Spoiler alert: this camera is indeed one of the best choices on the market if you’re mainly a vlogger. It’s got everything you need, including the best array of vlogging lenses on the market. If you’re looking to step up from vlogging on a phone to creating high-quality, cinematic video, the Sony ZV-E10 II is our top choice.

On the other hand, without a viewfinder, it struggles to meet the demands of an all-around mirrorless camera like the Sony A6700. (The two camera bodies share a 26-megapixel sensor, by the way.)

Could it really be that simple? “If you’re a vlogger, buy this camera. If not, don’t…” …Let’s dive into this review and find out more!

Sony ZV-E10 II Specifications

• SENSOR: 26-megapixel BSI CMOS “Exmor R” sensor (APSC, 1.5x crop)
• LENS MOUNT: Sony E (APSC, 1.5x crop)
• STILL IMAGES: 6192 x 4128 pixels (26 MP)
• VIDEO: 4K (3840 x 2160) 60p (with 1.1x crop, scaled from 5.6K)
  H.265/XAVC HS 4:2:2/4:2:0 10-Bit
  XAVC S-I 4:2:2 10-Bit
  H.264/MPEG-4 AVC/XAVC S 4:2:2/4:2:0 8/10-Bit
• AUDIO: Three-capsule microphone, automatic directional focus
• ISO: 100-32000 native, 50-102400 extended, 100-6400 Auto-ISO
• AUTOFOCUS: Hybrid AF, 759 phase-detect (photo) / 495 phase-detect (video) AF points
  AI-trained subject detection & tracking (does not include dedicated AI processor)
• SHOOTING SPEED (FPS): 11 fps stills
• SHUTTER SPEEDS: (All-electronic shutter) 30 sec to 1/8000 sec
• STABILIZATION: No mechanical “IBIS”, digital-only “active” stabilization (crop applied; video only)
• VIEWFINDER: None
• LCD: 3-inch, 1.03M dot articulated LCD touchscreen
• CONNECTIVITY: USB-C, mini HDMI, microphone & headphone sockets, wifi & bluetooth
• STORAGE: SD-XC UHS-II (x1)
• BATTERY: Sony NP-FZ100 battery (CIPA rated 610 still photos, 195 minutes video recording full HD)
• BODY CONSTRUCTION: metal & plastic, no weather sealing
• SIZE: 4.5 x 2.7 x 2.1″ (114.8 x 67.5 x 54.2 mm)
• WEIGHT: 13.3 oz (377g) w/ battery & SD card
• PRICE: $1098

Sony ZV-E10 II Review | Who Should Buy It?

Spoiler alert: the “V” in ZV-E10 stands for VLOGGING. Yes, it really is that simple; if you’re not primarily creating selfie-style content / imagery, then this camera likely isn’t for you. On the other hand, if you are indeed a vlogger, then this Sony ZV-E10 II is one of the absolute best choices on the market today.

We’ll briefly cover which exact style of (mostly video) content creation you might consider this camera for, but suffice to say, it’s all about pointing the camera at yourself…

Everyday Life Vlogging

With its ultra-portable form-factor, and yet with its extra-large, all-day battery, the Sony ZV-E10 II is the perfect choice for any vlogger who wants the best all-around vlogging camera that they can take with them anywhere, every day.

Combined with the excellent, compact, affordable APSC lenses that range from simple primes like the Sony 15mm f/1.4 G, to the excellent zooms such as the Sony 10-20mm PZ, …and you truly do have the perfect kit that can take you from “total beginner” to “creative master”.

The only caveat I must mention is one that all vloggers probably already know about: without mechanical stabilization, (IBIS) …you’ll likely want to own a gimbal stabilizer for ultra-smooth video. Something like the Hohem iSteady MT2 is a good balance for most content creators; it’s decently portable & affordable, but also powerful enough to balance a mirrorless camera even if you attach a bigger, front-heavy lens.

Travel Vlogging

Doubling-down on the portability aspect of things, I love the Sony ZV-E10 II as a travel and adventure vlogging camera as well. Beyond everyday life, this is also the camera I’d take with me if I was (primarily a vlogger) going to far-off destinations, or just local in-state adventures here in California.

As a travel landscape photographer in particular, however, I do concede that the ZV-E10 II is more of a complement camera; I would still love to have a Sony R-series camera with me for those epic once-in-a-lifetime landscape scenes. (To be clear; I would probably still end up using the ZV-E10 II 75-90% of the time; the sensor is that good, even for landscape photography!)

The only major drawback for this category of content creators is the same as the everyday life one: no mechanical IBIS. If you’re doing a lot of hiking, road-tripping, etc, you might want to add a gimbal stabilizer to your kit, so that you can keep the full-sensor (almost) crop factor and its higher-quality video.

In-Studio Vlogging

If you’re working in a static, controlled environment, the lack of mechanical stabilization becomes a non-issue, and your decision to choose the ZV-E10 II gets even easier! Also, this “mark 2” generation camera continues offering the perks of its first-gen predecessor: things like both an audio and microphone socket, direct USB-PD power, and (micro) HDMI output. This means you’re making the right decision whether you’re just looking to keep it simple, or you’re looking to integrate a 2nd or 3rd camera into a high-end studio setup.

Professional Photography BTS Vlogging

Next, let’s consider everyone who is still primarily a photographer or videographer, but who is looking to create BTS footage. Maybe you’re a professional portrait photographer or wedding videographer, and you’re creating additional content to directly promote your business, or you’re creating valuable educational content. Maybe you’re a landscape photographer with a popular Youtube channel!

Either way, you probably don’t want to tie up your primary (full-frame?) camera every time you wish to grab some more BTS footage. Even if you’re a two-camera pro, in my opinion it’s just annoying to juggle very different tasks/duties with the same cameras.

With that in mind, the Sony ZV-E10 II is a perfect compromise: You can keep it separate and dedicated, especially with a dedicated vlogging / BTS lens such as the Sony 15mm f/1.4 G or the Sony 10-20mm f/4 PZ. However, on select occasions, you can also throw on a more exotic lens such as the Sony 50mm f/1.2 GMaster, if you so desire.

By comparison, if your professional BTS kit were the Sony ZV-1 II, a point-and-shoot sized vlogging camera with an 18-50mm (equivalent) lens, then yes, you’d save even more on space & weight, but you’d also be making substantial compromises on both sensor size and lens versatility.

Cinematic Movie-Making BTS Vlogging

All of the previous advice remains relevant if you’re looking to make movies, or any sort of cinematic content, and you require a BTS or 2nd/3rd camera setup. For professional work in general, one thing that is very important is interface synchronicity, and general performance reliability. It’s hard to quantify, but simply put, it saves you a ton of headache if all your gear has roughly the same interface, residing within the same ecosystem.

It’s not just about being able to swap lenses; indeed, it’s so much more. Having the same autofocus system/interface, having roughly the same menu layout, and (to some extent) similar physical controls, …all of this adds up and makes a huge difference.

So, here’s my conclusion: Even if your primary video camera (or just your dream camera) is a Sony FX3 or FX30, this ZV-series camera makes an excellent addition to your kit.

Sony ZV-E10 II Review | Pros & Cons

Video Quality

Compared to its predecessor, the Sony ZV-E10, the ZV-E10 II is quite a leap forward. Not only does video quality jump to 4K 60p, it also loses most of the crop factor; a mere 1.1x crop is applied for UHD/60 recording. Oh, and the 4K/30p recording has no crop whatsoever, which was a 1.23x crop on the predecessor.

There’s also the jump to 10-bit video from 8-bit, which is particularly beneficial for those who are looking to perform color grading on Log footage. Lastly, keep in mind that this 4K video is actually coming from either 6K or 5.6K actual video, thanks to that 26-megapixel sensor.

Speaking of the sensor, here’s another perk: since it’s a much faster sensor overall, you gain the huge benefit of significantly less rolling shutter effect. This is very important for on-the-go vloggers who are likely to be doing a lot of active content creation, especially in urban settings with a lot of straight, vertical lines, potentially.

Lastly, the various color profiles, or LUTs, or S-Log 3 settings, whatever you prefer to use, …how edit-able are the video files? In my experience, the quality is incredible whether you’re looking to get colorful, clear video without any editing, or you’re looking to capture “flat” original clips and then color grade them. The latter will of course require some mastery of the in-camera settings, and finding what works for you, but the results are indeed stunning. I am particularly impressed by the dynamic range. Below you will find my “secret recipe” for the best balance of in-camera and color-graded footage:

Instead of using a Sony Picture Profile, I opt to switch back and forth between Sony’s “Creative Looks”. When I want in-camera perfection without any editing required, I use “VV2” to balance saturated colors and good contrast but also decent dynamic range. When I know a scene is too high-contrast to try achieving perfection in-camera, I switch to “SH” which reveals an incredible amount of shadow detail, and only requires a simple curve adjustment to color grade.

All in all, the bottom line is that videos from this camera are incredibly detailed, sharp, and of course vibrant and colorful. Whether your content creator style is to pick an in-camera Creative Look and just upload straight to social media, or you’re looking to color-grade all your footage in a high-end program such as DaVinci Resolve, …either way the Sony ZV-E10 II is an excellent choice in terms of video quality.

Image Quality (Stills)

Keep in mind, of course, that this camera’s sensor is indeed “identical” to that in the Sony A6700. (I put “identical” in quotes because I’m too lazy to dig really deep into the nuances of chip readout circuitry, and the processing that is attached to the sensor’s AF system, etc.)

If you’ll recall, I already titled the A6700 as the ultimate adventure landscape photography camera, and I was truly impressed with its image quality for both stills and video. So, suffice to say, the ZV-E10 II offers great raw stills, for those of you who are looking to capture both stills and video with this camera.

The dynamic range is incredible, and the high ISO performance is truly impressive. I wouldn’t hesitate to use this sensor for all manner of landscape photography, if I was on a serious weight budget for a backpacking trip in Patagonia or New Zealand… Indeed, the resolution is excellent; ~26 megapixels is around the sweet spot for APSC sensors, in my opinion, when it comes to avoiding diffraction and still having enough versatility of aperture choices.

Keep in mind, however, my one caveat: If you’re very serious about stills, indeed if you do more stills than vlog-style video, …I strongly recommend the A6700 instead.

Build Quality / Durability

Physically, the ZV-E10 II is a delight to handle. It’s ultra-portable, and yet, it feels quite ruggedly built. There is no weather sealing, but honestly I’ve taken so many different cameras out into the elements, I am merely “a little more careful” when it starts raining, or in a sandstorm, and it’s usually okay.

I really appreciate the balance of size, weight, and the inclusion of the bigger NP-FZ100 battery. The body itself does have some serious limitations, but we’ll get to those later… 

Autofocus Performance

Autofocus is one of the highlights of any Sony camera, and the ZV-E10 II is indeed a reliable performer. Despite not including the AI processor that is dedicated to subject detection/tracking, it does have the AI-based training which allows its AF system to really stick like glue to almost any subject.

The Real-Time tracking is simply the best continuous AF tracking system on the market, both in terms of the actual results and the interface.

The only thing I wish this camera had is the “Auto Framing” mode, which would have been awesome for solo vloggers. Sony’s “Auto Framing” system is highly useful, with its ability to create dynamic, subject-following video panning out of a static camera angle.

Overall Performance

All in all, the ZV-E10 II is very clearly dedicated to vlogging, and vlogging alone. The stills FPS max out at 11 fps, and there’s no mechanical shutter which carries a small assortment of minor quirks. But mainly, of course, there’s the glaring omission: no viewfinder. For this reason, I keep coming back to this very straightforward statement:

If you’re mostly pointing this camera at yourself, the overall performance is par-excellence. If you’re mostly pointing the camera elsewhere besides “selfie” framing, however, there are better choices to be had.

Features, Customizations, & Ergonomics

Here is where I get to nit-pick a little bit more, aside from my repetitive complaint about the missing viewfinder: The ZV-E10 II, like most vlogging cameras, has been optimized for lightweight portability. (For good reason! Holding any camera out at arms length, especially on a gimbal, takes immense arm strength…)

Unfortunately, this comes with additional drawbacks. Namely, the buttons & dials are a bit less abundant than I would prefer, and there is no mechanical IBIS on the sensor. Both of these can lead to some mind frustration, for anyone who is used to an A-series camera that has abundant command dials, customizable buttons, and of course sensor-based stabilization that allows for both stills and video to be steadied. (And without any additional video cropping, either!)

Honestly, though? A vlogger who is mostly using a gimbal is not going to care about these drawbacks. They’re going to appreciate how lightweight the body is, and how video-focused the controls and customizations are overall.

Even if you do find yourself hand-holding this camera, by the way, you’ll likely appreciate that larger battery even more; it adds much-needed gripping surface area compared to all the NEX-style predecessors that used the smaller battery.

Value

Despite the recent slight increases in price, the Sony ZV-E10 II is still one of the best deals on the market in terms of its price-to-performance ratio. At just around $1.1K without a lens, or around $1.2K with the most basic kit lens, you’re gaining access to one of the most professional systems available to vloggers.

Personally, I’d pair the ZV-E10 II with either the Sony E 10-20mm f/4 PZ G, for adventure & travel vlogging in general, or the Sony E 15mm f/1.4 G, for its incredible background blur capabilities in more cluttered, urban/home everyday environments. (Both lenses cost the same; ~$850.)

Sony ZV-E10 II Review | Compared To The Competition

Within the last few years, we have seen a shocking number of dedicated vlogging cameras hitting the market! The Sony “ZV” series has been steadily growing for over half a decade now, starting with the original ZV-1. Other brands have also entered the fray, albeit very recently. With that in mind, I’ll categorize my “alternative choices” into three groups: the other Sony ZV type cameras, the other Sony cameras in general, and the other brand competitors…

When it comes to the ZV range of cameras, the Sony ZV-E10 II is a perfect balance. That is to say, in my harshest, admittedly exaggerated opinion, the full-frame Sony ZV-E1 is a bit overkill for “just vlogging”, and the point-and-shoot Sony ZV-1 is more of a beginner-oriented vlogging camera with its “tiny” sensor and fixed (18-50mm zoom) lens. So, if you’re interested in vlogging, this is my top recommendation in the Sony ZV category.

What about other Sony cameras, though? If you’re not a vlogger, and you’re just looking for a B-roll or BTS camera, then once again I believe this APSC format ZV-10 II is a perfect complement to the Sony FX-Series of video cameras.

Having said that, things do get complicated if you’re doing both stills and video, (the FX series also has no viewfinders) …and downright problematic if you’re doing mainly stills. With that being said, I’ll keep this very simple: If you’re looking for a lightweight but “ultimate” camera that can do both stills and video, check out the Sony A7CR for its “big print landscape photography” resolution, or check out  the Sony A7 IV for it’s all-around balance of performance, image quality, and flagship-style controls, without breaking the bank.

Or, as I’ve mentioned already, check out the Sony A6700 if you’re trying to find that travel/adventure camera without the heft and size of full-frame.

 Finally, other brands have just begun to offer vlogging-oriented competition. Nikon has the Z30, Canon has the R50 V, and Fujifilm has the X-M5. Here’s everything you need to know in a nutshell: The Sony ZV-E10 II is the most expensive of the bunch, and for good reason. It has the best 4K video specs, the lowest rolling shutter, and a handful of other perks.

Also, keep in mind that lens selection plays a huge rule in any mirrorless camera system investment. Unfortunately, the simple truth is that all the other brands just don’t have as many lenses that are “perfect” for vlogging. Both in terms of ultra-portable zooms, and fast-aperture primes, Sony’s E-mount wins by a significant margin when it comes to vlogging in particular. (Check out the two lenses I mentioned above in the “Value” section!)

Sony ZV-E10 II Review | Conclusion

In the end, it really is this simple: This is the best mirrorless camera on the market for vlogging. The balance of portability, affordability, and performance are right in that sweet spot, especially if you’re also making the investment in (and carrying around the weight of) a gimbal. The results are beautiful, making a tempting offer for both beginners and serious pros alike.

Having said that, it’s definitely “just” a vlogging camera. Personally, as an all-around photographer and content creator, I would opt for the Sony A6700 instead. The jump in price is not that much, (currently around $400 more) …and there isn’t even that much lost in terms of perks specifically beneficial to vloggers!

