20 Best Sony Lens For Real Estate Photography (2023 Updated)

I have used the Sony 200-600mm on the a7r iii and a1 cameras with very different results. On the a7r iii, results were really uneven. Autofocus could be slow and erratic. When trying to photograph animals in motion (especially birds) my hit rate was below 20%.

I would typically expect a hit rate between 5% and 10%. On the a1, the hit rate is far, far higher. Well over 50%. When you hear people talking about how a lens works with a specific camera, there is a lot of truth to that.

In general, on both cameras, the lens in on the softer side. If I do a side by side of 2 photos, one with the 100-400mm lens and the other with the 200-600mm, setting up framing to match, etc. , the 100-400mm will be noticeably sharper.

The 200-600mm is a slow lens. It really needs a lot of light to get good results. That said, on the newest cameras, with better dynamic range at high ISOs, the results are professional grade. But even modest cloud can force you into high ISOs.

This lens works best when you can shoot at a very fast shutter speed and turn off the image stabilization (say, a 2500th of second or faster). When conditions are good, this lens can give you outstanding results.

Once you have a sense of how the lens works with your camera (and you should search for reports on how it does work with your camera), I think you can get consistently good to excellent results.

A very fine lens made for sports and wildlife photography with e-mount cameras. In my case used on the newly released a7iv. Very keenly priced for what it is. Despite the weight, I found that bearing it with my non shooting hand at the tripod mount hand-held is very well balanced, making it easy to track fast moving subjects, while zooming and controlling the camera with the shooting hand.

I’ve managed to capture some excellent action images with it. Despite its relatively small aperture range, the long focal length renders subjects sharply against their OOF backgrounds. The length means there aren’t many camera bags that it fits, but there are particular long lens carry cases that it does.

If fitted to a sling strap (like a Sun Sniper or Black Rapid) attached to the tripod mount, the lens sits horizontally against your body where it can easily be steadied with one hand, and can be quickly raised for action.

Overall, an excellent, good value lens, highly recommended.

I have been using this lens for around a year now. It IS possible to get great results from it but it is fussy about the cameras it likes and the light levels. I bought it to team it with my A7Riv. In retropect, this was a mistake since the combination of the aperture range of the lens and the high resolution sensor creates too narrow an operating window, esp if also teamed with the x1.

4TC which I have had to stop using with this lens. This lens is best paired with something like an A9ii whereas I have now purchased a 100400GM lens for my A7Riv in order to give me a wider window in terms of aperture The other challenge is that the lens is really heavy.

You MUST use it with a lens brace to save stress on the mounting point and even then, the camera can complain saying that the lens is not attached properly. The lack of a lens strap attachment point does not help.

My advice is to buy a replacement lens foot for it as soon as you purchase it. This will help you to carry it. The weight has also required me to change my tripod Also, if you read the forums, there are a lot of bad copies around.

I have had to change two lenses already That said, I have had some great photos from this lens and the optics are good for the price point.

I purchased the Sony 24/1. 4 GM at the very end of 2020. I had been deliberating on the 20/1. 8 vs the 24/1. 4 for some time & not really getting anywhere with the decision. in the last few days of 2020 Sony had a cashback program running plus there was a shop based sale – the double discount prompted me to make a purchase.

I have many older, manual focus ‘classic’ lenses, that I adapt to modern cameras. I enjoy doing astrophotography & nightscapes. most older wide angle lenses I’ve tried on the night sky do not work that well, giving mis-shapen stars off the central axis, so that was one of the drivers I had for getting one of the Sony wide angles which have a good reputation for use on the night sky.

I went for the 24 over the 20 for two reasons. 1) the f1. 4 on the 24 being of value for night use, 2) In landscapes, over the years I’ve had a preference around for 24mm – I used a 17-35 zoom for a number of years & often found the wider end ‘too wide’ – its not the field of view you get, its the ‘balance’ of the relative size of objects with a scene foreground to far distance.

Around 17mm I personally found the far distant vistas were so small & insignificant that they were lost in the image. it was all about foreground interest, which didn’t suit me so well. around 24mm I personally find that you get the dramatic perspective a wide angle gives (28mm doesn’t do it enough for me) while the distance is still big enough in the image to be appreciated.

It’s just a personal taste thing I guess. So that is why I ended up with the 24 & not the 20 (hold that thought) Because of my love of older lenses, & the various restrictions that we have put up with in 2021 its fair to say I’ve not really used the 24GM sufficiently yet to really comment on its optical performance, from what I have seen myself & read about, its essentially optically ‘perfect’ for all intents & purposes (which to an old lens lover, I see as a pro & a con).

It’s a nice size, quite light, AF on recent Sony cameras is as you would expect, fantastic. although, I personally don’t really value AF that highly on a wide angle lens. I like that it has the ability to declick the aperture, I like the provision of a button on the lens.

It has a modest 67mm filter thread (I use the Lee Filter 100 system so the adapter I use makes the front much wider though). I deducted one star on the ‘design’ because compared to my older lenses I use alot, it feels obviously ‘plasticy’ vs the all metal solid construction on older lenses.

