Last Updated on January 13, 2023 by Sharon Advik
The Sony Alpha a7 II is a full-frame mirrorless camera with image stabilization, the fourth in Sony’s a7 series and the successor to the original a7.
I learned about this camera almost two years ago through my friends.
It was not very easy to buy, but I searched a lot for it.
I am pleased to find this camera because it has helped me improve my shooting skills.
I have done many shoots for almost every kind of brand, and this was the camera I have used every time.
I am glad that I got my hands on this masterpiece.
Which is the Best Lens for Sony A7 II?
Here are my recommended top 10 Best Lens for Sony A7 II:-
Sony 55mm f/1.8: (best lens for Sony A7 II)
I had a wedding in my family almost a year ago.
It was the first wedding of our family, so everyone wanted the shoot to be unique and exquisite.
I used Sony55mm f/1.8 Lens for the Sony A7 II camera.
It was a huge event, so I wanted the pictures to be very well organized.
The picture and videos captured with this camera were terrific.
Everyone loved them.
They were spotless and clear.
This is the best lens for Sony A7 II.
I am glad to choose this lens as my go-to camera for significant events.
Features:
Diaphragm
Lens Groups / Elements is 5/7
Focal Length: 55mm
Filter Diameter: 49mm
Minimum Focus Distance: 19-11/16 inches
Standard lens
Lens not zoomable
Aperture (Min/Max): 22/1.8
The angle of view (35 mm): 43 °
Magnification:14x
Battery Life (Still Images) Approx
530 shots (Viewfinder) / approx. 650
Shots (LCD monitor) (CIPA standard)
Why is this lens the best?
The 55mm f/1.8 ZA is an efficient lens and one of the best standard prime lenses alternatives for Sony’s mirrorless camera system, despite its outdated design (Compared to other FE lenses).
When used at f/1.8, it has impressive sharpness in the middle of the frame and genuinely stunning corner to corner sharpness just a couple of stops down.
The lens also has beautiful bokeh, excellent contrast, and performs admirably against bright light sources.
The only significant problem is the excessive bokeh fringing at f/1.8, which doesn’t honestly go away until the lens is stopped down to f/5.6.
Fantastic Building Quality:
The lens is a member of Sony’s Zeiss lens series, so it’s no surprise that it has a professional-grade build quality.
It has a sleek semi-gloss black aluminum outer barrel that complements the system’s overall design.
The FE 55mm f/1.8 has a glossy finish that is visually pleasing, but when combined with its compact size, it is easy to let slip from your hands if you are not careful.
As a result, I would have been grateful for a more textured outer barrel finish, similar to the Sony GM lens range.
Unique Performance and Accuracy:
The linear autofocus motor in the FE 55mm f/1.8 ZA lens focuses internally and produces very little noise.
Overall, focus speeds are good, but to keep in mind when evaluating a lens’s ability to focus, the camera body has a significant impact on the autofocus quality.
As a result, it’s critical to pair your lenses with high-quality bodies to deliver good focusing performance.
I put the FE 55mm f/1.8 ZA lens to the test alongside the excellent camera, which makes the most of the lens’s focusing capabilities.
Incredible Image Quality:
With the Zeiss brand label on the lens barrel and a price tag to match, I expected
The FE 55mm f/1.8 ZA provides highly sharp shots without stopping its original aperture.
Thankfully, the lens does not disappoint, delivering a good performance right out of the box at f/1.8, with excellent clarity and contrast.
The sharpness in the frame’s center is excellent at this aperture, with fair but mediocre sharpness in the corners.
Conclusion:
The Sony 55mm, f/1.8 Zeiss lens is a fantastic choice for any Sony interchangeable-lens camera system with a full-frame e-mount.
It won’t be easy to find an expert criticizing the visual quality.
DxO Mark ranks this lens as the ninth sharpest lens they’ve ever tested, with an overall score of 7th most acceptable lens ever assessed, out of over ten thousand lenses examined.