So, there you have it, folks. I’m not a full-time vlogger, but I do love creating all sorts of content, from family vacations to wilderness backpacking trips. The ZV-E10 II may not be perfect for me, but it is likely perfect for many other content creators out there.

Check Pricing & Availability

The Sony ZV-E10 II is available starting at $1098 for just the body. For $100 more you can get a kit with the modest 16-50mm zoom lens, or for ~$850 more you can get a kit with the excellent 10-20mm PZ. Sony has quite a few other kits available, too, but those are my top recommendations.

A “PZ” lens is a Power Zoom lens. Its zoom s controlled electronically, not mechanically, which has both advantages and disadvantages. Specifically, if you’re a videographer, you can zoom in or out very, very smoothly while you’re actively recording. This is essential for creating that smooth, cinematic look in your videos.

So, having PZ might not be very important for everyone, that’s for sure. However, is it a problem for anyone who doesn’t need it? In the past it used to be, because the precision of the electronic zooming was not as crisp and responsive as a mechanical zoom ring. Today, that’s is no longer the case; a current-generation PZ lens is very snappy, and in some cases such as with this lens, you can even customize how responsive the zoom ring is! But, we’ll get into that in greater detail as we dive into this review.

Suffice it to say, this lens is sharp, compact & lightweight, and effectively delivers “GM” performance on a “G” budget!

Sony FE PZ 16-35mm f/4 G | Specification

• FOCAL LENGHT & ANGLE OF VIEW: 16-35mm, 107° to 63° (full-frame)
• LENS MOUNT(S): Sony E-mount (FE full-frame)
• APERTURE & RANGE: f/4-f/22, 7 rounded blades
• STABILIZATION: No
• AUTOFOCUS: XD linear motor 
• ZOOM: Four XD linear motors
• MANUAL FOCUS: Electronically controlled, linear or adjustable increments
• OPTICAL CONSTRUCTION: 13 elements in 12 groups, 2 advanced aspherical, 1 aspherical, Super ED & ED elements
• MECHANICAL CONSTRUCTION: Metal, plastic, fully weather sealed
• MAGNIFICATION & FOCUS DISTANCE: 0.23X magnification, 9.4” (24cm)
• FILTER THREADS & HOOD: 72mm, plastic 1-piece hood
• SIZE: 3.2 x 3.5″ (80.5 x 88.1 mm)
• WEIGHT: 12.5 oz (353 g)
• PRICE: $1098-1198 (B&H)

Sony FE PZ 16-35mm f/4 G Review | Who Should Buy It?

First and foremost, as a PZ lens you might assume that it’s only for videographers. That was my first assumption, when the lens was announced in 2022. As I hinted already, though, I could not have been more wrong!

Simply put, the Sony 16-35mm f/4 PZ is perfect for any photographer or videographer that finds themselves in the market for an ultra-wide zoom lens that is compact and lightweight. Despite its tiny size, the optical engineers did not seem to compromise much at all on image quality; the lens is tack-sharp throughout the zoom range, even at f/4!

Also, despite the hesitance anyone might have regarding an electronically controlled zoom, I found it to be almost a non-issue for all types of photography. The quirks of a zoom that “resets” when you turn the camera off are easy enough to get used to, or, if I recall correctly, you can set some (or all?) Sony cameras to remember the zoom position when turning the camera back on.

Landscape & Nature Photography & Video

If you’re a traditional, “regular” landscape photographer, your first question will be about this lens’ sharpness. (It’s very sharp, corner-to-corner!) Alternatively, if you do both stills and video, this lens is immediately at the top of our recommendation list, indeed!

We’ll talk more about the exact details of image quality later, but, suffice it to say, I’m thrilled with the Sony PZ 16-35mm f/4’s image quality, portability, and durability. That is one thing that is often missing from more affordable options: the reliability of weather sealing and other build quality factors; if you’re an adventurous photographer like me who might find themselves stuck in a blizzard once in a while, well, you want a lens this good.

VWedding & Portrait Photography & Video

Again, if you’re making wedding videos/films and not just shooting stills, you’ll love this lens. Its compactness allows you to keep room in your bag for more important portrait lenses such as primes or your favorite f/2.8 zoom. Furthermore, the PZ feature is just lovely for adding a high-end touch to your B-roll footage as well as action sequences.

Architecture & Real Estate Photography & Video

This lens is an immediate win if you do any sort of video content creation in your real estate or architectural photography work, of course. You might miss the ability to get to 14mm or 16mm, But the power zoom capability is likely to make up for it.

Then again, considering how portable and affordable this lens is, a professional real estate photographer might simply add it to their arsenal, and pair it with a highly specialized ultra-wide lens such as the Venus Laowa 10-18mm f/4.5-5.6, or one of the two Sony 12-24mm options.

Action Sports & Wildlife Photography & Video

Not to sound like a broken record, but the same applies for this subject genre. Of course, compared to landscapes and real estate, you’re less likely to prioritize an ultra-wide lens for action sports or wildlife! So, all the more reason to get something lightweight, compact, and affordable! And again, if you’re doing any video, this lens is an immediate win.

However, if your primary realm of photography is indeed high-speed action and you’re often scrambling to catch the perfect moment, such as extreme sports or news journalism, I should note that unfortunately it is rather easy to fumble the zoom and focus rings on this lens, and if you’re the type of person who likes a big, obvious zoom/focus ring that you can easily tell apart, this is definitely not the right lens for you!

Nightscape Photography & Time-Lapse Videos

Despite its f/4 aperture, I’d still recommend this lens for adventurous, traveling landscape photographers who might also want to capture a day-to-night time-lapse for their next Youtube film, or even a serious nightscape photo. Of course, an f/4 zoom that stops at 16mm is no substitute for a 14-24mm f/2.8 sich as the Sigma 14-24mm f/2.8 DG DN Art, let alone a beast such as the Sony 12-24mm f/2.8 GM. However, for it’s portability, it can’t be beat.

The only strong contender is the new Sony 16-28mm f/2.8 G, which we are currently reviewing. Obviously, if you do far more astro-landscape work than regular landscape photography, definitely consider that f/2.8 alternative first!

 Content Creation & Influencers VS Cinematic Movie-Makers

I wanted to introduce this last category as something new that we especially must talk about for this PZ lens. I’ll keep it short, however, since I’ve already covered most of the actual subjects you might be using this lens for.

Simply put, the compactness and portability make the lens perfect for solo content creators, influencers, and anyone who is just starting out making their very first videos on a full-frame mirrorless Sony camera.

However, despite its compact size and relatively affordable price, the sheer performance, from the image quality to the autofocus reliability, does make it a usable lens for high-end cinematic filmmaking, too!

Sony FE PZ 16-35mm f/4 G Review | Pros & Cons

This is a “G” series Sony lens, which means it is almost “GM” level in every way, except maybe one little compromise. In this case, I honestly cannot really find any reason to omit the “M”; this is a truly flagship, professional-grade optic! I suspect the only reason it’s not a G-Master is simply the fact that Sony saved the prestigious title for their more-than-double-the-price (~$2,300) 16-35mm f/2.8 GM II.

So, if you’re looking for something either more affordable, and/or more portable, and/or with power zooming compared to that GM lens, then don’t hesitate to consider this alternative.

Image Quality

Sharpness

The Sony FE PZ 16-35mm f/4 G is almost flawlessly sharp, from 16mm to 35mm, even at f/4! Stopping down just once to f/5.6 allows the lens to fully resolve incredible detail.

Even in the extreme corners, you still get quite decent results at f/4, and for those traditional landscape photographers who really love to pixel-peep a 60-megapixel frame, you’ll see fantastic sharpness by f/8-11.

Bokeh

Since this is a PZ lens, it is likely going to be used for a lot of “focus pull” scenarios, and you might wish it had been an f/2.8 or f/1.4 lens to give that buttery bokeh, of course. However, if you’re focusing close-up enough, the background blur is still beautifully smooth.

Colors & Contrast

The optics are crystal clear, and loaded with special elements and coatings to ensure beautiful images.I am especially loving using the “Camera VV” Picture Profile/Style, and I am also especially loving the look of images coming out of Capture One Pro lately.

(Most of the images in this article were edited in Capture One, and the camera was a Sony A7 IV.)

Vignetting & Distortion

The Achilles heel of almost all mirrorless lenses, I must sadly report that if you’re going to fiddle with turning off the in-camera correction profile, then you’ll begin to see the “dirty little secrets” of this lens, indeed.

With the corrections turned off completely, yes, the vignetting does get pretty bad in the extreme corners, even at f/8. But that is because the optics are designed such that you’re never supposed to even see those “true corners”. If you just let the in-camera (and in Lightroom, Capture One, etc. profile “correct itself” then it does its job perfectly. Well, almost…

As I discovered during this trip to the Ancient Bristlecones, you may still see the residual effects of the vignetting correction, if you heavily edit photos with very flat, grey tones. This is very common for virtually all mirrorless lenses that I’ve reviewed; you’ll see a warmer circle in the center and a cold (blue) colored “vignette ghost” around the edges.

(You’ll probably NEVER encounter this drawbacks, unless you’re working in white-out snow conditions a lot, AND you also get pretty heavy with the Dehaze slider in post-production.)

Sunstars & Flare

To my delight, Sony opted for a mere 7-blade aperture diaphragm with this lens, and that means a rare appearance: 14-point sunstars! They’re not as needle-point sharp as an aperture with un-rounded blades, but they’re still beautiful.

This is one thing that really cements this lens in my top spot for all kinds of work from cityscape & real estate or architectural photography, to general landscapes, again whether photo or video…

Color Fringing, Aberration, Coma & Astigmatism

You’re likely not buying this f/4 zoom expecting perfection in the extreme corners, however, you’d be pleasantly surprised if you were expecting something terrible. Simply put, yes, there is a bit of chromatic aberration, but it vanishes with the correction tools applied. And yes, there is a bit of coma/astigmatism in the corners at f/4, but honestly it’s not that much worse than an f/2.8 zoom, so, I’m calling this one a win!

Macro & Close-Up Photography

Although this lens doesn’t offer “dedicated macro” capability, it can focus decently close. More impressively, when you do focus close-up, sharpness stays very impressive when wide-open at f/4, and gets back to “basically flawless” by f/5.6. Note, however, that this is only wherever you choose to set your focus; with the field curvature this lens exhibits up-close, you won’t be getting corner-to-corner sharpness when close-up.

Design & Durability

Despite its tiny form factor, the Sony 16-35mm f/4 PZ is indeed a professional-grade lens. Its combination of metal barrel parts and a few plastic parts, plus the weather sealing, leave me feeling pretty confident that this lens will stand the test of time, even when exposed to brutal conditions on occasion. 

Focus Breathing & Zoom Balance

Two things that are extremely important to videographers are these items. Having the PZ zoom feature is neat, (especially if you can control it remotely, which is possible!) …but what about the balance of the lens’ weight on a gimbal? Indeed, this lens is so tiny, there is no way even the most compact, weak-motor gimbal is going to have any trouble balancing this lens at different ends of its zoom range.

With regard to focus breathing; there is a little bit, as with virtually all modern mirrorless zoom lenses. However, since this lens is a dedicated video lens, it does appear that Sony’s optical engineers achieved relatively minimal focus breathing. You’ll never notice it when hand-holding your footage, and you probably won’t even notice it unless your static, tripod’ed scenes are utterly static without any motion in them.

Ergonomics & Portability

I honestly don’t know how they made this lens so small and portable! I would have expected that a lens this tiny would have terrible image quality, but that’s obviously not the case.

It balances well on a full-frame camera body, and allows for one-handed shooting if that’s important to you.

The only other thing to note about the ergonomics is something I mentioned earlier for high-action scenarios: The focus ring and zoom ring are essentially right on top of each other, so, you do have to be intentional about which one you move. Otherwise, you’ll find yourself incessantly bumping focus when you meant to zoom in, (not always a big problem) …or vice versa. (Sometimes a bigger annoyance!)

If you want an excellent zoom that weighs less than 1 lb, this is one of the most portable options on the market.

Autofocus Performance

A single XD linear motor is all this compact lens needs to push its focusing glass elements back and forth; and it sure is snappy! It’s not as lightning fast to snap into focus as the Sony 16-35mm f/2.8 GM II, with its FOUR (in two groups) XD linear motors. However, lightning-fast focus is less of a concern for filmmakers compared to smoothness and quietness, both of which are areas where this f/4 zoom is excellent.

Manual Focus Performance

Of course, the focus is controlled electronically, and the focus ring does its job very well. With Sony mirrorless camera bodies these days, you can set the focus to be either linear or incremental, which allows a wide range of users to achieve the tactile feel they’re accustomed to.

Features & Customizations

We have basically already covered all of the features and customizations that this lens offers, since its electronic zooming is pretty important to your purchasing decision. However, I should also note that there is a mechanical aperture ring, which can be locked and/or de-clicked. This, along with the customizable Fn button and the AF/MF switch, complete the full array of features and customizations, once again making this a “GM lens in a G-series package”.

Value

Speaking of a GM lens at a GM price, that’s really what you’re getting here. It’s tiny, but it’s absolutely worth the $1,100 price tag! (NOTE: Sometimes it can be $1,200, but there is currently $100 in instant savings available; always wait for instant savings if you’re buying brand-new gear!)

The simple fact that this is a G-series lens with optics that are almost on par with the $2,300 Sony FE 16-35mm f/2.8 GM II, should sell you on the sheer value. Especially, of course, if you do video.

We can’t say much more about the value of the Sony 15-36mm f/4 PZ without diving into all the alternatives, so let’s do that now!

Sony FE PZ 16-35mm f/4 G Review | Compared To The Competition

In-house, the closest relative to this Sony lens is its G-Master series bigger sibling with the f/2.8 aperture. It costs more than twice as much, however. If you don’t absolutely need f/2.8, and/or the shockingly snappy autofocus, then this $1,100 lens is an absolute steal.

With that said, there are quite a few other lenses out there from third parties that are even more affordable. There is the Sigma 16-28mm f/2.8 and the Tamron 17-28mm f/2.8, as well as the Tamron 20-40mm f/2.8. If you’re a vlogger looking for an ultralight, compact wide-angle zoom then you might be attracted to that last option which is truly tiny, and comes in at just $699. However, you’ll probably agree that there’s a huge difference between 20mm and 16mm; and in my experience making videos, I’d rather have the zoom range with f/4 than have the f/2.8 aperture.

Tamron has the 17-50mm f/4, by the way, and it’s an impressively affordable $549! The lens is a bit biger and more front-heavy, though, and you’re trading one millimeter on the wide end, so you need to make sure you really want that different zoom range; don’t just buy it for the lower price tag!

Lastly, of course, Sony also has a relatively new 16-25mm f/2.8. It’s also very lightweight and compact, and it also costs $1,200, (without a rebate) …but you’re trading quite a bit of zoom range on the long end in exchange for that f/2.8 aperture. Honestly, it might not be a problem if you’re really concerned about the wide end and f/2.8, and often using crop mode to get sharper 4K footage out of your Sony full-frame mirrorless camera.

However, once again, for general photo+video work, I still have to give my top recommendation to the Sony 16-35mm f/4 PZ. Unless, of course, you do a ton of nightscape or extreme low-light work, in which case, just pick the f/2.8 zoom that fits your budget and zoom range needs.

Sony FE PZ 16-35mm f/4 G Review | Conclusion

As I mentioned at the beginning of this lens review, I didn’t expect to like this PZ lens, but I was very wrong! My only minor complaint was that the zoom and focus rings are so close and they feel almost identical, so I did get myself in the habit of using the power zoom “lever”. If you’re a photographer you can just set it to rack focus relatively fast, and it’s no problem! Or if you’re doing cinematography, you can set it to move pretty slowly, and create beautiful zoom effects in your video footage.

If you’re okay with the f/4 aperture, and especially if you want something lightweight and compact, This is the best lens of all the 16-35mm f/4’s that I’ve ever reviewed. There are a lot of alternatives that offer different focal ranges, of course, but I think this Sony lens stands above the crowd for video shooters in particular, but also for most photographers in general!

