The best Sony wide-angle lenses enable you to fit a sweeping vista into a single frame. Wide-angle lenses are among my personal favorites – all but essential for landscapes and cityscapes, helpful for architectural interiors, and great for emphasizing perspective to creative effect.
These are the best ones I’ve tested for the Sony E-mount ecosystem. All of these are lenses I’ve taken out into the field and tested in the lab to assess their resolving power, focusing capabilities, and ease of use. I’ve included zooms and primes, and options for both full-frame cameras (the A1, A7, and A9 ranges), and for APS-C Sony models (the A6000 and ZV-E ranges).
Let’s take a closer look at the best Sony wide-angle lenses for a range of different needs, budgets, and camera types. For more options in different focal lengths, see my general guide to the best Sony lenses, which includes standard and telephoto lenses as well as wide-angle glass.
Matthew Richards is a photographer and journalist who has spent years using and reviewing all manner of photo gear. He is Digital Camera World's principal lens reviewer – and has tested more primes and zooms than most people have had hot dinners – and that includes practically every Sony E-mount lense launched to date.
Best Sony wide-angle lenses
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Best wide-angle zoom for pros
I love the wow-factor that this lens delivers, as soon as I put my eye to the viewfinder. Most ‘trinity’ f/2.8 wide-angle zooms serve up a 14-24mm zoom range, but this one goes even wider. An additional 2mm in focal length might not sound like a lot, but the more expansive field of view is immediately obvious through the viewfinder. When this lens was launched, Sony already had a smaller FE 12-24mm F4 lens on the market, but I like the faster aperture of the newer model for freezing movement under dull lighting. It also gives more potential for blurring the background in close-up shots, especially towards the longer end of the zoom range. Bokeh is soft and dreamy, typical of G Master lenses.
I’m impressed that the lens is packed full of top-quality glass, including three XA (eXtreme Aspherical) elements that are manufactured to a tolerance of just one hundredth of a micron. The pay-off is superb sharpness for an ultra-wide-angle lens that extends right out to the edges and corners of the image frame. I also find that autofocus is very fast for a lens with such wide-diameter elements. That’s thanks to four high-speed XD (eXtreme Dynamic) Linear Motors, two for each of the pair of groups that move during focusing.
As with many ultra-wide-angle lenses, this one has an integral hood. As such, there’s no filter attachment thread, but at least there’s a slot in the mounting plate for inserting gel filters.
Read more: Sony FE 12-24mm F2.8 G Master review
Features ★★★★★ | The lens features no less than three XA (eXtreme Aspherical) elements) and other specialist glass, plus a new Nano AR Coating II. |
Design ★★★★★ | Pro-grade build quality is the order of the day but the lens isn’t overly heavy. The hood is typically integral but there’s a gel filter holder at the rear. |
Performance ★★★★★ | Autofocus is super-fast, image quality is impeccable with superb sharpness and resistance to ghosting and flare. |
Value ★★★★☆ | It’s much pricier than the competing 14-24mm f/2.8 Sigma lens but goes even wider for viewing perspective. |
Best affordable pro wide-angle zoom
I was a big fan of Sigma’s 14-24mm F2.8 lens for DSLRs, and this E-mount version is even better. It’s redesigned from the ground up to make the most of Sony mirrorless cameras. Optical highlights include three aspherical elements, including a high-precision, large-diameter one at the front, an FLD (‘Fluorite’ Low Dispersion) element, and no less than five SLD (Special Low Dispersion) elements. A significant addition is the use of NPC (Nano Porous Coating) as well as Sigma’s more conventional Multi-Layer Coating.
In practical terms, I’ve found that the lens delivers superb sharpness and clarity, even when shooting wide-open at f/2.8, throughout the zoom range. Color fringing is entirely negligible, and there’s excellent resistance to ghosting and flare. Barrel distortion can be noticeable in the shorter half of the zoom range, but there’s less reliance on automatic in-camera correction than with many recent lenses designed for mirrorless cameras.
Like most other recent Sigma Art and Sports lenses, this one has really solid build quality and is extensively weather-sealed. I like that the AF-L (Autofocus Lock) button is featured and that I can customize it for other uses via in-camera menus. All in all, this Sigma looks, feels, and performs like a fully pro-grade ‘trinity’ zoom, but for about half the usual price. Bargain!
