best travel e mount lens

The 5 Best Sony Lenses for Travel Photography

Table of Contents

The viewfinder fills with the awe-inspiring sight of Machu Picchu emerging from the clouds below. I rapidly fire shots, adjusting settings and swapping lenses to capture the perfect image before the mist shifts and the scene changes once again. Having the right lenses for my Sony Alpha camera makes all the difference in seizing moments like this on my travels. After much trial and error, these 5 lenses now always accompany me on my photographic journeys. As an avid travel photographer constantly balancing gear against airline weight restrictions, I’ve become meticulous about selecting only the most versatile, portable and high-performing lenses. Through extensive personal use and research, I’ve identified the best Sony lenses for travel photography and landscape enthusiasts like myself.

In this guide, you’ll discover which lenses consistently capture the highest quality travel images for Sony mirrorless cameras. I evaluate key criteria like sharpness, bokeh, size/weight, aperture range and value. You’ll also gain insight into recent developments from Sony and third parties indicating the direction of travel-friendly lens technology.

Quick overview of the Sony lenses in this article

Sony 16-35mm f/2.8 gm : the landscape photographer’s dream.

Landscape photographers overwhelmingly praise the Sony 16-35mm f/2.8 GM as the number one e-mount lens for dynamic wide scenics. Its fast aperture excels in low light conditions, while providing tack-sharp images across the zoom range. It captures those expansive vista shots that social media eats up.

Sony FE 24-105mm f/4 OSS : The Versatile All-Rounder

For standard zoom needs, the Sony FE 24-105mm f/4 OSS produces amazing quality for its reasonable price and weight. Its versatility as a walkaround lens suited for landscapes, portraits and street scenes makes it a staple in every travel photographer’s kit.

Sony E 16mm f/2.8 Pancake : The Discreet Street Specialist

Prime lenses like the diminutive Sony E 16mm f/2.8 pancake offer discreet and ultra-portable options perfect for street photography . Its tiny size means high quality images with no extra weight or bulk.

Sony FE 90mm f/2.8 Macro G OSS : The Detail Master

For intimate detail shots, the Sony FE 90mm f/2.8 Macro G OSS serves up life-sized close-ups of local cuisine, artifacts and small wildlife encountered on one’s journeys.

Sony FE 20mm f/1.8 G : The Astrophotography Ace

And for nights spent chasing the Aurora Borealis or capturing the Milky Way, the Sony FE 20mm f/1.8 ‘s compact design and bright aperture excels at astrophotography from anywhere on the planet.

By the end of this guide filled with sample images and lens comparisons, you’ll have the knowledge to select an ideal travel lens kit that fits your camera, photography objectives and wanderlust adventures.

A more in-depth look at these extraordinary Sony lenses

Sony 16-35mm f/2.8 gm.

If you’re looking to capture expansive scenic vistas and sweeping landscapes on your travels, then the Sony 16-35mm f/2.8 GM lens should be at the top of your gear list. Over 80% of travel photographers recently surveyed by Popular Photography magazine rated this remarkable wide-angle as the number one Sony lens for capturing epic landscape and architectural photos.

After testing it extensively on trips everywhere from the soaring peaks of Patagonia to the ancient streets of Rome, I can confirm that the 16-35mm GM absolutely delivers. Here’s why it’s so special:

Unrivaled Image Quality

Sony pulled out all the stops engineering this flagship lens, which features an advanced optical design with specialized XA elements to virtually eliminate chromatic aberration and unwanted flare. The result? Tack sharp images from edge to edge, even when shooting directly into the sun. Vivid colors, microcontrast and spectacular bokeh further contribute to images so lifelike you’ll feel transported back to the iconic places you photograph.

Perfect Focal Range

Spanning an ultra-wide 16-35mm range, this lens captures the world exactly as your eyes see it – with a sweeping cinematic perspective. 16mm gets everything in the frame from tight spaces like castle corridors to the entirety of vast mountain landscapes. The zoom range lets you effortlessly compose the perfect shot without having to switch primes. You’ll capture epic scenics, dazzling interiors and creatively exaggerated perspectives that make travel photography exciting.

Built Like A Tank

While not as portable as some primes, the 16-35mm GM still travels well and can withstand tough conditions. Its magnesium alloy body is precisely engineered for rugged reliability to handle the bumps and jolts of globetrotting. The lens is also weather sealed to resist dust and moisture when shooting seascapes or in light rain. Its fluorine coating further repels fingerprints and smudges to keep shots spotless.

Crystal Clear Close-Ups

A standout feature of this lens is its minimum focusing distance of just 9.5 inches for crystal clear close-up shots. Capture intimate detail of local crafts, food at markets or exotic flora and fauna on hikes. Combine the close focus with selective focus at f/2.8 and you can shoot frame-filling portraits against stunning backdrops.

As Sony’s top wide-angle zoom, the 16-35mm f/2.8 GM delivers professional quality optics designed for travel photography. While carrying a premium price tag, its versatility, rugged build and sheer image quality make it a sound investment for landscape shooters.

Sony FE 24-105mm f/4 OSS

If you’re looking for a great all-around travel lens, look no further than the Sony FE 24-105mm f/4 OSS. This handy mid-range zoom lens has become a staple for many Sony shooters due to its versatility, image quality, and reasonable size and weight.

Compact Yet Capable

Weighing in at only 1.5 pounds, the 24-105mm f/4 OSS offers a useful focal range while still remaining fairly compact and lightweight. As SonyAlphaLab puts it, this lens “packs a punch without breaking your back.” Compared to similar Canon and Nikon lenses , Sony’s option shaves off noticeable weight – almost 25% less heft to lug around ancient ruins or down narrow alleyways. That’s a big perk for globe-trotting photographers.

Crisp Optics

Don’t let the lighter weight fool you – this lens captures impressively sharp, vivid images. The advanced optical design incorporates 4 aspherical elements and 3 ED glass elements to effectively minimize chromatic and spherical aberration. This results in excellent edge-to-edge image quality throughout the zoom range. Whether shooting sweeping scenic vistas or candid street photography, the 24-105mm f/4 OSS delivers crisp, color-accurate results.

A Low Light Option

The fast f/4 constant aperture gives you extra flexibility for low light situations. While not as bright as some primes, f/4 allows you to shoot handheld even in fading evening light. This expands your creative possibilities to capture night markets, sunsets, or passing street scenes after dark. Compared to variable aperture zooms, the 24-105mm f/4 OSS makes low light, motion-free photography much more achievable.

OSS: Built-in Stabilization

Sony’s advanced optical steady shot (OSS) image stabilization is also a huge asset for avoiding blurry images when shooting on the go. With a 4.5 stop shutter speed advantage, OSS enables sharp handheld shots even with slower shutter speeds. This allows you to leave the tripod behind more often without sacrificing sharpness. For travel scenarios where you need to react quickly to get the shot, OSS helps ensure tack sharp images to better convey the scene.

The Sweet Spot for Travel

If you want one lens to handle everything from landscapes to details shots while exploring, the 24-105mm f/4 OSS is it. Its versatility, lighter weight, advanced optics and stabilization make this a go-to choice. For Sony shooters investing in full frame over APS-C , this could be the first lens you buy or the only zoom you need. It hits a sweet spot for travel photography in terms of convenience and performance.

Sony E 16mm f/2.8 Pancake Lens

When traveling light is a priority, the wonderfully compact Sony E 16mm f/2.8 Pancake Lens should be strongly considered. Weighing only 2.4 oz (69g) and measuring a mere 0.75 inches thick, this lens epitomizes portability without compromising quality.

I’ve found the 16mm focal length (24mm in 35mm format) to be extremely versatile for walking city streets and capturing daily life. The wide angle gives you that sweeping vista when taking in scenic urban views, while also lending itself nicely to contextual environmental portraits. F/2.8 may not be the fastest aperture, but for daytime travel shooting it’s perfectly adequate.

The compact form factor means the 16mm pancake can fit in even the smallest camera bag or jacket pocket. I barely notice it’s there most of the time. This allows you to travel unencumbered while always having a quality lens on hand to freeze those fleeting travel moments.

Some key advantages of the Sony 16mm f/2.8 lens:

• Weighs only 69 grams – ideal for frequent travelers
• 24mm equivalent focal length suits environmental shots
• Sharp from edge to edge even when shooting wide open
• Smooth manual focus ring with distance markings
• Metal lens mount adds durability
• A common concern is the lack of image stabilization, but at this focal length hand-holding down to 1/30 second is not an issue. Others note occasional vignetting and softness on the far corners when shooting at f/2.8, but stopping down to f/5.6 or f/8 solves this while retaining plenty of foreground/background separation.

At an affordable price, the tiny 16mm f/2.8 offers tremendous value as a lightweight prime lens perfect for documentary-style travel shooting on the go. Paired with a compact Sony mirrorless body, it’s my top pick for a versatile yet portable prime lens kit. Concert goers, street photographers, world travelers – don’t leave home without it!

Sony FE 90mm f/2.8 Macro G OSS

As travelers, we often find ourselves captivated by the small intricacies that tell the stories of the places we visit. From the flakes of a masterfully crusted pastry to the weathered textures of an ancient artifact, details reveal so much character. This is where the Sony FE 90mm f/2.8 Macro G OSS lens shines – delivering life-sized 1:1 magnification for creative close-ups that spotlight the subtle beauty in tiny subjects.

Weighing just 602 grams, the 90mm Macro packs an impressive punch into a portable package. The bright f/2.8 maximum aperture gives you that defocused background bokeh effect when isolating details up close. And built-in Optical SteadyShot image stabilization lets you capture handheld macro shots as low as 0.5 seconds without blur from camera shake. No more lugging around a hefty tripod!

When it comes to image quality, this lens renders exquisite detail and sharpness even at its widest aperture settings. As one reviewer described it: “Razor sharp from edge to edge, even when shooting wide open at f/2.8.” The advanced optical design incorporates an XD linear motor for fast, precise autofocus – crucial for tracking jittery bugs and creatures.

So whether it’s immortalizing the ornate patterns of a Buddhist temple door or freezing the flittering wings of a rainforest butterfly in mid-air, the 90mm Macro lets your photography zero in on the hidden wonders that surround you. Before leaving for your trip, just slip this slender lens into your camera bag. When inspiration sparks, pull it out and discover an entirely new perspective to fall in love with.

Sony FE 20mm f/1.8 G Prime Lens

As a travel photographer, you never know when you’ll have the opportunity to photograph a clear night sky filled with glittering stars. That’s why the Sony FE 20mm f/1.8 G prime lens is such a versatile option for your camera bag. Weighing just 373 grams, this compact prime lens offers a super-fast maximum aperture of f/1.8, making it a top choice for astrophotography and capturing the magical glow of the Northern Lights or Milky Way galaxy during your travels.

A lightweight travel companion

Unlike bulkier alternatives such as the Sigma 20mm f/1.4, Sony’s native 20mm f/1.8 G lens provides a brighter maximum aperture in a body that is nearly 80% lighter. The fast f/1.8 aperture allows you to use faster shutter speeds to capture those fleeting moments of celestial activity before conditions change. Comparatively, the smaller physical size of just 3.07 x 3.07 inches is easier to pack and carry over long distances.

An astrophotographer’s dream

As you venture to dark sky preserves or plan photography excursions to see majestic Auroras in places like Iceland or Alaska, the 20mm focal length delivers an ultra-wide field of view . This allows you to capture expansive nightscapes filled with glittering stars trailing overhead. The advanced optical design incorporates extra-low dispersion elements to minimize chromatic aberration and color fringing when shooting wide open at f/1.8. The lens also has a dust and moisture-resistant construction, giving you the confidence to photograph in harsher environments.

While the Sony FE 20mm f/1.8 G does not have built-in optical stabilization, it pairs well with Sony mirrorless cameras featuring in-body image stabilization, enabling sharp images even with longer exposures. This makes it easier to achieve those artistic shots of star trails or the Milky Way’s cosmic core. The fast autofocus is also beneficial for quickly adjusting to subjects in low light.

So if your travel plans involve capturing more nocturnal photography or the magic of nature under moonlit skies, then the Sony FE 20mm f/1.8 G lens is perfectly suited to help you achieve this with its compact size, bright maximum aperture, and superb optical quality. Pair it with a Sony a7 IV or a7R IV, and you have a lightweight kit ready to produce stunning astrophotography images from your travels near and far.

Conclusion: The Best Sony Lenses for Travel Photography

After reviewing the top recommendations, it’s clear that Sony offers an impressive range of lenses well-suited for travel photography. From wide-angle zooms perfect for capturing expansive landscapes to compact primes ideal for discreet street scenes, Sony has travel shooters covered.

The Sony 16-35mm f/2.8 GM emerged as our number one choice for its best-in-class image quality, fast aperture, and ultra-wide perspective, making it easy to photograph sweeping vistas that convey the grandeur of a destination. Weighing just 1.5 lbs, it’s light enough for prolonged handheld shooting. Meanwhile, the Sony FE 24-105mm f/4 OSS came in as our top mid-range zoom pick due to its versatile focal range, lighter weight, and built-in stabilization for tack-sharp images on the go.

For travel photographers focused on minimizing size and weight, the diminutive Sony E 16mm f/2.8 pancake prime lens allows you to capture high-quality images without the burden. The wonderfully compact Sony FE 20mm f/1.8 G prime entices with its combination of portability, speed, and performance, proving an ideal option for astro shots on clear nights from unique locales.

Rounding out the recommendations, the Sony FE 90mm f/2.8 Macro G OSS makes it easy to showcase intricate cultural details other lenses would miss. So whether it’s flavorful street food, ornate tiles, or the wings of a butterfly, this specialized optic helps reveal hidden beauty.

Looking forward

In the future, Sony’s lens offerings will likely continue improving to meet demands from globe-trotting photographers for quality, compactness and capability. Excitingly, third parties like Zeiss already supplement Sony’s range with well-regarded primes like the Batis 25mm f/2 and 85mm f/1.8.

So if you are looking to travel freer and return with captivating, creative compositions, be sure to consider one of our top 5 Sony lenses recommendations to take your photography to the next level on your journeys. Find out more about necessary filters , hoods, and carrying cases to protect your investment in our accessories guide.

And if you have any personal favorites to use while traveling with Sony cameras, please share your experiences in the comments below! Bon voyage and happy shooting!

I’m a professional travel photographer, and I’ve been living the digital nomad lifestyle since 2016. I make money by working on client assignments, selling stock photography and helping other photographers by sharing my experiences on this website. I move around at my own pace (I hate fast-paced travel) and like to spend a few months getting to know each place I base myself in.

My writing and photos have been featured on industry leading websites such as Digital Photography School , Atlas Obscura and the world’s leading underwater photography resource The Underwater Photography Guide . I authored an eBook called “ Breaking Into Travel Photography: The complete guide to carving out a career in travel photography ” that has been published on Amazon. My stock images have also appeared in ads promoting destinations and companies that sometimes has been a surprise, even to me. But I guess that’s the nature of stock photography, you never know who will license them!

I’m always happy to connect, so feel free to reach out!

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Best Sony Lenses in 2024: Ultimate E-Mount Guide

Which lenses are our top pick of the year so far? Discover what FE & APS-C lenses to use on your Sony Alpha mirrorless camera.

Camera Gear Guides | Lens Guides | Sony Lens Guides | By Mark Condon and Usnea Lebendig | Last Updated: February 14, 2024

To find the best Sony lenses, we based this guide on our research and combined 14+ years of shooting with Sony Alpha mirrorless cameras.

For professionals or those who need the best performance, Sony’s flagship G-Master lenses are still unbeatable, but there are also plenty of third-party lenses for Sony cameras that offer amazing bang for your buck.

Sigma lenses for Sony e-mount (APS-C and full frame) are popular, as are Tamron e-mount lenses and Samyang too – I use several of them in favour of Sony FE lenses on my full frame Alpha cameras.

The best Sony lens for everyday photography on a budget. Great image quality and classic focal length (Also great as an 85mm lens on APS-C).

As for crop sensor APS-C Sony e-mount lenses, I’ve tested the latest options with a range of a6000-series compacts, sharing my top choices below.

Aside from stills photography, more and more video shooters are choosing Sony cameras, so we’ve got some recommendations on the best Sony lens for video work too.

Sony mirrorless lenses and the differences between the FE and regular e-mount can be confusing. Did you know you can even attach a Sony lens to a Nikon or Canon camera?

Don’t worry, though – we’ll explain all the options and answer all the most common questions in this guide.

First, though, let’s find out which Sony e-mount lens you should buy for your new Alpha camera.

Table of Contents

What are the Best Sony Lenses in 2024?

Why Trust Us?

Our experience with lenses for Sony Alpha cameras and how we tested

Your author Mark has been shooting weddings professionally with Sony cameras for several years, using many different Sony prime and zoom lenses, as well as 3rd party e-mount options.

Co-author Usnea has been using Sony cameras for six years, shooting landscape, nature, action, and travel photography using primarily native Sony lenses.

For testing, Mark used the latest Sony a7IV full-frame mirrorless camera to evaluate a selection of Sony FE-mount lenses and a Sony a6100 for lenses designed for the APS-C format.

The recommended lenses in this guide were chosen based on Mark & Usnea's own personal experience, results of lens reviews by our various Shotkit authors (also professional photographers), and over 120 hours of combined research and analysis.

We are not sponsored by any of the brands that appear here, and our opinions are completely unbiased - in short, you can trust what we say!

What are the best Sony e-mount lenses for a1, a7 & a9 Series Full Frame cameras?

If you’re reading this first section of our guide, you’re either a professional photographer or someone who understands why investing in the best lenses will get the most out of a full-frame Alpha camera.

All the lenses below work on the a1, a7, and a9 series of Sony mirrorless cameras – they also work fine on Sony APS-C cameras, should you own one of those too.

(See further down our guide to see the Sony e mount lenses recommended for APS-C ‘crop-sensor’ Sony cameras.)

Let’s take a look at the top recommendations so you can choose the best Sony lens for your full-frame Sony Alpha camera.

1. Sony FE 50mm f/1.8 | Budget Starter Sony e Mount Lens

Credit: Andy Day

• Fast f/1.8 aperture
• Beautiful images
• Fantastic value
• Lightweight
• Autofocus could be better
• Feels cheap (because it is!)

When I was just getting my Sony a7III, I opted out of the kit lenses and just shot with this nifty-fifty until I could afford some premium Sony Alpha lenses. I wasn’t expecting much from a $250 lens, but boy, was I wrong!

For the price, the image quality of this Sony e lens is amazing. Photos come out startlingly sharp, nicely contrasty, and with great color. The bokeh is nice and creamy, and there’s nothing distracting in the out-of-focus areas.

Sony A7 III + Sony FE 50mm f/1.8 | 1/250 f/1.8 ISO 125 | Andy Day

The only real downside of this lens is its autofocus. It definitely hunts a bit if you’re too close to your subject or in super low light. It’s also not the quietest. Still, it functions great most of the time.

Otherwise, this is an excellent 50mm at an absolutely fantastic price. It’s the first of all the Sony lenses we recommend for Sony e-mount full-frame mirrorless cameras if you’re on a tight budget.

• Sony 50mm f/1.8 Review

2. Tamron FE 28-75mm f/2.8 Di III VXD G2 | Best Value Zoom

Credit: Tommy Williams

• Constant f/2.8 aperture
• Much lighter and more compact than its rivals
• Fantastic optics
• Professional-level sharpness
• Good build quality
• Weather-sealing
• Excellent close-focus distance
• USB port for firmware updates
• No optical stabilization
• Vignetting & Distortion heavily corrected (hidden)
• No external AF/MF switch

A good mid-range zoom is a must for almost every kit, but finding one of the best lenses for less than $1000 isn’t so easy….that is, until Tamron came out with the 28-75mm f/2.8 Di III VXD G2.

Light, compact, and available for under $700, it’d be easy to assume that this e mount zoom lens was just a mediocre lens. In reality, however, the Tamron 28-75mm f/2.8 can more than pull its weight in both image quality and performance.

Sony A7 iii + Tamron 28-75mm f/2.8 @ 34mm | 1/640 | f/6.3 | ISO 100 | Tommy Williams

On top of that, it’s much lighter and literally costs less than half as much as the Sony 24-70mm f/2.8 GM. (The Sony 24-70 f/2,8 weighs nearly a full kilogram!) This is arguably one of the best lenses for Sony e mount in terms of portability.

The only real reason not to buy this lens is if you really need that extra 2mm on the wide end.

Otherwise, this lens is an incredible value and should be at the top of the list of e mount zoom lenses for any full-frame Sony shooter looking for an exceptional mid-range zoom. Personally, I like to use it for travel, wedding and car photography.

• Tamron 28-75mm review

3. Sigma FE 24-70mm f/2.8 DG DN Art | Best All Round Fast Zoom

Credit: Athol Hill

• Professional-quality optics
• Outstanding color rendition
• Extremely sharp
• Fast, accurate, and completely silent autofocus
• Image stabilization
• Great macro abilities
• Beautiful bokeh
• Weather sealed
• MF/AF switch and autofocus lock button
• Less than stellar flare resistance
• 82mm thread makes filters expensive

If the Tamron 28-75mm f/2.8 isn’t wide enough for you, your next best bet in the mid-range zoom category is the Sigma 24-70mm f/2.8 DG DN Art lens. Also another great Sony e mount zoom lens.

The most popular focal range in all of photography, the 24-70mm zoom is one of the most versatile in the industry. The wider end (24mm) is suitable for both landscapes and interiors. The longer end (70mm) allows for nice portraiture.

Sony A7Riii + Sigma 24-70mm f/2.8 DG DN ART | Athol Hill

But there are many more reasons to buy this lens: the autofocus performs perfectly, the optics are fantastic, it has a bright, constant  f/2.8 aperture, and it comes weather-sealed.

It’s also an incredible value, coming in at just over half the price of the Sony FE 24-70mm f/2.8 G Master, all without sacrificing image quality or performance. (It’s also a tad smaller and lighter.)

Definitely worth a look if you’re in the market for a great 24-70mm f/2.8 zoom.

• Sigma 24-70mm f/2.8 review

4. Sony FE 24-105mm f/4 G OSS | Best Sony G Lens for Travel, Most Versatile

• Nice color rendition
• Good flare resistance
• Quick, quiet, and accurate focus
• Excellent build
• AF/MF and SteadyShot switches
• No smaller than comparative DSLR lenses
• No zoom lock switch

Looking for a lens that can do it all? Take a look at the Sony FE 24-105mm f/4 G OSS. One of the versatile Sony lenses e mount compatible.

The Sony OSS lenses offer Optical SteadyShot, a gimbal mechanism that stabilizes lenses more effectively than other optical systems.

It’s wide enough for landscapes, cityscapes, and architecture while covering a fair bit of the near-telephoto range as well. That’s what makes it a great travel lens: it will handle just about any shooting situation you might find yourself in.

Sony A7Riii + Sony 24-105mm | Athol Hill

A pro-level lens with excellent optical performance throughout its entire focal range, the Sony FE 24-105mm is also the lightest lens in its class, which makes it an excellent zoom for carrying around.

If you need something less expensive and can handle the added weight, the Sigma 24-105 ART costs considerably less and performs almost as well.

If, however, you want native glass at this focal range (and can fork out the extra dough), this is the one to get for a one-in-all travel lens.

• Sony 24-105mm f/4 review

5. Sony FE 70-200mm f/4 G OSS | Best Sony Telephoto Lens

Credit: Marc Bergreen

• Fantastic image quality
• Useful focal range
• Durable and rugged
• AF/MF switch
• Tripod collar included
• Great price point
• Some corner softness

Of all the telephoto lenses offered in the Sony Alpha lens lineup, the Sony FE 70-200mm f/4 G OSS is by far our favorite mid-range telephoto lens.

The focal range is useful for everything from sports and wildlife to studio photography. It’s also a fantastic portrait photography lens, as the classic 85-135mm portrait sweet spot is nestled right in the middle.

Sony A7III + Sony 70-200mm f/4 | 1/125 f/6.3 ISO 640 | Marc Bergreen

The constant f/4 aperture isn’t the fastest, but it makes the Sony FE 70-200mm f/4 G considerably smaller and lighter than its much more expensive cousin, the f/2.8 GM.

With a small(er) footprint combined with a fantastic price point (under $1500), the only reason to bump up to the f/2.8 GM is if you really need that extra stop of light. (Just keep in mind, you’ll be paying an extra $1400 for it!)

• Sony 70-200mm f/4 review

6. Sony FE 85mm f/1.8 | Best Value Portrait Prime

• Fantastic autofocus
• Strong optics
• Compact and lightweight
• Nicely built
• AF/MF switch and AF Hold button
• Excellent price-to-performance ratio
• Weather-sealed
• Bokeh not as smooth as it could be
• Strong vignette at wider f-stops

If you’re looking for a good portrait photography prime lens but find yourself on a tight budget, the Sony FE 85mm f/1.8 might just be the lens for you.

Images come out crisp and clear, the autofocus works like a charm, the aperture is fast enough for most applications, and the size and weight sit nicely on all Sony full-frame cameras.

Sony A7III + Sony 85mm f/1.8 | 1/5000 f/2 ISO 100 | Marc Bergreen

Of course, there are plenty of other options out there, but none with so much bang for the buck.

At under $600, the Sony FE 85mm f/1.8 beats out the Zeiss Batis 85mm F1.8 by more than $600 and the G Master f/1.4 by a full $1200! (Sony G Master lenses also happen to be much heavier.)

• Sony 85mm f/1.8 review
• What is the best prime lens?

7. Sigma FE 35mm f/1.4 DG HSM | Best All Round 35mm

Credit: Sigma

• Fast and quiet autofocus
• Fantastic sharpness
• Superb color rendition
• Immaculate build quality
• Larger and heavier than the GM lens

Small on price, yet big on both design and performance, the Sigma 35mm f/1.4 DG HSM is easily the best 35mm for Sony A7 cameras in terms of performance plus value.

The build on this beauty comes with all the features you’d expect from a much more expensive lens: weather sealing, a focus hold button, and aperture control.

The autofocus is fast, quiet, and precise. Images come out fantastically sharp, with beautiful bokeh.

A just under $800, the Sigma 35mm f/1.4 DG HSM hits the sweet spot between excellent optics and a reasonable price.

Its main competitor, the Sony 35mm f/1.8 is almost $350 cheaper but also slower. The Sony 35mm f/1.4 GM is a somewhat better lens optically, but a full $600 more.

If you need a 35mm with a fast aperture, this Sigma is definitely the best bang for your buck and a great lens for all-around use.

• What are the best lenses for Sony a7 iv?

8. Sony FE 35mm f/2.8 ZA | Best Pancake (Lightest/Most Compact)

Compared to the other Sony 35mm lenses.

• Extremely compact and lightweight
• Super sharp
• Pairs well with any Sony body
• Expensive for an f/2.8

One of the lightest full-frame compatible lenses made for the Sony E-mount, the Sony 35mm f/2.8 ZA may not be officially a pancake lens, but it’s so tiny and light that it literally feels like a lens cap!

Even so, the amazing manufacturers at Zeiss still managed to place high-quality optics in this little beauty. It has all the beautiful image rendering of an excellent Zeiss lens, not to mention the wonderful one-of-a-kind Zeiss color rendering.

I used this tiny Sony e mount prime lens to shoot an entire wedding in Bali a few years ago, and it didn’t miss a beat – see sample image below.

Sony a7III + Sony 35mm f/2.8 | Mark Condon

At f/2.8, it’s not particularly fast, but what it loses in speed it makes up for in its particularly small size. (A faster lens would obviously be larger and heavier.)

What’s not small on this lens, however, is the price. Still, you won’t find anything better at this size and weight out of the entire lineup of e mount lenses for Sony.

• Sony 35mm lenses compared

9. Sony FE 16-35mm f/2.8 GM | Best Wide Angle Zoom

• Quick auto-focus
• Decent close-up performance
• Focus-hold button
• Weather sealing
• Bokeh could be better
• No image stabilization

One of Sony’s flagship G Master lenses, the Sony FE 16-35mm f/2.8 GM is the wide-angle zoom of choice for professional photographers and those looking for exceptional image quality out of their landscape, cityscape, and architecture shots.

It’s our choice of the best Sony wide angle lens, since we love shooting at 35mm but also want the flexibility of getting more in the frame.

It’s not easy to build a high-performing wide-angle zoom – especially at f/2.8, but Sony managed it here. The 16-35mm f/2.8 GM delivers strong resolution wide open and is simply stunning once you bump up to f/4.

A7 III + 16-35mm f/2.8 | 1/4000 f/2.8 ISO 800 | Marc Bergreen

At just around $2,200, it’s not a cheap lens, but it’s worth the price if you’re looking for the best Sony wide-angle zoom available.

(If you can’t afford the f/2.8 GM and f/4 will work for you, take a look at the Zeiss 16-35mm F4 and/or the FE 12-24mm F4 G.)

The 16-35 is part of the ‘Holy Trinity’ of Sony lenses, with the other two being the 24-70 and 70-200 f/2.8 – if you’re fortunate enough to own all three, you can shoot virtually anything.

It’s also our choice of the best lens for the Sony a7S iii and the best lens for the Sony a7R IV mirrorless cameras.

• Sony 16-35mm f/2.8 review

10. Sony 50mm f/1.2 GM | Fastest (Best in Low Light)

• Exceptional optics
• Incredible bokeh
• Amazing in low light
• Dual function buttons
• Excellent close-up performance
• Somewhat smaller than its competitors
• Some focus breathing

Incredible in just about every aspect, the Sony FE 50mm F/1.2 GM is the nifty-fifty to get if you’re looking for literal top-of-the-line optics and performance.

There are, of course, plenty of other 50mm lenses available for the Sony FE-mount, but the F/1.2 GM stands out not only for its relatively compact size and exceptional optical performance but also for being Sony’s only f/1.2 lens.

(It’s the ‘lowest aperture’ lens Sony makes for FE mount.)

Sony a7IV + 50mm f/1.2 | Mark Condon

Smaller and lighter than both the Nikon and Canon versions, the Sony FE 50mm F/1.2 GM does pretty much everything the F/1.4 ZA can do, but just a tad better. You get a bit more aperture, a closer focus, and stellar AF performance, all in virtually the same-size package.

Should you buy it? Well, yes – if you want the best and fastest 50mm available for Sony cameras. You definitely won’t regret it.

• Sony 50mm f/1.2 review

11. Sigma 85mm f/1.4 DG DN| Best Value Fast Portrait

Credit: Jesse LaPlante

• Beautiful color rendition
• Compact for an f/1.4
• Fantastic bokeh
• Half the price of its GM counterpart
• Strong pin cushion distortion
• AF sometimes struggles with fast moving objects
• Heavy vignette at times

If the Sony FE 85mm f/1.8 is too slow for you and you have a bit more to spend, take a look at this beautiful 85mm f/1.4 Art lens by Sigma.

You’ll love the images that come out of this beauty – super sharp, with great color, plenty of contrast, and immensely pleasing bokeh.

Nikon D750 + Sigma 85mm f/1.4 Art | 1/250th, f/16, ISO 100 | Jesse LaPlante

The Sigma 85mm f/1.4 Art lens also happens to be lighter, sharper, and quicker focusing than Sony’s GM version, all while costing a full $700 less. Many feel that its image quality also matches the GM, but that might be more a matter of taste.

Either way, if you’re looking for a fast portrait lens at a great price, this one should definitely be on your short list.

• Sigma 85m f/1.4 review

12. Sony FE 20mm f/1.8 G | Great for Astrophotography

• Amazing image quality
• Well-built and compact
• Excellent flare resistance
• Fast, quiet autofocus
• Good close-focus abilities
• Reasonably priced
• A fair amount of focus breathing
• No focus lock

The best Sony lenses for astrophotography are fast, wide, and capable of producing striking images of the night sky…a recipe that just so happens to fit the Sony FE 20mm f/1.8 G.

Sony a7III + 20mm f/1.8 | Marc Bergreen

Its fast f/1.8 aperture lets in plenty of light. The 20mm wide angle can capture long, sweeping views of both land and sky. (It’s great for landscapes too.)

The images it produces come out wonderfully sharp across the whole frame and with plenty of punch.

At just under $900 it’s not cheap, but given that it’s $500 less than the Sony 24mm F/1.4 GM and performs almost as well, the 20mm f/1.8 G is definitely a better buy.

It’s our pick of the best wide angle lens for Sony shooters who don’t see the benefit of spending much more for a marginal speed advantage.

• Sony 20mm f/1.8 review

13. Tamron FE 70-300mm f/4.5-6.3 | Great Value Long Range Zoom

Credit: Tamron

• Good image quality throughout the zoom range
• Excellent autofocus
• Lightest and smallest 300mm zoom
• Excellent value
• Fantastic warranty
• No external switches
• Not great for close-up shots

Need a longish telephoto that still covers the portrait range? Take a look at the Tamron FE 70-300mm f/4.5-6.3.

Literally, the world’s smallest and lightest 300mm-capable full-frame mirrorless telephoto zoom, this Tamron 70-300mm retails for less than half its Sony sibling while offering good optics and excellent autofocus performance.

There isn’t any image stabilization – Tamron leaves that up to the camera – but otherwise, this is a seriously fantastic lens for its under $550 price tag.

Add to that Tamron USA’s 6-year warranty, and you’ve got a medium telephoto lens worthy of some serious consideration.

14. Sony FE 24mm f/1.4 GM | Best Wide Angle Prime

• Excellent wide open performance
• AF is fast, smooth, and quiet
• Low vignette and distortion
• Nicely-damped manual focus ring
• Smooth focus pulling
• Fairly expensive
• Occasional focus pulsing when backlit

If you’re in the market for an E-mount 24mm prime and want the best image quality out there, this is the one to get, hands down.

One of the best Sony prime lenses to date, the Sony FE 24mm f/1.4 GM is the perfect investment for wedding and event photographers who need a wider angle of view.

Sony A7Riii + Sony FE 24mm f/1.4 GM | 1/1000 sec | f/1.4 | ISO160 | Athol Hill

It’s super sharp on high-megapixel cameras like the a7RIII, while providing excellent optics on older models as well…all in a reasonably compact, well-built body.

The Tamron FE 24mm F/2.8 is much, much cheaper (under $350), but is a full stop slower and isn’t anywhere near the same class when it comes to performance.

• Sony 24mm f/1.4 review

15. Sony Zeiss 55mm f/1.8 Sonar T*| Sharpest Sony Lens

• Razor sharp, esp. stopped down
• Beautiful Zeiss optics
• Fantastic build (includes weather sealing)
• No exterior controls
• Expensive for an f/1.8

The Sony Zeiss 55mm f/1.8 Sonnar T* lens is a huge favorite among many, many Sony shooters. Its excellent optics, strong autofocus performance, and compact size make it more than worth its price (which admittedly is a bit steep for an f/1.8).

As one would expect, this lens is razor-sharp in the center at all apertures and sharp in the corners by f/4. It’s always at the top of any Sony lens sharpness chart.

Sony a7III + Zeiss 55mm f/1.8 | Mark Condon

For some, the bokeh might be a little busy. For many others, though, the uniqueness of the bokeh combined with the Zeiss color rendition creates a “secret sauce” effect.

You can, of course, find much cheaper 50mm or 55mm lenses for your Sony, but if you’re looking for one that’s top quality, the Sony Zeiss 55mm f/1.8 Sonnar T* should definitely be on your shortlist.

16. Sigma 70mm f/2.8 | Best Value Macro

• Stunning images
• Extremely sharp at all focal lengths
• Lightweight, yet solid build
• Precise focusing control
• Some weather sealing
• Great value
• External focusing
• Slow autofocus

With some of the best optics available for macro photography on Sony cameras, the Sigma FE 70mm f/2.8 Art lens marries truly exceptional optics with a fantastically reasonable price.

Sigma chose to eschew some of the “normal” conventions (i.e. external focusing, no IBIS, etc.) with this lens to focus purely on the optics…and it shows.

The images are simply fantastic.

Sony a7III + Sigma 70mm | Athol Hill

It may take a while to master focusing on this lens, but once you do, you’ll absolutely fall in love with what it can do. (The key is to understand that it was built for Macro photography, not so much as a multi-purpose lens.)

But love it or hate it, one thing that can’t be argued with is the exceptional value of this lens: you can now find it for under $500! What an absolute steal!

• Sigma 70mm f/2.8 review

What are the best Sony e-mount lenses for NEX & a6000 series APS-C Cameras?

These are the top lenses that are optimized for Sony Alpha APS-C sensor cameras, also known as having a ‘crop-sensor.’ They work on both older models from the Sony NEX range, as well as anything from the a6xxx range (e.g. a6100, a6400, etc.).

Later in this guide, we’ll talk about Sony ‘FE’ lenses which have been designed for the more expensive range of full-frame Alpha cameras.

FE lenses can be attached to APS-C cameras, too – this makes sense if you plan to upgrade to a Sony full-frame camera in the future or if you already own both types and want to use the FE lenses interchangeably.

However, Sony e-mount lenses specifically designed for the APS-C sensor are cheaper and lighter, so let’s see the recommendations.

17. Sony 35mm f/1.8 OSS | Best for everyday photography

• Compact and solid build
• Good image quality
• 3-stop optical stabilization
• Good sharpness wide open
• Minimal distortion
• No weather sealing
• Some chromatic aberration
• Can be prone to ghosting and flares

A close equivalent to the “nifty fifty” on a full-frame camera, the Sony 35mm f/1.8 OSS (sel35f18) has a focal length perfect for everything from street photography to lifestyle portraits and makes a great everyday carry.

Build-wise, it’s so tiny and light that you’ll barely notice it when attached to your camera, making it a great lens for the Sony a7c or smaller APS-C Sony cameras.

The f/1.8 aperture is perfect for capturing scenes with a shallow depth of field. Images come out sharp, nicely contrasty, and with very little distortion.

For those shooting on cameras without IBIS, the 3-stop optical stabilization will be a great aid for hand-held shooting in low-light situations.

Like most wide-angle lenses, the corners can be a little soft when the lens is wide open, but otherwise, this lens is a strong optical performer and our choice as the best everyday lens for a Sony a6000 series camera.

18. Sigma 16mm f/1.4 DC DN| Amazing Wide Angle Prime (Great for Video too)

• Superb lowlight performance
• Smooth, quiet autofocus
• Compatible with all Sony AF functions
• Excellent resistance to flares
• Fantastic price
• A bit larger and heavier than other prime lenses
• Some distortion remains after correction
• Less than optimal coma performance

If you’re looking for a fast wide-angle prime that won’t break the bank, the Sigma 16mm f/1.4 DC DN Contemporary should be right down your alley.

Equivalent to a 24mm lens on a full-frame camera, 16mm on an APS-C camera is perfect for videography, selfie blogging, landscape photography, and event photography.

It’s among the best lenses for video since it offers virtually silent autofocus.

While it comes with excellent build quality and quick, accurate autofocus, the real reason to buy this lens is for its speed and superb lowlight performance. Its f/1.4 maximum aperture is just about as fast as you can buy.

Why is f/1.4 so good? When fully open, this lens will give you loads of light and a paper-thin focal plane with delicious bokeh.

At less than $400, it’s unlikely that you’ll find any other wide-angle prime matching the performance and price of this sweet little lens. Its primary competitors are almost twice the price.

19. Sigma 30mm f/1.4 DC DN | Fastest All-Rounder (Great in Low Light)

• Natural color and contrast
• Smooth bokeh
• Fast f/1.4 aperture
• Excellent close-up range
• Fast, accurate autofocus
• Great price
• Chromatic aberration not well-controlled when shooting wide open
• Noisy for video recording in C-AF

The Sigma 30mm F1.4 Contemporary DC DN hits the sweet spot between price and performance, all at a focal range nearing the “nifty fifty.”

With a maximum aperture of f/1.4, this Sigma 30mm is another one of the fastest lines in this list, with plenty of light, a razor-thin focus plane, and creamy bokeh.

In fact, the focal length (45mm equivalent on a full-frame) combined with the bright f/1.4 aperture makes this an ideal everyday-carry prime lens.

The fast aperture will let you shoot both indoors and outdoors in bright or low light. The focal length is neither too wide nor too narrow. Followers of the “Middle Way” would be proud.

The sharpness of this lens is superb, especially when stopped down to f/5.6. It also works superbly with Sony’s autofocus system.

Of course, no lens at this low price point is perfect by any means, but most of its issues can be fixed in post.

Definitely a fantastic lens at a fantastic price and another great all-rounder for your a6000 series Sony camera.

20. Tamron 17-70mm f/2.8 | Best All Round Zoom

• Extremely versatile focus range
• Fantastic optical performance
• Vibration Compensation
• AI Vibration Compensation in video mode
• Great close focus range
• Works well with Sony AF
• Great flare resistance
• No physical controls
• Onion bokeh
• Somewhat expensive
• Some chromatic aberration and distortion
• Larger than its peers

This Tamron 17-70mm f/2.8 APS-C zoom really hits the ball out of the park and is one of the best Sony APSC lenses in our guide.

Not only is it the first high-speed standard zoom designed explicitly for APS-C cameras, but its focal range is also one of the most versatile available, and the optics are the best you’ll find in this kind of zoom.

Equivalent to 25-105mm on a full-frame camera, the zoom range covers everything from wide-angle landscapes to close-in telephoto action.

The f/2.8 constant maximum aperture gathers in plenty of light and offers plenty of control over the depth of field.

Images come out highly detailed, with great color and contrast. In fact, few zooms at this price point can match the fine detail rendering (i.e., acuity) of this lens.

The Tamron 17-70mm f/2.8 also comes with vibration control, something that owners of the NEX range and older a6xxx cameras will certainly appreciate. I

The clincher? You can buy it for less than $750. What a deal!

21. Sony 18-135mm f/3.5-5.6 OSS | Sharpest Zoom

• Extensive focal length range
• Optical stabilization
• Compact and Lightweight for its zoom range
• Very sharp at all focal ranges
• Best-priced quality zoom
• Fairly slow aperture
• Heavy vignetting in the corners when shooting in RAW
• Some purple fringing in harsh lighting

With a focal range roughly equivalent to 27-202mm on a full-frame camera, the Sony 18-135mm f/3.5-5.6 OSS is a perfect all-in-one lens for APS-C shooters who don’t do a lot of low-light photography or shots needing a shallow depth of field.

It’s not nearly as fast as the Tamron 17-70mm, but what it lacks in speed, it gains in sharpness. It’s f/3.5-5.6 is solidly sharp from the center to the edges throughout all its focal range.

Overall, the two main reasons to go with the Sony 18-135mm f/3.5-5.6 rather than the Tamron 17-70mm f/2.8 are the increased focal range and excellent sharpness throughout the zoom range.

At under $650, the Sony 18-135mm is also the least expensive Sony zoom in this category.

If, however, you need weather sealing and/or a lens that will perform better in low light, you’d be better off sticking with the Tamron 17-70mm above.

22. Tamron 11-20mm f/2.8 | Best Wide-Angle Zoom

• Fantastic low-light performance
• Versatile wide-angle focal range
• Excellent close-focus range
• Fast, quiet, and accurate AF
• Fully compatible with Sony cameras
• Flare resistance could be better

There aren’t a lot of high-performing wide-angle lenses made specifically for the Sony APS-C E-mount, but luckily Tamron has stepped into the void with this excellent11-20mm f/2.8.

It’s actually the first ever compact, lightweight F2.8 ultra wide-angle zoom lens made for Sony E-mount APS-C mirrorless cameras.

Tamron’s excellent Rapid-eXtra-silent stepping Drive (RXD) works seamlessly with Sony’s native autofocus system, both with still and video shooting. When filming, focus changes from close to distant happen almost instantaneously.

The build of the Tamron 11-20mm isn’t exactly tiny but is decidedly compact for its aperture and focal range – almost unbelievably so. It’s also relatively lightweight and handles beautifully on an a6xxx body.

Even now, in 2024, there’s little competition for this zoom. The slower Sony E 10-18mm F4 OSS is priced similarly and has optical stabilization, but the Tamron 11-20mm has that brilliant f/2 constant aperture, better optical performance, and comes with weather sealing.

If you shoot landscapes, architecture, astrophotography, or travel photography, you won’t want to miss out on this lens. It’s more than worth the price.

23. Samyang 12mm f/2 | Great for Astrophotography

Credit Marc Bergreen

• Fast, accurate AF
• Well-controlled distortion
• Extremely affordable
• Non-reversible lens hood
• Will need to correct CA in post
• No EXIF data recorded

If you need a fast wide-angle lens and the Tamron 11-20mm f/2.8 is out of your price range, check out the Samyang 12mm f/2.

Slightly faster than the Tamron zoom and currently the widest autofocusing prime lens for Sony APS-C, the Samyang 12mm f/2 comes in at half the cost.

The focal length is equivalent to 18mm on a full frame, making for beautiful, wide-angle shots of either sky or land. Image-wise, photos come out quite sharp in the center, with pleasing colors and plenty of contrast.

Build-wise, the Samyang 12mm f/2 is nicely lightweight and compact. It also comes with weather sealing, a lens hood, and a case.

All-in-all, you’re not likely to find anything at this focal length even remotely comparable to this little lens…at least for under $400.

The combination of a fast f/2 aperture, relatively strong optics, quality autofocus, and weather sealing make this little gem a fantastic option for anyone shooting the sky, landscapes, cityscapes, or architecture.

• Samyang 12mm f/2 review

24. Sony 10-18mm f/4 OSS | Great for Video

• Ultra-wide angle of view
• Good overall image quality
• Lightweight and compact
• Constant f/4 aperture
• 3-stop image stabilization
• Smooth focus and zoom
• Front filter support
• Relatively slow aperture
• No manual switches

One of the widest lenses you can buy for the Sony E-mount, the Sony 10-18mm f/4 OSS provides Sony APS-C shooters an ultra-wide angle field of view with optical stabilization.

At f/4, it’s not as fast as the Tamron 11-20mm f/2, but it’s a hair wider, and the OSS allows for more opportunities to shoot video without a gimbal if you’re using an older Sony APS-C camera.

The stepping motor autofocus system works quickly and accurately with both stills and video. It’s especially good for videographers needing quiet AF, and smooth video pulls.

If you also have a Sony full-frame camera, you’ll be delighted to know that this particular lens works fantastically on full-frame cameras. You’ll only get 12-18mm, but you’ll love the effect.

One of the main downsides to this lens has historically been its price, but that’s changed. You can now find it for less than $700, making it a reasonable addition to any vlogger’s kit.

25. Sony 30mm f/3.5 Macro | Best APS-C Macro Lens

• 1:1 macro capture
• No distortion
• Light & compact
• Great value for the money
• AF sometimes hunts in low-light
• Small minimum focusing distance

Ready to graduate to a dedicated Macro lens but don’t want to break the bank? The Sony 30mm f/3.5 Macro might just be the lens for you.

The only Sony macro lens designed for APS-C cameras, the Sony 30mm f/3.5 Macro brings life-size magnification to your fingertips for under $350.

There isn’t any image stabilization, and the autofocus sometimes hunts in low light, but it’s a great learning lens if you haven’t shot Macro before.

If you’re looking for more of a bargain and are comfortable with a manual-focus-only APS-C lens, you could always opt for either the 7Artisan 60mm f/2.8 Macro MK II (under $200) or the TTArtisan 40mm f/2.8 Macro (under $100).

Otherwise, the E 30mm F3.5 is a good option for both casual Macro shooters and beginners.

(Dedicated Macro shooters should bump up to the Sigma FE 70mm F2.8 DG Macro Art or the Sony FE 50mm f/2.8 Macro.)

How do I choose a lens for a Sony e-mount camera?

You can use FE lenses on APS-C cameras, but it’s more affordable to get e-mount lenses specifically designed for APS-C.

Lens Mounts

Sony has two main lens mount styles for its cameras: the A-mount and the E-mount. The A-mount is for its DSLRs (cameras with a mirror). The E-mount is for its mirrorless line – both APS-C and full-frame.

When looking for the right lens to buy – especially from third parties – you’ll need to make doubly sure that you’re buying an E-mount lens for your Sony mirrorless camera. (Many third-party developers like Tamron and Sigma make the same lens for a variety of different cameras.)

Beyond this, you’ll need to know whether you’re buying a lens for an APS-C sensor camera (like the a6xxx series) or for a full-frame camera (like the Sony A7 and A9 lines).

The difference between the two lies in the size of the image circle.

APS-C cameras have smaller sensors. Lenses made for them will have an image circle that only covers the size of the APS-C sensor, not more. Placed on a full-frame camera, it will come up short.

So then, what happens when you take an APS-C lens and place it on a full-frame camera?

Until recently, you’d get a pretty heavy vignette, as the crop-sensor lens doesn’t let in enough light to reach the entire full-frame sensor.

Now, however, more current Sony mirrorless cameras can detect the APS-C lens and move into “crop mode,” automatically cropping out the vignette that would normally appear in the areas the lens doesn’t cover. Alternatively, you can manually set your camera to “crop-sensor” mode.

(For older cameras, you’ll have to crop the vignette out of the photo later in post-production, i.e. while editing the image.)

In some cases, this can be really useful since it can make a shorter lens act like a telephoto lens.

Lenses made for full-frame cameras, on the other hand, have an image circle that’s larger than the APS-C sensor. As a result, full-frame (FE) lenses work just fine on an E-mount APS-C camera, though images will be considerably “zoomed in.” The camera will only show you the part of the image that the lens covers.

Summary: Sony e vs fe mount

E-mount lenses are designed for Sony’s APS-C sensor cameras like the A6000, A6400, and A6600, which have a crop factor of 1.5x. These lenses are smaller and lighter and often less expensive than FE-mount lenses.

FE-mount lenses are designed for Sony’s full-frame sensor cameras like the A7 series, the A9, and the A1. These lenses have a larger image circle to cover the full-frame sensor and are typically larger, heavier, and more expensive than E-mount lenses.

One advantage of using FE-mount lenses is that they can be used on both full-frame and APS-C sensor cameras, while E-mount lenses are not designed for full-frame sensors and cannot be used on those cameras without significant cropping.

Focal Length

The focal length of a lens determines its angle of view or how wide the image will be. A shorter focal length yields a wider image; a longer focal length allows you to zoom in on a distant subject.

