Sony FE 50-150mm F2 GM: two-minute review

Sony's lens department is on a roll. Its superb FE 85mm F1.4 GM II bagged our 2024 lens of the year award; the recent FE 28-70mm F2 GM picked up a five-star rating; and now we have the FE 50-150mm F2 GM, which is the world's first telephoto zoom with consistent f/2 maximum aperture – and it's another stunning flagship optic.

When I was first presented with the 50-150mm lens in April, I wasn't convinced by its unique focal length. Especially when you consider the 28-70mm F2 GM, plus a string of other pro 70-200mm lenses from down the years, which includes the FE 70-200mm F2.8 GM OSS II.

However, following extended use, I'm convinced the 50-150mm is probably the single most versatile lens for the type of photography I often do – events, grass-roots sports, weddings, candids – and it's easily one of the best Sony lenses ever.

The 50-150mm lens is part of Sony's professional G Master (GM) range, which means handling, durability, autofocus performance and optical quality are all top-drawer. Add its bag-of-primes-in-one-lens credentials, and the result is an eye-watering list price.

The real kicker, though, is the 50-150mm's heft – it weighs a wrist-tugging 1,340g. It was fine over the course of a soccer match, but all day at a wedding would be a proper workout. It's chunky, too, measuring 102.8 x 200mm – that's a particularly big diameter that will stretch the compartments of a regular camera bag.

Having what is effectively several fast aperture primes in one versatile optic makes sense for a certain type of user. It's the telephoto zoom flexibility and bright maximum f/2 aperture at any focal length that make the 50-150mm the goat for events photography, where speed, low-light performance, rapid autofocus, pin-sharp detail, shallow depth of field and buttery bokeh are needs, not wants. The 50-150mm ranks highly across the board.

Before the 50-150mm lens was announced, my go-to lens combination for events was a 24-70mm f/2.8 and a 135mm f/1.8. However, having put Sony's impressive telephoto zoom through its paces, I'm now reconsidering this setup – and even the camera system I've spent years building up. I can't think of any higher praise for a lens.

Sony FE 50-150mm F2 GM: specs

Sony FE 50-150mm F2 GM: price and availability

• $3,899 / £3,799 / AU$6,799
• Available for pre-order

Beyond its size and weight, if there's one thing that the FE 50-150mm F2 GM lens has going against it, it's the list price – which at the best part of $4,000 / £4,000 / AU$7,000, is eye-watering.

To put that into context, you could pick up both Sony's 24-70mm F2.8 and 135mm F1.8 G Master lenses and have change left over – or, for a little extra, the 24-70mm with Sony's 70-200mm F2.8 GM II.

Put simply, you have to really need the maximum f/2 aperture over f/2.8 to justify the extra outlay, and to put up with that extra weight. I'll get onto the benefits of the brighter aperture later in the reivew.

Naturally, the 50-150mm lens is billed as an ideal pairing with the 28-70mm F2 to cover a huge range of scenarios that would otherwise require an army of primes. I actually think the 50-150mm is the more compelling of the two f/2 lenses.

I'd happily pick up the 50-150mm and a wide prime such as the (cheaper) 24mm F1.4GM instead of the 28-70mm to cover the times when the telephoto zoom isn't wide enough – I'm not sure 28mm is wide enough for me.

Sony announced the 50-150mm lens in April, and at the time of writing it's available for pre-order, with the anticipated sales start date some time in June, 2025.

Sony FE 50-150mm F2 GM: Design

• Big and heavy
• Robust, weather-sealed build
• Internal zoom and focusing

The bigger the maximum aperture, the bigger the lens, so it should come as no surprise that the Sony FE 50-150mm F2 GM is a substantial optic – a cumbersome 47.3oz / 1,340g, excluding the tripod mount.

For context, Sony's second-generation 70-200mm F2.8 GM OSS II lens weighs 36.9oz / 1,045g – that's 20-25% lighter. The pair are identical in length, measuring 200mm, but the diameter of the 50-150mm lens is wider at 102.8mm.

Such is the diameter of the lens, I found it struggled to fit into the padded dividers of numerous camera bags, requiring a reconfiguration of the dividers in most instances. Naturally, the 50-150mm lens' filter thread is bigger than most, too, accepting pricey 95mm lens filters.

Paired with the a7R V, I felt the combination was a little front-heavy and wished for Sony's vertical grip, which would make for a more comfortable setup. Without the grip, I happily photographed a soccer match, while supporting the lens with my second hand.

I would hesitate using the lens for weddings, but the action on such days can be in bursts, so weight might not be an issue. For lengthier, sustained shoots, the 50-150mm isn't too far off the size and weight of pro lenses benefiting from a monopod support.

