Today we’re going to get into a question that I hear come up all the time, which is the best lens for a Real estate photography Crop Sensor?
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 nine years, and I shoot over 1000 listing a year.
So I’ve 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:
Which is the Best Lens For Real Estate Photography Crop Sensor?
|Image||Product||Best lens for||View on Amazon|
|Sony 10-18mm F4||(Best Sony crop sensor lens for real estate photography)||View on Amazon|
|Fujinon 10-24mm F4||(Best Fujinon crop sensor lens for real estate photography)||View on Amazon|
|Sigma 8-16mm f/4.5-5.6||(Best wide-angle crop sensor lens for real estate photography)||View on Amazon|
|Tokina 11-16mm f/2.8||(Best Canon crop sensor lens for real estate photography)||View on Amazon|
|Tokina 11-20mm f/2.8||(Best Nikon crop sensor lens for real estate photography)||View on Amazon|
It’s an ultra-wide crop sensor zoom lens for you from Sony. This lens is particular in its use.
It’s not a huge focal range from 10 to 18 or a 15 to 27-millimeter equivalent on a crop sensor camera is limited to what you can use it for.
You can use it for real estate, landscape, cityscape, etc.
Great size and weight. It’s very light at about 225 grams or about half a pound.
It extends just a little bit when you zoom, but if you’re using the lens hood, you won’t notice.
The overall quality and feel of this lens are decent for what it is for the price.
Both the zoom and focus rings turn confidently and firmly on the front.
It also has an excellent minimum focus distance of 0.82 feet, or just under 10 inches, allowing you to get up close and personal with your subjects.
It’s also image stabilized, letting you get nice and crispy photos and video at slower shutter speeds. It’s got a pleasant sturdy metal mount.
But unfortunately, it lacks a little rubber gasket for confidence when it comes to weather sealing.
Overall, it’s decently made with great size and weight and a few excellent features for the build.
So let’s quickly touch on value.
This is a pricey lens, but given the competition, which there is none, and how well this thing performs, its value is pretty good.
When it comes to performance, I’m happy to report that this performs very well in pretty much every regard.
Its autofocus is fast and silent; although it beats an ultra-wide lens, it’s not overly demanding.
This lens only has an 8-millimeter focal range, which doesn’t sound like a lot, but at that huge ultra-wide zoom angle, every millimeter makes a pretty big difference.
I use this lens when there’s plenty of light or on a tripod.
And I think, for the most part, in the real world, that’s where you’re going to be using your ultra-wide lenses.
It will be great for things like real estate or interior shots, landscapes, or when you want to add an extensive distortion look to your photos.
Now let’s quickly look at this lens’s sharpness and optics.
They are starting at 10 millimeters in the center wide open at F4. It’s an outstanding performance; the corners are not the greatest, but okay.
It’s an ultra-wide-angle lens with seven aperture blades, so you shouldn’t expect the world out of this thing. That’s not what you buy this lens for.
Overall for performance, I would say it meets or exceeds the expectations of most ultra-wide full-frame lenses. So in that regard, it’s perfect.
This lens has been quite a few years old and does not have a lot of competition; I’d have to say it is probably still your best option for an APS c camera.
It’s a bit pricey, but the size and weight are the performance and what you’re getting.
It’s just a fantastic option. I think every photographer should have an ultra-wide lens.
They’re just fun to use. So, reading this lens as a whole, I think you’re getting the idea; I think this is a solid lens.
If you’re an APSC shooter looking for an ultra-wide lens, there’s not much out there, and this one is amazing.
So yeah, I recommend this lens and would strongly consider it.
This is my real estate lens, and I bought it specifically for real estate architecture, interior design, and that sort of thing.
So that is my intended purpose and my philosophy of use. I’ve had it for about six months or maybe a little longer.
So using a zoom lens is just a different experience for me, and I don’t enjoy it as much as I do a prime, but for real estate purposes, it makes sense, and it’s just an easier workflow on location.
It makes the shoot go very smoothly and just lovely and easy.
I stay about the 16-millimeter mark, which is 24 millimeters and full-frame equivalent.
That’s where I like to do most of my shooting, but there are times when, if I’m getting a vignette of a kitchen, for example, I will shoot at 24, which is the equivalent of 35, or if I’m doing a bathroom, where I can’t back up, or a small space where I can’t back up enough.
I will rack it and go a little wider, so I use three focal links within this lens for real estate.
I shoot it either 5.6 or 8 majorities of the time, the majority is 5.6, and I’m shooting with manual focus.
It’s just the ideal lens for the Fuji system and, for me, at least, doing this type of work. It’s got the versatility I need.