What’s more astounding is that this was accomplished for less than $1,000, whereas inferior lenses can cost up to 13 times that.
Tamron 28-75 F/2.8: (best lens for Sony A7 II video)
I had a farewell in my college.
I was assigned to shoot the whole event.
I used Tamron 28-75 F/2.8 in my camera because it is the best lens for making videos in Sony A7 II.
The event was mainly about shooting videos because we had a lot of dance performances and games etc.
After the event, when I checked the videos for compilation and editing, I was so happy because they were exactly what I wanted them to be.
It is my best choice.
Features:
Superb optical performance
Outstanding image quality
Beautiful backgrounds blur effects
Fast f/2.8 aperture
Comfortably lightweight (19.4 oz)
Compact (4.6)
Close focus
Minimum object distance: 7.5
Wide-anglesetting15.3
Why is this lens best?
Depending on your artistic taste, this lens is ideal for video making.
It’s workable in low light because of the f/2.8 aperture and the image quality at that the wide-open setting isn’t just “useful” but stunning.
This lens is a must-have if you shoot a lot of medium-range focal length photography and want a relatively quick, consistent aperture!
This is the best lens for Sony A7 II as well. I think this is what most photographers are looking for.
Implausible Image Quality:
At first glance, the Tamron 28-75mm f/2.8 G2 may appear to be a simple or even kit-style lens, but don’t be misled.
The images that come out of its optics are technically astounding and artistically pleasing.
There are a few subtle caveats about vignetting and distortion correction for those who heavily process your images.
Still, in general, the image quality delivers plenty of sharpness/resolution at f/2.8 and all focal lengths and no pesky aberrations to worry about.
Aesthetic Sharpness:
The sharpness is simply remarkable.
This camera has out-resolved my 24-megapixel test camera and appears ready for my 40-60-megapixel beasts.
Sharpness extends away from the center of the image at all focal lengths, reaching the edges nicely and only revealing a little softness in the extreme corners, even at f/2.8.
This is an upgrade over the previous lens version, but I’m confident in my claim.
Bokeh Dots:
The lens’ background blur is subtle and smooth, making it ideal for everything from portraiture to wedding details.
“Bokeh dots,” or the well-defined circles created by a pin-point light source such as “twinkle lights,” are lovely and include only a small quantity of onion rings.
As with most other mid-range fast-aperture lenses, the dots can become oval/lemon-shaped when off-center.
Conclusion:
Autofocus is lightning fast! There haven’t been any troubles at all! In comparison to the the24-70, it’s pretty light.
Tamron 28-75 F/2.8 is sure the best Lens for Sony A7II in video making; knowing they are on top gives me peace of mind.
I am glad I bought this camera.
This is my first Tamron purchase, and I intend to keep it.
Sony 85mm f/1.8: (best portrait lens for Sony A7 II)
Being a portrait photographer, it was not easy for me to choose a single lens.
I had to change my lens and check which would work best for me.
After a lot of research, I found Sony 85mm f/1.8.
It is the best portrait lens for Sony A7 II.
I have done various shoots with it, and they always turned out to be good.
A friend of mine also used this camera, so he suggested me.
I have been using it for almost 2 years, and I am delighted.
Features:
Wide F1.8 maximum aperture
9-Blade Circular aperture
ED glass
Double Linear motor
Maximum magnification ratio 0.13
Angle view 29 degree
AF/MF switch.35 mm
Why is this lens best?
It is a stunning lens with excellent optics that are on par with, if not better than, the massive 85mm f/1.4 GM.
It has excellent handling and is highly compact, light, and affordable.
It’s half the monster’s weight 85mm f/1.4 GM, has outstanding sharpness, silent operation, fast, silent autofocus, and superb bokeh, and costs a third of the price!
It has a fast f/1.8 aperture for excellent low-light performance.
It’s sharp, fast, distortion-free, and has excellent bokeh.