Check Pricing & Availability

The Sony FE PZ 16-35mm f/4 G can be found for $1198, although that number will likely have a periodic $100-200 savings at various times throughout the year! (B&H)

The new compact and lightweight design of the Sony 16-35mm f/2.8 GM II make it a dream lens for all types of adventure photographers, perfect for those who need a wide-angle lens high up in the mountains, of course. But this second-generation ultra-wide zoom also makes an essential addition to any wedding or elopement photographer’s kit.

While the price tag is a step up from its predecessor, the payoff is a lighter body, more consistent color, more precise, fast, and quiet autofocus, and of course, sharper images. The high-quality optics, laser focus, and portability make it ideal for weddings, elopements, sports, and outdoor adventures. Get ready for those jaw-dropping shots that will leave everyone speechless! With that said, let’s dive into the details of this lens review…

Sony FE 16-35 mm f/2.8 GM II Lens | Specifications

FOCAL LENGTH & ANGLE OF VIEW: 16mm (107°) to 35mm (63°)
LENS MOUNT(S): Sony e-mount (FE full-frame)
APERTURE & RANGE: constant f/2.8 maximum, minimum f/22
STABILIZATION: No
AUTOFOCUS: Yes, four XD linear motors, 2 groups
MANUAL FOCUS: Yes (Linear response mode available)
OPTICAL CONSTRUCTION: 15 elements, 12 groups, 3 extreme aspherical, 1 extra-low dispersion element
MECHANICAL CONSTRUCTION: Mostly metal, weather-sealed
MAGNIFICATION & FOCUS DISTANCE: 0.32x magnification, 0.22m (8.66 in)
FILTER THREADS & HOOD: Yes, 82mm, locking plastic hood
SIZE:  3.5×4.4 in (111.5 x 87.8 mm)
WEIGHT: 1.21 lbs (547g)
PRICE: $2,298.00
(B&H | Adorama | Amazon)

Sony FE 16-35 mm f/2.8 GM II Lens Review | Who Should Buy It?

The Sony 16-35 GM II lens is a game-changer for anyone needing a versatile all-in-one wide-angle lens, whether you’re out in the field capturing landscapes & nature scenes, or documenting newlywed couples on their special day.

With its ultra-wide 16mm field of view, no scene is too grand, and its well-corrected optics offer minimal distortion and vignetting which are common for wide-angle lenses. When you need to zoom in, it maintains its sharpness, making it truly perfect for everything from sweeping vistas to intimate portraits.

For landscape photographers, this lens is a dear companion, its zoom range potentially eliminating the need for multiple lenses. It performs admirably in low light, and if you need a bit of extra reach, you can crop in with your full-frame sensor, too. But of course it’s the wide shots where this lens truly shines, and its compact, lightweight design makes it almost forgettable in your bag.

Elopement photographers in particular will appreciate its versatility and portability, from expansive wide shots to detailed portraits and group shots. Whatever event or scene you’re documenting, it’s your reliable partner for a WIDE range of shooting scenarios, making every moment feel effortless and look stunning.

Primary Focus | Landscape Photography

Ready to elevate your landscape game? The Sony FE 16-35mm GM II is your ultimate all-in-one companion.

With 16mm, you’ll usually be able to capture any sweeping vista without having to stitch multiple frames. However, keep in mind that if you do need to “go wider”, (you didn’t want to lug that massive Sony 12-24mm f/2.8 GM up the mountain; that’s okay!) …keep in mind that the minimal distortion and vignetting do make panoramic stitching very easy with this GM lens.

That is why our primary recommendation is for adventurous landscape photographers who are literally taking their photography to “new heights”, indeed mountain tops! Whether for golden hour or a nightscape, this lens is a must-have. Compared to almost every other ultra-wide zoom lens on the market, all I can say is this: get ready for stunning shots without the bulk!

Sony FE 16-35 mm f/2.8 GM II Lens | Pros & Cons

Image Quality

The Sony 16-35mm f/2.8 GM II impresses with outstanding sharpness across its zoom range. Even at 16mm and f/2.8, it delivers crisp, corner-to-corner detail with minimal softening barely visible in the extreme corners.

Stop it down to f/4, and it’s already reaching peak performance, offering exceptional clarity and detail! Of course with superb high-resolution detail when stopped down even further for increased depth of field, this lens is indeed perfect for those wide angle landscape shots.

Sharpness

This lens is sharp at every aperture and f-stop, which is exactly what you want from a zoom lens that will be expected to capture the smallest details of a grand scene! You can zoom from wide to normal without losing any sharpness, creating incredibly crisp images across the entire range.

Bokeh

With its constant f/2.8 aperture and 16mm wide angle, this lens lets in plenty of light, making it perfect for capturing those starry shots. But other than that, the bokeh wasn’t necessary in a lot of the landscape scenes being shot.

At 35mm, of course, f/2.8 is respectable for portraits, and the smoothness of the background blur is beautiful, even though the DOF (depth of field) itself is not comparable to an f/1.4 prime, obviously.

[Related: read my review of the amazing Sony 35mm f/1.4 GM here!]

Colors & Contrast

This is where I’ve noticed the most significant improvement from its predecessor. The first version of the Sony 16-35 often had inconsistent color grading, with unexpected blue and red hues creeping into shots. (Especially noticeable in neutral color scenes such as winter snowscapes!

The new 16-35, however, delivers consistent, beautiful color and contrast that perfectly matches what you see with your own eyes, leaving you confident that your photos will reflect the true beauty of the scene.

Vignetting & Distortion

Any wide-angle lens will have some distortion, of course; its very nature will exaggerate near VS far subjects. However, the new 16-35 GM does an impressive job of keeping other forms of distortion in check, once again bringing your photos as close to the real scene as possible. The vignetting adds a beautiful touch to landscapes and really makes portraits pop! Of course, you can also manage both vignetting and distortion during post-processing, if you prefer to completely eliminate either one.

Sun Stars & Flare

I wasn’t a big fan of the sunstars at tight apertures, but honestly, I don’t think many outdoor or portrait photographers use this feature on a consistent basis. Cityscape photographers may be more concerned about “pointy” sunstars, but most outdoor landscape or on-location portrait photographers need not worry.

Macro & Close-Up Photography

Since the lens does not have image stabilization, you’ll likely need to use a tripod or rely on your camera’s stabilization if you’re interested in focusing as close-up as it can get! The images are indeed quite sharp, however, the magnification is not officially “dedicated macro”, so if you’re in the market for a normal or telephoto macro lens, you might want to look elsewhere.

Design & Durability

They’ve packed this lens with a bunch of new features compared to the old one, and the upgrades are very useful, especially if you’ve already embraced the new GM series with other lenses. There is the mechanical aperture ring, which can be de-clicked and/or locked, and there is also a much-welcomed AF/MF switch as well as a pair of customizable lens FN buttons.

Despite all these features, the lens is ultra-lightweight, as mentioned before. This makes it a game-changer for elopement and wedding photographers who need to make quick decisions on the fly, especially if you do both photo and video!

Ergonomics & Portability

I’m really in love with how well everything is placed on this lens. The zoom, focus, and aperture rings, as well as the other control switches and buttons, all handle very well, and will feel very familiar to anyone who has used other new lenses in the GM series. This lens is comfortable and convenient, and it shows. Its weight distribution provides a better balance in the hand as well as on a tripod.

Autofocus Performance

They put four XD (Extreme Dynamic) Linear Motors into the Sony 16-35mm f/2.8 GM II, and you can definitely notice the difference. You can shoot bursts and capture high-speed action without missing a beat, and it’s incredibly silent! The way the optical design works, it actually has two separate floating element groups, with two AF motors per group, and this is how the lens is able to offer such incredibly sharp results as well as fast, precise, and silent autofocus that really sets the lens apart from its predecessor.

Pair it with  Sony’s subject tracking autofocus technology, and you’ve got the ultimate combo for photojournalistic performance—making this lens a dream partner for active wedding photographers!

Manual Focus Performance

I actually tend to shoot manual focus a lot for landscapes, and the large dedicated focus ring is very smooth and precise, which is a very welcome difference from both older Sony lenses as well as virtually all third-party optics.

Value

This 16-35mm f/2.8 currently MSRP’s for almost $2,300, which is indeed a hefty price tag compared to some alternatives. (We’ll get to those next!) But the truth is, Sony achieved perfection with this lens, so it

Sony FE 16-35 mm f/2.8 GM II Review | Compared To The Competition

I won’t waste words here: I’ve been eagerly waiting for this lens ever since Sony started dropping their new GM series. The reduction in size, weight, and improved features are both noticeable and welcome. For any professional, this lens is a game-changer that’ll have you tossing out the old version.

Sure, the old version is cheaper, but it comes with extra weight and inconsistent color grading and image quality. Any serious photographer can’t afford to rely on that.

Aside from Sony, there aren’t any lenses that directly match the 16-35 GM II. All of the third party options have chosen to cover significantly different zoom ranges, such as 14-24mm or 17-28mm. None of these alternatives really match what a 16-35mm f/2.8 zoom lens offers. The other ultrawides that stop at 24mm are essentially no good for portraits, and most of the others are a significant compromise on one or both ends of the zoom range, yet don’t offer much additional weight savings.
Simply put, save up and get this lens, especially if you use it for the types of photography mentioned in this review!

Sony FE 16-35 mm f/2.8 GM II Review | Conclusion

The Sony 16-35mm f/2.8 GM II is a game-changer in the wide-angle zoom world, setting a new standard for image quality, portability, and zoom range. With its razor-sharp detail, accurate color, and excellent control over aberrations, it’s a pro’s dream. The lens also addresses previous issues like distortion and vignetting, while adding some fantastic new features. It’s quickly become the MVP for my landscape shots.

Whether you’re tackling epic mountain adventures or capturing every special moment of a wedding or elopement, this lens delivers breathtaking results. It’s a top-tier, flagship professional contender that is ready to take your photography to the next level.

Where To Buy The Sony FE 16-35mm f/2.8 GM II

The Sony FE 16-35mm f/2.8 GM II can be found at major retailers. The lens is approximately 1 year old at the time of this writing, so it might be plausible for instant savings to appear from time to time throughout the coming months!

(B&H | Adorama | Amazon)

It’s the most compact & lightweight full-frame camera on the market today. (With an EVF; sorry Sigma FP!) It has the highest-resolution sensor on the market, at present. (Basically the same sensor as the Sony A7RV, which I reviewed here.) The image quality is stunning, and the overall features & performance are well-rounded, although somewhat beginner-oriented.

The Sony A7CR is not a perfect camera, and there are a fair amount of critical things that I have to say about it. They certainly had to make some compromises in order to get this amazing 61-megapixel sensor into such a compact camera body, and price it under $3,000. Especially if you were hoping for an affordable way to get 8K video, or if you were hoping for the same level of autofocus performance as, say, the Sony A1 or even A7RV. However, as a landscape photographer who loves to hike, backpack, and travel, the Sony A7CR is indeed a bit of a dream camera.

With that said, let’s dive in!

Sony A7CR Specifications

• SENSOR: 61-megapixel BSI CMOS, Bionz XR processor 
• LENS MOUNT: Sony E-mount (FE full-frame)
• STILL IMAGES: 9504×6336, multiple raw compression options & sizes
• VIDEO: XAVC HS, S, & S-I, 4:2:2 10-Bit
  4K60p (1.2x crop, sub-sampled)
  4K30p (full-frame no crop; sub-sampled)
  4K30p (1.5x Super35 APSC crop, sampled from 6.2K)
• ISO: 100-32,000 native, ISO 50-102,400 extended
• AUTOFOCUS: 693-point Hybrid AF,  subject detection, Real-Time Tracking
• SHOOTING SPEED (FPS): 8 FPS w/ mechanical shutter, 7 FPS w/ electronic (silent) shutter
• STABILIZATION: up to 7 EVs shake compensation, AI-based integration w/ stabilized lenses
• VIEWFINDER: 2.36M dot OLED electronic viewfinder, 0.7X magnification, 60/120p refresh
• Rear LCD: 3” 1.03M dot LCD touchscreen, fully articulated
• CONNECTIVITY: 5g/2.5g Wifi, USB-C/PD power & charging, micro HDMI, Bluetooth 4.2
• STORAGE: SDXC UHS-II (single card slot)
• BATTERY: Sony NP-FZ100, in-camera charging or direct power
• BODY CONSTRUCTION: Magnesium alloy, weather sealed
• SIZE: 4.9×2.8×2.5″ (124×71.1×63.4 mm)
• WEIGHT: 1.1 lb (515g) including battery & memory card
• PRICE: $2,998
  (B&H | Adorama | Amazon)

Sony A7CR Review | Who Should Buy It?

I already spoiled this part of the review, but let’s dive a little deeper into exactly why the Sony A7CR is such a great camera for landscape & adventure photography. First, let’s keep in mind that the A7CR is a twin with the Sony A7C II. Indeed, they are outwardly virtually identical, they’re the same physical body and the only major difference is the sensor itself.

A different sensor does bring with it a whole bunch of different features, though, including not just resolution but also related to autofocus performance and overall speed.

With that in mind, right away we can say that if you don’t really need 61 megapixels, the Sony A7C II is immediately a better choice. Mainly, this: the A7C II costs about $2,200, compared to the A7CR’s ~$3K price tag. Honestly, the other differences are not that major between the two cameras; you’ll probably never notice the difference between 10 FPS and 8 FPS, for example. In terms of video, neither camera boasts very much sheer speed, with relatively limited 4K60p and 4K30p specs compared to video-centric options. However, the A7C II is likely a better choice for the more casual vlogger or content creator who is not planning to make any massive prints.

Now, let’s talk about specific genres of photography and videography, to better understand what the Sony A7CR is best suited…

Landscape Photography

Simply put, if you ask any landscape photographer to describe their dream camera, this is what they would come up with. Resolution / image quality, durability, and portability. This is the lightest, smallest full-frame mirrorless camera with weather sealing and sensor-based stabilization. The 61-megapixel sensor delivers impressive image quality, whether you are at ISO 100 or at nightscape ISOs. (More on that later!)

Sony really nailed the spec sheet in terms of the value here. A landscape photographer doesn’t necessarily need features like dual card slots or a gigantic, high-speed EVF, for example.

Of course, the proof is in the pudding, and all I can really say is that while colors and tonality are subjective, I’d place the A7CR up there with any of my other favorite landscape photography cameras, such as the Nikon Z7II, the Canon EOS R5, or the Sigma fp L.

It’s not just about traditional landscape photography, though. It has more to do with whether or not you as an artist are going to utilize that 61-megapixel sensor to make large prints. So, any sort of fine art photographer, whether your niche is any and all travel, adventure, nature, etc, if you make big prints, the A7CR is one of your best choices.

I should also mention that landscape photography is all about the lenses, just as much as it is about the camera sensor, and Sony’s FE mount has many of the absolute best options on the market. The native Sony FE series (especially the G lenses) is phenomenal, with a wide range of focal lengths and features, from the exotic Sony FE 12-24mm f/2.8 GM, to the lightweight & portable FE PZ 16-35mm f/4 G and FE 16-25mm f/2.8 G. Then, you can consider the abundant third-party options, from the impressive Sigma 14-24mm f/2.8 Art to the versatile, unique Tamron 17-50mm f/4.

Nightscape & Time-Lapse Astrophotography

This is something that has a lot of overlap with landscape & travel photography, at least for me it does. If I’m photographing dramatic scenery, then I’m probably going to want to photograph that same location at night.

So, how does the A7CR do at night? Its 61-megapixel sensor isn’t a champion, but it’s respectable. Let me put it this way: If I primarily did big-print landscape photography during the day, and only a little bit of nightscape & time-lapse photography, then the A7CR is perfect. However, if I mostly did nightscape, time-lapse, and astrophotography, then I would likely revert back to the all-around low-light, high-megapixel champion, the much older Sony A7R III with its legendary 42-megapixel sensor. The balance of noise and dynamic range is just a touch more useful when you’re working almost entirely at ISO 3200-6400.

Vlogging (About Travel & Landscape Photography?)

