9 Cheap Sony Full Frame Lenses: (2023 Guide & Reviews)

Today I’m going to go through a whole bunch of really cheap options for Sony full-frame cameras.

It’s a really underrated lens, so I’m going to do an individual review on each of these lenses.

I have used all of these lenses extensively in the past.

So this is based on the real use; some of them I’ve used winning, and some just sort of muck around with.

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:-

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 bit better than what 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 really nice, so I think this is a lens with so 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 is really not going to impress anyone.

Also, I find that the focus ring is actually very smooth; it is not linear, but it is very smooth, 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 that there are no button dials switches at all on this lens.

So how is its performance? I would say it was pretty close to amazing.

I mean, I had no issues with this whatsoever; it held up with just about everything I threw on it.

I do feel confident this is going to be a good setup for you.

It’s not the fastest lens out there for autofocus performance, but it’s certainly fast enough for just about anything.

When it comes to straight-up image quality, I was actually really impressed with this thing, and F 2.8 things are super 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 couple of 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 bit of flare in my images, so I found that this was actually really good.

Now you’ll definitely notice the vignetting at F 2.8, and F 4, and F 5.6, and 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. I mean, if you are looking for an alternative to the kit lens or an upgrade to a kit lens for Sony cameras, this is going to be an amazing option.

It does give you stabilization, but this is going to 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 is going to be a better option.

There’s no question that this is going to be a trendy lens.

TAMRON 28-75 F2.8: (Sony Full Frame Travel Lens)

  • Lightweight & Compact.
  • Great walk-around lens.
  • Excellent results.
  • Autofocus is slient & fast.
  • Super sharp.
  • Great range.
  • Good low light performance.
  • Performance in 28mm f2.8 is average.

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 mostly 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 phenomenal 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 bit of noise when it comes to focusing, but nothing too outrageous.

It’s not the fastest-focusing lens ever, but it seems always to hit when you need to.

For video, I say this lens is completely acceptable for autofocus, and it’s actually 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 the image quality and the sharpness of this lens.

And right off the bat, I will tell you that it does suffer from some vignetting, especially wide opens pretty heavily.

It’s actually pretty darn sharp, and if we stopped down to F 4, It improves a little bit.

We’re going to be able to do that all the way to about F 8, and after about F 11, the picture starts to deteriorate a little bit.

Overall for image quality, it’s perfect and impressively sharp. A few aspects of this lens really surprised me, and one of them is bokeh.

It has a 7-bladed aperture, and it’s a 2.8, so you really wouldn’t expect the world out of this thing.

But personally, I think it’s batting out of its leak. The bokeh is beautifully smooth and almost completely circular.

I personally like it better than some lenses that are a lot 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’s got everything that you need you can travel around the world 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 the weight for me are some of the most awesome things about it.

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 recommend strongly consider this one.

Samyang 35mm F2.8: (Best Ultra-Portable Full Frame lens for Sony)

  • Lighter & Compact.
  • Impressively sharp
  • less distortion.
  • Full-frame coverage.
  • Good value for money
  • Plastic construction.
  • No weather sealing.
  • Some vignette.

Sony 85mm F1.8: (Sony Full Frame Portrait Lens)

I’ve been reading a lot about this lens, and in general, people seem to love this thing.

It is not very large at all. I was expecting it to be big.

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 as it does, but it is a very 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 little bit more front-heavy, but it’s not terrible at all.

And for an 85-millimeter lens, this is very compact.

So, this is an 85-millimeter lens which means it’s really 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 whole lot; I didn’t expect to like it really as much as I do.

It’s 85 millimeters, so it’s pretty tough to try to do anything inside.

It’s really tight, so if you’re trying to take a picture of something in a smaller room, even in a large room, it’s going to be really zoomed in at a 130-millimeter equivalent focal length.

But outside, this thing is super nice to autofocus on.

This lens is silent, super-fast, and very accurate; it works amazingly.

So even though it’s silent, it’s not a mechanical focus.

Optically the images that I got from this lens really blew me away, and they are super sharp; the bokeh is super creamy. Overall, I was very impressed with the image quality.