Maximum Aperture:
Each “stop” of aperture variation doubles or quadruples the amount of light hitting the sensor (a big deal).
Most zoom lenses don’t open wider than f/2.8 at 85mm, so this lens has a 1 1/3 stop advantage.
The f/1.4 option is widely available among 85mm prime lenses, resulting in a 2/3 stop disadvantage for this lens.
Because of the relatively wide f/1.8 aperture, this lens has a substantial size, weight, and price advantage over all other broader aperture alternatives.
Image Stabilization:
Although this lens is not optically stabilized, Sony usually makes up for it using Steady Shot or IBIS (In-Body Image Stabilization).
IBIS results in an unsterilized view on a typical DSLR with an optical viewfinder, indicating that stabilization was not helpful for composition or supplying a still subject for the camera’s AF system.
The viewfinder image is read from the imaging sensor and stabilized with EVFs, common in Sony’s lineup.
As a result, the viewfinder image is stabilized, and sensor-based AF uses the stabilized view to improve accuracy.
Focal Length:
With a primary lens, I get a single focal length that delivers a single angle of view, and that angle of view must work for the intended subjects for the lens to be helpful.
Fortunately, 85mm is compatible with a wide range of topics, and the most notable is portrait photography.
The conventional portrait focal length ranges from 85mm to 135mm, primarily for future considerations (after any FOVCF is applied).
On a full-frame camera, an 85mm lens hits the bottom of the classic range figure, and with a 127.5mm angle of view equivalent on an APS-C 1.5x body, it stays in the ideal portrait range on this format well.
Conclusion:
Sony 85mm f/1.8 is my favorite lens.
After trying numerous lenses, this is my favorite.
This lens is my favorite of all the lenses I’ve purchased.
The images produced by this lens are sharp, beautiful, and stunning to look at.
I’m using it with Sony A7 II, and it works great.
I’m receiving the best results I’ve ever gotten.
This lens has no flaws, in my opinion.
Sigma 105mm f/2.8: (best macro lens for Sony A7 II)
It is not easy in macro photography to choose a lens for the camera.
I used Sigma 105mm f/2.8 in my Sony A7 II during my shoot for a laboratory brand.
It was the best shoot of my life.
My entire team worked hard, and also the shoot turned out to be good.
I feel like all this is just because of my camera.
The shoot was done indoors, but still, the lens performed its work very efficiently.
I have been working on this lens for two years, and I can say that it is the best macro lens for Sony A7 II.
Features:
APS-c size sensors
The focal length to about 150mm
Focuses down to 1:1 magnification ratio
Working distance of 12.3 inches
Filter size 62mm
Why is this lens best?
I can’t recall when I didn’t have a 100mm macro lens in my photography arsenal.
This type of lens is convenient and widely used.
These two reasons raise the value of such a lens and emphasize its need to be a high-performing model.
The Sigma 105mm f/2.8 DG DN Macro Art Lens is a strong contender for the latter.
This lens offers excellent image quality, has a high-quality design and construction, and is reasonably priced.
Rarely is it as simple to recommend a lens like the Sigma 105mm f/2.8 DG DN Macro Art Lens.
Focal Distance:
Focal length Decisions on focal length should be made based on the intended perspective and topic framing.
How far away from the subject do you want to be, and what kind of juxtaposition between the objects in the frame do you want?
If you want tight framing with a longer subject distance, you’ll need a longer focal length and vice versa.
Portraiture is one of the most common uses for a 105mm lens.
This is a “macro” lens, I understand.
However, it excels in all typical 105mm lens applications, particularly portraiture.
Aperture Extreme:
While an f/2.8 aperture is not particularly large for prime lenses of this focal length, it is highly typical to macro prime lenses, and f/2.8 is a relatively wide (quick) aperture.
This lens is hand-holdable and capable of stopping action in reasonably low light levels without resorting to noisy-high ISO settings, thanks to its f/2.8 aperture.
The f/2.8 aperture provides enough light for AF to work well in low-light situations.
