The best lenses for Sony. Sony E Lenses Interchangeable lenses for sony cameras

The camcorder is the first consumer-grade camcorder to be compatible with high-quality E-mount interchangeable lenses. In addition to the three E-mount lenses currently available, NEX-VG10E users can use a wide variety of digital SLR optics. Sony cameras Alpha A-mount with the optional LA-EA1 adapter, as well as Sony G lenses, Carl Zeiss portrait primes and more from macro to super telephoto.

At the heart of the camcorder is a 14.2 effective megapixel Exmor APS HD CMOS sensor, paired with a powerful Sony BIONZ processor to capture very high resolution video and still images. The APS-C sensor, which has approximately 19.5 times the resolution of standard sensors in other consumer-grade camcorders, provides a shallow depth of field. This allows you to achieve "cinematic" results with defocused backgrounds (bokeh). In addition, the owners of this camera will be able to create photos of "mirror" quality, which will allow them not to take additional photographic equipment with them.

Full HD 1920x1080 video images are recorded in AVCHD format at a maximum bit rate of 24 Mbps for high detail and clarity. Unlike most digital cameras, including digital SLRs that support high-definition video, there is virtually no limit to how long you can shoot continuously. Full HD video or JPEG photo recording can be recorded on Memory Stick PRO Duo or SD media to record Full HD video or JPEG photo.

As standard, the NEX-VG10E is equipped with an E18-200mm F3.5-6.3 OSS lens with Image Stabilization and a powerful 11x optical zoom. Optimized for movie shooting, this E-mount lens features smooth, quiet autofocus and iris control. The built-in optical SteadyShot image stabilization system produces sharper video images than with normal shooting from the hand. When using wide-angle settings, Active Mode further compensates for camera shake, eliminating image shake even while walking. The lens has a circular aperture for creating bokeh effects in stills and movies.

Taking into account the wishes of professional videographers, the sound quality of the camera NEX-VG10E corresponds to its video image characteristics. In the four-channel spatial stereo microphone, the company applied the most advanced signal processing algorithms from four omnidirectional microphone heads. As a result, as noted Sony, exceptional clarity and high directivity of stereo sound are achieved. However, if necessary, the user can connect an external stereo microphone and put on headphones to control the sound.

Footage can be previewed on the 3-inch 921k-dot LCD. Complemented by a digital viewfinder high definition(1152 thousand points).

Choosing a standard lens for a Sony camera

It is believed that the choice of optics for Sony cameras is significantly narrower than for Nikon models and Canon. It is difficult to argue with this statement, but there is one interesting nuance. Market leaders gained superiority not due to native lenses, but due to "non-original". Tokina, Tamron, Sigma and others willingly make models with both F (Nikon) and EOS (Canon) mounts, but often ignore Sony cameras. It is difficult to explain in a nutshell why this happened, just accept this fact as an axiom. However, if we compare the number of models and the choice among the original glasses, then here Sony will not only not yield to Nikon and Canon, but can even surpass them in some segments.

First, Sony's photography division didn't come out of nowhere. In 2006, the company bought Konica Minolta's photography department. Sony engineers far-sightedly did not invent a new bayonet mount, but left Minoltov's A. This means that a vast layer of optics released by this once top manufacturer can easily fit modern Sony cameras.

Secondly, such a legendary company as Carl Zeiss has a special love for Sony. Zeiss lenses are available with different mounts, but only for Sony with autofocus and electronic contacts, which allows us to consider these lenses as "native". Despite the fact that the alliance with Sony somewhat spoiled the reputation of Carl Zeiss (primarily because “glasses” for the mass user began to be sold under the once very expensive brand), the optics of this company cannot be called unsuccessful.

In general, the choice of standard lenses for Sony is not as meager as adherents of the Nikon and Canon camps like to represent. In this review, we are considering standard lenses (you can find out what it is).

Sony SAL 18-70 f/3.5-5.6 DT

Groups / elements in the optical scheme 9/11.
Aperture blades 7.
Filter diameter 55 mm.
Dimensions (max. diameter x length) 66x77 mm.
Weight 236 g.

