Best overall		RF 50mm F1.2 L USM		SEE IT
Best budget		RF 50mm F1.8 STM		SEE IT
Best standard zoom		RF 24-70mm F2.8 L IS USM		SEE IT

There are a lot of Canon lenses in the world. In 2021, the company announced that it had manufactured more than 150 million EF and RF lenses for its DSLRs and mirrorless cameras. With that kind of prolific output over several different lines, it can be challenging to hunt down the Canon lens that best suits your shooting style (and your budget). Fortunately, this list of the best Canon lenses will help you find exactly what you’re looking for. 

• Best overall: RF 50mm F1.2 L USM
• Best for portraits (high-end prime): RF 85mm F1.2 L USM DS
• Best for portraits (budget prime): RF 50mm F1.8 STM
• Best for portraits (high-end zoom): RF 70-200mm F2.8 L IS USM
• Best standard zoom (high-end): RF 24-70mm F2.8 L IS USM
• Best standard zoom (budget): RF 24-105mm F4-7.1 IS STM
• Best wide-angle (high-end zoom): RF 15-35mm F2.8 L IS USM
• Best wide-angle (high-end prime): EF 35mm f/1.4L II USM
• Best telephoto zoom (budget): RF 100-400mm F5.6-8 IS USM
• Best macro: RF 100mm F2.8 L MACRO IS USM

How we chose the best Canon lenses

I have been writing about, reviewing, and using cameras as a professional photographer for nearly two decades. I’ve shot Canon gear as my personal kit for the majority of that time and have personally reviewed or at least shot with just about every lens on this list. 

To find the best Canon lenses, I have broken some categories up into high-end and budget options because the price differences can be huge. While Canon doesn’t really make any truly bad lenses (at least at the moment), this list prioritizes models that offer exceptional image quality and durability.

You’ll also notice that almost every lens on the list relies on the Canon RF mount, which is native to its R-series mirrorless cameras. While there are still plenty of excellent EF-mount DSLR lenses out there, the RF glass represents the present and future of the company’s offerings. I’ll mention some older EF options along the way, which can be great if you have DSLRs you still want to use or you’re just looking to save some cash. 

The best Canon lenses: Reviews & recommendations

The right Canon lens for you will depend on what you will be using the lens for and what style you are aiming for. An ultra-wide angle prime lens isn’t the best choice for wildlife or portrait photography, for example. Below you’ll find lenses suitable for just about every genre, so no matter what you want to create, you’ll find an option here for you.

Best overall: RF50mm F1.2 L USM

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Why it made the cut: Canon put a ton of engineering into its flagship standard prime. The result: A lens with immaculate sharpness, beautiful rendition, and almost zero distortion.

Specs

• Lens mount: Canon RF
• Aperture range: f/1.6 – f/16
• Image stabilization: No
• Filter size: 77mm
• Minimum focus distance: 1.31 feet
• Weight: 2.09 pounds
• Dimensions: 3.54 x 4.25 inches

Pros

• Almost no distortion
• Extremely sharp, even when shooting wide open
• Solid build with weatherproofing
• New coatings fight flare
• Beautiful bokeh

Cons

• Expensive
• Big and heavy compared to older versions

Canon built this flagship 50mm prime lens to show off what its full-frame R-series cameras can do. It’s not just one of the best Canon lenses. It’s easily one of the best modern lenses I have ever used. 

50mm lenses aren’t particularly prone to distortion, but you’ll find almost none in this lens. It focuses quickly, quietly, and accurately. While you will notice some vignetting when shooting wide open, it’s not overpowering and can even work in your favor if you’re shooting portraits or trying to isolate a subject. As you stop the lens down, the vignette disappears, and it’s sharp and bright across the entire frame. 

Canon’s new Air Sphere coating promises to fight flare and aberration. In my experience, it does a fantastic job. Even in very high-contrast areas, the lens keeps unwanted effects to a bare minimum. 

All that performance does come with costs, however. At $2,299, it’s a very expensive lens. It’s also considerably longer and heavier than the previous EF version. But, while it’s not exactly compact or light, it doesn’t feel overly heavy or humongous when attached to a full-frame body. 

Yes, this lens is an investment, but it’s also a benchmark offered by the company to maximize its cameras’ capabilities. That’s worth the cost if you can swing it.

Best for portraits (high-end prime): RF85mm F1.2 L USM DS

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Why it made the cut: This classic focal length offers a special coating that smooths out bokeh for more pleasing backgrounds. 

Specs

• Lens mount: Canon RF
• Aperture range: f/1.2 – f/16
• Image stabilization: No
• Filter size: 82mm
• Minimum focus distance: 2.79 feet
• Weight: 2.63 pounds
• Dimensions: 4.06 x 4.62 inches

Pros

• Unbeatable bokeh thanks to its fast aperture and DS coating
• Very sharp
• Built-in control ring in addition to the focus ring

Cons

• Big
• Expensive

Fast 85mm lenses have been a staple for portrait photographers for decades. The short telephoto focal length masterfully avoids perspective and optical distortion while keeping the subject at a comfortable working distance that doesn’t feel too intimate or removed from the process. Canon’s flagship 85mm f/1.2 lens costs more than most of the cameras in its lineup, but it delivers unmatched image quality in this space. 

Like the 50mm f/1.2, it’s absurdly sharp, even when shooting wide open. One of the big challenges when shooting with it is to not go overboard shooting at f/1.2. The depth of field is so shallow that it can look otherworldly or dreamy. The DS in its name stands for Defocus Smoothing. An additional coating makes out-of-focus highlights in the frame appear softer and more subtle, which makes them less likely to distract viewers from the image’s subject. 

The body includes a function ring in addition to the focus ring, and the whole thing is weatherproof in line with Canon’s L-series lens specs. Again, this is a big, heavy lens, but it provides an aesthetic and image quality that you won’t get with anything else.

Best for portraits (budget prime): RF50mm F1.8 STM

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Why it made the cut: The nifty fifty provides a fast aperture and a standard angle of view which works well for loose portraits. It’s also very cheap.

Specs

• Lens mount: Canon RF
• Aperture range: f/1.8 – f/22
• Image stabilization: No
• Filter size: 43mm
• Minimum focus distance: 11.8 inches
• Weight: 5.6 ounces
• Dimensions: 2.7 x 1.6 inches

Pros

• Better image quality than its price suggests
• Light
• Compact
• Cheap
• Relatively simple lens design

Cons

• Plastic construction
• Only one control/focus ring

For less than $200, this lens is a no-brainer for pretty much anyone with a Canon RF-mount camera. It weighs a quarter of a pound, is less than three inches long, and relies on Canon’s STM focusing mechanism for quick, quiet operation. It also goes down to f/22. That’s smaller than some of the high-end models, which only go to f/16. 

It’s adequately sharp and demonstrates some relatively easy-to-fix vignetting when shooting wide open. Stop it down to f/2.8 and beyond, however, and it gets extremely sharp and bright across the frame. 

This is a plastic lens, so don’t expect heavy weather sealing for durability, but at this price, everyone should have one (if they don’t already have a higher-end standard prime).

Best for portraits (high-end zoom): RF 70-200mm F2.8 L IS USM

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Why it made the cut: The 70-200mm zoom is an essential kit for many pros, and this version is even smaller and lighter than its predecessors.

Specs

• Lens mount: Canon RF
• Aperture range: f/2.8 – f/32
• Image stabilization: Yes
• Filter size: 77mm
• Minimum focus distance: 2.3 feet
• Weight: 2.35 pounds
• Dimensions: 3.54 x 5.75 – 8.03 inches

Pros

• Compact compared to older models
• Very sharp
• Five stops of image stabilization
• Light

Cons

• Barrel extends when you zoom, which affects balance

You can shoot just about any kind of portrait you can think of with a 70-200mm lens. Canon’s latest version of this popular telephoto zoom lens takes full advantage of the RF mount. It is both smaller and lighter than the latest high-end version built for DSLRs. 

It focuses down to 2.3 feet, so even though it’s a telephoto lens, you won’t be standing too far away from your subject. This is an L-series lens, so it gets Canon’s most advanced tech, including its high-end coatings to fight flare and aberration. 

If you’ve shot with old versions of the 70-200mm, you’re probably used to the lens barrel staying the same length throughout the focal range. However, this version extends as it zooms, allowing it to take up much less bag real estate when you’re in transit. 

Best standard zoom (high-end): RF 24-70mm F2.8 L IS USM

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Why it made the cut: The most versatile lens around has gotten an update for the mirrorless era.

Specs

• Lens mount: Canon RF
• Aperture range: f/2.8 – f/22
• Image stabilization: Yes
• Filter size: 82mm
• Minimum focus distance: 8.27 inches
• Weight: 1.98 pounds
• Dimensions: 3.48 x 4.95 – 6.06 inches

Pros

• Very versatile focal range
• Extremely sharp
• Solid weathersealing
• Optical image stabilization
• Control ring in addition to zoom and focus rings

Cons

• Bulky
• Expensive

If you need one lens to do it all, then the 24-70mm f/2.8 IS fits the bill. The range goes from wide-angle to short telephoto, so it’s capable of everything from sweeping landscapes to straight-up headshots. 

The focusing mechanism relies on Canon’s latest Nano USM motors, so it moves very quickly and silently. And the nine-blade circular aperture creates pleasing bokeh across the frame at every focal length. 

Lens makers didn’t typically include image stabilization in standard zooms like this one until recent generations. Here, you get up to five stops of handheld shake reduction thanks to the built-in system. 

This is a lens built for work. You can stick it on the camera and leave it there for pretty much any situation, which justifies its high price. 

Best standard zoom (budget): RF 24-105mm F4-7.1 IS STM

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Why it made the cut: Despite its relatively slow maximum aperture, this standard-to-short-telephoto zoom is right at home for shooting in bright situations.

Specs

• Lens mount: Canon RF
• Aperture range: f/4 to f/7.1 – f/40
• Image stabilization: Yes
• Filter size: 67mm
• Minimum focus distance: 5.16 inches
• Weight: 13.93 ounces
• Dimensions: 3.02 x 3.5 – 5.45 inches

Pros

• Light for its range
• Quick, quiet focusing
• Relatively compact
• Affordable

Cons

• Very slow maximum aperture makes it better for mostly outdoor shooting

Not everyone needs a super-fast maximum aperture for shooting in low light. If the majority of your work happens in relatively bright locations like sports fields or any outdoor setting, this lens provides a very solid focal range for a relatively low price. 

It has a relatively complex optical design, so it’s capable of pleasing blur and excellent sharpness across the focal range. It’s plastic, so it’s not meant for harsh environments, but that does make it relatively light and compact. That’s essential for a good walk-around lens. 

Built-in image stabilization provides up to five stops of handheld shake reduction. That can help compensate for the slow maximum aperture if you’re trying to shoot handheld. 

Best wide-angle (high-end zoom): RF 15-35mm F2.8 L IS USM

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Why it made the cut: This focal range has been a staple for photojournalists and other working pros for a long time. 

Specs

• Lens mount: Canon RF
• Aperture range: f/2.8 – f/22
• Image stabilization: Yes
• Filter size: 82mm
• Minimum focus distance: 11.02 inches
• Weight: 1.85 pounds
• Dimensions: 3.48 x 4.99 inches

Pros

• Versatile wide-angle field of view
• Very low distortion considering the wide-angle nature
• Top-end dust- and weather-proofing
• Excellent overall image quality

Cons

• Expensive
• IS may be unnecessary for some

Dig into a pro photojournalist’s camera bag, and there’s a good chance you’ll find a zoom in this range. These wide-angle zooms are great for getting close to subjects or backing up to capture wide-establishing shots. It’s also one of our favorite lenses for real estate, thanks to its overall impressive image quality.

Canon rebuilt this popular zoom specifically for RF-mount mirrorless cameras. Despite its wide angle of view, this lens keeps distortion remarkably well-controlled, even when you’re zoomed all the way out to 15mm. That’s a big deal for shooting architecture or any other subject that doesn’t look good with wacky funhouse proportions. 

It’s part of Canon’s L-series, so we expect a rugged build, but this lens goes beyond a typical L model when it comes to keeping out moisture and dust. 

The image stabilization system relies on data from both the lens and the body to try and counteract camera shake. It’s a very effective system, but it may be overkill for some shooters who don’t need IS on such a wide lens very often. Still, it’s nice to have it when you need it. 

Best wide-angle (high-end prime): EF 35mm f/1.4L II USM

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Why it made the cut: Until Canon rolls out a high-end wide-angle prime for the RF mount, this excellent EF-mount version reigns.

Specs

• Lens mount: Canon EF
• Aperture range: f/1.4 – f/22
• Image stabilization: No
• Filter size: 72mm
• Minimum focus distance: 11.02 inches
• Weight: 1.67 pounds
• Dimensions: 3.17 x 4.15 inches

Pros

• Extremely sharp
• Low distortion
• Beautiful color reproduction

Cons

• Still an EF mount, so you’ll need an adapter on a mirrorless camera

This has been one of my primary lenses since it debuted and it remains one of the best Canon lenses in the lineup. It’s an EF lens, which means it’s meant for DSLRs, but it works flawlessly on mirrorless cameras with the Canon EF-EOS R adapter. Canon currently doesn’t offer much in the way of a high-end, wide-angle prime for the RF mount, so this is currently the best bet. 

This is one of the later L-series lenses to show up on the scene, so it has modern features like Canon’s SWC coating and BR optics to fight off flare and aberrations. It’s sharp throughout the aperture range and allows for shooting at f/1.4 with impressive detail. It does vignette some when shooting wide open, but I often think that works in its favor from an aesthetic perspective. It’s an all-around awesome lens that will serve you well for years. 

Best telephoto zoom (budget): RF 100-400mm F5.6-8 IS USM

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Why it made the cut: This ultra-telephoto zoom offers a lot of reach for a very reasonable price.

Specs

• Lens mount: Canon RF
• Aperture range: f/5.6 to f/8 – f/32 to f/45
• Image stabilization: Yes
• Filter size: 67mm
• Minimum focus distance: 2.9 feet
• Weight: 1.4 pounds
• Dimensions: 3.1 x 6.5 inches

Pros

• Very affordable for the class
• Comparatively lightweight
• Compatible with teleconverters
• 0.41x magnification ratio

Cons 

• Maximum aperture isn’t very bright

Long telephoto zoom lenses typically cost a fortune, putting them out of reach for most people. But this Canon offering manages to come in under $700 while still offering a 100-400mm range. It’s also very lightweight for such a lens, weighing just 1.4 pounds. That makes it much easier to carry with you on hikes in order to capture wildlife.

Of course, with the budget-friendly price comes a few downsides. Most notable is the narrow maximum aperture. It tops out at f/5.6, and when you zoom all the way in, that drops to f/8. It definitely won’t be great in low-light situations when trying to handhold the lens as a result. But it does offer optical image stabilization to reduce up to 5.5 stops of camera shake, which is a big advantage.

This 100-400mm lens offers good image quality, although with some softness when shooting at either end of the aperture range. It has surprisingly well-controlled fringing and ghosting for a lens of this price. The autofocus isn’t as precise or fast as more expensive lenses, but for most people, it will keep up just fine. And it’s compatible with Canon’s Extender RF 1.4x and Extender RF 2x teleconverters if you want even more reach.

Best macro: RF 100mm F2.8 L MACRO IS USM

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Why it made the cut: If you want to get close, this is the highest-quality way to do it. 

Specs

• Lens mount: Canon RF
• Aperture range: f/2.8 – f/32
• Image stabilization: Yes
• Filter size: 67mm
• Minimum focus distance: 10.2 inches
• Weight: 1.6 pounds
• Dimensions: 3.2 x 5.8 inches

Pros

• 1.4:1 magnification gets extremely close
• Up to eight stops of shake reduction with some cameras
• SA control can control the appearance of bokeh to match the scene and subject

Cons 

• 100mm focal length may feel long

If you want true macro performance, then this is the Canon model to check out. It embraces the classic 100mm macro focal length and provides a 1.4:1 magnification ratio, meaning images will render larger on the image sensor than they are in real life. That’s extremely close focusing. 

Keeping the camera steady can be tricky when shooting close, so Canon equipped this lens with a built-in image stabilization system. Combined with a body like the Canon R5, it can provide a total of up to eight stops of shake reduction when shooting handheld. 

In addition to its normal controls, the lens also sports a spherical aberration control ring, which allows photographers to control the appearance of the bokeh in every image. It can render out-of-focus highlights as clearly defined spheres or mushy blobs of light, depending on which fits your frame better. 

Things to consider when shopping for the best Canon lenses

Where are all the EF lenses?

Sadly, Canon has begun the process of discontinuing EF lenses meant for DSLR shooting. RF lenses represent the foreseeable future in the Canon stable. There are still some very excellent EF-mount lenses on the market right now (including the 35mm f/1.4 on this list), but we mostly recommend buying native RF lenses for your mirrorless camera if you want to get the most out of them. 

Prime vs. zoom

You should have a general idea of what focal length you want before you go out and buy a lens. Do you need something wide or something on the telephoto side of things? Once you have that figured out, it’s time to weigh primes against zooms. 

Primes are typically smaller, provide superior overall image quality, and offer faster maximum apertures. But, they also don’t move from their single focal length. So, if you want to shoot an up-close shot with that 35mm prime, you’re going to have to get your physical body pretty close to it. 

Zooms offer much more flexibility, but they’re typically bigger, have slower maximum apertures, and suffer a bit on the overall image quality front when compared to primes. They also typically involve more moving parts, so they can require more frequent and complex service.

Maximum aperture

A lens’s aperture lets light into the camera so the sensor can capture it. The wider that aperture opens, the more light it can let in at once. You’ll typically find aperture expressed as an F number, like f/2.8 or f/8. You don’t really need to know the mathematical formula behind that number; just know that a smaller f-number translates into a wider aperture. A lens open to f/2.8, for example, lets in twice as much light (or one stop) as a lens set to f/4. 

Most zooms can only open to f/2.8 at their fastest. Primes can go much lower, as demonstrated by the f/1.2 lenses on this list. If you shoot a lot in low-light, or you want a lot of blurry bokeh in the background of your photos, spring for the wider apertures. If you shoot in mostly bright conditions or use a lot of flash, a slower aperture may be just fine and save you some money. 

Image stabilization

Canon only started putting image stabilization into its camera bodies with the R5 and R6. Before then, it relied entirely on lens-based IS. Some lenses still offer built-in optical image stabilization, which works in tandem with a camera’s built-in system to create some truly impressive shake reduction. Lenses will often promise up to five stops of shake reduction, but that’s under ideal circumstances and shouldn’t necessarily sway you to make a purchase. 

Size and weight

High-performance lenses tend to land on the large and heavy side of the roster. They rely on metal bodies and ample glass elements to perform up to pro standards. Generally, faster apertures and wider zoom ranges will translate into bigger, heavier lenses. Ideally, you can find a balance between performance and packability. 

