Screen-free digital cameras are a relatively new trend, but an increasingly important one. Smartphones mean that there’s nearly always a camera within my reach – but that camera is also a portal to the World Wide Web, a phone, a computer, a videogame console and, frankly, a distraction.

That’s why I decided to ignore my iPhone camera for an entire week and shoot with some of the best screen-free digital cameras instead – and I loved it so much that I lasted nearly two weeks!

The rise of screen-free digital cameras are an admission that smartphone cameras often distract us from the moments that we’re meant to remember. But, a camera without a screen also feels far more retro – and many of them fall under the compact camera trend as well.

The best screen-free digital cameras make photography – and even videography – a slower, more intentional process. After trying out several options, I think these are the top screen-free options available. I’ve personally tested almost all of these cameras, with the exception of two options that were tested by Digital Camera World’s action camera and Leica experts.

Best screen-free digital cameras

Best screen-free digital camera overall

The trouble with a lot of screen-free digital cameras is that while they may not have a built-in screen, many rely heavily on smartphone apps to function. The Camp Snap CS-Pro is a screen-free camera that doesn’t require an app at all. The only time you’ll need a screen is to view the photos, and you can do that with a computer, tablet or phone and a USB-C cord or SD card reader.

The Camp Snap Pro uses a 16MP sensor to snap images with a touch of retro imperfection. Some smartphones will capture crisper shots, but I love the built-in retro filters and refreshingly simple design. My biggest complaint is that there’s a slight delay between when the button is pressed and when the photo is actually taken, which can make timing the shots more challenging.

The CS-Pro is a true point-and-shoot. The only controls beyond the shutter button are a dial to adjust the filter and a switch to turn the flash on and off. But perhaps the best part is that the camera only costs around $99 / £90 / AU$153 / CA$140.

Read my full Camp Snap CS-Pro review

Best "screen-free" digital camera for image quality

Okay, the Fujifilm X Half isn’t technically screen-free; in fact, it has two screens. But the X Half has a Film Camera Mode that disables the screen so you only see the shooting settings. You can’t preview your photos at all, are locked into one “roll” and have to wait for the photos to develop.

That makes the X Half both a standard digital camera and a screen-free digital camera in one, depending on which shooting mode you use.

Where most screen-free cameras are low-resolution shooters with small sensors, the X Half uses a 1-inch 17.7MP sensor that gives it a key advantage over cheaper cameras. But what I loved even more than the large sensor was the different film-like options.

The X Half is packed with Film Simulations, including an excellent black-and-white, but there’s also a light leak mode effect and even halation, two of my favorite film-like effects. My biggest disappointment is that you can’t pick a film simulation and the light leak, as the latter is its own separate mode.

Most screen-free cameras don’t have a macro mode, face detection, autofocus or video, but the X Half has all three. You can’t shoot video in the screen-free mode, however, and you can’t see the autofocus points through the optical viewfinder in the screen-free mode either.

The combination of the sensor and Film Simulations makes the X Half a camera that both snaps modern photos that can outperform a smartphone, and capture retro photos that feel more like film. Yes, technically, the X Half has a screen, but the film camera mode with its film advance lever and disabled screen felt just like using a camera without one.

Like many screen-free cameras, though, the X Half needs to connect to a smartphone to “develop” the photos taken in the film mode. Even if you return to standard screen mode, you can’t see the shots on the screen. I would have preferred at least having the option to still use film mode without requiring a smartphone to view them.

Read our full Fujifilm X Half review

Best screen-free digital disposable camera

The Flashback One35 V2 feels like a retro disposable film camera – but it’s a screen-free, reusable digital camera. The Flashback inherits the inherent slowness of disposable film with a charmingly clicky film wind button, which is required between each shot. Otherwise, using the camera is as simple as looking through the viewfinder and clicking the shutter.

What I really loved about the Flashback One35 V2 is the variety of different film presets that are available. There’s an excellent selection to choose from, including more golden tones and black-and-white. That, mixed with a more plasticky lens, gives the digital images some of the charm of disposable film.

The Flashback didn’t have noticeable shutter lag – a common issue among screen-free cameras. But, digital minimalists, be aware that the disposable dupe does require a smartphone, as the app is what allows for swapping film presets.

The standard mode requires 24 hours to “develop” photos before seeing them in the app. There’s a Digicam mode without the wait, but even this mode requires connecting to the app after 27 photos.

Read my full Flashback One35 V2 review

Best screen-free digital camera for kids

While I think the Camp Snap CS-Pro is the better option for grown-ups, I wouldn’t hesitate to pick up a Camp Snap 2 for a kid, pre-teen, or teenager – though on the strictest budgets, adults may still love this camera too. The second-generation camera adds the ability to swap digital presets as you shoot, but this function can be locked for the youngest kids.

The Camp Snap 2 feels a bit like a disposable film camera in its screen-free design, but unlike the Flashback One35 V2 the camera doesn’t require a smartphone app to work. The camera is so simple that even my six-year-old figured out how to turn the flash on and off.

While the Camp Snap 2 is a key improvement over the original, there’s still some shutter lag to contend with – this means a slight delay in taking the photos. If kids don’t hold still quite long enough, that can create a blurry shot, but there’s an audible click to know when it’s safe to keep moving.

Still, as a parent, I’m annoyed by the cameras for kids with games built in, so I love that my kid can’t try to sneak in extra screen time when I hand him this camera.

Read my full Camp Snap 2 review

Best screen-free digital video camera

One of the biggest things that I missed when I gave up my iPhone camera for more than a week to go screen-free was the ability to shoot videos. Well, Camp Snap has a screen-free camera for videos, too. The CS-8 is a digital camera that looks like a retro Super 8.

I loved the dial on the side of the CS-8 to swap between different retro looks. There’s a dial for adjusting the aspect ratio, too, which is great for social media videos. The quality isn’t the best, at 2.7K 30p across most modes, and the digital zoom in particular is best avoided. But the price also reflects those specs, so I didn’t mind.

My biggest hesitation with the CS-8 is that, while the Super 8-inspired design is endearingly retro, it’s also large – and when I’m traveling, I’ve often eyed the camera but ultimately couldn’t find the space for it in my bag. Still, few screen-free cameras can shoot videos, and the CS-8 is full of retro charm.

Read my full Camp Snap CS-8 review

Most compact / best waterproof screen-free digtial camera

The Insta360 Go 3S Ultra Retro feels like a cross between an action camera and the viral keychain camera, the Kodak Charmera.

The Insta360 Go 3 is typically a modular action camera that sits in a base with a screen. But the retro bundle doesn’t include this screen base and pops the tiny magnetic camera in a tiny retro housing, complete with a viewfinder to frame the shots.

Because the Go 3S is originally an action camera, this tiny screen-free setup will take photos as well as videos of up to 30 minutes in length – or 76 minutes with the included battery pack.

Because the camera is so tiny, adjusting most of the settings and retrieving the photos and videos is done with the smartphone app. But using a single press for photos and a double press for videos allows for swapping between photo and video modes without the app.

The retro attachment effectively turns the action cam into a screen-free digital camera – and a rather tiny one at that. This is a great option for digital minimalists who want to go screen-free while still shooting both photos and videos. It’s also a great option for creators who want something waterproof.

Read our full Insta360 Go 3S review and our take on the retro viewfinder accessory

Best screen-free mirrorless camera

While most screen-free digital cameras fall in the compact camera category, there’s one mirrorless camera that comes to mind that looks like a retro rangefinder but is actually hiding a 60MP digital sensor: The Leica M11-D. By leaving out the screen, the M11-D looks very much like the brand’s film cameras from the same M series.

Without the option to view the images as you shoot, the M11-D – which has always felt more slowed-down and intentional thanks to manual focus lenses – looks and feels more film-like, despite having all digital tech inside. The 60MP sensor and quality of Leica’s M-series lenses churn out wonderfully sharp images with beautiful bokeh.

DCW's Leica photographer, Sebastian Oakley, said it best in his Leica M11-D review: “By removing the rear LCD screen, Leica forces you to rely on your instincts and trust in your abilities as a photographer. It’s a liberating experience, one that places you fully in the moment, just as film cameras did in the past.”

Of course, as a Leica, the M11-D comes with a luxury price tag, but it's rare in its screenless mirrorless design.

Read Seb's full Leica M11-D review

How we tested screen-free cameras

Shopping for a screen-free digital camera isn't quite the same as looking for a standard compact camera. For one, screen-free cameras are often meant to be minimalist in both experience and the tech inside.

Many of them are meant to snap images with a retro feel, so resolution and sensor size aren't quite as important as, say, choosing a mirrorless camera. When considering the different screen-free options, I prioritized cameras that struck an ideal balance between the design, the images and the price.

I also considered cameras that aren't technically screen-free, as long as they had a mode to disable the screen. The screen isn't the real problem – it's the distraction that comes with a screen. That's why the Fujifilm X Half's Film Camera mode makes the list, even though it does technically have screens.

All the cameras on this list have been personally tested by DCW staff. I tested a majority of them myself, when I challenged myself to a week without my smartphone camera, while DCW's action camera expert Adam Juniper recommended the Insta360 Go 3S Retro, and Leica expert Sebastian Oakley voted in favor of the M11-D.

Find out more about how we test and review on Digital Camera World.

How to choose the best screen-free camera

The biggest question to ask when choosing a screen-free digital camera is why you want a screen-free camera in the first place. If you want something small enough to take anywhere without the distraction of a smartphone, then consider a budget point-and-shoot like the Camp Snap CS-Pro.

Leaving the screen off the camera often means the cameras rely on apps to adjust the settings and change the filters. If you're a true digital minimalist and don't want an app connection at all, then the list is an even shorter one, as options like the Flashback One35 V2 and the film mode on the Fujifilm X Half require a smartphone app.

Most screen-free digital cameras are simple compact cameras that try to replicate the look and feel of disposable film cameras. But, if you want something with above-average image quality, consider a camera with a larger sensor like the Fujifilm X Half or even the luxury mirrorless Leica M11-D.

Finally, keep in mind that many screen-free cameras only take still photos or videos and not both. The Insta360 Go 3S Retro is capable of both photos and videos. The Fujifilm X Half is too, but the videos aren't available in the screen-free mode.

One of my friends just asked me an interesting question: should she buy a Nikon Z fc mirrorless camera or a Nikon D7500 DSLR camera?

It's not a comparison I'd have thought anyone would make. They're both entry-level in terms of specs, sure. But aside from being mirrorless, the Nikon Z fc is a very fashion-conscious retro camera; the Nikon D7500 DSLR camera is the furthest thing from fashionable.

Still, this probably says more about my friend than me. She doesn't care about fashion; she's all about function. She wants an affordable but capable photographic tool for a mix of studio and street work.

So, with similar specs and capabilities, I broke down the differences – and I was surprised at the recommendation I made!

Nikon Z fc mirrorless vs Nikon D7500 DSLR camera: Photo

Both cameras have a 20.9MP APS-C sensor, which is DX format in Nikon speak. But beyond the raw resolution, these cameras have some significant differences – and I was surprised that the Nikon D7500 DSLR camera came out on top of its mirrorless stablemate.

The D7500 has more robust stills specs, with a maximum 1/8000 sec shutter speed and a flash sync speed of 1/250 sec. While its burst shooting speed is a modest 8fps, its native ISO100-51200 sensitivity can actually be pushed 5EV to an equivalent ISO1,640,000!

By contrast, the Nikon Z fc maxes out at a 1/4000 sec shutter – still good for most jobs, but for outdoor photography on a bright summer day it's going to be more limited. Similarly, the flash sync is slower at 1/200 sec and the same native ISO100-51200 can "only" be pushed to ISO204,800. Its top continuous shooting speed of 11fps is better for fast action, though.

Amazingly, the Nikon D7500 DSLR camera is actually more capable than the Nikon Z fc mirrorless for what my friend needs. Its shutter is more versatile for strobes and street shooting alike – and while I wouldn't ever use any camera's maximum setting, an ISO of 1.64 million is pretty impressive!

It's worth noting that the Z fc has superior autofocus, particularly with moving subjects, and its fully articulating screen is more versatile than the D7500's tilt-only affair. However, as a viewfinder-only shooter who shoots still subjects, these weren't super relevant to my friend.

Nikon Z fc mirrorless vs Nikon D7500 DSLR camera: Video

This one's closer than you might expect, as both cameras shoot 4K 30p in H.264 with microphone jacks for capturing external audio.

The major difference here is the Nikon Z fc's superior autofocus, which is inherently superior to the technology of the Nikon D7500 DSLR camera thanks to the latter being limited to contrast-detect AF in live view.

The Z fc's mirrorless tech has a different AF pipeline along with eye AF and subject tracking that makes it a far better video option – especially with the fully articulating rather than tilt-only screen. It also boasts FullHD up to 120p, compared to 60p on the DSLR.

Video isn't a consideration for my friend, but this is obviously a clear win for the Z fc.

Nikon Z fc mirrorless vs Nikon D7500 DSLR camera: Body & handling

With everything else being pretty comparable, I think this is really the deciding factor – because these cameras handle completely differently.

For starters, the Nikon D7500 DSLR camera has an optical viewfinder – glass-and-mirror tech that shows you exactly what the lens sees, but does not reflect the exposure values that the sensor sees. In other words, you will need to confirm your exposure on the rear screen after taking a shot (unless you shoot in live view mode).

The Nikon Z fc, as a mirrorless camera, functions 100% in "live view" as it only shows you what the sensor sees, with your exposure settings factored in. This gives you a WYSIWYG form of shooting, where what you see in the electronic viewfinder (EVF) or rear screen is exactly what your picture will look like when you've taken it (external flash notwithstanding).

Personally, I struggle to go back to optical finders these days – the WYSIWYG factor of an EVF makes life so much easier, and is especially useful for newcomers learning photography. However, I know that this is a very divisive issue – and some shooters (like my colleagues Mike, Seb and Rod) feel that optical finders are superior.

As a DSLR user, my friend also falls into the optical finder camp – so I have to concede this point in this particular conversation!

