Rankings
The Samyang 24mm f/1.8 FE is a compact, weather-sealed wide-angle prime with fast autofocus and a bright f/1.8 aperture, delivering sharp images and good low-light performance. While its by-wire focus ring can feel stepped and bokeh isn't perfectly circular, it offers strong value for Sony E-mount users. Suited for landscape, astrophotography, and hybrid shooters.
The Sigma 18-50mm F2.8 DC DN Contemporary is a compact, constant-aperture standard zoom for APS-C mirrorless cameras, offering sharp optics and close-focus capability. Its lack of image stabilization and reduced corner performance on very high-resolution sensors are notable trade-offs. Ideal for travel and street photographers who value portability.
The Tamron 17-70mm f/2.8 Di III-A VC RXD is a versatile, constant-aperture zoom with built-in vibration compensation and weather-sealed construction, delivering sharp images across a useful focal range. Minor vignetting and by-wire focus quirks are its main trade-offs. It excels for APS-C mirrorless shooters needing a fast, all-round travel lens.
Sony's FE 24-70 mm f/2.8 G Master delivers professional-grade sharpness, constant aperture and robust weather sealing for demanding full-frame work. The lens is heavy and large, and lacks built-in stabilization, which can be a drawback for handheld or gimbal use. Best for professionals needing a versatile, high-performance standard zoom.
The Sigma 17-40mm F1.8 DC Art for Sony E is a lightweight APS-C zoom offering a constant f/1.8 aperture, internal zoom and robust weather sealing. Its main compromises are a higher weight than typical kit lenses and the absence of an aperture ring, which some users may miss. It excels for hybrid shooters who need fast optics and silent AF for both stills and video.
The Rokinon 24-70mm f/2.8 AF zoom for Sony E provides a versatile focal range with a constant f/2.8 aperture, fast linear autofocus and weather-sealed construction. It does not include optical image stabilization and is relatively heavy and large. Suited for Sony users needing a robust, all-round zoom for stills and video.
The Zeiss Touit 2.8/12 is a premium ultra-wide prime lens for Sony APS-C E-mount cameras, delivering exceptional sharpness, a fast f/2.8 aperture and a lightweight all-metal build with autofocus. Its limited close-up capability and slight edge softness at the widest aperture restrict its use for macro or extreme shallow-depth work. It excels for landscape, architectural and travel photographers who value a bright, compact wide-angle prime.
The Laowa 9mm f/2.8 Zero-D for Sony E (APS-C) delivers an ultra-wide 113° view with near-zero distortion in a lightweight, weather-resistant package. Its manual focus and modest 7-blade aperture restrict creative control compared to autofocus alternatives. Perfect for landscape and architectural photographers needing a portable ultra-wide lens.
The Viltrox 20mm f/2.8 is a pocket-sized, budget-friendly full-frame wide-angle lens offering fast STM autofocus and close-focus capability. Its main drawbacks are noticeable vignetting, edge softness and a plastic-heavy construction. It is best for beginners, travelers and vloggers who value size and price over top-tier image quality.
The Viltrox 14mm f/4 FE is an ultra-lightweight ultra-wide-angle lens delivering sharp images from f/4 and a close-focus capability useful for creative macro shots. Trade-offs include noticeable vignetting, moderate chromatic aberration and a plastic-dominant build. It suits travelers, vloggers and landscape shooters who need a compact, affordable ultra-wide lens on Sony full-frame bodies.
The Sony E PZ 16-50mm f/3.5-5.6 OSS is an ultra-compact, retractable zoom with power-zoom and Optical SteadyShot, covering a versatile 24-75mm equivalent range. Its variable slow aperture and lack of weather sealing restrict low-light and rugged use. Perfect for travel photographers and vloggers needing a lightweight kit lens.
