Viltrox AF 35mm f/1.2 LAB FE: one-minute review

Professional lenses typically offer the best image and build quality, but at a cost. Plus, when thinking about features on prime lenses, most are fairly straightforward despite the aforementioned characteristics. One of two lenses bucking this trend is the Viltrox AF 35mm f/1.2 LAB FE, the other being the Viltrox AF 135mm f/1.8 lens.

The latter is available for both Sony E and Nikon Z mount, with the 35mm soon to be available for Z mount, too. The thing I love about these lenses is that, despite being primes they're surprisingly feature-packed, and are available at extremely attractive prices.

The 35mm f/1.2 LAB costs just $999 / £959 at Amazon, which is an amazing price for what you get (if you're buying from Australia you can purchase the lens in USD.) This price is especially impressive when the slower Sony FE 35mm f/1.4GM is considerably more expensive. The Sony is, of course, a flagship G Master lens, which may suggest superiority, but the 35mm f/1.2 LAB holds up well by comparison.

That extra 1/3 stop of light-gathering capability makes a difference in two ways. First, it makes the lens better for astrophotography. Second, it produces a beautifully shallow depth of field. Detail is also impressively sharp wide open at f/1.2, so for portraiture and astrophotography this is a truly stunning lens.

• Check out more of the best Sony lenses

Viltrox AF 35mm f/1.2 LAB FE specs

Viltrox AF 35mm f/1.2 LAB FE: Design

• Digital color screen
• Large and heavy for a 35mm lens
• Excellent build with weather sealing

Most prime lenses are fairly simple in their design, relying on their fast maximum apertures and excellent image quality to act as the main selling points. The 35mm f/1.2 LAB certainly follows suit here, but it also has a few tricks up its sleeve that set it apart from other primes. It’s also a beast of a lens, at 3.51 x 8.80 inches / 89.2 x 121.8mm and weighing32.5oz / 920g.

It’s certainly nowhere near as large and heavy as the 135mm f/1.8 LAB lens, but it’s close to double the weight of the Sony FE 35mm f/1.4GM and is slightly larger. The fact that it's an f/1.2 lens is a contributing factor, but Viltrox LAB series lenses do seem to be pretty hefty, to say the least.

Both lenses are made of aerospace-grade magnesium-aluminum alloy with a die-coating, so they have a premium look and feel alongside being of an extremely high build quality. Plus, the lenses feature a dust and moisture-resistant construction, making them perfect for outdoor photographers.

The filter thread is 77mm, so not too large and ideal for both circular and square filters, while the 11-blade aperture produces smooth bokeh with circular highlights. The minimum focusing distance is 13.4 inches / 34cm, which isn’t the shortest you'll find but is still pretty good.

As mentioned, despite being a prime lens, the 35mm f/1.2 LAB is fairly feature-packed. It has a customizable multi-function ring, which by default is set to control the aperture, with clicked and clickless operation selectable using a switch.

There are also two customizable Fn buttons and a small color digital screen that shows the focus distance, aperture, and the active Fn button. The screen can, alongside the Fn and multi-function ring, be customized by connecting the lens via Bluetooth to the Viltrox Lens app.

Since this is a third-party lens, firmware updates and customization can’t be applied in the same way as OEM lenses. But, with the lens unattached from a camera, it can be powered via a USB-C port on the lens mount and then connected to the app. This works incredibly well; a firmware update was required during testing and only took a few minutes to complete.

The ability to personalize the controls is extremely useful for tailoring the lens to the way you like to shoot. I was quite happy with the default configurations, so although I looked at the options available in the app, I left everything as it was.

Viltrox AF 35mm f/1.2 LAB FE: Performance

• Excellent image quality overall
• Impressive sharpness at f/1.2
• Sharpest at f/8

The image quality produced by this lens is sensational, with incredible sharpness and detail wide open at f/1.2. Sure, with this lens you’ll need to stop down on some occasions, but most people want a lens like this for that fast maximum aperture, and the 35mm f/1.2 LAB is incredible when shooting wide open. It’s not perfect, but it’s seriously impressive.