I’m going to basically write off the Sony A7CR for most videographers, so first let’s talk about which genres of video I do think this camera is well-suited (or at least adequate) for. Keep in mind that it’s not so much that this is a terrible video camera; it’s mainly just the fact that Sony themselves already offers such better choices for every budget and genre. (We’ll get to that next!)

Simply put, the Sony A7CR makes an excellent pairing with its twin, the A7C II, for folks who are creating video content that centers around their still imagery. Creators like Thomas Heaton, Pierre Lambert, and so many others come to mind.

One thing that I am really glad Sony included with the A7CR is the AI-based auto-framing system. For a solo adventurer, this really turns a video camera into an entire film crew! Considering the incredible resolution of the sensor, it’s a perfect setup for creating dynamic, motion-based content even if you’re working alone.

Again, I cannot stress this enough: It’s a perfect pairing with the Sony A7C II; because these two cameras are virtually identical, you can jump back and forth between the two very easily.

Alternatively, if you’re creating 8K video, I could recommend the A7CR as a time-lapse B-roll camera that pairs nicely with a Sony A1 or Sony A7R V, depending on your budget and your video quality demands. (The A1 having more speed & quality, but the A7RV being more than enough for calm, still, 8K nature etc. content…)

Video & Cinema

Simply put, there isn’t another area of video or cinema that I can think of the Sony A7CR being a wise choice for. Want to make movies? Get whichever Sony FX-series camera fits your budget. Are you an influencer who got started with a phone, and still prefers to keep things simple and ultralight? Get any of the Sony ZV-series cameras, depending on your budget or your desire for compactness.

The Sony A7CR doesn’t have abysmal video performance, mind you. But with the sub-sampled and cropped restrictions, it’s just not the best choice. Then, considering the 61-megapixel sensor does not offer 8K video, and considering the value of the 33-megapixel A7C II, …I’ve lost count of how many nails are in the A7CR’s coffin in terms of reasons to look elsewhere as a videographer. Literally the only thing I truly like about it is what I mentioned before: If you’re creating content as part of a two-camera setup, the A7CR and A7C II pair very nicely together for anyone who does need this incredible high-resolution sensor for their still photography.

Portrait, Wedding & Fashion/Editorial Photography

I’m going to condense all of these subjects into one because the conclusion is very plain: The Sony A7CR is one of the most affordable ways to get to 60 megapixels, and its autofocus performance is second to none. (Except for the flagship Sonys that cost a lot more!)

So, if you’re just starting out, or if you’re a full-time pro, I could see the A7CR as an excellent entry or backup choice. However, in the long run, I absolutely would prefer to have the full-featured Sony A7RV, for not just its dual card slots but the full range of features, performance, and ergonomics.

Real Estate & Architectural Photography

Now we are back to a genre of photography where I believe the A7CR really does shine. In fact, I’d say this is likely the most high-paying profession for which I’d consider the A7CR to be a perfect primary camera, as opposed to being relegated to backup duty.

Of course, real estate photography is a very simple subject; you’ll usually find yourself using a tripod and not needing high-speed autofocus or FPS. However, the hand-holding capabilities, namely the stabilization, would still be very welcomed for any job where you are a little rushed and don’t want to have to use a tripod for every single photo you take.

Wildlife & Action Sports Photography

Last but not least, the Sony A7CR is not a speed demon. The autofocus is truly impressive, with Sony’s industry-leading subject detection that can detect the eyes of virtually any animal. However, in terms of sheer speed, there are a lot of shortcomings. Besides the now “modest” or even mediocre 8/7 FPS, the EVF isn’t very fast, nor high-resolution, and the buffer isn’t very capacious either.

In fact, even when shooting stills, I encountered a but of the dreaded “rolling shutter” effect that usually only videographers talk about. You won’t notice this issue when viewing singular images, but the effect becomes very obvious when reviewing sequence shots. So, if you’re looking for the best camera to use with super-telephoto lenses; I can only recommend the A7CR as a backup or entry-level camera.

Sony A7CR Review | Pros & Cons

We have already covered most everything there is to say about the A7CR, so I’ll keep this simple. We’ll look at some image quality samples, and then we’ll talk about the specific details of durability, ergonomics, autofocus, and specialized features & customizations…

Image Quality (Stills)

At ISO 100, the image quality is beautiful. The Sony A7CR passes my “brutal post-processing test” with flying colors, easily demonstrating great shadow detail even when boosting both Shadows and Blacks by +100, and adding a +1 EV boost on top of that. I know there are highly technical measurements that can rank this sensor just above or below others, but honestly, I’ve found this real-world test to be all I need.

In other words, if you crank all your raw editing sliders to maximum, absurd levels and the (ISO ~100) image quality doesn’t flinch, what more can you ask for? 

At higher ISOs, the image quality is still respectable, with beautiful colors and contrast. Noise levels are also manageable, but I have to add the caveat, “considering the resolution”.

If you’re okay with  24-33 megapixels, and if you spend a ton of time at ISO 3200-6400 or higher, then the competition pulls ahead. 

Video Image Quality & Features

When I first heard that Sony was putting its impressive 61-megapixel sensor into such an affordable, portable camera, I immediately assumed that the main reason would be to offer the most budget-friendly way to get 8K video. Unfortunately, that is not the case, of course. I would have liked to see 8K video in a $3K camera that does have more than enough resolution for 8K, and likely almost enough data throughput, but alas.

Having said that, the overall video specs aren’t very impressive, and they come with caveats. If you want 4K 60p video, you have to use the sub-sampled 1.2x cropped full-frame sensor, which will be a slight sacrifice of sharp detail. Alternatively, the 4K 30p video options are available with the u-cropped full-frame sensor width, but again it’s sub-sampled, not oversampled, so you’ll still lose sharpness. You can get 4K 30p video that is actually from 6.2K worth of the sensor at 1:1, and all the sharp detail it brings, but only if you use the Super35 (APSC 1.5x crop) mode.

The color reproduction and dynamic range are beautiful, though. So, if you don’t miss the lack of 8K, and if you’re happy with 4K 30p video, you’ll have an amazing vlogging camera with one amazing trick up its sleeve: the AI-based subject detection and auto-following feature! All that resolution is put to perfect use by cropping the frame and then using AI to track the subject around the viewfinder. Think of it as using an extreme level of active digital stabilization, but the camera angle is static (on a tripod) so the result is beautiful, smooth motion video! This feature is unique to Sony, if I am not mistaken, or at least Sony does it best by a huge margin. This is definitely one of, if not the only reason to get the Sony A7CR for video use.

Build Quality / Durability

Sony achieved a perfect balance of physical durability and compactness. I am not a big fan of the corner-oriented EVF, especially as a left-eyed person, but it serves its purpose and the overall form factor saves quite a bit of space and weight. Unlike the lightweight, compact cameras of yesteryear, however, the Sony A7CR is fully weather-sealed. This is why I call it a perfect adventure/travel camera.

The physical controls don’t feel as robust as the flagships such as the Sony A1 or A9 series, of course, and even the Sony A7R V and Sony A7 IV do feel just a little bit more robust. However, I suspect that this is mainly because I’m more accustomed to their ergonomics overall, and not necessarily because Sony cut any corners in terms of the A7CR’s physical materials or construction/assembly.

Autofocus Performance

Sony’s autofocus system is industry-leading, and the A7CR adopts all of the latest bells and whistles that we have seen lately. It can detect and track the eyes of almost any animal, and also has the ability to detect and track various mechanical subjects, too.

Having said that, there are some subtleties that need to be mentioned. Unlike the higher-end Sony cameras, the A7CR does not have a dedicated AI processor for subject tracking, so although the interface appears the same, the results may be just a touch behind, say, the Sony A9III. This is understandable, of course, since the Sony A9 III is literally double the price at about $6K.

In the above examples, I really pushed the envelope to see if the AF could nail focus on a very dark subject that is in deep shadows. The A7CR did astonishingly well, considering the high-contrast nature of the scene, the extremely dark shadows, …and the pin-sharp focus while the hawk was sitting still. However, as you might imagine, as the hawk began to take flight, the AF did struggle to keep tracking the eyes.

Again, considering that I am at ISO 8000 and pushing the shadow recovery of these raw images in order to even see detail in the hawk’s face, I’m impressed, even though I’d wager that a Sony A1 or A9 III would do significantly better, of course.

Overall Performance

After the impressive but not top-tier autofocus performance, it gets worse when we start to go over the general speed & performance of the A7CR. Simply put, this is a rather slow sensor, and it shows, literally.

I’ve been a photographer for over 20 years, so to me, 7-8 FPS is still blazing fast. I’d be happy with that, for my blend of mostly landscape photography and just a little bit of wildlife and/or portrait photography.

However, the sensor speed is more than just an FPS rating. The buffer depth is abysmal, and I don’t use that word lightly. Simply put, it pales in comparison to even the A7R V which uses the same sensor. (16 raw images versus 550 raw images, in Lossless Compressed ARW.)

That is a staggering defeat for  the A7CR, and is the key reason why I recommended it so highly to folks like landscape and real-estate photographers, but not to anyone who does any sort of high-speed action work.

Again, cameras have made leaps and bounds of progress over the last two decades, and I would absolutely be happy with the A7RC for occasional high-speed work. But, a dedicated high-speed action camera? Nope.

Features & Customizations

Sony cameras are by far the most highly customizable and feature-rich, so you’re in for a real treat if you’re a camera nerd who loves to change the function of every single button on the camera, etc.

With the ability to create both pixel-shift high-resolution images and focus-stacked image sets, as well as a built-in time-lapse mode, all landscape and similar fine-art photographers will be very pleased.

Ergonomics & Comfort

Even more exciting was the physical ergonomics I saw on the Sony A7CR at first glance: They added a much-needed command dial on the front, compared to the A7C, as well as a new “C1” button on the top-rear of the camera. This adds up to a much more professionally usable camera; you’re no longer fiddling with multiple controls to adjust either your shutter speed or aperture or ISO.

The ergonomics of the original A7C were already quite good, for such a compact camera, thanks to the use of Sony’s larger battery in the hand grip. Now, Sony has also created the GP-X2 grip extension, which adds just a tiny bit more grip space for those with larger hands. It’s a $158 accessory, though, and I wouldn’t recommend it for landscape or other photographers who are mostly going to be using a tripod anyway, or for vloggers who are going to be holding the camera at arms’ length often.

Value

There’s not much to say here that hasn’t already been said. For $2,998, you get an incredible value that is either the best value you can get, for what you do, …or it’s a deal-breaker.

It all comes down to what you’re going to do with the camera. I’ve already gone over this, and I’ll have to mention it again below, so let’s simplify it here:

• If you want resolution and portability, this is one of the best values on the market.

• If you want speed, and/or professional video performance, the value is significantly reduced.

With that being said, I could understand if someone either patiently waits for a $200 or greater “instant savings” to come around, or shops used “mint condition” options, or looks at similar options in the $2-2.5K range.

Sony A7CR Review | Compared To The Competition

The best alternatives to the A7CR are, in fact, mostly other Sony cameras. As I mentioned earlier, if you’re very serious about different kinds of video work, then the Sony ZV and FX cameras are towards the top of my list.

Alternatively, if you mostly do stills but don’t need 61 megapixels, then a Sony A7 IV or Sony A7C II make much more sense for various types of work.

Having said that, one of the Sony A7CR’s shortcomings is speed, so, what if you want a blazing-fast action/wildlife camera, but are on a similar budget? The new Nikon Z6 III is a beast at just ~$2,500, offering 20 FPS AND a very generous buffer. Oh, and it also offers 4K120p video and 6K N-RAW video.

Alternatively, the Canon EOS R6 II offers a respectable 12 FPS with its mechanical shutter and a staggering 40 FPS with its electronic shutter, (and a nearly infinite buffer when using compressed raw!) …for the shockingly low price of $1,999.

Simply put, Sony’s high-speed competitors just don’t come close to those Canon & Nikon options, at least not at that sub-$3K price range. 

By the way, what about alternatives for those who do want lots of megapixels? I do like how the Nikon Z7 II is down to just $2,296 now, with a staggering $700 in savings. However, this is only a harbinger of an incoming successor, which will likely be worth the wait for anyone who wants all the latest bells and whistles. I’d definitely recommend considering the high-value Z7 II for landscape photographers, however, for its incredible image quality at the unique native base ISO of 64.

Admittedly, any difference in dynamic range is splitting hairs, but there are plenty of reasons why I like the Nikon Z7 II overall, specifically its general ergonomics and feature set for landscape, adventure, & travel photography.

The Canon EOS R5, on the other hand, is even older but still a decently stiff competitor to the A7CR, in my opinion. It does offer 8K video, although again it’s quite slow and you might be better off considering a Sony A7R V if you want budget-friendly access to 8K full-frame video.

If all you want is 8K video, by the way, then I have to give a nod to the Fujifilm X-H2. At “just” $2,500, its overall feature set is a lot more impressive for serious video shooters.

Sony A7CR Review | Conclusion

All in all, there is no denying that the Sony A7CR is a specialized camera. It’s very similar to the much more affordable Sony A7C II, so if you’re looking at the 61-megapixel version of these twins, it must be for the sensor.

Furthermore, such high resolution does come at a cost. Aside from the extra ~$800, you’re taking a hit to the overall speed and performance of the camera, making it less well-suited for highly active subjects. Lastly, it’s also relatively lackluster in terms of video, unless you’re using it specifically for the auto-framing feature.

Thus, the Sony A7CR gets my absolute highest recommendation for a few things, and yet, a “hard pass” for other things. With that being said, I’m very glad that Sony made this camera; the market for full-frame mirrorless cameras is already overflowing with very similar options, and this is a truly unique offering!

Check Pricing & Availability

You can pick up the Sony A7CR for $2,998. (B&H | Adorama | Amazon)

By the way, I do not see any A7CR kits that include either a lens or the GP-X2, which is odd but irrelevant; I’m not a huge fan of either the full-frame kit lens, or the grip extension.

For landscape & architectural photographers, I would strongly recommend the amazing Sony FE PZ 16-35mm f/4 G, or the Sony FE 16-25mm f/2.8 G, both of which come in at an impressive $1,198.

For all-around photographers who want the best “kit” mid-range zoom lens, skip all the ultra-compact options and get the amazing, unique Sony 20-70mm f/4 G!

At first, the A7R series (R stands for resolution, of course!) was unfortunately not a jack-of-all-trades. ~10 years ago, it was difficult to manage such high-resolution image files, (remember, the first and second A7R only had uncompressed raw and lossy compressed raw, no lossless!) …you were much better off with one of the R’s excellent siblings: a “plain” A7 series, or the low-resolution, video-oriented A7S series. Today, however, things are completely different.

First and foremost, storage solutions are more abundant and affordable today, and the Sony A7R V has multiple raw file options to help you save space if you need it. (More on that below!) Secondly, its overall shooting speed is respectable at 10 FPS, and the autofocus processor is a first for the R-series: a dedicated AI processor, separate from the BIONZ XR processor, makes a world of difference in setting Sony’s autofocus capabilities above the competition.

So, whether you are a landscape or wildlife photographer, a portrait or wedding photographer, or simply an all-around professional photographer or serious, dedicated hobbyist, the A7R V should be near the top of your choices for “best all-around, high-resolution camera”…

Wit that said, let’s dive into this review! I will go over which types of photography I think this camera is perfect for, as well as any genres that it might not be the best choice for. We’ll dive deep into the pros & cons of the camera itself, and analyze the image quality in great detail. Lastly, of course, we’ll compare it against any competitors that you might also be considering… 

Sony A7R V Specifications

• SENSOR: 61-megapixel Full-Frame Exmor R BSI CMOS Sensor
• LENS MOUNT: Sony E-mount (full-frame)
• STILL IMAGES: 9504 x 6336 px (& 26 MP + 15 MP)
• VIDEO: 8K 24p, 1.24x crop 4K 60p (1.24-APSC crop) 4K 30p (full-width) 10-bit 
• ISO: 100-32,000 (Extended ISO: 50-102,400)
• AUTOFOCUS: 693-point hybrid AF, dedicated AI processor, subject detection & tracking
• SHOOTING SPEED (FPS): up to 10 FPS
• SHUTTER SPEEDS: 30 sec to 1/8000 sec, programmable Bulb timer mode
• STABILIZATION: Yes, 8 EVs
• VIEWFINDER: 9.44M dot EVF, 0.9x magnification, up to 120p refresh rate
• LCD: 3.2″, 2.1M-dot “Free-Angle” articulating touchscreen
• CONNECTIVITY: USB, (type C, power delivery) headphone, microphone, micro HDMI, 
• STORAGE: Dual slot CFE Type A, SDXC (UHS-II)
• BATTERY: NP-FZ100, 2280 mAh (rated 440 shots)
• BODY CONSTRUCTION: Magnesium alloy, fully weather-sealed
• SIZE: 5.2 x 3.8 x 3.2″ (131.3 x 96.9 x 82.4 mm)
• WEIGHT: 1.6 lb / 723 g (With Battery, Recording Media)
• PRICE: $3,898 (B&H)

Sony A7R V Review | Who Should Buy It?