| Attribute | | | | | | | | | | | |
|---|---|---|---|---|---|---|---|---|---|---|---|
— | — | — | — | 20 mm | 12 mm | — | 24 mmbest | 14 mm | — | 9 mm | |
1.8 | 2.8 | 2.8 | 2.8 | 2.8 | 2.8 | — | 1.8 | 4best | 2.8 | 2.8 | |
| ↓ lower better | 0.28 m | 0.121 m | 0.19 m | 0.38 m | 0.19 m | 0.18 m | — | 0.19 m | 0.13 m | 0.35 m | 0.12 mbest |
| ↓ lower better | 525 g | 290 g | 525 g | 884 g | 157 g | 260 g | 116 gbest | 454 g | 180 g | 1,027 g | 215 g |
2.4 | 2.8 | 4.1best | 2.9 | — | — | 3.1 | — | — | 2.9 | — | |
11best | 7 | 9 | 9 | 7 | 9 | 7 | 9 | 7 | 9 | 7 | |
0.2 | 0.4best | 0.2 | 0.2 | 0.2 | — | 0.2 | 0.2 | 0.2 | 0.3 | 0.1 | |
— | 13 | 16 | 18best | 10 | 11 | 9 | 11 | 12 | 17 | 15 |
Click an attribute name to sort · Green = best, red = worst (relative to this comparison)
| Attribute | | | | | | | | | | | |
|---|---|---|---|---|---|---|---|---|---|---|---|
Compatibility(2) | |||||||||||
Lens Mount | Sony E | Sony E | Sony E | Sony E | Sony E | Sony E | Sony E-mount | Sony E | Sony E | Sony E | Sony E |
Mount Compatibility | Sony E (APS-C) | L-Mount, Sony E, Fujifilm X, Canon RF | Sony E-mount (APS-C) | Sony E-mount full-frame | Sony E (full-frame), Nikon Z, Fuji X | Sony E-mount (APS-C) | Sony E-mount APS-C | Sony E | Sony E (full-frame) | Full-Frame, APS-C | Sony E (APS-C) |
Features(3) | |||||||||||
Image Stabilization | — | false | true | false | false | — | true | — | false | false | — |
Autofocus Type | HLA | Autofocus | RXD | SSM | STM | Autofocus | Auto | Silent STM | STM | Autofocus | Manual |
Focus Type | — | Autofocus | Autofocus | Autofocus | Internal focus | Autofocus | Internal | Autofocus | — | Autofocus | Manual |
Optics(9) | |||||||||||
Focal Length (mm) | 17-40 mm | 18-50 mm | 17-70 mm | 24-70 mm | 20 mm | 12 mm | 16-50 mm | 24 mm | 14 mm | 24-70 mm | 9 mm |
Maximum Aperture (f‑stop) | 1.8 | 2.8 | 2.8 | 2.8 | 2.8 | 2.8 | 3.5-5.6 | 1.8 | 4 | 2.8 | 2.8 |
Minimum Focus Distance (m) | 0.28 m | 0.121 m | 0.19 m | 0.38 m | 0.19 m | 0.18 m | 0.25-0.30 m | 0.19 m | 0.13 m | 0.35 m | 0.12 m |
Zoom Ratio | 2.35 | 2.78 | 4.1 | 2.92 | — | — | 3.125 | — | — | 2.92 | — |
Macro Ratio | 0.208 | 0.36 | 0.21 | 0.24 | 0.17 | — | 0.215 | 0.21 | 0.23 | 0.27 | 0.13 |
Number of Optical Elements | — | 13 | 16 | 18 | 10 | 11 | 9 | 11 | 12 | 17 | 15 |
Number of Optical Groups | — | 10 | 12 | 13 | 8 | 8 | 8 | 8 | 9 | 14 | 10 |
Diaphragm Blades | 11 | 7 | 9 | 9 | 7 | 9 | 7 | 9 | 7 | 9 | 7 |
Coating | Water- and oil-repellent | — | Fluorine, BBAR | Nano AR | HD nano multi-layer | T* | — | Ultra Multi-Coating (UMC) | Multi-layer | UMC | — |
Build & Design(6) | |||||||||||
Weather Sealing | true | true | true | true | false | — | false | true | false | true | true |
Filter Thread Size (mm) | 67 mm | 55 mm | 67 mm | 82 mm | 52 mm | 67 mm | 40.5 mm | 58 mm | 58 mm | 82 mm | 49 mm |
Weight (g) | 525 g | 290 g | 525 g | 884 g | 157 g | 260 g | 116 g | 454 g | 180 g | 1027 g | 215 g |
Length (mm) | 142.24 mm | 74.5 mm | 119.3 mm | 134.6 mm | 59.5 mm | 88 mm | 29.9 mm | 72 mm | 56 mm | 128.5 mm | 200 mm |
Maximum Diameter (mm) | 72.9 mm | 65.4 mm | 74.6 mm | 87.6 mm | 65 mm | 68 mm | 64.7 mm | 65 mm | 65 mm | 88 mm | — |
Construction Material | — | — | — | Magnesium alloy | Mixed plastic/aluminum | Metal | — | Metal | Plastic | — | — |
Products in the top-left offer the best value (high score, low price).