This is the oldest kit lens that Sony equips kits for beginner photographers. In fact, it is an old film Minolta 28-100, converted to 1.5 crop with a corresponding change in focal lengths. The change is unsuccessful. It does not shine with sharpness, color reproduction, or optical quality. Even by the standards of whale models, this is not the most successful lens. Main and only competitive advantage- low price.

Sony SAL 18-55 f/3.5-5.6 DT SAM

Lens for cameras with a crop factor of 1.5.
Groups / elements in the optical scheme 7/8.
Aperture blades 7.
Maximum aperture f/3.5-5.6.
Minimum aperture f/22-36.
Minimum focus 0.25 m.
Filter diameter 55 mm.
Dimensions (max. diameter x length) 69.5x69 mm.
Weight 210 g.

Sony's second attempt at a kit lens was much more successful. Despite the significant variation in the quality of various specimens, 18-55 is optically much better than 18-70 in almost all respects, except for the zoom ratio. It is clear that one cannot expect miracles from this “glass”, but, in any case, with proper skill with it, one can receive good shots. For beginners, the capabilities of this lens are enough for the first time, and then you can change it to something more advanced.

Sony SAL 16-105 f/3.5-5.6 DT

Lens for cameras with a crop factor of 1.5.
Groups / elements in the optical scheme 11/15.
Aperture blades 7.
Maximum aperture f/3.5-5.6.
Minimum aperture f/22-36.
Minimum focus 0.4 m.
Filter diameter 62 mm.
Weight 470 g.

This is a very versatile lens, covering both wide angle and moderate telephoto ranges, while being relatively compact and lightweight. They love it for its versatility. The optical characteristics of this model are average: it surpasses whale models, but falls short of professional optics. The downside of this lens is the price (about 16 thousand rubles), which should be recognized as overpriced. However, for the sake of the versatility of this model, the high price tag is also forgiven. It is especially popular with tourists and travelers: except for 16-105, you can take nothing else on a trip.

Sony SAL 24-105 f/3.5-4.5

Groups / elements in the optical scheme 11/12.
Aperture blades 7.
Minimum aperture f/22-27.
Minimum focus 0.5 m.
Filter diameter 62 mm.
Dimensions (max. diameter x length) 71x69 mm.
Weight 395 g.

Another Minoltian development that Sony brought to life. Despite the complete similarity in focal lengths, the lens is not an analogue of Canon, inferior to it in all respects. The Kenon model is a professional lens of the L series, and the Sony model is the initial “glass” for cameras with a full-frame matrix, which is not enough stars from the sky. There is little point in its existence: focal lengths are inconvenient for crop, and full-frame owners are usually advanced enough not to shoot with such a simple lens.

Sony SAL 16-50 f/2.8 SSM DT

Lens for cameras with a crop factor of 1.5.
Aperture blades 7.
Maximum aperture f/2.8.
Minimum aperture f/22.
Minimum focus 1 m.
Filter diameter 72 mm.
Dimensions (max. diameter x length) 81x88 mm.
Weight 577 g.

Prior to the release of this lens, Sony did not have a model for advanced hobbyists. 16-50 closed this niche. It cannot be called unique in terms of optical characteristics, if you look at the picture from it very closely, then you can find weaknesses. However, this is a fast lens with a constant aperture of 2.8, and it costs only 25 thousand rubles. This is an excellent combination, which can be forgiven for minor optical flaws. Competitors have similar lenses that cost more.

Sony SAL 28-75 f/2.8 SAM

Lens for full-frame cameras.
Groups / elements in the optical scheme 14/16.
Aperture blades 7.
Maximum aperture f/2.8.
Minimum aperture f/32.
Minimum focus 0.38 m.
Filter diameter 67 mm.
Dimensions (max. diameter x length) 77.5x94 mm.
Weight 565 g.

One of the most controversial lenses of the system. This is a very old model. It was developed in the 90s by Tamron, then produced under the Minolta brand, Sony engineers only built an ultrasonic motor into it without touching the optical design. The lens is good. He is doing well with both sharpness and contrast, and he adequately reproduces colors, and does not suffer from aberrations. Here is the contradiction. The price of the lens hints at the fact that this is a professional model, with the corresponding requirements for constructiveness and reliability, but there is nothing to brag about in this part of the 28-75 f / 2.8. This fact makes determining the potential audience of "glass" somewhat difficult. For amateurs, it is expensive (although 35 thousand rubles for a full-length lens with a constant aperture of f / 2.8 is cheap by the standards of other systems), but for professionals it is rather weak. They add inconsistencies and focal lengths that are good in full frame, but not in crop.