The 35mm f/1.2 LAB produces exceptional center sharpness at f/1.2, and while extreme corner sharpness is quite soft, edge sharpness is excellent. Corner sharpness increases gradually as you get closer to the center of the frame and as you stop down the aperture, with f/4 showing greatly improved extreme corner sharpness.

Overall sharpness continues to improve up to f/8, which, like many lenses, is the sweet spot at which most detail is resolved and the overall image produced is sharpest. Beyond f/8, diffraction begins to come into play, with f/11 providing slightly less sharp images, and f/16 exhibiting the least sharp results.

Vignetting is most visible at f/1.2 as you’d expect, and becomes less noticeable until f/2, where it almost disappears, and completely disappears at f/2.8. This is normal for a prime lens, and it’s not an issue at all because vignetting is easy to remove with software.

There isn’t a profile available in Adobe Lightroom yet since this lens is still relatively new after an April 2025 release, so any corrections currently have to be made manually. Chromatic aberration is minimal, with only the tiniest amount of fringing visible, and this was easily removed.

Autofocus performance is fast and precise, with the lens locking onto subjects quickly and silently. The AF 35mm f/1.2 LAB features Quad Viltrox HyperVCM motors, which Viltrox claims provide 150% faster AF than STM motors. I couldn’t perceive a difference in speed.

The lens also supports subject recognition, which I tested by using people/eye recognition to shoot portraits wide open. This worked exceptionally well, with perfectly sharp eyes and a dramatic fall-off in depth of field.

Should you buy the Viltrox AF 35mm f/1.2 LAB FE?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 35mm f/1.2 LAB FE

• I tested it over several weeks
• I used it to capture multiple subjects
• I tested it with an unforgiving Sony A7R V

I tested the Viltrox AF 35mm f/1.2 LAB FE over several weeks attached to an unforgiving Sony A7R V, shooting a range of relevant subjects and using different aperture settings to test sharpness and distortion. I shot both static and moving subjects to test autofocus performance.

With 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.

• First reviewed July 2025

Viltrox AF 16mm f/1.8 FE: one-minute review

It’s not often that a lens grabs you by the scruff of the neck and demands attention, but that’s exactly what the Viltrox AF 16mm f/1.8 FE does. This unassuming lens, which doesn’t benefit from Viltrox’s Pro or LAB series labels, is one of the most impressive lenses I’ve used in a long time. It’s not the best, it’s not the most expensive, but it is unbelievably impressive for several reasons.

That’s a bold statement if ever I’ve made one; but this lens, which is perfect for landscapes and astrophotography, is incredibly well-priced, produces excellent image quality, and offers professional-level build quality and features. How Viltrox has managed to pull off creating a lens of this quality at this price point is beyond me.

The Viltrox AF 16mm f/1.8 FE costs just $464 / £533 / AU$899, which is an incredible price for such a well-built, weather-sealed lens offering professional performance and excellent image quality. Sony's own Sony FE 16mm f/1.8 G is a direct competitor, and it costs a whopping $848 / £849 / AU$1,799, so the Viltrox undoubtedly offers excellent value for money – and the Viltrox is a far superior lens in almost every way, despite being larger and heavier than the Sony.

What’s more, the Sony version relies heavily on lens corrections, while the Viltrox is optically excellent without the need for corrections. I appreciate that many modern lenses rely on lens corrections to achieve their excellent image quality (and compact size), but you simply cannot beat near-perfect images in terms of sharpness, distortion, and aberrations straight out of camera.

The Viltrox AF 16mm f/1.8 is one of the best Sony lenses designed for full-frame cameras, plus it is also available for Nikon Z mount. There's no word on future versions yet, such as for L-mount.

Viltrox AF 16mm f/1.8 FE specs

Viltrox AF 16mm f/1.8 FE: Design

• Compact yet heavy design
• Weather sealed
• Excellent handling

We’ve already covered the price of this lens, and you’d normally expect build quality to take a hit at such a competitive price point, but that's certainly not the case here. The 16mm f/1.8 features an all-metal body and weather-sealing, giving it an undeniably premium look and feel. This is emphasized further by the color digital screen that displays lens information – more about that later.

