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

Versatile zoom

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

This versatile 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 with an open aperture.

The sought-after focal length range and high aperture make the SEL2470GM a versatile working tool for the reporter, wedding photographer and any serious generalist photographer. Three aspherical elements and two EDG elements provide reference uniform sharpness at any focal length.

The lens focuses from 38 cm, the speed and accuracy of autofocus is provided by a modern fast drive type Direct Drive SSM. Sony Nano AR Coating reduces flare and unwanted reflections, resulting in a high-contrast image. The beauty of bokeh highlights is ensured by the rounded 9-blade diaphragm and unique optical design. In general, when creating the G Master series, the developers managed to achieve almost impossible: combine high sharpness with beautiful bokeh. The zoom mechanism is locked to prevent the inner lens tubes from sliding forward under their own weight. The SEL2470GM is housed in a metal, dust-and-moisture-proof housing. Its length is 136 mm, diameter is 87.6 mm, and the diameter of the thread for light filters is 82 mm. The SEL2470GM weighs in at 886 grams.

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

The SEL2470Z is a versatile zoom that's more affordable than its predecessor in the G Master series. The main difference is the aperture ratio. This lens loses the whole exposure stage to the previous one. And his bokeh is not so gorgeous. Nevertheless, it will provide quality photography in all popular genres, including close-up and subject photography. 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 light filters - 67 mm, and weight - 426 grams.

No compromises on quality are required with this zoom: contrast and sharpness are consistently high across the entire frame and throughout the focal length range. For this, as many as five aspherical elements are used in the optical scheme. The aperture at all focal lengths is f / 4.0. This is not a record value, but quite sufficient in practice.

For shooting in low light, the SEL2470Z is equipped with an Image Stabilizer, which is especially effective when combined with an In-Camera Stabilizer based on sensor shift. And this is already an advantage over a more expensive brother! The high contrast of the image is facilitated by the antireflection coating of the ZEISS T * type lenses. The lens focuses from 40 cm, providing a 1: 5 scale - this is quite suitable for subject photography.

3 Sony FE 24-105mm f / 4 G OSS (SEL24105G)

SEL24105G Lens - For photographers looking for a versatile lens with a wider range of 24-70mm, but without sacrificing image quality. A practical focal length range of 24-105mm, a constant f / 4 aperture 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.

Test shots demonstrate well-corrected aberration, superb sharpness and pleasing bokeh - qualities necessary and sufficient for a versatile lens for all occasions. Sharpness is enough to work with even the most modern multi-megapixel cameras.

An optical stabilizer paired with an in-camera stabilized sensor gimbal makes it easier for the photographer to shoot still scenes - both the landscape at dusk and the interior. Precise bokeh allows for portraits. Distortion even at wide angle is corrected so that the picture does not lose anything in quality. Vignetting is noticeable in the wide-angle position, but it is effectively eliminated in post-processing. The lens is not too heavy - 663 grams at 113.3 × 83.4 mm. Filter diameter - 77 mm. The lens kit includes a case and a hood.

4 Sony FE 24-240mm f / 3.5-6.3 OSS (SEL24240)

This versatile lens is ideal for light travel and a wide variety of subjects. It will also come in handy for reporters, it will show itself well in all situations when there is no room for the second lens in the bag or there is no time to change the optics. A 10x focal length range, a dust and water resistant design and an optical image stabilizer - a great, even unique, combination of possibilities.

The SEL24240 has fully justified its travel-zoom title in our testing. The optical design includes five aspherical elements and one low-dispersion glass. The lens provides high contrast and good sharpness across the entire frame.

The rounded 7-blade diaphragm contributes to beautifully shaped highlights in the blur area, a rarity in the superzoom world. The lens with a length of 118.5 mm 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 from 0.5 m. But in terms of its optical qualities it is still inferior to the models mentioned earlier.

Telezum

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

The telephoto lens is rightfully popular with reporters, wedding photographers and in general anyone who needs to shoot close-ups from a distance of more than a few meters. There is also a "big brother" of this lens from the GM line - with an aperture of f / 2.8, but it costs significantly more. Therefore, we recommend a close in efficiency, but more affordable option, and leave a fast lens for professionals who have no financial constraints.

For a long-focus zoom, the nature of the image is important in the area of ​​sharpness and blur, therefore the SEL70200G uses a rather complex optical scheme with three aspherical lenses and three more made of low-dispersion glass. The lens delivers fairly soft and pleasing bokeh, while being sharp at a wide aperture.

The telephoto lens is made in a white dust and water resistant body, equipped with wide gripping rings for focusing and zoom. A detachable tripod foot is provided on the body for shooting with a monopod or a tripod, and for confident handheld shooting, the lens has a dual-mode image stabilizer - a useful tool for reportage photography. The SEL70200G measures 80x175mm, weighs 840 grams, uses 72mm filters, making it relatively compact by the standards of full-frame optics.