I generally prefer older manual focus lenses for anything below a short telephoto because I just know the electronics in modern lenses is going to pack up within 20 years & be uneconomical to repair.

older lenses just go on & on & on. More than this though, most modern lenses drop in value instantly & continue to drop. older ‘classic’ lenses on the other hand are appreciating, some crazily so. It feels better for me to put my money into those than modern lenses in most cases.

Also, the older lenses that have become ‘classics’ (& therefore more sought after, driving costs up), tend to have optical ‘flaws’ that give them character, that is ‘prized’ by some in certain uses. most modern lenses are all technically ‘perfect’ & lack character.

hence my personal preference to older lenses. Now, recall I mention ‘hold that thought’ above? Well during 2021 I ended up with a Sony A7S3 which among other things, I’ve been using as a handheld vlogging camera.

I found the 24mm on the camera in this use case to not be quite wide enough, especially with the stablisation on which crops the image slightly. So, when the opportunity arose mid 2021 for get the Sony 20/1.

8 on another ‘double discount’, I took the plunge. The 20 on the A7S3 is perfect for handhold vlogging, being both wider field of view AND smaller & lighter, so if that figures in your use case, go for the 20 over the 24, both are excellent.

As the nights are drawing in now in the northern hemisphere, I do hope to get out with both the 24 & 20 & put them to the test under the night sky to see which I prefer for this type of usage. Now I am just waiting for a double discount deal on the new 14mm & I will be set!.

As my title says it’s a versatile lens with the power zoom. I shoot live music on small to very large stages. I have a a7siii on a SteadyCam rig and this lens. I purchased the zoom and on off corded switch.

( Don’t know what it’s called ) Put it on the Zacuto camera cage I use on the sled. It’s nice to be able to change my field of view on the fly and the lens is so light. The rocker switch that plugs into the camera isn’t good enough to do nice and controlled zooms so don’t think that’s gonna happen for ya.

I found myself reaching up and using the zoom switch on the lens. That works a bit better. Most lenses are good enough to give a good enough quality image. With this lens I’m not seeing in camera while shooting at the wide end any crazy distortion and feel I can frame people for bands fairly close to the edge of the frame.

It’s not a “colored” lens the image seems a touch desaturated and that’s ok. I can dial that in in post. The Sony 35mm G Master seems saturated with color compared with this lens. This is more on par with the Sony 20mm f/1.

8 G. A lens I also use a lot for video. Another great light weight high performance lens. So for now I’m loving this lens !.

This Sony 24-105 4 is the most practical high-quality zoom you can get for your Sony. Everything works great and all my pictures are super-sharp and well exposed. It works great on the APS-C cameras (I use it with my a6300) as well as my full frame cameras.

A7iii, A7r4 and now my A1 – flawlessly. Stunningly sharp at all focal lengths. Great as an all rounder, landscapes, portraits, street photography and architecture. It is always attached to one of my cameras, regardless of what I am tackling it is always my first choice go to lens.

If it ever died (damaged or stolen) I would go straight out and get another. Excellent lens Sony.

Premises, could have been a sample issue and I use it with a TZE adapter on a Nikon Z so no profile automatically applied, the lens it’s necked. I have compared it with the sony 16-34 f4 and the sigma 14-24 f2.

8 DG DN (the new one). With the adapter AF worked well so i did my usual tests shots. Remember, no lens profile applied because i work with a Nikon body through an adapter. With my great surprise the 16-35 GM at f4 has more vignetting and field curvature than the 16-35 f4 at 4.

Nothing that could not be corrected but. in addition my sample was slightly decentered. For a 2K lens. i decided it was not acceptable and i returned it. Compared with the sigma and the sigma has much less field curvature and vignetting than the Sony GM and it’s centered.

And it’s cheaper. It’s a touch less sharp than the sony in the center but sharper as you move out from the center (maybe because of the field curvature).

This was the lens that got me interested to switch to sony from nikon as nikon did not have a 16-35 2. 8. That focal range is so versatile and useful for landscape and even some event photography as there are many times where there is ls limited range to move back to forward.

The 2. 8 aperture, 82mm filter thread, weather sealing and awesome optics performance were the main reasons to go with this. Plus I wanted a proper sony native lens for my landscape work as I got tired of lunging around custom 150mm filter systems with my sigma 14-24 2.

8 art on my nikon d810. This lens is MUCH lighter than I anticipated and a huge relief coming from much heavier DSLR lenses. It’s performance easily competes with most primes in it’s focal range. I prefer the GM lens after having tested a few other options; tamron 17-28 2.

8 (felt too cheap, corner performance lacked even stopped down and I really didn’t want to buy filters in different sizes + 17-28 feel a bit too limiting), zeiss batis 18 2. 8 (much rather have a zoom), samyang 18 2.

8 (again, rather have a zoom and it has no weather sealing, feels cheap). This lens is a real gem for landscape photographers and is highly praised for good reasons. I still am mainly more a prime shooter so I will have other primes in it’s focal range most likely over time but still will always prefer this first because it’s so versatile.

