I think that the Sony A7 IV is the perfect camera for wedding, social, and event photography. And I’m certainly not the only one if the camera’s fanbase is to be believed. Its 30MP resolution is more than enough for these sorts of applications, and a worthwhile step up from the 24MP found in many of its rivals. Better still, Sony has packed some seriously good autofocus technology into this camera, with the likes of face/eye AF and real-time tracking that give you a great hit rate whenever there are people in the frame.
I’m sure you don’t need me to tell you that wedding, social and event photography is no longer about taking stills. With hybrid shooting in mind, the A7 IV is also ideal for video. Unlike higher-resolution Alphas including the A7R V, it can still capture oversampled full-width 4K for best quality with no crop factor, and therefore not limiting a lens’s wide-angle potential. Ultimately, the Sony A7 IV remains one of the best professional cameras, despite the fact that the Sony A7 V is now available.
Client expectations can be astronomical so I think Sony’s G Master lenses, although expensive, are some of the best Sony lenses to get. Of course, you don’t need to get every lens on my list, and we all need to keep an eye on the budget these days, so I’ve included some excellent Sigma alternatives that deliver superb performance at lower price points.
Rod is an independent photography journalist and editor, and a long-standing Digital Camera World contributor, having previously worked as DCW's Group Reviews Editor. He has used practically every interchangeable-lens camera launched in the past 20 years, from entry-level DSLRs to medium-format cameras, – and he was one of the first people to use the Sony A7 IV when it was launched.
Best lenses for the Sony A7 IV
Best standard zoom lens for the A7 IV
A while back when I had a DSLR, the Sigma 24-70mm Art was my go-to lens for everyday shooting, and I loved it. The original version of the ‘DN’ zoom for mirrorless cameras was a marked improvement and this revamped Mark II is even better. It has a redesigned optical path for greater edge-to-edge sharpness, as well as reducing sagittal coma flare, so pinpricks of light don’t take on irregular shapes. Along with excellent sharpness, the lens delivers smooth bokeh, the quality of which is enhanced by a particularly well-rounded 11-blade aperture.
I really like the handling of this lens. Additions over the original include an aperture control ring which comes complete with a click/de-click switch and a locking switch to avoid accidental operation. The de-click option is great for shooting video, and the lens has also been designed to minimize focus breathing. That’s another box ticked for shooting video. The Mark II also doubles up on AF-L function buttons, ideal for portrait as well as landscape orientation shooting, and they can be customized for other functions in camera menus, where available.
Autofocus is about three times faster than in the original lens, and well able to keep pace when tracking moving subjects, based on an HLA (High-response Linear Actuator) motor. All in all, it’s a brilliant lens for everyday shooting and I’d go as far as to say it’s pretty much as good as the Sony FE 24-70mm F2.8 G Master II which costs about twice as much to buy. This Sigma is a steal at the price.
Read more: Sigma 24-70mm F2.8 DG DN II Art review
Features ★★★★★ | Advanced features include a click/de-click aperture ring and two Fn buttons. |
Design ★★★★★ | The Mark II sheds a little weight while enhancing autofocus speed and quality. |
Performance ★★★★★ | Fast and consistently accurate autofocus teams up with excellent image quality. |
Value ★★★★★ | Compared with own-brand ‘trinity’ standard zooms, the Sigma Mark II is bargain. |
Best wide-angle lens for the A7 IV
Sony’s G Master lenses have a reputation for optical quality, so it’s no surprise that this second-generation version of Sony’s 16-35mm f/2.8 zoom comes with a hefty price tag. If this is your favored focal range for stills and video, this lens will be your dream buy; otherwise, take a look at the Sony FE PZ 16-35mm f/4 G, which is less than half the price.
You might also want to check out third-party alternatives. The Sony FE 16-35mm f/2.8 G Master II justifies its cost, however, with no fewer than four Linear XD focus motors and suppressed focus breathing. It really is quite a lens with stunning pictorial quality and all-round performance, and a lens that you'll probably want to keep for a lifetime.
