Sony Announces Four New FE Lenses and Four Dedicated Conversion Lenses


Greatly expanding the current lineup of full-frame-compatible, E-mount lenses, Sony has just introduced a quartet of new FE lenses ranging from prime wide-angles to an all-inclusive zoom. The FE 28mm f/2 is a standard wide angle that is compatible with two other new optics, the Ultra Wide Converter and Fisheye Converter, to further broaden its perspective. The Distagon T* FE 35mm f/1.4 ZA features a sophisticated optical design for enhanced sharpness and correction of aberrations, and also features a unique responsive aperture ring that can be de-clicked for video use. The first macro lens for full-frame E-mount cameras, the FE 90mm f/2.8 Macro G OSS features a 1:1 magnification ratio, as well as Optical SteadyShot image stabilization. Rounding out the new set of lenses, the FE 24-240mm f/3.5-6.3 OSS is a wide-ranging, all-inclusive zoom for everyday shooting. And like all other FE lenses, each of these new optics features the same dust- and moisture-resistant construction and can also be used on APS-C E-mount mirrorless cameras. In addition to the range of full-frame-compatible optics, Sony has also announced a pair of APS-C-dedicated Ultra Wide and Fisheye Conversion Lenses to widen the field of view of the 16mm f/2.8 and 20mm f/2.8 lenses.

FE 28mm f/2 and Conversion Lenses

The widest prime available for full-frame E-mount cameras, the new FE 28mm f/2 is a bright, standard wide-angle lens characterized by its f/2 maximum aperture and comfortably wide perspective. Ideal for everyday shooting and reportage, this lens's design incorporates extra-low dispersion and super extra-low dispersion glass elements to offer a significant reduction in chromatic aberrations, as well as increased contrast and clarity. Aspherical elements are also employed to control spherical aberrations and minimize the overall size and weight of the lens. A multi-coating has also been applied to limit lens flare and ghosting for improved light transmission and faithful color reproduction.

A linear actuator focusing mechanism provides fast, smooth, and quiet focusing performance, which is further benefitted by an internal focusing design that maintains the overall lens length and does not rotate the front 49mm filter ring for easier use of polarizing and graduated ND filters. Additionally, this 28mm lens also features a rounded nine-blade diaphragm for a more circular quality in out-of-focus highlights.

In addition to this lens itself, Sony has also introduced a pair of wide-angle conversion lenses to expand the 28mm perspective even further. The Ultra Wide Converter is a 0.75x-magnification lens that attaches to the front of the 28mm to produce a 21mm equivalent focal length. One stop of light is lost with this add-on lens, but the minimum focusing distance is shortened to 9.4" with autofocus, from 11.4" without the converter. For an even wider perspective, there is also the Fisheye Converter, which is a 0.57x-magnification conversion lens that produces a 16mm equivalent focal length. This add-on optic requires an additional two stops of exposure, but provides a huge 180° effective field of view with a minimum focusing distance of 8.7". Additionally, when working with either of these conversion lenses, full EXIF data is maintained to help during post production.

Distagon T* FE 35mm f/1.4 ZA

Even though this is the second Zeiss-designed 35mm prime for Sony E full-frame cameras, it is contextualized by a completely different optical design and form factor from the Sonnar T* FE 35mm f/2.8 ZA. This new Distagon T* FE 35mm f/1.4 ZA features, as its name suggests, a Distagon optical design to provide a high degree of sharpness from edge to edge with well-controlled aberrations and distortions. Aspherical and AA (Advanced Aspherical) elements are used to further reduce spherical aberrations and to limit the overall size and weight of the lens, and a Zeiss T* coating minimizes surface reflections for increased contrast and clarity.

Among other distinctions, this new 35mm also features a dual purpose "responsive" aperture ring to benefit both still shooters and videographers. For stills, aperture selection is benefitted by click steps in between f/stops for tactile feedback, and for video the ring can be de-clicked for silent, smooth transitioning between stops so as not to interrupt recordings. The Direct Drive SSM (Super Sonic wave Motor) provides fast, responsive, and quiet autofocus performance, too, to further benefit video use. Additionally, this lens also has a rounded nine-blade diaphragm for an aesthetic out-of-focus quality when using shallow-depth-of-field techniques.