The 16mm f/1.8 is quite a hefty beast in terms of weight due to its construction at 19.4oz / 550g, but it’s fairly compact at 3.35 x 4.06 inches / 85.2 x 103mm, and balances well with Sony full-frame and APS-C mirrorless cameras.

This is in contrast to the Sony FE 16mm f/1.8 G, which is much smaller and lighter at 2.91 x 2.95 inches / 73.8 x 75mm with a weight of 10.7oz / 304g, but it’s an optically inferior lens alongside being much more expensive.

That construction comprises 15 elements in 12 groups, including four ED glass and three aspherical lenses. The optical design aims to deliver sharpness, detail and high contrast while minimizing distortion, and it achieves this as we’ll discuss in the performance section.

The front element is standard in its design rather than bulbous, which is great, and it features an HD Nano multilayer coating including water-resistant antifouling coatings.

The filter thread is 77mm, which is average for wide-angle lenses, which typically range from 67mm to 82mm. This means you can use both circular and square filters for astrophotography and landscape photography.

The minimum focusing distance of the lens is 10.6 inches / 27cm, which is great for landscape photographers who want to use focus stacking to achieve pin-sharp images from front to back.

In terms of controls, you get a nice wide manual-focusing ring, a manual aperture ring that can be set to stepped or stepless operation via the switch on one side of the lens, two customizable Fn buttons and an AF/MF switch.

There’s also a USB-C port on the lens mount so that you can connect it to the Viltrox Lens app via Bluetooth to update firmware, customize the Fn buttons, and customize the digital screen’s welcome screen.

Viltrox AF 16mm f/1.8 FE: Performance

• Fantastic image quality
• Impressive sharpness at f/1.8
• Excellent corner sharpness

This is a fast and wide prime, which means it has excellent light-gathering capabilities for astrophotography. The combination of such a wide field of view and a fast f/1.8 aperture draw in huge amounts of light.

Of course, f/1.4 would be better, but that would require the lens to be much larger and heavier. The focal length is also great for landscapes, which can benefit greatly from the image quality the 16mm f/1.8 is capable of producing.

The image quality produced by this lens is fantastic, with excellent sharpness across the frame, even in the corners, wide open at f/1.8. This aperture produces the most vignetting as you’d expect; this almost disappears as you stop down to f/2.8 and is completely gone at f/4.

There is an Adobe Lightroom Lens Profile that can deal with this and the tiny, pretty much negligible amount of barrel distortion that’s present. There’s also only minimal chromatic aberration, so this is an optically impressive lens.

Sharpness is great wide open and increases incrementally up to the sweet spot of the lens, which is f/8. Sharpness drops slightly at f/11, and at f/16 you begin to see diffraction coming into play, and while f/16 is perfectly usable for landscape photography, diffraction is too high at f/22, so this setting is best avoided.

The color digital screen is a feature we’re seeing more on Viltrox lenses, and it’s a unique and pretty neat feature. It simply shows the focus distance, aperture setting and the active Fn control, and I find it most useful when I’ve manually focused on a point and need to replicate that focus distance quickly.

Autofocus isn’t the fastest. It takes the lens around 0.5 seconds to lock onto subjects when stopped down, and about 0.25 seconds wide open. This isn’t great, but since this is a lens that you wouldn’t typically use for action subjects, it’s not a huge issue.

Autofocus is driven by an SMT stepping motor, which is quiet but just about audible. AF is absolutely fine for landscape photography, while astrophotographers will exclusively use manual focus for precise focusing on stars.

Should you buy the Viltrox AF 16mm f/1.8 FE?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 16mm f/1.8 FE

• I tested the lens over a couple of months
• I used it to capture landscapes and astrophotography
• I tested it with a Sony A7R V

I tested the Viltrox AF 16mm f/1.8 FE over several weeks attached to an unforgiving Sony A7R V, shooting landscapes and astrophotography. I took photos at a range of aperture settings to test sharpness, distortion and aberrations.