Read our full Sigma 14-24mm F2.8 DG DN Art review
Features ★★★★☆ | There’s no aperture control ring but the lens does feature a customizable function button. |
Design ★★★★★ | It’s quite compact and lightweight for a full-frame compatible f/2.8 ultra-wide zoom. |
Performance ★★★★★ | From fast autofocus to excellent image quality, the lens is a great performer. |
Value ★★★★★ | It’s pricier than Sigma’s companion 24-70mm f/2.8 standard zoom but still great value. |
Best affordable full-frame wide-angle zoom
I think this Tamron lens has a lot going for it. There’s no shortage of similar own-brand lenses, including the Sony Vario-Tessar T* FE 16-35mm F4 ZA OSS, which is ‘slower’ but features Optical SteadyShot, and the Sony FE 16-35mm F2.8 G Master. A ‘trinity’ f/2.8 lens with a difference, the Tamron has a slightly more restrictive zoom range and marginally less maximum field of view, but it’s relatively compact, lightweight, and sells for a much more affordable price. That ticks a lot of boxes on my wish list.
Although small and light, I like that the Tamron feels solid and well-built, and includes weather seals. I also like its nippy RXD (Rapid eXtra silent stepping Drive) autofocus system, which I’ve found to be fast, virtually silent, and consistently accurate. What matters most to me is image quality, and the Tamron scored highly again in this respect. Corner-to-corner sharpness is excellent, and there’s virtually no color fringing. Unusually for a wide-angle lens, there’s a little pincushion distortion in the longer half of the zoom range, but automatic in-camera correction is available.
Especially for landscape photography, I feel that the inclusion of a front filter thread is a bonus. It means I can use the likes of neutral density and ND grad filters easily, and the 67mm thread is refreshing modest for a wide-angle lens.
Read more: Tamron 17-28mm F2.8 Di III RXD review
Features ★★★★☆ | It’s not packed with fancy features and there’s no optical stabilization but it covers all the essentials. |
Design ★★★★★ | The lens is solidly built yet amazingly compact and lightweight for a wide-angle ‘trinity’ zoom. |
Performance ★★★★★ | All aspects of image quality are highly impressive, throughout the entire zoom range. |
Value ★★★★★ | The Tamron is standout value for a wide-angle zoom with a constant f/2.8 aperture. |
Best APS-C wide-angle zoom
Sony’s APS-C format cameras tend to be small and lightweight, and I like that this E-mount lens follows suit. Weighing in at just 335g, it feels beautifully balanced on slimline Sony bodies, and I like that the 11-20mm zoom range delivers good wide-angle coverage, equivalent to 16.5-30mm in full-frame terms. Another bonus for me is the relatively fast and constant f/2.8 aperture, which I find extends the versatility of the lens.
I feel that the build quality and handling are very good. The Tamron features weather seals and comes with a bayonet-fit petal-shaped hood. I find it useful that, unlike with many wide-angle lenses, I can easily attach filters via the 67mm attachment thread. Autofocus is fast and virtually silent, as I’d expect from a stepping motor-based system. However, there’s no optical image stabilizer, which can be a concern as so many APS-C format Sony mirrorless cameras don’t have in-body stabilization.
Another thing I like about this lens is its short minimum focus distance of just 0.25m at the wide-angle end of the zoom range, although it stretches to 0.24m at the long end. Either way, I can get in really close to subjects and exaggerate perspective at wide-angle zoom settings. As with many wide-angle lenses, lab test results don’t flatter the Tamron, but in real-world shooting conditions, I found sharpness very impressive across the whole image frame, right into the corners. There’s some reliance on automatic in-camera distortion correction, but unlike many recent wide-angle lenses for mirrorless cameras, it’s not wholly dependent on it.
Read more: Tamron 11-20mm F2.8 Di III-A RXD review
Features ★★★★☆ | Useful features include a fast and assured autofocus system and a constant f/2.8 aperture rating, but there’s no optical stabilization. |
Design ★★★★★ | Build quality feels solid and robust, despite the relatively lightweight construction of the lens, and it features plenty of specialist optical elements. |
Performance ★★★★★ | The ‘Rapid eXtra Silent Stepping Drive Motor’ autofocus system lives up to its billing and image quality is impressive. |
Value ★★★★★ | As an ultra-wide-angle zoom lens with a fast and constant f/2.8 aperture rating, it’s great value for money. |
Widest full-frame prime
I think this lens is quite astonishing. At first glance, I assumed it was an APS-C format lens, due to its super-short focal length and small size. But no, it’s a full-frame compatible lens. Digging a little deeper, I’ve found that it’s a conveniently compact and lightweight lens that bears some heavyweight credentials. Despite its 9mm focal length, it’s a rectilinear rather than curvilinear (or fisheye) lens, shoehorning an epic 132-degree viewing angle into its small build. When I put my eye to the viewfinder, it really feels like taking the blinkers off my photography.
