Sony has launched a new full frame G Master prime lens: Sony FE 35mm f1.4 G Master. A wide angle lens in the manufacturer’s premium G Master range, featuring the latest in lens-making technology for exceptionally sharp images. 35mm lenses go hand in hand with reportage style photography; this new lens from Sony is equally capable of recording general views and natural looking portraits.
To see more of the Sony lens range visit our Sony lens guide.
Close Focusing
Sony has refined the focus system to deliver a close focusing distance of 27cm which adds product photography potential to an already versatile lens.
This sample image from Sony highlights both the crisp plane of focus that this lens achieves and the smooth de-focused elements both in front and behind the focal plane. The sense of perspective is heightened because of the 35mm focal length.
Professional Build and Controls
Sony G Master lenses are built for professional use and the FE 35mm f1.4 G Master is no exception. The lens has dust and moisture seals to withstand use in tough conditions. The lens also has many controls to make it easier to use:
Focus Ring
Focus Hold button – to lock focus and re-compose or to start continuous tracking focus. This button can be customised in the camera menu to allow fast access to a range of different settings.
Focus Switch Manual / Autofocus
Aperture ring with aperture scale
Aperture click switch – this removes the aperture clicking into each stop for seamless f-stop adjustment ideal for video.
Smooth Bokeh
The smooth bokeh is another hallmark of Sony G Master lens production technologies. XA lens elements (Extreme Aspherical), improved surface finishing on the elements, and an 11 blade aperture, combine to remove aberrations within out of focus parts of the image for the smoothest blur possible. In the portrait below the bookcase backdrop and lighting elements in the room are outside the plane of focus but the highlights do not have distracting geometric shapes which are produced by lenses with fewer aperture blades.
What’s the best thing about being a Fujifilm photographer? Well, there’s the retro styling of all the chic mirrorless cameras, there’s the tactile control system that makes photography fun again, there’s the film simulation modes that harken back to the photography of yesteryear. But if we were pushed, we’d have to say it’s the lenses.
Fujifilm has a fantastic range of lenses in its X series. Pin-sharp and fast-focusing, its lenses cover a comprehensive range of focal lengths, ensuring all photographers and videographers are catered for. Fuji has done a terrific job of filling out both its high-quality professional end and its affordable entry-level end, so there really is something for everyone.
This does mean, of course, that there are quite a few lenses, and it can be tricky to know where to start. We’ve put together this guide to pick out the best optics at every focal length so you can easily find the lens that’s right for you. We’ve picked out our absolute favourites from the current crop, and where appropriate, we’ve identified alternatives you can also look at if the lens we’ve picked isn’t quite right for you.
XF or XC?
You may have seen that Fujifilm lenses mostly come with the designation XF, however there are a few that are denoted “XC”. What’s the difference? XF lenses are the flagships of the range, and almost certainly the ones that professional and enthusiast photographers will mostly be concerning themselves with. XC lenses are the smaller, lighter and more affordable lenses in the system, providing slimmed-down and cheaper alternatives for popular focal lengths. The XC range is still relatively young, and there are only a few optics in the series so far. We’ve dealt with XF lenses first in this guide, and included the XC lenses at the end for those who are looking for a budget option.
A note on sensor size
Remember, Fujifilm X cameras come with APS-C sensors. This means that the focal lengths printed on the box of each lens aren’t precisely what you get – there’s a crop factor involved. While we’ve detailed many of the equivalent focal lengths throughout the guide, a handy thing to remember is the “1.5 Rule” – when mounted on a Fujifilm X camera, every one of these lenses will provide an effective focal length roughly 1.5x larger than its official designation.
So, a 50mm lens mounted on, say, the X-T30, will behave like 75mm. A 23mm lens will behave like a 35mm, and a 100-400mm zoom will act like a 152-600mm lens. It’s pretty easy to get used to – just worth remembering when you’re calculating what kind of lens you need.
Right, let’s get to the lenses!
XF prime lenses
XF 16mm F1.4 R WR
Fujifilm’s professional wide-angle prime, the XF 16mm F1.4 R WR is a rugged and versatile lens designed to provide a wide field of view in all situations. It’s weather-resistant and light, weighing just 375g, and also sports a 15cm close-focusing distance. This means it’s as useful for getting close-up images as it is for wide-expansive views.