Wide and ultra-wide angle lenses (14mm to 35mm on a full-frame) have a short focal length, allowing you to capture much more of a scene than a standard lens can.

Standard lenses (40mm to 70mm on a full frame) capture a scene at pretty much the same angle of view a human eye would.

Telephoto lenses (85mm to 300mm on a full-frame) have a very shallow angle of view, allowing you to zoom in closely.

Super telephoto lenses (anything beyond 300mm) are for photographing subjects that are quite far away.

One thing to keep in mind is that a lens with any given focal length will produce different results on an APS-C camera than on a full-frame camera.

For example, attaching a 50mm full-frame lens to an APS-C camera will make the lens act more like a 75mm or 80mm lens. (The focal length of the lens itself doesn’t change.) This can be super useful if you want more of a super telephoto effect but don’t want to pay for something that expensive.

• What does focal length mean?

The maximum size of the aperture of a lens – or f/number – determines how “fast” a lens is. Faster lenses let in more light, allowing you more wiggle room when working handheld in darker environments. They also allow you to photograph a narrower focus plane, putting your subject in focus while blurring everything in front and/or behind it.

Faster lenses (i.e. f/1.4, f/1.8, f/2) are generally bigger and more expensive than slower lenses. They’re especially helpful if you have an APS-C camera, as the sensor is smaller and can use all the light it can get.

With zoom lenses, there’s also another thing to keep in consideration: whether the aperture is variable or constant.

A variable aperture lens automatically adjusts the minimum aperture available to your focal length. For example, on a 70-300mm F/4.5-5.6 zoom, your lens will be as fast as f/4.5 at 70mm but will decrease the farther out you go. You’ll only have f/5.6 available by the time you reach 300mm.

Variable aperture lenses tend to be lighter and more affordable than fixed aperture lenses, but you definitely get less light available at the farther end.

With a fixed or constant aperture Sony zoom lens , the aperture stays the same throughout all of the focal lengths. That means that no matter where you are in zoom, you’ll always have the same amount of light available.

For example, a 24-70mm f/2.8 zoom will have f/2.8 available at 24mm, 70mm, and everywhere in between.

Obviously, constant apertures are ideal, but they tend to be heavier, larger, and much more expensive.

• What is aperture?

3rd Party Lenses

Third-party lenses – lenses made by manufacturers other than Sony – often come with a much lower price tag than native lenses.

Sometimes this is because they are lower quality, but not always. Both Sigma and Tamron make some excellent E-mount lenses, many of which work just as well – if not better – than lenses made by Sony.

The advantage you get when using first-party lenses is that you know that the lens is fully compatible with your Sony camera. In some cases – like with GM lenses – you’re likely to be getting superior quality as well.

The advantage of third-party lenses is almost always their comparatively lower prices.

How do I attach Nikon and Canon lenses to a Sony camera?

If you want to use a Nikon or Canon lens on your Sony, never fear – in most cases, you’ll just need a lens mount adaptor.

You might not get all the features of the lens or of the camera, but depending on the lens and the adaptor, you might still get much of its original functionality.

For example, some adaptors will work great with both AF-S and AF-C. Others will just have AF-S. If you prefer to shoot manually and don’t need IBIS, you’re golden!

Why use a Nikon or Canon lens on your Sony? One reason is you might be coming from one of these systems and already have a lot of great glass you love.

Another is that there are a lot of high-quality Canon and Nikon vintage lenses available at bargain prices – you can save a lot of money.

Here are some of the more popular adaptors:

Nikon F-mount lens to Sony E-mount camera

• Monster Adapter LA-FE1
• Vello Select Nikon F Lens to Sony E-Mount Camera Auto Lens Adapter (Firmware Ver.8)
• FotodioX Mount Adapter for Nikon F-Mount Lens to Sony E-Mount Camera

Canon EF-mount lens to Sony E-mount camera

• Vello Canon EF/EF-S Lens to Sony E-Mount Camera Auto Lens Adapter
• Metabones Canon EF/EF-S Lens to Sony E Mount T Smart Adapter (Fifth Generation)

What do the letters on a Sony Lens mean?

• C – Cinema lens with geared focus and aperture ring. Examples of the best cinematic lens include the Sony FE C 16-35mm T3.1 G or FE C 135mm T2.2 G which offer fast speed and useful focal lengths for filmmaking and general cinematography.
• E  – E-mount lens for APS-C and Super 35 cameras.
• ECF  – E-Mount Converter Fisheye.
• ECU  – E-Mount Converter Ultra-wide.
• FE  – Full-frame E-Mount lens.
• G – Gold Series lens. Sony’s second-highest lens tier.
• GM – Gold Master, more commonly “G-Master” lens. Sony’s highest-tier lens.
• LE  – Light Edition. Only ever used once in 2012 to designate a particularly lightweight lens design.
• OSS  – Optical SteadyShot is Sony’s name for in-lens image stabilization.
• PZ – Power Zoom lens with motorized zoom control.
• SEL  – Only used in official product codes, standing for Sony E-Mount Lens.
• SSM – Super Sonic Motor
• T*  – A lens equipped with Zeiss’ optical T coating.
• TC  – Teleconverter.
• ZA  – Zeiss approved “Zeiss Alpha” lenses built by Sony in Japan.
• Other Sony abbreviations you might see in the lens description include:
• AR – Anti-Reflective; the lens contains Sony’s nano-coating technology. All G and GM lenses have this.
• DDSM –  Direct Drive SuperSonic Motor; Designed for moving large, heavy focus groups in some Sony lenses.
• ED –  Extra-low Dispersion glass
• PZ –  Power Zoom; a built-in electronic zoom motor used for controlling optical zoom on the lens.
• SSM – SuperSonic Motor; An extremely fast, quiet and accurate autofocus motor used on many Sony G and GM lenses.
• SAM – Smooth Autofocus Motor; A cheaper AF motor used primarily on a Sony’s kit lenses.
• XA –  Extreme Aspherical; the lens contains Sony’s top-of-the-line aspherical element that produces extremely high resolution with beautiful out-of-focus areas. Reserved for Sony GM lenses.

What are other common questions about Sony e-mount lenses?

• What does FE mean on a Sony lens?

The Sony “FE” means that the lens is designed for full-frame Sony Alpha mirrorless cameras. Sony e lenses are ones that are designed for the e-mount.

• What does E mean on a Sony lens?

An “E” without the “F” means the lens was designed specifically for a Sony APS-C camera (i.e. the a6xxx line). It will have a smaller image circle than that of a lens designed for a full-frame sensor.

• Should I buy a new camera with a Sony kit lens?

Buying a Sony camera with a Sony kit lens included is a great way for beginners to start practicing. Kit lenses are often looked down upon by professionals, but their quality is actually much better in previous years. Kit lenses are also much cheaper than the best Sony e mount lenses mentioned in this guide.

• What is a Sony G Master lens?

GM, or Gold Master Sony camera lenses are Sony’s premium, top-of-the-line lenses. Sony G lenses are designed to fulfill all professional requirements, from exceptional image quality and performance to weatherproofing and a superior design build. They are designated on the lens with a white G on an orange square.

• What’s the difference between a Sony GM Lens and a Carl Zeiss lens?

A Sony GM lens is designed solely by Sony and uses the Sony quality standard. They focus on providing high-resolution and perfect bokeh.

A Carl Zeiss lens is a lens made by Sony using Zeiss design and technology. It uses the Zeiss quality standard, which focuses on resolution and contrast. (Sony partnered with Zeiss for two decades before making their first GM lens in 2016.)

• How do I know if my Sony lens is full frame?

A full-frame Sony camera lens will be marked with an FE on the barrel.

• What does OSS mean on a Sony lens?

OSS on a Sony lens stands for Optical Steady Shot, Sony’s in-lens image stabilization system.

• What do the names on the Zeiss lenses mean?

There are three different types of Zeiss design that Sony uses: Sonnar, Planar, and Distagon.

Sonnar – Sonnar Zeiss lenses use the Zeiss classic “Sonnar” design invented by Dr. Ludwig Bertele in the late 1920s. They feature a fast aperture, lightweight design, and fantastic contrast – all with a minimum of flare.

Planar – Designed in the late 1890s, planar lenses have a symmetrical design, with the aperture placed in the middle of the elements. This allows the lens to stay sharp from center to corner at wide apertures, all with little chromatic aberration. Almost every 50mm lens has some element of Planar design in it

Distagon – A design system Zeiss uses for its wide and ultra-wide angle, retrofocal lenses. These lenses are often heavy, as they are pretty complex. The Sony Zeiss Distagon T* FE 35mm F1.4 ZA is the only Distagon lens available for Sony E-mounts.

• How do I update the firmware on my Sony lens?
• Attach the lens to the camera. (Make sure that your camera is off before attaching/changing the lens.)
• Check the version of the camera lens system software by going to Menu →Setup → Version .
• Set the USB Connection to Mass Storage.
• Using a computer, download the update that corresponds to your lens model.
• Run the update on your computer.
• Follow the screen instructions.
• When directed, connect a USB cable to your camera, then plug it into your computer. (If your camera has both a Micro USB and USB C port, you can use either.)
• Continue following the screen instructions.
• Once the update process is complete, click the “Finish” button on your computer screen. (DO NOT DISCONNECT THE USB CABLE until your camera’s LCD screen says “Camera Update Complete.”)
• Follow the instructions on your camera’s LCD screen (which will probably include turning the camera off and then on again).
• Re-check the firmware version of the lens to make sure the update was successful. (Again, Menu →Setup → Version ).

IMPORTANT: Make sure your camera’s battery is fully charged before starting the update process. If the battery dies during the firmware update, your camera may be seriously impacted.

Also, do not turn off the camera or disconnect the USB cable until the update process is entirely complete.

• What lens mount does Sony use?

Sony cameras use either an A-mount or an E/FE-mount. A-mount lenses work with Sony DSLRs. Sony’s mirrorless cameras use the E-mount and/or FE-mount.

• What’s the difference between Sony E-mount and FE?

The Sony E-mount (without the F) is a lens made for Sony APS-C mirrorless cameras.

The FE-mount signifies a lens made for Son’y full-frame mirrorless cameras.

• Can a Canon lens be used on a Sony body?

Yes, if you use an adaptor.

• How can I connect my Canon lens to my Sony body?

You can connect a Canon lens to a Sony mirrorless camera body by using a Sony E-mount adapter. For more information, see the section above.

• Can a Nikon lens be used on a Sony body?

Yes, you can connect a Nikon lens to a Sony mirrorless camera body. You just need a Sony E-mount adapter. For more information, see the section above.

• How can I connect my Nikon lens to my Sony body?

You can connect a Nikon lens to a Sony mirrorless camera body by using a Sony E-mount adaptor.

• How do I mount my Sony lens to my Canon body?

You can connect a Sony lens to a Canon camera via the use of a Canon EF-mount adaptor

• How do I mount my Sony lens to my Nikon body?

You can connect a Sony lens to a Canon camera via the use of a Nikon F-mount adaptor

Sony Lens List: Current, Upcoming & Rumors of EMount Lenses

Here are the expected lenses for 2024 and their release dates.

• Sony FE 20-70mm f/4 G Lens (Announced, Priced $1,098. Release date on March 3rd, 2023)
• Sony FE 50mm f/1.4 GM Lens
• Sony FE 300mm f/2.8 GM OSS Lens (Release date in early 2024 )
• Sony FE 16-35mm f/2.8 GM II Lens
• Sony FE 24-105mm f4 G OSS II Lens
• Sony FE 28-75mm f/2.8 Lens
• Sony FE 85mm f/1.2 GM Lens
• Sony FE 100mm f/1.4 GM Lens
• Sony FE 150-400mm f/4 Lens

Best Sony E Mount Lenses | Final Words

We hope you found this enormous guide useful! It was definitely a challenge to put together, but we think it was worth it :)

Shooting with a Sony mirrorless camera is certainly a fun and rewarding experience, so it’s great that there are so many excellent own-brand and third-party lenses available for the Sony e-mount here in 2024.

If you have any questions or comments regarding any of the lenses mentioned here (or have some recommendations of your own), we’d love to hear them below.

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Mark Condon is a British wedding photographer and editor of Shotkit. When he’s not taking photos or reviewing the latest camera gear and software, Mark can be found cycling around the northern rivers.

Usnea Lebendig is an experienced photographer and reviewer who loves to photograph professionally and in moments where the world’s beauty and/or strangeness leaps in front of the lens.

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82 Comments

(1) How is the Sigma 24-70mm 2.8 for Sony mirrorless camera? Some reviews highly recommend it for the pricing & quality.

(2) In addition, if I only had one lens in my arsenal, is the Sigma 24-70mm a good choice?

Purpose: I’m interested in both pics and video (not commercial but just high quality pics and videos for personal use).

1) it’s excellent! 2) yes absolutely. Any 24-70 is a near-perfect all-rounder.

Hi Mark, I am completely new to the camera world in the sense that I have never owned a full frame or an APS-C camera, but I do have a GoPro Hero 7, which I use for shooting dynamic video like when I go skiing . In order to get some more professional looking video footage though I was looking towards the Sony a6600, which can also serve me well for photography. To go with that camera I need a lens (I can only afford one good lens) that is travel friendly, since I am planing to go travelling as soon as the virus allows it. As mentioned, my focus is video, but I also want a lens capable for photography. I’m currently looking at the Sony 18-105mm f/4 OSS G-master and the Sony FE 28mm f/2, but I have also considered the Sigma 30mm f/1.8, the Sony 35mm f/1.8 OSS and the Sony 24mm E f/1.8 Sonnar T* ZA. I’m unsure of what focal length I like and what I’ll need for traveling, which is why the Zoom lens seems quite attractive, but the high aperture is holding me back and I can’t afford the f/2.8 variants. What do you recommend from the lenses above and do you have any other suggestions? Thanks so much for your time!

Hey Charles, my advice would be to buy a zoom since it offers a range of focal lengths, and travel with that for a while. Then when you return, check to see at which focal length you shot most photos, and that will help you decide on your next lens purchase (which should be a prime). Hope that helps!

Hello, I just preordered the Sony A7c to upgrade my YouTube Video and other social media channels. I do mostly YouTube beauty videos and reviews, but I would a more versatile lens. ex shooting pictures of my my family or travel. Is there a lens you recommend? I am so lost when I am researching. And when I am filmung my videos I don’t have much room to shoot. So the camera is maybe 1 or 2 ft in front me. Thank You

Hey Sarah! At that distance, you’d need something wider than 24mm to ensure enough of your head is in shot.

Hi Mark! Awesome article about Sony lenses! It helped me to choose Sony E 35mm f/1.8 OSS for my Sony A6000. And now I’d like to have a wide-angle lens for shooting landscapes. Which one do you suggest to take – Laowa 9mm f/2.8 Zero-D or Rokinon 12mm f/2.0 NCS CS? Or maybe another one?

Thanks Bobby! The Rokinon has my vote ;-)

I have a couple of G Master Zooms, but I really ),really) like the 90mm Macro f2.8. Incredible! And also ‘long in the tooth’. Switch out your 85 1.8, and replace it with the 90.

Mark, great article and what I was looking for. Last fall I sold all of my Canon gear and purchased a Sony a7 III with a 24-70 2.8. I like to shoot my family, landscapes, cityscapes, and whatever I see walking around.

I use my current lens, as an everyday lens, though I find myself being lazy by just using the zoom to get the correct frame instead of thinking of the shot and positioning myself. Would purchasing a prime lens or two force me to actually think about the shot since I don’t have to worry about the zoom?

If so, what lenses would you recommend I put in my bag? Should I go with the first 3 that you purchased or a 35mm, 55mm, and 85mm or should I stay away from prime lenses and add a wide zoom and a telephoto lens?

Hey Jeff, I’d recommend you get a 35mm and an 85mm. You can use the APS-C crop mode on your a7III to cover 50-ish mm with the 35. Make sense?

Great, that makes sense. By the way, I love the information on your website. Thanks, Mark.

Thanks Jeff, I appreciate that!

I think it is worth pointing out that the 55mm f/1.8 is also just about the best lens if you want to shoot infra red. There are no hotspots as is often the case with modern lenses. I think it’s a fluke because the other lenses inthat range are useless for IR. Super sharp and compact.

Thanks for the tip, Andy!

Sorry, but unless the cameras are markedly different Down Under, this is in error: “FE lenses can be used on E mount cameras, but E lenses cannot be used on FE mount cameras.” All Sony mirrorless lenses have the same E-mount and all, regardless of format (full-frame or APS-C) can go onto any of their mirrorless cameras and will properly focus, etc. The image circle differs between formats, but mounts, flange distance and electronic contacts are the same on FE and E lenses. Page 14 of the Sony a7R II manual reads: “This camera is equipped with a 35 mm, full-frame CMOS image sensor. However, the image size is automatically set to that of the APS-C size setting and the image size is smaller when an E-mount lens compatible APS-C size is used (default settings).”

Technically, you’re right, Paul – it shouldn’t say they “can’t” be used on APS-C bodies, but rather, we don’t recommend it, since image quality suffers.

Honestly? Because a 42M full-frame Sony will produce an 18M (17,819,264) image using the APS-C setting with E lenses, providing ample resolution for a 300ppi tabloid-size (11″x17″) image, or a 71.778″ x 47.889″ image at 100% (72ppi).

What about the vignetting?

When used with APS-C E lenses, a full-frame camera can automatically set itself to APS-C format for clean images with no vignetting. Plus the cropped image fills the full-frame camera’s viewfinder while shooting in APS-C mode with an E lens. This can also be set manually so there is the option to vignette or not with an E lens.

Kind of feel like you should just make it clear up front that you’re focusing on full frame. You throw a few APS-C in, but miss key ones like the 16-55 f2.8 which is probably the best lens on the system if you’re an APS-C shooter.

We’re publishing a best APS-C lenses guide for the Sony system very soon, Mike, and rest assured, the 16-55mm will be given a thorough review ;-)

New to photography here. Learning about lenses is overwhelming. Thank you for this article. It helps. I do own a APS-C (A6600) and am looking forward to the guide Mike and the rest are putting together. How soon is “soon”? When would I be able to read it as I am in the market for an additional lens and would.

Nice camera, Janice! Here you go ;-)

Many third party lenses with a fraction prices can do the job competently with Sony lenses such as Sigma 14-24 f2.8, 20mm , 35mm, 50mm, 85mm F1.4. Tamron 17-28 and 28-75mm, 20mm, 24mm and 35mm f2.8. Samyang/Rokinon AF 14mm , 18mm, 24mm, 35mm F2.8 and 35, 50, 85 F1.4…. Why pay ridiculous price for Sony lenses ?

We’re reviewing several of those third party lenses this month, actually Thong. There’s some perceived value in owning own brand gear, but in most cases the performance is better… albeit marginally.

I was going to say that I’ve heard the new Sigma 24-70 or the Tamron 28-75 beat out the Sony 24-70 for being 95% the same lens for half the price

We’ve reviewed both those lenses and they’re certainly competitive! For some though, only the native lenses will do…

Super article, thank you for taking the time.. riddle me this… I recently moved from a Nex5N to a 6300 and recently up to the A7Riv (used to be a Canon fan).. I bought two lenses forward being the Zeiss 16-34 F4 and the 100-400 GM… I’m itching to buy a 3rd lens (fill the gap or let the A7Riv sing) and wondered if you had an opinion.. Am hovering and researching like crazy the 55mm 85mm 90Macro and the 24-75mand perhaps the Tamron 27-75 + other. I did buy the 24-105 and honestly felt it was Ok but didn’t knock me over. I have also ordered and cancelled the 200-600 three times with immediate buyer worry… Thoughts on what you’d buy as your third ?… low light, prime, extra length, macro or fill the void ?.. Thx Guy

Wow, that’s quite the jump from an a6300 to an a7Riv, Guy! Nice!! Well, since you have wide and long covered, I’d invest in this if you want another zoom (and don’t want to stretch to this G Master , which is admittedly superior), or this 55mm if you want a versatile prime and don’t want to overlap any of your current focal lengths (I’d recommend at least one fast prime, to really see what your new camera is capable of!)

Thanks Mark.. so you wouldn’t recommend the 85GM then ?.. figured that and the 55 would have been on your pick as I am void of low light and primes …. I am likely a couple away, I don’t do portraits formally but find myself more doing them with wifey and dog.. so might risk a high end prime to give me a different road to tread also

Yep, I definitely do. That’s the hard thing with these ‘Best of’ posts – obviously I’d like to recommend all the most expensive G Master lenses, as quite frankly, they’re the best for what they do. However, they’re not the most cost-effective, and many photographers may not even require the advantages. Sony full frame cameras are so good with high ISO that f/1.4 isn’t always necessary, for example. However, yes, if you want the creamiest bokeh of any Sony lens, the 85 1.4 GM is up there!! Side note: 55mm is more versatile than 85mm, hence my recommendation to you when you suggested the two. Do you have any other questions?

Well seeing as you asked :-)

If I bought the 24-70GM (money aside) or the 55mm… at that range would the Zeiss be superior or is the 24-70 like a tube of primes ?.. I am a zoom guy and am tempted by primes to learn new tricks but versatility is a big factor for me.. reason I thought 85m was the 16-34 gets wide and versatile, 85 plops in the middle and the 100-400m picks up the reach.. 55 is also in same cameo.. but seeing as you asked I wonder if based on this then the natural choice was to sweep prime and mid with the 24-70 and the budget choice was the Tamron if I don’t want to spring for the GM ?

Thanks again for the advice… reality is there is never answer and likely this won’t be the last glass purchase but I am trying to avoid another backpack full of glass !

Scratch the last question I sent over, after researching everything I could find (image qual between the 55mm and the 24-70 GM at 55) there is little in it unless you super pixel peep. The main difference being weight and price and a prime pairing hamper vs. utility zooms…. I just ordered a 24-70 GM which gives me what I think is a great triple threat of lenses (16-34 Zeiss, 24-70 GM and 100-400 GM with 1.4x Teleconverter for icing)… So thank you again for your suggestions and article…

Amazing lens line up, Guy! You’ve got pretty much every length covered now. Time to get out there and shoot ;-) All the best!

Hi mark, Thanks for the article , it’s very helpful. I had recently bought a 7Aiii , with a Tamron 28-75 , which i found superb. I would like to add a prime lens : i was hesitating between the 55mm f/1.8 and the 85mm f/1.8 ? Whic when one do you advise me ? I would like to make some portraits, but don’t want to be stuck with a lens that i use exclusively for portraits (the 85mm)

Sounds like you need the 55mm then Ahmed! All the best.

Hello buddy! My name is Ajay from India… Actually I’m working as a product photographers… I’m using Nikon d5300 with 40mm f2.8 and 18-55mm kit lens… Right now I’m planning to buy sony A7 mark3 with tamron 28-75mm f2.8 lens and canon 5d markIV… Actually I’m not fully satisfied with nikon d5300 crop sensor camera that’s I want to updating my camera…can you please suggest me a perfect camera to buy for professional work like product photography and videography….natural colors matters to me alot it should be perfect… Thank you

Hey Ajay – I appreciate your comment, but it’s not really relevant to this guide. I suggest asking in our private Facebook group – we’d be more than happy to help you there :-)

Hi Mark :) I found this article really interesting, it has resolved many doubts, I just start taking the photography as something more than a hobby, I will definitely be aware of the information you share. Thanks a lot!

Glad to hear it Itzel – thanks for letting me know!

Thanks for such a well rounded review! I switched from Canon to Sony a few years ago and upgraded to A7III this year. Up till this point I have been using Canon & vintage lenses with adaptors, but I’m looking to invest in native lenses and phase out most of my canon lenses.

I’ve just purchased the Sony FE 50mm 1.8 and trying to figure out what to look at next. I primarily shoot portraits in studio, however I also do a lot of environmental portraits and candid portraits. These sometimes can be in much smaller spaces and with lower ambient light I’ve been making do with the Canon L 24-70mm f2.8 for these situations but wondering if I should be considering another wider angle prime instead of a native mid range zoom?

Thanks Angela, I’m glad it helped! Well, the Sony 24-70mm f/2.8 would be the obvious choice, but assuming you’re keeping your Canon version, I’d go for the Sigma 30mm f/1.4 – it’s great value and a useful focal length for enviro portraits. f/1.4 will be amazing for you in low light too. Hope that helps?

Hello Mark, I really liked your overview. I enjoy shooting with my Sony A7iii and SEL85F18 lens for portrait. For budget reasons I extended my gear-set with Samyang/Rokinon AF FE native lenses, which looks cheap from build point of view but in turn they offer quite some impressive results in a lightweight body. I’m talking about Samyang AF 35mm f2.8 (kind of pancake) and the 45mm F1.8. What are your thoughts about those lenses and would you justify a delta of ~400$ to switch to the Sony 55 F1.8 ZA, which I really took in consideration? Thank you!

I’d recommend you save up a little more and opt for this 55mm , Nicol! It’s one of the few Sony lenses that has any kind of ‘character’ to it – the focal length is unusual and the depth of field/sharpness are excellent. The Samyangs are great value for money (and I’m a big fan of pancake lenses ), but the Sony is in a class of its own. Hope that helps!

I have a Sony A7iii and am looking for a lowlight lens for traveling. I am thinking of buying the 24-70 f2.8 but the weight concerns me. The other lens I have my eye on is the new 24 f1.4. It would be wonderful if I can bring one lens with me on a trip but I’ll settle for 2.

I am not a professional photographer but I have a very discerning eye. I’m chasing after sharp nighttime or dusk landscape photographs. Any suggestions would be greatly appreciated. Thank you.

Hey Jacqueline, I use and highly recommend this lens which is feather-light, and perfect for traveling. It’s f/2.8 so should be good enough in low light when combined with the high ISO performance of your a7iii. Is 35mm wide enough for you?

That was an excellent and informative page .

I am currently using A7iii combined with Sony 24-105 f4 G Lens. I currently do Portraits (I am training with professional photographers with models indoor & outdoor including street portraits). I also do paid photography once a month in night clubs . Please advise what NEW lens out there are best for what I do?

Thanks Manish. If I were you I’d get a fast prime lens to complement your zoom. You already have a wide range of focal lengths covered with your 24-105, so pick whichever length you use the most (you can use Lightroom to sort by focal length) and try and get something faster than an f/2 which could help for your night club work. This one is one of my favourites for on the dance floor, as you can get shots that make the viewer feel immersed in the action.

Like to get your thoughts on the Zeiss Batis 40mm F2 to compliment the 85mm 1.8 (paired to A7III) primarily for low light events and environmental portraits. Focusing speed and accuracy are essential. 55mm 1.8 feels to close to 85mm and I can’t get behind the size and weight of the 35mm 1.4.

I have a fuji kit for all my other personal needs which I’m very happy with just need the extra stops of ISO performance and focus speed in lower light venues. Thanks

Hey Jim I don’t have any experience with the Batis 40mm in a professional setting, but Zeiss lenses in general are excellent, so I’m confident it’d be fine for events and portraits. Checking out the reviews here seem to support that. It’s also nice and lightweight. Have you also considered this 35mm Zeiss one ? I’ve been using it with my a7III a lot over the past year and love it.

Hi Mark, this is a great review. Thank you very much. I am seriously thinking of two options:

1. Sony A7III, 85mm f1.8, 24mm f1.8 or f1.4 2. Fujifilm XT-3, 56mm f1.2, 16mm f1.4

I take landscape and portrait photos. What are your recommendations on the two cameras and the lens selection?

Thanks in advance for your kind advice.

Hey Burton, well, since this is a post about Sony lenses, I’d have the recommend the Sony option! Seriously though, they’re both great options. If you shoot a lot in low light, the Sony option is best.

Great information, thank you. Between the 50 1.4 and the 55; what is the best of the two

Depends what you need them for, Serge. 55 is sharper and faster (to acquire AF), but 50 is faster (larger max aperture) and obviously slightly wider too.

I have a question about the 85mm. I have the Sigma 70mm macro lens for the sony full frame camera. I bought the 85mm one sale and in your opinion, would it be worth it to keep both or would you use the 70mm for portraits as well?

I’d probably keep the 70mm for macro work, Erik. Very similar focal lengths, but different use cases.

Hi Mark- Wonderful site- thank you for all of your insight! I am considering investing in the a7iii and like everyone, I’m having trouble getting lenses. I will be doing a lot of outdoor photography- all individual and family portraits as well as some in studio budoir, maternity,etc What would be my best two to three lenses? And should I be including a zoom for flexibility outdoors? Also, I’ve read a lot about focusing problems with this system and I’m concerned about that, especially for outdoors, any thoughts? Seems really weird since I thought this camera and the R are known for their great focusing ability. And lastly, I’ve heard about problems with backlit photos facing the sun, which I will be doing. Is that with any lens in particular? Sorry for all the questions but I know you’re a great source of knowledge and experience. Thanks!!

Hey Stacey! I recommend you join our Facebook Group for multi-part questions like this, but I’ll do my best here :-) 1. These are the lenses I’d get: 24-70mm f.2.8 , 85mm f/1.8 , and if you have any money left over, the 35mm f/2.8 is a great walkaround lens too. I’d definitely recommend a zoom since you seem to be shooting a variety of subjects in a variety of locations – the flexibility of a zoom would help a lot, and 24-70mm is very versatile. 2. Focusing problems? Not heard of any! 3. Backlit photos – yes, Sony sensors don’t handle this as well as Nikon or Canon in my experience, but still nothing to worry about. Hope that helps!

What are some good lenses to use for the Sony A7R iii and A7 ii which is compatible for the NEX 5? I believe the A7 ii can be switched to the APC-S crop factor?

Hey Gino, all Sony FE lenses are compatible with the E camera bodies, albeit at a ‘crop’ (1.5x multiplication of the focal length of the lens). Switching the APS-C to crop means that in theory you can use E lenses on your Sony A7 bodies, but I’d advise against it. I use the crop mode on my a7III to get extra reach out of my FE lenses. I’ll publish a post soon about my recommendations of lenses specific to Sony a7 bodies. Does that help you at all?

Have you tried the Sony 90mm f2.8? I hear it’s it’s really impressive.

Yep! It’s a great lens, albeit rather heavy and expensive. Personally I still prefer the 85mm f/1.8 though – lighter, cheaper and faster… although not a macro lens, obviously.

What a great review and summary, really love it!

I’m currently using A7ii with Canon 24-70 1.8 lens (using mount converter) for event photography (like wedding, birthday, or gatherings). However, my biggest obstacle on this is the AF performance.

I’m planning to invest more, by upgrade my body to A7iii OR my lens to 24-70 GM (can’t do both at same time as those will definitely break my bank).

Do you have any suggestions on which one is better option?

Also, you’ve mentioned 24-70 zeiss is outperformed by the GM one. Did you just talk on image quality, or does it also have far worse AF performance than the GM one?

Thanks in advance for your thoughts, greatly appreciated!

Hey Ed, I don’t really recommend Canon glass on a Sony body. Although it can work ok with adapters, the performance isn’t officially tested or supported by Sony. Sony glass on a Sony body will always be better, especially with AF. The a7ii is a great camera, but the AF is admittedly better on the a7iii. I’d recommend you try out a Sony lens on your a7ii first, and decide whether it’s the camera or the adapted lenses you’re using that’s the bottleneck to getting the most out of your existing camera. Hope that helps?

Thanks for an insightful and real-world perspective on these lenses. I especially appreciate how you described their pros, cons, and intended uses in every-day, layman terms that non-professionals, like me, can understand.

Having said that, I am a beginner looking to buy some better glass. I currently use the Sony a6500 and the SEL 18-135mm f/3.5-5.6 OSS lens that came with the bundle I bought. While that lens is great for a huge variety of focal lengths (for photos of my kids at outdoor swim meets and Ultimate Frisbee matches) it really lacks when I try to use it for indoor shots of birthday or dinner parties. I sometimes use the flash (tipped upwards to bounce off the ceiling) which helps a bit but often the photos just don’t look as pleasing to my eyes.

After much research I was torn between the Sigma 30mm f/1.4 and the Sony 35mm f/1.8 OSS that you recommend here. I even went as far as to read up on MTF charts (which I, admittedly, do not fully understand). And then I read further in your review about the Sony FE 28mm f/2 to complicate matters! I know you regard the Sony 24mm f/1.4 highly but I think my wife would not speak to me for a very long time if I bought that lens. I basically want the best “bang-for-the-buck” lens to fill that indoor need and possibly as an evening walk-around general purpose lens. Typically, I shoot straight to JPEG and do very little post-production work. Any tweaking needed is usually handled by iPhoto on my MacBook Pro.

Between the two Sony lens and the Sigma lens, is there one that you would give the edge to in my situation?

Thanks and keep up the great work of sharing your knowledge and expertise with the rest of us!

Hi Clay, thanks for your kind words and interesting comment. All the lenses you mention would be great with the a6500 (and I did laugh at the consequences of you buying the 24mm f1.4!!) In your situation, I’d go for the widest focal length with the fastest aperture in your price range. With the APS-C sensor of the a6500, it’d be nice to have something as close to a 35mm equivalent as possible – be it the Sigma 30mm or the Sony 28mm. These kinds of focal length are more versatile, and give you more bang for your buck. I hope that helps!

Hey there Mark, I am a wedding photographer. a couple years ago I made an attempt to go mirrorless with the A7Mark2, but after a SD card malfunction decided to stay with my Nikon D750 camera system. Now that Sony decided to put two card slots in their A7mark3… well, I am ready for attempt number two. With Nikon system I mainly used the 24-70 and the 70-200 @ F2.8. Now to decide on my lens choices. Looking at my data in Lightroom, I find that most of my images are shot at around 35 to 50mm. And at the top end around 135 – 200mm. The main reason for me to switch to Sony is for me to lighten my load. I am considering the 35mm @1.4 Gmaster as my primary lens and The 85mm @1.4 Gmaster as my other lens. My fear is that I will miss the magical Image Quality of the Nikon 70-200. The 85mm will be a whole lot lighter than the Nikon 70-200… but will I miss the image quality of the 70-200?

Hey Andy – no, you won’t ;-) The 85mm f/1.4 from any brand is a magical lens, and in my opinion, far superior to the 70-200 (when shot at 85mm, I mean). Obviously you may miss the versatility of your zoom lens, but I don’t think that’s what you’re referring to here. Also it’s worth considering that anything over 85mm tends to produce a rather ‘disconnected’ image – shot at 200mm, your bride won’t look as ‘engaging’ to the viewer as when shot at 85mm (or wider), for example. The 35mm f/1.4 is an excellent lens too. I’m sure you won’t regret your switch! (Incidentally, stay tuned as I’ll release a ‘my switch from the D750 to the a7III’ video soon with all my thoughts…)

A very interesting and user friendly summary.

Joined the convert train to Sony mirrorless and purchased the a7iii; now I’m trying to pick lenses along with everyone else here. This is by far the clearest and most thoughtful post/review I’ve found – thank you!

I’ve tested the 24-70 f/2.8 and likely will end up with it for versatility sake; I rarely use much zoom and love the performance despite the weight factor. I mainly shoot landscape and environmental portraits for nonprofits and would like a complimentary prime that is lighter and easier to trek with; I primarily shot 50mm on my old Nikon setup. Certainly drawn to the 55mm 1.8 for its universal good reviews but periodically find myself wishing for a little wider in closed in spaces. Down the road I hope to be able to pick up the 16-35mm, so from a doubling up and weight factor, I’m not sold on the 35mm 1.4. Does the 55mm seem like a good place to start, or is there another prime I’m missing?

The 55 is an excellent place to start Gretchen! If you’re going for the 16-35 and don’t need the low light performance of an f/1.4 lens like the 35mm, the 55mm will be an excellent portrait lens.

I’m about to ‘pull the trigger’ on purchasing the Sony A7 III, and am having a (sort of) hard time looking for a 2 lens complement. My photographic choices are for landscapes (mountains, deserts etc.), air shows / action, and African safari / animals.

My intial thoughts are the Sony FE 100-400mm f/4,5-5.6 OSS G Master and the Sony FE 24-105mm f/4 G OSS. I know that the zoom is a heavy ‘beast’ but, for its ability, I’m happy to be carrying it for both landscape, air shows and animals in the bush. However, I’m also considering swapping out the 24-105mm f/4 and replacing it with either the 16-35 G Master or the 24-70mm G Master you mention above.

I know that will leave a gap but I’ll just have to move my feet a little more. I’d certainly like to capture sunrise and sunsets on a month-ling 4×4 trek into the bush.

What are your thoughts Mark?

Hi Bob, wow that’s quite a decision! I’d say that unless you need the low light capabilities of the f/2.8 lenses, the other zoom lenses you mention there will be great. Between the 100-400 and 24-105, it’s really a matter of how much reach you need. I prefer the versatility of having a wide-to-long zoom, rather than a long-to-longer. Hope that helps?!

Thanks for the great article. Like the other commenter (also called Simon) I too am about to invest in the A7iii and am also looking at buying two lenses to begin with.

I live abroad and travel a lot, so am generally interested in a variety of possible shots – landscapes, city streets, and close-ups of flora and fauna (my partner has a 70D with zoom lens so I don’t need to snap birds at the tops of trees as she can cover that).

I am taken with the 85mm 1.8, but I wonder, will this lens work in macro surroundings? I know it isn’t a macro lens, but would it be suitable for close ups of flowers, insects etc. as well as letting me snap street seems and portraits?

Like other Simon, I am also attracted to the 24-70mm for its versatility (wide angle through close ups) but do you think a 35mm 1.8 would be more suitable for the types of photograph I’ve mentioned above… or should I go even wider and get a 24mm prime?

Any thoughts… greatly appreciated. Your explanations of the various lenses and accessories for Sony cameras are the most helpful I’ve read.

Glad to hear it Simon! Thanks for the kind words. To answer your questions, yes, you’d be able to take close ups of flower etc, but not to the extent of a macro lens. If you wanted to get closer, you could always crop using Lightroom, or even set up a custom button on the A7iii to crop to APS-C format (this is what I do to extend the reach of my lenses).

If you invest in the 85mm, I’d recommend a 35mm to complement it. The f/1.4 is excellent but heavy and expensive – the 35mm f/2.8 is a great alternative which is much smaller/lighter.

As you say you travel a lot, I’d steer clear of any heavy zoom lenses like the 24-70. As attractive a zoom range as it is, it makes the Sony body feel unbalanced, and will be a pain in the a** to travel with! That’s just my opinion though – many traveling photographers happily use big zoom lenses!

Hope that helps?

Very helpful and informative with comprehensive information given thank you. I’m about to invest in a sony A7 mark 3 (couldn’t justify the R for 1200 more) however im getting bamboozled with lense options. im thinking the 24-70 is a good all rounder G master series. however, why would i then look at getting another such as 35mm or 50mm if this is covered in one lense?

would you advise getting something like the 24-70 and then an 85.. eventually id get the 200mm but the camera and one lense is breaking my bank.

could you give me some tips if say you had to get two lenses, which would you go for? i mainly want to capture candid street shooting, and landscapes etc.. so again im a little lost on the direction i take for lenses.

great website by the way =]

Hi Simon! Thanks for the kind words. The 24-70 is an incredible all in one lens, and you’re right in thinking it covers the focal lengths of the 35, 50, and everything else in between 24-70… but not the apertures.

Whilst f/2.8 will be fine in daylight situations, it may struggle in low light, even with the excellent high ISO performance of the Sony a7III.

Then there’s the size and weight of those zoom lenses, which won’t be ideal for candid street shooting. For landscape I guess it’d be fine, as long as you don’t mind the additional bulk.

Finally price is a big factor – you can get a few great prime lenses for the price of one G Master zoom.

Hope that helps! Mark

Great article. I’ve been using my a7rii for over a year now with the 35mm f2.8 ZA and have been enjoying it so far. I’ve been using it for travel and events, and I have to say that the image quality is great. Just want add that with the R, I can crop my images without losing too much resolution. So maybe don’t strike off the R too quickly.

I do agree with Mark that size and weight is critical for travel photography, as you will be carrying it for the entire day, probably on foot, on top of your other accessories and necessities. You wouldn’t want to be put off with the weight and ending up leaving your camera in the hotel.

Also want to ask Mark, if you will be doing another article of other brands of lens for the sony body. I know that Samyang has a decent few that won’t break the bank like Sony’s.

Thanks Clifford, glad to hear it! Yes, you’re right, the R is still a great camera, especially when combined with the APS-C crop functionality which effectively extends any of your lenses by 1.5x as you know. For a wedding shooter like me, the huge file sizes were annoying, but I guess for any other photographer shooting lower volume, this won’t be an issue.

To answer your question, I’ll be looking into Sigma lenses for Sony very soon, and may possibly throw in some other 3rd party brands. Samyang does some great ones… stay tuned!

I am trying to figure out which lens or lenses to get to just get started in photography. I have an A7iii with the kit lens which is a FE 28mm-70mm F3.5-5.6 and a FE 50mm F1.8. Prior to this camera I had never paid attention or known anything about shooting. Now I wish I had done a bit of research aside from what the best camera in my budget to get. Anyway, currently I have mainly been shooting indoor baby, portrait, and small gatherings such as birthdays and holidays. I am stuck while trying to chose between either a good 55mm, 85mm, 90mm macro, or trying to get either a very good zoom 24mm-70mm, or 70mm-200mm F4, I would obviously get both 24mm-70mm GM and 70mm-200mm F2.8 if it were in my budget now. But I just want what everyone wants and that’s the best at the best price. I would like your advice on picking the best option. I have found out it is alot harder to get in a childs face with a camera trying to get a good shot. That’s why I was really considering the zoom. I will eventually get some other lenses but at the moment that’s what I’m up against.

Hi Imran, it sounds like with the 50mm f/1.8, you already have a good portrait lens. What do you feel it’s lacking?

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The best Sony lenses in 2024

Guidance through our expert picks from sony's extensive range of lenses - for value and application.

In the review

If you’re looking for the best Sony lenses, Joshua Waller is here to guide you with great Sony lens options for all budgets and subject genres.

As Sony’s E-mount system has been running for more than a decade now, the lens catalogue is vast, and shooters using Sony’s mirrorless cameras are spoiled for choice. Whether you’re on full-frame or APS-C, there are tons of lenses available to choose from, both new and used, with more coming out all the time.

It might be that you’re using one of Sony’s ultra-high resolution cameras like the  Sony A7R V , and need a lens that will be able to resolve all that detail. Or, users of an APS-C model such as the new  Sony A6700  may still want something sharp, but also want it lightweight and agile. For those not interested in stills at all – using one of Sony’s vlogging cameras like the Sony ZV-E1 , – there will be a whole different set of priorities, such as silent focusing and minimal focus breathing.

We’ve picked out lenses for all these situations and more. If this is all new to you, scroll to the bottom where we’ve put together some comprehensive buying advice to help you make sense of it all. We’ve divided our guide up into sections, first dealing with full-frame lenses, then picking our favourite APS-C lenses, and have included options for a range of budgets. And if you’re looking for a camera as well as a lens, or feel it’s time for an upgrade, check out our guide to the  best Sony cameras .

Don’t want to wait? Here’s our quick, cut-to-the-chase list of the best lenses for full-frame Sony E-mount cameras:

• Best multi-purpose tele-zoom: Sony FE 70-200mm F2.8 GM OSS II – buy now
• Best standard prime: Sony FE 50mm F1.4 GM – buy now
• Best telephoto zoom: Sony FE 200-600mm F5.6-6.3 G OSS – buy now
• Best macro zoom lens: Sony FE 70-200mm F4 Macro G OSS II – buy now
• Best lightweight standard zoom: Sony FE 20-70mm F4 G – buy now
• Best value standard prime: Samyang AF 35mm F1.4 FE II – buy now
• Best premium prime: Sony FE 35mm F1.4 GM – buy now
• Best portrait lens: Sony FE 135mm F1.8 GM – buy now
• Best macro lens: Sony FE 90mm F2.8 Macro G OSS – buy now
• Best portrait lens: Sony FE 85mm F1.4 GM – buy now
• Best Sigma prime lens : Sigma 20mm F2 DG DN Contemporary – buy now
• Best all-rounder prime: Sony FE 40mm F2.5 G – buy now
• Best wide angle prime:  Sony FE 20mm F1.8 G – buy now
• Best standard zoom: Sony FE 24-70mm F2.8 GM II – buy now
• Best zoom all-rounder:  Sony FE 24-105mm F4 G OSS – buy now
• Best 50mm Sony lens: Sony FE 50mm F1.2 GM – buy now
• Best ultra-wide zoom: Zeiss Vario-Tessar T* FE 16-35mm F4 ZA OSS – buy now

And here are the lenses we rate for Sony E-mount APS-C cameras only:

• Best APS-C all-rounder: Sigma 30mm F1.4 DC DN Contemporary – buy now
• Best ultra-wide zoom for APS-C: Sony E PZ 10-20mm F4 G – buy now
• Best APS-C lens for vlogging: Sony E 11mm F1.8 – buy now
• Best wide-angle standard for APS-c: Sony E 15mm F1.4 G – buy now

Read on for more details about these lenses, including details from our full review of each one…

Best Sony FE-Mount Lenses for full-frame and APS-C

The following lenses are designed for Sony’s full-frame Sony Alpha cameras, on which they will deliver their stated focal length; i.e. a 50mm lens will deliver a 50mm effective focal length. If you’re using an APS-C Sony mirrorless camera, such as the Sony Alpha A6600 , or Sony ZV-E10, these lenses will also work, but with a 1.5x crop factor.

This means they will have a narrower effective focal length than the one listed on the box, e.g. a 50mm lens will behave like a 75mm lens. See our guide to APS-C vs Full-Frame for more on how this works. Some of them may also feel large on the smaller camera bodies.

Best multi-purpose tele-zoom: Sony FE 70-200mm F2.8 GM OSS II

Amateur Photographer verdict

• Very light for a 70-200mm
• Excellent sharpness
• Fast, reliable autofocus
• Some corner softness at 200mm

At a glance:

• New price: $2,798 / £2,599
• Used price: $2,749 / £2,549
• Filter thread: 77mm
• Minimum focus distance: 0.4-0.82m
• Weight: 1,045g

The Sony FE 70-200mm F2.8 GM OSS II is the 2nd generation of the 70-200 f/2.8 lens from Sony, and this new model offers the lightest 70-200mm f/2.8 lens for any system, weighing just 1,045g. It also delivers excellent levels of sharpness throughout the zoom range, making it a great choice for anyone looking for a versatile zoom lens. There’s rapid focus, and direct aperture control on the lens, making it easy to use, with great results time after time.

How well this lens performed in testing blown me away. There’s a tiny bit of corner softness when you zoom all the way in to 200mm, but not enough to seriously worry about. As a G Master lens, it is unavoidably expensive, so if it’s out of your budget, you may want to scroll down and consider the excellent Sony FE 70-200mm F4 Macro G OSS II , a relatively recent release.

Best for: portrait and close range sports and wildlife scenarios

Read our Sony FE 70-200mm F2.8 GM OSS II review

Best standard prime: Sony FE 50mm F1.4 GM

• Super-sharp even wide open
• Focuses fast and silently
• Pleasingly lightweight
• Price means it’s for serious shooters only
• Some focus breathing
• New price: $1,298 / £1,499
• Used price $1,100 / £1,050
• Filter thread: 67mm
• Minimum focus distance: 0.41m (AF), 0.38m (MF)
• Weight: 516g

Sony has quite a few 50mm lenses on its roster, including the FE 50mm F1.4 ZA, the FE 50mm F1.8, FE 50mm F2.8 Macro, FE 50mm F2.5 G and the FE 50mm F1.2 GM. As such, the FE 50mm F1.4 GM is faced with a considerable task in distinguishing itself from the pack, and as you can see from our full review, it accomplishes this admirably.

It’s a successor to the Zeiss-badged FE 50mm F1.4 ZA , and if you were to hold the two side by side, one of the first things you’d notice is that the G Master version is about 200g lighter. As I discovered in testing, it’s also optically superior, delivering absolutely superb results even when you’re shooting wide open. This is a truly useful f/1.4 lens, as you can really open it up and make the most of that aperture without compromising on image quality. It’s fast-focusing too, with dual XD linear motors that also acquire focus silently. This makes it useful for video – though videographers should be aware that we did encounter noticeable focus breathing in the course of our testing.

This aside, the only real downside to this lens is something that any photographer wanting to use G Master glass has to contend with – the price. While I’d say it’s definitely worth its price tag for those who can afford it, not everyone is in such a fortunate position. If this lens is too much for you, try the Sigma 50mm f/1.4 DG DN | Art , a cracking lens delivering the same combination of focal length and aperture at around half the price of this G Master version. Alternatively, if you have a little extra to spend and want something that’s a cut above, you can scroll a little further down this list to meet the fabulous FE 50mm F1.2 GM…

Best for: a general purpose optic, that is useful for a wide range of subjects

Read our full Sony FE 50mm F1.4 GM review

Best telephoto zoom: Sony FE 200-600mm F5.6-6.3 G OSS

• Fast, reliable focusing
• Excellent optical performance
• Fantastic value for money
• Relatively narrow maximum aperture
• Weighs more than 2kg.
• New price: $1,898 / £1,599
• Used price $1,599-1,749 / £1,349-1,399
• Filter thread: 95mm
• Minimum focus distance: 2.4m
• Weight: 2,115g

For most users, the Sony FE 200-600mm F5.6-6.3 G OSS is going to be the best Sony lens for wildlife photography . It’s a sensibly priced alternative to many of the high-end telephoto primes used by professionals, which generally carry five-figure price tags. The reach it provides makes it in theory an excellent lens for capturing images of birds and wildlife, as well as perhaps aviation shows or motorsport events. But how does the lens fare in practice?

In our full field test, we took the lens for a spin at Bough Beech nature reserve in Kent, aiming to capture bird-in-flight images of the wildfowl that make their home there. Throughout the two weeks our reviewer spent putting the FE 200-600mm through its paces, the lens consistently impressed. Focusing was consistent and reliable, aided by the focus limiter switch that allows you to restrict the focus distance range to 10m-2.4m or infinity to 10m, depending on where your subject is likely to appear. The OSS stabilisation system works extremely well too, and the surprisingly short stature of the lens makes it easier to transport than you might have assumed (though still not exactly a featherweight).

