) elements help to achieve a marked reduction in chromatic aberrations, while a pair of aspherical elements, with one positioned in the rear of the lens, minimize a variety of additional distortions and aberrations.
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SIGMA 50mm F1.4 DG HSM Art Lens for Sony E | Price: $899
Fast and versatile normal-length prime designed for optical performance using three Special Low Dispersion glass elements and one molded glass aspherical element, coupled with an advanced optical design, work to minimize coma flare and chromatic aberrations in order to provide high image sharpness and clarity. The lens’ large diameter and floating system also help to correct for vignetting to ensure maintained peripheral brightness.
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SIGMA 70mm F2.8 DG MACRO Art Lens for Sony E | Price: TBA
Optimized for image clarity at close working distances for 1:1 life-size macro lens for close-up and macro subjects. This short-telephoto prime is also distinguished by its sophisticated optical design that makes use of two FLD elements, two SLD elements, one anomalous partial dispersion/high refractive index element, and two aspherical elements to limit both chromatic and spherical aberrations for high clarity, sharpness, and color accuracy.
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SIGMA 85mm F1.4 DG HSM Art Lens for Sony E | Price: $1,199
This 85mm prime with a large f/1.4 aperture is designed for high performance with an exceptionally shallow depth of field and smooth bokeh. It also uses two SLD elements, one anomalous partial dispersion/high-refractive index element, and one aspherical element that minimize aberrations and ensures a crisp, clear image.
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SIGMA 105mm F1.4 DG HSM Art Lens for Sony E | Price: TBA
Short-telephoto, portrait prime with bright maximum aperture and advanced optical layout. Fast f/1.4 design is ideal for working in low-light and selective control over depth of field for isolating subjects and working with selective focus. As part of the Art line of lenses, this lens is also designed for high-resolution rendering, and utilizes FLD and SLD glass to control chromatic aberrations and color fringing for notable clarity.
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SIGMA 135mm F1.8 DG HSM Art Lens for Sony E | Price: $1,399
Fast telephoto prime pairs bright and sophisticated optics with intuitive handling and design. As part of the Art line of lenses, this 135mm f/1.8 is designed for high-resolution rendering, and utilizes FLD and SLD glass to control chromatic aberrations and color fringing for notable clarity.
Pre-Order from B&H Photo
Zeiss Loxia 25mm F2.4 T* Lens for Sony E Mount | Price: $1,299
Featuring a compact form factor 2.9″ in length, the Zeiss Loxia 25mm f/2.4 Lens is a wide-angle prime is based on the Distagon optical concep that’s sharp and free of distortion from edge to edge. Optical construction incorporates two anomalous partial dispersion elements and one aspherical lens to control chromatic aberrations and increase clarity and color accuracy. Zeiss T* anti-reflective coating minimizes lens flare and ghosting.
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Tamron 28-75mm F/2.8 Di III RXD Lens (Model A036) | Price: TBA
Currently under development, the Tamron 28-75mm F2.8 Di III RXD Fullframe E-mount lens for Sony mirrorless cameras, will be moisture-resistant with a Fluorine-Coated Front Element and ‘RXD’ stepping motor for quiet video autofocus.
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Voigtlander MACRO APO-LANTHAR 110mm f/2.5 E-mount | Price: TBA
APO-Lanthar inscription is given to particularly high performance Voigtlander Fokentrender lenses designed to eliminate impediments to image quality including chromatic aberration”. Optimized for fullframe Sony E mount cameras using a floating mechanism, it provides excellent image quality from the shortest shooting distance to the distant view.
Pre-Order Link Coming Soon
Voigtlander COLOR-SKOPAR 21mm f/3.5 Aspherical E-mount | Price: TBA
This super wide-angle 21mm F3.5 lens is added to the color series of high-performance compact and high performance series. The incident ray angle to the sensor was optimized so as to eliminate the color coverage of the peripheral part peculiar to the digital cameras.
Pre-Order Link Coming Soon
Tokina FiRIN 20mm f/2 FE AF Lens for Sony E | Price: $949
Versatile prime ultra-wide autofocus lens designed for full-frame Sony E-mount mirrorless uses an optical design with three super-low dispersion elements and two aspherical elements to control both chromatic and spherical aberrations. Its ultrasonic autofocus motor provides fast, responsive and accurate AF performance along with full-time manual focus control.
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Venus Optics Laowa 25mm f/2.8 2.5-5x Ultra Macro Lens | Price: $399
Offering ultra close focus for shooting at magnifications up to 5X with working distance is a mere 1.6 inches at 5X magnification. This ultra macro optic utilizes eight elements in six groups and features an ultra low dispersion (UD) lens and multi-coating to maintain high image quality at very close focus distances.
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Meyer-Optik-Görlitz Somnium II 85mm f/1.5 FE Lens | List Price: $1,999
Designed to guarantee an optimal balance between contrast & resolution with the goal to allow for a wide variety of artistic options to create flattering artistic portraits with swirly Bokeh. Optimzed to maintain a relation between sharpness and characteristic bokeh which favors creativity over tech specs.
Pre-Order on Kickstarter
Goerz Citograph 50mm f/2.8 Lens | Kickstarter Price: $629
The advanced Carl Zeiss Jena Tessar 50mm 2.8 is often referred to as “Adlerauge” (Eagle’s eye) due to its’ image quality and sharpness. This 50mm standard lens is designed to combine razor sharpness with wonderful bokeh and overwhelming colors in a pancake lens that strikes the balance between absolute sharpness, contrast and bokeh. This lens has no electronic contacts.
Pre-Order on Kickstarter
In Stock Now:
Kamlan 55mm F1.2 Manual Focus Fullframe E-Mount Lens | Price: $550
Standard prime 55mm lens with a large F1.2 maximum aperture offers great contrast and resolution for full-frame E-mount Cameras. It can also create smooth and gorgeous background bokeh to set off your subject when needed. Large maximum aperture means you can shoot handheld in low-light conditions while also getting outstanding sharpness and clarity.
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Lensbaby Burnside 35mm f/2.8 Lens for Sony E | Price: $500
Characterized by its swirly bokeh, Lensbaby Burnside 35mm f/2.8 prime for Sony E-mount cameras features two separate diaphragms, an extensive amount of control over selective focus and bokeh with a distinct out-of-focus swirl. The six elements, four groups optical design also contributes to the unique look, and each of the glass elements have been multi-coated to control flare and ghosting fore high contrast and accurate color rendering. In addition to fully manual exposure control, the lens also requires manual focus operation and has a minimum focusing distance of 6 inches.
Voigtlander Nokton Classic 35mm f/1.4 Lens | Price: $799
Standard wide-angle prime designed for full-frame Sony E mirrorless cameras. Classic wide focal length pairs with a bright f/1.4 maximum aperture for control of depth of field for producing shallow depth of field and low-light shooting. Symmetrical optical design is used, along with high refractive index glass, to produce sharp, clear imagery but with some intentional aberrations left to realize a smooth and vintage character. The lens’s manual focus design permits working with subjects as close as 11.8″ away and the mount incorporates electronic contacts to relay EXIF data and to make use of in-camera shooting and focus aids.
Order from B&H Photo
Sony FE 24-105mm F4 G OSS Lens | Price: $1,298
Finally the most-requested lens by our readers is here. Designed for corner-to-corner sharpness at all focal lengths, this wide-angle to short-telephoto zoom with a constant f/4 maximum aperture, maintains consistent performance throughout the zoom range. Its advanced optical design employs aspherical and extra-low dispersion glass elements to control color fringing, distortion, and a variety of aberrations for greater sharpness and clarity. A Nano AR Coating has also been applied to suppress lens flare and ghosting for high contrast and color accuracy when working in harsh light.
In Development:
Sony FE 400mm F2.8 GM OSS Lens Coming September 2018! Specs and pricing to be announced…
• Compatible with Sony FE 1.4X & 2X Teleconverters
Sony G Master FE Lenses
Sony G Master lenses are designed to combine both the ultimate in sharpness with spectacular bokeh. Their XA Extreme Asperical Lens Elements are designed to resolve an industry-best 50 line pairs per mm and with surface polished within tolerances of 0.01 microns for extremely smooth falloff in out-of-focus areas. They are quite simply the best lenses I’ve ever used.
Sony FE 16-35mm F2.8 GM Lens | Price: $2198
The sharpest wide angle zoom ever tested by DxO Mark, this G Master wide-angle constant f/2.8 maximum aperture zoom designed for full-frame E-mount mirrorless cameras offers consistent performance throughout the zoom range and benefits working in low-light conditions. The optical design incorporates two extra-low dispersion elements to reduce chromatic aberrations along with two XA elements and three aspherical elements, which significantly controls spherical aberrations for a high degree of image sharpness and clarity. Nano AR coating has been applied to limit ghosting and lens flare for increased contrast and color fidelity when working in strong lighting conditions.
Sony FE 24-70mm F2.8 GM Lens | Price: $2198
If you can only afford one lens – this would be my choice. 24-70mm is a great range for portrait photography because it allows you to shoot everything from wide environmental portraits to a tight intimate portrait and this flagship Sony lens is by far the best 24-70 on the market.
Sony a7RII | FE 24-70 F2.8 G Master at 35mm and 70mm | (CLICK TO ENLARGE)
Sony FE 85mm F1.4 GM Lens | Price: $1798
This is an absolutely great lens for tight portraits. It’s extremely sharp wide open at F1.4 with shallow depth of field and beautiful bokeh. If you’re a portrait photographer, the FE 85mm F1.4 G Master plus the FE 24-70 F2.8 G Master could easily cover 99% of you your needs.
Sony a7RII | Sony FE 85mm F1.4 G Master | 1/640 sec | F1.4 | ISO 100
Sony FE 100mm F2.8 STF GM OSS lens | Price: $1498
Incorporating an apodization lens element to create exceptionally smooth, rounded bokeh while maintaining tack-sharp focus on the subject. This newly designed element nearly eliminates peripheral highlight distortion from vignetting and works with the 11-blade circular aperture to produce pleasing out-of-focus areas. The apodization lens element reduces light transmission to T5.6 when set to the lens’s maximum f/2.8 aperture.
Sony a7RII | Sony FE 100mm F2.8 STF GM OSS | F2.8/T5.6 | 1/20 sec | ISO 100 | (View Larger)
LIGHTING: Profoto B1 500 AirTTL + Profoto Air Remote TTL-S for Sony
Sony FE 70-200mm F2.8 GM OSS Lens | Price $2598
Photojournalists, sports and wedding photographers rejoice! If you’ve been patiently waiting for a 70-200 F2.8 for E-mount, this lens is worth the wait. Like the other lenses in this series it’s incredibly sharp with nice balance for E-mount cameras.
Sony FE 100-400mm f/4.5-5.6 GM OSS Lens | Price: $2498
The longest FE lens is designed for outstanding resolution and sharpness with minimal aberrations using one Super ED and two ED elements and Nano AR coating. Weighing in at a best-in-class 49.2 oz this compact 100-400mm lens features dual floating elements for fast AF and a 3.2′ minimum focusing distance for 0.35x magnification. It’s equipped with both a Direct Drive SSM autofocus system as Optical SteadyShot image stabilization for outstanding performance at all focal lengths.
Sony FE 1.4X & FE 2X Teleconverters ($548 each) are specially designed for the Sony FE 70-200mm F2.8 & Sony FE 100-400mm f/4.5-5.6 GM OSS Lenses. Please Note: these adapters will NOT fit on the FE 70-200 F4 G OSS though it’s likely they may work with future FE telephoto lenses.
Order FE 1.4X Teleconverter from B&H Photo | Amazon
Order FE 2X Teleconverter from B&H Photo | Amazon
Sony FE 400mm F2.8 GM OSS Lens Coming Summer 2018! Specs and pricing to be announced…
• Compatible with Sony FE 1.4X & 2X Teleconverters
Sony FE Zoom Lenses
Sony FE 12-24mm F4 G Lens | Price: $1698
Ultra-wide zoom lens for full-frame Sony E-mount mirrorless cameras features constant f/4 maximum aperture. Sophisticated optical design incorporates aspherical and low dispersion glass elements to control both spherical and chromatic aberrations for improved sharpness and clarity. Nano AR Coating has also been applied to individual elements to reduce surface reflections, flare, and ghosting for greater contrast and color fidelity when working in bright, backlit situations.
Sony FE 16-35mm f/4 ZA OSS Lens | Price: $1348
Constant f/4 maximum aperture wide-angle zoom lens designed for full-frame E-mount cameras, can also be used with Sony APS mirrorless cameras. Features a circular aperture that, through the use of curved blades, keeps the aperture almost perfectly circular from its wide-open setting to when it is closed for smoother, more natural defocusing highlights.
Sony A7R | Sony FE 16-35mm f/4 ZA OSS Lens at 16mm | 4 seconds | F/8 | ISO 100
Sony FE 24-105mm F4 G OSS Lens | Price: $1298
Finally the most-requested lens by our readers is here. Designed for corner-to-corner sharpness at all focal lengths, this wide-angle to short-telephoto zoom with a constant f/4 maximum aperture, maintains consistent performance throughout the zoom range. Its advanced optical design employs aspherical and extra-low dispersion glass elements to control color fringing, distortion, and a variety of aberrations for greater sharpness and clarity. A Nano AR Coating has also been applied to suppress lens flare and ghosting for high contrast and color accuracy when working in harsh light.
Sony FE 24-70mm f/4 ZA OSS Lens | Price: $1198
Smaller and lighter than it’s F2.8 A-mount brother, this Zeiss zoom is the designed for portraits and travel photography. However it’s not nearly as sharp as the Sony FE 24-105mm F4 G OSS listed above, so pony up the extra $100 to get the Sony FE 24-105mm F4 G OSS.
Sony FE 28-70mm F3.5-5.6 OSS | Price: $498
This full-frame E-Mount kit lens is available bundled as a kit with a7 & a7II. Provides good quality for it’s price and nearly silent focusing for video. Optical SteadyShot image stabilization lessens the appearance of camera shake when working in low-light conditions or with longer focal lengths.
Sony FE 24-240 F3.5-6.3 OSS Lens | Price: $998
Full-frame E-Mount telephoto zoom lens with the versatility to stretch from true wide-angle to super telephoto perspectives. Its advanced optical design includes 5 aspherical elements and 1 ED glass element for reduced chromatic and spherical aberrations in a compact design. Optical SteadyShot image stabilization facilitates sharper imaging in low light situations and when shooting at long telephoto lengths.
Sony A7R | Sony FE 24-240 F3.5-6.3 OSS | 1/100 sec | f/4.5 | ISO 100
Sony FE 28-135mm f/4 G PZ OSS Lens | Price: $2498
Designed to satisfy 4K video productions, the Sony FE PZ 28-135mm f/4 G OSS Lens covers wide-angle to telephoto on full-frame or APS-C E-mount camcorders or still cameras. Featuring power-zoom control with SSM (Super Sonic wave Motor) it allows precision and quiet operation with a variable speed and zoom rotation direction reversal capability. Three control rings (for zoom, focus, iris) offer manual control.
Sony FE 70-200mm f/4 G OSS Lens | Price: $1498
Versatile telephoto zoom lens that takes over right where the FE 24-70mm leaves off. Nicely balanced in size and weight for Sony a7 Series cameras to give you telephoto reach without weighing you down. The OSS settings on this lens are designed to work with Sony a7 Mark II IBIS.
Sony A7R | FE 70-200mm F4 G OSS at 200mm | 1/800 | F/7.1 | ISO 100
Sony FE 70-300mm f/4.5-5.6 G OSS Lens | Price: $1198
The most requested lens has finally been announced for Sony E-mount! This is a great lens for travel, landscapes and wildlife. Also an ideal choice for APS-C cameras like a6300 and a6000 where it offers the reach of a 450mm on fullframe.
Sony FE Prime Lenses
Sony FE 28 F2.0 Lens | Price: $448
Full-frame compatible wide-angle prime lens for E-Mount mirrorless cameras. Its wide focal length and fast aperture make it a practical and versatile lens. Its optical design features Extra-low Dispersion glass elements which reduce chromatic aberrations and provide improved contrast. Also, aspherical and advanced aspherical elements minimize spherical aberrations and help to maintain the lens’ compact, lightweight form.
Sony FE 35mm f/2.8 ZA Lens | Price: $798
This compact prime lens is my favorite wide angle walk-around lens for street photography on Sony a7 Series cameras. Despite being the smallest Sony FE lens, this baby is deceptively sharp. (See more images here)
Sony A7R | FE 35mm F2.8 ZA | 1/320 | F5.6 | ISO 200
Sony FE 35 F1.4 ZA Lens | Price: $1598
Classic wide-angle focal length, this fast f/1.4 lens provides low light capability and shallow depth of field control. Its advanced optical design includes aspherical and advanced aspherical (AA) lens elements combined with Zeiss T* coating to deliver outstanding image resolution and suppresses reflections for excellent contrast and clarity. Responsive aperture ring can be clicked or de-clicked with the flip of a switch on the lens barrel.
Sony A7R | Sony FE 35 F1.4 ZA | 1/125 | F/5 | ISO 100
Sony FE 50mm f/1.4 ZA Lens | Price: $1498
This Zeiss Planar-design normal lens features one Advanced Aspherical, one aspherical, and one extra-low dispersion element for ultimate corner-to-corner sharpness along with pleasing bokeh. It joins the FE 35mm 1.4 ZA and 85mm 1.4 GM in a trio of lenses offering a manual de-clickable aperture ring ideal for video.
Sony FE 50mm f/1.8 Lens | Price: $248
Sony’s Nifty Fifty is just the lens for everyone asking for affordable FE glass! It’s double-gauss optical design incorporates one aspherical element to control spherical aberrations. While it won’t match the sharpness of the legendary Sony FE 55 F1.8 ZA or FE 50 F1.4 ZA, it offers great performance for just $248.
Sony FE 55mm/1.8 ZA Lens | $998
This is one of the sharpest lenses I’ve ever owned – virtually on par with the performance of the legendary $4,000 Zeiss 55mm/1.4 Otus lens yet at a perfect size for Sony E-mount cameras. Great look when used wide open for shallow depth-of-field portraits.
Sony A7R | FE 55mm F1.8 ZA | 1/4000 | F2.2 | ISO 200
Sony FE 50mm f/2.8 Macro Lens | Price: $498
Sony’s latest FE lens is a compact, sub-$500 macro that many Sony user have asked for. The optical design also incorporates both an aspherical and an extra-low dispersion element, which work to suppress chromatic and spherical aberrations for increased clarity throughout the focus range.
Sony FE 85mm F1.8 Lens | Price: $598
Joining the FE 28mm f/2 and FE 50mm f/1.8 in creating a more affordable and accessible system while still providing excellent optical performance. It uses an ED element to reduce aberrations, as well as a nine-blade circular aperture for smooth bokeh. It features a double linear motor system for fast, quiet autofocus. The lens is designed for manual focus, as well, and it has a programmable focus hold button.
