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 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.
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 basically, a 15 to the 27-millimeter equivalent on a crop sensor camera is kind of limited to what you can use it for.
You’re going to be able to use it for things like real estate, landscape, cityscape, and that type of thing.
Great size and weight. It’s very light at about 225 grams or about half a pound.
It does extend just a little bit when you zoom, but if you’re using the lens hood, you won’t even 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 a great 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 images and video at slower shutter speeds. It’s got a nice 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 nice features for the build.
So let’s quickly touch on value.
This is a pricey lens, but given the competition, which there really is none, and how well this thing performs, its value is actually 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 basically 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 find myself using 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’s going to be great for things like real estate or interior shots landscapes or when you really want to add a big distortion look to your photos.
Now let’s have a quick look at the sharpness and the optics of this lens.
Starting at 10 millimeters in the center wide open at F4. It’s a great performance; the corners, however, are not the greatest, but okay.
It’s an ultra-wide-angle lens with 7 aperture blades, so you shouldn’t expect the world out of this thing. That’s definitely not what you buy this lens for.
Overall for performance, I would say it meets or even exceeds the expectations that we have of most ultra-wide full-frame lenses. So in that regard, it’s perfect.
This lens has been quite a few years old now, and not having a heck of 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 when you look at the performance and what you’re getting, the size and weight.
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 happens to be amazing.
So yeah, I absolutely recommend this lens to you, and I would strongly consider it.
This is my real estate lens, and I bought it specifically for real estate architecture, interior design, that sort of thing.
So that is my intended purpose and my philosophy of use. I’ve had it for about six months now, 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 my purposes of real estate, it makes sense, and it’s just an easier workflow on location.
It makes the shoot go very smoothly and just nice 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 where, 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 bit wider, so I really 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 really 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 really 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 it’s solid metal; it’s a good chunk of metal, glass, the aperture ring is really nice on it.
It is nice, and the focusing ring and the zoom ring are nicely dampened and feel nice.
The image quality is awesome. 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 really is the perfect lens for that.
It isn’t weather-sealed, which isn’t a huge deal for me either 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 really think it has anything I need. It’s wide enough I hardly ever if 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 that’s why I bought it.
One other thing I noticed, too, with image quality, is that it really 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 handle that very well.
I think it really is worth the money.
What you’re getting out of this lens to build quality image stabilization and image quality for that money, I think it’s great.
The Sigma 8 to 16, a millimeter f 4.5 to 5.6 dc HSM, stands out from the crowd using a super ultra-wide-angle lens.
Most ultra-wide-angle lenses zoom out to about 10 a millimeter.
So this is definitely an exciting piece of 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 interesting ways like this mini.
As a result, this is an enjoyable lens to play with, but it can also be very useful 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 into 16 millimeters.
This lens does not have image stabilization.
First off, let’s look at the build quality.
This lens is put together extremely well, and it’s quite big and fairly solid and weighty. It has a beautiful curved front element, 30, which unfortunately means it can’t use filters.
The zooming is extremely 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 really 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 really 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 serious problems with vignetting or dark corners, which is good news.
You will see that the closer picture quality of this lens is actually very sharp, the lens retains its contrast levels, but you do get quite 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 very capable 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 for 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 its tiny to make many stills photographers like this lens because it has a reputation for being pretty sharp.
This lens is really nicely made. It’s pretty heavy, and it feels like a lot of it is made of metal.
It feels really sturdy. The zooming is really nice and smooth.
This lens is designed for crop sensor cameras, which means it’ll 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 fairly good.
What’s not so good, Is this term chromatic aberration.
But apart from that, the picture quality remains fairly 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 very key 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 with the quality of the background blur.
This isn’t really a big deal for an ultra-wide-angle lens, as their business does not really 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 a lot, and I’ve managed to get some great pictures with it. It’s a great 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 idiosyncratic.
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 easily when which is useful for video makers.
The lens’s zoom range of 11 to 20 millimeters brings it’s more in line with competing lenses on the market.
11 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 actually noticeably wider.
11 millimeters gives you dramatically wide views, handy for indoor photography.
And this Tokina lens zooms in to 20 millimeters, which is still a wide-angle, but it can give you just 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, actually using this lens on a full-frame camera is a possibility if needed.
Let’s look at the lens’s build quality.
It’s quite heavy, weighing in at over half a kilo; it’s also rather big. 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. Normally, pulling back into manual focus mode will change your focus a little too.
It really is an old-fashioned design that stickiness should phase out the autofocus motor fairly 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 tough, 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 in the middle of the image with good contrast levels.
We saw some pretty notable chromatic aberration on the contrasting edges.
So, at 11 millimeters, the lens is quite sharp, really. 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 we can see hints of colorful chromatic aberration stop the lens down to f4 for a nice boost in sharpness in the middle of the image.
Overall, there 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 extremely sharp, with great contrast levels that sharpness continues until you reach the very soft corners and Stark, you get a gradual improvement in 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 little vignetting; even at F 2.8, the corners don’t look too dark.
It’s not tremendously bad, but it’s certainly a bit worse than average.
The close-up image quality is surprisingly extremely soft with strong ghosting and weak contrast levels.
The Tokina 11 to 20-millimeter f 2.8 has lots of light. It has a usable zoom range, and it’s also nice and sharp.
But to achieve all that tequilas, lens designers seem to have overlooked a lot of optical problems.
It displays chromatic aberration and barrel distortion.
It also has the dreadful close-up image quality and 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 either or its focus system.
This lens can be perfect indeed for filmmakers who are happy to use manual focus.
Although the zooming is a tiny bit stiff, as for anyone else they.
Well, it’s a lens that can get you some sharp pictures.
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 Lens For Real Estate Photography Crop Sensor?
Is there a lens that I didn’t mention in this article that you love to use for real estate photography?
Would you please leave your thoughts and comments below?