I like the solid metal construction, which extends to a metal integral hood and slip-on metal cap. Naturally, though, the built-in hood precludes the use of filters. Not just a manual-focus lens, it’s fully manual and includes no electronics whatsoever. As such, you need to adjust the aperture via the onboard control ring rather than from the camera body, and no lens-based EXIF information is saved in image files.
On the plus side, I find that focusing is quick and easy. The focus ring works with smooth precision, and the enormous depth of field means I don’t have to be painstakingly accurate, even at the lens’s widest aperture of f/5.6. At the price, it’s a nicely crafted and very useful kit bag addition for capturing sweeping vistas in landscape photography, architectural interiors when space is tight, vlogging when you want to set yourself in an expansive scene, and a lot more besides. I really like it.
Read more: 7Artisans 9mm F5.6 review
Features ★★★★☆ | The killer feature of this lens is its monstrous 132-degree viewing angle but it has neither autofocus nor any electronics. |
Design ★★★★☆ | It’s designed as a fully manual lens but works well as such, with a smooth focus ring and an aperture ring complete with DOF markers. |
Performance ★★★★☆ | The lens doesn’t do too well in lab tests due to the extremely close distance necessary for the test chart, but has impressive performance in real-life shooting. |
Value ★★★★★ | So long as you don’t mind it being a ‘dumb lens’, the build quality, performance and handling make it excellent value for money. |
Best professional wide-angle prime lens
I love that this Sony lens is so compact and lightweight for an ultra-wide-angle, full-frame compatible lens with such a fast f/1.8 aperture rating. Even so, there’s a lot packed in when it comes to handling exotica and all-around performance. I’ve found that the electronically-coupled manual focus ring has a smooth and precise action with a linear response that’s well suited to both stills and video shooting. A further bonus for video is that the manual aperture ring can be de-clicked via a switch on the right-hand side of the barrel. On the left, there’s an AF-MF focus mode switch and a function button, which is nominally for AF Hold, but you can customize its action via in-camera menus.
Build quality feels very solid for such a lightweight lens, and extensive weather seals are fitted to all the joints, mounting plate, switches, and buttons. Florine coatings are applied to the front and rear elements. Although small, the lens packs 14 optical elements. Specialist glass includes two ED (Extra-low Dispersion) elements, one Super ED element, and two high-precision XA (eXtreme Aspherical) elements, plus a regular aspherical element. The mix intends to maximize sharpness, contrast, and clarity while keeping aberrations to a minimum. Nano AR Coating II is also applied to minimize ghosting and flare.
I found that sharpness is superb, right out to the extreme corners of the frame, even when shooting wide-open at f/1.8. There’s also remarkably little coma and astigmatism. That’s great news for astrophotography and shooting nighttime cityscapes, as it ensures that stars and pinprick lights don’t take on irregular shapes towards the edges and corners of the frame, especially when shooting at the widest aperture.
Read more: Sony FE 14mm F1.8 G Master review
Features ★★★★★ | The ultra-wide viewing angle coupled with a fast f/1.8 aperture make this lens superb for everything from landscapes to astrophotography. |
Design ★★★★★ | Top-notch design credentials include an aperture control ring and function button. |
Performance ★★★★★ | Despite being surprisingly compact and lightweight, the lens is a top performer with epic sharpness and clarity. |
Value ★★★★☆ | It’s pretty pricey for an ‘f/1.8’ prime but very good value considering the ultra-wide-angle focal length. |
Best affordable full-frame wide-angle prime
The Sigma 20mm F2 DG DN | C joins a growing range of fairly fast primes for Sony E-mount cameras, in Sigma’s ‘I-series’ range. I like that the look and feel of the lenses is so consistent across the range, which includes 24mm, 35mm, and 65mm F2 DG DN | C options, as well as a slower 45mm F2.8 lens. For me, the ‘Contemporary’ design ethos works well in delivering excellent performance with a compact and lightweight build.
I’m impressed that there’s some impressive glass shoehorned into the diminutive construction, with 13 elements in total that include three high-precision glass-molded aspherical elements, one SLD (Special Low Dispersion) element, and one top-spec FLD (‘Fluorite’ Low Dispersion) element. Sigma’s conventional Super Multi-Layer Coating and more high-tech Nano Porous Coating are both employed to fend off ghosting and flare.
As with other lenses in Sigma’s I-series Contemporary line-up, I like the build quality, which is based on a coated brass mounting plate, a metal barrel, and even a metal lens hood and lens cap, the latter of which is magnetic. A more regular plastic lens cap is also supplied in the box. The construction features multiple weather-seals and is dust- and moisture-resistant. Handling is enhanced by an aperture control ring which operates in one-third f/stop increments, but there’s no ‘de-click’ option. Sharpness is very good, but automatic in-camera correction comes in useful to reduce distortion and wide-aperture vignetting.