Professional reviewers and Sigma's own press praise the 17-40mm for its unprecedented combination of a constant f/1.8 aperture with a zoom design, noting corner-to-corner sharpness that rivals prime lenses, robust weather sealing, and a fast, silent HLA autofocus that minimizes focus breathing-features that make it especially attractive for hybrid stills-and-video shooters.
Early consumer buzz, though limited due to the recent launch, is enthusiastic about the lens's lightweight feel, fast aperture for bokeh, and versatile focal range. Potential concerns revolve around its weight relative to ultra-compact kit lenses and the absence of an aperture ring on the Sony version.
“ultimate workhorse”
“excellent image quality”
“pretty sharp throughout”
Professional reviewers commend the Sigma 18-50mm F2.8 DC DN for its revolutionary compactness, sharp optics and bright constant aperture, calling it an "ultimate workhorse" that delivers excellent image quality in a tiny package. They also note its strong close-focus capability, but point out the lack of image stabilization, corner softness on very high-resolution sensors, and a slightly limited 18 mm wide-end compared with competing lenses.
Everyday users love the lens's pocketable size, sharpness for street and travel shooting, and the value it provides as a daily driver. Common praise centers on its lightweight feel, macro-style close-ups, and affordable price, while recurring themes of criticism include edge distortion, autofocus noise in video, and the missing stabilization feature.
Professional reviewers commend the Tamron 17-70mm f/2.8 for its travel-friendly size, constant fast aperture, and the added benefit of VC, which together deliver high-resolution, homogenous images and quiet, responsive autofocus. The lens is praised as a well-balanced, versatile option that feels solid in hand, though critics point out its noticeable vignetting, slight edge softness at 70 mm, and the quirks of its by-wire focus system.
Everyday users love the lens's portability, sharpness and the ability to shoot handheld in low light thanks to the f/2.8 aperture and VC. They frequently cite its "do-it-all" range as a major value, while repeatedly noting the need to correct vignetting and occasional autofocus oddities as the main pain points.
Professional reviewers consistently praise the SEL2470GM for its G Master-level resolution, robust weather-sealed build, and quiet, precise SSM autofocus, noting that it delivers studio-quality sharpness and beautiful bokeh across the zoom range. However, they also flag its considerable weight and lack of focus-limiter features, and some question whether the 2016 design remains the best choice now that lighter, newer GM II variants are available.
Everyday users celebrate the lens's versatile focal length, fast aperture, and reliable AF, especially for weddings, events, and portrait work, while repeatedly mentioning its heavy build and size as a drawback for long handheld sessions, travel, and gimbal mounting. Corner softness at 70 mm and the absence of a focus limiter also surface as common concerns.
Professional reviewers commend the Viltrox 20mm f/2.8 for its unbeatable price, pocketable size, fast STM autofocus with Eye-AF, and solid center sharpness, making it a practical choice for travel and video. However, they consistently point out optical compromises such as strong vignetting, wavy distortion, soft edges, and a plastic-heavy build that keep it from matching the performance of higher-priced rivals.