The maximum aperture of f/1.4 makes it easy to produce images in low light, or with a shallow depth of field and vivid bokeh. Constructed of 13 elements in 11 groups, the XF 16mm F1.4 R WR also uses elements with Nano GI Coatings for faultless light transmission and superior edge-to-edge performance.
Also consider: For the same wide-angle prime on a tighter budget, try the XF 16mm F2.8 R WR, which has a smaller maximum aperture but retains the weather-resistant build. Alternatively, for a wider perspective, there’s the XF 14mm F2.8 R, which comes at a similar price point to the f/1.4.
XF 23mm F1.4 R
Another of the type of fast and wide prime that Fujifilm makes so well, the XF 23mm F1.4 R bears an equivalent focal length of 35mm (remember the 1.5 rule), which makes it an ideal choice for general-purpose documentary shooting. It’s designed to make it easier to compose sublime images on the fly, with a camera-to-subject distance indicator and depth-of-field scale on its barrel.
Great for shooting stills and movies alike, the XF 23mm F1.4 R focuses quickly and is great for low light thanks to its large f/1.4 aperture. The metal fittings and finish give it a real premium feel and improve the torque, making this a perfect lens for the kind of shooting where you never know what to expect next.
Also consider: Fujifilm makes some high-quality and affordable f/2 primes in similar focal lengths – the XF 18mm F2 R and XF 23mm F2 R WR. Both are a great choice for the more budget-conscious photographer.
XF 35mm F1.4 R
The APS-C factor puts this 35mm lens into equivalent territory of about 53mm, making it a great all-around lens for those who want to produce a naturalistic perspective. Fast with an f/1.4 maximum aperture, this lens is just about long enough to be used for portraiture as well as other types of shooting. It’s an ideal choice for weddings and events, where you sometimes want to get wide and at other times want to get close and personal, all without sacrificing the quality of a prime.
Durably built, the XF 35mm F1.4 R is immensely satisfying to handle and use. It produces sharp images with beautiful bokeh – the perfect choice for ultimate artistic expression.
Also consider: The XF 35mm F2 R WR provides the same focal length in a cheaper package, with the trade-off being a narrower maximum aperture. Or, for a slightly wider perspective, try the XF 27mm F2.8, a pancake lens that weighs an unbelievably slender 78g!
XF 50mm F1.0 R WR
Also known as “the one” due to its shallower-than-ever maximum aperture of f/1.0, the XF 50mm F1.0 R WR is an astounding feat of optical engineering. Providing an equivalent focal length of about 75mm, it’s a perfect lens for portraits, able to produce beautifully striking images with delicious bokeh.
Manual focus on this lens has been improved compared to previous similar primes, making it ideal for getting your images sharper than sharp. Though, of course, there’s also the DC autofocus motor for those who like their focusing fast and automated, Weather-sealed in 11 places, the XF 50mm F1.0 R WR is a great choice for outdoor work even in difficult conditions. Experience the ultimate in depth of field control.
Also consider: Fujifilm makes other lenses around this focal length, including the seriously impressive XF 56mm F1.2 R and XF 56mm F1.2 R APD – two virtually identical lenses whose key difference is that the latter includes an apodisation filter, which smooths out lines in out-of-focus areas for incredibly smooth bokeh. As a budget option, there’s also the XF 50mm F2 R WR, which as well as being cheaper is also much lighter than its large-aperture cousin.
XF 80mm F2.8 R LM OIS WR Macro
Fujifilm has catered well to those who enjoy close-up shooting, and one of its finest optics is the XF 80mm F2.8 R LM OIS WR Macro. With a 1:1 reproduction ratio, this is a “true” macro lens, and it also has a built-in optical stabiliser that provides up to five stops of effective compensation. This means that, unlike many macro lenses, it can be taken out and used hand-held in the field with ease! No need for a complex tripod setup – just search and shoot.
With an equivalent focal length of about 120mm, this is also a solid general-purpose telephoto, producing pin-sharp images thanks to its sophisticated optical construction of nine elements in six groups. The lens is also weatherr-resistant – perfect for roaming outdoors to look for macro subjects!
Also consider: The XF 60mm F2.4 R Macro, a more affordable telephoto macro with a 1:2 image reproduction ratio.
