Today I’m going to go through many cheap options for Sony full-frame cameras.
It’s an underrated lens so I will review each individually.
I have used all of these lenses extensively in the past.
So this is based on the actual use; I’ve used winning and some muck around with it.
So I’m going to jump into 9 cheap Sony full-frame Lenses, my favorites, and a good winning combo if you’re looking for a budget combo to get into winnings.
Let’s drive in:
Which are the best cheap Sony full frame lenses?
Here are my recommended top 9 best cheap Sony full frame lenses:-
|Image||Best lens for||View on Amazon|
|Tamron 28-75mm F2.8: (Sony Full Frame Travel Lens)||View on Amazon|
|Samyang 35mm F2.8: (Best Ultra-Portable Full Frame lens for Sony)||View on Amazon|
|Sony 85mm F1.8: (Sony Full Frame Portrait Lens)||View on Amazon|
|Sony 28mm F2: (Best Budget Full Frame lens for Sony)||View on Amazon|
|Samyang 14mm F2.8: (Best Sony full-frame lens for Landscape)||View on Amazon|
|Tamron 28-75mm F2.8: (Best full-frame zoom lens for Sony)||View on Amazon|
|Samyang 18mm F2.8: (Cheap full-frame lens for Sony A7)||View on Amazon|
|Tamron 17-28mm F2.8: (Cheap Sony full-frame wide-angle lens)||View on Amazon|
|Samyang 24mm F2.8: (Sony full-frame vlogging lens)||View on Amazon|
Tamron 28-75mm F2.8: (Sony Full Frame Travel Lens)
This is a tiny compact all-around lens.
It’s a perfect focal length and F 2.8 aperture; you’re getting a little better than you can on most other walk-around lenses.
This was my go-to lens on my camera with a gimbal, and that’s because it’s so light and small that that gimbal was able to handle it with no problem.
This is nice, so I think this lens has much more value.
So let’s talk build quality, it’s more of a plastic build, and it’s much smaller and lighter than just 15 ounces.
However, that does mean that we’re dealing with plastics, and the quality will not impress anyone.
Also, I find that the focus ring is very smooth; it is not linear, but it is very soft, and the zoom ring is a little bit less, so I would have liked something a little bit better.
Another thing was probably a cost-saving measure: there are no button dials switches on this lens.
So how is its performance? I would say it was pretty close to excellent.
I had no issues with this; it held up with just about everything I threw on it.
I feel confident this will be a good setup for you.
It’s not the fastest lens for autofocus performance, but it’s certainly fast enough for just about anything.
Regarding straight-up image quality, I was really impressed with this thing, and F 2.8 things are as sharp as you would ever want them to throw it up.
Honestly, even with F 2.8, I had no problem using this, especially in the center and a few flare tests.
I’m not going to call it my favorite lens, but I thought it handled it pretty well.
My photos were still very usable. I like a little flare in my images, so I found this was good.
Now you’ll notice the vignetting at F 2.8, F 4, and F 5.6, and it pretty much ends up being nothing.
I don’t mind vignetting; you can clean it up and post it, but it is there if that matters to you.
I found it very good, even zoomed in.
Overall, it’s perfect considering the sharpness of the lens of price.
I don’t think you’ll have an issue at all, but the big question is, who should buy this thing?
I’m going to tell you that just about everybody.
This will be a fantastic option if you are looking for an alternative to the kit lens or an upgrade to a kit lens for Sony cameras.
It gives you stabilization, but this will be a better option.
I prefer having an F 2.8 aperture for just about everything we do have stabilization built into the body and most of these cameras.
And so, for me, this will be a better option.
There’s no question that this is going to be a trendy lens.
Samyang 35mm F2.8: (Best Ultra-Portable Full Frame lens for Sony)
This lens is tiny; it does come with the world’s smallest lens cap.
This lens is such a convenient size, weighing only 85 grams with the lens hood off, making this one of the ultimate lenses for portability.
This design is a little bit curious, I will admit.
Overall, the lens feels very well put together; it is primarily plastic construction with a metal mount, unfortunately missing a little rubber gasket for weather sealing.