Portrait lens

6 Sony FE 85mm f / 1.8 (SEL85F18)

Among the portrait optics in the Sony system, the SEL85F18 lens is the best value for money. It is a moderate telephoto lens with a fairly high aperture, shallow depth of field, soft pattern and beautiful bokeh. The focal length of 85 mm provides an angle of view at which a close-up face is placed in the frame at exactly the same distance from which we are used to seeing each other. Thanks to this, the proportions of the face are reproduced without distortion.

The aperture of f / 1.8 is not a record by the standards of portrait optics, because there is a SEL85F14GM model with an aperture of f / 1.4, but our version of the portrait lens is offered for a relatively low price. Tests have shown that such aperture is enough to keep only the eyes sharp in a portrait, because the depth of field for a close-up is only 7 mm.

The amount of spherical aberration is specially selected so that the lens combines high resolution and beautiful bokeh. The rounded 9-blade diaphragm also contributes to the beauty of the latter. 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 portrait is compact - 78x82 mm and weighs only 371 grams. Filter thread - 67 mm. The lens is supplied with a round hood type ALC-SH150. It should be added 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-quality ratio.

Wide angle

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

This is an ultra-wide-angle zoom with the smallest focal length in Sony's E-lens system (12mm). It provides a very wide field of view needed in a landscape and for capturing interesting shots in which a strong perspective is used 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 make it possible to successfully use the SEL1224G in interior and architectural photography.

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

The lens renders an evenly sharp and contrasting image across the entire image field. The Direct Drive SSM linear drive autofocus is very fast, accurate and quiet. Sharpness can also be adjusted with a convenient wide focusing ring. The aperture throughout the entire focal length range is constant and equal to f / 4. The rounded diaphragm has seven blades. The minimum focusing distance is 28 cm, which makes it possible to introduce an active foreground into the picture and thereby enhance the transfer of space. The SEL1224G has a built-in four-blade hood, so a special cover is supplied with the lens, and you cannot attach light filters in front of the front lens. The lens measures 87x117.4 mm and weighs 565 grams.

8 Sony Carl Zeiss Vario-Tessar T * FE 16-35mm f / 4 ZA OSS (SEL1635Z)

SEL1635Z Lens is a Zeiss full-frame ultra-wide zoom lens with built-in IS 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 dust and moisture resistant design and optical stabilizer increase its attractiveness in the eyes of landscape painters, reporters, and in general all photographers who have to shoot in difficult conditions.

This zoom provides sharpness across the entire image field, even at wide open apertures, especially at the short throw position. This was achieved through the use of five aspherical lenses and three extra-low dispersion glass lenses. The rounded diaphragm has seven blades. The SEL1635Z lens focuses at a minimum distance of 28 cm. It is quite compact: 98.5x78 mm, weighs 518 grams, and the diameter of the thread for light filters is 72 mm.

Macro lens

9 Sony FE 90mm f / 2.8 Macro G OSS (SEL90M28G)

Macro lenses are rarely suitable for anything other than macro photography, but the SEL90M28G, as we have seen during testing, surprisingly combines the capabilities of an excellent macro lens, a decent portrait lens and a moderate reportage telephoto. However, first of all, it is precisely a serious macro lens that will be useful to a wide range of photographers for both professional and creative photography.

The lens focuses from a distance of 28 cm, providing a 1: 1 zoom ratio. The autofocus system has a switch-selectable three focusing ranges. This solution eliminates the likelihood of looking for sharpness where it is definitely not there, thereby speeding up the autofocus. To make autofocus work even more confidently, and it was easier for the photographer to frame, an optical stabilizer is provided. The focus ring has a wide distance scale for convenient manual distance adjustment.

The lens barrel is dust and water resistant, which allows you to shoot outdoors without fear of morning dew or rain, for example. The SEL90M28G's bokeh is soft by the standards of a macro lens, and with even fill of glare. The latter are neatly shaped thanks to the 9-blade diaphragm. Therefore, the lens is quite suitable for shooting with high demands on bokeh.

In portraits, the SEL90M28G will work through 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 additionally. In the reportage, this lens will act simply as a 90-mm "prime" with an aperture of f / 2.8 and ringing sharpness straight from the open aperture. The SEL90M28G is not too large and heavy: it weighs 602 grams, is 130.5 mm long, 79 mm in diameter, and has a 62 mm filter thread.