XF 200mm F2 R LM OIS WR
The pro-level telephoto of the Fujifilm stable, the XF 200mm F2 R LM OIS WR provides the kind of image quality demanded by professional photographers. With a focal length equivalent to about 305mm in full-frame equivalent terms, it’s the best lens to choose if you plan to shoot sports or wildlife with Fujifilm X-series cameras.
The magnesium-alloy barrel of the lens is resistant to dust and moisture, making it solidly suited for outdoor work, and it also sports an Arca-Swiss tripod mount for added stability. The five-stop image stabiliser also improves the latitude for handheld shooting, and the autofocusing is fast, smooth and highly accurate. This is a seriously capable lens designed for those who want to get the utmost out of flagship Fujifilm cameras like the X-T4.
XF Zoom lenses
XF 8-16mm f2.8 R LM WR Lens
The widest lens in Fujifilm’s stable, the XF 8-16mm f2.8 R LM WR Lens is perfect for getting out there and producing some amazing, unforgettable landscapes. That constant f/2.8 aperture also puts nightscapes in play, and thanks to its sophisticated construction, the lens produces images that are pin-sharp right the way across the frame. Aspherical elements control for distortion and spherical aberration, while the ED and Super ED elements take care of chromatic aberration. There’s also a double Nano-GI coating to eliminate ghosting and flare, and while you may not be chasing too many speedy subjects with this optic, having linear motors for the focusing system is no bad thing
XF 10-24mm F4 R OIS WR
One of the newer lenses in the Fujifilm stable, the XF 10-24mm F4 R OIS WR provides a useful wide focal range that’s great for landscapes, architecture and street shooting. The weather-resistance of this lens has been improved compared to previous Fujifilm optics, allowing you to have greater confidence when out and about even in difficult conditions. The optical image stabilisation is a 3.5-stop version; however, when it’s paired with certain sophisticated Fujifilm bodies like the X-T4, this gets bumped up to 6.5 stops.
Constructed from 14 glass lens elements in 10 groups, the XF 10-24mm F4 R OIS WR features a number of aspherical and low-dispersion glass elements to help improve sharpness and remove distortion.
XF 16-55mm F2.8 R LM WR
Kit lens, but make it fancy. The XF 16-55mm F2.8 R LM WR is a premium version of the do-it-all focal range that everyone gets with their first camera. As such, it’s a great choice for general-purpose, documentary-style shooting, with a constant aperture of f/2.8 that makes it super-versatile. The nine-bladed aperture gives you the option to create smooth bokeh, putting portraiture in play, and images are sharp from edge to edge, right the way through the zoom range.
Also consider: The XF 18-55mm F2.8-4 R LM OIS is a more affordable version of this lens, sacrificing the constant aperture. Alternatively, if you need a similar range with more latitude at the telephoto end, try the XF 16-80mm F4 R OIS WR.
XF 50-140mm F2.8 R LM OIS WR
With incredible versatility, the XF 50-140mm F2.8 R LM OIS WR is a high-performance telephoto zoom designed for action photographers. Its inner focusing system allows for high-speed autofocus that keeps up with fast subjects, using a Triple Linear Motor for speed, silence and precision.
The lens also employs an optical stabilisation system, giving you more latitude when shooting handheld, and the internal optical construction is highly sophisticated. Twenty-three glass elements in 16 groups combine to deliver corner-to-corner sharpness, with five ED lens elements and one Super ED lens element to effectively minimise aberration and distortion. Dependable quality in a tough, weather-resistant body – this is a lens you can rely on.
Also consider: The XF 18-135mm F3.5-5.6 R LM OIS WR, which gives you more wide-angle to play with, and is available at a lower price. If you can do without that constant f/2.8 aperture, this is a bargain. Alternatively, if you want more telephoto to play with, there’s the XF 55-200mm F3.5-4.8 R LM OIS, which packs a reasonable amount of tech into a lens with a low price tag.
