Sony FE 16mm F1.8 G: two-minute review

Every lens comes with some kind of compromise, but Sony’s done well to disguise it on the FE 16mm F1.8 G. Yes, it lacks the versatility of a wide-angle zoom like the FE 16-35mm F2.8 GM II. But if you’re in the market for a super wide-angle prime with plenty of creative potential, it’s a real box-ticker.

You’ve got the 16mm focal length favored by architecture and landscape fans, plus a fast f/1.8 aperture to satisfy night-sky enthusiasts. You’ve got speedy autofocus and a good set of manual controls. Then you’ve got the dimensions: Sony has cleverly packaged the FE 16mm F1.8 G to make it a lens that’s easy to travel with. All at a price that’s firmly in the reasonable bracket.

Sony might be marketing its 16mm prime at your traditional wide-angle users, but that list makes it a compelling proposition for anyone keen to experiment with a wider field of view. So where’s the catch?

In the minor category, there are a couple of marks against the FE 16mm F1.8 G. To achieve its low weight and matching price, Sony has used a fair amount of plastic in the build. And while it’s a moisture-resistant lens, it doesn’t have full weather seals. But this isn’t a G Master lens. For the money, neither one of those factors should be a dealbreaker.

What could be is the barrel distortion. While prime optics mean the FE 16mm F1.8 G can shoot sharp in the center at its widest aperture, detail drops off to softness in the corners. This is because of how much correction is taking place at the very edges of the frame. Shoot in RAW and you’ll need to compensate quite heavily, costing you sharpness in the stretched pixels.

While this reliance on lens corrections might not sit well with purists, Sony is not alone in leaving software to address optical imperfections. Nor is it an issue which only affects prime glass. It’s a growing trend among wide-angle lenses as a whole, as we found in our review of the Canon RF 15-35mm F2.8L IS USM. Sony’s own FE 16-35mm F2.8 GM II is guilty of it, too.

In reality, if you’re willing to live with some corner softness, the FE 16mm F1.8 G is an excellent super wide-angle prime for the price. Shooting at f/1.8 not only lets you make the most of the available light, but also allows you to play with defocused backgrounds when your subject is close to the lens.

It’s true that videographers and travel photographers will probably be better served by a 16-35mm zoom, even if that means accepting a slower maximum aperture. The Sony FE 16-35mm F2.8 GM II has the versatility to cover both wide angles and tighter 35mm street shots with edge-to-edge detail. For those who want get creative at 16mm, though, the FE 16mm F1.8 G isn’t far off the sweet spot.

Sony FE 16mm F1.8 G specs

Sony FE 16mm F1.8 G: Design

• Compact and lightweight for a wide-angle prime
• Protected against dust and moisture
• Tactile focus and aperture control rings

It’s not a pancake prime, but Sony’s done some very clever packaging to keep the FE 16mm F1.8 G compact. By super wide-angle standards, this is about as small as they come with an f/1.8 aperture. It weighs in at a very manageable 10.7oz / 304g and measures just 73.8 x 75 mm (or roughly 3 inches on each axis). That makes it almost 10mm shorter than the Sony FE 20mm F1.8G.

Its lean build is achieved in part by use of plastic in the construction. The result is a barrel that doesn’t feel especially premium, but Sony hasn’t done a cheap job either. There’s no sense that corners have been cut here: the body is creak-free and the controls are nicely tactile. While you don’t get the weather seals of the G Master series, resistance against dust and moisture also adds to the sense of robustness.

The overall impression is one of functionality. That extends to the controls, most of which are thoughtfully placed within a finger’s reach. This is an easy lens to feel your way around one-handed. A few touches help to elevate the user experience above that of a basic prime, too: you’ve got a switch which gives you the option of clicked or smooth aperture ring rotation, for example, plus a programmable function button.

Some users might like a little more weight to the manual focus ring, but the resistance of the aperture ring feels perfectly judged. Together with switches for focus mode and Iris Lock, the FE 16mm F1.8 G is a lovely lens to use. It paired neatly with a Sony A7C II body in testing for a convenient wide-angle shooting setup.

Sony FE 16mm F1.8 G: Performance

• Fixed ultra-wide 16mm focal length
• Fast f/1.8 maximum aperture
• Rapid autofocus with two linear motors

Frame up with the FE 16mm F1.8 G and you’ll instantly see just how wide a 16mm focal length really is. Whether you’re shooting buildings, interiors or landscapes, this is a lens designed to give you dramatic perspectives. And thanks to its wide maximum aperture, you can shoot those perspectives in a range of scenarios.