Sony SAL 18-200 f/3.5-6.3 DT

Lens for cameras with a crop factor of 1.5.
Groups / elements in the optical scheme 13/15.
Aperture blades 7.
Filter diameter 62 mm.
Dimensions (max. diameter x length) 73x85.5 mm.
Weight 405 g.

There is a similar hyperzoom in the lineup of almost any optics manufacturer, but Sony turned out to be one of the most unsuccessful. If Nikon and Canon 18-200 can boast of a quality higher than that of a whale lens, then Sony does not - it's exactly the same whale, only with very sweeping focal lengths. In fairness, it should be noted that Sony's hyperzoom is cheaper than its competitors, but this does not really save it. The only possible application is travel photography, although 16-105, even despite the smaller focal range, looks more interesting in this role.

Sony SAL 18-250 f/3.5-6.3 DT

Lens for cameras with a crop factor of 1.5.
Groups / elements in the optical scheme 13/16.
Aperture blades 7.
Maximum aperture f/3.5-6.3.
Minimum aperture f/22-40.
Minimum focus 0.45 m.
Filter diameter 62 mm.
Dimensions (max. diameter x length) 75x86 mm.
Weight 440 g.

With this lens, Sony engineers went further and made an even longer zoom, the magnification was 13.8x. This lens turned out to be somewhat better than the 18-200, even despite the increase in the focal range. In any case, I don’t want to compare pictures from it with “soap dishes”. 16-105 is also inferior, but not as critical as 18-200, so for photographers who do not have too high quality requirements, this lens can even be recommended as the only one in the kit. But miracles should not be expected from him either.

Carl Zeiss SAL 16-80 f/3.5-4.5 DT ZA

Lens for cameras with a crop factor of 1.5.
Groups / elements in the optical scheme 10/14.
Aperture blades 7.
Maximum aperture f/3.5-4.5.
Minimum aperture f/22-29.
Minimum focus 0.35 m.
Filter diameter 62 mm.
Dimensions (max. diameter x length) 72x83 mm.
Weight 445 g.

It was the first lens for Sony from Carl Zeiss and it made a lot of noise. It was after this model that Carl Zeiss began to be accused of pop. The lens, by the way, is quite good. It has high contrast, dense, saturated color, very noble background blur, which is rarely found in zoom lenses. Without a doubt, 16-80 has no analogues in quality among lenses with the same focal lengths from other manufacturers: both 15-85 from Canon and 16-85 from Nikon are optically worse. Everything would be fine, but 16-80 costs almost 35 thousand rubles, and for such a price you can and should find fault with it. There are two claims - strong chromatic aberrations and a weak construct. In general, the lens is more than good, but in terms of price and quality, it is far from ideal.

Carl Zeiss SAL 24-70 f/2.8 ZA SSM

Lens for full-frame cameras.
Groups / elements in the optical scheme 13/17.
Aperture blades 9.
Maximum aperture f/2.8.
Minimum aperture f/22.
Minimum focus 0.34 m.
Filter diameter 72 mm.
Dimensions (max. diameter x length) 83x111 mm.
Weight 955 g.

This lens costs 75 thousand rubles, which could immediately put an end to its market prospects, if it were not so good. If after the release of 16-80 many blamed Carl Zeiss for compromise, then with 24-70 there are no such questions - this is really a lens of the highest level. Admittedly, this is one of the best 24-70 f/2.8 zooms of any brand, perhaps even the best at the moment. He has no shortcomings. Excellent resolution and sharpness right from the open aperture, high contrast, nice color and background blur, reliability and indestructibility. In general, a dream lens, but this dream costs more than almost all cameras in the Sony lineup, and this is the only fact that overshadows the pleasure of using this lens.