XF 100-400mm F4.5-5.6 R LM OIS WR
We love a 100-400mm, and the Fujifilm XF 100-400mm F4.5-5.6 R LM OIS WR (well, all right, it’s a 152-600mm lens in equivalent terms) is one of the finer examples of the genre. Able to cope in harsh shooting conditions, it features 13 weather seals at 12 points, and sports a fluorine coating on its front element that repels dust and water. It’s also equipped with a five-stop image stabiliser for easier handheld shooting; if this stabiliser detects that the user is panning, it’ll switch to correcting on the vertical plane only.
The optical construction consists of 21 elements in 14 groups, with five ED lenses and one Super ED lens. This, according to Fujifilm, delivers results comparable to a fluorite lens, and reduces axial chromatic aberration to produce vivid images that are sharp across the frame. Despite all this, the weight of the lens is just 1.4kg, which is lighter than many lenses of comparable focal length.
XC lenses
XC 35mm F2
A no-fuss prime that delivers an equivalent focal length of 52mm for less than £200. This is a fantastic budget addition to a kit bag, that’s also light to carry and highly portable.
XC 16-50mm F3.5-5.6 OIS II
Surprisingly sophisticated for a lens at this price point, the XC 16-50mm F3.5-5.6 OIS II boasts a construction of 12 all-glass elements in 10 groups. Images look fantastic, and having 1/3-step exposure control enables you to get pleasingly precise.
XC 15-45mm F3.5-5.6 OIS PZ
At 135g, this is the lightest zoom lens across the entire X series. The zoom mechanism is electric, producing a smoother action that’s great for video as well as stills. Light on the back and light on the wallet.
XC 50-230mm F4.5-6.7 OIS II
Though the maximum aperture drops off pretty sharply towards the tele end, this is still a very impressive lens for its price. Giving you enormous zoom latitude, the XC 50-230mm F4.5-6.7 OIS II also incorporates a stepping motor and optical image stabilisation.
Canon has added the RF 70-200mm f4L IS and RF 50mm f1.8 STM lenses to their growing RF lens range. These two popular lenses pair lightweight portability with the exceptional lens making craft we expect from the manufacturer.
The Canon RF lens range already covers these focal lengths with an f/2.8 70-200mm zoom and an f/1.2 50mm prime however the new releases are significantly smaller and lighter due to their reduced maximum aperture. The DSLR compatible EF 70-200mm f4L IS has been praised by our Canon technicians as an exceptionally sharp lens, and the reputation of the 50mm f/1.8 the “nifty-fifty” is also well established. Canon has improved both lenses optically for their Mirrorless cameras in both their construction and ergonomics thanks to technology available with the wider RF lens mount. These smaller aperture lenses will also be lighter on the wallet compared with their larger counterparts in the RF lens range.
To place an order, contact our sales team on 0207 582 3294 or email us at sales@fixationuk.com
Canon RF 50mm f1.8 STM
Canon RF 50mm f1.8 STM lens
Designed to allow photographers to capture with comfort, the RF 50mm F1.8 STM introduces a novel combined focus and lens control ring. If you are focusing manually the focus ring drives the brand new optical system within the lens. If you are using autofocus the focus ring can be configured to control another camera setting like the custom control ring found on a variety of RF lenses and the EOS-R to EF control ring mount adaptor.
Focus closer with a minimum focus distance of 30cm, a 5cm improvement on the EF 50mm f1.8. The 7 blade rounded aperture is the same as used in the EF version so you can expect to see the same smooth background blur and bokeh from out of focus highlights.
Canon RF 50mm f1.8 STM Key Features:
STM Motor
Wide f/1.8 aperture
Aspheric lens element
RF mount
Super Spectra Coating
Focus / lens control ring
Canon RF 70-200mm f4L IS USM
Canon RF 70-200mm f4L USM Lens
The RF 70-200mm f4L IS USM features a retractable design like its f/2.8 RF counterpart. This is the most compact and lightweight canon 70-200mm lens to date, and the design re-affirms the manufacturer’s commitment to offer full creative potential with a lighter weight kitbag. The image below shows the lens with the hood removed, proportion more often seen on 24-70mm lenses!
Canon has added 5-stop optical image stabilization to keep your shots steady with the EOS R, Ra and RP. If used with the new EOS R5 and EOS R6 camera bodies then the in-body image stabilization and the lens’ optical IS combine to provide 7.5 stop stabilisation. Expect rock-steady sharpness when shooting handheld. At the very front of the lens is a new lens control ring, programmable to let you change settings without moving your hand from a shooting position. In the RF 70-200mm f4L IS the lens control ring is separate to the focus and zoom rings for independent control of three settings.