At f/1.8, this is pretty fast glass. Fast enough to capture sharp results in low lighting, whether that’s an evening street scene or a starry sky. Sony reckons the FE 16mm F1.8 G is a good option for astrophotography. Paired with a full-frame Sony E-mount camera, the 16mm’s light-gathering abilities certainly mean you can make the most of any available lumens.

The wide aperture also means you can play with a very shallow depth of field. The effect is strongest when shooting close-ups: with the right composition, you can draw a near subject into clear focus against a striking defocused background. This impression is enhanced by the fact that the wide field of view includes more of the backdrop than a standard macro lens.

Bokeh could be smoother and we did encounter some false color in blurred backgrounds. All the same, its close-focusing abilities add an additional string to the bow of Sony’s super wide-angle prime. It’s not a macro lens, but with a minimum focus distance of just 0.15m, the FE 16mm F1.8 G lets you get very close.

It helps that the autofocus system is rapid in all conditions. Driven by dual linear motors, focusing response is pretty much instant. That’s just as true up close and in low light as it is when shooting big subjects in broad daylight. Paired with a Sony A7C II, the lens demonstrated a commendable hit rate, giving no reason to doubt that it would find its target.

All of that translates to video, too. It’s easy to see why Sony touts the FE 16mm F1.8 G as a lens with vlogging potential. Its ultra-wide focal length and close-focusing abilities are both well-suited to self-shot videography, allowing users to comfortably record themselves at arm’s length. The proportions of the lens itself also make it easy to wield when paired with a vlogging-first camera like the Sony ZV-E1.

Focus breathing is kept to a minimum: shift focus while recording and the field of view stays consistent enough for most eyes. If you have a compatible Sony body, you can use the breathing compensation function to eradicate it entirely by applying a slight crop. Shooting video with a 16:9 aspect ratio also crops out any softness in the corners from the application of distortion correction (see below).

Sony FE 16mm F1.8 G: sample images

Images shot with the Sony FE 16mm F1.8 G are broadly superb. As with most prime lenses, there’s a sweet spot in the aperture range that nets you edge-to-edge sharpness with no vignetting. That’s exactly what you’ll find at f/4.

Wide open at f/1.8, the story is a little bit different. There’s some minor vignetting evident in RAW stills, which can be addressed in post or reduced significantly by stopping down to f/2.8. That’s unless you want the effect to complement the wide-angle look, leading the eye to the center of the frame.

More problematic is barrel distortion. This isn’t a surprise for such a wide-angle prime, but the result is a loss of detail where correction stretches pixels in the corners. Whether this is applied in-camera to JPEG stills or in the edit for RAW files, the result is the same: softness at the far reaches of the frame.

How much this loss of corner clarity is an issue will often come down to the composition. Naturally, the results of distortion correction are less noticeable when the area is defocused. In any case, you still get excellent center sharpness at f/1.8 and resolution remains decent across the frame up to f/11. Venture beyond that and you’ll find that sharpness drops off significantly, particularly as you approach f/22.

In stills captured facing into the sun, the FE 16mm F1.8 G displays a strong ability to deal with backlighting. There can be some washout at the widest apertures, but contrast is retained at f/4. The lens also keeps flaring under tight control and renders soft but attractive sunstars at narrower apertures.

Should you buy the Sony FE 16mm F1.8 G?

Buy it if...

Don't buy it if...

How I tested the Sony FE 16mm F1.8 G

• Tested comprehensively for a week
• Paired with a Sony A7C II body
• Used in a range of conditions

Sony was only able to loan the FE 16mm F1.8 G to me for a seven-day period, during which time I shot with it extensively. Thankfully the weather was good during my time with it, so I was able to fully assess how it handles different lighting conditions, from bright backlighting to dimmer evening scenes.

As a 16mm would traditionally be considered a lens for shooting landscapes and architecture, I did both of those. But because Sony’s super wide-angle prime also boasts the defocusing potential of a fast maximum aperture, I also made sure to shoot up close with a range of subjects.

I used the lens with a Sony A7C II body. By shooting with it heavily over the course of a week, I was able to get a good understanding of the build quality and usability of the lens, particularly the feel of its focus and aperture rings.

• First reviewed March 2025

Sony FE 400-800mm F6.3-8 G OSS: two-minute review

Closer is better when it comes to wildlife photography, and that’s where Sony’s super-telephoto zoom delivers in spades: with a reach of 400-800mm, it’s the longest lens of its kind in Sony’s E-mount lens lineup. Trumping the 200-600mm F5.6-6.3 G OSS by a full 200mm at the telephoto end, it sacrifices wide-angle flexibility to give you a significantly tighter shot of distant subjects.

