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.
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.
Minimum Focus Distance
Weight
Sony FE 20-70mm F4 G
Wide: 30 cm, Tele: 25 cm
488 g
Sony FE 20mm F1.8 G
19 cm
375 g
Sony FE 24-70mm F2.8 GM
38 cm
890 g
Sony FE 24-70mm F2.8 GM II
Wide: 21 cm, Tele: 30 cm
695 g
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.
Astrophotography: Roskilde Harbour, Spring Night at 11pm Sony α7 IV + Sony FE 20mm F1.8 G f/1.8 30 sec ISO 500Pablo’s Close-up Portraits (sharp overall and nice separation from the background). Sony α7 IV + Sony FE 20-70mm F4 G f/5.6 1/250 sec ISO 3200 70mmSpring leaves against the sun. Sony α7 IV + Sony FE 20-70mm F4 G f/11 1/250 sec ISO 640 38mmClose-up view of a dandelion. Sony α7 IV + Sony FE 20-70mm F4 G f/4 1/250 sec ISO 500 70mm
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
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
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!
