I waited for too long to get a 16-35mm lens. During my Danish Summer Holiday, there were many places where I wished I had a lens wider than 24mm, especially indoors when I stayed at farmhouses. When visiting towns and beaches, I also wished I had a 16mm, so I could fit the entire landscape into a single frame. In both cases, having the surroundings in one frame tells more of a story, both in the foreground and the background.
Then a chance came by and I bought the Sony 16–35mm F2.8 GM II. There were four situations after I got the lens that made me really appreciate having a wide-angle lens.
In town: I get to put so many elements into a single photo, which gives more context to the scene.
Copenhagen
Roskilde Kongrescenter
Roskilde Harbour (lines corrected).
Outdoor: It gives a more natural look of an event that took place, instead of always zooming in and isolating the subject.
Trekroner
Welcoming new students for 2026-2027 session
Conference: I get to photograph the entire room in one frame, including the people and the surroundings.
Entire conference hall
Close-up activity while showing other activities in the background
Dusk: More of the surroundings fit into the frame, creating a beautiful ambience and showing what the place actually felt like.
Dusk view from my window
I think my dislike for wide-angle photos came from the look of the 13mm ultra-wide lens on my Apple iPhone 15. On the iPhone, I found the images distorted and unpleasant looking. The same can happen with this Sony lens, especially when the camera is tilted upwards or when objects and people are near the edges of the frame. They can look distorted. However, unlike what I was used to seeing from the iPhone, the photos from the Sony lens can be corrected and coloured beautifully in Lightroom.
After using the 16-35mm, I started to understand that a wide-angle lens is not just about fitting more things into a photo. It is also about showing the surroundings and giving the subject a sense of place. Sometimes, the foreground and background are just as important as the main subject in telling the story.
Last year, I set my eye on the Sony α7R V. Every month, I stashed some money away! Then Canon EOS R5 II caught my eye with its better 8K capability, and the VR lenses swayed the aim. I changed my mind to the Canon camera instead.
When I saw Sony α7R V listed in the secondary market and the price was extremely enticing, I changed my mind, again. Very seldom did the price go down that low.
I hold it. I tested it. I love it!
I reset the camera, updated the firmware, and adjusted the settings to match my old Sony α7 IV for an easy transition. At 61 megapixels, it’s double the resolution of my previous camera, and the detail is amazing. What a brilliant resolution for a pixel peeper! The IBIS also makes handheld video incredibly stable. Oh yes, Sony α7R V also captures in 8K.
Portrait photos? Just sharp.
Macro photos? Instead of eyelashes, it focuses on the iris.
Sony ɑ7R V + Sony FE 50mm F1.2 GM 1/250 sec. f/1.2 ISO 100
The Sony Carl Zeiss Sonnar T✻ FE 55mm F1.8 has been my trusted lens for nearly two years, since March 2022. Its performance has consistently delivered outstanding and sharp images. The rendering of a portrait and the environment is just pleasing, as attested by the photos below.
Autumn Portrait at RUC Sony ɑ7 IV + Sony Zeiss 55mm F1.8 + Godox AD200Pro 1/100 sec. f/2.5 ISO 100Roskilde Festival 2023 Sony ɑ7R III + Sony Zeiss 55mm F1.8 1/1000 sec. f/3.5 ISO 100
An aperture of f/1.8 offers a significant opening, but after delving into reviews and watching various YouTube videos, it became evident that f/1.4 (or even better, f/1.2) brings about a distinctive experience. Having used the Sony FE 35mm F1.4 GM for nearly a year, I can attest that it has become my favourite lens. The f/1.4 aperture not only provides speed but also yields a beautiful bokeh effect in the background.
In December 2023, during my visit to Malaysia, I took the Sony FE 24mm F2.8 G, the Sony FE 24-70mm F2.8 GM, and the Sony Carl Zeiss Sonnar T✻ FE 55mm F1.8. At a wedding reception, the 24-70mm lens proved versatile, but I frequently extended it to 70mm at f/2.8 to get the bokeh effect. On another wedding reception, the 55mm lens delivered pleasing results, though I desired a slightly more pronounced softening of the background.