As alluded, the D7500 has a tilt-only rear screen while the Z fc has a fully articulating affair. Conventional wisdom says tilty screens are better for stills while "flippy screens" are for video, but this is a limited way of looking at things; tilt-only screens are fine if all you shoot are horizontal pictures, but for portrait shooting anything other than head-on they're useless.

Again, she doesn't shoot off the rear screen so it's a moot point, but I'd personally take the flippy screen any day.

Perhaps the biggest practical difference, certainly for my friend, is in the ergonomics of these cameras. The Z fc is styled after old film cameras and as such is flat as a bar of soap and eschews any kind of grip. Which again, contrarian that I am, I actually prefer, as I like slim cameras.

However, just about everybody I ever talk to prefers a camera with a grip (even most Z fc owners buy a grip, which I don't understand!). And the Nikon D7500 DSLR camera has a proper chunky grip, so you have plenty of purchase – especially when using big lenses (which, I'll concede, is easier with a grippy body!).

On top of that, the D7500 is extensively weather sealed for all-weather shooting. It's also much more sturdy and robust; the Z fc looks lovely, but it's quite light and plasticky in build. Sealing aside, the DSLR will withstand plenty more knocks and scrapes than the mirrorless – and it certainly doesn't have as much pretty paint to scratch off.

Unsurprisingly, the DSLR is a better fit – quite literally – for my friend's needs here.

Nikon Z fc mirrorless vs Nikon D7500 DSLR camera: Verdict

For 90% of people, I'd have recommended the Nikon Z fc. I prefer the EVF, the flippy screen, the superior video and autofocus, and I think it's one of the prettiest cameras around – so I love its looks and its ergonomics.

However, for my friend's needs and proclivities, I'm amazed to say that the Nikon D7500 DSLR camera is the better fit. She prefers an optical finder ("to see what the light is actually doing"), she prefers a camera with a proper grip for sustained shooting sessions, and she doesn't use video but she does use flash and needs the fastest shutter for outdoor use.

So it astonishes me to say that I recommended the D7500 – even though it's an older camera, with more limited tech at a higher price. I actually can't believe it – DSLR beat mirrorless. I need to go and lie down…

You might also like…

Take a look at the best Nikon DSLR lenses for the D7500 and the best lenses for the Nikon Z fc, and check out the best Nikon cameras across all categories

Yes, it’s a new camera in the Canon EOS R6 pantheon, but the full-frame Canon EOS R6 V is completely different from the EOS R6 III, maybe more akin to the APS-C format EOS R50 V'. It’s built for Video with a capital V, and while you can shoot stills with both of these EOS V-series cameras, the design, specifications and handling are firmly aimed at content creators who major very much on vlogging and videography.

Starring roles in the EOS R6 V’s videocentric line-up include 7K open gate video capture with active cooling, image stabilization and weather-sealing, all wrapped up behind an interface that’s comprehensively geared towards videography, and works equally well in landscape and portrait orientations.

So what are the best lenses for the EOS R6 V? By design rather than coincidence, Canon has been really ramping up the video and hybrid side of its new RF lenses, with both zooms and primes to suit pretty much any and every shooting scenario and being equally adept at video capture as well as stills – in fact, even more so.

You can use APS-C format lenses in crop mode, including some of the best lenses for the EOS R50 V, but you’ll really need full-frame glass to make the most of the EOS R6 V – and that means that you can't currently buy third-party lenses for the camera, so have to use Canon's own RF lenses.

Naturally, you can use any Canon RF lens to shoot video, but the hybrid and more specialized video glass focuses more on what type of autofocus system is employed, the suppression of focus breathing, fast aperture ratings and in some cases dedicated aperture control rings. There’s sometimes the inclusion of optical image stabilization, although the EOS R6 V features both IBIS (In-Body Image Stabilization) and advanced digital video stabilization. Some new top-choice lenses also feature power zoom, either built into the lens of via an optional Canon PZ-E2 / PZ-E2B Power Zoom Adapter. I’ll cover all of these topics and more at the end of this guide, in my ‘how to choose’ section. But for now, let’s crack on with the best lenses to suit a variety of videography.

The Best lenses for the Canon EOS R6 V

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The best everyday lens for the Canon EOS R6 V

For my money, this lens has everything I could wish for in a versatile zoom for everyday videography. The zoom range is generously wide-angle at the short end, and great for vlogging in conjunction with the lens’s close-focusing abilities, while stretching to the natural perspective of a ‘nifty fifty’ at the long end. It also boasts a 6-stop optical stabilizer, boosted to 8-stop effectiveness by the EOS R6 V, but its killer feature is ‘power zoom’, for smooth, motorized zooming.

Typical L-series attractions include superior build quality, complete with extensive weather-sealing. That can be an important factor for ‘everyday shooting’, especially where I live in the South West of England (it’s raining right now). Optical finery includes two GMo (Glass Molded aspherical) elements and three UD (Ultra-low Dispersion) elements, along with both Super Spectra coating and more high-tech ASC (Air Sphere Coating). If I had to choose just one lens for the EOS R6 V, it would probably be this one.

Read more: Canon RF 20-50mm f/4L IS USM PZ review

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The best standard zoom for the Canon EOS R6 V

When this lens launched, I felt it was a genuine gamechanger, ushering in Canon’s new range of hybrid lenses for video and stills photography. Moreover, it combines the desirably generous 24-105mm zoom range of Canon’s back-catalog f/4L kit zooms, with the faster constant f/2.8 aperture of a 24-70mm trinity standard zoom. And as with other Z series zooms, it’s compatible with the Canon Power Zoom Adapter PZ-E2 / PZ-E2B. Autofocus is powered by dual Nano USM motors which are rapid and virtually silent, as well as enabling super-smooth focus transitions. There’s also effective suppression of focus breathing.

I’d be tempted to pick this lens as my everyday zoom for walkabout shooting, except that it’s big and bulky, and weighs in at 1,350g. Indeed, it’s noticeably heavier than the stills-focused Canon RF 70-200mm f/2.8L IS USM trinity telephoto zoom, which only weighs 1,070g. On the upside, the large size does accommodate chunky focus and aperture control rings, more like what I’d expect to find on a cine lens. 5.5-stop optical stabilization rises to as much as 8 stops with IBIS, and the high-grade optical path includes two GMo elements, four UD elements and one replica aspherical element, along with Super Spectra and ASC coatings.

Read more: Canon RF 24-105mm f/2.8L IS USM Z review

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The best telephoto zoom for the Canon EOS R6 V

Zoom lenses with a relatively fast and constant f/2.8 aperture rating are often referred to as ‘trinity’ wide-angle, standard and telephoto zooms, the last of these having a 70-200mm zoom range. Canon actually offers a threesome of RF 70-200mm telephoto zooms, this third and latest in the line being a Z series lens that’s designed more for videography than for stills shooting. As such, it’s compatible with the Canon Power Zoom Adapter PZ-E2 / PZ-E2B. It also has a dedicated aperture control ring along with the more usual mode switches and forward rank of customizable function buttons.

This Z lens also happens to be Canon’s first trinity telephoto zoom that’s available in black as well as the usual white finish, and I think it’s nice to get the choice. On a more practical note, advantages over the previous pair of RF 70-200mm zooms is that the Z lens has a fixed physical length thanks to an internal zoom mechanism, which is a plus point when using a gimbal as the center of gravity remains more centralized. It’s also compatible with Canon’s RF Extenders for gaining extra telephoto reach, which can’t be said for either of the earlier RF 70-200mm zooms. The Z lens is simply a brilliant zoom for weddings and events, sports and wildlife videography, complete with dual Nano USM autofocus, 5.5-stop optical stabilization, and two GMo, one UD GMo, one UD and two Super UD elements in its optical line-up.

Read more: Canon RF 70-200mm f/2.8L IS USM Z review

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The best ultra-wide prime for the Canon EOS R6 V

It’s not so long ago that the Canon RF 20mm f/1.4L VCM was the most ‘ultra-wide-angle’ prime in the RF hybrid lens line-up, and that lens remains an excellent option for a really expansive field of view. But if you want to go all out for ultra-wide perspective, this newer 14mm lens really takes the blinkers off your videography. It’s simply epic for landscapes and cityscapes, and for exaggerating the apparent distance between foreground and background areas in the frame, for creative effect. The lens is also great for vlogging, when you want to set the scene by shoehorning in a large expanse of background while you’re presenting to camera.

Autofocus is driven by the highly effective, rapid, smooth and virtually silent combination of Nano USM and VCM (Voice Coil Motor) actuators. Despite its monster viewing angle and fast aperture rating, I like that the lens is relatively compact and lightweight, ideal for handheld shooting. Speaking of which, there’s no optical stabilization, which isn’t at all surprising for a lens with such a ‘fast’ aperture, but you do get up to 6-stop stabilization with IBIS at the center of the frame. Optical highlights include one each of fluorite, UD and BR (Blue Spectrum Refractive) elements, along with three GMo elements and both Super Spectra and ASC coatings. One word of warning is that the lens has an integral hood to protect the bulbous front optical element, so there’s no front filter attachment thread.

Read more: Canon RF 14mm f/1.4L VCM review

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The best wide-angle prime for the Canon EOS R6 V

I’ve always felt that 24mm is a classic wide-angle focal length for full-frame cameras, and this lens serves up that desirable perspective with a fast f/1.4 aperture rating. Along with other f/1.4 prime lenses in the RF hybrid series, this lens therefore enables me to shoot in low-light conditions without bumping up my ISO too much, as well as delivering a tight depth of field to isolate subjects within a scene by blurring the background. That can actually be a struggle with short focal length lenses but this lens nevertheless enables a tight depth of field for close-up shooting.

Typical of Canon’s RF hybrid primes and (so far) two Z series zoom lenses, the 24mm has a particularly well-rounded 11-blade aperture diaphragm, which helps to maintain high quality bokeh when stopping down a little. Other attractions include 8-stop IBIS at the center of the frame, despite the lack of any optical stabilization in the lens, and the inclusion of both Nano USM and VCM autofocus motors. Optical finery includes a GMo element, two UD elements and no less than three ASC, SWC and Super Spectra types of coatings.

Read more: Canon RF 24mm f/1.4L VCM review

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The best standard-wide prime for the Canon EOS R6 V

A natural perspective can go a long way in keeping things real when you’re storytelling. I love the way that a 35mm focal length gives a slightly wide but entirely natural perspective on a full-frame camera. There’s a good reason why it’s the classic choice for street photographers and for walkabout shooting. This lens gives me my golden focal length with a fast f/1.4 aperture that it has in common with the RF 24mm, 50mm and 85mm f/1.4 lenses, all of which are also on my hit list.

I really like that all four of these prime lenses have exactly the same physical dimensions, handling characteristics and filter attachment threads, making it dead easy to swap between them without any disruptions to the creative flow. That counts for handheld shooting as well as for use with a gimbal. Again, the inclusion of Nano USM plus VCM autofocus motors is a common trait, and this time around you get 7-stop IBIS at the center of the frame, despite the lens not featuring optical stabilization. High-end glass includes two GMo and two UD elements, along with ASC and Super Spectra coatings.

Read more: Canon RF 35mm f/1.4L VCM review

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The best standard prime for the Canon EOS R6 V

Maybe I’ve shot myself in the foot by saying that the RF 35mm above gives an entirely natural perspective, but I stand by my words. Even so, for many photographers using full-frame cameras, a ‘nifty fifty’ with its 50mm focal length is seen as the ideal for delivering a ‘normal’ perspective, as it closely mimics the sense of scale, relative distance and proportion that are perceived by the human eye. If a 50mm lens is your go-to prime, and there’s no reason why it shouldn’t be, then this is the perfect example for the EOS R6 V.

Like others in the ‘VCM’ hybrid system, it’s designed and built for exceptional videography performance, along with sublime handling characteristics and tough L-series build quality. I find the uniform, consistent dimensions and aperture rating with other VCM lenses in the RF prime line up to be a real advantage, as well as the dual Nano USM and VCM autofocus motors. A further bonus for handheld shooting is that IBIS is worth up to a class-leading 8.5-stops at the center of the frame with this lens, narrowly beating the effectiveness of IBIS with other primes in the series. The optical line-up includes one GMo and one regular aspherical element, a UD element and both ASC and Super Spectra coatings.

Read more: Canon RF 50mm f/1.4L VCM review

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The best portrait prime for the Canon EOS R6 V

We’re a bit spoilt for choice when it comes to RF portrait lenses and I’d go so far as to recommend any of the lenses in this guide for portraiture of varying styles. That includes the versatility of the zoom lenses for portraiture at weddings and other events, the ability of an ultra-wide-angle prime to add context in environmental portraiture and vlogging, wide-angle and standard primes for full-length and half-length portraits, and even the focal length of the 100mm macro lens in my guide for tight head-and-shoulders portraits (while not taking advantage of its actual macro abilities). But if I had to pick just one portrait prime, it would be this RF 85mm f/1.4 hybrid lens.

Like the others in the series that I’ve already covered, the RF 85mm is designed with videography in mind, so autofocus is fast yet offers smooth transitions in virtual silence, this time delivered purely by a VCM (Voice Coil Motor). There’s also an absence of focus breathing and, again, the physical size and layout of the lens is impressively uniform among most in the series. A generous 8 stops of IBIS is available at the center of the frame, courtesy of the EOS R6 V camera body, and quality glass includes a GMo aspherical element and a UD element, along with ASC and Super Spectra coatings. Another similarity is the 11-blade aperture diaphragm, which helps to keep that all-important bokeh looking gorgeous even when stopping down from the generously wide f/1.4 maximum aperture.

Read more: Canon RF 85mm f/1.4L VCM review

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The best macro prime for the Canon EOS R6 V

Shock, horror! Unlike every other lens in this guide, the RF 100mm wasn’t designed as a video or hybrid lens. Even so, there’s no beating it for extreme close-ups and macro shooting. It’s arguably the best of its kind on the planet. Whereas most autofocus macro lenses top out at 1.0x maximum magnification, this lens delivers a huge 1.4x magnification, so small objects are reproduced at nearly one and a half times life size on the image sensor. That gives phenomenal scope for enlargement when viewing images on screen or in print.