FAQs

Final thoughts about the best Canon lenses

• Best overall: RF 50mm F1.2 L USM
• Best for portraits (high-end prime): RF 85mm F1.2 L USM DS
• Best for portraits (budget prime): RF 50mm F1.8 STM
• Best for portraits (high-end zoom): RF 70-200mm F2.8 L IS USM
• Best standard zoom (high-end): RF 24-70mm F2.8 L IS USM
• Best standard zoom (budget): RF 24-105mm F4-7.1 IS STM
• Best wide-angle (high-end zoom): RF 15-35mm F2.8 L IS USM
• Best wide-angle (high-end prime): EF 35mm f/1.4L II USM
• Best telephoto zoom (budget): RF 100-400mm F5.6-8 IS USM
• Best macro: RF 100mm F2.8 L MACRO IS USM

Canon offers one of the biggest lens selections you’ll find in a camera system, and navigating it can be tricky. The newer mirrorless cameras play nice with newer RF-mount lenses as well as DSLR-oriented EF-mount lenses with help from an affordable adapter. The RF 50mm f/1.2 represents a fantastic benchmark for RF lens performance if you can stomach the cost. But the best Canon lenses run the gamut from complex zooms to simple primes and everything in between. 

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best Canon lenses for 2023 appeared first on Popular Photography.

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Best overall		Tamron 28-75mm F/2.8 Di III VXD G2		SEE IT	Tamron’s take on a standard zoom is versatile and built to last.
Best all-in-one		Tamron 18-300mm F/3.5-6.3 Di III-A VC VXD		SEE IT	This zoom lens covers just about every focal length you may need.
Best prime		Tamron SP 35mm F/1.4 Di USD		SEE IT	With excellent sharpness and a fast f/1.4 aperture, this prime lens has a lot to offer.

Tamron lenses have been excellent third-party options for photographers for decades. The brand currently manufactures a wide variety of zooms and primes for Sony, Fujifilm, Nikon, and Canon camera systems. Many photographers opt to use lenses from a third-party manufacturer (rather than the camera manufacturer) as a cost-effective way to save money while building out their camera kit. In this guide, we will explore some of the best Tamron lenses currently on the market to help you select the best one for your needs. 

• Best overall: Tamron 28-75mm F/2.8 Di III VXD G2
• Best all-in-one: Tamron 18-300mm F/3.5-6.3 Di III-A VC VXD
• Best ultra-wide: Tamron 11-20MM F/2.8 DI III-A RXD
• Best for wildlife: Tamron SP 150-600mm F/5-6.3 Di VC USD G2
• Best prime: Tamron SP 35mm F/1.4 Di USD

How we chose the best Tamron lenses

When selecting the products that appear in this buying guide, it was important to consider choices that fit a variety of budgets and shooting styles. Tamron currently makes lenses that are compatible with Fujifilm, Sony, Canon, and Nikon cameras, and it was important to include options that covered all of these systems. 

Rather than categorizing our top picks by the cameras that they were compatible with, we chose to select the best from each of the lens styles that Tamron offers: All-on-one, standard zoom, wide-angle zoom, ultra-telephoto zoom, and prime. In making our selections, we considered features such as image quality, image stabilization, aperture range, size, and weight. 

The best Tamron lenses: Reviews & recommendations

Tamron currently offers lenses that are compatible with Sony, Fujifilm X, Canon EF-mount, and Nikon F and Z-mount cameras. The lenses that appear in this buying guide specify which mounts they are currently available in so that you can select an option that works with your camera. While these lenses lack some of the high-end features that are found in first-party lenses, they still offer excellent image quality and are a great choice for budget-conscious photographers.  

Best overall: Tamron 28-75mm F/2.8 Di III VXD G2

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Specs

• Lens mount: Sony E, full-frame 
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 67mm 
• Minimum focus distance: 7.1 inches
• Weight: 1.2 pounds
• Dimensions: 3 x 4.6 inches

Pros

• Fast aperture 
• Moisture resistant 
• Faster focus motor
• USB port for firmware updates

Cons

• Only available for Sony cameras
• Not as wide as most standard zoom lenses 

A follow-up to Tamron’s well-loved 28-75mm F2.8 Di III RXD, the G2 features a faster linear focus motor and a more pleasing bokeh when shooting wide. The inclusion of a USB port on the barrel makes it easy for photographers to update the firmware as it becomes available. 

The lens is made up of 17 elements in 15 groups, including a low dispersion and a glass-molded aspherical element. It features a standard 67mm filter, which other lenses in the series also share, making it more affordable to invest in filters. It also offers a moisture-resistant build to protect it from the elements. 

This particular lens is only available for Sony cameras but will work with both full-frame and APS-C models. Although it lacks the 24mm field of view available on most standard zooms, its fast aperture and fast focus capabilities make it an extremely appealing choice for budget-conscious Sony shooters. 

Best all-in-one: Tamron 18-300mm F/3.5-6.3 Di III-A VC VXD

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Specs

• Lens mount: Fujifilm X or Sony E, APS-C
• Aperture range: f/3.5-6.3 to f/22-40
• Image stabilization: Yes
• Filter size: 67mm 
• Minimum focus distance: 5.9 inches
• Weight: 1.4 pounds
• Dimensions: Fujifilm: 3 x 5 inches Sony: 3 x 4.9 inches

Pros

• Impressive field of zoom coverage 
• Quick and quiet auto-focus
• Moisture-resistant build
• Features optical stabilization 

Cons

• Not great in low light 

Tamron’s 18-300mm F/3.5-6.3 Di III-A VC VXD is one of the best all-in-one lenses currently on the market. It is a great choice for photographers who want a variety of focal lengths without carrying around a ton of lenses. This particular model is made for Fujifilm and Sony mirrorless APS-C cameras. Its impressive zoom range covers an equivalent focal length range of 27 to 450mm. 

This all-in-one can focus as close as 5.9 inches and offers a 1:2 maximum magnification ratio. That makes it a great tool for macro photography, adding to its versatility. It is also built to withstand your adventures. The plastic lens barrel offers a moisture-resistant build and an anti-smudge fluorine coating on the front of the lens, which will help keep it clear of fingerprints. Despite the wide zoom range, it only weighs 1.4 pounds, making it a surprisingly compact lens for what it offers.

The impressive zoom capabilities of this lens do mean you are sacrificing a fast aperture. The minimum aperture of f/3.5-6.3 doesn’t make this an ideal choice for shooting late at night. But if you are primarily a daytime shooter or using artificial lighting, this is an excellent budget-friendly all-in-one zoom. 

Best ultra-wide: Tamron 11-20MM F/2.8 DI III-A RXD

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Specs

• Lens mount: Fujifilm X or Sony E, APS-C 
• Aperture range: f/2.8 – f/16
• Image stabilization: No
• Filter size: 67mm 
• Minimum focus distance: 5.9 inches
• Weight: 11.8 ounces
• Dimensions: 2.9 x 3.4 inches

Pros

• Super wide field of view
• Splash and dust-resistant
• Fast aperture 
• Quick and quiet autofocus 

Cons

• No stabilization

The Tamron 11-20mm F/2.8 Di III-A RXD offers a wide field of view in a surprisingly small package. Tamron designed the lens for Sony and Fujifilm APS-C mirrorless cameras, and it provides a full-frame equivalent focal length of 16.5 to 30mm. Although you can technically mount this to a full-frame Sony camera, because it was designed to be used with APS-C cameras, it won’t cover a full-frame sensor and will produce a black ring around your image. If you are an APS-C shooter and looking for that super wide field of view, this lens is a winner. 

The lens is constructed of 12 elements in 10 groups, including special elements that reduce chromatic aberrations—a common issue when shooting with ultra-wide lenses. Its autofocus is quick and quiet, although this lens does have some issues with focus breathing when used for shooting video. It also happens to offer better weather protection and brighter optics than the comparable lenses made by Sony and Fujifilm. It does lack any stabilization, but that’s typical of an ultra-wide-angle zoom lens. 

Best for wildlife: Tamron SP 150-600mm F/5-6.3 Di VC USD G2

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Specs

• Lens mount: Canon EF or Nikon F, full-frame
• Aperture range: f/5-6.3 to f/32-40
• Image stabilization: Yes, 4.5 stops
• Filter size: 95mm 
• Minimum focus distance: 7.22 feet
• Weight: Canon: 4.42 pounds, Nikon: 4.38 pounds
• Dimensions: Canon: 4.27 x 10.24-13.33 inches, Nikon: 4.27 x 10.15-13.25 inches 

Pros

• Impressive stabilization
• Lockable zoom controls
• Weather sealed build 
• Quick autofocus 
• Integrated Arca-Swiss quick-release system 

Cons

• Unsatisfactory edge performance at extreme ends 

This ultra-telephoto zoom is designed with wildlife and sports shooters in mind. Although this particular model is over five years old now, it remains one of Tamron’s most capable telephoto zooms. It features 21 elements in 13 groups and includes antireflection coatings to remove ghosting and flare from reflected light. 

The Tamron 150-600mm features an ultrasonic silent drive for autofocus that is both quick and quiet, plus three levels of vibration control. The rotating collar and Acra-Swiss quick-release system make it easy to mount this massive lens to a tripod or monopod—which is the best way to use such a large telephoto lens. Unfortunately, the edge performance is unsatisfactory when the lens is used at its widest or tightest focal lengths. But it remains a solidly performing piece of glass at all other focal lengths. 

Best prime: Tamron SP 35mm F/1.4 Di USD

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Specs

• Lens mount: Canon EF or Nikon F, full-frame
• Aperture range: f/1.4 – f/16
• Image stabilization: No 
• Filter size: 72mm 
• Minimum focus distance: 11.81 inches
• Weight: Canon: 1.79 pounds, Nikon: 1.78 pounds
• Dimensions: Canon: 3.19 x 4.13 inches, Nikon: 3.19 x 4.03 inches 

Pros

• Super fast aperture 
• Moisture resistant 
• Classic 35mm focal length
• Quick and quiet autofocus 

Cons

• No image stabilization

A super-fast prime lens is a tool that every photographer should have in their kit. Opting for one from a third-party lens maker is a great way to save as you build out your gear collection. The Tamron SP 35mm is one of our favorite third-party primes thanks to its exceptional image quality and affordable price. The lens features 14 elements in 10 groups, which include four low-dispersion elements and three glass-molded aspherical elements. 

The fast aperture of f/1.4 makes for dreamy, beautiful bokeh when it’s used at its widest apertures. It features an ultrasonic silent drive motor for quick and quiet autofocus and a moisture-resistant construction. The Tamon SP 35mm is an excellent lens that doesn’t compromise on image quality while remaining a fraction of the price of first-party competitors. 

What to consider when shopping for the best Tamron lenses 

Camera system

The number one thing to consider before buying a Tamron lens is if it will be compatible with your camera system. Tamron lenses are currently available for Sony E-mount, Fujifilm X-mount, Canon EF-mount (DSLRs), Nikon F-mount (DSLRs), and Nikon Z-mount mirrorless cameras. Unfortunately, Canon mirrorless shooters don’t have the option of using Tamron lenses without purchasing a separate adapter, as Tamron has not created any lens for Canon R-mount. Also, Tamron only recently began releasing lenses for Nikon mirrorless, so there are very limited options for Z-mount thus far.  

It is a frustrating moment to receive your lens in the mail only to realize that it won’t work with your camera. So, before you buy a Tamron lens, it is essential that you make sure to check that you’ve selected the correct lens mount that will work with your particular camera system. 

APS-C or full-frame

Tamron makes a range of lenses for both APS-C—also called crop sensor—and full-frame cameras. You can use full-frame lenses on APS-C cameras with no issues. However, an APS-C lens on a full-frame camera won’t cover the entire sensor, so you’ll be left with a black frame around your images. You can always crop this out (some cameras allow you to do so in-camera), but you won’t be able to take advantage of the full image area of your full-frame camera.

If you use a full-frame camera, we’d highly suggest sticking with a lens that Tamron specifically designed for full-frame sensors. If you currently use a crop sensor camera but think you may upgrade in the future, it may be a good idea to stick with full-frame lenses as well. If you simply want affordable and compact lenses for your APS-C camera, you’re best bet is to stick with APS-C lenses.

Prime or zoom

Tamron offers an impressive line-up of both prime and zoom lenses, and if you are new to photography, it can be overwhelming of where to start. Prime lenses have fixed focal lengths —meaning you will need to zoom with your feet. They typically have much faster apertures than a zoom lens, offer a higher level of quality, and are more compact. As a result, they are excellent tools for portraiture, photojournalism, and street photography. 

A zoom lens allows you to zoom in on your subject while standing in one place. The downside is that generally speaking, a zoom lens won’t have as fast of an aperture as a prime. And, many Tamron lenses (and budget lenses in general) have a variable maximum aperture, meaning you lose stops of aperture as you zoom in. Zoom lenses are great tools for photojournalists and are often found in the bags of wedding and event photographers, sports shooters, and nature photographers. 

Ultimately, you want a mixture of both types of lenses in your kit, and opting to use third-party lenses with your camera body can be a great way to build without spending as much money. 

Budget

Although Tamron lenses are typically less expensive than the lenses made by first-party manufacturers, prices on certain lenses can start to creep up. Before purchasing a Tamron lens, be realistic about your budget. Although the pricey ultra-telephoto lens might be fun, for what you are going to be shooting, a lower-cost all-in-one zoom might be a better long-term budget-friendly choice. 

FAQs

Final thoughts on the best Tamron lenses 

• Best overall: Tamron 28-75mm F/2.8 Di III VXD G2
• Best all-in-one: Tamron 18-300mm F/3.5-6.3 Di III-A VC VXD
• Best ultra-wide: Tamron 11-20MM F/2.8 DI III-A RXD
• Best for wild-life: Tamron SP 150-600mm F/5-6.3 Di VC USD G2
• Best prime: Tamron SP 35mm F/1.4 Di USD

The best Tamron lens is largely dependent on what you are shooting, where you are shooting, and what camera system you are using. One of the biggest appeals of third-party lenses is that they offer a photographer a more affordable way to build out their camera kit. A third-party lens from Tamron will often be a fraction of the prices of comparable lenses that are made by the camera body manufacturer. Tamron offers a wide variety of zooms and primes for Sony, Fujifilm, Canon, and Nikon cameras—providing a choice for just about every kind of photographer. 

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best Tamron lenses of 2023 appeared first on Popular Photography.

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Best overall		Sony FE 16-35mm f/2.8 GM		SEE IT	The versatile focal length and fast f/2.8 aperture make this a go-to wide-angle.
Best ultra-wide		Sony FE 12-24mm f/2.8 GM		SEE IT	This lens provides a dramatic ultra-wide perspective.
Best prime		Sony FE 35mm f/1.4 GM Lens		SEE IT	This prime lens offers a moderate wide-angle perspective and fast f/1.4 aperture.

Wide-angle lenses for Sony shooters—and everyone else—represent an essential piece of kit in a well-rounded gear bag. Wide-angle lenses provide a broad, sweeping angle of view. They allow you to show more in a single frame without physically stepping back from the scene, which is sometimes impossible. The wide-focal lengths come in handy in a plethora of photographic situations, from real estate and landscapes to group photos at weddings. They can also help you stretch your creativity and get unique shots that wouldn’t be possible without a wide angle. The best wide-angle lenses for Sony will help you capture anything that calls for that broader viewpoint. 

• Best overall: Sony FE 16-35mm f/2.8 GM
• Best ultra-wide: Sony FE 12-24mm f/2.8 GM
• Best prime: Sony FE 35mm f/1.4 GM
• Best ultra-wide prime: Sony FE 14mm f/1.8 GM 
• Best for video: Sony FE PZ 16-35mm f/4 G
• Best for Sony ASP-C: Sony E PZ 10-18mm f/4 OSS
• Best for astrophotography: Sigma 14mm f/1.4 DG DN Art
• Best third-party: Sigma 14-24mm f/2.8 DG DN Art
• Best budget: Samyang AF 35mm f/2.8 FE

How we chose the best wide-angle lenses for Sony

When selecting the best wide-angle lenses for Sony, we considered the various ways a wide-angle lens can be utilized. We aimed to include a lens for every situation, from portraiture to real estate and even video. Beyond that, image quality was the primary consideration when compiling the included lenses. Aperture was also a significant factor, as many wide-angle situations also require a fast aperture due to limited light. Finally, we considered lens weight, weatherproofing, focusing abilities, additional features like lens controls and markings, and finally, price.

The best wide-angle lenses for Sony: Reviews & recommendations

There is no shortage of wide-angle lenses for Sony cameras. Between Sony’s robust lineup and extensive third-party options, it can be tricky to figure out what to get. Below you’ll find some of our favorites, as well as tips on how to choose.

Best overall: Sony FE 16-35mm f/2.8 GM

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Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 82 mm
• Minimum focus distance: 11 inches
• Weight: 1.5 pounds
• Dimensions:  3.5 x 4.8 – 5.4 inches

Pros

• Very sharp even at f/2.8
• Attractive bokeh
• Silent autofocus
• Weather sealed

Cons

• Expensive
• Rather large

Sony’s 16-35mm f/2.8 is a superb choice if you want one wide-angle lens to cover your bases. The focal length range makes it ideal for many genres; it can be your workhorse of a lens even if you shoot a bit of everything (at the wide-angle side, of course). It provides plenty of ultra-wide range for large group shots and even real estate photography but also covers the more subdued end of wide-angles at 35mm for environmental portrait and detail work. You won’t have to switch lenses nearly as much with this option. And it has a fast f/2.8 aperture, making it useful for low-light situations, including astrophotography.

That wide aperture also allows for a shallower depth of field. Combined with the rounded 11-blade diaphragm, you’ll be able to get very attractive bokeh, allowing for portraits with good separation from the background. Two Direct Drive Supersonic Motors control the autofocus, which is essentially silent. The quiet autofocus makes it suitable for video, as you won’t be able to hear annoying focusing noises while recording. 

In terms of construction, as you would expect from a G Master lens, it has a sturdy build with weather sealing. And it has a fluorine coating on the front element to help keep that clean and free of fingerprints and dust. Sony designed this lens with 16 elements in 13 groups, including two extreme aspherical and three standard aspherical, to reduce undesired things like distortion and aberration. As with any lens this wide, you will get some distortion, but Sony cameras automatically adjust for this, so you won’t even have to think about it. Even if you turn that automatic adjustment off, it is easy to correct in editing.

This lens has two main downsides: Its weight and price. It definitely has a G Master price and costs a pretty penny. And, weighing 1.5 pounds and measuring 3.5 x 4.8-5.4 inches, it’s not a small or light lens. Should you be in a situation where you need to cut back on your kit’s weight, more compact options are available, such as the Sony 16-35mm Vario-Tessar T FE F4 ZA OSS. You lose a stop of light with that particular choice, but it is significantly cheaper and smaller, making it another attractive option.

Best ultra-wide: Sony FE 12-24mm f/2.8 GM

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Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: Rear filters only
• Minimum focus distance: 11.02 inches
• Weight: 1.86 pounds
• Dimensions: 3.84 x 5.39 inches

Pros

• Exceptional sharpness
• Fast aperture
• Fast and accurate autofocus
• Weather sealed

Cons

• Heavy
• Bulbous front element doesn’t accept filters

For those who need an ultra-wide viewpoint, Sony’s 12-24mm f/2.8 GM offers exceptional quality. As with all G Master lenses, it comes at a high price, but we believe it’s worth it. While other ultra-wide-angle options are available, they either start at 14mm or only offer a max aperture of f/4. That means you either lose a stop of aperture or 2mm of focal length. And although 2mm might not sound like a lot, it makes a surprising difference. It’s especially noticeable when used in smaller rooms. 12mm may be more than some genres need, but real estate photographers will benefit from the extra bit of reach this lens provides.

Any lens this wide will have at least some distortion, and that holds true for Sony’s 12-24mm. It is very well controlled, however, and you’ll easily be able to correct it. The same is true for vignetting. There is some darkening in the corners, but adjusting without extreme measures is very simple. Sony used its second-generation Nano AR Coating for the first time on this lens, and it does an incredible job cutting out flares and ghosting. It really is impressive how clear images are when the sun is directly in the frame.