The handling of the lens is otherwise superb – every G Master lens I've tested is. Here, in the same mould of the FE 28-70mm F2 GM, you get a full complement of controls; rings for focus, zoom and aperture; plus customizable focus hold buttons, AF/MF, iris (aperture) lock and full time DMF switches – the latter lets you manually override autofocus.

However, optical stabilization is absent, which I find a little surprising. More on this later.

Aperture can be changed on the lens through smooth or clicked adjustments. In general, photographers opt for the tactile clicked feedback, while videographers prefer the smooth movement through f-stops, for whom the ridged ring will be compatible with follow-focus systems.

Zoom is internal, which means the lens barrel remains the same length whatever the focal length. That's one less point of potential weakness in this a fully weather-sealed lens built to withstand the rigors of professional use and inclement weather.

Put simply, no corners have been cut here – this is a top-quality lens. I'd just advise getting hands-on before you buy to check that its size and weight work for you.

Sony FE 50-150mm F2 GM: Performance

• Fast f/2 maximum aperture at every focal length
• Strong center sharpness across the zoom range
• Four XD linear motors for rapid, accurate autofocus

In many respects, the FE 50-150mm F2 GM lens is a copy and paste of the superlative FE 28-70mm F2 GM – it's also equipped with four XD linear motors that drive autofocus. Together, these motors make light work of the sizable lens elements, for a truly rapid, reliable and remarkably quiet autofocus.

Autofocus speed and accuracy are paramount for high-pressure events and sports photography, and I've been consistently impressed by the 50-150mm. This is especially the case with the a7R V's subject-tracking capabilities – when shooting grass-roots soccer, in particular. There isn't the slightest hint of hesitation.

As mentioned, what's missing is optical stabilization (OIS). However, Sony's flagship mirrorless cameras, which are the natural choice for such a lens, are equipped with in-body image stabilization (IBIS). Armed with IBIS and the bright maximum f/2 aperture, I haven't given OIS a second thought.

Like the Sony FE 28-70mm F2 GM, the FE 50-150mm F2 GM delivers incredible image quality across the board. And of the two, it's the telephoto option that enhances the maximum f/2 aperture with smooth focus fall-off and buttery-smooth bokeh, even if its shaping can be cat's eye.

The series of the same image, above, is shot in sequence with the aperture set to f/2, f/2.8. f/4 and f5.6. Bokeh at f/2 is notably bigger and smoother than f/2.8 – that's one of the reasons to splash out on a bright aperture lens.

A difference of one stop between f/2 and f/2.8 lenses might not sound like much, but bokeh is much bigger at f/2, and you're gathering an extra stop of light that's supremely useful in low light – as is often the case in professional work.

The 50-150mm's qualities aren't all about bokeh, either – the lens is consistently sharp from center to edges across the zoom range and aperture settings, besides the natural focus fall off when shooting at wider apertures with shallow depth of field.

Having shot all pictures during my test in RAW and JPEG, I further assessed quality through Adobe Camera Raw by directly comparing like-for-like files, keen to know the extent of in-camera correction at play.

Minor pin-cushion distortion across the entire zoom range surprised me – I'd normally expect it just at the telephoto end of this zoom range, not at 50mm. JPEGs are notably sharper than in RAW, too. Still, neither pin-cushion distortion nor relative lens softness are an issue – corrected RAW images are spectacular.

As for vignetting and color fringing, both are kept under tight control, as are ghosting and flare artifacts when shooting into direct sunlight. Optically, the 50-150mm F2 GM is pretty much flawless, save for easily corrected pin-cushion distortion.

When pairing the lens with a high-resolution full-frame sensor, like I did with the 61MP Sony a7R V, there's no trouble cropping in on stills to effectively further extend reach. I shot a solid set of soccer images, capturing players across the pitch largely from one position on the touchline with the 50-150mm lens.

And it's this cropping flexibility that has convinced me the 50-150mm's wider focal length is much more versatile than 70-200mm.

Sony FE 50-150mm F2 GM: sample images

Should you buy the Sony FE 50-150mm F2 GM?

Buy it if...

Don't buy it if...

How I tested the Sony FE 50-150mm F2 GM

• I had the lens and the Sony a7R V camera for a three-week loan
• I've shot portraits, sports and more
• I've also taken multiple series of identical images with the lens at different settings

I had a decent length of time with the Sony FE 50-150mm F2 GM lens – almost a month, during which time I was able to test it in multiple scenarios, including sports and for portraits.