I shot most images simply to see how the lens performed in different situations, while others were shot specifically to be able to compare the results to those from other lenses.

With 30 years of photographic experience and 17 years working as a photography journalist, I’ve used many of the cameras and lenses that have been released in that time. As a working photographer, I aim to test cameras and lenses from a photographer’s point of view.

• First reviewed July 2025

Sigma 56mm F1.4 DC DN Contemporary: one-minute review

Most beginner mirrorless cameras are available as a kit with a standard zoom lens – a pairing that many users settle with long-term. However, if you want notably better-quality photos from such a setup, my first bit of advice would be to invest in an additional lens.

That's where the Sigma 56mm F1.4 DC DC Contemporary prime comes in. Offering pin-sharp detail, dreamy bokeh and an 85mm effective focal length, it's ideal for portraiture, and a level up from your kit zoom.

It's one of a quartet of dinky f/1.4 primes by Sigma. But of those four, and indeed of the many lenses I've tested for crop-sensor cameras, it's Sigma's 56mm F1.4 that has impressed me the most.

What's more – it's tiny, lightweight, and well-built too, meaning it'll pair nicely with mirrorless cameras from the likes of Sony, Canon, Fujifilm, Nikon, and more.

In fact, Sigma should be commended for making this lens available for such a wide range of lens mounts. It was originally released for Sony E and Micro Four Thirds back all the way back in 2018, then for other mounts such as Fujifilm X, and only this year did it debut for Canon RF – a third-party lens for Canon RF is rare.

Put simply, the Sigma 56mm F1.4 is the best second lens you can buy in this format, especially for portraiture. Being a Sigma, it's made in-house in Japan to high standards, and the cherry on the cake is that it's reasonably priced too.

Sigma 56mm F1.4 DC DN Contemporary specs

Sigma 56mm F1.4 DC DN Contemporary: Price and availability

• Available for most mirrorless camera lens mounts
• Priced at around $450 / £420 / AU$650, depending on mount

Sigma offers the 56mm F1.4 DC DN Contemporary in L mount, Sony E mount, Fujifilm X mount, Micro Four Thirds mount, Nikon Z mount, Canon EF-M mount and Canon RF mount versions. Put simply, you can find a version of the lens for your crop-sensor mirrorless camera, without needing an adaptor.

How much the lens costs depends on the version you need. The Canon RF version, for example, costs $449 / £419 / AU$649, while the Sony E-mount version is a little cheaper.

Sigma 56mm F1.4 DC DN Contemporary: Design

• Weighs around 10oz / 285g
• Plastic barrel, no external buttons
• Available for most mirrorless camera lens mounts

Lenses for APS-C cameras tend to be smaller than equivalent full-frame optics, and that's certainly true of the Sigma 56mm F1.4. It weighs just 10oz / 285g (the Canon RF version is a few grams heavier), and measures 57.5mm in length, whereas an 85mm f/1.4 lens for full-frame cameras would typically be double the weight and size.

Its diminutive dimensions and light weight make the Sigma lens a suitable match for the best beginner mirrorless cameras, and it's the dinkiest in the series of f/1.4 primes. I was testing it with the Canon EOS R100, which is Canon's smallest mirrorless camera with RF mount, and there was a really nice balance to the pair.

There's a nice feel to the lens too, thanks to its large rubberized focus ring that's easy to locate and smooth in action. The barrel is plastic rather than metal, but it feels solid enough. I didn't exactly thrash the lens around during testing and portrait shoots, but I can still appreciate its durability.

The mount, on the other hand, is metal, and most versions feature a rubber seal for dust and moisture resistance (the exception is the Canon EF-M version). It's worth pointing out that Sigma makes the lens at its HQ in Aizu, Japan, with tight control over build and optical quality.

There are zero external buttons and switches on the lens; the sole manual control to hand is the focus ring. I was testing the lens with a beginner-level camera, which also lacks the kind of external controls found on pricier cameras. As such, I missed having quick access to a basic adjustment such as a manual / autofocus switch.

The lens comes with a generously-sized lens hood, and should you want to attach threaded filters you'll need 55mm ones. Such small filters are usually pretty low-cost.