Another totally tricked-up feature is the ‘Spherical Aberration Control’ ring, which gives you the power to adjust how bokeh looks in defocused areas of images. This makes the lens literally a thing of beauty for portraiture, as well as for extreme close-up shots of the tiny things in life. Dual Nano USM autofocus fits the bill nicely, and the lens features ‘hybrid’ optical image stabilization that’s particularly efficient for close-up photography, counteracting x-y shift as well as the usual angular vibration. If you’re into shooting macro in videography, stills or both, this is a must-have lens.

Read more: Canon RF 100mm f/2.8L Macro IS USM review

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Lab data and comparisons

The graphs below show the comparative performance of the lenses in this guide, based on our in-house lab tests. High-end primes typically lead the way for sharpness, but the Canon RF 24-105mm f/2.8L IS USM Z is particularly impressive for a zoom lens. We don’t yet have lab data for the Canon RF 20-50mm f/4L IS USM PZ and the Canon RF 70-200mm f/2.8L IS USM Z but they performed very well in our hands-on, real world tests.

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 generally 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 and pincushion distortion at its shortest and longest focal lengths respectively, which tends to average out when looking at the data overall. With that in mind, I’ve listed the uncorrected distortion of the Canon RF 24-105mm f/2.8L IS USM Z at its shortest focal length, where barrel distortion is pretty extreme. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

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How to choose the best lenses for the EOS R6 V

Here are some of the things to look out for when choosing your ideal lenses, with videography firmly in mind...

Hybrid lenses
Designed with content creation front and center of the thought process, Canon’s RF hybrid lenses are built to handle and perform equally well in videography and stills shooting scenarios. Desirable features typically include smooth and virtually silent autofocus (or manual focus) transitions, often based on dual Nano USM and/or VCM actuators, along with a dedicated aperture control ring and suppressed focus breathing. Most prime RF ‘VCM’ RF lenses also have uniform dimensions and are of a very similar weight, which is a particular advantage when using a gimbal.

Power zoom
A motorized zoom mechanism can be very useful for transitioning between different focal lengths with the ultimate in smoothness, while avoiding any unwanted jerks along the way. At the time of writing this guide, the Canon RF 20-50mm f/4L IS USM PZ is the only full-frame compatible RF lens to feature a built-in ‘Power Zoom’ mechanism, but Z series RF zoom lenses including the Canon RF 24-105mm f/2.8L IS USM Z and Canon RF 70-200mm f/2.8L IS USM Z are compatible with the Canon Power Zoom Adapter PZ-E2 / PZ-E2B, which you can buy separately (at considerable expense).

RF vs RF-S
While they use the same camera/lens mount, Canon RF lenses are full-frame compatible whereas RF-S lenses only produce an image circle that’s large enough to cover an APS-C format sensor. Unlike with EF and EF-S lenses for Canon DSLRs, you can use RF-S lenses on full-frame EOS R system bodies, but you need to shoot in crop mode, which only utilizes a relatively small central area of the full-frame image sensor, and therefore only a smaller number of the total available megapixels. An upside is that you get a 1.6x image multiplier or ‘crop factor’, effectively extending your telephoto reach with no loss in aperture rating.

Autofocus
The autofocus system used Canon’s hybrid lenses typically involves either one or two Nano USM motors, a VCM motor, or a combination of both. The Nano UltraSonic Motor dates back to Canon DSLR lenses and was designed to be super-fast and near-silent, as well as enabling smooth transitions when shooting video. The Voice Coil Motor is a more recent introduction, used in Canon’s hybrid lenses. It’s exceptionally fast and virtually silent, based on a similar electromagnetic technology to that used in audio loudspeakers.

Image stabilization
Historically, Canon always built optical image stabilization into its ‘IS’ lenses, in preference to using IBIS (In Body Image Stabilization) within camera bodies. The main reason for this was that the optical stabilizer could be specifically designed for maximum performance in each particular lens. That ethos continued up to and including the original EOS R and EOS RP cameras, but most subsequent full-frame EOS R system cameras and the EOS R7 APS-C format cameras now feature IBIS. Combining optical image stabilization with IBIS often gives a further boost to effectiveness, especially for telephoto lenses.

Focus breathing
Focus breathing is an unwanted aberration in lenses that causes the perspective (angle of view) to alter when you adjust the focus distance. In practical terms, if you change the focus distance setting of the lens, it can look as if you’re also zooming in or out. The effect is of little consequence when shooting stills but can be a big problem when shooting video. As such, Canon’s video and hybrid lenses are designed to have minimal focus breathing.

Aperture rating
A ‘faster’ aperture rating (denoted by a lower f/number) can often be preferable when choosing lenses. More light is transmitted through the lens to the camera, so you can shoot in low-light conditions without needing to bump up your ISO setting so much, which can degrade image quality. Faster apertures also give the bonus of being able to gain a tighter depth of field, ideal for isolating the main subject within a scene by blurring the background. Most Canon RF hybrid prime lenses have a fast aperture rating of f/1.4, whereas it’s typically f/2.8 for hybrid zoom lenses.

Aperture control ring
Many of Canon’s RF lenses have customizable control ring that you can assign to the function of adjusting the aperture setting. However, these control rings often work in click steps, so they’re less than ideal if you want smooth, silent aperture transitions when shooting video rather than stills. Canon’s RF hybrid lenses generally feature a dedicated aperture control ring, that operates silently with no click steps, often referred to as having a ‘de-clicked’ action.

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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 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

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What a camera! The Sony A7R VI is undeniably expensive but I’d expect nothing less, considering the specs. A headline attraction of this 2026 launch is Sony’s ultra-high-resolution 66.8 megapixel stacked image sensor, with the potential to capture the utmost in fine detail and texture. However, that places big demands on any lens that you mount on the camera. To say that you need really sharp lenses to make the most of the A7R VI would be an understatement.

But there’s more. Not just for meticulously planned and executed studio setups, the Sony A7R VI is perfectly viable as a sports and wildlife camera, complete with a super-fast 30fps burst rate, tenacious autofocus, and rock-steady image stabilization. Oh, and it more than qualifies as a hybrid camera, with a pretty amazing feature set for shooting video as well as stills.

With all of that in mind, I’ve selected some of the sharpest zoom and prime lenses from Sony’s own-brand FE-mount collection, plus some spectacular third-party lenses that really deliver the goods while being very competitively priced. I’ve also covered everything from top-grade standard, wide-angle, and telephoto zooms to perfect primes for street photography, portraiture, macro work, and everyday shooting. Let’s get straight to it…

The best lenses for the Sony A7R VI

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Best standard zoom for the A7R VI

The original version of this lens was an optical recipe for success, but the Mark II is better in every way. Honoring the name of its flagship G Master series, Sony has delivered a professional-grade zoom that is pin-sharp across its entire image frame, more comprehensively weather-sealed than the previous lens, and yet, somehow, is also 20 per cent lighter and 18 per cent smaller than the previous version. That's really very remarkable.

Handling has been revamped and is better than ever; the optical layout is completely revamped, and the lens boasts a new floating autofocus system powered by four XD (eXtreme Dynamic) linear stepping motors. It's incredibly precise, as we extolled in our review, and the technical quality is unimpeachable. Our exacting lab tests revealed a basically faultless lens across its zoom range.

Of course, all this quality comes at a cost. While I firmly think that the Sony FE 24-70mm f/2.8 GM II is worth its price tag, if your budget doesn't stretch that far, I'd recommend the Tamron 28-75mm f/2.8 Di III RXD G2 as an excellent cost-cutting alternative, which only costs about a third of the price.

Read more: Sony FE 24-70mm f/2.8 GM II review

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Best wide-angle zoom for the A7R VI

Naturally, Sony makes some excellent wide-angle zoom lenses but of the two top choices, the FE 12-24mm f/2.8 G Master is a little overly wide for my liking and the FE 16-35mm f/2.8 G Master II doesn't go quite wide enough. 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 more: Sigma 14-24mm F2.8 DG DN Art review

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Best telephoto zoom for the A7R VI

My first impression of this Mark II Sony lens was how much lighter it is than the original, as well as beating most other ‘trinity’ telephoto zooms in this respect. Despite the lightened load, there’s no shortage of high-end handling extras, including switches for auto/manual focus, full-time DMF on/off, autofocus limiter, stabilization on/off switch, and stabilization mode. On the opposite side of the lens, there’s a switch to turn the aperture ring on and off.

Performance is everything I’d expect from a next-generation Sony G Master lens, combining excellent image quality with fast autofocus and effective stabilization. The only real sticking point is the price; then again, most camera manufacturers’ 70-200mm f/2.8 command the big bucks, so the Sony isn’t unusual in this respect.

Read more: Sony FE 70-200mm f/2.8 GM OSS II full review

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Best street prime for the A7R VI

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

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Best standard prime for the Sony A7R VI

The Sony FE 50mm F1.2 G Master is a spectacular nifty-fifty, boasting impressive sharpness right the way through its aperture range – yes, even at f/1.2. Sony has built this lens from the ground up with sharpness in mind, and its optical path includes three XA (extreme aspherical) elements; remarkably, these have been engineered to an accuracy of 0.01 microns (or one hundred-thousandth of a millimeter).

What this means, as I found in my testing, is that the lens performance is absolutely stellar – blowing away its rivals from the likes of Canon and Nikon. Our lab tests reported basically nothing in terms of imperfections, except for some pincushion distortion, and a little vignetting at f/1.2.

The handling, too, is excellent. It's a heavy lens, as it needs to be with specs like these, but not exceptionally so in the pantheon of 50mm f/1.2 lenses. This is an all-around fantastic optic, and if its asking price isn't too dear for you, it'll deliver nothing short of spectacular performance.

Alternatively, the Sony FE 50mm f/1.4 GM is more affordable, captures very good center-sharpness, and is relatively light and compact.

Read more: Sony FE 50mm f/1.2 G Master review

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Best portrait prime for the A7R VI

Like many portrait photographers, I swear by the 85mm short telephoto focal length, and if you're looking to shoot compelling images of people, the Sony FE 85mm f/1.4 GM II lens is one of the smartest buys you can make. Something that's critical in portrait photography is being able to produce images with smooth, attractive bokeh (the defocused areas of an image), and the G Master lens delivers that in spades thanks to its 11-bladed aperture.

Sharpness and image quality are exceptional, as I discovered when I tested the lens, and the high-grade construction means that handling is perfectly on point. If you need a cheaper alternative, the Viltrox AF 85mm f/1.4 Pro is a terrific money-saver.

Read more: Sony FE 85mm f/1.4 GM II review

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Best macro prime for the A7R VI

Sony’s time-honored FE 90mm macro lens has been looking a bit old and tired for some time now. Enter the new FE 100mm, which is everything I’d hope for (and more) in a top-end macro lens. For starters, it goes extra-large on maximum magnification, boasting 1.4x magnification at its minimum focus distance, instead of the more usual 1.0x. And if that’s still not enough, you can boost it to as much as 2.8x for revealing near-microscopic levels of detail, if you add a 2x teleconverter.

While the maximum magnification is highly impressive, there’s a lot more to this lens than just acting as a magnifying glass for your Sony A7R VI. There’s a smorgasbord of handling exotica, including a calibrated manual focus scale (I typically prefer manual focusing for macro shooting), an AF/MF switch, focus range limiter, stabilizer on/off and an iris lock switch to go with the aperture control ring.

High-performance glass includes two ED (Extra-low Dispersion) elements and two XA (eXtreme Aspherical) elements, along with a particularly well-rounded 11-blade aperture diaphragm. Nano AR Coating II and fluorine coatings are also applied. The lens isn’t a one-trick pony either. Great for portraiture or just as a short telephoto prime, it has no less than four XD (eXtreme Drive) linear motors to power its fast and virtually silent autofocus system.

Read more: Sony FE 100mm f/2.8 Macro GM OSS review

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Best super-telephoto zoom for the A7R VI

Even though this lens is now up against a new constant-aperture version that Sony has subsequently released, it remains one of my all-time favorites. I was hugely excited to see the coveted G Master line-up of lenses getting a 100-400mm optic, and the Sony FE 100-400mm f/4.5-5.6 G Master OSS lives up to all of my expectations.

Blending superb sharpness with well-pitched handling that supports hand-held shooting, this is an ideal lens for long days capturing sports or wildlife on an A7R VI camera.

Indeed, in my tests and in our review, we couldn't say enough good things about this lens. Its impressively complex optical path gives it excellent image quality across the board, while the handling is nothing short of impeccable. The focus operates smoothly, the three customizable buttons give you real customizability, and the ‘zoom smoothness’ ring lets you adjust the torque required to move the zoom in accordance with your preferences.

Read more: Sony FE 100-400mm f/4.5-5.6 G Master OSS review

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Best ultra-telephoto zoom for the A7R VI

A complete redesign of the already excellent DSLR lens, the Sigma 150-600mm f/5-6.3 DG DN OS Sports is a great lens for bird photography, airshows, and all manner of different sporting occasions.

The autofocus system is excellent, able to take advantage of the latest AF subject-detection and tracking facilities of Sony cameras. The build quality of the lens is also impressive – while no one is going to pretend this is a lightweight lens, it handles well, with tactile zoom and focus rings and a series of on-body controls for functions like AF speed, stabilization intensity, and, as an addition for the mirrorless version, Zoom Torque control to adjust the resistance of the zoom ring.

Read more: Sigma 150-600mm f/5-6.3 DG DN OS Sports review

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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 Sony FE 85mm and FE 50mm G Master primes rule the roost for sharpness, but Viltrox 35mm runs them extremely close, especially for such a comparatively low-budget lens. Color fringing and distortions are generally pretty low, although the Sigma 14-24mm relies more heavily on automatic in-camera correction for distortion, at the short end of its 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.