Universal prime lens

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

The Sony Carl Zeiss Sonnar T * 55mm f / 1.8 ZA, otherwise known as the SEL55F18Z, successfully combines the properties of a normal lens and a portrait lens, as our test confirmed. This fifty kopeck piece will suit owners of all Sony E-mount cameras, regardless of 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 50cm, which is sufficient for close-up shots of small subjects such as flowers. In general, it is very well balanced.

The aperture of the SEL55F18Z is not a record one, but the image is sharp, starting from the open aperture. Although glare appears in the backlight, the pictures do not lose contrast. Aberrations are noticeable at open aperture, but already at f / 2.8 the image is flawless. Rounded diaphragm with nine blades. The bokeh is smooth, beautiful and without curling.

The lens looks austere and simple: a matte black metal body, the only moving part is an electronically controlled focusing ring. SEL55F18Z weighs only 281 grams, and its dimensions are 70.5 × 64.4 mm, due to which the most inexpensive filters are needed, with a diameter of 49 mm. The set comes with a curly hood.

With the advent of new high-resolution full-frame sensors, there is a need for lenses that will be able to unleash their full potential. Sony was one of the first to understand this and introduced the G-Master line in 2016, setting a new standard in the field of photo optics. In this post, we will look at the key features of the series, as well as follow the evolution of this line of lenses.

Previously, most of the time, manufacturers have pleased us with either sharp lenses or lenses with beautiful bokeh. Apparently, looking at this, Sony, which has colossal experience in the production of optics, decided to produce lenses that can incorporate these two qualities: thanks to a new type of lens, the G-Master lenses have become super sharp without losing their beautiful defocusing.

To understand where Sony has got so much technology and how the company has achieved what no one has been able to do so far, let's turn to history.

2003 and 2006: prologue

Back in 2003, the two oldest Japanese manufacturers of photographic equipment Konica and Minolta merged into the Konica Minolta holding. It would seem that the two giants of the photo industry should form an indestructible duet that will dictate the conditions for the entire market. But after a short collaboration for three years, the holding is wholly acquired by Sony.

In 2006, Konica Minolta's photo division was taken over by Sony, and the now-famous Sony α brand was born. Thus, the company strengthens its technological position with many years of experience and new employees. Minolta, for example, is known for appearing the world's first autofocus 35 mmSLR camera. And cooperation in the 1970s with the German company Leitz gave a separate impetus to the development of optics. Minolta lenses are still called the "gold reserve" because of their high sharpness and good contrast. Of course, these characteristics are inherited by Sony lenses, and the crown of the development of optics is the G-Master line.

Further proof that Sony knows how to make revolutionary optics is the CineAlta line, launched in 1999. Sony was the first company to make a 4K cinema system ... in 2006! Today its lenses support up to 8K resolution and are used in the production of the largest Hollywood films.

Sony Alpha Professionals - Sergey Semenov

Sergei Semenov is an international economist by education. He worked in his specialty for 7 years, after which he completely went into photography. Moreover, the 2008 crisis served as an impetus. For 10 years of work in photography, he visited more than 40 countries. Shoots in the artistic landscape genre. He is the director of the world famous project AirPano, the goal of which is to show the most beautiful corners of the planet from a bird's eye view, to capture them in a spherical (360 °) format (photo and video). Laureate of contests: Wildlife of Russia (conducted by National Geographic), EpsonPanoAwards, Trierenberg Super Circuit, AdMe Photo Awards, Golden Turtle, Photosight Awards, The Best Of Russia. His works are published in such publications as National Geographic, GEO, Der Spiegel, Daily Mail.

Sony 7RM3, F 6.3, 1/250 s, ISO 400, 70 mm

Frame fragment (100%)

Sony 7RM3, F 8, 1/160 sec, ISO 1600, 26mm

Frame fragment (100%)

2016: the first three Sony G-Master models arrive

Three years have passed since the presentation of the full-frame Sony A7 and A7R, and it is becoming clear that the further, the more the new high-resolution full-frame sensors need special lenses. They are exactly what Sony is presenting, demonstrating three models at once: everyone's favorite zoom lenses FE 24–70 mmF / 2.8 GM and FE70-200 mmF / 2.8 GM OSS, as well as a portrait fix FE 85mm f / 1.4 GM... All lenses receive XA aspherical lenses.

XA lenses are some of the highest quality lenses in the world. It is thanks to them, or rather, thanks to precise processing in the production of a surface of 0.01 microns, the lenses provide high resolution and beautiful bokeh.