Highly recommended!.

I have been looking for a prime lens in the range of 40 to 50mm for baby photography. There are several features of this lens that really attract me. I like the focus length since 35mm is a bit wide for me and 50mm is a bit tight to include parents in the photo shooting indoor.

40mm seems to be more versatile for me. The close focus feature is also a good plus so I can take some fun close shots. The lens is also well build. I hope there is more buttons for convenience, but on the other side, with no buttons and minimum ring, it seals very well and feels easier to clean up in case food or drink splashed onto it.

This is my first true Zeiss lens and I was really excited when I opened the box and saw the sentence This is the moment we work for on the box. However, after some indoor and outdoor test, the results are really mixed.

Pros: The sharpness from f2. 8 is really good, corner to corner. No decenter problem for me. The close focus results are good and as expected. There is no cat-eye of the bokeh ball. Cons: It is very soft at f2.

The image look hazy and lack of contrast wide open. I have to use some large radius sharpening in Lightroom to increase the sharpness/contrast of the image. The sharpness improves a lot at f2. 2, usable at f2.

4 or f2. 5. The eye focus is not very reliable (6/10 got sharp focus at f2, indoor, ISO ~1000, and 8/10 when outdoor f2). When stopping down to f2. 8, the eye-af works better, roughly 9/10 outdoor and 8/10 indoor for me.

Following some advices from fm camera, I tried AF-S and AF-A and it also helps the focus to be more accurate. Last complain is there are bright circles around the bokeh balls, which can be nice if the bokeh ball are generated by sparse point light source, but can leads to very busy background for some scene (e.

g. , foliage). I think the sharpness problem may be a copy variation since I saw many sharp wide open examples on the net, so I decided to ask a new copy to try. Right before I sent back for replacement, I notice there is a used copy selling on another site, and I decided to order that used copy to have a try since it can be cheaper and I feel more comfortable to open box and test used item than testing new item again and again.

I first tested that used lens and it is sharp wide open. Then I realized that used lens was in firmware version 1 so I upgrade it to the latest version 2. Then shooting exactly the same scene, the softness problem now shows up at wide open, just like my new copy from BH.

Seems like the softness problem wide open may relate to the firmware. Is this the reason why some review sites show sharp images wide open while some other sites show soft results at f2? The eye-af and bokeh problems are similar.

I have been debating whether to keep it or not after my tests. I have to say the lens is a good one starting from f2. 8 or even f2. 5, and there is probably not better option on the market now for my purpose.

However, if I can only use this lens from f2. 5 or f2. 8, does it justify the price? Should I just got a f2. 8 zoom? I searched for alternative again and decided to give Samyang 45mm f1. 8 a try. In term of sharpness, my Samyang copy actually performs better wide open, on par at f2.

5 and is slightly worse from f2. 8. The AF of Samyang is better wide open. There is noticeable cat-eye of the bokeh ball on Samyang, but it doesn’t have the highlight bokeh boundary and renders less busy background.

The CA and flare resistance are slight worse than Batis, but not much. My Samyang 45mm f1. 8 copy is a totally usable lens wide open, which gives about 1 stop benefit compared to the usage range of Batis.

This is important to me since the high iso performance on my a7r4 is not that great. So in the end, I decide to save some money for the future potential 35GM by keeping the Samyang and just return the Batis.

This was my first lens purchased for the Sony Fx3. 35mm is a sweet spot focal length for videos. I chose this over the G Master after days of watching reviews online. The main deciding factor was focus breathing.

There is a clear consensus online that the f/1. 8 has less focus breathing than the 1. 4. I would also be paying a lot more for less than 1 stop in the 1. 4. So I made my choice and filmed my first short film.

Very happy. Although at 1. 8, the lens still shows focus breathing so it’s not 100% perfect. It’s subtle and probably only noticeable to any of us who are perfectionists. The internals also shift in weight when you tilt up or down, but not an issue even on a balanced gimbal.

Also, the lens strap that comes with the many gimbals for smoother operation will end up on the broad focus ring of this lens, just an fyi if you plan to use motor operated (manual) focus on a gimbal like the SC2.

The 35mm focal length is a crowded field in the Sony E-Mount (B&H lists 25 lenses as of Dec 2020), but unfortunately (in my opinion) there is no lens that checks all the boxes yet. The Sony 35mm f/1.

8 comes close: sharpness, weight, usability, nice damped manual control, good value (when on sale), and very effective and silent auto-focus. Very usable in both stills and video. It fails though in two areas: the first being rendering a blend image with a meh character, and the second its LoCa/color aberration/fringing.

The latter was the killer feature for me. I’ve used a lot of lenses and I think the fringing on the 35mm f/1. 8 is the worst by far. It is horrible. In a typical landscape sunny day, fringing is horrendous even at f/9 requiring correction in Lightroom of like 17-18 (scale goes to 20!).

Unless you’re shooting indoors and avoiding high-contrast shots, I recommend staying away from this lens.

This is my main lens. I used it paired with the Sony 6300. The 35mm is so versatile for almost any situation. The focal length is wide enough to shoot indoors and small spaces. The 1. 8 F stop is absolutely perfect for low light.

