15 Best Lens for Sony a6000, a6100, a6300, a6400, a6500, a6600, a7iii in 2023

Lenses are considered to be the window to the photographer’s soul. A good lens can bring out exactly what you see or how you perceive things, while a bad one can even change the entire meaning of the picture.

It’s not just a good lens that does the work. Most of the time, a good lens does what it’s capable of doing because it is that much compatible with your camera. And the one thing that can achieve you that compatibility without failure is…homework!

Yep, if you study a bit about your camera and which lenses go best with it, you’ll be able to find the best compatible lens for it, without spending too much money on it. And for Sony users, this article here might be a good heads-up.

>> Sony Lens Acronyms You Should Know

I’ve been using Sony cameras and lenses for the longest period of my life. And from what I can tell, most people shy away from buying Sony lenses because they get confuses by all the varieties and sophisticated features that the brand offers.

Yet, if you start to explore the best lenses for Sony Cameras, you’ll know that they’re not only good but also way more efficient than a lot of other brands.

Understanding The E-Mount Before We Delve In

The unique aspect of Sony cameras is that both cropped and full-frame sensor models use the same lens mount: The E-Mount. Simply put, you can use lenses that are designed for full-frame (marked EF) on your Sony a6000 body.

It would be better to avoid it. The Sony FE lenses are big, expensive, and do not perform as well on a cropped sensor camera. Try selecting lenses designed for specifically for the APS-C cameras (marked E).

The Body Factor

Another important factor that affects the lens’s performance is the body of your camera. All the a6xxx models use similar form factor bodies with the same lens mount.

Sometimes this makes it difficult to distinguish the models from one another. It also means that, no matter what model you choose, the selection of lenses available is identical.

The Lens Types

Now, before we start… let me tell you something about lenses which probably applies to every other thing in the world: there are many varieties of them. There are macro lenses, telephoto lenses, and also your everyday portrait lenses that are more commonly known as prime lenses.

Thus, I’ve decided to divide this entire family of lenses into four generic types:

I’ll be telling you briefly about each type, and then tell you about the lenses that I found to be the best among those categories.

Without further ado, let’s take a look through the lens, shall we?

Portrait Lenses are the everyday companions of every photographer. Whether you are a professional or just an amateur who captures moments at family get-togethers, you ought to have a portrait lens.

Not just subject photography, the best Sony portrait lenses are great for landscapes as well. Here is a handful of my favorite portrait lenses from the house of Sony:

Sony 35mm 1.8 OSS

This is one of the most commonly used lenses made by Sony. It can work as an ideal second lens. Given that the SEL35F18 prime lens can handle anything from evening shots (thanks to the bright maximum aperture) to beautifully defocused portraits.

It’s a versatile, multi-purpose lens with a focal length of 52.5 mm (35 mm equivalency) and F1.8 aperture. It’s equally as good for snapshots, portraits, night shots, and more.

The new optical design of the lens reduces spherical aberration, one of the most annoying things photographers have to struggle with on a regular basis, and improves contrast even out on the periphery, producing a crisp, sharp image detail.

Another thing that photographers have to struggle with is autofocus. The camera often fails to lock the autofocus producing blurry, out-of-focus images or ends up locking it in unwanted places focusing and defocusing things that you don’t want it to.

You won’t be facing that problem while using this lens though. If the AF (autofocus) of your camera can’t lock on or focuses on the wrong subject, this lens allows you to step in any moment with the manual focus and take full control of your shot with the DMF (Direct Manual Focus).

Don’t worry about image stabilization. The built-in Optical SteadyShot image stabilization and a large F1.8 aperture will enhance your handheld shooting experience even in fading light or dimly lit interiors. Something even telephoto lenses can’t do. 

Meanwhile, the circular aperture, a hallmark of E-mount lenses, lets you capture beautiful foreground and background blur effects. Also, the Extra-Low Dispersion (ED) glass and two aspherical lens elements will minimize distortion, improving image quality to a great deal.

This lens was specially made for videographers. At least, the super quiet motors say so. Both the motor controlling focus and the one that controls the aperture are quiet, smooth, and unobtrusive.

Meaning, you will only get the sound signals that your microphone catches in your videos, not the annoying buzzing of motors coming from your camera or your lens.

When it comes to lasting and durability, the lens is surprisingly lightweight and only around 45mm long. With a tactile aluminum alloy finish, the lens combines outstanding quality with easy operability, it’s an ideal second lens for when you’re out and about.