Another exceptional aspect of this lens is its sharpness. There is excellent sharpness even when shooting wide open. You will see some slight softness on the edges at f/2.8, though that should be expected. Stopped down, this lens is incredible across the frame.

Of course, there are some downsides, though they are inherent to just about any lens of this type. The front element is bulbous, so you won’t be able to use front filters. But it is compatible with rear drop-in filters, so landscape photographers can still take advantage of those. It’s also a heavy lens, weighing 1.86 pounds. But, there simply aren’t any other wide-angle lenses for Sony that offer a 14mm focal length with an aperture as fast. It’s expensive, yes, but it ticks a lot of boxes.

Best prime: Sony FE 35mm f/1.4 GM Lens

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Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/1.4 – f/16
• Image stabilization: No
• Filter size: 67mm
• Minimum focus distance: 9.8 inches
• Weight: 1.2 pounds
• Dimensions: 3 x 3.8 inches

Pros

• Very fast maximum aperture
• Close minimum focusing distance
• Compact size
• Aperture ring can be de-clicked for silent operation

Cons

• Focus breathing is noticeable

A 35mm prime is a great piece of equipment to have in your arsenal. It’s a highly versatile focal length, which is why it’s the lens of choice for photojournalists, event photographers, and even family photographers. 

While the 16-35mm mentioned above obviously offers 35mm, this prime lens provides a faster aperture and is nearly two inches shorter when the zoom lens is set to 35mm. Sigma also offers a 35mm prime with an even faster aperture (f/1.2), but it is twice as heavy and closer to the dimensions of a zoom lens. Sony’s 35mm is nicely compact and lightweight, making it easy to throw in your kit for a trip. It will also balance nicely on your Sony camera and work well on gimbals.

Though wide-angle lenses aren’t typically used for closeups, this lens can focus as close as 9.8 inches, which results in 1:3.8 life-size reproduction. It’s by no means a replacement for a proper macro lens. Still, it will be useful for getting those essential detail shots at weddings while allowing you to quickly return to taking portraits without switching lenses. 

Thanks to the wide f/1.4 aperture and the 11-blade diaphragm, it’s easy to get background blur with beautiful bokeh. You’ll be able to get a nice separation between your subject and the background, perfect for portraits or detail shots. The lens is also extremely sharp, even when wide open or stopped all the way down. You can use essentially any aperture with this one and not worry about losing out on quality. 

Autofocus is quick, accurate, and quiet. However, videographers need to be aware that there is noticeable focus breathing. On the other hand, a plus for videographers is that the focus ring can be de-clicked for silent operation. Although the older version of this lens—the Sony Zeiss 35mm F1.4 ZA—is still very capable and much cheaper, you simply get a lot more quality from this newer version.

Best ultra-wide prime: Sony FE 14mm f/1.8 GM

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Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/1.8 – f/16
• Image stabilization: No
• Filter size: Rear filters only
• Minimum focus distance: 9.8 inches
• Weight: 1 pound
• Dimensions: 3.3 x 3.9 inches

Pros

• Lightweight
• Fast aperture
• Smooth bokeh
• Excellent sharpness across the frame

Cons

• Not as versatile as a zoom lens at this range

There haven’t been many options for ultra-wide-angle lenses for Sony, especially as wide as this. So for some, the addition of this 14mm to the G Master line in 2021 was a welcome announcement. While Sigma had a 14mm f/1.8 on the market for a few years already, this Sony alternative weighs almost half as much as Sigma’s and is also an inch shorter. Although the Sigma 14mm is an excellent performer, that size difference is a big deal. And, despite being an older and larger lens, the Sigma and Sony are nearly identical in price. 

14mm is a rather specialized lens and isn’t something you’ll use for every situation. But, there are certain applications where such a wide and fast prime lens is ideal. One such group that will benefit from what this lens has to offer is astrophotographers. In fact, Sony specifically designed some of the lens elements to improve night sky performance. Plus, the f/1.8 aperture and the wide angle of view are perfect for capturing the Milky Way. You’ll be able to keep a faster shutter speed to avoid star trails, resulting in stunning shots of such night sky wonders.

The wide aperture also means that you can get a shallow depth of field despite wide-angles generally being less capable in that regard. The bokeh from this lens is nice and smooth, resulting in very pleasant backgrounds. It can focus as close as 9.8 inches, which you won’t necessarily want to utilize for portraits due to the unflattering results of perspective distortion, but for detail shots of flowers or a wedding tablescape, it may come in handy.

Another perk of this lens is its fast-focusing abilities. Sony put the focusing elements at the back of the lens, closer to the camera, and it can focus very quickly. Action shots of pets are a definite possibility. Focusing is also nearly silent. As with the other Sony prime we mentioned, there is some focus breathing in video work, which is a bummer. But the quality you get in every other aspect makes up for that a bit. 

Best for video: Sony FE PZ 16-35mm f/4 G

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Specs

• Lens mount: Sony E, full-frame
• Aperture range: f/4 – f/22
• Image stabilization: No
• Filter size: 72mm
• Minimum focus distance: 9.4 inches
• Weight: 12.5 ounces
• Dimensions: 3.2 x 3.5 inches

Pros

• Affordable
• No focus breathing at all
• Extremely lightweight and compact
• Lots of video-centric features

Cons

• No focal length markings on the lens

Sony definitely had video shooters in mind when they designed the FE PZ 16-35mm f/4 G. While it is a great tool for stills and produces beautifully sharp images, it really shines with video. For starters, both zoom and focusing operations are internal. Internal zoom is perfect for those who use gimbals because it won’t throw off the balance of the gimbal if you need to zoom in or out. The variable speed zoom lever also makes zooming easier while recording because you don’t have to twist your wrist around and hope you don’t bump something else in the process.

The internal focusing operation is extremely fast and totally silent. Even when it has to search for focus a little, which rarely happens, you can’t hear it. Perhaps this lens’s biggest plus is the lack of focus breathing. Because that isn’t present, videos are much smoother and more consistent no matter how much you change your focus.

Still images are very sharp, with the level of detail on par with much more expensive lenses. And while there is some barrel distortion and vignetting, it’s very easy to fix. The f/4 aperture isn’t exceptionally fast, but it still allows for a pleasantly shallow depth of field with excellent bokeh. It can focus as close as 9.5 inches at 35mm, so you can get some fun detail shots with this wide-angle lens.

Perhaps my only complaint is the lack of focal length markings. Instead of being able to quickly glance at the lens to see what focal length you are using, you have to look at the back of the screen or the viewfinder while zooming. It’s a minor annoyance but did cause some frustration. But, the low price of this lens, considering the image quality and features it has, definitely makes it one of the best wide-angle lenses for Sony for video shooters.

Best for Sony ASP-C: Sony E PZ 10-18mm f/4 OSS

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Specs

• Lens mount: E-mount, APS-C
• Aperture range: f/4 – f/22 
• Image stabilization: Yes
• Filter size: 62mm
• Minimum focus distance: 9.84 inches
• Weight: 7.94 ounces
• Dimensions: 2.76 x 2.5 – 2.87 inches

Pros

• Compact and lightweight
• Built-in stabilization
• Wide angle of view on a crop sensor
• Good image quality 

Cons

• No weather sealing

Those who use Sony APS-C cameras—such as the a6000—have been quite limited in wide-angle lenses for Sony. Sony released this 10-18mm option in 2013, but beyond this, the only other options are third-party lenses from the likes of Laowa and Rokinon, many of which don’t offer autofocus. 

When factoring in Sony’s 1.5x crop factor, APS-C users will have the full frame equivalent of 15-27mm, a versatile range. It will work well for some portraiture when zoomed in and is wide enough for real estate and astrophotography at the wide end. Most ultra wide-angles have a bulbous front element to prevent screw-on filter use, and though this one protrudes a little bit, it’s recessed enough that screw-on filters are still compatible. That’s a plus for landscape photography especially.

Sony provided three stops of optical stabilization (OSS). Since most of its crop sensor line-up doesn’t have in-body image stabilization, it will be a welcome addition. It’s useful for still photography as it will allow you to use slower shutter speeds without needing a tripod, but it is also essential for video work. You can get away with some handheld video with that stabilization, whereas it may be too jittery without it. And if you pair it with the a6600, you’ll get image stabilization from both the lens and camera for even smoother results.

The image quality is quite good, producing sharp results across the image when stopped down. There is some edge softness when wide open, but that isn’t atypical. At just 7.94 ounces, the body is extremely lightweight and compact. Unfortunately, there is no weather sealing on this lens, so you’ll want to watch out for the environments you use it in. Though this lens isn’t terribly expensive, it is a bit pricey for the category, especially given the lack of weather sealing. 

Best for astrophotography: Sigma 14mm f/1.4 DG DN Art

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Specs

• Lens mount: Sony E, full-frame
• Aperture range: f/1.4 – f/16
• Image stabilization: None
• Filter size: Rear filters only
• Minimum focus distance: 11.9 inches
• Weight: 2.6 pounds
• Dimensions: 4 x 5.9 inches

Pros

• Groove for lens heater
• Manual focus lock
• Very sharp even on the edges
• Silent and fast autofocus

Cons

• Bulky and heavy
• Only compatible with rear filters

If you are a serious astrophotographer or landscape photographer, this Sigma 14mm f/1.4 lens will be a fantastic tool in your kit. It offers a groove meant to hold a lens heater, so you can manage condensation and fogging more easily. The manual focus lock keeps your focus dialed in even if you accidentally bump it while working in the dark. Or, you can set up your focus in daylight or at a different location and don’t have to worry about redoing anything.

The optical design results in superb image quality overall. Images are sharp and highly detailed, even on the edges and when shooting at that wide f/1.4 aperture. And, for astrophotographers specifically, star shapes are accurate with no fringing or aberrations. There is some distortion, but that’s anticipated for an ultra-wide, and it’s easy to correct in post. The wide aperture and ability to focus as close as 11.9 inches makes it possible to get attractive bokeh and very shallow depth of field, adding to its versatility.

Sigma was very focused on quality with this lens, and didn’t sacrifice anything to cut down on size or weight. As a result, it’s a heavy, bulky lens. But it features a built-in (but removable) tripod collar, so you can have better balance and put less strain on the lens mount when using a tripod. The lens is weather sealed, so you won’t have to worry about condensation when shooting at night. And the lens cap features a new front pinch design and locking mechanism to ensure it stays put no matter what, protecting that bulbous front element.

To read more about the Sigma 14mm f/1.4 DG DN Art, you can check out our full review.

Best third-party: Sigma 14-24mm f/2.8 DG DN Art

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Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: Rear filters only
• Minimum focus distance: 11 inches
• Weight: 1.75 pounds
• Dimensions: 3.35 x 5.16 – 5.23 inches

Pros

• Weather-resistant construction
• Affordable
• Very sharp
• Attractive bokeh

Cons

• Bulky
• Only accepts rear filters

While Sony’s 12-24mm offers a slightly wider perspective than this Sigma lens, it’s also more than double the price. And despite the much more budget-friendly cost, the Sigma 14-24mm gives the Sony lens a run for its money in just about every aspect. One of the reasons people typically buy GM lenses is because of the high resolution. But this Sigma lens is just as sharp as the Sony 12-24mm, resulting in highly detailed images.

The autofocus of the Sigma 14-24mm is also just as fast as the Sony 12-24mm. It can fully utilize Sony’s impressive autofocus systems, including tracking moving subjects. And it’s essentially silent when focusing, making this lens a worthy video tool as well. Both the Sony and Sigma offer a bright f/2.8 aperture, though the Sigma features 11 aperture blades instead of the nine found in Sony’s lens. The result is attractive bokeh. And it can focus as close as 11 inches, meaning you can get some fun ultra-wide detail shots.

It’s by no means one of the smallest wide-angle lenses for Sony, but neither is Sony’s. In truth, the primary reason to choose the Sony 12-24mm f/2.8 GM over this Sigma 14-24mm is that you want the extra 2mm of focal length. Those make a surprising difference, though 14mm is plenty wide for most people. If you just want a general ultra-wide with a fast aperture and excellent sharpness, this Sigma will fit the bill.

Best budget: Samyang AF 35mm f/2.8 FE

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Specs

• Lens mount: E-mount, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 49mm 
• Minimum focus distance: 1.15 feet
• Weight: 3.02 ounces
• Dimensions: 2.43 x 1.3 inches

Pros

• Weather sealed
• Very affordable
• Extremely lightweight and compact
• Good autofocus
• Produces sharp images

Cons

• Has some color fringing and vignetting

Samyang lenses are often overlooked as quality lenses. But these budget options offer surprising quality and performance for their low price. This 35mm option from Samyang is a versatile focal length with a fast f/2.8 aperture which is useful in situations with minimal light. That wide aperture also produces some nice bokeh, especially from such a budget lens. It’ll be a great tool to have when photographing weddings or events.

Many Samyang lenses, especially on other camera systems, don’t offer autofocus capabilities, but this lens does. And its autofocusing is fast and extremely quiet. You can use it for your videos without dealing with obnoxious focus noises. It’s also accurate, even when using Eye AF tracking for humans or animals.

Images from this lens are nice and sharp, especially as you stop down to the more narrow apertures. Unfortunately, there is a decent amount of chromatic aberration and vignetting, which does impact image quality. Vignetting is easy to remove, but removing chromatic aberrations can sometimes be more challenging. Still, it isn’t overpowering and doesn’t severely impact image quality.

The body of the Samyang 35mm is extremely small, being what is called a pancake lens (an adorable name, if you ask me). It sticks out just 1.3 inches from your camera and weighs a paltry 3.02 ounces. It would be a fantastic travel companion when you want something wide-angle but don’t want to keep your kit lightweight. It doesn’t have any weather sealing, which is unfortunate. Sony’s 35mm pancake lens does offer that, but it is quite a bit more expensive. Overall, you can’t go wrong with this lens for the price.

Things to consider when shopping for the best wide-angle lenses for Sony

When selecting wide-angle lenses for Sony (or any camera, for that matter) there are a handful of important things to consider. What is best for you depends on what subjects you are photographing as well as your shooting style, as not all lenses are suitable for every situation. The items below will help you narrow down your choices and select the optimal lens for your needs.

Zoom vs. prime

This is your first big decision when choosing the best wide-angle lenses for Sony. Do you want a lens with variable focal lengths in one package? Each type of lens has its own strengths and weaknesses. The right choice for you comes down to your shooting style, personal preference, and the type of situations you will use the lens.

Prime lenses offer a single fixed focal length. Because lens manufacturers don’t have to figure out the technology of keeping images sharp and consistent when zooming in and out, prime lenses typically offer higher overall image quality. They are typically sharper and frequently offer a wider maximum aperture than their zoom counterparts. They can also typically offer advantages in terms of cost and bulk. However, because it’s only one focal length, your feet have to do the work if you want to change the magnification level or perspective. You can’t twist the lens to get closer or further away from your subject. Prime lenses aren’t quite as versatile as a result. But, if sharpness and quality are key for you, a prime lens may be the best option.

On the other hand, zoom lenses offer a range of focal lengths in a single body. The amount of zoom you get varies, with many lenses spanning focal length categories. For example, a 24-70mm lens has wide-angle, normal, and short telephoto focal lengths. You can also find entirely wide-angle zoom lenses, such as 12-24mm. The plus of having a range of focal lengths is that the lens is more versatile. You can take one lens with you on a trip instead of three. But, as mentioned, they tend to lose out on sharpness and have a higher price point than prime lenses. For photographers who travel a lot or don’t want to keep track of loads of pieces of equipment, zoom lenses are ideal.

Wide, ultra-wide, and fisheye

A wide-angle lens is considered anything significantly wider than a normal lens. The category typically starts around 35mm. However, within this category of focal length, there are additional subcategories to consider. 

Once you get below 24mm, you get into the realm of ultra-wide-angle lenses. Ultra-wide-angle lenses are generally necessary for real estate photography. They are also ideal for photographing vast expanses of landscapes or night skies. 

Wider still, you get into the fisheye category. Fisheye lenses usually range from 8-10mm on a full-frame camera. They aren’t as versatile as other wide-angle lenses due to the extreme barrel distortion. Instead, they are more specialized, creative tools. If you want really dramatic images, a fisheye can help create that. 

Aperture

Getting a wide maximum aperture on a wide-angle lens is important for two reasons. First, a wider maximum aperture will make the lens better for low-light situations. For example, astrophotographers frequently utilize wide-angle lenses with wide apertures to gather as much light as possible. A wider aperture is also ideal for occasions like wedding receptions, which typically have limited light.

Second, wide-angle lenses provide more depth of field when compared to telephoto or even normal lenses at the same aperture and framing. If you have a wide-angle lens with a maximum aperture of only f/4, you may not be able to get as much background blur as you would like. Other factors contribute to depth of field, of course, but the aperture is an important one. So, if you like to shoot images with pronounced background separation and blur, you’ll want to be sure to get a wide aperture.

Distortion

While telephoto lenses have their own type of distortion, wide-angle lenses tend to have more obvious and less attractive distortion. While it may not matter for some types of photography, avoiding distortion is extremely important for genres like real estate and architectural photography. 

Typically wide-angle lenses suffer from barrel distortion, which results in lines appearing to curve inward. Wide-angle zoom lenses may also have pincushion distortion when zoomed in, but that generally isn’t as noticeable or problematic. Also, though not a product of the lens itself but instead the need to get closer to your subject, wide-angle lenses tend to result in perspective distortion. Perspective distortion results in things like stretched limbs and the appearance of wider faces. That’s why ultra-wide-angle lenses typically aren’t good tight portrait lenses unless you purposefully use the distortion for creative reasons. They can work for environmental portraits, however.

Distortion will increase as you get wider, so a 35mm lens will have less distortion than a 12mm lens, all things equal. So if you want a wide-angle lens but want minimal distortion and don’t need it for any specific use, 35mm might be your best bet. 

It’s also worth noting that not all lenses are created equal. High-end lenses will handle distortion better, and it may be barely noticeable, even with an ultra-wide focal length. Cheap lenses can have terrible distortion, sometimes resulting in a type called mustache distortion, which involves both pincushion and barrel distortion and can be next to impossible to fix in post. If you need a lens with minimal distortion, it is well worth investing in a higher-end lens instead of trying to go cheap. I’ve seen the results of cheap lenses in real estate photography far too often, and it is not pretty.

FAQs

Final thoughts on the best wide-angle lenses for Sony

• Best overall: Sony FE 16-35mm f/2.8 GM
• Best ultra-wide: Sony FE 12-24mm f/2.8 GM
• Best prime: Sony FE 35mm f/1.4 GM
• Best ultra-wide prime: Sony FE 14mm f/1.8 GM 
• Best for video: Sony FE PZ 16-35mm f/4 G
• Best for Sony ASP-C: Sony E PZ 10-18mm f/4 OSS
• Best for astrophotography: Sigma 14mm f/1.4 DG DN Art
• Best third-party: Sigma 14-24mm f/2.8 DG DN Art
• Best budget: Samyang AF 35mm f/2.8 FE

The list of wide-angle lenses for Sony is seemingly endless. Between Sony’s own wide selection and the numerous third-party lenses, the chances are good that if you have a wide-angle focal length in mind, you’ll be able to find a lens that offers that. The best lens for your needs will depend on what subject matter you are photographing and what your shooting style is. No matter what that may be, we’re confident one of the lenses we selected here will meet your needs.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best wide-angle lenses for Sony in 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Best for Canon mirrorless		Canon RF 15-35mm f/2.8 L IS USM		SEE IT	This is the mirrorless version of the legendary EF 15-35mm lens.
Best for Nikon mirrorless		Nikon NIKKOR Z 17-28mm f/2.8		SEE IT	This versatile lens is compact and affordable.
Best for Sony		Sony FE 16-35mm f/2.8 GM		SEE IT	This Sony lens offers exceptional sharpness.