Sigma 56mm F1.4 DC DN Contemporary: Performance

• Smooth, rapid and precise autofocus
• Maximum f/1.4 aperture for defocusing backgrounds
• Minimum 19.7 inches / 50cm focus distance delivers 1:7.4 maximum magnification

Autofocus in the 56mm F1.4 lens is powered by a stepping motor, which drives the lightweight lens elements with ease for quiet, rapid and accurate focus. Focusing is internal too – which means the lens's exterior maintains its size.

The minimum focus distance is 19.7 inches / 50cm, which is pretty decent for an 85mm-equivalent lens, realizing a 1:74 maximum magnification. This is no macro lens, however; the closest you'll get to sharp focus is on details such as flower heads.

The aperture range is f/1.4 to f/16, with a nine-blade rounded aperture. Naturally, I gravitated to the maximum aperture for portraiture, and I suspect that the majority of the photos I would take with the lens, should I own it myself (and I want to), would be at f/1.4.

At this aperture, backgrounds defocus nicely for head-and-shoulders portraits, as in the images below, in which you can also see what bokeh looks like – note the quality of the dappled light in the background. Bokeh is smooth and round in the center of the frame, although a little cats-eye-shaped in the corners.

On the same day that I shot those portraits, I also used Canon's own RF-S 55-210mm F5-7.1 IS STM lens for portraits and the difference in quality was clear – bokeh in the lower-end Canon lens has an ugly onion-ring effect, whereas the Sigma's is, as I've said, buttery smooth.

The lens construction comprises 10 elements in six groups, two of which are aspherical elements, plus one 'SLD' element. The result is ridiculously sharp detail, even at f/1.4, although for absolute peak sharpness any setting between f/2.8 to f/5.6 is on the money.

Like many Sigma lenses, the 56mm F1.4 utilizes in-camera digital correction to fine-tune images. I shot photos both in raw & JPEG, and checked the uncorrected images in Adobe Camera Raw, which supports the 56mm lens's profile for corrections. Switching lens corrections on and off allowed me to see how extreme any corrections are.

Lens distortions such as chromatic aberration and flare are all well controlled off the bat, and certainly nothing to worry about. There's notable pincushion distortion, and modest amounts of vignetting at f/1.4, but nothing that automatic lens corrections can't handle easily enough.

Image quality is excellent across the board, and the outstanding sharpness is even more impressive given the tiny dimensions of the lens.

Sigma 56mm F1.4 DC DN Contemporary sample gallery

Should you buy the Sigma 56mm F1.4 DC DN Contemporary?

Buy it if...

Don't buy it if...

How I tested the Sigma 56mm F1.4 DC DN Contemporary

• Sigma loaned me the 56mm F1.4 DC DN Contemporary for a few weeks
• I tested the lens at the same time as three of Sigma's other F1.4 primes
• I had the Canon RF-mount version, and paired the lens with a Canon EOS R100

I had several weeks to put the Sigma 56mm F1.4 DC DN Contemporary lens through its paces, together with the three other lenses that make up Sigma's quartet of Contemporary primes for crop-sensor cameras: the 16mm F1.4, 23mm F1.4 and 30mm F1.4.

They are some of the few third-party lenses made for the Canon RF-mount, which is the version that I had, and I paired the lens with the entry-level Canon EOS R100.

Throughout my time testing the lens, I've set the camera to shoot in raw & JPEG simultaneously, with in-camera lens corrections turned off. Adobe Camera Raw's profile for the lens allowed me to directly check the extent of corrections that are applied.

I've mostly used the lens for portraiture, making use of its maximum f/1.4 aperture. I've also taken images in various scenarios and using various apertures, in order to check for lens distortions and check detail.

• First reviewed June 2025

Viltrox AF 50mm F2 Air: one-minute review

This isn’t my first Viltrox lens review, and nor it will it be my last, because the Chinese lens maker is on a roll, producing a string of excellent optics for users of all skill levels and budgets. Coming in at the opposite end of a recent cinema lens that could cost up to $200,000, the 50mm f/2 Air costs less than $200 / £200 / AU$320, and offers excellent value for money.