Sigma 30mm F/1.4

Many photographers use 50mm lenses as their primary portrait lens, but the 50mm focal length on APS- C sensor cameras is a bit too restrictive. The solution to that problem is offered by Sigma 30mm f/1.4.

With a focal length of 30-55mm, the Sigma range of Sony managed to design a lens that maintains quality giving more freedom to shoot close-up portraits as well as environmental shots, all within the range of a moderate price tag.

Before we get to know more about the lens doesn’t support Image Stabilization as the Sony f/1.8 OSS does. This makes it unsuitable for shooting videos. But to balance it out, there is the autofocus that has a stepping motor incorporated.

This will allow a quiet autofocusing, which can be of great use while shooting a video. To make up for the lack of image stabilization, you can simply use a gimble.

For shooting portraits, it is the sharpest lens for the Sony APS-C cameras which is confirmed by DXOmark.com and other camera distributors. The lens is ideal for full-body portraits and group photos. You can use it for closeup shots, but you may notice a small face distortion.

With the help of the wide-open at f/1.4, the Sigma 300 produces nice bokeh, although you might notice some chromatic aberration around the edges of the frame especially when you’re blurring out the background.

The lens is equipped with a 9-blade rounded diaphragm that creates an attractive blur in the out-of-focus areas of the image, making blurring and bokeh even more fun as well as aesthetically pleasing to execute.

Like every other photographer out there, you must’ve fallen victim to flare and ghosting while shooting a scene that is lit from the back. These two demons work tirelessly to ruin the best moments of our photography career, don’t they?

From an early stage in the lens design process, flare and ghosting have been measured to establish an optical design resistant to strong incident light

Well, have no flare, I mean fear because the Sigma is here! It's Super Multi-Layer Coating reduces flare and ghosting so that you can produce sharp and high contrast images even in backlit conditions.

The included lens hood can also be attached to block out extraneous light, but I would recommend not doing that because it can have a negative impact on the rendering performance of the lens. The coating itself is enough to take care of flare and ghosting.

Speaking of build quality and durability, the focusing ring is quite smooth and the high-precision, rugged bayonet mount contributes to the longevity and build of the lens.

 Overall, if you have a Sony a6600, then this just might be the best prime lens for you.

Sony 50mm F1.8 OSS

This bright, wide-aperture lens with a 50mm fixed focal length is the best tool to have if you’re going to shoot portraits. The f/1.8 maximum aperture allows will allow you to create smooth background defocus effects (bokeh) while the Optical SteadyShot™ image stabilization within the lens will produce crisp and stable handheld portraits.

To ensure that your images achieve maximum clarity, there is the innovative optical design which will minimize distortion resulting in clear, high-quality images with the least amount of chromatic aberration. 

The Optical SteadyShot™ not only provides great image stabilization, but it also makes the lens highly suitable for atmospheric handheld without a flash, even in dim light.

There are 7 aperture blades on the lens, which create beautiful defocus effects when you’re shooting in a backlit situation, whether it’s a still or a movie. And if you’re not a huge fan of autofocus just like me, you can step in any time with the DMF (Direct Manual Focus) to control where you want to focus.

When it comes to shooting movies, the lens has a really silent mechanism where all its motors stay quiet while on video mode. Even the autofocus, which works on a high-speed linear motor is silent so that you don’t get any annoying buzzing noise coming from the lens or the camera while recording.

The efficiently built lens is durable and compact, making it one of the favorites of Sony users.

Sony E 16-55mm F2.8 G

If you’re a portrait photographer who occasionally clicks landscapes or wildlife shots, then this lens is perfect for you. The Sony E 16-55mm F2.8 G is the brand’s first 16-55 mm (24-82.5 mm full frame equiv.) lens with an APS-C zoom and a constant F2.8 aperture.

This makes it ideal for nature photography as well as portraits. Staying true to its G series family name, the lens’s new optical design delivers excellent corner-to-corner resolution, and beautiful bokeh is available when needed.

Overall, it is compact, lightweight, and ideal for a wide range of subjects.

Inside the lens, there is two AA (advanced aspherical) and two aspherical elements that constantly work on suppressing aberration for outstanding corner-to-corner G Lens resolution.