With one of the highest-resolution sensors of any full-frame mirrorless camera, or of any digital camera ever, for that matter, at a glance you might think that the Sony A7R V is only made for a select few high-end professional photographic genres. However, when considering the complete array of its features, this is absolutely not the case.

Indeed, the megapixel count could force you to upgrade  your data storage system, and maybe your computing power as well. However, for virtually any line of photography that does not involve “blasting away” thousands of photos every day, the extra investment becomes absolutely worth it.

Whether you are a portrait photographer or a landscape photographer, the A7R V sensor will provide a huge advantage for making big prints. Put another way: Even if you are a landscape or portrait photographer, yet you don’t make enormous prints and/or ever heavily crop your images, then I honestly might recommend a different camera, simply because resolutions in the range of 24-33 megapixels are much more manageable in your workflow, and more than adequate for general web or small-print usage.

Having said that, whether you are a wildlife photographer or a wedding photographer, the incredible AI-powered autofocus, with its own dedicated AI chip, will track faces, eyes, and entire bodies of virtually any living creature imaginable! So, even if you only occasionally make a large print from your images, the A7R V becomes worth it very quickly.

Whether you are a commercial real estate photographer or an editorial fashion photographer, of course, the combination of resolution, autofocus, and flagship-grade durability will allow working pros to trust the A7R V to get any job done.

It may seem a bit “overkill” if you are looking for a purely hobbyist-oriented camera. Whether you are snapping candid portraits of your family, or documenting an epic family vacation, or documenting a solo adventure, Sony does offer some “superior” (in my opinion) alternatives. The Sony A7 IV offers the same professional ergonomics as the A7R V, and a decent viewfinder, shooting speed, and more. Alternatively, the Sony A7C R and A7C II offer a much more compact, portable option, with either the similar 60-megapixel sensor or the excellent 33-megapixel sensor, both of which offer the AI processor for industry-best autofocus.

Last but not least, (for photographers) despite its optimization for excellent image quality at ISO 100, the Sony A7R V does offer truly impressive results for those who find themselves working in low light, whether event photojournalism or astro-landscape photography. 

What about videographers? Well, although this is the first R-series to offer 8K video, it does not particularly excel in terms of video performance or quality. The 8K video comes with a slight crop, is limited to 24p, and suffers from noticeable rolling shutter. The 4K video is not captured with optimal sharpness considering how high-resolution the sensor is, unless you crop all the way to APSC. Suffice it to say, this camera is a “passable” video camera, and is mainly aimed at photographers, in my opinion.

[Related: Sony 20-70mm f/4 G Review | The Best And Most Unique Standard Zoom!]

Sony A7R V Review | Pros & Cons

To summarize the advantages and disadvantages of the Sony A7R V is relatively easy: this camera is good at virtually everything, with an emphasis on anyone who requires high-resolution files, but a de-emphasis on anyone who is looking to do extremely high-volume or extended FPS stills capturing, and/or high-resolution, high-quality video capture. It’s (almost) that simple!

Let’s dive deeper  and talk about why this assessment is true, and where there might be specific details that give you an advantage, or put you at a disadvantage.

Image Quality

In terms of image quality, the 60-megapixel BSI sensor is truly phenomenal. At ISO 100, the detail is incredible, the dynamic range is excellent, and the colors are beautiful. Even at relatively high ISOs, too, the same applies: incredible detail, relatively low noise, relatively good dynamic range, and colors that don’t fade.

In my real-world testing, the Sony A7R V passed my “maxed out sliders” dynamic range test with flying colors at ISO 100.

Higher up, at ISO 3200-6400, I found the image quality to be comparable to most other cameras. Only an under-exposed ISO 6400 image, or any ISO 12800+ images, showed “unusable” (for certain professional demands) image quality. Even then, I’d use ISO 12800 in a pinch for less demanding work.

Sony A7R V Raw Image File Options

For the first time, Sony’s highest-resolution camera comes with features that are extremely useful for managing large raw files! There are two separate options now:

• Besides the full-res 61 megapixel images, the A7R V can also output either 26-MP or 15 MP raw files
• Additionally, there are both lossless and lossy raw file compression options

This effectively allows the A7R V to become (somewhat of) a high-speed action camera, capable of, high-volume work, far less rapidly consuming your memory card storage!

Personally, I almost never use reduced raw image sizes, because I usually prefer to retain the full megapixel count of whatever sensor I am working with. However, I’ve found that 60 megapixels is definitely “overkill” for a whole lot of different applications, especially high-volume work such as action sports or wedding photography, and the 26-megapixel files are perfect for those things.

Also, as a long-time Nikon DSLR owner of 2 decades now, I’ve grown accustomed to using the raw file compression options, and I find the “lossy” compressed raw files to be another great way to save space, but again, that is ONLY if I need to do a lot of very high-volume work!)

On that note, I should mention that this is one of the first Sony cameras to offer these features, and in comparison, Nikon’s high-megapixel cameras have done it a little better. I like how the Nikon Z7 II offers not just excellent raw compression, but also the separate ability to choose either 12-bit or 14-bit NEF files. Again, as a full-time wedding photographer and an occasional action sports & wildlife photographer, I find both options to be much better choices than actually reducing the megapixel count of a raw image.

Video Quality

Video quality is where the Sony A7R V is a very mixed bag of results. It offers 8K 24p video, but there is a crop of 1.24 X, caused the addition of those extra ~20 megapixels from the (perfect for 8K) ~42-megapixel sensor. Also, the 4K video does offer a setting that uses the full width of the sensor, however it does so at a resolution disadvantage, thanks to sub-sampled video.

There is an over-sampled 4K mode with decent detail, (for 4K) however it is captured at the APSC “Super-35” crop mode.

Lastly, all of the video modes exhibit a rolling shutter effect, caused by the relatively slow sensor readout.

On the plus side, the video autofocus is completely identical to the photo autofocus; a first for the R-series if I am not mistaken, and it is simply the best, as I have already stated. It locks onto virtually any subject, with both precision and consistency, and then it sticks to them (tracks them) like glue. It is truly ain impressive sight to behold, to watch Sony’s next-generation AI processor do its thing.

All in all, the A7R V is a great choice for photographers, but a substantial compromise for videographers. It might be a good choice if you do a lot of static, relatively slow-paced nature scenes, such as vlogging your landscape or wildlife photography adventures for your Youtube channel that focuses on photographing those subjects. However, a movie-making camera, it is not. (That is what the amazing Sony FX-series and ZV-series cameras are for!)

Build Quality / Durability

Flagship build quality was not always a claim to fame for any of the Sony 7-series cameras, in their earliest generations. Serious professional landscape photographers who might have been lured to the original A7R or A7R II for their excellent sensors were likely to encounter serious issues with physical durability, compared to the champion DSLRs of that era such as the Nikon D800, D810, and D850.

Today, however, the Sony A7R series offers full flagship durability, with a strong, sturdy metal body frame, a complete set of weather seals, and robust IBIS mechanics.

Just about the only thing that I miss on the A7R V are the physical dials on the top-left of the camera, where the likes of the Sony A9-series and Sony A1 offer physical controls for drive mode and AF mode. This has never been a deal-breaker for me with the R-series, however,  considering that Sony has bumped up the price so much since its 1st-gen product, I really do feel short-changed by the lack of that one flagship functionality. (I’ll cover this more in the “Value” section below)

Autofocus Performance

Here is where the Sony A7R V absolutely “destroys” both its predecessors and most competitors. Sony has put their flagship-grade autofocus system in the A7R5, and that includes a dedicated AI processor just for AF subject detection/tracking. I’ve tested this AF system on virtually every imaginable type of animal, from cats and dogs to birds, reptiles, amphibians, and insects… 

Simply put, it works like magic, and does an absolutely amazing job of quickly locking onto, and then tracking, almost any subject. As I mentioned; whether your subject is human, animal, or machine, the A7R5 just sticks to it like glue.

The only caveat to this is the fact that, of course, this 61-MP sensor does not offer the same blazing speed that is found in, say, the Sony A1 or Sony A9 III. Unfortunately, this affects not only the FPS, (and the rolling shutter effect of video) …but also the ability of the sensor to read out data to the AI-based autofocus. In other words, this is the absolute best AF system in the industry, however, keep in mind that the A1 and A9 III are still decidedly better in terms of sheer speed.

Overall Performance

While many high-resolution cameras turn out to feel “sluggish” in most high-speed conditions, the A7R 5 is actually quite a high-performance camera. This was one of the biggest complaints that I had with the Sony A7R IV; the image quality was stunning, but the speed and overall performance left me feeling like I absolutely could not do what, say, the Sony A9 II could do.

Although the sheer speed of the Sony A9-series is superior to the A7R-series, of course, I can say that the overall performance of the R5 is indeed responsive, fast, and it can sustain a decent pace as well thanks to the previously mentioned raw file options.

This is not exactly the best sensor for those photographers who really prioritize FPS and buffer depth, however, when capturing lossy ARW and/or 26-MP images, the 10 FPS is sustained quite impressively, and the buffer depth gives you a fair amount of “cushion room”.

Features & Customizations

Aside from the class-leading sensor and industry-leading AF system, the A7R V has even more new features up its sleeves, compared to both its predecessors and competitors.

One of my favorite things is what I can only describe as the “WILDLY ARTICULATING” LCD display, that has somehow managed to include both a side-flip (vlogging/selfie) articulation as well as the other style of basic up/down articulation that more traditional photographers appreciate. Sony was brave for attempting such a wild articulating design, since high-end professionals have often given a lot of push-back against any sort of articulating LCD display, but I’m very glad they did. The mechanics of it feel very robust and sturdy, and the utility is truly unparalleled among all digital cameras today.

There are a handful of other additions to the overall features & customizability of the A7R 5. Beneath the main mode dial (the  PSAM exposure modes) there is a new dedicated switch for photo, stills, and “S&Q” (slow-motion) modes. Additionally, I should mention that when switching between photo and video modes, Sony cameras in general now offer some of the best customization for keeping various settings separate between those modes. In other words, if you switch from photo to video mode, the camera can either remember separate settings for almost any setting, or ir can keep the same settings. (OR, virtually any combination of those two options!)

Although I am not highly recommending the A7R 5 for serious filmmaking, this overall feature set does make the camera one of the easiest to use for those who do both photo and video a lot.

Viewfinder

With a staggering 9.44 million-dot viewfinder, the Sony A7R V is indeed a beautiful experience that sets the A7R V apart from predecessors and competitors alike. Simply put, it’s almost as if you are looking through an optical prism to see the real world, and at a glance it is hard to tell that you’re looking at a digital display.

This is a huge factor for me, personally, and it makes the hit to battery life totally worth it. Besides my own nostalgia for optical viewfinders, I think that an excellent (electronic) viewfinder is a crucial aspect of what makes any camera pleasant to use.

Having said that, here are the caveats: To gain access to the 9.44M-dot viewfinder mode, you have to enable it in a menu. Also, when using this high-quality EVF mode, you might notice it dropping back down to the “regular quality” (resolution) every time you perform autofocus (by half-pressing the shutter, for example.) Still, it’s one of the most beautiful viewfinders we’ve ever seen, caveats aside.

Ergonomics & Comfort

Ergonomically, the camera handles very similarly to most if its same-generation siblings; The A7R IV, A7 IV, and A7S III all have relatively similar ergonomics, and this is a good thing as Sony has put a lot of effort into the design. (Finally!) The camera is comfortable to hold, and buttons are laid out ergonomically.

The REC (video) button has been swapped with the C1 button, which doesn’t really affect how photographers customize the camera but it does allow videographers to feel like the camera is a bit more uniform in behavor compared to most other cameras.

In terms of actual hand comfort, I think the Sony A7R V is one of the best cameras Sony has ever made. I do miss the ergonomic layout of the A1 and A9-series, with its top-left dial for focus mode and drive mode, but I also get totally accustomed to adjusting those settings with C buttons, too.

However, I’ve already had a chance to hold the Sony A9 III, by the way, and I must say that it is indeed another huge step forward in terms of ergonomics. 

Value

With the price of this newest A7R-series camera being bumped up yet again, we absolutely must question its value as thoroughly as possible. Is this camera worth a staggering $3.8K? For the same money, you could purchase a Sony A7 IV instead, and have over $1,000 left over for a G-Master lens. Alternatively, the Sony A7C R offers 61 megapixels as well as the AI processor dedicated to autofocus, for under $3K.

So, where could the A7R V derive its value?

First, its versatility for photographers is its greatest strength. The high-resolution sensor offers incredible image quality, yet also offers multiple raw file options for substantial savings on storage space. The sensor also offers a well-rounded value to everyone who works in both low-ISO and high-ISO conditions, whereas many other cameras excel in one area yet fall short in the other.

Secondly, the fact that it includes the latest-generation technology for autofocus is a huge value, because the AI processor os one of the biggest leaps forward in autofocus technology to date. This ensures that if you buy an A7R V now, it will not be “obsoleted” any time soon, despite recently turning 1 year old.

Thirdly, physically speaking, the camera is very well-made, which is another key requirement for the longevity of any professional tool, of course.

Personally, those three factors are how I measure value: How versatile is the camera, how physically robust is it, and how cutting-edge are its technology and features? When I put all three of these aspects together, I think the A7R V offers exceptional value.

However, the competition is strong, especially when considering price, and we’ll get to that next. Also, compared to many older professional Sony cameras, I would still call the A7R V “expensive”. To demonstrate this, let’s consider the prices of some previous high-end Sony cameras:

• The A7R “classic” was a mere $2.3K in 2013
• The A7R II MSRP’d at $3.2K in 201
• The original Sony A9 and A9 II both MSRP’d for $4.5K

The takeaway is: at $3.8K, the A7R V is much closer in price to the (older) A9-series cameras than the average price of all the older A7R cameras. The A7R-series is decisively a flagship pro camera, at a professional “workhorse” camera price tag.

As I mentioned earlier, this price comparison frustrates me for at least one small reason: I wish the R-series had added the two physical dials on the top-left of the body, starting with the $3.5K A7R IV. 

Any working professional who pairs this camera with an A9 II will absolutely notice this, because switching AF modes and drive modes effortlessly and often is very common for wildlife photographers, event photojournalism, and other things.

 Aside from that, the other major issue regarding the price and value of the A7R V is, of course, its video capabilities. Simply put, if you’re looking for an all-around “hybrid” camera that offers great value for both photo and video, then you are indeed better off with either the more affordable Sony A7 IV, or the more expensive Sony A1. The A7IV offers sharp, detailed 4K 30p video, as well as sharp, detailed, (cropped) 4K 60p, but still has some rolling shutter. The Sony A1, of course, offers impressive 8K and 4K video, with minimal rolling shutter and impressive framerates, including 4K 120p.

That’s about it. If you’re mainly a photographer, and are either a very serious hobbyist or a working professional, the a7R V offers a great value, albeit at the higher end of the range versus its closest competitors.

Sony A7R V Review | Compared To The Competition

To compare the Sony A7R V against any of its competitors is relatively easy: If you want the best all-around camera for high-resolution photography, this is it, period. Other cameras definitely struggle to offer all of the same performance specs, image quality, and value.

