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.
I made a slight crop to adjust the top and bottom frames. White balance and colour correction were achieved using Calibrite. This shot was taken indoors, illuminated with Aputure ML-F7 lighting on both sides and captured using the Sony α7 IV with the Sony FE 40mm F2.5 G lens wide open at f/2.5.This is an uncropped close-up portrait. I reduced the vignette effect to only 50% in Lightroom. White balance and colour adjustments were made using Calibrite. The shot was taken indoors with Aputure ML-F7 lighting on both sides, using the Sony α7 IV paired with the Sony FE 40mm F2.5 G lens wide open at f/2.5.
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.
Capturing the kaleidoscope of emotions with candid moments on the streets of Copenhagen.Capturing the City’s Rhythm: A Summer Afternoon Moment in Frederiksberg Forum Metro Station, Frederiksberg. Sony α7 IV | ISO 100 | f/2.5 | 1/1000Late Summer Afternoon at Nyhavn, Copenhagen 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.
Can it replace 35mm and 55mm focal lengths and serve as my second everyday lens?
Inspiration
I found inspiration from Mitch Lally’s YouTube video, where he paired the Sony ZV-E1 with a Samyang 35mm F2.8 lens for his everyday carry camera setup. Initially, I was about to acquire the Sony ZV-E1, but after contemplating for 10 hours, I made the decision to upgrade to the Sony α7 IV. Just a month before, I had purchased the Sony FE 24mm F2.8 G lens and was truly impressed by its compact size and sleek profile.
I researched the Samyang 35mm F2.8, known for its super-compact design. However, I discovered some significant drawbacks, including the absence of weather sealing, noisy autofocus, and a susceptibility to dust. Furthermore, I already had a 35mm focal length lens in my collection.
Subsequently, I learned about the Sony FE 40mm F2.5 G, which was available for 2,500 kr. In the end, though, I opted to purchase only the 24mm F2.8 G lens. This decision is one that I might come to regret in the future.
35mm Focal Length
I currently own the Sony FE 35mm F1.4 GM lens, and it has become one of my absolute favourites. Previously, I had the Sony FE 35mm F1.8 lens. Together with my Sony FE 55mm F1.8 lens, these two are my constant companions, finding their place in my bag, including my school bag. I’ve used them extensively, capturing photos of my classmates after lectures and shooting outdoor portraits. The versatility of the 35mm focal length is truly remarkable.
I’ve employed this lens during various occasions, including my department’s Christmas Lunch and the Annual Spring Gala. However, it does have its drawbacks; it feels a bit weighty in my hand, and I often switch to the 55mm lens when shooting portraits. With the recent addition of the 24mm lens to my collection, the 35mm has seen less time on my camera. Nevertheless, for gatherings where wide-angle or landscape shots aren’t a priority, I still find it convenient to bring along my 35mm lens, especially at parties like these:
RUC IMFUFA Christmas Lunch 2022 Sony ɑ7R III + Sony FE 35mm F1.8RUC Spring Gala 2023 Sony ɑ7R III + Sony FE 35mm F1.4 GMRUC Open House 2023 Sony ɑ7R III + Sony FE 35mm F1.4 GM
My System
Returning to Mitch Lally’s story, I wholeheartedly concur that an ultra-compact lens can significantly enhance the photography experience. Firstly, for someone like me, who tends to be introverted, having a camera with a smaller profile makes me less self-conspicuous when taking photos. Secondly, the reduced weight of the setup, whether held in my hand or slung across my body, is much appreciated. And, perhaps most importantly, it’s easy to retrieve the camera from and stow it back into my camera bag swiftly. Often, the bulkiness of a backpack or a camera fitted with a large, heavy lens like the Sony FE 24-70mm F2.8 GM can deter me from spontaneously capturing moments.
I chanced upon a secondhand copy of the lens on the DBA (a secondary marketplace) and engaged in some negotiations with the seller to get a price that matched what MPB, a photography equipment reseller, would typically offer. To Michael, if you are reading this, I apologise for the haggling—it was a mix of lingering regret for not acquiring the lens at a lower price when the opportunity arose and my anticipation of MPB’s clearance sales. Moreover, I was in no particular hurry, and I also harboured concerns that if I didn’t fancy the lens, I might incur some losses when reselling it.
