It is just too good a lens. Sony Planar T* FE 50mm f/1.4 ZA The Planar T* FE 50mm f/1.4 is without a doubt the best of Sony’s range of standard lenses for the a7III. Still. Best Wide Angle Zoom: 16-35mm. In fact the 16-35mm f/2.8 is considerably more expensive than the FE 12-24mm f/4 (above), despite offering a shorter angle of view. These are my only complaints about the Sony 70-200mm f/2.8, and in my mind and so many other photographers’, the price difference is completely justifiable – it’s simply a better lens than the f/4 version in every way. The Sony FE 16-35mm F2.8 GM is a premium wide-angle zoom lens for full-frame mirrorless cameras that promises to deliver extremely crisp images. Most modern lenses – and certainly all those available for the Sony a7III – produce sharp images. This lens is fully featured, offering selectable focus range, optical stabilization mode selection, auto/manual focus switch, and a focus hold button! While few photographers will complain about the relatively fast maximum aperture of f/2.8, the extra optics required to achieve this makes for a strikingly large lens. It’s a useful focal length, offers spectacular sharpness, great contrast, and produces smooth bokeh when shot wide open. Stopping down even slightly fixes the corner problem though, and center sharpness becomes better still. On paper it is outperformed by some G-Master lenses but I never had any complaints! Just use the navigation tab on the left to jump to the type of lens you're interested in. For a long time there were hardly any alternatives for full-format cameras with an E-Mount in the field of wide-angle lenses, but now Sony has finally added one to its range. All lenses tend to perform their best in terms of sharpness once stopped down a few clicks from maximum aperture. It delivers unexpectedly amazing results in low light, the autofocus is extremely accurate and consistent. True, you don’t get image stabilization with this lens. It also happens to be very small and lightweight compared to most other lenses of this focal length. It offers all the top performance characteristics of a G-Master lens and produces spectacular images. to get the same exposure as 1/60 sec at f/1.8 you would use a shutter speed of 1/95 or 1/100 sec at f/1.4. The Autofocus on this lens is fast and silent! The sharpness of this lens is great and I never had any issues. But armed with the information provided in this guide, you should have no problem choosing the best wide angle lens for use with your a7III, Your email address will not be published. Where the a7III can become more costly, however, is in purchasing suitable lenses. However, it’s actually a lot more competitively priced than you might expect of a lens this good. Despite being compact and affordable, the Sony 28mm f/2 offers excellent performance. A 50mm prime lens is a staple in almost every professional photographer’s bag for many reasons. Manual focusing is smooth and well-dampened. The difference between f/1.4 and f/1.8 is about 2/3 of a stop of light – i.e. As for avoiding the common trap of zooming when you should merely be taking a step backwards or forwards, well, this ultimately down to the photographer. When you compare the somewhat steep price point with having a series of prime lenses, the Sony 24-70mm f/2.8 becomes a lot more affordable. Ultimately then, the only reason you might want to consider other options is purely because of budget. They also offer the best bang for the buck, aside from the two pro zooms mentioned at the end, which are more for professionals/those with larger budgets. If you don’t have a 50mm lens or you haven’t had the chance to use one yet, definitely check it out. My three priorities of performance, size/weight, and affordability made this lens an excellent choice. I think the most important things to consider are: what do you shoot? Despite the wide angle of view, nice enough bokeh can be achieved when shooting up close; even if this tends to be a little on the busy side. The f/2 aperture allows you to shoot in low light and isolate close subjects from the backdrop. I also really love how fast this lens will focus even in the darkest scenes with the f/1.8 maximum aperture! Often shoot fast-moving subjects and don’t want to see any motion-blur in your images? Others produce a blur-effect that is much busier, resulting in backgrounds that distract from the subject. An ultra-wide angle lens of this kind will never be anybody’s tool of choice for creating a shallow depth of field. All images published at lensguide.io are either ours, authorized by the photographer, or published under creative commons commercial use license. I rarely miss focus, even with moving subjects. But if you detect the slight hint of reservation in this opening paragraph, it’s simply because this unarguably fine piece of glass comes as quite a hefty investment. and what is your style? This not only means the degree to which a background is blurred, but how it is blurred. Hope you find them helpful, don’t hesitate to leave a comment! Sigma’s award-winning Art line carries the best ultra-wide zoom lens for Sony’s excellent full-frame camera. I’ve honed in on this medium-wide prime as my go-to lens for shooting a variety of subjects or taking with me when I’m not sure what I’ll encounter. This does come at an increased size/weight as well as a steep prize tag. At 35mm, this lens is my favorite focal length. At 35mm you can use it to shoot in a documentary style because it allows you to have a semi-wide perspective without getting too much distortion. Sony a7III + Sony 24-70mm f/2.8 | 1/125 f/4 ISO 640. Overall, the Sony 28mm f/2 is a great buy! I most often use this lens at either 20mm or 35mm. Wide-angle lenses allow more of the scene to be included in the frame. Of course these Sony “Zeiss” lenses are not actually made in Germany by Zeiss, but instead under-license in Southeast Asia by Sony. Aside from this, though, there are a number of important considerations that anyone considering purchasing a wide angle lens for the a7III would do well to take into account. However, with the amazing high ISO of the Sony a7III, it’s easy to jump raise your ISO a little to capture a scene in lower light at f/1.8. If you want a very versatile wide angle lens, this is an excellent choice! Stabilized: No Weight: 281 g (9.9 oz) Size (Diameter x Length): 2.6 x 2.9″ / 66 x 73 mm Filter Diameter: 55mm Minimum Focus Distance: 0.22m (8.7 