While on the other hand, three ED (Extra-low Dispersion) glass elements reduce color bleeding to a minimum. As a result, you get sharp, clear detail, and natural color throughout the zoom range at any focusing distance.

At this point, you might be wondering, “How does the lens suppress reflections while not interfering with light transmission?”

To our delight, Sony has equipped the lens with its unique original Nano AR Coating, which reduces internal reflections to an absolute minimum, providing you with outstanding clarity and contrast.

The AF performance of this lens is outstanding. Sony’s advanced XD (eXtreme Dynamic) linear is used in this lens that fully utilizes the speed potential of the camera body, focusing on and tracking even fast-moving subjects with outstanding speed and precision.

And if you feel like the autofocus is not performing exactly the way you want it to, then there is Sony’s Linear Response MF to take care of that. The feature ensures that the focus ring responds directly and linearly to subtle control when focusing manually.

This rotation of the ring translates directly to a corresponding change in focus, so control feels immediate and precise.

The lens seems to pay so much attention to its focus control that even after introducing a good AF and MF controls, it goes one step further and introduces a separate button dedicated entirely to hold the focus in place while you’re moving to a more comfortable position while shooting handheld.

The button can also be customized via an option in the camera menu. It allows the assignment of other functions, such as Right/Left Eye Select, as required.

When it comes to durability, the dust and moisture resistant design (Not guaranteed to be 100% of the lens dust and moisture-proof.) provides the reliability needed for outdoor use in challenging conditions.

Zoom lenses are especially used by wildlife photographers or nature photographers for capturing moments that have way too much detail but require a minimum distance to be maintained by the photographer so that they do not scare the subject(s) away.

Hence, optical zoom and zoom lenses come to the rescue. Incidentally, Sony makes a handful of excellent zoom lenses. Here are a few:

Sony 18-200mm F3.5-6.3 OSS LE

Despite being a zoom lens, this one is comparatively smaller and more compact than its counterparts.

The SEL18200LE covers a versatile focal length range from wide-angle to 11x zoom telephoto. Simply put, it’s an ideal high magnification “travel” lens for anything from travel, portraits, nature, and a wide range of everyday shooting applications.

Now, it should be clear to you why I included it in my “Best Lenses for Sony Article.”

Getting into the specifics, it is kind of tough shooting handheld using a telephoto lens as the lens often appears to be too bulky and heavy.

Your hands will start shaking after a while which causes unwanted blurs. But the lens in question here takes care of that with Sony’s Optical SteadyShot™ image stabilization and delivers a crisp and stable handheld shooting performance.

The high-quality optics, with 4 aspheric lens elements and 2 ED elements contribute to excellent contrast and sharpness with low distortion.

Apart from being a zoom lens, Sony takes things a little further with this lens by enabling it with macro shooting capability. The lens lets you focus clearly on subjects from as close as 0.5m.

On the other hand, the DMF (direct manual focus) lets you focus on subjects precisely so that you get fine creative control over your shots.

But just like any other G series lens, you can also have your fair share of fun with blurring and bokeh with this one. 7 aperture blades allow you to blur out the background of your subjects highlighting their features and creating beautiful sunbursts and bokeh shots.

This light, compact, and versatile lens will easily become your best friend in no time.

Sony 18-105mmf/4G OSS

This G Lens for E-mount camera delivers stunning still or movie imagery with the flexibility of a power zoom as strong as 6x. The maximum aperture of this is a constant F4 from 18mm wide-angle to 105mm medium telephoto, which all adds up to an excellent resolution and contrast throughout.

There is also a lever and ring on the lens barrel that allows the speed of the zoom to be freely adjusted as required while maintaining a sure, stable grip.

This lens will serve as an all-in-one lens for almost all of your diverse shooting needs. This will rid you of the hassle of having to change your lens every time you want a different type of composition.

Whether you shoot stills or movies, the 18- 105mm (full-frame equivalent = 27-157.5mm) zoom range and quality of this fine G Lens will be more than enough for most shooting situations. Plus you have the added advantage of smooth power zoom.

Since this lens covers a huge focal length, naturally the question will come about whether it can maintain the same image quality throughout the whole area within its range.

Rest assured, the advanced optical design incorporating two ED (Extra-low Dispersion) glass elements and three aspherical elements offers the same enviable G Lens image quality throughout the zoom range.

Not just that, it provides excellent sharpness and contrast throughout the entire image area supporting natural, true-to-life rendering that deftly captures even the subtlest visual nuances.