Sony FE 90 F2.8 Macro G OSS Lens | Price: $1098
Optimized for macro and close-up portrait photography, this medium telephoto lens utilizes an aspherical element along with extra-low dispersion and super extra-low dispersion glass and Nano AR Coating that suppresses reflections for exceptional image quality. Internal focus system in which only the middle optical groups move when focusing provides fast autofocus action and a short minimum focus distance of 11″.
Sony a7RII | Sony FE 90mm F2.8 G OSS | 1/320 | F/2.8 | ISO 400
THIRD-PARTY FULLFRAME E-MOUNT LENSES
Zeiss Batis AF E-Mount Lenses
This pair of the Zeiss E-mount lenses could be called ‘Baby Otus’ for their similarity to legendary Zeiss Otus lenses. They feature linear motors for fast, smooth autofocus performance and an OLED display that highlights the focus distance and depth of field range.
Zeiss Batis 18mm F2.8 E-mount Lens | Price: $1,499
Featuring a Distagon concept with a floating elements design that maintains consistent sharpness and illumination throughout the focusing range, and a series of aspherical and special glass elements help to control both chromatic and spherical aberrations. Well-suited to interior, architectural and astrophotography, the Batis 18mm f/2.8 blends its extremely wide 99° angle of view with a high degree of functionality.
Zeiss Batis 25mm f/2.0 Lens | Price: $1,299
Wide-angle prime designed specifically for full-frame E-mount mirrorless cameras. The innovative design of this lens makes it a great fit for anyone looking for a premium quality wide prime lens for Sony a7-series cameras.
Zeiss Batis 85mm f/1.8 Lens | Price: $1,199
This short telephoto portrait lens has a f/1.8 maximum aperture for greater focus control and enhanced low-light shooting and is the first lens manufactured by Zeiss that includes Optical Stabilization. While I personally prefer the Bokeh and speed of the Sony FE 85mm F1.4 GM this offers a smaller, lower-priced option when F1.8 is “fast enough.”
Zeiss Batis 135mm F2.8 OSS lens | Price: $1,999
Mid-length telephoto prime designed for full-frame E-mount mirrorless cameras is perfect for portraiture, weddings and travel photography. Characterized as an apochromat, the Sonnar optical design helps to virtually eliminate chromatic aberrations and color fringing, and also benefits overall sharpness and clarity.
Sony a7RII | Zeiss Batis 135mm F2.8 | 1/60 sec | F5.0 | ISO 100 | (Click to View Larger)
Zeiss Loxia E-Mount Lenses
If you prefer the touch and feel of a manual lenses for Sony E-mount cameras, Zeiss Loxia are a great choice. Not only are Loxia designed for digital sensors – they offer features not found on other manual focus glass including full electronic communication with Sony E-mount bodies. Metadata is recorded and focus magnification works as seamlessly as with a native lens. Zeiss Loxia manual focus lenses are designed for Sony E-mount sensors featuring a manual aperture ring that can be ‘de-clicked’ for silent operation best-suited for filmmakers.
Zeiss Loxia 21mm F2.8 T* Lens for Sony E Mount | Price: $1,499
Featuring a compact form factor well-suited for full-frame Sony E mount mirrorless cameras, based on the Distagon optical concept for reduced distortion as well as consistent, even illumination and sharpness from edge to edge. The optical design also incorporates four anomalous partial dispersion elements and one aspherical element to control chromatic aberrations and increase overall clarity and color accuracy. Zeiss T* anti-reflective coating minimizes lens flare and ghosting for greater contrast.
Zeiss Loxia 25mm F2.4 T* Lens for Sony E Mount | Price: $1,299
Featuring a compact form factor 2.9″ in length, the Zeiss Loxia 25mm f/2.4 Lens is a wide-angle prime is based on the Distagon optical concep that’s sharp and free of distortion from edge to edge. Optical construction incorporates two anomalous partial dispersion elements and one aspherical lens to control chromatic aberrations and increase clarity and color accuracy. Zeiss T* anti-reflective coating minimizes lens flare and ghosting.
Pre-Order from B&H Photo
Zeiss Loxia 35mm f/2 Biogon T* Lens for Sony E Mount | Price: $1,299
Marrying traditional handling with a digitally-optimized design, the Zeiss Loxia 35mm f/2 Biogon T* Lens is a prime wide-angle lens for full-frame Sony E-mount mirrorless digital cameras. Utilizing a nearly symmetrical optical layout based on the Biogon concept, this lens incorporates one element made from anomalous partial dispersion glass in order to suppress chromatic aberrations and distortion.
Sony A7R | Zeiss Loxia 35mm f/2 Biogon T* | 1/320 | F/8 | ISO 100
Zeiss Loxia 50mm f/2 Planar T* Lens for Sony E Mount | Price: $949
Pairing an all-manual control-set with a digitally-optimized design, the Zeiss Loxia 50mm f/2 Planar T* Lens is a normal prime lens for full-frame Sony E-mount mirrorless digital cameras. Based on the symmetrical Planar optical concept, this lens is adept at correcting for chromatic aberrations and distortion throughout the aperture range for maintained image consistency and clarity.
Zeiss Loxia 85mm f/2.4 Lens for Sony E Mount | Price: $1,399
This manual focus optimized Sonnar design features seven elements in seven groups including three anomalous partial dispersion elements to greatly reduce chromatic aberrations and color fringing for notable clarity and color accuracy. Additionally, a Zeiss T* anti-reflective coating has also been applied to the individual lens elements to control lens flare and ghosting for improved contrast when working in strong lighting conditions.
Voigtlander Manual Focus E-Mount Lenses
Voigtlander’s Fullframe E-Mount Lens line-up includes the Hyper-Wide 10mm f/5.6 – the widest production full frame lens ever made, plus updated versions of their 12mm f/5.6 and their popular 15mm f/4.5 III to the Sony E-mount line.
Voigtlander 10mm F5.6 Hyper-Wide-Heliar Lens | Price: $1,099
The world’s widest production rectilinear full frame lens ever made has a whopping 130 degree angle of view. It features electronic contacts for EXIF info, Lens Menu Correction, Manual Focus Assist, Manual Focus Distance indication, Electronic Front Curtain Shutter capability, 5-Axis Image stabilization and optimized for the thickness of the Sony a7-Series cover glass.
Voigtlander Ultra Wide-Heliar 12mm f/5.6 Aspherical III Lens | Price: $999
This E-mount lens is an updated version of Voigtlander’s 12mm f/5.6 with a 121 degree angle of view. It features electronic contacts for EXIF info, Lens Menu Correction, Manual Focus Assist, Manual Focus Distance indication, Electronic Front Curtain Shutter capability, 5-Axis Image stabilization and they are optimized for the thickness of the Sony a7-Series cover glass.
Voigtlander 15mm F4.5 Super-Wide-Heliar Lens | Price: $799
This E-mount lens is an updated version of Voigtlander’s 15mm f/4.5 III with a 110 degree angle of view. It features electronic contacts for EXIF info, Lens Menu Correction, Manual Focus Assist, Manual Focus Distance indication, Electronic Front Curtain Shutter capability, 5-Axis Image stabilization and they are optimized for the thickness of the Sony a7-Series cover glass.
Voigtlander COLOR-SKOPAR 21mm f/3.5 Aspherical E-mount | Price: TBA
This super wide-angle 21mm F3.5 lens is added to the color series of high-performance compact and high performance series. The incident ray angle to the sensor was optimized so as to eliminate the color coverage of the peripheral part peculiar to the digital cameras.
Pre-Order Link Coming Soon
Voigtlander Nokton Classic 35mm f/1.4 Lens | Price: $799
Standard wide-angle prime designed for full-frame Sony E mirrorless cameras. Classic wide focal length pairs with a bright f/1.4 maximum aperture for control of depth of field for producing shallow depth of field and low-light shooting. Symmetrical optical design is used, along with high refractive index glass, to produce sharp, clear imagery but with some intentional aberrations left to realize a smooth and vintage character. The lens’s manual focus design permits working with subjects as close as 11.8″ away and the mount incorporates electronic contacts to relay EXIF data and to make use of in-camera shooting and focus aids.
Order from B&H Photo
Voigtlander 40mm f/1.2 Nokton Aspherical Lens | Price: $1,059
Nokton 40mm f/1.2 Aspherical is a short normal prime designed for full-frame Sony E mirrorless cameras with an impressively fast f/1.2 maximum aperture that enables shallow depth of field and ideal for shooting in low light. Its optical layout includes two aspherical elements to suppress spherical aberrations and distortion for notable sharpness, clarity, and accurate rendering. Its manual focus design permits working with subjects as close as 1.1′ away, and a Selective Aperture Control System allows you to de-click the manual aperture ring for smooth, silent exposure adjustment for filmmaking.
Voigtlander Macro APO-Lanthar 65mm f/2 Aspherical Lens | Price: $999
With an apochromatic design to deliver crisp, aberration-free imagery and resolve the finest details, this lens is designed to work with full-frame Sony E-mount cameras. It offers users the ability to get close to their subjects thanks to the 1:2 magnification ratio afforded by the 12.2″ minimum focus distance. Its relatively fast f/2 aperture, allows shooting with shallow depth of field and in low-light.
Voigtlander MACRO APO-LANTHAR 110mm f/2.5 E-mount | Price: TBA
APO-Lanter inscription is given to sparticularly high performance Voigtlander Fokentrender lenses designed to eliminate impediments to image quality including chromatic aberration”. Optimized for fullframe Sony E mount cameras using a floating mechanism, it provides excellent image quality from the shortest shooting distance to the distant view.
Pre-Order Link Coming Soon
Sigma E-Mount AF lenses
Sigma announced their first nine fullframe E-mount lenses based on their existing DSLR designs. While offering the same high-performance optical design as other lenses in the Art line, the new Sony E-mount models will feature a newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed.
SIGMA 14mm F1.8 DG HSM Art Lens for Sony E | Price: $1,599
Fast and wide, this unique wide-angle prime designed to produce high-resolution, well-corrected imagery. As part of the Art line of lenses, this lens utilizes both FLD and SLD glass elements to control chromatic aberrations and color fringing for notable clarity. Four aspherical elements, including the front large-diameter precision-molded glass element, also contribute to reducing distortion and spherical aberrations for improved sharpness and accuracy.
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SIGMA 20mm F1.4 DG HSM Art Lens for Sony E | Price: $899
This fast wide angle prime pairs a sophisticated optical design with a robust physical construction. Comprised of 15 elements in 11 groups, the lens design includes two “F” Low Dispersion (FLD) elements, five Special Low Dispersion (SLD) elements, and two aspherical elements to significantly reduce chromatic and spherical aberrations, as well as limit distortion for clean, sharp, and evenly illuminated imagery.
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SIGMA 24mm F1.4 DG HSM Art Lens for Sony E | Price: $849
Characterized by its advanced optical construction and robust physical design using three “F” Low Dispersion (FLD) elements and four Special Low Dispersion elements help to achieve a marked reduction in chromatic aberrations, while a pair of aspherical elements, with one positioned in the rear of the lens, minimize a variety of additional distortions and aberrations
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SIGMA 35mm F1.4 DG HSM Art Lens for Sony E | Price: $899
Pairing a versatile focal length with a bright maximum aperture, this a wide-angle prime is characterized by its advanced optical design. The combination of one F Low Dispersion (FLD) element and four Special Low Dispersion (SLD) elements help to achieve a marked reduction in chromatic aberrations, while a pair of aspherical elements, with one positioned in the rear of the lens, minimize a variety of additional distortions and aberrations.
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SIGMA 50mm F1.4 DG HSM Art Lens for Sony E | Price: $899
Fast and versatile normal-length prime designed for optical performance using three Special Low Dispersion glass elements and one molded glass aspherical element, coupled with an advanced optical design, work to minimize coma flare and chromatic aberrations in order to provide high image sharpness and clarity. The lens’ large diameter and floating system also help to correct for vignetting to ensure maintained peripheral brightness.
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SIGMA 70mm F2.8 DG MACRO Art Lens for Sony E | Price: TBA
Optimized for image clarity at close working distances for 1:1 life-size macro lens for close-up and macro subjects. This short-telephoto prime is also distinguished by its sophisticated optical design that makes use of two FLD elements, two SLD elements, one anomalous partial dispersion/high refractive index element, and two aspherical elements to limit both chromatic and spherical aberrations for high clarity, sharpness, and color accuracy.
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SIGMA 85mm F1.4 DG HSM Art Lens for Sony E | Price: $1,199
This 85mm prime with a large f/1.4 aperture is designed for high performance with an exceptionally shallow depth of field and smooth bokeh. It also uses two SLD elements, one anomalous partial dispersion/high-refractive index element, and one aspherical element that minimize aberrations and ensures a crisp, clear image.
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SIGMA 105mm F1.4 DG HSM Art Lens for Sony E | Price: TBA
Short-telephoto, portrait prime with bright maximum aperture and advanced optical layout. Fast f/1.4 design is ideal for working in low-light and selective control over depth of field for isolating subjects and working with selective focus. As part of the Art line of lenses, this lens is also designed for high-resolution rendering, and utilizes FLD and SLD glass to control chromatic aberrations and color fringing for notable clarity.
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SIGMA 135mm F1.8 DG HSM Art Lens for Sony E | Price: $1,399
Fast telephoto prime pairs bright and sophisticated optics with intuitive handling and design. As part of the Art line of lenses, this 135mm f/1.8 is designed for high-resolution rendering, and utilizes FLD and SLD glass to control chromatic aberrations and color fringing for notable clarity.
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Samyang/Rokinon E-Mount AF lenses
The following lenses are the first AF lenses from Samyang as well as their first fullframe lenses designed for mirrorless cameras making them considerably smaller than the fullframe DSLR lenses listed in the next section.
Rokinon AF 14mm F2.8 FE Lens for Sony E-mount | Price: $849
Specifically designed for full frame Sony E-mount mirrorless cameras. Samyang’s first autofocus lenses are compatible with both phase detect and contrast detect sensors to operate fast and accurate focus detection. Based on Samyang Optics’ optical technology, aspherical lenses have been included to minimize aberration and unnecessary light dispersion, delivering high resolution from center to corners of the image.
Rokinon AF 35mm f/1.4 FE Lens | Price: $799
This bright maximum aperture wide-angle prime lens for full-frame Sony E-mount mirrorless cameras is ideal for working in low-light and with shallow depth of field. The optical design incorporates a pair of aspherical elements and two high refractive index elements to suppress spherical aberrations in order to achieve a high degree of sharpness and clarity throughout the aperture range. Ultra Multi-Coating has also been applied to control flare and ghosting for increased contrast when working in strong lighting conditions. The lens’s autofocus motor works in conjunction with Sony cameras’ AF systems for quick and precise focusing performance, and manual focus override is also available for more refined control.
Rokinon AF 35mm f/2.8 FE Lens | Price: $349
Compact wide-angle prime designed for full-frame Sony E-mount mirrorless cameras. Its versatile wide angle of view is well-suited to general shooting applications and its slim form factor is ideal for travel and everyday photography. The optical design incorporates a pair of aspherical elements and one high refractive index element to suppress spherical aberrations in order to achieve a high degree of sharpness and clarity throughout the aperture range. An Ultra Multi-Coating has also been applied to control flare and ghosting for increased contrast when working in strong lighting conditions.
Rokinon AF 50mm f/1.4 FE Lens for Sony E-mount | Price: $699
Specifically designed for full frame Sony E-mount mirrorless cameras. Samyang’s first autofocus lenses are compatible with both phase detect and contrast detect sensors to operate fast and accurate focus detection. Based on Samyang Optics’ optical technology, aspherical lenses have been included to minimize aberration and unnecessary light dispersion, delivering high resolution from the center to the corners of the image.
Samyang/Rokinon E-Mount Manual Focus lenses
Third-party lens makers Samyang/Rokinon also offer a wide range of manual focus E-mount lenses. These are by far the LARGEST of all E-mount lenses since they’re designed for DSLR cameras. Yet they offer good optical performance for the price. The cine versions feature T-stops, clickless aperture and focus gearing.
Rokinon 12mm f/2.8 ED AS IF NCS UMC Fisheye Lens | Price: $429
Manual focus fullframe fisheye lens provides 180º diagonal angle of view on full-frame cameras for an ultra-wide angle, distorted perspective useful for creative photographic applications. Optical design consists of 12 lens elements arranged in 8 groups including three low dispersion ED glass elements and two aspherical lens elements to minimize coma and chromatic aberrations.
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Samyang/Rokinon 14mm f/2.8 ED AS IF UMC Lens | Price: $339
Manual focus ultra-wide fullframe lens features extra-low dispersion, aspherical and hybrid aspherical lens elements to minimize chromatic aberrations for sharp, color-accurate images. UMC lens coating facilitates even light transmission and reduces ghosting and flare.
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Rokinon 20mm f/1.8 ED AS UMC E-Mount Lens | Price: $599
This bright wide-angle fullframe prime manual focus lens features enhanced optical construction with two aspherical elements and three extra-low dispersion elements are used to reduce both spherical and chromatic aberrations for greater sharpness, clarity, and reduced distortion.
Rokinon 24mm f/1.4 ED AS UMC E-Mount Lens | Price: $549
Fast f/1.4 manual focus fullframe wide angle lens is ideal for low-light conditions. It also offers greater control over selective focus and shallow depth of field effects. Four extra-low dispersion elements and two aspherical elements reduce chromatic aberrations in order to produce greater sharpness and clarity.
Rokinon T-S 24mm f/3.5 ED AS UMC Tilt-Shift Lens | Price: $799
This full-frame Sony E-mount lens offers +/- 8.5° tilt and +/- 12mm shift that allows you to change the perspective of an image or correct for certain optical effects such as keystoning. The lens is quite capable in its own right, featuring a maximum aperture of f/3.5 and utilizing two aspherical and two extra-low dispersion glass elements to correct aberrations.
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Rokinon 35mm f/1.4 AS UMC Lens | Price: $479
Fast f/1.4 Manual focus lens ideal for low-light and shallow depth of field. Two high refractive index elements and one aspherical element reduce chromatic aberrations in order to produce greater sharpness and clarity.
Rokinon 50mm f/1.4 AS IF UMC E-Mount Lens | Price: $399
Fast f/1.4 maximum aperture manual focus prime lens for effective low light capture, fast shutter speed shooting and shallow depth of field control. Optical design consists of 9 elements in 6 groups including one hybrid aspherical element and one aspherical element to reduce chromatic aberrations.
Samyang/Rokinon 85mm f/1.4 AS IF UMC Lens | Price: $299
Manual focus lens with one aspherical element to help reduce chromatic aberrations and increase sharpness. UMC multi-coating minimizes lens flare and ghosting for more contrast-rich and color-neutral images.
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Rokinon 100mm f/2.8 Macro E-Mount Lens | Price: $549
This manual focus portrait-length lens provides life-size 1:1 magnification along with a minimum focusing distance of 1′. It incorporates one high refractive index element and one extra-low dispersion element into its design to reduce chromatic aberrations and distortions throughout the focusing range. An Ultra Multi-Coating has also been applied to minimize flare and ghosting for increase contrast and neutral color.