What were my initial thoughts upon receiving the lens? Well, it was nothing short of petite! Incredibly compact, and it had this somewhat unconventional appearance at the end.
Ofelia Plads, Copenhagen. Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)Street of Copenhagen. Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)Copenhagen Canal. Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)“The road leading to Copenhagen” Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)Fog blanketing this countryside town. Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)Cafe by Roskilde Harbour Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)Cropped close-up of a flower showing nice bokeh all around. Sony ɑ7 IV + Sony FE 40mm F2.5 (Opened at f/2.5)
Upon reviewing my photos, I have noticed the presence of vignetting effects, which, interestingly, impart a pleasing aesthetic to them.
As part of my ongoing process to streamline my camera bag, especially now that I’ve transitioned to a sling bag from a backpack (the Peak Design Everyday Sling 10L V3), I aim to keep it as lightweight as possible—because sometimes, less is more! With this in mind, I plan to replace my Sony FE 35mm F1.4 GM and Sony FE 55mm F1.8 lenses with the Sony FE 40mm F2.5 G during the months of August and September.
The question that looms is whether this pairing of only two lenses, the 24mm and 40mm, will suffice for my everyday photography needs. This is especially relevant since I frequently use my camera to document my daily life and often engage in portrait photography. Stay tuned for an update in October; I’ll share my experiences and insights then!
To kick things off: this lens is my absolute favourite for both daily use and travel.
I acquired this lens on June 22, 2023, and my affection for it has only grown since it became a permanent fixture on my camera. Its compact and lightweight design complements my Sony α7R III perfectly. Thanks to its diminutive size, it swiftly emerges from my Peak Design Everyday Sling 6L when needed, and it seamlessly slips back in just as easily.
While I do occasionally swap it out for my Sony FE 55mm F1.8, most of the time, it’s the trusty 24mm lens that graces my camera.
One of the initial photos I captured after mounting the lens on my Sony α7R III features the streets of Copenhagen on a summer morning at 8:09 am. The shot was taken at an aperture of f/2.8 and later edited in Lightroom.
summer 2023 marked my planned week-long trip to Ibiza, and throughout the journey, this wide lens remained my absolute favorite. Reiterating what I mentioned in the previous paragraph, its compact profile and lightweight design were truly invaluable. This lens’s discreet form factor meant that it didn’t protrude conspicuously from my camera, allowing me to blend in effortlessly without appearing like a tourist carrying a bulky, professional-looking camera with long, oversized lenses. It proved to be the perfect companion whether I was dining at a restaurant, lounging on the beach, or simply strolling through the streets.
A full-body portrait set against the backdrop of a vibrant Ibiza street. The lens’s wide perspective allowed me to encompass the surroundings while maintaining a sharp focus on the primary subject. Shot at an aperture of f/2.8 and post-processed using Lightroom.
There’s a minor aspect I’ve noticed about this focal length that doesn’t quite align with my preferences. At 24mm, the field of view is a bit too wide when shooting up-close subjects. While this lens proves versatile for capturing food photographs during vacations, under the right conditions, I find a 35mm lens to be more preferable. This is particularly true for half-body portraits, as the 24mm tends to exaggerate objects in the foreground due to its perspective distortion.
Nevertheless, when I combine this lens with the Sony α7 IV and employ the SteadyShot stabilization feature set to Active mode, which introduces a crop factor of approximately 1.14, it effectively transforms into an almost 28mm equivalent. This offers a balance between width and tightness that I find quite pleasing. The video below was captured handheld from a moving truck (albeit at a slow pace) using Active SteadyShot, and in my opinion, the outcome was well worth preserving as a cherished memory!
This lens not only boasts a compact design and excellent ergonomics but also features a physical aperture ring on its body. Personally, I have a strong affinity for this ring because it enables me to swiftly and precisely set the desired aperture value, a conscious choice I prefer over using the scrolling wheel on the camera body.
During non-holiday periods and when I have leisurely moments to spare, the trusty 24mm lens remains my go-to choice for attaching to the camera. However, when it comes to portrait photography, I still favor the 55mm. For capturing general subjects such as flowers or documenting objects, my preference continues to lean towards the 35mm lens. This is because, in certain scenarios, I do find the 24mm to be a tad too wide for my liking.