The focus ring is firm, turning smoothly and accurately.
You won’t find any buttons or switches on this lens, and do note that it’s not image stabilized.
Overall for what it is, the build is quite good.
So, at this price, it’s got exceptional value.
The performance will have a lot to do with value, it’s small, and it’s inexpensive.
Let’s talk about an autofocus system.
There is a little noise when it comes to focusing, but nothing too outrageous.
It’s not the fastest-focusing lens ever, but it always seems to hit when you need to.
For video, I say this lens is entirely acceptable for autofocus, and it’s pretty great for stills.
I’ve been able to use this lens in quite a few different situations, and it’s never once disappointed me or let me down.
Next, let’s talk about this lens’s image quality and sharpness.
And right off the bat, I will tell you that it does suffer from some vignetting, especially wide opens pretty heavily.
It’s pretty darn sharp, and if we stopped down to F 4, It would improve slightly.
We’ll be able to do that to about F 8, and after about F 11, the picture starts to deteriorate slightly.
Overall for image quality, it’s perfect and impressively sharp.
A few aspects of this lens surprised me, and one of them is bokeh.
It has a 7-bladed aperture and a 2.8, so you wouldn’t expect the world out of this thing.
But I think it’s batting out of its leak.
The bokeh is beautifully smooth and almost entirely circular.
I like it better than some lenses that are much more expensive, but it is a personal preference.
My final thoughts on this thing for video are still pretty good; by no means does a professional video lens with the size and weight make it fantastic for gimbal work.
Of course, no lens is perfect, but this lens is a fantastic little package as far as performance goes.
It has everything you need; you can travel worldwide with this lens and forget it there.
Throw it in your bag; forget about it, and it’s there when you need it.
The size and weight are some of its most extraordinary things.
It’s a decent performer that doesn’t break the bank.
If you’re looking for, Ultra-portable 35-millimeter prime with great value and decent performance.
I strongly recommend considering this one.
Sony 85mm F1.8: (Sony Full Frame Portrait Lens)
I’ve been reading about this lens, and generally, people seem to love this thing.
It is not very large at all. I was expecting it to be significant.
So it does have some width to it, plastic lens cap on the front look at that giant piece of glass.
This feels light, honestly. It feels like it should weigh maybe twice as much, but it is a well-built lens.
It is a wide lens, so if it’s not something you’re used to, just be prepared for it, but it’s not very heavy.
It obviously doesn’t make the camera a bit more front-heavy, but it’s not terrible.
And for an 85-millimeter lens, this is very compact.
So this is an 85-millimeter lens which means it’s ideal for portraits.
When using it on crop sensor cameras, such as the A6000, it is equivalent to a 130-millimeter focal length.
This means inside, it will be tough to try to use this lens, but outside where you have space to back away from the subject, this should generate some pretty impressive results.
This thing is a lot of fun to use, and I am very impressed by it.
I like this lens a lot; I didn’t expect to enjoy it as much as I do.
It’s 85 millimeters, so trying to do anything inside is pretty tough.
It’s tight, so if you’re trying to take a picture of something in a smaller room, even in a large room, it will zoom in at a 130-millimeter equivalent focal length.
But outside, this thing is super lovely to autofocus on.
This lens is silent, super-fast, and accurate; it works amazingly.
So even though it’s silent, it’s not a mechanical focus.
Optically, the images I got from this lens blew me away, and they are super sharp; the bokeh is super creamy. Overall, I was very impressed with the image quality.
This is a fantastic portrait lens; you have to step back to get your subject if you’re trying to do a waist-up shot.
If you’re trying to do headshots, this is a fantastic lens, and it seems to be very sharp, wide open at F 1.8.
Flaring is well-controlled, and I noticed little distortion using this thing.
The colors look great on the thing, and when I looked at some of the headshots I took with it, I was very impressed with the overall visual appearance.
There’s nice subject separation, as you would expect, and overall the images coming out of this were, in my opinion, way nicer looking.
It does not have optical stabilization.
So if you’re using it on an A6000, something that doesn’t have built-in stabilization, you have to be very stable with your shots or use a tripod.