FE 90mm f/2.8 Macro G OSS

Another first for Sony, the new FE 90mm f/2.8 Macro G OSS is the longest dedicated prime for full-frame E-mount cameras and is also the first macro lens for the system to provide a 1:1 maximum magnification for life-size reproductions. As a medium telephoto lens, it provides a comfortable working distance of approximately 6.6", with a minimum focusing distance of 11", for photographing close-up subjects. Also unique to this 90mm f/2.8, it is the first FE prime to include Optical SteadyShot image stabilization to minimize the appearance of camera shake for sharper photos and videos when shooting handheld.

The optical design makes use of Advanced Aspherical and Super ED elements to control distortions and aberrations, and a Nano AR coating has been applied to individual elements to suppress reflections, flare, and ghosting for an increase in contrast and clarity. A nine-blade circular diaphragm is used here again, too, for a smooth out-of-focus quality that is especially beneficial to macro shooting and the Direct Drive SSM focusing mechanism contributes to smooth and fast AF performance. Additionally, further benefitting focusing control, an internal focusing design is used, as well as a floating focus mechanism that offers better control of aberrations at various focusing distances. A focus hold button can be used to lock onto and maintain a desired focus position and a focus range limiter switch can be used to constrain focusing ranges between11"-1.6', 1.6'-infinity, and full. And for switching between manual and AF modes, the focusing ring itself simply slides back and forth for quick switching between the two dedicated focusing styles.

FE 24-240mm f/3.5-6.3 OSS

The FE 24-240mm f/3.5-6.3 OSS is the sole zoom lens being introduced by Sony, and is the farthest-reaching lens for the full-frame E-mount system, at that. Covering wide-angle to long telephoto perspectives, this zoom is an ideal everyday lens to suit working in nearly any situation, regardless if that day consists of broad landscapes, mid-length portraits, or distant, moving subjects. Five aspherical elements and one extra-low dispersion element are incorporated into the optical design, which serves to reduce aberrations and distortions throughout the zoom range for sharper, clearer imagery. A seven-blade rounded diaphragm is used to produce smooth bokeh, and to enhance handling, a linear AF motor and inner focusing mechanism provides fast focus performance and maintains the overall length of the lens and the orientation of the filter ring. Additionally, benefitting the broad reach of the 10x zoom is Optical SteadyShot image stabilization, which helps to control camera shake for sharper handheld photos and videos.


VCL-ECU2 Ultra Wide and VCL-ECF2 Fisheye Conversion Lenses

Beyond the range of full-frame lenses and dedicated conversion lenses, Sony is also releasing a pair of APS-C-dedicated conversion lenses for the E-mount 16mm f/2.8 and 20mm f/2.8 lenses. The VCL-ECU2 Ultra Wide Converter is a 0.75x lens that provides an effective equivalent focal length of 18mm on the 16mm f/2.8 and 24mm on the 20mm f/2.8. It uses 3 elements in 3 groups, and maintains full use of the f/2.8 to f/22 aperture range. For something a bit wider, the 0.65x VCL-ECF2 Fisheye Converter provides a 180° field of view and effective equivalent focal length of 15mm on the 16mm f/2.8, or a 133° FOV and 20mm effective equivalent focal length with the 20mm f/2.8. This converter also retains the full f/2.8 maximum aperture and is comprised of 4 elements in 4 groups.