This selfie was captured from approximately one meter away in a confined office space. In this particular scenario, the wide 24mm lens proved to be exceptionally handy, allowing me to encompass as much of the room as possible. With an aperture set at F2.8, the bokeh and subject-background separation achieved were just about right.
In conclusion, this lens is a superb all-around choice thanks to its compact size and lightweight build, making it ideal for discreet and versatile photography. It excels in confined spaces, such as when dining at a restaurant or during train journeys. While it can perform adequately in the limited space of an airplane seat, I would have favored a 20mm lens in that scenario. When traveling for holidays, I lean towards keeping this lens mounted on my camera due to its adaptability across various environments, be it for landscape, street, or food photography.
I have been using Sony α7R III since November 2020 and Sony ZV-1 since March 2021. Sony ZV-1 has been used for videography for the majority of the time. Sony α7R III is a beast in terms of resolution and sharpness. Its autofocus is just spot-on but Sony has upgraded the autofocus algorithms for newer cameras.
When recording videos, GoPro and Sony ZV-1 are the cameras I utilised the most. The stabilisation on GoPro is unmatched! But of course, Sony ZV-1 has sharper video and better colour compared to GoPro. In April this year, I recorded an Easter procession using Sony α7R III. It was dark and I bumped the ISO to 2000. They look fantastic, so clear and sharp. The colours were rendered nicely when GoPro struggles with its tiny sensor. In addition to that, the depth of field separates the objects very well from the background.
Sony ZV-E1 vs. Sony α6700
So, I was contemplating getting a camera for “video” in mind (as Sony α7R III is a “photo first”). What I meant by this is that a camera records a video that allows me to colour grade, something like 10-bit colour and retain high-quality data from the sensor. Sony α7R III only does 8-bit and line-skipping on the sensor.
The plan was upgrading to Sony ZV-E1 as it is a full-frame camera. Surely, the depth-of-field are going to look awesome. It has an insane Digital Active Stabilisation (DAS) and claims to produce hand-held stabilisation close to GoPro. I was sold at this point. But reading further, that DAS is cropping out 30% from the sensor, meaning that it upscales from 2.8K to 4K. Some YouTubers claimed that the videos still look sharp. The loss while not perceivable, is a loss nonetheless. It also has a drawback. As it is a video-first camera, it only produces 12MP photos.
I was weighing between Sony ZV-E1 and Sony α6700. They both can record 4K 120fps. Not that I need to use this function every day, but definitely nice when slowing down footage. But the latter is an APS-C camera. The sensor is smaller and my lenses are all full-frame. Yes, these lenses work for APS-C. But my favourite 24mm F2.8 lens by the 1.5 crop factor is going to be 36mm F4.2!
I was just very hesitant to go and get any of these two despite they are both now available.
Undecided? Look for an alternative!
I was divided at this point. In the morning, my mind would go for Sony ZV-E1 and in the evening, it swayed toward the Sony α6700. Then, from the YouTube algorithm, I was suggested a video by Mark Bennett where he compared Sony ZV-E1 vs Sony α7 IV.
The full-frame sensor and 10-bit video function in Sony ZV-E1 are complemented nicely in Sony α7 IV, minus that 4K 120fps. Whilst the latter has no AI chip for the autofocus but it shoots 33MP photos. Way better than the two cameras that I was considering prior. These are the things that I like about Sony α7 IV:
Produces crisper 4K videos as it downscales from 7K full readout from its sensor without line skipping.
10-bit 4:2:2 videos gives more flexibility during colour grading.
15 stops of dynamic range.
Dual native ISO (for S-Log3: 800/3200)
Uncompressed RAW.
Manual setting for the ISO range, so you won’t get below or past certain values. This complemented the rotating wheel as it adjusts the ISO up and down, so no more accidental increases to overly high ISOs.
HEIF in 10-bit.
Touchscreen to switch focus from point to track. I find that tracking works well when you need to recompose before pressing the shutter button.
A focus map is especially useful when recording using macro lenses.
When recording, it has the Active SteadyShot (crop 14%).
A knob to switch between photo and video mode.
“Setup > Operation Customize > Different Set for Still/Mv” lets me separate shutter speed, ISO, picture profiles and several other settings between still photos and videos.
Tilted monitor for selfies 😁😉
When recording at 50fps, the lens crops at a factor of 1.5. It somewhat bothers me, but, how often do I record at 50fps anyway? Despite having HEIF, I only use JPEG as I also shoot RAW, hence JPEG files are only seen during triage. The editing is on the RAW files.