Canon RF 70-200mm f4L IS USM lens without hood.
Canon RF 70-200mm f4L IS USM key features
f/4 constant maximum aperture
Dual Nano USM focusing motor
L-series lens
UD elements and ASC element coatings
5-stop Optical Image Stabilizer (7.5-stop combination IS when used with the EOS R5 and EOS R6)
Dust and water-resistant seals
Lens Control Ring
To place an order, contact our sales team on 0207 582 3294 or email us at sales@fixationuk.com
With more and more photographers discovering the wonders of full-frame Sony E-mount cameras, there are absolutely loads of great lenses being produced for them. Whether you’re using the super-speedy A9 II, the ultra-sensitive A7S III or the high-resolution A7R IV, you’re absolutely spoiled for choice when it comes to lenses. So much so that it can be difficult to know where to start! So, we’ve put together a guide to help you.
In this guide, we’ll be taking you through some of our favourite lenses for Sony FE cameras. We’ve split the guide into three sections – wide-angle, standard and telephoto, so you can easily jump to the type of lens you’re most interested in.
Unlike our guides to Canon RF and Nikon Z lenses, we haven’t been comprehensive here, as there are simply too many Sony FE lenses to include them all! Instead, we’ve included a broad spectrum of lenses, from Sony and from third-party manufacturers, at a range of price points. So no matter whether you need the best of the best, or you’re working to a tight budget, there will be lenses for you.
Sony FE Lenses
We’re dealing specifically with FE lenses – E-mount lenses that are compatible with Sony’s full-frame professional cameras Alpha cameras. We’ll keep this guide up to date, so keep checking back for our recommendations of the finest Sony FE lenses you can get right now.
Wide-angle
Sony FE 12-24mm f2.8 G Master Lens
Sony FE 12-24mm f2.8 G Master Lens
Sony’s G Master lenses are not only some of the best E-mount lenses – they’re some of the best lenses around right now, full stop. So you can expect to see a fair few more of them throughout this guide!
The FE 12-24mm f2.8 G Master is a wide-angle zoom with professional-grade optics, designed to capture stunning details with minimal distortion. The optical design includes three XA elements, an aspherical element, two super ED (extra-low dispersion) elements and three ED glass elements, all of which adds up to an incredibly sharp image. The inclusion of advanced nanocoatings also helps ensure superior light transmission. Plus, an advanced autofocus system uses XD linear motors to make the focusing action fast, silent and accurate.
Best for: Landscapes, astrophotography.
Sony FE 16-35mm f2.8 G Master Lens
Sony FE 16-35mm f2.8 G Master
For a wide-angle that’s a little less extreme, try the FE 16-35mm f2.8. A high-quality lens for a huge range of shooting situations, the Sony FE 16-35mm f2.8 G Master boasts exceptional corner-to-corner sharpness thanks to its sophisticated optical construction. It consists of two glass XA elements (extreme aspherical), three aspherical and 2 ED glass (extra low dispersion) elements, all of which combine to effectively minimise chromatic aberration.
This combines with a dust- and moisture-resistant construction and a Direct Drive SSM autofocus unit to make for a lens that’ll perform in any situation you care to throw at it. A great, trusty optic for a working photographer to have by their side.
Best for: Landscapes, documentary, everyday shooting
Zeiss 18mm f2.8 Batis Lens
Zeiss 18mm f2.8 Batis Lens
A wide prime with superior optics – what else would you expect from Zeiss? The 18mm f2.8 Batis lens is designed to provide superior sharpness and quality across the entire image field, ensuring top quality across its entire field of view. Zeiss has employed a floating elements design for this lens, meaning it retains its quality across the entire focal plane, from its close focusing distance of 0.17m right the way to infinity. A handy OLED display provides a readout for focusing distance and depth of field.
Best for: Landscapes, interiors, architecture.