A wide-angle lens is more versatile than you may realize. Technically, wide-angle lenses allow you to fill the frame with more content than other lenses, but they also are tools to create dramatic effects, especially at low or close angles. From ultra-wide to mid-range, wide-angle glass expands both the creative and practical aspects of picture-taking. While standard and telephoto lenses often are the more common components of your camera kit, the best wide-angle lens (or two) will complement other focal lengths with their unique perspective.

• Best for Canon mirrorless: Canon RF 15-35mm f/2.8 L IS USM
• Best for Canon DSLRs: Canon EF 16-35mm f/2.8L III USM
• Best for Nikon mirrorless: Nikon NIKKOR Z 17-28mm f/2.8
• Best for Nikon DSLRs: Nikon 14-24mm f/2.8G ED
• Best for Sony: Sony FE 16-35mm f/2.8 GM
• Best for Fujifilm: FUJIFILM XF 10-24mm f/4 R OIS WR
• Best Micro Four Thirds: Olympus M.Zuiko ED 7-14mm f/2.8 PRO
• Best for astrophotography: Sigma 14mm f/1.4 DG DN Art

How we chose the best wide-angle lens

The writers and editors at Pop Photo have experience with just about every camera and lens brand. We have hands-on experience with many of the lenses included here. We used that experience, as well as a mix of editorial and user reviews, in making our selections. Image quality was one of the most important factors, but we also looked for a balance of quality and price. Finally, we also considered build quality, autofocus abilities, and any special features a lens may have.

The best wide-angle lens: Reviews & recommendations

Finding the right wide-angle lens largely depends on the camera you shoot with and what you intend to shoot. Here are some of our favorites for every major camera manufacturer. 

Best for Canon mirrorless: Canon RF 15-35mm f/2.8 L IS USM

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Specs

• Lens mount: Canon RF, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: Yes
• Filter size: 82mm
• Minimum focus distance: 11.02 inches
• Weight: 1.85 pounds
• Dimensions: 3.48 x 4.99 – 5 inches

Pros

• Provides image stabilization
• Superb optical quality
• Weather-resistant design
• Customizable control ring

Cons

• Heavy and bulky
• Expensive

The Canon RF 15-35mm f/2.8 carries on much of the impressive legacy of the EF version of this lens. It offers an ultra-wide view along with a more modest wide-angle perspective making it highly versatile. It’s weather-sealed, so it can stand up to the elements if needed. A customizable control ring makes it more convenient to access settings that you need. And, as we would expect from Canon’s L-series lenses, it results in excellent all-around image quality, though with a little bit of edge softness when shooting wide open. 

The RF 15-35mm f/2.8 lens features a fast and constant f/2.8 aperture, ideal for low-light situations like wedding receptions and night landscapes. Adding to its low-light abilities, the lens provides five stops of image stabilization. That’s unique for an ultra-wide-angle lens, which typically doesn’t offer that. And it can focus as close as 11 inches. Combined with the f/2.8 aperture and nine rounded diaphragm blades, you’ll achieve some nice bokeh and background separation, even at the wide end. 

The primary downside to this lens is that is is rather bulky and heavy, partly because of that image stabilization. It even weighs slightly more than the Canon EF 16-35mm f/2.8L III USM lens. It also doesn’t offer quite the same level of edge-to-edge sharpness as the legendary EF 16-35mm. But it’s still plenty impressive and well worth the money.

Best for Canon DSLRs: Canon EF 16-35MM f/2.8L III

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Specs

• Lens mount: Canon EF, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 82mm
• Minimum focus distance: 11.02 inches
• Weight: 1.74 pounds
• Dimensions: 3.48 x 5.02 – 5.04 inches

Pros

• Superb image quality
• Fast maximum aperture
• Excellent colors
• Fast and accurate autofocus

Cons

• Heavy
• Expensive

The EF 16-35mm was so good that Canon created three iterations of it. It was designed for full-frame Canon DSLRs but is compatible with its APS-C DSLR siblings. It offers a versatile focal range suitable for weddings, events, real estate, landscapes, and astrophotography. 

What makes this lens so impressive is the edge-to-edge sharpness, even when shooting wide open. That means you can take advantage of the f/2.8 aperture for low-light shooting or achieving shallow depth of field and still get sharp, quality images. And it produces excellent, true-to-life colors for strong overall image quality.

As with all of Canon’s pro lenses, it is weather-sealed and built to stand up to abuse. Despite the slightly bulbous front element, it accepts 82mm filters. The lens utilizes a ring-type Ultrasonic Motor (USM) and an internal focusing system, resulting in fast, accurate, and silent autofocus. The price is steep, but this lens has a lot to offer for that price.

Best for Nikon mirrorless: Nikon NIKKOR Z 17-28mm f/2.8

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Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 67mm
• Minimum focus distance: 7.5 inches
• Weight: 15.9 ounces
• Dimensions: 3 x 4 inches

Pros

• Fast and silent autofocus
• Reasonably priced
• Compact and lightweight
• Internal focus and zoom

Cons

• Not as sharp as pricier lenses
• No controls on the lens body

The NIKKOR Z 17-28mm f/2.8 is a well-rounded and versatile wide-angle lens for Nikon full-frame mirrorless cameras that is priced very reasonably for what you get. It offers a fast and constant f/2.8 aperture, which you typically only see on more expensive models. The focus and zoom are internal, meaning the lens won’t change length as you zoom or adjust focus. That’s ideal for use on a gimbal, especially as it won’t require you to rebalance whenever you want to change your focal length.

There’s no image stabilization, but that’s typical on wide-angle lenses. And it weighs just under a pound, which is very lightweight for the class. That makes it easier to hold and carry for long periods or when trying to hold steady when using slower shutter speeds. The compact size and lightweight build were particularly nice on hikes. It can focus as close as 7.5 inches, resulting in really nice wide-angle detail shots. And it’s weather-sealed and plenty rugged for serious use. 

There are two minor issues with the 17-28mm. First, there are no controls on the lens body, including no manual focus switch. Instead, you’ll have to access your camera menus. It’s also not as sharp as Nikon’s more expensive lenses, especially on the edges. It’s good enough for most situations and people, but if you want pristine sharpness, the NIKKOR Z 14-24mm f/2.8 S, despite offering a slightly different focal length, is your best bet.

Best for Nikon DSLRs: Nikon 14-24mm f/2.8G ED

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Specs

• Lens mount: Nikon F, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: Not compatible with filters
• Minimum focus distance: 11.02 inches
• Weight: 2.2 pounds
• Dimensions: 3.86 x 5.18 inches

Pros

• Exceptionally sharp
• Beautiful colors
• Capable of very attractive bokeh
• Solid build quality

Cons

• Heavy
• Not compatible with filters

Nikon’s 14-24mm for Nikon F-mount cameras has long been seen as one of the very best ultra-wide-angle zoom lenses for DSLR cameras across all brands. The Nano Crystal Coat helps reduce ghosting and flare for strong contrast and color accuracy, even in harsh light or backlit conditions. It offers exceptional sharpness and beautiful colors, resulting in overall stunning image quality.

Of course, with all that quality, there has to be a downside. In this case, it comes in the form of weight and a bulbous front element. The lens weighs 2.2 pounds and is 3.86 x 5.2 inches, which is quite bulky and heavy. It’s not one you’ll want to be holding up for long. The front element also protrudes quite a bit, making it incompatible with filters. The built-in lens hood helps protect it from bumps somewhat, but you’ll still want to be aware and cautious. 

With all the weight comes an extremely solid build quality, though. It feels like a tank, able to handle just about anything. This lens best matches a full-frame Nikon DSLR to maximize its dramatic ultra-wide-angle perspective. But it also delivers equally impressive sharpness on DX DSLRs, although with a cropped field of view. 

Best for Sony: Sony FE 16-35mm f/2.8 GM

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Specs

• Lens mount: Sony E, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 82mm
• Minimum focus distance: 11 inches
• Weight: 1.5 pounds
• Dimensions: 3.5 x 4.8 – 5.4 inches

Pros

• Versatile focal length range
• Durable built-quality
• Exceptional sharpness
• Fast autofocus

Cons

• Pricey

Sony’s 16-35mm f/2.8 GM is a pricey lens, but for those who want the best in quality and features, it’s well worth the price. As with other G Master lenses, it is built to withstand the elements and some general abuse. It also gets a focus hold button and AF/MF switch for better handling.

This lens features two Direct Drive SSM autofocus groups for fast, quiet, and accurate autofocus. It will allow you to take full advantage of Sony’s advanced autofocus in both still and video applications. The rounded, 11-blade diaphragm results in highly attractive bokeh when you want a shallow depth of field, and the floating focusing system maintains consistent performance when zooming and focusing.

Perhaps most important, though, is that this lens is extremely sharp. It is possibly the sharpest lens of this category across brands. And the Nano AR coating does an excellent job of reducing flare and ghosting, improving contrast and colors even in strong light. Overall, this lens is hard to beat if you are looking for a versatile wide-angle zoom lens.

Best for Fujifilm: FUJIFILM XF 10-24mm f/4 R OIS WR

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Specs

• Lens mount: FUJIFILM X, APS-C
• Aperture range: f/4 – f/22
• Image stabilization: Yes
• Filter size: 72mm
• Minimum focus distance: 9.4 inches
• Weight: 13.6 ounces
• Dimensions: 3.1 x 3.4 inches

Pros

• Very compact
• Zoom is smooth
• Utilizes regular, low-profile filters
• Protected against dust and moisture

Cons

• Some visible distortion

Fujifilm’s wide-angle offering may not provide as fast of an aperture as the other lenses on our list, but it still has a lot to offer. As an APS-C lens, it provides a 15-36mm equivalent focal length range, which is ideal for a variety of situations. It’s a very compact lens, so it balances really nicely with the X-series cameras. You can even shoot with a pop-up flash when zoomed out all the way, thanks to how small it is.

The front element of this lens doesn’t protrude very much, which means that you can use traditional front filters. The zoom is nice and smooth, making it ideal for video applications. The stepping motor results in quick and quiet autofocus. There’s no focus breathing either, which is another plus for video. And it offers 3.5 stops of image stabilization, a unique feature for a wide-angle.

There is some visible distortion from this lens, but it’s not a wacky amount. And it’s easy to correct when editing as well. It’s a sharp lens as well, especially when stopped down to f/5.6. Images are clean and clear of aberrations, and ghosting is well handled as well. And it’s weather sealed, making it ideal for landscape photography or anything that might involve getting caught in some less-than-ideal conditions. 

Best Micro Four Thirds: Olympus M.Zuiko ED 7-14mm f/2.8 PRO 

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Specs

• Lens mount: Micro Four Thirds
• Aperture range: f/2.8 – f/22
• Image stabilization: None
• Filter size: Not applicable
• Minimum focus distance: 7.87 inches
• Weight: 1.17 pounds
• Dimensions: 3.11 x 4.17 inches

Pros

• Ultra-wide zoom range
• Weather sealed
• Very sharp
• Programmable function button

Cons

• Not compatible with filters

The M.Zuiko ED 7-14mm f/2.8 PRO is one of the widest angle Micro Four Thirds zooms. With a full-frame equivalent focal length of 14-28mm, it offers a wide-angle field of view at both ends of the zoom range. That makes it ideal for real estate and dramatic landscapes, but also street photography and some creative portraiture.  

This Olympus lens is relatively heavy for an MFT lens, but it still balances well on Olympus cameras. And it offers truly excellent image quality, even when shooting at the wide f/2.8 aperture. It also handles distortion very well for an ultra-wide. There is some noticeable distortion, but it’s easy to correct in post. 

The lens is splashproof, freezeproof, and dustproof. The durable construction, in combination with the compact and lightweight design, make this a great choice for those who frequent rugged destinations. There is a dedicated programmable Fn button to make frequently used settings more accessible. And the built-in petal-type lens hood cuts down on flare and adds some protection to the bulbous front element.

Best for astrophotography: Sigma 14mm f/1.4 DG DN Art

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Specs

• Lens mount: Sony E, Leica L
• Aperture range: f/1.4 – f/16
• Image stabilization: None
• Filter size: Rear filters only
• Minimum focus distance: 11.9 inches
• Weight: 2.6 pounds
• Dimensions: 4 x 5.9

Pros

• Very sharp, even when shooting wide-open
• Weather sealed
• Silent and fast autofocus
• Lots of astrophotography-specific features

Cons

• Very heavy
• Only compatible with rear filters

Astrophotography is a genre that has a handful of pretty specific requirements, and this lens does a fantastic job of meeting most of those. It features a dedicated place to attach a lens heater to keep condensation and fogging at bay. A manual focus lock keeps the focus ring from moving once you dial everything in. And the optical design results in clear, accurate star shapes with essentially no fringing or aberrations.

Sigma’s 14mm f/1.4 also has a lot to offer beyond astrophotography. It can focus as close as 11.9 inches and, along with the f/1.4 aperture, is capable of really shallow depth of field for an ultra-wide-angle lens. It can even produce some nice bokeh, making it a good tool for creative detail shots. It also offers excellent sharpness across the entire image with easy-to-correct distortion, making it an ideal choice for landscape, architectural, and real estate photographers.

Sigma built this lens to be rugged, and it feels really solid. It is weather sealed, so you won’t have to worry about getting caught in the elements. Of course, because Sigma was focused on quality and features, there had to be some sacrifices. The most significant one is the weight. This is a big, heavy lens. But the tripod collar with Arca-compatible foot makes it more manageable on a tripod.

To learn more about this lens, check out our full review.

Even more wide-angle lenses to consider

Nikon Z 14-24mm f/2.8 S  

For those who loved the notorious Nikon 14-24mm lens for Nikon DSLRs, you will be just as pleased with the mirrorless version. It is possibly the best lens for Nikon mirrorless cameras across all focal lengths. And it is lighter, smaller, and provides faster autofocus than the DSLR version, making it worth the upgrade if you are moving to Nikon Z mount. 

Sony FE 12-24mm f/2.8 GM Lens

The Sony FE 12-24mm f/2.8 GM lens is an ultra-wide, pro-quality lens for Sony cameras. It offers exceptional image quality, including superb sharpness when wide open, well-handled flare, and attractive bokeh. And it is weather sealed, ready for your adventures. It’s an expensive lens, but if you want a truly stunning ultra-wide for Sony E mount, this is a fantastic choice.

Sigma 14-24mm F2.8 DG DN Art

For those wanting a more affordable, third-party option for Sony E or Leica L mount cameras, the Sigma 14-24mm f/2.8 DG DN Art lens is hard to beat. It offers excellent image quality, minimal distortion, and a fast f/2.8 maximum aperture. The autofocus is speedy and accurate, and the lens offers plenty of on-lens controls, making it easier to use. And it’s less than half the price of the Sony FE 12-24mm f/2.8 GM Lens.

Things to consider when choosing a wide-angle lens

Like all photography equipment, selecting the best wide-angle lens depends on how you plan to use it and, importantly, what camera you’ll be shooting with. Landscape photography is often the first genre that comes to mind when thinking about a wide-angle lens. And while landscapes are one of the most common uses of this lens format, there are many more, including street photography, event coverage, environmental portraits, architecture and real estate, underwater photography, and astrophotography.

Focal length

A wide-angle lens provides a focal length of 35mm or less on a full-frame camera. Anything 24mm or less is classified as an ultra-wide-angle. Although it may not seem like much, a 14mm lens offers a dramatically different view from a 20mm or 35mm lens. Different situations call for different focal lengths, even in the realm of wide-angle lenses. So, it’s important to consider what you will be shooting or the styles of images that you are aiming for before making your purchase. 

For example, 14mm lenses are ideal for underwater photography and night sky images. Street photography and environmental portraits are often best served by 35mm lenses since they’re wide enough to include a subject’s surroundings without distorting people’s faces. You have more flexibility when you choose a wide-angle lens for landscapes and architecture since the optimal field of view depends on the scope of the scene.

It’s important to keep in mind that if you are using an APS-C—also called crop sensor—or Micro Four Thirds camera, you won’t get the same view from a lens as you would on a full-frame camera. Instead, you need to multiply the focal length of a lens by the crop factor of your sensor. For Fuji, Sony, and Nikon DX, that number is 1.5, while Canon is 1.6, and Olympus and Panasonic are 2x. So, for example, if you are shooting with the Nikon Z50 and using a 35mm lens, it will provide the field of view of a 52mm lens. Your wide-angle lens then won’t actually provide a wide-angle view, so be sure to plan accordingly if you are using a crop sensor camera. 

Prime or zoom lens

You should also consider whether you want (or need) a prime or zoom lens. A prime lens only offers a single, fixed focal length, and a zoom lens covers a range of focal lengths. While a zoom lens provides a broader range adding to its versatility, a prime lens may be smaller and lighter. Also, prime lenses sometimes offer a faster maximum aperture, which translates to a shallow depth-of-field for times when you want an out of focus background. 

Maximum aperture

Wide-angle lenses aren’t going to provide the same dramatically shallow depth of field as normal or telephoto lenses. But, with the help of a wide maximum aperture (among other factors), you can achieve quite a shallow depth of field and beautiful bokeh with a wide-angle lens. Plus, a wide maximum aperture also makes it easier to shoot in low-light situations like wedding receptions or astrophotography. If you want a shallow depth of field and more flexibility with shooting in low light, focus on a lens that offers a fast maximum aperture like f/2.8. 

Additional features to consider

Once you decide on the main factors listed above, there are a handful of smaller details to think about in case they are essential to your shooting style.

Weather sealing: Not all lenses are built for use in rugged environments. If you plan on taking your wide-angle lens on serious adventures, be sure to look for an option that offers extensive weather sealing

Size and weight: Wide-angle lenses tend to be fairly bulky pieces of equipment, especially when you get into the ultra-wide category. But there have been some nice compact options made if you want to have a lighter kit. 

FAQs

A final word about the best wide-angle lens

• Best for Canon mirrorless: Canon RF 15-35mm f/2.8 L IS USM
• Best for Canon DSLRs: Canon EF 16-35mm f/2.8L III USM
• Best for Nikon mirrorless: Nikon NIKKOR Z 17-28mm f/2.8
• Best for Nikon DSLRs: Nikon 14-24mm f/2.8G ED
• Best for Sony: Sony FE 16-35mm f/2.8 GM
• Best for Fujifilm: FUJIFILM XF 10-24mm f/4 R OIS WR
• Best Micro Four Thirds: Olympus M.Zuiko ED 7-14mm f/2.8 PRO 
• Best third-party: Sigma 14-24mm F2.8 DG DN Art
• Best for astrophotography: Sigma 14mm f/1.4 DG DN Art

Regardless of your camera’s format—full-frame, APS-C, or MFT—there are a variety of wide-angle lenses from which to choose at various price points. Adding a wide-angle lens (or two) to your camera gear arsenal can motivate you to add versatility to your image-making. And the best wide-angle lens may give you a whole new perspective on the world.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best wide-angle lens in 2023 appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.