Remember the Sony Handycam? Anyone who grew up in the ‘90s will get a sweet burst of nostalgia whenever they hear its name. The one thing that fascinated me about the Handycam was it's smooth as silk zoom technology.

The same technology has been implemented on this lens to ensure smooth, quiet zooming that is ideally suited to moviemaking.

Another cool thing that this lens borrowed from the Handycam is its “Focus-Related” benefits, providing a smooth, quiet operation that is equally responsive, Wondering what the best part? The length of the lens remains constant while zooming or focusing!

Not only that, but zoom reversing is also available after you take a quick software update by connecting your camera to your computer.

The constant F4 aperture across the entire 18–105mm range also means you can zoom and reframe as necessary without having to think about changing the exposure settings.

Even at maximum telephoto zoom, you can usually shoot without having to boost ISO sensitivity risking the potentiality of increasing noise.

The built-in optical SteadyShot™ image stabilization along with the 7-blade circular aperture design together really brings out the best features of your subjects while aesthetically blurring out the lights in the background into a beautiful bokeh effect.

As a result, the smooth background defocusing makes the in-focus subject really stand out in images with an almost three-dimensional depth.

Sony 70-200mm f/2.8 GM OSS

If you’re into wildlife photography or thinking of starting out in this field, you must’ve heard of or seen one of these. It’s Sony’s one of the most exquisite yet most popular series of zoom lenses adored by wildlife photographers all over the world.

The most advanced technology available has been applied in the G Master series, further refining acclaimed Sony G Lens performance. This model in particular combines refined G Lens bokeh with new levels of resolution in an outstanding constant F2.8 telephoto zoom.

It offers unsurpassed rendering, a blazing AF, along with an extraordinary image stabilization performance. Even when panning, the built-in image stabilization system uses its switchable MODE 2 stabilization that allows image stabilization to be used with panned shots for greater clarity and impact.

Chromatic aberration is a common problem that is faced by many photographers who use telephoto lenses. This lens is specifically designed to resolve spatial frequencies with excellent contrast.

It includes three aspherical elements, including one double-sided and one newly developed XA (extreme aspherical) element with 0.01-micron surface precision that effectively control chromatic aberration by the use of four ED (Extra-Low-Dispersion) glass elements and two Super ED glass elements.

Together, they produce an astonishingly clear resolution, along with a glorious bokeh effect.

Since it is a zoom lens, of course, it will produce good close-ups. How good? See for yourself. The lens’s class-leading close-up performance with a minimum focusing distance of 0.96m and 0.25x maximum magnification is ideal for portraits, telephoto, macro, and even more.

All thanks to the ED glass elements and a floating focus mechanism that allows you to control problematic aberration in your close-up shots.

The AF performance of this lens is astonishing. Two heavy focus groups are rapidly and positioned precisely inside it by separate actuators: a powerful RDSSM (Ring Drive Super Sonic Wave Motor) actuator for the front group, and a “Dual” linear motor actuator for the rear group.

This improved positioning precision works with real-time feedback from multiple position sensors to allow the body’s AF system to operate at full capacity.

And if you’re a videographer, this lens will work wonders for you. The focusing system of the lens runs on a double linear motor that takes on the vital role of providing “wobbling” actuation for the AF contrast detection system when you’re shooting a video.

The optical design of the lens effectively minimizes focus breathing while maintaining a quiet mechanical operation adds further to focusing performance. As a result, the lens becomes ideal for both stills as well as movies.

When it comes to aperture blades, the saying ‘The More, the merrier” meets its truest evidence. This bad boy has 11 aperture blades with Sony’s circular motion aperture technology that takes bokeh quality to new levels of smooth beauty with natural-looking highlights.

Overall, if you’re a wildlife photographer or a videographer, you should definitely get this one,

Sony 55-210mm F4.5-6.3 OSS

Photography was invented to capture moments and freeze them forever. And moments that occur in street photography, wildlife photography, or sports events require a fast and clear shot because the same moment will never be recreated.

That’s why, the built-in image stabilization in the SEL55210 is here to reduce blur when shooting at long range or in low light, offering just the reach you need for subjects such as sports and nature.

The versatile telephoto lens has a 3.8x zoom range which makes it ideal for a wide range of shooting applications, including sports and nature.  Sony’s trusty old optical SteadyShot™ image stabilization is also at work here in this lens to produce crisp, stable handheld shots.