Everyday users echo the professional praise for portability and value, highlighting how the lens fits easily into daily kits and delivers decent images for the price. The most common criticisms mirror the pros/cons lists: noticeable vignetting, edge softness, and a less premium feel due to the plastic construction.
Professional reviewers consistently commend the Touit 2.8/12 for its outstanding image quality, with Imaging Resource calling it a "firm favourite" for landscapes due to its edge-to-edge sharpness and contrast. Sans Mirror and Precision Camera emphasize the lens's precise engineering, APS-C optimization, and smooth bokeh, while Zeiss's own literature stresses long-term reliability and fantastic imaging performance.
Everyday users praise the lens's portability, ultra-wide perspective and solid build quality, noting that it feels sturdy yet light enough for frequent travel. No major complaints surface beyond the expected limitations of a wide-angle prime, such as modest close-up capability.
Professional reviewers commend the SELP1650 for its ultra-compact, retractable build and the smooth, silent power-zoom that makes it a strong choice for travel videography. The inclusion of ED glass and aspherical elements earns praise for good contrast and low chromatic aberration, while the built-in Optical SteadyShot adds handheld stability. However, experts criticize the variable f/3.5-5.6 aperture for limiting low-light performance and note the modest 0.215× magnification as insufficient for macro work.
Everyday users consistently highlight the lens's portability, lightweight feel, and balanced handling on Sony APS-C bodies, describing it as an ideal travel companion and reliable kit lens. Common praise centers on the convenient power-zoom for video and the overall image quality for general shooting. Recurring complaints focus on the limited low-light capability due to the variable aperture and the lack of macro-level close-focus ability.
Professional reviewers commend the Samyang 24mm f/1.8 for its impressive mid-frame sharpness, lightweight construction, and weather-sealed build, calling it a significant step up from earlier Samyang models and praising its quiet AF for video. They note the by-wire focus ring's tactile feel and the less than perfectly circular bokeh as minor drawbacks.
Everyday users repeatedly praise the lens's portability, feather-light weight, and sharp wide-angle results for landscapes, astrophotography, and portraits, often highlighting its excellent value. Common complaints focus on the stepped feel of the electronic focus ring and the desire for smoother bokeh, but overall sentiment is highly positive.
Professional reviewers praise the Viltrox 14mm f/4 for delivering surprisingly high sharpness from f/4 to f/5.6 on high-resolution Sony bodies, with excellent close-focus performance and minimal focus breathing. They highlight its ultra-lightweight build, silent STM AF, low distortion and good flare control, while noting strong corner vignetting, moderate chromatic aberration, and the limited 7-blade aperture as trade-offs.
Everyday users consistently commend the lens for its pocketable weight, sharp image quality on full-frame Sony cameras, and fast, accurate autofocus, making it a favorite for travel and vlogging. The most common criticisms revolve around the absence of Lightroom profiles, noticeable vignetting at f/4, and a plastic feel that feels less premium than more expensive alternatives.
Professional reviewers commend the Rokinon 24-70mm f/2.8 for its bright constant aperture, sophisticated 17-element optical design and fast Linear STM/LSM autofocus, while also appreciating its weather-sealed, solid build that "punches far above its weight." However, they point out the lack of in-lens stabilization and the lens's relatively high weight compared with native Sony alternatives.
Everyday users have not left extensive public feedback, but the limited retailer Q&A suggests appreciation for the lens's value-driven performance and versatile focal range, alongside recurring concerns about its heft and the missing image-stabilization feature for handheld low-light video.
Professional reviewers consistently commend the Laowa 9mm f/2.8 Zero-D for its ability to produce sharp, distortion-free images across the entire frame, even at its widest aperture. The lens's corner performance, low chromatic aberration, and surprisingly good close-focus magnification are highlighted as standout attributes, making it a top choice for landscape and architectural work.
Everyday users echo the professional praise, emphasizing the lens's outstanding sharpness, minimal distortion, and solid build quality. The ultra-wide field of view, lightweight form factor, and effective close-focus performance are repeatedly celebrated, while the lack of autofocus is rarely seen as a drawback due to the depth of field inherent to such a wide lens.