It’s not that big, and it was a little smaller than I thought it would be when I first got it, which is nice.
It’s a well-built lens and solid metal; it’s a good chunk of metal and glass, and the aperture ring is lovely.
It is excellent, and the focusing and zoom rings are nicely dampened and feel nice.
The image quality is fantastic. It’s what you would expect from a Fujifilm lens, but I mean, using this lens for six months now, it’s been a great lens.
I’ve only used it for real estate shoots, and this is the perfect lens for that.
It isn’t weather-sealed, which isn’t a massive deal for me because all my stuff is inside.
And then I guess there’s a rare occasion where I’m shooting an exterior and light rain or drizzle or something, which is very rare.
After six months of using this, I’m pleased with it.
I don’t find myself lacking anything, and I don’t think it has anything I need. It’s wide enough. I hardly ever go to 10 millimeters.
So this lens is not necessarily about being a fun lens; it’s about the right tool for the right job, and I bought it.
Another thing I noticed, too, with image quality, is that it doesn’t have any chromatic aberration.
So I think that’s one thing that this lens does well: it handles that chromatic aberration, that purple fringing between high contrast areas that hold that very well.
I think it is worth the money.
What you’re getting out of this lens to build quality image stabilization and image quality for that money is excellent.
The Sigma 8 to 16, a millimeter f 4.5 to 5.6 dc HSM, stands out from the crowd using an ultra-wide-angle lens.
Most ultra-wide-angle lenses zoom out to about ten a millimeter.
So this is an exciting kit for wide-angle photography junkies, likely at 8-millimeter, your field of view is enormous, and you can create images that distort everyday subjects in all sorts of exciting ways like this mini.
As a result, this is an enjoyable lens to play with, but it can also be instrumental in all kinds of real estate projects.
Most people will buy this lens to get down to 8-millimeter, but it’s good to see that it can also zoom to 16 millimeters.
This lens does not have image stabilization.
First off, let’s look at the build quality.
This lens is put together exceptionally well, and it’s pretty big, reasonably solid, and weighty. It has a beautiful curved front element, 30, which unfortunately means it can’t use filters.
The zooming is exceptionally smooth and even to turn, and so is the focus ring.
The lens has full-time manual focus, and the focus mechanism works quickly and quietly. The autofocus makes some clicking noises while it’s micro-adjust.
That’s quite typical for a sigma lens, unfortunately.
But apart from that tiny hiccup, the lens is quite a beauty and handles like a truly professional piece of kit.
The picture quality is impressively sharp, with good colors and contrast. So, overall, it’s an awe-inspiring performance for such a wide-angle lens.
Sigma pulled out the stops on this one, just from the lens of sharpness; I’d have no hesitation recommending this lens for professional use.
There’s a bit of a trip-up when it comes to distortion.
However, the lens doesn’t seem to have any severe problems with vignetting or dark corners, which is good news.
You will see that the closer picture quality of this lens is very sharp; the lens retains its contrast levels, but you get a piercing better flamming flashing around.
When you can get some narrow depth of field going, the quality of this lens his bokeh is not super smooth, but neither is it distracting in any way.
Well, let’s sum everything up.
Sigma is presenting us with another groundbreaking and competent lens.
The build quality is superb, the lens optics are very sharp, and the 8-millimeter shots you can get from this bad boy will make your photography stick out from the crowd.
Getting as wide as 8-millimeter, maybe this lens is only a party trick, but it could potentially fuel your creativity.
I can highly recommend this lens to almost any wide-angle photography enthusiast.
This is a trendy ultra-wide-angle lens for Real estate photographers.
It is a first f 2.8 aperture throughout tiny makes many stills photographers like this lens because it has a reputation for being pretty sharp.
This lens is nicely made. It’s heavy and feels like a lot of it is made of metal.
It feels sturdy. The zooming is lovely and smooth.
This lens is designed for crop sensor cameras, which will work on most digital SLR cameras with APS c sensors.
This lens is fantastic to use in any indoor space, from bedrooms to cathedrals; this is pretty good.
What’s not so good, Is the term chromatic aberration.
But apart from that, the picture quality remains pretty sharp, and at least chromatic aberration can be sorted out in the editing.
So overall, it’s a good performance that zooms into 16 millimeters.
Tokina lenses are notorious for this; in a crucial performance in terms of distortion at 11 millimeters, you can see some barrel distortion, but it’s not tremendously bad to zoom into 16 millimeters.
So, overall, the image quality is good.
The only major issue I had was the quality of the background blur.
This isn’t a big deal for an ultra-wide-angle lens, as their business does not give you blurry backgrounds.