Image Maintenance:
Image stabilization, or OS (Optical Stabilization), has been left out of this Lens by Sigma.
The stabilized imaging sensor reduces camera shake and gives a static viewfinder image, allowing precise composition.
Sensor-based AF improves accuracy by making use of stabilized vision.
Because there is no IS button on the lens, you must utilize the camera settings to enable or disable IBIS, which is a bit stumbling block when switching from tripod to handholding.
Conclusion:
Amazing Lens! It’s razor-sharp, light, and compatible with my Canon RP and EF/RF adaptor.
The image stabilization is clumsy and noisy, but it’s not horrible.
Turn it off if you need to shoot something that might “spook” with a bit of noise.
It’s also simple to hold in one’s hand without it.
Sigma 105mm f/2.8 is the best macro lens for Sony A7 II.
Sigma 100-400mm f/5-6.3: (best telephoto lens for Sony A7 II)
During my last year of graduation, I went to some mountain area near our city with my whole class.
It was such a wonderful place that we could not believe our eyes.
It was full of wild animals and plants, but obviously, we could not go near them, so I took many pictures with my Sigma 100- -400mm f/5-6.3 lens, which is best for the telephoto lens for Sony A7 II.
It takes the best far-away pictures.
This lens just changes my perspective of what a lens can do to the image.
I am just obsessed with it!
Features:
Full-frame telephoto zoom lens
Push/Pull and twist zoom mechanisms
100-400mm on full-frame
150-600mm equivalent on Nikon
160-640mm equivalent on Canon APS-C
Rounded aperture diaphragm with f/5 to f/22 range
Close focus distance 63 inches (160 centimeters
Lightweight design
New Optical Stabilization (OS) mechanism
Hypersonic Focus Motor with new autofocus algorithm
Why is this camera best?
The Sigma 100-400mm Contemporary Lens is a pleasure to hold.
Despite its excellent zoom range, it’s small and light.
It’s a breeze to use for long periods, and it’s a terrific choice for photographers who want zoom versatility without having to carry around a bulky camera.
The lens has a high build quality that goes beyond its price tag.
Optical Construction:
The Sigma 100-400mm f/5.0-6.3 has a complicated optical formula, expected when considering a telephoto zoom lens.
The lens comprises 21 components divided into 15 groups, including four Special Low Dispersion (SLD) elements designed to reduce chromatic aberrations.
A few sections show that the SLD elements perform an excellent job.
Vignetting:
Even with the crop-sensor camera, there is some vignetting when using the lens wide open, but it’s incredibly tolerable and won’t cause many problems in real-world shooting.
You can see some examples below, and it’s evident that stopping the lens down even a single stop reduces the falloff at both focal length extremes.
If that’s a key consideration for a given image, stop down one or two stops.
Best Autofocus:
When combined with the Sony A7 II, the HSM-equipped (hypersonic motor) Sigma 100-400mm zoom lens gives excellent AF performance.
It is one of the best focusing cameras I’ve used; it’s an excellent camera to use with the lens.
It is quick throughout its focal length range, albeit slower at 400mm when shooting a very close subject.
The Sigma 100-400mm Lens impressed me greatly with its pricing range.
Conclusion:
Sigma 100-400mm f/5-6.3 is comparatively small and light to other long zooms.
It has a Good IQ (maybe superb if I learn the image stabilization (OS)).
It’s well-made, with a smooth zoom and manual focus.
It has excellent value for such a long zoom.
It has affordable AF speed.
When the range is limited, the AF speed is exceptionally rapid.
Sony E 16-55mm F2.8: (best budget lens for Sony a7 ii)
Before starting photography, I had a very calculated amount of money to buy a camera and lens.
Then a friend suggested Sony E 16-55mm F2.8 and said it is the best budget lens for Sony A7 II.
I bought this camera and then began with my work.
I am so thankful that I got to know about this camera.
During my initial days, it has helped me a lot.
It is the best low-price lens anyone has ever used.
