Just announced: the FE 50–150mm f/2 GM!
Wow. That name really tells you all that you need to know.
- FE: for your full-frame Sony body (or adapted)
- 50–150: normal, portrait, and telephoto lens, all in one
- f/2: an unbelievably bright aperture for such a small telephoto zoom
- Low-light performance
- Sophisticated bokeh
- GM: top-tier engineering, fabrication, and performance
This lens promises the kind of performance you expect from Sony’s professional prime lenses combined with the advantages of a focal length range as uncommon as it is appealing. The all-internal zoom mechanism offers both unique creative advantages for videographers and convenient adaptability for stills-only shooters.
I’ll go into more detail below, but if you’re ready to pre-order right now, click the link below or visit any of our brick-and-mortar photo shops. The first shipment of FE 50–150mm f/2 GM lenses is expected to go out the door one month from today, so be sure you don’t delay.
As always, the optical excellence of the FE 50–150mm f/2 GM thanks to the talented engineers at Sony. Two XA (extreme aspherical) elements, two aspherical elements, three ED (extra-low dispersion) elements, two Super ED elements at the front of the lens, and Sony’s Nano AR Coating II work together to keep the gathering hordes of chromatic aberrations, flares, and ghosting outside the walls of your photofort.
The fast, precise, floating AF mechanism is driven by XD linear motors. If you prefer total control, the manual focusing ring offers linear response. The automatic focus was put through a battery of internal tests, and Sony is claiming outstanding tracking performance and accuracy even at 120 fps or while zooming. Minimum focusing distances are 1.32′ and 2.43′ for the wide and telephoto ends of the zoom range, respectively, with a maximum magnification of 0.2x.
In an industry largely dominated by approximately standardized tools—which are, to be fair, standardized for a reason—it is refreshing to see a lens that something substantially different. Yes, a 70–200mm is close, but the gulf between a zoomed-in 70mm perspective and a “true normal” 50mm is rather large, psychologically. Having a professional normal lens, professional “portrait lens,” and professional telephoto lens at your hip, all in one, is a very cool concept.
I can see this lens being very appealing for a videographer working at a medium remove from the action with a need for preparedness for normal shots and superior bokeh. In some of their demonstrative video, Sony highlighted an incredible vertigo shot, which would be a prime (hah) application for this lens. They have, as with other lenses that they have developed or redeveloped in recent years, paid special attention to minimizing focus breathing, so that’s a videographer’s bonus as well.
The sample photos in the gallery below demonstrate, I believe—and I think you’ll agree—a lens capable of stunning resolution, corner to corner sharpness, and an uncommon perspective. The body of the lens has been constructed with reliability, durability, and consistency in mind, and the physical controls (three focus hold buttons and aperture ring with optional detent) maximize intuitive operation. Dust- and moisture-resistance rounds out the package—are you ready to be fearless with your photography?
Click here to be one of the first!
Sample image gallery
S Komatsu shot at Gold coast Aquatic Centre on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
S Komatsu shot at Gold coast Aquatic Centre on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
S Komatsu shot at Gold coast Aquatic Centre on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
S Komatsu shot at Gold coast Aquatic Centre on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
S Komatsu shot at Gold coast Aquatic Centre on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
S Komatsu shot at Gold coast Aquatic Centre on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
S Komatsu shot at Gold coast Aquatic Centre on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
Jack Ferguson Sailing a Moth on Sydney Harbour shot on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
Jack Ferguson Sailing a Moth on Sydney Harbour shot on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
Jack Ferguson Sailing a Moth on Sydney Harbour shot on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
Jack Ferguson Sailing a Moth on Sydney Harbour shot on a Sony Alpha A1 Mk2 with a GM 50-150mm f2 Shot at F2 to high light the minimal depth of field and sharpness. Picture by Bob Martin for Sony 
Product images
