Sony is on a roll this year. So far we’ve seen the announcement and imminent release of the outrageously high-spec α1 and the equally-high-end 50mm f/1.2 GM; joining them this May is a trio of lenses intended for more utilitarian purposes. The FE 24mm f/2.8 G, FE 40mm f/2.5 G, and FE 50mm f/2.5 G are extremely compact, affordable, and interchangeable with one another in every way. Check out the video below and read on for more on how these cool little cats could benefit you.
These lenses were clearly developed as a sort of “prime suite.” In concert, they afford you the versatility of a zoom lens with the improved quality typical of prime lenses. Physically, they are the same dimensions and nearly the same weight (within 0.4 oz), so switching between them won’t affect a video rig, gimbal, or even your handheld experience. No matter which one you have on, the whole kit can return to your camera bag without any rearranging or lens-swapping for storage. The filter size is the same, too, so you only need one polarizer, star filter, neutral density filter, and so on to cover usage of the whole gang. (Bonus points for folks looking to upgrade from the basics: the filter size used on the kit lens bundled with most E-mount cameras is the same 49mm as that used on these three lenses!) The lenses are small enough to feel at home whether you’re shooting on a full-frame or APS-C camera.
Sharing a body style and internal design means a lot more than a similar size, of course. Vis a vis usability, Sony has included several features expected on much more expensive lenses: a manual aperture adjustment ring with switchable “clickiness,” linear-response manual focus adjustment, physical AF/MF switch, and a programmable focus hold button. Durability-wise, these lenses all have a metal body and seals for dust and moisture resistance. Most importantly, aspherical and ED (Extra-low Dispersion) lens elements help ensure maximum edge sharpness and minimum chromatic aberration.
As you might expect, these lenses are all fully compatible with the much-lauded real-time Eye-AF features of E-mount cameras. Two linear motors drive the system quickly, accurately, and quietly enough for video use. A nice and wide f/2.5 maximum aperture (f/2.8 for the 24mm) rounds out the package: these lenses are ready for low light and beautiful bokeh.
The 24mm, 40mm, and 50mm G lenses are expected to be available in May of this year. Click the link above or any of the lenses below to pre-order yours today and make sure you’re one of the first to receive them. You can also call or visit any of our conveniently-located shops to get your order in or pick the brains of an imaging expert.
On a full-frame camera, this would be considered your “normal” focal length. This field of view is great for portraiture and intuitively natural-looking snapshots.
40mm, being just a bit wider than 50mm, is the perfect focal length for a sort of optical illusion. While 50mm is roughly equivalent to “actual size” on a full frame camera, it can feel narrow since we’re used to having peripheral vision. 40mm is wide enough to compensate for the missing chunk our brains are used to, but not so wide that the compression of the scene is impacted. It’s also closer to a normal field of view for APS-C cameras.
For landscapes, interiors, or walking-around-but-I-don’t-feel-like-spending-too-much-time-carefully-framing-my-shot-because-I-can-crop-it-later-and-I-would-rather-do-so-than-miss-something-cool shots, it’s hard to beat a nice, wide-but-not-too-wide focal length like this.