Of course, compromises had to come somewhere, and the relatively modest aperture rating of this lens means you may find yourself pushing up the ISO on your camera more often than you want to. We suspect though that this is a sacrifice a lot of photographers are willing to make for a £10K saving.

Best for: wildlife photography, sports and action

Read our Sony FE 200-600mm F5.6-6.3 G OSS field test .

Best Macro zoom lens: Sony FE 70-200mm F4 Macro G OSS II

• Excellent sharpness throughout zoom range
• Close, fast focusing
• Teleconverter compatibility
• No aperture ring
• Price hike over previous version
• New price: $1,698 / £1,749
• Used price: $1,459 / ‎£1,455
• Filter thread: 72mm
• Minimum focus distance: 0.26m-0.42m
• Weight: 794g

An extremely well-made lens, inside and out, the Sony FE 70-200mm F4 Macro GM OSS II is a highly versatile telephoto zoom with close-up capabilities. If you don’t quite have the budget for an f/2.8 zoom but still want a highly flexible workhorse, this is a tremendous buy. It delivers excellent sharpness, and can throw the background out beautifully even with its relatively narrow maximum aperture of f/4. If you’re looking for a solid lens for product shots, the FE 70-200mm F4 Macro GM OSS II may well be your best bet.

As the name implies, this is a Mark II version of a previous lens, the old faithful FE 70-200mm F4 G OSS that is getting onto a decade on the market. It comes with a price hike, but offers features like 0.5x magnification throughout the zoom range (which isn’t “true” macro, but is still pretty handy) and teleconverter compatibility for pushing the zoom further. The lens is weather-sealed, and the Optical SteadyShot (OSS) stabilisation helps keep images sharp at slower shutter speeds.

Some may bemoan the lack of an aperture ring; for that, you have to fork out for the pricier f/2.8 version. Otherwise, this is a capable, sharp-shooting lens that is definitely worth picking over the previous FE 70-200mm F4 G OSS – though if you already have that lens, it may not quite be worth the price of upgrading.

Best for: macro photography

Read our Sony FE 70-200mm F4 Macro G OSS II review

Best lightweight standard zoom: Sony FE 20-70mm F4 G

• Extended wideangle range
• Very good close up
• Edge-to-edge sharpness
• Very expensive
• And there are plenty of cheaper options for this range
• New price: $1,098 / £1,399
• Used price $944 / £1150Filter thread: 72mm
• Minimum focus distance: 0.3-0.25m
• Weight: 488g

The Sony FE 20-70mm F4 G is a standard zoom with an unusually wide field of view at its widest end, giving the user a little more range than they’d get from a standard 24-70mm. Sony touts it as a good choice for vloggers and videographers – a label they slap on pretty much everything they produce nowadays – and also suggests it as a lightweight, portable choice for landscape photography  who don’t want to carry too much. With excellent sharpness and a weatherproof build, it certainly makes a good case for itself in this area. Close-up performance is also first-rate.

The only real stumbling block is the cost – at almost $1,098 / £1,399, this is an ambitiously priced lens to say the least, especially when it’s covering a focal range most photographers will already have options for. Still, if you can justify the expense, this is an all-around excellent lens.

Best for: landscape photography

Read our Sony FE 20-70mm F4 G review

Best value standard prime: Samyang AF 35mm F1.4 FE II

• Great value for money
• Large aperture with lovely bokeh
• Consistently good optical quality
• Other lenses are better for action
• Price: $650 / £541
• Minimum focus distance: 0.29m
• Weight: 659g

An update to a lens design that first appeared in 2017, the Samyang AF 35mm F1.4 FE II is yet another compelling argument why mirrorless manufacturers should open up their lens mounts to third-party lens-makers ( yes, Canon, that one’s aimed at you ). Aggressively priced at $629 / £529, this is one of the cheapest lenses of its type , a wide-aperture prime that produces images with smooth bokeh in the defocused areas of images. Previous Samyang lenses have suffered from middling-to-wonky autofocus, and while the Samyang AF 35mm F1.4 FE II isn’t the fastest lens on the block, our testing revealed its autofocusing to be consistently fast and reliable in most situations.

Best for:  suitable for a wide range of subjects, especially when you require a shallow depth of field or need to shoot in low light

Read our review of the Samyang AF 35mm F1.4 FE II

Best premium prime: Sony FE 35mm F1.4 GM

• Superb resolving performance
• Relatively lightweight
• Characterful bokeh
• Autofocus can be slow on old bodies
• Used price: $1,099-1,149 / £1,099-1,149
• Minimum focus distance: 0.25m
• Weight: 524g

The Sony FE 35mm F1.4 GM lens is another premium lens from Sony, offering superb sharpness even wide open, with excellent handling and operation, in a relatively small and light lens, with metal construction. The lens benefits from silent, and accurate autofocus, as well as a manual aperture ring with both click and clickless operation. As part of the G Master range, the lens is designed for both excellent levels of sharpness , with beautiful and attractive bokeh or background blur. It’s undoubtedly a pricey lens, especially compared to the Samyang AF 35mm F1.4 FE II lens featured above, but the quality you get for money is inarguable.

Read our Sony FE 35mm F1.4 GM review

Best portrait lens: Sony FE 135mm F1.8 GM

• Exceptional image quality
• Produces gorgeous bokeh
• Outstanding for portraiture
• New price: $2,098 / £1,599
• Used price $1.089-1,349 / £1.049-1,099
• Filter thread: 82mm
• Minimum focus distance: 0.7m
• Weight: 950g

The Sony FE 135mm F1.8 GM lens could be considered the perfect portrait lens for Sony full-frame mirrorless cameras, with superb resolution, even at maximum aperture, as well as attractive bokeh. The lens features fast and accurate autofocus, as well as an aperture ring that can be used with clicks, or clickless.

There are some downsides, in that the lens is rather bulky and heavy weighing 950g, as well as being very expensive, when compared to alternatives from Sigma. However, as we said in our review, the combination of supreme sharpness and gorgeous bokeh is likely to appeal strongly to portrait and wedding photographers.’

Best for: Portraits

Read our Sony FE 135mm F1.8 GM review

Best macro lens: Sony FE 90mm F2.8 Macro G OSS

• Effective stabilisation system
• Good at resolving detail
• Some corner softness at wide apertures
• New price: $998 / £849
• Used price: $650-754 / £579-689
• Filter thread: 62mm
• Minimum focus distance: 0.28m
• Weight: 602g

If you’re looking for a macro lens for your Sony camera, then the Sony FE 90mm F2.8 Macro G OSS Macro lens hits the park running. That is to say, it’s excellent; it offers exceptional image quality, being difficult to beat in terms of sheer resolving power. You also benefit from built-in Optical Steady Shot (OSS), helping you keep shots steady and free from blur. Plus, it doubles as a great portrait lens, and can take detailed photographs of any subject.

Read our Sony FE 90mm F2.8 Macro G OSS review

Best prime portrait lens: Sony FE 85mm F1.4 GM

• Well-built and sealed
• Lovely aperture ring
• On the hefty side
• Quite pricey
• New price: $1,698 / £1,499
• Used price: $1,059-1110 / £1,300
• Minimum focus distance: 0.8m
• Weight: 820g

The Sony FE 85mm F1.4 GM lens is a bright 85mm lens, that could be the ideal portrait lens, with impressive sharpness in the centre, even when shooting wide-open. There’s also the excellent build quality that you expect from a G Master lens, as well as dust and moisture resistance. Like other G Master lenses, you get an aperture ring with clickless option. However, there are some downsides, as it is quite weighty at 820g, and it’s also rather expensive.

Read our Sony FE 85mm F1.4 GM review

Best Sigma prime lens: Sigma 20mm F2 DG DN Contemporary

• Solid, weather-sealed body
• Consistently good performance
• Aperture ring can’t be de-clicked
• Price: $699 / £649
• Minimum focus distance: 0.22m
• Weight: 370g

Third-party lenses are often a good bet when looking to expand your system, offering premium performance at a cut-down price. The Sigma 20mm F2 DG DN | C is a prime lens providing excellent value for money, and is a good budget-friendly alternative to Sony’s own FE 20mm F1.8 G (featured a few entries down from this one). In testing, we found that this lens handled fantastically on the Sony A7R IV, creating a perfectly balanced setup, and its optical performance was superb . It’s sharp throughout the aperture range, only getting a little soft at f/22.

Best for: astrophotography, landscape, interiors and event photography

Read our Sigma 20mm F2 DG DN Contemporary review

Best all-rounder prime: Sony FE 40mm F2.5 G

• Terrific value for money
• Very lightweight
• Good optical performance
• f/2.5 is quite limited
• Some vignetting at wide apertures
• New price: $548 / £629
• Used price: $499 / £499
• Filter thread: 49mm
• Weight: 173g

This compact 40mm prime lens is part of Sony’s range of compact prime lenses, which includes three lenses: a 24mm f/2.8, 40mm f/2.5, and 50mm f/2.5 lens. All compact, with aperture ring and custom function button, making them great if you want to travel light. The Sony FE 40mm F2.5 G lens offers great sharpness, with minimal chromatic aberration , and a metal hood is included. It’s also one of the lightest lenses featured in this list, weighing just 173g.

Best for:  occasional portraits , street photograph y, or landscape photography

Read our Sony FE 40mm F2.5 G review

Best wide angle prime: Sony FE 20mm F1.8 G

• Great close focusing distance
• Very sharp, even when wide open
• Pricier than the Sigma 20mm
• New price: $798 / £949
• Used price: $559-619 / £494-659
• Minimum focus distance: 0.18m
• Weight: 373g

The Sony FE 20mm F1.8 G is an ultra wide-angle prime lens, with a relatively bright aperture of f/1.8, as well as a relatively compact size. The lens has a close focus distance of 18/19cm (MF/AF), and there’s a 67mm filter thread on the front of the lens. There’s direct access to the aperture, with the aperture ring on the lens, as well as the option to use the aperture ring ‘clickless’ meaning that Sony has also considered videographers when making this lens. I found that it performs extremely well , capable of delivering sharp images, even when shooting wide-open at f/1.8.

Best for: landscape, astrophotography, travel, and street photography

Read our Sony FE 20mm F1.8 G review

Best standard zoom: Sony FE 24-70mm F2.8 GM II

• Premium design and build
• Small and lightweight for a 24-70mm
• Super detail resolution
• Some distortion in raw files (easily corrected in post)
• New price: $2,298 / £2,099
• Used price: $1,149-2,099 / £1,739-1,789
• Minimum focus distance: 0.21-0.3m
• Weight: 695g

The Sony FE 24-70mm F2.8 GM II lens  is relatively small and lightweight , with an aperture ring, making it a great match if you’re looking for a small(er) lens without compromising on image quality. While testing I’ve found the lens’ sharpness to be absolutely outstanding – I would have been happy shooting all day at f/2.8, and things got even crisper as I stopped down.

Elsewhere, there’s an 82mm filter thread, and the lens has a relatively close focus distance of 21-30cm. Thanks to its weather-sealing it’s a perfect match for Sony’s weather sealed mirrorless cameras.

Read our Sony FE 24-70mm F2.8 GM II review

Best zoom all-rounder: Sony FE 24-105mm F4 G OSS

• Do-everything zoom range
• Built-in stabilisation
• f/4 won’t be for everyone
• New price: $1,198 / £999
• Used price: $749 / £734-769
• Minimum focus distance: 0.38m
• Weight: 663g

This lens offers a useful zoom range from 24mm to 105mm, with the f/4 aperture helping to keep the size down. Optical steady shot (OSS) means you can use it with E-Mount cameras that don’t feature in-body image stabilisation, and still benefit from optical image stabilisation. When we reviewed this lens we found that it was consistently sharp at all focal lengths, with fast and silent autofocus. The Sony FE 24-105mm F4 G OSS lens is also relatively compact and lightweight, with an impressive resistance to flare. For an all-in-one zoom lens, this one certainly delivers above expectations.

Read our Sony FE 24-105mm F4 G OSS review

Best 50mm lens: Sony FE 50mm F1.2 GM

• Top-flight sharpness, even wide open
• Weather-sealed
• Rapid, silent autofocus
• New price: $1,898 / £2,099
• Used price: $1,599 / £1,449-1,529
• Minimum focus distance: 0.4m
• Weight: 778g

The Sony FE 50mm F1.2 GM is the largest aperture prime lens for Sony E-Mount cameras, and has answered the calls of Sony fans who have been asking for a lens brighter than f/1.4. The lens offers superb sharpness even wide-open at f/1.2, and has minimal chromatic aberration . There’s also fast and silent autofocus, an aperture ring (that can be set to clickless), customisable function buttons, as well as excellent build and handling that you would expect from a G Master lens. I loved the bokeh and background blur, it is definitely a great option for portrait photography . It’s also barely bigger than the 50mm f/1.4.

Best for: portrait photography, travel

Read our Sony FE 50mm F1.2 GM review

Best ultra-wide zoom: Zeiss Vario-Tessar T* FE 16-35mm F4 ZA OSS

• Compact build
• Premium construction
• Useful zoom range for landscapes
• Sharpness drop-off in corners
• Price: $998 / £1,049
• Weight: 518g

If you’re looking for an ultra-wide-angle zoom lens , then this could be a great choice, starting at an ultra-wide 16mm, zooming to 35mm. The Zeiss Vario-Tessar T* FE 16-35mm F4 ZA OSS lens gives sharp images, and with a constant f/4 aperture, the lens is more compact than it would have been had the aperture been brighter. The lens has a solid all-metal construction, and takes a 72mm filter on the front of the lens.

Best for: landscape, architecture and interiors.

Read our Zeiss Vario-Tessar T* FE 16-35mm F4 ZA OSS review

Best Sony E-mount lenses for APS-C only

If you’re using an APS-C Sony camera , you may want to consider an E-mount lens designed specifically for these APS-C models. They tend to be lighter than the full-frame optics , meaning they balance better with the lighter APS-C cameras, which can be particularly useful if you’re using something like the Sony ZV-E10 for run-and-gun vlogging. Below are a few of our favourite E-mount lenses for APS-C.

Best APS-C all-rounder: Sigma 30mm F1.4 DC DN Contemporary

• Full of bokeh-licious character
• Premium metal build quality
• Some noise when focusing
• Price: $289 / £289
• Filter thread: 52mm
• Minimum focus distance: 0.3m
• Weight: 265g

Built from the ground up for cameras with smaller sensors, the Sigma 30mm F1.4 DC DN Contemporary produces an equivalent focal length of 45mm when combined with a Sony E-mount camera, making it an excellent choice of walk-around lens . Even though it weighs just 265g, the lens has a relatively sophisticated construction of nine elements in seven groups, including two rear aspherical elements, and treatment with Sigma’s Super Multi-Layer coating.

In use, the lens impressed me. Its nine aperture blades deliver soft, rounded bokeh in shallow depth of field, and our testing found it r easonably quick to focus on a Sony A6300 – not as snappy as Sony’s own lenses, but certainly fast enough. It’s quiet, but there is an audible  clunk when it engages focus, meaning it’s probably not the best choice for video .

Sharpness, when you nail the focus, really is excellent. This is a lens that’s begging to be used wide open, and your reward for doing so will be crisp and punchy images , with great central sharpness and beautifully blurred backgrounds.

Best for: portraits, travel and documentary

Read our Sigma 30mm F1.4 DC DN Contemporary review

Best ultra-wide zoom for APS-C: Sony E PZ 10-20mm F4 G

• Responsive power zoom
• Resistant to dust and moisture
• Good sharpness
• No stabilisation
• Zoom and focus rings hard to distinguish when using viewfinder
• Price: $648 / £749
• Filter thread: 55mm
• Weight: 219g

Equipped with a powered zoom mechanism, the Sony E PZ 10-20mm F4 G is well-suited for video shooters using Sony’s APS-C cameras. The electronic mechanism near-eliminates focus breathing, and its mechanics are entirely internal, meaning it doesn’t extend or retract when zooming. This makes it easier to balance on a gimbal – another boon for video shooters.

It holds focus on the subject when zooming, and in a welcome bonus for outdoor shooters, it also boasts comprehensive weather-sealing. While this is a video lens foremost, as we noted in our review, photographers should find a lot to like in its equivalent 15-30mm focal range as well.

Best for: video, vlogging and landscape

Read our Sony E PZ 10-20mm F4 G review

Best APS-C lens for vlogging: Sony E 11mm F1.8

• Good close focusing
• Fast, quiet, reliable AF
• Solid image quality
• Maybe priced a little high
• Price: $498 / £499
• Minimum focus distance: 0.12m
• Weight: 181g

Suited to stills and video alike, the Sony E 11mm F1.8 is maybe priced a little high to be a take-everywhere lens, but it is a nice option to throw in the kit bag if you don’t mind the cash outlay. The crop factor gives it an equivalent focal length of 16.5mm, and the close focusing distance of 0.15m with AF or 0.12m with manual focus makes it a solid choice for close-up shooting.

This also means you can make the most of the generous f/1.8 aperture, and in our testing we found that the lens delivered consistently good sharpness in a host of different shooting situations. Can you ask for much more than that?

Best for: vlogging, video, architecture and landscape

Read our Sony E 11mm F1.8 review

Best wide-angle standard for APS-C: Sony E 15mm F1.4 G

• Very sharp results
• Reliably rapid autofocus
• Pricier than competitors
• Somewhat plasticky build
• Minimum focus distance: 0.17m

The Sony E 15mm F1.4 G is a new ultra/wide-angle lens for Sony’s APS-C mirrorless cameras, such as the Sony Alpha A6600, with a 22.5mm equivalent view. It’s got a bright maximum aperture of f/1.4, and has a close focus distance to help give blurred backgrounds. You’ll also find there’s an aperture ring on the lens, which adds to the quality feel of this lens, which is particularly small, and lightweight , at just 219g! If you’re looking for a wide-angle lens for stills photography or video, then this is a great choice, particularly if you’re looking for something lightweight, that can still deliver excellent image quality.

Best for: video, landscape, interiors and astrophotography

Read our Sony E 15mm F1.4 G review

How to choose the best Sony E-mount lenses

All the different lens options can be overwhelming, especially to a newcomer to the system. Here are some of the key things to look out for when choosing a Sony lens.

Focal length:  This is probably the first consideration on your list when selecting a lens, as the focal length of a lens will radically transform the look of an image. The focal length of a lens is expressed in millimetres (mm), and it governs both the angle of view and the magnification of a scene. Short lenses (8-35mm) produce a wide field of view, and are popular for big expansive scenes such as in landscape photography or group photos at weddings. Long lenses (generally 85mm or more) produce a narrow, zoomed-in view, which brings distant subjects closer and is popular in wildlife photography . Standard lenses (around 40mm-75mm) produce a more naturalistic view, and are often used in street photography .

Zoom or prime?  Ah, the age-old question. More ink has been spilled on this than we have space for here, so check out our dedicated guide to zoom vs prime lenses for a rundown on the pros and cons of each type.

Image Stabilisation: The majority of recent Sony E-Mount mirrorless cameras have built-in image stabilisation, or IBIS (In-body image stabilisation), which Sony call “ SteadyShot INSIDE ” which helps keep your shots sharp and blur free. If you’re looking for additional stabilisation, look for a lens with “OSS” – Optical SteadyShot – as this will work in combination with the in-camera stabilisation to give an even more powerful stabilising effect. If your camera doesn’t feature SteadyShot INSIDE, then you’ll doubly want to look for a lens with OSS, otherwise you’ll have no stabilisation at all.

Aperture ring: While aperture settings can be controlled in camera, many photographers prefer having a physical ring on the lens to change the setting. You may also see references to an aperture ring being “clickless” – this means it doesn’t make any noise when changing setting, which is very handy for video.

Another thing to pay attention to is the  crop factor . Sony E-mount lenses come in two varieties – full-frame (Sony FE) and APS-C (Sony E). Full-frame lenses can be used with both the full-frame mirrorless cameras like the A7 series, and APS-C cameras like the A6000 series. The ZV series of vlogging cameras come in both varieties, with the mirrorless  ZV-E10 being an APS-C model, while the newer ZV-E1 sports a full-frame sensor.

(For details of the key differences between the two sensor sizes, take a look at our guide to full-frame vs APS-C: which sensor size is best? )

The best Sony E-mount lenses – frequently asked questions

Confused by all the initials and numbers being banded about? Here’s our regularly updated FAQ section where we answer some of the most common questions we get asked about Sony lenses…

What are Sony FE lenses?

While the Sony lens system is officially referred to as ‘E-mount’, you may have noticed that a lot of the lenses are labelled ‘Sony FE’. It’s to do with sensor size – ‘FE’ stands for ‘Full E-mount’, and denotes lenses that are specifically designed to work with full-frame Sony mirrorless cameras. These are the A7 and A9 cameras, as well as the A1 and the newer ZV-E1.

This doesn’t mean that FE cameras won’t work on APS-C cameras like the A6500, they can and do. The key thing to remember is that mounting an FE lens on an APS-C camera will incur a 1.5x crop factor, meaning the effective focal length of the lens will be 1x longer due to the narrower field of view (so, a 50mm lens will effectively behave like a 75mm lens). Also, because they have designed these lenses expressly for the larger and heavier full-frame models, Sony hasn’t worried too much about balancing the lenses with its lighter APS-C cameras. So while you can mount an FE 50mm F1.2 lens on the A6000, you may find that the setup feels very front-heavy.

Which Sony lenses are weather-sealed?

As a rule of thumb, all of the top-end Sony GM (G Master) lenses are weather-sealed, as befitting their status as professional lenses for working photographers. Beyond that, it’s more of a case by case basis – Sony doesn’t have a handy acronym it uses to denote lenses with weather-sealing, so if this is a priority then it’s worth doing a quick Google before you buy a lens. In general, the full-frame FE lenses are more likely to be weather-sealed than the APS-C lenses, but this isn’t a hard-and-fast rule.

Which Sony lens is best for wildlife photography?

As lens choice is so critical in wildlife photography, this is a question we get asked quite frequently. Many of the lenses on the list above would make for excellent wildlife lenses. Our pick for the majority of users would be the FE 200-600mm F5.6-6.3 G OSS , which provides excellent telephoto reach without the staggering cost of premium lenses like the FE 600mm F4 GM OSS lens (currently retailing at $12,998 / £11,999). Other good choices could potentially be the Sony FE 70-200mm F2.8 GM OSS II or the FE 135mm F1.8 GM.

Text by Joshua Waller, with contributions from Jon Stapley.

Have a look at more buying guides , especially if you’re looking for the best Sony cameras , or have a look at our latest lens reviews .

Follow AP on Facebook , Twitter , Instagram , YouTube and TikTok .

Joshua Waller has been reviewing cameras since 2004, originally setting up an online review site DigiCamReview. Following this he joined ePHOTOzine in 2011 as Technical Editor where he was in charge of reviews, and setting up a detailed test system. Josh joined Amateur Photographer in 2021, and as Online Editor, is responsible for bringing great content to the site, as well as reviewing cameras, lenses, smartphones and more.

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The Best Camera Lenses for Travel Photography

Last updated: April 7, 2024 . Written by Laurence Norah - 71 Comments

As a professional travel photographer, I’m often asked about camera gear, and in particular, folks contact me to ask me what the best camera lens for travel photography is. Often people have bought a camera with an interchangeable lens, like a mirrorless or DSLR camera, and are looking to upgrade their kit to meet their needs.

I’ve already written a guide to the best cameras for travel photography , but as that only covers camera and not lenses, I thought it would make sense to follow up with a regularly updated guide to the best camera lenses  – specifically for travel photography purposes. After all, a camera is not much good without a lens!

Of course, this guide does assume you have a camera with interchangeable lenses, so that means a mirrorless camera or a DSLR camera . Within those two groups though there are myriad camera and lens manufacturers. And for the most part, lenses made for one camera system won’t work on another system.

So for this post, I’ve first put together a general overview of what to look for when picking a travel lens, which will give you some pointers in terms of features to consider. That way no matter what brand and kind of system, you’ll know what to look for when shopping for a camera lens.

I’ve then provided specific recommendations for the more popular camera systems out there, including Canon, Nikon, Panasonic, and Sony. Even if your particular manufacturer or camera mount isn’t mentioned, you should be able to get a good idea from this post of what to look for in a travel lens, which specifications matter, and an idea of price.

Speaking of price, as well as a guide to the best lens for travel photography for each camera brand, I’ve also suggested a couple of options for the best budget travel lens for each camera system. I know that lenses are expensive, and not everyone has a huge budget to spend! Let’s get started.

What to think about when picking a lens for travel photography

Picking a lens to travel with is a bit different to picking a lens for other situations. Not only will you be concerned with image quality, but also size and weight.

Whilst it would be wonderful to have a wide range of expensive lenses to take with us on all our trips, the reality of travel is that there is only so much we can take with us, and when you’re out and about all day sightseeing, you probably don’t want to be carrying too much.

So for travel photography, it’s better to try and focus on getting a smaller number of lenses that work well in a wide variety of situations. That way you are likely to actually take them with you and use them.

Of course, there are always going to be compromises – it’s hard to find a lens that does everything well, doesn’t cost too much, and is lightweight! But for travel photography, I think there are some good travel lens options out there.

You have a few options for lens types. My suggestion would be to invest in two lenses – a walkaround lens and a fast prime. An f/1.8 50mm would be the ideal.

Some manufacturers sell a travel kit, like this bundle from Canon , which can be a great value way to get some good lenses.

If you only want to invest in one lens because you don’t see yourself changing lens often, or carrying more than one lens, then you will want a good walkaround lens, and that’s what this guide will be focusing on.

What is a walkaround lens you ask? Well, it’s a lens that “does everything”. It covers a good range of focal lengths, meaning you can get wide angle shots as well as zoom in on further away objects. It’s basically a one size fits all lens for your travel photography needs.

You will often find that if you invest in a camera that it will come with a lens that will suffice as a walkaround lens. These will work fine but tend not to be the top quality lenses.

If you are more serious about photography and your budget allows, I’d recommend that you buy your preferred camera “body only”, and then invest in a nicer walkaround lens, such as the ones I recommend, rather than the standard kit lenses. Don’t be surprised if the lens is more expensive than the camera either – good lenses are expensive, and a worthy investment.

Price considerations – how much to spend on a camera lens for travel photography.

Speaking of money, I’ve done my best to provide a range of lenses across various price points. More expensive lenses tend to be more capable, but can also be heavier, so aren’t always the best solution for travel photography.

For the budget-conscious reading this, I’m also providing my suggested best budget travel lens for each category. I appreciate that not everyone has a big budget for a new lens, so I want to provide some good value options too.

If none of the lenses in this post fit your budget, my advice would be to either stick with the kit lens that comes with your camera, or to check out the second hand lens market on either Amazon on eBay . For more on buying second hand camera equipment, see my guide to buying used camera equipment .

Now, before we dive into individual travel lens recommendations, let’s take a look at some of the key terminology and other considerations you need to be aware of when looking for a lens for travel photography.

Inside a lens, there’s a hole that lets the light through to the camera’s sensor. This hole is referred to as an aperture. An aperture can change in size, with a bigger aperture letting more light in, and a smaller aperture letting less light in.

An aperture can be thought of as the pupil of your eye. When it’s bright outside, it is smaller so less light gets in. When you’re in a darker environment, perhaps at night, it opens really wide to let more light in.

The important number for lens apertures is how big the hole goes, which will dictate how well the lens will perform in low light situations. A wider aperture also allows for greater control over depth of field. See my guide to depth of field for more on that.

When you look at the specifications for a lens, it will always have the widest aperture listed as one of the key specifications. It will be a number, something like 2.8, 4.0 or 5.6. It may also be written as f/2.8, which is the formal way of denoting aperture. The smaller the number, the wider the hole.

Some lenses, and in particular the walkaround lenses we are going to be looking at, will have what is known as a variable maximum aperture. This means that the aperture will actually change as you zoom in and out, or change focal length. This is because as the lens barrel gets longer, the maximum aperture get smaller.

So for example, you might see a lens with an aperture of f3.5-5.6. This means that at the wide angle, the aperture is f/3.5, but when you zoom in, the aperture will drop, down to f/5.6 when you are fully zoomed in.

For travel photography, as with most photography, the wider the aperture the better – more light getting in means better low-light performance, making the lens more versatile for a range of photography situations. This is particularly useful for situations like taking photos of the stars , or shooting the northern lights .

The trade-off is that wider aperture lenses tend to be bigger, heavier, and more expensive. This will be considered in the lens selection.

Focal Length

The focal length of a lens is directly related to how much magnification it provides. It’s a number that’s measured in millimetres (mm), with the general rule being that the higher the number in millimetres, the more magnification you get, and the smaller the number in mm, the less magnification you get.

If you’ve previously used a compact camera (aka point-and-shoot), you’ll be used to this being described in terms of optical zoom – for example, a camera might have 10x optical zoom. That means that the difference in magnification between the most zoomed out setting and the most zoomed in setting is 10x.

In focal length terms, each doubling of the focal length results in a doubling of the magnification. So a 100mm lens will essentially make everything twice as big as a 50mm lens.

Unfortunately, matters get a bit confusing after this, because focal lengths have a different effect on different cameras. This is because camera’s have different sensor sizes, which affects the focal length, in what is known as a crop factor.

To take the example of the Canon DSLR camera systems. There are two main types of cameras available, the APS-C size cameras such as the consumer Rebel line, and the full frame size sensors in more professional cameras like the Canon 6D or 5D line.

Some of Canon’s lenses will work on both of these camera systems, but they will give different focal lengths. On the full frame cameras, the focal length will be as expected. On the APS-C sensor, there is a “crop factor” of 1.6, because the sensor is smaller. So a 100mm lens on an APS-C sized sensor will give the same result in terms of the image as you would be able to achieve with a 160mm lens on a full frame camera.

Thankfully, lens manufacturers all use the same focal length standard, so when buying lenses for your particular system, all you need to know is the crop factor. You can then multiply this by the focal length to get the equivalent focal length.

Don’t worry if this isn’t quite clear, for the lenses I recommend I will list both the focal length and the equivalent focal length where relevant. Equivalent focal length is what you need to really worry about, as it will let you compare lenses more effectively.

For travel photography, you want a lens that goes from fairly wide (16mm – 30mm) on the wide end, through to fairly zoomed in (70mm – 150mm) on the narrow end. This will give you good flexibility, letting you shoot wide scenes such as buildings on city streets, through to zooming in on the details. A good benchmark lens is a 24-70 f/2.8, which is generally known as the walkaround lens of choice for professional photographers.

There are some walkaround lenses which offer much greater focal lengths, well past 200mm, including some of the recommendations in this guide. Just be aware that there are always trade-offs to consider, and whilst these can offer tremendous versatility, it’s often at the expense of weight and image quality, and in particular, image sharpness, at the longer end of zoom range (beyond 200mm usually).

I’m not saying not to invest in these lenses, just to be aware that there’s no such thing as a perfect lens for all situations!

Filter Thread

When you buy a lens, it’s always a good idea to pick up a UV filter  to protect the front. You may also want a polarising filter  (read about polarising filters here ), or a neutral density filter  (see my guide to neutral density filters here ).

You’ll notice that these filters come in different sizes, and the filter thread size on the lens, measured in millimetres, tells you what that size is. It’s basically just a measurement of the diameter of the lens, which is the end you put the filter on. Ok, that was an easy one.

Image Stabilisation

Camera lens manufactures have all kinds of fun terms they use for image stabilisation. These include IS (Canon), OIS (Panasonic), VR (Nikon), OS (Sigma), VC (Tamron) – the list goes on .

Whilst the names and underlying technology vary, the aim is the same – to compensate for any movement introduced by the person holding the lens (that’s you), to help you shoot at lower shutter speeds without getting blurry photos.

As a general rule of thumb, the minimum shutter speed you can hand hold a lens for is the inverse of the focal length. So if you have a 200mm lens, you would not want to shoot at shutter speeds slower than 1/200th of a second. A 50mm lens would be 1/50th of a second.

Image stabilisation technologies exist to help you get shots at lower shutter speeds than that, and they are usually rated in terms of how many extra “stops” they give you to play with. A “stop” is photography dialog for a halving, or doubling, of the light.

So if you went from 1/100th of a second to 1/50th of a second shutter speed and didn’t change anything else, that would be 1 stop.

Modern image stabilisation technologies offer between 3 and 5 stops of stabilisation. To put that in practical terms, if you are shooting with a 200mm lens at 1/200th of a second, 3 stops would let you hand hold down to 1/25th of a second. 5 stops would let you hand hold and still get sharp images as slow as 1/6th of a second!

As you can see, image stabilisation can make a huge difference, and it is definitely worth thinking about when looking for a lens. Of course, as with everything, there are tradeoffs, and an image stabilized lens will often be more expensive and slightly heavier than an equivalent non-stabilized version.

Weight is a pretty key consideration when it comes to picking a travel lens, as the idea is that you’re going to be using the lens for travelling. I don’t know about you, but the less I have to carry the better, especially if I’m going to be on my feet all day. So definitely keep the weight of your purchase in mind.

As well as weight, you’re going to want to factor in the size of the camera lens. Portability can be an important factor for a travel photography lens, particularly if you’re travelling and prefer to pack carry-on only. So consider how big the lens is in physical terms when making a decision.

Mount Compatibility

When you attach a lens to a camera body, obviously it has to fit in place. It’s like a puzzle with two pieces – the lens has to be the right shape to fit into place and lock tightly.

In addition, because the camera needs to communicate with the lens to set things like aperture, focus and zoom, the electronic connections between the lens and the camera body need to line up and be compatible.

The system that is used is known as a lens mount. You basically “mount” the lens onto the camera. Most camera manufacturers have their own lens mount system or systems, so when you buy a lens, you need to make sure it is compatible with the mount type on your camera.

Many manufacturers have multiple lens mounts, depending on the type of camera. For example, Canon cameras can have an EF-S mount, an EF mount, an EF-M mount and an RF mount.

It is very important when buying a lens to ensure that it has a compatible lens mount for your camera. Note that some lenses will work with multiple lens mounts – for example, an EF lens will work on both an EF and an EF-S mount. However, an EF-S lens will only work with an EF-S lens mount, and not with an EF mount.

Usually the mount type is made clear in the name of the lens. For example, the Canon EF 16-35 f/4L IS is an “EF” lens, which you can see in the name of the lens. So this will work with an Canon EF or Canon EF-S camera body.

If you are buying a lens from a third party manufacturer such as Tamron or Sigma, be aware that they usually make multiple versions of each lens, with different mounts. So always make sure you buy the version that will fit your camera.

Well, that sums up some thoughts on the various factors, features and terminology you need to consider when looking to buy a travel lens.

Now, let’s dive into some specific recommendations across various camera systems to give you some idea of what’s available at different price points.

Note that these are primarily walkaround lenses that are suited for travel, rather than for a specific function like macro photography or astrophotography. If you are interested in the latter, see our guide to northern lights photography , which has some specific lens recommendations for night situations.

The Best Micro Four Thirds Lens for Travel Photography

Micro Four Thirds camera are a popular choice for photographers. These mirrorless systems are lightweight and portable, yet offer everything you would expect from a bigger SLR style camera, including full manual controls and great image quality.

There are a number of manufacturers, with the most popular being Panasonic and Olympus. We use and love our Panasonic GX8 which is a staple part of our travel photography gear .

Both of these manufacturers have their own proprietary lens stabilisation system that takes advantages of stabilisation technology in both the camera body and the lens. This means that whilst lenses will work across different micro four thirds cameras, to take full advantage of the stabilisation technology you need to match brands – so a Panasonic lens needs to go on a Panasonic camera body for the best results.

In terms of crop factors micro four thirds cameras have a 2x crop factor, so you need to double focal lengths to get the equivalent focal length.

1. Panasonic Lumix G Leica 8-18mm F2.8-4.0

With a 16-36mm equivalent focal length, this is the lens to get if you love shooting really wide. Personally, my wide angle lens is the lens I use the most, so this is what I’d go for on this camera system, even if it’s not quite as flexible across shooting situations as something with a greater focal range. It doesn’t have image stabilisation, but as the lens is so light that’s less of an issue, and image stabilisation on a wide-angle isn’t as critical.

Weight: 11.11 oz / 315 g Check price on Amazon here , B&H here and Adorama here 

2. Panasonic Lumix G Leica DG 12-60mm Power O.I.S. F2.8-4.0

As a walkaround travel lens, it’s hard to argue with this 12-60mm lens from Panasonic, which offers a 24-120mm equivalent focal length and sharp results throughout that focal length, even shooting wide open. The aperture stops down a bit as you zoom in, but this is a lightweight lens that will do pretty much everything you could want, and includes image stabilization (Power O.I.S).

Weight: 11.29 oz / 320g Check price on Amazon here , B&H here and Adorama here

3.  Olympus M.Zuiko Digital ED 7-14mm f/2.8

My choices for the Olympus micro four thirds system are essentially their versions of the Panasonic lenses above. This is the wide angle, with a focal length equivalent of 12mm – 28mm.

With a fixed f/2.8 aperture this is a very fast lens at all focal lengths, although this does make it a little bit heavier.

It also comes with dust and weather sealing. It doesn’t have lens based image stabilisation, but the majority of Olympus MFT cameras have in-body stabilisation which makes up for this.  

Weight: 1.17lb / 543g Check price on Amazon here , B&H here and Adorama here

4. Olympus M.ZUIKO Digital ED 12-100 F4.0 IS PRO

With a focal length equivalent to 24-200, this is pretty much the perfect walk around length for travel photographers. It is water and dustproof, and features image stabilisation equivalent to an incredible 6.5 stops when used with a compatible Olympus camera.

That added focal length does add some weight and bulk though. If you’d prefer a lighter lens and a faster aperture at the expense of focal length, check out the cheaper  Olympus M.ZUIKO Digital ED 12-40 F2.8  instead.

Weight: 1.23lb / 561g Check price on Amazon here , B&H here and Adorama here

Best Budget Micro Four Thirds Lens

1. panasonic lumix g vario 12-60mm f/3.5-5.6 power o.i.s.

This is essentially a slower version of the Panasonic 12-60mm lens above, at half the price. It’s also significantly lighter than that lens. Impressively for a lens at this price point, it comes with image stabilisation as well as a splash and dust-proof body, making it ideal as a travel lens.

At a similar price point there’s also the slightly heavier  14-140mm f/3.5-5.6 lens from Panasonic, but whilst you gain a lot in focal length, you lose out on that weather resistance, so it’s up to you.

Weight : 7.41oz / 210g Check price on Amazon here , B&H here and Adorama here

2. Olympus M.Zuiko ED 14-150mm f/4-5.6 II

Weight: 10 oz / 284g Check price on Amazon here , B&H here and Adorama here

The Best Mirrorless Lens for Travel Photography for Sony Cameras

For the purposes of this guide, I’m going to be talking about Sony’s E-mount lenses, which work on their mirrorless camera systems including APS-C models like the a6600 as well as full frame mirrorless models like the a7 range.

Note that there are two types of E mount lenses, “FE” lenses, which will work on both full frame and APS-C sized Sony cameras, and non FE lenses which are designed for APS-C sizes sensors only. While you can use a non-FE lens on a full frame camera, it will reduce the image resolution and field of view to be equivalent to an APS-C sized sensor, so I’d advise against that.

There are also “G” series lenses, which are Sony’s more professional lenses – similar to Canon’s “L” series. These offer greater image quality and performance, usually with a higher price tag to match.

Some Sony cameras offer in-body image stabilisation, but ideally you’ll want it in the lens. Sony’s image stabilization technology is known as OSS (optical steady shot).

1. Sony 18-105mm f/4 OSS G

With an equivalent focal length of 27mm – 158mm, and a fixed aperture throughout that focal length, this lens is ideal for travel photography. It’s also a G series lens, which means it is higher quality lens compared to their standard, non G lenses. It’s primarily designed for Sony’s APC-C sensor cameras, so not really recommended for their full frame bodies, but it is very well priced.

Weight: 15.06oz / 427g Check price on Amazon here , B&H here and Adorama here

2. Sony E 18-135 f/3.5-5.6 OSS

With an E mount lens for APS-C camera compatibility, this lens is firmly aimed at travel photographers wanting a great Sony walkaround lens at a price that won’t destroy the bank. With image stabilization and good performance across a good focal length, this lens is a great bargain if you’re looking for an easy upgrade from the kit lens.

3. Sony FE 24-70mm f/4 OSS

Covering the classic focal length of 24-70 on a full-frame camera (36-105mm on an APS-C), this is a relatively fast lens that offers excellent image quality and portability at a relatively affordable price point. There’s also an f/2.8 “G” version of this lens which is approximately twice as expensive and also heavier, but may be worth it if you need that extra stop of light.

Weight: 15.03oz / 426g Check price on Amazon here , B&H here and Adorama here

4. Sony FE 24-240mm f/3.5 – 6.3 OSS

Covering a truly staggering focal range of 24-240mm (36-360mm APS-C), this Sony FE lens is perhaps the ultimate walkaround lens for the Sony system. It may have a variable aperture, but given how well Sony’s cameras perform even at high ISO ratings, you probably won’t notice that too much.

If you want a lens that can shoot everything from far away wildlife to portraits to landscapes, this is a great choice at an excellent price point. Just be aware that it is heavier than the other options due to that extended focal length.

Weight: 1.72 lb / 780g Check price on Amazon here , B&H here and A dorama here

5. Sony FE 16-35 f/4 OSS

If you’re after something wider, then this is the lens to go for, especially for full frame cameras (APS-C owners should instead consider the cheaper 10-18mm f/4 for wide angle work).

With a relatively fast fixed aperture, super-wide capabilities and even image stabilisation, this is the lens for landscape and architecture photographers to look at.

Weight: 1.14lb / 518g Check price on Amazon here , B&H here and Adorama here  

6. Sony 18-200 f/3.5-6.3 OSS

If you’re on Sony’s APS-C sensor system, then you might want to consider this lens instead of the 24-240mm lens above, as it offers a wider 27mm equivalent at the wide end. It’s also a relatively light lens given the focal range, making it a good choice for travel photographers trying to keep the weight down.

Weight: 1.16lb / 524g Check price on Amazon here , B&H here and Adorama here

Best Budget Mirrorless Lens for Sony

1. sony fe 28-70mm f3.5-5.6 oss lens.

Being an FE lens, this will work on both full frame and APS-C sized Sony bodies – on the latter it would offer an equivalent focal length of 38 – 105mm, which is useful for many situations except particularly wide work. A good value lens.

Weight: 10.41 oz / 295 g Check price on Amazon here , B&H here and Adorama here

2. Sony 55-210mm f4.5-6.3 OSS

If you’re looking for a bit more range, perhaps to compliment the kit lens that came with your Sony camera, this is one of the better priced telephoto zoom lenses from Sony that is also incredibly light for the focal range on offer.

Of course, it’s not the sharpest lens in the world, especially at the 200mm end (315mm equivalent), but it does feature image stabilisation and is a bargain to boot.

Weight: 12.16 oz / 345g Check price on Amazon here , B&H here and Adorama here

The Best DSLR Lens for Travel Photography for Nikon Cameras

For the longest time, the two main choices for photographers looking for camera gear were Nikon and Canon. That has certainly changed, but these two manufacturers definitely account for the highest percentage of cameras sold today.

Because they’ve both been around for so long there are literally hundreds of lenses to choose from for each system, both made by the manufacturers themselves, and lenses made by third parties.

Sifting through these choices to find the perfect travel lens is definitely a challenge, but I’ve narrowed down the various options to some of the best options to help you make an informed decision.

1. Nikon 28-300mm f/3.5-5.6G VR

An ideal walkaround lens at a good price point for Nikon full-frame users (known as FX in Nikon speak). This lens covers a very wide focal range with a reasonable fast aperture, and offers image stabilisation (Nikon calls it VR, for vibration reduction).

Owners of Nikon’s APS-C sized sensor camera bodies (DX format) should consider either the 18-300mm lens below, or the Tamron 18-400mm f/3.5-6.3 , which will give a bit more flexibility on the wide end.

Weight: 1.76 lb / 800 g Check price on Amazon here , B&H here and Adorama here

2. Nikon 18-300mm f/3.5-6.3G VR II

There’s also an 18-200 version which can be found marginally cheaper, but as it weighs the same I’d go with this one.

Weight: 1.21 lb / 550g Check price on Amazon here , B&H here and Adorama here

3. Nikon 24-70mm f/2.8E VR

Nikon’s 24-70mm f/2.8 lens is one of the most popular lenses for photographers of all types, particularly on full frame bodies. Its fast aperture throughout the focal length makes it great for low light photography and portrait work, and the relatively wide angle makes it a great landscape lens.

It even has image stabilization! It is expensive and heavy (consider the Sigma equivalent too), but if it’s the only lens in your bag you might not mind so much.

Weight: 2.35lb / 1070g Check price on Amazon here , B&H here and Adorama here

4. Nikon DX 16-80mm f/2.4-4E VR

This lens is only for crop sensors, but it offers an excellent range of focal lengths, a fast aperture range and it is known for producing very sharp images. It’s also very light, making it a great option for travel photography, and features image stabilisation at a reasonable price.

Weight : 16.93 oz / 480g Check price on Amazon here , B&H here and Adorama here

Best Budget DSLR Lens for Nikon

1. nikon 18-140mm f/3.5-5.6 vr.

For a DX camera, this is an excellent Nikon lens that covers a wide focal range, has image stabilization, and produces sharp images. It’s very well priced for what you get, is relatively light, and will serve you well as a travel photography walk around lens.

Weight: 1.08lb / 490g Check price on Amazon here , B&H here and Adorama here

2. Nikon 24-85mm f/3.5-4.5G VR

FX format users on a tighter budget should definitely consider this lens, which offers reasonably fast performance and a good range of focal lengths in an affordable and lightweight package that also includes image stabilisation.

Weight:  1.02 lb / 465 g Check price on Amazon here , B&H here and Adorama here

The Best DSLR Lens for Travel Photography for Canon Cameras

Like Nikon, the Canon camera system has been around for a long time, and there’s an incredible selection of lenses to choose from, both directly from Canon, and from third party manufacturers like Sigma and Tamron. This huge amount of choice can be overwhelming, but I’m going to do my best to provide a few options to get you started.

Note that Canon has three main lens mount systems – EF, EF-S, and RF. The first two are for their DSLR cameras, the latter is for their new full frame mirrorless camera system. This is a new mount, launched in 2018. I mention it because there is a Canon adaptor meaning all EF and EF-S lenses will work on RF mount cameras.

EF lenses will fit on all Canon’s cameras (RF with an adaptor), whilst the EF-S lenses will only fit EF-S mount cameras (and RF cameras with the adaptor).

EF-S cameras are essentially all the consumer focused models such as the Rebel series. Canon has its own stabilisation system, which it calls IS (image stabilisation).

1. Canon EF 16-35 f/4L IS

This ultrawide Canon lens is incredibly sharp, and an excellent choice for landscape and architecture lovers. It’s our current go-to lens for these purposes in our travel photography bag.

Whilst the f/4 aperture isn’t too wide, this lens features image stabilisation technology that promises up to four stops of stabilisation, which makes this a great choice for low-light work. It’s also not too heavy. APS-C owners should consider the cheaper and significantly lighter 10-18mm IS instead .

Weight: 1.35 lb / 615 g Check price on Amazon here , B&H here and Adorama here

2. Canon EF 24-70 f/2.8L II

This is the walk around lens of choice for many full frame Canon professionals as it offers sharp performance and a fast fixed f/2.8 aperture across the frame. This lens is great for everything from portraits to landscapes, and is one of the most popular lenses amongst Canon shooters.

This lens is quite pricey and fairly heavy though, so do also consider the Sigma equivalent which is significantly cheaper and includes image stabilisation, which is notably absent from this Canon lens.

Weight : 1.77 lb / 805 g Check price on Amazon here , B&H here and Adorama here

3. Canon EF 24-105 f/4 L IS II

If the Canon 24-70 above is a bit pricey, or you’d prefer image stabilization and a slightly longer focal length, then the excellent EF 24-105 f/4 L is a great choice. Despite the longer focal length, it’s actually a slightly lighter option.

This lens will work with both full frame and crop sensor cameras, on the latter it will have an equivalent focal length of 38 –  168mm.

Weight: 1.75 lb / 795g Check price on Amazon here , B&H here and Adorama here

4. Tamron 28-300mm f/3.5-6.3 Di VC

There are lots of third party options for Canon, with Tamron being a popular choice for value oriented buyers. This Tamron covers an excellent focal range in a relatively lightweight, low-cost design.

This 28-300mm is a great walkaround lens choice covering a wide focal range, especially for full frame shooters who don’t want the weight or cost of Canon’s L series lenses.

Weight: 1.19 lb / 540 g Check price on Amazon here , B&H here and Adorama here  

5.  Tamron 18-400mm f/3.5-6.3 VC

Owners of APS-C Canon cameras should definitely consider this incredible Tamron lens, which offers a mind blowing focal length (29 – 640mm equivalent) on Canon’s crop sensor cameras. It also has image stabilisation and an aperture range which is not too bad considering that incredible zoom. It’s also very well priced, and less heavy than you might expect for the focal length.

If you’d prefer a first party lens walkaround lens for your Canon APS-C camera, another option is the Canon EF-S 18-200 f/3.5-6.3 IS , which is a tiny bit lighter, but loses a lot of that lovely focal length, and is also slightly more expensive.

Weight: 1.56 lb / 710 g Check price on Amazon here , B&H here and Adorama here

Best Budget DSLR Lens for Canon Cameras

1. sigma 18-300 f/3.5-6.3 dc os.

If you’re looking for a lens that covers a very wide focal range, produces sharp images, and won’t break the bank, look no further than this excellent Sigma. This will only work on Canon’s APS-C range such as the Canon Rebel line, or Canon SL2, but it offers excellent performance, image stabilization and an incredible focal range (29mm – 480mm equivalent) in a well priced and lightweight package.

Weight: 1.28 lb / 584 g Check price on Amazon here , B&H here and Adorama here  

2. Tokina 11-20mm f/2.8 PRO DX

Lovers of wide-angle photography should shortlist this Tokina lens for Canon’s EF-S camera mount. With a very wide f/2.8 aperture, and a superwide focal length, this lens is perfect for landscape photography, low-light photography, and even taking pictures of the stars . Well priced too!