Comparable in many respects to Canon’s RF 200-800mm F6.3-9 IS USM, Sony’s super-telephoto is a win for capturing wild and winged creatures. It's less effective in the sports arena though: a slow f/6.3-8 maximum aperture makes it harder to work at the kinds of shutter speeds needed to freeze fast-moving subjects, especially in low-light scenarios, and also limits your scope for blurring busy backgrounds.

Still, in bright conditions, the 400-800mm excels. You don’t get the absolute pin-sharp detail of a telephoto prime, but it’s still sharp both throughout the zoom range and across the frame. Effective image stabilization also helps to keep things crisp when shooting handheld, with motion blur only becoming noticeable at the long end. Chromatic aberrations are kept under tight control, too.

Tipping the scales at the best part of 2.5kg, this is not a lightweight lens. Nor is it small by anyone’s standards, especially with the lens hood attached. Yet Sony has made it a surprisingly manageable telephoto zoom to shoot with. For starters, internal zoom keeps the weight balance relatively centered over the tripod foot, which usefully doubles up as a handle.

Then you’ve got the tactile, accessible controls. With well-judged resistance, the focus ring makes manual adjustments a joy. Similarly, the short throw and smooth action of the zoom ring mean it’s swift and easy to shift through the full spectrum of focal lengths. Add a trio of programmable focus hold buttons, and the 400-800mm becomes a super-telephoto that’s easy to handle.

It’s also a lens with superb focusing skills. This isn’t G Master glass, but you wouldn’t know it from the responsiveness of the autofocus: driven by two precision linear motors, it moves fast and very rarely misses, and only when shooting busy scenes at a serious distance will you need to consider manual fine-tuning. At the wide end of the range, it also has the versatility to focus on subjects just 1.7m away.

This isn’t a perfect lens. Professional wildlife photographers will get better fine detail from a premium telephoto prime, while serious sports coverage requires the faster maximum aperture of something like the Sigma 150-600mm F5-6.3 DG DN OS Sports. But compromise is inevitable with a lens that's designed to cover several bases, and if you want a super-telephoto zoom that gets you closer than any other Sony E-mount glass, the trade-offs here are more than palatable.

Sony FE 400-800mm F6.3-8 G OSS specs

Sony FE 400-800mm F6.3-8 G OSS: Design

• Heavy but well-balanced lens
• Robust build with weather seals
• Internal zoom with smooth ring rotation

There’s no escaping the fact that the Sony FE 400-800mm F6.3-8 G OSS is a hefty lens. At the best part of 2.5kg, you’ll feel its weight when wielding it. That said, it’s not too much bigger than the 200-600mm: it's 358g heavier, 29mm longer and just 8.3mm wider. Those don’t feel like huge trade-offs for the extra reach at the long end, although you will need to invest in costly 105mm front filters.

It helps that Sony has done a good job of balancing the lens. Rather than telescoping out in front, the zoom mechanism is all packaged internally. That keeps the weight distribution fairly consistent, whether you’re shooting handheld or on a tripod. It also means that the zoom control ring only requires a light touch, which contributes to the sense that this is a manageable lens.

So does the tripod foot, which sits pretty squarely beneath the lens and body’s center of gravity. Its collar isn’t removable, but you’ll likely find the foot useful to have more often than not. The design isn’t exactly ergonomic, but the foot makes for a natural handle, both when carrying and framing. The collar can be easily rotated, with markers for landscape and vertical orientation.

While this isn’t a pro-grade lens, it’s more than robust enough to survive a lifetime of shoots in the wild. Besides its general weightiness, everything feels well-assembled: the barrel is solid, the control rings turn smoothly, and the switches have a nice, affirmative action. Weather seals are there to keep dust and moisture out, too.

Despite its size, Sony has tried to make the 400-800mm an accessible lens. The hood, for example, attaches with a simple button release, and features a sliding window, so you can make filter adjustments without removing it. Around the barrel, three focus-hold buttons sit at 90-degree intervals, and each can be programmed with custom functions. Then you have its stack of five focus and stabilization switches. As heavyweight telephoto zoom lenses go, this is one of the most user-friendly.

Sony FE 400-800mm F6.3-8 G OSS: Performance

• Fast autofocus with two linear motors
• Relatively slow f/6.3-8 maximum aperture
• 1.7m minimum focus distance at 400mm

When it comes to focusing performance, the 400-800mm impresses. Driven by a pair of high-speed linear motors, autofocus is both rapid and reliable, with zero delay between button press and motor response. According to Sony, the telephoto zoom can handle the 120fps maximum burst speeds of the A9 III. We didn’t have Sony’s sports star to hand during testing, but our chosen body – the A1 II – is no slouch, and the 400-800mm had no trouble keeping up.