Astrophotography is one of the more technical genres of photography and doing it well requires specific skills and equipment. Sigma aimed to meet those needs with its recently released Sigma 14mm f/1.4 DG DN Art lens for Sony E and Leica L cameras. This lens is impressive for multiple reasons, but its biggest claim to fame is the widest-ever maximum aperture at this focal length on a full-frame lens. Also, since Sigma designed this lens for astrophotographers, it provides several features ideal for capturing the night sky. That includes a dedicated place for a lens heater, a lens cap with filter slots, and a manual focus lock switch. Sigma sent me a copy of this lens to test out on my Sony a7 III camera, and I had fun stretching my astrophotography skills a bit. 

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Overview

• The ultra-wide and ultra-fast design is ideal for astrophotographers. 
• It is very feature-rich and boasts a lens heater slot, a focus ring lock, and plenty of other lens controls.
• The 14mm focal length provides a 114-degree angle of view on full-frame cameras.
• Its close-focusing ability adds some versatility. 
• The $1,599 price tag isn’t overly steep, but it isn’t a cheap lens, either.

Pros

• Excellent overall image quality with edge-to-edge sharpness
• Fast f/1.4 aperture
• Weather sealed
• Silent autofocus
• Can focus as close as 11.9 inches

Cons

• Heavy and bulky
• Protruding front element precludes it from using typical filters

Verdict

The slew of lens controls make this ultra-wide angle lens easy to use without fussing with camera settings. It provides fast and accurate autofocus when you need it and results in excellent image quality with edge-to-edge sharpness, even when shooting wide open. The beefy weight of the lens is definitely a downside, but the tripod collar helps.

Sigma 14mm f/1.4 DG DN Art design & build quality

When I took this lens out of its box, and my non-photographer husband saw it, he exclaimed, “Wow, that’s a serious lens.” Such comments are typically reserved for big telephoto lenses, which should tell you something about this Sigma 14mm. It is a big, burly bit of gear weighing 2.6 pounds and measuring 5.9 inches long. 

While you certainly can hand hold it (though we hope you’ve been lifting your weights lately if you go that route for long periods), SIgma included a rotating and removable tripod collar. The tripod foot is Arca compatible, which many will love to see for simple compatibility. As with any heavy lens, you’ll want to mount the tripod to the lens instead of the camera, as otherwise, it won’t balance well, and it will put undue strain on the lens mount.

One of the most unique features of this lens is the groove at the front of the barrel that Sigma designed specifically to hold a lens heater. If you aren’t familiar with astrophotography, lenses can be prone to fogging when working in cold, damp conditions because moisture from the air condenses on the cold metal and glass. A lens heater is the way to prevent that. Having a dedicated place to put such a device so that it’s held in place and out of the way of other things is very handy. I didn’t need to use this at all, but it is smart to include on such a lens.

As with all of Sigma’s Art lenses, it is built with a dust and splashproof construction to stand up to the elements. It features an integrated lens hood, which mostly just aims to protect the protruding front element. Due to the bulging lens, the filters go at the back via a rear filter holder. 

Lens cap

It seems odd to have a section just for a lens cap, but the one Sigma created for this lens is quite different from most. For starters, it provides filter storage on the inside of the lens cap. These slots only open a slight amount, though, and I didn’t use them at all, so I’m not sure how useful they will actually be.

Sigma did away with the typical sliding design that sits on the built-in lens hood. These lens caps have the tendency to fall off, leaving the lens unprotected. Instead, this lens cap features a front pinch design and locking mechanism to keep it firmly in place no matter what. I never had it fall off, even when pulling it out of a snug camera bag. That’s impressive.

Lens controls

There is no shortage of controls on the body of the Sigma 14mm f/1.4, which makes it easier to use. There is a dedicated aperture ring that can be clicked or de-clicked for video use. Or you can set it to Auto and change the aperture on your camera if that is your preferred style. The manual focus ring is smooth and easy to rotate with just enough resistance. There’s no big risk of accidentally bumping it and having it drastically change focus like some lenses, which is very nice. And when you are manually focusing, there’s less risk of significantly overshooting where you are trying to focus, making the manual focus process easier and faster.

Sigma doesn’t provide any information on focus throw (the amount of rotation needed to turn the focus ring from its minimum focus distance to infinity), but it seemed very reasonable. I didn’t have to turn the focus ring an excessive amount in order to change focus. Granted, because there is such a big focus distance range on this lens, it does need a lot of rotation if you are making a big change to your focus. But for small changes, it’s easy and quick to adjust. 

One excellent feature for astrophotographers is the manual focus lock switch. This switch allows you to lock your manual focus ring so that you don’t accidentally bump it after dialing in focus for a long exposure. Or, you can set your focus and travel to your shooting location without having to redo anything. I found this lock extremely useful, and it definitely saved me from screwing up a few shots. 

You’ll also have access to an autofocus/manual focus switch and a focus hold button, which can be programmed to be used for various functions in the camera menus. 

Sigma 14mm f/1.4 DG DN Art image quality

Since this is an Art lens—which is Sigma’s top tier—we expected excellent image quality. That expectation was even higher because of the relatively high price and the fact that Sigma didn’t try to compromise anything in order to make a compact and lightweight lens. And luckily, that’s just what the lens provides.  

The Sigma 14mm f/1.4 lens provides extremely sharp images all the way to the edges, even when using a wide-open aperture. That’s seriously impressive for a lens of this focal length. Ultra-wides typically get noticeably softer around the edges, especially in the corners. I also didn’t see any chromatic aberration or fringing whatsoever. Photos from this lens were remarkably clean and clear.  

As this is an astrophotography lens, there are some specific image quality features to consider when photographing stars. Sigma built the lens with 19 elements in 15 groups, which include one SLD (Special Low Distortion), three FLD (Low Dispersion), and three aspherical elements. The aim is to eliminate sagittal coma flare, which distorts star shape. The optical design appears to have worked. Star points are clearly defined and shaped as we would expect, even on the edges of the frame. 

Distortion & vignetting

The Sigma 14mm f/1.4 does show fairly heavy distortion and vignetting, but we expect that in an ultra-wide. When you stop down the aperture a bit the vignetting is very minimal. Sigma sent me a pre-release version of the lens, and this meant I was using a beta version of the correction profile. But even with that beta version, correction was straightforward. I occasionally like some subtle vignetting, so there were some images that I felt the automatic vignette correction went too far. But that was a matter of personal preference for particular images.

Close focusing & bokeh

Wide-angle lenses aren’t typically known for their shallow depth of field. But thanks to the f/1.4 aperture and the ability to focus as close as 11.9 inches, the Sigma 14mm is actually capable of very shallow depth of field and very attractive bokeh. It’s not the most flattering focal length for portraits, but you could create some uniquely dramatic portraiture if you embrace the inherent distortion. And while it won’t replace a macro lens, it can take some nice detail shots. 

The bokeh from this 14mm is really pleasing. It is nice and round with no aberrations or fringing on the edges. And the transition from in-focus to out-of-focus areas is quite smooth, with no jarring or distracting areas. 

Autofocus

Sigma utilized its relatively new HLA (High-response Linear Actuator) autofocus motor in its 14mm f/1.4. The result is a nearly silent autofocus. There is some audible noise when in a completely silent room. But it’s very subtle and wouldn’t prevent anyone from using this lens for video applications. The autofocus is also very fast, with it finding focus almost instantaneously when it locks on to something.

Who should buy the Sigma 14mm f/1.4 DG DN Art lens?

As should be clear by now, Sigma very much intends this lens for serious astrophotographers. And while calling a 14mm prime versatile is a bit of a stretch, its robust feature set also makes it ideal for a range of other applications. Landscape photographers rely on many of the same features as astrophotographers, so anyone who wants to capture dramatic, sweeping landscapes would benefit from this one. Likewise, architectural and real estate photographers will enjoy the broad angle of view and superb image quality. And while this certainly isn’t a macro lens, it can focus quite close and results in very shallow depth of field for an ultra-wide. That opens it up for opportunities to take unique wide-angle detail shots. 

The closest alternative for Sony users is Sony’s own 14mm f/1.8 GM lens. It’s right around the same price as Sigma’s lens and also provides superb image quality. But it doesn’t offer quite as wide of an aperture or any of the astrophotography-specific features. It does, however, only weigh one pound and is roughly half the length, making it much more compact than Sigma’s lens. Which you should buy really comes down to your priorities and what you will primarily be shooting. 

Final thoughts on the Sigma 14mm f/1.4 DG DN Art lens?

This lens fits a bit of a niche corner of the photography market, so it isn’t one that I can widely recommend. That said, Sigma did not skimp on features or quality with this 14mm. It produces remarkably sharp and clear images and offers fast and accurate autofocus. All of the quality and features come at a price, though. At $1,599, it isn’t a cheap lens. And the 2.6-pound weight is a downside for many. But if you can get past those two things and are in need of a high-quality ultra-wide-angle prime, this lens definitely fits the bill.

More images from the Sigma 14mm f/1.4 DG DN Art

The post Sigma 14mm f/1.4 DG DN Art review: A powerful astrophotography tool appeared first on Popular Photography.

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Best overall		Canon RF 70-200mm f/2.8 L IS		SEE IT	This classic zoom range offers a lot of versatility in a single lens.
Best for wildlife		Canon RF 100-500 f/4.5-7.1L IS		SEE IT	You can keep your distance while getting epic photos of wildlife with this lens.
Best budget		Canon RF 100-400mm f/5.6-8 IS		SEE IT	This lens has a lot to offer for its sub $1,000 price.

Telephoto lenses for Canon cameras take up a huge market segment, with lenses ranging from 70mm up to and beyond 800mm. That’s a lot of variety to choose from! The best options allow for maximum magnification of the intended subject while keeping it sharp, free of distortion, and easy to keep in the frame. The resultant images help to bring the viewer as close as possible to the subject. That’s a lot to ask of a lens, especially when the intended subjects are typically far away, very small, or both. Choosing the right telephoto lens depends greatly on your intended use. This is why there are hundreds of options to choose from, from the very niche super-telephoto primes to the more universal all-in-one superzooms. Here are some of the best telephoto lenses for Canon cameras, no matter your needs.

• Best overall: Canon RF 70-200mm f/2.8 L IS
• Best premium: Canon RF 100-300mm f/2.8 L IS USM
• Best for wildlife: Canon RF 100-500 f/4.5-7.1L IS
• Best for portraits: Canon RF 85mm f/1.2 L USM
• Best value: Canon RF 800mm f/11 IS
• Best third party: Sigma 150-600mm f/5-6.3 DG OS HSM Sports
• Best budget: Canon RF 100-400mm f/5.6-8 IS

How we picked the best telephoto lenses for Canon

There were a lot of factors that went into determining the best telephoto lenses for Canon cameras. Although budget was the primary concern, perhaps equally important was lens mount type. Concerning Canon specifically, they have introduced a large spectrum of telephoto RF lenses across all budgets, and it’s no coincidence that those lenses are featured prominently here. 

The RF mount has allowed Canon to dramatically increase the performance and features of their telephoto lens lineup while at the same time reducing their weight and size. In addition, the RF mount has enabled Canon to introduce some truly unique lenses, which would not have been possible before due to the limitations of the EF mount.

The best telephoto lenses for Canon: Reviews & Recommendations

Whether you are looking to capture dramatic shots of wildlife, document sporting events, or create beautiful portraits, these telephoto lenses will help you nail the shot.

Best overall: Canon RF 70-200mm f/2.8 L IS

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Specs

• Lens mount: Canon RF
• Aperture range: f/2.8 – f/32
• Image stabilization: Yes
• Filter size: 77mm
• Minimum focus distance: 2.3 feet
• Weight: 2.35 pounds
• Dimensions: 3.54 x 5.75 – 8.03 inches

Pros

• Tiny and light
• Extremely good optics
• Accurate, fast, and quiet autofocus
• Configurable control ring

Cons

• Expensive 
• Not compatible with teleconverters

No photographer’s trinity of lenses would be complete without a 70-200mm. If you take the previous EF mount versions into account, what could Canon possibly offer as an improvement to this professional zoom? For a start, nearly 30% reduction in weight and size, with no loss in image quality. To put it bluntly, it is an amazing feat of optical engineering. It is the smallest 70-200 f/2.8 lens on the market today. Only the Sony FE 70-200mm f/2.8 GM OSS II is lighter by a paltry 25 grams or about five credit cards. 

Speaking of credit cards, you might need to leverage them against the cost of this lens because this new kid on the block doesn’t come cheap. That 30% reduction in weight and size will cost you 30% more than the last EF 70-200 that Canon released. For some of you, the ultimate deal-breaker for this lens might be that it is not capable of accepting teleconverters of any sort. The rear element is so close to the back of the lens that any teleconverter simply does not have enough room to fit, which seriously reduces its flexibility in the field. 

Putting teleconverter efficacy aside, that’s about the only bad news to report with this lens. Sure, the new design no longer has internal zooming, making people worried about dust and moisture intrusion. But Canon did this before and had great success with the EF 70-300mm f/4-5.6L IS. So dust and moisture intrusion should be the least of your worries. Overall this is the best telephoto lens for Canon and a fantastic achievement; anyone with the budget will have no complaints about quality over the previous generations. 

Best premium: Canon RF 100-300mm f/2.8 L IS USM

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Specs

• Lens mount: Canon RF
• Aperture range: f2.8 – f/22
• Image stabilization: Yes
• Filter size: 112mm
• Minimum focus distance: 5.9 feet
• Weight: 5.7 pounds
• Dimensions: 5 x 12.7 inches

Pros

• 5.5 stops of stabilization with three modes
• Extremely fast focusing
• Superb image quality
• Compatible with teleconverters

Cons

• Very pricey

For professionals who want one of the absolute best telephoto lenses for Canon cameras, it’s hard to beat the relatively new Canon RF 100-300mm f/2.8 lens. It’s more versatile than a 300mm prime, but offers absolutely stunning image quality. It offers truly impressive sharpness across the entire image, allowing for highly-detailed images. The fast and constant f/2.8 aperture makes it ideal for low-light situations. And the lens is capable of beautifully blurred backgrounds to keep the focus on your subject.

The lens feels very well-built, handles nicely, and offers extensive weatherproofing to stand up to extreme environments. Focus and zoom are both fully internal, so the lens won’t change length at all when you change your focal length or focus. That adds to its performance in adverse weather and also means the balance of the lens won’t change at all. The zoom and focus rings feature different texturized finishes, so you’ll be able to tell the difference without looking at the lens. And there’s a customizable control ring, which you can use for things like aperture, shutter speed, or ISO.

Canon designed this lens for sports and events, and as a result, focusing on this lens is extremely fast. But there are a few controls to make it even faster should you need that. A Focus Preset option, which allows you to program a focusing distance and instantly focus to that point. And the focus limiter switch with two settings (5.9 feet to infinity or from 19.7 feet to infinity) keeps the lens from searching for focus in unnecessary places. And it offers 5.5 stops of stabilization with three different modes or up to six when paired with a camera with IBIS.

Best for wildlife: Canon RF 100-500 f/4.5-7.1L IS

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Specs

• Lens mount: Canon RF
• Aperture range: f/4.5-7.1 to f/32-54
• Image stabilization: Yes
• Filter size: 77mm
• Minimum focus distance: 2.95 feet
• Weight: 3 pounds
• Dimensions: 3.7 x 8.2 – 11.7 inches

Pros

• Lightweight
• Increased range
• Excellent image quality
• Configurable control ring

Cons

• Expensive
• Slower maximum aperture 

When thinking of professional hand-holdable superzooms, it’s hard not to consider the 100-400mm range. Canon has made two of these iterations before, and both have been excellent and versatile lenses for the EF mount. This new RF “L” version somehow manages to pack an extra 100mm of focal length while at the same time reducing its weight when compared to the EF 100-400mm f/4.5-5.6L IS II. Just about everything in this lens is better than its predecessor. Autofocus is more snappy, thanks to the new dual Nano-USM, and image stabilization has increased to five total stops. And the added control ring allows adjustments of an assortment of exposure settings on the fly.

The slower f/7.1 maximum aperture might be suspect, but remember that the newer RF mount cameras aren’t constrained by light the same way as their EF predecessors. The new cameras allow for full focus across the frame at smaller apertures, even at f/7.1 and beyond. You can use teleconverters, albeit only over 300mm, when the rear element leaves enough room for them. 

The only real negative of this lens is the price, which is indicative of its recent release and added features. However, canon RF body owners should have a hard time overlooking this lens for handheld wildlife shooting as its handling and performance easily eclipses the experience of using prior models.

Best for portraits: Canon RF 85mm f/1.2 L USM

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Specs

• Lens mount: Canon RF
• Aperture range: f/1.2 – 16
• Image stabilization: No
• Filter size: 82mm
• Minimum focus distance: 2.79 feet
• Weight: 2.63 pounds
• Dimensions: 4.06 x 4.62 inches

Pros

• Stunning sharpness
• Defocus Smoothing coating produces better bokeh
• Robust weather sealing
• Fast autofocus

Cons

• Expensive
• Rather heavy

While any of the lenses included here could certainly be used as portrait lenses, 85mm is the quintessential portrait lens. And this Canon version is a beautiful example of what a quality 85mm should be. It offers superb sharpness for richly detailed images. The Blue Spectrum Refractive Optics element essentially eliminates fringing and chromatic aberrations, resulting in clear, clean images. But where this 85mm really shines is with its bokeh.

Canon created this lens with its Defocus Smoothing coating, which results in softer and smoother bokeh when shooting at wide apertures. And indeed, the bokeh is absolutely stunning. And the transition from in-focus to out-of-focus elements is very smooth. The downside is that the coating requires 1.3 stops more light when shooting wide open than the standard version of this 85mm without the coating. But by f/3.2, both are effectively the same in terms of light transmission.

Beyond image quality, the lens is built with extensive weather sealing to stand up to whatever you throw at it. The ring-type Ultrasonic Motor (USM) results in fast, accurate, and quiet autofocus performance. And it features an internal focusing design. You’ll have access to a customizable control ring, which you can use for settings such as aperture, ISO, or exposure compensation.

Best value: Canon RF 800mm f/11 IS

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Specs

• Lens mount: Canon RF
• Aperture range: f/11
• Image stabilization: Yes
• Filter size: 95mm
• Minimum focus distance: 19.96 feet
• Weight: 2.77 pounds
• Dimensions: 4 x 11.1 – 13.85 inches

Pros

• Impressive image quality
• Small and light
• Insane value
• Excellent autofocus and image stabilization

Cons

• Very slow maximum aperture
• Extreme minimum focus distance

Canon’s RF 800mm f/11 IS is easily one of the more audacious lens offerings from such a prominent manufacturer. Canon is no stranger to making 800mm lenses, but it’s rather strange at this low price point. The RF 800mm is impressively sharp, compact, lightweight, and has the autofocus and image stabilization of lenses above its tier. There is no lens with a better value per millimeter on the market today. It also accepts teleconverters, so you could have a 1600mm, autofocusing f/22 lens for not much more. 

The RF 800mm obviously has its shortcomings, the most glaring being the constant f/11 aperture. This lens needs a lot of light to maximize autofocus performance and minimize motion blur. Other drawbacks aren’t so severe. The minimum focusing distance is on the extreme side at 20ft, but that shouldn’t be an issue for birding and wildlife shooting. This lens is not weather-sealed, but since it requires a lot of light, shooting in poor weather would be unlikely. 

