Sony FE 50mm f/2.5 G review

Why on earth would you want the Sony FE 50mm f/2.5 G when Sony has just launched an amazing FE 50mm F1.2? We’ll tell you…

5 Star Rating
Sony FE 50mm F2.5 G
(Image: © Rod Lawton/Digital Camera World)

Digital Camera World Verdict

The Sony FE 50mm f/2.5 is very close on focal length to similarly compact FE 40mm f/2.5 launched at the same time. Why would you want both? You probably wouldn’t, so it really comes down to which focal length you prefer. The FE 50mm f/2.5 isn’t just the classic ‘standard’ focal length, it also offers superb image quality and unexpectedly high-end features for both stills photography and video.


  • +

    Superb image quality

  • +

    Very small, very light

  • +

    Fast and silent autofocus

  • +

    Declickable aperture ring


  • -

    Not fast for a 50mm

  • -

    No focus distance scale

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Within a short space of time, Sony has released two 50mm ‘extremes’. The Sony FE 50mm f/1.2 offers a maximum aperture many believed was not possible with the Sony E-mount, whereas this Sony FE 50mm f/2.5 is a whole two f-stops slower and (subject to a bit more research) perhaps the slowest 50mm mainstream lens currently available, outside of macro lenses.

But the FE 50mm f/2.5 is also extremely small, extremely light and extremely practical. It can go places where you just wouldn’t take a bigger lens. With a lens this size you can shoot all day without getting arm-ache, and you can use your Sony A7 on a gimbal without popping a bicep in the process.

There are other 50mm lenses in the Sony range, including the Planar T* FE 50mm F1.4 ZA (which we think the new Sony 50mm f/1.2 effectively replaces), which is a real monster, and the more affordable FE 50mm F1.8, which is still significantly larger than this new lens.

• Read our full reviews of the other two lenses in this family:

Sony FE 24mm F2.8 G review
Sony FE 40mm F2.5 G review


Format: Full frame
Focal length: 50mm
Maximum aperture: f/2.5
Optical construction: 9 elements in 9 groups
Minimum focus distance: 0.35m
Filter size: 49mm
Dimensions: 68mm (W) x 45mm (D)
Weight: 174g

Key features

The Sony FE 50mm F2.5 G shares the same declickable aperture ring found on the FE 24mm F2.8 and FE 40mm F2.5. (Image credit: Rod Lawton/Digital Camera World)

Also common to all three lenses is the 49mm filter thread. In fact, the FE 24mm F2.8, FE 40mm F2.5 and FE 50mm F2.5 are the same size too, and practically the same weight. (Image credit: Rod Lawton/Digital Camera World)

If you’ve been reading about the other two lenses in Sony’s trio of compact primes – the FE 24mm f/2.8 G and the FE 40mm f/2.8 G – you’ll know what’s coming. All three are effectively the same size and weight and even use the same 49mm filters. All three have aperture rings which can be ‘de-clicked’ for video use via a switch on the lens barrel.

The FE 50mm f/2.5 G is the ‘longest’ of the three new lenses, and while a maximum aperture of f/2.5 might sound very tame by today’s standards, it’s still faster than even a pro zoom lens, while being a fraction of the size and cost. 

Build and handling

It's not usual to get excited over a lens hood, but the one supplied with the Sony FE 50mm F2.5 G is very small, very effective and even protects the lens to a degree. (Image credit: Rod Lawton/Digital Camera World)

This lens’s size is one of its key features. As we’ve noted in the reviews of the other two lenses in this new family, it completely changes the balance of Sony’s A7 cameras. These are remarkably compact full frame cameras even by today’s standards, but this means they are easily unbalanced by big heavy lenses – and many Sony FE mount lenses are big and heavy, especially the zooms. The grip on a Sony A7 is really only tall enough for three fingers, and when you put a heavy lens on the front, that puts a lot of leverage on your hand and forearm.

So it’s not just about this lens’s handling on its own that’s significant, but what it does to the balance of the camera. We like it a lot for that reason alone – but this lens is also very well made. The aperture ring is very firm and positive, yet super-smooth when ‘declicked’ for video.

But as we’ve noted with the other lenses in this trio, there is no focus distance scale. These seem to be going out of fashion on modern mirrorless lenses, which is very disappointing for those of use who still like to work with depth of field.