Rokinon 135mm f/2.0 ED UMC E-Mount Lens | Price: $549
Manual focus telephoto prime lens with fast f/2.0 maximum aperture for low light and shallow depth of field control. With a rounded 9-blade diaphragm, shallow depth of field imaging will be rendered with pleasing out-of-focus highlights. Compatible with both full frame and APS-C format mirrorless E mount cameras.
Tokina E-Mount Lenses
Tokina FiRIN 20mm f/2 FE AF Lens for Sony E | Price: $949
Versatile prime ultra-wide autofocus lens designed for full-frame Sony E-mount mirrorless uses an optical design with three super-low dispersion elements and two aspherical elements to control both chromatic and spherical aberrations. Its ultrasonic autofocus motor provides fast, responsive and accurate AF performance along with full-time manual focus control.
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Tokina FíRIN 20mm f/2.0 FE MF lens | Price: $799
Tokina’s first fullframe E-mount lens is a Manual Focus 20mm wide angle lens specifically designed for Sony E-mount mirrorless cameras. It features two precision molded aspherical elements and 3 Super-Low Dispersion (SD) glass lens elements greatly reducing aberrations while providing higher resolution and contrast. The aperture ring can be “clicked” for stills photography and “de-clicked” for smoother operation when shooting video. Electronic contacts allow for EXIF transfer and communication with the camera.
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Venus Optics Laowa E-Mount Lenses
Venus Optics Laowa 12mm f/2.8 Zero-D Lens | Price: $949
This F2.8 Super wide-angle prime is the perfect fast wide angle lens for astrophotography shots of the Milky Way. Featuring a rectilinear optical design, specifically meant to limit distortion, optical construction also incorporates a pair of aspherical elements and three extra-low dispersion elements to control both spherical and chromatic aberrations for improved sharpness and reduced color fringing. Frog Eye Coating has been applied to repel dust and moisture from the front element of the lens when working in trying environmental conditions. This lens features a precise manual focus design along with a floating optical system to maintain accurate rendering throughout the focus range from 7.09″ to infinity.
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Venus Optics Laowa 15mm f/2 FE Lens | Price: $849
The World’s Fastest 15mm Lens for Sony Full Frame E-mount Cameras – the Laowa 15mm f/2 FE Lens featuring a 110° Angle of View, Ultra-fast f/2 aperture and 72mm filter thread. Laowa 15mm f/2 becomes another member in their ‘Close-to-Zero Distortion’ lineup.
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Venus Optics Laowa 15mm f/4 Macro Lens for Sony E | Price: $499
The first native E-mount wide-angle macro photography, Laowa 15mm Macro offers true 1:1 magnification without the hassle. The ultra-wide perspective on full-frame cameras allows users to get exceptionally close to their subjects with a minimum focus distance of just 4.7″.
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Venus Optics Laowa 15mm f/4 Macro
Venus Optics Laowa 25mm f/2.8 2.5-5x Ultra Macro Lens | Price: $399
Offering ultra close focus for shooting at magnifications up to 5X with working distance is a mere 1.6 inches at 5X magnification. This ultra macro optic utilizes eight elements in six groups and features an ultra low dispersion (UD) lens and multi-coating to maintain high image quality at very close focus distances.
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Venus Optics Laowa 60mm f/2.8 2X Ultra-Macro | Price: $399
World’s First 2:1 Macro Lens with infinity focus, this lens ideally suited for rapidly changing macro photography scenarios without using any extension tube. The wide magnification range is very useful for shooting macro objects (e.g. insects) with different sizes. The lens is also designed for normal shooting purposes with a 60mm focal length, providing an all-in-one solution for normal portrait shooting as well as ultra-macro photography.
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Venus Optics Laowa 105mm f/2 Smooth Trans Focus Lens | Price: $699
Designed to provide control over out-of-focus quality and to enhance bokeh, this short telephoto prime incorporates an apodization (APD) element, as well as two separate diaphragms—8- and 14-blade—to provide separate adjustment over the bokeh as well as the exposure and depth of field.
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HandeVision IBERIT Fullframe E-mount Lenses
Chinese lensmaker HandeVision created a line-up of manual focus fullframe E-mount Lenses designed based on “German Engineering” with prototypes were developed, assembled and tested in Germany. Production lenses are made in Shanghai in accordance with German quality standards.
Handevision IBERIT 24mm f/2.4 Lens | Price: $611
Classic wide-angle focal length designed to be lightweight and compact for Sony E-mount mirrorless cameras. Its eight elements in seven groups optical design renders a classic image quality that has been optimized for use with current image sensors, and this image quality is benefitted by smooth manual focus operation down to 9.8″ for precise control. A durable all-metal construction is comprised of anodized aluminum, brass, and stainless steel to render a rugged physical design, and the lens barrel’s exterior also incorporates both depth of field and focusing distance scales for more accurate focus control.
Handevision IBERIT 35mm f/2.4 Lens| Price: $579
Lightweight and compact, wide-angle prime designed for Sony E-mount mirrorless cameras. It utilizes a simple six elements in six groups optical design to produce a classic image quality, which is benefitted by a smooth manual focusing action for working with subjects as close as 1.1′ away. An all-metal construction is comprised of anodized aluminum, brass, and stainless steel to render a rugged physical design, and the lens barrel’s exterior also incorporates both depth of field and focusing distance scales for more accurate focus control.
HandeVision IBERIT Full Frame 50mm F/2.4 Lens | Price: $544
Normal prime lens designed for Sony E-mount mirrorless cameras, is built to be compact and lightweight, as well as durable and reliable for long-term use. Its slim form factor houses a six elements in six groups optical design that produces a classic image quality, and the manual focus operation permits working with subjects as close as 2′ away. The all-metal construction of the lens housing utilizes anodized aluminum, brass, and stainless steel for rigidity and strength, and the barrel also features depth of field and focusing distance scales for more accurate focusing control.
HandeVision IBERIT Full Frame 75mm F/2.4 Lens | Price: $535
Short telephoto compact prime lens designed for Sony E-mount mirrorless cameras. It uses a simple five elements in five groups optical design to render imagery with a classic quality, and its precise manual focus control affords working with subjects as close as 2′ away. The all-metal construction of the lens housing utilizes anodized aluminum, brass, and stainless steel for rigidity and strength, and the barrel also features depth of field and focusing distance scales for more accurate focusing control.
Handevision IBERIT 90mm f/2.4 Lens | Price: $483
Short telephoto prime designed for Sony E-mount mirrorless cameras. It uses a simple four elements in four groups optical design to render imagery with a classic quality, and its precise manual focus control affords working with subjects as close as 2.3′ away. The all-metal construction of the lens housing utilizes anodized aluminum, brass, and stainless steel for rigidity and strength, and the barrel also features depth of field and focusing distance scales for more accurate focusing control.
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Mitakon E-Mount lenses
Here’s a trio of full-frame E-mount manual focus “Speed” lenses from Chinese manufacturer Mitakon. They’re NOT the sharpest glass on the market – but they are FAST…
Mitakon 50mm f/0.95 Lens for Sony E Mount | Price: $849
If you feel the need for speed, this ultra fast f/0.95 lens is the world’s fastest full-frame E-Mount lens. Silent manual focus with stopless aperture ring, perfect for video shooting with 10 elements in 7 groups, 4 ED lens, 1 hi-refraction lens, 0.5m minimum focus distance, beautiful bokeh!
Mitakon 85mm f/1.2 Lens for Sony E Mount | Price: $799
This ultra-fast f/1.2 manual focus portrait lens is ideal for shooting without flash in low light. The extremely large aperture also provides shallow depth of field for portrait photography.
Mitakon 135mm f/1.4 Lens for Sony E Mount | Price: $2,995
Only 100 of these MASSIVE f/1.4 manual focus lenses will ever be made. They’re available for pre-order directly from the manufacturer with a $500 deposit toward the $2,995 final price. The extremely large aperture provides shallow depth of field and bragging rights to what will be the fastest 135mm lens ever made – but DON’T buy it if you value sharpness.
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Okay…this next one from Mitakon is more of a “specialty” than speed lens, but here ya go…
Mitakon Zhongyi 20mm f/2 4.5x Super Macro Lens | Price: $199
Designed for Sony E-mount mirrorless cameras, offering a magnification range of 4.5x to 4x, and a minimum working distance of 0.8″, this lens is solely designed for producing greater-than-life-size images of small objects without the need of extension tubes or other accessories. Its compact form-factor makes it ideal for placing into tight or awkward shooting angles and a metal lens barrel offers durability and rigidity.
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Kamlan E-Mount Lenses
Kamlan 55mm F1.2 Manual Focus Fullframe E-Mount Lens | Price: $550
Standard prime 55mm lens with a large F1.2 maximum aperture offers great contrast and resolution for full-frame E-mount Cameras. It can also create smooth and gorgeous background bokeh to set off your subject when needed. Large maximum aperture means you can shoot handheld in low-light conditions while also getting outstanding sharpness and clarity.
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Kerlee E-Mount Lenses
Kerlee 35mm f/1.2 Wide Angle Lens | Price: $739
Manual focus 35mm F1.2 lens from Chinese lens maker Kerlee offers 1/2 stop wider aperture than 35mm F1.4 lenses. I can’t comment on sharpness – just that it goes to one-point-two.
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BUDGET-PRICED FULLFRAME E-MOUNT LENSES
7artisans E-Mount Lenses
7artisans 35mm F2 Manual Focus FullFrame E-mount Lens | Price $139
This budget-priced fullframe wide-angle prime lens features 7 Elements in 5 Groups with an Aperture Range of F/2-F/16 and a 10 Blade Diaphragm. Compact and Lightweight 0.7oz/320g with Aluminum Body and Copper Core construction.
SPECIALTY GLASS
Lensbaby E-Mount Lenses
Lensbaby Trio 28mm f/3.5 Lens for Sony E Mount | Price: $280
This pancake-style lens incorporates a rotating front that holds Twist, Velvet, and Sweet optics for selecting different effects at a moment’s notice. The Twist uses a true Petzval design for a sharp center area surrounded by a swirl of twisty bokeh. Velvet has a dreamy central area with a soft focus look along with a soft glow. Sweet creates a sharp spot of focus in the center with a gradual fall-off to blur.
Lensbaby Burnside 35mm f/2.8 Lens for Sony E | Price: $500
Characterized by its swirly bokeh, Lensbaby Burnside 35mm f/2.8 prime for Sony E-mount cameras features two separate diaphragms, an extensive amount of control over selective focus and bokeh with a distinct out-of-focus swirl. The six elements, four groups optical design also contributes to the unique look, and each of the glass elements have been multi-coated to control flare and ghosting fore high contrast and accurate color rendering. In addition to fully manual exposure control, the lens also requires manual focus operation and has a minimum focusing distance of 6 inches.
Lensbaby Velvet 56mm f/1.6 Lens for Sony E | Price: $500
Produces a uniquely soft, glowing image quality that is well-suited to making expressive and ethereal portraits. The overall softness can be controlled by stopping down the lens while still retaining the smooth tonality of a soft focus lens. Compatible with full-frame sensors, this slightly longer-than-normal focal length pairs with the fast f/1.6 maximum aperture to excel in difficult lighting and achieve a shallow depth of field with controllable sharpness
Lensbaby Velvet 56mm f/1.6 Sample Image – ©Kathleen Clemons
Lensbaby Velvet 85mm f/1.8 lens | Price: $499.95
Designed to create soulful, striking portraits and macro photos with lovely bokeh, this unique short telephoto with distinct classic appeal, produces a mid-20th century-inspired image quality that is well-suited to portraiture. This lens’s softness can be controlled by stopping down in order to produce a range of effects from soft and dreamy to sharper and crunchier at smaller apertures. A 12-blade diaphragm also contributes to the lens’s aesthetic, and helps to produce a smooth bokeh and shallow depth of field.
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Lensbaby Velvet 85mm f/1.8 Sample Image ©Anne Belmont Photography
Lensbaby Twist 60 Optic with Straight Body for Sony E | Price: $280
Features an internal 12-blade diaphragm for smooth out-of-focus areas. When shooting at a wider aperture, the Twist 60 swirly places more emphasis on your centered subject in full focus. As you stop down, the center area gets larger allowing you to bring more of your image into exact focus.
Lensbaby Twist 60 Optic Sample Image – ©Abbie Cassel
Meyer-Optik-Görlitz Lenses
German lens maker Meyer-Optik Gorlitz’s offers an expanding line-up of Sony E-Mount lenses including re-issues of many of their classic lens designs.
Meyer-Optik Gorlitz 50mm F0.95 Nocturnus II for E-Mount | Price: $2,999
Meyer Optik Görlitz Nocturnus 50mm F0.95 was developed especially for the use on full-frame Sony E-mount mirrorless cameras. The optical design also allows a high degree of sharpness even at wide-open apertures. Chromatic aberration is reduced to a minimum and is therefore hardly perceptible. It’s possible this lens is a joint venture with Mitakon with Meyer-Optik Gorlitz providing the quality assembly lacking in Mitakon-manufactured lenses.
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Meyer-Optik Görlitz Trioplan 50mm f2.9 Lens for E-Mount | Price: $1,499
Celebrate the 100th anniversary of Trioplan lenses with the modern version of the ultimate historic art lens, the Meyer-Optik Trioplan 50mm f2.9 – known for its ‘Soap Bubble Bokeh’. It’s variable macro front lens creates even more options for the classic 50mm focal length.
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Meyer-Optik Görlitz Trioplan 50mm f2.9 Lens Sample Image – ©Novoflex GmbH
Meyer-Optik Görlitz Primoplan 58 f1.9 Lens for E-Mount | Price: $1,599
Meyer Optik’s latest Kickstarter campaign brings back the “Wonder Bokeh” Primoplan 58 f1.9 Lens known for its ability to create different bokeh effects all with one lens. This lens gives photographers a tool which truly enables them to express themselves in different ways with this single lens.
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Meyer-Optik Görlitz Primoplan 58 f1.9 Lens Sample Image – ©Tamara Skudies
Meyer-Optik Gorlitz Primoplan 75mm f/1.9 Lens for E-Mount | Price: $1,999
Primoplan 75/f1.9 is Meyer-Optik Görlitz’s legendary portrait lens. Its f1.9 max aperture allows a great deal of creative freedom, even with very little light. The bokeh is fine and creamy as soft serve ice cream.
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Meyer-Optik-Görlitz Somnium II 85mm f/1.5 FE Lens | List Price: $1999
Designed to guarantee an optimal balance between contrast & resolution with the goal to allow for a wide variety of artistic options to create flattering artistic portraits with swirly Bokeh. Optimzed to maintain a relation between sharpness and characteristic bokeh which favors creativity over tech specs.
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Meyer-Optik Görlitz Trioplan 100mm f2.8 Lens for E-Mount | Price: $1,599
Meyer-Optik Görlitz has announced a modern remake of their cult classic Trioplan 100mm f2.8 known for its dream-like soap bubble ‘bokeh’ effect. The modern remake of the famous lens uses experience and modern technology to emulate this stunning effect more authentically than ever before.
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Meyer-Optik Görlitz Trioplan 100mm f2.8
Meyer-Optik Gorlitz Trioplan 100mm f/2.8 Titanium Lens | Price: $1,999
This Titanium version of Meyer-Optik Görlitz cult classic Trioplan 100mm f2.8 is known for its dream-like soap bubble ‘bokeh’ effect. The modern remake of the famous lens uses experience and modern technology to emulate this stunning effect more authentically than ever before.
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Emil Busch Glaukar Lenses
Emil Busch Glaukar 3.1 Anastigmat Lens | Kickstarter Price: $799
This brand new historically-inspired 97mm Emil Busch Glaukar 3.1 Anastigmat lens gives you an opportunity to create the type of image quality and feel of the early days of photography on modern equipment.
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Goerz Lenses
Goerz Citograph 50mm f/2.8 Lens | Kickstarter Price: $629
The advanced Carl Zeiss Jena Tessar 50mm 2.8 is often referred to as “Adlerauge” (Eagle’s eye) due to its’ image quality and sharpness. This 50mm standard lens is designed to combine razor sharpness with wonderful bokeh and overwhelming colors in a pancake lens that strikes the balance between absolute sharpness, contrast and bokeh. This lens has no electronic contacts.
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FULLFRAME CINE E-MOUNT LENSES
JUST ANNOUNCED:
SLR Magic Cine MicroPrime Lenses
NiSi/Kinefinity Mavo Cine Prime Lenses
Sony E-Mount AF Cine Lenses
Before jumping to manual focus cine lenses, it’s first worth taking a look at a pair of Sony E-mount AF lenses featuring Smooth Motion Optics (SMO) resulting in no axial shift and no focus shift while zooming along with minimal focus breathing:
Sony FE 28-135mm f/4 G PZ OSS Lens | Price: $2398
Designed for 4K video resolution, this lens covers wide-angle to telephoto on full-frame or APS-C E-mount camcorders or still cameras. Featuring power-zoom control with SSM (Super Sonic wave Motor) for precise, quiet operation with a variable speed and zoom rotation direction reversal capability. Three control rings offer manual control of zoom, focus and iris.
Rokinon Xeen Cine E-Mount lenses
Rokinon Xeen Cine lenses are built specifically for use as a cinema lens for Sony E-mount. They feature an internal focus design so that the lens does not change size while focusing to minimize the appearance of breathing when changing focus. Each lens in the set is multi-coated for good contrast, glare prevention, and are color matched to a factory standard, allowing you to assemble a set over time with minimal color shift. They feature dual sided focus scales marked in feet, with dual sided iris scales. The 11-bladed iris provides a rounded aperture for a natural looking highlights and Bokeh. The lens is a manual focus and iris lens, and does not have auto focus or auto iris capability. It incorporates cinema-style focus and iris gears that share the same position across the lenses in the Xeen set. The common 114mm front diameter allows for quick lens changes when using a matte box and focus accessories. The focus ring rotates 200° from close focus to infinity; this gives you a high degree of precision when adjusting focus.
[Please Note: Manufacturer images show PL-mount instead of E-mount]
Rokinon Xeen 14mm T3.1 Lens | Price: $2495
Manual focus ultra-wide angle premium quality cine lens has an image circle that covers a full-frame sensor. When mounted on a camera with a full-frame sensor it provides a ultra-wide angle of view.
Rokinon Xeen 16mm T2.6 Lens | Price: $2495
Manual focus ultra-wide angle Ultra Wide Angle in 106.9° full frame fisheye premium quality cine lens has an image circle that covers a full-frame sensor. When mounted on a camera with a full-frame sensor it provides a ultra-wide angle of view.
Rokinon Xeen 20mm T1.9 Lens | Price: $2495
Manual focus wide angle premium quality cine lens has an image circle that covers a full-frame sensor. When mounted on a camera with a full-frame sensor it provides you with a wide angle of view.
Rokinon Xeen 24mm T1.5 Lens | Price: $2495
Manual focus wide angle premium quality cine lens has an image circle that covers a full-frame sensor. When mounted on a camera with a full-frame sensor it provides you with a wide angle of view.