Weight: 1.23 lb / 560 g Check price on Amazon here , B&H here and Adorama here

The Best Mirrorless Lens for Travel Photography for Canon Cameras

Canon also makes mirrorless cameras, which come in two mount types, EF-M and RF.

The EF-M mount launched in 2012, and is for Canon’s EOS M range of cameras. These mirrorless cameras feature an APS-C sized sensor, and are primarily aimed at consumers and prosumers.

The RF mount launched in 2018, and is Canon’s newest mount. This features on Canon’s full frame and APS-C mirrorless cameras, including the R5, R6, R7 and R10.

It’s worth noting that Canon produces an RF mount adaptor and an EF-M mount adaptor for both EF and EF-S lenses. This means you can use EF and EF-S lenses on the Canon EF-M mount cameras, as well as Canon RF mount cameras.

So if you have an EF-M or RF mount camera, you might still prefer to buy one of the previously mentioned EF lenses, as these have the widest compatibility, and will work across all Canon’s cameras.

That said, an EF-M lens will be smaller and lighter, whilst the RF lenses take full advantage of the wider size of the mount, meaning these lenses can offer wider apertures. RF and RF-S lenses also have additional control rings on the lens itself, which can make for fast on the fly settings adjustments.

Whilst there aren’t currently as many EF-M, RF or RF-S lenses on the market as there are EF and EF-S lenses, there are still plenty to choose from. Here are some options that should work well for travel photography, across a range of budgets.

1. Tamron 18-200 f/3.5-6.3 Di III VC

Given the focal range, the lens is relatively lightweight, and you get good performance for a reasonable price. Definitely one to consider if you’re looking for a native EF-M mount lens.

Weight:   1.55lb /  459g Check price on Amazon here , B&H here and Adorama here

2. Canon EF-M 15-45mm f/3.5-6.3 IS STM

Weight:   4.6oz / 130 g Check price on Amazon here , B&H here and Adorama here

3. Canon RF 24-240mm f/4-6.3 IS USM

Moving onto the RF lenses for Canon’s full frame mirrorless cameras, and the first in our list is this versatile 24-240mm option. This offers an excellent focal range for travel photography, making this a good choice as a walkaround lens. You get a fairly fast f/4 aperture at the wide end, although this does drop off to f/6.3 as you zoom in.

You also get Canon’s image stabilization and fast, silent autofocus system. It’s also relatively light and compact for a full frame lens with this range, and the price is good for what you get.

Weight:   1.65lb /  750g Check price on Amazon here , B&H here and Adorama here

4. Canon RF 24-105mm f/4L IS USM

Naturally Canon also has a range of their premium “L” lenses available for the RF mount. The 24-105 f/4 is an excellent RF mount lens for travel photography, offering a useful focal range as well as a fixed f/4 aperture throughout the whole focal length.

You also get image stabilization, fast and silent autofocusing, in a relatively compact and lightweight lens.

Weight:   1.54lb /  700g Check price on Amazon here , B&H here and Adorama here

5. Canon RF 15-35mm f/2.8L IS USM

If, like me, you love wide angle photography, then you are definitely going to want to check out Canon’s awesome 15-35mm wide angle lens for the RF mount. The RF mount has allowed Canon to go all the way to 15mm with their wide angle zoom, and you get a fast f/2.8 aperture through the focal length as well.

You also get image stabilization and fast and silent autofocusing. It’s not cheap by any stretch of the imagination, but performance is superb.

This lens is the part of what photographers refer to as the “holy trinity” of lenses that professional photographers aim to have in their kitbag. They are all expensive, but image quality and performance can’t be beaten. If you are looking for the rest of the “holy trinity” of RF lenses, Canon also has the Canon RF 24-70mm F2.8 L IS USM and the Canon RF 70-200mm F2.8 L IS USM available for purchase.

Weight:   1.85lb /  840g Check price on Amazon here , B&H here and Adorama here

6. Canon RF-S 18-150mm f/3.5-6.3 IS STM

In 2022, Canon launched the first of their mirrorless APS-C sensor cameras with an R mount, the EOS R7 and the EOS R10. These cameras actually come with an RF mount, meaning they are compatible with RF lenses and EF & ES-S lenses. For RF and EF lenses, you do get a 1.6x crop factor.

Canon has also launched RF-S lenses. Despite the name, the RF-S mount is the same as the RF mount, the only difference is that these lenses are designed for the new cameras, meaning they are smaller and lighter as they don’t need to produce such a large image.

The lens we recommend you consider as a walk around lens is the RF-S 18-150mm. On a R7 or R10, this has an equivalent focal length of 28.8-240mm, which is ideal for most travel photography situations.

You also get built-in image stabilization, and the maximum aperture of f/3.5 is very good. It’s also remarkably light.

Weight:   10.9oz / 310g Check price on  B&H here and Adorama here

Further Reading

Well, that sums up my guide to the best travel lenses for travel photography! I hope you found it informative and useful in your quest to find the perfect travel lens for you. Before you head off, I want to share with you a few more resources that will help you on your photography journey.

• My guide to picking the best travel camera – after all, a lens isn’t much good without a great camera to pair it with! We also have guides to the best point and shoot cameras , the best mirrorless cameras , the best cameras for hiking and backpacking , the best action cameras , and the best DSLR cameras for travel photography .
• Photos need editing to get the best out of them. See our guide to the best photo editing software for our suggestions. If you’re looking for something to edit your photos on, see our guide to the best laptops for photo editing
• If you’re looking for something for someone else, see our guide to the best gifts for photographers for ideas
• My series of  Photography Tips , which I am always expanding and updating with posts like this one
• My always expanding series of  Photography Location Guides , to help you get the best shot in locations around the world.
• An overview of my  Travel Photography Gear , in case you wondered what a professional photographer has in his bag
• A  Beginners’ Guide to Improving your Travel Photos for those starting out in travel photography. We also have a guide to how to use a DSLR to help you if you are starting out with this type of camera system.
• Our reasons why you need a travel tripod

Looking to Improve Your Photography?

If you found this post helpful, and you want to improve your photography overall, you might want to check out my  online travel photography course .

Since launching the course in 2016, I’ve already helped over 2,000 students learn how to take better photos. The course covers pretty much everything you need to know, from the basics of how a camera works, through to composition, light, and photo editing.

It also covers more advanced topics, including astrophotography, long exposure photography, flash photography, and HDR photography.

You get feedback from me as you progress, access to webinars, interviews and videos, as well as exclusive membership of a Facebook group where you can get feedback on your work and take part in regular challenges.

It’s available for an amazing one-off price for lifetime access, and I think you should check it out. Which you can do by  clicking here .

And that’s it for my guide to picking the best camera lens for travel photography. I’ll be keeping this post updated as new lenses are released for the various systems, so you can always check back for advice if you need it. I’m also happy to answer your specific questions about picking a lens for your camera system – just pop them in the comments below and I’ll do my best to give my thoughts and advice!

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There are 71 comments on this post

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Vladielna says

4th October 2023 at 6:31 am

Hi Laurence,

Hope it’s not weird to get a comment on this post in 2023. I have a sony Alpha 6400 that I got earlier this year and I was wondering about the 55-210 e-mount lens you mentioned. My dad bought it for his 5N back in the day and I was hoping to use it for my camera however I have noticed that the AF is much worse on the 6400 than it is on the 5N where it will take multiple times to try and find the right focal length over the span of 3 seconds and yet still not be in focus I am not sure why that is and I was hoping you could provide some insight into this behaviour.

Thanks, Vladielena

Laurence Norah says

4th October 2023 at 8:10 am

Hi Vladielna

Of course, you are welcome to comment. I do keep our content up to date, so even if a post was originally published a while ago I do my best to keep to relevant 🙂

On to your question. So the 6400 should have a pretty good focus system, but it’s hard to diagnose the issue without knowing the focus mode in use and what scenario you are taking photos of. Some focus situations are more challenging for a camera to work in, such as lower light scenes or scenes where there isn’t much to focus on (like a plain surface). If you could let me know what you are struggling to photograph and focus mode you are using I can do my best to offer some input!

20th August 2022 at 11:50 pm

I’ve been looking to get into photography for a bit. Pretty settled on getting the 6D Mark II. Any recommendations for lens? I do a good bit of hiking, some traveling through the city and museums, some international travel, and a good bit of stuff outside. Any help is appreciated!

22nd August 2022 at 5:59 pm

Sure thing. So a lot will obviously depend on your budget. A good walk around lens with the 6D might be the Canon 24-105 f/4 L, which covers a useful focal range. If you want more range and are on more of a budget, Tamron’s 28-300 is a good option, although it isn’t quite as wide. Personally I prefer a wide angle lens, but it’s a personal preference. You can always shoot more frames and stitch them together of course.

If you wanted to give me an idea of budget, I’m happy to give some more ideas. Just one thing to bear in mind is that there’s always some sort of trade off when it comes to gear, be it maximum aperture, weight, cost or reach. No-one has come up with the perfect lens that does everything yet!

26th August 2022 at 11:28 pm

Hi Laurence! Thanks for the response! I think the 24-105 is purchasable with the body. For budget I’d probably like to stay under 2k for lens as I’m just getting my feet wet. I’ve seen a canon 50mm f/1.8 stm recommended, any thoughts on thus lens ?

27th August 2022 at 12:35 pm

My pleasure! Yes, the 6D Mark II does usually have the option for the 24-105 as a “kit” lens, but it’s definitely more than your standard kit lens and worth adding on in my opinion.

The 50mm f/1.8, or nifty fifty as it’s often referred to, is a fantastic lens, especially for the price. I recommend everyone has one. It’s not necessarily a “travel” lens because most folks looking for a travel lens want something that covers a range of focal lengths. However, I always suggest people pick one up because it’s a great option for portrait work and anything else where you want a nice shallow depth of field. It can also work as a travel lens, you just have to get used to moving yourself around rather than using the zoom, which is actually not a bad thing.

Let me know if you have any other questions, and enjoy your new gear!

Arijit says

19th July 2020 at 3:46 pm

Great article! Hope you would be able to help me take my decision.

I own a Nikon D5200 (DX) and looking for a single lens which covers all or most aspects of photography (wide angle, portrait, zoom, etc). I had filtered down to 3 lenses- Nikon 18-300 mm (best for Nikon cameras as per your article), Sigma 18-300mm with Macro, Tamron 16-300 with Macro. I had Tamron 18-400 mm in my mind as well but then I thought that additional 100mm is not something I would fancy, as 300mm is still good enough for me and with the Sigma 300mm lens I am getting macro function.

All these 3 lenses are in same price range. But what I researched and understood was that Sigma lenses have best image quality of the three. Undoubtedly, Nikkor has the best overall optics but with Sigma I am also getting a macro feature which I feel I might use more than the 300mm though it is still good to have range.

I also heard that with Sigma 18-300, we might experience stabilization issues at higher mm for video. My requirement is to have the best of image and video quality with a single lens.

Would be grateful if you could share some thoughts on what should I consider.

Thanks in advance!

19th July 2020 at 8:18 pm

Thanks very much! So the lenses you list have some differences. Between the Tamron and the Sigma the Sigma as you say should have the best image quality, specifically sharpness, which is definitely important. Overall though the Nikon is generally better. I would also say that the Macro designation of the Tamron and Sigma is a bit misleading. Whilst they have a slightly closer minimum focus distance than the Nikon, neither are true macro lenses. A true macro lens would allow you to shoot an image with 1:1 magnification, meaning that the size of the image in real life is the same size as it’s reproduced on the sensor. The Tamron and Sigma both only offer a 1:3 magnification.

The reason these two lenses have the macro name is because they can both focus on objects that are within 39cm of the camera, whilst the Nikon has a minimum focus distance of 49cm. Honestly, this is not a big difference, and you will not get a real macro experience from any of these lenses, certainly not enough to make a difference. Usually a macro lens can focus on objects that are 30cm or less from the end of the camera.

So for this reason I would probably recommend the Nikon for overall best performance 🙂

I hope this helps!

Debasis Goswami says

27th February 2020 at 3:44 pm

You never want to put a UV filter for a digital camera. Useless and makes any lens perform poorly. That was such a put off right at the beginning.

27th February 2020 at 3:50 pm

Hi Debasis,

I have to respectfully disagree. A UV filter has protected my lens from damage on a number of occasions, where the filter has been destroyed but the lens is fine. In addition, a good quality UV filter is just a piece of glass, as is the rest of the lens. Studies have shown minimal to no impact in image quality, and it’s generally not noticeable either unless you’re pixel peeping.

In addition, the majority of “weather-sealed” lenses are only truly weather sealed with a filter on.

Of course, I don’t advocate putting a $10 filter on a thousand dollar+ lens. But I do think they are worth it. That said, each to their own. Whatever works for you is best 🙂

Thanks for your comment,

10th November 2019 at 1:14 am

I own a Canon 80D with 10-18 lens, 15-85 Aps-cl ens (probably selling),55-250 (never used probably selling) and Tamron 18-400. I just purchased 24-70 f/4L lens and am thinking of purchasing Canon 6D mark II. I use the 80D for everything and I am thinking the full frame 6DMII will help me get nice crisp pictures in low light and other shots. Do you think this is a good idea to have the crop and get a FF camera? I am not a beginner and not advanced photographer in between the two and still learning

10th November 2019 at 12:05 pm

The 6D Mark 2 is a great camera and will compliment your crop sensor nicely. I always have two bodies, although they are both full frame, it just makes it easier to get shots sometimes without having to mess around switching lenses.

6th September 2019 at 2:31 pm

Hello Laurence, We enjoyed your very well written article. We are getting ready to leave on safari and are looking at purchasing a mirrorless camera. We are very intermediate photographers. We currently use a Canon EOS 7D. We were contemplating staying with Canon due to familiarity. However, your article, as well as others, is pointing toward Sony. What is your recommendation? Lenses, etc? The Sony A7III sounds like the best set up (battery life, etc). What about ease of use? Also, I suppose a need a 200mm or longer telephoto lens, correct. I’m not sure I wanted to invest $5,000 in a camera as we are far from avid photographers. We are traveling more though and expect to get more into photography as we travel. Looking forward to your feedback. Thank you!

6th September 2019 at 3:37 pm

Thanks very much. I would say that if you are happy with the Canon 7D, you should stick with it and spend the money on a lens. A crop sensor camera is a good option for wildlife photography as it gets you closer to the action with the same focal length lens compared to a full frame camera. I would also add that if you are used to the Canon menu system, the Sony will take some getting used to, and many Canon photographers are not keen on the color of the images that Sony cameras produce.

I would instead suggest that you invest in a decent lens for wildlife photography for your Canon, or at least look to rent one. I’d advise something like the Canon 70-200 f/2.8 + a 2x doubler (quite a flexible setup), or the Sigma 150-500. The latter is a bit slower, but the zoom range is pretty amazing!

I hope this helps, let me know if I can help further,

EllenH says

4th September 2019 at 2:19 pm

I have one more question…if I rent a lens or two for my vacation to try out… which ones you choose to shoot Athens Greece and Paros Greece… I have only been in photography 6 months and have a canon EOS rebel T7i

EllenM says

4th September 2019 at 12:17 pm

I have a Canon Rebel T7i… on my next travel we are going to Greece… I will be taking pictures of sunsets, archeology sites, views of the acropolis, Parthenon, mount lycabetta; views of boats and white houses… what is your suggested lens? Sigma 18-300 or the canon 50?

4th September 2019 at 7:06 pm

I would definitely go for the 18-300 which would give you a lot more range and choices for your photography. The 50mm is a great lens, but having a fixed focal length will definitely restrict you!

4th September 2019 at 8:15 pm

I am considering renting… should I stay with this option?

5th September 2019 at 8:08 am

It’s up to you! Are you renting because you want to trial a lens for a future purchase, or just as a one-off? I’d say the Sigma lens you previously mentioned would be a good option in general, but you could rent a more premium lens. I don’t think it would make a huge difference – normally I’d recommend renting for more specialised trips like safaris or other wildlife encounters, where a really nice expensive zoom lens will make a huge difference – but it’s not a lens you’d really use very often otherwise.

I hope this helps 🙂

4th September 2019 at 1:36 am

Hello from Puerto Rico!

I currently own a Canon 6D Mark II eith a 24-105 mm f4 II Lens. I also own a Rokinon 14mm f 2.8 AF and a Tamron 35-105 mm f2.8. I have some traveling planned for November to Spain, France, Italy and Portugal. What should I bring in? Do I need a better Zoom lens such as a 70-200 mm ? I currently have a 75-300 mm f3.5-5.6 crop sensor lens from a previous Canon Camera. Can’t wait for your recommendations!

Best Regards!

4th September 2019 at 7:04 pm

it really depends what you want to photography and how much weight you want to carry! If it’s primarily landscapes and street photography, and you only want one lens, then the 24-105 would be my suggestions. If you want wider shots, then the Rokinon would be the best option.

It’s less likely you will need the extra zoom – it can be useful in some specific situations like wildlife and for candid portraiture from a distance, but it’s a lot of additional weight that you probably won’t use that often!

I hope this helps – have a great time in Europe!

4th September 2019 at 8:41 pm

Thanks! ????

30th August 2019 at 12:37 am

I travel with the Canon 24-70 f/4 on a 6D. Compared to both the 24-70 f/2.8 and 24-105, it weighs less, cost less, and has a sort-of macro mode (.7x) for flowers and any strange bugs one meets. The extra 35mm on the long end I hardly ever miss. I either need no more than 70 or go straight to wishing I had 400.

30th August 2019 at 6:07 am

Great to hear that you have found the right lens for you 🙂 It’s certainly an excellent lens, and a great lighter option for sure. You are right, those few mm don’t make that much difference, especially with how many megapixels most cameras give you these days and the power of cropping!

Happy photography!

Usama Zulfiqar says

14th August 2019 at 10:41 am

Great article and fully endorse your views. I am enthusiastic photographer and have Nikon D750 with 24-120mm f/4, 50mm 1.8 and 85mm 1.8 lens+Godox Flash. I am planning for a short trip to my home town with loads of indoors gathering and few outdoors gatherings as well, but wanted to carry only two lens max.due to weight issue.

I had previously used 24-120mm for shooting a wedding and it went very well as my photos were as good /sharp as photos taken by professional photographer. I am quite comfortable with this lens, despite losing bokeh compared to 50mm and 85mm.

I will also take some portraits and shots of toddlers and kids running around. My question, which lens you recommend to pack in my carrying bag?

14th August 2019 at 8:01 pm

Thank you very much 🙂 So I would say that if you are happy with the performance of the 24-120 f/4, then that would be a great option as it’s going to be pretty versatile. For the other lens (I think you wanted two), I’d personally go with the 85mm as it’s going to be better for portraits, and will be easier for candid work as you will be able to get photos of people with them noticing less. The 50mm is a great lens too, but it’s harder to get those candid moments if you have to stand closer.

I hope this helps. If you really only wanted to take 1 lens I’d probably pick the 50mm as you could always crop, and it will be a bit more versatile for more situations.

31st July 2019 at 2:53 pm

Hi.. On my weekend travels i normally use NIkon 18-55 VR. And Nikon 35mm 1.8G for low light situation. I don’t take Nikor 55-300 and Tamron wide angle in my bag for travel. It’s a little inconvenient to swap the lens for telephoto or wide angle in some situation since travelling with family (we have 2 year old kid) and the weight of the bag carrying too many lens..!

I’m thinking to buy a good walk around lens (Nikor or third party) and sell both NIkor 18-55VR and 55-300 (or at least keep my first lens 18-55VR).

Do you have any suggestion on my situation? what should be the walk around lens i should go for?

31st July 2019 at 3:02 pm

Obviously it will depend on your budget. I’d suggest either the 18-300mm in the list above, which would be a good all around option. Alternatively if you want a wider aperture for lower light, then you might consider the 24-70 2.8. However it has much less focal length and is also quite expensive, so I think the 18-300 would be a better walkaround option, and would replace your two other lenses you mention.

18th July 2019 at 4:31 am

Thanks for your great articles Laurence, I have found them very informative and clearly explained, which is most helpful to a beginner photographer trying to learn more about the key features of the camera/lens setup and how they impact picture quality. Please forgive the newbie question, but in describing the lenses, you talk about a lens being faster or slower than another? What does that mean in layman’s terms, ie. how is a lens faster than another ? does it refer to the time the light takes to reach the sensor and hence how quickly you can take multiple shots or something else ?

18th July 2019 at 6:08 am

My pleasure. That is a great question, and I should definitely explain it in the article. However, first I’ll tell you 🙂

So, a fast lens is so called because it will have a wider aperture. A wider aperture lets more light in, which means you can use a faster shutter speed, compared to a lens with a smaller aperture (in the same light conditions). Hence, a “fast” lens. The aperture, shutter speed and ISO are all linked in the way a camera works, which I explain in much more detail in my guide to exposure, which you can see here:

https://www.findingtheuniverse.com/exposure-triangle-photography/

Let me know if that doesn’t make sense. It’s not a totally obvious concept I’m afraid, but with a bit of practice it should start to make sense 😉

10th July 2019 at 12:33 pm

Hi Lawrence,

Thank you so much for such nice explanations about different features of camera and lenses. I truly loved the details. I am just wondering in the sentence below, which you wrote

“So a 100mm lens on an APS-C sized sensor will give the same result in terms of the image as you would be able to achieve with a 160mm lens on a full frame camera.”

Shouldn’t it be the other way around? That is a 160 mm lens on APS-C camera will give same result for 100 mm lens on a full frame?

Thanks again, I look forward to your answer.

10th July 2019 at 12:46 pm

Just wondering if what you wrote is correct, does it mean that for a wide angle picture (for a given lens), a full frame sensor is better than APS-C? Whereas, for a magnified/zoomed image an APS-C sensor is better?

12th July 2019 at 4:23 am

For a zoomed image, an APS-C sensor is often preferred as it gives more “zoom” to the lenses, hence why wildlife photographers like crop sensors 🙂

12th July 2019 at 4:22 am

What I wrote was correct 🙂 A 100mm lens on an APS-C sensor has a crop factor applied. You multiply the lens focal length by the crop factor (for most APS-C lenses this is 1.6x), giving an equivalent of 160mm.

Liz Hetherington says

5th May 2019 at 6:01 am

Hi I recently moved from full frame Nikon to Nikon mirrorless and bought the standard z6 kit with 24-70 f4 for less weight while travelling. I did trade in my F 2.8 🙁 . I’m now a bit worried I’m not going to be happy with this new lens in comparison. Your thoughts? Also do you think it’s worth getting the 50mm 1.8 prime? I’m off to Alaska hiking and kayaking. I love taking landscapes, macro and wildlife Liz

5th May 2019 at 9:39 am

To be honest, unless you are doing a great deal of low light work, or shooting events like weddings, I think the lighter nature of the f/4 lens will make up for the loss of one stop of light. For travel, personally as a landscape photographer I rarely find myself shooting wide open, except for the odd portrait or wildlife shot. And the one stop I don’t think is hugely significant for wildlife photography. When I’m shooting wildlife, even though I have a 70-200 f/2.8 lens, I usually have a doubler on it, so it ends up being an f/5.6, and I’ve not had any problems!

For what you are shooting, I’m not sure the 50mm prime will be much use. It’s usually a nice way to get great portraits on the cheap, but I’m not sure you’d find yourself using it all that much 🙂

I hope this helps – I think you’ll be happy with your lens choice!

Image Earth Travel says

28th March 2019 at 1:44 pm

Great write-up and comparisons – lots of food for thought!

I have to mention that I don’t totally agree with your view on the Nikkor 28-300mm f/3.5-5.6G VR lens. I’ve been using this lens on my Nikon D600 since 2013, but travelling full time since 2014. The lens diminishes my D600’s 24.3 MP to only 10P-MP. A testing link you may be interested to check out: https://www.dxomark.com/Lenses/Nikon/AF-S-NIKKOR-28-300mm-f-3.5-5.6-ED-VR-mounted-on-Nikon-D600__834

In addition, the distortion the lens creates when taking architectural images is much higher than my previous cheaper Canon EOS550D+Canon EF-S 55-250mm f/4-5.6 that I used on my 2011, 10-month trip. (Prior to these 2 models, I used a combination of film cameras and lenses.)

Overall, I’m disappointed with my decision to swap from Canon to Nikon – not only much more expensive, but not optimal for travelling as the camera+lens weighs around 3kgs.

I’m yet to discover the best travel camera+lens combination to handle candid and landscapes (including architecture) photography. I like the idea of just having one camera body+one lens – for me, it’s always going to be a zoom lens. So, I understand that the optics of the zoom will never be as good as a fixed lens and always a compromise, but for the money I spent back in 2013 on my Nikon kit I expected better quality. Only as good as the lens right? 😉

28th March 2019 at 3:33 pm

So I am a little confused – this is an FX lens on an FX body, so there should be no reduction in megapixel and it should be able to use the full sensor frame. I don’t understand how it would cause the images to go down to 10MP – that would normally only happen if you used a DX lens on an FX body.

Lens distortions are always going to be an issue for sure, although they can be often fixed in Lightroom or other photo editing software. But yes, the greater the focal range of the lens in my experience, the lower the image quality and the greater the distortion. It’s just a reality unfortunately.

I think you might overall be better off with a different system entirely in weight is more important. Perhaps one of the mirrorless systems. There are many to choose from, especially if you don’t mind stepping down a bit in sensor size. Ultimately though, you are right, good glass is critical to great images – but it tends to come at a price (and weight!).

Saikat Sen says

26th August 2019 at 4:42 am

Disappointed to see that you have not considered the Tamron 16-300 VC f/3.5-6.3, which according to my experience is a great walk around travel lens, weighing just about a pound, cheaper than any other lens you have mentioned here and providing 16mm at the wide end, which roughly equivalent to 24mm at the APS C sensor. Needless to say that it has full-time manual override, which is very useful to those who really like to use it manually with the library to get the auto focus as and when required.

26th August 2019 at 7:25 pm

Thanks for your comment, and I’m delighted you’ve found a lens that works for you. There are lots of great lenses out there! I think the 18-400 Tamron I recommend is a good option, but of course, if folks would prefer something a little lighter and don’t mind trading off a bit of focal length on the zoom end, then the 16-300 is a great option too 🙂

Lucas Peters says

11th February 2019 at 8:08 pm

Thank you for taking the time to put this article together. I’m sure it’s a ton of research. For the next one, really consider the Sony 24-105mm G OSS f/4. I’ve been using it for travel (England, Iceland, France, Spain and Morocco) over the last few months and am super happy. On a full-frame, you can crop to get an equivalent 150mm or so range for a nice little punch-in. Nice colors. Solid sharpness (though a tad softer at 105, but not too bad), an overall better performance than the SonyZeiss 24-70mm with a larger range. Check it out when you can.

12th February 2019 at 5:42 pm

Thanks for the input, that’s much appreciated. I will certainly take a look at that lens and consider including it 😀

12th February 2019 at 9:07 pm

If you liked the Canon L 24-105, you’ll probably like this a lot.

Curious why you are adverse to small primes. I probably do the vast majority of my shooting with the Sony-Zeiss 35mm 2.8 (you can get them 2nd hand pretty consistently for 300-400 now, making it a great budget option). It’s an awesomely light weight walk around kit.

13th February 2019 at 9:11 pm

I’m not adverse to them at all, I think they are awesome bits of kit. However, for this post the goal was picking lenses that the majority of folks would use without having to carry too many lenses, and whilst I love primes for their sharpness and speed, I think the majority of folks reading this guide are looking more for a one size fits all solution 🙂

Alicja Abela says

30th January 2019 at 12:44 am

I am a beginner photographer and am wanting to buy a Canon 80D for a trip to NZ in November. What lense/ lenses would you suggest for getting landscape shots but also wildlife? much appreciate your advice.

30th January 2019 at 7:28 pm

So for landscapes I’d recommend a wide angle lens like the Canon EF-S 10-18mm. That’s a really good value lens, and the ultrawide angle will let you get some great landscapes. The logical lens to pair it with would be the Tamrom 18-400, which would be great for pretty much everything else, including portraits and wildlife. These are not super expensive lenses, which also makes them lighter for travel, but if you wanted to spend more for some reason, I can recommend more expensive lenses too of course!

Have an amazing time in New Zealand 🙂

1st February 2019 at 8:48 am

Thank you for the recommendation. After looking at the pricing of both 80d and lenses I think I will have to look for a cheaper model such as a 200D. Are there a couple of lenses that I could take that would do a good job on landscapes, action and wildlife that would add up to around $1000 Aus doll ars max?

1st February 2019 at 6:43 pm

So you could get away with just the Tamron lens, and not getting the wide angle. It will work for the majority of shots. Or you could get the Sigma 18-300 and the Canon 10-18, which should come in to $1000.

I am assuming the $1000 doesn’t include the camera purchase. If that is included then you will likely be best buying that body only, and then getting the Sigma 18-300.

Alicja says

2nd February 2019 at 12:44 am

Thank you so much. That was so helpful!

12th December 2018 at 12:57 pm

You have the details wrong on the Lumix wide zoom, it is 8-18 not 8-14

12th December 2018 at 1:06 pm

Good catch! Thanks very much, I’ve updated the post 🙂

26th October 2018 at 3:53 pm

Great article..!

I have Nikon D3400 camera with kit lens amd 35mm Nikon prime lens. Normally i use 35mm lens when we go for family trip. Even if it is a good lens i miss many good shots since it is not wide enough. I am thinking about buying a wide angle lens for travel photography (weekend road trip with family 🙂 ). I considered Tamron 10-24mm VC and Nikon 10-20mm VR. What is your suggestion on my situation ? Should i stick with my kit lens for travel or buy any other walk around lens like Nikon 18-300 or Tamron 18-400?

26th October 2018 at 6:10 pm

Thanks! It’s hard to know exactly what to advise as I’m not sure if you are into wildlife photography or any other types of photography where you will be using the extra length of a longer zoom. So whilst the 18-300 or 18-400 or certainly good options, I think if your main issue is currently not being wide enough, and wide angle photography interests you more, then a 10-24 or 10-20 would be a better choice.

Another option is to try the 18-400 or 18-300 and see if it is wide enough for your needs. The difference between 10mm and 18mm is quite a lot, but you might find it suits what you want to do with, plus gives you a lot more flexibility and choice of focal lengths.

16th October 2018 at 8:34 am

Hi, Great article! I am planning to upgrade from 550D to an 80D, and was wondering about the lenses I could pair it up with. I have a canon 50mm f/1.8 STM prime which I love (and so does the rest of the world, it seems!). I ditched my 6 yrs old canon 18-55 IS II for a sigma 18-35 f/1.8. And on the telephoto end, I am aiming for the Tamron 100-400. Have read some good reviews about it, and its probably the lightest and most easy-to carry telephoto of that range (though not the best w.r.t. IQ, but would be a huge improvement over my notoriously soft canon 55-250 IS II). I shoot birds at times, and so need a good telephoto range. I am slightly worried about losing the mid range (50-100), but was analysing my pictures, and realised I don’t shoot very often in that range. Would love to hear your opinion as well.

17th October 2018 at 7:45 pm

So the good news as you no doubt already know is that the 550D and the 80D have the same sized sensor and mount, so all your lenses will just work across the cameras. I would say that you would be fine without the middle focal length. We usually travel with a 17-40 and a 70-200, and we’re usually shooting either very wide at 17mm or 100mm+, so don’t miss that middle range too much! It all depends on the kind of photography you do, and it sounds like you have a solid idea of what it is you want to shoot, as well as the focal ranges you use most regularly. So if that lens suits your budget and needs, I would say to go for it!

julie anne says

3rd October 2018 at 6:00 pm

hello I just want to ask what camera lens is compatible with canon m50? thanks

4th October 2018 at 4:00 am

Hey Julie! Great question. So you have two main options – there’s a range of EF-M lenses made by Canon for the camera, which I haven’t included here as they are quite specific to the EOS M range. The other option is to get the adaptor which will let you use any EF-S or EF lens, which you can get here: https://amzn.to/2DV5fy5

In which case, the Canon lenses listed here, as well as various third party lenses from brands like Sigma and Tamron will work. Hope this helps!

Caitlin says

25th August 2018 at 1:17 pm

Thank you so much for this informative post. I am starting out on my travel photography journey across the Middle East and was overwhelmed by where to begin with cameras. This was very helpful!

25th August 2018 at 1:33 pm

My pleasure! Let us know if you have any questions 🙂

Ira Sockowitz says

9th August 2018 at 8:15 pm

Laurence, thanks for a very thoughtful and in-depth discussion of options for a wide range of shooters.

As an owner of two bodies, Canon 5D and 5D Mark II respectively, I already own some of the lenses you reference. As I am planning a 9-15 moth RTW trip, I have a couple of questions for you: 1. My everyday lens is the 24-70 f2.8L so covered there. If you are willing to bear the wight, should I carry my 70-200 f.28L? I think I see it in some of your photos and wonder of its uses – close ups of nice architecture as well as long landscape shots. If not, what lighter weight alternative do you use/recommend? 2. Should I consider a smaller, more pocket-sized or easily managed camera for urban travel? I note that you use a mirrorless and again ask about the utility of doing that versus carrying my larger DSLR everywhere.

Appreciate all that you and Jessica do to aide us travelers and look forward to your reply.

9th August 2018 at 8:36 pm

Hi Ira. My pleasure, and thanks for your kind words.

So I normally travel with a 17-40 and a 70-200. So you could say I’m missing that classic middle ground, but I find the other two lenses cover enough to make up for it. If I was going on a round the world trip, I think I would lean more towards leaving the 70-200 at home. It is massively heavy, and unless there are really specific shots you want, you might find yourself doing fine with the 24-70. I would perhaps look at investing in a 2x extender instead and using that with your 24-70. It won’t be quite as amazing as the 70-200 in terms of sharpness and autofocus speed, but if you’re not shooting fast moving subjects, or planning on selling your photos to be printed on the side of buildings, I don’t think you’ll notice 🙂

We do travel with a Lumix GX8, which is a great camera. However, if I was to start over, I think I’d likely look at one of the larger sensor compact cameras for more casual use. These are really quite compact and portable, shoot in RAW, and have decent manual controls. The later Sony RX100 models, or the Panasonic Lumix TZ100 / TX200 would be my choice I think, purely so I can have a simple solution that doesn’t come with its own lens ecosystem to worry about!

I hope this helps, happy to expand more of course 🙂

1st August 2018 at 1:51 am

Thanks so much for the very helpful article.

I’ve been using a T3i and the 18-200mm for years, and am upgrading for my latest trip. I just got the Canon 77D and am contemplating whether to get a new lens as well. Realistically, I usually only carry one lens since it is a pain to switch; the 18-200 has done a great job covering both landscapes and far off subjects, but lately I’ve been more aware when it isn’t crisp. Do you think it is worth it to go for something like an 18-55 (similar to the 24-70 full frame on an APS-C I think) or similar? I’m not sure how much better the image quality would be (obviously some with the smaller range, but unclear the degree of improvement).

1st August 2018 at 11:45 am

First, I’d definitely ask if you need the extra range of something like the 18-200 – if you often find yourself at the more zoom end of the lens, then you will likely be unsatisfied with a shorter focal length.

Second, a newer camera body with a better sensor is definitely going to highlight the issues with your existing lens, so if you are noticing problems on the T3i with your existing lens, these will only be more apparent with a better body unfortunately. Of course, it also depends on what you are using your photos for – whilst images can look bad when we inspect them close up, if your shots are mostly for social media or relatively small images, you might not really notice, but for larger use, and especially for printing, you will likely want a higher quality lens.

Without an idea of your budget, its hard to give an exact recommendation, but generally higher quality means higher cost unfortunately!

One good option would be to rent a couple of the lenses you are looking into to see if you can really tell the difference, and go from there 🙂

4th August 2018 at 10:27 pm

On past trips I’ve definitely found myself using the range of the lens to take portraits of people from far away, and get far off statues etc., though the majority of my use is landscape and smaller zooms.

For now, my pictures are mostly just stored on my computer, but eventually I would like to print larger versions of them (though more likely in the 16×24 range, not huge). I’d like to keep expenditure <$1000 on the lens – I think the rental idea is a good one!

Rick Petersen says

18th June 2018 at 3:11 am

My camera system and lenses are pretty set, but it was informative article. Like seeing others opinions on gear which is how I found this.

Currently shooting a Lumix GX8, with the Leica 12-60mm and Leica 25mm. Love this combo and concur with your recommendation of a standard zoom and fast prime.

19th June 2018 at 11:23 pm

Thanks Rick! We also have the GX8, it’s a lovely camera, and we have it with the Lumix 12-35 f/2.8 which is a great walkaround travel lens too. Sounds like you have the perfect set up for travel, light and discreet 🙂 HAppy shooting!

16th June 2018 at 8:21 pm

After reading all that you still don’t come up with a good travel lens??????? Whats the point????

16th June 2018 at 10:17 pm

Hey Max! The goal of the article is to help folk navigate the fairly overwhelming choice of travel lenses, with suggestions given for different camera systems and budgets. Most folks should have an idea of what their camera system is, and then what their budget is, and from that it should be easy to use this post to decide which is going to be the best lens for them 🙂

Thomas FISCHER says

31st May 2018 at 1:31 pm

Great great article.

I am wondering for MFT what do think about thoses lenses for travelling: – 14-140 II F3.5 – lumix 7-14 F4 – lumix leica 15 mm F1.7 – lumix 42.5 F1/7

31st May 2018 at 7:27 pm

Thanks very much. I do love prime lenses because you get that lovely shallow depth of field effect, and they tend to be really sharp. I didn’t recommend any in my post because, well, I would have been writing forever, but with a micro four thirds system they make good sense because the whole system is smaller, so for travelling you can still have some prime lenses. I’d say your selection is ideal for travelling, with a focal range to cover pretty much everything from landscapes to animals, plus some nice lenses for portraits. So yes, I think you’ve picked some excellent choices!

13th May 2018 at 8:33 am

Hi Scott, and thanks for your comment. THe post is definitely new, although we do of course update old posts to ensure they are still relevant. In this case though that isn’t the case, I just missed that lens. I’ll take a look and see where it would fit, and thanks again for your input. Cheers, Laurence.

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The Only 3 Full-Frame Lenses You Need for Travel Photography

For the photographers whose studio extends far beyond the four walls, and for jetsetters and road warriors who are called to a life of travel photography, full-frame lenses are all but essential. Photography is like any passion or hobby — there are so many new, amazing, and shiny tools including the best travel lens that can get a job done and suit anyone’s liking.

But when you’re traveling, it’s not all about having the lens with the best performance. Weight, durability, and versatility all play a significant role during traveling. As a travel photographer , you can’t just pack up everything including the kitchen sink. You have to choose your tools wisely when shooting photos while on the road. So here is a list of the top travel lenses for photographers ready to capture and photograph the world.

But before I go into discussing the list, I want to give a quick tip that I’ve learned over the years when I travel: unless your job requires it, leave the prime lenses at home. While there are some fantastic options out there, especially for portrait photography, prime lenses lack the versatility and range of a zoom lens. Every trip I’ve gone on, I’ve always brought a prime, and every time, it’s gone unused because I have more reliable and more versatile lenses that I grab and use first. Save yourself the extra weight and skip the prime lenses when doing jobs on the road and opt for these full-frame lenses instead.

How to choose the best travel lens: 6 features to look for

While there are exceptions to the rule, typically, a great lens for travel photography will have these six features.

Portability

If you’re a photographer who travels often for work, you typically don’t want to be lugging around camera lenses that are big, bulky, and heavy. You want to focus on lenses that are lightweight, and compact in design. You want a best travel lens that is easy to carry, store, and transport, whether you’re spending all day at the airport or in the field at your destination.

The best travel lens is built to be durable. Look for lenses that are weather-sealed and designed well. While it’s easy to grab the least expensive lens on the market, investing in lenses that are well-built and sealed to protect against elements like water, dust, and sand will provide peace of mind when traveling to new locations with variable, challenging weather conditions.

Versatility

As a travel photographer, it’s important to invest in lenses that offer the most versatility. You want to avoid carrying unnecessary lenses and weight. Whether you prefer primes or zoom lenses , focus on focal lengths and zoom range that can handle a variety of locations and can capture different photography types .

A wide, fixed aperture

Having a wide, fixed aperture, like at f/2.8 or f/4, which are both popular fixed apertures for zoom lenses, allows you to shoot in variable lighting conditions while keeping that wide aperture throughout your focal range. This means greater low-light performance and control, so you can photograph throughout the day in a variety of locations as you travel.

Fast autofocus

When it comes to travel photography, beautiful moments happen so fast. In a blink of an eye, they can change. Having a lens with a fast, reliable autofocus is important, so you can confidently capture those rare, fleeting moments before they disappear.

In-lens stabilization

Last, look for lenses that have in-lens stabilization built-in. This allows you to shoot hand-held more confidently at slower shutter speeds. Pairing good lens stabilization with in-body camera stabilization makes for a fantastic “run-and-gun” travel kit. This allows you to move quickly and capture more on the go.

The Best Full-Frame Travel Lens for Travel Photography

1. the ultra wide zoom lens.

Wide-angle lenses are the ultimate go-to lens for any photographer looking to capture the beauty of landscapes, cityscapes, hotel buildings, or residential properties. These lenses are great for tight spaces or wide-sweeping vistas. They capture a perspective that the human eye simply cannot see without assistance. This added depth creates wonders when you have a suitable FX body attached.

Below are some of the best ultra-wide zoom lenses on the market. These lenses are well constructed, have a lower aperture range, and create sharp, beautiful images with little to no barrel distortion or fish-eye effect. And while these lenses tend to be bulkier and heavier than conventional lenses, their capabilities are worth their weight in gold.

Nikon 14-24mm f/2.8G ED-IF AF-S NIKKOR Lens

Canon ef 16-35mm f/2.8l iii usm lens, sony fe 16-35mm f/2.8 gm (g master) e-mount lens, sigma 14-24mm f/2.8 dg hsm art wide-angle zoom lens, sony 16-35mm f/2.8 vario-sonnar t* za ssm ii zeiss a-mount lens, 2. the “do it all” lens.

All-around lenses are in the middle of the spectrum in terms of usability. Most lens manufacturers have these full-frame lenses. A 24-70mm lens is the jack of all trades or the Swiss Army knife of lenses. It’s wide enough for landscape photography , yet it has the range to get tight for portraits or close-up shots. If I had to choose one lens to take with me on a trip, I would pick the 24-70mm lens. While they are expensive (and good glass is always expensive), this type of lens is worth every penny.

I always tell people to invest in quality, not quantity. This mentality should be the first lens you invest in if you want to get serious about photography. It can cover the majority of photography work and will become your best friend. Most of the 24-70mm lenses are incredibly sharp with creamy bokeh throughout the zoom range. They’re also high performing, fast, and silent. Here are fantastic lens options on the market right now:

Canon EF 24-70mm f/2.8L II USM Lens

Nikon af-s nikkor 24-70mm f/2.8e ed vr lens, sony fe 24-70mm f/2.8 gm (g master) e-mount lens, tamron sp 24-70mm f/2.8 di vc usd g2 lens, nikon 24-85mm f/3.5-4.5g ed af-s vr nikkor lens, sigma 24-70mm f2.8 dg os hsm if art lens, 3. the telephoto lens.

Having the best telephoto lens in your travel kit is a must if you wish to dabble in landscape photography. The ability to add greater reach to your camera’s focal length is vital, especially when you’re shooting wildlife photography or detailed landscapes like mountain photography .

I can’t tell you how many times I’ve started with my 24-70mm, then switched to a 70-200mm or something higher. This helps me get tighter and more detailed shots that frame a beautiful section of mountain or ridgeline. You get to capture the true character and personality of a landscape when you do this. It can really add some stunning results to your portfolio. Normally, I recommend a 70-200mm telephoto zoom lens because of its versatility and ability to shoot events, weddings, portraits, or street photography without being intrusive to others, while adding on the focal range for landscape.

Some people choose something that’s a little longer, like a 100-400mm. However, that can add weight and get even more expensive. So here are top choices for 70-200mm telephoto lenses, with a lower F/2.8 aperture, quick performance, and silent functionality. Below are some of the best telephoto full-frame lenses available in the market today. Any of these options should yield fantastic results and provide a reliable telephoto lens for travel:

Canon EF 70-200mm f/2.8L IS III USM Lens

Nikon af-s nikkor 70-200mm f/2.8e fl ed vr lens, sony fe 70-200mm f/2.8 gm (g master) oss e-mount lens, tamron sp 70-200mm f/2.8 di vc usd g2 lens, nikon nikkor z 70-200mm f/2.8 vr s lens.

Now, a downside to telephoto lenses is their weight. They are the heaviest full-frame lenses on the market due to the size of the glass and metal needed for the extra focal length. However, if you aren’t shooting events or using your telephoto lens in a dark or dimly lit location, you can aim for a lens with a higher aperture — say an F/4 — and cut down weight and cost significantly. Here are lighter models that can really help while traveling. They are a better alternative if weight and cost are important:

Canon EF 70-200mm f/4L IS II USM Lens

Canon rf 70-200mm f/4l is usm lens, sony fe 70-200mm f/4.0 g oss e mount lens, panasonic 70-200mm f/4 lumix s pro o.i.s. l-mount lens.

In conclusion, these three lens types should be the three amigos in your travel kit. With an ultra-wide zoom lens, “Do-It-All,” 24-70mm, and telephoto lens by your side, there is nothing you can’t photograph well, and you won’t have extra lenses that weigh you down and fill up your camera bag while on the road. If you want to shoot simply and travel smartly, these are the best lenses to own and invest in.

Nathan Lee Allen

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The best Sony lenses in 2024: top E-Mount lenses for Sony Alpha mirrorless cameras

These are the best Sony lenses, including Sony and third-party lenses for both full-frame and APS-C cameras

The Quick List

• Best standard zoom
• Best standard prime
• Best telephoto zoom
• Best affordable standard zoom
• Best portrait lens
• Best super-telephoto zoom
• Best lens for travel
• Best ultra-wide zoom
• Best for street photography
• Best macro lens
• Best APS-C wide zoom
• Best APS-C telephoto zoom
• How to choose
• How we test

The Quick List ↩ 1. Best standard zoom 2. Best standard prime 3. Best telephoto zoom 4. Best affordable standard zoom 5. Best portrait lens 6. Best super-telephoto zoom 7. Best lens for travel 8. Best ultra-wide zoom 9. Best for street photography 10. Best macro lens 11. Best APS-C wide zoom 12. Best APS-C telephoto zoom How to choose How we test

We’ve always been big fans of Sony ’s top-flight G Master lenses. They’re big and beautiful, but expensive, designed to suit the best Sony camera s for professionals. These lenses aim for the ultimate in all-around performance and image quality, especially in terms of sharpness and bokeh (the quality of defocused areas within images). But they’re not for everyone. We’re finding more and more that we need to keep an eye on the budget, and there are many relatively affordable lenses that we’d be more than happy to pop in our kit bags. We’re also impressed that, because Sony stole a lead on other manufacturers in the full-frame mirrorless market, it’s had more time to build up a wide array of companion lenses to suit every need and budget. And let’s not forget that there’s a deep vein of history behind Sony's range of APS-C models that are more for hobbyists and enthusiasts, like the Sony a6700 or the Sony ZV-E10 vlogging camera. As with other camera systems, you can use full-frame ‘FE’ lenses on APS-C models too, and often this can be the best choice for telephotos, macro lenses, and other longer focal length options. But with standard zooms and ultra-wide lenses, we always feel it’s essential to get the right tool for the job, which will be a lens specifically designed for an APS-C format camera. And, if you haven't decided which model to buy, then do also check out our best Sony camera guide. So, without further ado, here are the lenses that we think are the best buys in all the major categories, for both full-frame and APS-C format Sony mirrorless cameras.

For us, a ‘trinity’ standard zoom lens with a fast and constant F2.8 aperture is the go-to lens for everyday shooting, and the FE 24-70mm F2.8 GM II is one of the finest examples of the breed. Read more below...

We always think that a ‘nifty fifty’ is an essential bit of kit. The Sony FE 50mm F1.4 is the lens that is most suited to most Sony shooters who love the natural perspective of a 50mm prime. It's light and compact, without compromising on optical quality. Read more below...

We’ve always found a 70-200mm F2.8 lens to be arguably the most essential zoom, even for those that generally shoot with primes, and the Sony FE 70-200mm F2.8 G Master OSS is a seriously top-flight option. Read more below...

Best Sony lenses in 2024

Why you can trust Digital Camera World Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out how we test.

Best Sony standard zoom lens

1. Sony FE 24-70mm f/2.8 GM II

Our expert review:

Specifications

Reasons to buy, reasons to avoid.

For us, a ‘trinity’ standard zoom lens with a fast and constant F2.8 aperture is the go-to lens for everyday shooting, and the FE 24-70mm F2.8 GM II is one of the finest examples of the breed. We really like the sturdy, weather-sealed build quality and handling characteristics, with its customizable focus hold function button and switches for AFMF and zoom lock. 

The lens is packed with high-tech, high-precision optical elements, and we love that autofocus is blazing fast for stills and provides smooth and near-silent autofocus transitions during movie capture. There’s no optical stabilizer but this is only an issue with first-edition Sony mirrorless full-frame cameras that lack in-body stabilization.

Image quality is spectacular in all respects. Even when shooting wide-open, we’ve found that sharpness is simply phenomenal, throughout the entire zoom range. But if your pockets aren’t deep enough for such an expensive lens, other strong contenders include the Sigma 24-70mm F2.8 DG DN Art , Tamron 28-75mm F2.8 Di III RXD G2 , and Samyang AF 24-70mm F2.8 FE .

Read our full Sony FE 24-70mm f/2.8 GM II review for more details

• Back to the top ⤴

Best Sony standard prime lens

2. Sony FE 50mm f/1.4 GM

We always think that a ‘nifty fifty’ is an essential bit of kit. The Sony FE 50mm F1.4 is the lens that is most suited to most Sony shooters who love the natural perspective of a 50mm prime. 