The closest and best competitor, in my opinion, is the Nikon Z8. Priced at $3,996, or $3,696 at its holiday (and likely other “instant” savings) price tag, the Z8 brings the heat: 45 megapixels from an impressively fast sensor boasting 20 FPS for raw stills, 30-120 FPS for JPG stills, and 8K 60p or 4K 120p video. This means that the Nikon Z8 has more high-performance specs in common with Nikon’s highest-end flagship Z9 $5.5K), than the A7R V has in common with the Sony A1. ($6.5K) Furthermore, the Sony A1 

If you’re looking for a full-frame mirrorless camera that is excellent all-around for not just photo but also video work, then quite honestly, the Nikon Z8 wins.

In virtually every other respect, however, the Sony A7R V is a champion. If it were just about the resolution, then you could save a few hundred dollars and get the Sony A7R IVa instead, at $2,998 when the $200 savings is available. However, the A7R V’s autofocus upgrade is substantial enough that it’s absolutely the better choice for virtually everyone except maybe the traditional landscape photographer who uses manual focus 100% of the time.

Alternatively, if resolution is one of your key necessities, but you also require advanced autofocus capabilities, then the Sony A7C R is a great alternative, however, the C-series use a “beginner-oriented” body, and this is decidedly as step down from the main A7-series unless you value portability very highly.

That’s about it! Most of the A7R V’s competitors are other Sony cameras. If you’ve already bought into the Sony system, then it might be too much trouble to “jump ship” to the Nikon Z8, and I would honestly only recommend considering it if you are primarily an adventurous outdoor photographer who does an equal amount of all types of work, from low ISO DR-pushing, to high ISO & low-light work, both photo AND video.

What about Canon, or any other brands? Canon’s EOS R5 is the only camera in their full-frame mirrorless lineup that comes close to matching the A7R V’s resolution, and, quite honestly, the R5 is getting a bit old. It’s previous generation autofocus simply cannot keep up with the performance of the new Sony AI autofocus, by a noticeable margin. The R5 sensor itself is only a leap forward in image quality when compared to previous Canons; compared to Sony, Nikon, and other high-megapixel options, the R5 is merely adequate or on-par. All in all, considering that Canon’s next-generation high-megapixel camera is likely just around the corner, I can’t currently recommend anything from Canon to those who mainly focus on stills. For hybrid and video shooters, of course, the Canon EOS R5 does hold its own, and the Canon R5C is a powerhouse video camera for any who focus primarily on video, not stills.

Last but not least, we must compare the Sony A7R V against the only higher-resolution digital cameras on the market: the Fuji GFX 100-series cameras, as well as the 50-megapixel Fuji GFX 50-series. They’re all rather expensive cameras, with the most affordable one being the $3,999 GFXS II, then the GFX 100s at $5,999, and the GFX 100 II at $7,499.

Obviously, $6-7.5K is a whole lot more expensive, compared to the $3.9K A7R V, though ~$4K is impressively close for gaining access to a medium-format sensor. However, is medium format even worth it, compared to this latest 60-megapixel full-frame sensor? Honestly, it depends on your style, both technically and creatively. The advantages of the Sony A7R V have a lot to do with the E-mount’s versatility in general; the more exotic or specialized you get with your lens selection/needs, the more the A7R 5 makes much more sense. Oppositely, if you are a very traditional” landscape photographer, and you’re happy with the (very decent) GFX lens selection, then you might really appreciate the 100-megapixel sensor.

NOTE: if all you care about is resolution, there are a few other details to keep in mind: Although the difference between 50/61 megapixels and 102 megapixels is quite significant, also note that the Sony offers a 240-megapixel Pixel-Shift Multi-Shot mode, and the Fuji GFX 100S offers a 400-megapixel Pixel Shift Multi-Shot mode. Also, keep in mind that pixel density plays a serious role in which apertures you can use without experiencing diffraction, but at the same time, sensor size plays a role in which aperture you need to achieve certain DOF.

All in all, the long-story-short of it is that I absolutely recommend the Sony A7R 5 to most photographers, compared to any competitors. The only exception is the Nikon Z8, for those who want a photo+video powerhouse with as much speed+resolution as its price range can allow. Alternatively, for those who do not need as much speed or autofocus performance, both the older Sony A7R IV and the Nikon Z7 II are excellent options that are a bit more affordable.

Sony A7R V Review | Conclusion

All in all, the Sony A7R V is an impressive camera, and well worth the investment. Its resolution and price tag do set it just out of reach for some, or make it slightly sub-optimal for others. However, if you’re looking for a high-resolution camera, and you have the budget, then the R5 is my top recommendation.

The Sony R-series has a legacy for amazing image quality, but until now, there were just so many excellent alternatives on the E-mount that resolution alone was the *only* reason I used to recommend an R-series. Today, that is not entirely the case, and I am much more comfortable encouraging almost any type of photographer, whether hobbyist or working professional, to consider it.

Check Pricing & Availability

The Sony A7R V is available for $3898 as a body only, or as part of a kit with a 128GB memory card, camera bag, and an external battery charger. There is also the kit with a Godox V1 flash for the same price! Alternatively, you can get $100, $200, or more off the price of the body with a lens such as the Sony 20-70mm f/4 G.

It’s lightweight, compact, and relatively affordable compared to most full-frame mirrorless camera bodies it will be used on. However, is it actually any good?

It would be foolish to NOT ask that question, because reaching 20mm is unprecedented for a mid-range zoom. Surely there has been a reason that the dozens of other full-frame zooms all start at 24mm or 28mm, right?

Well, I don’t know how Sony did it, but they accomplished an unprecedented goal, indeed. The Sony FE 20-70mm f/4 G delivers impressive images, and (spoiler alert!) I’m now recommending it as one of the best all-around lenses for everything from travel photography and landscape photography, to portraits and journalism.

With that being said, let’s dive in and find out why the Sony 20-70mm is such a special lens!

Sony FE 20-70mm f/4 G | Specifications

• FOCAL LENGHT & ANGLE OF VIEW: 20-70mm, 94°-34°
• LENS MOUNT(S): Sony E (FE full-frame)
• APERTURE & RANGE: f/4-22, 9 rounded blades
• STABILIZATION: No
• AUTOFOCUS: Twin “XD” linear focus motors
• MANUAL FOCUS: Electronically controlled
• OPTICAL CONSTRUCTION: 16 Elements in 13 Groups, 2 Advanced aspherical, 3 ED, 1 ED Aspherical, 1 Aspherical
• MECHANICAL CONSTRUCTION: metal & plastic barrel, weather sealed
• FOCUS DISTANCE & MAGNIFICATION: 9.8″, (25 cm) 0.39X
• FILTER THREADS & HOOD: 72mm
• SIZE: 3.1 x 3.9″ (78.7 x 99 mm)
• WEIGHT: 17.2 oz (488 g)
• PRICE: $1,098 (B&H) 

Sony FE 20-70mm f/4 G Review | Who Should Buy It?

As a mid-range zoom, the Sony 20-70mm joins a very large collection of all-around, jack-of-all-trades lenses. The question is, what can’t this lens do?

Indeed, just imagine the standard zooms you’ve undoubtedly already used many times for many different subjects, …and then imagine if that lens could zoom out even more, into the ultra-wide range! It’s an excellent choice for almosy all types of photography, with only a few exceptions. Let’s get into those things now.

Travel Photography, Adventure Photography

First and foremost, the Sony 20-70mm f/4 G is near the top of our list of best travel lenses. Whether you are hiking and backpacking in the mountains or wilderness, or you’re vacationing anywhere around the world, this lens is an excellent choice.

The portability, durability, and image quality allow it to completely eclipse the bigger, heavier, (and usually much more expensive) 24-70mm f/2.8 zooms. Also, personally at least, I would much rather have 20mm on the long end than, say, a 24-105mm zoom.

Landscape Photography

Is this lens good enough for serious, traditional landscape photography? Its downright “tiny” size could make you do a double-take, and assume that its image quality makes unacceptable compromises.

Thankfully, as you’ll see below, I can report that the Sony 20-70mm f/4 G is incredibly sharp, from center-to-corner, at every focal length I tested.

There are a few caveats, because (full disclosure) the “lens correction profile” is indeed doing a lot of work to correct the optical flaws of distortion, vignetting, and chromatin aberration. Thankfully, the lens profile does its job. (Read on for more details!)

Vlogging & Videography / Cinema

With its 20mm focal length and lightweight design, this G-series lens strikes a perfect balance for both high-end cinema production, and virtually any sort of content creation such as vlogging.

Especially for vloggers, the 20mm end makes this lens automatically superior to all other mid-range zooms,  because it allows you to safely use Sony’s “Active” digital stabilization, a feature that is incredibly effective, but does crop the image back to about 24mm.

So, whether you are a vlogger who creates all types of content, or you are looking to create cinematic films, you’ll appreciate the Sony 20-70mm f/4.

BONUS: this lens also includes a physical aperture that can be de-clicked or locked. The focusing is linear and silent, and focus breathing is only faintly visible, though present.

Wedding & Portrait Photography

A 24-70mm f/2.8 lens is undoubtedly one of the most popular zoom lenses for wedding & portrait photographers. So, just ask yourself this question: Would you trade that f/2.8 aperture for the ability to zoom out to 20mm?

For most portrait & wedding photographs who may not be interested in lugging around an additional, very large ultra-wide zoom, the answer to that question might be “yes!” However, it’s definitely a subjective decision.

For me, as both a wedding and portrait photographer, I already know my answers: When I reach for this type of mid-range zoom, am I usually using it in low light? Sometimes, but not all the time. Do I usually need it to deliver shallow depth of field? No, that’s what my primes are for.

Therefore, while I may often reach for a fast prime or a 70-200mm f/2.8, …for environmental protraits and large groups, I would gladly let the Sony 20-70mm f/4 G compliment my favorite primes instead of a mid-range f/2.8 zoom.

Fashion & Editorial Photography

Similarly to all portrait photography, serious professionals who do portraiture, product, or any kind of advertising, commercial, or editorial photography will often find themselves willing to trade f/2.8 for 20mm, depending on the situation.

Architecture & Real Estate Photography

Architecture and real estate are lines of work where an ultra-wide zoom is often a must, so you may already have the focal lengths such as 14-24mm or 16-35mm covered.

Still, you will likely be happy to have 20mm on the wide end of a standard zoom, compared to 24mm. Also, you’re very likely to be doing almost all your work at f/8 or f/11, and on a tripod, so you won’t be concerned by the lack of f/2.8, or OIS stabilization.

Action Sports & Wildlife Photography

Opposite from architecture and real estate, a telephoto lens is more often the speciality for action sports and wildlife photography. In this case, I could see a continued preference for, say, a 24-105mm or 24-120mm lens, since you will most often be “bumping into” that telephoto end than you would hit at wide end.

Having said that, there are plenty of types of subjects that really lend themselves to having a nice wide-angle. You’ll have to make this decision based on your creative style.

Nightscape & Astrophotography

You might think that f/4 is a deal breaker for anyone who does nightscape photography, however, I have found it to be more than adequate for certain types of nightscape photography! Specifically, if you do star trails, or if you do any nightscape photography when there is lots of moonlight and/or light pollution; I think that the 20-70mm f/4 is an acceptable choice. Of course, such a lens would obviously be paired with an f/2.8 ultra-wide zoom, and/or a wide-angle prime.

Sony FE 20-70mm f/4 G Review | Pros & Cons

Some of the advantages and disadvantages of this lens are very plain, and easily allow you to decide whether you’re interested in it or not: It zooms out to 20mm, however, it is f/4, not f/2.8. It doesn’t offer optical stabilization, however, virtually all Sony cameras have IBIS, (sensor stabilization) and additional on-sensor stabilization for video (using a slight crop) has significantly improved in recent years.

Simply put, I hope you already have a good idea of whether or not you’re interested in this lens, based on those criteria. Now, let’s dive into the finer details of other concerns or questions you may have.

Image Quality

Overall, the image quality is excellent. Even if you pixel-peep, you’ll be impressed. Sharpness is incredible, even on the 61-megapixel Sony R-series full-frame sensors. Also, the other aspects of image quality, the subjective things such as colors, bokeh, sunsars, flare, etc….are all quite pleasing.

Sharpness

Whether you are working at 20mm, 35-50mm, or 70mm, you can expect truly incredible results in terms of resolution/sharpness. Even on the staggering 61-megapixel cameras, there is plenty of fine detail. Even if you are pixel-peeping the extreme corners, you’ll be impressed.

The only thing I can add is this: there is a faint bit of sharpness falloff, and/or field curvature, at the edges and corners, so if you really are interested in achieving maximum sharpness, you’ll have to be sure to focus FOR the corners, and maybe even focus stack. The above images, captured at f/8, are all focus-stacked images. This is mainly to afford adequate depth of field while avoiding any diffraction, but it has the added benefit of ensuring that even extreme corners are in focus.

Bokeh

When you get up close with a subject, the full-frame sensor renders gorgeous amounts of background blur despite the f/4 aperture. Optically, the smoothness of the bokeh itself is very aesthetically pleasing, at least most of the time. (See below)

“Busy” bokeh can be a challenge for any lens. In this case, yes, you will see a little bit of distracting or un-smooth bokeh, as well as a faint “tunnel vision” effect, especially if you are focusing at 20mm and the background has very harsh, high-contrast texture patterns. Having said that, it’s minor and I’m not bothered by it!

Colors & Contrast

The glass in the Sony 20-70mm f/4 G is indeed crystal clear, rendering beautiful contrast, colors, and overall vibrant images. Of course, it really helps that Sony ARW files have been significantly improved in recent years, to my eyes, in Adobe Lightroom. I strongly recommend the “Adobe Landscape”, or “Camera VV2” profiles, if you are creating imagery such as you see in this review!

Vignetting & Distortion

The number one issue that plagues many modern lenses is the amount of distortion and vignetting that are “hidden under the hood” by a correction profile.

Although lens correction profile technology can be considered a modern marvel that allows lenses to still deliver beautiful images while being more compact and more affordable, there are a few caveats to keep in mind. First, distortion correction can reduce the sharpness of your images’ corners, because they are effectively being “stretched out”. Also, in some cases, the actual angle of view of a lens is reduced.

I am happy to report that indeed, (as you can see above) corner sharpness is incredible even with the correction profile turned on. Furthermore, according to Sony, the focal length is actually very generously reported as 20mm; what this means is that if you turn the correction profile off, you’d be getting a ~19mm lens! I don’t recommend this, however, because as you can see the un-corrected image does have significant distortion, and even minor black vignetting in the extreme corners at 20mm.

Sunstars & Flare

As you can see both above and below, sunstars are beautiful, which is excellent for a lens that will be used for landscapes and cityscapes. Also, flare “dots” are minimal, with only the occasional dot here or there if the sun is literally in your image or just outside the corner.

Color Fringing, Aberration, Coma & Astigmatism

Another subtle aspect of image quality where a manufacturer can “sweep under the rug” quite a bit of poor performance is, of course, chromatic aberration. Virtually every lens these days has a little bit of these things, especially when used wide-open.

The Sony 20-70mm f/4 G, in all its compact, lightweight glory, does rely a little bit on software to “erase” some aberrations. However, considering how excellent sharpness is in the extreme corners, I think that virtually all photographers will be happy.

Macro & Close-Up Photography

This isn’t a dedicated, high-magnification macro lens, however, you’ll be pleasantly surprised at how well the lens can perform for close-up subjects. The bokeh is very pretty, as mentioned, and the sharpness is not significantly diminished when using the closest-possible focusing distances.

Design & Durability

It’s not a GMaster lens, however, it does offer a very robust build quality, and the design overall is entirely professional. Honestly, the only thing that is missing is an orange “GM” badge, in my opinion.

The physical switches are very welcome; many compact, affordable mirrorless lenses are opting to either omit all switches and buttons entirely, or using a “hybrid” switch that is infuriating to use.

Ergonomics & Portability

As a walk-around and/or general travel & adventure lens, both ergonomics and portability are very important. As you already know, that is where this lens shines. Despite being relatively small, it handles very well, and balances very well on a full-frame morrorless camera, especially the newly announced Sony A7CR. If you’re interested in easy handling and portability, these two pieces of equipment are a dream travel kit.