Read more: Sigma 20mm F2 DG DN | C review
Features ★★★★☆ | Features include a fast f/2 aperture plus an aperture control ring, although there’s no de-click facility. |
Design ★★★★★ | The solid build is based on a metal barrel, mounting plate and hood. |
Performance ★★★★☆ | Edge-to-edge sharpness is very impressive even wide-open, although it relies on corrections for vignetting and distortion. |
Value ★★★★☆ | It’s pretty pricey to buy but well worth the money. |
Best APS-C wide-angle prime
A small lens with a big heart and a big viewing angle, I love how this Sony 11mm shoehorns so much into the image frame. I find it ideal for everything from cramped architectural interiors to sweeping landscape vistas and cityscapes, while its fast f/1.8 aperture makes it equally adept for astrophotography. Buy one, and it won’t be long before you wonder how you ever managed without it.
I really like that the lens is designed to be equally adept at shooting stills and movies, boasting two linear stepping motors that deliver super-fast autofocus for stills and smooth, virtually silent focus transitions for movies. The minimum focus distance of 0.15m shrinks to just 0.12m in manual focus mode, delivering a tight depth of field at f/1.8 for close-ups or using the lens for vlogging. Handling benefits from an AF/MF switch and a customizable autofocus-hold button.
I also like that the lens is neatly compact and lightweight, ideally suited to slimline Sony A6000-series camera bodies. Even so, it packs quality glass, including three aspherical elements and three ED (Extra-low Dispersion) elements to optimize image quality, while build quality is convincingly robust, featuring multiple weather seals.
Read more: Sony E 11mm f/1.8 review
Features ★★★★☆ | There’s a customizable function button and AF/MF switch but no aperture control ring. |
Design ★★★★★ | It’s a tough little cookie with a weather-resistant design and removable hood. |
Performance ★★★★☆ | Image quality is very good but relies on automatic in-camera corrections for distortion and vignetting. |
Value ★★★★☆ | It’s quite pricey for an APS-C format prime lens but well worth the money. |
Widest APS-C prime
When I think of ultra-wide-angle lenses with a relatively fast f/2.8 aperture, two things spring to mind – size and weight. They tend to be big and heavy, which is the last thing I want if I’m trekking off across tricky terrain, in search of great landscape photo opportunities. The same thing goes for pounding city streets, looking for great architectural shots. This lens fits the bill perfectly, and really redresses the balance, so to speak. It’s so small and light for an ultra-wide-angle lens that it almost seems to defy the laws of physics. Indeed, it weighs in at a mere 175g or 6.2oz.
Typical of Viltrox's ‘Air’ series lenses, it has a very streamlined build that doesn’t include an AF/MF focus mode switch, nor an aperture control ring. The upside is that it really couldn’t be any simpler to use and feels like a perfect fit for Sony’s slimline APS-C format mirrorless cameras. I also like that it has a separate rather than integral hood, enabling the easy fitment of landscape-friendly filters.
It’s only natural to think that if a lens is this small, there’s going to be a compromise in terms of image quality and all-around performance. I was pleasantly surprised that the Viltrox autofocuses with speed and consistent accuracy, and that in real-world shooting, it maintains impressive levels of sharpness right out to the edges and corners of the image frame. Even the asking price is super-small, making it standout value for money.
Read more: Viltrox AF 9mm f/2.8 E Air review
Features ★★★★☆ | The optical layout includes specialist elements, autofocus features a leadscrew stepping motor, there’s a removable hood and a 58mm filter thread. |
Design ★★★★☆ | The emphasis is on convenience and simplicity, so the lens is compact and lightweight but lacks an AF/MF switch or an aperture control ring. |
Performance ★★★★☆ | Image quality is very pleasing, with impressive sharpness right out to the edges and corners of the image frame. |
Value ★★★★★ | For an ultra-wide-angle prime lens with a fairly fast f/2.8 aperture rating, it’s incredible value for money. |
Best wide-angle lens for video
The first thing that hit me about this wide-angle zoom lens for Sony’s APS-C format mirrorless cameras is just how small it is. To me, it feels much more like the size and weight of an ultra-compact standard kit zoom lens with a variable (and slow) aperture rating. The fact that Sony has managed to shoehorn such an expansive range of viewing angles with a constant f/4 aperture into such a small lens, complete with motorized zoom, really is quite something. Especially as image quality and overall performance are so excellent.