This is an amazing portrait lens, and while you do have to step back a ways to get your subject if you’re trying to do like a waist-up shot.

If you’re just trying to do headshots, this is an amazing lens, and it seems to be very sharp wide open at F 1.8.

Flaring is well controlled, and there is little to no distortion that I noticed using this thing.

The colors look great on the thing, and when I took a look at some of the headshots that I took with it, I was very impressed with just 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 just have to be very stable with your shots or use a tripod.

Now the A6500 with this thing obviously is amazing, 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 anyway.

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’re going to be pixel-peeping, and even if you are pixel-peeping, you’re not going to be disappointed.

Or at least I was not disappointed when I zoomed in and took a look at hundred percent crops with photos with this lens.

So who is this lens really it’s for? Someone who’s looking for an excellent outdoor lens is great for portrait headshots.

It also does a good job with just landscapes if you’re looking for an action semi-telephoto lens; I could see using it like soccer games and that sort of thing.

It’s not going to give you the versatility of zooming in or out, but it’s going to be at F 1.8.

So it’s going to 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 overall, an awe-inspiring little package there.

I really like this lens a lot, and I think it is a great purchase.

If you look at this lens as an investment, you can take this lens 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 85MM F1.8: (Sony Full Frame Portrait Lens)

SONY 85MM F1.8: (Sony Full Frame Portrait Lens)

  • Light, small and compact
  • Really fast autofocus.
  • Fast, bright f/1.8 aperture.
  • Extremely sharp.
  • Dust and moisture resistance.
  • Good value for money.
  • No image stabilization.
  • Some vignette.

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.

When it comes to the Sony camera system, we know that last is a costly investment in the camera, to begin with, is a lot of money, and then 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 a great 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 amazing shallowness to feel the depth and cinematic bureau with this lens; I absolutely love it.

The focal distance is very shallow so that 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 really nice and smooth.

I really love the weight of this.

Another cool thing about this lens is they make different converters; one is a 21 millimeter, which changes the F 2 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 really nice shallow fields in the middle of the sun for your cinematic film.

I like native lenses for starters, especially when it comes to autofocus; I still trust Sony’s native lenses a little bit 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 quite a neutral perspective, although that could be just 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 fairly fast on the seven-hour two cameras I used and also on my Sony A6300.

So the autofocus motor works silently.

Overall the lens is dead simple, nice, and compact, and it works great.

Let’s see about image quality.

There’s great sharpness; we can be fairly pleased with the sharpness 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 certainly not fairly 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 really 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 bad value for money. This lens is recommended.

Sony 28mm F2: (Best Budget Full Frame lens for Sony)

  • Lightweight & compact.
  • Excellent wide aperture.
  • Best wide-angle field of view.
  • Dust & splash-resistant design.
  • Very affordable in price.
  • Some distortion.
  • Soft edges.
  • No optical stabilization.

Samyang 14mm F2.8: (Best Sony full-frame lens for Landscape)

Back in September 2020, I went on a six-day hike across some of our beautiful Austrian mountains.

Before commencing that trip, I was browsing the internet to search for a wide-angle lens that 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 it.

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 or not.

The lens has the typical shape of a wide-angle lens with its big front element; while holding it in hand, it feels like a well-built lens.

This feeling probably comes from the material, which is not plastic, but I guess aluminum or some other kind of metal.

The focus rings slide smoothly, and all in all, this lens feels quite premium.

a small issue with the material is that it’s very prone to fingerprints, and I also guess it’s not exactly scratch-resistant.

A noteworthy aspect of the build of this lens is that due to the large front element, you are not able to screw on any kind of 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 fine; nothing to complain about the image is sharp enough.

I wouldn’t say outstanding but definitely adequate for my users, I don’t really 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 totally acceptable; of course, due to the extremely wide angle of this lens, the corners are noticeably distorted, which I’m wonderful with.

14 millimeters is really wide and gives an almost extreme look to your photos.

Even after using this lens for quite a while, it is repeatedly impressive how incredibly 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 amazing to capture big wide sceneries.

Another great use of this lens is capturing scenes to try to be rather close to you and therefore difficult to shoot as a whole, but this lens is actually done quite easily.