Autofocus & Manual Focus Performance

With dual XD linear focus motors, the autofocus is what you would expect from a professional GM-series lens. Indeed, focusing is silent, and the lens quickly locks onto a subject and sticks to it like glue. Once again, whether you are a vlogger, an action/adventure photographer, or any type of content creator, you’ll be very satisfied with this lens’ performance.

Features & Customizations

My biggest complaint with many lenses that are either affordable and/or portable is that they have a severe lack of any “bells and whistles” whatsoever. The Sony 20-70mm f/4 G definitely goes in the opposite direction of this trend, and offers as many features & customization as they could possibly fit onto such a small lens!

Despite its compact size, it manages to accommodate a physical aperture ring as mentioned above, with both an iris lock and a de-click switch. Also, above the AF/MF switch, you’ll find a customizable Fn button.

Value

At $1,098, the Sony 20-70mm f/4 G is definitely not a “small budget” lens, however, it certainly isn’t in the category of “exotic”. For me, the bottom line is this: It offers the image quality and overall durability of a lens that ought to cost twice as much, considering the fact that it offers an unprecedented zoom range.

That is indeed what it all comes down to, because think of it this way: If it were “only” a compact 24-70mm f/4, would you pay ~$1,100 for it? Probably not. The competitors and the alternatives are definitely more affordable, such as the Panasonic 20-60mm f/3.5-5.6 which costs $497, or the downright tiny Sony 28-60mm f/4-5.6, which is also $498.

In fact, aside from the Panasonic, there are no full-frame mid-range zooms that reach 20mm; you’ll have to buy an additional ultra-wide zoom if you want to go wider than 24mm or 28mm.

This is why the Sony 20-70mm presents such a great value; you are getting a mid-range lens that might save you from ever needing a wide-angle lens!

Sony FE 20-70mm f/4 G Review | Compared To The Competition

As I mentioned above, there are virtually zero other mid-range zooms that also offer 20mm; only the Panasonic 20-60mm. Besides that, literally no other lens offers 20-70mm! If you’re comparing your options, it’s either this, or you’re considering a fundamentally different lens. With that being said, here is how much I like this lens:

• If you already own a 24-70mm f/2.8, but don’t really use f/2.8 very much, trade that 24-70mm in for this lens.
• Those who already own a 24-105mm f/4, and find yourself spending more than 50% of your time at 24mm compared to 105mm, then trade that lens in for this one.
• If you’re considering a lightweight, ultra-compact “kit” lens such as the Sony 28-60mm, don’t; just save up and get this lens instead.

Other than that, just about the only reason I could envision not choosing this lens is if you already have an ultra-wide zoom that you really like, such as the Sony 16-35mm f/4 PZ, or an exotic f/2.8 option, of course.

Last but not least, Tamron did just release a 17-50mm f/4 which deserves a mention; it’s not exactly a mid-range zoom since it doesn’t zoom past 50mm, however, they are similar enough that many types of photographers and content creators might be looking at either one. Personally, I find that both lenses are excellent, and the decision is mostly a personal decision based on the exact type of photography you do.

Sony FE 20-70mm f/4 G Review | Conclusion

For whatever reason, this type of zoom has never been made before. I’m sure the optical formula was quite a challenge, and I must give kudos to the optical engineers at Sony! Still, I’m surprised that the Sony 20-70mm f/4 is literally the only one of its kind, because for me, it’s a perfect all-around “kit” lens!

Even more surprising, however, is the fact that it’s not just a novelty zoom, with terrible image quality, nor is it an enormous, heavy beast. The image quality is excellent, and the overall design is both portable and durable.

If you ever wanted a better all-around zoom lens for your full-frame mirrorless camera, then this could be a great choice for almost any type of photo and video subjects. If you are a landscape photographer, or any sort of adventurous, traveling content creator, then the Sony 20-70mm f/4 G should be at the top of your 2023 lens wishlist.

Check Pricing & Availability

The Sony 20-70mm f/4 G is currently available for $1,098. Keep an eye out for various rebates or “instant savings” offers, as usual!

Front and center, the star of the show with the Sony A6700 is its sensor and its processors/chips. The sensor, a 26-megapixel BSI CMOS sensor, is a noticeable improvement above its predecessor in every way, and it’s definitely not just about the extra 2MP! The BSI sensor readout is faster, which means less rolling shutter effects, and the overall image quality is simply beautiful in all lighting conditions.

Of course, Sony didn’t give us the whole kitchen sink for $1,398. If the sensor had been a stacked BSI CMOS, it would have been much faster. Also, although the ergonomics are very comfortable, the overall design and control layout still harkens back to the “enthusiast/beginner” design, in strong contrast to most of the A7-series full-frame bodies. This means not only is the viewfinder a bit smaller and lower resolution, but also, dual card slots are omitted.

What you get is one of the most well-rounded and versatile cameras possible, with some flagship-level features found almost nowhere else. The balance of portability and features, design, and overall performance is unmatched. With that said, let’s jump into this Sony A6700 review!

Sony A6700 Specifications

• SENSOR: 26 megapixels, APSC, BSI CMOS
• LENS MOUNT: Sony E, APSC (1.5x crop)
• STILL IMAGES: 6142×4128, 14-bit ARW raw, lossless compressed option
• VIDEO: 4K 60p, (from 6K) 4K 120p (from 1.58x crop)
• ISO: 100-32,000 (Extended 50-102,400)
• AUTOFOCUS: 759-point phase-detect AF, Real-Time Tracking, AI subject detection processor
• SHOOTING SPEED (FPS): 11 FPS mechanical shutter, 11 FPS electronic shutter
• SHUTTER SPEEDS:  30 sec to 1/4000-1/18000 mech/elec; programmable bulb up to 900 sec
• STABILIZATION: Yes, sensor-based, 5 EVs
• VIEWFINDER: 2.35M dot OLED display, 0.7x magnification
• LCD: 3-inch 1.03M dot LCD touchscreen 
• CONNECTIVITY: USB-C, (USB-PD type) micro HDMI, headphone & microphone 3.5mm stereo jacks, 2.4-5GHz wifi, Sony Intelligent Flash Hotshoe
• STORAGE: SDXC (1) slot, UHS-II
• BATTERY: Sony NP-FZ100, rated 570 images
• BODY CONSTRUCTION: Metal alloy, weather sealing
• SIZE: 4.8 x 2.7 x 2.5″ (122 x 69 x 63.6 mm)
• WEIGHT: 1.1 lb (493 g)
• PRICE: $1,398 (body only)
  $1,498 (w/ 16-50mm lens)
  $1,798 (w 18-135mm lens)
  (B&H | Adorama | Amazon)

Sony A6700 Review | Who Should Buy It?

With Sony’s camera lineup getting rather packed in the last ~5 years, who is the most likely buyer of the A6700? We now have multiple cameras that are optimized entirely for vlogging, in the ZV lineup. We also have the FX lineup, which is even more dedicated to video production. Then, of course, there’s the A7, A9, and A1 series, with their ever-increasing price tags.

Surprisingly, the Sony A6700 still finds a prominent position in the lineup. This is because, simply put, it’s great at almost everything. If that sounds like your type of camera, then read on!

Travel, Vacation, & Adventure Photography & Vlogging

If your preference in subjects is “a little bit of everything” and your preferred format is the same, then you’ll love the A6700. It can switch from being a pro vlogging camera to a serious photography tool with the literal switch of a dial.

Its size and weight mean it is one of the most portable APSC cameras on the market, making it equally useful whether you are just going on a casual outing, or a once-in-a-lifetime vacation/adventure. Of course, the durability of the camera is a huge value as well; Sony basically took a beginner-oriented camera body and built it with professional sturdiness, and added as many dials and buttons as they could fit, too.

What you get is a camera that has a couple of quirks, but is also “perfect” for a lot of different things!

Landscape & Nightscape Photography

A lot of serious landscape and nightscape photographers are also doing a lot of traveling and adventuring, of course, so these two categories go hand in hand. You’ll love the Sony A6700 for its portability and durability; I didn’t hesitate to take it on one of the most brutal, challenging backpacking trips of my life!

But also, the sensor gives every indication of being truly phenomenal; 26 megapixels is in my opinion the sweet spot for APSC. (It’s actually about the same as a 60-megapixel Sony A7R V when cropped to super-35 mode!)

Last but not least, with truly excellent lenses like the Sony E 15mm f/1.4 G, or the even wider 11mm f/1.8, the A6700 becomes a very formidable option for astro-landscape photographers. Equally, the Sony 10-20mm f/4 PZ G, with its 15-30mm equivalent, is a very attractive option.

Action Sports & Wildlife Photography

Simply put, the dedicated AI processing engine really shines whenever you point it at virtually any subject with eyes. I tested The A6700 with birds, cats, dogs, reptiles, amphibians, and bugs! It works unbelievably well.

Although the Sony A6700 tops out at 11 FPS, I would consider it one of the best cameras on the market for aspiring wildlife or action sports photographers. 11 FPS is more than enough for most action, and the ability to track subjects in challenging conditions will give you far more keeper photos, anyways.

Portrait & Event Photography

With the amazing lineup of Sony E-mount lenses, including both APSC and full-frame options, the portraits you can create with, say, the Sony FE 50mm f/1.4 GM are absolutely gorgeous. Furthermore, the A6700’s autofocus is almost witchcraft; it follows a subject’s eyes just like the best flagship cameras on the market.

Having said that, with the overall ergonomics, specifically the single SD card slot and the small, corner-pocket style viewfinder, I can’t recommend this as a dedicated pro camera for portraits, let alone weddings. It certainly is more than capable, of course, but I prefer the redundancy and versatility of a dedicated pro camera.

Sony A6700 Review | Pros & Cons

Here is the short version: If you’re looking for the most well-rounded camera on the market, this is likely it. The A6700 has almost everything, plus a few things that almost no other camera has. The portability and value do come at a price, though, with a few “flagship” type features omitted, including the overall ergonomic design.

However, as I mentioned above, this is still one of the best cameras for almost any type of photography or videography. In fact, I’d say that the wider the variety of things you want to do, the more this camera is likely your best choice.

Image Quality

The A6700 shares its 26-megapixel sensor with the Sony FX30, so its raw image quality should be a known, measured performance. However, we were working with the camera prior to its release, and couldn’t get the raw files into Lightroom just yet. With that being said, it seems very evident from the JPG image results that the A6700 sensor is impressive. Dynamic range is very wide at low and moderate ISOs, and noise levels are very low at higher ISOs.

Autofocus Performance

This is the A6700’s claim to fame, indeed. Sony first debuted its dedicated AI processor in high-end full-frame pro cameras like the A7R V and ZV-E1, so I wasn’t holding my breath fur such a compact, affordable camera to get the AI processing engine. Of course, Sony delivered. This AF system tracks subjects in any condition, from fast or erratic action to nasty harsh light…

Many other cameras (indeed, many entire industries) are talking about using AI in their technology, however, and a lot of it is hype. In the past, some “AI-based” claims meant that a camera simply had an algorithm that was trained on a few thousand source images, and built into the existing camera’s software/hardware.

Things are different in the A6700, though. It’s an additional, dedicated AI processor, separate from the Sony “Bionz X” processor(s), and it really is impressive in its capabilities.

Overall Performance

Having said that, it’s important to note that for all its “blazing fast” autofocus, which offers precision and a “sticks like glue” subject tracking ability, the Sony 26-megapixel sensor is not necessarily the fastest thing on the market. It tops out at 11 FPS for stills, with both a mechanical shutter (which is impressive) and the electronic shutter, which is a bit behind the 20-40 FPS of quite a few other cameras.

Honestly, unless you’re photographing hummingbirds or high-speed racing action sports, I can’t imagine ever needing more than 11 FPS. Then again, this AI processor is supposed to be made for exactly that, so it would have been nice to see at least ~20 FPS with the electronic shutter.

Videographers will also want to know about the readout speed, for the sake of avoiding rolling shutter effects. Make no mistake, the A6700 sensor is “fast enough”, with 4K/120p video at a 1.58x crop, or up to 4K60p when sampled from the full 6K sensor. This sensor is a staggering improvement beyond Sony’s long-standing 24-megapixel CMOS!

Battery Life

Battery life was one truly great thing that I loved about the Sony A6600 when it came out. Sony used the impressive flagship Z-series battery, which gave the smaller APSC sensor a staggeringly good lifespan.

I never listen to CIPA numbers about battery life, they seem almost meaningless to virtually all my own real-world applications. Simply put; I’d wager that the A6700 has the best real-world battery life of any APSC camera, regardless of what any spec sheet says. (Aside from the fact that, according to Sony’s own spec sheets, the older A6600 gets slightly better battery life, likely due to the slightly less powerfulness?)

Most types of photographers should get an entire day or an entire week out of a single battery, depending on how many photos they’re taking. A high-speed action/wildlife photographer ought to expect to get thousands of clicks on a single battery, especially if they’re careful about their viewfinder/LCD/stabilization usage.

Furthermore, Sony’s current standard is USB-PD charging, which is fantastic. Before, the lack of a dedicated battery charger was a shocking annoyance; now it is totally normal. I just plug in a USB-C cable to a USB-PD battery pack or plug, and the camera battery charges just as fast or faster than it did on a dedicated charger. Also, you can of course operate the camera directly from USB-C power, which is very nifty for long video recordings or all-night time-lapses.

One annoyance that I should note is that to save space on the A6700, Sony has omitted the “micro USB” style external control port, which used to also be capable of charging the battery in-camera. Now, all you have is the USB-C port. So, not only do you only have one charging cable option, you also cannot easily plug the A6700 into an external control device such as a motion time-lapse system.

Design & Ergonomics

One thing Sony was keen to point out was the fact that despite its similarity to its predecessor the A6600, the A6700 is actually a bit more lightweight, yet also has a slightly bigger grip. This is awesome! The camera just handles beautifully, even for my large hands, and is one of the best cameras I’ve worked with. I still have a soft spot in my heart for the feel of a Nikon grip, though.(B&H | Adorama | Amazon)

Sony may not have changed the at-a-glance appearance of the A6700, with its flat-top design and the viewfinder in the corner, but when you look closer you do notice some things. They’ve added a front command dial, which I sorely missed on the A6600. This makes 3 command dials, so you can finally control all three exposure settings in Manual exposure, and/or two settings plus EV comp in Aperture/Shutter priority mode. Next, Sony added both a dedicated AF-On button and a photo/video mode switch, instead of that weird, confusing button-in-a-switch that the A6600 and many older cameras had.

All in all, I love the improvements Sony made. The ergonomic changes alone make this camera worth upgrading to from the A6600.

I do have just a few complaints about the overall design, though:  As I mentioned in my A6600 review, I’m still not a fan of a viewfinder in the top-left corner. As someone who is left-eyed, this makes the rear LCD annoying to use as a touchscreen. What might even be more annoying, though, is the slight change Sony made to the on/off switch! It’s almost the same, but the angle is slightly changed, and it really throws you off; this one will take a lot of getting used to.

Also, the resolution of both the viewfinder and the rear LCD are definitely two areas where Sony saved a little bit of money; they’re big, bright, and functional, but they’re relatively low-res compared to the competition.

Lastly, I should also mention that without a dedicated AF point control joystick, like the Sony FF cameras have, moving the AF point around the frame is a bit cumbersome because you must toggle the existing 4-way controller in and out of AF point selection mode. This takes some getting used to, and is generally sub-optimal, period.

I guess it all comes down to this: If I want an A7-style or even A1/A9-style APSC camera body, with a big fat high-res viewfinder centered above the lens mount, then I’d have to pay a lot more for it, and the camera wouldn’t be the portability winner that it is.

Durability

Although it still looks a bit like an entry-level camera, make no mistake: under the hood, it’s built very tough. The body is alloy metal, and the buttons/dials are weather-sealed. Also, keep in mind that thanks to the ergonomic grip, I feel like you’re just flat-out less likely to drop this camera, compared to “the early years” with the downright slippery A6000.

Features & Customizations

True to Sony tradition, the A6700 takes a few small steps forward in terms of customization, and maybe a step or two back as well. As I mentioned regarding the ergonomics, that “C1” button is in a loathsome position. I absolutely love customizing every button on every camera I ever pick up, and yet I really struggled to find any feasible use for it. I suppose it would do well in aiding vloggers who work in front of the camera; maybe it could be customized to turn on/off the product showcase mode or the background blur mode.