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How to choose the best lens for the A7R VI

The A7R VI, like all Alpha 7 cameras, uses the Sony E lens mount. Sony’s own E-mount lenses have either FE or E in their model names. All of them work on the A7R VI but FE lenses are designed for use with full-frame Sony cameras, so these should be your first choice. If you're buying a third-party E-mount lens, check that the lens is designed for use with full-frame cameras.

Sony lenses with an E (rather than FE) prefix are designed for APS-C format cameras such as the A6000 series. You can therefore only use them effectively in APS-C 'crop mode' on the A7R VI, which gives you a 1.5x magnification factor but only utilizes a smaller area of the full-frame image sensor.

Check out our guide to the best Sony lenses if you want to know more

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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 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

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A lot of people look at the Canon EOS R50 V vs R6 V equation and boil it down to one thing: sensor size.

But while it's true that one of the main differences between these cameras is the sensor, there's more to the Canon EOS R50 V vs R6 V discussion than that.

The bodies are more alike than they are dissimilar (in fact, they make a great complementary outfit as an A and B camera), but they offer distinctly different propositions for distinctly different kinds of creator.

So, whether you're an aspiring creator or someone who's already making money from your content, it's time for a Canon EOS R50 V vs R6 V comparison to see which is the right one for you.

Canon EOS R50 V vs R6 V: Specifications

Canon EOS R50 V vs R6 V: Photo

At first glance, this one is a whitewash for the R6 V. It has better resolution (32.5MP compared to 24.2MP on the R50 V), a higher sensitivity ceiling (native ISO64000 versus ISO32000) and faster burst shooting (40fps against 15fps) – with Pre-Continuous Shooting, too.

However, there are a couple of key considerations in the R50 V's favor – and the first one relates to that burst shooting.

True, the R6 V can shoot continuously at up to 40fps via its electronic shutter – but it only has an electronic shutter. The R50 V's top electronic speed of 15fps isn't nearly as fast, and nor is its mechanical shutter speed of 12fps, but having a mechanical shutter offers some big advantages.

First of all, if you happen to be shooting at those speeds, shooting electronically risks introducing rolling shutter – the effect where fast-moving subjects or scenery appears skewed (because the sensor's pixels are read line-by-line, top-to-bottom, meaning that moving objects shift and skew as the image is recorded).

Flash photography can also be far more problematic with electronic shutters – and, indeed, the R6 V does not support flashguns at launch, though a firmware update to add it has been promised.

However, the main benefit to a mechanical shutter is when it comes to shooting in artificial lighting. Electronic shutters commonly suffer from banding under artificial and LED light, which can be virtually impossible to remove in post-production.

On the other hand, the R50 V lacks in-body image stabilization. This makes it harder to handhold shots, especially with slow shutter speeds or when using larger lenses. The R6 V, by contrast, has up to 7.5 stops of IBIS – so if you rely on shake compensation, that's a big factor.

It's also weather-sealed, meaning that you can keep shooting when environmental conditions get challenging (provided you're using a weather-sealed lens, of course), and boasts dual memory card slots in case one of them fails.

In all, there's a lot to weigh up. The R6 V has higher resolution, faster bursts and IBIS. On the other hand, the R50 V has a mechanical shutter and is better for flash photography – and it's also much smaller and lighter, making it a better everyday and street photography comparison.

Still, in terms of raw specs and horsepower, it's hard not to give the nod to the bigger brother.

🏆: Canon EOS R6 V

Canon EOS R50 V vs R6 V: Video

When it comes to pure muscle, the R6 V is an absolute unit. Its 32.5MP sensor is capable of 7K 60p capture, 7K 30p open gate video, 4K 120p and FullHD 180p. It boasts both C-Log 2 and 3, and crucially it has an active cooling system for extended shooting times – which you'll need for cranking out 7K!

By contrast, the R50 V only offers C-Log 3 and its 24.2MP sensor tops out at 4K 60p – but this comes with a 1.56x crop. But its 4K 30p video is oversampled from 6K for extra crispiness, while it can crank out FullHD at up to 120p. And while it lacks active cooling, at 4K 30p you effectively get unlimited shooting.

So horsepower-wise, it's a cakewalk for the R6 V – but that horsepower is only better if you actually need it.

Trust me, 7K open gate sounds amazing on paper – and it is amazing – but you can quickly end up with files that are hundreds of gigabytes in size. Do you have the storage to handle that? The processing power on your computer? Do you really even need open gate?

Unless you consistently cross-post content, you're filming high-end studio work or you're shooting for clients that want multiple deliverables, I would argue that open gate is a nice-to-have – not an essential.

For most people, 4K 60p – which gives you the flexibility to do light slow-motion – is enough. The key difference here is that the R50 V imposes a 1.56x crop – and that's on top of the existing 1.6x crop introduced by Canon's APS-C sensor, which makes it much more challenging to shoot wide.

For example, a 16mm lens becomes an effective 25.6mm lens just by mounting it to the R50 V; shoot in 4K 60p and it becomes an effective 39.9mm. Which isn't necessarily a problem, but it does mean being conscious of your lens choice and shooting space, and potentially having to reposition your camera between shots.

Another key difference is the choice of log modes. C-Log 2 is the more professional, but again that doesn't mean it's better by default. In Canon's own words:

"Canon Log 2 provides the absolute maximum dynamic range (more than 16-stops on the EOS C300 Mark III and EOS C70), with detailed shadows and rich highlight information. Canon Log 3 provides the same highlight performance with slightly less information in the shadows (up to 14-stops)."

The long and short of it is that C-Log 2 has more shadow detail but also a lower noise ceiling, so you really need to know how to grade properly. C-Log 3 offers lots of highlight retention and is easier to work with, thus making it faster and friendlier.

Pro-level features aside, I think the biggest consideration is in-body image stabilization (IBIS). The R6 V offers up to 7.5 stops of shake compensation, which makes it possible to shoot handheld footage without too many jitters (though bear in mind that Canon's IBIS does introduce a "Jell-O effect" in the corners when using wide lenses).

The R50 V lacks IBIS, which means you're relying on a tripod, gimbal or the electronic stabilization. The latter crops into your footage (to give headroom for the camera to stabilize your shots), which you need to be extra-conscious of if you're shooting in 4K 60p. This means the R50 V is better for shooting on sticks, rather than handheld.

While the paper specs of the R6 V make it the technical winner, consider what your personal requirements actually are. I think IBIS is important, but it doesn't matter if you only ever shoot indoors on a tripod. C-Log 2 is great, but only if you do heavy post-production. Open gate is awesome, but only if your content needs it and your workflow can support it.

🏆: Canon EOS R6 V

Canon EOS R50 V vs R6 V: Price

No contest here: the R50 V is the most budget-friendly option and gives you incredible bang for your buck.

The Canon EOS R50 V is currently available body-only for as little as $649 / £549 / AU$1,099, or in a kit with the Canon RF-S 14-30mm f/4-6.3 IS STM PZ for $799 / £799 / AU$1,499.

The Canon EOS R6 V is priced $2,499 / £2,399 / AU$3,599 on its own, and is available in a kit with the Canon RF 20-50mm f/4L IS USM PZ in the US and UK for $3,699 / £3,549.

It's a very valid consideration that you could buy a pair of R50 Vs and have a two-camera setup for the same price as a single R6 V. Or buy an R50 V and have almost 2,000 bucks to invest in lenses. Either way, you can have a far more complete and versatile setup by going for the junior camera.

🏆: Canon EOS R50 V

Canon EOS R50 V vs R6 V: Winner

It's hard not to say that the Canon EOS R6 V is the better camera. It has a full-frame sensor, 7K 60p, open gate capture, uncropped 4K 60p, an active cooling system, in-body image stabilization, Canon Log 2…

However, it may be more accurate to say, depending on your needs, the R6 V is the superior specced camera; for some people, the R50 V with its smaller footprint, more manageable files, photographic versatility and price tag that's thousands of bucks less will be a more appealing option.

I would recommend the R6 V for professional creators and videographers who need the highest quality and the ability to output multiple deliverables for clients. And for aspiring or casual creators just building a brand or getting established, the R50 V gives you plenty of firepower at a more affordable price.

Still, in terms of pure capability, the R6 V is the more powerful system and the clear winner.

🏆: Canon EOS R6 V

If you're pondering the Canon EOS R6 V vs R6 Mark III, you're not alone. Canon has made the once-straightforward 6-series line quite complicated this generation, with complementary but confusing companion models.

Both cameras share near-identical core specs – the 32.5MP / 7K 60p sensor, 40fps burst shooting, 7K 30p open gate and so on – but there are key physical differences, from the ergonomics and strength of the IBIS to the presence or absence of mechanical shutter, EVF and active cooling, making the Canon EOS R6 V vs R6 Mark III decision quite a nuanced one.

Further complicating things is the fact that those core specs are also shared by the Canon EOS C50, which adds a further tier of difficulty. And on top of that, the R6 Mark II is still a current product (though its specs are completely different)…

If you want a comparison of all these bodies, I recommend my article Will the real Canon EOS R6 please stand up! Do you need the R6 II, R6 III, R6 V or C50? However, for a Canon EOS R6 V vs R6 Mark III tête-à-tête, read on…

Canon EOS R6 V vs R6 Mark III: Specifications

Canon EOS R6 V vs R6 Mark III: Photo

The technical capabilities for stills are virtually identical except for one crucial difference: the R6 V lacks a mechanical shutter. Which isn't unique among mirrorless cameras; the Nikon Z8 and Z9 likewise only have a mechanical shutter.

So what's the issue? Unless the camera has a global shutter sensor (like the Sony A9 III), which reads the entire sensor at once, you are subject to experiencing "rolling shutter" when shooting fast-moving subjects and / or panning the camera with them.

This is because traditional sensors are scanned line by line, top to bottom, which can cause subjects or scenery to appear skewed as they have moved between each line being scanned.

In addition, electronic shutters are prone to banding and other artefacts when shooting under artificial light – but mechanical shutters are immune to rolling shutters and far less prone to banding issues. Which means you need to be mindful if you're going to shoot a lot of stills with the R6 V.

Aside from specs, though, there's also the physical attributes of the R6 V. It lacks an electronic viewfinder, which means you are limited to shooting from the rear screen – and you'll be doing it with a stop less of in-body image stabilization (IBIS).

On top of that, the R6 V's ergonomics and button placement – along with the design of the buttons themselves – are optimized for filming video, not for prolonged stills shooting.

By contrast, the R6 Mark III has been engineered as a stills-first camera. It has better ergonomics, better IBIS, a viewfinder and a mechanical shutter – and it also supports on-camera flash (Canon says that the R6 V will get flash support via firmware, but doesn't have it out of the box). All of which means that it's the superior camera for photography.

(Though if you only ever shoot on the rear screen and you have no intention of shooting indoors or fast subjects, the R6 V will absolutely do what you need it to.)

🏆: Canon EOS R6 Mark III

Canon EOS R6 V vs R6 Mark III: Video

Okay, an argument could be made that the R6 V is just as good as the R6 Mark III for stills. However, there's no doubt that the R6 V trounces its sibling when it comes to recording video.

Again, the technical specs are virtually identical. But the R6 V has some massive physical and hardware advantages – namely in the form of an active cooling system. Where the R6 Mark III, with no fan to dispel heat, faces limited recording times when shooting high-resolution video, the R6 V can record for prolonged periods without overheating.

The R6 V is also geared for vertical shooting, with a second (vertical) tripod mount and a user interface that reorients 90° when you place the camera in a vertical position. It also has a tally light, so you and your subjects always know when it's recording.

As noted above, the controls on the V have also been completely redistributed for video-first operation – and their default assignments are to essential video features like zebras, peaking and live streaming.

One of the most important controls is the power zoom rocker switch, positioned in front of the record / shutter button. This enables you to perform smooth electronic pushes and pulls when using Power Zoom lenses like the Canon RF 20-50mm f/4L IS USM PZ.

The EVF-free design also makes the R6 V's rectangular body much more riggable and apt for cages. It doesn't support the XLR handle for the Canon EOS C50, but you can add Tascam's third-party XLR adapter for premium audio input.

Speaking of the C50, it's worth noting that neither the R6 V nor the Mark III offer things like shutter angle, timecode or anamorphic lens support, for which you'll need to opt for the cinema sibling.

Still, if you only need to shoot occasional video, the R6 Mark III is perfect for capturing complementary footage with your photographs. But if video is your main reason for picking up a camera, it's the R6 V all the way.

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Price

It's quite a close call, but the EOS R6V comes in as the more affordable option both body-only and in a kit.

The Canon EOS R6 V is priced $2,499 / £2,399 / AU$3,599 on its own, and is available in a kit with the Canon RF 20-50mm f/4L IS USM PZ in the US and UK for $3,699 / £3,549.

Meanwhile the Canon EOS R6 Mark III comes in slightly higher, at $2,799 / £2,799 / AU$4,199, or in a kit with the Canon RF 24-105mm f/4L IS USM for $4,049 / £3,899.99 / AU$5,999.95 (in the US and UK it's also available in a kit with the Canon RF 24-105mm f/4-7.1 IS STM for $3,149 / £3,149.99).

Those kit options really tell the story of who these cameras are for, the Mark III being sold with an all-purpose photography optic while the R6 V is packaged with a video-first Power Zoom lens.

🏆: Canon EOS R6 V

Canon EOS R6 V vs R6 Mark III: Winner

Ultimately, at the risk of becoming a broken record, these two cameras are essentially identical in terms of their specs – they're two of the best hybrid cameras and do a brilliant job at both stills and video. However, they don't do an equally brilliant job at both.

Which means that it all comes down to what you shoot. If you're primarily a photographer, the Canon EOS R6 Mark III – with its mechanical shutter, EVF, ergonomics and better IBIS – is a far better stills camera.

If you're a video-first shooter, the Canon EOS R6 V – with its active cooling system, tally light, and vertical-friendly shooting and operation – is the better camera for creators, vloggers and videographers.

Wearable and not much bigger than your thumb, the POV camera is a new sub-category of action camera that is exciting for vloggers and anyone who wants to capture their lifestyle with as little interruption as possible.