It’s a tiny and lightweight prime that's available for Sony E and Nikon Z mounts – I had the latter for this review – with a decent maximum f/2 aperture for defocusing backgrounds. You don’t get the sharpest detail or creamiest bokeh I’ve ever seen – for those you'll want to check out the excellent Viltrox 135mm f/1.8 LAB – but the Viltrox 50mm f/2 is an excellent casual lens for enthusiasts, especially for portrait photography, and an ideal foil to a standard zoom.

I’d have preferred the lens’s minimum focus distance to be a little closer, which would bolster its everyday photography credentials, while a couple of external controls to speed up changing settings, such as an AF / MF switch, would be welcome. However, the Viltrox AF 50mm F2 Air delivers performance and image quality that belie its price – and the fact it squeezes proprietary camera-brand alternatives with its aggressive pricing is the cherry on the cake.

Viltrox AF 50mm F2 Air specs

Viltrox AF 50mm f/2 Air: Price and availability

• Available for Sony E and Nikon Z mounts
• $199 / £229 / AU$319 list price, but it usually can be found for less

Hovering around the $200 / £200 / AU$320 mark and often available for a little less, the Viltrox AF 50mm f/2 Air is an excellent value prime lens, especially when you considering its build quality and optical performance.

Price-wise, it reminds me of the old Canon EF and Nikon F-mount cheap nifty fifties for DSLRs, being an affordable first prime for enthusiasts. There's bad news for some though – Viltrox's lens is only available for Sony E and Nikon Z lens mounts.

Viltrox AF 50mm f/2 Air: Design

• Weighs just 7.8oz / 220g
• No external buttons or controls
• Available for Sony E and Nikon Z mounts

The 50mm f/2 Air lens is, as the name suggests, designed with an emphasis on light weight over absolute performance – it’s positively featherweight, especially compared to alternatives such as Nikon’s own Z 50mm f/1.4.

It’s a small lens, too. I paired the 50mm f/2 Air with a Nikon Z6 II, and I could barely feel the lens. It's not often that I'd describe a camera / lens pairing as rear-heavy, but that's the case here.

This is also excellent value, with a sale price often dipping under $200 / £200 /AU$319, and the list price only a little more. For context, the Nikon-own f/1.4 lens is double the price (and double the weight), while Nikon's Z 50mm f/1.8 is four times the price.

Viltrox’s lens well made too – a rugged metal barrel and rear mount instil confidence, even though there’s no proper weather-sealing to speak of (such are the compromises with such a low-cost lens).

There's a generously sized focus ring with smooth and easy rotation, and that’s it for controls. No AF / MF switch, no optical stabilization, no focus distance limiter – this is a simple bit of gear.

The lack of controls could, depending on which camera you pair the lens with, make changes to camera settings a little fussy. My camera doesn’t have an AF / MF switch, and because the lens doesn’t either I need to dive into a menu to switch between the two focusing methods, which can be frustrating.

Otherwise, there's little to talk about regarding design – this is a simple and lightweight optic that accepts 58mm threaded filters and comes supplied with a decent lens hood.

Viltrox AF 50mm f/2 Air: Performance

• Bright maximum f/2 aperture ideal for portraiture
• Fairly limited close-focusing capabilities
• Snappy autofocus speed

This is no pro-quality lens, but for beginners and enthusiasts the optical quality and performance of the Viltrox 50mm f/2 Air are perfectly sufficient.

The bright, zoom lens-beating maximum f/2 aperture ensures plenty of light intake and makes this lens great for low-light photography, as well as for defocusing backgrounds for dreamy portraits. Bokeh is smooth enough – I didn’t really spot the ugly ‘onion ring’ effect that can be evident in cheap optics.

Optical clarity is perfectly acceptable, even if this isn't the sharpest 50mm lens I’ve used. With a little extra sharpening in post, most users should be perfectly happy with the results.

I shot all images in JPEG and uncompressed raw, and with lens corrections switched off there are slight signs of chromatic aberration, but the Viltrox has a reasonable handle on such distortions.