	FE 24–70 mm F2.8 GM	FE 85 mm F1.4 GM	70-200 MM F2.8 GM OSS
Focal length
Maximum Aperture (F)
Minimum aperture
Viewing angle (35mm / APS-C)	84 ° -34 ° / 61 ° -23 °		34 ° -12 ° 30 '/ 23 ° -8 °
Aperture blades
Closest focusing distance		AF 0.85 meters, MF 0.8 meters
Filter diameter
Groups / elements

"These lenses are very difficult to manufacture, and for us it turned out to be a kind of challenge: how high can we achieve accuracy?" - Masanori Kishi, Deputy General Manager, Lens Design Department

The FE 24–70 mm F / 2.8 GM lens has such a quality of resolution at any focal length that any other discrete lens would envy. The model is designed for full-frame E-mount cameras, but it is also possible to use it with APS-C matrices (the focal length in this case becomes 36-105 mm). The 9-blade f / 2.8 aperture remains unchanged at any focal length. Inside is a four-lens system for superb detail.

The MFT graphs show how well the lens reproduces the finest details:

Sony Alpha Professionals - Vlad Shutov

Has been professionally engaged in photography since the 80s of the last century. Graduated from Moscow State University named after M.V. Lomonosov (Faculty of Philology), Institute of Journalism (photojournalism) at the Union of Journalists of the USSR. Member of the Union of Photo Artists of Russia. Participant of 15 personal exhibitions. He taught at the Academy of Photography. Lectures, conducts master classes.

“The Sony 24-70 / 2.8 GM is a true reportage lens, fast and grippy in autofocus. It certainly cannot boast of such bokeh as its “longer” brother, but it is good for its sharpness, lack of bunnies and versatility. " - Vlad Shutov.

Along with the 24-70 comes the FE 70-200mm F / 2.8 GM OSS, which delivers powerful resolution in closed-aperture sequential shooting and beautiful bokeh in portraits. It becomes possible to block the tracking focus using three programmable buttons on the body (number 5 in the illustration). After you have accurately focused, press this button on the lens barrel - the focusing plane will be locked in the current position. Once you have fine-tuned focus, press this button on the lens barrel and the focal length will be locked at its current position. You can also assign a preview function to this button by customizing the camera settings. In addition, there are controls for autofocus, stabilizer and distance limiter.

The lens is equipped with dust and moisture protection. The illustration shows the locations of the sealing elements.

The optical structure of the lens is complex: 23 elements are included in 18 groups.

“The Sony 70-200 / 2.8 GM OSS covers my favorite focal range. It focuses very quickly, so much so that even the tracking autofocus works perfectly - there are practically no misses. This lens is very sharp, but at the same time exhibits excellent bokeh, and for me this model is, one might say, a stock lens. I use it not only when shooting outdoors, but often in the studio as well. " - Vlad Shutov

The last lens introduced in 2016 is the FE 85mm f / 1.4 GM portrait lens with an extended aperture ring. Sony says the lens will shoot 8K video. And it's easy to believe, considering that today the 42.4-megapixel sensor in the Sony A7R III produces 7952 × 5304 images and 4K video with a resolution of 3840 × 2160 with stunning detail.

The portrait model has an 11-blade diaphragm with rounded elements. This design provides a perfectly circular opening to help create particularly soft defocus areas. Aperture click control switch is provided for videographers - in the smooth aperture mode there will be no sharp jumps, which will allow changing values ​​right during video recording.

2017: the already legendary lineup is replenished with a new three

The FE 100 mm F / 2.8 STF GM OSS, FE 16-35 mm F / 2.8 GM and FE 100-400 mm F / 4.5-5.6 GM OSS appear on the market.

The FE 100 mm F / 2.8 STF GM OSS becomes the first autofocus lens with an apodization element, and also receives the abbreviation STF in its name - the Smooth Trans Focus optics deliver spectacular bokeh. This technology was previously used in Minolta lenses and later by Sony in the 135 mm F / 2.8 model.

APD filter Aspherical lens ED glass

The apodization element works on the principle of a gradient ND filter: slightly darkens the edges, reducing various aberrations that may occur at the edges of the image. The number of aperture blades is 11.

The FE 16–35 mm F / 2.8 GM is one of the most sought after lenses in the line today. At 35mm, many photographers use lenses as a portrait lens. The 11-blade diaphragm, already traditional for the series, gives almost perfect bokeh on the full-format matrix. The optical design consists of 16 elements in 13 groups.

“Sony 16-35 / 2.8 GM is fast and sharp. It, like all wide-angle lenses, has some vignetting at full aperture and at the short end, but, again, it can be easily removed in the photo editor. As a summary, I will answer the question: are these lenses worth the money? Yes, they are. Should you buy them? If you have a Sony R camera - of course! " - Vlad Shutov

The FE 100–400 mm F / 4.5-5.6 GM OSS is a fast and quiet sporty lens, and is Sony's longest zoom lens to date. On APS-C sensors, the focal length is increased to 150–600 mm. Two DDSSM linear actuators provide fast focusing and sharp subject tracking. The new Direct Drive Super Sonic wave Motor focusing system enables focusing even at shallow depth of field. The motorized DDSSM system is quiet, making it ideal for shooting movies with constant focus point changes during movie recording. The lens itself is smaller and lighter than its closest competitors.

