6 Best Full Frame Lens For Real Estate Photography: (2021 Guide & Reviews)

Today we’re going to get into a question that I hear come up all the time, what is the Best full-frame lens for Real estate photography?

So there are many good options out there as far as lenses go for Real estate photography.

Which one is right for you?

I’ve been in real estate photography for about 9 years, and I shoot over 1000 listing a year.

So I’ve really spent a lot of time in these lenses and gotten to know them pretty well from a real estate photography standpoint.

Let’s drive-in:

Do you need a full-frame camera for real estate photography?

We’re talking about full-frame cameras for real estate photography. Do you have to have one to take great real estate photos?

When you level up your composition game and know what goes into constructing a better photograph, so some of the takeaways here stay within your budget, buy a camera that you can afford.

 What works best for you as a photographer while also affording you to shoot places and use a set camera.

If you can carry more weight, and you do want a full-frame, go for it. This is awesome if that fits you.

But if it doesn’t, you don’t necessarily need a full-frame camera to shoot professional real estate photos.

What lens do most real estate photographers use?

Which lens do most real estate photographers use? What is the best choice for shooting a room or an exterior house shot? What focal length should I be using to make my images look more professional? These are just some of the questions that many new and seasoned photographers have about lenses. This article will discuss how to choose which lens you need for shooting your next photoshoot!

Which is the best Full Frame Lens For Real Estate Photography?

Here are my recommended top 6 best Full Frame Lens For Real Estate Photography:

Sigma 14-24mm f/2.8: (Best ultra-wide-angle full-frame lens for real estate photography)

It’s a full-frame ultra-wide-angle zoom lens that is currently just for Sony’s mirrorless cameras, and I mount cameras.

Although I’d be surprised if it doesn’t eventually make it onto Canon and Nikon’s new full-frame mirrorless systems.

I really love its relatively compact size, actually. But what’s most exciting, of course, is that spectacular zoom range on a full-frame camera.

Which goes from a very wide angle of 24 millimeters and zooms out to a gaping wide 14 millimeters, combined with that, like the maximum aperture of F 2.8.

This lens has opened up different and exciting real estate, landscape photography, indoor pictures, and even Astrophotography.

It’s really versatile and will pair up fairly nicely with a standard zoom lens on an APSC camera.

That zooms range is the full-frame equivalent of a much less thrilling 21 to 36 millimeter still useful.

But really, this lens is properly intended for full-frame shooters.

The build quality, I love the way this lens looks and handles.

It’s a lovely size and weight to bring this count at about 800 grams; the lens’s body is a mixture of metal and plastic, feeling nice and solid.

Next comes to verbalize to the ring, which tends perfectly smoothly with no stickiness or unevenness to it of any kind.

Then, the focus ring again mobilized and turning amazingly smoothly, and the lens’s focus motor responds very well as he uses it.

The lens has an autofocus motor that is nice and accurate, quiet, and averagely fast.

The lens has a built-in hood, which he cannot remove, and unfortunately, you can’t use conventional filters with a lens, but it does come with a nice cap that fits perfectly.

It does not have image stabilization.

Overall, perfect professional build quality here for an optic of this type.

What’s more important is, of course, image quality. This is incredibly impressive to really appreciate what we’re dealing with here.

The lens remains incredibly sharp in the middle, straight from F 2.8, and the corners of your images.

It’s a jaw-dropping sharp performance on full-frame throughout the entire zoom and aperture range online; as I mentioned before, it’s really a lens for full-frame cameras.

So, if you really must use this lens on an APSC camera, you’ll find a genuinely great performance.

Now, your camera will automatically create these for you at distortion and vignetting on a full-frame camera.

Final Thoughts:

Overall, I absolutely loved this camera lens, and using it was great joy in all areas of its performance; it decompresses from its versatility.

It’s a relatively compact size, and it’s nice to build quality and crucially.

It’s an incredibly sharp optical performance, which is so important in such a wide-angle lens to my mind.

Virtually it’s easily the sharpest ultra-wide-angle zoom lens I’ve ever tasted and one of the most enjoyable and useful.

