What E-Mount Lens Would You Like Sony to Announce Next?

With the announcement of the Sony FE 35mm F1.8 lens, the list of E-mount lenses reached FIFTY-TWO! Here’s the question I asked four years ago, “What Sony FE Lens Do You Want Next?”

Three years ago I sat down with Sony Lens engineers and product planners at Sony Kando 1.0 to make a case for your most-requested lenses. Your feedback helped lead to the release of these nine FE lenses:



Now that all these FE lenses have been checked off the list, what Sony E-mount lens would you like to be announced next?

Do you want more compact primes like Sony FE 35mm f/1.8 & FE 85mm f/1.8?
Do you want more G Master primes Sony FE 24mm f/1.4 GM & FE 135mm f/1.8 GM?
Do you want more F4 zooms like Sony FE 24-105mm f/F4 G OSS?
Do you want more fast telephoto primes like Sony FE 400mm f/2.8 GM OSS & FE 600mm f/4 GM OSS?

Let Sony know in the comments…

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69 thoughts on “What E-Mount Lens Would You Like Sony to Announce Next?”

  1. Honestly all I want is a 35 1.4 GM to pair up with my 85 GM and 135 GM for a complete professional up to date lineup.

  2. Mitchell Phelps

    I think a 50mm f1.2 GM or 58mm f1.2 Minolta design update
    A wide 12 or 14mm f1.8/f2 for Astro
    A better pancake lens than the 16/20mm apsc ones that are cheap
    A STF lens that is faster than T5.6
    100 1.4 GM and a smaller 100 f/2 67mm filter
    200 f/2 GM and smaller 200 f2.8
    300 f2.8 GM

    The 200 and 300 are some I don’t need but I know ppl would find them to be needed in a lens lineup.

    (See ya at Kando this year!)

      1. I’m very disappointed first for the price and then about sharpness… In particular compared to Sigma ART 85mm f1.4

        1. Sony lenses are priced in line with Canon & Nikon glass. Third party lenses will always be cheaper but they’re also not designed to take full advantage of features like Eye AF. Sigma 85 Art is unquestionably the sharpest lens Sigma has ever made – but remember the goal of GM lenses is Sharpness AND Pleasing Bokeh. While is may sound silly to describe optical quality as “pretty” isn’t that the top criterial of a portrait lens?

          1. I would like the new focus system incorporated into the lens. I found the current one to be sluggish by comparison to my Batis

  3. For me it would be a GM f1.4 105mm; provided it is better for portraits and lighter and smaller than my actual FE 105 Sigma Art.
    (Would also need to be silent, weathersealed, soft but sharp, render great colors, produce truly minimal(!) vigneting and color fringing, no longer than 1m minimal focus distance, no onion rings in “beautiful” bokhee. …
    But It is only a suggestion. As long as it does not exist, I happily use my heavy Sigma version.
    (Maybe the announced Sigma 35mm FE 35mm f1.2 will also suffice to not have to rely gamble on a rear excellent Sony 1.4 copy.
    (I do prefere over the Sigma’s the Sony versions of the (halas louder and slow AF) 85mm f1.4 and 50mm f1.4 -although this later one realy should(!!!?) have been in a GM body.

  4. shift lenses… starting with a 35mm because there’s none available… and we can wait for the others using canon TS-E…
    i don’t know any architectural photographer that won’t buy a 35mm shift lens…

  5. Chris van Riel

    A 300mm f2.8, with integrated teleconverter would be nuts! And a 105.1.4 is welcome to, but Sigma already offers a pretty good one… so for me a 300mm f2.8 please!

  6. Also only a suggestion (as I truelly happily continue with my “very cheep but very excellent” Samyang 12mm f2.8 Fullframe Stereoscopic(!) fisheye (Next to Lowa’s 12mm “zero-distortion”).
    A more solid version (+exemplary sealings), of that very same stereoscopic formula would be “well advised” 😉

    1. Mitchell Phelps

      I should also mention for the lenses With a large or bulbous front should have a filter input close to the neck integrated similar to that of the 400 GM.

      1. Good suggestion, though it may not always be possible depending on lens configuration. One of the keys to why mirrorless lens designs outperform DSLR lenses is the ability to place lens elements closer to the sensor.

        1. Mitchell Phelps

          Yeah I totally understand that. I’d be curious to know the engineering sweet spot though. For example I know wider angle lenses can be smaller and lighter (24 GM & 12-24 G) because of the flange distance of Sony. But that new Canon 70-200 RF is so much smaller than the 70-200 GM because of the canon flange distance. I wonder if there is a focal length that (based on the laws of physics) that you can’t get much smaller than the DSLR counter part.

          1. Lens design is based on distance from the sensor so it’s easy to make DSLR lenses that are smaller than mirrorless, but extremely challenging to do the opposite. Smaller doesn’t mean optically better and that’s what Sony is focused on.

            At this point, Canon RF 70-200mm f/2.8 is nothing but a rumor. There is actual information regarding size, weight or optical performance.