Let's summarize. Sony's lineup of standard lenses includes both models of popular focal lengths and several exclusive ones. The set is quite extensive, it has both whale lenses like 18-70 and masterpieces like 24-70, while being quite balanced. There is a choice for both beginners and professionals. Advanced amateurs who want and know how to take high-quality pictures, but at the same time cannot spend too much a large amount on the lens. For them, 16-50 is optimal. The only thing missing in the lineup is optics with a constant f/4 aperture.

Sony has long occupied one of the leading positions in the production of photographic equipment. She constantly pleases customers with new developments, including innovative accessories. Sony E-mount lenses appeared on the market in 2010, immediately after the release of the Sony Alfa NEX-3 and NEX-5 cameras. Optics not compatible with cameras Sony A Mount. It is intended only for compact mirrorless cameras, which are still actively produced by the company today.

Main types

The lenses of this company are very diverse. The labeling of optics with the E mount is similar to products with the A mount. But there are significant differences in the models. These are the following notations:

SEL (Sony E-lens);
LE (Light Edition).
PZ (Power Zoom);
OSS (Optical Steady Shot);

The first marking indicates that the optics has an E-mount. The designation Light Edition is put on lightweight models, which are mainly made of plastic. Products equipped with a special motorized zoom drive have a Power Zoom mark on the body. The last marking indicates that the device has a special image stabilization system.

How to choose a lens for Sony E?

Before making a purchase, determine exactly what shooting you need the device for. Experts recommend choosing lightweight versions of lenses for long-distance travel and hiking. They are very compact, and will also please with their small size, weight and color. They are easy enough to transport, take with you on long walks.

PZ-marked products are worth buying if you want to shoot long distances. They allow you to change the focal length as smoothly as possible. And as a result, you can get the highest quality photos even at very long distances.

The Sony system today has over 70 proprietary lenses alone, in addition to dozens of third-party models - there's plenty to choose from! In this review, we have included E-mount lenses, which are divided into two classes: FE are for full-frame cameras, and E are for those equipped with APS-C sensors. System A today, unfortunately, is not so popular. Most often, owners of Sony DSLRs and cameras with a translucent mirror are experienced photographers and do not need such recommendation articles.

Universal Zoom

Sony FE 24-70mm f/2.8GM (SEL2470GM)

This universal high-aperture zoom for full-frame cameras belongs to the top-end G Master series, in all lenses of which the developers managed to combine excellent bokeh and sharpness worthy of a 42-megapixel sensor, starting from an open aperture.

The demanded range of focal lengths and high aperture make the SEL2470GM lens a versatile working tool for a reporter, wedding photographer and in general any serious universal photographer. Three aspherical elements and two elements of low dispersion glass provide reference uniform sharpness at any focal length, as we have seen in time.

ILCE-7RM2 / FE 24-70mm F2.8 GM SETTINGS: ISO 100, F2.8, 1/1600s, 70.0mm equiv.

The lens focuses from 38 cm, the speed and accuracy of autofocus is provided by a modern fast Direct Drive SSM drive. Sony's Nano AR coating reduces flare and stray reflections, resulting in a sharper image. The beauty of highlights in bokeh is provided by a rounded 9-bladed diaphragm and a unique optical design. In general, when creating the G Master series, the developers managed to achieve the almost impossible: to combine high sharpness with beautiful bokeh. The zoom mechanism is locked to prevent the inner lens barrels from moving forward under their own weight. SEL2470GM is made in a metal dust and moisture-proof case. Its length is 136 mm, its diameter is 87.6 mm, the thread diameter for filters is 82 mm. SEL2470GM weighs solidly - 886 grams.

Sony Carl Zeiss Vario-Tessar T* 24-70mm f/4 ZA OSS (SEL2470Z)

The SEL2470Z is a versatile zoom that is more affordable than the previous model in the G Master series. The main difference is in the luminosity. This lens loses a whole exposure step to the previous one. And his bokeh is not so chic. Nevertheless, it will provide high-quality shooting in all popular genres, including close-ups and product shots. The SEL2470Z is also well suited for travel, since its case is dust and moisture resistant, while being quite light and compact. Length - 94.5 mm, diameter - 73 mm, thread diameter for filters - 67 mm, and weight - 426 grams.