Other than that, I have the same praises and the same complaints: I love how customizable overall Sony cameras are, they have the most customizable buttons of any brand, and the dials are the most customizable, and I put those to good use. I am still perplexed by some of the menu item arrangements that make no sense, such as why some “playback” related items aren’t actually in the dedicated playback menu, plus a few other things.

Value

Simply put, the value here is truly incredible. I was very surprised that Sony put their dedicated AI processing engine in such an affordable camera; you simply won’t find autofocus this good, at this price, anywhere else. If subject detection and tracking are your top priority, then the Sony A6700 is hands-down the best value on the market.

Having said that, what about the things I mentioned that could be improved; what would they be worth? Quite honestly, in terms of value, a mythical “Sony A9000”, an APSC version of the A1 or A9 series, would surely cost over $2,000. You’d have to use a stacked BSI sensor, and you’d have to add a bigger viewfinder, plus dual card slots; it wouldn’t be the same camera at all.

Such a different camera would absolutely be worth it, but that would be in a completely different category in terms of value.

The Sony A6700 was the smart move for Sony, indeed, because it is just the best all-around camera they could have made. It’s not as big and bulky as “flagship” type cameras with their large viewfinders and oversized bodies, and most will appreciate that despite my own complaints bout being left-eyed and having clumsy, big thumbs.

Sony A6700 Review | Compared To The Competition

Considering the price tag of $1,399, Sony’s closest competition to the A6700 is likely the Fuji X-S20.  Both cameras offer IBIS yet lack dual card slots. This is important to note because most cameras that are cheaper will lack IBIS, of course, and most cameras that offer dual card slots will usually cost a lot more.

Speaking of Fujifilm, what about their flagship APSC cameras? If you’re willing to pay more, then you can get a Fujifilm X-T5 (with a 40-megapixel sensor) for ~$1,700. It offers both IBIS and dual card slots and an impressive 20 FPS. Alternatively, Fuji’s X-H2 uses the same sensor to offer 8K video, and the X-H2S uses a stacked BSI 26-megapixel sensor to offer a blazing 40 FPS and 4K120p video. The X-H2S is a big jump up, though, at ~$2,500. (Again, that’s “Sony A9000” territory!)

The main drawback of all the Fujifilm cameras is, quite simply, the fact that Sony’s autofocus just blows away all competitors. A fact that was measurably true even before the A6700 came along with its AI chip for subject identification, and is now even more true. Fujifilm does have a wider, better variety of high-end APSC lenses, especially for portrait and wedding photographers. However, Sony is catching up fast with new “G” series (but no GM?) APSC lenses. Plus, with the Sony E-mount, you have access to innumerable third-party lenses for APSC and full-frame that are very affordable.

Canon’s EOS R7 is another APSC mirrorless camera that sits at $1,399, when the $100 savings is active, and it offers dual card slots to go with its more standard ergonomic form factor. They tried to make its DSLR namesake proud with this mirrorless 7-series, but quite honestly, Canon also experimented quite a bit with some weird new control layouts, including a totally new AF/MF switch location, and a downright bizarre rear dial configuration. I’m just not a fan, and I say that as someone who literally gets paid to become familiar with a new camera’s ergonomics.

What about full-frame? The leap in price to a Sony A7 IV is a big one; a whole thousand dollars to be precise. (Well, $999, and that’s with $100 in instant savings!) You get lots of professional features with the A7 IV, but you don’t get the AI processor with the absolute latest in autofocus technology.

On an A6700 budget, however, you could also afford the Nikon Z5, in fact, it’s currently $1,296 because of a rebate/savings. That would give you dual card slots and IBIS, (the only full-frame option with both in that price range!) …but the Z5 sensor is a relative slug, with significantly slower photo and video speeds. Thus, it’s only a great value for photographers doing mostly slower-paced work.

Last but not least, Canon’s full-frame EOS R8 is also “just” $1,499. However, to get that full-frame sensor at that price you are giving up both IBIS and dual card slots. Canon’s subject detection and autofocus technology are very good, but they definitely don’t touch the A6700.

Therefore, all in all, I have to recommend the A6700 very highly above every conceivable competitor. If you’re entirely dedicated to nothing but videography, maybe you could stretch your budget to afford the Sony FX30 and access the fast(ish) readout 26-megapixel sensor.

Sony A6700 Review | Conclusion

The Sony A6700 is probably the perfect camera for many photographers and videographers alike. For almost any and every subject, from casual photography to epic adventures, there’s a lot to like. For every style of content creation, too, there’s an attractive offer; whether you are strictly a photographer, or you’re a vlogger or influencer, the A6700 beats all other Sony APSC offerings with its versatility. Plus, that dedicated AI chip for subject detection/tracking really is amazing!

It seems forever ago, (indeed, it’s been almost a decade) since the Sony A6000 first arrived with its clunky ergonomics, unusable autofocus, and miserable battery life. Today, the Sony A6700 represents essentially the pinnacle of what is possible in digital photography and videography. For the relatively modest price tag of $1,399, it truly is the best offering to date.

Check Pricing & Availability

The Sony A6700 should be available for pre-order by July 13th, starting at $1,398 without a lens, or $1,498 with a lens.
(B&H | Adorama | Amazon)

Low light? No problem, of course! This lens shines bright and brings out every detail, well after sunset, or even before sunrise. Moving action? The powerful autofocus motors in this lens, combined with Sony’s amazing face & eye detection. ensure impeccable AF tracking.

Whether you’re a pro photographer, videographer, or a passionate hobbyist, the Sony FE 35mm f/1.4 GM will blow your socks off. It’s worth the investment for its lightweight build, compact size, and breathtaking image quality. Seriously, it tells the story of your special day like nothing else!

Don’t sweat the price tag, either—it’s worth every single penny. Pros swear by it, and it’s the perfect lens to start your photography journey for environmental portraits of any kind, not just elopements. The high-quality optics, precise focus, and ruggedness make it a dream for weddings, elopements, portraits, and even sports, but also a perfect choice for any type of outdoor adventure, travel, and everyday walk-around content creation. Whatever subject you’re into, brace yourself for jaw-dropping photos that’ll leave everyone speechless!

Sony FE 35mm f/1.4 GM Lens | Specifications

FOCAL LENGTH & ANGLE OF VIEW: 35mm, 63°
LENS MOUNT(S): Sony (FE) E-mount
APERTURE & RANGE: max f/1.4 & min f/16, 11 rounded blades
STABILIZATION: none
AUTOFOCUS: Twin XD Linear AF motors, near-silent
MANUAL FOCUS: Yes (Linear response mode available)
OPTICAL CONSTRUCTION: 14 elements, 10 groups
MECHANICAL CONSTRUCTION: Mostly metal, fully weather-sealed
MAGNIFICATION & FOCUS DISTANCE: 0.26x magnification, 9.8″ (25 cm) min. focus distance
FILTER THREADS & HOOD: 67mm, rubberized plastic hood with spring-loaded position lock
SIZE: 3 x 3.88″ (76x96mm)
WEIGHT: 18.5 oz (524g)

PRICE: $1299.99 (B&H)

Sony FE 35mm f/1.4 GM Lens Review | Who Should Buy It?

The Sony FE 35mm f/1.4 GM lens is a true all-rounder for professional photographers and one of my go-to lenses for all of my elopement magic. It’s the secret ingredient for stunning portraits when you want to include a bit more of the surroundings, thanks to its wide focal length and a fast aperture that creates dreamy bokeh while keeping everything looking natural.

I also love the wider field of view compared to 50mm, because 35mm doesn’t add noticeable distortion for most portrait distances like a 24mm or wider portrait could. In other words, it’s perfect for capturing spontaneous moments in many settings, especially active outdoor situations but also in low-light indoor intimate settings.

This is a great lens for documenting moments and events of any kind because you can trust it to not only be sharp and in-focus, but more importantly, capture the real essence of your subjects, events, and environments with a natural perspective. Simply put, compared to more telephoto event journalism, a 35mm gives the viewer a better sense that they’re actually standing there, immersed in the moment!

Landscape photographers can venture off the beaten path and achieve breathtaking results, especially in low-light conditions if they do both landscapes and nightscapes. It’s also excellent when any type of nature photographer or content creator wants to add some blurry foreground magic (and/or background!) to their imagery.

Wedding and event photographers can rely on the Sony FE 35mm f/1.4 GM lens for those lively group shots, vibrant environmental portraits, and all-around wedding coverage. It’s versatile enough to handle any situation, making it a go-to lens for general-purpose photographers who love capturing various subjects and genres.

So whether you’re shooting every day or exploring the world, this lens guarantees top-tier performance, incredible image quality, and a perspective that will make your work stand out. It’s a must-have investment for any professional seeking extraordinary results.

Primary Focus | Wedding Photography & Elopement Photography

Get ready to level up your elopement photography game with the Sony FE 35mm f/1.4 GM lens! This bad boy is a game-changer with its wide aperture and razor-sharp image quality. No more worrying about unpredictable mountain conditions – this lens handles them like a champ. And the best part? It’s lightweight, so your shoulders will thank you.

From breathtaking panoramas to intimate vow ceremony details, this lens does it all. No need to fuss with switching lenses throughout the day – this lens has got you covered. You can capture every magical moment with confidence, knowing that the image quality will be top-notch.

This lens is an absolute must-have if you’re an elopement photographer seeking that mountain magic. It’s your ticket to capturing the love and beauty of couples’ biggest days. Get ready to rock those elopement shoots like a boss!

Sony FE 35mm f/1.4 GM Lens | Pros & Cons

Image Quality

The Sony FE 35mm f/1.4 GM lens is highly regarded for its exceptional image quality by professional photographers and reviewers. It delivers outstanding sharpness, contrast, and minimal distortion, even when shooting wide open at f/1.4. The 35mm is designed to provide top-tier performance and is often considered one of the best lenses in its class.

Sharpness

It is highly regarded for its ability to capture intricate details with clarity, making it a reliable choice for photographers who prioritize sharpness in their images.

Bokeh

With its wide maximum aperture of f/1.4, the lens can create a pleasing and smooth background blur, allowing the subject to stand out. Bokeh is more than just shallow depth, though, and the softness of the blur itself is very important, especially for outdoor portraits in sometimes harsh light. In this regard, Sony delivers beautiful results.

Colors & Contrast

The 35 gives you exceptional color rendition and contrast. It is designed to deliver vibrant, accurate colors and impressive contrast, resulting in visually appealing images. While personal preferences may vary, this lens is known for its ability to reproduce colors faithfully and enhance the overall visual impact of photographs.

Vignetting & Distortion

While there may still be some slight vignetting and distortion present, they are generally well-controlled and easily correctable in post-processing.

Sunstars & Flare

This lens exhibits good control over flares, minimizing their impact on image quality, while making backlit portraits beautifully dreamy, too.

Macro & Close-Up Photography

It’s hard to make a comparison when Sony has better macro-focused lenses on the market, but it still holds up for those detail shots. For wedding photographers, close-ups of details usually don’t need to be anywhere near 1:1 reproduction, anyways!

Design & Durability

I have personal experience with dropping and submerging this lens into a puddle, and the lens barrel & sealing gaskets kept all of the water out! This is what professionals pay for; in a moment of crisis, you’re less likely to experience a disaster.

Overall, the design is very similar to other Sony G-Master prime lenses, and that’s a good thing!

Ergonomics & Portability

The Sony FE 35mm f/1.4 GM lens strikes a balance between excellent image quality and a relatively compact form factor. It is bigger and heavier than f/1.8 options, of course, but it’s honestly surprisingly close to such portable alternatives! Everything on the lens is well-placed and ergonomics are excellent.

Indeed, it is made to be comfortable to handle and easy to use on very long days, with well-placed controls and a smooth focusing ring. The lens’s weight is distributed well, providing a good balance when attached to a camera, even when hand-holding with just your right hand.

Autofocus Performance

It utilizes advanced autofocus technology and a responsive, two-motor (Sony XD linear) focusing system to ensure precise and quick focusing in various shooting scenarios. The lens is designed to capture sharp and well-focused images, even in challenging conditions or with moving subjects. This is, of course, a factor of the camera body too; you’re likely to get a slightly better hit rate with a Sony A1 series, or any of their latest cameras with a dedicated AI-based subject detection processor. Either way, this lens is simply the best of any E-mount 35mm prime, period.

Manual Focus Performance

The Sony FE 35mm f/1.4 GM lens features a linear-capable manual focus ring that is smooth and precise. The focus ring offers a good amount of resistance, making it easy to control and fine-tune focus manually. Although many photographers might never need this, it can come in handy very quickly when you start getting into doing portraits under the stars!

Features & Customizations

The Sony FE 35mm f/1.4 GM lens is a versatile powerhouse! It has Sony’s usual physical aperture ring with the cool de-click switch, plus, of course, an AF/MF switch. There is also a customizable Fn button, but, unfortunately, there is no aperture lock

Value

This lens is almost double the price of the cheaper version, but the difference in image quality is a no-brainer for any professional photographer. It’s an essential prime lens that is half the price of zoom lens options.

Sony 35 GM IIReview | Compared To The Competition

Get ready for a photography game-changer: the Sony FE 35mm f/1.4 GM lens! It’s lighter, higher quality, and sleeker than its f/1.8 G predecessor. Oh, and the even older Sony (Zeiss) 35mm f/1.4? This lens absolutely destroys it, especially in terms of sharpness at ~40-60 megapixels. Simply put, this is the ultimate 35mm lens for any enthusiasts and pros who demand the best.

While you could save some bucks with the older, non-G master version, be warned – you’ll sacrifice a bit of autofocus performance and image quality, as it is a “G” series lens. No professional wants that, of course. The f/1.8 is no slouch, but the f/1.4 is just that much better, is value is absolutely worth it.

Alternatively, let’s consider “what if?” …you’re obsessed with shallow depth? If you’re used to the even greater background blur that you can achieve with, say, a 50mm f/1.2 or an 85mm f/1.4/1.2, then you might consider the Sigma 35 f/1.2 DG DN lens, which provides a slightly wider aperture for shallow depth of field. However, it is MUCH larger and heavier than the Sony. In fact, it’s downright enormous.  Both lenses deliver exceptional performance and are popular among photographers seeking top-quality 35mm lenses, but this Sony wins hands-down for versatility, from its significantly lighter weight, and smaller size, to its vastly superior autofocus reliability.

Of course, Sigma does also make a true direct competitor, the Sigma 35mm f/1.4 DG DN Art. ($799-899) This lens is the closest you can come to matching the Sony G-Master and considering the $600 price difference, it may be an attractive offer. However, as sharp as the Sigma may be, the Sony simply pulls ahead in terms of overall autofocus consistency and precision. With the Sigma, you’ll find yourself double-checking for perfect focus decently often, especially at f/1.4. With the Sony, you barely ever have to worry. That subtle difference is absolutely a deal-breaker for many working pros, of course.

Last but not least, you can find a few other alternatives that may suit an extremely tight budget, such as the Samyang 35mm f/1.4 AF II and Samyang 35mm f/1.8 AF. Both of these lenses are quite decent, but neither comes close to the rugged durability that a working pro will require, especially in rough outdoor conditions.

Sony FE 35mm f/1.4 GM Lens Review | Conclusion

The Sony FE 35mm f/1.4 GM lens is the MVP in my photography kit now, making up 80% of my field time mounded on-camera. It’s a low-light wizard, capturing jaw-dropping image quality even when the sun goes down. And the best part? It’s compact and lightweight, perfect for those epic mountain adventures or marathon wedding days.

Its common price tag is $1,399, but do keep an eye out for savings/rebates (usually around $100) from time to time on B&H.

This lens is the cream of the crop for professional photographers, offering a versatile range of applications that can elevate any shooting scenario. Whether you’re a pro with an expense budget to spend, or a savvy hobbyist content creator looking for that one lens to rule them all, this baby has got your back. It’s the real deal, the A+ player in the lens market that stands head and shoulders above the rest. Get ready to capture some mind-blowing shots with this gem!