  7. 200mm F4 macro like the amazing Minolta macro lens
    15mm fisheye prime
    24/45/85 tilt-shift lenses for pro architectural photography
    16-50 f2.8 crop sensor lens – the A mount version is superb (can’t understand why this hasn’t been on the e-mount line up since day 1!)

  8. 105 1.4 GM
    40 1.4 GM or 35 1.4 GM (but with size not bigger than 24 1.4 GM)
    500 5.6 G with as minimum size as possible.

  9. Jefferson Bernardes

    For me I would like a more complete G Master prime line.
    For example: 14mm f/1.4 G Master, 35mm f/1.4 G Master, 50mm f/1.4 G Master.
    It is fundamental that we put more lenses of the model 24mm f / 1.4 G Master on the market. Currently we only find it to preorder!

  10. Hi Brian

    – 14 or 18 f1.8
    – 24(or 28)-70 f2 (canon made it , so why not )
    – 200 f1.8 or f2 ( monsters by canon only so far)

    And ideally some “lightweight pancakes” at 2.8

  11. About Sony FE 70-200 F2.8 GM I don’t like the focals numeric scale on the lens that doesn’t show where I can find 85mm on the lens

    About Sony FE 24-70 f2.8 is older than other competitor and not at the top level than others

    Focal as 300mm f2.8 and 400mm f4 or are still missing

  12. UWA GM prime something around 14-18mm to match the fantastic 24 GM.
    135 f/2.8 similar to the Minolta pocket rocket.
    Update the 50/35 f/1.4 to match the rest of the GM lineup.
    Tilt shift would be nice.

  13. I would love a macro lens in the 150mm – 200mm range, like Minolta’s old 200mm.
    I had a Tokina 50-150 f3.5 / with macro setting for my Minolta xd11 & it became my ‘standard’ lens, so I would love a Sony updated version.

  14. 85/1.4 GM with updated AF motor. Heavier lenses will always focus slower, but one could still improve by using Direct Drive SSM like 24/1.4

  15. Alessandro Colantonio

    Cheaper and lighter long telephoto primes. All existing E-mount telephoto lenses >85mm are bulky and expensive.

    For instance, a replacement of the excellent Minolta 400mm f/4.5 HS APO would be great for wildlife.

    Another lens that I loved is Minolta 200 2.8 HS APO. Sharp and super compact, it would pair wonderfully with A7/A9 body. In comparison, 70-200 GM is a monster.

  16. Yes I love the SEL1224G f/4 (my main Astro lens) but at f/2.8 nice range for all inclusive f/2.8 (no need for IS/AF) BUT I understand coma is really hard to overcome. Except for the Sigma 14mm f/1.8 most all have no chip. Maybe a 60-600mm like the Sigma and not need an adapter. The fast glass desire was a film day thing today sensors like the A7M3, A7RM3 and soon A7SM3 and A9 with low noise from ISO 800 and above being ISO Invariant. I rarely take my SEL24240 off to put a prime on. I think smaller lenses like Canon FD lenses which I still use thanks to in camera IS. I mean primes do not have IS but have fast auto focus must make them larger!!! Yes smaller glass for a small camera like the SEL1018 I use has AF and IS with screw on filters and I use in FF mode a little soft on the sides but really nice inside a building at 12mm and silent mode not big and pro looking for tourist style shooting. I mean if film lenses were small why not digital???? I was envious of Olympus 35mm cameras and small lenses in the film days so light and stash in a bag while touring. Yes smaller lenses.

  17. There really needs to be a rectilinear fast wide angle prime for Astrophotography and landscape. Something in the 12-15mm range with supreme coma performance and excellent sharpness wide open. Please for the love of God help make this happen!

    1. The SEL1224G is awesome for Milky Way and if you use the NPF rule Accurate/Default vs 500 rule star trailing and coma (all types) are mostly reduced. Yes f/4 but makes it less expensive but great quality! If too expensive SEL1018 APS-C lens excellent at 10mm (=15mm) but also use at 12mm to 18mm(remove light shield for 18mm) in Full Frame mode again f/4. f/4 best spot to fight coma and NPF rule (not 500) to fight Star trailing. Faster lenses require small panos using center of lens to get rid of coma at top and sides. Physics of light traveling through lens and coma created is better and less expensive at f/4. Voigtlander is smaller 10/5.6, 12/5.6, 15/4.5 all also great would be nice f/2.8 or f/4 and still small but the sony camera kicks ass on all other cameras with ISO Invariance making shadow recovery most excellent!!!!

  18. 1.A 70-200 F4 G master with the latest optics, stronger build and compatible with the 1.4 and 2x adapters.
    2. Nikon Z equivalent very light 300mm, an amazing lens.
    3. Nikon Z equivalent 14-30, in that range that can take a 82mm filter, that would be so nice.

    1. Tilt-shift lenses are manual focus, so we can adapt any of the existing ones to our Sony cameras. There are adapters that let regular lenses become tilt and/or shift when mounted on A7/A9. I would not consider it a priority. What would be sweet is putting autofocus in a tilt-shift lens 😛

      1. I lack a “Like” button here, so I’ll write instead. Yes, I agree with your conclusion.

        Also with high megapixel sensors cornerstoning in post isn’t that large problem. One just have to think a little extra when framing since Sony cams can’t do JPEG cornerstoning in camera as Olympus can. That is quite helpful actually to be sure of getting all in that one needs for the RAW post cornerstoning.

