Category: Sony Lens

I adore the Sony FE 20mm F1.8 G lens, yet for close-up framing where object distortion can be a concern, I want a more versatile option. One of the solutions is using narrower focal lengths, as provided by Sony FE 20-70mm F4 G.

When travelling and restricted to just one lens, for example, during my Camino de Santiago walk, the 24 G and 40 G lenses were an eye-opener. Constantly switching between the two, especially in varied weather conditions like rain, proved tiring. Therefore, I was in search for an ideal travel lens. Reflecting on this, I initially leaned towards the Tamron 20-40mm for its f/2.8 aperture. However, I ultimately opted for the Sony FE 20-70mm F4 G despite its maximum aperture at f/4. Its extended wide and telephoto focal lengths won me over, promising versatility for future adventures.

After a year of using the Sony FE 20mm F1.8 G lens, I’ve added this telephoto lens to my kit to complement my flows. Its compact size and lightweight build were a major draw for me; strong factors to count when considering replacing the bulkier Sony FE 24-70mm F2.8 GM lens.

Since my documentary-style running gun typically involves shooting at f/6.3 and narrower, the 20-70G’s smaller footprint perfectly suits my needs. I also require a lens with the flexibility to zoom in closer to my subjects. This lens also stands out for its lightweight build and ergonomic design, making it ideal for handheld shooting, ensuring a comfortable and steady grip during recording sessions.

It seems the 20-70G lens will become a staple on my Sony ZV-E1 for documentary-style videography projects, and undoubtedly going to accompany me on travels; (1) if I can bring two camera bodies, this one will be on ZV-E1 and something else on Sony α7 IV, or (2) if I am restricted by weight, it will be the only lens to be paired with Sony α7 IV,.

In essence, while I appreciate the flexibility offered by this zoom lens in terms of focal length, I remain committed to prime lenses for their exceptional wider apertures (f/1.2, f/1.4 or f/1.8), which deliver exquisite bokeh. Despite having focal length “duplication”, I am keeping the Sony 20mm F1.8 G because it proves invaluable when a place is tight and it has low-light; and also for the astrophotography. Moreover, their nearly identical sizes make them equally convenient options to carry around when alternating and storing in the bag ¹When these lenses share similar appearance, then they can alternately share one slot of storage space in the camera bag.

I look forward to updating my workflow process by adding this zoom lens from its ability to do a close-up and the shaved weight (as opposed to 24-70GM).

Key Features

Aperture range: f/4 to f/22
The angle of view: 94° – 34º
Minimum focus distance: 30 cm (wide) to 25 cm (tele)
Maximum magnification ratio: 0.39×
Filter thread: 72 mm
Dimensions (⌀ × L): 79 × 104.5 mm
Weight: 488 g

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.

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.

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.

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.

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.

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.

Eriksvej, Roskilde.