I’ve attached example photos in a low light situation. I would recommend this lens to anyone who wants to shoot in conditions with very little light or for something who wants to keep one main lens on their camera body and not switch between lenses.

I bought my Sony a6400 back in August last year and quickly realised the limitations of the kit lens that came with it. I like to travel light when I’m out taking pictures and video so I wanted a new lens that would give me the flexibility of both wide angle and better zoom capability.

After extensive research I decided to get the Sony E PZ 18-105 mm lens. I have been using the lens for a few weeks now and have not been disappointed. The fixed f/4 aperture is a real bonus when taking video and zooming in and out.

The lens is very well made as you would expect for a Sony G lens. And all the magic is done inside the lens – ie, the lens does not extend when you zoom in and out like other lenses. There is a toggle switch on the side of the lens to zoom in and out.

Very smooth operation. Ok I hear you say what about low light performance. Well, at f/4 you ain’t going to get as much light coming in as a lens with say f/1. 8 aperture. However, don’t be afraid to use higher ISO settings in poor light as there is very clever AI software out there that can de-noise ISO settings as high as 12800.

In summary I am very happy with my purchase and I recommend it very highly. Of course with such a large lens area to protect when the lens cover is off I recommend you buy a UV filter to avoid scratching it.

Ive spent years collecting professional camera equipment. Big heavy full frame DSLRs and heavy 2. 8 lenses. My mindset has always been that I need the best gear to take a good photo. But, carrying all this stuff around is back breaking.

I got this lens so that I could try to carry less gear, and its been game changing. The 18-105 fitted to my Sony A6300, combined, weighs less than my Canon 24/70 2. 8 on its own. Ive found that this lens and my dated A6300 is my go-to setup for 90% of everything I do now.

The lens gives a great deal of flexibility given its huge focal range, and for something like the A6300 which has no in body stabilisation it adds another level to what you can capture. The lens is tack sharp, however the only caveat is that it does have a some warping.

The centre of the frame does have some barrel distortion, and there is some light vignetting in the corners. You can remove them in Lightroom, but I find the camera lens correction profile can soften that tack sharp image.

I actually like the look of the photos without correction. Im an advocate of lenses having character. If youre looking to get an identical photo from any lens you use which is tack sharp with no distortion across the entire frame then this perhaps is not the lens for you.

For me, thelens performs best in its f8 to f11 range. Opening it up to f4 produces some nice Bokeh but the images are noticeably softer when pixel peeping. If youre looking for a lightweight versatile lens for day to day photography then this is an incredible lens for the price.

If you need something that performs in low light or something which is a little more scientific with regards to the slight barrel distortion this lens produces, then perhaps there are better but more expensive options for you.

Its not a replacement for all of my expensive gear. Its not that much of a unicorn. But for a lightweight run and gun lens this gets more use than any of my other equipment. The versatility and the price point make this a 5/5 for me.

If I was being harsh Id drop to a 4/5 on image quality just for to the barrel distortion, but for the price thats an acceptable hitch for me.

Initial reaction was favourable. Excellent speed and accuracy of focus and crisp image, but, and it’s a massive one, there was intermittent issue causing selective vignetting to top left corner of frame only.

All apertures, at any short focal length. Like something was sticking. Returned it. Not going to risk another. Disappointing qc. Will probably stick with kit lens on my a6000, and carry on lugging a DSLR for anything beyond that.

I bought this camera, a bit more than a year ago. I am very happy to have it as it has all the necessary features for still and video. It has a lot of advantages, for example the crop factor of 1. 5x makes my 70-200m G lens be an effective 105 – 300mm G lens.

This is great because I can have basically the 10-18 F4, the 18-105 F4 and the 70-200 (effective 105-300mm) F4. You can also have the 200-600mm which would be an effective 300-900 mm and most of them would be at a constant F4, internal zoom and image stabilization across the board.

I have most of these lenses too and I couldn’t be happier about them! The crop sensor is brilliant, it takes amazing stills and the density of pixels means sharper images. The only addition I would make to this camera, would be the ibis.

That would be an amazing feature. I guess that’s why they made the A6600. As a first proper camera, it has a big learning curve but I enjoy it every time. One of the moat enjoyable objects I have ever bought in my entire life!.

This is one of my favourite cameras. I bought it to replace my ageing NEX 7 and there seems to be nothing that this camera can’t do in practice. I’ve found it a very responsive camera under demanding conditions.

It would have been nice if it had a higher maximum shutter speed and built in image stabilisation but for the price it’s hard to complain. For filming the 4K videos are fantastic. They are so detailed.

I just hope Sony in future moves away from the 8 bit video files to 10 bit files for greater flexibility in video post production. For many applications this could be considered a pro camera. I’ve found the AF responsive enough for my wildlife photography as the AF tracking works a treat.

I find the video button to be in an awkward position but fortunately the customisation feature allows another button to be used. I find that overall the a6400 is a great all round camera for stills and video.