Another feature of this lens that is especially loved by wildlife photos and videographers is the silent mechanism of the SteadyShot™ image stabilization that functions extremely quietly while recording a movie.

The responsive autofocus with internal AF mechanism also works silently keeping the image quality clear and vibrant. There is also the DMF (direct manual focus) that works equally as quietly, with the help of its non-rotatable DMF ring, to give you the utmost control of your shots at all times whether you’re shooting a still or a video.

Wide-angle lenses are simply "Portrait Lenses" with a wider field of view. It just covers a wider area than our vision or even portrait lenses.  Wide-angle lenses have a vast range of focal lengths from 35 to 24mm. 

Basically, anything below 35mm is considered as standard wide-angle. The lenses that are between 24mm to 16mm are usually known as wide-angle lenses, and the ones that have a focal length of even below that are referred to as ultra-wide-angle lenses.

Here are some wide-angle lenses from Sony that I particularly liked:

Sony Vario-Tessar T* E 16-70mm F4 ZA OSS

This lightweight mid-range zoom of the Vario-Tessar T* combines renowned ZEISS optical performance with a constant F4 maximum aperture for consistently fine performance throughout the zoom range.

The linear motor drive achieves the device a smooth, quiet operation which along with its responsive AF makes this lens ideal for movies and stills in a wide range of shooting situations.

The lens is equipped with Sony’s class-leading ZEISS optics, in addition to T* coating in a mid-range zoom making it compact and convenient for shooting a wide range of subjects.

The 16mm to 70mm zoom range of this lens will cover most shooting situations, making it an ideal choice for day-to-day photography or moviemaking.

Being equipped with four aspherical elements that include one AA element and an ED glass element for breathtaking rendering, the lens performs its best when you’re shooting a video with it.

A linear motor gives you a smooth, quiet operation while the T* coating enhances performance even further by effectively suppressing reflections. As a result, you get a consistent crisp and natural contrast throughout whatever you choose to shoot.

The constant F4 maximum aperture throughout the zoom range provides you with consistent exposure settings at any focal length. On the other hand, improved low-light compatibility will allow you to zoom and shoot even in dim light focusing on the aesthetics of the image rather than technical details.

There is also the classic Optical SteadyShot™, a signature of Sony that takes image stabilization to another level. So, when you’re shooting outdoors in handheld mode, you won’t have to worry about your hands shaking and blurring out the entire image.

The built-in image stabilization will give you sharp, clear night scenes or indoor shots even in dim lighting without needing to boost ISO sensitivity and risking the possibility of increasing noise.

The ZEISS T* coating is an important contributing factor in this lens’s performance. IT effectively suppresses spurious reflections that can degrade overall image quality. It also reduces flare and ghosting for enhanced color and contrast so that you get images with a deep, three-dimensional feel.

Sony E 10–18mm F4 OSS

If you’re a vlogger and you like experimenting with space and perspective, then this is just the right lens for you. Its minimum focal length of only 10mm lets you capture striking interior shots as well as dramatic landscapes all with total precision – even in low-light conditions.

And since the F4 maximum aperture remains unchanged even when you’re zooming in or out, you can adjust the depth of field according to your needs, more freely.

The constant F4 maximum aperture also makes room for fast shutter speeds without raising the ISO sensitivity unnecessarily. This means you can create a beautifully smooth, rounded blur on the out-of-focus elements in each shot.

The signature circular aperture of the lens helps create beautifully smooth, rounded blur on the out-of-focus elements so that you get beautiful bokeh and starburst effects in backlit situations.

Three aspherical lens elements inside the lens minimize spherical aberration and distortion, with less bleed even at maximum aperture.

Also, the super Extra-Low Dispersion glass reduces chromatic aberrations to sharpen image quality even at the 10mm focal length. Now you can say goodbye to the problem that is color-bleeding.

And just like most other Sony portrait lenses, this one is also equipped with Sony’s own unique Optical SteadyShot™ built-in stabilization. So, you won’t have to worry about unwanted blurs and hazes here and there is a wide-angle or landscape shot.

Sigma 16mm F1.4 DC DN

This one is a prime lens with a wide-angle range. It comes from the Sigma range and is a visual representation of the word ‘versatile’. This lens is typically designed for compact camera bodies with a short flange back distance.