If the traditional boxy GoPro-style action camera is too big, then wearable POV cameras are the solution. Some are small enough to be known as pill cameras (but not for medical reasons). Most designs now include the very practical magnetic clip – so much so that "magnetic camera" is another term for them. They are worn as easily as modern wireless microphones, and sport a range of different solutions to control.

Like the traditional action cameras, these cameras compete on their compact nature and low weight, their ability to capture high-resolution (and store it), and the ability to get stable video despite being worn on clothing. Desirable features also include waterproofing, a good battery life, and some form of remote control – via case, app, or both.

Image stabilization takes processing power, but there is no way that you can wear a camera on a hat, your chest, or handlebars without it picking up some movement. I've already picked all the best action cameras; here I've looked closely at the best tiny POV cameras and put them to the test myself.

Best for most people

Coming with a battery housing (”Action Pod”) that boasts a folding 2.5-inch touchscreen, from which the detachable 4K 60fps camera pops out, even without the ‘tiny camera’ option, this would be a compelling action camera with the vlogger’s favorite benefit of a good-sized fold-up display. A nice touch is that a MicroSD card can be added to the Action Pod to increase storage options, though video is initially recorded to the camera’s internal memory.

The camera has a 1/1.28-inch image sensor, making it ever so slightly bigger than any of the competition. The result is a camera that has very little in the way of compromise, and even has an acceptable low-light mode.

As camera-only, it can be worn in two main ways – clipped onto a hat or, thanks to the magnet, worn on a pendant. Typically, you'd hang the chain around your neck and the other side of the magnet behind your clothes, so you can pop the camera on and off very discreetly. Cleverly Insta360 has also designed the pendant to be twisted to set the camera angle up or down – a very useful touch.

Insta360’s image stabilization does seem to have the edge, and includes a horizion balancing mode which many find useful. There is also support for Insta360's microphones for vloggers.

Read my full review of the Insta360 Go Ultra and see sample video

Best for pro quality

Offering creatives the benefit of a The 1.9-inch display isn’t the biggest in this list, but it is a crisp OLED touchscreen which I found great to use (it's responsive) and it’s worth remembering that it is easily detached from the camera so you can keep it nearby if you are worried about the size. The design also means you can point the camera away from or toward the 'screen side' when it is attached to the "Multifunctional Vision Dock" as DJI call it.

The camera’s other big plus point is the 4K120fps slow motion (though this comes at the cost of the stabilization, but 4K60 can be captured with DJI's impressive digital stabilization – which, like Insta360's, can balance the horizon if you want). Another nice touch is pre-roll (hit record after the moment!), though this feature is never quite as good as I hope – because you do need the lens pointing the right way!

The key advantage, though, to this camera is the 10-bit recording in DJI's D-Log M, which allows a lot of flexibility for those who like to preserve color and brightness information until the edit.

DJI has also built in a receiver for the company’s own microphones, as well as cramming stereo mics into the frame. Included with the camera 9either 64GB or 128GB versions) you'll find a hat clip and a magnetic lanyard, as well as a protective case and a ball joint mount with a suction cup (to, perhaps, sticck the camera on a dashboard?)

See my full DJI Osmo Nano review for a sample video

Best cheap

This is a super-cheap camera without a screen, small in design so it looks a lot like the Insta360 Go 3, or 3S, cameras. It it also worn with a magnetic lanyard so it appears to float on the fabric of what you are wearing but is held in place firmly enough for activity.

Unlike that camera, though, there is no separate wireless controller. There is a TF card slot (compatible with a MicroSD card) in the camera, and it records 4K video directly to this. Simple operation is via a start-and-stop button. It is incredibly compact and remarkably robust, constructed from a sturdy plastic composite that easily survives accidental drops. It also skips a display entirely to keep its footprint as small as possible, making it a very simple, no-nonsense point-of-view shooter.

In low light the camera will look a bit less than ideal – the noise or grain is a factor – but the 120-degree field of view has decent (if not perfect) clarity across the whole image.

The camera offers respectable battery life for an action cam, providing around 90 minutes of 4K recording or up to three hours if you drop the resolution down to 1080P (fine for action, not ideal for the kind of people who might have bought one of Boblov's body cams). Ultimately, for a starter camera or an affordable way to capture memories on vacation without worrying about premium low-light performance, it exceeds expectations at its bargain price.

See our full Boblov W4 review for sample videos

Best for low weight

The Insta360 Go 3S was the first 4K camera in this form factor (though the even cheaper Go 3 came before it if you're happy with 2.7K). It's light enough to clip nearly anywhere and go unnoticed, yet it retains the benefit of the magnetic pendant that many of the other cameras on this list offer.

Insta360 has not left this camera alone since launch, either. Retro chic fans will love the unique 3S Retro Bundle with old-style housing, with prism-and mirror framing device much like an old 110 camera.

In lower light, a camera this small will inevitably experience some "noise" (look a bit grainy), and the battery life is only 30 minutes when you're not inside the 'Action Pod' housing, but the housing can top it up fast. The housing also boasts a flip-up display which, again, makes this a handy vlogging tool.

The camera also has good image stabilization – including horizon balancing, and a 'kids mode' that enables you to let the kids wear the camera while you control it remotely (and they don't press anything that'll ruin your POV capturing of their future memories).

Read my full review of the Insta360 Go 3S with samples

Best glasses

An alternative to a clip-on or body-worn camera is a pair of sunglasses with a built-in camera – controlled from your phone. That is what Meta, the owners of FaceBook, created jointly with Ray-Ban (a brand you just might have heard of). The result is a very convenient in a lot of POV shooting situations.

Smart camera glasses work by connecting to your phone wirelessly, and you can command them from the touchpad on the arm, the app on your phone, or using the built-in microphone with an instruction beginning "Hey Meta...". For example "take a picture," but the AI can also take advantage of the camera to see from your POV, so you could also ask, "What does that sign mean?"

There are hidden speakers over your ears in the arms, which you can use to listen to music and take calls – though the sound is audible to anyone very near you.

Incidentally, here is a cost-saving option: The Gen 2 model that I have chosen here is the better quality option for photo/video with 3K recording but I'll freely admit to being the camera nerd. Just as good (as it uses exactly the same camera system and software) are the Oakley Meta smart glasses.

If you're looking for a cheaper way to capture the fun from your POV, and the specs don't matter the original RayBan Meta smart glasses are still Ray-Bans, so you still look cool, but will have enough left over for a nice holiday drink or ten too.

Read our full review of the Ray-Ban Meta (Gen 2)

Cheap alternative

How we test POV cameras

Like everything, the best way to get to know something is to try it out in the real world, so this list includes products that we at Digital Camera World have hands-on personal experience with. That also means that if you want to know even more, you can tap through to a full detailed review.

See how we test cameras at Digital Camera World

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.

Best Sony wide-angle lenses

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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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.

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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.

Sometimes a great camera kit can be more than the sum of its parts. I think it’s true that particular lenses are a better fit for individual camera bodies rather than others, even when there are similar models in the line-up. When I’m choosing lenses for the slim and budget-friendly Sony A6400, I feel that the size, weight and price are strong contributing factors. For my money, the A6400 is one of the best Sony cameras because I think it delivers such a great combination of features and versatility, at a keen price. It’s a compact and affordable camera, so its lenses should be as well.

I’ve regularly used the Sony A6400 and I’ve tested all the lenses featured in this guide. If I was spending my own money, these are the options I would consider first. You can also check out my list of the best lenses for Sony A6000 cameras generally if you like, and many of the best Sony lenses will also be a good match for the A6400.

As photographers, we all have our special areas of interest, so I’ve tried to cover plenty of genres, from travel photography to portraiture, sports and wildlife. As you’ll see, I’ve also taken A6400 video shooters into account, with the inclusion of a couple of affordable prime lenses which are great for video as well as for stills. Above all, I’ve aimed to give full consideration to each lens’s suitability for the A6400’s size, its performance in relation to the camera’s 24MP sensor, and the kind of value for money that reflects the price of the A6400 itself.

Best lenses for the Sony A6400 

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Best everyday lens for the A6400

The Sony A6400 is usually sold with Sony's 16-50mm power zoom kit lens, which is very compact and convenient but a bit lacking in optic prowess. If you want a step up in quality, one option is Sony's rather massive and expensive 16-55mm f/2.8 G, but I would pick this Sigma instead.

The Sigma 18-50mm f/2.8 DC DN offers a constant f/2.8 aperture, just like the Sony lens, with a classic 3x zoom range for a standard zoom. The Sigma is smaller than you’d expect given its constant maximum aperture (my shot shows it fitted to a Sony A7R III, but you'll get the idea), yet the build quality is very good – and it’s weather-resistant as well. The autofocus system is super-fast and virtually silent, and I'm impressed by the image quality.

Read more: Sigma 18-50mm f/2.8 DC DN | C review

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Most versatile lens for the A6400

Frustrated by the short focal range of the standard Sony 16-50mm kit lens? Get this! With an equivalent focal range of 27-202mm in full frame terms, the Sony E 18-135mm f/3.5-5.6 OSS is practically a superzoom, but remains compact, neat, and affordable, and – unlike almost every other long-zoom lens – it holds its performance all the way through to its longest zoom setting.

What I like about this lens is its neat, simple design, its fuss-free exterior, easy operation, and built-in optical image stabilizer. Like a lot of modern mirrorless lenses, it does rely on digital as well as optical corrections, but the result is a long-range lens with far better image quality across the range than I would normally expect from a lens of this type.

Read more: Sony E 18-135mm f/3.5-5.6 OSS review

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Best wide-angle lens for the A6400

Sony also makes an older E 10-18mm f/4 OSS lens, which is a little cheaper than this one and is also worth considering. The 10-18mm has optical stabilization, which is good for stills photography, but this newer E PZ 10-20mm f/4 G has a power zoom, which is ideal for video, so take your pick.

The Sony E PZ 10-20mm f/4 G is especially good for vloggers who need to film themselves in the context of their background, because it gives a wider angle of view than a regular zoom. It's also a great travel lens, ideal for narrow city streets, tall landmarks, and spectacular interiors. None of the ultra-wide lens options for the Sony A6400 is cheap, but this is such a useful lens to have that I recommend it without hesitation.

Read more: Sony E PZ 10-20mm f/4 G review

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Best telephoto lens for the A6400

I love using this lens on both A7-series full-frame cameras and APS-C format Sony bodies. It’s much more compact and lightweight than conventional 70-200mm f/2.8 ‘trinity’ telephoto zooms, which I feel is always a good thing when shooting with slimline mirrorless bodies. 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. Pop it on an APS-C format body, and you get an ‘effective’ zoom range of 105-270mm. It works a treat for weddings and events and even for sports and wildlife photography, while keeping the weight off.

And there’s more. While the original Tamron 70-180mm was a great lens, 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 in-body image stabilization tends to be less effective in telephoto shooting, 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 like that the optical layout has been redesigned to include an XLD (eXtra Low Dispersion) element, a hybrid aspherical lens element, three LD (Low Dispersion) elements, and two GM (Glass Molded aspherical) lens elements. Tamron’s BBAR-G2 (Broad-Band Anti-Reflection Generation 2) coating is also applied to minimize ghosting and flare. All in all, it’s a terrific lens and a bargain at the price.

Read more: Tamron 70-180mm F2.8 Di III VC VXD G2 review

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Best super-telephoto lens for the A6400

For longer-range subjects, you need a lens with big telephoto reach, but also with sufficient optical quality for sharp results. So while there is a cheaper and smaller Sony E 55-210mm lens, this is the one I would recommend for action, sports, and wildlife, as well as for bird photography.

The Sony E 70-350mm f/4.5-6.3 G OSS is a relatively big and expensive lens, but its 5x zoom range is equivalent to 105-525mm on a full-frame body, stretching into super-telephoto territory. It might not have an ultra-fast maximum aperture, but the modest f/4.5-6.3 aperture rating enables a more compact, lightweight build, and it does have Sony's OSS optical image stabilization system. It's a manageable lens that offers huge reach at an affordable price.

Read more: Sony E 70-350mm f/4.5-6.3 G OSS review

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Best street photography lens for the A6400

I said in the introduction that I wanted to include a couple of prime lenses, and this is the first. The Tamron 20mm f/2.8 Di III OSD M 1:2 is actually a full-frame lens, so if you decide to upgrade to a full-frame Sony camera in the future, you can keep this lens for the journey.

On a full-frame camera, it's an ultra-wide-angle prime. Fit it to your Sony A6400, and it has an 'effective' 30mm focal length – perfect as a semi-wide-angle 'street photography' lens. Not only that, its 1:2 close-up capability means it's halfway (literally) towards a full macro lens, so it does two jobs, not just one. Best of all, it's not too big and not too expensive, despite first-rate optical performance, so it's a great buy for Sony A6400 owners.

Read more: Tamron 20mm f/2.8 Di III OSD M 1:2 review

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Best portrait photography lens for the A6400

Compared with full-frame cameras, APS-C models like the A6400 can struggle to deliver a tight depth of field. That’s because DOF is more dependent on the ‘actual’ focal length rather than the ‘effective’ focal length after the 1.5x crop factor is applied. To compensate, I love that this lens has an ultra-fast f/1.2 aperture, which is capable of delivering a really tight depth of field at typical shooting distances for portraiture.

Making the most of the tight depth of field, the Viltrox combines superb sharpness with beautifully smooth bokeh in defocused areas, with a natural-looking roll-off between the two. It’s a great portrait lens that enables you to really isolate the main subject within a scene by blurring fussy-looking backgrounds.

Handling is excellent, and although the lens is necessarily a bit chunky due to the super-fast aperture rating, it’s well stocked in features. These include an aperture control ring with a click/de-click switch, a handy AF/MF focus switch, and a customizable function button.

Read more: Viltrox AF 56mm f/1.2 E Pro review

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Best ultra-wide prime lens for the A6400

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 the slimline Sony A6400. 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

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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 Tamron 70-180mm has standout performance for sharpness, especially for a zoom rather than prime lens. By contrast, the Sony 11mm and Tamron 20mm show extreme barrel distortion but as with many lenses designed for mirrorless cameras, they rely heavily on automatic in-camera correction to put things right.