I decided to get this lens as an addition to the 16-50mm lens included with my A6400. I find this lens an excellent ‘walkaround’ lens and only swap to another for specific reasons. I have taken sharply focussed photographs, being able to zoom very quickly.

The size and light weight mean that it feels superb when attached as the camera feels well balanced and I have good grip. I did look at several reviews before buying and I almost bought the 18-105mm but the 18-135mm has that extra reach which suits my needs better and I don’t feel I’ll miss the PZ feature.

I have not noticed a loss of focus while zooming. All controls feel smooth and there’s no play / backlash. This lens feels really solidly built and that gives me confidence to maintain it’s use as my first choice.

I have no regrets in picking this lens.

The image holds up against many more modern lenses, but the operation isn’t ideal. I thought my gimbal was freaking out, no it was the focus motors hunting for something to grab onto. The lens is very pretty and it a nice compromise for the dslr gimbal wielder.

Compared to something like the sigma 24-70 though, this seems to hunt for focus a lot while wide open. It never reacted in a way I was expecting. Perhaps with more use it might be better. If I was buying brand new I would probably go with the much newer G master 50mm.

I need to rent that next.

On a a7riv this lens is incredibly sharp wide open. Chromatic aberrations are there, but rarely to the point where they detract from a photo in any non-pixel peeping scenario. Focus issues are the only thing that will occasionally hold this lens back.

It is a bit slower and louder, compared to more modern FE lenses. My biggest gripe is that it will sometimes backfocus — even when eye detect is locked onto the eye in a well lit portrait scenario I’ll get results that are maybe an inch off.

In a slower workflow, checking isn’t too bad, but it could easily ruin a shot if you are working fast. I’m not sure many others have had this problem with the lens, so if buying through b&h it is worth the chance.

Came from using Sony 50mm F/1. 8 What a big difference in weight and quality of the image. I rarely shoot wide open so having F/1. 2 isn’t a big deal. My main concern was image quality and sharpness.

This lens has that checked off with ease. Great walk-around lens, I can do semi telephoto or environmental images. Added bonus of the aperture ring for video work.

The lens is a hidden gem that loses a lot of attention to the also great 90mm G macro variant. If you need a primary macro for closer macro work (50 vs 90), or just want a macro on occasion, but at a lower cost and weight+size-in-bag, plus at a focal length that can serve as a common nifty-50 (at 2.

8) in non-fast moving situations too, pick this lens. It’s size, cost, and performance are excellent there. If you want more standoff macro distance and want a lens that can basically replace your 85 for professional quality portrait (at 2.

8), plus one that can handle video, midrange street, action, and lifestyle work, pick the 90 G. It’s AF, OSS, image quality and look are all stellar for those uses. For my own current needs, I’m keeping the 50 (I bought the rental).

Unrelated to the lens itself, the process of renting and corresponding with lensrentals. com was top-notch, as I’ve come to expect from them.

Ive used this on FS700 camcorders and a7iii cameras. It works very well on both. Performs like an ENG style camcorder lens with smooth variable speed power zoom. The three rings for focus, zoom and f stop make it just like an old school camcorder.

F4 works very for low light and bokah on mirrorless cameras. The lens looks and performs like a professional lens. Well worth the money if you can find one! Optical stabilization works great even when on a tripod which is where this lens belongs.

Its heavy and has some very quality glass. I love the super slow zoom speed. Great lens for weddings and events where you want a super slow and smooth zoom.

I have had this lens malfunction on me twice! Both times it decides to stop reading the f-stops, which means that none of the other functions work either, rendering the lens useless. I had it fixed by Sony the first time (it happened while I had it locked away in a cupboard – ie, just sitting there, no knocks, no bumps etc) and it was fixed under warranty – and yesterday it has done it AGAIN! I use this lens entirely for work, and now I have to cancel all of my upcoming work until I get it fixed.

The second time it did it half way through a shoot. Again, no knocks, no nothing – just decided to stop reading the f-stops. For the many thousands of dollars I have paid for this lens I am utterly heartbroken and now very scared of loosing more income thanks to faulty connections.

Last fix was this – Dismantled and replaced CL01030 PCB, group block assembly and distance sensor. Reassembled and soak test operations ok. – worked again for about a year – then SAME FAULT. I fully LOVE this lens, it is my go to and utterly perfect in all the ways except this – and I am not the only one with complaints and having to send it back – so BUYER BEWARE.

Coming from a cropped sensor Fujifilm XT4 and previously owning their amazing XF56 f1. 2, I wanted sth similar as my first full frame lens without breaking the bank. After some research and YouTube videos, I decided to go for the Sony 85mm f1.

8 and boy am I happy! This is a relatively compact and very light lens which you can carry all day and the image quality is excellent even wide open. It is a versatile focal lens in that if you know how to work your composition, it can be used not only for portraits, but also street and landscape photography.

Sure there are other slightly better lenses out there (85mm f1. 4 GM and Sigma 85mm f1. 4) but I personally don’t think their double price and weight equal to double image quality. This Sony lens is more than enough for pros and amateurs alike.