Some people might find the need to extend and lock the barrel before shooting a nuisance, but this also allows it to be extremely portable given its immense reach. All things considered, if you can imagine yourself in an environment with enough light, this lens should be on your radar.

Best third party: Sigma 150-600mm f/5-6.3 DG OS HSM Sports

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Specs

• Lens mount: Canon EF
• Aperture range: f/5 – 6.3 to f/22
• Image stabilization: Yes
• Filter size: 105mm
• Minimum focus distance: 8.53 feet
• Weight: 6.29 pounds
• Dimensions: 4.76 x 11.43 – 15.04 inches

Pros

• Huge zoom range
• Rugged build 
• Great value for money
• Superb image quality

Cons

• Very heavy
• Requires an adapter to work on RF cameras

While the RF mount represents the future of Canon’s lenses, third-party development of the RF mount has lagged since its introduction in 2018. So to recommend a third-party lens for Canon, we have to look to the past and the legacy EF mount. Luckily, you can get an adapter to use this EF lens on RF cameras. Sigma introduced the 150-600mm Sport in 2014, and it still represents the pinnacle of third-party telephoto lens design. 

It’s a beast at over six pounds. For a lens that looks and feels hand-holdable, it most certainly is not and would benefit from proper mounting on a gimbal or sidekick. However, what it lacks in handling, it more than makes up for in robust build quality with its superior splash and dustproof construction. Even the lens hood boasts an all-aluminum build with a rubberized coating near the front to prevent damage when sitting on rough surfaces. 

The features packed into this lens are just as incredible as its build quality. For instance, you can operate it as a traditional twist zoom or a push-pull, and you can engage the zoom lock at any focal length. The elements that make up the lens design are veritably resistant to flares, chromatic aberrations, and even water and oil (on the front and rear elements). 

The image quality is extremely consistent throughout the focal range. And the autofocus and image stabilization performance are exceptional, silent, and accurate. You can also customize this lens through Sigma’s USB dock, and they also offer a lens mount conversion service to switch between Canon, Nikon, Sony, Sigma, and Pentax. What’s more, Sigma includes a robust padded case and strap with the purchase.

Best budget: Canon RF 100-400mm f/5.6-8 IS

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Specs

• Lens mount: Canon RF
• Aperture range: f/5.6 – 8 to f/32 – 45
• Image stabilization: Yes
• Filter size: 67mm
• Minimum focus distance: 2.9 feet
• Weight: 1.4 pounds
• Dimensions: 3.1 x 6.5 inches

Pros

• Great value
• Small and light
• Surprising image quality
• Great autofocus and image stabilization

Cons

• Slow maximum aperture
• Lens hood and tripod collar are not included

The biggest problem with telephoto lenses, in general, is the overwhelming price most of them command. In the past, telephoto lenses with at least 400mm of range have either been competent and expensive or sacrificed too much in image quality and performance to be good budget buys. But it seems that Canon is on a roll with the development of interesting lenses that somehow manage to break the quality for price barrier. The new RF 100-400mm is the latest in a slew of wins for Canon’s consumer line. This lens packs enough image quality and performance features that seasoned photographers will appreciate while at the same time significantly lowering what has always been a prohibitively high price point in this focal range.

It lacks some creature comforts reserved for higher tier “L” lenses, but that is to be expected at this lower price bracket. It has a relatively slow f/8 maximum aperture at 400mm, which means you’ll need a bit more light to get the proper performance out of it. But it also has Canon’s new quick and quiet Nano-USM focusing motor and 5.5 stops of image stabilization. 

What it lacks in weather sealing and build quality, it makes up for with its small stature and lightweight design. Some might call the image quality pedestrian when compared to Canon’s RF 100-500mm, but remember that this lens is over four times less expensive. There is no lens available at this price with this range in either EF or RF mounts. This lens isn’t complacent; it convincingly establishes itself in a notoriously tough focal range with a lack of clear competition. This is one of best telephoto lenses for Canon on a budget.

Things to consider before buying the best telephoto lenses for Canon

Telephoto lenses cover such a broad spectrum of photography and can be useful in many disparate scenarios. Factors such as focal length, zoom versus prime, weight, and size are not generally related to price. Whereas maximum aperture, sharpness, build quality, autofocus performance, and extra features most definitely are. Of course, there are trade-offs to having a smaller budget, but that’s where knowing what you’re going to use the lens for comes heavily into play. Understanding your specific use case for a telephoto lens will allow you to acknowledge which trade-offs will be acceptable. If you’re looking for the best telephoto lenses for Canon, consider the following:

Budget

The most important factor in deciding which telephoto lens to buy is your budget. The price of this category of lenses can vary wildly, from $100 to $20,000. So knowing what you have to spend will make a huge difference in the kind of lens you are able to acquire. 

Generally, the most expensive lenses are very niche and at the pinnacle of optical quality and performance. The reverse can usually be said of the least expensive telephoto lenses. But the new RF mount lenses from Canon have shown us that you can have optical quality around the $1000 mark. The thing most lacking from these lower-tier lenses isn’t necessarily image quality, but features, performance, and build quality.

Your specific use case

Not all telephoto lenses are created equal, and this segment of the market has a vast and diverse population of lenses built for specific purposes. So before you sink your money into a lens that has been raved about for its performance, sharpness, price, value, etc., consider what you want to use a particular lens for. 

Are you a birder? Are you spending most of your time stationary on a tripod or walking around? Do you need to shoot in low light? Do you shoot outdoors in inclement weather? Do you need it to fit in a carry-on bag? Are your subjects large, small, close, afar, or all of the above? Answering these questions to help figure out what you want a telephoto lens for will narrow down the correct lens to buy, so be specific.

Weight

Whether you intend on hand-holding or using a tripod, lens weight is a factor that you should not ignore. What good is a 7 lb 600, 800, or 1200mm lens when it stays in its case because it’s too cumbersome to set up? Some telephoto zooms weigh in excess of 6 lbs, so budget does not necessarily correlate with weight. It’s best to know your specific use case first, then determine what your arms can manage, either while shooting handheld or lugging around in a case between shoots.

EF VS RF Mount

Whether we like it or not, the RF mount is the future, and Canon has introduced some unique and innovative lenses for this mount. EF mount lenses do have the advantage in numbers; Canon alone has made 151 unique models since 1987. So why not just use an EF to RF mount adapter? There’s nothing inherently wrong with that logic, but that’s only a stop-gap measure as RF mount lenses have a clear advantage in technology. They can be lighter, smaller, have larger constant apertures and communicate faster, which in turn allows for better autofocus, and superior image stabilization.

FAQs

Final thoughts on the best telephoto lenses for Canon

• Best overall: Canon RF 70-200mm f/2.8 L IS
• Best premium: Canon RF 100-300mm f/2.8 L IS USM
• Best for wildlife: Canon RF 100-500 f/4.5-7.1L IS
• Best for portraits: Canon RF 85mm f/1.2 L USM
• Best value: Canon RF 800mm f/11 IS
• Best third party: Sigma 150-600mm f/5-6.3 DG OS HSM Sports
• Best budget: Canon RF 100-400mm f/5.6-8 IS

Telephoto lenses cover such a large swath of photographic applications and can be highly niched with prime super telephotos or extremely broad with telephoto zooms. Understanding what you want to shoot and the environment you’ll be shooting in will be the biggest key in determining which are the best telephoto lenses for Canon to invest in.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best telephoto lenses for Canon in 2023 appeared first on Popular Photography.

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Best overall		Nikon NIKKOR Z 24-70mm f/2.8 S		SEE IT	This versatile standard zoom offers superb image quality.
Best wide-angle		Nikon NIKKOR Z 17-28mm f/2.8		SEE IT	This wide-angle zoom offers an ideal balance of price, size, and quality.
Best for portraits		Nikon NIKKOR Z 85mm f/1.2 S		SEE IT	For dreamy portraits, you can’t beat this Nikon prime lens.

Building a Nikon lens collection is a critical part of your photography journey. In some ways, adding the right lens to your kit is even more important than your choice of camera, especially if you concentrate on a particular genre of photography, such as portraits, wildlife, or street photography. The type of lens you select can make a significant difference between so-so photos and consistently excellent images. Whether you’re shooting with a full-frame DSLR, an APS-C DSLR, or a Nikon Z-series mirrorless camera, we’ll help you sort through the best Nikon lenses available.

Best Nikon mirrorless lenses

• Best overall: Nikon NIKKOR Z 24-70mm f/2.8 S
• Best wide-angle: Nikon NIKKOR Z 17-28mm f/2.8
• Best for portraits: Nikon NIKKOR Z 85mm f/1.2 S
• Best telephoto: Nikon NIKKOR Z 70-200mm f/2.8 VR S
• Best budget: Nikon NIKKOR Z 50mm f/1.8 S Lens

Best Nikon DSLR lenses

• Best F-mount lens overall: AF-S FX Nikon NIKKOR 85mm f/1.4
• Best F-mount telephoto zoom: AF-S FX NIKKOR 200-500mm f/5.6E ED VR lens
• Best budget F-mount lens: Nikon FX NIKKOR 50mm f/1.8D

How we chose the best Nikon lenses

The writers and editors at Pop Photo have decades of experience with just about every major camera and lens manufacturer, including Nikon. We have hands-on experience with most of the lenses on this list. We also factored in user and editorial reviews. Given the wide variety of Nikon lenses, we aimed to choose options for most situations and price points. Overall image quality, handling, autofocus, build quality, and lens features were all important factors when making our selections. 

The best Nikon lenses: Reviews & recommendations

Nikon makes a wide array of lenses for its DSLR and mirrorless lineup. Lenses span the full spectrum of lens types and budgets, so you’re sure to find a quality Nikon lens that fits your needs. 

Best overall: Nikon NIKKOR Z 24-70mm f/2.8 S

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Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 82mm
• Minimum focus distance: 1.25 feet
• Weight: 1.77 pounds
• Dimensions: 3.5 x 4.96 – 6.15 inches

Pros

• Versatile zoom range
• Excellent image quality
• Lightweight and compact
• Useful OLED display

Cons

• Focus is a little slow compared to the competition

A quality 24-70mm lens is something that most photographers should have in their kits. It offers an extremely versatile focal length range that’s ideal for a vast range of situations, meaning you can switch lenses less often. And this Nikon lens is one of the best available across all brands. It offers exceptional sharpness across the zoom and aperture range, with minimal aberrations or fringing, resulting in superb image quality. 

This standard zoom lens features a fast and constant f/2.8 aperture, making it ideal in low-light situations like wedding receptions or indoor family shoots. Its autofocus is slightly slower than other lenses in this class, partly because it uses two stepper motor AF actuators instead of linear focus motors. But it is accurate and quiet, and there is very limited focus breathing, making it a good option for videographers.

The lens isn’t cheap, but it is roughly the same as the mirrorless f/2.8 options from Canon and Sony. And it offers a lot in terms of quality and features. For example, the OLED display on the top is handy for checking focal length, aperture, or focus distance. Nikon built it with robust weather sealing to protect it against the elements. And it’s also the lightest 24-70mm available at the moment. If you want to save some money, Nikon also makes an excellent 24-70mm f/4 that, at $1,000, is less than half the price, albeit with a slight drop in image quality and a slower maximum aperture.

Best wide-angle: Nikon NIKKOR Z 17-28mm f/2.8

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Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: No
• Filter size: 67mm
• Minimum focus distance: 7.5 inches
• Weight: 15.9 ounces
• Dimensions: 3 x 4 inches

Pros

• Very compact and lightweight for the class
• Internal focus and zoom
• Can focus very close
• Good balance of quality and price

Cons

• Minimal controls on the lens body
• Control ring is hypersensitive

While this lens isn’t at the top end of Nikon’s wide-angle lineup, it is very well-balanced in regard to price and quality, which is why it earned our top wide-angle spot. It is very reasonably priced but still has a lot to offer. Weighing just under a pound and measuring four inches long, it’s extremely compact and lightweight for the class. It is one of our favorite lenses to hike with, as a result. 

This wide-angle zoom lens features fully internal zoom and focus, meaning the lens doesn’t change length at all. That makes it ideal for video use, especially when using a gimbal, as you won’t need to rebalance when changing focal length. It can also focus as close as 7.5 inches, making it possible to get some unique wide-angle closeup shots. 

Though this lens won’t offer the same sharpness as Nikon’s higher-end S lineup, it is plenty sharp for most people and situations. The f/2.8 aperture and rounded nine-blade diaphragm results in pleasing bokeh, especially when you get close to your subjects. And despite the ultra-wide perspective, you can use a reasonable 67mm filter on it. For the price, this lens is quite impressive. 

Best for portraits: Nikon NIKKOR Z 85mm f/1.2 S

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Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/1.2 – f/16
• Image stabilization: 
• Filter size: 82mm 
• Minimum focus distance: 33.46 inches
• Weight: 2.6 pounds
• Dimensions: 4 x 5.6 inches

Pros

• Superb image quality
• Fast f/1.2 aperture
• Fast and accurate autofocus
• Rugged build quality

Cons

• A bit pricey
• Bulky and heavy

An 85mm prime is the quintessential portrait lens, and this Nikon version is a premier example of one. It offers truly excellent image quality, with excellent sharpness across the image and at all apertures. But its bokeh is where it really shines. Thanks in part to the rounded 11-blade diaphragm, the bokeh is wonderfully smooth, with beautiful transition from focused and defocused areas. It contrasts the sharpness of the lens perfectly.

As a member of Nikon’s S line of lenses, this 85mm features rugged build quality with weather sealing. It offers a programmable control ring and L-Fn function button, and there is an auto/manual focus switch as well. The autofocus is speedy and reliably accurate, so it can keep up with even rapidly moving subjects like little kids. 

Of course, the fast f/1.2 aperture results in a steep price tag and a lot of bulk. If you want to save $2,000 and a pound and a half of weight, the NIKKOR Z 85mm f/1.8 S is your best alternative. 

Best telephoto: Nikon NIKKOR Z 70-200mm f/2.8 VR S

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Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/2.8 – f/22
• Image stabilization: Yes
• Filter size: 77mm
• Minimum focus distance: 1.64 feet
• Weight: 2.99 pounds
• Dimensions: 3.5 x 8.66 inches

Pros

• Stunningly good image quality
• Extremely fast, quiet, and accurate autofocus
• Built-in stabilization
• Excellent handling

Cons

• Pro-level price tag

Besides a 24-70mm, a 70-200mm is one of the most versatile zoom lenses you can buy. They can cover most situations at weddings, work extremely well for motorsports and other sporting events, and are great wildlife lenses. And Nikon’s mirrorless version of this popular lens is possibly the best to have ever existed. 

The NIKKOR Z 70-200mm offers truly stunning image quality. It’s extremely sharp across the zoom and aperture range. The colors and contrast are pleasing and true to life. And the bokeh is very attractive, resulting in beautiful portraits. The autofocus is very fast, accurate, and quiet, so you’ll be able to trust it even if you’re shooting a wedding ceremony in a poorly lit church.

As we would hope for a 70-200mm, it provides image stabilization to improve low-light performance. It’s built to Nikon’s S-line standards, meaning it’s dust and moisture-resistant and gets a fluorine coating on the front element. And the OLED lens information panel displays aperture setting, focus distance, and depth of field figures right on top of the lens for quick reference. Of course, it comes with a price tag to reflect all these pro features, but it is a spectacular lens for those who want the absolute best. 

Best budget: Nikon NIKKOR Z 50mm f/1.8 S Lens

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Specs

• Lens mount: Nikon Z, full-frame
• Aperture range: f/1.8 – f/16
• Image stabilization: No
• Filter size: 62mm
• Minimum focus distance: 1.31 feet
• Weight: 14.64 ounces
• Dimensions: 2.99 x 3.41 inches

Pros

• Excellent overall image quality
• Very fast autofocus
• Reasonably priced
• Relatively compact and lightweight

Cons

• No fluorine coating on the front element

If you are just starting out in photography and looking for a single, relatively affordable but quality lens, you’d be hard-pressed to beat Nikon’s 50mm f/1.8 S. It isn’t the cheapest Nikon lens you can buy, but the quality you get makes this one we would recommend over less expensive options. It offers a ton of value for the relatively low price, which you simply won’t find elsewhere.

It’s as sharp as much more expensive lenses, even when shooting wide open. The bokeh is pleasing, and it results in minimal distortion, vignetting, and aberrations. The autofocus is also as fast as its more expensive peers, so you can trust it’ll keep up with fast-moving subjects. The f/1.8 aperture is fast enough for most, though if you want extra low-light performance and razor-thin focus areas, Nikon’s 50mm f/1.2 S is another option, albeit for more than twice the price.  

In terms of build quality, you also get a lot for your money here. It’s weather sealed and offers a programmable control ring which you can use for a variety of camera and exposure settings. Nikon did leave out a fluorine coating on the front element, so you will want to take extra care in cleaning your lens before shoots. Finally, it’s relatively compact and lightweight, making it comfortable to keep on your camera even for long days of shooting. 

If you don’t mind a slightly wider perspective and want to save $350, the NIKKOR Z 40mm f/2 is a fantastic choice.

Best F-mount lens overall: AF-S FX Nikon NIKKOR 85mm f/1.4

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Specs

• Lens mount: Nikon F, full-frame
• Aperture range: f/1.4 – f/16
• Image stabilization: No
• Filter size: 77 mm
• Minimum focus distance: 2.79 feet
• Weight: 1.31 pounds
• Dimensions: 3.39 x 3.31 inches

Pros

• Very sharp optics
• Attractive bokeh
• Relatively lightweight for the class 
• Highly accurate autofocus

Cons

• Strong vignetting when wide open

The AF-S FX Nikon NIKKOR 85mm f/1.4 lens is one of the best Nikon DSLR lenses for portraits. It produces sharp-as-a-tack images. And thanks to its f/1.4 aperture, it creates beautiful bokeh that softens the background to emphasize your main subject.

The autofocus of this 85mm isn’t as fast as other lenses, but for most portrait situations, it’ll keep up just fine. And it makes up for the lack of speed in its accuracy. Plus, the lens is relatively compact and lightweight for an 85mm, so you won’t mind carrying it with you for a full day of shooting. 

For budget-minded Nikon shooters, take a look at the AF-S NIKKOR 85mm f/1.8G.

Best F-mount telephoto zoom: AF-S FX NIKKOR 200-500mm f/5.6E ED VR lens

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Specs

• Lens mount: Nikon F, full-frame
• Aperture range: f/5.6 – f/32
• Image stabilization: 
• Filter size: 95mm 
• Minimum focus distance: 7.22 feet
• Weight: 5.07 pounds
• Dimensions: 4.25 x 10.53 – 13.5 inches

Pros

• Versatile range for sports and wildlife
• Excellent image quality across zoom range
• Reasonably priced
• Vibration reduction of up to 4.5 stops

Cons

• Not fully weather-sealed

Distant subjects are no longer out of reach with the AF-S FX NIKKOR 200-500mm f/5.6E ED VR lens. It provides an awesome zoom range, making it an ideal choice for sports and wildlife photographers. The image quality from this super-telephoto zoom lens is superb, resulting in highly detailed shots. It also offers 4.5 stops of vibration reduction to help obtain sharp images even when hand-holding the lens. 

Another benefit to this lens is that it is compatible with Nikon’s teleconverters. That means that you can get up to twice the focal range for even more reach. And don’t forget, an APS-C camera adds 1.5x (or about 750mm) to the lens’ reach as well. Unfortunately, it isn’t fully weather-sealed, but it does offer a rotating tripod collar for better balance when using a tripod or monopod in either landscape or portrait orientation.