It’s my favorite ultra-wide-angle lens, have ever tested.

Sigma 14-24mm f/2.8: (Best ultra wide angle full frame lens for real estate photography)

Pros
  • Lighter & compact.
  • Solid build quality.
  • Sharpest ultra-wide-angle zoom
  • Incredibly sharp optical performance.
  • Ultra-wide field of view.
  • Fast, accurate & quiet autofocus.
  • Excellent Bright aperture.
  • Impressive image quality.
  • Dust & splash resistance.
Cons
  • Some vignette.
  • Barrel distortion.

Tamron 15-30 f2.8: (Best ultra-wide-angle full-frame lens for real estate videography)

This is an ultra-wide-angle zoom lens for full-frame cameras.

What’s an exciting formula, a fast maximum aperture of F 2.8.

An extremely wide-angle the 15 millimeters and image stabilization combined to make a unique and potentially exciting lens.

This lens is primarily designed for full-frame cameras.

Where 15 millimeters is an ultra-wide-angle dramatically stretching your corners and fitting tons of field into your image.

It’s useful for capturing wider rooms, giving unexciting scenes that dramatically new perspective, or shooting indoors or in tight spots.

The lens also zooms into 13 millimeters, giving you some nice flexibility to work with.

You can also fit this lens onto an APS-C camera if you really want, but the zoom range is far less interesting, covering a wide-angle to standard focal length.

The wide maximum aperture of F 2.8 lets in quite a lot of light and makes it easier to shoot indoors or in darker conditions.

F 2.8 can also give you more noticeably out-of-focus backgrounds and image stabilization, which Tamron calls VC a seriously nice feature, helping you get the sharpest still pictures.

Let’s look at its build quality.

This lens is a sure contender for the bulkiest wide-angle lens in the world.

It’s simply huge, and it weighs over one kilo or 2.5 pounds.

This lens really means serious business.

It turns heavily and not very smoothly. You won’t be able to fit any filters to the front of this lens, unfortunately.

However, it does come with a very nice lens cap that fits comfortably and safely to the front.

The lens’s focus swing is much nicer than the zooming. The lens has full-time manual focusing so that you can turn that thing at any time.

The ultrasonic autofocus motor is lightning fast, very accurate, and very quiet.

We also get a gasket for some weather sealing time with the metal lens mounts to make professional photographers happy.

Overall, the lens’s build quality is excellent, although its zooming is a bit stiff. It’s definitely a hefty piece of kit.

And the all-important picture quality, an ultra-wide-angle lens really needs to be sharp from corner to corner.

We saw fantastic sharpness and contrast in the middle of the image.

The lens is brilliantly sharp in the middle of the image, and things look great in the corners to top-down to f4 for a touch more resolution.

If we zoom into 13 millimeters, the picture quality is very sharp and punchy in the middle street from F 2.8.

However, the corners are not very sharp, and we can see a touch of chromatic aberration creeping in to stop down to f4 for an improvement.

So, anyone making this slightly odd decision to buy this lens for their APS c camera will be rewarded with fantastic picture quality at 15 millimeters but slightly soft corners at 30 millimeters.

Overall, distortion and vignetting are noticeable. But this is actually a better performance than average for the first ultra-wide-angle lens.

The closer picture quality is just reasonably sharp things look a lot more accomplished when he stopped down to earth with a very clean and punchy image.

Overall, this heavyweight camera lens punches very strongly in image quality.

There are no real optical problems to speak of. It’s very sharp indeed at 15 a millimeter, even with the aperture wide open at F 2.8 as a Canon user.

Suppose I were on the market for a new ultra-wide-angle lens for my full-frame camera. This is undoubtedly the best full-frame lens for real estate photography or video work.

It’s great fun, and its fantastic images speak for themselves. Tamron has done a great job here.

And for full-frame camera owners, this lens certainly comes highly recommended.