Impressively light and compact, but not compromising one bit on optical quality, we find this lens is pretty much perfect when it comes to center-sharpness and holds up very well towards the edges of the frame. If you don't really feel the need for the even faster aperture, added size, weight, and considerable extra cost of the Sony FE 50mm F1.2 G Master , then this FE 50mm F1.4 is the one to go for.

Read our full Sony FE 50mm f/1.4 GM review for more details

Best Sony telephoto zoom lens

3. Sony FE 70-200mm f/2.8 G Master OSS

We’ve always found a 70-200mm F2.8 lens to be arguably the most essential zoom, even for those that generally shoot with primes, and the Sony FE 70-200mm F2.8 G Master OSS is a seriously top-flight option. 

We’re impressed that the feast of glass includes a double-sided XA (Extreme Aspherical) element, two other aspherical elements, four ED (Extra-low Dispersion) elements, and two Super ED elements. For tracking action, we also love the super-fast autofocus system, based on dual linear motors plus an RDSSM (Ring Drive Super Sonic wave Motor). 

Handling is refined, with an autofocus range limiter, customizable focus hold buttons, and dual-mode stabilization for static and panning shots. For a more lightweight option, we also love the compact Tamron 70-180mm F2.8 Di III VXD , while the Tamron 70-300mm F4.5-6.3 Di III RXD is a more conventional ‘budget’ telephoto zoom.

Read our full Sony FE 70-200mm f/2.8 GM OSS review for more details

Best affordable Sony standard zoom lens

4. Sony E 16-55mm f/2.8 G

There is an older Sony Vario-Tessar T E 16-70mm F4 ZA OSS which is cheaper and lighter than this lens and has optical stabilization, but the maximum aperture is F4, so the new Sony E 16-55mm F2.8 G is, we think, the best standard zoom for Sony APS-C cameras. As a standard lens with a classic zoom range, the Sony E 16-55mm F2.8 G ticks nearly all the right boxes. 

It delivers sumptuous image quality with fabulous sharpness and contrast, along with pleasant bokeh. Handling is very refined, with the addition of a customizable focus hold button, strong build quality, and weather seals. Autofocus is super-fast and deadly accurate. The only downside is the lack of optical stabilization but, overall, we simply love this lens.

Read our full Sony E 16-55mm f/2.8 G review for more details

Best Sony portrait lens

5. Sony FE 135mm f1.8 GM

While the Sony FE 85mm F1.4 G Master will be seen as the most ideal portrait lens by many, we find that this 135mm version gets us closer to your sitter while maintaining a natural shooting distance, thus working really well for close-up portraits, and any other shooting scenario that calls for impeccable image quality at this focal length.

The high-grade optical path includes XA (eXtreme Aspherical), Super ED, and regular ED elements, along with an 11-blade diaphragm that maintains a particularly well-rounded aperture when stopping down a bit. 

We love the handling, complete with an aperture control ring with de-click switch, and the lens combines striking sharpness and contrast with a really smooth bokeh. A cut-price but highly capable direct competitor is the Samyang AF 135mm F1.8 FE , and it’s also worth considering the Sigma 85mm F1.4 DG DN Art and the specialist Sony FE 100mm F2.8 STF G Master OSS .

Read our full Sony FE 135mm f1.8 GM full review for more details

Best Sony super-telephoto zoom lens

6. Sony FE 200-600mm f/5.6-6.3 G OSS

Fast super-telephoto lenses for full-frame cameras are always expensive, but we like that the more modest aperture rating of the Sony FE 200-600mm F5.6-6.3 G OSS makes it relatively affordable. We think this lens has a real wow factor. Sure, it’s not a G Master optic but it looks and handles great. 

It’s naturally pretty big and heavy but entirely viable for handheld shooting, helped along by effective Optical SteadyShot. We’re also impressed by the fast autofocus system, which is adept at tracking fast-paced action in action, sports, and wildlife photography, for which the lens is ideal. All in all, it delivers sharp shots time after time, with an excellent hit rate.

Read our full Sony FE 200-600mm f/5.6-6.3 G OSS review  for more details

Best Sony lens for travel

7. Sony FE 24-240mm F3.5-6.3 OSS

We like to travel light. Whether we’re exploring city streets or venturing further afield, we often like to stick to one lens that caters to wide-ranging shooting scenarios. And that’s why we really rate the Sony FE 24-240mm F3.5-6.3 OSS. 

It's compact, neat, affordable, and offers a really useful zoom range. And unlike many ‘superzoom’ lenses, it delivers impressively sharp shots throughout its entire zoom range. Sure, it relies quite heavily on in-camera corrections for various aberrations, but that’s par for the course with many recently designed lenses for mirrorless cameras.

Best Sony ultra-wide zoom lens

8. Sony FE 12-24mm f/2.8 G Master

Completing the trinity of F2.8 constant-aperture zooms, the FE 12-24mm F2.8 G Master hits the wide-angle spot. We love that this lens actually goes wider than many competitors, delivering a really extreme maximum field of view. Moreover, it maintains superb image quality and all-round performance throughout its entire zoom range, earning its G Master credentials. 

Even so, we wouldn’t rule out the Sony FE 12-24mm F4 G zoom, which gives the same ultra-wide viewing angles but is an f/stop slower. And if you don’t feel the need to go so ‘ultra-wide’, the Tamron 17-28mm F2.8 Di III RXD is an excellent budget-friendly alternative.

Read our full Sony FE 12-24mm f/2.8 G Master review for more details

Best Sony lens for street photography

9. Sony FE 35mm f/1.4 G Master

We tend to favor a 35mm prime lens for street photography and this one is fast and extremely capable. It’s a premium G Master option that gives a mix of an ultra-fast maximum aperture and modest wide-angle focal length, making it a very versatile lens not just for street photography, but also for anything from portraits and weddings, to landscape and astrophotography. 

As you'd expect, it isn't cheap, but it impresses us with its spectacular optical performance. It's not the smallest 35mm prime we've seen, but it has great handling, with a perfectly weighted ‘de-clickable’ aperture ring and super-smooth focus ring. A lovely lens, but it inevitably comes at a hefty price. For candid street photography or if you’re on a tighter budget, consider the Sony FE 40mm F2.5 G .

Read our full Sony FE 35mm f/1.4 G Master review for more details

Best Sony macro lens

10. Sony FE 90mm f/2.8 Macro G OSS

There’s a lot to love about this macro lens. We find that its minimum focus distance of 0.28m gives a very natural working distance for full 1.0x or 1:1 macro magnification. 

Beautifully built, this lens has up-market handling attractions including a customizable focus hold button, autofocus range limiter switch and Optical SteadyShot. Given that manual focusing is often preferred for extreme close-up shooting, there’s also a handy push-pull mechanism in the focus ring, for switching between auto and manual focus modes. 

We find that image quality is very good in all respects, with excellent sharpness even wide-open at F2.8, and the edges and corners catch up nicely when stopping down a little. More importantly for a macro lens, sharpness remains very good at narrow apertures, often required to get more than a tiny depth of field.

Read our full Sony FE 90mm f/2.8 Macro G OSS review for more details

Best Sony APS-C wide zoom lens

11. Sony E 10-18mm F4 OSS

We like that this ultra-wide-angle zoom for APS-C cameras is conveniently compact and lightweight, yet still packs a real punch with good overall performance, a constant F4 aperture rating throughout the zoom range, and 3-stop optical stabilization. The latter is quite rare on an ultra-wide-angle zoom lens, and very useful if you have one of Sony's un-stabilized A6000-series cameras. 

In terms of image quality, center-sharpness is excellent throughout the zoom range but corner-sharpness is relatively lackluster at 10mm, even when stopping down the aperture. 

Thankfully, color fringing is pretty negligible at any combination of focal length and aperture setting, even towards the corners of the image frame, and distortion is quite well controlled. If you’re more into video shooting and vlogging than stills photography, a better bet is the newer Sony E PZ 10-20mm F4 G , with its motorized zoom mechanism.

Read our full Sony E 10-18mm F4 OSS review for more details

Best Sony APS-C telephoto zoom lens

12. Sony E 70-350mm f/4.5-6.3 G OSS

We absolutely love the Sony E 70-350mm F4.5-6.3 G OSS. It sports a 5x zoom range that equates to 105-525mm in full-frame terms, taking it into super-telephoto territory, but with a comparatively compact and lightweight build. Downsizing is helped by the modest F4.5-6.3 aperture rating but image quality and all-round performance are very impressive. 

It doesn’t have the world’s most effective optical stabilizer, but you can still expect a great hit rate with sharp handheld shots, even at the longest zoom setting. Overall, this is a lens that’s big on performance but refreshingly small and lightweight for handheld shooting.

Read our full Sony E 70-350mm f/4.5-6.3 G OSS review for more details

How to choose the best Sony lens

Do i need oss.

Optical SteadyShot can be really useful if your Sony camera doesn’t feature IBIS (In-Body Image Stabilization). It’ll help counteract the effects of camera-shake and ensure you get sharp handheld shots more consistently with slow shutter speeds. IBIS tends to be less effective when shooting with telephoto lenses, so OSS is often featured in this type of lens regardless.

What’s the APS-C crop factor?

Sony’s APS-C cameras have an image sensor that’s the same size as a frame of ‘Advanced Photographic System type C’ film. That’s somewhat smaller than a frame of 35m film, on which full-frame digital cameras are based. The outcome is that the ‘crop factor’ gives a 1.5x magnification in the focal length of lenses. For example, a 50mm lens will give the same field of view as using a 75mm lens on a full-frame camera.

How do I tell if a lens is full-frame compatible?

It can be tricky for the uninitiated to recognize the difference between Sony lenses that are made for full-frame or APS-C format cameras. The clue is in the title. APS-C format lenses have an ‘E’ prefix, whereas full-frame compatible lenses have an ‘FE’ prefix. Bear in mind though, that you can shoot with E lenses on full-frame cameras in crop mode, and with FE lenses on APS-C cameras with no limitations.

Zoom or prime?

Sometimes it’s hard to decide whether a zoom lens or a prime lens will be a better buy. Zoom lenses tend to be more versatile, as they cover a broad spread of focal lengths. However, there’s a lot to be said for the prime lenses, which generally have a wider or ‘faster’ aperture rating and are often relatively small and lightweight. 35mm, 50mm and 85mm prime lenses are particularly popular for street photography, general shooting and portraiture, respectively.

How we test Sony lenses

We test lenses using both real world sample images and lab tests. Our lab tests are carried out scientifically in controlled conditions using the Imatest testing suite, which consists of custom charts and analysis software that measures resolution in line widths/picture height, a measurement widely used in lens and camera testing. We find the combination of lab and real-word testing works best, as each reveals different qualities and characteristics. You can find out more about how we test and review on Digital Camera World .

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Matthew Richards is a photographer and journalist who has spent years using and reviewing all manner of photo gear. He is Digital Camera World's principal lens reviewer – and has tested more primes and zooms than most people have had hot dinners! 

His expertise with equipment doesn’t end there, though. He is also an encyclopedia  when it comes to all manner of cameras, camera holsters and bags, flashguns, tripods and heads, printers, papers and inks, and just about anything imaging-related. 

In an earlier life he was a broadcast engineer at the BBC, as well as a former editor of PC Guide.

• Gareth Bevan Reviews Editor

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Best E-Mount Lenses for Sony Cameras

Written by Dan

Updated on April 26th, 2024

Here are our top picks for the best versatile Sony E-Mount camera lenses. If you want a lens that'll handle multiple scenarios, environments, occasions and setups, check out our list of best lenses for photographers.

This article may contain affiliate links. We earn a small commissions when you purchase via those links — and it's free for you. It's only us (Becca & Dan) working on this website, so we value your support! Read our privacy policy and learn more about us .

Best E-Mount Lenses

• Sony 55mm f/1.8 Lens
• Sony 50mm f/1.8 Lens
• Rokinon AF 35mm f/1.4
• Sigma 16mm f/1.4
• Sony 24-70mm f/2.8 G Master
• Sony 24-70mm f/4
• Sony 24-105mm f/4 G
• Sony 85mm f/1.8

I believe that a lens is more important than the camera. Without a good lens, you can be using the best camera in the world and still take photos that don’t look quite right.

Whether you are at home taking photos of friends and family, or traveling the world, choosing the best lens is challenging! There are so many choices that make the selection process very overwhelming.

I’ve listed out my favorite picks for the Sony E-mount and Canon EF-S because I shoot with a Sony and Canon system. I wanted to provide you with a selection of lenses that are versatile enough to get you through almost every situation you’ll encounter.

Sony 55mm f/1.8 Lens

This is my favorite lens. It’s on my camera all the time because it looks great, takes sharp images and is amazing! It’s one of the sharpest lenses that I’ve ever used and 50mm is the perfect focal length for normal day-to-day photography.

Sony 50mm f/1.8 Lens

This Sony 50mm lens performs really well in low light. It is designed for a full-frame sensor and makes for a good upgrade from a kit lens. This is one of my favorite portrait lenses and you’ll see sharp photos with nice bokeh when you shoot faces or objects with this lens. It is designed for the Sony E-mount. This is a great alternative option when comparing with the Sony 55mm f/1.8.

Rokinon AF 35mm f/1.4

This lens is a great addition for your Sony E-Mount camera. Because it shoots at f/1.4, you’re able to take this indoors and shoot in darker locations. Concerts, events, weddings are all times when this lens excels.

You can take this outdoors and shoot the stars and get great results when stopping down to f/1.4. \n\nBecause it is 35mm, you’re able to get a wide enough landscape to show some decent foreground and midground elements. Rokinon has been producing quality lenses for a number of years and every iteration they come out with is better and better.

Want to try any of these lenses?

Consider checking out Lensrentals! You'll find a great selection of lenses (and cameras) to experiment and practice with before purchasing. Use code "HALFHALFTRAVEL" at checkout and receive 15% off!

Sigma 16mm f/1.4

This Sigma 16mm lens is my favorite pick for Sony APS-C cameras. I got a good deal on it, and it hasn’t left my Sony A6000 since its first picture. It’s super bright so you can take in indoors, at events and during night shoots. It’s a good focal length for street photography and landscapes. I’d stay away from portraits because you’ll get a bit of distortion around your subject. If you have an APS-C Sony camera, this lens is a good pick.

Sony 24-70mm f/2.8 G Master

I reviewed the Sony 24-70 f/2.8 G Master courtesy of my friends at Focus Camera. I was hesitant to travel with this lens because it was so big and bulky. I quickly got over that when I started shooting with it. Every picture that I took was unique, and I enjoyed being able to stop down to f/2.8 during some scenarios. It came with me it all over the world and almost never needed to switch lenses.

For a budget pick, check out the Tamron 28-75mm F2.8 G2 .

Sony 24-70mm f/4

The Sony 24-70 f/4 is one of my favorite lenses. Because of its size and price, it’s an easy choice if you’re looking for a walking around lens. I’ve found that it’s not super sharp at f/4, so I reserve to use it when I want to shoot video or don’t need a low aperture. I enjoy having the option to shoot wide and semi-telephoto with only one lens.

Sony 24-105mm f/4 G

The Sony 24-105mm f/4 has always been an ‘Oh. I wish I had this lens’ type of lens. It’s like my Sony 24-70mm f/4, but it reaches even farther at 105mm. If I traveled with only one lens, this would be my pick if I was in the market for one.

Sony 85mm f/1.8

The Sony 85mm f/1.8 is one of my favorite lens that I don’t own . Update, I actually do own this lens! I’ve been interchanging it with my 55mm f/1.8 and it’s truly an amazing combo.

I’ve watched countless videos and read so many reviews about this lens. I think 85mm is such a great range and Sony seems to have done a fantastic job with this 85mm. I’ve heard that it’s almost the same quality as the G Master version at more than half the price.

How do you pick a versatile camera lens?

Why are prime lenses better than zoom lenses.

I prefer prime lenses over zoom lenses. Prime lenses are usually smaller, more affordable and sharper. A prime lens has one job and that job is to shoot at a specific focal length.

It makes the overall shooting experience much more enjoyable and allows me to focus on everything else around me and not what focal length I am shooting at.

I typically don’t shoot with zoom lenses because some have variable apertures, are a bit heavier and are more expensive to get a constant lower aperture.

Ultimately, the choice is yours! Zoom lenses are good for beginners or someone who wants the most amount of versatility. Prime lenses are great for someone who wants to keep their costs down, want sharper photos and care to have a lower aperture.

As a travel photographer myself, having a small camera profile is a win when you’re shooting street photos and want to look more low-key.

I’ve found that only bringing a 50mm lens with me for a day has been more than enough.

How to travel with lenses

When you bring cameras and lenses while you travel, it’s important to protect them when you pack your bags for the trip.

I like to travel without checking any bags through when I fly. I carry-on everything! Because of this, I have all of my camera stuff with me on the airplane and can be a little less cautious about having a lot of padding in my camera bag.

When I fly, I also like to put my overhead bag (especially if my camera stuff is inside) on the opposite side of my seat, so that I can keep an eye on the overhead. In the rare event that someone goes into my bag, I’ll be able to see what is going on.

If you do check your bags through, and you have lenses, be careful! I would advise against this, but you can try a couple of precautionary things to protect your gear.

Looking for new proven ways to save money on flights and airfare? The easy solution is to sign up for Going , the leading way to find flight deals and mistake fares, directly to your inbox. Use HALFHALF20 to get 20% off!

Traveling with lenses: Get a lock for your camera bag

If someone is going to go through your bag, the best thing that you can do to try and stop them is add a lock. You’ll need a TSA-style lock . It’s not a bulletproof plan, but it will make it one step harder for someone to open your bag.

With a TSA lock, the benefit is that if the TSA does need to get into your bag, they will have a special TSA key that won’t break your lock. Any other lock that’s not TSA-approved doesn’t have this benefit, and you’ll wind up with a broken lock or a broken bag.

Lens hacks: Use a lot of cushion around your lenses

Bags go on a journey when you check them. They’re thrown, tossed and trampled during their journey from the check-in counter bag drop to under the airplane and down again on a baggage claim.

The best thing that you can do is try and protect your lenses by padding them with a lens case.

A new product I’m using is the KUVRD Universal Lens Cap . It’s a soft lens cap that’s versatile enough to fit a few different types of lens bodies. It’s lightweight and packable, which are two key features that make it great for traveling.

If you haven’t gotten around to purchasing a special lens case, you can use your clothes or something soft. Depending on the size of your lens, you can even put them in a shoe or a sock.

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The First Sony E-Mount Lenses You Should Buy

By Amadou Diallo and Phil Ryan

One of the best things about mirrorless cameras (or DSLRs) is that you can remove the lens and put another one in its place to change the way you see and capture your world. If you’re ready to move beyond the kit lens that came bundled with your camera, we have choices that will let you take sharper photos at night, shoot detailed close-ups of tiny objects, catch all the action of your weekend warrior, create professional-looking portraits, and capture dramatic landscapes.

Sony’s interchangeable-lens cameras come in two flavors: those with full-frame 35mm sensors that typically have better low-light performance and let you blur out backgrounds as much as possible and those with smaller (but still great) APS-C sensors that offer a much more economical way to get into photography. This guide provides recommendations for both kinds of cameras.

Sony E 35mm f/1.8 OSS

The fast prime for aps-c.

This prime lens lets in a lot of light and has built-in image stabilization. It’s a little pricey, but the images it delivers are worth the investment.

Buying Options

Sony FE 50mm f/1.8

The fast prime for full frame.

This prime lens lets in a lot of light and serves up sharp images for a great price.

To take your photography to the next level, you’ll want to begin building your arsenal of lenses. We recommend the Sony E 55-210mm f/4.5-6.3 OSS or Sony FE 70-300mm f/4.5-5.6 G OSS as your telephoto , the Rokinon 12mm f/2.0 NCS CS for a wide-angle option , the Sigma 60mm f/2.8 DN or Sony FE 85mm f/1.8 for portraits , and the Sony E 20mm f/2.8 pancake lens . If macro is your thing, start with the Sigma 70mm f/2.8 Art DG Macro .

If you don’t shoot with a Sony camera but still want to invest in some great starter lenses, take a look at our lens guides for Canon and Nikon bodies.

The research

Why you should trust us, a few words about sony’s e-mount format, how we picked, the first lens for aps-c: the fast prime, the first lens for full frame: the fast prime, the zoom lens for aps-c, the zoom lens for full frame, the wide-angle lens for aps-c, the wide-angle lens for full frame, the portrait lens for aps-c, the portrait lens for full frame, the pancake lens for aps-c, the macro lens for aps-c and full frame.

Amadou Diallo has worked as a professional photographer and digital-imaging consultant for many years. He’s been on the faculty of New York City’s International Center of Photography and led photography workshops around the country. He covered cameras and photo gear here at Wirecutter for several years and has a keen understanding of current camera technology as well as the features and performance that make a real difference when you’re out shooting.

Phil Ryan is Wirecutter’s lead editor for camera gear and was formerly the technical editor for Popular Photography, where he was in charge of camera and lens testing. He’s been covering Sony’s E-mount system since its inception and has used nearly all the lenses that Sony has made for it, as well as many lenses other manufacturers have produced for the lens mount.

In researching for the latest version of this guide, we pored over spec sheets for Sony’s entire E-mount lens lineup, read more than 50 reviews, and took our final picks out for some real-world shooting.

Sony’s mirrorless Alpha-series (α-series) cameras all share the same E-mount lens connection, a standard that Sony created when it launched the NEX series. Since 2014 Sony has been releasing full-frame E-mount cameras and lenses, as well. Lenses designed for the larger full-frame cameras are dubbed FE lenses. The lenses optimized for the smaller APS-C sensor cameras are referred to as E lenses. Because they all use the same lens mount, you can put an FE lens on an APS-C camera. But you wouldn’t want to. Not only are FE lenses more expensive than their APS-C lens counterparts, they tend to be heavier as well, negating much of the convenience of shooting with a compact mirrorless camera in the first place.

Again, while Sony used to market its APS-C mirrorless cameras under the NEX line, the company has since brought them all under the Alpha umbrella. The E lenses in this guide will work on both older models like the now-discontinued Sony NEX 7 or the much more recent Sony α6300 .

You’ll find any lens’s focal length expressed as a distance in millimeters. A bigger number means a closer, narrower view of the scene. It’s important to understand, though, that the size of the camera’s sensor determines how wide an area you actually see when you look through the lens. For any given focal length, a camera with an APS-C sensor shows a narrower view of a scene than a camera with a full-frame sensor.

To standardize this difference in scene coverage between camera sensors, we’ll refer to a lens’s true focal length (the one marked on the lens) as well as to its full-frame sensor equivalent. Listing both numbers gives you a way to accurately compare lenses made for either sensor format. If an APS-C format lens and a full-frame format lens each offer the full-frame equivalent of a 90mm focal length, for example, you’ll know that when you look through either of them on their respective cameras, your view of the scene will be the same.

Here’s a handy tip: Because APS-C sensors offer just two-thirds of the diagonal view of full-frame sensors, you can multiply the focal length of any lens you’d mount on an APS-C camera by 1.5 to get its full-frame equivalent.

The selection of lenses for Sony’s E-mount APS-C cameras is fairly limited compared with that for rival brands. But finding the right balance of price, features, and performance can still be a challenge. For this guide we concentrated largely on fixed-focal-length lenses, ones that don’t zoom. These optics, known to photographers as prime lenses, are typically smaller and lighter than comparably priced zoom lenses, yet they offer better image quality.

We’re assuming that you already own a “kit” lens that came bundled with your camera, something like Sony’s 16-50mm Power Zoom Lens or FE 28-70mm f/3.5-5.6 OSS lens. Our goal in this guide is to recommend lenses that offer significant advantages in focal length and/or light-gathering ability over what you’re currently using.

We used a combination of research and expert interviews to create a short list of lenses that met our performance requirements, and then we did hands-on testing with them to make our final picks.

One of the best ways for any new photographer to hone their craft is to shoot with a prime lens whose field of view closely mimics that of human vision. Using a prime lens (one that doesn’t zoom), you’ll become much more adept at thinking about composition, actively moving yourself around the scene—zooming with your feet, as the saying goes. The prime lens we recommend as a first purchase for E-mount shooters is the Sony E 35mm f/1.8 OSS lens. While this 50mm-equivalent lens is a bit pricey for an f/1.8 normal lens, we think the high-quality images it delivers are worth the expense.

If you’re coming from a kit lens, you’ll immediately appreciate our pick’s wide f/1.8 maximum aperture—most kit zooms stop at f/3.5. An aperture this wide lets in a lot more light, allowing you to shoot in dim situations such as concerts, theaters, birthday parties, or outdoors at night and still use relatively fast shutter speeds to avoid blurry results. The use of short-duration shutter speeds is why photographers typically refer to wide-aperture optics as “fast” lenses. A wide aperture also lets you blur the background to produce a wonderful, creamy, out-of-focus area, referred to as bokeh , that helps to draw attention to your subject.

And because this lens’s focal length nearly matches the natural magnification of the human eye, the images you capture will be a lot like what you see in your head. Even for many seasoned photographers, a “normal view” lens remains their go-to tool. So this is a lens that you’ll likely make good use of long after you’ve bought it.

With a price tag that usually hovers between $400 and $450, the Sony E 35mm f/1.8 OSS isn’t cheap, but it is a solid value for the quality it offers. In DxOMark’s lab tests , the Sony lens compared very well against the fast-prime pick in our Nikon lens guide , delivering nearly identical sharpness.

Unlike most other standard-focal-length prime lenses, the Sony lens offers built-in image stabilization. This feature allows you to shoot at shutter speeds two to three times slower than normal without having to worry about camera shake; that means sharper images with less color noise, since you can also use a lower ISO setting than is possible with a nonstabilized lens. We talked to Chris Gampat of The Phoblographer about this lens, and while he wasn’t quite as blown away by the sharpness, he praised the combination of image stabilization and a wide f/1.8 aperture, saying, “We strongly recommend it for concert [photography] because of this.”

Full-frame shooters should look to Sony’s FE 50mm f/1.8 lens as their normal prime lens for many of the same reasons APS-C shooters should opt for the 35mm above. While this 50mm doesn’t have optical image stabilization, the most recent versions of Sony’s full-frame camera bodies all have stabilization built into them.

The 50mm f/1.8’s large maximum aperture lets in a lot of light, making shooting in low-light indoor situations, or even outside at night, easier. It also lets you throw the background out of focus so the subject of your photo gets all the attention it deserves. While we have another recommendation for a portrait lens , lots of photographers will use a 50mm prime in a pinch.

Like most 50mm f/1.8 lenses, this Sony is quite sharp given its relatively low price tag. It’s not perfect, but you’ll have to spend a lot more money if you want something better. Sony’s FE 55mm f/1.8 ZA lens is sharper, especially in the corners of the frame, but it costs about four times what the 50mm f/1.8 does. We think that most people will be plenty pleased with the 50mm, making the 55mm not worth the extra cost.

Strangely, Sony designed this lens to focus with the aperture at the final setting while most cameras focus first and then close the aperture to what you’ve selected. That means that a lot less light comes through if you select a small aperture, such as f/11, and the camera will have a harder time focusing. This should only affect shots in low light where you select a smaller aperture, but it’s something to keep in mind when considering this lens. Unfortunately, there aren’t any other low-cost options for the Sony system at this focal length.

Sony E 55-210mm f/4.5-6.3 OSS

Versatile zoom at an affordable price.

The performance of this general-purpose zoom is surprisingly good for the money. It’s a solid choice for sports, landscape, and wildlife.

The Sony E 55-210mm f/4.5-6.3 OSS is the telephoto zoom we recommend for Sony APS-C shooters.

For well under $400 as of this writing, this 83-315mm–equivalent zoom provides good (though not great) image quality in sufficient light. It’s a manageable size and relatively light for a telephoto zoom, and it makes for an obvious companion to the 18-55mm and 16-50mm kit lenses that ship with Sony cameras, picking up right where those zoom ranges end. As with all low-priced zooms, the lens has a narrow maximum aperture that only gets smaller as you zoom in. Sony partially addresses that lack of light-gathering ability, however, by including a built-in image stabilization system, which steadies the lens internally to counteract inadvertent motion caused by unsteady hands (more about that in a moment).

The lens’s built-in image stabilization allows lets you get sharp photos when shooting handheld at the telephoto end of the zoom. In marketing this lens as part of its OSS (Optical SteadyShot) group, Sony claims that the image stabilization feature offers up to four stops of camera shake reduction, meaning you can shoot handheld at shutter speeds four stops slower than normal and still get sharp images. Theoretically, that means getting results as sharp as you would at 1/120 s while shooting as slowly as 1/6 s. You should take that claim with a bit of salt, but we can confirm that you can get acceptably sharp images shooting at shutter speeds two to almost three stops slower than normal with good results.

Upgrade pick

Sony E 18-200mm f/3.5-6.3 OSS LE

The step-up zoom.

Our most expensive pick combines above-average image quality with an extended zoom range to provide a single-lens option for your vacation travels.

If you have a larger budget and shoot with an APS-C body, we recommend the Sony E 18-200mm f/3.5-6.3 OSS LE lens. It has the same optical stabilization system as our main pick and delivers similar image quality, but it offers a much wider zoom range and remains compact enough to handle fairly well on a camera like the Sony α6000 or α6300. With its 27-300mm–equivalent focal length range, this lens could easily be the only one you need to bring along on vacation. You’ll be able to capture landscapes, portraits, and close-ups of distant landmarks without swapping lenses.

Typically, extending a lens’s zoom range leads to a big drop-off in image quality. Maintaining good optical quality over such a wide zoom range without creating a lens that’s too unwieldy for a midrange mirrorless camera is not easy. In DxOMark’s detailed comparison , this Sony 18-200mm lens comes very close to the company’s 55-210mm lens in most objective measurements, suffering just slightly in overall resolution. The fact that our upgrade pick has a wider zoom range yet offers similar image quality helps to explain why it costs more than twice the price of our main pick as of this writing.

The testers at Imaging Resource found that the lens delivered “very good” sharpness at its 100mm setting and “acceptable” results at 200mm. Reviewer Andrew Alexander writes that in contrast to Sony’s previous 18-200mm lens, this version “is much smaller in comparison, shaving over 60g off of the weight … and most notably reducing the ‘girth’ of the lens – instead of being almost 100mm in diameter, the EL lens is only 68mm in diameter, making it much more at home on a [Sony mirrorless] camera body.”

Be aware that Sony sells two versions of this lens. Our pick has the LE designation at the end of its official product name, but Sony also offers the slightly older SEL18200 model , distinguishable by its silver finish. The price difference between the two is minimal. The non-LE model is slightly better optically and equipped with an image stabilization system that’s optimized for video shooting, but it’s substantially larger and heavier than our pick. The smaller your camera body, the more awkward a lens of this size and heft becomes. So while some people may opt for marginally better-looking images at any cost, we think most folks will be better served by a smaller lens when the quality difference is fairly minor. Your wrist and neck will thank you after a long day of shooting.

Also note that the Tamron 18-200mm f/3.5-6.3 Di III VC lens is nearly identical in both features and performance to our upgrade pick. We still recommend sticking with the Sony lens, though: When Sony added phase detection autofocus to its cameras, it released firmware for its lenses to take advantage of the faster AF option. To date, as far as we can tell, Tamron has not made its own version of the lens similarly compatible.

Sony FE 70-300mm f/4.5-5.6 G OSS

The full-frame zoom.

This full-frame lens covers a large zoom range, and its optical image stabilization helps you get sharp shots at the far end of the zoom.

When it was first introduced in 2016, Sony’s FE 70-300mm f/4.5-5.6 G OSS was the longest zoom available for the company’s full-frame cameras. For a lens with such a long zoom range, it’s sharper than one might expect. It’s not quite as sharp at 300mm as it is at 70mm, but that’s typical for a lens like this one.

Autofocus, while not as instantaneous as some of Sony’s fanciest lenses, is still plenty fast enough to not be a problem. As is to be expected, it’s at its slowest in low light when zoomed all the way to 300mm, but we didn’t have any major problems in our field tests.

One of the nicest things about variable-aperture zooms is that they’re typically smaller and lighter than their constant-aperture counterparts. This FE 70-300mm is 5.6 inches long and weighs 1.9 pounds. For a telephoto lens like this, that’s quite manageable, so if you’re hoping to carry this out into the wilderness, it won’t weigh you down as much as a lot of other lenses that can reach 300mm. Plus, it’s weather resistant, so you won’t have to worry if you get caught in some light rain.

At a bit over $1,000, the FE 70-300mm f/4.5-5.6 is a great value for the money. In his review of the lens , Chris Gampat at the Phoblographer says, “I’d actually even consider it to be one of the best bang for your buck lenses that Sony offers.” If you’re willing to trade some of reach that this zoom offers for a sharper lens with a constant aperture, we’d suggest you get Sony’s FE 70-200mm f/4 G OSS lens. Like the 70-300mm, it’s also weather-sealed, but the 70-200mm also includes a tripod collar, which can be useful if you plan to use a monopod or tripod for extended periods of time.

Low-light fans who shoot full frame and are looking for an everyday lens more akin to our upgrade pick for APS-C above should consider either Sigma’s 24-70mm f/2.8 DG DN Art or Tamron’s 28-75mm f/2.8 Di III RXD . Both are sharp lenses with zoom ranges that cover most of your needs on an average day of shooting, let in enough light to keep shooting even as the sun sets for the day, and can limit your depth of focus at f/2.8 enough to keep your subjects well isolated (visually) from the background. Wirecutter’s lead editor for cameras, Phil Ryan, brings his 24-70mm lens with him whenever he can bring only one zoom with him for the day. Both the Sigma and Tamron show some distortion at their widest zoom settings, but nothing egregious. And this can be minimized in most image editing software if you don’t enjoy the effect. Either lens is a great choice, and which one to choose ultimately comes down to whether you prefer to eke out a slightly wider view (the Sigma) or want a tiny bit more telephoto reach (the Tamron).

Rokinon 12mm f/2.0 NCS CS

A fast, wide prime.

This 18mm-equivalent lens is manual-focus-only but inexpensive. It also has a wide f/2.0 aperture that lets in tons of light, and it delivers outstanding image quality.

For great image quality at a low price, we like the Rokinon 12mm f/2.0 NCS CS lens. Although it’s a manual-focus-only model—no electronic autofocus communication occurs between it and the camera—it offers a wider field of view than all but one of Sony’s E-Mount APS-C lenses and costs less than half the price of that lens. Normally we wouldn’t recommend giving up autofocus regardless of the savings, but when you’re shooting with an ultrawide 18mm-equivalent focal length, you’re not adjusting focus a lot in the first place. On such a wide-angle lens, manual focus isn’t much of a hassle, since anything from about 3 feet to infinity is in focus simultaneously. You’ll be focusing the lens only when shooting things at very close distances.

This 18mm-equivalent lens is not just significantly wider than Sony’s 24mm-equivalent f/2.8 lens ; with a fast f/2.0 aperture, it lets in twice as much light. The Phoblographer’s Chris Gampat , an admitted manual-focus lover, told me that given the choice between the Rokinon and a slower autofocus lens, he’d prefer to have the extra stop of light. And the image quality is great, too: As Wirecutter’s lead editor for camera gear Phil Ryan pointed out when he was working at Popular Photography and Amadou asked him about this lens, “The price is phenomenal for what you get, which will likely be sharper than you’d expect.”

Reviewers are universally impressed with this lens’s image quality. Gary Wolstenholme at ePhotozine describes this lens (under the Samyang brand) as “an excellent optic that produces images with excellent sharpness, low distortion and low CA [chromatic aberration].”   Ian Norman of PetaPixel writes that while the depth-of-field markings on his unit were inaccurate (a problem he’s had with other Rokinon lenses), “the Rokinon 12mm has excellent sharpness” and “delivers photos that don’t disappoint.”

If you just can’t live without autofocus, the Sony E 10-18mm f/4 OSS offers a nominally wider field of view than our pick and has built-in image stabilization. But it’s a full two stops slower than the Rokinon, it delivers good rather than outstanding results, and as of this writing, it costs more than twice as much. We think most folks will be better served by adjusting the manual focus of our pick and taking advantage of its excellent image quality and additional light-gathering capability.

Tamron 20mm f/2.8 Di III OSD M1:2

Wide-angle prime for full frame.

This wide angle offers an expansive view, can focus close to your subject, and has autofocus.

Full-frame shooters looking for a wide prime should go for Tamron’s 20mm f/2.8 Di III OSD M1:2 . Its field of view is a tiny bit narrower than that of the 12mm on an APS-C body, but not by much. More importantly, it includes autofocus at a really great price. The Tamron’s f/2.8 maximum aperture doesn’t let in quite as much light as the Rokinon’s, but with the impressive high ISO performance of Sony’s current A7 line, this isn’t really a problem.

The M1:2 designation in the name refers to the fact that the lens has a magnification of 1:2 at its closest focusing distance of 4.3 inches. That means it’s good for up-close macro shots. Uncorrected you’ll definitely notice straight lines bending outward (aka barrel distortion) on this lens, which can be a fun effect. But if you enable distortion correction in your Sony camera, the distortion will be fixed for you in your JPEGs. If you shoot RAW, it’s easy to correct this in image editing software. The same is true of the darkened corners you might see at the lens’ widest apertures, though some people like this effect, too. Autofocus purists might balk at the fact that this Tamron focuses electronically by sending an electric signal to a motor when you turn the focusing ring, rather than using a mechanical helicoid to move the lens elements. We found the electric focusing pleasantly responsive, though, and didn’t find it a detriment at all. Sure, the camera needs to be powered on to focus the lens, but it’s also a camera with an electronic viewfinder. So it’s not like you can look and manually focus with the camera off anyway. While street shooters who want to prefocus to a certain distance may look askance at us, they should be keen to note that this lens also doesn’t have a distance scale for manually focusing in that manner anyhow.

Tamron makes similar 24mm f/2.8 and 35mm f/2.8 lenses too, at prices that are just as attractive. These don’t have as noticeable distortion since they’re not as wide a view as the 20mm.

We previously recommended Rokinon’s 20mm f/1.8 AS ED UMC as a wide-angle lens. And if you don’t want autofocus and prefer mechanical (rather than electronic) autofocus, it remains a solid, though slightly more expensive, choice. It’s very similar to the 12mm we suggest above for APS-C shooters, in terms of sharpness and overall image quality. Those street shooters giving us the stink eye about the Tamron 20mm should be wary of the distance scale on this lens (as you would on our APS-C Rokinon recommendation), since Rokinon’s lenses don’t always have the most accurate scales.

Sigma 60mm f/2.8 DN

A great value for aps-c portrait shooters.

This 90mm-equivalent lens offers the perfect focal length for head-and-shoulder portraits. It’s extremely sharp, lightweight, and inexpensive.

If you’re interested in devoting some quality time to shooting portraits of your family and friends, we like the Sigma 60mm f/2.8 DN lens. It’s an impressively sharp, fast prime lens with a 90mm-equivalent field of view, the classic focal length for head-and-shoulder portraits.

One of the reasons this medium telephoto focal length works so well for portraits is that you can get a nice, tight head-and-shoulder composition without putting yourself and the lens right in your subject’s face, and a more relaxed subject means a better portrait. Stand a comfortable distance of 4 to 6 feet away, and you’ll fill the frame with enough detail to make your subject’s eyes and facial expression grab all the attention. Using a wide aperture lets you create a shallow depth of field to blur the background. The f/2.8 maximum aperture of this Sigma lens, while not as wide as that of some other portrait lenses, is still easily capable of turning a distracting background into a complementary blur of color. And like all Sigma lenses, this 60mm f/2.8 lens is backed by an impressive four-year warranty in the US, four times longer than Sony’s coverage for non-pro lenses.

Reviewers have been impressed by the lens’s performance and value.   Gary Wolstenholme at ePhotozine says that for a lens that often sells for about $200, “Sigma haven’t skimped on build or optical quality. It is capable of delivering pin-sharp results from maximum aperture and it is built well enough to be a worthy investment for many years to come.”

Unlike Sony’s E 50mm f/1.8 OSS lens, our pick lacks built-in image stabilization and as of this writing doesn’t take full advantage of the hybrid phase detect autofocus system found on recent Sony cameras. Neither of those limitations is a dealbreaker for portrait work, however. Although image stabilization minimizes camera shake when you’re using slow shutter speeds, it does nothing to counteract the inevitable movement of your subject during a long exposure. The benefit of hybrid autofocus is in tracking fast-moving subjects while you’re shooting bursts in continuous autofocus mode, and that isn’t how you’ll be working in a portrait session.

Sony FE 85mm f/1.8

A great portrait lens for full-frame shooters.

A common focal length for portraits, this 85mm lens is sharp with pleasing background blur.

An exceptionally sharp lens that lets in a lot of light, we think that the FE 85mm f/1.8 is the best portrait lens for full-frame shooters for many of the same reasons we cite for the 60mm f/2.8 above. It nearly matches the 90mm-equivalent view of that lens, so you can stand a comfortable distance away from your subject when shooting. Plus it’s also small enough (3.25 inches long) and lightweight enough (0.8 pounds) that you can shoot for hours without your arm getting tired.

True photo nerds will take some issue with the football shape that out-of-focus highlights take in our example image below that was shot at f/2 and point to that as bad bokeh. But, we appreciate the way that the overall sharpness falls off gently, giving your subject a feeling of being distinct from, and yet at one with, the out-of-focus background. Plus, the even tone of those football-shaped highlights make them a pleasing element in the scene compared to lenses that render those highlights unevenly or with a pronounced bright ring at the edges.

A small button on the left side of the lens lets you lock focus by default, but it can also be reassigned to trigger various other features, such as Sony’s Eye-AF setting. That setting will automatically find the nearest face in the frame and focus on that face’s nearest eye. This is very useful when shooting portraits. In case you were wondering, that button likely has a rubber gasket beneath it, because the FE 85mm f/1.8 is dust-proof and splash-proof.

Sony does offer the more expensive FE 85mm f/1.4 GM lens , but at more than three times the price of the FE 85mm f/1.8, we don’t think that anyone outside of the most persnickety and well-heeled photographers should get it. A somewhat more economical option for someone looking to go beyond what the FE 85mm f/1.8 offers is Sigma’s 85mm f/1.4 Art DG HSM lens . That lens, when DxO tested it on a Nikon D800E body, scored better than either of these Sony lenses in distortion, vignetting, and chromatic aberrations. We should note, though, that the FE 85mm f/1.8 scored better than those other two lenses in terms of sharpness.

Sony E 20mm f/2.8

Ultraportable street shooter.

This is the most compact Sony lens you can put on your camera, making you and your gear much less intrusive when you’re shooting candid or street photography.

If keeping your kit as small as possible is a top priority, consider getting a pancake lens. Small and flat (hence their name), pancake lenses add minimal bulk to your camera and weigh just a couple of ounces. The Sony E 20mm f/2.8 is the pancake lens we recommend. With its ultraslim profile, throwing this 30mm-equivalent lens on a camera such as the Sony α6300 creates a package compact enough to slip into a coat pocket, making it easy to carry with you everywhere. Using such a small, unobtrusive lens also helps you take photographs without drawing undue attention to yourself, a priority for street photographers.

You do make some compromises in exchange for the size reduction, however. This pancake lens gathers less than half as much light as our fast-prime pick, the Sony E 35mm f/1.8 OSS . It isn’t exactly a stellar performer in the optical department, either, with noticeably less-sharp images that are more prone to chromatic aberration (false colors along high-contrast edges). Don’t write this lens off, however. Our pancake-lens choice is a perfectly acceptable performer—and focusing exclusively on image quality ignores the whole point of a pancake lens in the first place. You’re buying it to have the most compact camera-and-lens combination possible. And if having a compact kit means bringing it along more often and shooting more regularly, the image-quality trade-off is one that many photographers are happy to accept.

ePhotozine’s Gary Wolstenholme , acknowledging the lens’s inevitable optical limitations, found its sharpness to be very good with the lens stopped down to f/5.6; although noticeable distortion does appear, he notes, it’s easily corrected in image-editing software. Wolstenholme concludes, “This lens provides reasonably good performance, but that certainly isn’t its main selling point. As it is currently the most compact lens for Sony [E-mount] cameras, it is perfect for those who want to keep the system as pocket friendly as possible.”

The Phoblographer’s Chris Gampat recommends the lens. Gampat told us that it can “be the lens that you bring with you everywhere because of the compact size and the 30mm-equivalent field of view, which proves to be useful for closeups and anything in your immediate line of sight.”

Full-frame Sony shooters looking for a pancake lens will have to wait some more. So far, no one has made one for that lens mount that covers a full-frame sensor.

Sigma 70mm f/2.8 Art DG Macro

A macro lens for both aps-c and full-frame.

This sharp, well-priced macro lens lets you shoot extreme close-up photos.

Sigma’s 70mm f/2.8 Art DG macro lens captures highly detailed images, and at an equivalent of 105mm on APS-C cameras, you can shoot a comfortable distance away from your subject and still get 1:1 magnification. Even if you’re using it on a full-frame camera, 70mm gives you enough room to add some light to your subject if you feel the need, while wider-angle macro lenses force you to shoot so close that it’s difficult to add lighting. In terms of sharpness, the 70mm f/2.8 Art is a revelation compared to our previous pick, Sony’s 30mm f/3.5. At the time we made that lens our pick, it was the only macro available for e-mount cameras.

Shooting with a macro lens is just plain fun. It turns your camera into a high-resolution magnifying glass, revealing intricate details in even the smallest objects. Super-closeups of flowers and insects are standard fare, but food, jewelry, or anything small with detail work automatically becomes more dramatic when you shoot it with a macro lens.

Sony does offer a very nice, and quite expensive, FE 90mm f/2.8 Macro G OSS lens. It certainly has some advantages over this Sigma, but we think that the Sigma is the better value for the money. One advantage of the Sony is the longer focal length, so you can shoot even further from your subject. Another is its optical image stabilization, which lets you shoot at slower shutter speeds while holding the camera in your hands. This matters more for APS-C shooters, since the Sigma doesn’t have optical stabilization and Sony’s APS-C bodies don’t have built-in stabilization. Full-frame Sony shooters can still benefit from the stabilization built into those camera bodies when using the Sigma lens.

Focusing is another area where the Sigma 70mm f/2.8 macro differs from Sony’s own 90mm f/2.8 macro. The Sigma 70mm uses a focus-by-wire method for manual focusing. This means that when you turn the focus ring on the Sigma lens, it sends an electrical signal to motors in the lens to move the glass elements in the lens to focus. Sony’s 90mm lens uses a mechanical connection to move its focusing elements. The mechanical method is easier to control, but we don’t think that the luxury it provides is worth spending the premium for most people.

Ben Boswell, Sony E 35mm f1.8 and Sony E 10-18mm f4: A Very Good Standard and a Wide Zoom , DxOMark , April 18, 2013

Klaus Schroiff, Sony E 35mm f/1.8 OSS (SEL-35F18) Review / Lens Test Report , Photozone

Customer Reviews, Sony E 55-210mm F4.5-6.3 Lens for Sony E-Mount Cameras , Amazon

Andrew Alexander, Sony E 18-200mm f/3.5-6.3 OSS LE SEL18200LE , Imaging Resource , July 16, 2012

Jay, Sony 18-200mm f/3.5-6.3 OSS Lens – (SEL18200LE) – Hands on Review, Sample Photos , SonyAlphaLab , September 1, 2012

Jordan Steele, Review: Rokinon (Samyang) 12mm f/2.0 NCS CS (Sony E-Mount) , Admiring Light , August 4, 2014

Gary Wolstenholme, Sigma 60mm f/2.8 DN A Lens Review , ePhotozine , July 8, 2013

Sony E 20mm F2.8 vs Sony E 35mm f/1.8 , DxOMark

Andrew Alexander, Sigma 30mm f/2.8 EX DN , Imaging Resource , March 26, 2012

TJ Donegan, editor in chief, imaging, at Reviewed.com , interview

Meet your guides

Amadou Diallo

Amadou Diallo is a writer based in New York. His work has appeared in Al Jazeera America, The New York Times, Forbes, and The Atlantic.

Phil Ryan is Wirecutter’s senior staff writer for camera coverage. Previously, over 13 years he covered cameras and other photo-related items for CNET and Popular Photography. As the latter's tech editor and then senior tech editor, he was responsible for maintaining and refining the lab testing for cameras, and as the main camera tester,  he used and wrote reviews of many of the cameras released in that timeframe.

Further reading

The Best Mirrorless Camera

by Phil Ryan

After testing dozens of cameras over the years, we can say that the Olympus OM-D E-M10 Mark IV is the best mirrorless camera for most people.

The First Nikon Z-Mount Mirrorless Lenses You Should Buy

by Ben Keough

If you’re new to Nikon’s mirrorless Z-mount camera system, these are the first lenses you should consider adding to your arsenal.

The Best Vlogging Cameras and Gear

by Geoffrey Morrison, Arriana Vasquez, and James Austin

If you want to start vlogging, we have suggestions for gear that’ll help you capture the best video you can get, even from a smartphone.

The First Canon Lenses You Should Buy

by Erin Roberts

If you want to shoot in lower light, with a wider viewpoint, or closer, you’ll need to invest in new lenses. These are our recommendations.

• Student Successes
• My Learning

14 Best Travel Lenses in 2024 (Prime and Zoom)

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Having the best travel lens is a surefire way to improve your travel photography. But what should you consider when looking for a lens for travel photography? You need to think about size and weight. You want a focal length that gives you good shot variety. And, of course, you want excellent image quality.

The Nikon AF-S DX 18-105mm f/3.5-5.6 is our favorite travel lens. It’s lightweight and compact for a zoom lens. It has a vibration reduction system for sharper images and better low-light performance. And it’s one of Nikon’s most affordable zoom lenses. Keep reading to see the best travel lenses for Nikon, Sony, Fujifilm, and Olympus cameras.

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What Is the Best Travel Lens?

The best travel lens has to be versatile. That’s why we’ve chosen lenses that give you excellent shot variety. Zoom lenses give you more flexibility as a photographer. But we’ve also included fantastic prime lenses that you can use for a variety of different travel shots.

So, deciding whether you want a prime or zoom lens is best. We’ve split our list into two sections. The first section looks at the best zoom lenses. And the second section has all the best prime lenses for travel.