Now the A6500 with this thing is fantastic, and the camera does an excellent job of compensating for those small shakes and jitters.
The second thing is switching to manual focus.
While I understand that lenses are headed in that direction, everything’s being controlled these days electronically.
At times, it’s nice to have a lens with that tactile mechanical focus feel when you are in the mood to switch over from autofocus to manual focus with this lens.
However, I was shooting with autofocus about 95% of the time.
The third thing is this is a full-frame lens, so, in theory, you’re not getting the best optical performance.
Think of it as a giant lens opening like this, a full-frame lens on a crop sensor camera; you’re getting just the center portion of that lens.
As far as lines of resolution, I have to admit, though, that is a very nitpicky point, and once you pick up this lens and use it to take some photos.
I don’t think you will be pixel-peeping, and even if you are pixel-peeping, you will not be disappointed.
Or at least I was not disappointed when I zoomed in and looked at hundred percent crops with photos with this lens.
So who is this lens it’s for?
Someone looking for an excellent outdoor lens is great for portrait headshots.
It also does an excellent job with just landscapes if you’re looking for an action semi-telephoto lens; I could see using it for soccer games.
It will not give you the versatility of zooming in or out, but it will be at F 1.8.
So it will give you much sharper and clearer images; it’s also not super bulky for an 85-millimeter lens.
This is pretty compact.
It’s lightweight, easy to take with you on trips, and an awe-inspiring little package there.
I like this lens, and I think it is an excellent purchase.
If you look at this lens as an investment, you can take it with you and use it on your new camera.
The image quality is at a level that is much higher than the purchase price of this thing.
So I do highly recommend it.
Sony 28mm F2: (Best Budget Full Frame lens for Sony)
The most underrated and affordable lens for the Sony camera system when it comes to filmmaking.
Regarding the Sony camera system, we know that last is a costly investment in a camera. To begin with, it is a lot of money, and finding the right piece of glass can be even more money than the body.
You have asked me recently what lens I suggest when you’re starting filmmaking, and I have an excellent option for you guys; my answer is a Sony 28-millimeter f 2.0.
That’s very cheap for Sony glass, especially full-frame, so the question is, is it any good at F 2.0?
This is a low-light piece, and you get some incredible shallowness to feel the depth and cinematic bureau with this lens; I love it.
The focal distance is very shallow so you can get tight, medium, and wide shots.
This lens can do all that; taking a look at the form factor of this lens, it’s very tiny, comes in at only about 7 ounces, and it’s nice and smooth.
I love the weight of this.
Another cool thing about this lens is they make different converters; one is a 21 millimeter, which changes the F2 to an F 2.8, and the 16 millimeter changes the F stop from F 2 to 2 pointing.
I was pleased with how wide my shots were coming in and how sharp they stayed, even with the converter on it.
Now the downsides to the converse are there are no filter threads on it.
However, on the lens itself, there’s a 49 millimeter.
So you can put some UV filters on it, and you can also put some variable ND filters, whatever the case may have you.
This way, you can get some lovely shallow fields in the middle of the sun for your cinematic film.
I like native lenses, for starters, especially regarding autofocus; I still trust Sony’s native lenses a little better.
I’ve used this lens for over a year now, and I never miss focus on it when it comes to what I’m focusing on these.
It’s a standard wide-angle, not wide enough to stretch the corners of your images in any way but not tight enough to give you any particular emphasis on your subject.
So it gives you a neutral perspective, although that could be what you’re looking for.
The lens’s nice main feature is its fast maximum aperture of F2, which has lots and lots of light for shooting in darker conditions and getting somewhat out-of-focus backgrounds.
The extra-wide aperture brings that slightly unexciting focal length to life a bit, in my opinion, but the lens does not feature image stabilization.
It’s a tiny, simple piece of kit.
It feels solid but weighs only 200 grams; it has a small filter-fed size of 49 millimeters and comes with a little lens hood.
I love the small camera lenses.
The only control point on the body of the lens is its manual focus ring which turns extremely smoothly and a little heavy.
It’s electronically connected to the lens’s focus motor, but it works pretty responsively; the autofocus speed was reasonably fast on the seven-hour two cameras I used and my Sony A6300.