With good close-focusing capability, the Sony FE 50mm F2.5 G is not just portable, it's versatile too. Sony A1, Sony FE 50mm F2.5 G, 1/250sec at f/2.5. (Image credit: Rod Lawton/Digital Camera World)

The Sony FE 50mm F2.5 G is distortion free, with our without any digital corrections. Sony A1, Sony FE 50mm F2.5 G, 1/1,250sec at f/5.6. (Image credit: Rod Lawton/Digital Camera World)

The edge to edge sharpness of this lens is truly impressive. Lenses don't have to have huge apertures to offer stellar performance. Sony A1, Sony FE 50mm F2.5 G, 1/1,250sec at f/5.6. (Image credit: Rod Lawton/Digital Camera World)

Performance-wise, this lens is just terrific. The dual linear AF motors do their work silently, smoothly and quickly. There no stabilisation, but all current Sony A7 (and A9) cameras have in-body stabilisation anyway.

In real-world shooting the optical performance looks every bit as good as that of the FE 40mm f/2.5 G, with no distortion either in the camera JPEGs or in uncorrected raw files – though the lab results show the FE 50mm doesn't quite match the edge sharpness of the 40mm at wider apertures. The differences are so small as to be hard to see, however. This lens might be compact but this does not appear to have compromised its optical performance at all, which is quite stellar.

Lab tests

We run a range of lab 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. The tests also measure distortion and color fringing (chromatic aberration).


Sony FE 50mm f/2.5 G

(Image credit: Future)

Centre sharpness is sensational, especially between f/2.8 and f/5.6. However, our sample lens didn't quite match the centre sharpness of the FE 40mm f/2.5 G, and the same applies to mid-frame and corner sharpness, which is significantly less than you get from the 40mm. Even so, levels of corner sharpness from the 50mm are still very good, especially once you stop down to f/5.6.


Sony FE 50mm f/2.5 G

(Image credit: Future)

As with the FE 40mm f/2.5 G, fringing is a little more pronounced at larger apertures, but is still easily low enough to be unnoticeable in real-world shooting scenarios. Once you stop down to f/4, fringing is as good as non-existent - a very impressive result.

Distortion: 0.83

A negative score indicates barrel distortion, a positive score pincushion. A score of zero signifies no distortion.

The lens produces minor pincushion distortion, but certainly not enough to noticeable in most shooting scenarios. Once lens profiles are available, even this mild distortion will likely be straightened out by raw processing tools like Adobe Camera Raw.


Compared to the massive new Sony FE 50mm F1.2 G Master, this lens looks like a little pipsqueak – but its performance is first rate. (Image credit: Rod Lawton/Digital Camera World)

You have to decide if 50mm is a focal length you like, and if a maximum aperture of f/2.5 is enough. We can’t mark this lens down for either. That f/2.5 maximum aperture is a result of the compact lens design, and for us the remarkable downsizing in this lens is easily worth the loss of light-gathering power. You have to decide which is most important for you – portability or specifications. The modest specs do make this FE 50mm f/2.5 G look quite expensive, but don’t forget you are also getting an aperture ring with a declicking mechanism, dual linear motor AF and first rate optical performance.

Pre-order the Sony FE 50mm F2.5 from Wex
Pre-order the Sony FE 50mm F2.5 from Park Cameras

Read more:

Best Sony lenses
Best Sony cameras
Best 50mm lenses
Sony FE 24mm F1.4 GM
Sony FE 35mm F1.4 GM

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Rod Lawton

Rod is an independent photography journalist and editor, and a long-standing Digital Camera World contributor, having previously worked as DCW's Group Reviews editor. Before that he has been technique editor on N-Photo, Head of Testing for the photography division and Camera Channel editor on TechRadar, as well as contributing to many other publications. He has been writing about photography technique, photo editing and digital cameras since they first appeared, and before that began his career writing about film photography. He has used and reviewed practically every interchangeable lens camera launched in the past 20 years, from entry-level DSLRs to medium format cameras, together with lenses, tripods, gimbals, light meters, camera bags and more. Rod has his own camera gear blog at but also writes about photo-editing applications and techniques at