Sony Alpha Professionals - Anton Unitsyn

Anton Unitsyn proves by his example that sometimes it is not only possible, but also necessary to seriously change your life. It would seem that he was destined for an excellent career as a physicist. Graduated from Novosibirsk State University, worked for 5 years at the Institute of Chemical Kinetics and Combustion SB RAS. And suddenly he dropped out of graduate school to go into professional photography. But the result that he immediately showed in a new field surprised everyone. Three dozen international (collective) exhibitions. Winner of many competitions. Publications in various media. Winner of a scholarship of the Government of the Russian Federation for workers of culture and art in 2015, winner of a scholarship from the Ministry of Culture of the Russian Federation in 2012 and 2014. Teaches photo reporting at the Faculty of Journalism of NSU.

“Lenses of 100-400 mm, like any telezums, are rare guests in my backpack. I am very close to the statement of Robert Capa: "If you could not get a good shot, you could not get close enough." Therefore, the telephoto lens is in my hands when I physically cannot get close to the object being shot. So it was with the sports filming of the regatta in Croatia. The yachts sail at a relatively long distance, there is no opportunity to move between them during the race. Here super-telefocal distances come to the rescue, allowing you to squeeze the space for interesting rhythms and angles and make close-ups. The lens proved to be brilliant. I used 5.6 for all cases as it is available across the entire focal length range. I was pleasantly surprised by the excellent fast, grippy focusing, given the rather closed aperture. All images are exceptional in sharpness, at 24 megapixels on my A9, very nice drawing. I took a number of large portraits of the regatta participants using this particular lens.

In general, I am very much afraid of the word "ideal" - in my mind it is something unattainable. However, the 100-400 lens certainly came very close to this line. A year later, I have to shoot the regatta again, but this time in Italy, and, in principle, there is an opportunity to take a new 400 2.8. But I will prefer the 100-400 as it is lighter, more compact and flexible in use due to the wide range of focal lengths. " - Anton Unitsyn

Sony ILCE-9 , F 5.6, 1/1250, ISO100, 100 mm

Frame fragment (100%)

Sony ILCE-9 , F 4.5, 1/1250, ISO100, 100 mm

Frame fragment (100%)

Sony ILCE-9 , F 5.6, 1/1000, ISO100, 355 mm

Frame fragment (100%)

“I really love to pick out all sorts of details when shooting in the city, from rooftops or from mountains, and often 200mm is very lacking. So I went over 100-400 mm with pleasure; the only pity is that the weight is disappointing - a bit heavy. But 100-400 works great with the extender, and when I photographed bears in Kamchatka, the extender helped a lot, turning the lens into a super telephoto lens without losing autofocus and without compromising on quality. Obviously, these two lenses are amazing in terms of workmanship, the body is a monolith! Ergonomics are beyond praise. The set includes smart cases in which the lenses can be transported separately. For me there is only one drawback - these are different diameters, so I have to carry a whole bunch of different filters. " - photographer Sergey Semenov

Sony 7RM3, F 5.6, 1/5000, ISO100, 100 mm

Frame fragment (100%)

Sony 7RM2, F 11, 1/800, ISO800, 100 mm

Frame fragment (100%)

2018: discrete breakthroughs

This summer, another G Master telephoto lens comes out - the FE 400mm F / 2.8 GM OSS prime. Lightweight for its class, it is designed for sports and wildlife photography. Along with the FE 400's portrait photographers, it has an 11-blade aperture, which gives excellent bokeh.

In contrast to the 400 mm telephoto, in September 2018 a new wide-angle model is released - the FE 24 mm F1.4 G Master, which, together with the FE 85 mm, becomes the fastest model in the lineup. The 24mm lens weighs only 445 grams, which is an order of magnitude lighter than competing models. For example, a similar model from Sigma weighs almost twice as much. The lens uses a 13-element system, two of which are XA lenses. The DDSSM autofocus drive gives videographers fast, accurate and quiet focusing. In addition, it is possible to disable the "stops" of the aperture for smooth exposure changes during recording. The body has a programmable AF lock button as well as an AF / MF switch. Like all lenses in the G Master series, the FE 24mm F1.4 is water and dust resistant.

Instead of a summary, a few more words about technology

XA Aspherical Lenses already mentioned in this article is a unique proprietary Sony technology developed specifically for the G-Master series to achieve ultra-high sharpness at all focal lengths. Aspherical lenses use more sophisticated and precise technologies than spherical lenses. This achieves a high precision surface treatment of 0.01 microns.