So the autofocus motor works silently.
Overall, the lens is dead simple, friendly, compact, and works great.
Let’s see about image quality.
There’s excellent sharpness; we can be pretty pleased with the edge of this lens.
It’s more than good enough for everyday use.
How well does the lens work against the bright night?
It puts up quite a plucky resistance; there’s not too much flaring, although we see some flashes and lowered contrast levels when bright lights are on.
And finally, Bokeh, the lens can give you somewhat out-of-focus backgrounds if you’re close to your subject.
Generally, The Bokeh seems to carry an edge of nervousness about it in almost every picture I took.
It’s not too unpleasant, but it’s undoubtedly not reasonably smooth.
Overall, while it is certainly not perfect.
I had quite a good time testing out the Sony 28-millimeter f 2.
It was sharp enough for me and my needs, small and easy to shoot with, and I enjoyed shooting with it on full-frame at f2, with any camera corrections turned on.
It always seems to yield high-quality pictures with lots of detail, and it’s not the wrong value for money. This lens is recommended.
Samyang 14mm F2.8: (Best Sony full-frame lens for Landscape)
In September 2020, I went on a six-day hike across some of our beautiful Austrian mountains.
Before commencing that trip, I searched the internet for a wide-angle lens I could take with me on the hike.
The wide angle, the aperture, and the price were my priorities, and the lens that fitted those conditions was the Samyang 14-millimeters F 2.8 I got.
Now, a couple of months later, I think it’s about time to give this lens an online review to let you guys and guys know whether this lens is worth getting.
The lens has the typical shape of a wide-angle lens with its significant front element; while holding it in hand, it feels like a well-built lens.
This feeling probably comes from the material, not plastic, aluminum, or some other metal.
The focus rings slide smoothly, and all in all, this lens feels quite premium.
A minor issue with the material is that it’s very prone to fingerprints, and I also guess it’s not precisely scratch-resistant.
A noteworthy aspect of the build of this lens is that due to the significant front element, you cannot screw on any filter.
To use an ND filter, you’d have to get one of those mounts which hold these square filters.
Secondly, let’s check the image quality. Generally, the image quality is acceptable; nothing to complain about; the image is sharp enough.
I wouldn’t say outstanding, but adequate for my users, I don’t care about corner-to-corner sharpness because the corners are just not that important in an image, but I’d say this does an okay job.
The corners are neither completely soft nor tack sharp.
I find it acceptable; of course, due to the extremely wide angle of this lens, the corners are noticeably distorted, which I’m lovely with.
14 millimeters is wide and gives an almost extreme look to your photos.
Even after using this lens for quite a while, it is repeatedly impressive how wide the images are.
When using this lens, objects close to the lens will appear strongly in the foreground and get pulled closer to the viewer.
On the other hand, this lens is also excellent for capturing wide sceneries.
Another great use of this lens is capturing scenes to try to be relatively close to you and, therefore, difficult to shoot as a whole, but this lens is done relatively quickly.
Even with such a wide focal length, you can get some decent shallow depth of field in certain situations.
As the distance between the camera and your subject increases, the depth of field will rapidly become deeper.
So, it’s an incredibly versatile lens for many different uses, giving you a unique, slightly distorted, and somewhat exaggerated look.
On my hiking trip, this lens’s autofocus was a great autofocus test for the Samyang.
Generally, I do not have any complaints about the autofocus.
When shooting photos in excellent and clear lighting conditions, the speed and accuracy of the autofocus are fine.
However, in difficult situations, such as meager light, the lens does begin to struggle, but I haven’t had any more significant frustrating issues with it when shooting photos.
On the other hand, when shooting video, the lens does struggle a little more during my hike.
I often noticed that even though I’m shooting with continuous autofocus, the lens would sometimes miss the focus and not correct itself.
In this test, the lens shows its capabilities pretty well.
If you start looking for full-frame lenses, you’ll quickly realize now what you will find; it’s going to be expensive compared to lenses for smaller sensors.
And therefore, Samyang is at the mid or even low-end pricing compared to the rest of the choices.