Features:
Compact
High resolution
F2.8 APS-C standard zoom G lens
XD Linear Motor
Quiet AF
Two AA lens
Two aspherical elements
Three ED glasses
Sony Nano AR Coating
Dust and moisture resistant design
Why is this lens the best?
The Sony 16-55mm F2.8 Lens can handle everything you throw at it.
The lens is unmistakably a pro-level lens, with the dependability and quality that a pro expects.
This is the most outstanding lens I had ever acquired for my Sony A7 II camera when I wanted a high-quality multipurpose lens with a low budget.
This is the most excellent budget-friendly Sony A7 II camera, and I know because I’ve tried it.
Great Image Quality:
During this time, Sony has continuously optimized its lens manufacturing process and improved its glass quality to the point where the sacrifices that come with using a zoom lens are no longer visible on the lens.
This lens produces incredible images with razor-sharp detail from edge to edge at practically all focal lengths and apertures.
I cannot tell the difference until my pixel peeps the images generated by this lens because they are consistently good throughout the range.
Great Building Quality:
The Sony E 16-55mm F2.8 lens is more than capable of handling the task.
The lens is weather-sealed, and the front element is fluorine-coated, which repels moisture and grease and makes cleaning easier.
The construction is robust and sturdy, allowing for a tight grip.
The focus and zoom rings are rubberized, smooth, and easy to control, and the polycarbonate body is more scratch-resistant than my old Sony 16-70mm F4 Lens, which was scratched after three years of use.
Excellent Partner:
This lens has a wide enough focal length at 16mm to capture monumental architecture like the Colosseum in Rome or the massive Buddha image I captured at Wat ThamSua in Kanchanaburi.
I am also not limited to a single focal length; I may zoom to 55mm to capture fine details in a structure or landscape.
Conclusion:
I’ve also photographed the players in action with Sony E 16-55mm F2.8 Lens (24-82mm equivalent on a full-frame camera lens.
The autofocus did a fantastic job.
It is significantly faster than any of my other lenses.
In every situation I’ve tried it in, it’s performed flawlessly.
It has significantly improved my photographic experience.
It is highly cost-effective, but you must pay for the experience it provides.
If you have the funds and are satisfied with what an APS-C sensor can provide, I strongly advise you to purchase this lens.
Sony 35mm f/1.8: (best prime lens for Sony a7 ii)
Sony 35mm f/1.8 is the best prime lens for Sony a7 ii because I have been using it for a long time, and I don’t think there’s any better combo.
I have used this lens for different shoots, and I was surprised every time.
I got many hands on this camera after many bad experiences, but now I don’t worry about the lens anymore.
It is genuinely a game-changer, and I mean it when I say this!
Features:
Focal length 35mm
F1.8 maximum aperture
22cm minimum focus
52mm Equiv. on APS-C bodies
Weight 280g (10 oz)
Dust and weather-resistant
Diameter or Length 66mm x 73mm
Why is this lens the best?
The 35mm focal length is helpful, and having it in a prime lens frequently means having a wide aperture.
While not an f/1.4 lens, the f/1.8 aperture of this lens is still quite large, and the reasonably large aperture size allows for a compact, lightweight design, which has its own set of benefits.
This is a beautiful lens that, aside from minor color blur and severe peripheral shading at wide apertures, offers excellent image quality even at f/1.8.
The cost of this lens is minimal when compared to other lenses.
These qualities are then combined to make the Sony FE 35mm f/1.8 Lens an excellent all-around lens in your bag.
Subject Framing:
The number of 35mm prime lenses currently available on the market is nearly unfathomable, demonstrating the popularity of this focal length.
One explanation is that this somewhat broad angle of view encourages a subject distance that generates a realistic perspective and helps the spectator feel included in the image.
Another plus is that this viewpoint is open to such a diverse range of topics.
Individuals are one of the best subjects for this focus length underscores the primary point.