Resolution of 50 line pairs/ mm allows for subtle contrast transitions. When designing lenses, Sony engineers have eliminated optical aberrations, in particular chromatic.

Perfect bokeh. When designing a lens, in parallel with increasing the resolution and improving the frequency-contrast characteristics, you need to constantly monitor the quality of the bokeh. For this, a simulation method was used. In addition, each lens is manually adjusted. The higher the resolution, the better the lens will reproduce subtle contrast transitions. To achieve this, at the design stage, a number of optical aberrations, in particular chromatic, and comas were completely eliminated.

New drive. Lens position sensors are used to focus. For each model from the G-Master range, the drive is designed separately. For example, in the FE 70-200mm F / 2.8 GM OSS, the optics are divided into two groups, each with its own autonomous drive. The result is smoother focusing when shooting photos and videos. In addition, linear drive technology is used - direct non-contact electromagnetic focus control for fast response and extremely quiet operation. This provides easy operation and quiet operation for both stills and video recording.

Today, the seven lenses in the G-Master line give photographers an unlimited field of activity in completely different categories: sports, nature photography, portraits, urban photography, architecture and much more.

Choosing a stock lens for a Sony camera

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

Firstly, Sony's photo division did not arise from scratch. In 2006, the company bought the Konica Minolta photo department. Sony engineers far-sightedly did not invent a new bayonet, but left Minoltov's A. This means that an extensive layer of optics released by this once top manufacturer can be easily applied to 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 makes these lenses "native". Despite the fact that the alliance with Sony somewhat spoiled the reputation of Carl Zeiss (first of all, because "glasses" for mass users 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 so scanty as the adherents of the Nikon and Canon camps like to imagine. In this review, we consider stock lenses (you can find out what these are).

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 has used in kits for aspiring photographers. In fact, it is an old film Minolta 28-100, converted for a 1.5 crop with a corresponding change in focal lengths. The alteration is unsuccessful. It does not shine with sharpness, color rendition, or optical quality. Even by the standards of whale models, this is not the best lens. The main and only competitive advantage is the 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 a 7/8 optical scheme.
• Aperture blades 7.
• Maximum aperture f / 3.5-5.6.
• Minimum aperture f / 22-36.
• Minimum focusing 0.25m.
• Filter diameter 55 mm.
• Dimensions (max.diameter x length) 69.5x69 mm.
• Weight 210 g.

Sony's second attempt at making a whale lens has been far more successful. Despite the significant variation in the quality of various samples, the 18-55 is optically much better than the 18-70 in almost all respects, except for the zoom ratio. It is clear that miracles should not be expected from this "glass" either, but, in any case, with proper skill with it, you can get good shots. For beginners, the capabilities of this lens will be enough for the first time, and then it can be changed 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 focusing 0.4m.
• Filter diameter 62 mm.
• Weight 470 g.

It is a highly versatile lens covering both wide-angle and moderate tele-range, while being relatively compact and lightweight. They love him for his versatility. The optical characteristics of this model are average: it surpasses the whale models, but does not reach professional optics. The downside of this lens is the price (about 16 thousand rubles), which should be considered 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 for 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 focusing 0.5m.
• Filter diameter 62 mm.
• Dimensions (max.diameter x length) 71x69 mm.
• Weight 395 g.

Another Minolt development that Sony has 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 Keno model is a professional L-series lens, and the Sonev model is the initial "glass" for cameras with a full-frame sensor, which is not enough stars from the sky. There is little sense in its existence: focal lengths are inconvenient for a crop, and owners of a full frame 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 focusing 1 m.
• Filter diameter 72 mm.
• Dimensions (max.diameter x length) 81x88 mm.
• Weight 577 g.

Before the release of this lens, Sony did not have a model for the advanced hobbyist. 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 weak points. However, this is a fast lens with a constant 2.8 aperture, and it costs only 25 thousand rubles. This is a great combination that can be forgiven for minor optical flaws. Competitors have similar lenses more expensive.

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 focusing 0.38 m.
• Filter diameter 67 mm.
• Dimensions (max.diameter x length) 77.5x94 mm.
• Weight 565 g.

One of the most controversial lenses in the system. This is a very ancient model. It was developed in the 90s by Tamron, later produced under the Minolta brand, Sony engineers only built an ultrasonic motor into it, without touching the optical circuit. The lens is good. Everything is good with him both with sharpness and with contrast, and he adequately reproduces colors, and does not suffer from aberrations. Here's the contradiction. The price of the lens hints that this is a professional model, with the corresponding requirements for construction and reliability, but in this part, the 28-75 f / 2.8 has nothing to boast of. This fact makes the identification of the potential audience of "glass" somewhat difficult. For amateurs, it is expensive (although 35 thousand rubles for a full-frame lens with a constant f / 2.8 aperture is cheap by the standards of other systems), but rather weak for professionals. Adds inconsistency and focal lengths that are good at full frame but not at 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.