It’s extremely compact, and the special design of the focus lens group allows fast and smooth AF performance for videography and more.

The optical design and stepping motor deliver smooth autofocus during video shooting. The lens design fully accommodates the Fast Hybrid AF of Sony E-mount cameras for super-fast autofocus functionality. Using face recognition, AF results in consistent autofocusing on faces, even if the subjects are moving.

The SIGMA 16mm F1.4 DC DN | Contemporary features SIGMA’s inner focus technologies, while lighter lens elements in the focus lens group make a more compact actuating possible.

Moreover, this lens offers outstanding stability whether you are shooting handheld, or have the camera placed on a surface.

Structurally, the lens features materials and parts that contribute to its compact, lightweight structure. To put it simply, this is an unprecedented lens that combines outstanding optical performance with exceptional portability and usability.

Have you ever shot in terribly bright lighting where the rays of light puncture the entire composition and color-grading of an image? To save you from that, the lens hood cuts harmful rays that can negatively affect photographs.

Not just that, the hood also minimizes the reflexibility of its own self. IT features a rubber construction and a non-slip groove to make it easy to hold in a variety of shooting situations.

With 16 elements in 13 groups, the optical system features a multitude of high-tech and high-end components, including three FLD glass elements, two SLD glass elements, and two molded glass aspherical elements.

This optical system minimizes optical aberrations and ensures outstanding resolution at wide-open aperture and throughout the aperture range. In particular, the two aspherical lens elements have ultra-high-precision surfaces polished to tolerances under 10 nanometers.

Along with the 9-blade aperture, it minimizes the onion ring bokeh effect that some aspherical elements produce and ensuring clear image quality throughout the frame.

In addition to that, the structure of the optical system gently bends light to minimize sagittal coma flare and deliver optimal optical performance from the center of the frame to the edges.

The result is a smooth, round bokeh effect with ample light volume throughout the entire frame. 

Laowa 9mm f/2.8 Zero-D

Laowa might not be one of the best-known brands out there, but the 9mm f/2.8 Zero-D is a serious, premium-quality lens, both optically and in terms of build quality. Don’t be put off by the manual controls: it’s so easy to handle that you’ll adapt surprisingly quickly.

The payback is edge-to-edge sharpness and a distortion-free rendering you’ll rarely see from a lens this wide.

One of the things that make the Laowa 9mm f/2.8 Zero-D especially appealing for Sony E, Canon EOS M, or Fujifilm X-mount camera owners is its size. You can get ultra-wide zooms for these cameras, but they can’t match the Laowa’s size, or indeed its f/2.8 maximum aperture. You can even fit 49mm filters to the front.

For the newbies out there, this is a manual-focus lens. But don’t let that scare you. In fact, you’ll be surprised to find out that it proves less of a problem than you might think.

To achieve that, you’ll need to use manual exposure too, since this lens has no mechanical or electrical connections to the camera.

The ‘Zero-D’ in this lens’s name refers to its zero-distortion design, and it’s justified. Because regular ultra-wide zoom lenses deliver good doses of barrel distortion and pretty soft edges, but Laowa is different.

This keeps straight lines and horizons dead straight right up to the edges of the frame while keeping the image detail super sharp. This is one of the reasons I call it one of the best lenses for Sony cameras.

The lens’s bright f/2.8 maximum aperture is well-suited to working in low and difficult lighting conditions. The ultra-wide-angle 9mm f/2.8 prime is designed for APS-C-format Sony E-mount mirrorless cameras and provides a 13.5mm equivalent focal length.

The rectilinear design of this lens renders subjects with minimal distortion to suit the landscape and architectural applications. So, it’s ideal for travel photographers and destination shoots. 

Three extra-low dispersion elements in the lens work to reduce chromatic aberrations and color fringing for increased clarity and color neutrality, while two aspherical elements are also featured to limit spherical aberrations for improved sharpness.

A manual focus design offers a minimum focusing distance of 4.7”, which is a great range for a lens without autofocus.

When it comes to shooting in backlit situations, the lens comes with a built-in petal-shaped lens hood. It shields the lens from stray light and reduces flare and ghosting as well as protecting front elements of the lens from accidental impacts.

While we’re speaking of protection, there is also a Frog Eye Coating that has been applied to repel both dust and moisture for added protection when you’re working in inclement conditions.