The 02-year John Lewis guarantee is the cherry on top of the cake. Very happy with my purchase.

Great deal and the lens seems to work great. I haven’t had the chance to test it completely for sharpness, but its auto focus is completely silent. Since we are using it for videoing a church service this perfect.

It captures the full stage when shooting in 4k and allows us to punch in very sharp when we stream in 1080p. In regard to the bundle, the bag is excellent and big. I don’t think I’d mount anything to the tripod other than maybe a go pro or small light.

Cleaning kit is good. The memory card is decent, but probably not fast enough for high-bit-rate 4k recording. It should handle lower bit-rates just fine though.

If you are interested in WA lenses you have probably looked at this and the Viltrox 13mm. My advice is to get them both. If you cannot then I would lean towards this 11mm. While the 1. 8 is 2/3 stops less than the Viltrox 1.

4, you are saving a lot in weight. The Viltrox is even heavier than their 23mm lens (which is also insanely sharp). The other advantage that this lens has is it is much faster to focus than the Viltrox.

Regarding sharpness I would give a very slight edge to the Viltrox but that is only when comparing images at around 200%. Again, if I had to choose 1 lens I would go with this lens. It is perfect for travel and the images on a FF camera may even look better than APS-C.

This lens is a real gem.

This lens is my go to telephoto lens to match with my a6400. The compact size and light weight keep my keep easy to transport and fairly discreet. The f4 aperture gives a nice bokeh for portraits and the sharpness is out of this world for the price of the lens.

The tripod mount is strong and sturdy and can be adjusted to rotate the lens to any angle. The zoom ring is smooth in its action and the range of motion to go from 70mm to 200mm isn’t so long that you have to strain to reach from one end to the other.

The internal zoom action keeps the lens compact and balanced and the case and lens hood are of excellent quality. I would definitely recommend this lens to others and it is incredible value for money for the sharpness and image quality that it produces.

When I bought my first camera, the Sony a6000 back in 2017, it came with the handy kit zoom lens 55-210mm Zoom (variable f/4. 5 to 6. 3). Which was convenient for learning and even taking some good wild life pictures.

But as I learned more, I wanted to take more pictures in lower light conditions, and I knew the 70-200mm would help out with the constant f/4. It isn’t a cheap lens, but after using it I could tell it is truly worth the investment.

f/4 isn’t it’s sharpest aperture, but it grants more leniency in lower light conditions. With my Sony a6000, given it’s an APS-C with 1. 5x crop, the 200mm gives more “reach”. Lens is a bit heavy, but feels solid and very well built.

It has weather sealing, and good optical image stabilization. If using it in Full Frame Sony Cameras, you can program its 3 extra custom buttons. You can change manually its stabilization mode (following moving subject, or static subject while you are moving).

There is an f2. 8 and an f4 version of this lens. There is a stop of difference. It will cost you $1000 to get back to 2. 8. Because it’s a 70-200mm, I don’t expect to be shooting in lightless, enclosed spaces as I do with my 24-70mm f2.

8, so going with the f4 is fine. These days, with the expanded range of noiseless ISO’s, compensate for the lost stop by increasing your ISO instead. You can shoot clean at 3200 and pretty much up to 5000, thus making the stop difference a very small issue.

This lens is considerably lighter than the 2. 8, so you won’t be using it to increase muscle mass, but carrying it around for punched-in close-ups is not unlike carrying the 24-70mm 2. 8 for weight. It’s not a problem unless you’re a terrible cry-baby.

Images are very clean, a UV is recommended for lens protection (I went with a B+W), and auto-focusing is swift. The design and build is super-pro, lens bag is thick and firm, and bokeh is attractive, even from corner to corner.

I’m not capable of forensically examining the pixels or obsessively measuring edge focus. Having just tinkered with and refined a number of RAW images with my ON1 PHOTO RAW program, I’m very happy with this purchase.

Surely the 200-600mm f/5. 6-6. 3 will be next for consideration. My ongoing work interviewing entertainment-related subjects necessitates a broad range of focal perspectives.

Considering this lens is almost ten years old, it works well. I would purchase this lens while it is on sale but not pay the original price of $899. 99. Sony just announced a new 10-20mm APS-C lens, but it lacks built-in image stabilization, so if you need that, I would go for this lens instead of the new one.

However, I returned this for the Tamron 11-20mm lens since it is newer. The Tamron also lacks built-in image stabilization, but considering I am using the lens with the a6600, which has it built into the camera, it was a non-issue for me.

Im a nikon full frame guy, so to me switching to sony crop is a bit awkward, but Im doing this only for video capabilities of a6500 and the features it gives you with its native optics. From that perspective the setup is pretty good, despite the rolling shutter in 4k and the horrible pixel binning in FHD (shame on you Sony!), the video is quite good, AF on this lens is fast, responsive and precise, OSS is also amazing.

The lens (with the camera) is very light (about 700 gm), the material feels premium and the design looks modern and trendy. So the video you get from this camera if quite good. Things get ugly when you switch to photo.