The 14-millimeter generally does a good job, but it’s nowhere near perfect, which is expected when going for the lower price.
In conclusion, the Samyang 14-millimeter f 2.8 was a good purchase for me.
So if you’re looking for a budget, full-frame, extreme wide-angle lens with a low aperture that isn’t perfect but quite good, I recommend this lens.
Tamron 28-75mm F2.8: (Best full-frame zoom lens for Sony)
A fast standard zoom lens with a maximum aperture of F 2.8 is an important option for manufacturers.
To offer on any camera system provides a flexible compromise between having a workable zoom range and still having a wider maximum aperture for shooting in low light or getting somewhat out-of-focus backgrounds.
I’ve come to prefer using good lenses for my work, but fast standard zoom lenses are still a more fun and straightforward option to use.
And they’re essential for wedding photography, photojournalism, and other fields where you need to change focal length quickly.
It’s much smaller, lighter, and less than half the price of the Sony lens.
The good news is that it’s designed from the ground up to work with Sony’s cameras.
So, in-camera corrections, I autofocus and fast hybrid autofocus, are all available as usual, and they all worked properly in my testing, including my autofocus feature.
This time-on option does not feature image stabilization.
Now, that’s an unusual feature to emit and perhaps a slightly risky decision from Tamron.
But then again, perhaps not, as most of Sony’s newest cameras are coming with in-body image stabilization now, which is very good these days.
It’s also worth noting that this lens’s zoom range starts at 28 millimeters instead of the more traditional 24 millimeters is some video to show the difference, and I shot this bit of video using a different lens.
This keeps the lens’s size and weight and ultimately price down, but some people will miss having 24 millimeters available on such a lens.
The lens’s body is made of solid plastic with a brushed finish.
It weighs just over half a kilogram, it doesn’t feel heavy, but it does feel nice and solid.
It’s based on a metal lens mount with a weather-sealing gasket around the edge and will be one of the thinnest ones I’ve ever seen.
The focus ring is electronically coupled to the lens’s autofocus motor and turns smoothly.
It responded precisely when I manually focused the autofocus motor and Wagged silently and quite quickly.
However, it will hurt just a little before finally locking onto your subject.
If you’re shooting in darker conditions, it works very accurately.
I’m glad to report the lens’s zoom ring is rubberized with gentle indentations that don’t pick up much dust.
It turns very precisely, without any stickiness, but it’s not smooth.
It feels slightly rough.
As you move it personally, like many other photographers, I prefer the zoom ring at the back of the lens rather than at the front loads; you’ll get used to it.
It has the usual front and rear caps and a little plastic lens hood.
The lens’s filter diameter is 67 millimeters.
Overall, while it doesn’t feel like it’s carved out, granted, the fit and finish of this lens are nice.
It works well, looks good, and balances well on my Sony A7ii; it’s a bright enough small design.
On a full-frame camera, my Sony A7 or A7ii, with its demanding 42-megapixel sensor, in-camera corrections are turned on ads 28 millimeters.
And F 2.8, the lens is crazy sharp in the middle; the image colors on neutral contrast are excellent.
The corner Image quality is noticeably softer but not too bad.
The corners are sharper from f4 to f 5.6 to F8 and F 11. Pretty good.
So, on a full-frame camera, the Tamron lens is consistently impressively sharp with perfect contrast; the middle of the image is always excellent.
And the corners are pretty good at wide apertures and very sharp when stopped down a little.
It’s an excellent performance for a zoom lens.
Finally, bokeh, at f 2.8, can get pretty out of figures’ backgrounds; the bulkhead characteristic of this lens is a little complex and has wider angles.
So, overall, the Tamron lens has a lot of strengths besides being comparatively good Valley.
It’s very sharp; it has vibrant, neutral colors and strong contrast distortion and vignetting, which are about what you would expect for a fast standard zoom lens.
I would say that the quality of its bokeh is its weakest point, and for some photographers, that can be a deal-breaker.
But it can shoot nice and close to your subject and has a quick enough autofocus system.
As well as decent build quality, and relatively compact size, it’s a very well-done optic that is impressively sharp.