Read more: Sony FE 16-35mm f/2.8 GM II review
Features ★★★★★ | There are no less than four XC autofocus motors, a click/de-click aperture ring with locking switch and dual function buttons. |
Design ★★★★★ | The clever design is 20% lighter and 10% smaller than the previous edition of the lens. |
Performance ★★★★★ | Image quality is excellent, as is the speed and consistency of autofocus. |
Value ★★★★☆ | You get what you pay for to some extent but third-party options can cost a lot less. |
Best telephoto lens for the A7 IV
I love that this lens is much more compact, lightweight and affordable than conventional 70-200mm f/2.8 ‘trinity’ telephoto zooms. Sure, it doesn’t quite stretch to 200mm at the long end but it comes pretty close, while retaining that all-important constant f/2.8 aperture throughout the entire zoom range. It works a treat for weddings and events and even for sports and wildlife photography, while keeping the weight off for long periods of handheld shooting.
The original Tamron 70-180mm was a great lens, but I love that the G2 adds optical image stabilization, uprated handling and revamped optics. And it delivers all this at a more inexpensive launch purchase price than the original lens. I find that any camera's in-body image stabilization is second-best with telephoto lenses, so the addition of optical stabilization is particularly welcome.
Autofocus is super-fast, based on a VXD (Voice-coil eXtreme-torque Drive) system, and well able to do justice to the Fast Hybrid AF, Eye AF and advanced tracking options in Sony’s recent mirrorless cameras. The proof of the pudding is in the image quality and I'm very impressed that the lens's many optical upgrades translate into fabulous pictorial excellence. It’s simply a terrific lens at a bargain price.
Read more: Tamron 70-180mm F2.8 Di III VC VXD G2 review
Features ★★★★★ | Fancy features in the ‘Generation 2’ include a three-pole Custom switch, function button and USB-C port. |
Design ★★★★★ | The design gives you almost the same zoom range as a classic 70-200mm f/2.8 telephoto zoom but in a much smaller, lighter package. |
Performance ★★★★★ | From super-fast and highly accurate autofocus to great image quality and effective optical stabilization, it’s a cracker. |
Value ★★★★★ | It’s less than half the price of many ‘trinity’ telephoto zooms, making it a standout bargain. |
Best lens with a wide reach for the A7 IV
The older version of this lens for Canon and Nikon DSLRs used to be one of my favorite ultra-telephoto zoom lens, thanks to its great all-round performance and image quality, wrapped up in a sturdy weather-sealed build. Not just a minor tweak, the ‘DN’ version for Sony mirrorless cameras is based on a complete redesign and, while it’s still a weighty beast, it’s significantly lighter than the original lens. It’s brilliant for bird photography, airshows, wildlife and all manner of different sporting occasions.
The autofocus is excellent, being both very fast and ultra-quiet, and it’s able to take full advantage of Sony’s Eye AF and advanced tracking abilities. I particularly like the tactile zoom and focus rings and that two custom settings for the likes of AF speed and stabilization intensity can be set up with Sigma’s optional USB Dock.
Another neat new feature in the DN mirrorless version of the lens is a Zoom Torque control, for adjusting the resistance of the zoom ring. This gives the option of free-flowing adjustment or stiffer control that makes the lens less susceptible to zoom creep.
Read more: Sigma 150-600mm f/5-6.3 DG DN OS Sports review
Features ★★★★★ | The lens inherits the high-end features and handling of the older version for DSLRs, in a smaller, lighter package. |
Design ★★★★★ | The design is very refined, while build quality is excellent and includes extensive weather-seals. |
Performance ★★★★★ | Excellent inherent sharpness is further boosted in real terms by highly effective optical stabilization. |
Value ★★★★★ | It’s a pro-grade super-telephoto zoom with a ‘consumer’ price tag, making it standout value. |
Best 50mm lens for the A7 IV
For my money, this is the Sony standard prime that's the best fit for for the A7 IV. It's impressively light and compact, but doesn't compromise one bit on optical quality. It's practically perfect in terms of center-sharpness and only has a small falloff towards the edges of the frame, along with some vignetting when shooting wide-open, which is only to be expected.
The 50mm focal length delivers an entirely natural perspective, and it is definitely a lens that can be left on your camera for wide-ranging shooting scenarios. If you don't need the extra aperture stop, or the added size, weight, or considerable cost of the FE 50mm f/1.2 GM, then the Sony FE 50mm f/1.4 will serve you perfectly.