Rokinon Xeen 35mm T1.5 Lens | Price: $2495
Manual focus wide angle premium quality cine lens has an image circle that covers a full-frame sensor. When mounted on a camera with a full-frame sensor it provides a wide-angle of view.
Rokinon Xeen 50mm T1.5 Lens | Price: $2495
Manual focus normal angle premium quality cine lens has an image circle that covers a full-frame sensor. When mounted on a camera with a full-frame sensor it provides what is considered a normal angle of view, being neither telephoto or wide-angle.
Rokinon Xeen 85mm T1.5 Lens| Price: $2495
Manual focus telephoto premium quality cine lens has an image circle that covers a full-frame sensor. When mounted on a camera with a full-frame sensor it provides a short telephoto angle of view.
Rokinon Xeen 135mm T2.2 Lens | Price: $2495
The latest addition to the premium quality Rokinon XEEN manual focus cine prime Xeen lens line-up provides a medium telephoto angle of view on a full-frame sensor.
BONUS SAVINGS: Get a set of Rokinon Xeen 14, 24, 35, 50, 85mm Cine Lens Bundle for $9,999 While Supplies Last! (Click Here to Order)
Zeiss Compact Prime Cine Lenses
Zeiss Compact Prime Cine Lens Line features a unique lens design that provides enhanced contrast, resolution and color rendition, and reduces distortion. Distance markings are in feet.
[Please Note: Manufacturer images show PL-mount instead of E-mount]
Zeiss Compact Prime CP.2 15mm/T2.9 Lens for Sony E Mount | Price: $5700
Designed to shoot wide angles in tight spaces this rectilinear flat field lens offers extremely low distortion, minimizing it to almost non-existence and producing razor-sharpness to the very edges of a frame, even on full frame sensor cameras. The 15mm is a great tool for shooting architectural settings in confined spaces, as it accurately captures horizontal and vertical lines.
Order from B&H Photo
Zeiss 18mm/T3.6 CP.2 Compact Prime Cine Lens for Sony E Mount | Price: $3990
Featuring 14 high-precision blades, which create a consistently round and symmetrical iris opening over the entire T-stop range, the lens ensures enhanced out-of-focus highlights and a smooth bokeh. T* Anti-reflex coating and internal light traps help suppress flare.
Order from B&H Photo
Zeiss 21mm T/2.9 CP.2 Compact Prime Cine Lens for Sony E Mount | Price: $3990
Featuring 14 high-precision blades, which create a consistently round and symmetrical iris opening over the entire T-stop range, the lens ensures enhanced out-of-focus highlights and a smooth bokeh. T* Anti-reflex coating and internal light traps help suppress flare.
Order from B&H Photo
Zeiss CP.2 25mm T2.1 Compact Prime Lens for Sony E Mount | Price: $4500
Featuring 14 high-precision blades, which create a consistently round and symmetrical iris opening over the entire T-stop range, the lens ensures enhanced out-of-focus highlights and a smooth bokeh. T* Anti-reflex coating and internal light traps help suppress flare.
Order from B&H Photo
Zeiss Compact Prime CP.2 35mm/T1.5 Super Speed E Mount | Price: $4900
Fast T1.5 is ideal for low-light, night and dim outdoor environments. Limiting the need for artificial light allows more mobile filmmaking and delivers more natural-looking scenes, especially with high ISO-capable cameras and camcorders. The fast aperture additionally offers more creative possibilities when aiming at a cinematic shallow depth of field.
Order from B&H Photo
Zeiss Compact Prime CP.2 50mm/T1.5 Super Speed Lens for Sony E Mount | Price: $4500
Fast T1.5 is ideal for low-light, night and dim outdoor environments. Limiting the need for artificial light allows more mobile filmmaking and delivers more natural-looking scenes, especially with high ISO-capable cameras and camcorders. The fast aperture additionally offers more creative possibilities when aiming at a cinematic shallow depth of field.
Order from B&H Photo
Zeiss Compact Prime CP.2 85mm/T1.5 Super Speed Lens for Sony E Mount | Price: $4500
Fast T1.5 is ideal for low-light, night and dim outdoor environments. Limiting the need for artificial light allows more mobile filmmaking and delivers more natural-looking scenes, especially with high ISO-capable cameras and camcorders. The fast aperture additionally offers more creative possibilities when aiming at a cinematic shallow depth of field.
Order from B&H Photo
Zeiss Compact Prime CP.2 135mm/T2.1 Lens for Sony E Mount | Price: $5700
Featuring 14 high-precision blades, which create a consistently round and symmetrical iris opening over the entire T-stop range, the lens ensures enhanced out-of-focus highlights and a smooth bokeh. T* Anti-reflex coating and internal light traps help suppress flare.
Order from B&H Photo
Zeiss Compact Cine Zoom Lenses
Zeiss Cine lenses are ultra-premium cine lenses worthy of the Zeiss name.
[Please Note: Manufacturer images show PL-mount instead of E-mount]
Zeiss 15-30mm CZ.2 Compact Zoom Lens for Sony E Mount | Price: $23,900
Yes, you read that correctly, TWENTY-FOUR-THOUSAND-DOLLARS! Optimized for digital cinematography, this lens supports 4K resolution and is color-matched to available Zeiss primes for seamless inter-cutting between zoom and primes. Internal mechanical adjustments built into a cine-style housing that minimize focus shift across the zoom range. Built-in lens gears on the zoom, focus and iris rings, allow use of follow focus and zoom motors (not included of course).
Order from B&H Photo
Zeiss 28-80mm T2.9 Compact Zoom CZ.2 Lens (E Mount) | Price: $19,900
This lens offers full-frame coverage and exhibits no focus shift over the zoom range. The cine-style housing features calibrated focus scales and industry standard gearing for focus, iris and zoom. At 7.72″ long and with a weight of 5.5 lb, the 28-80mm is relatively compact and lightweight, which makes it ideal for handheld and Steadicam applications. The lens features a built-in lens support post, with 3/8″ threading for use with available lens supports.
Order from B&H Photo
Zeiss 70-200mm T2.9 Compact Zoom CZ.2 Lens (E Mount) | Price: $19,900
This lens offers full-frame coverage and exhibits no focus shift over the zoom range. The cine-style housing features calibrated focus scales and industry standard gearing for focus, iris and zoom. At 9.84″ long and with a weight of 6.2 lb, the 70-200mm is relatively compact and lightweight, which makes it ideal for handheld and Steadicam applications.
Order from B&H Photo
Schneider Xenon FF Cine Prime Lenses
Schneider Xenon FF lenses are color matched to a standard at the factory, minimizing color shift when changing lenses. Every lens in the set covers a full frame image sensor without vignetting and is designed for 4K image capture. They feature a 14-blade iris, providing natural looking Bokeh, with circular out of focus highlights, 300° of lens barrel rotation, and share lens gear positions and size. All lenses share the same 100mm front barrel diameter.
Schneider Xenon FF 18mm T2.4 Lens with Sony E Mount | Price: $6300
This 18mm is the widest of the Xenon FF line of lenses. The lens features a barrel with a large circumference, providing wide spacing for focus marks. Opposing focus scales provide properly oriented focus marks on both sides, so an assistant can pull focus from either side of the lens. Lens gears for focus and iris allow you to use the lens with industry standard lens accessories.
Order from B&H Photo
Schneider Xenon FF 25mm T2.1 Lens with Sony E Mount | Price: $5750
This 25mm wide angle lens features a barrel with a large circumference, providing wide spacing for focus marks. Opposing focus scales provide properly oriented focus marks on both sides, so an assistant can pull focus from either side of the lens. Lens gears for focus and iris allow you to use the lens with industry standard lens accessories.
Order from B&H Photo
Schneider Xenon FF 35mm T2.1 Lens with Sony E Mount | Price: $3995
This 35mm wide angle lens features a barrel with a large circumference, providing wide spacing for focus marks. Opposing focus scales provide properly oriented focus marks on both sides, so an assistant can pull focus from either side of the lens. Lens gears for focus and iris allow you to use the lens with industry standard lens accessories.
Order from B&H Photo
Schneider Xenon FF 50mm T2.1 Lens with Sony E Mount | Price: $3995
This 50mm normal lens features a barrel with a large circumference, providing wide spacing for focus marks. Opposing focus scales provide properly oriented focus marks on both sides, so an assistant can pull focus from either side of the lens. Lens gears for focus and iris allow you to use the lens with industry standard lens accessories.
Order from B&H Photo
Schneider Xenon FF 75mm T2.1 Lens with Sony E Mount | Price: $3995
This 75mm tele lens features a barrel with a large circumference, providing wide spacing for focus marks. Opposing focus scales provide properly oriented focus marks on both sides, so an assistant can pull focus from either side of the lens. Lens gears for focus and iris allow you to use the lens with industry standard lens accessories.
Order from B&H Photo
Schneider Xenon FF 100mm T2.1 Lens with Sony E Mount | Price: $3995
This 100mm tele lens features a barrel with a large circumference, providing wide spacing for focus marks. Opposing focus scales provide properly oriented focus marks on both sides, so an assistant can pull focus from either side of the lens. Lens gears for focus and iris allow you to use the lens with industry standard lens accessories. This 100mm cine lens features a removable lens support bracket, so you can use an available lens support if you wish.
Order from B&H Photo
Sigma E-Mount Cine Lenses
Sigma’s new line of E-Mount Cine Lenses based on their DSLR lenses. [Please Note: Manufacturer images show EF-mount instead of E-mount]
Sigma 24-35mm T2.2 FF Zoom Lens | Price: $4,999
Compatible with a full-frame image sensors, the FF Zoom Line offers the outstanding optical performance required for high-resolution shooting in 6K-8K.
Order from B&H Photo
Sigma 20mm T1.5 High Speed Prime Lens | Price: $3,499
Ranging from 20mm to 85mm, the entire lineup is T1.5. These five prime lenses are compact, offer full-frame compatibility, and rival high-end prime sets with their superior resolution.
Order from B&H Photo
Sigma 24mm T1.5 High Speed Prime Lens | Price: $3,499
Ranging from 20mm to 85mm, the entire lineup is T1.5. These five prime lenses are compact, offer full-frame compatibility, and rival high-end prime sets with their superior resolution.
Order from B&H Photo
Sigma 35mm T1.5 High Speed Prime Lens | Price: $3,499
Ranging from 20mm to 85mm, the entire lineup is T1.5. These five prime lenses are compact, offer full-frame compatibility, and rival high-end prime sets with their superior resolution.
Order from B&H Photo
Sigma 50mm T1.5 High Speed Prime Lens | Price: $3,499
Ranging from 20mm to 85mm, the entire lineup is T1.5. These five prime lenses are compact, offer full-frame compatibility, and rival high-end prime sets with their superior resolution.
Order from B&H Photo
Sigma 85mm T1.5 High Speed Prime Lens | Price: $3,499
Ranging from 20mm to 85mm, the entire lineup is T1.5. These five prime lenses are compact, offer full-frame compatibility, and rival high-end prime sets with their superior resolution.
Order from B&H Photo
BUDGET FULLFRAME CINE E-MOUNT LENSES
Rokinon E-Mount Cine lenses
Not to be confused with their premium quality Xeen Primes listed below, Rokinon also offers a wide range of cine-style versions of their manual focus E-mount lenses adapted to include T-stops, clickless aperture and focus gearing.
Rokinon 12mm T3.1 ED AS IF NCS UMC Cine DS Fisheye Lens | Price: $549
Manual focus fullframe fisheye lens provides 180º diagonal angle of view on full-frame cameras for an ultra-wide angle, distorted perspective that is useful for creative photographic applications. Optical design consists of 12 lens elements arranged in 8 groups including three elements made of low dispersion ED glass and two aspherical lens elements to minimize coma and chromatic aberrations.
Order from B&H Photo
Rokinon 14mm T3.1 Cine DS E-Mount Lens | Price: $499
Manual focus ultra-wide fullframe lens features extra-low dispersion, aspherical and hybrid aspherical lens elements to minimize chromatic aberrations for sharp, color-accurate images. UMC lens coating facilitates even light transmission and reduces ghosting and flare.
Rokinon 24mm T1.5 Cine DS E-Mount Lens | Price: $799
Fast f/1.4 manual focus fullframe wide angle lens is ideal for low-light conditions. It also offers greater control over selective focus and shallow depth of field effects. Four extra-low dispersion elements and two aspherical elements reduce chromatic aberrations in order to produce greater sharpness and clarity.
Rokinon 35mm T1.5 Cine DS E-Mount Lens | Price: $599
Fast f/1.4 Manual focus lens ideal for low-light and shallow depth of field. Two high refractive index elements and one aspherical element reduce chromatic aberrations in order to produce greater sharpness and clarity.
Rokinon 50mm T1.5 AS UMC Cine E-Mount Lens | Price: $549
Fast f/1.4 maximum aperture manual focus prime lens for effective low light capture, fast shutter speed shooting and shallow depth of field control. Optical design consists of 9 elements in 6 groups including one hybrid aspherical element and one aspherical element to reduce chromatic aberrations.
Rokinon 85mm T1.5 Cine DS E-Mount Lens | Price: $399
Manual focus lens with one aspherical element to help reduce chromatic aberrations and contribute to high overall sharpness. UMC multi-coating minimizes lens flare and ghosting for more contrast-rich and color-neutral imagery.
Rokinon 100mm T3.1 Cine DS E-Mount Lens | Price: $599
This manual focus portrait-length lens provides life-size 1:1 magnification along with a minimum focusing distance of 1′. It incorporates one high refractive index element and one extra-low dispersion element into its design to reduce chromatic aberrations and distortions throughout the focusing range. An Ultra Multi-Coating has also been applied to minimize flare and ghosting for increase contrast and neutral color.
Rokinon 135mm T2.2 Cine DS E-Mount Lens | Price: $599
Manual focus telephoto prime lens with fast f/2.0 maximum aperture for low light and shallow depth of field control. With a rounded 9-blade diaphragm, shallow depth of field imaging will be rendered with pleasing out-of-focus highlights. Compatible with both full frame and APS-C format mirrorless E mount cameras.
SLR Magic Cine E-Mount lenses
Don’t expect high-end features like no focus breathing or no axial shift from budget-priced lenses, but at least they have geared aperture and focus rings.
SLR Magic Cine 25mm f1.4 Lens for Sony E-Mount | Price: $399
This wide angle prime lens’s bright f/1.4 aperture is ideal for low-light cinematography that requires shallow depth-of-field. Its 13-blade iris maintains smooth background bokeh, even as the lens is stopped down. Other features found on this lens is a 52mm filter thread that won’t rotate with lens focusing, and 0.8 MOD standard gearing on the focus and iris rings for interfacing with follow focuses and lens control motors.
Order from B&H Photo
SLR Magic Cine 35mm f/1.2 FE Lens for Sony E-Mount | Price: $499
This manual focus cine-style lens for full-frame Sony E-Mount cameras weighs in at around a pound and covers full-frame sensors with a fast f/1.2 maximum aperture for shallow depth of field. It features geared focus and aperture rings, a clickless iris that allows smooth aperture pulls, and a 13-bladed iris for a rounded aperture and pleasing bokeh.
Order from B&H Photo
SLR Magic Cine 50mm f/1.1 Lens for Sony E-Mount | Price: $379
Supports manual focus cine-style shooting on full-frame Sony E-Mount cameras with a fast f/1.1 maximum aperture for shallow depth of field. It features geared focus and aperture rings, a clickless iris that allows smooth aperture pulls, and a 13 bladed Iris for a rounded aperture and pleasing Bokeh.
Order from B&H Photo
SLR Magic Cine 75mm f/1.4 FE Lens for Sony E-Mount | Price: $499
Supports manual focus cine-style shooting on full-frame Sony E-Mount cameras with a fast f/1.4 maximum aperture for shallow depth of field. It features geared focus and aperture rings, a clickless iris that allows smooth aperture pulls, and a 13 bladed Iris for a rounded aperture and pleasing Bokeh.
Order from B&H Photo
Read More: Ultimate Guide to Sony E-Mount Video and Cine Lenses
Check out our Guide to APS-C E-Mount Lenses
Read More: Ultimate Guide to APS-C E-Mount Lenses for Sony Mirrorless Cameras
For more tips and tricks about getting the most out of your Sony a7 series camera, check out my new book ‘Sony a7-Series: From Snapshots to Great Shots’.
It’s your guide to all of the Sony a7-Series cameras including the new a7RII. While the camera manual explains what the camera can do, it doesn’t show how to use the camera to create great images! Starting with the Top Ten things users need to know about the cameras, author Brian Smith, a Pulitzer Prize-winning photographer and Sony Artisan of Imagery, carefully guides you through the operating features of Sony a7, a7R, a7S, a7II and a7RII and how to use them. Get practical advice from a pro on which settings to use when, great shooting tips, and assignments at end of chapter to practice what you’ve just learned.
‘Sony A7 Series: From Snapshots to Great Shots’ is available NOW from Peachpit, Amazon and Amazon UK
SHIPPING NOW FROM PEACHPIT! SAVE 35% WITH DISCOUNT CODE: BRIANSMITH
Read more Guide to Sony A7/A7R/A7S Lens Mount Adapters
Read more Guide to Sony A7/A7R/A7S Camera Accessories
Read more Sony 10-18mm F/4 OSS E-mount lens on Sony A7R
Read more Field Test: Sony A7R
Read more Field Test: Sony A7S
Comments
Pingback: Ultimate Guide to E-Mount Lenses for Sony A7 / ... October 7, 2014
[…] Ultimate Guide to fullframe E-Mount Lenses from Sony, Zeiss, Mitakon and Samyang / Rokinon for Sony A7, A7R, A7S cameras […]
Brian using A7r & Zeiss Loxia 50mm F:2, Auto mode using ISO Auto, A,P,S, iso 100. HDR #3 Continous mode. tiffen Cir-Pol also, rubber 55mm shade. Need to maintain 1/160th shutter speed or 14.4x blow up looks fuzzier! What if anything am I doing wrong? Regards, Don
You should be able to set shutter speed at 1/160 sec in either S Shutter-Priority or Manual mode.
Hi,
I’m looking to buy the Rokinon FE14M-E 14mm F2.8 on Amazon and I’ve seen that there are Sony Alpha and Sony e-Mount in the mount options, which one is the correct for a Sony A7?
Hi Oriol, for Sony A7 series camera you’d want to order the E-mount Rokinon 14 F2.8
hello
is there any way to make sony fe 70 200 f4 , longer with some quility tele extender, im searching, but i cant find nobody that tried to put in front something
thank you, robert
So far there are no teleconverters for E-mount lenses that I’m aware of.
Hi Brian,
First of all very nice post. Keep it up mate!
Same question, I got the A7s and looking into these lens (Samyang 50mm T1.5 Cine Lens for Sony E-Mount)
when you say E-Mount for Sony is that mean if we get these lens
there’s no need for a meta bones adapter? It will fit in the A7s without the need of the adapter? Just checking before I place my order.