in). It’s great to have a lens that can keep up with this amazing performance. Beyond being an excellent choice of lens for landscape photography, then, the Batis 18mm f/2.8 is also particularly well suited to night-sky photography – where the triad of a fast maximum aperture, exemplary image quality, and a wide angle of view make for a truly winning combination. Custom designed for the Sony E-Mount, the Sigma 14-24mm f/2.8 DG DN Art lens is simply excellent. Indeed, while the 24mm GM doesn’t boast the extreme angle of view of, say, the Batis 18mm (below), what you gain instead is an extra stop of light-gathering abilities; highly appealing for both night-sky shooters and reportage photographers alike. First though, let’s take a look at a bunch of the main contenders – covering options for every budget. It’s also among the brightest wide-angle lenses with an aperture of f/2.8 regardless of focal length. So what do you get for your money? Some of my favorite images have been taken with this lens because of its ability to make the background appear right behind a subject instead of way off in the distance. Your email address will not be published. Best Wide-angle Lenses for Sony a7III & a7RIII. Beyond the variety of focal lengths it offers, the Sony 16-35mm f/2.8 is extremely sharp throughout the aperture range and produces excellent quality images. With a maximum aperture of f/1.8 it’s very fast and performs very well in low light but it is also compact enough to not worry about the size/weight when taking it on adventures. If you haven’t tried one for your Sony a7III, the Sony 70-200mm f/2.8 is an excellent choice. And the fact is that high quality wide angles are never the cheapest subcategory of any lens range. This lens is amazing on nearly every point. More important than this, though, is that a prime lens will generally offer much better optics and faster light-gathering abilities for the money than will a comparable zoom lens. Everyone has their favorite lenses, but it might be helpful to see what’s in someone else’s kit before you invest in your own.The first lens on the list is one of my favorite lenses: the Sony FE 24mm f/1.4 GM. And for those trying to achieve a shallow depth-of-field, fast maximum aperture takes on a whole extra degree of importance when considering wide angle lenses. One of the best is the classic 85mm f/1.4, which costs a third of that of the Sony G Master. One reason that prime lenses are often a better investment than zooms is simply because they force the user to do the legwork necessary to get a better shot, rather than relying on a lazy change in focal length via a zoom. In any case, stabilization isn’t really necessary on such a short focal length. As I said before, if you’ve got the budget, don’t think twice about picking up this lens! For some photographers, this extra investment will be money well-spent. When the Sony 35mm f/1.8 was released I immediately knew it would be added to my kit. Not only does this mean that zooms are invariably bigger than primes, but that shortcuts will often need to be made in terms of construction; frequently resulting in compromised image quality. This lens is a top performer and if you can afford it, don’t think twice! There are over 30+ wide angle prime and zoom lenses already available for Sony a7III & a7R III mirrorless camera. As we’ve just seen though, wide angle lenses tend to struggle to blur the background at all. I really love the ability to shoot wide open and isolate subjects even with the wider 35mm focal length. Stabilized: No Weight: 862 g (30.4 oz) Size (Diameter x Length): 3.5 x 5.4″ / 88 x 136 mm Filter Diameter: 82mm Minimum Focus Distance: 0.4m (1.25 ft). Clearly then, if you intend to shoot almost exclusively at f-stops of f/11 or slower, spending extra money on a lens that goes to f/1.4 would make no sense at all. Many people say that 85mm is the ideal portrait lens focal length because it renders subjects with minimal distortion, but the main factor for me is the bokeh that it can create. Indeed, optical performance is fantastic; producing images that are sharp edge to edge, even when shooting wide open. Combining a favored wide-angle focal length with an especially bright design, the FE 24mm f/1.4 GM from Sony is a fast, versatile lens well-suited to landscape, nature, and street photography. Or rather, images that are nicely sharp in the center of the frame. Because of this perspective, I find myself gravitating towards it when shooting a variety of subjects (portraits, landscapes, products, etc). Indeed, with an ultra-wide-angle, even just getting the background out of focus at all will be challenge enough. The 14-24mm f/2.8 DG DN Art is built to last and has no trouble keeping up with the a7III’s sensor. I think this lens is the perfect combination of performance and size. Required fields are marked *. Be warned, though, that there is one detail that might dissuade a few landscape photographers; the 12-24mm’s (unremovable) lens hood makes it impossible to use the lens with filters of any description. Sony’s a7III offers pro-level features and stunning image quality for not much more than the cost of a consumer camera. It was a very sharp and well-performing lens except in low light. MSRP $2,199.99 $2,098.00 However, if we are forced to nitpick, it should be mentioned that the 16-35mm f/2.8 lacks built in image stabilization. Multicoated and featuring 12 elements in 8 groups, the 35mm f/1.4’s optical performance is nothing less than superb. Many of the world’s most prominent photojournalists tout the utility of the 35mm focal length and I have become a believer. Conversely, a more moderate wide angle lens will still permit you to include a broad swathe of scene in the frame, but without either making the subject appear tiny or producing a heavily distorted perspective. There’s really not a lot about the Sony 16-35mm f/2.8 GM that is deserving of negative criticism. At around 1/3 the price of the 85mm f/1.4 version, the Sony 85mm f/1.8 is awesome value for money! It will appeal to everyone from landscape and interiors photographers to those shooting action sports and adventure photography. The best Sony Emount wide angle lens, it's a hard question to answer. Of course, with its wide angle of view and impressive optics, the 24mm GM will also appeal to those who shoot landscapes, interiors, action sports, and street photography. 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