Sony FE 24mm f1.4 G Master Lens
Sony FE 24mm f1.4 G Master Lens
One of the most impressive aspects of this G Master lens is that it not only delivers the kind of professional-grade quality we’ve come to expect from these lenses, but it’s also amazingly portable. Weighing just 445g and measuring 75.4mm by 92.4mm, the FE 24mm f1.4 G Master also has a filter thread of 67mm. Somehow Sony has managed to include the Direct Drive SuperSonic Motor (DDSSM) focusing system, so the lens performs brilliantly in pretty much all categories. This lens is a truly impressive technical achievement!
Best for: Documentary, reportage, street photography.
Sony FE 28mm f2 Lens
Sony FE 28mm f2 lens
A fantastic budget lens for anyone looking for an affordable, dependable wide-angle prime. The Sony FE 28mm f2 delivers impressive sharpness, and the f/2 aperture puts shallow depth of field in play. This is further helped by the nine-bladed aperture, which enables the creation of beautiful bokeh.
The fixed focal length of the FE 28mm f2 is what has enabled Sony to include such sophisticated optics in a lens of its class; the design includes three aspherical elements and two ED elements. Also, if you want to increase its versatility, you can use the optional converters to change it to a 21mm ultra-wide lens or even a 16mm fisheye, without any impact on optical quality. This cements the lens as a fantastic options for shooters working with a limited budget.
Best for: Landscapes, outdoor photography, shooting on a budget
Standard
Sony FE 35mm f1.8 Lens
Sony FE 35mm f1.8 Lens
The humble 35mm is one of the most versatile focal lengths around, and we really rate Sony’s homebrew version of this optic with an f/1.8 maximum aperture. The accurate tracking AF of this capable prime means it’s a great choice for movies as well as stills, while its moisture-resistant design ensures it’s hardy enough for outdoor shooting.
There’s a pleasing amount of customisability to this lens – its Focus Hold button can be reassigned to other functions if that’s not what you want for it. The lens weighs a slender 280g, meaning it won’t weigh you down too much on an extended shoot. Whether you’re roaming the streets or producing landscapes, this dependable lens will make for a great choice of companion.
Best for: Travel, street photography, everyday shooting.
Sony FE 35mm f1.4 G Master Lens
Sony FE 35mm f1.4 DG Master Lens
If you like the sound of a 35mm lens but need something that delivers higher sharpness and brightness in low light, then this is your port of call. The Sony FE 35mm f1.4 G Master Lens is an outstanding optic, made with the latest Sony lens making technology for superior sharpness. Fantastic for low light thanks to the f/1.4 maximum aperture, the lens also sports an eleven-bladed aperture for the creation of vivid bokeh.
The minimum focusing distance of the lens is 27cm, so it’s great for close-up work as well as wider, more expansive scenes. The optical performance is topped off with Sony’s Nano AR Coating II which wards off reflections and ghosting for superior light transmission. ED glass elements reduce chromatic aberrations and XA (Extreme Aspherical) elements deliver excellent image quality in a compact form. An outstanding prime optic.
Best for: Low light, documentary, reportage, weddings.
Sony FE 24-70mm f2.8 G Master Lens
Sony FE 24-70mm f2.8 G Master Lens
This G master lens is one of the finest examples of the workhorse 24-70mm f/2.8 lens, and professional in many different fields will get a lot of use out of it. With Direct Drive SSM, its autofocus is fast and accurate, and the design is resistant to dust and moisture. The circular nine-bladed aperture also means that it’s possible to create beautiful defocused effects with the lens, and create images with gorgeous bokeh. This puts it in play as a portrait lens, as well as being useful for travel, reportage, event photography… and just about everything else! It’s hard to think of any type of Sony Alpha user who wouldn’t have any use for this lens.
Best for: Events, portraits, weddings
Sony FE 50mm f1.4 ZA Planar T* Lens
Sony FE 50mm f1.4 ZA Planar T Lens
Sony’s fruitful partnership with Zeiss has produced many outstanding lenses, and one we particularly like is this nifty fifty. The FE 50mm f1.4 ZA Planar T* is a high performance lens that hugely impresses thanks to its Planar optical design, not to mention its f/1.4 maximum aperture. The T* coating from Zeiss minimises flare and ghosting, while the aperture ring provides hands-on tactile control. Images look absolutely superb from edge to edge and corner to corner, as you’d expect from a Zeiss lens, and this standard, natural-looking focal length means it’s also a good choice for video.