This focal length has a wide range of applications, making it an excellent choice to keep on the camera for whatever needs arise.
It’s not tricky to sneaker zoom to the correct distance with a prime lens to get the perfect 35mm subject framing.
Determined Temperature:
Under even external light conditions, a wider aperture can provide a faster shutter speed, suitable for stopping motion, such as moving subjects and a shaking camera.
A lower ISO setting is an alternative to a faster shutter speed, and photos with a lower ISO have less noise.
Use the wide aperture to create a shallow depth of field, blurring the background and allowing the subject to stand out against a good, unobtrusive background.
AF systems prefer wide apertures because they provide enough light to function correctly.
F/1.8 isn’t as sharp as f/1.4, but it’s still very bright and wide.
Stable Images:
Although this lens is not optically stabilized, Sony usually makes up for it using Steady Shot or IBIS (In-Body Image Stabilization).
IBIS results in an unsterilized view on a typical DSLR with an optical viewfinder, indicating that stabilization was not helpful for composition or supplying a still subject for the camera’s AF system.
The viewfinder image is read from the imaging sensor and stabilized with EVFs, common in Sony’s lineup.
As a result, the viewfinder image is stabilized, and sensor-based AF uses the stabilized view to improve accuracy.
Conclusion:
The Sony FE 35mm f/1.8 is a great-looking, compact, lightweight lens with a proper focal length.
This well-designed lens performs admirably, produces excellent image quality, and is reasonably priced.
Because of these features, the FE 35 f/1.8 is an excellent lens for everyday use.
Tamron 17-28mm f/2.8: (best lens for Sony a7ii landscape)
During my summer vacations, I went to my hometown.
This is about the starting days when I bought Tamron 17-28mm f/2.8.
I was not very professional, so I took the camera along to improve my skills.
I stayed there for almost two months.
The trip turned out to be so excellent and enthusiastic because of these lenses.
I enjoyed it a lot, and it captures every moment very aesthetically.
I love the working of this camera.
It is the best lens for the Sony A7 II landscape.
Features:
Lightweight large aperture
Wide-angle zoom in class
Smaller than the original F4 lens
Superb Image Quality
Quiet RDX stepping motor
Moisture-resistant construction
Fluorine coating
Versatile
Why is this lens the best?
The lens keeps the essence of mirrorless interchangeable lens cameras alive by delivering excellent image quality in a compact and lightweight body.
The low price of this lens stays true to the mirrorless concept, if not beyond it.
Tamron’s first Di III RDX lens raised the bar, so it’s no surprise that the second RDX lens has also been a best-seller.
It’ll most likely stay put for a long time.
Incredible Focus:
To continuously generate clean shots, focus precision and repeatability are essential.
At 28mm focal length, the lens’ repeatability (the precision of focus on the same subject after repeated focus-acquisition) is good, with no outliers across a series of 40 images on Sony A7 II.
There is some focus variance, with the lens hitting the (focus-) mark closer to the camera.
The lens focuses from infinity to 0.38m in roughly 0.5 seconds at 28mm focal length (1:10 magnification).
As is customary for Sony users, the zoom ring rotates through 65 degrees and has a 31mm broad rubber surface for a secure grip. It stiffens up to the point that it can only be operated with one finger.
Series of Focal Length:
This lens does not have the widest angle of view in a general-purpose zoom lens.
However, there is no overlap and no difference in size and economic efficiency.
The lens’s focal length satisfies the needs of the subject being photographed, which is one of the first reasons to buy or pick a lens for use.
Lenses with an ultra-wide-angle zoom focal length range are trendy, and for a good reason: this range is ideal for capturing a wide range of the scene.
Extreme Aperture:
Few zoom lenses have a maximum aperture opening wider than this one at the time of review, and a wide aperture is a significant feature advantage this lens has.
Wide apertures help halt the action in low light levels, both the subject’s and the cameras while keeping ISO settings low.
When photographing in good light (daylight, for example), having an f/2.8 aperture may not be a significant advantage in terms of ISO and shutter speed.