      1. By your comments I see I wasn’t very clear in what I wanted. Sony needs to refresh the 70-200 f4 to make it at least as sharp as the Canon 70-200 f4 II and hopefully strengthen the body and make it fully compatible with their 1.4x and 2x converters.
        The reference to the new Nikon 14-30 was to get a ultra wide lens that can take a screw-in polarizer in their case it’s 82mm, this is a big deal to me and most landscape photographers who would like the to use the lenses without having to buy a third party adapter that is big and takes a huge filter, this is a big pain to use and carry around.

        1. DxO hasn’t tested the Canon EF 70-200mm f/4b IS II USM Lens yet, so I can’t comment on it’s sharpness other than Sony FE 70-200 F4 crushes Canon’s version 1, so it depends on how much Canon was able to raise their game.

          As for 14-30, that’s kindo of a tweener between 12-24 and 16-35, I can’t really see the need considering the fact that the FE 16-35 2.8 GM is the sharpest wide angle zoom every made. and yes, it takes an 82mm filter.

  19. I think something like a 14-24 F2.8, ideally with OSS would be great. Just saw today that SIGMA released the 14-24mm F2.8 for Sony E, which is exciting!

  20. I would like a wide angle zoom, like 12-24, 16-35 etc (not that important but 16-24 at least) that can with stand flaring when shot into the sun as good as the Voigtländer 15/4.5 or Loxia 21/2.8 and also produce nice sunstars.

    Maximum aperture is not that important but f2.8 would be nice so it can be used also as an interior lens. Weather sealed as good as the Olympus Pro glass is, and as light as possible.

    I haven’t tried the FE12-24 but it seems to flare bad and neither the existing FE16-35 f2.8 or f4 has good enough flare resistance (I have used both). Though the f4 has nice sunstars I think (matter of taste, I can live with the Loxia style as well) and the f2.8 has really nice sharpness but they both flare too easily and it can be hard to see that due to underexposure for not burning out the sun and the flare is first noticed when shadows are lifted in post and the shot is ruined and/or needs heavy photoshop mending.

  21. A 100-300 mm light zoom with Olympus Pro glass class weather sealing for travel and cityscape etc. The current 70-300 is too weak optically. The 70-200/4 is not fantastic but ok optically but to short at the long end.

  22. Gerard Bruno LAMARQUE

    Hi Brian ,
    Is Sony going to finally come with a New Bridge Camera with High Optical Zoom and 4K capabilities like the outstanding NIKON P1000 ? Please

  23. More GM quality fast 1.4 prime lenses, 35mm, 40mm, 55mm etc. Hopefully light weight. Especially 40mm, f/1.4.

  24. Lens 1: 18/1.8 (Astrophotography)
    Lens 2: 100/1.8 (Portrait)
    Lens 3: 30-150/4 (To complement 16-35/4)

    1. LOL, Sony is so far past dusting off old Minolta lens designs which I believe was actually a f/4.5, but I’d love to see Sony make a f/4 G with linear drive AF.

      1. Yes, it was f/4.5 and it was my preferred A-mount lens. I own most of the top quality Sony/Minolta lenses, and 400mm f/4.5 was my favourite — it was my very last lens to sell to complete the transition to E-mount. I used to have 70-400mm SSM2 too, but I still preferred the Minolta — which makes sense when you use it at the long end most of the time. Today, I own the 400mm GM, but the Minolta was smaller and lighter and sharp enough. You can put the Minolta 400mm in a small backpack, you cannot do the same with the E-mount 400mm f/2.8. And yes, we do have the 100-400 f/5.6, but it is 2 stops of light lost. Therefore, loosing a stop of light to get a smaller and lighter lens makes a ton of sense, especially for wildlife photographers! Since we already have fast 400mm and 600mm from Sony, I would love to see a smaller and lighter prime in the range 300-500mm.

  25. Nothing I could say that hasn’t been said already, but here’s my list:

    50mm 1.2 GM
    105mm 1.4 GM
    200mm 2.8G, 2.0GM, or 1.8GM to match Canon.
    A GM macro lens of any focal length, maybe 180?

    I should note that the mechanical vignetting bokeh of the 135GM and the 70-200GM turned me off big time, the 100STF really spoiled me in that regard. I hope that Sony continues to make more lenses with the bokeh characteristics of my 24GM and STF! Or, for example,s tarts offering the same lenses but with STF variants like what Canon is kinda doing.

    Another note, really love the close focusing ability of most Sony lenses, hope they can continue that. My ideal lens is a 50mm 1.2 with a mag ratio up to 0.3 with a separate STF version 🙂

    1. Great suggestions above, so I’ll only mention a couple I didn’t see

      Compact 24mm FE f/1.8 Zeiss (like the E version, but FE)
      Refresh 55mm FE f/1.8 Zeiss (refresh with af/m and focus hold button)
      >100mm FE Macro f/22 (or smaller) minimum aperture.

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