Yes, the Samyang 50mm T1.5 Cine Lens for Sony E-Mount will fit on Sony A7S (and any other Sony E-mount cameras) without the need for an adapter.
Would the Samyang retain the capacities of a native Sony lense in autofocus ? (lock-on autofocus, eye-focus, DMF…)
If you mean the Samyang AF E-mount lenses, you should get all AF functions.
Want to buy sony fullframe mirrorless cam.
For wildlife photography..
So whi one cam should I buy
Sony a7r, sony a7s, a7, or a7mark ii
Any of those cameras will do a good job though since wildlife photography often involves long telephoto lenses, you might prefer the a7II for it’s 5-Axis Image Stabilization.
Hello Brian
I want to buy a proper adapter, so my Sony A7s and Canon EF 70-200 f/4 L IS USM will work together. Can u give me some advice? Im also interested how does the adapter effect the sensor efficiency? If i shoot with an adapter, will i still be able to use the whole 35 mm sensor or it will only allow me to work with limited area.
And by the way thank u for all ur advice.
The best adapter for that is Metabones Canon EF to Sony E-Mount Smart Adapter IV. You’ll get fullframe coverage with fullframe Canon EF lenses.
Hey, Brian, nice article. Is this the Metabones adapter to use Canon lenses on the Sony A7s? Thank you for the info.
Hello Tiago, this post is about native fullframe E-mount lenses, but yes, the best adapter to use Canon EF lenses on Sony A7S (or any Sony E-mount camera) is the Metabones Smart Adapter IV
Brian is 100% correct about the Metabones Smart Adapter IV, but DO NOT buy if you intend on using AF. It can take anywhere from 1-4 seconds to confirm the foucs point, even when not changing the focal point, distance, or aperture. Also, the accuracy of the AF is severely limited by the adapter.
A word of warning about the Metabones Smart Adapter IV: although it does a great job generally with Canon EF lenses, be aware that its auto-focus performance is very slow. Metabones, themselves, acknowledge this in their own literature, quote: “Autofocus speed is very slow and inadequate for most moving subjects. The autofocus speed is unfit for professional use for sure, and it would disappoint most enthusiasts.”
I use one with an A7R for insect macro-photography, where manual focussing is preferred.
http://www.metabones.com/products/details/MB-EF-E-BM4
Yes I mentioned that in my Guide to Sony Lens Mount Adapters: “There are now several options that provide AF & AE with Canon EF and EF-S lenses. None are what I’d call “fast” AF so I wouldn’t suggest any of them to shoot sports – but they work fine for portraits and landscapes. They work in AF mode with all Canon SSM lenses made since 2006, but non-SSM lenses, like the original 85/1.2 and 50/1.0, operate with manual focus only.”
Hi Brian! I ordered a 24mm rokinon lens, but i don’t know if i bought the right one :s
Check it out:
http://www.amazon.com/gp/aw/d/B00A61RWLS/ref=redir_mdp_mobile/178-6618856-1284814?ref_=cm_sw_r_awd_EV.5ub0E8MCFV
I don’t if this lens is for Full Frame sensor, and i’m really afraid of this!
Sorry about my English, Thanks!
Hi David,
Many third-party suppliers use NEX interchangeably with E-mount. That lens a fullframe cine lens. If you want the still version, check out the Rokinon 24mm F1.4 ED AS IF UMC Wide Angle Lens for Sony E-Mount
Hi! A small tip regarding the SONY E 10-18mm f/4 OSS. If you remove the black baffle part from the back of the lens, you notice that the lens will cover 13-18mm focal lengths while offering the FF-image circle. Normally the baffle will give severe vignetting at 16-18mm, but after the baffle is removed the 18mm will be actually the most vignette-free focal length.
There are only three screws lenses holding the baffle, so it’s very easy to remove and put back again.
Great tip Pavel, I hadn’t removed the baffle and I’m always hesitant to suggest that – but you’ve made a great case! Thank you…
Pingback: Announcing the Latest Sony FE Lenses March 7, 2015
[…] Full list of Sony FE lenses […]
I’m looking towards the new Sony FE PZ 28-135mm f/4 G OSS to use on an A7 ii. I am looking for the very best zoom in this approximate range for still photos. This lens seems intended for cine work, which I never ever do. Is there any reason it won’t be excellent for still work? Thanks!
Though it designed with a7S and FS7 in mind, everything I’ve seen about the Sony FE 28-135mm F/4 G PZ OSS Lens would indicate it would also be a great lens for still photography.
Awesome and thorough article Brian! I just bought the A6000 and was wondering if you could recommend a lens for action shots? (Dog photography but shooting outdoors while they are in motion – not so much studio/stills.)
The best choice for that is Sony FE 70-200mm F4 G OSS. Great AF combination with a6000.
Thank you so much!!
Do you find that the a6000 is a solid choice for action photography? I was originally going to go with the A7II but I went with the 6000 for the 11fps and the reviews that Jason Lanier and Gary Fong had given on its quality. Interested in your perspective on this.
I love the a7II for portraits, landscapes and many other uses – but I have to give the a6000 the nod in terms of action photography it has a more advanced predictive AF system. The a6000’s smaller APS sensor is also a bit more forgiving in terms of depth of field and the criop sensor essentially acts as a 1.5 teleconverter compared to a7 fullframe bodies. While I don’t like this for portraits – it’s a big plus for sports action.
Has anyone tried the Sony Vario-Tessar T* E 16-70mm f/4 with a A7ii (or other A7 model)? Although you give up full frame, it seems like it could be a good companion given the 24-105 effective range, image quality and size.
Nice lens for a6000, but I don’t recommend it for fullframe a7-series cameras.
Brian, thanks for the quick reply. Why would the FE 10-18mm be deemed a decent match yet this lens is not recommended? Is there something unique to the design of the 10-18mm? I don’t mind losing the pixels going from full frame to APS as long as the image quality is excellent.
The Sony E 10-18 F4 OSS is the ONLY APS E-mount lens that comes close to covering the fullframe sensor. You can see more here: http://briansmith.com/sony-a7r-10-18-e-mount-lens/
That said, now the Sony FE 16-35mm f/4 ZA OSS is out – that would be my choice.
Yes, the Sony FE 16-35mm is a great lens which I’m considering purchasing. I have currently have the FE 35mm 2.8 Zeiss which I love and a Canon 50mm 1.4 rangefinder lens which takes great shots. I looking for a good intermediate zoom and thought the 24-105mm effective length would be a good option if the lens would perform well on the A7ii. As mentioned I don’t really have a need to blow up my shots to poster size so I don’t mind the APS crop. My other choices are the FE 24-70 Zeiss, which get’s only fair reviews or the new FE 24-240 which might be nice but it could be hard to make a 10x zoom really have great optics.
Which 50mm is the sharpest for a7ii? And most compact
The sharpest compact 50 for a7II is actually a 55.
Sony FE 55mm F1.8 ZA
Hi Brian, thanks for this great guide. I’m buying the A7s for the main purpose of video recording due to it’s low light strength. I have not settled on the best lens to buy for filming yet. I will primarily records indoor in the evenings/ nitgts… Any recommendations are much appreciated:)
It really depends on you needs, Pål, but I know a lot of people consider the Sony FE 28-135mm F/4 G PZ OSS Lens as the perfect focal range for video.
My A7II is en route from B&H and I have the 35/2.8 to go with it. Also will get the adapter to mount my 80mm/2.8 from my Hasselblad. What I’m seeking as well are older manual lenses from OM, Contax, etc. for adaptation. What are the best of the oldies to fit the A7II and what is the proper adapter? Many thanks.
There are a lot of good choices but Leica R and Canon FD lenses probably offer the best bang for the buck among legacy glass.
Thanks Brian. Had a look at that one. Bit pricy tho… Think I will have to start with one of the Sony Carl Zeiss while saving for a more expensive
Hello Brian, awesome guide! I am looking to buy the sony a7ii soon. I’ am going to use the camera to shoot architecture buildings, landscape, kite surf and snowboard photographs and videos. I would like to hear your opinion about the kit lens (FE 28-70mm f/3.5-5.6 OSS Lens) available with the sony a7ii. Also please suggest to me one (or two) lens that is more suitable for the photography/video I intend to use my camera. Thanks in advance.
The 28-70 kit lens is a good start – especially if you get it at the kit price. You can start with that and if you find yourself wanting something wider – add a FE 16-35mm f/4 ZA OSS or if you find yourself needing something longer – go for the FE 70-200mm F4 G OSS
Hi, I have just purchased sony a7s How to open the raw files? I would like to open them in Photoshop 5s or 6. Please let me know.
By Photoshop 6, do you mean Photoshop CS6? If so, just download the latest update to Adobe Camera Raw.
Hello Brian,
I have your A7 book, which I like very much, and am glad to see there is an updated discussion of the latest lenses. I have the A7r and Sony FE 55/1.8 lens (which is amazing) but need a landscape lens to shoot gardens and architecture, with some night shooting. In general, I won’t be shooting really huge sweeping mountain scenes, but I need some flexibility. I thought I would get the Sony FE 16-35mm f/4 ZA OSS Lens next, but now I see the new wide angle lenses that are coming soon. Which would you recommend? Would anything be as awesome as my 55?
Thank you for the advice,
The FE 55/1.8 is a very high standard.
Both the new FE 35/1.4 ZA and FE 35/2.8 ZA offer exceptional quality as well. The new FE 28/2 is just a below but still quite good – yet for a zoom the FE 16-35/4 is still best in class.
Hi Brian,
Have you had any first hand experience of the Sony 90mm and Rokinon 100mm macro lenses?
Cheers Matthew
My advice would be to wait for the Sony FE 90 F2.8 Macro.
Pingback: Sony A7 Series a Contempation | Matt Sassamatt May 4, 2015
[…] inclined toward operating in a manual focus world then there is a much larger collection of lenses. Brian Smith does and excellent job of providing a complete collection of all the lenses built for these cameras […]
Hi Brian! I am just wanting your advice– here you recommend the Rokinon f/2.8 Macro, but what about the T3.1 (http://www.bhphotovideo.com/c/product/1132696-REG/rokinon_ds100m_nex_ds_100mm_t3_1_cine.html)? It has a de-clicked aperture so I am thinking it would be better for video. Thanks for the article!
Yes, the Rokinon 100mm T3.1 Cine DS E-Mount Lens is a great choice for video use because of it’s de-clicked aperture ring and focus gearing.
Hi Brian
My question is..
What about no FF lenses on the new A7rII? with a 1,5 factor still worth it? I mean, use a non FF lens on that camera, the result will be poor? like Zeiss Touit 12 mm f:/2,8 becomes a 18 mm or vario Tessar 16-70mm f:4 = 24-105mm
Thanks
I suppose you could but you’re throwing away a lot of pixels….
Brian, thanks for this great summary. I have shot during extensive traveling for my own enjoyment for many years, and with some great successes, but always with a smaller camera (Canon S-100 these days) on the theory that the camera that is with you takes better pictures than the one that isn’t. I’m finally taking the plunge to get a big boy camera and getting the A7rii to try to take my shooting to the next level. I am rationalizing getting this beast because I work in TV and may be able to use it for video as well, but that’s not the initial aim.
My question is: I own NO lenses so I’m starting from scratch. If I were to start with TWO lenses, what would be your suggestion. TRAVEL is a big use for what I’m getting, as is set photography, but part of the reason for getting this camera is to try to up my game so I’m considering a zoom and a prime.
I was thinking of starting with either the 24-240 or the 24-70 with either the 55mm prime or the 35mm prime. But I’m reticent to get that beast rather than the superior 70-200. I suppose I could get 24-70 & 70-200 to cover the range and no prime…I know there are tons of questions you could ask to give more refined advice, but that could take years and cost millions of lives, and I’m sure you have better things to do!
Sorry to be long-winded, just wanted to know if you had a starting suggestion based on what I’ve told you.
Thanks!
It really depends how you shoot. The Sony FE 24-240 F3.5-6.3 OSS is a good choice if you’re looking for an all-in-one travel lens. But if you’re looking to build a systen for video production, I’d recommend starting with FE 24-70mm F4 ZA OSS. You could either pair that with the Sony FE 70-200mm F4 G OSS to fill out that full focal range or choose the FE 55mm F1.8 ZA for speed.
Thanks, Brian. Sound advice… and jibes with a friend who told me to start with the 24-70 and use if for a while to see what I need most to complement it, speed or range… even thought video is not my priority at the start. That lens IS lighter, which doesn’t hurt. Of course, there’s always the 16-35… go the other direction.
I’ve never used primes, but became enamored with that idea due to all the raves about the 55, but I suppose that can wait.
Now off to buy your book.
I think that’s the best way to go. Start with the FE 24-70mm F4 ZA OSS – then figure out if you find yourself wishing for longer, wider or faster. You can do a LOT with that one lens.
Great guide! Is the venus 60mm f2.8 macro and the laowa 15mm f4 macro going to be included in your ultimate lens guide too?
I’d consider adding them once they’re available from a credible retailer.
Hi, Love the information you provide! Im starting from scratch and looking to purchase the a7s. i have a budget of about 3500. My main purpose will be to shoot short music video promos and press kits (sometimes with interviews) commercially and also be able to get some stills of some of the clothes my wife makes for her website while I have it. What lens or lenses should I start off with to get up and running and be able to do what I need to do with competitive quality within budget? Obviously , the camera will eat most of it.
You should be able to just fit an a7S and FE 24-70mm in for around your budget, but you may eventually wish to push it a bit to include a fluid head video tripod and some better audio. This list should get you started: http://briansmith.com/sony-a7-a7r-accessories-guide/
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[…] Ultimate Guide to Fullframe E-Mount Lenses from Sony, Zeiss, Mitakon and Samyang/Rokinon for Sony a7, a7R, a7S, a7II and a7RII fullframe mirrorless cameras […]
HI Brian,
Great articles on FE lenses on A series mirrorless camera. I seek your advice on followings :-
When I used my apsc 16-50mm on the a7ii, the photos is on 10mp with the APSC sensor ON. When the APSC Sensor is OFF, it has 24mp but the photo is not square it is circular like a beercan.
IS THIS NORMAL OR I have done some wrong settings.?
Pse advise. thanks
Yes. That is normal. That’s an APS lens. It doesn’t cover the full frame sensor.
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[…] may be thinking that the E-Mount will severely limit you, but as Brian Smith pointed out in his ultimate guide to Sony E-Mount lenses — there’s no such […]
Greetings Brian,
Great article. I just purchased the A7II. I am military so looking for affordable options for lenses for my new camera. We are looking for something to complement the 24-70 that came with our camera. Thinking maybe 70-300 or so. We noticed you can find adapters to allow the use of Sigma and Tamron lenses made for Nikon.
What is your thoughts regarding these products?
Thanks in advsnce
Jason
Hello Jason,
First off, thank you for your service. While there are hints that an AF adapter “might” finally be in the works for Nikon lenses – there is nothing concrete and so it’s way to soon what lenses might work with one. So if AF is important, a much better choice is the Sony A-mount version of those lenses. The Sony LA-EA4 is the fastest AF adapter for a7II.
Brian,
Thanks so much for the fast response. I hope it comes soon. Would love to be able to maximize the potential of this camera.
Hi Brian,
Great informative article about Sony a7r…I am a nikon d600 owner doing zoo photography..I am seriously considering converting to a sony a7r…I understand that my nikon lenses 24-70, 70- 200 & 70 300 will not be on auto focus and will have to buy new sony lenses……Any guidance you provide will be of some great assistance
The Sony FE 24-70mm F4 ZA OSS and FE 70-200mm F4 G OSS would be obvious choices for the first two. There’s currently no native 70-300, but I know that’s on a lot of people’s wish list.
Thanks Brian…..Would Nikon auto focus work on a Sony a7r using an adaptor….. Thanks.
No. There are currently no Nikon AF Smart Adapters for Sony E Mount.
Thanks..
Brian, great article and book. What wide-angle zoom lens would you recommend for a7? I travel to San Francisco a lot and love taking pics of the Golden Gate bridge.
That’s an easy one 😉
Sony FE 16-35mm f/4 ZA OSS Lens
Brian
I have a Sony A7Rll on order and have ordered the Sony 35MM 1.4. and will be ordering the Zeiss Batis 85MM. I am starting with these lenses. Most of my photography is portrait and landscape, and I want to do more street photography. What would your next lense suggestions be
Those lenses are a great combination. The Sony FE 35 F1.4 ZA is actually a great choice for street photography. It certainly depends in personal taste – but I find the 28-35mm range ideal for street photography.
Many thanks for all the excellent info and insight — it’s much appreciated. I think there may be some Lensbaby offerings (e.g. Velvet 56) and that you may wish to include in your list of fe of glass.
Also, I’m curious — how do you feel about the trade-off between quality and convenience in terms of the fe 35mm 1.4 and 2.8 lenses? Do you think a big lens has a significant negative impact on street, journalistic or portrait work? I love to work in low light and to play with shallow DOF. I might be willing to deal with the hassle of size/weight, but I’d hate to give up chances to shoot because potential subjects are “turned off” by my kit. I’m not necessarily concerned about “secretly” taking shots, but rather the risk of making people feel weird, thereby cutting off opportunities. I’d love to learn your perspective on this point.
Good suggestion. I’ll add the Lensbaby Velvet 56mm f/1.6 Lens to the list. For street photography, I find the Sony FE 35mm F2.8 ZA or Zeiss Loxia 35mm f/2 to be a better choice than the Sony FE 35 F1.4 ZA.
Much obliged, Sir — I appreciate it. May i clarify if that choice is based on the issue of provoking unwanted reactions in people, or other considerations?
As many others I miss a 300 og 400 mm lense for Sony a6000 or the new Sony a7Rm2. Are there any possibility to find a Canon lense with adapter with fast autofocus for other a6000 or the coming a7Rm2?
You’ll only get fast Canon AF with a7RII – not a6000. I’ll definitely be testing that when the camera ships. Don’t overlook Sony A-mount options either. Great glass!!!
Hi Brain, just bought the Sony A7 and with that the FE 16-35mm now looking a good lens with good Zoom. I been given some advise in getting the 24-240mm, what other full frame E mount lens would you suggest?
Sony FE 24-240 F3.5-6.3 OSS is a good choice if you want a relative small all-in-one 10x zoom.
A more expensive option would be the Sony FE 70-200mm F4 G OSS which is a good choice if you’re looking for a tele-zoom that matches the optical quality of the 16-35, plus a Sony FE 55mm F1.8 ZA to fill the gap between 35 to 70mm.
Thank you will study up on them..
brian,
good advice all and thanks! my wife and i just returned from spain/portugal shooting a rx100m3 and a A7ii with sony zeiss16-24 and 24-70, sometimes dueling on landscapes and in castles. wow. it was great. the dx100m2 held its own pretty much. so now looking at the batis 85, next on my list like you! lol!
but with such high resolution digital zoom is so awkward on the a7ii and so easy on the rx100m3! with the A7rii even more digital headroom, so what is the answer? sony could so easily put the A7rii sensor in a rx100m5 and boom no need for 200 – 300mm teles, at least for some of us! any thoughts?