The SEL24105G lens is for photographers who need a versatile lens with a range wider than 24-70mm without compromising image quality. A practical focal length range of 24-105mm, a constant aperture of f/4 and a minimum focusing distance of 0.38m meet these requirements. This lens is able to replace a couple of more highly specialized ones due to a good balance of characteristics.

ILCE-7RM3 / FE 24-105mm F4 G OSS SETTINGS: ISO 320, F4, 1/80s, 34.0mm equiv.

This versatile lens is ideal for those who want to travel light and capture a variety of subjects. It will also come in handy for reporters, it will perform well in all situations when there is no place for a second lens in a bag or there is no time to change optics. 10x zoom range, dustproof design and optical image stabilizer - an excellent, even unique, combination of features.

The SEL24240 fully justified the title of "travel zoom" during our . The optical design includes five aspherical elements and one of low dispersion glass. The lens provides high contrast and good sharpness throughout the frame.

ILCE-7RM2 / FE 24-240mm F3.5-6.3 OSS SETTINGS: ISO 1600, F6.3, 1/250s, 240.0mm equiv.

The rounded 7-blade aperture contributes to beautifully shaped highlights in the blur zone, a rarity in the superzoom world. The lens with a length of 118.5 and a diameter of 80.5 mm is quite heavy - 780 grams. The autofocus drive is linear, the focusing is internal (the lens barrel does not rotate), the lens focuses starting from 0.5 m. But in terms of its optical qualities, it is still inferior to the models mentioned earlier.

Telezoom

Sony FE 70-200mm f/4G OSS (SEL70200G)

Among the portrait optics in the Sony system, the SEL85F18 lens is the best in terms of price and quality ratio. This is a moderate telephoto lens with a fairly high aperture, shallow depth of field, soft pattern and beautiful bokeh. The 85mm focal length provides an angle of view that fits close-up faces in the frame exactly at the same distance as we are used to seeing each other. Thanks to this, the proportions of the face are transmitted without distortion.

Aperture f/1.8 is not a record by the standards of portrait optics, because there is a model SEL85F14GM with aperture f/1.4, but our version of a portrait lens is offered for a relatively low price. In addition, he showed that such aperture is enough for only the eyes to remain sharp in the portrait, because the depth of field for a close-up is only 7 mm.

ILCE-7M2 / FE 85mm F1.8 SETTINGS: ISO 400, F1.8, 1/3200s, 85.0mm equiv.

The amount of spherical aberration is specially chosen so that the lens combines high resolution and beautiful bokeh. The beauty of the latter is also facilitated by a rounded 9-blade diaphragm. For ease of focusing, the SEL85F18 has a wide sensing ring, as well as a button that can be assigned, for example, to activate Eye AF. The portrait lens is compact - 78x82 mm and weighs only 371 grams. Thread for filters - 67 mm. The lens comes with an ALC-SH150 round lens hood. It is worth adding that at the time of writing the test, this portrait lens is one of the best, in our opinion, among all systems in terms of price and image quality.

wide angle

Sony FE 12-24mm f/4G (SEL1224G)

This is an ultra-wide-angle zoom with the smallest focal length (12mm) in a Sony E full-frame optics system. It provides a very wide field of view, which is necessary in landscapes and for capturing interesting shots that use a strong perspective as an artistic technique. In addition, this lens is orthoscopic, that is, it does not distort vertical and horizontal lines, but transmits them straight in the frame, which will allow the SEL1224G to be successfully used in interior and architectural photography.

The optical design of the lens includes four aspherical elements, and to correct chromatic aberrations, three low-dispersion elements and one extra-low dispersion element are used.

ILCE-7RM2 / FE 12-24mm F4 G SETTINGS: ISO 400, F14, 1/60s, 12.0mm equiv.

The SEL1635Z is a Zeiss full-frame ultra wide-angle zoom with built-in Image Stabilizer and a constant f/4 aperture. Compared to the previous lens, this one is more compact and affordable. Its coverage angle is also smaller, so its capabilities are more modest when shooting a similar set of scenes. However, the weatherproof design and optical stabilizer make it more attractive to landscapers, reporters, and generally all photographers who have to shoot in difficult conditions.

ILCE-7RM2 / FE 16-35mm F4 ZA OSS SETTINGS: ISO 100, F11, 2s, 16.0mm equiv.