Best budget DSLR lens: Nikon FX NIKKOR 50mm f/1.8D

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Specs

• Lens mount: Nikon F, full-frame
• Aperture range: f/1.8 – f/22
• Image stabilization: No
• Filter size: 52mm
• Minimum focus distance: 1.48 feet
• Weight: 5.47 ounces
• Dimensions: 2.5 x 1.54 inches

Pros

• Tiny and lightweight
• Very affordable
• Excellent image quality

Cons

• Needs to be stopped down for the best performance

Despite its low price and compact 2.5 by 1.5-inch size, this little Nikon lens is the perfect go-to lens for a variety of scenarios. It weighs a mere 5.5 ounces, so it’s a lightweight companion, making it ideal for travel or hiking adventures. The lens provides excellent sharpness so, but it does perform best when stopped down a few stops. At f/2.8 or so, the lens performs beautifully.

One caveat, though, is that this nifty fifty only works in manual focus with older cameras without an AF motor built-in, like the Nikon D40. If you use a body with the body-mounted screw to drive autofocus, it will focus quickly and accurately. These older 50mm lenses are getting a bit hard to find these days, so if you are thinking of picking one up, you may not want to wait much longer.

Even more Nikon lenses to consider

Nikon NIKKOR Z 14-24mm f/2.8 S

Nikon’s 14-24mm f/2.8G lens for its F-mount cameras was the premier example of an ultra-wide-angle zoom lens across any brand, and this Z-mount version is even better. It is a pound lighter than the DSLR lens and features a handy OLED display. And it offers truly exceptional overall image quality with edge-to-edge sharpness. The fast f/2.8 aperture makes it an ideal choice for astrophotography, and the ultra-wide perspective with well-handled distortion is fantastic for real estate work.

Nikon NIKKOR Z 600mm f/4 TC VR S

For professional wildlife and sports photographers, you can’t beat Nikon’s 600mm lens. It offers a bright f/4 aperture, stunning image quality, fast autofocus, and five stops of vibration reduction. But perhaps the most unique feature is the built-in 1.4x teleconverter. With a simple flip of a switch, you’ll get 840mm reach. And since the teleconverter is integrated into the lens, it maintains the weather sealing as well as image quality. Nikon also makes a 400mm version with a built-in 1.4x teleconverter, resulting in a reach of 560mm, should you want something a little less dramatic. 

What to consider when buying the best Nikon lenses

Nikon has an extremely expansive list of lenses, especially when you are looking at both F-mount and Z-mount options. Choosing a lens can be challenging as a result, but careful consideration of the items below will help you find the best Nikon lens for your needs. 

Focal length

The first step to making any lens decision is narrowing down what focal length you need or want. To put it simply, focal length determines how much you see (angle of view) and how large things appear (magnification). A telephoto lens, which has a narrow angle of view and high magnification, won’t work for real estate photography. On the other hand, a wide-angle lens, with its wide view and low magnification, isn’t ideal for most portrait and wildlife situations. As a result, it’s important to consider the types of images you want to create before choosing a focal length.

The other piece of the focal length puzzle is if you use an APS-C or full-frame camera. Focal lengths are listed in reference to their use on full-frame cameras. However, lenses used on APS-C cameras will result in a narrower angle of view due to the camera’s crop factor. Because of this, you will need to take that into account when buying a lens for your APS-C camera. For example, if you want a wide-angle lens, you will need to go extra wide in order to actually have that wide angle of view on a crop sensor camera. 

Prime versus zoom

Once you know the focal length you want, you can decide if a prime or zoom lens is better for your needs. A prime lens offers a single focal length, while a zoom lens offers a range of focal lengths. Which is best mostly comes down to personal preference and your shooting style, but there are advantages and disadvantages to both. 

Prime lenses are typically higher in quality and can offer faster maximum apertures. They can also be more affordable. But they aren’t as versatile since you’ll need to be able to physically move or switch lenses to change the perspective. Zoom lenses are more convenient since you can simply zoom in or out to change the view. But the quality is typically slightly lower than prime lenses, and they can get very expensive.

Aperture

The maximum aperture of a lens is provided right in the name of the lens and is important for a few reasons. First, a wider aperture will let in more light, making it better in low-light conditions. Wedding photographers, astrophotographers, or anyone shooting indoors or in dark situations will want to prioritize a wide (also called fast) maximum aperture. Second, aperture is one factor in determining depth of field. If you want a shallow depth of field for greater separation of your subject and background, be sure to choose a lens with a wide maximum aperture.

Some zoom lenses will feature a variable maximum aperture, such as f/4.5-5.6. This means that as you zoom in, you will get a smaller aperture and lose light. That can get frustrating when shooting in low light conditions or trying to achieve a shallow depth of field. You’ll have to pay more for a lens with a constant maximum aperture, but it may be worth it for you. 

Size

Lens size can be an especially important factor if you plan to travel or hike with the lens or if you have long shooting days, such as weddings. Lugging around a bulky piece of glass is not very fun if you aren’t prepared for it. Nikon makes some excellent compact and lightweight options of popular focal lengths or zoom ranges, so be sure to check the size closely if that is something that is important to you.

FAQs

Final thoughts on the best Nikon lenses

Best Nikon mirrorless lenses

• Best overall: Nikon NIKKOR Z 24-70mm f/2.8 S
• Best wide-angle: Nikon NIKKOR Z 17-28mm f/2.8
• Best for portraits: Nikon NIKKOR Z 85mm f/1.2 S
• Best telephoto: Nikon NIKKOR Z 70-200mm f/2.8 VR S
• Best budget: Nikon NIKKOR Z 50mm f/1.8 S Lens

Best Nikon DSLR lenses

• Best F-mount lens overall: AF-S FX Nikon NIKKOR 85mm f/1.4
• Best F-mount telephoto zoom: AF-S FX NIKKOR 200-500mm f/5.6E ED VR lens
• Best budget F-mount lens: Nikon FX NIKKOR 50mm f/1.8D

Nikon makes lenses for just about every situation, from portraits to wildlife to real estate. It also makes lenses at a range of price points. Though the best lens comes down to what you want to shoot and your budget, chances are good that you will be able to find a Nikon lens that is suitable for your needs. 

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best Nikon lenses of 2023 appeared first on Popular Photography.

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Best overall		Sony FE 24-70mm f/2.8 G Master II		SEE IT
Best ultra-wide angle		Sony FE 12-24mm f/2.8 GM		SEE IT
Best telephoto		Sony FE 70-200mm f/2.8 GM OSS Lens		SEE IT

Sony makes some impressive, highly capable cameras, and if you own one, it’s only natural that you want the best Sony lenses to go with it. While lens options used to be somewhat limited, Sony has expanded its range in recent years. You’ll now find just about any focal length you want, with plenty of zoom and prime choices. 

Sony also has multiple lines of lenses to cover different budgets. It has the expensive though high-quality GM lineup as well as the more affordable G line. There are also lenses collaboratively built with Zeiss for more variety. Plus, third-party lens manufacturers are filling even more gaps. But no matter what you are looking for, the best Sony lenses will help you take advantage of the features and quality of your Sony camera.

• Best overall: Sony FE 24-70mm f/2.8 G Master II
• Best ultra-wide-angle: Sony FE 12-24mm f/2.8 GM
• Best wide-angle: Sony FE 16-35mm f/2.8 GM
• Best telephoto: Sony FE 70-200mm f/2.8 GM OSS Lens
• Best for portraits: Sony FE 85mm f/1.4 GM Lens
• Best APS-C: Sony E 16-55mm f/2.8 G
• Best macro: Sony FE 90mm f/2.8 Macro G OSS
• Best budget: Sony E PZ 18–105 mm F4 G OSS APS-C

How we picked the best Sony lenses

The writers and editors at PopPhoto have decades of experience in just about every area of photography. We have used and tested an extensive variety of lenses from various manufacturers, including Sony. When compiling this list of lenses, we used a mix of personal experience, editorial reviews, and customer feedback. We prioritized image quality in making our selections, as that is the most crucial aspect of any lens. We also looked at lens size, maximum apertures, weather sealing, and autofocus capabilities. Finally, we also took into account any additional features such as image stabilization and video-centric tools.

The best Sony lenses: Reviews & Recommendations

Best overall: Sony FE 24-70mm f/2.8 G Master II

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Why it made the cut: The second version of this versatile focal length has a fast aperture, and at just 1.5 pounds, it’s lighter than any other 24-70mm on the market.

Key features:

• Weight: 1.5 pounds
• Dimensions: ​​3.5 x 4.7-6 inches
• Filter thread: 82mm
• Minimum focusing distance: 8.3 inches

Pros

• Lightweight and compact
• Very responsive and quiet autofocus
• Superb image quality
• Attractive bokeh

Cons

• Expensive

24-70mm is perhaps the most versatile zoom lens you can have. It goes from a solid wide-angle to a short telephoto, making it a great all-arounder. That versatility earns it the top spot here. Released in June of 2022, this is Sony’s second iteration of the classic 24-70mm focal length. The update came with some very worthwhile improvements, most notably the more compact size. It’s 20% lighter than the first version and 16mm shorter. It’s the lightest 24-70mm available across any company. Thanks to its compact size and focal length range, it’s a perfect travel lens. 

Sony also improved the autofocus abilities of this lens, resulting in faster and quieter focusing than the original version. That’s partly thanks to the fact that it’s powered by four XD (extreme dynamic) Linear motors. It’ll pair perfectly with the very intelligent autofocus of Sony’s cameras. Unfortunately, Sony didn’t fully solve everything related to focusing. While the focus breathing (a phenomenon in which the field of view changes as you focus) has been reduced from the first version, some lingered. It’s minimal, but it is something to keep in mind if you will be using this for videos.

As is standard on G Master lens, it is fully weather sealed, so you won’t have to worry about bringing it into tough environments. It’s also made of tough polycarbonate, which helps cut down on the weight. And the included lens hood comes with the welcome addition of a sliding window, which allows you to check and adjust your circular polarizer much more easily. It’s a small thing but is definitely a nice touch.

Where this lens shines, of course, is its sharpness. It’s supremely sharp, even edge to edge when wide open and throughout the zoom range. It really is capable of producing some spectacular images. And, thanks to the 11-blade iris diaphragm, the bokeh is very smooth and attractive. Sony also improved the close focusing of the second iteration, and you can now focus as close as just 8.3 inches. It’s not a true macro lens, but you’ll be able to get some nice detail shots with it. 

Best ultra-wide-angle: Sony FE 12-24mm f/2.8 GM

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Why it made the cut: It has a faster aperture than anything else this wide, fast and accurate autofocus, and minimal, easily corrected distortion.

Key features:

• Weight: 1.86 pounds
• Dimensions: 3.84 x 5.39 inches
• Filter thread: 11.02 inches
• Minimum focusing distance: Rear drop-in filters only

Pros

• Excellent sharpness
• Fast autofocus
• Fastest aperture available for a lens this wide
• Distortion and vignetting are well-handled. 

Cons

• Bulbous front element prevents the use of screw-on filters
• Heavy

Ultra-wide-angle lenses are a bit of a niche product, but they are essential pieces of equipment for the likes of real estate and landscape photographers. They also are a fun tool for making creative and unique images. They provide dramatic, sweeping views and allow you to show more in a single frame. Sony’s ultra-wide stands out from the competition because it is the widest f/2.8 zoom you can buy. No other zoom lens is this fast and this wide. 

Distortion can make ultra-wide lenses challenging. If you are shooting interiors, the last thing you want is dramatic, complicated distortion. Luckily, distortion is very well handled thanks to Sony’s design that includes three extreme aspherical elements and one standard aspherical element. That’s not to say it’s fully absent, but it’s simple barrel distortion at the wide end and pincushion when zoomed in, making it straightforward to correct. 

Another issue common to ultra-wide-angle lenses is ghosting and flare. Since they are so wide, they tend to show flares if the sun is pretty much anywhere other than directly behind you. Yet this lens handles those things remarkably well, making them much less of an issue. That’s partially a result of the built-in lens hood, which doubles as protection since the front element is bulbous and sticks out. And, for photographers who love their sunstars, this lens creates some beautiful ones.

As we would expect from G Master lenses, the resolution is exceptional. It produces some of the sharpest images from any ultra-wide available. There is a slight hint of softness on the edges, but it’s incredibly minimal, which is impressive for something this wide. Your images won’t be as sharp if you stop down to f/22, but at the rest of the aperture and zoom range, the image quality is stunning. Also typical of G Master lenses is a rather high price. If you want to save some money but lose out on a little bit of range, Sigma’s 14-24mm f/2.8 is also a superb option at a much lower price.

Best wide-angle: Sony FE 16-35mm f/2.8 GM

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Why it made the cut: With a fast f/2.8 aperture, beautiful bokeh, and silent autofocus, this wide-angle zoom is ideal for a range of applications.

Key features:

• Weight: 1.5 pounds
• Dimensions: 3.5 x 4.8-5.4 inches
• Filter thread: 82 mm
• Minimum focusing distance: 11 inches

Pros

• Extremely sharp, even wide open
• Silent and fast autofocus
• Beautiful bokeh
• Includes a focus lock button

Cons

• Some softness on edges when zoomed in
• No focus markings on the lens

16-35mm is an ideal focal length range for covering a wide range (no pun intended) of situations. It’s wide enough to do interior and real estate work, but having the ability to zoom to 35mm makes it perfect for group photos and some portraiture. The fast f/2.8 aperture makes it great in low-light situations, and the 11-blade rounded aperture allows for beautifully smooth bokeh. It would be a great lens to have in your kit if you are a wedding or event photographer.

The autofocus of this lens is fast and also essentially silent. That’s a plus if you shoot video or will be photographing in quiet spaces like churches. Unfortunately, there are no focus or depth of field scale markings on the lens, which means you can’t focus at a specific distance as easily. But, there is a focus hold button on the lens body. It’s a customizable button as well, should you want to use it for something else. 

The lens can focus as close as 11 inches. It’s no macro, but it does mean you can take some nice detail shots with good background separation, especially thanks to the f/2.8 aperture. And, because of the high resolution of this lens, those detail shots–and anything else, of course–will be remarkably clear and sharp. It’s even sharp when wide open, which isn’t typically the case. 

It is a heavy lens for this focal length, and there are lighter and more compact options out there. If you don’t mind losing a stop of aperture, Sony’s own 16-35mm Vario-Tessar T FE F4 ZA OSS weighs–and costs–about half as much.

Best telephoto: Sony FE 70-200mm f/2.8 GM OSS Lens

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Why it made the cut: Sony’s second iteration of its 70-200mm is lighter, faster, and produces better images. 

Key features:

• Weight: 2.3 pounds
• Dimensions: 3.46 x 7.87
• Filter thread: 77 mm
• Minimum focusing distance: 15.7 inches

Pros

• Lightweight for a telephoto of this range
• Durable build quality
• Instant manual focus override
• Fast focusing

Cons

• Tripod foot isn’t Arca mount compatible

70-200mm is another one of those classic focal lengths, especially for anyone who takes portraits or photographs weddings. It’s an ideal range that allows for subtle telephoto action and pretty significant magnification in the same lens. This is Sony’s second iteration of this focal length, released in October 2021, and it has some big improvements.

One of the most helpful things was the reduction in size compared to its predecessor. Telephoto lenses are not light pieces of kit, so anything companies can do to shave off weight is welcome. At 2.3 pounds, the updated version of this 70-200mm is a full pound lighter than the original. That will make a significant difference if you are holding this lens for a full day of shooting. 

The lens now has fully internal zoom, so you won’t have to compensate for any additional length when zooming in. The internal zoom makes it well balanced, which makes for better handling. An aperture ring has been added to the lens, which you can de-click for silent operation. And it has a focus limiter, which is ideal for situations where you roughly know the distance your subject will be. 

A big area of focus for Sony on this lens was the autofocus system, which it significantly improved. It is now powered by four XD Linear motors, which Sony says allows it to focus four times faster. It can track subjects at 20 or 30fps, so if you are using the a1, the lens can keep up. Focus is also silent, perfect for video work. This lens’s improvements specific to video were also crucial since Sony has geared its cameras towards hybrid shooters. As a result, focus breathing was drastically reduced, a Linear Response MF system was added, and it has full-time instant manual focus override for when you need to fine-tune focus quickly. 

All these upgrades don’t come cheap, though. So if you want to save some money, the first generation 70-200mm is still a worthy purchase. Or, if you don’t mind a little less reach and no stabilization, Tamron’s 70-180mm f/2.8 is also a good choice.

Best for portraits: Sony FE 85mm f/1.4 GM Lens

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Why it made the cut: 85mm is a staple in portrait photography, and Sony’s GM version features a fast f/1.4 aperture and truly incredible sharpness and image clarity.

Key features:

• Weight: 1.8 pounds
• Dimensions: 3.52 x 4.23 inches
• Filter thread: 77 mm
• Minimum focusing distance: 2.62 feet

Pros

• Incredible sharpness
• Fast and silent autofocus
• Customizable focus hold button
• Fast f/1.4 aperture

Cons

• Heavy
• No in-lens stabilization

If you take a lot of portraits, 85mm is something you should have in your bag (or on your camera). This focal length offers the ideal amount of telephoto reach and its resulting benefits without putting you at a significant distance from your subject. The f/1.4 aperture of this G Master lens means that you can get a very shallow depth of field, creating excellent separation between your subject and the background. And it also is superb in low-light situations. Granted, there is no in-lens stabilization, but most Sony cameras offer it at the body level, and the fast aperture helps.

This lens utilizes Sony’s Linear Super Sonic wave Motor for focusing. It is fast and quiet, though it won’t be instant if you are making a big switch in where you are focused. On the side of the lens, you will find a focus hold button, which, like other Sony lenses, can be programmed to something else should you want. It also has an aperture ring that can be clicked or de-clicked for video. Also good for video is the lack of focus breathing. And, like all GM lenses, it is fully dust and moisture sealed. 

Of course, we have to talk image quality. This lens possibly produces the sharpest and highest resolution images of any 85mm f/1.4 available right now. Images are crisp and clean with little aberration or fringing. There’s also essentially no distortion. The bokeh is quite nice, which is an asset for portraiture. Though the Samyang 85mm may be even smoother, and that lens is quite a bit more affordable and a bit lighter. At the end of the day, it comes down to where your priorities are: Sharpness or bokeh. If sharpness is number one to you, the Sony should be your pick.

Here are even more expert reviews of the best sony lenses for portraits.

Best APS-C: Sony E 16-55mm f/2.8 G

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Why it made the cut: APS-C photographers don’t need to miss out on quality optics. This standard zoom lens has the fastest aperture of any other Sony APS-C lens and offers superb image quality.

Key features:

• Weight: 1.09 pounds
• Dimensions: 2.87 x 3.94-5.3 inches
• Filter thread: 67 mm
• Minimum focusing distance: 1.08 feet

Pros

• Weather sealed
• Excellent image quality
• Bright and constant f/2.8 aperture
• Nearly silent autofocus

Cons

• No in-lens stabilization

Those who use Sony crop sensor cameras still get access to that classic standard zoom (plus a little extra) with this lens, as it provides a full-frame equivalent of 24-82.5mm. With a max aperture of f/2.8, it offers the fastest aperture of any Sony zoom lens. And, unlike many APS-C zoom lenses, it has a constant maximum aperture, so you don’t lose out on stops of light when you zoom in. 