Those two cameras are a great combination – but putting a fullframe sensor into an RX100 Cyber-shot would require a bigger body. While that’s not impossible, it might be more likely in the form of an RX1 update. You should have a look at RX10 Mark II since it sports the equivalent of a 24-200mm F2.8 lens.
brian, just ordered the Batis 85 and await bokah prime hapyness in big amounts!
lol! but would be glad to hear your thoughts on integrating digital zoom per the A7ii and as soon as it is off back order, the A7rii. digital zoom is available through menue picks and one time setting as you know now. and i fall in love with it every time it pops up in manual focus, same experience as those fold outs when i was 15! so shouldn’t it be on, say for instance … Sony’s firmware roadmap for demountable lens cameras with the best primes?? i’d pay for that app! red
Thank You for your answer! Glasses from Sony are ok, I have bought the 70-400 mm a-lense, but it is heavy and thick an “clumsy”. I wonder why it is impossible to produce new lenses like my 70-300mm Minolta Bearcam with updated fastware to sony a or sony e in 2015? Has Sony a good answer to that question?
Yes, Sony 70-300mm f/4.5-5.6 G SSM II Lens
Hello Brian!
first of all, thanks for all the information, very useful!
I’m Matias from Argentina, and I’m heading today to NY to buy a A7ii during this week (at B&H); so for me it’s a long trip and big investment, considering currencies.
I do mainly video (documentary, on the road, alone), and will definitely use Slog2 (I don’t like video image, but cinema texture); I know A7S is a better option because of its high ISO, but it’s out of my budget and I want to benefit from the 5-axis stab so I can use some very old M Leica lenses I have (Summilux 50mm 1.4, 35mm 4.0, 135mm 4.0); I really hope they work properly with the Metabone adaptor (but I’m considering the Voigtlander VM-E you mentioned on one of your articles).
I’ll use it for still photography as well, but it’s secondary.
Is it the video quality from A7S way much better (without considering the ISO advantage, just the video resolution, final image) than the A7ii?
If I’m not wrong there’s a moire issue on the last one as well.
Finally, about the lenses:
I can’t relay totally on those Leica lenses as a recent but professional filmmaker; so I’ll have a second (modern) lens’ combination. Unfortunately I’ll need to start with the kit lens 28-70mm (not fast) and go for the Sony FE 70-200mm f/4.0 G OSS Lens if it’s not to big/heavy (is there a big image difference between this two?), or sell the kit lens and go for the Sony FE 24-240mm f/3.5-6.3 OSS Lens (I’m afraid this all-in-one can be not good in most of the things it does), or finally just go for the Rokinon Cine T1.5 kit (24mm, 35mm, and 85mm Prime Lenses) but maybe they’re too big/heavy to travel with them.
Any advices?
Besides my Leica lenses, I’ve got the Canon EOS EF-S kit lens 18-200mm 3.5/5.6 but I guess it won’t work on a full frame camera.
Sorry about the long message, but I tried to be the most precise as possible so you don’t have to try to guess my situation!
The main restriction is my budget, but I’ll save some to get your book once I have the camera! no doubts. Thanks!
Let me try to answer all your questions.
First off when are you traveling to New York? The first a7RII cameras arrive Aug 5th but it’s very likely that BH’s entire shipment will go to pre-orders. You could also check with Unique Photo in New Jersey, I’m doing a a7RII Launch Event for them 8/5 so they may still have cameras.
Both a7S and a7RII are deigned for excellent video quality. Sony a7S offers native 4K, a7RII offers down-sampled 4K from both the full width of the senor as well as Super35. To me I’d lean toward the later, but that’s just me…
Since you are an independent filmmaker, I’d think the 5-Axis image stabilization on a7RII would be a huge plus!
Either Metabones or Voigtlander VM-E Close Focus Adapters are excellent choices with Leica M lenses. The obvious difference is that the VME will allow added close focus capabilities which may come in handy with your Leica 50mm.
As for the native kit you mentioned, the kit lens + Sony FE 70-200mm F4 G OSS is an excellent choice.
Hello Brian!!
thanks for you reply!
I went yesterday to BH store and saw that the A7Rii is coming out, unfortunately its out of my budget; so my doubt it’s between the A7ii and the A7S.
After some research at the store I probably will go for the A7ii, together with the Sony FE 24-240mm f/3.5-6.3 OSS Lens (for all situations, until I have the chance to invest on better lenses). The sensor stabilization lots very attracting for traveling documentation.
I hope this lens can make at least the job of my Canon 18-200mm 3.5/5.6 I used previously at my cropped 60D, and see if I still need a faster prime lens in case of bad performance on low light situations, something comparable to my previous Canon 50mm 1.8 (that is fine quality and cheaper than a Sony similar one). Do you think it’s a reasonable option?
My biggest issue actually is the moiré problems with the A7ii (and how this can be fixed with Slog2 and post-production), as well as the video quality between both cameras, when filming with XAVC S format at a good light situation. Is there a big gap between them?
Thank you for helping me with my doubts, these will be the last ones!
I’ve never seen moiré with either of those cameras but if you do run into it, moiré is extremely easy to fix in Lightroom.
Hello Sir,
Due to the size, weight and flexibility, I want to go mirrorless but the only issue is there is no FE mount telephoto lens other than 70-200. I love the range 150-500mm for wildlife and sports. I could use A mount lenses with adoptors but I will lose AF speed. So I am sticking with my Nikon gears until sony releases a good telephoto lens for FE mount. Rgds Bobby
Longer FE lenses are definitely coming. I just don’t know what they are yet.
Hi Brian. Thanks for all your reviews – very helpful! I come from a Pro Nikon background, now switching to the Sony A7 lineup. This week I rented the new Sony 90mm F2.8 G for the Sony A7ii to test out at a wedding. Getting it a few days early, gave me the opportunity to test out on the farm. I have to say – I’m finding the same hunt and peck as I did with the Nikkor 105 f2.8 VR Macro – is this just normal behaviour of a Macro lens? I was hoping for a little better performance from the Sony With that said – I found the hunt and peck frustrating so I switched to manual focusing with peaking and had much better experience but that got me thinking… Rokinon/Samyang has the “new” 100mm f2.8 for Sony E – if I’m manual focusing the Sony 90 – why not the Samyang? What is your experience and thoughts on the Samyang 100mm 2.8 Macro for Sony E? Honestly – its a Macro lens – so detail shots, still portraits, etc are my only purpose for this lens.
Macro lenses must rack approximately double the focus extension to achieve 1:1 vs the close focus distance of other lenses, so what you’re noticing is a bi-product of the focus mechanism having to travel much longer than on a non-macro lens. The FE 90 macro does have a very handy focus limiter that allows you to limit focus range either from infinity to 0.5 meters or from 0.5 to 0.28 meters.
Brian,
Thanks in advance for all the fast responses.
A little background. When I first got my A7 ii I purchased the E-mount 30mm macro lens. I know this was not an FE lens so the camera automatically cropped it to remove any vignetting.
Getting such amazing pictures I thought the Sony 90mm FE macro would be just amazing. I am using manual focus on a tripod. I have switch between auto and aperture to get more depth of field. Here is where my problem is. Any time I touch the camera or tripod to adjust the focus or settings the image in the view finder or on the LCD shakes so much I can not truly adjust the focus.
Can you tell me if there is anything I can do about this and is it normal. It is truly affecting my ability to get great macro shots.
Thanks Again.
Is your tripod study??? The image shouldn’t shake on any camera when mounted on a sturdy tripod.
Yes it is very sturdy. It is the sony tripod with the handle that can operate the camera or a camcorder.
I can’t say I’ve ever experienced what you describe.
Brian on think I have noticed when changing lenses is that the sensor shakes inside the body. I thought it was just part of the image stabilization. Is this normal?
Sony advises turning the camera off when changing lenses.
Sorry the camera is off. But I can see with any shake the sensor move when the lens is off. Again I am thinking this is part of the 5 axis image stabilization.
That’s nothing to worry about.
Hi! I recently purchased the a7rii and a Sony e mount 30mm F3.5 macro lense – which I tested out the combination in the store and loved. I swear I was told that I didn’t need a converter for e mount lenses, but maybe I misheard? I cannot get this lense to shoot in a non cropped way – am I missing a converter? Or a really obvious setting? New to Sony and am eager to start learning! Thanks in advance!
That lens is an E-mount lens – it’s just not a full-frame E-mount lens. Here’s a list of all the full-frame E-mount lenses:
http://briansmith.com/sony-a7-a7r-a7s-lens-guide/.
You can force the SEL 30mm macro lens into fullframe mode on a7RII but you’ll get vignetting in the corners
Menu > Custom Settings 6 > APS-C/Super 35mm > Off
Hi Brian! Thanks so much. Suggestion of a better macro lense? I really appreciate your reply and will definitely start reading up on all your reviews. Thank you!
Great overview, thank you so much!
I have one question, do you know if Vario-Tessar E 16-70mm or FE 24-70mm zooms are parfocal?
I believe they both are but I don’t own the APS E 16-70mm to test.
Do FE lenses perform as well as E mount lenses on the A6000 and why would you now buy E-mount with FE mounts now covering most options ? Probably also a good choice for those of us who may consider buying A7’s for their full frame in the future.I am looking at getting the Sony FE 24-240mm f/3.5-6.3 OSS as an allrounder travel lens for my Sony A6000. Changing primes on a recent trip to Europe proved cumbersome and time consuming especially on busy London streets during their (August) peak holiday season.
Yes they do, plus it makes perfect sense to safeguard your investment in glass should you ever move to fullframe. Paul Gero used both a6000 and a7R for this story on high school football.
Great information, Brian! I just purchased the A7S because my focus is on video. I will primarily be recording informational videos, interviews/testimonials, and videos of me speaking. For my first lens I intend to buy the 55 f/1.8. If you had to choose just one, do you think this will suffice?
Also, is your book primarily on photographs, or does it include instruction on video as well?
Thanks, Brian!
The book includes a chapter on video settings specific to Sony a7 Series cameras – but for a book on the entire filmmaking process, I’d highly recommend Richard Harrington’s book ‘Creating DSLR Video: From Snapshots to Great Shots‘.
Thanks for the quick response, Brian. I will pick that up.
With my A7s I will be recording informational videos, interviews/testimonials, and videos of me speaking. For a lens, I want something travel size, great bokeh; do you think the 55 f/1.8 is my best bet?
Hi Brian,
I am looking for the best E mount lenses for the Sony Alpha 7R II for reproduction of flat art in the studio: perfect geometry/lowest distortion, maximum sharpness and highest color accuracy are required.
Besides that I am looking for one or two good (zoom)lenses for light travel.
Any preferences and suggestions?
Thanks, Stefan
Sony FE 90 F2.8 Macro G OSS is one of the sharpest macro lenses ever produced. For critical copy work, you’d probably want to use the lens profile in Lightroom, Photoshop or Sony’s Image Data Converter.
As for travel, if I had to pick two zoom lenses, I’d choose Sony FE 16-35mm f/4 ZA OSS and FE 70-200mm F4 G OSS though the FE 16-35mm + FE 90 macro would also be a great combination.
Thank you Brian! In addition which 35 mm lens would be best for the flat art copy work specially regarding perfect geometry?
Stefan
Brian please tell me, A very good macro lens, for sony a7r, good and not so expensive!
DxO rated Sony FE 90 F2.8 Macro G OSS as the sharpest macro lens they’ve ever tested.
http://briansmith.com/dxo-tests-sony-fe-90mm-f2-8-macro-kicks-canons-glass/
Hello,from Germany.Thank you for that helpful guide.
Any feedback on the SONY E PZ 18-105mm F4 G OSS for my Sony A6000 ?
That’s a very good combination.
Wow, this is a super-useful blog posting, thank you so much. Can I ask for advice? I have a Sony Alpha a6000. Nice camera, but I’m finding it hard to get the lens I need. My wife has a style blog, and I want to take full-length pictures of her that show off the clothes well. Outside is no problem; a Sony 50mm prime lens gives me beautiful pictures with lovely bokeh. Indoors is much harder. I want to get full-body shots with nice bokeh of the wall behind her, but we live in a condo and have relatively little room to work with. I’ve been trying a Sony 35mm f/1.8 lens, but I haven’t been impressed with the picture quality. Compared to the 50mm prime, the pictures are rather flat and dull, with much less sense of depth or vividness. Someone suggested I try the 24mm Rokinon f/1.4, and I’ve ordered that as a rental to try it out. Do you have any other suggestions? Another idea is a 24-70 zoom lens, but the Zeiss 24-70 f/2.8 is crazy expensive — like $2,000 — and I’d also need a $300 adapter to fit it to my E-mount. Do you have any suggestions?
That’s an easy one. Zeiss Touit 32mm F1.8. Killer APS E-mount glass!
Read more about it here.
Hello Brian Sir! How are you doing? Sir, I have got a commercial wedding shoot ahead. Marriages in India are often at night. I have already decided to buy SONY’S 42 mp A7R II. I am really confused about the lenses I should own. . Please recommend 2-3 nice FE lenses appropriate for low light/portrait/wedding/candid/landscape photography.
Sir, some photographers are scaring me by saying that some of sony fe lenses(specially lenses I can afford) are not able to resolve detail for a7r ii sensor. Please throw some light over that and recommend lenses that can resolve detail for this higher resolution sensor.
Greeting Saun! Sony a7RII is an excellent camera. Unlike other camera brands initially designed for film, all Sony FE lenses were designed for 50+ mp resolution. There are a lot of ways you could go, but for my money, I’d go with Zeiss Batis 25mm f/2, Sony FE 55mm F1.8 ZA and Sony FE 70-200mm F4 G OSS.
You could swap out the Zeiss Batis 85mm f/1.8 or Sony FE 90 F2.8 Macro G OSS in place of the FE 70-200 if you feel you need the speed – but the a7RII handles low light so well that F4 is no longer slow…
Hello – Just bought the alpha 7 Rll and have the zeiss 35 and 55 but need some longer lens…also have the reduction for A mount….something 80- 150 would be nice…I am not a fan of zooms but maybe…? The zeiss 24-70? Thank you
David
The Sony FE 70-200mm F4 G OSS pairs very nicely with those.
Thank you and I’ve just looked at the G 90 and that looks interesting for portraits etc…
Hey Brian, very helpful guide here! One question I had that I couldn’t find the answer to: Will A-Mount primes such as the 35mm or 50m f/1.8 DT SAM transfer meta and auto-focus with an A7II using LAEA3 adapter?
Yes.
Thank you for a very informative post!
I have used the Nikon D300 with the Sigma 105macro for some years, but am now considering buying a Sony mirrorless. I mostly shoot flower macros and closeups. I want shallow dof and a good macro lens. If possible, I would stay with the APS-C sensor, but am open to full frame.
Which camera body and which lenses would you recommend?
For APS: I’d recommend Sony a6000 + Zeiss Touit 50mm/2.8 Macro Lens
For Fullframe: I’d recommend any a7 Mark II camera (5-Axis IS really helps with macro) + Sony FE 90 F2.8 Macro G OSS
Thank you for responding. There is very little information about using mirrorless for natural light macro. I’m going to rent one of these for a test run.
Hello, I love your photography and lens overviews! I was just wondering as an owner of the Sony a6000 I have been thinking about what lenses are good for both FE and APS-C sized sensors. I have been considering the 55mm Zeiss for it’s great image quality. However, I have heard that it is a bit too specialized to be of any use outside of portraits and street photography which I don’t shoot often. Would it be any good for my a6000 at the moment and a full frame body in the future? (I plan to upgrade).
Also is the 90mm FE Macro any good on an APS-C camera (I know it’s not meant for APS-C but I would like to save as much money as possible when I upgrade.
Sorry for the long comment
Any advice that you can offer would be very much appreciated.
Sony FE 55mm F1.8 ZA and Sony FE 90 F2.8 Macro G OSS are both great choices for a6000 as is the Sony FE 70-200mm F4 G OSS.
Hello Brian
Is zeiss 16-35 a good choice for architecture and interior photography for A7? Do you offer any other one? what kind of flash best performes for interior photography.
Thanks a lot.
Best Regards
Yes it is.
Great page! What is the best “economical” ie less than $500 for shooting video primary?
thanks! The best choice in that price range would be the Sony FE 28 F2.0
Thank you for the
fast reply. Can i ask how doest it compare to Zeiss Touit 32mm f/1.8 Lens (Sony E-Mount) lense?
Hi Brian, thank you for sharing your knowledge with the rest of us. I have just purchased A7S ii and now shopping for a lense. As A7S ii has sensor-based image stabilization, would lense based stabilization help? Is it even needed? Thank you again for a great informative site.
It’s not necessary, but if it’s a native E-mount lens, it doesn’t hurt as in-lens OSS is designed to work with 5-axis image stabilization. For third party lenses I recommend turning in-lens IS or VC off.
Hi Brian. I salute you for your work and expertise shared! I just bought an A7Rii and 55mmf1.8 after returning my 24-70f4 as I find f4 a bit tough with low light (not wanting to use flash). I do a little landscape and portraiture (weddings/birthdays) but not often in a situation to use much long lens for safari/zoo or sports (in the field). Choosing three lens, to invest over time, or at a push four: is this combo a bit overkill or redundant – Batis 25mm, Batis 85mm, Loxia 30? Am really impressed by Loxia 21mm and 50mm though. I can get some good discounts with ZEISS, hence not really disregarding Sony/ZEISS lens at all. Thank you
All good lenses. It’s really boils down to whether you prefer manual focus in which case Loxia is great choice – otherwise I’d suggest Batis or Sony Zeiss lenses.
Hi Brian. I own an A7M2 with a 55 1.8 and the 28f2. I’d really like to get the 16-35 f4 for wider angles, but its not fast enough for my needs. What other lens would you suggest? Is 25f2 really a worthy upgrade to my 28 keeping in view the steep price differential? Other options to consider?
I agree – 25mm and 28mm are really close. If you can live with manual focus, you might consider the Zeiss Loxia 21mm f/2.8
Hi Dear Brian,
Highly appreciate your efforts! Really great Knowledge!!
Could you kindly help me with your suggestion – which lens would you recommend For Sony A7Rii – Sony FE 28 F2.0 or Rokinon 24mm f/1.4 ED AS UMC E-Mount Lens?
I am a Nature / Wildlife photographer, although I Chair the board of an International Conglomerate (Based out of Bangalore, India)
Kristal Namboodiri
Hello Kristal, they are very different lenses. The Rokinon 24mm f/1.4 ED AS UMC Lens for Sony E Mount is a big and relatively heavy manual focus DSLR adapter to Sony E-mount. while the Sony FE 28 F2.0 is a much smaller native lens that offers much faster AF.
Hi Brian,
Thanks for all your useful advice. I currently am using Minolta AF lenses (20mm f/2.8, 24mm f/2.8) and take mostly landscapes, but also like general street and churches etc. I just acquired a Sony A7RII to replace my A7. Do you think I would gain much over the Minoltas if I bought a more expensive prime? The three I have been considering are 25mm Batis, 21mm Loxia f/2.8 or Voigtlander 21mm Ultron f/1.8. If you think there is much to be gained for the extra money, which would you recommend?