Seeing Through A Projection of Another Lens Sony ɑ7 IV + Sony FE 24-70mm F2.8 GM 70mm 1/125 sec f/2.8 ISO 2000During a family portrait session, I signalled to the ‘photographer’ to come closer by extending my hand. In doing so, I inadvertently showcased the impressive capabilities of the camera’s autofocus system. Sony ɑ7 IV + Sony FE 55mm F1.8 Zeiss 1/250 sec f/1.8 ISO 100
On leaving Malaysia, I was thinking of upgrading to a dedicated 50mm GM lens, initially considering f/1.4 as the ideal choice. However, in January 2024, I came across one boasting a maximum aperture of f/1.2. Several factors influenced my choice, including the obvious appeal of the wider aperture and the presence of a physical aperture ring on the lens body. Notably, after reading multiple reviews, it became apparent that the F1.2 GM surpasses the F1.4 GM and even the 55mm F1.8 Zeiss in performance. (Some reviewers did suggest sticking with the 55mm F1.8 Zeiss if already in possession.)
But the main reason for the upgrade is that I’ve become accustomed to the physical aperture ring on the lens body, which enables swift adjustments to get the desired aperture. However, with the 55mm lens, the process of manually scrolling on the camera took some time, especially when returning to the previous aperture position. In addition, there are two additional keywords: bokeh rendition and overall sharpness.
Here are some tests I conducted within a week of acquiring it. From what I can see, this definitely is a very specific lens! One word comes to mind: overkill 😅🤨
The portrait came out well-focused and sharp. The bokeh was nicely rendered too. 1/160 sec. f/2.0 ISO 200 + Godox V1Portrait in a controlled environment renders an overall sharpness. 1/200 sec. f/5.6 ISO 100 + AD200Pro1/3200 sec. f/1.2 ISO 100Tree bark and snow. 1/1000 sec. f/1.2 ISO 100Statue of David & Goliath (Ivar Johnsson, 1922), Helsingborg. 1/500 sec. f/4 ISO 400Kärnan Keep, Helsingborg. 1/1600 sec. f/1.2 ISO 100View from Terrace Stairs (Terrasstrapporna) towards the Helsingborg City Hall and Helsingør across the Øresund straits. 1/4000 sec. f/1.2 ISO 100
My first after one week impression: I’ve been using the 55mm lens for nearly two years, and I genuinely appreciate the quality of the photos it produces. Recently, I made the decision to “upgrade” to the overkill 50mm F1.2 GM lens, and its f/1.2 aperture is truly magical. However, I’m not ready to part ways with the 55mm just yet. The 50mm F1.2, albeit FANTASTIC, comes with an overkill weight too, making it less practical for casual outings. Therefore, I’ll still be holding onto my trusty 55mm for those lighter, more spontaneous photography moments. My only complaint is that the filter thread is just odd. Why not align it with other GM lenses at 67mm or 82mm?
Eriksvej, Roskilde.
Key Features
Aperture range: f/1.2 to f/16 The angle of view: 47° Minimum focus distance: 40 cm Maximum magnification ratio: 0.17× Filter thread: 72 mm Dimensions (⌀ × L): 87 × 108 mm Weight: 778 g
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.
This is one of my favourite lenses for portrait photography and also for general photography. It is also quite compact and doesn’t leave a big footprint in my bag. I also like this lens due to its weight and I can handheld when recording videos.
I like this focal length more than the 35mm as the angle of view is a bit more “tight” hence reducing the surrounding “noise”. It also works fine for product photography when I could not quickly get the Sony FE 50mm F2.8 Macro.
But, I find that it is not a “fast” focussing lens. I missed a lot of shots because it was taking some time. But, the thing that I really dislike about this lens is the purple fringing (chromatic aberration). A very strong one even! Check the photo below and it was just annoying.
I like the bokeh produced from this lens. The subject and the plane separations are really good as well. I find that f/2.8 is the best aperture setting for my camera. But my interview video recording works nicely at f/1.8.
I acquired this lens in March 2022 and it is one that travelled with me the most and always is in my bag (even my I don’t plan to use it, you just don’t know when you might need it). But of course, 50mm GM F1.4 is on the list 🙂
Aperture range: f/1.8 to f/22 The angle of view: 43° Minimum focus distance: 50 cm Maximum magnification ratio: 0.14× Filter size: 49 mm Dimensions (ø × L): 64.4 × 70.5 mm Weight: 281 g