With a little deeper study you start to see that the lens is not sharp at all, lacking resolution on the edges and giving a lot of chromatic aberrations. There is a small amount of pincushion distortion at any focal length, which is acceptable (even for video).

At f4 the lens is quite dark, which becomes apparent when you see how much grain you get on a cropped sensor. The price. Its too high for the specs you get and china assembly. Dont get me wrong, but Sony prices this lens as pro level, but it hardly can produce pro level image.

Overall, its a good product, which is in conjunction with aps-c sensor is full of compromises. If its photography youre buying it for, think twice. For video, depending on the genre, this might be a good option.

I bought this alongside the 24-105mm F4, to use for landscapes. I have no need for an expensive and heavy F2. 8 version, so settled on this lens, as it was the only option at the time. I was hoping for performance similar to the equivalent Canon EF lens, which is cheaper yet excellent.

I also assumed that given the Zeiss badging and the fact that it is only 2X zoom versus 4X that it would easily outperform my standard zoom. How disappointed I’ve been with it. The 24-105 is much sharper.

This lens is adequate in the centre across the range, but nothing more. The corners are never sharp, especially at either end of the range, very bad for landscapes. Would have been understandable if it cost half the price, but for £1200, I assume half the price must have gone on the blue badge, rather than the optics.

So I only use this lens if I need less than 24mm, otherwise I just use the standard zoom. Trying to decide whether to replace it with the Tamron 17-28 or Sony 20mm, both considerably cheaper and faster.

in love with this lens. I was originally just looking for a really high quality wide or ultra-wide lens for landscape timelapse, but the versatility of the 16-35 range is amazing–and tack sharp throughout.

Perfect walkaround lens–not too bulky to handle off-tripod like almost any sigma. And the OSS on top of the built-in stabilization with the a7iii makes video perform to an almost steadicam-smooth degree.

Really gorgeous colors and superb sharpness. Only potential downside is the somewhat slow aperture, maxing open at 4. While not ideal for low lighting ISO can compensate and this aperture makes it extremely convenient to get almost everything in focus on every shot.

It also can stay constant while zooming, huge plus for video. I’ve already used this for landscapes, street photography, event video, and even interviews where I want to show off the environment around the subject more.

Highly recommend!.

Using my new a7 R iii this lens is super sharp. I needed to go to maximum magnification in photoshop to remove some debris from a model’s skin in an outdoor shoot at a waterfall. I was amazed at how the image held focus up to point of pixelization.

The image stays sharp to the edges.

IšverstiShow in original languageACHTUNG- dies ist MEINE Bewertung, die ich auch auf Amazon gepostet habe. Lassen Sie sie bitte nicht untergehen, denn sie enthält alles, worin Canon besser ist. Das Sony 200-600mm habe ich seit 2 Jahren im Einsatz.

Vorweg-Fazit: Leider nicht ganz das eierlegende Tele-Zoom, nach dem man schon lange suchte. Momentan aber das schärfste und tragbarste Zoom, das 600mm bzw. 840mm (mit 1,4 Extender z. B. an A7RIII) abdeckt.

Leider ein schwacher Stabilisator, welcher den Vergrößerungsmöglichkeiten dieser Linse freihändig nicht ganz gewachsen ist und auf dem Stativ ungebeten den Geist aufgibt. Tipp: Kabelauslöser mitführen! Nun ins Detail, zunächst die großen Pluspunkte: + sehr flüssiger Video-AF, kaum Pumpen + Sehr flüssiger Innenzoom mit kurzem Weg, hervorragend zu bedienen + Schärfe und Kontrast sind bei 600mm besser als bei allen anderen Zooms dieser Klasse, auch besser als die 100-400er Varianten mit Konverter.

Selbst an hochauflösenden Kameras wie der A7RIV oder der a6400 lässt sich mit dem 1,4x Konverter noch was herauskitzeln (mit Konverter am besten halbe Blende abblenden, bei f10 oder f11, Konverter also meist nur für statische Motive sinnvoll).

Es gibt aber wichtige Kritikpunkte: -Autofokus beißt sich häufig am Hintergrund fest, selbst bei statischen Motiven und Spot-AF. War schon für manche negative Überraschung gut, weil ich es im Sucher nicht erkannt hatte.

Wenn ich Canon-Teles über Sigma MC-11 an die a6400 adaptiere, passiert das -obschon mit langsamerem AF – entweder gar nicht oder nur sehr selten. Und zuletzt die Probleme mit dem Stabi: – Stabi ist im Freihandbetrieb weniger effektiv als bei Canon (alle Teles), Tamron und sogar als bei Nikon (jedenfalls was Nikons 200-500mm betrifft) – Stabi schaltet sich auf dem Stativ komplett aus (wohl in geheimer “Absprache” mit der Kamera).