I found the 1.67ft / 0.51m minimum focus distance a little limiting for close-up shots – the maximum magnification is a modest 0.11x. This isn't really a macro lens in any way, and perhaps even less of an everyday lens, with portraiture being its strongest suit.

With such a small and lightweight collection of ashperical (ASPH), ED and IF lens elements, the 50mm f/2’s STM autofocus motor has an easy job – those lens elements are moved with ease for quick and precise autofocus. Not once did I perceive sluggish autofocus on account of the lens rather than the camera.

Overall, the Viltrox AF 50mm F2 Air is a capable performer, especially when you consider its compact size, low price and bright maximum aperture. For users on a budget who are looking to step up from a standard-zoom kit lens, this is an ideal choice.

Viltrox AF 50mm F2 Air sample gallery

Should you buy the Viltrox AF 50mm F2 Air?

Buy it if...

Don't buy it if...

How I tested the Viltrox AF 50mm F2 Air

• I've used it over a loan period of several months
• I paired the lens with a Nikon Z6 II
• I've used it in a range of scenarios, generally in fair weather, and checked image quality at the various aperture settings

I paired a Z-mount version of the Viltrox AF 50mm F2 Air with a Nikon Z6 II for several months, during which time it has seen moderate use, generally in fair weather. Size-wise, the camera and lens are perfectly balanced, with no hint of wrist strain due to front-heaviness.

To test optical quality I’ve snapped portraits with the aperture wide open at f/2, and also taken series of images at each aperture setting to compare sharpness and check for lens distortions.

• First reviewed June 2025

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

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

Canon RF 15-35mm F2.8L IS USM: two-minute review

Ultra wide-angle zoom lenses are a necessity for landscape, architecture, cityscape and travel photographers. Not only do they allow you to capture wide vistas and, indeed interiors, but they also allow you to get in close to subjects to exaggerate perspective for more dramatic results.

The Canon RF 15-35mm f/2.8L IS USM is a professional ultra wide-angle zoom that provides an incredibly versatile focal range, solid features and great image quality to top everything off.

Being a professional Canon L-Series lens, the 15-35mm comes in at a price that might make the average enthusiast wince. But at $2,400 / £2,400 / AU$3,500, while it certainly is expensive, it's comparatively priced to competitor's f/2.8 ultra-wide zooms, so its price is hardly surprising.

There are less expensive ultra wide-angle zooms in the RF line-up, and for many people the RF 14-35mm F4L IS USM will be more than sufficient, but it's not the flagship option with the faster f/2.8 maximum aperture.

This is a lens that's designed for use on full-frame cameras to take advantage of the advertised focal length, although APS-C Canon users can still use the lens with an equivalent focal range of 24-56mm. This certainly wouldn’t maximise the full benefits of the lens, but if you intend to upgrade to full-frame it would make the 15-35mm a worthwhile investment.

Throw in features such as weather sealing, optical image stabilization and a short minimum focus distance and this immediately becomes an interesting lens if you shoot any subjects that will benefit from a professional lens offering this wide-angle focal range.

Image quality overall is great, but there's a slight caveat here, and this is becoming increasingly common with mirrorless lenses, and that's a heavy reliance on lens corrections. Import your raw files into Lightroom and you'll see that Lens Corrections are switched on by default for this lens. Turn them off and you get an idea of just how strong the adjustments applied are.

Canon RF 15-35mm F2.8L IS USM specs

Canon RF 15-35mm F2.8L IS USM: Design

• Quite a heavy lens
• Excellent build quality
• Fast and silent autofocus

There's nothing to be excited about or, indeed, disappointed by when it comes to the design of the 15-35mm. Well, except for the heavier than expected weight of 29.6oz / 840g, when you consider the dimensions are pretty much the average for this type of lens at 3.48x4.99in / 88.5x126.8mm. The lens does, however, balance well with full-frame bodies when shooting handheld.

I'm just thinking back to the early promises that mirrorless cameras and lenses would be smaller and lighter than their DSLR equivalents, and nearly choke on my tea as I write since this isn't the case.