Thanks,
Clive
Either the Zeiss Batis 25mm f/2 Lens or Loxia 21mm f/2.8 are great choices.
The Voigtlander 21mm f/1.8 Ultron is quite sharp but it’s not designed for digital sensors so you’ll get magenta corners.
Thanks for your quick response. Have you used the Minolta lenses? Is the difference between them and the Zeiss worth the extra dollars? my Minoltas are quite good, but I have no means of comparing them to the newer lenses, as no-one tests these old lenses any more.
Minolta glass was good for it’s time and some legacy glass can be quite good – film was very forgiving and the best Zeiss and Sony G glass are exceptional.
Thanks again for your quick reply. I value your advice.
Dear Brian, Thank you very much for the clarity.
Request for few more seconds. With A7Rii, I am currently using Tamaron 24-70 (F2.8 – really heavy – any cost effective alternative / full frame?), Sony FE 4/70-200 G OSS, Sigma f4/150 -500. Since, I go for lot of Landscape, etc. which is the Full Frame Prime Lense you would suggest, Please.
Thankfully and Prayerfully,
Namboodiri
You should consider the Zeiss Batis 25mm f/2 Lens
Thank you very much, dear Mr Brian.
Regs
Nmaboodiri
Hi Brian. You have a great website and the information you provide is really helpful. I need some advice about choosing some lenses and a new body. I own a Sony a6000 with a 50mm portrait lens and recently purchased a 24-70 Zeiss FE lens (i am planning to purchase full frame a7 body in the near future so i purchased this lens) I am now using it on my a6000 and its really good. I want to invest in a wide lens to use on my a6000 and the other full frame camera that i will but. So depending on your reviews the best choice is 10-18. Do you recommend other wide lenses that i use on both cameras? And one last question Which a7 would be the best upgrade from a6000? I want to keep using the a6000 so what i look for is the things that a6000 can not do. The newest a7rii’s seem to be a bit expensive than other a7’s do you think it would be better to buy the latest release?
Hey Mert, if you already own the 10-18mm F4 OSS it’s surprising usable on a7 series cameras, but if you’re investing for the future, I’d recommend the Sony FE 16-35mm f/4 ZA OSS instead.
Thanks for the quick answer Brian. What about the step up from the a6000? As i mentioned i want to use a6000 along with the new a7 i will purchase. So i am looking for the capabilities that a6000 can not do. That way i can use both of them in different situations.
Hi Brian, I am waiting on an a7 to arrive. I interested in night photography and was wondering what lenses you recommend for things like light painting, steel wool and stars. Thanks!
I’m not certain what you mean by steel wool…
Long exposure shots where you light steel wool on fire.
I guessing a good wide angle for these shots. What would you recommend for the a7?
https://www.google.com/search?q=steel+wool+photography&espv=2&biw=1355&bih=1026&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiU6t_79s_JAhXF4iYKHVrND7sQ_AUIBygB
Okay, that’s an interesting use for steel wool… My suggestion for all three situations would either be the Sony FE 35 F1.4 ZA or Zeiss Loxia 35mm f/2 Biogon T* Lens for Sony E Mount. The Sony FE is a stop faster with AF. The Zeiss is manual focus lens so it has a distance scale and hard stop at infinity which is great for shooting star trails.
Thank you! Your thoughts on the Sony FE 16-35mm f/4 ZA OSS Lens for stuff like this and shooting the family/kids?
Brian
First I hope you are having a great holiday season and all the best for you and family in 2016. I have the following question: I shoot a lot under low lights conditions (classical music concerts) I use primarily a Sony 70-200 2.8 A-Mount with LA-EA4 adapter, I have no complaint with this configuration except the Adapter make it heavy and bulky. My other three lenses are E-Mount I sold all my A-Mount equipment. Now the only thing that justify the adapter is my concert lens and looking to change it for the E-mount option but I am concerned of the 1 Stop less that I will have, well actually a little less because I understand I lost 1/3 of a stop with the adapter. Do you think the f4 emount will do a similar job? is there any comments with your experience? or should I wait for new new 2016 lineup? Thanks so much for your kindness and super Sony community support. Cheers and again Happy Holidays
It’s certainly possible that we’ll see faster FE zooms in 2016, but bear in mind the weight and bulk of a 70-200 2.8 is mostly from the lens – not the adapter. The FE 70-200 F4 only 1/2 stop slower than the 70-200 F2.8 + LA-EA4…
Thanks so much Brian…how about components and quality? the 70-200 2.8 is outstanding
Cheers
FE 70-200 F4 is a Sony G lens – just like the A-mount 70-200 F2.8. So it’s similar in construction – just smaller and lighter.
How about someone making a really useful good quality full frame E-mount travel lens, say 18 to100.
.
I’ve only seen that range in APS crop sensor cameras. It would equate to 24-150 in fullframe.
I would love to see a travel lens within the 18-100 range The closest available looks like the FE 24-240.
Hello Brian
I’m DoP looking the A7rii as a 2nd camera for a tv show I’m working on. I read that when shooting in the S-Log mode the minimum selectable/recommended ISO is 3200. Do you know if his is true? If so it would mean a whole load of ND when shooting outdoors. Bearing in mind I’m tied to 1/50th shutter.
(UK production)
Thanks
Sam
I believe that is still the case with S-log 2. Sony a7SII introduced S-log 3 which has a minimum ISO of 1600 but I don’t believe it’s available on a7RII.
So yes, when shooting video outdoors in bright light with either profile you’d definitely want to use ND.
There are other flat picture profiles to choose from that might be a better choice in full sun.
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Hi Brian,
Considering the price drop on the A7 – do you think is worth buying it over the A7II?
Thx
Totally depends whether the added features like 5-axis image stabilization, improved PDAF, and beefier grip on the Mark II are worth the price.
Hi, Brian. I am a new and proud owner of the Sony a7s. I’ve read through your posts on various lenses and adapters. I shoot mainly video but also have an interest in photography. Where is the best place to shop for an affordable lens? Are most of the lenses going to cost me $1,000 at least?
I have my sights set on the Sony FE 35mm or 50mm but they are pretty pricey. Do you recommend going the adapter route to get a cheaper, nice lens or just purchasing a lens that fits right onto the camera without a mount (though pricier)?
Looking forward to your response. Thanks!
Depends if when shooting video if you want to pull manual focus or if you want AF. If you want AF – stick to Sony E-mount lenses
Hi,
I m ordering my A7ii with my first lens. I do still life and i would like to have as first lens also one that is ok for video and stiills like portraits. What would you suggest to start with?
The FE 90mm 2.8 G Macro is a great choice or if you’re not in a hurry, you could also consider pre-ordering the new Sony FE 85mm F1.4 G Master
Hi, You think it could be also a nice all around lens to start with?
Great reviews and samples: thank you.
So, are the Sony A7s and A7sII the only silent full frame cameras? I’m working on low budget films and shows using Canon’s system (6D body, several lenses), but I’m currently limited by shutter sound. I only take photos on rehearsal takes or between takes. This narrows photo opportunities significantly.
So, to the potential solutions: sound blimp that fits the 6D and other Canon full frames (if the blimp is truly silent) or switch to a system that is 100% quiet.
The Sony A7s and II seem to be the only full frame options at this time.
Any advice?
Thank you.
A7RII also has a silent shutter setting
Brian, great information. Could you advise me as there are still lots of conflicting posts on the net – I am currently a Canon shooter, with an EF 100-400 Mk2, Ef 70-200 IS f4, EF85 1.2 Mk2. I mainly shoot stills, portraits, landscapes and some wildlife (which can move reasonably fast), but occasionally would like to be able to shoot 4K video. Which, if any, adapter will allow me to use the 100-400 reliably at all focal lengths, and will I be able to have continuous autofocus video on the lenses I’ve mentioned. Obviously if the autofocus is slow or erratic, maybe I should think again about getting a A7R2? My current Canon bodies which I would use for reference are EOS-6Ds.
Sony a7RII and a7II will give you the best results with Canon Smart Adapters for stills as shown here:
http://briansmith.com/sony-a7rii-canon-ef-smart-adapter-tests/
But if you plan to shoot video, DSLR lenses are not designed for AF video. I you want fast AF with video – stick to native FE lenses for best performance.
Thanks for confirming what I already suspected.
I’m planning to get an a6300 in march. What do you recommend for a First lens, 2nd and 3rd?. Im going crazy after looking at this page, its awesome. Im a new guy doing mostly doing videography for weddings, corporate work, occasional photo shoots and I have a small family. Im on a budget so i only can buy 1 thing at a time. Thanks!!
If you plan to shoot mostly video with a6300, I recommend starting with a standard zoom like the Sony E 18-105mm F4 G OSS APS Lens.
Then add in a fast prime like the Sony E 35mm f/1.8 OSS or
Sony E 50mm f/1.8 OSS Lens.
You can of course use any of these fullframe lenses on a6300, but here’s a full list of APS E-Mount lenses.
Thanks a lot. Should i get the kit lens that comes with it or put $ towards a different lens? Im about to preorder =) I was thinking about sigma lenses? Do recommend 18mm-35mm on the a6300? for 50mm lenses. 50mm oss or the 55mm zeiss?
Really depend on what you want. The kit lens is a nice compact retractable lens which like all kit lenses offer decent quality at a low price. If you have no need for that – for for the primes. There is a full list of APS E-mount lenses here: http://briansmith.com/aps-e-mount-lenses-for-sony-mirrorless-cameras/
Hi Brian,
Great to see the post updated with the coming lenses.
Did you have the chance to compare the lenses around 85-90mm?
Which order would you choose?
I was probably going for the FE 90mm 2.8 G macro, until the 85mm 1.4 appeared. But for that price I could get the 90 and 55….
Regards,
Rafa
You just mentioned three of my favorite four lenses ever made. You will not regret either choice.
Hi Brian
Great article and very helpful.
I’m a recent Sony transfer from a Canon 5DM3 system. I’m very much loving the 55 1.8 lens on my A7RII body. Being a nature/landscape/astro/night photographer; what’s your take on an ultra-wide lens for night/astro shots? I was thinking of either the following complete setup:
1) Sony 16-35 f/4 + Sony 55 f/1.8 (and use the 16 f/4 range for astro?)
2) Sony 24-70 f/4 + Sony 55 f/1.8 + Rokinon 14 f/2.8 (and use the Rokinon for astro)
Do you prefer the Rokinon 14 f/2.8 than its smaller brother 12 f/2.0?
I’d go with the Sony FE 16-35mm f/4 ZA OSS
The Rokinon 12mm f/2 is APS…
please help me Brian, i have a problem with the focus, the lenses 24-70 f4 or 16-35 f4 (in less times) I can not take good pictures 50% of the photos have front focus, change lens with the seller but the problem persists, I read the upgrade v3 .0 coming overcome this problem but it is not, you know something about this problem, thank you !!
I’ve never seen issues with front focus with mirrorless cameras, since unlike DSLRs, focusing is from the actual sensor.
The update 3.0 says correct this problem that sometimes happens only happens with the zooms to primes is perfect, if not for studio lights but when it happens more
best lens for steady cams?
Either a AF prime or AF zoom that does not change in length when you change the focal length. Any zoom lenses that Chang length when you zoom would require you to rebalance the rig.
Have you ever tested the Tamron 24-70 Vc lens using an adapter for this camera? I have the A7r and have the Sony 24-70 f4 and 70-200 f4 native lenses. I was just curious how well the Tamron would work on this camera, its one of my favorite in my Canon line up.
A7R is Contrast AF only so unlike a7RII and a7Ii (with FW 2.00) AF will be slow at best with third party lenses.
Hi Brian, thanks for all the work you’ve put into this post. I’d like your opinion on the best lens for the A7SII for equal parts of filming and photography. When it comes to photographs, generally something that can handle normal to close quarters distances with its subject.
As long as 12mp is enough for your needs, a7SII is a great choice!
It’s wonderful and the low light abilities are out of this world. What would your preference be on a lens that’s a good cross for filming and photography though?
You bet. The lens everyone’s been waiting for begins shipping next month: Sony FE 24-70mm f/2.8 G Master Lens
Hi Brian,
After reading through everything, I’m still a little confused about what to look for in my situation. I have the Sony 70-200 f/4 G lens and am looking for a 2x teleconverter. Are there none that would fit that lens? The teleconverter you listed says it only works with the f/2.8 version of this lens… Thanks.
Correct. The Sony FE 2X & 1.4X Teleconverters are specially designed for the FE 70-200 F 2.8 G Master Lens. They won’t fit on the FE 70-200mm F4.
Does anything exist for my lens? Or do I just need to bite the bullet and get a 400? Thanks for the quick reply!
I’m not aware on any.
Thank you for this amazing resource, and I love your book. I am a recent convert from Canon. I have an A7 II, a6000, 24-70 f4, 70-200 f4, and 24-240. I also have a FotodioX adapter that I use with my Canon EF 50 f1.4 lens. I am now looking at WA options. The 16-35 is a little out of my price range. The Sony 10-18 and Canon 17-40 are similar in price on the used market. I don’t mind the slow or no AF on the Canon with my adapter since it would be for landscapes. Any thoughts on the IQ between these or other recommendations?
For an APS-C lens, Sony 10-18 F4 OSS does a remarkably good job of covering a fullframe sensor – yet I’d opt for the Canon EF 17-40 F4 which actually IS a fullframe lens…
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[…] zijn er heel wat, hier is een overzicht http://briansmith.com/sony-a7-a7r-a7s-lens-guide/ Zou voor de 16-35mm gaan als je heel groot print (60x90cm en groter) kun je voor een prime gaan. […]
thank you Brian, this information helped me find the lens I wanted..I wanted the FE 16-35 F4 ZA for real estate and landscape.
Best astrophotography and landscape lens for my A7ii?! Looking for something that won’t break the bank but offers good quality!
For Good-ish quality at a fairly low price have a look at Rokinon 14mm f/2.8 ED AS IF UMC Lens for Sony E Mount ($339 at B&H | Amazon) – shoot RAW and enable lens profile corrections in Lightroom or Capture One.
Thank you! 🙂
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I am planning on getting the Sony A7s ii and primarily using it for video work. What lens choices do you think will work well with this camera.
There are a LOT of great choices as you can see on this list.
One lens that’s particularly nice for video is the Sony FE 28-135mm F/4 G PZ OSS Lens because it’s designed for no focus breathing plus excellent optical quality.
If you prefer manual focus for video, take a look at Zeiss Loxia manual focus E-mount glass.
Finally if you’re looking at full-on Cine Primes, check out Rokinon Xeen cine prime lenses.
Wow, this is just amazing Brian. Thank you for putting ti together. Totally what I was looking for! I love landscape & architecture photography and ama newbie. Got an A7 camera. I have been eyeing the FE16-35 for the longest time for such purpose but would you recommend something else out of the ones mentioned above? I dont want the distorted fisheye view necessarily and want to keep full frame coverage and not comprimise the max settings of the lens. With my limited understanding, I dont see another option that can compete with FE 16-35 but what would you recommend if you dont mind sparing your expert opinion?
I do have the 28-70 and a few A mount lenses too. I also have the EA4 lens adapter even A mount full frame lenses are an option if you dont mind considering those as options. Some say the A mount version of 16-35 is also great as it offers F2.8 instead of F4 of the FE version. What do you think?
Thank you in advance.
I love the FE 16-35mm F4 ZA OSS and highly recommend it. Not only is it sharper than the A-mount 16-35mm F2.8 ZA – but 2.8 is hardly needed for landscapes and architecture.
Great! Thanks a bunch. Ordered my FE16-35 the other day! Looking forward to it trying it out 🙂
Hey Brian… Thanks for the recommendation on the 16-35 FE, I got one and used it for the first time taking some snaps on my last trip to SF, love the results. But now I am a little inriques with the release of the 10 mm Voigtlander lens. If you have to pick between that lens and Sony 16-35 FE, which one would you rather go for if you want to do both videos and still shots and your primary objective is the landscape photograhpy without comprimising quality of the image and not quite into post-editing them? What am I losing when I choose Voigtlander over Sony here, cant quite wrap my head around it. Thanks in advance.
There’s no overlap between the two lenses since 10mm is MUUUUUCH wider than even the wide end of 16-35mm. The Voigtlander Heliar-Hyper Wide 10mm f/5.6 Aspherical Lens is really a specialty lens for users looking for the widest fullframe rectilinear lens ever made.
So if I am hearing correctly, if your objective is not the wide-angle only, 16-35 is still better out of two when it comes to image quality, video, image stabilization and all other features? 🙂
I’m saying that 10 mm is really, really, really, really wide.
Voigtlander’s 10mm is an awesome lens if you want really, really, really, really wide, but unless 16mm isn’t nearly wide enough, stick with what you got and consider the adding a 10mm somewhere down the road…
Thanks for all your work on this Brian. Regarding the new GM 24-70, you say “this flagship Sony lens is by far the best 24-70 on the market.” Do you mean for Sony e-mount, or do you really thing this is better lens than the Canon 24-70, f2.8?
Best 24-70mm lens. PERIOD.
Sharper corner-to-corner and better Bokeh than either the Canon EF 24-70mm f/2.8L II USM or Sony A-mount 24-70mm f/2.8 ZA SSM II.
I wouldn’t even put the Canon EF 24-70mm f/2.8L USM (Version I) in the discussion with those 3 lenses – it’s got horrible Chromatic Aberrations.
Thanks. Yes. I meant the Mark II. That’s great news and helps justify the price.
Hi Brian, thank you for putting things together and it’s really useful. I got A7ii with 28-70 kit lens for leisure last year. Most of time just bring it travel with me for taking mixed pictures of landscape, street view, food. Sometimes shoot portraits and cats at home. Just for fun.
I am thinking to put investment on two or three better lenses, something like 35mm f1.4 or 35mm f2.8 (for the sake of light weight) plus a 55mm or 85mm portrait lens, then maybe a telephoto zoom later. what would be your recommendation?
The first thing I’d suggest is to pay close attention to what focal lengths you’re using with your 28-70 zoom. If you’re always shooting at 28mm and wish your lens went wider that will tell you to look for something wider than 28mm. If you’re always shooting at 70mm and wishing for a bit more reach – then it’s time to look for a longer lens. If you’re happy with the 28-70 focal range then you might want to consider a faster prime in that range.
The FE 55mm 1.8 ZA is a great lens for the money. Even though it doesn’t extent 28-70 focal range you currently have, its F1.8 aperture will allow you to shoot in lower light and with shallow depth of field.
Absolutely sharp angle that never came to my mind. Looks like a lot of pictures were taken between 28mm-35mm, so the 55mm might not be the best fit? Appreciate your opinion!
Hello, I just buy a 7RII and I will like to know how is the best configuration to make it faster. I just bought your book right now, is there any configuration settings? Thnks. Lot
Faster in what sense?
faster focus cause I think is too slow and everybody said that is really qucik and I don’t see that, thanks 😉
Hey Brian. Thank you for your posts. i recently bought your book as well, Bothe the site and book have been beyond helpful!