FE 28mm f/2

Distagon T* FE 35mm f/1.4 ZA FE 90mm f/2.8 Macro G OSS FE 24-240mm f/3.5-6.3 OSS
Lens Mount Sony E (Full Frame) Sony E (Full Frame) Sony E (Full Frame) Sony E (Full Frame)
Focal Length (35mm Equivalent on APS-C) 28mm (42mm) 35mm (52.5mm) 90mm (135mm) 24-240mm (36-360mm)
Maximum Aperture f/2 f/1.4 f/2.8 f/3.5-6.3
Minimum Aperture f/22 f/16 f/22 f/22-40
Angle of View 75° 63° 27° 84°-10°
Minimum Focusing Distance 11.4" / 29 cm 11.8" / 30 cm 11" / 28 cm 1.6-2.6' / 50-80 cm
Autofocus Motor Linear actuator, internal focusing Direct Drive SSM Direct Drive SSM Linear motor, internal focusing
Image Stabilization No No Optical SteadyShot Optical SteadyShot
Weather Resistant Dust- and moisture-resistant Dust- and moisture-resistant Dust- and moisture-resistant Dust- and moisture-resistant
Magnification 0.13x 0.18x 1.0x 0.27x
Lens Construction 9 elements in 8 groups 12 elements in 8 groups 15 elements in 11 groups 17 elements in 12 groups
Diaphragm Blades 9 9 9 7
Filter Ring Diameter 49mm 72mm 62mm 72mm
Dimensions 2.5 x 2.4" / 64 x 60mm 3.1 x 4.4" / 78.5 x 112mm 3.1 x 5.1" / 79 x 130.5mm 3.2 x 4.7" / 80.5 x 118.5mm
Weight 7.1 oz / 200g 1.4 lb / 630g 1.3 lb / 603 g 1.7 lb / 780 g
Compatibility E-mount full-frame or APS-C mirrorless cameras E-mount full-frame or APS-C mirrorless cameras E-mount full-frame or APS-C mirrorless cameras E-mount full-frame or APS-C mirrorless cameras


  Ultra Wide Converter for FE 28mm f/2 Fisheye Converter for FE 28mm f/2 VCL-ECU2 Ultra Wide Converter VCL-ECF2 Fisheye Converter
Magnification 0.75x 0.57x 0.75x 0.65x
Image Sensor Format Full-frame or APS-C Full-frame or APS-C APS-C APS-C
Equivalent Focal Length 21mm (full-frame), 31.5mm (APS-C) 16mm (full-frame), 24mm (APS-C) 12mm (18mm equivalent) [with 16mm f/2.8]
16mm (24mm equivalent) [with 20mm f/2.8]
10mm (15mm equivalent) [with 16mm f/2.8]
13mm (20mm equivalent) [with 20mm f/2.8]
Effective Aperture Range f/2.8 to f/22 f/3.5 to f/22 f/2.8 to f/22 f/2.8 to f/22
Lens Construction 4 elements in 4 groups 5 elements in 4 groups 3 elements in 3 groups 4 elements in 4 groups
Effective Field of View 92° (full-frame), 68° (APS-C) 180° (full-frame), 105° (APS-C) 103° (with 16mm f/2.8)
88° (with 20mm f/2.8)
180° (with 16mm f/2.8)
133° (with 20mm f/2.8)
Minimum Focusing Distance 9.4" / 24cm (AF)
7.9" / 20cm (MF)
8.7" / 22cm 7.1" / 18 cm 5.1" / 13 cm
Effective Reproduction  Magnification 0.15x (AF)
0.20x (MF)
0.14x 0.059x (with 16mm f/2.8)
0.086x (with 20mm f/2.8)
0.048x (with 16mm f/2.8)
0.068x (with 20mm f/2.8)
Dimensions 2.8 x 2.0" / 72 x 51mm 3.5 x 2.3" / 89 x 58.5mm 2.6 x 1.7" / 66 x 44mm 2.6 x 1.7" / 66 x 44mm
Weight 9.4 oz / 267 g 14.7 oz / 418g 4.4oz / 125g 5.3oz / 150g


I am between these two lenses.  I know they are very different but I would like to know if the quality is the same.  I have the idea that fixed lenses are better than zoom lenses.  Also the 90mm has more aperture but I insist, the quality is exactly the same for both?

FE 90mm f/2.8 Macro G OSSFE 24-240mm f/3.5-6.3 OSS

Those are two entirely different types of lenses.  Which to go with would depend on whether you are looking for an all-in-one zoom, or a prime macro lens.  With the extended range of the 24-240mm lens, you will be able to capture images that you wouldn’t be able to get with a fixed 90mm lens.  And with a fixed macro lens, you will be able to capture images you wouldn’t be able to with the zoom lens.  While, yes, the 90mm will be sharper than the 24-240mm lens shot at 90mm, and it does have a larger aperture, the idea of which has the better quality would be one of the last factors I would think about when choosing between the two: they are completely different animals and will serve different purposes.

Now ,I can buy the new alpha 7R. for travel and Landscape photography.