Sony loaned me the a7R V to pair the lens with. With the camera's 61MP sensor and superb autofocus, the lens has felt even more versatile – giving greater scope for cropping into images such as distant players in football (soccer) match.

To really show the benefit of the f/2 aperture, I have made sure to use it regularly, and to take like-for-like images at different apertures to compare handling and quality.

• First reviewed May 2025

Sony FE 28-70mm F2 GM: two-minute review

Wisdom dictates there’s no such thing as an all-purpose lens. Yet in the FE 28-70mm F2 GM, Sony’s had a stellar go at making one. Pitched as a do-it-all solution for photographers who demand versatility without compromise, this is flagship glass that could replace a trio of primes in your kit bag.

Thanks to a constant f/2 maximum aperture, the FE 28-70mm F2 GM delivers the kind of results you’d expect from a prime lens, paired with the versatility of a standard zoom. The sweetener is that it’s packaged with dimensions that are easy enough to work with on a daily basis, more so than Canon's ungainly equivalent.

This isn’t a lightweight lens by consumer standards, but for G Master glass with fast optics, Sony’s done an impressive job of keeping measurements in check. The solid build and weather seals reflect its premium status, as does the way it handles, with tactile control rings and buttons.

In performance terms, the FE 28-70mm F2 GM hits the mark at every focal length. That maximum aperture gives it excellent low-light credentials, allowing you to shoot fast even in dim conditions. F/2 also unlocks beautifully smooth bokeh and striking subject isolation with a shallow depth of field. The lens is as effective for night-time street scenes as it is for 70mm portraits.

It’s optically excellent too, with no discernible sacrifice in quality for the sake of flexibility. Central detail is consistently sharp across the zoom range, with only the tiniest hint of corner softness when shooting wide open. There’s no shortage of contrast either, with minimal evidence of vignetting or chromatic aberrations.

In-camera correction does address some barrel distortion at 28mm, but this is less impactful than if the lens went to 24mm like most standard zooms. That slight restriction on wide-angle coverage will give some users pause for thought. In practise, the f/2 aperture more than makes up for the slightly tighter focal length.

The only major omission is lens-based stabilization, even this isn’t felt in real-world conditions; with the ability to shoot at fast shutter speeds, paired with rapid, accurate autofocus, you won’t encounter issues with blurring.

In truth, there’s only one drawback to the Sony FE 28-70mm f/2 GM and that’s the price. There’s no escaping that this lens is a serious investment. But when you consider that this is professional glass which delivers prime performance at several focal lengths, its value is self-evident.

If you want a new go-to lens that’s manageable on a full-frame mirrorless body and can handle everything from landscapes to weddings, this might just be the most complete standard zoom Sony has ever made.

Sony FE 28-70mm F2 GM specs

Sony FE 28-70mm F2 GM: Design

• Tidily packaged for such a fast zoom lens
• Robust G Master build with weather seals
• Tactile controls with zoom ring switches

Sony has managed to keep the FE 28-70mm F2 GM surprisingly compact for such a fast standard zoom. It’s by no means a lightweight lens at 32.4oz / 918g, but it’s only a fraction larger and heavier than the FE 24-70mm f/2.8 GM. That’s quite a feat, given the optics required to achieve its f/2 maximum aperture. It’s also significantly more portable than the comparable Canon RF 28-70mm F2L USM.

Paired with a full-frame body like the Sony A7S III, the FE 28-70mm f/2 GM balances well without feeling too front-heavy. It helps that the lens is fantastic to handle. You get a full complement of controls, including rings for zoom, focus and aperture. A pair of customizable focus hold buttons offer useful flexibility, together with the familiar AF/MF and aperture lock switches. Two additional switches let you further influence the shooting experience.

We’ve seen the aperture click switch on other Sony lenses. It’s a welcome one, letting you choose whether you’d like tactile feedback while moving through f-stops. More unusual is the torque switch, which gives you the option of tight or smooth zoom ring rotation. The former is helpful for preventing zoom creep, while the latter lets you change focal lengths with a light touch – something that videographers are likely to appreciate.

Given the price and the G Master badge, it’s no surprise that the FE 28-70mm F2 GM feels solid. This is a professional lens that’s built for the elements, with weather seals throughout. It’s all sturdy and purposeful, with a lovely weighting to the controls and no sense of compromise anywhere on the barrel.

It’s worth noting that the large front element requires equally large 86mm filters, which are more expensive than smaller standard thread sizes. That shouldn’t be a revelation: with a lens of this calibre, there’s an expectation that budget won’t be an issue.