It will be popular and deservedly, so Tamron is probably a real winner here; it comes recommended.
Samyang 18mm F2.8: (Cheap full-frame lens for Sony A7)
The charm of such a lens is obvious, not to mention its market potential.
A small-sized, lightweight, inexpensive, ultra-wide-angle lens could easily find its way into holidaymakers’ and landscape photographers’ camera bags.
Perhaps complementing a standard zoom lens and 18-millimeter focal length on a full-frame camera is excellent and ultra-wide-angle.
But by no means extremely wide, your surroundings dramatically crowded around you when you’re shooting at 18 millimeters.
It’s also great for shooting indoors, but it’s not such a wide angle that your subject is pushed away.
And neither is it such a wide angle that it takes frustrating precision to compose your backgrounds nicely.
Also, this lens’s maximum aperture of F 2.8 is just about bright enough to capture the sky at night at a pinch.
A reasonable price for this lens could be a recipe for serious success.
The lens itself is as tiny as it is cosmetically uninspiring.
I was hoping it might be even smaller than this, but ultra-wide-angle lenses need more complex optics inside them to perform well.
It’s impressively lightweight for a full-frame lens.
It’s based on a metal lens mount with a body that feels metallic, but there’s no way they’re sealing a gasket at the rear.
The only control point on the lens is a plastic focus ring, which turns smoothly.
It works with the focus motor nicely and responsively.
The lens doesn’t have image stabilization if you’re shooting in manual focus mode.
But it does have a camera-controlled aperture and autofocus; the autofocus motor is quick and reasonably confident when shooting in stills mode.
It also works nicely and accurately.
It’s an impressively quiet autofocus system, too, although when shooting video, if you turn your recording levels way up, then you’ll catch just the faintest of clicking sounds.
At F 2.8 picture quality is lovely and sharp in the middle of the image.
Although contrast could carry more weight, the image corners are not bad.
Considering its small size and low price, the lenses are surprisingly good performance, even on that 42-megapixel full-frame sensor.
The good news is that it’s only moderate, and in all my test pictures, I never noticed any distortion problems at F 2.8.
The lens configures down to 25 centimeters, just about good enough for more minor subjects at F 2.8; the close-up image quality is pretty sharp.
Although a bit of color fringing is notable on contrasting edges stopped down to four, that is gone, replaced with some lovely extra contrast.
F 2.8 is just about bright enough for some casual Astrophotography, and the ultra-wide-angle helps too, of course, at F 2.8 over in the corners.
And finally, bokeh, this is not a lens intended to bring you out of Vegas backgrounds.
But if you get close enough to your subject, the resulting bigger will always look nice and soft.
So, overall, as you might have guessed, I liked this one.
In terms of its optics, the lens’s shining attribute is its impressive sharpness, which has helped with significant slip-ups in any other optical area.
It’s lovely and small, perfect for holidays and landscape photography.
That is combined with its reasonable price.
Incredible usefulness and impressive image quality can only mean one thing this little lens has to come highly recommended.
Tamron 17-28mm F2.8: (Cheap Sony full-frame wide-angle lens)
I will break this down; as usual, I am covering the build, the value, performance, and everything in between, so you can decide if this is going to be right for you.
They’re good, feel good, and it’s made well.
Its rigid rubberized zoom and focus rings make this feel like a little armored tank, but it feels like a hobbyist lens; it doesn’t have that professional field.
I like it; the size and weight make this lens shine, and only 420 grams or just under a pound.
It’s very versatile, what it can do, and where you can take it.
Notice that it doesn’t have any buttons or switches and has a nice short throw, letting you go from one end of the zoom range to the other very quickly.
The rubberized coating feels very nice and sturdy and gives you confidence when zooming in and focusing.
The focus ring is electronically coupled to your camera and is smooth and accurate.
On the front element, you’ll find a convenient fluorine coating that allows water and oil to be repelled, as well as dirt, dust, moisture, and fingerprints.
One thing that I’m not happy to see is how the lens extends when you zoom.
It doesn’t extend the overall length of the lens, but it may open this lens up for unnecessary dust and moisture and whatnot to get in.