Macro lenses were created for specific photographic purposes. They are used by specific group of photographers who follow a distinct style to capture the tiniest details in subjects that are almost invisible to the naked eye. 

But how they are used is not actually what defines a macro lens. The magnification ratio of a macro lens is what tells you how the image that is being projected on your camera’s sensor looks compared to the subject’s actual size.

Many ratios indicate different comparisons such as 1:1, 2:1, 5:1, and so on. Here are some of the best macro lenses for Sony:

Sony FE 90mm f/2.8 Macro G OSS Lens

This is the first E-mount medium telephoto macro lens that has built-in image stabilization. It delivers outstanding G Lens quality with a stunning resolution at up to 1:1 magnification.

That... added with a gorgeous background bokeh when required, even when you’re shooting handheld, truly brings out the potentiality of the G lens series. On the other hand, a floating focus mechanism ensures that you get superior optical performance at all focusing distances consistently.

While it is a macro lens, it still belongs to the G lens family, and that brings some added benefits to whoever uses it. For instance, you get the beautiful bokeh effect which has become almost synonymous to the G line of lenses.

Just like every other lens from this line, this one also plays an excellent role in bringing out the subject in contrast to its background creating a dramatic highlighted effect in the entire composition.

Individual calibration of each lens ensures optimum compensation for spherical aberration, resulting in smooth rendering of edges without a trace of ugly “nisen bokeh”.  A nine-blade circular aperture also contributes to great-looking bokeh.

Macro lenses are often used over a wide range of focusing distances, and this one is no exception. Keeping that in mind, the manufacturers have implemented a floating focus mechanism for optimum suppression of close-focus aberration. The floating system reduces the size of the lens while maintaining outstanding clarity throughout the image area, from infinity to the closest focusing distance.

Two focus groups in a floating focus configuration are driven by an innovative DDSSM (Direct Drive Super Sonic Wave Motor) system for smooth, precise positioning of the relatively heavy lenses that make full-frame macro magnification possible.

This system is remarkably quiet and is ideal for animal or insect photography as well as movies.

And even though a tripod is usually considered necessary for sharp macro photography, the built-in OSS (Optical SteadyShot) image stabilization in this lens.

It is a signature of the G series, makes it possible to shoot sharp macro images handheld. The heavy stabilization lens is driven by a responsive linear motor for fast, precise stabilization.

Sony FE 50mm f/2.8 Macro

This versatile 50 mm “normal” macro prime lens which was initially designed for full-frame sensors is ideal for everyday photography as well as capturing an impressive 1:1 macro image. You can get as close as 6.3 inches from the subject.

The normal angle of view makes it possible to include background elements for added creative freedom. Controls and operations are optimized for easy, efficient close-up shooting.

With the minimum focusing distance of 16 centimeters offered by this ordinary-looking lens, you can get extraordinarily close to your subjects for truly imposing life-size shots.

There is less need to move the entire camera to find a usable shooting distance, so it is easy to shoot tabletop subjects without having to leave your seat and move around. This is an extremely useful lens for everyday situations.

It has a high-performance optical design that includes an ED glass element minimizes chromatic aberration, even when shooting close, contributing to an outstanding corner-to-corner sharpness.

Out-of-focus backgrounds are beautiful too, with a circular aperture mechanism helping to produce smooth, natural-looking bokeh that can make your subjects stand out.

One thing that is a must for macro lenses is easy to control. And the makers of this lens have made this factor a priority when designing it. They have introduced a focus-mode switch that can be used to quickly switch between manual and autofocus, adapting easily to any macro opportunities that arise.

The range limiter sets the lens’ focus range for the fastest possible AF operation, and a focus-hold button freezes focus wherever it is pressed for controlled, stable shooting.

On top of that, the lens’s “normal” 50 mm focal length makes it ideal not just for shooting close-up subjects, but also scenery and portraits. An aspherical element carefully compensates for field curvature, maintaining top image quality from image center to periphery.

The magnification and distance scales play a huge role in enhancing convenience with precise numeric indications. These can be an important aid if you’re trying to achieve a specific magnification and focus while shooting macro.

This lens not only captures the tiniest of details but also gives enough importance to tiny elements like dust and moisture that might ruin it.

A sealed dust and moisture-resistant design provides extra protection and ensures reliable operation in challenging environments. You can shoot with confidence even in light rain or windy conditions.