Best for: Street shooting, video, documentary.
Telephoto
Zeiss 85mm f1.8 Batis Lens
Zeiss 85mm f1.8 Batis Lens
A fantastic optic in a useful portrait-friendly focal length, the Zeiss 85mm f1.8 Batis Lens is an outstanding choice for anyone who wants to photograph people. Be it studio portraiture or wedding photography, the 85mm f1.8 Batis is a fast, capable lens that will keep up and deliver images of superb quality.
A handy OLED display on the body of the lens helps the user keep track of focus distance and depth of field. The autofocus is fast and quiet, and the lens body is equipped with weather seals to make it suitable for outdoor shooting. Its minimum focusing distance of 0.8m makes it super-versatile, so you can get close to your subjects without fear.
Best for: Weddings, portraits, events.
Sony FE 70-200mm f2.8 G Master Lens
Sony FE 70-200mm f2.8 G Master Lens
Just like the 24-70mm, the G Master version of the 70-200mm f/2.8 workhorse lens is one of the best in the business. Whether you’re photographing sports, weddings, events, concerts or whatever else, this is a lens designed to get the job done in an exemplary fashion. It delivers excellent sharpness at all points in the zoom range and throughout its entire focal plane – Sony boasts that it reaches hitherto unknown heights of resolution thanks to its XA (extreme aspherical) element with 0.01 micron surface precision. Focus at distances as short as 0.96m, enjoy super-fast AF and take advantage of Optical SteadyShot image stabilisation. This is truly a lens to do it all.
Best for: Sports, events, weddings, music.
Sony FE 70-300mm f4.5-5.6 G OSS Lens
Sony FE 70-300mm f4.5-5.6 G OSS Lens
If you’re not fussed about an f/2.8 aperture but could do with a bit more reach, try the Sony FE 70-300mm f4.5-5.6 G OSS Lens as a credible alternative to the 70-200mm f/2.8. It delivers solid optical performance throughout its focal range, with a Nano AR coating to reduce ghosting and flare.
It’s an excellent lens for tele-macro photography, with a close focusing distance of 0.9m and a magnification factor of 0.31x. Autofocus is also fast and quiet, thanks to the linear actuator, and Optical SteadyShot is on board for shake-free images.
Best for: Macro, portraits, events.
Sony FE 100-400mm f4.5-5.6 OSS G Master Lens
Sony FE 100-400mm f4.5-5.6 OSS G Master Lens
We’d recommend 100-400mm lenses to pretty much any working professional – you can read some of our guides to lenses [https://www.fixationuk.com/the-best-100-400mm-lenses-available-right-now/] and interviews with photographers [https://www.fixationuk.com/why-i-love-my-100-400mm-lens-richard-pohle/] to find out why this is one of the most useful, versatile focal ranges going. Sony’s G Master 100-400mm is a spectacular example of this type of lens, delivering excellent clarity at every point of the zoom range. The linear motor and Direct Drive SSM (DDSSM) autofocusing system is fast and accurate even with fast-moving subjects, and the body of the lens itself is built to withstand the elements. Bring distant subjects into sharp focus – this lens gives you the reach you need.
Best for: Wildlife, events, sports.
Sony FE 200-600mm f5.6-6.3 G OSS Lens
Sony FE 200-600mm f5.6-6.3 G OSS Lens
If you like the versatility of a 100-400mm lens but feel you’re likely to need a little more reach, the 200-600mm FE lens is a great solution. You get that extra focal length but don’t lose sharpness and clarity, as the optical construction includes five ED elements and one aspherical element, suppressing chromatic aberrations and distortion. Distortion can often be a problem with super telephotos, but Sony has worked to minimise this and make the FE 200-600mm a fantastic professional lens.
Best for: Wildlife, sports.
Sony FE 400mm f2.8 OSS G Master Lens
Sony FE 400mm f2.8 OSS G Master Lens
This is Sony going all out. No holds barred, no expense spared – it’s optical perfection at 400mm. The Nano AR coating eliminates flare and ghosting, while the XD Linear Motor ensure autofocus is blisteringly fast and unerringly precise. Weighing just 2,895g, this is impressively light for a lens of its class, with a magnesium alloy construction that balances light weight with superior strength. The quality is exemplary inside and out. This isn’t just one of the best Sony lenses – it’s one of the best lenses, full stop.
