The FE 12-24mm F4 G plays second fiddle to the FE 12-24mm F2.8 GM. Not only is it more compact than its senior relative, it’s 280g lighter. It features a bulbous front element and fixed hood to protect it. The only issue with this is that it can’t accept screw-in filters so an adapter ring and slot-in filter system are required if the use of filters is a priority. As well as feeling great in the hand, it produces tack sharp results from edge to edge at f/8. That being said you do need to make a few compromises for its extremely wide field of view. In-camera lens compensation must be turned on to correct distortion and it vignettes quite heavily wide open at 12mm.
The 14-24mm F2.8 DG DN Art isn’t just one of the best ultra-wide zooms Sigma has made, it’s one of the finest examples for full-frame mirrorless cameras full stop. It’s over 300g lighter than SLR versions, which helps reduce kitbag weight when walking to and from locations, plus it benefits from weather sealing to ensure it’s protected when conditions deteriorate. Its maximum aperture is useful in low light scenarios, but to achieve optimum corner-to-corner sharpness it’s best to stop down to f/5.6. If it’s astro, architectural or landscape photography you’re into and the FE 16-35mm F2.8 G Master isn’t wide enough, this magnificent lens will do you proud.
A firm favourite of Sony Alpha 7-series users and those who’d like to squeeze more of their surroundings in the frame, this professional ultra-wide-angle zoom doesn’t disappoint in the slightest. It excels in every area a fantastic wide-angle lens should and allows anyone who’d like to mount filters or adapters to do so via its 82mm filter thread. It’s not averse to barrel distortion at the 16mm end of the zoom, but makes up for this up in other areas, notably its impressive sharpness, weather resistance, fast focusing and customisable focus hold button. It’s a sensational ultra-wide zoom that compliments Sony’s full-frame mirrorless cameras brilliantly.
By full-frame standards this is a relatively small and light wide-angle lens. It’ll keep your camera setup compact and balances brilliantly with Sony’s A7-series mirrorless cameras. Its use exceeds that of landscapes and the focal length range is well suited to interior and architecture photography. Optical image stabilisation is built into the lens and works seamlessly with the in-body image stabilisation (IBIS) offered by most Sony A7-series cameras. It makes sharp handheld shots at 1/5sec a possibility. Sony’s FE 16-35mm F2.8 GM is superior in almost every respect, but if it’s a small and highly portable wide-angle zoom you’re after it makes a valid choice.
This large lens makes a fine choice for moviemakers who’d like a superzoom that covers a wide focal range and provides access to multiple lens rings and every setting that’s needed. Lighter than its size suggests and equipped with Optical Steady Shot (OSS), it produces smooth handheld footage with full-frame and APS-C cameras that feature in-body image stabilisation (IBIS). The zoom can be operated manually or set to Servo, with the latter providing fast, silent and precise powered zoom control direct from the barrel. A de-clickable aperture ring emphasizes its usefulness for video work. It’s a sharp lens, but does display barrel distortion at 18mm and vignetting at wide apertures.
From wide angle to medium telephoto, the Sony E18-105mm f/4 G OSS mid-range power zoom lens lens covers approximately a 6x zoom with a constant f/4 aperture all the way.
It may not flaunt Sony’s premium G-master status, but this doesn’t take anything away from what is a stunning example of a 24-105mm f/4 zoom for full-frame A7-series cameras. It’s reasonably light yet solid and features effective optical image stabilisation and a dust and moisture resistant design that protects it from light rain. Manual focus is fly-by-wire and both the focus ring and zoom ring are smooth to operate. Image quality is off the chart for a lens of its pedigree. Users can expect razor sharp results with minimal loss of contrast and no obvious flare or ghosting when shooting towards the light. It also pairs up well with Sony’s demanding high-resolution A7R series cameras to produce images bursting with exquisite detail.