Still, the story is different in low-time situations.
AF systems benefit from wide apertures since they may work better in low-light situations.
Conclusion:
It was well worth it. It’s sharp, and I adore the feel of the lens, as well as the wording!
Fantastic photos, which I can’t upload right now because they’re on a separate laptop.
But it’s truly incredible.
This lens is perfect for all of my wide-angle needs.
It was also said to be a good vlog lens!
However, if you’re acquiring it only for that purpose, I strongly advise you to reconsider.
The Tamron 17-28mm f/2.8 is also best for landscape photography with Sony A7 II.
Sony 16-35mm f/2.8: (best travel lens for Sony a7 ii)
I was on a trip with my friends on vacation.
It was such a refreshing and nice trip that I cannot describe it.
I also took my camera.
I used Sony 16-35mm f/2.8, the best travel lens for Sony A7 II.
It is so easy to carry and use that I did not feel a burden.
I am glad that Sony has introduced these lenses because they will benefit all professional and travel photographers.
Features:
Resolving Power 50 Line pairs/mm
Two XA high surface precision
Minimum focus distance 0.28 m
Maximum Magnification ratio (x)- 0.19
Constant F2.8 max aperture maintains exposure
Depth of field
Smooth bokeh High resolution
The angle of view (35 mm) 107°–63°
Why is this lens the best?
This lens is a must-have for serious and professional photographers using Sony A7 II cameras.
The construction appears to be of good quality, and the weather-sealed box is verified.
The focal lengths from ultra-wide to moderately wide are among the most useful.
The f/2.8 aperture increases the versatility of different focal lengths, and the precise autofocus technology ensures that the high-quality photography produced by this lens is fully realized.
Overall, the FE 16-35 f/2.8 GM lens is a standout wide-angle zoom for the Sony system, and it’s my first choice.
Image Steadiness:
Although this lens is not optically stabilized, Sony compensates with Steady Shot or IBIS (In-Body Image Stabilization).
IBIS results in an unsterilized view on a typical DSLR with an optical viewfinder, indicating that stabilization was not helpful for composition or supplying a still subject for the camera’s AF system.
The viewfinder and AF-based image are read from the imaging sensor, which is stabilized, with EVFs being common in Sony’s lineup.
So, the image in the viewfinder is very well stabilized.
Image Caliber:
Sony’s GM lenses have always been impressive, particularly image quality, and the FE 16-35mm f/2.8 GM Lens is no exception.
Five aspherical elements, including two XA (extreme aspherical) elements, are used in the optical design of this lens to reduce aberrations and give the highest resolution.
According to Sony, the front XA element on this lens is the “biggest XA element ever created,” according to Sony.
Converging Tendency:
The AF system on the 16-35mm f/2.8 GM lens is Sony’s Dual Direct Drive SSM (Super Sonic Wave Motor) system, which uses a floating focusing method and is excellent for both still images and videos.
This technology is silent, and this lens focuses quite quickly.
Unfortunately, the camera’s focusing speed is partially determined in this scenario.
Even if focused at the same distance with the same subject, the Sony a7R III (latest/just-released Sony camera at review time) de-focuses the lens somewhat before concentrating on the target.
Conclusion:
Very sharp, thanks to Sony’s excellent autofocus mechanism.
Autofocus is quiet.
This lens produces beautiful colors—the wide lens with versatility.
I’ve used it to photograph real estate, landscapes, etc.
It’s not the best for portraits, but at 35mm, I suppose it’ll do the job.
For example, see the photographs I’ve included.
The Sony 16-35mm f/2.8 is also the best choice for using Sony A7 II while traveling.
Sigma 14-24mm f/8: (best wide-angle Lens for Sony a7 ii)
I have used a lot of lenses, but the most convenient ones are Sigma 14-24mm f/8.
They just change the entire scene.
The pictures feel so unreal without even editing.