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, all in all, it’s a greatly versatile lens for many different uses, and it gives you a unique and slightly distorted, and rather exaggerated look.

The autofocus of this lens, my hiking trip, turned out to be a great autofocus test for the Samyang.

Generally, I do not have any complaints about the autofocus.

When shooting photos in good and clear lighting conditions, the speed and accuracy of the autofocus are fine.

However, in difficult situations, such as extremely low light, the lens does begin to struggle, but I haven’t had any bigger 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’d often notice that even though I’m shooting with continuous autofocus, the lens would sometimes miss the focus and then not correct itself.

I personally think that in this test, the lens is showing 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, the Samyang is actually 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 definitely a good purchase for me.

So if you’re looking for a budget, full-frame, extreme wide-angle lens with a low aperture which isn’t perfect but quite good, I can genuinely recommend this lens to you.

Samyang 14mm F2.8: (Best Sony full-frame lens for Landscape)

  • Super wide-angle lens.
  • Super cheap.
  • Lightweight.
  • It’s so sharp.
  • Good comic performance.
  • Good build quality.
  • Fixed hood.
  • Some vignetting & barrel distortion.

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 a vitally 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.

Personally, I’ve come to prefer using fine lenses for my own work, but fast standard zoom lenses are still a more fun and simple option to use.

And they’re very important for wedding photography and photojournalism, and other fields where you need to change focal length quickly.

It’s much smaller and 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 normal, 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 these days 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, obviously.

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 strong plastic with a brushed finish to it.

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 extremely smoothly.

It responded quite precisely when I manually focused the autofocus motor itself, and Wags 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 worked 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 actually very smooth to turn. It feels slightly rough.

As you move it personally like a lot of other photographers, I really prefer to have the zoom ring at the back of the lens rather than at the front loads; you’ll get used to it.

It all comes with 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 really well on my Sony, A7ii; it’s a smart enough little 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 get steadily 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 quite 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, he 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 it has a quick enough autofocus system.

As well as decent build quality, and fairly compact size, really, it’s a very well-done optic impressively sharp.

It will be popular and deservedly, so Tamron is probably a real winner here; it definitely comes recommended.

Tamron 28-75mm F2.8: (Best full-frame zoom lens for Sony)

  • Lightweight & Compact.
  • Great walk-around lens.
  • Excellent results.
  • Autofocus is silent & fast.
  • Super sharp.
  • Great range.
  • Good low light performance.
  • Performance in 28mm f2.8 is average.

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 the camera bags of holidaymakers and landscape photographers alike.

Perhaps complementing a standard zoom lens and standard 18-millimeter focal length on a full-frame camera is really nice 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 totally pushed away.

And neither is it such a wide angle that it takes frustrating precision to get your backgrounds composed 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 small as it is cosmetically uninspiring.

I was hoping it might be even smaller than this, but then again, 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.

If you’re shooting in manual focus mode, the lens doesn’t have image stabilization.

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 just a tiny bit more weight, the image corners, are actually not bad at all.

In fact, considering its small size and low price, the lenses are surprisingly good performance, even on that 42-megapixel full-frame sensor.

The good news, though, 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 smaller subjects at F 2.8; the close-up image quality is fairly sharp.

Although a little color fringing is notable on contrasting edges stopped down to four though, and 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 obviously not a lens that’s intended to bring you out of Vegas backgrounds.

But if you do get close enough to your subject, then the resulting bigger all around it will always look nice and soft.

So, overall, then, as you might have guessed, I really quite liked this one.

In terms of its optics, the lens’s shining attribute is its impressive sharpness, and that’s helped along with the fact that the major 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.

Samyang 18mm F2.8: (Cheap full-frame lens for Sony A7)

  • Small, Lighter & compact
  • Sharpness
  • Less distortion
  • Nice ultra-wide-angle
  • Impressive image quality
  • Autofocus is reliable & quick
  • Inexpensive
  • Doesn’t have image stabilization
  • Some vignette
  • No dust and splash protection

Tamron 17-28mm F2.8: (Cheap Sony full-frame wide-angle lens)

I will break this thing down; as usual, I am covering the build, the value, performance, and everything in between, so you can decide if this thing is going to be right for you.