It’s not immune from the odd miss, particularly when shooting over significant distances, but two features help here. The first is the focus limiter switch, which lets you give the 400-800mm a helping hand. By switching from the full range to one of two restricted modes, based on your distance from the subject, the lens has to hunt around less to find focus.

The second is full-time direct manual focus, which allows you to manually fine-tune focus in any mode by twisting the control ring. There aren’t many occasions where you’ll need to do this, but if the autofocus is having trouble with branches, for example, you’ll find the focus ring has just the right amount of resistance to let you make careful adjustments.

Close focusing is another key selling point of the 400-800mm, with a minimum distance of 1.7m at the wide end. In practice, that lets you get the shot even when your subject is relatively close. 400mm is probably too tight to practically shoot from the sidelines of a sports event, but that distance does mean you can capture small creatures that are near the end of the lens.

Of course, it’s the super-telephoto number that grabs the headlines – and for good reason: 800mm is a long way in. Compared to a barrel that maxes out at 600mm the extra reach gets you significantly tighter in on your subject, and whether you’re shooting a kingfisher or a kickabout the difference is dramatic.

Almost as important as the range itself is the short throw of the zoom ring, which is optimized for quick shifts in focal length, and has a wonderfully smooth action; the internal zoom mechanism helps here, because the control ring isn’t responsible for telescoping elements. The net result is that it's pretty effortless to move through the full 400-800mm range, and together with the swift autofocus it enables you to readily switch between subjects near and far.

What does hold the 400-800mm back in some scenarios is the slow f/6.3-8 maximum aperture. This isn’t an issue in good light, where the lens performs well (see the sample images below). Under darker skies, though, it can struggle to keep up with rapid action, and at the shutter speeds required to freeze movement you’ll need to crank up the ISO setting or risk underexposed stills.

As a result, this isn’t a lens for shooting sports, especially not indoors. Even in the dimmer conditions of undergrowth, it can be a challenge to capture blur-free animal motion.

That slower maximum aperture also makes the lens less effective at blurring backgrounds. It’s not a major issue with leafy scenes or distant backdrops, but it does demand more care when composing against busy settings. At f/5.6-6.3, the 200-600mm has better light-gathering abilities and enables a tighter depth of field.

Sony FE 400-800mm F6.3-8 G OSS: sample images

Optically, there’s a lot going on inside the 400-800mm. There are 27 elements in 19 groups, six of which are extra-low dispersion, which translates into sharp stills which are pretty much free from chromatic aberrations.

At a pixel level, you’ll get finer results from a telephoto prime, but for a super-telephoto zoom, the 400-800mm exhibits decent sharpness. Detail is crisp at both the center and the edge of the frame, across the full zoom range. Again, the lens delivers its best results in good lighting, where you can work at shutter speeds fast enough to eliminate motion blur.

SteadyShot stabilization helps to keep things sharp. Sony hasn’t published the official rating of its OIS system, but with a trio of modes covering static and panning shots, as well as active subjects shot using the viewfinder, we found it pretty effective at counteracting hand shake. Blur did become noticeable at the extreme end, but panning handheld at 800mm is never going to bag you the sharpest stills.

Chromatic aberrations are tightly controlled, with just a hint of purple fringing creeping in at super-telephoto focal lengths. Pincushion distortion is minimal, too, leaving you with very little to fix in raw images. The 11-blade aperture diaphragm also produces bokeh smooth enough to satisfy most enthusiasts.

Should you buy the Sony FE 400-800mm F6.3-8 G OSS?

Buy it if...

Don't buy it if...

How I tested the Sony FE 400-800mm F6.3-8 G OSS

• I used the lens extensively for a week
• I paired it with the Sony A1 II
• I tested it in a range of scenarios

Sony only made the FE 400-800mm F6.3-8 G OSS available for a short loan period, so I made the most of my week with it. I was blessed with a several days of clear skies and winter sun, allowing me to test the telephoto zoom in ideal conditions.

Given the lens's wildlife credentials, animals were obviously a focus of my test shots. That said, I also made sure to assess its capabilities as a sports lens, shooting on-track action at the Goodwood motorsports circuit near my home in the UK. To be thorough, I also shot architectural details, flowers, and a handful of portraits.

Paired with a Sony A1 II, I took the FE 400-800mm F6.3-8 G OSS on several walks to get a good understanding of how easy it was to move and shoot with the lens handheld, taking into account not just its weight, but also its full complement of controls, as well as the collar.

• First reviewed March 2025