Unfortunately, the downside is the lens is expensive when compared to similar rivals, with much cheaper third-party glass out there that will achieve similar visual results. However, few have quite the same lightning-fast autofocus and solid, moisture-resistant construction that this lens offers.
Read more: Sony FE 50mm f/1.4 GM review
Features ★★★★★ | It has all the features and trappings that I’d expect from a Sony G Master lens. |
Design ★★★★★ | It’s pretty chunky for a 50mm f/1.4 lens but the build quality is excellent. |
Performance ★★★★★ | There’s some noticeable vignetting when uncorrected in-camera but overall performance is superb. |
Value ★★★★☆ | Sony G Master lenses tend to command a high price and this one’s no different. |
Best street photography lens for the A7 IV
I’ve come to expect a lot from Viltrox lenses, and for comparatively little outlay compared with equivalent own-brand Sony lenses. Even so, the Viltrox AF 35mm f/1.8 Evo II really comes up trumps with excellent all-metal build quality despite its compact and lightweight construction, along with advanced handling characteristics that include a click/de-click aperture ring and a customizable function button.
More importantly as far as I’m concerned, the autofocus mechanism is fast, near-silent and consistently accurate, while image quality is superb in terms of sharpness and clarity, smooth bokeh and a minimum of unwanted aberrations. Everything’s packed into a compact and lightweight package that helps with remaining inconspicuous when you’re out and about, shooting on the streets.
Read more: Viltrox AF 35mm f/1.8 Evo II review
Features ★★★★★ | There’s a fine feature set for such a budget-friendly lens, including a click/de-click aperture control ring and a customizable function button. |
Design ★★★★★ | The all-metal casing and mounting plate feel robust and well-engineered, there are weather-seals and the design is nicely compact and lightweight. |
Performance ★★★★½ | Autofocus is fast and reliably accurate, while image quality is highly impressive in all respects. |
Value ★★★★★ | Like other Viltrox lenses, this one is standout value for money and you get a great deal for your outlay. |
Best portrait photography lens for the A7 IV
Sony's gorgeous G Master lenses have garnered a reputation as being some of the finest optics you can buy, and this long-awaited update to the 85mm f/1.4 continues that trend. It manages to improve on what many people thought was a near-perfect lens, delivering a configuration that's ideal for most portraiture scenarios. Where you need sharpness, it's sharp as a tack. Where you need dreamy, bokehlicious softness, it gives it to you in spades. It achieves this by doubling the complement of XA (extreme aspherical) elements included in the optical construction.
Autofocus speed has also been upgraded, driven by two XD (extreme dynamic) linear motors that Sony promises will deliver a seven-fold improvement in tracking of moving subjects. Somehow, even with all this, the weight has been reduced from the previous version, making the lens easier to use handheld. The aperture ring has a de-clicked option, and there's an Iris Lock switch to prevent it from being knocked out of place. It's undeniably a considerable investment but for portraiture, it rules the roost.
Read more: Sony FE 85mm F1.4 GM II review
Features ★★★★★ | From its optical path to its fast autofocus and handling exotica, the lens is packed with features. |
Design ★★★★★ | High-end design includes an aperture control ring with click/de-click options and dual function buttons. |
Performance ★★★★★ | Performance is simply fabulous, from all aspects of image quality to quick, reliable autofocus. |
Value ★★★★☆ | It’s a very expensive lens, costing about twice as much as the directly competing Sigma. |
Best macro photography lens for the A7 IV
Sigma’s Art line is known for impressive image quality and robust construction, and this 105mm macro is no exception. With a strong, slimline profile it has weather seals all-round to protect it from the elements. Double that with a fluorine coating on the front element and it becomes a lens for taking anywhere and everywhere.
Good as a mid-telephoto portrait lens thanks to its ability to focus to infinity, it excels at macro images rendering genuine 1:1 reproduction ratios with outstanding detail. Utterly sharp throughout the frame and with an optical design that reduces color fringing that can’t be corrected in-camera, this Sigma is my top choice for macro photography with the A7 III, even more so than the Sony FE 90mm macro.