FAQ

What is FE Lens?

FE – lenses that cover a 35mm sized sensor and are designed to be used with Sony’s full-frame mirrorless cameras, such as the Sony Alpha A7.

E – lenses designed for Sony’s mirrorless cameras with APS-C sized sensors, such as the Sony Alpha A6000.

Can I use them?

If your camera has the mount required for the lenses there is no reason for you to be not be able to.

Does My Camera Support in Body Image Stabilization?

First of all, you’ll have to check your camera specs to know if your specific camera model has the feature built-in. Also, even if you don’t have that feature built-in it doesn’t mean it’s the end of the world. A lot of lenses now feature that option built-in to the lens so if the need arises your lens will be able to fulfill that requirement.

How to Use Canon/Nikon Lens with Sony Cameras?

With the number of people making the shift from more traditional DSLRs to Sony mirrorless systems, adapters are often a way of life. I have a big stack of adapters myself for mounting lenses from half a dozen different systems onto four different types of the camera body.

It’s simply a question of versatility and providing more options. The big drawback with most adapters, though, is that there’s little-to-no communication between the camera and the lens.

One such combination that hasn’t had much love is Nikon lenses on Sony bodies. Mounting Canon lenses to Sony bodies and retaining full control over things like autofocus has become commonplace thanks to Metabones and Fotodiox’s similar adapter for Canon.

Now, we can do the same with Nikon bodies with the new Fotodiox Fusion Smart AF Adapter for Nikon G mount AF-I/AF-S lens to Sony E- Mount.

Like the Fotodiox Fusion adapter for Canon, the new Nikon adapter transfers aperture control to the camera with G type lenses. Presumably, as when using a Nikon body, you would get the same ability with D type lenses that are stopped all the way down.

This isn’t the first adapter to be able to do this, though. Last year, Commlite released their smart AF adapter to put Nikon glass on Sony bodies, too.

Also, like the Fotodiox’s Canon adapter, this one also communicates with the lens’s AF. It only does it with AF-S (most current models) and AF-I lenses. How the speed compares to using a Nikon lens with a Nikon body or Sony lens with a Sony body I don’t know.

There are a lot of complaints about the Metabones adapters being pretty slow with many Canon lenses, particularly super wide stuff like the 85mm f/1.2. But, Fotodiox says there are two “high” and “low” speed AF modes and they also guarantee infinity focus.

You’re still stuck with manual focus when using AF-D lenses as they have no internal focus motor and rely on being paired with a camera body that does. Sony cameras don’t have one and it would be quite the trick to try to fit one of these into an adapter.

As Nikon seems to be phasing AF-D lenses out, though, I don’t see that feature ever happening, really.

EXIF information is also passed over, so all your files should record focal length, focus distance, lens used, aperture, and all that other info you would expect.

What’s very cool is that it also provides VR support for lenses that possess such a feature. How well VR will play with the built-in image stabilization on cameras like the new Sony A6500 remains to be seen.

One thing I do particularly like about this adapter is the foot, which provides an extra 1/4-20″ tripod socket forward of the camera body itself. Many DSLR lenses are quite heavy, while one of the big advantages of Sony mirrorless cameras is how little they weigh compared to a full-size DSLR.

This means with larger lenses; they can get a little front heavy.

With something like a 70-200mm f/2.8VR or 300mm f/4, it’s not a problem, as they come with their own tripod collars. But there are quite a few larger lenses out there that don’t.

So, this extra tripod thread just forward of the camera helps to shift a little more of that weight back, and balance things out again. While it may not be an often-used feature for many, it’s a very thoughtful touch.

So, what’s the biggest difference between this and the Commlite adapter? Well, Commlite says theirs is fully compatible with only the A7II and A7RII. Fotodiox are claiming compatibility with all Sony Alpha E- mount cameras, including the A3000, A5000, A6000 series, and all A7 series Mk I and Mk II bodies.

Final Thoughts

Not to sound too cheesy, but people with Sony cameras always have an eye for the best accessories. As far as Sony Lenses are concerned, they get even more picky as a product as this can change the way one looks at a shot. But not every "Premium" product out there is best suited for your camera.

My motif was to provide you with the information and guidance necessary for choosing the most suitable, or to be more precise... ideal for your camera. Hope the list helps.

If it doesn't in any case, feel free to do your own research and tell me if you've found a new model for yourselves.