I just purchased a Somy A7rii. I have been using my Canon 17-40 f4L with the metabones adapter, but want to switch to the Sony lenses.
I plan to shoot mostly landscapes, nature, and travel, but also like festivals and street photography. I’m looking to get two lenses, what two would you recommend most based on my needs?
Thanks!
If you’re asking what would I do, well how about one great lens instead of two good ones?
My advice would be to go “all in” on a Sony FE 24-70mm f/2.8 G Master.
Shoot with it for 6 months and then decide if you need to add something wider, longer or faster – but not until you’ve really found out how much you can get out on that one lens.
That’s what I’d do…
I already got both FE70-200 F4, and Batis 85mm 1.8 lenses. Do you think it is worth the money to get the Sony FE90mm 2.8 just for the Macro shots? Of course it is always good to have an extra lens, but I also don’t want to overlap lenses. Just want to hear your thoughts.
Well, first off the FE 90 is sharper than either the Batis 85 or FE 70-200 F4…but I personally would base the decision on whether the Batis focuses as close as you want. If it dies, then stick with what you got. On the other hand, if you find yourself frequently wishing it focused closer, then a FE 90 Macro is just the ticket.
Thank you, I also got the FE35mm 1.4 which has a closer focusing distance, but it doesn’t do micro as good as the 90mm does as I see on Flickr.com. I am interested in some micro shots, so I might get the 90mm also.
It’s a great lens for that.
Brian, I went to purchase the lens over the weekend, and found out this lens makes some buzzing noise. It is not crazily loud but it is definitely noticeable. I also tested it with video and the record got the buzzing sound at the background. Do you have the same issue on your copy?
Are you still asking about the FE 90? I’ve never noticed focus noise.
Hi Brian,
Would you recommend the Sony FE 24-70mm with the a7sii? Purely for video?
Or opt for the 28-135
Thank you!
Not sure which FE 24-70 you mean. There are two.
The FE 28-135mm F/4 G PZ OSS is an incredible lens for video. No focus breathing and excellent image quality.
Hello Brian,
I’m looking at purchasing the Sony 24-70mm 2.8… but I also like the 55mm prime 1.8 option as well. Do I need a prime 55 if my zoom covers that area? I would love to hear your thoughts on this…
Thank You,
Jeremy
I’d suggest buying the Sony FE 24-70mm f/2.8 G Master Lens and shooting with it for a month. Unless you find yourself repeatedly in need of a faster prime lens – you don’t need the FE 55.
Thank You Sir
Hi Brian, I currently own a Sony NEX VG10 which came with the Sony kit SAL 18-200 lens. How well with that lens work with an A7s/A7s ii if I were to buy one?
Thank you,
John
That’s an APS-C lens so it will work in crop mode on a7 Series cameras. You’d lose the ability to shoot 4K on a7S/a7SII.
Hello Brian,
I know this question is asked a lot!!! BUT… I would love to hear it directly from you.
I have the Sony A7SII camera. I’m lens hunting… Currently I have the GM 24-70 and the Ziess 55mm Prime. Very nice lenses. The 55 prime is extremely sharp and wide. I like that… I was thinking of getting 3 really sharp primes and maybe returning my GM 24-70 zoom? If I did what lenses would you recommend? I was thinking… somewhere between 18 – 28mm, 55mm, and the 85mm?
A. Would this be a wise decision?
B. If so what 3 primes would you recommend for this camera?
C. Would you just keep the GM zoom?
Thank you so much Brian…
Jeremy
C. Keep the 24-70 G Master!!! It’s a great lens!!!
HA! I agree… thank you again Brian. 🙂
Brian, that being said I’m going to for sure keep the zoom… with that zoom does it also make sense to have a few primes in the same focal length as well?
Jeremy
Sure! Since you already have the Sony FE 55mm F1.8 ZA I’d suggest expanding with primes outside the 24-70 range like a Batis 18mm F2.8 or FE 85mm F1.4 G Master.
That makes sense!! Thanks again Brian!
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Hey brian,
so i was about to purchase the rokinon cine lenses for the fs7/5. My question to you is that for run and gun stuff would you prefer the new sony g lenses (advantage being the push auto focus and some other auto features) and are they comparable in terms of quality to the rokinon cine lenses. Which would you rate higher in terms of picture quality?
Rokinon Xeen cine prime lenses are premium quality glass – and while not on the same level as Zeiss and Sony Cine Primes they are extremely good quality.
Rokinon Cine lenses are the same optical design as their manual focus DSLR lenses but geared for focus rigs and calibrated for T-stops instead of F-stops. They are good – but not great quality.
Both require manual focus using a geared focus rig so they might be better suited to cinematic shooting than to run-and-gun.
Thanks Brian for putting this guide together and continuing to update it as new lenses come out. It’s my go to bookmark when I’m daydreaming about my next lens to purchase for my a7sii.
Hi Brian, just got myself an A7S. This post is very informative, thanks for taking the time to write it!
You’re welcome…
Brian,
Any chance you are up to date on rumors? I would love to get something in the 24-120 mm range in one lens. Just wondering if you knew if Sony had any plans for that. It will help me decide what to spend money on now just to get by.
Here’s the deal on rumors. People who know can’t say and people who say don’t know…
I will say that lots of ex-Nikon shooters have requested a FE 24-120 F4 and lots of ex-Canon shooters have requested a FE 24-105 F4. Pretty sure Sony won’t make both and I have no idea where either falls on the priority list…
Very well put. I would love to have either a 24-105 or a 24-120. I tried the 24-240 and it is disappointing quality so far, as expected, just too much glass. I may have to purchase the 24-70 and live with the limited range but learn to love the quality… and maybe someday they will have something in the future…
Brian, thank you for an amazing guide. I have read through everything, and will get the book to start with my sony a7sII (which is on the way as we speak).
I’m a filmmaker, and I shoot documentaries about the people that live in the mountainous areas in Asia (nomads etc.). I am looking for a lens that would be the best option for video and I cannot decide what to go with in the range of around 1000$. I am considering two options.
1) The 24-240 as an all-in-one lens.
2) The 28-70 kit lens and a 28 mm f2 prime.
I know that 240 mm will add a lot more zoom, but I am not sure if I will really need it, maybe the 70 mm is enough? However I know that the 24-240 is a better lens than the 28-70, but for such a job that I am doing maybe it is better to have two lenses?
What’s your opinion on this?
Thanks again for all your effort on this topic.
Best,
Matt
There are a couple ways to go so maybe it’s best if I give you the pluses and minuses rather than a hard and fast “buy this”
IF you know you need telephoto the all-in-one Sony FE 24-240 F3.5-6.3 OSS could certainly provide the one lens solution though at the expenses of lens speed which is really handy both for low light and shallow depth of field.
Sony FE 28-70mm F3.5-5.6 OSS is not a bad choice for video since it’s made for silent focusing which is a really good thing when recording audio – especially if you can get it at the kit price. While a7SII is not available as a kit, maybe you can find someone buying an a7II body and offer to pay the difference of the kit price.
Sony FE 28 F2.0 is a great choice for a fast aperture affordable prime that’s great for many situations. You could either pair that with one of the slower zooms listed above – OR – consider it as the right rung of a collection of primes by adding either a Sony FE 50mm f/1.8 or Rokinon AF 50mm f/1.4 FE Lens.
Thank you for the detailed feedback! It cleared it out that for me the kit + 28 mm would be a better choice.
However, in the mean time, while I was waiting for your response, just an hour ago a family friend gave me the following 3 Nikkor lenses:
Nikkor 28mm f2.8 Ai-S
Nikkor 55mm f2.8 Ai-S (micro)
Nikkor 105 f2.5 Ai-S
What I’m thinking now is to get the Novoflex Nex/Nik adapter and the 28-70 kit lens from sony, to have an all-in-one AF lens.
Is this adaptor + the whole lens kit a good option?
Thank you so much for you advice!
That’s not a bad way to go. You’ll have AF with the kit lens and Manual focus with the Nikkor glass.
Hi Brian,
Looking for a lens to shoot landscape for my Sony a7ii. Any recommendation? Hopefully something good and inexpensive to start with.
Thank you!
Sony FE 28 F2.0 might fit the bill. It’s a very sharp lens for the price.
Dear sir
I am an Iranian amateur photographer on the point of buying a SONY A7R II camera. I wish to know your professional opinion on the lenses to fit the bill. I am inclined to get 10-18 mm but not certain about 18-200 mm (sony EP Z 18-200mm F3.5 – 6.3 OSS) I would be grateful if u could advise me to make the right choice
Thanking you in advance
Sohrab Bonyanalam
sbonyanalam@gmail.com
instagram sbonyanalam
Greetings Sohrab,
Both of those are APS-C lenses and while the 10-18 comes close to covering fullframe from 13-16mm, neither lens is ideal for a7RII. I think you’d be happier with one of the fullframe lenses on this list.
Hi Brian,
For shooting scene, which lens do you think is better? 24mm F1.8 (SEL24F18Z) or 24-240mm F3.5-6.3(SEL24240) for Sony a7ii?
The Sony 24mm 1.8 ZA is an APS-C E-mount lens so it won’t cover a full frame sensor.
So you think I can get 24-240mm F3.5-6.3(SEL24240)?
Dear Sir
I am new on sony camara . I bought Sony Alpha a7R II body only.
I then bought through Amazon Sony 70-400mm f/4-5.6 G2 Telephoto Zoom Lens.
However to my night mare it doesnot fit. I am with my children in a disney cruise.
I would appreciate if any one know about an adaptor so I can
mount this lens to the camara.
The internet in the cruise is very slow. If also any one know a sony
store in Palarmo Italy. I realy think you do not want me to finish
the cruise without taking photo.
please send me an Email. adl_sol@hotmail.com
That’s a Sony A-mount lens. You need a Sony LA-EA3 adapter to use it on your a7RII E-mount camera.
Hello Sir Brian, I would like to ask your help / advise what kind of Sony FE lens should I buy for my Sony a7II if I would like to photograph 1) Landscape 2) Portrait and 3) Wedding. Also, their alternative lens which is lesser amount 🙂 Thank you for your help.
Esteemed Greetings Lord Roel! How about instead of 3 good lenses I start you out with on great lens?
If I could only own ONE LENS for all those types of photography it would be the Sony FE 24-70mm f/2.8 G Master.
It’s the perfect mid-range zoom that would quite honestly cover 90% of what I shoot. I love it for portraits because 24mm is perfect for wide-sweeping environmental portraits, 45-55mm is perfect for half-body portraits and 70mm is the perfect focal length for tight intimate portraits. That range nicely serves you for weddings and landscapes as well. The cheaper option is the Sony FE 24-70mm F4 ZA OSS – but in my opinion the G Master is worth saving up for.
BUT…if you want more than one…
The second lens I’d recommend would be a 70-200 is the perfect compliment to a 24-70. For landscapes you rarely need shallow depth of field, so I’d recommend the lighter and cheaper Sony FE 70-200mm F4 G OSS over the Sony FE 70-200mm f/2.8 GM OSS Lens unless you REALLY feel you need 2.8 for shallow DOF or shooting weddings in a coal mine.
And if you want a third lens for strictly for headshots, my top 3 choices would be Sony FE 85mm F1.4 G Master, Sony FE 90 F2.8 Macro G OSS or Zeiss Batis 85mm f/1.8 Lens
Good day Sir Brian, thank you so much for your very helpful suggestions, I really appreciate it.
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Dear Brian,
I am looking to delve into the A7 series, is the A7rii’s 42M pixels needed over the A7II if I’m not printing? I have always thought the extra features on the 7rii more ‘future-proof’ (back-illuminated sensor, higher ISO, more resolution, Eye AF, 0.78x EVF…) but it’s twice the price…and I’m not sure when the A7III is coming after the Earthquake and there are almost no rumours for Photokina 2016 except the priced-out-of-reach A9 …
Anyhow, notwithstanding which body I will get, the lens matter more. I have the 24-70mm 2.8 GM on my wish list as it is really quite versatile, going from sort of wide angle landscape to medium portrait lengths and anything in between, but it is not to be my only lens as it is too heavy and bulky, I would like pick a sharp prime and am struggling between the famed 55mm 1.8 Sonnar ZA and the newer 50mm 1.4 Planar ZA.
The former is just so much more portable and light and usable, is half the price of the 50 1.4, but captures less light and 55mm is slightly more zoomed in than I’d like for a standard prime. The latter is built more robust, has the aperture ring, is long enough to be supported with my off hand to take more stable shots, has a wider aperture and the most ‘normal’ focal length for me, and seems not to suffer from vignetting / CA as much as the 55 1.8.
I do think getting both is really redundant and pricey, and normally I’d go for the better quality of the 50 1.4 but it’s twice as expensive and much more heavy and unwieldy, so I still can’t decide…
Whew, that’s a lot of questions…
1. Sony a7RII is the best a7 camera but a7II is the biggest bargain so depending on you needs it’s a great choice.
2. The Rumor sites guessed wrong. There is NO a9. But there is an A-mount Sony a99II that should make a lot of A-mount users jump for joy!
3. Vignetting is not, I REPEAT NOT, a lens flaw! Vignetting gives lenses their distinctive look just like Cindy Crawford’s mole or Shakira’s belly button….sorry where were we? Sony FE 55mm F1.8 ZA and FE 50mm f/1.4 ZA are both EXCEPTIONAL LENSES. You won’t go wrong picking either.
Hi Brian, thank you for the reply!
Given that the A7II is almost two years old and the A7rii is double the price do you think it’s a better option to just wait for the eventual A7III announcement or get a discounted A7II to shoot with now while patiently waiting for new bodies? (Hopefully A7III will have the trickle down tech from the flagships and more workable resolution around 25Megapixels plus a more entry level price)
What do you think of the choice of lenses below if I were to get three lenses to cover almost everything?
1) Sony FE 24-70mm f/2.8 G Master.
2) FE 55mm 1.8 Sonnar ZA or FE 50mm 1.4 Planar ZA
3) Zeiss Batis 18mm 2.8
Do you see overlaps / redundancy or have better suggestions to round out the collection and which should I get first? Thanks sincerely in advance.
I have just finished reading your book A7 series, a must have for A7 cameras! I have one question, I am looking for inexpensive ($500 or less) teleohoto lens for A7S ii that will be used for zoom. Thank you
Sorry, there are no telephoto zoom lenses that I can recommend for a7SII in that price range. The least expensive telephoto zoom that I do recommend is the Sony FE 70-300mm f/4.5-5.6 G OSS Lens
Thank you for the recommendation, are there any 3rd party telephoto lenses that are decent?
If you want AF, there are no third party fullframe E-mount primes longer than 85mm. If you don’t need AF, Rokinon 135mm f/2.0 ED UMC might do the trick.
Hi Brian,
I’ve read all the comments here and there’s some great insights, thank you! However given there’s so much lens choice, I still cant decide what’s best, I’m hoping you can help…
I have the Zeiss 24-70 F4 – so now I’m looking for a fast prime lens with maximum bokeh (yet still sharp) for night photography and event photography.
I’ve heard so many great things about the Zeiss 55mm f1.8 – but very tempted by the super wide f0.95 aperture of the Mitakon 50mm mkII, or by the slightly less wider Sanyang AF 50mm f1.4.
I’d really appreciate your advice, thanks!
Tom
I wouldn’t recommend Mitakon if you want anything in the photo close to sharp. I have not yet tested Samyang AF 50mm 1.4 so it’s yet o be seen how sharp or if the AF is descent since AF is new to Samyang and Zeiss Touit lenses proved it sometimes takes a few tries to get that right, but Sony FE 50mm f/1.4 ZA Lens is available now and it’s aa spectacular lens.
Cheers Brian, appreciate the advice! …now to decide whether it’s the 35mm 1.4 or 50mm 1.4 [sighs]
Dear Brian Smith, Is it possible to use Sony G 18-105 mm E mount lens in my Sony A7 for the functions like weddings etc.
Only in APS-C crop mode which really defeats the purpose of shooting with a fullframe a7 camera to begin with…
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Any tips on how to get the best out of the Sony 90mm macro as I hope to use it with my underwater rig and don’t have the option of manual focusing once it is inside the housing?. Auto focus in the 0.28-0.5m setting is a big tease. It hunts back and forward without locking onto the right focus even though you see it so ever so briefly and I can’t seem to see any response when I press the lock button under the G symbol.Have I got a dud?
The focus range limiter is quite useful as long as youare shooting within that focus range. I generally have the lens set to 0.5m-infinity for portraits unless I need to shoot tighter. The 0.28-0.5 setting works quite well withing the macro range. Any chance you’re selecting too small of a focus point? When shooting macro with shallow depth of field you might try Zone Focus area rather than Flexible Spot to see if that works better.
The Focus Hold button works just as the name implies. Once you’ve locked in focus, you can HOLD it down and recompose while maintaining that focus distance. I don’t have much use for that since AF-S works exactly that same way by simply holding a half-press of the shutter then recomposing.
I need a long telephoto lense for wildlife shoot . Would Panasonic Leica 100- 400 fit on Sony a6300, Which adapter would be best. Thanks
No. That’s a Micro 4/3 lens. It won’t cover fullframe (or even a APS-C)
Which one is better, the Sony FE 70-200mm f/4 G OSS Lens or the 70-300mm f/4.5-5.6 G OSS Lens?
Hi Brian, I want to buy a tele lens and was checking out these two lentes.
Which one would you recommend Sony FE 70-200mm f/4 or Sony FE 70-300mm f/4.5-5.6?
Thanks
Both good choices. Depends if it’s more important to have a constant F4 max aperture or the reach of 300mm
Hi Brian,
Film photography has been a life long passion of mine and is what I spend most my time doing, but I’m looking to upgrade my Canon t6i and purchase an entry level full frame digital camera for travel. Due to the light weight and reasonable entry price, I’m looking at the Sony a7.
I’m looking to buy two lenses- one for portrait photography and one for landscape photography. Which two budget conscious lenses would you recommend?
Really enjoyed this article. Thanks for all the info.
The Sony FE 24-70mm F4 ZA OSS is a great budget-priced landscape lens.
A budget-priced portrait lens is trickier. The best portrait lenses like the Sony FE 90 F2.8 Macro G OSS are in the $900 and-up category. But if you don’t need AF, you might consider either the Rokinon 85mm f/1.4 AS IF UMC Lens for Sony E-Mount, Rokinon 100mm f/2.8 Macro Lens for Sony E-Mount or Rokinon 135mm f/2.0 ED UMC Lens for Sony E-Mount. Bear in mind these Rokinon lenses are all manual focus DSLR designs modified for E-Mount.
Hi, Brian
I have a Sony a6000 and looking for a good lens for shooting fire at night (fire breathing, spinning, etc). Do you have any recommendations?
You’ll probably want something a bit on the wide side. If you plan to stick with Sony APS-C, you could go with one of the lenses on my APS-C E-mount lens list like the Sony SEL 20mm F2.8 or