Read more: Sigma 105mm f/2.8 DG DN Macro | Art review
Features ★★★★★ | Smart features include an autofocus range limiter and an aperture control ring with click/de-click options. |
Design ★★★★★ | The design enables full 1.0x macro magnification with high-end handling and weather-seals. |
Performance ★★★★★ | Sharpness is superb and the Sigma is a top performer in all aspects of image quality. |
Value ★★★★☆ | It’s not cheap but the price is very reasonable considering the features and build quality. |
Best astrophotography lens for the A7 IV
This is a beast of a lens that is designed for astrophotographers - offering an impressive f/1.4 maximum aperture, with an ultra-wide 14mm focal length that is great for photographing nightscapes of the Milky Way. Sigma's previous 14mm for DSLR cameras could only manage f/1.8 - so this mirrorless-only version is a world-record breaker.
Its light-gathering powers come into their own after dark but this is no one-trick pony – it’s also great for shooting landscapes, cityscapes, and architectural interiors, giving fabulous image quality backed up by superb handling and excellent build quality. As proved by our laboratory tests, levels of sharpness are thoroughly excellent across the whole image frame, even when shooting wide-open at f/1.4.
Read more: Sigma 14mm f/1.4 DG DN Art review
Features ★★★★★ | Top features include an autofocus lock button, manual focus lock and click/de-click aperture ring. |
Design ★★★★★ | The lens is designed with astrophotography in mind but works great for other scenarios. |
Performance ★★★★★ | Sharpness is excellent across the whole frame even at f/1.4, which is no mean feat for such a wide-angle lens. |
Value ★★★★☆ | It’s a pricey lens but there’s some big, extremely high-precision glass inside. Overall, it’s very good value. |
Lab data and comparisons
The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. The Sony FE 50mm and 85mm come up trumps for sharpness, along with the Viltrox AF 35mm and Tamron 70-200mm. Color fringing and distortions are pretty low across the board, apart from the Sigma 14mm which shows clearly noticeable barrel distortion. Automatic in-camera corrections for these aberrations are available with the Sony A7 IV.
Scores for sharpness and color fringing are averaged from data taken across the entire image frame, from the center to the edges and corners, throughout the aperture range. For zoom lenses, the scores are also averaged from data measured at all marked focal lengths, and the same applies to distortion.
Bear in mind that these average values don't fully reflect specific areas of performance. For example, a zoom lens might have noticeable barrel distortion at its shortest focal length, which is less obvious when everything is averaged out. For more detailed graphs of each lens's performance, take a look at the graphs published in our full standalone reviews.
How to choose the best lens for the Sony A7 IV
The A7R III and A7R IV, like all Alpha 7 cameras, use the Sony E lens mount. Sony’s own E-mount lenses have either FE or E in their model names: all work on the A7R III and A7R IV. FE lenses are designed for use with full-frame Sony cameras, including the A7R III and A7R IV, so these should be your first choice. If you are buying a third-party E-mount lens, check that the lens is designed for use with full-frame Sonys.
Sony lenses with an E (rather than FE) prefix are designed for APS-C format cameras such as the A6000 series. On the A7R III and A7R IV, they produce a cropped image, so they’re not an ideal choice.
Check out our guide to the best Sony lenses if you want to know more
How we test lenses
The lens experts in our testing lab run a range of tests under controlled conditions, using the Imatest Master testing suite. Photos of test charts are taken across the range of apertures and zooms (where available), then analyzed for sharpness, distortion and chromatic aberrations.
We use Imatest SFR (spatial frequency response) charts and analysis software to plot lens resolution at the centre of the image frame, corners and mid-point distances, across the range of aperture settings and, with zoom lenses, at four different focal lengths.
There's more to it than just the technical side, though! Beyond the lab, our reviewers test lenses in real-world environments – and sometimes on professional shoots! We work with lenses both indoors and outdoors, in studio conditions and in natural light, with as many different subjects as is possible (or appropriate – there's no point testing a landscape lens' ability to shoot a portrait!).
We take into account everything from handling and ease of use to speed of autofocus and the overall quality of the images produced.
Find out more about how we test and review on Digital Camera World