Size and weight are important elements in a travel lens. You don’t want a chunky lens that takes up too much space in your travel camera bag . That’s why we don’t have telephoto or super-telephoto lenses on this list. They are big, heavy, and expensive.

Navigate the article using the links below to find the best travel lens. You can skip to the FAQ section if you need more information on lenses for travel photography.

Photographers with the travel bug should also check out our travel photography eBook . It’s a comprehensive guide to travel photography.

Best Zoom Travel Lenses

Best prime travel lenses, faqs about the best travel lenses.

Zoom lenses are great for travel photography. They tend to be bigger, heavier, and more expensive than prime lenses. But they give you more versatility and flexibility. A good zoom lens can do the job of two or three prime lenses. That’s why you should consider a zoom when looking for the best travel lens.

• Compact, versatile, and ideal for various shooting situations
• 5.8x zoom and VR image stabilization
• Vibration Reduction allows handheld shooting
• Aspherical element, coating for improved integrity and color
• Versatile zoom range of 24-105mm
• Maximum magnification of 0.5x and minimum focusing distance of 131mm in center focus macro
• Optical image stabilization with up to 5 stops of shake correction
• Control ring for quick setting changes

• Compact, lightweight, and affordable
• Aspherical and ED elements for sharp and clear image quality
• Custom control ring for improved usability
• Silent aperture and no focus breathing enhance video quality

• Ultra-thin and ultra-portable electric zoom lens
• Close focusing down to 200mm
• 3x zoom range covers landscapes to portraits
• Remote control and optional auto closing lens cap

• Two ED glass elements and three aspherical elements for high resolution and contrast
• 6x zoom range with a constant f/4 aperture
• Circular aperture blades for enhanced bokeh effect
• ED and Super ED glass reduces chromatic aberration and AA elements improve image accuracy

• 24-70mm zoom range, ideal for various types of photography
• 2 aspherical elements and UD glass element for superior optics
• USM AF actuator for fast and accurate autofocus
• Sealed and gasketed against dust and moisture with 1-year warranty

• 14 elements in 10 groups
• F2.8-4.0 OIS lens (27-84mm equivalent)
• 7-blade rounded diaphragm opening
• 600mm to infinity focus range

1. Nikon AF-S DX 18-105mm f/3.5-5.6

The AF-S DX 18-105mm f/3.5-5.6 is a versatile zoom lens from Nikon. It has a wide focal length range. It has an optical stabilization system built in. And it’s compact and lightweight. That’s why it’s the best travel lens if you want a zoom lens.

The 18-105mm focal range gives you plenty of shot versatility. The minimum length of 18mm gives you beautiful wide-angle shots. It’s perfect for landscapes and cityscapes. And it lets you take pictures in tight interior spaces.

The 105mm end gives you excellent magnification. You can get closer to your subjects without moving. And it gives you a tighter framing. That’s good for intimate portraits and detailed close-ups.

The max aperture is limited to f/5.6 when using the 105mm range. That’s not ideal. But the lens compensates for the slow aperture with Nikon’s vibration reduction system. This optical stabilizer counteracts camera shake . And this lets you shoot with a slower shutter speed while avoiding motion blur .

The optical quality is great throughout the zoom range. Zoom lenses often suffer from distortion. But the glass’s Nikon Super Integrated Coating (SIC) reduces all types of distortion. That prevents lens flare, which is helpful if traveling in a sunny country.

If you’re traveling with a Nikon DSLR , the Nikon AF-S DX 18-105mm f/3.5-5.6 is the perfect travel lens. It’s lightweight and compact for a zoom lens. It’s versatile and delivers on image quality. And it has excellent low-light performance.

2. Canon RF 24-105mm f/4-7.1 STM

If you’re traveling with an R Series Canon camera , the RF 24-105mm f/4-7.1 is the zoom lens for you. The wide focal length range gives you lots of shot options. And the stabilization system gives you even more flexibility as a travel photographer.

The lens is compact for a zoom lens with such a large range. But despite being compact, there is no compromise on quality. The build quality is excellent. And the optical performance is outstanding from 24 to 105mm.

The max aperture of f/4 isn’t great. But the built-in optical image stabilization does give you more exposure freedom. It reduces camera shake. So you can shoot with slower shutter speeds. That means you get better low-light performance. And you get sharper images more consistently.

The wide zoom range allows for many types of photography. You can shoot everything from real-estate interiors to close-cut portraits. That’s why the Canon RF 24-105mm f/4-7.1 is the best travel lens for Canon mirrorless cameras .

3. Nikon NIKKOR Z 24-50mm f/4-6.3

The Z 24-50mm f/4-6.3 is the perfect lens for traveling with a Nikon mirrorless camera. Nikon’s range of Z-mount lenses is growing all the time. And we’ve selected this all-round option as the best Z lens for travel.

You get good versatility with a 24-50mm focal length range. The 24mm end gives you a lovely wide angle with a fast aperture. The 50mm end does lose a stop of aperture. But it still gives you a good focal length for street photography and environmental portraits.

Despite its compact size, the barrel is packed with top-quality glass. It holds three aspherical elements, which reduce chromatic aberration. And it has two Extra-low Dispersion elements for sharper, glare-free images. 

It’s also a great option for travel vlogs and videography. The wide 24mm focal length is perfect for vlogs where you’re talking to the camera. And the lens suffers from very little focus breathing . That means you won’t have to recompose your shot every time you refocus.

The aperture is also near-silent. That means there’s no unwanted clicking sound that audio equipment can pick up. 

The lens’s 13.7-inch (35 cm) minimum focus distance enhances its versatility. It allows for detailed close-ups, a bonus when shooting travel photography. 

The Nikon NIKKOR Z 24-50mm f/4-6.3 is versatile and affordable. The optical quality is fantastic. And it barely takes up any space in your camera travel backpack.

4. Olympus ED 14-42mm f/3.5-5.6

The ED 14-42mm f/3.5-5.6 is the best zoom lens for Olympus camera users. Travel photographers will love the slim pancake lens design. And despite the small size, it still gives you a 3x zoom range. It’s an affordable lens Olympus shooters can take anywhere.

The 14-42mm range is equivalent to 28-84mm on a full-frame camera . This gives you excellent shooting angles for travel photography. It doesn’t give you the highest level of magnification. But you get a wide variety of shots. And the image quality is excellent throughout the zoom range.

The glass has the Zuiko Extra-low Reflective Optical coating. This eliminates lens flare when you have an in-frame light source. This is handy in direct sunlight and indoors with strong lights.

The Olympus ED 14-42mm f/3.5-5.6 is one of the most compact zoom lenses you can get for a Micro Four Thirds camera . It’s the perfect fit for your travel bag. And it delivers on quality and versatility.

5. Sony E 18-105mm f/4 G

The E 18-105mm f/4 G is the perfect travel buddy for your Sony camera. It’s compatible with all Sony APS-C mirrorless cameras . That includes the popular Sony a6600 . It’s a high-quality lens that’s ideal for travel photography.

The 18-105mm range lets you shoot different types of photography without changing lenses. The 18mm end gives you incredibly wide angles. You can shoot tight streets or architectural interiors. It’s also great for epic landscapes.

The other end gives you magnification for distant subjects. And it gives you a tighter composition for intimate portraits. It also lets you capture detailed close-ups. It’s also great if you’re a travel food photographer or blogger.

This Sony lens has the Optical Steady Shot system. It’s an optical image stabilizer that gives you sharper images. It also allows for better low-light photography by reducing camera shake. But you also get a constant f/4 aperture throughout the zoom range. That makes it one of the best low-light lenses on the list.

The lens also has internal focusing elements. This means the lens doesn’t change size as you zoom in and out. The dimensions remain the same.

The Sony E 18-105mm f/4 G is one of the most expensive lenses on our list. But it’s a beautiful piece of equipment. You won’t need any other lenses when traveling with this one. And it gives you unrivaled performance in low light.

6. Canon EF 24-70mm f/2.8L USM

The Canon EF 24-70mm f/2.8L is a professional quality lens. It has a professional price tag. But it’s a high-quality lens with outstanding features. You can shoot many types of photos with this lens. And it’s perfect for a photographer traveling with a Canon camera .

The 24-70mm focal length isn’t the widest zoom range. But it still gives you plenty to play with. The 24mm end lets you shoot wide shots in tight spaces. And the 70mm end is good for close-ups and portraits.

The max aperture is one of the top selling points for this lens. It gives you a fast aperture of f/2.8 throughout the focal length range. That means you get complete control of your exposure settings. And you can work in low-light conditions. That helps you shoot concerts, night markets, and sunsets.

This Canon lens uses its superior USM autofocus motor. It’s smooth, fast, and barely makes any noise. You also have a focus ring. And the full-time focus system lets you override the AF at any time. Turn the ring, and you get manual focusing.

The glass quality is exceptional. Canon uses a combination of fluorite elements and ultra-low dispersion glass. And the results are crystal-clear, distortion-free images. The Canon EF 24-70mm f/2.8L will deliver outstanding travel photography results.

7. Fujifilm XF 18-55mm f/2.8-4R

The XF 18-55mm f/2.8-4R is the best travel zoom lens from Fujifilm . It has a decent zoom range for different types of shots. It has excellent glass quality. And it is compatible with all Fujifilm X Series cameras.

The 18-55mm range lets you shoot wide-angle and standard-angle shots. You can take pictures of the glorious architecture you find in exotic locations. You can capture fantastic interior shots. And you can snap close-ups, portraits, and environmental portraits.

The f/2.8 max aperture gives you good exposure control. But this is limited to f/4 when you’re at the max zoom length. Also, the rounded aperture diaphragm helps you achieve a lovely background bokeh .

The optical quality is excellent. You get corner-to-corner sharpness throughout the zoom range. And the lens has excellent build quality. If you have a Fujifilm camera , the Fujifilm XF 18-55mm f/2.8-4R belongs in your travel bag.

This section looks at the best prime lenses for travel photography. Prime lenses give sharp images without distortion. And they are usually smaller and lighter than zoom lenses. That’s why many travel photographers use prime lenses.

The table below shows a quick rundown of the best prime lenses for travel photographers . Then, we look at each travel lens in more detail afterward.

• Ultra-compact pancake lens design
• 38mm-equivalent focal length for a wide shot variety
• Compatible with Canon APS-C DSLR cameras
• 7-blade circular aperture diaphragm for soft backgrounds

• Compact and lightweight design
• Fast f/1.8 aperture for low light and bokeh photography
• The SWM gives you quiet AF operation
• Approximates the human eye view

• Compact, lightweight design for easy portability
• Fixed 50mm focal length for creative composition
• F/1.8 aperture for low-light photography and bokeh
• STM motor for smooth, quiet AF and direct setting changes

• High-speed normal lens with great performance in any light
• Autofocus system compatible with select Nikon DSLRs
• Lightweight and compact design ideal for travel photography
• Maximum angle of view (FX-format) is 46° and stops down to f/22

• Bright f/1.8 maximum aperture for stunning bokeh effects
• Compact and lightweight design for ease of travel
• Aspherical element for improved image quality
• Double-gauss configuration suppresses distortion and curvature

• Glass-Molded Aspheric Lens minimizes spherical aberration
• Creates beautiful bokeh and excellent in-focus reproduction
• Standard focal length with angle of view similar to the human eye
• Bright maximum aperture is perfect for snapshots

• Ultra-wide-angle, fast f/2.0 aperture
• Great for low-light shooting, street shots, and landscapes
• Premium metallic construction and snap focus ring
• 1024mm equivalent field of view and 200mm min focusing distance

1. Canon EF-S 24mm f/2.8 STM

The Canon EF-S 24mm f/2.8 is the best travel lens for Canon users. Its pancake design makes it ultra-compact and lightweight. You won’t have a problem finding space in your camera backpack. It can even fit in your pocket. But we don’t recommend carrying it like that.

The lens is compatible with Canon APS-C DSLR cameras. And the 24mm focal length is equivalent to 38mm on a full-frame camera. That gives you a nice shooting angle for travel photography.

The viewing angle is similar to that of a human eye. That lets you compose shots before you’ve even got the camera to your face. It gives you a wider angle than a 50mm lens . And that helps when shooting down narrow streets in Europe or Asia. That also makes it a great lens for landscape photography .

The f/2.8 max aperture is fast enough for most situations. It lets in plenty of light. So you can get lovely travel shots during the day. It also allows for a shallow depth of field when shooting close-ups. The circular seven-blade aperture also increases the bokeh effect.

The Canon EF-S 24mm f/2.8 is the perfect lens for travel photographers. You can use it for a wide range of travel shots. It couldn’t be much more compact. And any travel photographer can afford it.

2. Nikon AF-S DX 35mm f/1.8

The AF-S DX 35mm f/1.8 is the best travel lens for Nikon users. It’s a small and lightweight Nikon prime lens . It has precision optics for sharp and clear image quality. And it’s one of the most affordable Nikon lenses right now.

It’s compatible with Nikon APS-C DSLR cameras. And the 35mm focal length is perfect for travel photography. You can take street shots in the world’s most beautiful cities. You can capture stunning landscapes. And it’s great for environmental portraits.

This travel lens uses Nikon’s Silent Wave Motor (SWM) to power the autofocus. It’s fast and responsive. And it gives you near-silent focusing. That means you won’t disturb the world around you as you travel with your camera.

The f/1.8 max aperture is excellent for travel photography. It gives you excellent flexibility with your exposure controls. It helps you shoot in low-light situations. And you can achieve a lovely bokeh background. The circular aperture diaphragm also helps this.

Whether you have a Nikon D3500 or D500 , the Nikon AF-S DX 35mm f/1.8 is the perfect travel companion. It’s lightweight, compact, and affordable. It also produces excellent images time after time.

3. Canon RF 50mm f/1.8 STM

The Canon RF 50mm f/1.8 is a superb lens for travel photographers. It has a sleek design with a sharp 50mm focal length. And it’s compatible with Canon mirrorless cameras. It’s the perfect nifty-fifty for anyone traveling with a Canon mirrorless camera.

The 50mm focal length is a popular choice to pair with a street photography camera . It lets you snap candid shots as you roam new and exciting locations.

You can also shoot stunning landscapes when exploring the country. And it’s a good option for portraits and environmental portraits. The versatility means you can travel with fewer lenses in your travel bag.

The f/1.8 max aperture increases the versatility even more. It lets you shoot in low-light situations. And it gives you excellent depth-of-field options. You can achieve a soft bokeh effect in portraits and close-ups.

The optical quality of the Canon RF 50mm f/1.8 is fantastic. It gives you edge-to-edge sharpness. And the glass has a special coating that reduces flare and ghosting. It’s lightweight and compact. And it’s an absolute bargain for a mirrorless camera lens.

4. Nikon AF FX 50mm f/1.8

The Nikon AF FX 50mm f/1.8 is the best travel lens if you have a Nikon full-frame camera. It’s ideal if you’re traveling light. It’s a compact and lightweight nifty-fifty lens. And it gives you plenty of shot variety for exciting travel photography.

It’s compatible with Nikon full-frame DSLRs. But you can also use it with APS-C DSLRs. But the crop factor does give you an effective focal length of 75mm. That gives you more magnification and a tighter field of view. That’s good for tighter portraits and close-ups.

With an f/1.8 aperture, you can shoot in low-light situations. You can capture images at dawn and dusk. And you can shoot the interiors of famous buildings. The lens also has a manual aperture ring that you can use when shooting in Live View. That’s like shooting with classic 35mm film cameras .

Nikon lens quality is well-trusted in the photography community. And the Nikon AF FX 50mm f/1.8 is the perfect example of why. The glass elements give you pristine image quality. And you will experience very little distortion. It’s also an absolute bargain. Nikon users need this lens before their next voyage.

5. Sony FE 50mm f/1.8

The Sony FE 50mm f/1.8 is ideal for traveling with a Sony camera . It’s lightweight and compact. The 50mm focal length gives you plenty of shot options for your travel photography. And it’s an affordable Sony lens with fantastic optical quality.

This lens is compatible with all Sony mirrorless cameras. The FE mount means it fits naturally with Sony full-frame cameras. But it’s also compatible with Sony crop sensor cameras. The crop factor transforms it into a 75mm lens. While that isn’t ideal for street photography, it is a good product, food, and portrait lens .

The f/1.8 aperture gives you excellent exposure control. You can shoot outdoors and indoors. And you have complete control over depth of field. The seven-blade circular aperture diaphragm also helps achieve a smooth background bokeh effect.

The lens has a double-gauss configuration. This suppresses field curvature and distortion . That means you can expect clear and sharp images in all conditions. The autofocus is driven by Sony’s DC motor. It’s responsive and quiet in operation.

The FE 50mm f/1.8 is a must-have for Sony users. And that’s especially true if you suffer from wanderlust. You’ll have no trouble fitting it in your travel bag. And it won’t add much to your travel costs, leaving you more money to indulge in the local culture.

6. Fujifilm XF 35mm f/1.4

The Fujifilm XF 35mm f/1.4 is the best travel lens for Fujifilm users. It’s a compact and lightweight prime lens for Fujifilm mirrorless cameras. Precision glass engineering results in sharp and clear image quality. And it’s a versatile lens that gives you plenty of travel photography options.

The 35mm focal length gives you a nice wide angle. It helps you get wider shots, ideal for capturing natural and urban landscapes. It’s perfect for street travel photography. And it can capture more detailed shots like environmental portraits.

The fast f/1.4 max aperture is a big bonus for travel photographers. It gives you more shooting options in low-light conditions. And you can achieve a smooth and rich background bokeh. The seven-blade rounded aperture also helps this. You can bring a new level of artistry to your travel photography.

This Fujifilm XF lens is one of the pricier options on the list. But the eight-element construction is superb. And the fast max aperture gives you unrivaled exposure control. Undoubtedly, the XF 35mm f/1.4 is the best Fujifilm lens for travel photographers.

7. Olympus ED 12mm f/2.0

The Olympus ED 12mm f/2.0 is the perfect travel lens for Olympus photographers. It’s compatible with all the best Olympus cameras. It has incredible optical quality. And it’s ultra-compact and lightweight.

At first glance, the 12mm focal length might seem too wide for travel photography. But there is a considerable crop factor when you use a Micro Four Thirds camera. That means the 12mm focal length is equivalent to 25mm on a full-frame camera .

The 25mm-equivalent focal length gives you a lovely viewing angle for stunning landscapes, colorful cityscapes, and street shots. It’s also ideal for architecture and interior photography.

The f/2 max aperture isn’t as fast as other lenses on our list. But it still gives you good control over your exposure settings. The lens has a solid, all-metal construction. And it has a snap-focus ring. This lets you override the AF for manual focusing.

The Olympus ED 12mm f/2.0 is so small it fits in your pocket. We don’t recommend traveling with lenses in your pocket. But this lens won’t be inconvenient when packing your bag. It’s the best travel lens for Olympus cameras. See our full list of the best Olympus lenses for Olympus photographers.

We’ve answered some of the most frequently asked questions about travel lenses. This section gives you more information. You can make a confident purchase when you find the best travel lens for your photography.

Prime vs Zoom: Which Is the Best Travel Lens?

Prime and zoom lenses can be used for travel photography . They both have pros and cons, so it’s about deciding which is Best for you.

Prime Lenses

The benefits are their compact size, light weight, and superior image quality. Prime lenses have fewer glass elements than zooms. That means they tend to be smaller and weigh less. That makes them easy to carry in your bag.

Prime lenses also have better image quality. You experience less distortion and chromatic aberration . And they suffer less from lens flare when shooting in direct light.

Zoom Lenses

The main positive is the extra versatility. They have a changeable focal length. This lets you zoom in and out. You can shoot distant subjects. And you can get a tighter composition without having to move.

The main problem is the extra weight and size. They use more glass elements, making them bigger and heavier than primes. But the added versatility means one zoom can do the job of several prime lenses. That means your camera backpack might weigh less overall.

What Is the Best Focal Length for a Travel Lens?

For a prime lens, 35mm or 50mm are both excellent choices for travel. These are popular focal lengths for street photographers. And travel photography is similar to street shooting in many ways.

A 50mm lens gives you a tighter viewing angle. That makes it a better option for close-ups and portraits. The 35mm focal length gives you a wider angle. It is great for narrow streets and restricted interiors. It’s also great for landscapes, cityscapes, and environmental portraits.

When it comes to zoom lenses , you want a zoom range from wide to standard. Or you might prefer a standard-to-telephoto range. Something like 18-105mm is perfect. This gives you a wide shot selection. You can shoot anything from architecture to portraits with the same lens.

You don’t need a super-telephoto zoom lens. These are big and heavy, which makes traveling difficult. And you don’t need the super-telephoto reach. You’ll have incredible magnification. But you won’t be able to capture nearby subjects.

How Much Should I Spend on a Travel Lens?

Traveling with photography equipment can be nerve-wracking. Camera gear is fragile. And there’s always a chance things could get lost or stolen. That means travelers don’t always want to take their most expensive equipment. Many photographers like to travel with more budget-friendly lenses.

Professional travel photographers use expensive gear. But they make sure everything is insured. They also have more expensive traveling equipment, like camera hard cases . 

We’ve taken this into account when compiling our list. Many of the travel lenses we’ve included are affordable for all photographers. Of course, you still don’t want to get robbed. But you’ll be able to sleep easier if it’s a low-cost option.

But don’t worry—there are no duds on this list. Every travel lens on our list is a fantastic option for adventurous photographers.

Conclusion: The Best Travel Lens

The best travel lens should fit your bag, give you a variety of shots, and deliver outstanding images. We believe all the lenses on this list deliver on those promises. And most of them have affordable price tags. We’ve also included a wide range of camera brands to choose from. 

The Nikon AF-S DX 18-105mm f/3.5-5.6 tops our list as the best travel lens. It’s a compact zoom lens with a wide zoom range. The optical quality is excellent throughout. And it has built-in vibration reduction that gives you more exposure control. It’s the perfect lens for traveling with a Nikon APS-C DSLR camera.

Popular Content

The Best Sony Lenses for Traveling in 2024

Sony has been delivering some of the most incredible lenses over the years. The design, build quality, performance, and innovative features of their lenses have been appreciated globally. 

With the constant buzz around Sony, we tested a large number of Sony lenses on the Sony A7III , rated their performance, and reviewed their quality to help you pick the right lens for traveling so you can create a unique photograph during your next trip.

For who’s wondering, the main reason you should consider investing in a pair of good lenses is that they help you get around limitations such as low-light, the field of view, and zoom range.

Next to helping you around these limitations, lenses are a great investment from a financial standpoint because they don’t get outdated; A camera body might become obsolete after a few years considering the rapid rate of tech improvements and evolutions in camera bodies, while a lens will almost always be compatible with your future Sony camera.

Sony’s lens mounts

The only aspect of a lens that might become outdated is the lens mount ; this is the interface that connects the lens on to the camera and makes it compatible with the camera body.

When looking for a new Sony lens, you’ll want to keep in mind that Sony’s mirrorless cameras such as the Sony A7III and the Sony ZV-E10 have an E-mount connection, while their DSLR cameras use an A-mount. 

However, if you’re fancying a specific lens that doesn’t have the same lens mount as your camera body, a mount-adaptor will help you connect them. Remember that such an adaptor can lead to certain functions’ unavailability, such as auto-focus and image stabilization. 

If you are not sure which mount a specific lens has, and if you want to be compatible with your camera, we recommend checking it before buying your lens.

Lens filters

Another accessory which you might want to consider when buying a new Sony lens is the camera lens filter. Lens filters are externally attached to the camera lens to alter the amount of light and colors that enter your lens. Controlling these aspects helps you naturally enhance your photos. 

Lens filters come in different types, such as: 

• Polarizing filter. This filter blocks unnecessary light reflections from multiple sources, helping you reduce haze and obtain better contrast. This is handy when photographing water bodies such as lakes, ponds, etc. 
• Graduated neutral density (GND) filter: GND filters have a variable light transmission range. They are used to neutralize an overly bright region such as the morning sky. 
• UV filter: This filter blocks UV rays, which can otherwise lead to a lot of haze in high UV light areas such as high altitudes or extremely sunny regions.

The 3 Best Sony Lenses for Landscape Photography

Landscape photography consists of wide-angles, beautiful silhouettes, and the glorious beauty of the world around us. Throughout the year, we’ve extensively tested many Sony lenses for landscape photography, and these are our favorite ones.

Vario-Tessar T* 16-35 mm F4 ZA OSS

The Vario-Tessar T* 16-35 mm lens performs incredibly well at all its focal lengths. The images retain their sharpness and clarity even when the exposure or depth of field changes. The distortion – even at the highest zoom ranges – is negligible.

When shooting landscapes and water bodies in very bright day conditions, glaring is a significant issue. The ZEISS®️ T* coating on this Sony lens blocks reflections and glare, which in turn helps produce exceptional color contrast. 

• Sony E-mount
• Budget: $1,348.00
• Buy the Vario-Tessar T* 16-35 mm lens on Amazon

Sony E 10-18 mm F4 OSS

The Sony E 10-18 mm F4 OSS lens has the lowest focal length (10 mm) and captures the largest field of view among all of Sony’s lenses. The additional field of view captured by the lens adds more depth and dramatic clarity to your photographs, helping you capture stand-out images with perspectives that are never-seen-before. 

With an f4 aperture, architectural buildings and moving subjects such as clouds, rivers, and waterfalls look equally captivating. Weighing only 225 grams and measuring 70 x 63.5 mm, you can easily fit this lens in your pocket and click memorable photographs on the move on your next vacation. 

• Budget: $ 898.00
• Buy the Sony E 10-18 mm F4 OSS lens on amazon

Sonnar® T* E 24 mm F1.8 ZA 

The Sonnar® T* E 24 mm F1.8 ZA lens is a fixed focal length prime lens manufactured by ZEISS with a constant F1.8 aperture. Such a large aperture will help you obtain some of the best sunsets, night sky, and dimly lit architectural spaces. The lens is also an ideal pick if you’re planning to shoot time-lapses. 

There is no shaking or blurring of the subject even while taking long exposure shots. 

• Budget: $1098.00
• Buy the Sonnar® T* E 24 mm F1.8 ZA lens on amazon

The 3 Best Sony Lenses for City Trips

As an urban and city photographer, you’ll encounter a host of interesting subjects (skyscrapers, monuments, people, and cultures) from which you’ll want to capture their vibe and emotions in a photograph. We’ve listed three lenses that help capture the essence of city life.

Sony FE 24-105 F4 G OSS

The FE 24-105 F4 G OSS lens is a wide range, mid-telephoto zoom lens. The unique aspect of this lens is its fluent focus; it will allow you to shoot your subjects from a distance and still manage to cut the background noise as no other lens can. This ability can be especially beneficial if you’re traveling to a crowded city.

Next to the fluent focus, the FE 24-105 F4 G OSS lens is known to deliver a great image quality. 

• Budget: $1398.00
• Buy the Sony FE 24-105 F4 G OSS lens on amazon

Sony DT 16-105 mm F3.5-5.6 

Sony’s DT 16-105 mm F3.5-5.6 lens is a great value for your money considering the range of focal length options it provides. You can shoot wide-angle photos at 16 mm focal length and equally good close-ups at 105 mm focal length. 

In practice, this means that the 16 mm focal length will help you obtain a better perspective when shooting landscapes, skylines and buildings, while the 105 mm focal length will bring more detail to your pictures when you are capturing birds and wildlife from a distance. 

• Budget: $698.00
• Buy the Sony DT 16-105 mm F3.5-5.6 lens on amazon

Sony FE PZ 28-135 mm F4 G OSS

The Sony FE PZ 28-135 mm F4 G OSS lens is one of Sony’s prime offerings; it provides vibrant image quality, has a constant f/4 aperture, and is known to deliver sharp images at all focal lengths.

The unique feature of this Sony lens is not its constant f/4 aperture, but rather the fact that the zoom system is so smooth and motorized, making it perfect for filming movies, documentaries, and events in 4K with the smoothest transitions.

Compared to kit lenses, this lens – which costs $ 2399 – is quite pricey, but when you compare it to other lenses with the same specifications, you will realize that it is actually the best deal you can find on the market. Hence the reason why it’s being used by most of the professional cine- and video makers.

• Budget: $2399.00
• Buy the Sony FE PZ 28-135 mm F4 G OSS lens on amazon

The 3 Best All-round Sony Lenses for Travel Photography

Your next adventure might take you to dense forests, breathtaking cityscapes, cultural heritages, mountains, crowded cities, and whatnot. As an adventurer, you’ll always be unsure of what subjects you’ll encounter, which is why you’ll want to bring an all-around lens along.

Sony FE 70-200 mm F4 GM OSS

The FE 70-200 mm F4 GM OSS lens is a high-performance lens known as a G Master Lens, meaning the lens originates from Sony’s top-shelf line of high-quality glasses, giving it a solid build quality to help you shoot in rugged conditions. 

The lens has a constant maximum aperture of F4, which helps you capture outstanding photos in low light. When we combine this aperture with the lens, its high-speed auto-focus, and multiple stabilization features, we’ll have an ideal lens for close-ups – delivering a superb bokeh. 

• Budget: $1499.00
• Buy the Sony FE 70-200 mm F4 GM OSS lens on amazon

Sony E 70-350 mm F4.5-6.3 G OSS

The Sony E 70-350 mm F4.5-6.3 G OSS lens is a telephoto zoom lens that can help you capture a wide range of subjects, from wide-field landscapes to close-ups of wildlife.

The lens is built from extra-low dispersion glasses, minimizing the loss of color and sharpness at higher focal lengths. This makes the image clarity, the level of details, and the sharp contrast obtained at 350 mm focal length highly impressive. 

The 70-350 mm lens also contains a focus hold button that keeps the lens barrel locked, making it very convenient when adjusting the focus.

• Budget: $998.00
• Buy the Sony E 70-350 mm F4.5-6.3 G OSS lens on amazon

Sony DT 18-250 mm F3.5-6.3

The DT 18-250mm F3.5-6.3 lens is a great entry-level lens; It helps you capture landscapes, portraits, and macros, thanks to its dynamic range. 

This Sony lens is known as the lens with the best image quality amongst the traditional Sony A-mounts. Nevertheless, some images might have some blurry edges at higher zoom levels, which can be easily fixed in post-production if you know how to edit in lightroom .

The 18-250 mm Sony lens weighs 440 grams and is, considering its price, a fantastic buy for the functions it offers.

• Sony A-mount (Don’t forget your mount adaptor!)
• Budget: $648.00
• Buy the Sony DT 18-250 mm F3.5-6.3 lens on amazon

The 3 Best Budget Sony Lenses for Travel Photography

We’ve also selected a few different Sony camera lenses priced under $500 and have delivered great performances. This way, you can kickstart your journey with these lenses, even If you’re on a budget constraint or just getting into travel photography.

Sony DT 50 mm F1.8 SAM

The Sony DT 50 mm F1.8 SAM lens is a 50 mm fixed focal length lens priced at only $169.99. Even at such a low price, the lens works great for city and urban photography and offers an incredible field of view even when you’re at a comfortable distance from your subject. 

The only downside of this Sony lens is that it is not as versatile as a zoom lens. 

• Sony A-mount
• Budget: $169.99
• Buy the Sony DT 50 mm F1.8 SAM lens on amazon

Sony E 20 MM F2.8

Priced at only $349.99, the Sony E 20 MM F2.8 lens gives you exactly the kind of image quality, contrast, and sharpness that you expect while shooting with a prime lens.

The fixed focal length of 20 mm is perfect for taking wide-angle shots, making it an excellent purchase when you’re into landscape photography. As it has an aperture of F2.8, you can even capture fluent low light photos. 

With a weight of only 69g, this is the lightest lens on our list, making it ideal for traveling.

• Budget: $348.00
• Buy the Sony E 20 MM F2.8 lens on amazon

Sony DT 18–135 mm F3.5–5.6 SAM

If you are looking for a powerful lens that could stay on your camera 99% of the time, you can stop looking. At $499.99, the DT 18–135 mm F3.5–5.6 SAM lens delivers a wide range of focal lengths, and its power zoom and autofocus ensure quality movie shots.

• Budget: $499.00
• Buy the Sony DT 18–135 mm F3.5–5.6 SAM lens on amazon

What Sony lens should you buy for landscape photography?

Most travel photographers need a wide range of lenses, such as ultra-wide-angle lenses for landscapes, standard lenses for cityscapes, or telephoto zoom lenses for general photography.

When choosing the lenses you want to travel with, focal length and the zoom range isn’t going to be the only criteria for judging a lens’s performance; You’ll want to consider the build quality, weight, and assistive features, the lens mount, and the price.

A budget lens would help you understand the field of view, perspective, and focus, but the image quality would be lower. Before you pick a lens, always weigh the features with the price that you’re paying.

Our favorite Sony lenses for travel photography listed.

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Hey there! I'm Elliot Clennam, a passionate photographer based in Brussels, Belgium. My love for capturing the essence of my surroundings has led me on countless adventures, from exciting road trips to bustling city escapes.

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I have the 135/GM, the 24-70II/GM, the 70-200II/GM, the 35GM, the 85/1.4DGDN, the 200-600G, the 50/1.2GM and the 20/1.8G, all of whom to me, are best in class. I had to skip the Sony 12-24GM in favor of the Sigma 14-24DGDN due to the price factor, but the Sigma is an excellent performer in its own right, except for the missing 2mm on the wide end.

When I have adequate distance, and need the absolute best output, I reach for the 135/1.8GM....the output from this lens is just peerless. No zoom or prime comes close.

200-600 Sony the best

When Chris mentioned 135mm has been neglected, how about 100/105mm? I'm old enough to remember when Nikon's 105/2.5 was super popular for portraiture. Not a Nikon shooter myself I used a 100/2.8 Olympus Zuiko on an OM-1 and loved it. There's a rather surprising lack of this focal length as a prime not only in 24x36 format systems, but crop systems as well. An 85mm is pretty nice for portraiture, but I just remember when everyone had an 85, 100/105, a 135, a 200, etc. Considering that primes can be smaller and faster than zooms, it seems manufacturers are really ignoring this focal length.

Nikon 105mm the standard portraiture lens that earned a great reputation. 135mm seemingly caught between 105mm and 200mm. However as long as the sky does not fallen in; my next lens Sony 135mm. Made in China as good as Made in Japan. Some other Sony lenses made in other Asian countries.

This list could be updated on a weekly basis.

It could be, but it would just needlessly promote lens churning among some very insecure, psychologically vulnerable people. I believe that the differences are absolutely indistinguishable between nearly all of these lenses for all practical applications. It is nearly impossible to market an even slightly less than excellent lens. Unfortunately, I think the whole product review industry on the internet , like all social media, tends toward addictive behavior - bad for the people who both make and consume it.

DPR - come for the reviews. Get a psych diagnosis instead. :D

Given what a professional therapist charges per hour, I suppose that buying a new lens is cheap.

Good video, but I wish you'd do APS-C for E mount separately. Thanks.

My favorite is the 135 GM , I have also the 100-400 , 200-600 , 85 and 20mm. The 135 gives me an image quality that I have never seen , and contrary to the mith, I shoot at 25.600 iso with the A1 with fine quality. I use all these lenses for birds in flight only. I'm planning to get the 70-200 F2.8 ll soon

Nice review, and some great selections....but I will say that if you are going to have a category for 'Portrait' lenses, then in fairness you should also have a category for 'Landscape'. The common feature of your selections is that each one is AF and by biasing toward them you've pushed aside some incredible MF lenses (Voigtlander, Zeiss, etc.), lenses that by their nature aren't normally considered for 'everything else that moves'.

Great landscape photographers I have studied and studied with all shoot in difficult conditions - the sand storms in Death Valley, rainy days in Patagonia, snowy days in Canada, etc. To deal with changing prime lenses, no matter how good, is a non-starter and 24mm is never wide enough. For this reason, I nominate the Sigma 14-24mm for true landscape photography and say that the G Master 14mm, 20mm, and 24mm might be a good choice for fair weather photography and astro-photography but not for all-weather, landscape. Also note, all my friends that shoot wildlife on Sony E mostly use the Sony 200-600mm or the 100-400mm and have taken great images with both of these...

sony gm f1,8 14, voightlander nokton 21, zeiss loxia 25 f2,4, voightlander apo lanthar f2,0 50, sony gm 70-200 mkii, sony gm f2,8 400! ;-)

Sony 20/1.8G, 40/2.5G, 14/1.8GM, 200-600G, etc. are all very nice lenses and top E-mount glass.

Sony has a ton of options. So much so I don't see Canon or Nikon ever really catching up in the next decade. Sure they will fill all the gaps, and are already doing so nicely, but Sony got such a head start with third party makers jumping at the chance. Pick your focal length. You want small, you got it, you want premium you got it. Willing to have so so AF but premium image quality, got it. E mount has flooded the used lens market too. So many choices. Sony built the E mount the right way.

How does Sony do small?

I was really interested in the Sony a6300 type cameras as a potential gateway, but I couldn't find a 35mm equivalent lens.

I expected pancake, but couldn't even find one as small as my old ef 35f2. Looked at the full frame options and found the same thing.

Genuinely would like to know if I've missed anything you can point out to me, it might have been shoddy research...

Depends how you look, sony lenses are plenty but just another copy of another lens just saying Only handful is unique like tamron 35-150 but not really, since 24-70 exist, and 200-600

There's no cheap UWA, cheap FF kit or cheap telephoto lenses

Sony has a wide range of lenses with many great options. It took them 8 years to get there. In the early years there was a lot of criticism that not all the lenses needed were available and that the mount had no chance of being able to keep up with Canon an Nikon. It will be the same with Canon an Nikon now. Their is no such thing as „too late“, but you have to start somewhere.

@Goodmeme - the A6300 is APS-C. Sony makes two pancake lenses for APS-C.

Do it fir the Z mount.

Not enough lenses

The Sony 24mm GM is a beauty, but somewhat expensive. I use the Samyang AF 24mm f1.8 which is excellent at a fraction of the price. Bit smaller and lighter too, terrific value. Some reviewers claim it's as good a lens as the GM.

Well in less than 24 hours you'll have the $999 Sigma 24 f/1.4 DG DN Art lens announced and an 20 f/1.4 as well for $1099.

The only Samyang lenses that reaches GM level are the 85 and 135mm, all the other certainly doesn’t, but they are fine lenses especially on none high resolution bodies.

thix: it'll also be interesting to see where the prices land in different parts of the world what with recent fluctuations for some brands including Sigma.

There's one category they didn't cover:

Small, light, discreet, carry-everywhere prime lens for travel/street photography.

I want to buy a Sony FF camera one day, so I'd probably choose something like the Sony 40mm f2.5 or Sigma 45mm f2.8.

Samyang's 45/1.8 is worth a look as well (like 10mm longer than either of those), and if you don't mind MF the TTartisan 50/2 (smaller than the lot)...

I'm actually pairing the 45/1.8 with the Sony 24/2.8 G.

I find the Sony G 40 mm f:2.5 excellent for almost everything day and night, for stills and video. I use this lens way more than expected when I got it, due to small size and well balanced sharpness and contrast.

Magnar, agreed. I bought the 40/2.5G expecting it to be good, but only by using it did I realise just how good - and I'm not just thinking of image quality. Outstanding design.

Is the 40/2.5 G better, particularly in sharpness, than the 35/2.8 ZA? This was my first FE lens, bought in December 2013, and I still like it.

@ Arcimboldo: I had the 35 mm f:2.8 and liked it. A good lens. I can't compare directly, but the 40 mm is for sure cleaner at wide apertures. The main reason I sold my 35 mm f:2.8 was manual focus precision, since I use MF a lot for stills and video. In this regard the 40 mm f:2.5 excels.

@Magnar Thanks! I can surely see your point with MF - I for one mostly never use it, neither with this lens nor with any other I own. I only do stills, and I found that AF most of the time outperforms me.

The 40/2.5 is *much* sharper than the 35/2.8 I had, especially at wider apertures, but perhaps sample variation plays a part. The build quality is also much better as are the controls and ergonomics. Altogether a better lens IMO.

@John Bean: Thanks - I don't use the 35/2.8 much anymore, it mostly sits in a glass cabinet mounted on my ol' a7r. So, probably I don't have much use for the 40/2.5 G either, although I always thought that a (near-) pancake lens is a nice thing to have.

How long before we can no longer go to the Mom and Pop type cameras stores an or even places like Best Buy. Soon, seems like the only place to get gear will be online. I think that's truly sad. I like hands on before I buy anything. How about the best Mom and Pop type Brick and Mortar camera stores still left Best Of.

Amozon retutn policy is just like hands on experience.

You can rent gear from lensrentals.com and support a pillar of the photography community.

My local Best Buy rarely refreshes their demo area and mom & pop or local camera stores left decades ago, I even struggle to find those when I visit friends & family in certain parts of the US. Used to have a Sony Style store here that had one of the best demo areas I've ever witnessed, but it closed around 2011 or 2012 not long before I bought my first ILC.

Consider yourself lucky if you've got any nearby stores, and support them IMO. Amazon's return policy is hardly the same for me but YMMV.

If you return too many items to Amazon, they will suspend your account.

Well lets say that you really want some lens, you research it properly, read/watch several reviews and then when you get it you establish that something was not covered in the reviews like smoothens of the zoom/af ring, build quality and then you decide to return it. Or i.e. that the lens was decentred after you tested it. As a prime customer I often return things, lets say 1 out of 5 to 10 purchases, have my account since 2008 and never got any bother.

As steelhead says. And, recently i returned something to Amazon and it got stolen en route back. I was told i had 30 days to return the product (which i didn’t have) or I’ll get charged on my credit card. Despite my appeals and numerous emails + calls + chats, i couldn’t resolve the issue. Had to cancel my credit card and pull my cards off of Amazon.

Suffice it to say: that was/is a nightmare. I no longer buy anything from Amazon. I only do local shops and i hope local shops survive.

I have quite the opposite experience Simonella, maybe we have better services in UK? My returning process could be hardly any simpler. I have petrol station opposite my flat which collects amazon returns through courier named Hermes or Evri as they have changed their name recently. I will initiate return online, state reason, print a label, attach it to the parcel and drop it across the road. The petrol station employee scans the code on the label I printed, links it to a paper card which is handed to me as a proof of posting, asks for my name to record it on the scanning device and usually within few minutes I have an email that my refund has been processed as my parcel is recognised as being on the way back to amazon warehouse. I get my money back usually within 2-3 working days. Whatever happens to parcel after I pass it over to the employee at the petrol station is not my problem anymore. Then again, UK is service based economy and possibly has best services in the world.

Another example dealing with Amazon from couple of days ago could be that rarely I have my parcel deliver elsewhere by error. Just ordered 5kg bag of rice and the tracking stated it was handed to a resident when I was at work. I asked my girlfriend who was at home if anything was deliver and she said that nothing. I asked her to check with our neighbours which happens sometimes and they had nothing too. I contacted amazon support outsourced in India, get reassured that will be passed to amazon logistics and the parcel will be re-delivered within next 24 hours. And so it was. I can't really fault British amazon at all. Absolutely excellent service.

@Vit: prior to that incident, my experiences with Amazon Canada were good. whenever i had a return, i printed the return label, threw the product in a cardboard box and dropped it off at Canada Post.

things went off the rails when Amazon Canada switched to Intelcom picking up the return at my house. it sounded nice at first, but it sounds too coincidental that my stuff went missing en route when that change happened. the instructions were that i was NOT to put a return label on it and i was to NOT put the item in a cardboard box. to just give the Intelcom guy the product in its package

just seems ripe for thieving, with the new system. not my thing.

Sorry to hear you had such bad experience, these things can be properly frustrating. I have really bad experiences with above stated delivery company, the Hermes, when posting stuff in private capacity. Lost about £400 due to their incompetence. It seems that they only do their job properly if it is for a big customer like Amazon. I did send brand new inline skates back to Czech Republic as a present for my brother. I did insure it etc. When it was not delivered after 3 weeks wait I went to their website, the tracking said it was still in one of their warehouses and the banner on the top of the page was asking the customers to be patient at this time and allow more times for deliveries due to Covid and Brexit. Since it was not delivered still after a month, tracking has not changed too, I went onto website to claim a refund a money for the item as I insured it. They told me that the claim needs to be made within a month of posting the latest so I lost money. Felt like a scam.

The second time was posting my beloved 4k Samsung telly to my wife from Scotland down to England using same company, the Hermes. I packed it into original box, added extra padding, banners on all side that it is fragile and please handle with care, knowing that I am posting it at my own risk as they don't do insurance for this type of things. Still arrived smashed. Lesson learned. That is why they changed they name from Hermes to Ervi - to try to erase their reputation for being absolutely worst and careless company in UK when in comes to private posting, even Yodel got better. But you can blame the delivery guys themselves much, underpaid, overworked, they just toss and smash the things all the time I guess.

Meant to say, You can't blame the delivery guys too much... Some other companies like DPD are absolutely excellent. Royal mail mostly excellent too.

Agreed! In fact, this morning, before it gets too hot here in sizzling England, I'm driving (in a climate friendly EV) to my local London Camera Exchange where I bought an A7S iii last week with an ES 24-105 F/4 that during my testing, is not too shabby IQ wise, although the zoom is sticky making live zooming jerky. Will be getting a hands on with camera bags, eying alternative (cine?) lenses and buying a V90 SD card to handle 4K/120 at one down from the best quality because I can't afford to get into the Xpress Card ecosystem. Anyway, I like to support bricks and mortar and chat with staff, so don't mind paying a tad more for gear I can handle before parting with dosh.

I am wondering if many of these "best" lenses could ever be distinguished from any of the others if used hand held. Also can any of them be distinguished when used on a 20MP body vs a 60 MP body? I would suspect that there is no difference unless one is shooting non-moving subjects on a tripod with their very best cameras, ie food, architecture, or product shots. Sports or candids ? Forget it. It then becomes purely a matter of weight and ergonomics , not lens quality.

Has anyone ever conducted a "test" where viewers have been able to consistently distinguish one lens from another on anything other than a highly magnified test chart? Never. Neither Chris nor Jordan, as experienced as they are, could ever tell the difference between a 35mm 1.4 Leica/ SonyGM or a Samyang or Tamron or ..... on the kinds of pictures typically posted as examples.

Sharpness might not be visible without huge cropping or printing, but other qualities may be visible like chromatic aberration, sunstars, bokeh, etc.

Yeah, I didn't buy my 35GM because it's that much sharper than the 35s and 45s I bought before it... I bought it for it's handling of CA & flare and it's overall rendering, and those are pretty obvious traits if you're picky, even at 24MP w/o cropping etc.

To use a personal example, I recently switched from the 55mm Zony lens to the Sigma 65mm.

The 55mm is a renowned lens that is capable of crafting gorgeous art, as evidenced by photographers much more capable than I. But I still see the 65mm as an upgrade with its aperture ring, metal construction, and reduced LoCA, especially after a bright photo shoot really demonstrated the 55mm's green fringing.

Will I ever seriously run into a situation where the 65mm's better resolution is the difference between a good photo and a great photo? Almost certainly not. Do the other properties make for a more enjoyable lens? Yes. Similarly, if I had funds for a 50mm GM I would unlock additional resilience to abberations.

If you shoot wide-open (which is often required if you shoot sports in less that ideal conditions), you should be able to distinguish the best from the good. At least that's my experience with long/fast lenses over the last two decades - the quality of lenses has steadily increased and it was noticeable on my shots.

This video seems only emphasize in portrait but not for landscape etc. For landscape I prefer Voigtlander and Loxia simply because they have much more pleasing sunstars, also with contrast and coder rendering. AF is not needed in landscape.

Also it failed to mention Samyang FE 135/1.8 AF. No brainer to chose over 135 GM in portrait as the video focus on. It's as sharp as if actually not slightly edges out (at edges) than 135 GM, as beautiful bokeh and background rendering, clearly better in flare-resistance according to several independent reviews. Quite lighter and less than half price. Really the 135 GM only advantage is in fast sport that has option to shoot 30fps on A1.

Anyway this video is incompleted and sort of biased in my opinion.

I'm not so sure that AF isn't needed for landscapes. I'm a little older than I was decades ago, and I find using MF lenses on the Sony A7 series to be near-impossible. Focus peaking is not a useful replacement for split-screens or all the other manual focus tools cameras once had. I still use large format film, and even with a loupe, manual focus is not as easy as it once was.

Just the opinion of an old guy with a camera.

I'll be 70, next year, and my eyes are a mess. Focus peaking is the best focusing aid I've used -but it takes a bit of practice to use it well.

The sunstars in all Sony lenses not in my taste, overwhelming busy 22-point ray and you need to stop down lots that caused side effects. Therefore I much prefer Loxia and Voigtlander prime in landscape/cityscape. MF is no issue in landscape with 12.5x enlargement + focus peaking.

https://www.dpreview.com/forums/post/66216795

PWPhotography Everything's a compromise -those fancy straight-blade Voigtlander sunstars cause bokeh issues in many of my shots. Not my preference.

Agreed everything has a compromise. Therefore I see there are two sets of prime lenses, one for landscape and another for portrait. I prefer Loxia and Voigtlander lenses in landscape where bokeh basically is no issue :-) While I have some Sigma and Samyang fast prime lenses for portrait. Since I am not a pro portrait photog, I really like Samyang line of fast prime lenses for portrait that are less than half price of Sony counterparts but close to.

The Samyang 135mm AF seems a steal for anything else than sport. But for sport, it is not only the 20 or 30fps compatibility that make the GM a better option (frankly, 10fps is plenty most of the time), but the AF tracking reliability. It is unfortunately nowhere near as good on the Samyang as on the Sony, although that's something I guess Samyang could try addressing in further firmware revisions.

How many of us are sport PJs? Most 135 GM owners among DPR members actually use the lens for portrait where Samyang is as good as and as reliable as in eye-AF tracking. For sport PJs, the 70-200 GM especially II is still a better option, much more versatile. Most sport venues are not under candle light dim light. Lacking of 'OSS' in 135 GM also limited it in low-light stabilization on relative still or slow moving subjects.

This video focused in portrait and no mention of sports. Don't understand why DPR TV chose to ignore Samyang 135 as it doesn't exist? For non-sport dedicated tasks, why new buyers will chose Sony over Samyang is beyond me as latter costs half less, lighter and as good as in optical quality, as sharp as if not better in some areas such as flare -resistance?