Macro lenses are rarely good for anything other than macro photography, but the SEL90M28G, as we saw in the course, surprisingly combines the capabilities of an excellent macro lens, a decent portrait lens, and a moderate reportage telephoto lens. However, first of all, this is a serious macro lens that will be useful to a wide range of photographers for both professional and creative shooting.

The lens focuses from a distance of 28 cm, providing a shooting scale of 1:1. The autofocus system has three ranges of focusing distance set by a switch. This solution eliminates the possibility of looking for sharpness where there is definitely none, thereby speeding up autofocus. To make autofocus work even more confidently, and it was easier for the photographer to crop, an optical stabilizer is provided. The focus ring has a wide distance scale for easy manual distance adjustment.

ILCE-7RM2 / FE 90mm F2.8 Macro G OSS SETTINGS: ISO 6400, F9, 1/60s, 90.0mm equiv.

The lens body is dust and moisture resistant, which allows you to shoot outdoors without fear, for example, of morning dew or rain. The bokeh of the SEL90M28G is, by macro lens standards, soft and evenly filled in highlights. The latter are neatly shaped thanks to the 9-blade diaphragm. Therefore, the lens is quite suitable for shooting with high requirements for bokeh.

ILCE-7RM2 / FE 90mm F2.8 Macro G OSS SETTINGS: ISO 640, F2.8, 1/200s, 90.0mm equiv.

In portraits, the SEL90M28G will work out all the details of the skin, and it will do it quite softly. Even the “Portrait” preset included in the camera is enough not to soften the image further. In the report, this lens will act simply as a 90mm "fix" with an aperture of f / 2.8 and ringing sharpness right from the wide aperture. SEL90M28G is not too big and heavy: it weighs 602 grams, it is 130.5 mm long, its diameter is 79 mm, and the thread diameter for filters is 62 mm.

Universal prime lens

Sony Carl Zeiss Sonnar T* 55mm f/1.8 ZA

Sony Carl Zeiss Sonnar T* 55mm f/1.8 ZA, otherwise known as SEL55F18Z, successfully combines the properties of a normal lens and a portrait lens, which was confirmed by . This fifty dollars is suitable for owners of all cameras with Sony E mount, regardless of the sensor format: on crop cameras it will work as an excellent portrait lens, and on full-frame cameras it will work as a universal “fix” that can shoot almost anything well.

The SEL55F18Z focuses from as low as 50 cm, which is good enough for close-up shots of small subjects such as flowers. In general, it is very well balanced.

ILCE-7RM2 / FE 55mm F1.8 ZA SETTINGS: ISO 100, F1.8, 1/160s, 55.0mm equiv.

The aperture ratio of the SEL55F18Z is not a record one, but the image is sharp, starting from an open aperture. In the backlight, although glare appears, the pictures do not lose contrast. Aberrations are noticeable wide open, but already at f/2.8 the image is flawless. The diaphragm is rounded, with nine petals. Bokeh is smooth, beautiful and without twisting.

The lens looks strict and simple: a black matte metal body, the only moving part is the electronic focusing ring. SEL55F18Z weighs only 281 grams, and its dimensions are 70.5 × 64.4 mm, due to which the most inexpensive filters, with a diameter of 49 mm, are also needed. Comes with a figure hood.

Sony Carl Zeiss Sonnar T* FE 35mm F2.8 ZA

Also known as the SEL35F28Z, this lens is for anyone looking for a compact all-rounder. With full-frame cameras, it works as a moderate wide-angle lens, and with APS-C format cameras, it works as a lens with a normal field of view. The main strong point of this lens is its compactness: a camera of the A7 family can be put into a jacket pocket with it - the length of the lens, together with the mount, is 36.5 mm.

ILCE-7RM2 / FE 35mm F2.8 ZA SETTINGS: ISO 500, F2.8, 1/60s, 35.0mm equiv.

The aperture of the SEL35F28Z, by the standards of prime lenses, is moderate, only f/2.8, but it is enough for shooting in the dark and for blurring the background. The picture, as shown, is evenly sharp across the entire field, aberrations are almost completely corrected thanks to aspherical elements - there are 3 out of 5 of them in this lens. mm.