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.

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How to choose the best lens for the Sony A6400

The A6400, like all A6000-series cameras, uses the Sony E lens mount. Sony’s own E-mount lenses have either FE (full-frame) or E (APS-C format) in their model names: all work on the A6400. Very broadly speaking, an FE lens will be heavier and more expensive than an equivalent E lens, but deliver better image quality. E lenses (again, very broadly) will tend to be smaller and lighter.

For shooting at shorter focal lengths and wider angles of view – specifically kit lenses or ultra-wide zooms – you are probably better off with an E lens. The APS-C crop factor of the A6400 means that FE lenses offer a reduced angle of view, curtailing their wide-angle capability with the smaller sensor.

If you are buying a third-party E-mount lens, check whether the lens is designed for use with APS-C Sony cameras, such as the A6400, or with full-frame Sony bodies.

Check out our guide to the best Sony lenses if you want to know more

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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 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

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The Sony A7S III remains one of Sony’s key hybrid cameras. The 12MP sensor is lacking in resolution for stills photographers, but its video capabilities – which include 4K at up to 120p – are still highly impressive.

We now have the Sony ZV-E1, one of the best vlogging cameras around, and the Sony FX-3, which is a great introduction to the best cinema cameras. But if you’re looking for the best hybrid camera and most of your work is for digital distribution, then the Sony A7S III combines excellent video capabilities with effective stills photography features too.

In drawing up my list, I’ve taken a few key factors into account. One is that this camera is likely to be used principally for video, so I’ve chosen lenses with fast, silent autofocus and an aperture ring for direct iris control while filming. Another factor is size and weight, especially if you're using a gimbal rather than a tripod.

These qualities apply equally to users of the previous Sony A7S II. The A7S III represented a substantial upgrade, but there will be plenty of A7S II models still in use, and this is still a good 4K video camera and will benefit equally from the right lenses.

Best lenses for the Sony A7S III & A7S II

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Best compact zoom for the Sony A7S III & A7S II

For any regular high-end Sony Alpha camera, I would probably recommend the Sony FE 24-70mm f/2.8 GM II as a go-to standard zoom, but the requirements of Sony A7S III and A7S II owners might be a little different. The G Master lens is an excellent performer, but big, heavy, and expensive. For a lighter and more portable kit, the Sony FE 24-50mm f/2.8 G could be a much better proposition.

My choice of lens may only have a 2x zoom range, but it covers the wider focal lengths popular for filmmaking, and it’s considerably cheaper and lighter – and yet it still has a constant f/2.8 maximum aperture. It might only be a ‘G’ lens, but the optical performance is excellent – and you also get a physical aperture ring that can be de-clicked and a customizable focus hold button, both ideal for filmmakers.

See our full Sony FE 24-50mm f/2.8 G review

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Best standard zoom for the Sony A7S III & A7S II

Here’s a tempting alternative standard zoom for the Sony A7S III. The Sony FE 20-70mm f/4 G covers an unusual focal range, going much wider than a regular standard zoom. In fact, the 20mm minimum focal length is wide enough that you may not even need to pack (or buy) an ultra-wide zoom. At the very least, the 20-70mm f/4 saves you from changing lenses so often.

Like many modern mirrorless lenses, this one relies heavily on digital corrections, but these are applied both in-camera automatically and via most raw processing tools, so you won’t even notice – and the image quality you get is very good indeed. If you’re looking for a light, portable, and compact lens for handheld or gimbal filming, this probably isn’t it, but with the potential to replace two regular lenses, it’s definitely worth considering.

See our full Sony FE 20-70mm f/4 G review

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Best pancake zoom for the Sony A7S III & A7S II

Here is a third ‘alternative’ standard zoom for the Sony A7S III. The Sony E 28-60mm f/4-5.6 G is normally sold as a kit with the Sony A7C, so if you want to use it with the A7S III, then you’ll have to buy it separately. Its disadvantages are its variable maximum aperture across its (relatively short) zoom range and its lack of a physical aperture ring. But what you do get is an extremely compact lens with fast, silent autofocus and excellent optical performance.

This lens is not a whole lot larger than Sony’s compact 24mm, 40mm, and 50mm primes, but it has the flexibility of a zoom and weighs just 167g. It does use a retracting mechanism to collapse down to its small packed size, but it only takes a moment to extend it ready for use.

See our full Sony FE 28-60mm f/4-5.6 G review

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Best ultra-wide zoom for the Sony A7S III & A7S II

Sony’s G Master lenses are great performers, but they are not small, especially for handheld or gimbal videography. That’s why it’s been great to see Sony launching a range of compact primes and now, two compact and relatively affordable zooms. The Sony FE 24-50mm f/2.8 G is a great constant-aperture standard zoom, and this FE 16-25mm f/2.8G is its perfect ultra-wide-angle zoom companion.

The modest 16-25mm zoom range may be an issue for some users, though, especially since most competing zooms are in the 16-35mm zoom range. However, the 16-25mm f/2.8 covers most of the focal range we buy wide-angle lenses for, it delivers excellent optical quality and handles beautifully too, with the perfectly weighted de-clickable aperture ring that features on all the best Sony lenses.

See our full Sony FE 16-25mm f/2.8 G review

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Best portrait prime for the A7S III & A7S II

Viltrox lenses have impressed me over the last few years, and recently they’ve been going from strength to strength. That said, most recent offerings have been either from the ‘Air’ line-up and are very compact and lightweight but also fairly basic, or from the ‘Pro’ and ‘Lab’ series, which are relatively chunky but packed full of features and handling exotica.

This lens is the first in a new ‘Evo’ range, and I love it. It’s like having the best of both worlds. It’s compact, lightweight, and easy to live with, yet it also boasts plenty of handling finery, including an aperture control ring with a click/de-click switch, an AF/MF focus mode switch, and a customizable function button.

The lens feels solid and robust, with a metal barrel and weather-sealed mounting plate, complete with a USB-C port for applying firmware updates if and when needed. Best of all, image quality is superb and, although the f/2 aperture might not seem overly fast, the lens is perfectly capable of combining excellent sharpness with soft and dreamy bokeh. It’s also incredible value for money.

Read our full Viltrox AF 85mm f/2 FE Evo review

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Best wide-angle prime for the A7S III & A7S II

What’s truly impressive about Sony’s trio of compact full-frame primes is how the designers have still found room for an aperture ring. The Sony FE 24mm f/2.8 G is the widest of these three lenses and perhaps the most useful for vloggers and filmmakers, though not the strongest in optical terms. There is some strong barrel distortion that’s corrected digitally, and some visible edge softness too. That’s a little disappointing in a lens at this price, and the f/2.8 maximum aperture is hardly stretching the laws of physics either.

On the plus side, this is still a very appealing lens. It's very compact and lightweight, ideal for handheld shooting and when using a gimbal. If you need more light-gathering power and resolution, take a look at the FE 24mm f/1.4 G Master, although this is a bigger, heavier, and much more expensive lens.

See our full Sony FE 24mm f/2.8 G review

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Best walkabout prime for the Sony A7S III & A7S II

For many users, this could be the best of Sony’s three compact full-frame primes. The 40mm focal length is just a whisker longer than the classic 35mm angle of view, but 40mm lenses do have fans of their own, offering a wider view than the regular ‘nifty fifty’ but without exaggerated perspectives. This one is a little gem.

The lens is compact and light, but it handles like a dream. The aperture ring has smooth, positive click-stops, but can be de-clicked for smooth and silent iris adjustment while filming. The image quality is excellent right across the frame, and the autofocus is smooth and silent, which is exactly what you need for vlogging. If only it weren’t quite so expensive!

See our full Sony FE 40mm f/2.5 G review

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Best standard prime for the Sony A7S III & A7S II

This ‘Evo’ lens from Viltrox takes a winning formula in terms of image quality and all-around performance, and packs it into a next-gen design that adds a dedicated aperture control ring with a click/de-click switch, AF/MF focus mode switch, and customizable function button. Handling is further enhanced by a lightweight build that is nevertheless robust, with a high-quality feel based on an all-metal construction complete with weather seals.

The high-grade optical path is based on 13 elements arranged in 9 groups, including an aspherical element, two ED (Extra-low Dispersion) elements, and two HR (High Refractive index) elements. It’s a few millimeters longer than a ‘standard’ 50mm lens but is an absolute joy to use, on both full-frame and APS-C format cameras, having a portrait-friendly ‘effective’ 82.5mm focal length on the latter.

Read more: Viltrox AF 55mm f/1.8 FE Evo review

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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 very affordable Viltrox AF 55mm Evo is not only the sharpest lens in the group, but one of the outright sharpest lenses that we’ve ever tested. There’s a heavy reliance on automatic in-camera correction of distortion in some cases, but color fringing is quite minimal throughout.

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 and pincushion distortion at its shortest and longest focal lengths, respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

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How to choose the best lens for the A7R III and A7R IV

The Sony A7S III and A7S II, like all Alpha 7 cameras, use the Sony E lens mount. Sony’s own lenses have either FE or E in their model names: all work on the A7R III and A7R IV. However, FE lenses are specifically designed for use with full-frame Sony cameras, including the A7S III and A7S II, so these should be your obvious choice

It is important to remember that the Sony A7S range is designed with a low-resolution sensor to meet the needs of those who either primarily shoot video or work in low light (such as astrophotographers). So the lenses need to be picked to suit the camera's primary purpose.

Check out our guide to the best Sony lenses if you want to know more

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How we test lenses

For every lens we get in for review, our Lab Manager runs a series 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 these 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 possible.

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

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I feel that the best lenses for the Sony A7R V, A7R IV, and A7R III play to the key strength of these full-frame cameras, feeding their high-resolution image sensors with everything they need to resolve the utmost in ultra-fine detail and texture. And let’s face it, the A7R series of mirrorless cameras is all about the details, with mighty megapixels under the hood for unleashing incredible resolving power. However, that won't mean a jot if you pair these cameras with lenses that don't achieve the same high standards. That's where this guide comes in.

With many more years under the mirrorless full-frame belt than Canon and Nikon, Sony has had the time to develop an incredible range of G and G Master lenses. These ‘Gold’ standard optics have built an enviable reputation for delivering stellar sharpness, with premium optical prowess that enables you to really get the best out of A7R series cameras. And to maintain optimum sharpness in handheld shooting, these cameras have highly effective in-body image stabilization, so, up to a point, in-lens stabilization is unnecessary, and designers can focus fully on optical quality. The exception is in telephoto and macro lenses, where optical stabilization can team up with IBIS for greater performance.

I've aimed to pick out a range of lenses in different focal lengths for this guide, keeping a mindful eye on them pairing perfectly with the A7R III, A7R IV, and A7R V. That’s what merits inclusion on the hit list. Naturally, for both camera bodies and lenses, high resolution tends to come at a high price financially. But most of us shoot to a budget, so where possible, I've included some relatively affordable alternatives that still deliver the goods.

The best lenses for the Sony A7R III and A7R IV 

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Best everyday lens for the A7R V, A7R IV & A7R III

Was there anything wrong with the original Sony FE 24-70mm F2.8 GM? No. Is this updated version better in every way? Absolutely. Honoring the name of its flagship G Master series, Sony has delivered a professional-grade zoom that is pin-sharp across its entire image frame, more comprehensively weather-sealed than the previous lens, and yet, somehow, is also 20 per cent lighter and 18 per cent smaller than the previous version. Witchcraft.

Handling has been revamped and is better than ever; the optical layout is completely revamped, and the lens boasts a new floating autofocus system powered by four XD (eXtreme Dynamic) linear stepping motors. It's incredibly precise, as we extolled in our review, and the technical quality is unimpeachable. Our exacting lab tests revealed a basically faultless lens across its zoom range.

Of course, all this quality comes at a cost. While I firmly think that the Sony FE 24-70mm f/2.8 GM II is worth its price tag, if your budget doesn't stretch that far, the original Sony FE 24-70mm F2.8 GM is still a solid buy. Also worth considering is the Samyang AF 24-70mm F2.8 FE, a trinity zoom that received glowing plaudits in our review for the sheer value for money it offers.

Read more: Sony FE 24-70mm f/2.8 GM II review

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Best wide-angle lens for the A7R V, A7R IV & A7R III

If you shoot landscape, architecture, or interiors, or just prefer to take a wider perspective, the Sigma 20mm F2 DG DN | C is an ideal lens to pair with your Sony A7R camera. It's a small, metal-bodied, and robust lens with loads of sublime handling features, not least of which is the aperture ring. A small point perhaps, but we always appreciate it when a lens-maker sees fit to add one.

With a high-quality optical path, the Sigma 20mm f/2 DG DN | C produces images of impressive sharpness and detail – in our lab tests, we found that sharpness was retained even when the lens was used wide-open at f/2, and that's what I found in my real-world testing as well. There is noticeable distortion, though it's correctable via software, and color fringing is pleasingly negligible even in the corners of the frame.

Read more: Sigma 20mm f/2 DG DN | C review

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Best street lens for the A7R III and A7R 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

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Best 50mm lens for the Sony A7R V, A7R IV & A7R III

The Sony FE 50mm F1.2 G Master is a spectacular nifty-fifty, boasting impressive sharpness right the way through its aperture range – yes, even at f/1.2. Sony has built this lens from the ground up with sharpness in mind, and its optical path includes three XA (extreme aspherical) elements; remarkably, these have been engineered to an accuracy of 0.01 microns (or one hundred-thousandth of a millimeter).

What this means, as I found in my testing, is that the lens performance is absolutely stellar – blowing away its rivals from the likes of Canon and Nikon. Our lab tests reported basically nothing in terms of imperfections, except for some pincushion distortion, and a little vignetting at f/1.2.

The handling, too, is excellent. It's a heavy lens, as it needs to be with specs like these, but not exceptionally so in the pantheon of 50mm f/1.2 lenses. This is an all-around fantastic optic, and if its asking price isn't too dear for you, it'll deliver nothing short of spectacular performance.