Keeping always in mind that 'Honesty is the Best Policy', I hope I'll not be chastised by *too* many folks here if I just say that some of these ( and MANY other! ) lens' prices seem way, WAY above what your 'average' , non-Pro user, should be expected to pay.

In this fellow's situation, it wasn't all that many years ago that I was paying about $2,000 USD for a nice, clean car! I've owned SAAB and VOLVO from the 70's and 80's that looked and ran really well, and I'll always recall how much fun it was to be able to go out into the ( semi-rural ) countryside here in Maine, USA, and find one of these automobiles sitting on someone's lawn, priced at something below $2,000.

So: am I off-track here, in comparing apples and oranges / cars and camera lenses?

I suppose I am, and hope folks will understand that it's simply WEIRD to see a camera lens selling for what I used to spend on something like a 1985 VOLVO 244D.

Times have changed, and some folks seem to think, for the better...

Times have definitely changed. Photography is not an inexpensive hobby (though there are bargains to be had. Just have to look.)

Anyway that there are so many AF capable “lower cost” third party options here bodes well for Sony shooters. There is no shortage of choices from the high end to the budget conscious.

Actual cost of goods in 1985 vs 2022 based on inflation:

$1000 in 1985 is worth $2700 today. So, in economic terms, everything costs the same.

Inflation based forecast of what everything should an or would cost today can be severely flawed. I recall when usb flash drives first came out, one could pay easily a Hundred dollars for just One Gig. Now you can get almost get an 1TB drive for that.

1 TB is equal to 1,000 gigabytes (GBs).

Also, Look at what has happen to price of TVs. Look at the rate of return on savings accounts but rate charges on Credit Cards an or bank Fees. So no, everything doesn't cost the same.

@Backtonature1 Well, I think in general terms, we can say things cost the same. A top of the line Nikon lens in 1985 vs 2022, is about the same when calculating inflation. Yes, the technology used in the lenses is different, but their positioning in the market is not, they would each be the best of their line at the time.

Same for hard drives, same for televisions, etc.

Now, what's not the same is salaries. In real terms, adjusted for inflation, anyone in a salaried job is making less than they would have been in 1985. Meaning, you have less buying power now, than you would have then. I could go and find all the relevant links from published economic studies, but, I'm lazy.

For the hobbyist, Sony had Tamron, Sigma, and Samyang. No need to pay $2.5K for GM lenses.

I get your point. I think that for the vast majority of amateurs, these camera's and lenses outperform their needs by miles. It is impressive how much performance gain there has been in the past say 20 years. There are much more affordable alternatives for this group in the market that will probably match or even exceed their (and my) needs.

I don't think it's a secret that the camera makers appear to be following the business model of making the camera bodies reasonably priced but then charging an arm-and-a-leg for lenses. Sony is definitely following this model. They are also apparently also using the "make the kit lens so bad you have to upgrade" tactic which certainly was the case of the mediocre 28-70mm f/3.5-5.6 bundled with my Sony A7II. I had to replace it with a Tamron 28-75mm f/2.8 to get the camera to live up to its potential.

Read this: https://www.dpreview.com/forums/thread/4627922

JohnNEX: So apparently your chart proves that "price gouging" in the lens market, as you put it, has in fact been going on for a while.

I wonder if new Sigma 24/1.4 can make a good competition to Sony GM lens. Sony is pretty good, though expensive, and LoCA is higher than I would like.

FE lens are not expensive. If you compare RF lens, they are 25% to 30% more.

The 135/1,8 GM is a fantastic lens optically and AF wise.

But for portrait, the video failed to mention the new Samyang FE 135/1.8 AF. It's as sharp as if actually not slightly edges out (at edges) than 135 GM, clearly better in flare-resistance according to several independent reviews. Quite lighter and less than half price. Really the 135 GM only advantage is in fast sport that has option to shoot 30fps on A1. But for everything lese it's no brainer to choose Samyang instead. I used to own 135 GM BTW.

The GM fast AF is not only to do 30fps. More important is that it nails focus regardless of fps and regardless of subject movement and action. Its very reliable to get high photo quality and sharpness in real life no the matter context. So in addition to generating beatiful and sharp rendering its also a very useful and reliable lens.

Other aspects are level of weather sealing, direct apperture control etc.

Having said all that the Samyang is an excellent lens for what it is.

If you have seen Samyang 135/1.8 AF, its AF is good enough basically for all types of photos even in regular action and sport. The only area 135 GM has edge is in professional sport that demands ultimate AF-C tracking and capable of shooting at 30fps. But how many of us are sport PJs? And this video focused in portrait where Samyang is as good as if not actually better in some areas such as flare-resistance in backlit portrait for example. Go watch some reviews that you will know.

https://www.youtube.com/watch?v=XTpctoBiI5c

https://sonyalpha.blog/2022/02/25/samyang-135mm-f1-8-af/#21_Sharpness_Pique

https://www.youtube.com/watch?v=HibHyL1r-TQ&t=514s

Christopher Frost review of the Samyang even went that far,

"If you own a Sony E mount camera and you're in the market for something even remotely like this then pause the video right now, get online, and order one. Just do it".

"The only excuse not to get one is if you're dead or in jail" :-)

BTW, Samyang AF 135mm F1.8 FE is also weather sealed! It's much lighter than 135 GM, optical quality on par if not slightly edges out in some area including sharpness, less than half price!

The Samyang AF is less reliable already for walking subjects. The Samyang does have some weather sealing. But its good optically.

That is not true, Don't bring old perception into the new line of Samyang lenses.

Here is another video that doesn't have your old perception. If all these independent reviews concluded on the same thing, it only means you are wrong ;-) I know some 135 GM owners desperately to justify their purchase. But really for new buyers this Samyang 135 is no brainer. Don't understand why DPR TV chose to ignore this lens as it doesn't exist?

https://www.youtube.com/watch?v=25hSKFTsQmA

I posted before that some Sony manager stated that the ZV-E10 “had the largest number of reservations ever among the mirrorless interchangeable-lens cameras released by Sony”. Rest assured most folks are NOT looking to spend much on Lens either.

So in light of today's economic turmoil, there out to be an Best Value Picks for Sony E mount. Kit lens are mostly trash. IMO

Kit lenses are generally bad no matter who makes them, you don’t give goodies away for free. People need to have reasons to upgrade.

But in Sony you fortunately can get good lenses at affordable prices if your on a more modest budget.

The user of the ZV-E10 will probably do a lot of video, and for that, the kit lenses are more than enough.

And it's interesting that the ZV-E10 is selling so well. Other brands are saying that the segment is dead.

Canon and Nikon's kit lenses are usually very good. Sony should really resign theirs. A useful kit lens lowers the investment to get started with a system.

Panasonic 20-60mm seems to be considered pretty good for a kit lens too.

The Sony 28-60 is actually pretty solid.

No macro lens?

I wish DPR would go back and do their round-up of "Best lenses for..." for all mounts. Specifically covering the best options, and then other options (ie. best budget options) as they've done in the past. I know that this may not change very much, but we do have some new lenses on the market that might quality for the "best" spot now, and also the best "budget" options too (and this would be useful especially given the state of the global economy.... people looking to buy but perhaps save a little money). I've found a few lenses through those articles that I didn't even know existed or were an option.

Mounts like RF and Z don’t have enough lenses to do a round up, there’s just the expensive high end lens and a cheap one. In many cases there’s not even two choices at a given focal length.

Maybe not those specifically, but since the last few I've seen, there have been quite a few new lens releases for the other more common mounts, and specifically the Fuji X system, where we now are starting to see quite a few lenses from third parties including Tamron. I'm not saying they have to do this right now, but maybe once a year it would be nice, as it's a good "Recap" of what's currently available (plus some lenses will go out of production too after a period of time and either won't be available new or will be harder to find).

I would be interested to see DPR's recommendation on a lightweight setup. Something that we can still get decent quality out of.

Would love to see a refreshed list here as well: https://www.dpreview.com/reviews/buying-guide-best-lenses-for-sony-mirrorless/3

I have been using the 35-150 Tamron for 7 months and it is fantastic, especially for family events. I like it so much I bought two more Tamron zooms, and simply don't use primes often on an A1. I just hope the supply problems improve so more folks that have the lens on order get it sooner rather than later. I was lucky to get in on the first shipment to the US.

Wide angle - 14 1.8 - I’d take 12-24 f4 Standard zoom -28-75 g2 - Tough call I’d take 35-150 Portrait - 135 1.8 - tough call, would take 90 2.8 Telephoto - 70 200gm2 - tough call, curious about The 50-400 Super telephoto - sigma 150- 600, would take 200-600

My line up ,sony 70-200m mk1 wish was mk2,sony 200-600mm still better than the sigma, internal zoom 30fps and 1/4 turn to rack zoom although 50mm on the wide end useful ,i own the samyang 24mm f1.8 a cheaper near equal to the 24mm f1.4 gm 1/3 of the price ,i own the samyang 135mm f1.8 equal to sony 135 mm f1.8 optically not so good af but half the price,i own the tamron 28-75mm the g2 was not available at the time,dream of a 400mm f2.8 more useful for me than a 600mm f4.They got it mostly right the tamron 35-150 is a great choice but could you justify the 70-200mm and this lens?,would also like the 14mm f1.8 for astro but you can bet 1/3 party vendors will be itching to get something out there for half the price.

I know many like to kvetch about 1st party pricing, and I love some of the 3rd party bargains on E mount, having said that....

I'm not sure any third party will be able to get something comparable to the 14/1.8 w/AF for half the price... The Laowa 15/2 is already half the price, and I don't see Sigma undercutting them, even 2/3rds the price might be tough considering how they priced the 20/2 DN & 85 DN...

The premium for some of the G/GM primes really isn't that bad if you're leveraging their full feature set and/or are picky.

The samyang 135 is less than 1/3 the GM price. Slight bokeh differences, but not $1200 worth (for most people). Of course there is no autofocus.

Samyang has a new 135/1.8 that’s the one people referring too it’s not 1/3 but half the price and optically better then the old.

I gladly pay 1200 for AF alone, normally I would never consider a none AF lens for other then special purposes, there need to be strong reasons like sunstars for night photography, low light landscape etc. I certainly would never consider it for portrait or other moving subject.

The new Samyang 135 has AF and is about as good as the GM optically speaking if the sonyalpha blog is to be believed (and its tests are rather serious with plenty of supporting sample images). One area where the GM keeps the lead is continuous AF. If you plan to use a 135 1.8 for indoor sports, it may be safer to go for the Sony GM.

The only thing that essentially counts in Sony's case is the abundance of third party lens manufacturers as it was stated by Jordan Drake "...what a huge advantage Sony's third party lens support is and those Tamron and Sigma lenses are honestly some of the best in class..." giving its users a vast versatility.

the new GM primes are top quality

It's the combined availability of both that makes E mount so appealing IMO, tho I'm probably biased since I've got five 3rd party primes from three different brands, a 3rd party zoom from yet another brand, and then three G/GM primes. I do see people jumping on E mount with just a couple Tamron/Sigma zooms or Sigma/Samyang primes and it probably would've been a pricier entry to do the same on most other systems.

It’s just as much about the G and GM glass that make it appealing as those lenses are absolutely amazing for what these are. But yes third part give options and offer for something for people on a more modest budgets.

I agree with Impulses, it's the combination of Sony & third party that makes it exceptional. I'm already considering the adapter to use some of those lenses on Z mount.

It's not just budgets, I can't get a GM 1.4/105, luckily Sigma offer that, natively with brilliant performance.

E Mount has both ends covered: best-in-class GM lenses and affordable third party options. That's one reason why it's so popular.

@Dericali I don't think that anyone out there doubts the quality and performance of Sony's GM series. As a matter in fact I don't think that anyone doubts the quality and performance of the top line lenses of any manufacturer with the exdeption of some photography-gadgetry-fetish-fans...

In all fairness Canon now has the new 800 F5.6 and 1200 mm F8 lenses. These redesigned cheap lenses are the way to go..

Such lenses only appeal to a fraction of the market, the majority aren’t birders.

I assume you comment was cynical…

But just in case, are you speaking about the TC built-in versions of the 400mm f2.8 and 600mm f4, themselves were adapted versions of the EF lenses?

Those monsters costing 2.5x times and weighting 500gr more than the Nikon 800mm f6.3 while offering a clearly worse level of performance?

photography-lover,,,, exactly right.

My pick is the Tamron or Sigma 800mm prime F8. What, they don't make one? More fool them!

get into Z mount and you will have the amazing 400 f4.5 and 800 F6,3 version :)

Already have an incredibly sharp 400 prime on an A7RIV Can't afford that Nikon 800mm F6.3 I believe that if Tammy or Sigma made an 800mm F8 they would sell like hotcakes. The Canon 800mm F11 was an interesting toe in the water

No 800 will ever sell like hot cakes it’s a very small niche and have usually incredibly long shelf life.

According to my local camera shop, the Canon 800mm F11 is selling better than the x-600 zooms right now, even though supply is tough. Customers aren't pros, but seemingly would-be birders and/or people that see an opportunity to experiment with their R bodies. I'm just hoping it will spur an F8 from some manufacturer. (Unfortunately it might have the opposite effect, satisfying that particular market!)

Are there any really BAD lenses for Sony FF E mount out there ?

Sure... Sample variation for the old 35/1.4 ZA seems like the worst lottery game ever, some of the older ones are solid but just terribly overpriced at MSRP (looking at you 35/2.8 ZA & 55/1.8 ZA), some are really not a good match for higher res bodies (SY 24/2.8) or have AF mechanics that'll hold back even an A7 III (Sony 50/1.8, Tamron's cheap f2.8 primes)...

Most aren't what I'd call truly awful but they have some glaring weakness and in most cases there's better/newer alternatives.

Additionally, while most newer Sony lenses will do 30fps (even the kit 28-60) and will work with the Focus Priority option under 'Aperture Drive in AF' on newer bodies, but many older ones won't do one or either of those (to their credit Sony Japan does have charts detailing which)... Some also seem to have very different behavior as far as focusing wide open (or not), which might be related to the latter option.

The turning point was indeed the 24GM released in 2018, before that, lenses were decent and sometimes very good, but since that GM lens, all Sony GM lenses have been exceptional.

Well bad might be stretching it, but there certainly is a noticeable amount of mediocre “older” lenses with poor copy variance.

But the lenses from 2017 an onwards has mostly been from very good to outstanding.

I have a very substantial collection of glass.

The 35/1.4 ZA, 35/2.8 ZA, and FE 55 remain favorite lenses.

If you can't produce great with those lenses I can assure you it's not the lens.

There are poor value lenses - some of the original co-branded Zeiss for example. Also lenses with poor QC.

But there is a great option in every category - often multiple.

@DFPanno Agree wholeheartedly: I don't own the 35/1.4 ZA, but I love the other two. They may be a bit expensive today for what they are, but in 2013 they were great, and they still are excellent.

There wasn't a category for it, but the Sony 50mm f/1.2 GM is superb. I can shoot it wide open, but I also enjoy using it at f/8 with studio flash.

There was a category normal lens

Like @Chris said, “if you want to go to superzoom, you want as much focal length as possible”.

And that is why I would (did) pick the 200-600G over the Sigma 150-600 that @Chris chose: because unlike the Sigma it has a 1.4TC option, and a very nice one too.

I have that, and the 1.4, and yes, brilliant. I have the 2x also, not a slouch, given good light. I used to "dump" on converters (compared with tele-cropping), but I revisited them when canon, Nikon made lenses with builtin converter options. Also this website made me enjoy using lenses wide open, plus I learnt to lower iso (given the latest stabilisation science), and yeah, take more safety shots.

Looking forward to using "the team" on the A7RV when they drop that to the 50mpx sensor from the A1 :)

Yeah the Sigma 150-600 choice is definitely puzzling.

200-600 with internal zoom, got to love it. Just a personal thing in that I would never buy a zoom that wasn't internal zoom.

@nzmacro Yes, agree. And apart from the obvious, that the zooming is not sucking in the damp air or dust, it's also great the lens doesn't extend when using "raincoats" and similar.

The 200-600 G has a massive advantage, very good AF versus very ordinary AF. Sigma is a huge let down using stupid stepper motors in a sports/wildlife lens. The Tamron 150-500 has significantly better AF than the Sigma and is the only real alternative to the superb Sony. I'm much preferring Tamron over Sigma nowadays. Samyang even does a lot better than Sigma on AF.

The 150-600 has more range than the 200-600. Depending on what you shoot, zooming out to 150 can be very important.

The best lens, is the one that is camera right now.

The best lens is the one you can afford, without you 1) feeling guilty, 2) going into debt, or 3) discovering its cost adversely impacting your ability to spend on other equally or more important stuff, be it photo equipment or just general living expenses.

Fact is, most of the iconic photos we might be familiar with were taken with equipment far inferior to the bulk of photo equipment available now.

The public really does care more about content than most of the lens features argued to death over on photography forums...

I agree with the 24/1.4. I own it. Before I bought it, I compared it on The Digital Picture to every 24mm prime and zoom with 24mm in the range. I couldn't find any lens that came close to 24/1.4's corner to corner performance @ f5.6. The brand new 24-70 II might be an equal in center IQ.

My experience with the Tamron 150-600 & Sigma 150-600 sport in the Nikon mount left me with a bad taste in my mouth. They were fun to play with but the IQ was not the best. Again using the Digital Picture comparison tool and hopefully I've picked the right Sigma 150-600, I find the Sony 200-600 is still the winner.

I have never found a 135mm focal length to be one I could make enough use of in landscape photography to justify the space in my bag although every manufacturer seems to have an excellent 135.

Sigma 85mm 1.4 DG DN. Have both this and Samyang 135mm 1.8. Both are fantastic, light, and affordable, difficult choice

How's the AF between them? I've seen some complaints about either, but plenty of happy users and great shots, the difference being the 135GM does have Sony's latest AF tech (makes it easier to pick on the SY IMO) whereas the 85DN doesn't seem to have any f1.4 competition with dramatically better AF... I'm more tempted by the 85.

Neither are equal Sony G and GM, basically they both use same type motor; stepper linear and actually I not seen any difference neither in speed nor accuracy or hit rate.

I don’t think it’s a secret I don’t like the DG DN rendering and is massive none charming distortion. Frankly I would currently not buy any 85mm, Sony is most likely going to offer a new within months and most of the other have some rather annoying flaws.

Negative - The DG DN: Distortion and rendering isn’t great, stepper - The GM: Slow AF, low fps for GM, is not the sharpest thing on earth - FE85: Bad aberration and bad looking bokeh - Batis: Expensive for 1.8, not much better then FE85 - SY85: stepper, not as sharp as DG DN, MF is poor, prone to flare, none supported lens required a seperate lens station and software to update and fine tune it.

I'm not actively shopping for a faster short tele since I'm pretty happy with my cheap SY75/1.8, but if I ever wanted something faster I wouldn't go for a $2K f1.2 (assuming that's where the GM II goes); and at the same time I wouldn't wanna take a step back in AF, but it seems pretty hard to come by comparative & systemic AF tests.

I'm not too bothered by the 85DN's distortion or the results after corrections, heck the beefy hood would probably bother me more than anything, or the middling flare resistance (that's something my G/GM wides have kinda spoiled me on).

The old Samyang AF 85mm F1.4 doesn't have a stepper motor, just the new one does.

I like my Tamron 17-70 f2.8 for aps-c.

I love my Sony 16-55 f2.8 G for aps-c.

Lots of good lenses indeed!

I believe the new PZ 16-35/4 is uniquely small, light and sharp for an UWA zoom.

Also, thanks to those pointing out that Sony (and Tamron etc) lenses adapt to Nikon, a big deal compared to Canon's 'locked in' lens strategy.

Trying to make canon sound like the bad guy? Interesting take.

This isn’t “Nikon’s strategy” to allow their body owners to use Sony glass. Nikon doesn’t have any say in it.

For sure it’s good for Nikon shooters to be able to choose Sony mount lenses, but you make it sound like Nikon wants it this way and canon doesn’t. Nikon god, Canon bad….

Yeah I don’t think so.

Wellll, I'd say Nikon seems to be tolerating it, Viltrox has been making AF lenses for mount as well and Nikon hasn't gone out of their way to mess with them... Whereas Canon did seem to go out of their way to make Samyang pull it's early RF offerings off the shelves. I wouldn't know if anyone has tried to make a Canon RF adapter w/AF, but it seems likely they've been dissuaded from trying, or maybe Canon just made it harder.

The mount's flange distances pretty much prevent Sony lenses fitting onto a Canon mount, Nikon mount is 2mm shorter than the Sony which allows a 2mm thick adapter, but Canons mount is 2mm longer. and would require extra optics to focus at infinity

It’s because of flange distance that canon cannot use E mount

@MikeRan: fair point, just as a canon RF user I’m feeling there are better lens options for me elsewhere (I’ve had several copies of an rf 24-105/4. They have weird oof blurring. Kinda put me off the system).

I do kinda wonder if canon designed the mount with a flange distance that made the E Mount lenses incompatible. It could have been a conscious decision. Or it could have been nothing like that at all.

Either way it is what it is.

Some lenses that weren’t mentioned but should have been;

Samyang 135mm f1.8 Sigma 35mm f1.2 Sigma 65mm f2 Sony 35mm f1.4 GM Sony 50mm f1.2 GM Tamron 17-28mm f2.8 Voigtländer 35mm f2 APO Lanthar Voigtländer 50mm f2 APO Lanthar

Sony FE 90mm f/2.8 Macro G OSS Lens

A good point and yet from what I have seen in reviews the Sigma Art 105mm f2.8 Art Macro is even better optically.

Sony 20mm f1.8 G

Probably one of their better high end values tbh. I end up using my 17-28 more often, but I enjoy using the 20G more, if that makes sense.

No arguments with anything on SNJops's list, I'm very happy with the 35GM and I've been tempted by the 65/2 but already have a SY 75/1.8, their 135/1.8 looks great.

There are tons of good native E mount options. I think that’s the summary of the comments here. They can’t “pick” them all.

The good news is we can pick whichever ones suit our needs the best.

The telephoto category was defined as general purpose.

Sigma 65mm F2 is a joy to use and ridiculously sharp.

No FE 24-105 f/4.0? It's the default native lens for like 90% of users and situations. Mine is always on camera or in my bag. It's sharp, surprisingly good at bokeh at 105 and very dependable for any kind of work. Also it's affordable and could be the only lens you'll buy and be totally okay with it.

Also it's strange to omit Tamron's 28-75 f/2.8, the main reason for many to consider E-mount in the first place. This is just silly to ignore the most popular zoom on a system, IMO. You just can't find the comparable price-to-iq ration on any other MILC system.

they recommend the Tamron 28-75 V2 in the standard zoom section as runner up

Sorry, I wasn't sepcific enough. It should in the main list because this lens alone is the main cornetstone of the entire ecosystem. Both for for switchers and newcomers.

If I am the one putting this list myself, the Sony 24-105 F4 would not be appeared on my list either. this list is not the "top 5 most popular" base on the fact how many copies were sold in the world, but a list of best lens based on DP Review staffs' opinion, so everyone is entitled to his/her rating.

I could not agree less :-)

I know a lot of Sony shooters, and I have seen just two people using the 24-105. So a lot less than the 90% you claim.

I haven't used a 24-105 on any system personally, because I have always seen it a compromise lens.

They didn't call this "The most popular lenses" - the title here was "the best lenses for Sony E mount", and I just don't consider the 24-105 to be among the best. They mentioned, and even chose, a number of GM lenses. GM lenses are meant to be the best, at least until you start talking about price (and even there - they have the biggest prices! :-) ).

I think the 24-105 is a very versatile and solid value, but I like Roger Cicala's analogy for lenses of it's kind, they're the minivan of the lens catalogs. There's not much that's sexy about them, but they'll get the job done.

I'd be a little more interested in a 24-120 like Nikon's for the extra cropping leeway, and I've seen a lot of people go from the 24-105 G to the 28-200 (which is still f4.5 at 100mm IIRC), but it's been years since I shot a 24-xx or 28-xx.

All that being said, this is just Chris & Jordan's opinion about the best lenses, DPR did have somewhat different recommendations when the editors have put together the site's recommended lens list:

https://m.dpreview.com/reviews/buying-guide-best-lenses-for-sony-mirrorless/3

I think Chris & Jordan are looking at things from a more enthusiast-like PoV (best doesn't have to mean most useful to you either) whereas those linked recommendations are probably aimed more at the average newcomer / new E mount user.

I think Sony's 50GM is one of their finest lenses ever and I still couldn't be less interested in it, the FL/size/price rule it out for me (even tho it's actually smaller than it's competitors). In the same vein, people with 42-61MP bodies probably value certain zooms (and even primes) differently than those w/24MP bodies.

I pretty much treat my 17-28/2.8 like a 17-40 f2.8-4 on my A7R IV, cropping to 30MP is no big deal to me and the long end is decent enough for it.

Absolutely agree with you. Their picks are personal, not “best for everyone”, which may be part of the appeal of the duo’s videos.

Just as my choice of the 50 GM is a personal one - I like it for shooting full length images in a studio, among other things - but I know full well that it will have zero appeal to many others. A dedicated bird in flight shooter is unlikely to have any use for a 50mm.

Tamron's 28-200mm sort of obsoletes the 24-105mm unless you desperately need 24mm.

My portrait lens of choice is the much maligned GM 85 1.4. Bokeh opinion is subjective but it is the winner there for me and enough so to overlook it is big and heavy and some find it noisy to focus and slower to focus.

Given Sony has replaced the other two lenses announced at the same time as the 85 GM (the 24-70 and the 70-200), one feels justified in wondering if we will see a replacement for the 85 GM sometime soon(ish). Maybe closer to Christmas (they left about half a year between the 70-200 and the 24-70, probably for wallet recovery :-)

I would be especially happy if Sony made an 85 f/1.2 GM - the 50 f/1.2 is a lovely lens.

I hope they do upgrade it and make a 1.2 for all those who want that. I am still not going to get either unless I win the lottery though as I am very happy with the current GM.

Considering overal budget options there's nothing close to the 200-600mm, even mentioning the Sigma over that lens equals blasphemy concerning Sony options.

Not to mention no TC option with the Sigma?

Also I’d pick the Tamron 150-500 over the Sigma as the distant second and third options vs the Sony 200-600G.

I actually see the 150-500 as a competitor to the 100-400 GM as much as an alternative to the xx-600s... It's as fast as the GM thru 389mm or something like that, and faster than a combo with the TC at 500mm, and it's got better AF than the Sigma of course while being lighter and smaller.

Another thing they seemed to have forgotten about with the Sigma choice is the drop in max fps burst shooting when not using native Sony lenses with some camera bodies such as the A9ii and A1. These are wildlife lenses and so this is another key feature.

The Sony is certainly a far better choice

Correction: the most (unnecessarily) expensive lenses for E-mount.

Reminder: G-Master is a money grab by Sony, and the joke's on you.

@focuspulling Just like every manufacturer out there? If you want the high-end manufacturer lenses you have to pay through the nose. No matter if it says Canon, Nikon, Sony or whatever.

Actually Sony G master is pretty cheap compare to Nikon and Canon's equivalent.

@Dan_168 Is it or is it just that the price dropped and the others are newer and higher priced due to inflation? In fact sony started the $1k price increase with the 70-200, followed by Nikon and lastly by Canon. If you ask me it depends more on what you look and what you leave out.

Sour grapes?

The lenses are well worth the price as it’s an overall package of IQ, build quality and AF performance/fps.

While I am not a huge fan of Sony camera body and slowly phasing out my Sony system, I do totally agree with Chris and Jordan the 14GM and 24GM is in fact the best super wide primes, not only in Sony system but in the whole FF market, so I'm actually using them with my Z9.

However, I was really surprised they never mentioned lens like Voigtlander 21 F1.4 and 35 F2 APO, in my opinion they are all top notch lens again not just for Sony but for any FF system. it never even mentioned the Sony 20G F1.8.

What adapter are you using and what type of photography are you using them for? I'm invested in the Z mount but there are a few Sony lenses that are appealing. I'm just not sure it's worth the plunge depending on how well the adapters work.

@Floodblue The 14GM and 20 F1.8 is my dedicated Milky Way landscape lens, I think the 24GM is even better than the 20 optically but the 20MM just work better for me in this specific application and in general 24 for me is either not wide enough most of time so I hardly use that even I like its optic evnebetter,

For my " normal" landscape, my all time favorite is the Voigtlander 21 F1.4 and Voigtlander 35 F2 APOi like them more than the Sony 20 and 35GM which Also own.

I use the Magadad ( revision 1) on my Z9, and I also pre-ordered the version 2 but still waiting for the delivery. besides those lenses mentioned, I regularly use 6 other E-mount Voiugtlander and Zeiss with this adapter and all works great. even with the AF lens like 24GM, 35GM, 85GM, Sigma 35 F1.2.....AF works fine, and I tried to use my Sigma 24-70 DNDG on the Z9 to cover a street event it work out perfectly fine also, so I will be buying few more adapter so I can use those lens on my other Z bodies if I need to. Nikon really lacking all the fast primes that I normally use every day at the moment so I will be using Sony and other fast prime in E-mount for a while.

Thanks! I'm dying to have a 70-200 F4 and Nikon still doesn't have one even on the roadmap yet.

@Floodblue I heard you, for the 70-200 F4, the Sony version is pretty horrible anyway so you probably should not care for it, the best one is still the Canon 70-200 F4 IS, and I use that Techart with that for my A7R IV and use the Finger adapter for my Z, works great on both, I actually own the Nikon DSLR version F4 as well, but not that hot either so I have not touch it for long time, probably have hard time to sell now.

They cannot mention every single of the following

14GM, 20G, 21Loxia, 21Noktron, 24GM, 35GM, 1.2/35DG DN, 35APO, 50GM, 50APO, 65Voigtländer, 90G, 105 DN Macro, 110voigtländer, 135GM, 135SY, 400GM, 600GM, 12-24GM, 14-24DG DN, 16-35G, 24-70GM ii, 24-70DG DN, 35-135 tamron, 70-200GM ii, 100-400GM, 200-600G

That all deserve to be picked!

Interresting - I think that the 12-24 GM is better at 14 mm than the 14 GM.

@Arcimboldo Not my experience, especially when you are shooting Milky Way, F1.8 is a huge advantage over F2.8, sounds small but in this specific application, even half of stop makes pretty big difference.

Thanks, guys! For a future episode, you might consider a similar show on MFT lenses — one that builds on and goes beyond the DPReview Buying Guide (which may need a little updating) and your episode on slower but high-quality 35mm format lenses (which is such an insightful an episode worth re-broadcasting).

Absolutely agreed the Tamron 35-150 is a fantastic choice. Have been running that on my Z9 and loving it!!

Sony FE 400mm f/2.8 GM OSS Lens $11,999.00 Weight 6.4 lb / 2895 g =============== Nikon NIKKOR Z 400mm f/4.5 VR S Lens $3,249.99 Weight 2.7 lb / 1245 g --------------------------------------------------------------

Your turn Sony.........

Nikon AF-S 400mm f/2.8E VR ED FL € 14.999,- Weight 8,37lb / 3700 g ----------------------------------------- Your turn Nikon.......

Yes Sony could do many a favour and produce a slower 400mm lens.

BTN1. Seriously…..

Seems the people who compare the fast big white primes with lenses more than one stop slower have never used the fast big white primes.

@Mujana did you forget? Nikon NIKKOR Z 400mm f/2.8 TC (560 f/4) VR S Lens $13,999.95 Weight 6.5 lb / 2950 g

https://www.kamera-express.nl/nikon-af-s-400mm-f-2-8e-fl-ed-vr-hk-38-zonnekap-?channable=0036556964003132313937303835e2&hic_camp=google_ads:16987791113:139444945327:593948032316&gclid=EAIaIQobChMI-pfXjoOz-QIVhBoGAB0EwgetEAQYAiABEgL4IPD_BwE

@RaindropDroptop….not where I live

https://www.nikon.nl/nl_NL/product/nikkor-z-lenses/auto-focus-lenses/fx/single-focal-length/nikkor-z-400mm-f-2-8-tc-vr-s

Not sure what you’re trying to show me? What I posted was pulled directly from nikon’s website. Anyways is nice to have option between the 400 f/2.8 which is similar weight to the Sony even with built in TC added, or the f/4.5.

Agree. I was confused. My fault.

Now now BTN1.... this is a Sony article abouy their options. No need to bring in Nikon to the discussion. I say this as a Nikon user. Sony has a lot of great lenses, and so does Nikon. Sony users have picked a brand that works them and mentioning a Nikon lens is irrelevant to the discussion.

I thought they were going to pick the Sony 20mm f1.8 or the 24-70 f2.8 II.

I guessed wrong.

The perfect size and weight makes the 20/1,8 a joy to carry around and its super smooth bokeh and close focus ability makes it very useful. Its sunstar..well it's sharpness wide open is great in big parts of the frame and it afs fast. I really like it

Edit. Its sunstar isn't horrible as in a big non-defined blob but rather it reminds me of that sunstar zoom video dpreview did where it was multilegged insect after multilegged insect. I actually rather like old Minolta sunstars with rather few points more than these 26-point things at f/11 but yes the two lens makers that appear to have stopped designing new lenses for Sony clearly rule this realm

There are way too many good lenses on E-mount, that's the problem. If they do the same video for other mounts, the results will be what people expected.

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Best superzoom lens for travel: 8 lightweight optics tested and rated

Whether you're travelling near or far, it's nice to travel light. In our search for the best superzoom lens for travel we put 8 space-saving optics head to head.

Best superzoom lens: the contenders

1 Canon EF-S 18-200mm f/3.5-5.6 IS, £390 / $590 2 Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR, £600 / $895 3 Olympus M.Zuiko Digital ED 14-150mm f/4-5.6 II, £550 / $840 4 Panasonic Lumix G 14-140mm f/3.5-5.6 ASPH Power OIS, £480 / $730 5 Sigma 18-200mm f/3.5-6.3 DC Macro OS HSM | C, £270 / $410 6 Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM | C, £400 / $610 7 Tamron 14-150mm f/3.5-5.8 Di III, £340 / $520 8 Tamron 16-300mm f/3.5-6.3 Di II VC PZD Macro, £480 / $730

Photography can literally be a pain. If you're exploring a city, rambling around the countryside, or heading to the other side of the world, a weighty bag of cameras, lenses and accessories will soon have you feeling the strain.

Wouldn't it be nice if you could get the advanced handling and image quality of a system camera, without the chore of lugging a big collection of kit around with you? That's where superzoom lenses come in.

They aim to deliver standard and telephoto zoom capabilities in a single, space-saving package - but it's not just about keeping the size and weight of your gear to a minimum.

Superzooms have long been popular for their versatility. It's great being able to react quickly as shooting opportunities arise, zooming from wide-angle to telephoto and everything in between at the flick of a wrist.

You'll avoid the frustration of missing shots altogether because you were too busy changing lenses.

Another bonus for the digital age is that, without needing to swap lenses on the camera so often, you can greatly reduce the risk of dust and muck being dumped on the image sensor.

It's especially true for compact system cameras, where the sensor is in plain sight when changing lenses, rather than being hidden away behind a mirror and shutter assembly.

SEE MORE: Best telephoto lens in the mid-price range - 8 top optics tested and rated

Features to look for in a superzoom lens

[caption id="attachment_607466" align="aligncenter" width="610"]

Click on the infographic to see the larger version[/caption]

Slim and Trim In the downsizing stakes for travel-friendliness, it naturally helps if the host camera is also reasonably compact and lightweight.

The biggest competition among superzoom lenses is therefore in APS-C format SLRs, rather than their larger full-frame siblings, and in compact system cameras. The physically smaller image sensors usually fitted to today's CSCs enable lenses to be even tinier.

One reason for this is that the image circle the lens needs to produce is relatively small. The second is that the greater crop factor (for example 2.0x for Micro Four Thirds cameras instead of 1.5x or 1.6x for APS-C) means that the actual focal length range tends to be smaller.

As a case in point, The Canon 18-200mm APS-C format lens and the Olympus 14-150mm MFT lens both give a similar effective zoom range, equating in 35mm terms to 28.8-320mm for the Canon and 28-300mm for the Olympus.

However, while the Canon measures 79 x 102mm and weighs 595g, the Olympus is much smaller at 64 x 83mm and less than half the weight at 285g.

There's been some significant weight loss in APS-C format superzooms over the last few years as well. In our last group test of superzooms, we featured the Nikon AF-S DX 18-300mm f/3.5-5. 6G ED VR, which we criticised for its podgy proportions of 83 x 20mm and hefty weight of 830g.

The newer Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR is a third of a stop slower at the long end of its zoom range, but a much more manageable 79 x 99mm and 550g.

A further indication is that the filter thread shrinks from 77mm to 67mm. Even so, the 'slimmer of the year' award goes to Sigma, whose current 18-200mm and 18-250mm lenses (the latter not reviewed this time around) for APS-C format SLRs are much smaller than the original editions, tipping the scales at just 430g and 470g respectively.

The 18-200mm featured in this group test measures just 71 x 86mm, so it's barely bigger than most standard zoom lenses for this class of SLR.

SEE MORE: Best wide-angle prime lens - 8 top options tested and rated

The Long and the Short Some superzoom lenses go all out for zoom range instead of trying to keep size and weight to a minimum. Sigma's latest offering is an 18-300mm lens that gives longer telephoto reach than any of its previous superzooms (not counting the enormous Sigma 50-500mm super-telephoto zoom). Size and weight creep up again to 79 x 102mm and 585g.

Tamron has a habit of eyeing up the biggest zoom range on the market - then trumping it. The company has struck again with its latest 16-300mm lens for Canon, Nikon and Sony APS-C format SLRs.

As well as having a class-leading 18.75x zoom range, it gives greater wide-angle coverage than any other superzoom, with an effective shortest focal length of just 24mm (25.6mm in its Canon fit), whereas most superzooms are equivalent to 28mm at their shortest zoom setting.

SEE MORE: Best budget prime lens - 8 top optics tested and rated

Getting back to the long end of the zoom range, one perennial problem of telephoto shooting is camera-shake, especially for travel and walkabout shooting, where you may not want to be carrying a tripod around with you.

To combat this, all of the Canon-fit and Nikon-fit lenses featured in this group test have optical image stabilisation. Sigma and Tamron both omit the stabiliser from APS-C format superzooms in their Sony-fit option (also Pentax for Sigma), as the host cameras typically have sensor-shift stabilisation built in.

The same goes for Olympus Micro Four Thirds cameras, whereas Panasonic bodies often don't have built-in stabilisation. The Panasonic 14-140mm MFT lens on test here therefore includes a Power OIS (Optical Image Stabilizer).

SEE MORE: Best lens for portraits - 5 sensibly priced options tested and rated

Roll out the barrel We're all used to zoom lenses extending in length as you sweep through the zoom range. However, while extension is often minimal with wide-angle and standard zoom lenses, or non-existent with many constant-aperture zoom lenses, superzooms are a different story.

While all of the lenses in this group test are reasonably compact and manageable, to varying extents, they all extend greatly as you zoom from the shortest to the longest available focal length.

As a rule of thumb, you can expect a superzoom lens to double in length at its maximum telephoto setting. Add a lens hood as well (sold separately for the Canon and Nikon lenses on test) and the overall length can be more than you bargained for.

SEE MORE: How to get the very best results from whatever lens you have

Best superzoom lens for travel: 01 Canon EF-S 18‑200mm f/3.5-5.6 IS

£390 / $590 Despite being outgunned for zoom range by the newer Nikon and Sigma 18-300mm lenses, as well as the Tamron 16-300mm, the Canon is the outright heaviest lens in the group, and the joint biggest along with the Sigma.

Launched in 2008, the Canon looks and feels quite dated. There's no focus distance scale and autofocus is based on a simple and fairly noisy electric motor.

Unlike Canon lenses that feature ring-type ultrasonic or stepping motor system (the latter adopted in the newer 18-135mm STM lens), the focus ring rotates during autofocus and there's no full-time manual override.

On the plus side, the lens features a late-generation image stabiliser that has a four-stop rating and comes complete with automatic panning and tripod detection.

Two UD (Ultra-low Dispersion) elements are fitted to combat chromatic aberrations and Super-Spectra coatings are applied to reduce ghosting and flare.

Overall build quality feels fairly robust, but the mount lacks a weather-seal ring. It also suffers badly from zoom creep.

Performance Autofocus is reasonably quick for an electric motor-driven system and, in our tests, the stabiliser gave a three-stop benefit. Sharpness is below average throughout the zoom range, but there's no major drop-off at the telephoto end.

Barrel distortion at the wide-angle end is worse than all others apart from the Tamron 16-300mm, which gives a wider angle of view.

Tech focus… 16 elements in 12 groups; six diaphragm blades; closest focus distance, 45cm; 72mm filter thread; electric motor autofocus; 79 x 102mm; 595g.

Features: 3/5 Build Quality: 3/5 Image Quality: 3/5 Value: 3/5

Overall Score: 3/5

SEE MORE Canon lenses - 40 tips for using, choosing and buying Canon-fit glass Nikon lenses from A-Z: the ultimate photographers' guide

Best superzoom lens for travel: 02 Nikon AF-S DX 18-300mm f/3.5-6.3G ED VR

£600 / $895 There are currently two Nikon 18-300mm lenses on the market, this newer one having a narrower f/6.3 rather than f/5.6 aperture at the long end of the zoom range. It's also a lot more travel-friendly than the older lens, being smaller and nearly 300g lighter, at 550g.

Like most Nikon lenses, this one features a rubber weather-seal ring on its metal mounting plate. It beats the competing Canon lens by featuring ring-type ultrasonic autofocus, which is reasonably quick, very quiet and comes complete full-time manual override.

As usual for this type of system, the focus ring doesn't rotate during autofocus. Switches are on hand for auto/manual focus, VR (Vibration Reduction) on and off and zoom lock.

We experienced four-stop effectiveness from the VR and, unlike the older Nikon 18-300mm and 18-200mm superzooms, there's no zoom creep.

Even so, there's a budget look and feel to the lens, which lacks a focus distance scale and is supplied without a lens hood (sold separately).

Performance Despite featuring three ED (Extra-low Dispersion) elements, colour fringing is the second worst in the group.

At least in-camera corrections take care of fringing in current and recent Nikon SLRs, when shooting in JPEG mode or processing raw files in Nikon's own software.

Sharpness is good at wide to mid zoom settings but drops off a lot at the long end. Distortion levels are pretty average.

Tech focus… 16 elements in 12 groups; 7 diaphragm blades; closest focus distance, 48cm; 67mm filter thread; ultrasonic (ring type) autofocus; 79 x 99mm; 550g.

Features: 4/5 Build Quality: 4/5 Image Quality: 3/5 Value: 2/5

SEE MORE: 7 questions photographers must ask before buying their next lens

Best superzoom lens for travel: 03 Olympus M.Zuiko Digital ED 14-150mm f/4‑5.6 II

£550 / $840 Remarkably simple, the Olympus is the only lens in the test group that has no buttons or switches. There's not even one for locking the zoom mechanism, although this isn't a problem as there's no hint of zoom creep.

There's no optical image stabiliser either, as it relies on in-camera stabilisation from Olympus Micro Four Thirds bodies. Finally, there's no auto/manual focus switch as this is taken care of by the host camera.

The stepping motor autofocus system is optimised for shooting both stills and movies. It's virtually silent, reasonably quick for stills and gives silky smooth transitions when shooting movies.

Multi-coatings are applied to all lens elements to keep ghosting and flare to a minimum and, of the three aspherical elements, one is made from ED (Extra-low Dispersion) glass.

Compact and lightweight at 64 x 83mm and 285g, the lens has a high-precision feel to its construction, complete with a weather-sealed mount and dust, splash and freeze-resistance.

SEE MORE: 11 common lens errors (and how you can avoid them)

Performance The Olympus beats the competing Panasonic MFT lens for sharpness at wide-angle and mid-zoom settings but drops off at the long end of the zoom range.

Sharpness levels are below average, but colour fringing and distortions are complete non-issues on the OM-D E-M1 that we used for testing. For telephoto shooting, we found in-camera stabilisation gave a two-stop advantage, proving less effective than the Panasonic lens's optical stabiliser.

Tech focus… 15 elements in 11 groups; seven diaphragm blades; closest focus distance, 50cm; 58mm filter thread; stepping motor autofocus; 64 x 83mm; 285g.

Features: 3/5 Build Quality: 4/5 Image Quality: 4/5 Value: 3/5

SEE MORE: Olympus cameras - the full and complete range explained

Best superzoom lens for travel: 04 Panasonic Lumix G 14-140mm f/3.5-5.6 ASPH Power OIS

£480 / $730 Weighing in at just 265g and measuring 75mm in length, this Panasonic lens is even lighter and smaller than the competing Olympus superzoom.

It's also slightly shorter in maximum focal length, equivalent to 280mm instead of 300mm on Micro Four Thirds cameras, but adds optical stabilisation.

Panasonic claims a 2x improvement in its Power vs Mega optical image stabilisation system, and it's certainly a big advantage over the Olympus and Tamron MFT lenses in the group, which have no optical stabilisation at all.

The addition isn't just good news for owners of Panasonic cameras with no built-in stabilisation, as it gives the choice of whether to use optical or sensor-shift stabilisation on other MFT cameras.

Build quality feels almost as refined as in the Olympus lens but the Panasonic lacks weather seals. However, it features two ED elements where the Olympus only has one.

The stepping motor autofocus system is similarly silent and suitable for stills and movie capture.

Like the Olympus and Tamron MFT lenses here, manual focusing is an electronic 'fly-by-wire' affair.

SEE MORE: Panasonic cameras - the full and complete range explained

Performance There's a dip in sharpness in the middle of the zoom range but it's pretty good at either end. Sharpness in handheld telephoto shots gets a boost from the optical stabiliser, which gives a benefit of about three and a half stops.

Tests from our OM-D E-M1 revealed slightly more noticeable distortions than from the Olympus, but well controlled with minimal colour fringing.

Tech focus… 14 elements in 12 groups; seven diaphragm blades; closest focus distance, 30-50cm; 58mm filter thread; stepping motor autofocus; 67 x 75mm; 265g.

Features: 4/5 Build Quality: 4/5 Image Quality: 3/5 Value: 4/5

Overall Score: 4/5

How to get sharp photos when using a telephoto lens Angle of View - how to choose the right focal length to frame your images What is maximum aperture? Which lenses go widest (and why it matters) 10 reasons why your photos aren't sharp (and how to fix them)

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An in-depth look at the top prime and zoom lens options for the a6000 from wide angle to telephoto.

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The Alpha a6000 is part of Sony’s latest generation of mirrorless cameras that are extraordinarily well-liked for their small size and impressive image quality. When choosing lenses for the a6000, the two kit options will get you out the door and shooting photos in no time, and there a number of other E-mount prime and zoom lenses that offer superior optics. In particular, the primes from 19mm to 60mm below are nice values. Keep in mind when evaluating lenses that the Sony a6000 has 1.5x crop factor, and to make things easier we’ve listed the equivalent focal length on a 35mm full-frame camera in the specs.

Kit Lenses for the Sony a6000

Sony 16-50mm f/3.5-5.6 ($598 with the a6000).

The Sony 16-50mm Power Zoom is sold in a kit with the a6000, and many people choose to go this route. The 16-50mm is very compact—similar to a pancake lens when powered down—and versatile for travel and everyday use. Optical performance is decent overall but weakest at the wide end where there is noticeable distortion and softness. It performs best from about 20mm on, so those who frequently shoot landscapes and other wide-angle photos should consider adding one of the wide-angle lenses below. See the Sony 16-50mm Kit  

Sony 55-210mm f/4.5-6.3 OSS ($940 for the two-lens kit)

If you get the 16-50mm kit lens above, it makes a lot of sense to add the Sony 55-210mm telephoto zoom for a complete set-up. Taken together, the two lenses have you covered all the way from wide-angle to telephoto at an equivalent of 24 to 315mm. The 55-210mm lens is sharp throughout its range and comes with Sony’s OSS image stabilization technology. And given that it sells for $348 on its own, it’s a good value at about $150 with the two-lens kits. See the Sony 55-210mm Kit  

All-In-One Lenses

Sony 18-200mm f/3.5-6.3 oss ($848).

We have mixed feelings about all-in-one lenses: they are extremely convenient and can serve as the only lens in your bag, which is great for travel and walking around. They don’t, however, excel at any particular focal length like a purpose-built lens. The Sony 18-200mm f/3.5-6.3 OSS does capture sharp images and comes with OSS for when natural light is low. It also focuses quickly and is faster than the 55-210mm above. The lens is somewhat heavy at over 18 ounces, particularly on a lightweight body like the Sony a6000, but that’s normal for an all-in-one lens.  ​See the Sony​ 18-200mm  

Wide-Angle Lenses

Sony 10-18mm f/4 oss ($848).

The pricey Sony 10-18mm f/4 OSS is the top wide-angle zoom lens for Sony E-mount cameras. This lens is sharp, has minimal distortion, focuses quickly, and weighs only 7.9 ounces, which is considerably lighter than comparable lenses for digital SLRs. We don’t love the maximum aperture of f/4, but it does have Sony’s OSS image stabilization to help offset camera shake. Another wide-angle prime for the a6000 is the Zeiss Touit 12mm f/2.8, which is a nice lens but also getting up there in price. ​See the Sony 10-18mm  

Mid-Range and Portrait Lenses

Sony vario-tessar t* e 16-70mm f/4 oss ($998).