It has a pleasant solid metal mount that you’d expect and a beautiful rigid rubber gasket, giving you that extra bit of confidence in weather sealing.
When we’re talking value, it’s incredible, and the value is there.
One good thing about the autofocus is that it’s silent.
Following subject and face tracking on my A7iii with this lens was pretty good and reliable for the most part.
But when it comes to stills, I had no problems; I found this lens very responsive and accurate.
Regarding image quality, sensors are pretty sharp throughout the focal range here, wide open at 2.8.
17 millimeters is quite sharp in the middle and relatively good up into the corners.
This lens is pretty good for the price for what it is, sharpness.
This lens suffers from some heavy vignetting and distortion, which is not uncommon in a lens like this.
It makes an ideal vlogging lens, assuming your camera has embodied image stabilization because this lens is not image stabilized.
When it comes to bokeh, it doesn’t blow you away. I would say it’s about average.
Regarding the video, it is a sharp lens and will let you get many exciting shots in size and weight, making it perfect for gimbal work and just thrown in your bag and taken wherever.
But once again, keep in mind that it’s not image stabilized.
Looking at performance as a whole, this lens does perform relatively well in both photo and video.
Let’s start to wrap this up.
This is a great performing lens with many things going for it, from its size and weight to build quality and overall performance.
I give the Tamron 17 to 28 for a solid start.
This is a vital consideration, especially if you’re on a budget and are looking for an ultra-wide lens for a Sony full frame. This is just an excellent option for you.
Samyang 24mm F2.8: (Sony full-frame vlogging lens)
It is the best-value full-frame lens for vlogging.
It is among the cheapest lenses available for Sony full-frame and the most affordable for vlogging.
And get an F 2.8 aperture, built-in autofocus, and a 49-millimeter filter thread, all in a super compact and portable form factor, smaller than a hamster, and much less likely to poop in your hand.
This is a prime lens with a 24-millimeter focal length, but what does that mean for our field for landscapes that 24-millimeter focal length to get in the full-frame mode and capture an expansive view?
It’s wide, but thankfully not wide enough to be distracting.
You can also switch to a PSC motor for a 1.5 times crop giving you a 36-millimeter equivalent view.
You still capture plenty, but it’s a little more focused and a bit closer to the field of view of the human eye for vlogging; you’ll want to stay in full-frame mode at 24 millimeters, where you get a nice view.
Shifting handheld at arm’s length, this might be slightly tight if you shoot with a body that has gyro stabilization and later cropping with catalysts to stabilize your footage like I often do.
But I’d say it’s still an excellent vlogging angle.
The form factor of the lens of the whole set remains light and user-friendly.
Close-up shots work nicely, particularly at 36 mils, where you get an excellent level of detail, and you can notice our next topic bokeh.
The F 2.8 aperture has seven blades and gives you an excellent shallow depth of field-pleasing smooth transitions between in and out-of-focus areas.
This isn’t the most dramatic bokeh I’ve ever seen dramatic, but the Samyang bokeh is prominent enough for stunning results.
Clear contrast between subject and background for vlogging bokeh nicely smooths out the background giving a clear focal point without totally obscuring what’s behind you.
Overall, I think the bokeh is nice while remaining understated, and while it can be beautiful in close-ups.
The design and build quality of the lens isn’t super light at 93 grams and ultra-compact, just 3.7 centimeters in length.
With this lens on the A7iii, you get a full-frame F 2.8 setup with autofocus that weighs just over 600 grams.
It might even fit in a larger coat pocket which is pretty crazy.
So, the design is pretty cool, but the build quality is where you see the compromise is behind that budget price tag.
The lens feels plasticky, not very robust, and like holding a parrot with diarrhea.
It’s not a great experience at hand.
Even the lens cap feels cheap and cheerful, but these things contribute to that insane lightweight.
The Samyang is wide enough that a slight crop stabilizing with catalysts still leaves a good vlogging angle, so it’s an excellent option for zero cost and zero extra gear.
Just remember the need for extra manual effort in post-production.
On the topic of manual effort, the manual focus experience here is pretty decent.