Tamron 15-30 f2.8: (Best ultra-wide-angle full-frame lens for real estate videography)

Pros
  • Sharp lens,
  • Excellent, bright f/2.8 aperture.
  • Optical stabilization.
  • Fluorine coating & all-weather build.
  • Great value for money.
Cons
  • Heavy.
  • Some barrel distortion.

Sony 16-35mm f/4: (Best Sony full-frame lens for real estate photography)

This is an ultra-wide-angle zoom lens for Sony’s full-frame mirrorless cameras.

35 millimeters is a standard wide-angle, and then this lens zooms all the way out from there to an ultra-wide 16 millimeter.

A classic is an ambitious zoom range for an ultra-wide lens, making it flexible and useful for real estate photographers, landscape photographers, and photojournalists.

If used on an APSC camera, 16 to 35 millimeters is just a normal wide-angle zoom range.

This lens has a constant maximum aperture of f4, not particularly bright, and this lens does not let in much light, really, that’s offset by its image stabilization system.

It works silently, and you will see it makes a really nice difference, helping you to get smoother video footage and sharper still pictures.

It’s simply designed to be made of metal solid and weighty at half a kilogram.

The zoom ring turns perfectly smoothly and precisely the focus detail.

Overall, it’s a little bigger and heavier than you might expect for a wide-angle lens on a mirrorless camera.

The build quality is perfect.

If you want to do video work, the constant maximum aperture, the smooth zooming image stabilization, and the excellent autofocus will be really helpful.

Let’s talk about image quality.

The image quality is razor-sharp, in the middle of the image, and the corners are excellent.

The lens is razor-sharp in the middle of your images with excellent contrast, and it’s almost as sharp over in the corners.

So, the lens really is a superb performance.

Let’s move on to distortion and vignetting on a full-frame camera; at 16 millimeters, we see panel distortion with a slightly wavy pattern. 

Let’s see about closer image quality.

The close-up image quality is nice and sharp, even from zoom in to 35 millimeters, and the lens turns from jackal into height.

It’s very sharp, except for 35 millimeters and F4, and its build quality is fantastic, especially for those doing video work.

It does have excellent potential, and so it is recommended.

Sony 16-35mm f/4: (Best Sony full-frame lens for real estate photography)

Pros
  • Excellent build quality.
  • It’s fast, and it’s silent.
  • Autofocus works great.
  • Ultra wide-angle lens.
  • Quite sharp.
  • Great focal length.
  • Versatile lens.
  • Great for the price.
Cons
  • Absence of buttons.
  • Some vignetting & distortion.

Sony 24mm F1.4: (Best Sony prime full-frame lens for real estate photography)

The Sony 24 millimeter G master is a light, compact full-frame lens.

It weighs just under a pound. At this time, the G master is moisture and dust resistant but doesn’t have any kind of weather sealing.

The lens has a minimum focusing distance of point 79 feet on the mount and has an 11 bladed aperture capable of closing down to F 16 and wide open at F 1.4.

One of the G master’s strengths is in its manual control options.

The lens features one focus hold button that can also be programmed to other functions.

It has a D clickable aperture ring for smooth transitions when shooting video in different lighting situations.

As with all G master lenses, the autofocus is nearly flawless in photo mode; if your exposure and composition are on point, it will miss.

The autofocus works like a charm, and the autofocus drive is fast, powerful, and completely silent in the video.

The autofocus is fast, even at F1.4.

This is my main real estate lens and wide-angle for professional video work for clients.

It’s a sharp lens for video, and all apertures, even at one point for the colors you can pull out and post, make for an incredible cinematic filmy Look.

The 24-millimeter G master lens uses two X-ray or extreme spiritual elements to create the clarity and sharpness that’s become synonymous with G master lenses.

It also has three EDI, or extra-low dispersion elements, which attribute to the lens’s lack of chromatic aberration and the fact that it’s nearly impossible to get it to flare, from a clarity and sharpness standpoint is a great thing.

The lens really shines and wide-angle photography such as real estate, buildings, and landscapes. Its 1.4 capabilities also make it a fantastic lens for stylized and environmental portraits.

Once again, the ion of focus works like a dream. And the final images are sharp right where you want them to be.