Alternatively, the Sony FE 50mm f/1.4 GM is more affordable, captures very good center-sharpness, and is both light and compact.

Read more: Sony FE 50mm f/1.2 G Master review

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Best portrait lens for the A7R V, A7R IV & A7R III

Like many portrait photographers, I swear by the 85mm short telephoto focal length, and if you're looking to shoot compelling images of people, the Sony FE 85mm f/1.4 GM II lens is one of the smartest buys you can make. Something that's critical in portrait photography is being able to produce images with smooth, attractive bokeh (the defocused areas of an image), and the G Master lens delivers that in spades thanks to its 11-bladed aperture.

Sharpness and image quality are exceptional, as I discovered when I tested the lens, and the high-grade construction means that handling is perfectly on point. If you need a cheaper alternative, the Sony FE 85mm f/1.8 still delivers a lot of the characteristics that portrait photographers are looking for.

Read more: Sony FE 85mm f/1.4 GM II review

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Best telephoto lens for the A7R V, A7R IV & A7R III

My first impression of this Mark II Sony lens was how much lighter it is than the original, as well as beating most other ‘trinity’ telephoto zooms in this respect. Despite the lightened load, there’s no shortage of high-end handling extras, including switches for auto/manual focus, full-time DMF on/off, autofocus limiter, stabilization on/off switch, and stabilization mode. On the opposite side of the lens, there’s a switch to turn the aperture ring on and off.

Performance is everything I’d expect from a next-generation Sony G Master lens, combining excellent image quality with fast autofocus and effective stabilization. The only real sticking point is the price; then again, most camera manufacturers’ 70-200mm f/2.8 command the big bucks, so the Sony isn’t unusual in this respect.

Read more: Sony FE 70-200mm f/2.8 GM OSS II full review

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Best super-telephoto lens for the A7R V, A7R IV & A7R III

I was hugely excited to see the coveted G Master line-up of lenses getting a 100-400mm optic, and the Sony FE 100-400mm f/4.5-5.6 G Master OSS did not disappoint. Blending superb sharpness with well-pitched handling that supports hand-held shooting, this is an ideal lens for long days capturing sports or wildlife on an A7R camera.

Indeed, in my tests and in our review, we couldn't say enough good things about this lens. Its impressively complex optical path gives it excellent image quality across the board, while the handling is nothing short of impeccable. The focus operates smoothly, the three customizable buttons give you real customizability, and the ‘zoom smoothness’ ring lets you adjust the torque required to move the zoom in accordance with your preferences.

Read more: Sony FE 100-400mm f/4.5-5.6 G Master OSS review

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Best ultra-telephoto zoom for the A7R III and A7R IV

A complete redesign of the already excellent DSLR lens, the Sigma 150-600mm f/5-6.3 DG DN OS Sports is a great lens for bird photography, airshows, and all manner of different sporting occasions.

The autofocus is excellent, able to take advantage of the latest AF subject-detection and tracking facilities of Sony cameras. The build quality of the lens is also impressive – while no one is going to pretend this is a lightweight lens, it handles well, with tactile zoom and focus rings and a series of on-body controls for functions like AF speed, stabilization intensity, and, as an addition for the mirrorless version, Zoom Torque control to adjust the resistance of the zoom ring.

Read more: Sigma 150-600mm f/5-6.3 DG DN OS Sports review

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Best macro lens for the A7R V, A7R IV & A7R III

Sony’s time-honored FE 90mm macro lens has been looking a bit old and tired for some time now. Enter the new FE 100mm, which is everything I’d hope for (and more) in a top-end macro lens. For starters, it goes extra-large on maximum magnification, boasting 1.4x magnification at its minimum focus distance, instead of the more usual 1.0x. And if that’s still not enough, you can boost it to as much as 2.8x for revealing near-microscopic levels of detail, if you add a 2x teleconverter.

While the maximum magnification is highly impressive, there’s a lot more to this lens than just acting as a magnifying glass for your Sony A7 V. There’s a smorgasbord of handling exotica, including a calibrated manual focus scale (I typically prefer manual focusing for macro shooting), an AF/MF switch, focus range limiter, stabilizer on/off and an iris lock switch to go with the aperture control ring.

High-performance glass includes two ED (Extra-low Dispersion) elements and two XA (eXtreme Aspherical) elements, along with a particularly well-rounded 11-blade aperture diaphragm. Nano AR Coating II and fluorine coatings are also applied. The lens isn’t a one-trick pony either. Great for portraiture or just as a short telephoto prime, it has no less than four XD (eXtreme Drive) linear motors to power its fast and virtually silent autofocus system.

Read more: Sony FE 100mm f/2.8 Macro GM OSS review

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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 Sony FE 85mm and FE 50mm G Master primes rule the roost for sharpness, but the Viltrox 35mm and Sigma 20mm run them extremely close, especially for such comparatively low-budget lenses. Color fringing and distortions are generally pretty low, although the Sigma 20mm relies more heavily on automatic in-camera correction for distortion, which is available with the Sony A7R III and A7R 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.

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How to choose the best lens for the A7R III and A7R IV

The A7R III, A7R IV and A7R V, 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, A7RIV and A7R V. FE lenses are designed for use with full-frame Sony cameras, including the A7R series, 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 the full-frame Sony E-Mount.

Sony lenses with an E (rather than FE) prefix are designed for APS-C format cameras such as the A6000 series. On the A7R series, they produce a cropped image that doesn't fully fill the frame, so they’re not an ideal choice.

Check out our guide to the best Sony lenses if you want to know more

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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 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

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Choosing the best lenses for the Sony A7C or Sony A7C II means taking into account their compact, rangefinder-style design, orientation towards content creators and videographers, and relatively low price point among full-frame Sony Alpha mirrorless cameras. They're also among the best cameras for vlogging and best filmmaking cameras. At the price, I'd also say they're among the best Sony cameras, at least for beginners or new Sony adopters.

But this isn't simply going to be a repeat of my main guide to the best Sony lenses. I like to match the lenses with the camera. There are lots of high-end, constant-aperture Sony G Master lenses that would be fine on a Sony A7R IV or Sony A1, but would be overkill on this model – both financially and physically. They're small and are not blessed with chunky grips, so it makes sense to choose lenses that are going to feel as nicely balanced as possible.

I'm also keeping an eye on the price because one of the reasons for buying the A7C or A7C II is their relatively low cost. Owners are likely to be looking for cost-effective lenses that are a suitable match. So with all that in mind, these are what I think are the best lenses for these cameras right now.

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Best everyday lens for the A7C

Sony fans are spoilt for choice when choosing a standard zoom. But while the Sony FE 24-70mm f/2.8 G Master is the professionals' choice, it costs a fortune and weighs a ton. The Sigma 24-70mm f/2.8 DG DN Art is half the price but still huge, and while there are also worthy rivals from Samyang and Tamron, it's the modest Sony FE 28-60mm f/4-5.6 kit lens that I'd recommend as the perfect everyday companion for the Sony A7C.

It uses a retracting mechanism, so it’s very compact for stowing away. It remains pretty small when extended for use, so it’s a good physical match for the A7C. It doesn't have such a big zoom range as the other standard zooms that I’ve mentioned, but its performance is better than I’d expect from a retracting kit lens, with good sharpness right out to the edges of the frame.

Read more: Sony FE 28-60mm f/4-5.6 review

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Best wide-angle lens for the A7C

Every photographer needs an ultra-wide zoom, whether they realize it straight away or not. And given the special suitability of these Sony cameras for travel, the Tamron 17-28mm f/2.8 Di III RXD fits the bill perfectly. No full-frame ultra-wide zoom will be small, but the Tamron is neater and certainly easier to carry than Sony's own wide-angle monsters – and a lot easier to afford, too.

Despite the Tamron's price, it features high-end, weather-sealed build quality, a fast and constant f/2.8 aperture rating, a quick and virtually silent RXD (Rapid eXtra silent stepping drive) autofocus system, and, best of all, terrific image quality. Corner-to-corner sharpness is particularly impressive for an ultra-wide-angle lens, even when shooting at the widest aperture. It doesn’t quite match Sony’s 16-35mm lenses for maximum viewing angle, but it comes very close, and it’s great value.

Read more: Tamron 17-28mm f/2.8 Di III RXD review

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Best travel lens for the A7C

One of Sony’s more recent lenses could completely change the standard zoom lens of the future. In a world first, the lens covers an extremely versatile focal range, making it perfect for traveling (admittedly, luxury traveling, given the price). It's light and portable, which is another big tick, and the fact it's ‘only’ f/4 isn't much of a compromise - had it been f/2.8, it would be considerably heavier and a lot more expensive.

It's got fast autofocus and delivers impressive levels of sharpness. It doesn’t have optical image stabilization – but the A7C and A7C II have in-body stabilization, so that doesn’t matter. If you're after just a little bit more on the wide end than you'd get from the Sony FE 24-70mm f/2.8 GM II, the 20-70mm is a very good contender.

Read more: Sony FE 20-70mm f/4 G hands-on review

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Best 50mm lens for the A7C

This ‘Evo’ lens from Viltrox takes a winning formula in terms of image quality and all-around performance, and packs it into a next-gen design that adds a dedicated aperture control ring with a click/de-click switch, AF/MF focus mode switch, and customizable function button. Handling is further enhanced by a lightweight build that is nevertheless robust, with a high-quality feel based on an all-metal construction complete with weather seals.

The high-grade optical path is based on 13 elements arranged in 9 groups, including an aspherical element, two ED (Extra-low Dispersion) elements, and two HR (High Refractive index) elements. It’s a few millimeters longer than a ‘standard’ 50mm lens but is an absolute joy to use, on both full-frame and APS-C format cameras, having a portrait-friendly ‘effective’ 82.5mm focal length on the latter.

Read more: Viltrox AF 55mm f/1.8 FE Evo review

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Best portrait lens for the A7C

Viltrox lenses have impressed me over the last few years, and recently they’ve been going from strength to strength. That said, most recent offerings have been either from the ‘Air’ line-up and are very compact and lightweight but also fairly basic, or from the ‘Pro’ and ‘Lab’ series, which are relatively chunky but packed full of features and handling exotica.

This lens is the first in a new ‘Evo’ range, and I love it. It’s like having the best of both worlds. It’s compact, lightweight, and easy to live with, yet it also boasts plenty of handling finery, including an aperture control ring with a click/de-click switch, an AF/MF focus mode switch, and a customizable function button.

The lens feels solid and robust, with a metal barrel and weather-sealed mounting plate, complete with a USB-C port for applying firmware updates if and when needed. Best of all, image quality is superb and, although the f/2 aperture might not seem overly fast, the lens is perfectly capable of combining excellent sharpness with soft and dreamy bokeh. It’s also incredible value for money.

Read more: Viltrox AF 85mm f/2 FE Evo review

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Best telephoto lens for the A7C

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

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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 cut-price Viltrox 55mm prime leads the way for sharpness, but the Tamron 70-180mm f/2.8 Di III VC VXD G2 does particularly well for a zoom lens. The latter is the least impressive for control over distortion, but automatic in-camera correction is available.

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 and pincushion distortion at its shortest and longest focal lengths, respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

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How to choose the best lens for the Sony A7C

The A7C, like all Alpha 7 cameras, uses the Sony E lens mount. Sony’s own E-mount lenses have either FE or E in their model names: all work on the A7C. FE lenses are designed for use with full-frame Sony cameras, including the A7C, 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 A7C, 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

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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 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

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When putting together my list of the best lenses for the Sony ZV-E1, I kept its intended purposes firmly in mind. This camera may be used on a tripod, but is more likely to be used handheld, on a gimbal, or on a grip.

The Sony ZV-E1 is one of the best 4K cameras for filmmaking, as well as one of the best vlogging cameras, but it’s not as simple as reeling off a list of the best Sony lenses all around. Many Sony lenses are big, heavy, and designed for stills performance and reach, rather than for video. The ZV-E1, however, is incredibly compact and designed for portability and speed of operation in the field.

Despite its small size, the ZV-E1 follows suit with Sony’s other full-frame Alpha models by incorporating in-body stabilization. There’s therefore no need to seek out Sony’s OSS-stabilized lenses – these are mainly of interest for sports and wildlife photography, or Sony’s unstabilized APS-C E-mount cameras, and first-generation A7 full-frame cameras.

Best lenses for the Sony ZV-E1

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Best standard zoom for the ZV-E1

The Sony FE 20-70mm f/4 G is a standard zoom with a difference. It follows a new-ish trend in standard zoom design, with a wider-than-usual minimum focal length so that it can also do much of the work of an ultra-wide zoom, which means less lens swapping and more versatility.

20-70mm is a terrific zoom range for all-around filming, and the constant f/4 maximum aperture will help in low-light interiors. The 20mm minimum focal length would make this a great lens for selfie vlogging on a grip or a gimbal, too – although, at 488g, this lens is no lightweight. Rounding all this off are a declickable aperture ring and dual Linear XD AF motors for fast and silent autofocus. If the bulk doesn’t bother you, this is a terrific and versatile standard zoom for the Sony ZV-E1.

Read more: Sony FE 20-70mm f/4 G hands-on review

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Best wide-angle zoom for the ZV-E1

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-around 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

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Best wide-angle prime for the ZV-E1

If you want to film a wider angle of view and don’t want the bulk of the Sony FE 20-70mm f/4 G or the cost (especially the cost!) of the Sony FE 16-35mm f/2.8 GM II, the Sony FE 20mm f/1.8 G is a compelling alternative. It offers a wide enough angle of view for self-filming, and it’s fast enough for filming in low-light interiors. It’s not one of Sony’s G Master lenses, but the optical quality is sensational, with serious edge-to-edge sharpness, especially when you stop down slightly.

Sure, it's not the most compact and lightweight lens you can buy, nor is it the cheapest. But the image quality and overall performance make it well worth the investment. It's also a great next step in wide-angle coverage when switching from a standard zoom lens.