A similar hyperzoom is in the lineup of almost every optics manufacturer, but Sony has 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 kit lens, Sony does not - it is exactly the same kit, only with very sweeping focal lengths. For the sake of fairness, it should be noted that Sony's hyperzoom is cheaper than its competitors in terms of price, but this does not particularly save him. The only possible field of application is travel photography, although 16-105, 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 focusing 0.45m.
• 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 slightly better than the 18-200, even though the focal range was increased. In any case, you don't want to compare pictures from it with "soap dishes". 16-105 it 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 focusing 0.35m.
• Filter diameter 62 mm.
• Dimensions (max.diameter x length) 72x83 mm.
• Weight 445 g.

This 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 being pop. The lens, by the way, is not bad at all. It has a high contrast, dense, rich color, a very noble background blur that is rarely found in zoom lenses. There is no doubt that the 16-80 has no analogues in quality among lenses with the same focal lengths from other manufacturers: either 15-85 from Canon, or 16-85 from Nikon optically worse. Everything would be fine, but it costs 16-80 almost 35 thousand rubles, and for such a price you can and should find fault with him. There are two complaints - strong chromatic aberration and weak construction. 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 focusing 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, were it not so good. If after the release of 16-80 many people blamed Carl Zeiss for compromise, then from 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 all brands, perhaps even the best at the moment. He has no shortcomings. Excellent resolution and sharpness straight from the open aperture, high contrast, nice color and background blur, reliability and indestructibility. In general, the lens is a dream, but this dream is more expensive than almost all cameras in the Sony line, and this is the only fact that darkens the pleasure of using this lens.

Let's summarize. Sony's stock lens lineup includes both popular focal lengths and several exclusive ones. The set is quite extensive, it contains both kit lenses of the 18-70 type and masterpieces like the 24-70, while being quite balanced. There is a choice for both beginner photographers and professionals. Also, advanced amateurs who want and know how to take high-quality pictures, but at the same time cannot spend too much money on a lens, have not been forgotten either. For them, 16-50 is optimal. The only thing missing in the line is optics with a constant f / 4 aperture.

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

Versatile zoom

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

This versatile 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 with an open aperture.

The sought-after focal length range and high aperture make the SEL2470GM a versatile working tool for the reporter, wedding photographer and any serious generalist photographer. Three aspherical elements and two ED glass elements provide reference uniform sharpness at all focal lengths, as we saw in our test.

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

The lens focuses from 38 cm, the speed and accuracy of autofocus is provided by a modern fast drive type Direct Drive SSM. Sony Nano AR Coating reduces flare and unwanted reflections, resulting in a high-contrast image. The beauty of bokeh highlights is ensured by the rounded 9-blade diaphragm and unique optical design. In general, when creating the G Master series, the developers managed to achieve almost impossible: combine high sharpness with beautiful bokeh. The zoom mechanism is locked to prevent the inner lens tubes from sliding forward under their own weight. The SEL2470GM is housed in a metal, dust-and-moisture-proof housing. Its length is 136 mm, diameter is 87.6 mm, and the diameter of the thread for light filters is 82 mm. The SEL2470GM weighs in at 886 grams.

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

The SEL2470Z is a versatile zoom that's more affordable than its predecessor in the G Master series. The main difference is the aperture ratio. This lens loses the whole exposure stage to the previous one. And his bokeh is not so gorgeous. Nevertheless, it will provide quality photography in all popular genres, including close-up and subject photography. 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 light filters - 67 mm, and weight - 426 grams.

SEL24105G Lens - For photographers looking for a versatile lens with a wider range of 24-70mm, but without sacrificing image quality. A practical focal length range of 24-105mm, a constant f / 4 aperture 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, 1/80 s, 34.0 mm equiv.

This versatile lens is ideal for light travel and a wide variety of subjects. It will also come in handy for reporters, it will show itself well in all situations when there is no room for the second lens in the bag or there is no time to change the optics. A 10x focal length range, a dust and water resistant design and an optical image stabilizer - a great, even unique, combination of possibilities.

The SEL24240 has fully justified its travel-zoom title in our testing. The optical design includes five aspherical elements and one low-dispersion glass. The lens provides high contrast and good sharpness across the entire frame.

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

The rounded 7-blade diaphragm contributes to beautifully shaped highlights in the blur area, a rarity in the superzoom world. The lens with a length of 118.5 mm 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 from 0.5 m. But in terms of its optical qualities it is still inferior to the models mentioned earlier.