They’re good, feel good, and it’s made well.

Its tough rubberized zoom and focus rings make this feel like a little armored tank, but it definitely feels like a hobbyist lens; it doesn’t have that professional field.

I do like it though, the size and weight really make this lens shine, and only 420 grams or just under a pound.

It’s very versatile and what it can do and where you can take it.

Notice that it doesn’t have any buttons or switches, and it 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 just gives you a bit of confidence when it comes to 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, basically, that allows water and oil to be repelled, as well as things like dirt and dust and moisture and fingerprints.

One thing that I’m not actually happy to see is how the lens actually 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 does have a nice solid metal mount that you’d expect, as well as a beautiful rigid rubber gasket, giving you that extra little bit of confidence when it comes to weather sealing.

When we’re talking value, it’s incredible and the value is definitely there.

One good thing about the autofocus is that it’s basically 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 absolutely no problems; I found this lens very responsive and accurate.

When it comes to image quality, sensors are fairly sharp throughout the entire focal range here, wide open at 2.8.

17 millimeters is quite sharp in the middle and fairly good up into the corners.

This lens is fairly good for the price for what it is, sharpness.

This lens does suffer from some pretty heavy vignetting and distortion, which is not uncommon in a lens like this.

It makes an ideal vlogging lens, assuming you have embodied image stabilization in your camera because this lens is not image stabilized.

When it comes to bokeh, it doesn’t absolutely blow you away. I would say it’s about average.

When it comes to video, it is a very capable lens and will let you get many interesting shots in size and weight, making it perfect for gimbal work and just thrown in your bag and taken wherever.

But once again, Do 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 definitely a strong consideration, especially if you’re on a budget and are looking for an ultra-wide lens for a Sony full frame. This is just a great option for you.

Tamron 17-28mm F2.8: (Cheap Sony full-frame wide-angle lens)

  • Lightweight & smaller.
  • Extremely sharp.
  • The contrast & colors are beautiful.
  • Autofocus is like a champ.
  • Awesome for the video.
  • No chromatic aberration
  • Solid build quality.
  • Super creamy bokeh
  • Good for the price.
  • Some pincushion & distortion.

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 certainly among the cheapest options 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 really 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 the whole set of remains really light and user-friendly.

Close-up shots work nicely, particularly at 36 mils where you get a nice level of detail, and you can really notice our next topic bokeh.

The F 2.8 aperture has seven blades and gives you a nice 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 definitely prominent enough for attractive 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.

That means with this lens on the A7iii; you’re getting 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 kind of cheap and cheerful, but these things do 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 a great 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 pretty 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 definitely deliver smooth cinematic results with a little effort.

The lens also struggles with rack focus, you can get nice 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 for this lens, low light will be a highlight.

You can get pretty good low-light results with this lens.

But a decently wide aperture does a good job of pulling in light so you can keep ISO lower and minimize noise and image softness.

Low light image quality itself is nice, especially at lower ISOs, and the vlog background blur you get is really pretty so you could use manual focus and pay a bit closer attention to ensure you get good results.

Let’s consider the pros and cons; we get incredible lightness and portability, which is genuinely useful.

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 really nice, and a bit of effort 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 really easy and comfortable to use.

The 36 mils cropped view is a nice 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 definitely recommend this lens.

Samyang 24mm F2.8: (Sony full-frame vlogging lens)

  • Autofocus is quick and accurate
  • less focus breathing
  • Perfect for video work
  • Excellent sharpness
  • Great walk-around lens
  • Good value for money
  • Some vignette at f/2.8
  • No dust and splash protection

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, similar to this one, a full-frame lens on a crop sensor camera; you are only receiving the center of that lens. I have to confess, though, that the issue of lines of resolution is really minor once you pick up this lens and start using it to shoot pictures. With the help of this amazing 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 on both the inside and outside. I feel 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, 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 are your best cheap Sony full-frame lenses?

Is there a lens that I didn’t mention in this article that you love to use for Sony full-frame?

Would you please leave your thoughts and comments below?

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