Read more: Sony FE 20mm f/1.8 G review

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Best street prime for the ZV-E1

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

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Best portrait lens for the ZV-E1

Viltrox lenses have impressed me over the last few years and recently they’ve been going from strength to strength. That said, most recent offerings have been either from the ‘Air’ line-up and are very compact and lightweight but also fairly basic, or from the ‘Pro’ and ‘Lab’ series, which are relatively chunky but packed full of features and handling exotica.

This lens is the first in a new ‘Evo’ range, and I love it. It’s like having the best of both worlds. It’s compact, lightweight, and easy to live with, yet it also boasts plenty of handling finery, including an aperture control ring with a click/de-click switch, an AF/MF focus mode switch, and a customizable function button.

The lens feels solid and robust, with a metal barrel and weather-sealed mounting plate, complete with a USB-C port for applying firmware updates if and when needed. Best of all, image quality is superb and, although the f/2 aperture might not seem overly fast, the lens is perfectly capable of combining excellent sharpness with soft and dreamy bokeh. It’s also incredible value for money.

Read more: Viltrox AF 85mm f/2 FE Evo review

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Best telephoto lens for the ZV-E1

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

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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 cut-price Viltrox 35mm prime leads the way for sharpness, but the Tamron 70-180mm f/2.8 Di III VC VXD G2 does particularly well for a zoom lens. The latter is the least impressive for control over distortion, but automatic in-camera correction is available.

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 and pincushion distortion at its shortest and longest focal lengths, respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

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How to choose the best lens for the Sony ZV-E1

The ZV-E1 uses the Sony E lens mount. Sony’s own E-mount lenses have either FE or E in their model names: all work on the ZV-E1, but the image from an E lens will be cropped, so FE lenses are by far the better option. If you are buying a third-party E-mount lens, check whether the lens is designed for use with full-frame Sony cameras like the ZV-E1, or only with APS-C Sony cameras like the ZV-E10.

The ZV-E1 can also use Sony A-mount lenses with the aid of a mount adapter, but you should check that the A lens is suitable for full-frame cameras.

Check out our guide to the best Sony lenses if you want to know more

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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 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

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Picking the best Sony video lenses is no easy task, with the main challenge being whittling your options down! With E-mount having been going strong for more than a decade, the catalogue includes a host of superb lenses for the system, not only made by Sony, but also by third-party manufacturers like Sigma and Samyang.

Many of the lenses in my list are already among the best Sony lenses all-around, but here I’ve paid special attention to lenses designed for vloggers and filmmakers. After all, the best Sony cameras are renowned for their video capabilities and are amongst the best hybrid cameras to buy right now.

I've made my picks based on the lenses that have most impressed my team in testing and reviewing – see the 'how to choose' section at the bottom of this piece for a detailed breakdown of our inclusion criteria. I've included options for both full-frame and APS-C Sony mirrorless cameras, and have made sure to incorporate a range of price points.

Best Sony video lenses

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Best versatile zoom

While not designed specifically for video, the Sony FE 20-70mm f/4 G covers a really useful focal range that's wide enough for selfies and vlogging, even taking into account the extra crop factor of digital stabilization. It also delivers on optical quality, handling, and portability, although like many modern lenses, it does rely on optical in-camera corrections.

The widest aperture of f/4 should prove fast enough and isn't much of a compromise for the extended zoom range and lightweight build. The only real drawback is the price, at least in some territories – it’s a lot to pay for an f/4 standard zoom, no matter how good or useful it happens to be.

See our full Sony FE 20-70mm f/4 G review

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Best wide-angle zoom

Sony brought this lens to market as "the world’s lightest compact constant f/4 wide-angle Power Zoom G Lens", which it definitely was, as it was also the only one! Key features include the use of Sony's XD (extreme dynamic) Linear Motors not just for the AF actuator but for the zoom control too, which also has variable zoom speed.

The overall barrel length remains the same when focusing or zooming, which makes the lens very manageable on a gimbal – as does its surprisingly modest weight of just 353g. The lens is dust and moisture-resistant. It's also one-quarter the price of Sony's massive 16-35mm T3.1 cine lens. The equivalent 24-54mm focal length on APS-C Sonys or Super35 mode on full-frame models is a useful range in itself.

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Best wide prime

If you're filming with a gimbal, it's a lot easier to balance the camera and handle the rig with smaller, lighter lenses, especially primes. The Sony FE 24mm f/2.8 G is hard to fault as a design. It’s small and light, it has an aperture ring which can be de-clicked for video, its AF is fast, smooth, and effectively silent, and it feels really well made.

However, it does have huge barrel distortion when uncorrected, and like many newer lenses, it doesn’t just benefit from digital corrections; it relies on them as part of its design. On the plus side, this will be corrected automatically by the camera, so it's something you will probably never even be aware of.

See our full Sony FE 24mm f/2.8 G review

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Best for vlogging

This Sony APS-C ultra-wide zoom joins the existing 10-18mm f/4 lens in the range, but is specifically optimized for video with a power zoom mechanism. The first thing that hits you about this ultra-wide-angle zoom lens for Sony’s APS-C format mirrorless cameras is just how small it is. The size and weight are more akin to an ultra-compact standard kit zoom with a variable (and slow) aperture rating.

The fact that Sony has managed to shoehorn such an expansive zoom range with a constant f/4 aperture into such a small lens, complete with motorized zoom, really is quite something. That's especially true considering that image quality and overall performance are so excellent. It’s pricey for an APS-C format zoom, but well worth the money.

See our full Sony E PZ 10-20mm f/4 G review

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Best power zoom

The best Sony cameras for video offer full-width oversampled 4K video, but some full-frame models rely on a cropped Super35 mode for some resolutions and frame rates, so APS-C E-mount lenses like this one can prove useful on larger cameras too.

The 18-105mm focal range offers the equivalent of 27-158mm in full-frame terms, which is expansive for a lens with a constant f/4 aperture. The built-in optical stabilizer is another advantage, as is the power zoom lever, although, as with other Sony E APS-C lenses, there's no aperture ring. This could be the ideal all-purpose standard zoom for filming, but it is pretty big and heavy, especially so when fitted to a skinny Sony A6000-series body or the ZV-E10.

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Best for close-ups

There are lots of third-party lenses available for Sony cameras, but for videographers, the Samyang V-AF series is particularly appealing. These have been designed to give the features of a cine lens, such as compatibility with a professional follow-focus attachment. However, they offer autofocus – unlike most cine lenses – and are much more affordable.

The 75mm focal length is particularly useful for tight close-ups – when shooting interviews, say. And thanks to its wide T1.9 maximum aperture (equivalent to f/1.8 on a photo lens), it can give beautifully defocused backgrounds.

A neat feature you don't get in many other lenses is a pair of tally lights on the front, so the presenter can see when the camera is transmitting and when it is live. Another innovative feature is a front-mounted bayonet that allows you to attach optical accessories, such as Samyang's anamorphic adapter.

See our full Samyang V-AF 75mm T1.9 review

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Best tele zoom

While this lens is definitely a bit on the heavy side, the Sigma 28-105mm F2.8 DG DN | Art gives any video shooter an impressive level of versatility that’s worth a little extra weight. The refined handling makes the lens a pleasure to use, with a de-clickable aperture ring that’s suited to video.

Autofocus performance is excellent – fast and accurate – and image quality is, of course, tremendous. Sigma’s Art range of lenses is known for their exceptional sharpness, and in our lab tests, this lens excelled. Some video users may find they miss the wide 24mm option, but if you don’t mind working with a slightly narrower field of view, there’s a lot to recommend here.

See our full Sigma 28-105mm F2.8 DG DN | Art review

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Best standard zoom

This second-generation 24-70mm f/2.8 G Master II is a lot smaller and lighter than the original and a more manageable proposition for shooting video. It also has an aperture ring, which the first version did not. There was absolutely nothing wrong with the original edition of Sony’s G Master trinity standard zoom for photography, but the second incarnation is even better in every way.

It packs a host of new features, improved handling characteristics, and a completely redesigned optical path into a smaller, more lightweight build. It’s more comprehensively weather-sealed as well. The GM II is undeniably pricey, but you get what you pay for and more besides.

See our full Sony FE 24-70mm f/2.8 GM II review

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Best for bokeh

The big appeal of the Sigma 28-45mm is its incredibly wide maximum aperture – something you just don't see in other zooms. This allows you more control to defocus the background when shooting, or to increase the light transmitted through to the image sensor when shooting in low-light conditions.

The design means the lens is big, but Sigma has tried to ensure the lens is still usable by restricting the range of the zoom. Ultimately, this Art series zoom could replace two or three prime lenses from your kit bag. Even so, this lens is best suited to Sony's full-frame Alpha cameras.

See our full Sigma 28-45mm F1.8 DG DN Art review

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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 Sigma 28-45mm f/1.8 zoom is amazingly sharp, living up to its claims of replicating the performance of multiple fast prime lenses. Meanwhile, the Sony FE 24mm relies very heavily on automatic in-camera correction for distortion. Color fringing is well controlled across the board.

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 and pincushion distortion at its shortest and longest focal lengths, respectively, which tends to average out when looking at the data overall. For more detailed graphs of each lens's performance, which give the full picture, check out the graphs in our full standalone lens reviews.

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How to choose the best Sony video lenses

For a good video lens to mount on Sony cameras, we are looking for a handful of specific qualities:

• Constant maximum aperture:
Obviously this is one attraction of prime lenses, but when shooting with a zoom for more scope and convenience, you want to be able to zoom in and out without having to work around changing iris values.

• Aperture ring:
Being able to see and set the iris value externally is very useful, especially if the aperture ring is ‘de-clickable’. This enables you to make smooth and silent iris adjustments while filming.

• Wide angles of view:
This is useful for filmmaking or vlogging in small interiors, but practically essential for ‘selfie vlogging’, where you often want to get the background in the shot as well as yourself. Don’t forget that some video modes bring a digital crop, as does Sony’s digital image stabilization.

• Power zoom:
An electrically powered zoom mechanism is not essential, and many filmmakers won’t zoom while filming anyway. But if zooming and zoom effects are your style, it’s a lot easier and smoother with a power zoom than trying to do it manually. Some Sony cameras, like the ZV-E10, even have a zoom lever on the body.

You can’t always get all of these features in any single lens, but they are things you might want to look out for nonetheless.

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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 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

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Canon has done something very "Apple" with the R6 family: there are now four concurrent models in this extended lineup.

The centerpiece is obviously the Canon EOS R6 Mark III, but the older R6 Mark II is still on sale at least through the end of 2026 – and joining the base models are the EOS R6 V and the EOS C50, which share identical architecture and virtually the same specs as the Mark III.

So what's the difference between all these cameras – and which one do you actually need? Here's a quick Canon EOS R6 II vs R6 III vs R6 V vs C50 comparison to help you work out which is right for you.

Canon EOS R6 II vs R6 III vs R6 V vs C50: Specs

Canon EOS R6 II vs R6 III vs R6 V vs C50: Best for photo

Let's be clear: the base R6 models, the Mark II and Mark III, are built for photography – the R6 V and C50 are video-first bodies. So, even though the latter both possess the same specs as the Mark III, they lack things like a viewfinder, a mechanical shutter, the same level of stabilization and stills-oriented ergonomics.

Which means it's a toss-up between the Mark II and Mark III. On paper, there's no doubt that the newer camera is superior; it shoots higher-resolution stills (32.5MP rather than 24.4MP), has sturdier stabilization (up to 8.5 stops, up from 8) and has a deeper buffer (150 RAWs instead of 75) for rapid-fire shooting.

It also has slightly improved autofocus, which I particularly noticed when photographing wildlife and especially birds in flight.

However… all of those are "nice to haves" rather than essentials. Because I'll be honest, the Mark II's autofocus is still more than good enough (and still better than the AF on Sony and Nikon bodies). And while it's nice to have more megapixels, 24.4 is still plenty for most tasks. Ditto the stabilization.

For me, the real difference-maker is the buffer capacity. Being able to rattle off 40fps bursts for literally twice as long is important if you're shooting sports, wildlife or other fast action.

🏆: Canon EOS R6 Mark III

Canon EOS R6 II vs R6 III vs R6 V vs C50: Best for video

When it comes to video, while R6 III has virtually identical specs, the R6 V and C50 are both far and away superior devices for dedicated and prolonged recording.

This is due to one simple factor: active cooling. Both the R6 V and C50 have a fan, with this cooling system providing extended and even unlimited record times when recording high-resolution video – particularly useful when recording 7K 60p RAW or 7K 30p open gate.

Other than that, the differences between these two bodies put each camera firmly in one of two categories: the R6 V is a hybrid camera tailored for content creators and solo videographers, while the C50 lives up to its name as a pure cinema camera.

What does this mean, in real terms?

Well, the R6 V has weather sealing and in-body image stabilization, both of which are missing on the C50. It also boasts the same AF system as the R6 Mark III, which is to say it has superior subject detection and tracking (compared to the still-good but less-sophisticated EOS iTR AF X of the C50).

For true cinema purposes, the lack of IBIS on the C50 may actually be a boon (for hard-mounting the camera or using it with rigs). But it also boasts dual base ISO (at 800 and 6400) for cleaner video, along with support for things like anamorphic lenses, timecode, XC protocol and the XLR handle.

So the winner here, really, depends on whether you're creating content or shooting cinema.

🏆: Tie – Canon EOS R6 V / C50

Canon EOS R6 II vs R6 III vs R6 V vs C50: Best value

This one is easy: the R6 Mark II, as a camera released in 2022, is by far the best value for money of the R6 family.

Currently priced $1,999 / £1,699 / AU$2,360, if you want to maximize your bang for buck then you don't need to look any further.

Next up on the pricing tier is the R6 V, which will run you a cool $2,499 / £2,399 / AU$3,599.

Then it's the R6 Mark III, at $2,799 / £2,799 / AU$4,199.

Finally, at top dollar it's the C50 with a reassuringly cinema-oriented price of $3,899 / £2,999 / AU$4,999.

🏆: Canon EOS R6 Mark II