Weight aside, the 15-35mm is undoubtedly built to the high standard you'd expect of an L-Series lens including weather sealing, which is essential for a lens that's aimed, in part, at landscape and travel photographers.

The lens is made up of 16 elements in 12 groups including three aspherical and two UD elements. Plus, it has an 82mm fluorine-coated front element. Externally, there's an AF/MF switch, an Image Stabilization On/Off switch, manual focus and zoom rings alongside a lens control ring at the front end of the lens.

The lens control ring can be programmed to adjust certain settings in-camera if you'd find this useful. For me, it's not useful and could be easily knocked, but that's my personal opinion rather than fact.

The lens has internal focusing so the front element doesn't rotate, but the zoom isn’t internal so the front of the lens extends as you zoom out from 35mm. An internal zoom would be much neater but would add to the already hefty weight, not to mention it's common for ultra wide-angle zooms around this focal range to be designed this way.

There's no manual aperture ring like many modern lenses, which would be a useful feature for videographers if present. Many lenses in recent years have offered a traditional manual aperture ring for this purpose, so it’s a shame that Canon's flagship wide-angle zoom has omitted what is a popular and useful feature.

Canon RF 15-35mm F2.8L IS USM: Performance

• Fast and silent autofocus
• Captures sharp images
• Constant f/2.8 maximum aperture

Being a pro-spec lens, the 15-35mm comes with a handful of features you'd expect in a premium Canon L-Series offering. First up there's the constant f/2.8 maximum aperture, which paired with the 5-stop Optical Image Stabilization makes the lens as effective handheld in low light conditions as it is tripod mounted, with the latter being the most likely way for the lens to be used for pro landscape and architecture images.

The f/2.8 aperture is also useful for creative, differential focus, which is ideal for travel photographers. And although this aperture isn’t the best option for astrophotography (larger is better), it's certainly useable and further extends the potential of the lens.

Then there's the fast and silent autofocus and the minimum focus distance of 11in / 28cm. With a wide-angle lens, this can be fantastic for creative shots.

Canon RF 15-35mm f/2.8L IS USM: sample images

Image quality is great overall with decent edge sharpness as well as in the center of the frame. Although, as you’d expect for a lens as wide as this, edge sharpness is lower than the central area.

The 15-35mm relies heavily on lens corrections, whether in-camera when shooting JPEGs or in software when shooting in raw. Considering the price point and pro L-series status, I'm surprised just how heavy the lens corrections are. The lens does, however, produce fantastic sunstars around artificial light sources at medium apertures when shooting at night.

When you load raw files into Lightroom both Remove Chromatic Aberration and Enable Profile Corrections are switched on by default, so this must be programmed into raw files when shooting with the lens.

Switch lens corrections off and even stopped-down shots exhibit a vignette while optical distortion pops back in; slight barrel distortion at 15mm and 24mm, with slight pincushion distortion at 35mm.

Chromatic aberration is minimal but can sometimes be seen along high-contrast edges. Images are sharp overall and look great with lens corrections applied, but for a lens of this price and bearing the coveted L-Series tag, you'd be forgiven for expecting more with no corrections applied.

Should you buy the Canon RF 15-35mm F2.8L IS USM?

Buy it if...

Don't buy it if...

How I tested the Canon RF 15-35mm F2.8L IS USM

• Tested with the Canon EOS R1
• Shot night and landscape photography
• Used both handheld and tripod-mounted

The Canon RF 15-35mm F2.8L IS USM was only available on a short loan with the Canon EOS R1, so the shooting time was tight and poor weather compounded the challenge. This meant most of my testing occurred around dusk to take advantage of late blue hour, as well as some daytime landscape shots when the weather cleared briefly.

The various features and functions were tested, while shots were taken specifically to check for any optical distortions. One of the main lenses I use with my cameras is a premium 16-35mm f/2.8 which provided a foundation from which to judge the RF 15-35mm F2.8L IS USM.

The two lenses are made by different manufacturers, so they're different in many ways, but it does provide a level of realistic expectation of features and performance.

• First reviewed February 2025