The image quality from this lens is truly excellent. You’ll get sharp images edge to edge, even wide open at f/2.8 and throughout the zoom range. The nine-blade aperture results in pleasing bokeh, so you can get excellent separation between your subject and the background. Though it’s not a macro lens, it can focus as close as roughly a foot, and thanks to the 82.5mm equivalent focal length, it can handle some detail shots. 

Autofocus is fast and accurate. Of course, this somewhat depends on the camera you pair it with, but most newer Sony cameras have impressive autofocus, so you shouldn’t have to deal with any focus hunting with this lens. Videographers or those taking photos in quiet spaces will appreciate just how quiet the autofocus is. And should you want to use manual focus while recording video, it is sensitive and responsive, picking up on small movements of the focus ring for easy adjustments. 

The build is professional-quality, with full weather sealing, which you usually only get on higher-end lenses. And it has a fluorine-coated front element to help keep that clean and free of dust and fingerprints. Though it’s not large compared to full-frame lenses, it is a bit big when paired with tiny APS-C cameras, which some may not appreciate. Sony’s Carl Zeiss Vario-Tessar T E 16-70mm f/4 ZA OSS is a much smaller –and more affordable–option, but you will lose a stop of aperture and get a lower image quality. 
Looking for a different focal length for your APS-C Sony camera? Check out our complete list of the best Sony A6000 lenses here.

Best macro: Sony FE 90mm f/2.8 Macro G OSS

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Why it made the cut: With a 1:1 macro reproduction, excellent sharpness, and smooth bokeh, Sony’s 90mm macro lens will help you create stunning detail shots. 

Key features:

• Weight: 1.32 pounds
• Dimensions: 3.11 x 5.14 inches
• Filter thread: 62 mm
• Minimum focusing distance: 11.02 inches

Pros

• Excellent optics
• Very accurate autofocus
• 1:1 macro reproduction
• Has a focus range limiter switch

Cons

• Has to be stopped down for best sharpness

Macro photography requires specific skills and gear to get right. One of these tools is a dedicated macro lens. In order to be a true macro lens–some as labeled as such but don’t meet this qualification–it must provide 1x (also called 1:1) or great magnification. Luckily, this Sony lens ticks that box. The 90mm focal length helps with macro photography, as you can keep some distance and prevent your shadow from casting onto the subject. It also provides better depth of field. 

This macro lens shines most in regards to its autofocus. It is incredibly accurate, which is essential when the spot you are focusing on is potentially only a fraction of an inch. It’s also fast, thanks to Sony’s use of its Direct Drive SuperSonic Wave Motor. Should you need even more autofocus speed, there’s a focus limiter with three ranges between 11 to 19.7 inches, 19.7 inches to infinity, or full. That keeps it from searching for focus where you know you don’t need it. Lastly, it’s silent, making it suitable for macro videos. 

Should you want to switch to manual focus for extra precision and creative control, Sony made it easy on this lens. Simply slide the focus ring forward or back to switch. Other mirrorless lenses that rely on focus-by-wire can be a bit challenging to manually focus as it isn’t very repeatable and there aren’t typically focus distance markings. Sony kept the focusing distance and magnification scale on the lens and used hard stops on the focus ring at either end. It’s also more exact than manually focusing with other mirrorless lenses. Overall it will allow you to be really precise with your macro images or videos. 

Best budget: Sony E PZ 18–105 mm F4 G OSS APS-C

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Why it made the cut: If you don’t want to spend a fortune on a lens for your Sony camera, this APS-C lens offers a versatile zoom range and a constant f/4 aperture.

Key features:

• Weight: 15.1 ounces
• Dimensions: ​​3.1 x 4.3 inches
• Filter thread: 72 mm 
• Minimum focusing distance: 1.48 feet

Pros

• 5.8x zoom
• Constant f/4 aperture
• Built-in stabilization
• Power zoom mechanism

Cons

• Strong pincushion distortion
• Lacks sharpness on edges

As another APS-C lens, Sony’s 18-105mm provides a lot of versatility at an affordable price. It has the full frame equivalent of 27-157.5mm, giving you a bit of wide-angle and some good telephoto reach at the same time. It would be a great all-arounder to bring while traveling as opposed to needing to pack multiple lenses. 

The constant f/4 aperture is a welcome sight on this budget zoom lens. Many lenses of this price range will have a variable max aperture, which results in losing stops of light as you zoom in. The constant aperture offers better low-light performance and gives you more creative control. 

Sony has clearly been focusing on video aspects in most of its gear, and this lens is no exception. It features a power zoom mechanism to make zoom control easier during a recording session. It also has Optical SteadyShot image stabilization, which, when paired with a Sony camera that has in-body stabilization, will give you much smoother videos.

Unfortunately, the lower price point does mean something has to have been sacrificed. There is some significant pincushion distortion across the zoom range, especially as you zoom in. And the image quality isn’t anything extraordinary. Image centers are sharp, but the edges lose out. But, the approachable price of the lens and versatility of the zoom range still make it a worthwhile choice for APS-C users.

Things to consider before buying the best Sony lenses

Zoom or prime

Ah, the age-old lens question. First, what is the difference between the two? Prime lenses have a single focal length, such as 85mm. They are more simple to construct because of that, so they typically produce sharper images, are capable of a wider aperture, and are cheaper. They are also smaller and lighter thanks to that single focal length. But, it also means you have to be able to physically move closer or further away if you want to change the composition and magnification. They may not be as versatile because of that, so you’ll likely find yourself changing lenses more often. And if you go on a trip, it means you have to bring more than one if you want focal length options.

Zoom lenses have a range of focal lengths in a single body. That allows you to give the appearance of getting closer or further away from your subject without moving an inch, which is very convenient. And if you travel, you may be able to bring two or even just one lens and still have the option of a wide range of focal lengths. There is a catch, of course. Typically the image quality isn’t as sharp as what you’ll get with a prime. And they can get quite pricey, especially if you want a fast lens. 

Ultimately, the decision to get a prime or zoom lens comes down to how and what you will use the lens for, as well as personal preference. Some photographers prefer to only use prime lenses, while others use a mix or perhaps even all zoom. Each has its advantages and disadvantages, so there is no right or wrong answer here. 

Focal length

Focal length is possibly the most important decision to make when choosing a lens. Put simply, focal length determines the angle of view–how much you see in the image–and magnification–how large things appear. Focal length also impacts depth of field, or how much is in focus within your image. So, when you are shopping for a lens, you need to decide what type of images you want to create and what focal length will get you there. 

It’s also worth noting that when we talk about focal length, we are referring to the lens on a full frame camera. Crop sensors (APS-C) will essentially crop in, resulting in a smaller angle of view than the lens specifies. For example, Sony cameras have a crop factor of 1.5x, so a 35mm lens on an APS-C camera will have the equivalent focal length of 52.5mm. 

There are three main categories of focal lengths, wide-angle, normal, and telephoto. Lenses that have a focal length of 35mm and lower are considered wide-angle lenses, which, as the name suggests, provide a wide angle of view. The wide angle will result in lower magnification and also a less shallow depth of field compared to other focal lengths. They are ideal for landscapes, real estate, group portraits, and event photography. 

A normal or standard lens is one that most closely replicates human vision. That’s generally considered to be around 50mm. They are extremely versatile lenses and one every photographer should have in their arsenal. Plus, a prime normal lens is generally very affordable and compact, making it more approachable and easy to keep with you even when traveling.

Finally, telephoto lenses are anything over 70mm. They have a narrow field of view, high magnification, and are capable of extremely shallow depth of field. Thanks to the high magnification, they are perfect for sports and wildlife photography or anything that you aren’t able to get close to your subject. They also are excellent for portraits because they lend themselves to fantastic separation between the subject and background, helping your subject stand out.

Third-party or Sony

You may think that if you want quality on your Sony camera, you need to go with a Sony lens, otherwise known as a first-party lens. While that was fairly accurate in the past, third-party lenses–lenses made by different manufacturers than the camera–continue to improve, with options that rival or even surpass first-party lenses.

So how do you choose between the two? To a certain extent, it comes down to preference–and of course, budget–but there are some pros and cons to each. First, lenses made by Sony are designed to work in tandem with its cameras. The biggest asset of that is that it generally results in faster and more accurate autofocus. But, they also can be cost prohibitive.

Third-party lenses are typically more affordable. They also can offer different focal lengths, giving you more options beyond what Sony has to offer. However, while there are some fantastic third-party lenses out there, there are also some awful ones. Image quality can be quite low from certain third-party lenses. And, with some third-party options, you may lose the ability for the lens to communicate with the camera, resulting in only manual focus and, at times, the need to manually adjust the aperture as well. Be sure to closely evaluate any lens you are considering, but especially third-party lenses.

Aperture

Lenses will specify the maximum aperture in the name of the lens. That number is important to pay attention to for two reasons. First, a wider maximum aperture means that the lens will let in more light, making the lens better for low light conditions. For certain situations, it may not matter, but for things like astrophotography or event and wedding photography, having a fast lens–or one with a wide aperture–is essential. Second, aperture is one factor that determines depth of field. If you want to have a shallow depth of field, you’ll need a wide aperture. 

If you are looking at zoom lenses, you may see a range given, such as f/4.5-5.6. This range means that as you zoom in, you will get a smaller aperture. More affordable zoom lenses typically have a range instead of a fixed maximum aperture, but it can be frustrating and limiting while shooting, especially in low light situations. If you don’t want to deal with that, you may need to budget a bit more to get a lens with a fixed max aperture instead.

FAQs

Final thoughts on the best Sony lenses

• Best overall: Sony FE 24-70mm f/2.8 G Master II
• Best ultra-wide-angle: Sony FE 12-24mm f/2.8 GM
• Best wide-angle: Sony FE 16-35mm f/2.8 GM
• Best telephoto: Sony FE 70-200mm f/2.8 GM OSS Lens
• Best for portraits: Sony FE 85mm f/1.4 GM Lens
• Best APS-C: Sony E 16-55mm f/2.8 G
• Best macro: Sony FE 90mm f/2.8 Macro G OSS
• Best budget: Sony E PZ 18–105 mm F4 G OSS APS-C

Sony’s lens lineup continues to expand and improve, filling the needs of more photographers. Its best lenses offer truly exceptional quality and maximize its cameras’ impressive features. Plenty of entry-level and beginner-friendly Sony lenses come at more approachable prices, so if you are just getting started, you won’t need to spend a small fortune on a single piece of equipment.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best Sony lenses in 2023 appeared first on Popular Photography.

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Sony camera equipment doesn’t go on sale that often, especially with very significant price cuts. So when you do see big discounts, like some of the Sony camera and lens deals dropping early for Amazon Prime Day, you won’t want to miss it. A few still highly capable, previous-generation cameras are on sale, along with a good selection of lenses. Some of the items below are already showing low stock, so you won’t want to wait on these deals.

All of these Prime Day deals require an active Amazon Prime Membership. You can sign up here for a free 30-day trial.

Sony FE 24-70 mm F2.8 G Master Zoom Lens – $1,598.00 (was $2,191.64)

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A quality 24-70mm lens is something that should be in every photographer’s kit. It is a do-it-all lens, covering both wide-angle and telephoto perspectives in a single lens. This particular 24-70mm is usually quite pricey, but you can get it for 27 percent off for the time being, which is impressive. It offers a fast and constant f/2.8 aperture for beautiful bokeh and excellent low-light performance and is extremely sharp, offering overall superb image quality.

Sony Alpha A6600 Mirrorless Camera $998.00 (was $1,398.00)

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Sony released the a6600 back in 2019, but it is still a truly excellent and very popular camera. It is an APS-C camera, which results in a tiny form factor that’s ideal for travel and street photography. It utilizes Sony’s advanced autofocus system, has strong battery life, and offers beautiful image quality. We’ve never seen this camera priced this low, so you definitely don’t want to miss this deal if you’ve been thinking about picking up a compact body.

Even more Sony camera and lens Prime Day deals

Sony interchangeable lens cameras and camera kits

• Sony Alpha a6400 $748.00 (was $848.00)
• Sony Alpha A6600 Mirrorless Camera with 18-135mm Zoom Lens $1,398.00 (was $1,799.99)
• Sony a7 III Full-Frame Mirrorless Camera $1,497.99 (was $1,998.00)
• Sony a7 III with 28-70mm Lens $1,697.99 (was $2,198.00)

Sony fixed lens cameras

• Sony ZV-1 Digital Camera for Content Creators $648.00 (was $748.00)
• Sony ZV-1F Vlog Camera for Content Creators and Vloggers $378.10 (was $499.99)

Sony zoom lenses

• Sony – FE 16-35mm F2.8 GM $1,998.00 (was $2,198.00)
• Sony FE PZ 16-35mm F4 G $1,098.00 (was $1,199.99)
• Sony Alpha 16-55mm F2.8 G $1,298.00 (was $1,399.99)
• Sony E PZ 18-105mm F4 G OSS $548.00 (was $648.00)
• Sony 24-70mm f/4 Vario-Tessar T FE OSS $698.00 (was $898.00)
• Sony – FE 24-105mm F4 G OSS $1,198.00 (was $1,299.99)
• Sony FE 24-240mm f/3.5-6.3 OSS $948.00 (was $1,049.99)
• Sony FE 70-200mm f/2.8 GM OSS $1,898.00 (was $2,484.56)
• Sony FE 70-200mm F4 G OSS $1,198.00 (was $1,354.53)
• Sony FE 70-300mm F4.5-5.6 G OSS $1,173.00 (was $1,279.19)
• Sony Alpha 70-350mm F4.5-6.3 G OSS $898.00 (was $999.99)
• Sony FE 200-600mm F5.6-6.3 G OSS $1,898.00 (was $1,999.00)

Sony prime lenses

• Sony FE 14mm F1.8 GM $1,498.00 (was $1,598.00)
• Sony E 15mm F1.4 G $648.00 (was $749.99)
• Sony FE 20mm F1.8 G $798.00 (was $899.99)
• Sony FE 24mm F1.4 GM $1,298.00 (was $1,398.00)
• Sony 35mm f/1.8 $423.00 (was $473.00)
• Sony FE 35mm F1.4 GM $1,298.00 (was $1,398.00)
• Sony FE 35mm F1.8 $648.00 (was $748.00)
• Sony – FE 50mm F1.8 $198.00 (was $348.00)
• Sony – E 50mm F1.8 OSS $298.00 (was $348.00)
• Sony FE 50mm F1.2 GM $1,898.00 (was $1,998.00)
• Sony FE 85mm f/1.4 GM $1,698.00 (was $1,806.54)
• Sony 85mm F/1.8 $548.00 (was $598.00)
• Sony FE 90mm f/2.8-22 Macro G OSS $998.00 (was $1,098.00)

Sony camera accessories

• Vertical Grip for Sony Alpha 7R IV – VG-C4EM $348.00 (was $398.00)
• Sony VGC3EM Vertical Grip for α9, α7R III, α7 III $298.00 (was $348.00)
• GN60 Wireless Radio Control External Flash $498.00 (was $549.99)
• Sony Digital Bluetooth Wireless Microphone ECMW2BT $198.00 (was $229.99)

More Amazon Prime Day deals

• CleverMade storage
• GoPro cameras
• Samyang and Rokinon lenses
• Kodak and HP portable printers
• PNY memory cards
• Arzopa portable monitors
• Polaroid cameras and printers
• FLIR thermal cameras
• Nixplay digital picture frames
• Loupedeck editing consoles
• Hard drives and SSDs
• Pelican cases
• Office upgrades
• DJI Air 2S

The post Last-minute Prime Day deals on Sony cameras and lenses appeared first on Popular Photography.

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New camera lenses are great, but most glass is quite expensive. Samyang lenses—which are also branded under the Rokinon label—are excellent prime lens alternatives to save you money. And despite the budget price, there are lots of true gems to find in the Samyang lineup, some that rival the likes of Sony, Canon, and Nikon. This Amazon Prime Day, you can take advantage of loads of deals on both Rokinon and Samyang lenses, saving you even more money on an exciting new piece of equipment that can literally change the way you see.

All of these Prime Day deals require an active Amazon Prime Membership. You can sign up here for a free 30-day trial.

More Rokinon and Samyang Prime Day deals

Lenses for Sony E mount

• Samyang SY12M-E-BK 12mm F2.0 Ultra Wide Angle Lens $220.15 (was $499.00)
• Rokinon 14mm F2.8 Full Frame Auto Focus Lens $424.15 (was $699.00)
• ROKINON AF 18mm F2.8 $279.65 (was $329.00)
• Rokinon 21mm T1.5 Compact High Speed Wide Angle Cine Lens $339.15 (was $599.00)
• Samyang 24mm F/2.8 Prime Fixed Auto Focus Wide Angle Lens $186.15 (was $399.00)
• Rokinon 35mm T1.9 Full Frame Cine Auto Focus Lens $454.30 (was $699.00)
• Rokinon 35mm f/2.8 Ultra Compact Wide Angle Lens $169.15 (was $399.00)
• Samyang 35mm F1.4 AF Series II Full Frame Wide Angle Auto Focus Lens $552.49 (was $849.00)
• Rokinon 50mm F1.4 Lens for Sony E Mount $279.00 (was $499.00)
• Samyang 75mm T1.9 Full Frame Cine Auto Focus Lens $553.01 (was $799.00)

Lenses for Fujifilm X mount

• Samyang AF 12mm f/2.0 Auto Focus APS-C Compact Ultra Wide Angle Lens $328.17 (was $549.00)
• Samyang SY300M-FX-BK 300mm F6.3 Mirror Lens $213.26 (was $349.00)

Lenses for Nikon F mount

• Samyang MK2 14mm F2.8 Weather Sealed Ultra Wide Angle Lens $279.00 (was $499.00)

For Nikon Z mount

• Samyang 14mm F2.8 Ultra Wide Angle Weather Sealed Lens $304.30 (was $499.00)
• Rokinon 85mm F1.4 Weather Sealed High Speed Telepoto Lens $254.96 (was $399.00)

Lenses for Canon EF mount

• Rokinon 14mm F2.8 Ultra Wide Angle Lens $175.25 (was $329.00)
• Rokinon AF 14mm F2.8 Weather Sealed Auto Focus Wide Angle Lens $449.65 (was $699.00)
• Samyang XP 35mm F1.2 High Speed Wide Angle Lens $629.92 (was $999.00)
• Rokinon Cine DS 50mm T1.5 Lens $339.15 (was $599.00)
• Samyang MK2 85mm F1.4 Weather Sealed Telephoto Lens $288.15 (was $399.00)
• Rokinon 135mm F2.0 ED UMC Telephoto Lens $381.65 (was $449.00)

Lenses for Canon RF mount

• Rokinon 24mm T1.5 Cine DSX High Speed Wide Angle Cine Lens $551.65 (was $649.00)
• Rokinon 50mm T1.5 High Speed Full Frame Cine DSX Lens $382.46 (was $449.95)
• Rokinon 85mm T1.5 High Speed Full Frame Cine DSX Lens $312.54 (was $369.00)

More Prime Day deals

• CleverMade storage
• GoPro cameras
• Sony cameras and lenses
• Kodak and HP portable printers
• PNY memory cards
• Arzopa portable monitors
• Polaroid cameras and printers
• FLIR thermal cameras
• Nixplay digital picture frames

The post Amazon Prime Day deals: Rokinon & Samyang lenses for Sony, Nikon, Canon, and Fujifilm appeared first on Popular Photography.

Articles may contain affiliate links which enable us to share in the revenue of any purchases made.