Das hat im Vergleich zur Verwendung von Canon-Teles (deren Stabi läuft auch adaptiert einfach weiter) folgende eklatante Konsequenzen: a) Vibrationen, die bei Wind oder durch Anfassen der Kamera entstehen, machen sich mit dem Sony G 200-600mm bei 600mm und den heutigen Sensorsauflösungen selbst noch bei Verschlusszeiten von 1/250 Sek.

bemerkbar – man sollte unbedingt einen Kabelauslöser benutzen, wenn man die ISO-Werte im Keller lassen will, was allerdings in der Tierfotografie oft schwierig ist. Mit einem Canon-Tele an eine Sony-Kamera adaptiert kann ich bei 600mm auf dem Stativ mit eingeschaltetem Stabi noch bei einer 1/60 Sek.

scharf abbilden (wenn auch das Tier stillhält), im Silent-Mode (also ohne Erschütterung durch Verschluss) sogar mit bis zu 1/15 Sek. b) Vibrationen im Videomodus: Man muss schon mit den schwersten Köpfen und Stativen arbeiten, um die Videomöglichkeiten dieses Objektives auszuschöpfen.

Selbst mit einem Gummi am Sachtler FSB8 kriegt man keine sauberen Schwenks hin, sobald man 4k über 600mm hinaus zoomt. Wer möglichst leicht unterwegs sein will und beim Einsatz auf einem normal-schweren Stativ Windvibrationen oder Vibrationen der Hand vermeiden will, ist mit einem adaptierten Canon 100-400mm IS oder Canon 200-400mm IS an der Sony (a6400/a6600/A7RIV) besser beraten.

Fazit zum Stabi: Für Aktion-Fotos mit High-ISO ok. Für Fotos von ruhigen Motiven mit möglichst viel Vergrößerung und niedrigen ISO jedoch ganz und gar nicht perfekt, auch zum Filmen mit Stativ wegen der dann fehlenden Stabilisierung nur bedingt zu empfehlen.

Würde Canon ein EF 200-600/4. 5-6. 3 produzieren, wäre es selbst an einer Sony aufgrund des anzunehmenden besseren Stabis eventuell die bessere Wahl. Das nun angekündigte RF 100-500/4. 0-7. 1 ist allerdings bei 500mm so lichtschwach und für Action ungeeignet, dass ich mein Sony 200-600 erstmal behalte.

IšverstiShow in original languageVor einem Jahr habe ich dieses Objektiv während einer Sony Aktion gekauft. Im Bereich Supertele gibt es nicht so viel Auswahl, denn die absoluten Profi-Linsen kosten direkt das Fünffache.

Deshalb bewerte ich dieses Objektiv auch in seiner Klasse in Konkurrenz zum Sigma 150-600 und Tamron 150-600. Das Sony ist objektiv betrachtet das bildtechnisch beste Supertele unter 2000 Euro. Zudem ist von der Handhabung der interne Zoom gegenüber einem ausfahrbaren Tubus ein großer Vorteil.

Qualitativ fühlt sich alles super verarbeitet an. Als besonders praktisch hat sich der Gummiring an der Gegenlichtblende herausgestellt, da man dort das Objektiv temporär abstellen oder es gedämpft gegen Wände und Glas lehnen kann.

Designtechnisch ist dieses Objektiv für Naturfreunde nicht gelungen. Während mir die Optik persönlich zusagt, wird der helle Farbton in der Tierfotografie als störend wahrgenommen. Außerdem ist die Objektivschelle nicht vollständig abnehmbar, man kann lediglich den Fuß der Schelle entfernen.

Im Vergleich zur Konkurrenz fehlen 50 mm am kurzen Ende. Auch das hat bisher nicht gestört. Hier sollte man sich besser die Frage stellen, ob man auf ein 70-200 umschraubt, da die Fotos mit 150 mm Blende 5,6 ohnehin nicht sonderlich spektakulär wirken würden.

Auf 200 mm hingegen ist die Freistellung ausreichend, bei 600 mm optimal. Eine offenere Blende würde zu einer zu kleinen Schärfentiefe führen. Aus Schärfeaspekten ist ein Abblenden bei diesem Objektiv nicht notwendig – es ist bereits super scharf bei allen Brennweiten und bei Offenblende.

Deshalb erachte ich das Sony 200-600 als absolute Top-Linse für Tierfotografen und diejenigen, die sich auf Safari begeben möchten. Auch für andere Anwendungszwecke lassen sich interessante Bilder mit einer enormen Kompression des Hintergrundes anfertigen – es ist und bleibt eine “Speziallinse”, aber in diesem Segment eine besonders gute!.

Obiettivo di costruzione buona (come tutti i Sony) e al tatto è ben fatto e non sembra un plasticone ma a suo discapito a un AF molto lento e non precisissimo, nonostante questo si riescono a tirare fuori bei scatti lavorandoci un pochino.

se la vostra priorità è la velocità non ve lo consiglio ma se volete un obiettivo per passeggiate street oppure cose non troppo impegnativi è un buon inizio.

Ottimo rapporto qualit prezzo. Molto nitido gi da 1.8.

Fait le job. Par contre, l’emballage….à revoir. Je m’étonne qu’il soit arrivé entier.

utilisation specialement en video pour des interieurs en faible luminositee monter sur A 6000 conjointement avec le 18 105 super resultats en faible luminositee

Tout à fait conforme à mes attentes .