They are the best wide-angle Lens for Sony A7 II.
Just because of these lenses, my shoots are known worldwide.
I am sure there are no other better lenses than these currently.
It is a hundred percent recommendation for anyone who wants the best wide-angle lens.
Features:
Ultra-wide-angle zoom lens
F2.8 maximum aperture
Falls into Sigma’s Art range lenses
Fast HSM autofocus
Sigma 14-24mm F2.8
Why is this lens the best?
A wide-aperture, ultra-wide-angle zoom lens can produce stunning images.
Therefore, it’s a must-have for most photographers’ kits.
Such a lens will be a professional requirement for architecture, real estate, and severe landscape photographers, and most others will find it a lot of fun to use.
This lens is an excellent choice for this job.
This lens is well-designed and manufactured, with weather sealing included.
The AF system is silent, quick, and (for the most part) precise.
The exceptional image quality of the Sigma 14-24mm f/2.8 DG DN Art Lens is the most notable characteristic for most people, and the affordable price tag seals the sale.
The array of Focal Lengths:
The focal length range of 14-24mm is the primary reason for purchasing this lens, and it is a fantastic range.
Fourteen millimeters is a considerable distance.
Consider wearing scene-appropriate footwear, as they may appear in the picture.
Another problem is preventing your shadow from corrupting the scene (consider wearing a nice hat and embracing the selfie aspect).
Extreme wide angles can set your work apart from the competition but generate captivating, extremely wide-angle compositions.
It’s simple to zoom out to 14mm and start shooting, but the results are typically snapshots.
A wide-angle lens pushes the background out of the frame, making it smaller than the foreground subjects.
A compelling close foreground subject and a compelling background subject will provide ideal compositions.
Though f/2.8 is a frequent aperture in zoom lenses, it is the widest aperture attainable in a 14mm-capable zoom lens, and it is one-stop wider than f/4 lenses, which are also common.
One-stop may appear insignificant, but the 2x difference in the light it gives is significant.
Using the same ISO setting as an f/4 lens, an f/2.8 max-aperture lens can stop activity in half the amount of light.
A one-stop lower ISO setting can be employed in the same light level, and the difference in noise can be significant at higher ISO settings.
The aperture of this lens can be game-changing for photographing indoor sports, low-light events like weddings, and the night sky.
Picture Competence:
Most people consider the image quality to be its most significant characteristic, and the results from this lens will blow you away.
This lens is incredibly sharp for the picture, even at f/2.8 and at all focal lengths.
Lenses are less sharp in the periphery, where light rays are refracted at a greater angle, and ultra-wide-angle lenses bend those peripheral light rays even more forcefully.
This lens demonstrates Sigma’s newest optical technology breakthroughs, with excellent corner sharpness throughout the focal length range.
Conclusion:
It helps in capturing fish-eye distortion-free super-wide shots.
It has an F/8 continuous aperture, sharp with beautiful color reproduction.
The construction quality is excellent, and the focus is consistent across the entire spectrum.
Sigma 14-24mm f/8 is the best wide-angle for Sony A7 II.
I would suggest it to all the street photographers, city photographers, astrology photographers, landscape photographers, and interior design photographers.
CONCLUSION:
Alright, guys, 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 are your Best Lens for Sony A7 II?
Is there a lens that I didn’t mention in this article that you love to use for Sony cameras?
Would you please leave your thoughts and comments below?
Related posts:
I am a Professional and Certified Digital Photographer born in the USA. I have been in this field of photography for 22 years, and in these years, I have used many photography lenses and Cameras, which I want to share here on this website about my experience. The idea for Bestoflens.com is to provide honest information about different Lenses and Camera 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 Cameras and lenses to fit their needs. You can find our unbiased reviews here on Bestoflens.
Great roundup of lenses for the Sony A7 II! I’ve been looking to upgrade my kit lens and this post has given me some great options to consider. Love the detailed reviews and comparisons – really helped me narrow down my choices. Thanks for sharing!