Telezum

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

Among the portrait optics in the Sony system, the SEL85F18 lens is the best value for money. It is a moderate telephoto lens with a fairly high aperture, shallow depth of field, soft pattern and beautiful bokeh. The focal length of 85 mm provides an angle of view at which a close-up face is placed in the frame at exactly the same distance from which we are used to seeing each other. Thanks to this, the proportions of the face are reproduced without distortion.

The aperture of f / 1.8 is not a record by the standards of portrait optics, because there is a SEL85F14GM model with an aperture of f / 1.4, but our version of the portrait lens is offered for a relatively low price. In addition, our test showed that such aperture is enough to keep only the eyes sharp in a 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, 1/3200 s, 85.0 mm equiv.

The amount of spherical aberration is specially selected so that the lens combines high resolution and beautiful bokeh. The rounded 9-blade diaphragm also contributes to the beauty of the latter. 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 portrait is compact - 78x82 mm and weighs only 371 grams. Filter thread - 67 mm. The lens is supplied with a round hood type ALC-SH150. It should be added 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-quality ratio.

Wide angle

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

This is an ultra-wide-angle zoom with the smallest focal length in Sony's E-lens system (12mm). It provides a very wide field of view needed in a landscape and for capturing interesting shots in which a strong perspective is used 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 make it possible to successfully use the SEL1224G in interior and architectural photography.

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

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

SEL1635Z Lens is a Zeiss full-frame ultra-wide zoom lens with built-in IS 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 dust and moisture resistant design and optical stabilizer increase its attractiveness in the eyes of landscape painters, reporters, and in general all photographers who have to shoot in difficult conditions.

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

Macro lenses are rarely suitable for anything other than macro photography, but the SEL90M28G, as we have seen during testing, surprisingly combines the capabilities of an excellent macro lens, a decent portrait lens and a moderate reportage telephoto. However, first of all, it is precisely a serious macro lens that will be useful to a wide range of photographers for both professional and creative photography.

The lens focuses from a distance of 28 cm, providing a 1: 1 zoom ratio. The autofocus system has a switch-selectable three focusing ranges. This solution eliminates the likelihood of looking for sharpness where it is definitely not there, thereby speeding up the autofocus. To make autofocus work even more confidently, and it was easier for the photographer to frame, an optical stabilizer is provided. The focus ring has a wide distance scale for convenient manual distance adjustment.

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

The lens barrel is dust and water resistant, which allows you to shoot outdoors without fear of morning dew or rain, for example. The SEL90M28G's bokeh is soft by the standards of a macro lens, and with even fill of glare. The latter are neatly shaped thanks to the 9-blade diaphragm. Therefore, the lens is quite suitable for shooting with high demands on bokeh.

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

In portraits, the SEL90M28G will work through 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 additionally. In the reportage, this lens will act simply as a 90-mm "prime" with an aperture of f / 2.8 and ringing sharpness straight from the open aperture. The SEL90M28G is not too large and heavy: it weighs 602 grams, is 130.5 mm long, 79 mm in diameter, and has a 62 mm filter thread.

Universal prime lens

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

The Sony Carl Zeiss Sonnar T * 55mm f / 1.8 ZA, otherwise known as the SEL55F18Z, successfully combines the properties of a normal lens and a portrait lens, as our test confirmed. This fifty kopeck piece will suit owners of all Sony E-mount cameras, regardless of 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 50cm, which is sufficient 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, 1/160 s, 55.0 mm equiv.

The aperture of the SEL55F18Z is not a record one, but the image is sharp, starting from the open aperture. Although glare appears in the backlight, the pictures do not lose contrast. Aberrations are noticeable at open aperture, but already at f / 2.8 the image is flawless. Rounded diaphragm with nine blades. The bokeh is smooth, beautiful and without curling.

The lens looks austere and simple: a matte black metal body, the only moving part is an electronically controlled focusing ring. SEL55F18Z weighs only 281 grams, and its dimensions are 70.5 × 64.4 mm, due to which the most inexpensive filters are needed, with a diameter of 49 mm. The set comes with a curly hood.

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

Also known as the SEL35F28Z, this lens is suitable for anyone looking for a compact all-rounder. With full-frame cameras, it works as a moderate wide-angle, 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: the camera of the A7 family with it can be stowed in a jacket pocket - the length of the lens together with the bayonet is 36.5 mm.

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

The SEL35F28Z's aperture is moderate by the standards of prime lenses, only f / 2.8, but it is enough for shooting in the dark and for blurring the background. The drawing, as our test showed, is uniformly sharp across the entire field, aberrations are almost completely corrected thanks to aspherical elements - there are 3 of them in this lens. with a diameter of 49 mm.