It has an 11 bladed aperture producing perfectly round bokeh and a soft dreamy background when shooting outdoors.

The lights behind your subject enhance the contrast and sharpness of your photo’s focal point.

This is the entire reason to get this lens, its power of 1.4, and it’s the reason why I love it so much.

The Sony G master lineup is an exceptional group of high-powered professional lenses at an expensive cost. This lens is the least expensive of the entire lineup.

If you’re a professional real estate photographer or filmmaker using mirrorless cameras, then this is a no-brainer.

The professional filmy look that this lens produces in the video is exceptional.

And if you love the extreme depth of field and clean, crisp images as a photographer, then this lens is for you.

If you’re a Sony shooter and you prefer prime lenses, then this is a must-have in your kit.

And after six months of shooting everything, I can say that this is probably the best and most versatile lens I’ve ever used.

Sony 24mm F1.4: (Best Sony prime full-frame lens for real estate photography)

 

Pros
  • Low light beast.
  • Super lightweight & compact.
  • Versatile lens.
  • Fast Bright, f/1.4 aperture.
  • Dust, splash, and fluorine protection.
Cons
  • Bit Pricey.

Sigma 20 F1.4: (Best APS-C full-frame lens for real estate photography)

I’m taking a look at a camera lens that made my heart skip a beat when I heard its announcement.

The Sigma company has surprised everyone by releasing a new version of the lens completely out of the blue.

Which promises to deliver the same unique kinds of pictures, but this time with sharp, professional image quality, not to mention a considerably wider maximum aperture of F 1.4.

This is the widest angle F 1.4 lens ever made for full-frame cameras, an awe-inspiring achievement.

However, the image quality turns out, 20 millimeters. I’ve come to like 20 millimeters as a focal length on a full-frame camera.

It gives you a nice dose of ultra-wide-angle stretched corners with the pushing away of your subject, but it’s nowhere near as extreme as 16 millimeters or even wider.

So it’s a more subtle ultra-wide-angle that lends an interesting touch to your perspective on an APS c camera 20 millimeters.

It is a lovely standard wide-angle, perfect for real estate photography.

And, of course, that extremely impressive maximum aperture of F 1.4 can let in tons of light for nighttime or indoor photography.

And give you some pretty out-of-focus backgrounds, unique for such a wide-angle lens.

It’s quite hefty and excellent and built to a high quality with tight tolerances. 

The lens can’t take filters. The manual focus ring is large and works very smoothly and precisely.

He can turn the focus ring at any time, whether or not you’re switched to manual focus.

The autofocus system works faster than usual for one of the sigma art lenses, and it’s very quiet in my tests.

I found autofocus accuracy to be just okay. It was slightly missed from time to time, but never in a serious way.

The lens does not have image stabilization.  All in all, the fit and finish of this segment are spot on.

Okay, let’s take a look at picture quality now.

You will see contrast and sharpness levels very well from the middle of the image and into the corners.

The image quality is razor-sharp, straight from F 1.4, with outstanding contrast levels.

But what’s most impressive is that we continue to see pretty good sharpness over in the image corners with minimal chromatic aberration on contrasting edges.

Those corners gradually get sharper and brighter as he stopped the aperture down from F2 to F 2.8 to F 4.

And finally, at F 5.6, you get the best resolution the lens has to offer.

Well, at the end of the day, the Sigma 20 millimeter f 1.4 art is a trailblazing lens, and as such, this lens is seriously sharp.

Let’s take a look at distortion and vignetting on a full-frame camera.

The lens protects some moderate panel distortion—nothing too horrendous but noticeable in some pictures nonetheless at F 1.4.

We see some very dark corners, indeed, which you’ll want to brighten up with photo editing software.

The close-up picture quality is fairly sharp, but with a touch of color, fringing stopped down to F2, though, and the picture quality shines again.

It’s important for an ultra-wide-angle lens to work well against bright lights, as you’ll be catching bright lights in your pictures quite often.

Overall, there’s not much more to say; the Sigma 20 millimeter f 1.4 art is a serious achievement in optical engineering.