Sony FE 28-70mm F2 GM: Performance

• Fast f/2 maximum aperture at every focal length
• Strong center sharpness across the zoom range
• Four XD linear motors for rapid, accurate autofocus

When it comes to performance, the FE 28-70mm F2 GM is nothing less than superlative. Autofocus is rapid and reliable, as you’d expect with a quartet of XD linear motors at work. While its size might conjure expectations of a sluggish response, there’s not even a hint of hesitation as the lens hunts for a subject. It’s remarkably quiet, too.

That speed puts another string in the bow of the FE 28-70mm f/2. While a standard zoom wouldn’t be the traditional choice for capturing action, its autofocus capabilities, paired with the ability to use fast shutter speeds at its widest aperture setting, make it a real sporting performer. It had no trouble tracking subjects in motion, locking with laser accuracy.

That constant f/2 maximum aperture is what sets the FE 28-70mm apart from other standard zooms. It unlocks prime performance at every focal length. Whether you’re shooting a night-time street scene at 35mm or a portrait at 70mm, you get the full light-gathering, background-defocusing power of a wide aperture.

F/2 is one stop faster than f/2.8. That means you need half as much light to shoot at the same shutter speed with the FE 28-70mm f/2 GM as you would with the FE 24-70mm f/2.8 GM. That makes a big difference in the real world, allowing you to shoot sharp and fast even in tricky conditions. Only with an f/1.4 prime would you get a meaningfully faster shooting experience.

The net result is a standard zoom that can replace several primes in your kit bag. And it can do so without optical compromise: bokeh and background blur at f/2 is exceptionally smooth, with beautiful subject isolation.

Taken all together, that recipe makes the FE 28-70mm F2 GM a uniquely versatile option. For wedding and event photographers who don’t want the hassle of switching lenses throughout the day, it’s a compelling proposition – as it is for any well-heeled photographer who covers a wide range of genres.

Arguably its only limitation besides the price is the slight loss of wide-angle coverage: its 28mm starting point is tighter than on a typical 24-70mm zoom. Whether that extra 4mm makes a difference will come down to how you shoot, but the constant f/2 maximum aperture is your pay-off. For most people, that number is probably the more useful of the two.

Sony FE 28-70mm F2 GM: sample images

A close look at images shot with the Sony FE 28-70mm F2 GM reveals that it really is a master of all trades. Central sharpness is consistently superb across the zoom range and the lens is able to render magnificent detail. Paired with a high-resolution full-frame sensor, you’ll have no trouble cropping in on stills.

Edge sharpness is also excellent. Only at the wide end does a touch of corner softness become visible. There’s some in-camera correction at play here, addressing minor barrel distortion at 28mm. You’ll need a keen eye to spot it, though. Sony has certainly made its life easier by not extending the zoom range to 24mm, where distortion would have been a more significant issue.

In fact, there’s little evidence of any major imperfections. Both vignetting and chromatic aberrations are kept under tight control, with no color fringing to speak of. Contrast is strong as well, with just a trace of ghosting and a few flare artifacts visible when shooting wide open into direct sunlight. Optically, it’s very hard to find fault with this G Master glass.

In short, the Sony FE 28-70mm F2 GM gives an almost flawless demonstration at every focal length. Even the absence of lens-based stabilization doesn’t hold it back: at f/2, shutter speeds are more than fast enough to eliminate the risk of blur. If you’re willing to dig into your pockets, Sony will reward you with a standard zoom that excels in every respect.

Should you buy the Sony FE 28-70mm F2 GM?

Buy it if...

Don't buy it if...

How I tested the Sony FE 28-70mm F2 GM

• Tested in-depth for seven days
• Paired with a Sony A7S III body
• Shot a range of test scenes

The FE 28-70mm F2 GM was only available on a short loan from Sony. That gave me a week to run the zoom through a series of in-depth tests. Given that it’s pitched as the kind of lens you’ll keep on your camera by default, that’s exactly how I lived with it. Paired with a Sony A7S III body, I picked it up every time I left the house.

That gave me a good impression of how easy the FE 28-70mm F2 GM would be to live and shoot with as a long-term standard zoom. Walking around with it allowed me to get a feel for its weight and handling, while shooting a range of scenes in different light conditions yielded a diverse catalog of stills. Covering everything from floral close-ups to abstract street scenes, the results gave me a good basis on which to assess its optical performance.

I’ve shot with several Sony lenses recently, including wide-angle primes and super telephotos, so I had a good benchmark for comparing the build quality. I also regularly shoot with both prime optics and standard zooms on my own Nikon camera, which means I know what to look for when it comes to both image quality and the physical shooting experience.

• First reviewed May 2025