The Tokina 11-16 millimeter is an APS c lens, but it will fit onto a full-frame camera. If you upgrade to a full-frame camera, you’ll have an ultra-wide-angle lens ready to go for fun.
I like this lens, and I’ve got some great pictures. It’s a tremendous little ultra-wide lens, especially if you’re a real estate photographer.
Tokina on an interesting lens manufacturer and their designs tend to be quite distinctive.
Their lenses tend to have fantastic build quality. Tend to be very sharp and yet also have issues with chromatic aberration.
It has a maximum aperture of F 2.8 throughout its zoom range. That means it can let in more light than other ultra-wide-angle lenses.
Which makes it useful for shooting indoors, shooting in dark video work, or getting a more out-of-focus background in your pictures.
Also, the lens doesn’t get darker as quickly, which is helpful for video makers.
The lens’s zoom range of 11 to 20 millimeters is more in line with competing lenses on the market.
Eleven millimeters is the full-frame equivalent of 17.6 millimeters on Canon cameras.
So, we are definitely in the ultra-wide-angle territory, although 10-millimeter lenses are noticeably wider.
11 millimeters gives you dramatically expansive views, which is handy for indoor photography.
And this Tokina lens zooms in to 20 millimeters, which is still a wide angle, but it can give you a little more emphasis on your subject.
This lens is designed for APSC cameras, but it will physically fit onto a full-frame camera. So, using this lens on a full-frame camera is possible if needed.
Let’s look at the lens’s build quality.
It’s heavy, weighing over half a kilo; it’s also rather significant. It feels solid enough, but it’s maybe a little more plasticky than other Tokina lenses.
The focus went hands very smoothly and precisely with hard stops at either end of the scale.
The front lens element does not extend or rotate as you change focus. Usually, pulling back into manual focus mode will change your direction a little.
It is a retro design that stickiness should phase out the autofocus motor reasonably quickly and not too noisy.
Overall, I’m not really in love with this lens’s build quality.
It seems a little more plasticky than other Tokina lenses, not quite as challenging, and I wouldn’t say I like its autofocus system.
Let’s look at image quality.
At 11 millimeters with the aperture wide open at F 2.8, we see excellent sharpness with good contrast levels in the middle of the image.
We saw some pretty notable chromatic aberration on the opposite edges.
So, at 11 millimeters, the lens is quite sharp. It’s a shame that we can support this level of chromatic aberration.
But then again, that’s also quite common for an ultra-wide-angle lens.
The lens is just as sharp. That’s a good performance over again, and hints of colorful chromatic aberration stop the lens down to f4 for a nice boost in sharpness in the middle of the image.
Overall, Tokina 11 to 20-millimeter f 2.8 is a pleasingly sharp lens on an APS c camera, giving a good performance at F 2.8 and excellent sharpness from F4.
There are some little chromatic aberration demons, though. But overall, it’s a good show, just out of interest.
The lens is exceptionally sharp, with excellent contrast levels. That sharpness continues until you reach the very soft corners and Stark; you gradually improve clarity as you stop down to f four, then f 5.6, then eight, then f 11.
The good news is that the lens shows slight vignetting; even at F 2.8, the corners don’t look too dark.
It’s not tremendously bad, but it’s worse than average.
The close-up image quality is surprisingly incredibly soft, with solid ghosting and weak contrast.
The Tokina 11 to 20-millimeter f 2.8 has lots of light. It has a usable zoom range and is also nice and sharp.
But to achieve all that tequilas, lens designers seem to have overlooked many optical problems.
It displays chromatic aberration and barrel distortion.
It also has the dreadful close-up image quality and a very ugly Barker, not to mention the amount of flaming when there are bright lights in the picture.
I’m not a fan of its build quality or focus system.
This lens can be perfect for filmmakers happy to use manual focus.
Although the zooming is a bit stiff, as for anyone else they.
Well, it’s a lens that can get you some sharp pictures.
Alright, guys, that concludes all the lenses we will discuss today in this article.
Do you guys have any experience with these lenses? What are your thoughts on them?
Which is the Best Lens For Real Estate Photography Crop Sensor?
Is there a lens I didn’t mention in this article that you love using for real estate photography?
Would you please leave your thoughts and comments below?
I am a professional photographer born in the USA. I have been in this field of photography for 22 years now, and in these years, I used many photography lenses, which I want to share here on this website about my experience of it. The idea for Bestoflens.com is to provide honest information about different Lenses products in the format of a “Best lenses for AYZ” list. I want this website to be the last destination for people to pick the best lenses to fit their needs. You can find our unbiased reviews here on Bestoflens.