After nearly two months, spanning from mid-August to the end of September, during which I exclusively carried the Sony FE 24mm F2.8 G and the Sony FE 40mm F2.5 G in my Peak Design Everyday Sling 10L V3, I’ve made some noteworthy observations. While I’ve previously highlighted the merits of the 24mm lens for travel photography, this post will delve deeper into my experiences with the 40mm lens.
Having only two lenses in my sling bag is truly convenient. Since both lenses sport compact profiles, I can cleverly utilize the origami flap to stack one lens at the bottom, with the camera attached to the other lens on top. This arrangement makes zipping up a breeze, eliminating the struggles I faced when carrying the camera with the Sony FE 35mm F1.4 GM attached.
PORTRAITS: In the first portrait photo below, where his hand is outstretched, the image retains a remarkably natural appearance, devoid of the pronounced distortion typically seen in head-versus-hand perspectives. In the second close-up shot, the absence of facial distortion is evident, particularly when compared to the effects of using a 20mm or 24mm lens, which can lead to facial distortion. When combined with the Sony α7 IV, this lens excels in capturing portraits with precision. It locks onto eye focus, ensuring sharpness precisely where it’s intended to be.
STREET PHOTOGRAPHY: While not classified as a wide-angle lens, this optic showcases an impressive knack for capturing the essence of bustling city streets. What’s even more remarkable is its knack for preserving the authenticity of the scene, steering clear of any distortions along the periphery that might compromise the true-to-life perspective. When it comes to photographing people amidst the urban hustle and bustle, this lens truly shines, rendering subjects with enhanced clarity and focus, all without the necessity of getting uncomfortably close as seen the image below.
Forum Metro Station, Frederiksberg.
Sony α7 IV | ISO 100 | f/2.5 | 1/1000
Sony α7 IV | ISO 100 | f/2.5 | 1/6400
DISTORTION & VIGNETTING. While there is a discernible distortion present, the lens also imparts a striking vignette effect, as evident in the two images above. Through lens correction, the vignetting has been dialled back to a 50% intensity, resulting in a more visually pleasing outcome. However, it’s worth noting that for environmental photographs, excessive vignetting, as demonstrated in the Nyhavn image, can sometimes detract from the overall appeal.
APERTURE. This lens boasts a generous aperture range. Typically, with the Sony FE 55mm F1.8, I opt for f/2.8 when capturing portraits. However, the 40mm lens, which opens up at f/2.5, proves to be more than adequate for achieving impressive results.
ENVIRONMENTAL & SURROUNDING: When it comes to environmental photography, this lens may present some challenges, particularly in capturing expansive surroundings. Its focal length may not lend itself easily to encompassing the full breadth of a scene.
Conclusion
The 24mm lens is definitely going to stay. But regrettably, the 40mm focal length doesn’t quite steal my heart, and I find myself gravitating towards the 55mm F1.8 instead, thanks to its more captivating bokeh. All things considered, this 40mm lens falls short of the razor-sharp quality delivered by the likes of the Sony FE 35mm F1.4 GM, Sony FE 24-70mm F2.8 GM, or even the Sony FE 55mm F1.8 ZA.