It was less than an hour after I watched Mark Bennet’s YouTube video (above), I found a seller in the secondary market. He is selling well below the market price. The camera was well taken care of and without any scratches at all. Also persuaded after getting a good recommendation from a fellow photographer on Instagram, Kim Frederiksen. Less than 10 hours later, I held the camera in my hand!
Separate settings for photo and video
The knob to switch between photo and video mode is really useful in my case, as for video recording, I’d like to apply Picture Profile HLG-3 and I do not want it to spill over to the still photos. The use case is when using manual settings for aperture and speed. Flip the knob and be ready to record a video using the manual settings with HLG-3 applied and flip again, it is for photo mode.
I found that if it is on the dial “M”, then settings are shared by both modes. So, in order to achieve this, I have to save the settings to Memory Recall. For three separate Memory Recalls, I set the first one for “Manual”; the second for “Aperture” priority; the third is also for “Manual” but with the 50fps video setting.
Playing around and some tests
I played around and made tests based on what I usually use my camera for and what I want to use it for. The results? I was left in awe!
For portrait, it latches on the eyes on 69 out of 70 photos. 24mm F2.8 G, ISO 100 1/50 sec. f/2.8Stacked from two photos, one focused on the flowers in the foreground and the other on the building. It was during the Danish mid-summer at the end of July from the field opposite my student’s apartment. 24mm F2.8 G, ISO 160 1/1250 sec. f/2.8An apple hanging on a branch after the summer rain. 35mm F1.4 GM, ISO 100 1/500 sec. f/4
4K 60fps
“Unfortunately”, when recording at 60fps (Europe: 50fps) it crops by a factor of 1.5 that affects the region on the sensor, effective focal length (hence the field of view) as well as the aperture.
Instead of 7K, the region is then getting smaller to 4.67K which is still good when oversampled to 4K. If using a 24mm f/2.8 the effective focal length is then equivalent to 36mm at f/4.2 which is still fine.
This clip was recorded in 4K 50fps. After editing it was exported in 4K 25fps. The lens, at 40mm f/2.5 was effectively 60mm f/3.75.
Closing
To sum up, after being back and forth between Sony ZV-E1 and Sony α6700 for several weeks, I found that these two are not for me. Sony α7 IV has video capability and also photo capability, a total hybrid. It took me a single day to make a decision and went straight for it. Not even 24 hours in, I was already in love with Sony α7 IV despite only having 33MP (against 42MP on Sony α7R III), as the focus was snapped on and focusing a macro lens was also quicker.
In the past, when I used to record videos, I simply stuck with the default colour settings. However, starting in 2023, I began delving into colour grading. I’ve been experimenting with various colour profiles, including S-LOG3, HLG-3, and even pushing my GoPro to shoot in LOGB.
Before, I relied on a budget-friendly white balance card from Amazon. However, it posed challenges when it came to achieving accurate colour adjustments on the vectorscope, as the “white” and “grey” were not as accurate as they should have been.
Based on recommendations I found in web reviews and on YouTube, I decided to invest in the Calibrite ColorChecker Passport Duo, which can be used for both photography and videography. In 2023, this colour checker was quite pricey, costing over €200. However, during one of my Amazon browsing sessions, I stumbled upon a sale and managed to grab it for €185, including shipping – a welcome opportunity to save some money.
I put the ColorChecker Passport Duo to the test with videos recorded on my GoPro 11 and Sony ZV-1, as well as videos shot with my Sony α7 IV. Notably, my GoPro 11 was equipped with the GoPro Labs firmware, enabling me to record using a log curve to expand the dynamic range.
Final Cut Pro’s vectorscope.Following colour correction using Leeming LUT Pro III with the GoPro 11 in Wide Gamut log400 mode, I noticed that my skin appears somewhat lighter and has a brownish tone, which differs from the darker complexion I was aiming for. Additionally, the red rubber band now has a slightly orange hue.
Sony ZV-1 was set to HLG-3 colour profile.
After colour grading in HLG-3, the overall colours appear quite natural. However, there’s a slight reddish tint to my skin tone.
My next objective is to acquire the skills of colour grading to bring my footage closer to its original colours.