I find that the silent power zoom facility makes the lens ideal for vlogging and general video shooting, but it’s equally adept at capturing stills of anything and everything from architectural interiors to sweeping landscapes, or just for exaggerating perspective effects. The electronically coupled zoom ring feels wonderfully responsive, seamlessly converting the speed and amount of rotation to the resulting focal length. I also like the additional zoom lever that enables constant-speed adjustments right down to super-slow movements, ideal for avoiding jerky zoom transitions when shooting movies. I’m also pleased that there’s an optional grip and remote controller, plus a free app for controlling everything from my mobile phone.
Although really small, the lens feels very solid and well-built, and includes multiple weather seals around all the joints, buttons, and switches. Handling refinements include an AF/MF focus mode switch and a customizable focus hold button. I’m a bit disappointed that the lens lacks an aperture control ring, for which a de-clicked option would have been nice when shooting movies, but there’s only so much you can squeeze into such a small lens.
Read more: Sony E PZ 10-20mm F4 G review
Features ★★★★★ | The videocentric feature set includes a power zoom and very useful zoom range, with a constant aperture. |
Design ★★★★☆ | There’s no aperture control ring but you do get a function button and the weather-resistant design is nicely compact. |
Performance ★★★★★ | It’s impressively sharp and the motorized zoom works really well for video capture. |
Value ★★★★☆ | Considering the up-market build quality, performance and handling, it’s good value at the price. |
Lab data and comparisons
The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. You’ll see that the mighty Sony FE 12-24mm G Master lens is outstanding for sharpness, and I’d expect nothing less. However, the relatively humble Sigma 20mm ‘Contemporary’ lens is quite the overachiever. Lab tests at extremely close range don’t do justice to the incredibly ultra-wide 7Artisans full-frame lens in terms of sharpness, which performs better in real-world shooting. The distortion figures flatter some of the zoom lenses, as the scores are averaged out across the entire zoom range.
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
Prime or zoom?
Sometimes it’s hard to decide whether a zoom lens or a prime lens will be a better buy. Zoom lenses tend to be more versatile, as they cover a broad spread of focal lengths. However, there’s a lot to be said for prime lenses, which generally have a wider or ‘faster’ aperture rating and are often relatively small and lightweight. Some photographers find that they only tend to use wide-angle zooms at or near their shortest focal length anyway, which is another reason for considering a prime lens.
Do I need speed?
If you’re mainly using a wide-angle lens for landscape photography, you won’t need one with a really fast aperture rating, and an f/5.6 lens should suffice. That said, most of the lenses in this buying guide have aperture ratings of f/2.8 or faster. That’s a real bonus for astrophotography, for which wide-angle lenses are particularly well suited, as well as for shooting architectural interiors under low indoor lighting, and for night-time cityscapes.
How do I tell if a lens is full-frame compatible?
It can be tricky for the uninitiated to recognize the difference between Sony lenses that are made for full-frame or APS-C format cameras. The clue is in the title. APS-C format lenses have an ‘E’ prefix, whereas full-frame compatible lenses have an ‘FE’ prefix. Sigma designates its lenses as ‘DC’ for crop-sensor cameras and ‘DG’ for full-frame. Bear in mind though, that you can shoot with E lenses on full-frame cameras in crop mode, and with FE lenses on APS-C cameras with no limitations.
What’s the APS-C crop factor?
Sony’s APS-C cameras have an image sensor that’s the same size as a frame of ‘Advanced Photographic System type C’ film. That’s quite a bit smaller than a frame of 35m film, on which full-frame digital cameras are based. The outcome is that the ‘crop factor’ gives a 1.5x magnification in the focal length of lenses. For example, a 10mm wide-angle lens will give the same field of view as using a 15mm lens on a full-frame camera.
Do I need OSS?
Optical SteadyShot can be really useful if your Sony camera doesn’t feature IBIS (In-Body Image Stabilization). It’ll help counteract the effects of camera-shake and ensure you get sharp handheld shots more consistently with slow shutter speeds. However, OSS is generally not featured on wide-angle lenses, as camera-shake is less of a problem in handheld shooting compared with standard and telephoto lenses.
How we test
We test lenses using both real-world sample images and lab tests. Our lab tests are carried out scientifically in controlled conditions using the Imatest testing suite, which consists of custom charts and analysis software that measures resolution in line widths/picture height, a measurement widely used in lens and camera testing. Our lab tests also reveal the extent of color fringing and distortion. We find the combination of lab and real-world testing works best, as each reveals different qualities and characteristics.
You can find out more about how we test and review on Digital Camera World.