Best for: Wildlife, sports, ultra-high resolution shooting.
The Z6 II and Z7 II digital camera bodies are the next generation of flagship full-frame mirrorless cameras from Nikon. Both cameras deliver high speed, high resolution, superb image quality, and high build standards for professional use in harsh environments.
But which model is going to best suit your needs?
Let’s compare them after a quick look at the Z System itself.
The Nikon Z System
The Z system from Nikon is built around the Z mount, the new larger and shallower lens mount for Nikon mirrorless digital cameras. The Z mount supports a growing range of Nikkor ‘Z series’ Nikkor lenses. These cameras can be adapted to work with Nikon AF-S lenses with the Nikon FTZ mount adaptor.
Modern mirrorless cameras do not feature an optical viewfinder or separate AF sensor. Both of these require a bulky mirror box found in all DSLR cameras. The result is more responsive and less cumbersome camera with a faster and more accurate AF system.
Next Generation Full-Frame Mirrorless Cameras
Nikon has updated its original mirrorless bodies to the new Z6 II and Z7 II models. Both updates feature dual memory card slots which carry UHS-II SD cards and either XQD or CF Express cards.
The image flow, from pressing the shutter to safely stored on the memory card, has been improved with Dual EXPEED 6 processing engines. An improvement to the image buffers making them deeper and faster for un-interrupted continuous burst shooting.
Nikon Z7 II
The Z7 II builds on the success of the award-winning Nikon Z7. The updated Nikon Z7 II features a 45.7-megapixel sensor and has an improved dynamic range at all ISO levels. The processing power from dual EXPEED 6 processors along with an improved buffer enable continuous shooting at up to 10 frames per second. The Nikon Z7 II can shoot a continuous burst of 200 full resolution jpeg images, or 77 12-bit uncompressed RAW files before reaching the buffer limit.
High resolution – 45.7 megapixels plus 4K/60p video
Reliable fast media – shoot to both UHS-II SD and XQD / CF-Express cards
Fast and sharp AF – selected focus point saved when waking from standby
Continuous shooting – high resolution RAW files at 10 fps
Tough – fully sealed body for harsh shooting environments
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Nikon Z6 II
The Z6 II is the evolution of the original Z6. The camera is robust and easy to use. The Nikon Z6 II combines powerful performance for both photography and video. With the ability to record professional 4K or Full HD video in both full-frame FX and cropped DX movie formats, the Z6 II impresses.
The 24.5-megapixel sensor is supported by AF improvements to Eye Detection and Animal Detection for reliable subject tracking. The improved AF capabilities benefit video and filmmakers as well delivering smooth focus tracking.
Low light performance – focus at -6 EV
Faster – record up to 124 RAW files at 14 frames per second
Power boost – twin EXPEED 6 processors for faster everything
For photography and video – combine 4K video footage with 24.5 megapixel stills
Eye AF and Animal-detection AF – available to enhance stills and video
Which is the best model for me?
Both models gain from equivalent boosts in processing speed thanks to the new dual EXPEED 6 processors, as well as improvements to image buffering.
Fair enough, so what’s the biggest difference?
The simplest answer is sensor resolution.
The Z6 II sensor is 24.5-megapixels, which should be more than enough resolution for most. If you want to level up, consider that the Z7 II has nearly double that at 45.7-megapixels, which is a sizeable jump.
If lower memory usage is important, you may decide the Z6 II is a better fit for you. The reduced megapixels will help maintain all-important card space. The Z7 II’s high-res usage comes at a memory card space premium.
The Z6 II makes a standout choice for video and as a brilliant general-purpose camera for stills. the Z7 II is a specialised model, likely better suited to those that really require high-resolution imagery in their field of choice.
A final consideration is whether or not you need professional-grade durability for tough conditions. If so you would be wise to invest in the Z7 II for that full seal. Is that worth the difference in price though?
The Z6 II itself is a robust camera, so unless you are really hard on your equipment or regularly use your camera in harsh environments, it should more than suffice. It also has slightly better autofocus and continuous shooting specifications that makes it a very enticing prospect indeed.
Upgrade to the Z7 II if you need those extra megapixels at your fingertips.
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