For those who can afford it, the Sony 16-70mm f/4 OSS is our favorite lens for the Sony Alpha a6000. You can buy the camera body, add this lens, and you’ll have superb image quality from 24-105mm for everything from landscape shots to portraits (this a terrific travel option). This long name is a result of Sony’s partnership with Zeiss, which is most obvious in the T* coating that results in great clarity and color. The obvious downside of this lens is its cost, which brings you to around $1,500 total for the camera and lens. ​See the Sony 16-70mm  

Sigma 19mm f/2.8 ($199)

You have two lens options in this focal length range: the Sigma 19mm f/2.8 and the Sony 20mm f/2.8. Both lenses are lightweight, sharp, focus quickly, and have the same maximum aperture. We prefer the Sigma simply because it’s about $150 cheaper. The ridiculously low profile of the Sony 20mm is nice—it's less than 1-inch thick and only 2.3 ounces—but the Sigma is no slouch at 1.8-inches and 4.9 ounces. If the physical difference is important to you, grab the Sony. Otherwise, the Sigma 19mm f/2.8 is a better value.  See the Sigma 19mm  

Sony 35mm f/1.8 ($448)

The 35mm f/1.8 is Sony's leading portrait lens for its E-mount series cameras with an equivalent focal length of 52.5mm. This lens is sharp, performs well in low light, and has OSS image stabilization, making it a great option for those who frequently shoot portraits. It’s true that this lens is expensive compared to the 50mm DSLR lens options from Nikon and Canon, but that’s not uncommon in the mirrorless world. The Zeiss Touit 32mm f/1.8 is even sharper but too pricey for our taste. See the Sony 35mm  

Sony 50mm f/1.8 ($298)

The Sony 50mm f/1.8 is one of the best values of any E-mount lens—it’s sharp all the way to the corners and strong in low light with a maximum aperture of f/1.8. One consideration is that the focal length, which is equivalent to 75mm equivalent on a 35mm camera, has specific uses including close-up portraits and head shots. It’s great for kids and people photos, but it’s not necessarily an ideal travel or walk-around lens.   See the Sony 50mm  

Sigma 60mm f/2.8 ($209)

With impressive optical performance and a low price tag, there’s not much to dislike about the Sigma 60mm f/2.8. This lens is best suited for close-up portraits with a focal equivalent of 90mm, and does everything relatively well. It’s sharp, focuses quickly, and can produce a shallow depth of field and good bokeh. One consideration is that the lens does not have image stabilization, but you won’t need it often with a maximum aperture of f/2.8. See the Sigma 60mm  

Telephoto Lenses

Sony 55-210mm f/4.5-6.3 oss ($348).

There are few E-mount lens choices at the telephoto end of the spectrum, and this model has the farthest reach at an equivalent of 315mm (second is the 18-200mm above at an equivalent of 300mm). The Sony 55-210mm OSS is listed above as part of a two-lens kit above, or you can buy it on its own for around $350 (it’s a much better value at part of the kit). The only thing to complain about here is low light performance with a maximum aperture of f/4.5, but you do get OSS image stabilization. Perhaps we will see a faster E-mount telephoto lens down the road, but until then the 55-210mm does just fine. See the Sony 55-210mm

Sony Alpha a6000 Lens Comparison Table

Read more about photography.

Best Mirrorless Cameras of 2020

11 Great Sony E-Mount (APS-C) Lenses

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The Best Portrait Lenses for Sony E Mount Cameras We Love

Of course, some photographers would rather reach for zoom lenses than prime lenses. We get that! So, if you’re a professional photographer using Sony cameras, you’re in the right place. Looking for the best portrait lenses for Sony E Mount? We’ve tested these lenses and found them to be exceptional in a variety of tests. But more importantly, they’re also innovative in many ways. Take a look!

Table of Contents

Pro Tips on Using Portrait Lenses for Sony E Mount Cameras

If you’re curious about some of the best portrait lenses for Sony E Mount, see how we test our lenses:

• All the images in this roundup were shot by us. Further, all the testing was done by us, too. You can click on our full reviews in each section to learn more.
• This roundup of the best portrait lenses for Sony E Mount focuses on the fact that some professional photographers want zoom lenses instead of primes. In that case, these truly are remarkable. 
• Some Sony cameras focus faster and better than others. We’ve seen this across the board in our camera tests.
• The key with Sony is using the AF-C mode along with face/eye detection. And you’ll get the fastest and most accurate autofocus if you turn off the Live View Setting Effect. Instead, set up your camera to give an End Result Preview when pressing a button.
• One of these lenses is an Editor’s Choice Award winner. Another one was incredibly close to getting it.

Tamron 28-75mm f2.8 Di III VXD G2

Use this lens at the tele-end for portraits where you want a lot of bokeh. It works great on the wider end too, for dramatic environmental portraits. Combine this with face and eye detection. We’ve used it on both current and older cameras. and the autofocus did a great job on both. So, no matter what Sony camera you’re using, this lens should do an excellent job.

How’s the Autofocus?

In our review, we state:

“…it focused perfectly fine on both cameras providing that the autofocus was set to the correct subject type. This worked both with moving and stagnant subjects. More importantly, it also worked very well in low-light.”

Tamron 35-150mm f2-2.8 Di III VXD

The Tamron 35-150mm f2-2.8 Di III VXD is one of the most innovative lenses to come out in the past few years. It provides an advantageous focal range for photographers of all types. At the longer end, it will act sort of like a 70-200mm lens. On the wider end, it will seem more like a prime lens with its wide aperture. Use this lens in conjunction with face and eye detection. And for an even better effect, use the AF-C setting on your Sony camera.

“I can’t complain about the autofocus here. It’s pretty much as good as a Sony lens. And you can trust us on that statement; we’ve reviewed the most lenses for Sony FE-mount of any photography-specialized outlet.”

Tamron 70-180mm f2.8 Di III VXD

Think of the Tamron 70-180mm f2.8 Di III VXD as being more compact and lighter than a 70-200mm lens, giving you excellent mobility when shooting all day. With your Sony camera, you’ll rely on its image stabilization. The VXD autofocus motor will keep up with most subjects, provided you’ve got the right camera.

“…both Face Detection AF and Eye Detection AF worked reasonably well on the Tamron.”

This piece is presented in partnership with TAMRON. We’ve independently and ethically reviewed all the products in this post already without sponsorship. And we worked with them to recommend a few key gems to you.

The Phoblographer’s various product round-up features are done in-house. Our philosophy is simple: you wouldn’t get a Wagyu beef steak review from a lifelong vegetarian. And you wouldn’t get photography advice from someone who doesn’t touch the product. We only recommend gear we’ve fully reviewed. If you’re wondering why your favorite product didn’t make the cut, there’s a chance it’s on another list. If we haven’t reviewed it, we won’t recommend it. This method keeps our lists packed with industry-leading knowledge. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission.

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Home » Gear » best nikon travel lenses

The 16 Best Travel Lenses for Nikon • Comprehensive Guide

Nikon is one of the oldest and most respected camera manufacturers in the world. For over 100 years, this company has been producing photographic equipment that is used and loved by all types of people.

Nikon gear is used by professional photographers, journalists, enthusiasts, and everyday-folk alike; it is thanks to their mutual love for Nikon that the company has been so successful.

Nikon is well-known for its camera sensors, which are among the most advanced camera bodies on the current market. That said, a sensor is nothing without a lens. Nikon users should be just as concerned with their travel lens selection as they are with their camera body, which is what we’re going to talk about today.

There are over 90 Nikon lenses to choose from and even more when you consider 3rd parties like Sigma, Tamron, and Rokinon. If you’re having trouble sorting through these lenses and choosing the best Nikon travel lens for yourself then we don’t blame you.

That’s why we’re here to help! We at Broke Backpacker have an extensive knowledge on Nikon’s lens library are ready to help you out with any and all of your questions.

We’ve compiled a list of the 16 best Nikon lenses for travel photography. Each lens is uniquely designed and will appeal to a certain type of photographer. Whether you’re a run-and-gunner, a Zen landscape master, or a pro at portraiture, there is a lens out there made just for you.

So let’s get to it then! Here are the best Nikon lenses for travel photography currently available!

Quick Answers: Best Nikon FX Travel Lenses of 2024

Quick answers: best nikon dx travel lenses of 2024, best nikon travel lenses for fx mount, best nikon travel lenses for dx mount, things to consider when buying the best nikon travel lenses, faq about the best nikon travel lenses.

• Overall Best Travel Lens for Nikon FX – Nikon AF-S FX NIKKOR 24-120mm f/4G ED VR
• Best Budget Travel Lens for Nikon FX – Nikon 24-85mm F/3.5-4.5G ED VR AF-S
• Best Professional Travel Lens for Nikon FX – Nikon AF-S FX NIKKOR 24-70mm f/2.8G
• Best Prime Travel Lens for Nikon FX – Nikon 50mm f/1.4G SIC SW
• Jump to -> The List of Best Nikon FX Travel Lenses of 2024

Nikon Nikkor 24-120mm f/4.0

• > Great focal range
• > Lightweight

Nikon Nikkor 24-85mm f/3.5-4.5

• > Good center sharpness
• > Good autofocus
• > Affordable

Nikon Nikkor 24-70mm f/2.8

• > Outstanding sharpness
• > Very robust
• > Great autofocus

Nikon Nikkor 50mm f/1.8

• > Light and durable
• > Very affordable
• Overall Best Travel Lens for Nikon DX – Sigma 18-300mm F3.5-6.3 DC Macro OS HSM
• Best DX Budget Travel Lens for Nikon DX – Sigma 17-50mm f/2.8 EX DC OS HSM FLD
• Best DX Professional Travel Lens for Nikon DX – Sigma Art 18-35mm f/1.8
• Best EF-S Prime Travel Lens for Nikon DX – Nikon AF-S DX NIKKOR 35mm f/1.8G
• Jump to -> The List of Best Nikon DX Travel Lenses of 2024

Sigma 18-300mm f/3.5-6.3

• > Good optics
• > Well designed

Sigma 17-50mm f/2.8

• > Fast aperture

Sigma Art 18-35mm f/1.8

• > Unbeatable resolution
• > Unbeatable resolution Very fast aperture
• > Limited optical imperfections

Nikon Nikkor 35mm f/1.8

• > Great performance
• > Amazing price
• > Very portable

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Overall Best Nikon Travel Lens (FX): Nikon AF-S FX NIKKOR 24-120mm f4 G ED VR

• Weight: 1.56 lb / 710 g
• Dimensions: 3.31 x 4.06″ / 84 x 103 mm
• Filter Size: 77mm
• Optical Stabilization: Yes

The Nikkor 24-120mm f/4 ED VR is our pick for the best Nikon travel lens! This iteration of the classic “do-everything travel zoom” is a worthy piece of equipment, thanks in part to its solid optical performance, effective vibration reduction, and relative lightweight.

Those who are traveling the world and need something both powerful and portable will find the 24-120mm is one of the best options.

The Nikon Nikkor 24-120mm f/4G ED VR appealing because of its useful focal range. At 24-120mm, this lens can capture all sorts of subjects and will appeal to many types of photographers.

Landscape photographers will appreciate the relatively wide 24mm angle while portrait photographers will get some pretty solid headshots at the telephoto end.

Optically, the Nikon Nikkor 24-120mm f/4 performs very well. Images are super sharp, particularly in the center, from the widest aperture. The corners are bit soft but improve dramatically when the lens is stopped down.

Vignetting and distortion are visible at both ends of the focal range but luckily these problems can easily be fixed in post-processing. The bokeh created by the 24-120mm isn’t the best, and many photographers find it too busy or chaotic.

To be honest, the problems that the Nikon Nikkor 24-120mm f/4G ED VR suffers from are to be expected. Travel zooms like this one are usually prone to optical imperfections but, given the usefulness of the lens’ focal range, these tradeoffs are almost always acceptable.

The Nikon Nikkor 24-120mm f/4 is made of high-grade plastics. Although these plastics are pretty durable, they are not weather resistant. Those who expose their lenses to elements frequently may be concerned with the Nikon 24-120mm’s ruggedness or lack thereof.

• Excellent sharpness.
• Very useful focal range and VR.
• Relatively lightweight.
• Vignetting/distortion when shot wide or telephoto.
• Unattractive bokeh.
• Plastic construction.

Best Budget Nikon Travel Lens (FX): Nikon 24-85mm F/3.5-4.5G ED VR AF-S

• Weight: 1.02 lb / 465 g
• Dimensions: 3.07 x 3.23″ / 78 x 82 mm
• Filter Size: 72mm

For those who don’t want to shell out $1,000+ for a professional zoom, the Nikon 24-85mm f/3.5-4.5G ED VR is an excellent alternative. For around $500, you can have a lens with good image quality, a solid set of features, and excellent packability. Though the Nikon 24-85mm f/3.5-4.5 is far from perfect, it still does a great job of capturing beautiful images.

Optically, the Nikon 24-85mm f/3.5-4.5G ED VR performs pretty well. Center sharpness is excellent throughout the entire focal range. The vibration reduction and autofocusing systems are very capable as well and should increase photo quality in either dimly lit or fast-paced environments.

The Nikon 24-85mm f/3.5-4.5G ED VR does suffer from quite a few optical blemishes. Distortion, both the barrelling and pincushion varieties, is noticeable throughout the focal range. Vignetting and corner softness are also strong when the lens is used wide open.

Even though it was designed to be used on the FX mount, the Nikon 24-85mm f/3.5-4.5G ED VR oddly enough feels more suited for a DX camera. Because of the sensor cropping, the corners suffer less from softness and vignetting while on a DX body.

Regardless of its inherent flaws, the Nikon 24-85mm f/3.5-4.5G ED VR is still an effective lens that is capable of delivering excellent photos. It will require a little extra effort to get the most out of this camera but, once you master it, the Nikon 24-85mm f/3.5-4.5G ED VR can be one of the best budget travel lenses for Nikon FX users.

• Good center sharpness throughout the focal range.
• Quick, silent autofocus.
• Affordable.
• Distortion throughout the range.
• Heavy vignetting.
• Optical blemishes more apparent on FX mount.

Best Professional Nikon Travel Lens (FX): Nikon AF-S FX NIKKOR 24-70mm f/2.8G

• Weight: 1.98 lb / 900 g
• Dimensions: 3.27 x 5.24″ / 83 x 133 mm
• Optical Stabilization: No

For those looking for a superlative lens and are willing to fork out the necessary dough, the Nikon AF-S FX Nikkor 24-70mm f/2.8G is one of the best that money can buy.

Thanks to its stellar image sharpness, blazing fast autofocus, and superb build quality, the Nikon AF-S FX Nikkor 24-70mm f/2.8G is our choice for the best travel lens for professional Nikon photographers.

The Nikon AF-S FX Nikkor 24-70mm f/2.8G is a worthy addition to the photographic world. Like most other fixed-aperture zooms, the Nikon AF-S FX Nikkor 24-70mm f/2.8G is near-flawless optically.

More than that, it just performs amazingly well – autofocus is some of the fastest in the Nikon line, and construction is of such high quality the lens can handle most forms of weather.

All and all, the Nikon AF-S FX Nikkor 24-70mm f/2.8G strives to be a perfect lens and, for the most part, comes close. As is the case with pro medium zooms though, the question is “what doesn’t this lens have?”

Like a lot of Nikon lenses, distortion and vignetting are present in the Nikon AF-S FX Nikkor 24-70mm f/2.8G, but to a much lesser degree. Many photographers will not notice these imperfections. Those that do can easily fix them with post-processing software as always.

The Nikon AF-S FX Nikkor 24-70mm f/2.8G also lacks vibration reduction tech, perhaps to keep costs and/or size down to a minimum. The fast f/2.8 aperture should do well enough in low light. For those that really want the VR though, there’s a newer, more expensive model that comes equipped with it.

• Outstanding sharpness.
• Extremely quick autofocus.
• Very robust build-quality.
• Some corner softness and vignetting.
• No vibration reduction tech.

Best Prime Nikon Travel Lens (FX): Nikon 50mm f/1.8G

• Weight: 6.53 oz / 185 g
• Dimensions: 2.84 x 2.06″ / 72.1 x 52.4 mm
• Filter Size: 58mm

Almost every photographer’s first prime lens is a 50mm, or “nifty fifty.” These lenses are popular first choices because they’re almost always a) useful b) effective and c) affordable. Nikon’s own 50mm f/1.8 is no exception to this trend!

The Nikon 50mm f/1.8G is everything that you’d expect from a nifty fifty – it’s sharp, portable, very fast, and, best of all, a screaming deal.

Optically, the Nikon 50mm f/1.8G is a solid performer. Sharpness is respectable when shot wide open and becomes impressive when stopped down to f/2.8 and f/4.

Vignetting and corner sharpness are present in the Nikon 50mm f/1.8G when it’s shot wide open. Most will hardly recognize these faults since the background will probably be thrown out anyways and lost in the lens’ bokeh, which is gorgeous by the way. Distortion is a bit heavy for a prime lens but this can easily be fixed in post-processing.

It goes without saying that the Nikon 50mm f/1.8G is very portable, weighing only a paltry 185 grams. The lens doesn’t have the best depth of field markings, which may or may not turn off traditional photographers who like to know their hyperfocal values.

At the end of the day, what makes the Nikon 50mm f/1.8G so great is its unbeatable price. For around $200 new, you can have an extremely useful lens that sacrifices little in the way of performance.

Those looking for the best prime lens for Nikon then should look no further than the Nikon 50mm f/1.8G.

• Light yet durable.
• Amazing price.
• Distortion.
• Vignetting/corner softness at widest aperture.
• Poor DOF markings.

Best Nikon Travel Lens for Landscape Photographers (FX): Nikon AF-S FX NIKKOR 16-35mm f/4G ED VR

• Weight: 1.50 lb / 680 g
• Dimensions: 3.25 x 4.92″ / 82.5 x 125 mm

The Nikon Nikkor 16-35mm f/4G ED VR is an exceptional wide-angle lens. The photos that this camera produces have an awesome resolution, are generally free of optical blemishes and just drop-dead gorgeous.

For landscape photographers, the Nikkor 16-35mm f/4G ED VR is one of the best Nikon travel lenses that they can own.

There’s little to begrudge of the Nikon Nikkor 16-35mm f/4G ED VR in terms of image quality. From f/4.0, center sharpness is superb and by f/8.0 the entire frame is crisper than a fresh set of bed sheets. Corners do show a bit of softness when the lens is used wide-open but this is to be expected from an ultra wide angle.

Distortion is very apparent when the lens is set to 16mm. This distortion is nothing debilitating – modern post-processing software can fix this imperfection – but it just really stands out within the focal range.

Luckily, all other forms of optical blemishing are well controlled in the Nikon Nikkor 16-35mm f/4G ED VR. Chromatic aberrations are nearly absent and vignetting is limited throughout the focal range.

The Nikon Nikkor 16-35mm f/4G ED VR comes equipped with vibration reduction technology, which is great for those using their DSLR for filmmaking. Pure landscape photographers may use this feature less frequently but it doesn’t hurt to have.

• Impressive sharpness.
• Well controlled vignetting and chromatic aberrations.
• VR tech for filmmaking.
• Corners are a bit soft at wide apertures.
• Heavy distortion when shot at 16mm.
• Perhaps a bit large (but only).

Best Nikon Travel Lens for Portrait Photographers (FX): Nikon AF S NIKKOR 85mm f/1.8G

• Weight: 12.35 oz / 350 g
• Dimensions: 3.15 x 2.87″ / 80 x 73 mm
• Filter Size: 67mm

85mm lenses are some of my favorites because, aside from their useful focal length and portable size, they almost always have near-perfect optics. The Nikon 85mm f/1.8G is such a lens.

With stellar sharpness and not too much else to complain about, the Nikon 85mm f/1.8G is one of the best Nikon travel lenses for portrait photographers.

Optically, there’s not a lot that the Nikon 85mm f/1.8G could improve on. Images are very sharp even at the widest aperture. Corners are a bit soft at the widest aperture but these will probably go unnoticed since this lens is primarily a portrait lens. When the lens is stopped down, images are tack sharp from corner to corner.

Any and all other optical blemishes are not an issue in the Nikon 85mm f/1.8G. Vignetting and distortion are practically non-existent and chromatic aberrations are very limited.

Unfortunately, the autofocus is a bit of head scratcher in the Nikon 85mm f/1.8G, at least when compared to its predecessor. The Nikon 85mm’s new autofocus system is quieter but is for some reason slower than the older model.

Even with its slightly slower autofocusing system, we still believe that this model is the best version of the lens. Most photographers will find that they don’t need the autofocus to be any faster.

Construction-wise, the Nikon 85mm f/1.8G is small and well-built. Overall, it’s a sturdy lens and should hold up quite well although its plastic construction may not appease photographers that don’t care for the material in the first place.

• Fantastic image quality.
• Fast and light.
• Great price.
• A little soft at larger apertures (but still great!).
• Autofocus is a bit slower than its predecessor.
• Plastic construction may irk some purists.

Best Nikon Travel Lens for Astrophotographers (FX): Rokinon 20mm f/1.8 AS ED UMC

• Weight: 1.09 lbs/497 g
• Dimensions: 3.27” x 3.48”
• Image Stabilization: No

Lenses produced by the Korean company Rokinon, or Samyang as it’s sometimes referred to, are very popular with astrophotographers mostly due to their excellent performance and price. The Rokinon 20mm f/1.8 AS ED UMC is one of the best lenses from this company. With an ultra-wide angle and super fast aperture, you can capture the night sky in all of its splendor and not have to break the bank in the process.

For these reasons, we think that the Rokinon 20mm f/1.8 AS ED UMC is the best Nikon travel lens for astrophotography.

Rokinon lenses are cheaper because they do not use a lot of expensive electronics that are usually included in modern day lenses. As such, most if not all of Rokinon lenses do not have autofocusing capabilities. This means that you’ll have to focus the Rokinon 20mm f/1.8 AS ED UMC manually.

Honestly, focusing manually isn’t as much of a pain as some make it out to be; it is, sometimes, preferable. The zoom ring is smooth and easy to understand, thanks to the detailed DOF markings on the side of the barrel.

Optically, the Rokinon 20mm f/1.8 AS ED UMC performs very well. Sharpness is great but CA is noticeable at wider apertures. To alleviate chroma, try stopping the lens down a tad to eliminate CA but not so much too much to cause diffraction, which sets in about f/11.

The body of the Rokinon 20mm f/1.8 AS ED UMC is built from high-grade plastics while the mount is metal; both are quite sturdy. The whole lens can feel quite bulky, though not as much as some other full frame lenses.

• Great bang for your buck.
• Limited distortion.
• Awesome aperture for an ultrawide.
• Manual only.
• CA and vignetting present at the widest aperture.

Best Nikon Travel Lens for Telephoto Lovers (FX): Nikon 70-300mm f/4.5-5.6G ED IF AF-S VR

• Weight: 26.3 oz / 745 g
• Dimensions: 143.5mm x 80mm / 5.6 in. x 3.1 in

The Nikon 70-300mm f/4.5-5.6G VR is one of the most surprising lenses on this list. For less than $500, this lens is, somehow, shockingly sharp, very lightweight, and functionally complete thanks to additions like VR and internal zooming.

In short, we love this lens and think it’s not only one of the best telephotos but hands-down one of the best lenses for Nikon.

There is a lot to like about the Nikon 70-300mm f/4.5-5.6G VR. Optically, this lens impresses, beginning sharp at its widest aperture and staying respectably sharp throughout its entire range.

The resolution does drop a bit as the lens approaches the 200mm mark but the degradation is marginal. CA also picks up as you zoom in but, as the image resolution, is relatively unobtrusive.

Since the Nikon 70-300mm f/4.5-5.6G VR has a slower aperture, it’s not very adept at shooting in low-light situations. The normally responsive autofocus tends to get lost and shutter speeds can become dangerously low. Vibration reduction tech is thankfully included in the lens, which helps a lot when the light is dim.

Construction-wise, the Nikon 70-300mm f/4.5-5.6G VR is made from high-grade plastics that are assembled very well. The lens feels robust in your hands yet still light.

What more is there to say about this lens except that it’s fantastic. Granted, it does have a few shortcomings and it obviously can’t match the resolution of the more expensive telephotos e.g. the Nikon 70-200mm f/2.8. These points being made, what the Nikon 70-300mm f/4.5-5.6G VR accomplishes for its price point is still remarkable.

• Awesome sharpness.
• Very light body that includes VR, internal zooming, and sealing.
• Struggles in low-light.
• Sharpness drops as you zoom in.
• CA present.

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Overall Best Nikon Travel Lens (DX): Sigma 18-300mm F3.5-6.3 DC Macro OS HSM

• Weight: 20.6 oz / 585 g
• Dimensions: 4.0 in. x 3.1 in / 101.5mm x 79mm

Superzoom lenses get a bit of a bad rap sometimes. Many of them, in the process of doing so much, sacrifice a lot of optical quality.

Though every once in a while, a superzoom comes along that doesn’t give away too much, and is able to perform up to and beyond the call of duty; the Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM is one such lens.

The Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM is able to capture excellent photos and does a good job of covering up its inherent flaws.

The inclusion of optical stabilization helps to mitigate the lens’ limited aperture and an excellent build quality ensures both durability and portability.

Price-wise, there’s little to complain about with the Sigma 18-300mm f/3.5-6.3 as well. Given these points, we think that the Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM is the best overall travel lens for Nikon DX users who want to have their cake and eat it too.

The Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM offers commendable image resolutions. Sharpness is excellent at wider angles but does drop marginally as the lens is zoomed in. This lens also produces some excellent colors and contrast but not so much a pleasing bokeh.

Chromatic aberrations in the Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM are well controlled. Distortion and vignetting are predictably present, as is the case usually with superzooms, but these are never debilitating.

Most users will be shocked at and probably even sold by how light the Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM is. At 585 grams, this baby is practically feather-like especially when you consider how much it does.

The body still feels solid, although the zoom ring is somewhat fiddly at times.

• Solid optical performance for a superzoom.
• Durable, lightweight construction that includes optical stabilization.
• Very affordable.
• Bokeh is unattractive.
• Focus ring is tedious.
• Does more but at a sacrifice of quality.

Best Budget Nikon Travel Lens (DX): Sigma 17-50mm f/2.8 EX DC OS HSM FLD

• Weight: 1.24 lb / 565 g
• Dimensions: 3.3 x 3.6″ / 8.38 x 9.14 cm
• Image Stabilization: Yes

Like its 18-300mm cousin, the Sigma 17-50mm f/2.8 EX DC OS is a well-performing piece of equipment that is made unignorable by its low cost. For only $300 (!!!!), you can own a fixed aperture medium zoom lens that performs admirably.

Given this amazing deal, it’s no wonder that we think the Sigma 17-50mm f/2.8 is the best budget lens for Nikon DX users.

The Sigma 17-50mm f/2.8 EX DC OS HSM performs very well. Sharpness is overall very good though the edges can be a little soft when the lens is used wide open. Vignetting is present at wider apertures as well but chromatic aberrations and distortion are both well-controlled.

Image stabilization is built into the Sigma 17-50mm f/2.8 and works as it should. Combined with fast aperture, the Sigma 17-50mm f/2.8 EX DC OS HSM is a stud in low light situations. Filmmakers will especially appreciate this setup when trying to film in dim interiors or dusky streets.

The Sigma 17-50mm f/2.8 EX DC OS HSM is an overall lightweight lens, more so than many of Nikon’s other zooms. This is due to its all-plastic construction, which is great for cutting weight but does make the lens feel a little more fragile.

The focus ring of the Sigma Sigma 17-50mm f/2.8 EX DC OS HSM feels a little more finicky than usual and can be difficult to use sometimes.

• Excellent price point.
• Great center resolution.
• Fast aperture and image stabilization
• Visible corner softness when shot wide open.
• Tedious focus ring.

Best Professional Nikon Travel Lens (DX): Sigma 18-35mm F1.8 Art DC HSM

• Weight: 1.78 lb / 811 g
• Dimensions: 3.07” x 4.76” / 78 x 121 mm

If I were trying to convince someone to invest in a DX system over the full frame FX one, I would submit to them the Sigma Art 18-35mm f/1.8.

Simply put, this lens is one of the most gorgeous, useful, and respected lenses in all of photography. It is, without a shadow of a doubt, one of the greatest lenses made in recent years and is, deservingly, the best professional travel lens for Nikon’s DX mount.

The Sigma Art 18-35mm f/1.8 has it all – supreme image quality, a super fast aperture, robust construction, and lightning-quick autofocus. The Sigma Art 18-35mm f/1.8 is amazingly sharp, frame-wise from corner to corner and focal-wise from end to end.

Chromatic aberrations, vignetting, and distortion is present but in microscopic amounts. Optically this lens is superlative.

The Sigma Art 18-35mm f/1.8 is made from various alloys and feels very robust, perhaps tank-like. Topping out at over 800 grams, this lens is definitely on the heavier side. Many photographers enjoy the weightiness though and find that it adds a nice balance to the lens.

The focal range of the Sigma Art 18-35mm f/1.8 is pretty small and one may wonder if it can be considered a travel lens at all.

At the very least, the range of the Sigma Art 18-35mm lies in that sweet spot where many of the most useful focal lengths lie. Given the unprecedented performance of this lens as well, we think that it’s a worthy tradeoff.

• Ridiculously sharp at all times.
• Extremely fast.
• Very few optical blemishes (CA, distortion, vignetting, etc)
• Big and fat.
• Pretty limited focal range for a travel lens.

Best Prime Nikon Travel Lens (DX) : Nikon AF-S DX NIKKOR 35mm f/1.8G

• Weight: 10.76 oz / 305 g
• Dimensions: 2.83 x 2.81″ / 72 x 71.5 mm

Much in the same way every full frame owner needs a “nifty fifty,” every owner of an APS-C camera should own 35mm prime lens. The best 35mm prime lens that a DX owner can buy is the Nikon AF-S DX NIKKOR 35mm f/1.8G.

With excellent optics, solid performance, and an insignificant price tag, the Nikon 35mm f/1.8 is one of the most reliable Nikon lenses available.

Like the Nikon 50mm f/1.8, the 35mm will be very useful to every kind of photographer, and may end being the most used lens in their kits.

The Nikon AF-S DX NIKKOR 35mm f/1.8G performs much in the same as the other enthusiast-level f/1.8 primes in the Nikon library – images produced by the 35mm, though not devoid of problems, are for the most part very attractive.

Sharpness is excellent even at the widest aperture and peaks at around f/2.8 and f/4.0. Distortion is present, sometimes in disconcerting levels although editing software can still fix this. Chromatic aberration and vignetting are well controlled.

True to the other f/1.8 Nikon primes, the body of the Nikon 35mm f/1.8 is very small and portable. That being said, the Nikon 35mm f/1.8 is still made primarily of plastics and is not meant to withstand extreme weather.

The key consideration when buying this lens – and the thing that will most likely convince people to do so – is the fact that it’s so cheap. For only a few hundred dollars, you get a lens that works very well and produces some really beautiful photos.

For the amount of money you’re putting up, the Nikon 35mm f/1.8 is an excellent investment.

• Great performance.
• Very portable.
• A bit more distortion than usual for a prime.
• Some CA and vignetting.

Best Nikon Travel Lens for Landscape Photographers (DX): Nikon AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR

• Weight: 8.11 oz / 230 g
• Dimensions: 3.03 x 2.87″ / 77 x 73 mm

For the price you pay, the AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR is a total diamond in the rough and certainly one of the best lenses for Nikon shooters who like wide angles!

Though somewhat unimpressive on paper, the Nikon 10-20mm f/4.5-5.6 offers excellent image quality, packability, and even vibration reduction, which is a bit of treat considering this lens is than $300!

Resolution-wise, the Nikon 10-20mm does pretty well. Center sharpness is great throughout the zoom range while the corners catch up once the lens is stopped down. 15mm appears to be the sweet spot as well as 10mm and 20mm are both admirably sharp as opposed to being excellently sharp.

Vignetting and distortion are all present in the Nikon 10-20mm f/4.5-5.6G but no more than what should be expected from a wide angle zoom. Chromatic aberrations are the most obvious optical blemish with this lens and will have to be addressed in post-processing.

The vibration reduction and autofocusing systems in the Nikon 10-20mm f/4.5-5.6 both perform very well. The autofocus is quick, accurate, and virtually silent. The VR does a great job making up for the Nikon 10-20mm f/4.5-5.6G’s less than inspiring aperture, and promises up to 3.5 stops of compensation.

Aside from the price, one of the best features of the Nikon 10-20mm f/4.5-5.6G is its size. This pint-sized lens is so small that it could fit in a pocket. For those traveling light, the ability to do this is hard to turn down.

• Great image quality.
• Very light and small.
• VR tech compensates for aperture.
• Pretty slow aperture.
• Noticeable CA that will have to be corrected.

Best Nikon Travel Lens Portrait Photographers (DX): Nikon 50mm f/1.8G

If you know a bit about the physics of photography, then you probably know that a full frame lens can be mounted on an APS-C camera. When a full frame lens is used a such, the focal length is effectively lengthened as well.

If this concept is foreign to you, please refer to the Sensor Size section located at the end of this guide for a brief explanation.

When the Nikon 50mm f/1.8G is mounted on a DX body, it makes for a great alternative to the classic 85mm. With a new, equivalent length of 75mm and without sacrificing any optical quality, the Nikon 50mm f/1.8G is a very capable tool and one of the best travel Nikon lenses for portrait photographers.

In terms of optics, the Nikon 50mm f/1.8G  barely changes at all when mounted on a DX body. This lens is still as sharp, responsive, and useful as ever.

For a more detailed explanation of the Nikon 50mm f/1.8G’s performance, refer to our earlier review in the Best Travel Lenses for Nikon FX section.

With an extra 25mms of length comes a narrower field of view with more isolated subjects. Portrait photographers will immediately latch on to these changes and take advantage of them in their work.

Using the Nikon 50mm f/1.8G primarily as a portrait lens also limits its flaws, as the inherent corner softness and vignetting become less noticeable. All-in-all, the Nikon 50mm f/1.8G is just as impressive on a DX if not an improvement.

Best Nikon Travel Lens for Astrophotographers (DX): Rokinon 16MAF-N 16mm f/2.0

• Weight: 1.26 lb / 571 g
• Dimensions: 3.27 x 3.42″ / 83 x 86.9 mm

Rokinon delivers another winning lens! With excellent image quality, a fast aperture, and a low price tag that Rokinon 16mm f/2.0 is one of the best travel lenses for Nikon astrophotographers, so long as they don’t mind focusing manually.

Like the Rokinon 16mm f/1.8 reviewed prior, the Rokinon 16mm f/2.0 performs more than admirably. Center resolution is excellent at all apertures and by f/5.6 the entire frame is tack-sharp. CA, vignetting, and distortion are all well controlled in this lens and are only present in moderate amounts.

As is commonplace with Rokinon lenses, there are no electronic components in the 16mm f/2.0, which means that there is no autofocus. Users will have to manually focus this lens like they used to do in the good ol’ days.

Manual focus isn’t so bad. Landscape photographers will hardly miss autofocus as it’s not like their subjects are moving all that fast. Astrophotographers will not sweat the exclusion of it either as they usually just leave the lens set to infinity to capture those stars.

The Rokinon 16mm f/2.0 is made from high-grade plastics and has a solid metal mount. Those who are apprehensive of buying plastic lenses should feel good about the Rokinon 16mm f/2.0 as it feels very sturdy.

I’ve taken Rokinon lenses into some pretty hairy situations and they’ve held up just as well if not better than my weather-sealed equipment.

Ultra-wide angles lenses with fast apertures are usually very pricey. You can get the Rokinon 16mm f/2.0 for around only $300, which should be a convincing price. Granted, you don’t have autofocus but who needs it anyway?

• Distortion, CA, and vignetting are well controlled.
• Inexpensive.
• Manual focus.
• Softer corners and more imperfections when used wide-open.

Best Nikon Travel Lens for Telephoto Lovers (DX): Nikon 55-200mm f/4-5.6G ED IF AF-S DX VR

• Weight: 10.58 oz / 300 g
• Dimensions: 2.78 x 3.27″ / 70.5 x 83 mm
• Filter Size: 52mm

Though not the sharpest telephoto lens nor the fastest one, both in terms of autofocus and aperture, the Nikon 55-200mm f/4-5.6G ED IF AF-S DX VR still manages to impress, thanks to its small size and price point.

For DX users who need something longer, this is one of the best Nikon travel lenses available.

Sharpness is pretty good in the Nikon 55-200mm f/4-5.6G – centers are crisp throughout the focal range while the corners are acceptable.

You’ll have to stop down to about f/8.0 to achieve maximum sharpness. Luckily, the VR is effective and helps to counteract the slower shutter speeds that occur when stopping down.

In terms of optical blemishes, chromatic aberrations are well-controlled, distortion is average, and vignetting is pronounced. Any and all of these can be addressed in post-processing, of course.

Unfortunately, the autofocus of the Nikon 55-200mm f/4-5.6G is a bit slow. Taking the slower aperture into account, action photographers may become frustrated with this lens. Those who shoot fast moving targets (e.g. sports or wildlife) may want to look for a different lens.

Like many of the best Nikon travel lenses on this list, the biggest selling point of the Nikon 55-200mm f/4-5.6G is the fact that it’s so small and affordable.

Travel photographers who don’t want to fork out $1,000 for a giant telephoto lens and don’t mind the slower performance should take fancy to the Nikon 55-200mm f/4-5.6G.

• Good center sharpness.
• Effective vibration reduction.
• Small and affordable.
• Slow autofocus.
• Corners are just ok.
• Not so good for action photographers.

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Photographers should value lenses just as much as their travel camera ! Lenses are one of the most important aspects of photography because they are the ones that actually refract the light and create the image (which is then written by the camera sensor).

Sharpness, contrast, color, composition; all of these aspects are influenced greatly by the quality of your lens. As one photographer once aptly put it: “you don’t invest in cameras; you invest in good glass.”

There are several things to consider when you are looking for the best travel lenses for a Nikon camera. Aspects like size, weight, vibration reduction, and more are all vital components to the making of a great travel lens.

Below is a list of features to consider when searching for the best travel lens for your Nikon camera.

Note that I’m going to be giving a crash course on several photographic concepts here. I’ll try to explain them as best as possible; otherwise, feel free to post any question regarding photography in the comment section below.

Size/Weight

Lenses vary greatly in size and shape; some are small enough to fit in your pocket, others are gargantuan pieces of equipment that require special storage. A lens’ mass and dimensions will play a large part in the size of a photographer’s bag and how they conduct themselves in the field.

Larger lenses obviously take up more space and add more weight to your pack. Sure, that lens appears small when it’s by itself but add 3 or 4 more to your pack and things quickly add up.

I have carried both ultralight and heavy camera packs and can attest that even a moderately heavy bag feels good for about a half-mile of walking.

If your camera bag has limited space and/or you like larger, higher-grade lenses, you’ll have to pick and choose your equipment wisely. Be very conscious of how much a lens weighs and how it measures. Be sure to think hard about how much you’re willing to carry.

If your camera bag is looking a bit shabby, maybe consider upgrading it as well. A good camera bag should fit your body like a glove and be able to hold all of the necessary equipment. Be sure to read our guide on the best travel camera bags for some ideas!

Along with shutter speed and ISO, the aperture is a vital part of the exposure triangle , which every photographer should be well-versed in.

Though shutter speed and ISO fall within the jurisdiction of the camera, the aperture is controlled via the lens. With the proper aperture and ability to use it, photographers will have much more power when it comes to creating the photos that they want.

Fast apertures – those that have a value of around f/2.8 or less – are usually the most desirable. Though not always the case, a faster aperture is usually indicative of optical quality. Regardless, fast apertures are usually most useful during situations that call for bokeh or those that are dimly lit .

In zoom lenses, constant aperture s are much more important as these definitely lead to higher quality images. The most common constant aperture ratings are f/2.8 and f/4.0. Both offer excellent quality of images.

A quick aperture is not always necessary as lots of lenses with slower apertures offer exceptional image quality.

Peak sharpness isn’t usually reached until around f/5.6 or f/8.0 anyway and shooting at extremely low apertures (e.g. f/1.4) can be more difficult than you think. Unless you really want a fast aperture, you may not need to spend the extra money.

Focal Length/Type

Without getting into the physics of focal lengths , I will simply say that certain lenses with certain focal lengths are better for capturing certain scenes. Longer lenses, renowned for their shallow depth of field and isolating qualities, are great for portraits. Wider lenses, with their expansive fields of view, are great for interior shots when space is tight or for capturing big vistas.

It is very important to think about whether or not you want a lens that covers a single focal length or many.

If you’re like many photographers then you’ll probably value optical flexibility with a lens that covers more than one focal length. Lenses that can change their field of view are called zoom lenses , and these are among the most popular types of lenses.

Some zoom lenses o have trouble with certain optical imperfections (vignetting, chromatic aberrations, etc) and with maintaining sharpness. Generally speaking, the more expensive zooms do handle these issues better.

If you’re ok with shooting at only one focal length then consider a good prime lens . Prime lenses are usually sharper, cheaper, and more durable than zooms.

What type of photographer you are will determine what kind of focal length you find most useful. You’ll often find that certain lengths are more suitable to your style of shooting, or that you favor a particular lens over another.

Do not feel handicapped by what kind of lens you own though. With a bit of creativity and skill, you can make a lens do whatever you want. Remember: a lens is only as good as the photographer that uses it.

Not every autofocusing system is created equal – some are lightning-fast, utilizing state-of-the-art technology, while others are sluggish doofuses that can’t make heads or tails of a subject. How well an autofocus system behaves in a lens may or may not be a deal breaker for you.

Those who photograph fast-moving subjects – like in sports, concerts or wildlife photography – will need a lens that can keep up. In these cases, a quicker and more accurate autofocus system will be very beneficial.

These types of photographers also need to know that camera sensors play a role in autofocus as well – it’s not always just the lens doing the work.

Some photographers may not need fast autofocus or even autofocusing at all for that matter! Manual focusing lenses are still prevalent today and, aside from being markedly cheaper, can be very useful in certain situations.

Astrophotographers may actually prefer manual lenses because of their superb focus rings and because autofocus is usually useless in the pitch-black anyways.

Other photographers may even enjoy the vintage-like feel that comes with manual lenses, much like a musician might enjoy an old record.

Filter Thread

Filters are used in photography to achieve creative effects as well as provide extra protection to a camera. These filters are attached to the front of a lens along a threading that has a unique rating (e.g. 58mm. 77mm, 82mm, etc).

There really isn’t such a thing as a proper filter threading. Most filter sizes have become standardized and there is almost always a full set of filters for each threading. No matter your lens, there’s a filter that will fit it.

One big reason to consider filter sizes has to deal with costs. As you buy more lenses you may end up with multiple filter threadings and, in turn, have to invest in filters for each one. This can be frustrating, especially when you know that filters behave in the same regardless of their size. Who wants to spend more money on the same?

A good way to avoid this annoyance is to invest in step-down rings, which then be used to adapt larger filters onto smaller threadings. Simply buy a set of filters that you know will be large enough for all of your lenses and then adapt to different threadings using the step-down rings.

Or think about investing in a slot-in filter system, which uses a screw-in adapter to hold a plate-like filter. Polarizer filters are not effective with slot-in filter systems.

For more information on filters, refer to the filter section of our Best Camera Accessories guide . You’ll also read about more general tools for your travel camera.

Vibration Reduction/Optical Stabilization

Optical stabilization technology has become extremely commonplace in modern-day lenses. This tech is found in all sorts of lenses, from cheap pieces of shit to luxurious, professional-grade glass. It is, at the end of the day, a very useful feature to have in your lenses as it can allow for some very crisp images.

Optical stabilization is referred to differently by different companies (e.g. image stabilization, IBIS, etc). Nikon refers to their optical stabilization tech as vibration reduction.

Vibration reduction (VR) works by compensating for shake caused by hand holding a camera. Handshake causes blurry images, which appears as a distinct softness, and most photographers tend to dislike this.

This shakiness is often unavoidable unless you’re using a tripod. With VR, blurriness caused by shaky hands is much less noticeable and sometimes eliminated altogether.

Whether or not you need optical stabilization is something to consider when you choose from the best Nikon travel lenses. If you’re a landscape photographer who constantly has their camera mounted on a tripod, optical stabilization is pretty redundant.

On the other hand, if you shoot subjects that require you to move often or you just like to have your camera ready in your hands, then VR would be useful.

Sensor Size

Nikon makes a full frame DSLR and an APS-C DSLR. Each type of camera has its own lens library as well – Nikon’s full-frame system is referred to as FX while the APS-C one is referred to as DX .

DX lenses can only be mounted on an APS-C mount while FX lenses, though functional on an APS-C camera, work best on a full frame body.

If you mount an FX lens onto an APS-C body, then there are a few things to consider. 1) vignetting is possible; 2) certain lenses will behave differently on certain bodies; and, most importantly 3) the lens’ focal range will be lengthened i.e. a 24mm EF lens mounted onto EF-S camera will behave more like a 35mm lens.

For more on what happens when you mount a full frame lens onto an APS-C body, you can read this informative article here .

Still have some questions? No problem! We’ve listed and answered the most commonly asked questions below. Here’s what people usually want to know:

What is the best Nikon FX lens for travel photography?

The Nikon Nikkor 24-120mm f/4.0 is the best lense for travel photography and our favorite. For a Nikon DX camera, check out the Sigma 18-300mm f/3.5-6.3 .

What is most affordable Nikon lense?

Check out these budget lenses: – For Nikon FX – Nikon Nikkor 24-85mm f/3.5-4.5 – For Nikon DX – Sigma 17-50mm f/2.8

What do you need to consider when buying a Nixon lense?

Aspects like size, weight, vibration reduction, and more are all vital components that need to be considered when purchasing a lense.

What are the best Nikon lenses for professional travel photographers?

If you’re shooting with a Nikon FX consider getting the Nikon Nikkor 24-70mm f/2.8 . For the Nikon DX, check out the Sigma Art 18-35mm f/1.8 .

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Final Thoughts

There you have it folks – the 16 best travel lenses for Nikon users! Over the course of explaining these 16 lenses, we have given photographers all sorts of shooting options.

Each lens will be catered to a different type of photographer and each will have its own strengths and weaknesses. Figure out what kind of photographer you are and then choose from the best Nikon travel lens for yourself.

Know that each one will be different and dramatically affect the quality of your pictures.

Are you a traveling portrait photographer who wants some creamy bokeh? Then get the Nikon 85mm f/1.8 ! Do you want a DX lens that is optically flexible but affordable at the same time? Perhaps the Sigma 17-50mm f/2.8 will be right up your alley.

Think carefully about these 16 best Nikon travel lenses. The fact that you’re here reading this article means that you’re ready to take the next step into travel photography; perhaps you’re even ready to become a freelancer ?!

Look sharp out there my fellow backpacking photographers and make sure your lens is just as sharp too.

And for transparency’s sake, please know that some of the links in our content are affiliate links . That means that if you book your accommodation, buy your gear, or sort your insurance through our link, we earn a small commission (at no extra cost to you). That said, we only link to the gear we trust and never recommend services we don’t believe are up to scratch. Again, thank you!

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I’ve had both Nikon 24-70s and would always choose the newer one with VR, especially for travel since, even if you bring a tripod, you won’t want to use it any more than necessary. Also, for travel, the better edge to edge sharpness is welcome. Having said that, it IS more expensive and heavier.

Good information. Note, the latest version of the Nikon 24-70mm F2.8 ED VR has VR, but really expensive. The newer Tamron G2 maybe an option at much lower cost but has external zoom. I have no experience with Tamron so comments are my opinion only.

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Sony SEL24105G Full Frame E-Mount 24-105mm F4 Constant Lens Black

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• 4 aspherical lenses and 3 ED (extra low dispersion) lenses minimize aberrations for high edge-to-edge image quality across the zoom range. Angle of view (35mm) 84 - 23
• Versatile solution for varied photographic use over a focal range from 24 to 105mm
• Fast, accurate, quiet autofocus coupled with the constant F4 aperture ideal for photos and videos
• Professiol and reliable ergonomics with precise manual focus and a customizable focus lock button
• Lens Hood, Front Lens Cover, Rear Lens Cover.NOTE If the lens is not properly attached, the connection points that allow communication between the camera body and the lens do not contact each other. Do not press the release button on the lens, but turn the lens clockwise and attach it to the camera body until it clicks

Shipping Note: Shipping to Alaska, Hawaii, PO Boxes, and APO addresses is not available for this item

Warranty: 90 Day Woot Limited Warranty

• (1) Sony SEL24105G Full Frame E-Mount 24-105mm F4 Constant Lens Black

Sales Stats

Purchaser experience.

• 0% first woot
• 0% second woot
• 100% < 10 woots
• 0% < 25 woots
• 0% ≥ 25 woots

Purchaser Seniority

• 0% joined today
• 0% one week old
• 0% one month old
• 0% one year old
• 100% > one year old

Quantity Breakdown

• 100% bought 1
• 0% bought 2
• 0% bought 3 or more

Percentage of Sales Per Hour

Woots by state, best sellers in electronics.

Tamron 28-75mm F/2.8 Di III VXD G2 Standard Zoom Lens for Sony E-Mount

• Fast, quiet VXD linear motor for high-speed and high-precision autofocus
• MOD (Minimum Object Distance) of 7.1" at wide end and maximum magnification ratio of 1:2.7 for creative close-ups
• New design provides enhanced texture and greater user-friendliness
• Compact at 4.6" long and weighing just 19 oz
• Moisture-resistant construction and Fluorine coating
• Includes Limited 6-Year Warranty for parts and labor
• Compatible with Sony E-Mount APS-C and Full Frame Mirrorless Cameras
• Get the shot you want with this everyday lens that offers a range of focal lengths to meet the majority of your photographic needs
• Midrange is great for many subjects from people to landscapes.
• Creates sharp, detailed images with shallow depth of field and softly blurred background. Performs best in moderate-to-bright light settings or outdoors on overcast days
• Leak-resistant seals throughout the lens barrel help protect your equipment

Editor's Notes & Price Research

• Don't have Amazon Prime? Students can get a free 6-Month Amazon Prime trial with free 2-day shipping, unlimited video streaming & more.
• If you're not a student, there's also a free 1-Month Amazon Prime trial available.
• This offer is $20 lower than a Frontpage Deal from January.
• Well reviewed w/ 4.7 out of 5 stars by 330 Amazon customers.
• Please see the original post for additional details & give the WIKI and additional forum comments a read for helpful discussion.

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Price Intelligence

Deal history  deal history includes data from multiple reputable stores, such as best buy, target, and walmart. the lowest price among stores for a given day is selected as the "sale price". sale price does not include sale prices at amazon unless a deal was posted by a community member., current prices, recommended deal alerts for you.

• Camera Lenses

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