Simply getting to use a 20-millimeter f 1.4 lens is a delightful experience, which lends itself to real estate photography and creative photography.

Even the most discerning professional photographer will be delighted with its exceptional image quality.

It’s also an excellent lens for people with APS c cameras, where it’s still fantastically sharp, and its field of view of 32 millimeters is very practical.

I’m amazed at how sharp and fun these lenses are. So it comes very highly recommended. Indeed.

Sigma 20 F1.4: (Best APS-C full-frame lens for real estate photography) 

Pros
  • Extremely sharp.
  • Less distortion.
  • Exceptional image quality.
  • Good contrast levels.
  • Extremely impressive maximum aperture of F1.4.
  • Best in low-light situations.
  • Fast, accurate & quiet autofocus.
Cons
  • Heavy.
  • Does not have image stabilization.
  • Dim corners and edges.

Sigma 12-24mm f4: (Best Canon full-frame lens for real estate photography)

We have the new 12 to 24 millimeter f4 art.

The full-frame equivalent of about 19 millimeters, at its widest angle, is a pretty useful focal range.

It’s an amazing field of view. It’s all about the background, at 12 millimeters.

They have a nice maximum aperture of F 4 throughout their zoom ranges, meaning they let her know a reasonably good amount of light.

Anyway, let’s look at the build quality.

As you’d expect from our sigma art lens, the body is excellent. But it’s pretty big and heavy, tipping the scales well over a kilogram or two and a half pounds.

The lens zoom ring turns very smoothly but quite heavily.

We have a large focus ring that can be turned at any time and works very smoothly and precisely; the autofocus mechanism is fast and quiet.

It comes with a very nice lens cap which slips on comfortably.

All in all, the build quality is pretty much perfect.

On a full-frame camera, the image quality is nice and punchy in the middle of the image.

The corners adjust okay with a touch of magenta color fringing is top-down to f 5.6 for a tiny improvement in the corners, but a perfect image back in the middle.

So, on full-frame, the sigma is not the very sharp as lands OC, but it’s more than capable of emphasizing, especially when stopped down a little.

And its lack of chromatic aberration is very commendable at these extremely wide angles.

Now, let’s see about vignetting and distortion on a full-frame camera.

In the first test shot, I got. And you will see something pretty interesting, and the corners are brighter than the middle. 

I’ve never seen this before on a third-party lens, and the camera was actually overcompensating and brightening the corners up too much for your interest.

I was expecting to see a bit worse vignetting and distortion on this lens, really, so sigma should be pleased with themselves here.

The lens can focus down to about 25 centimeters, pretty close for such a wide-angle lens.

Close-up image quality remains nice and sharp, even at F 4, which is good to see how this extreme wide-angle lens copes with when bright lights stray into the picture.

Fairly well, there’s almost no loss of contrast. So that’s great to see from a lens of this type.

And finally, Bokeh.

This lenses philosophy naturally has little to do with getting out-of-focus backgrounds birch; when you do, they look lovely and smooth, which is good to see on such a wide-angle instrument.

It’s a sharp lens, especially when the aperture is stopped down, giving you punchy clean images.

Having said that, the Sigma lens controls chromatic aberration a lot better.

Undoubtedly the Sigma lens is much better valued, and it is recommended.

Sigma 12-24mm f4: (Best Canon full-frame lens for real estate photography)

 

Pros
  • Solid build quality.
  • The best ultra-wide lens with zoom capability.
  • Extremely sharp.
  • The image quality is nice and punchy.
  • Less chromatic aberration.
  • A good amount of light.
  • Pleasing bokeh.
  • Solid edge performance.
Cons
  • Big and heavy.
  • Some barrel distortion.
  • Dimmed corners.

CONCLUSION:

Alright, guys, so that concludes all the lenses we will talk about today in this article.

Do you guys have any experience with these lenses? What are your thoughts on them?

Which is the Best Full Frame Lens For Real Estate Photography for you?

Is there a lens that I didn’t mention in this article that you love to use for real estate photography?

Please leave your thoughts and comments below.

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