The focus ring gives consistent results and doesn’t have a huge range of motion from closest to furthest focus.
So it’s reasonably good for manual focus balls.
It can deliver smooth cinematic results with a little effort.
The lens also struggles with rack focus, you can get excellent results with touch-tracking autofocus, but my success rate was patchy.
The autofocus is good enough for vlogging and basic shots.
F 2.8 aperture means that low light will be a highlight for this lens.
You can get pretty good low-light results with this lens.
But a decently wide aperture does an excellent job of pulling in light to keep ISO lower and minimize noise and image softness.
Low-light image quality is excellent, especially at lower ISOs.
The vlog background blur you get is beautiful, so you could use manual focus and pay closer attention to ensure good results.
Let’s consider the pros and cons; we get incredible lightness and portability, which is genuinely helpful.
However, the trade-off here is very budget-focused build quality, still an overall positive, in my opinion.
Another pro is the f 2.8 aperture bokeh is more understated than I expected.
However, it’s still smooth, looks nice, and with a bit of effort, it can get great results focal length is also a positive 24 millimeters, which works well for vlogging.
And the lightness means that if you want to add a grip extension, it remains straightforward and comfortable.
The 36 mils cropped view is an excellent extra option.
I particularly like close-ups, but it’s not all good.
We get no built-in stabilization, so you’ll need to either pay with cash for a gimbal or pay with your time to use capitalist stabilization since Sony’s built-in steady shot.
I can recommend this lens.
Are Sony FE lenses full-frame?
Yes, both full-frame and APS-C cameras may use Sony FE lenses. The greatest Full Frame Portrait Lens from Sony has always been the 85mm F1.8. I get better pixels, a higher resolution, greater depth-of-field control, and wide-angle coverage with this whole frame. Imagine it as a massive lens opening, like this one, a full-frame lens on a crop sensor camera; you only receive the center of that lens. I have to confess, though, that the issue of lines of resolution is minor once you pick up this lens and start using it to shoot pictures. With the help of this fantastic lens, I completed many tasks, like my friend’s clothing brand portraits, which required the full frame of the studio wall.
Is a full-frame camera worth it?
Yes, a full-frame camera is worth it. Due to their ability to capture more light and information than crop sensors, full-frame sensors typically result in photographs with greater resolutions. Additionally, they perform better in dim light because of the same reason. They offer images with less noise and sharper and more precise details without requiring higher ISO settings. For my journey to Seixal, one of Madeira, Portugal’s most picturesque beach villages, I used my Sony A7III full-frame camera. On this camera’s screen, the natural black volcanic rock that characterizes the north shore of Madeira is always present and produces a breathtakingly gorgeous image.
Why are Sony lenses expensive?
Sony lenses are expensive because of their exceptional quality, which directly impacts the cost of production. Most people will immediately notice the contrast and clarity of an image when comparing a low-cost lens to an expensive lens. Usually, the more expensive lenses have superior coatings inside and outside. In addition to other things, layers assist in reducing light scatter, which can improve light transmittance. Sony’s power zoom lenses provide constant, silent zoom control for fluid, precise motion—even at highly modest speeds. Unmatched versatility is provided with the zoom ring, lever, and remote zoom functionality.
How do I know if my Sony lens is full-frame?
Multiply the focal length listed on the lens by 1.5 to get the 35mm equivalent focal length for a lens mounted on an APS-C camera. The term “Full E-mount,” which is short for “Full E-mount,” refers to lenses made by Sony that were created specifically for their full-frame sensor cameras, such as the a7 and a9 series. The “FE” abbreviation is used to identify “FE” lenses. APS-C sensor cameras like those in the Sony a6000 series have been known to use FE lenses despite the 1.5x multiplier requirement. Although they are incompatible with full-frame sensors, it is still conceivable. I can tell whether the lens my Sony camera shipped with is a full-frame lens in this manner.
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 are your best cheap Sony full-frame lenses?
Is there a lens I didn’t mention in this article that you love using for Sony full-frame?
Would you please leave your thoughts and comments below?
5 Best Sony Full Frame Zoom Lenses: (2021 Guide & Reviews)
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.