Sony released a rather strange lens a few days ago. The FE 16-25mm f/2.8 G does not replace either the GMaster or the cheaper f/4. This is a strange thing in itself. What is his goal? Where does it fit in the range? Does buying it make sense? For some, it’s certainly possible. But not for everyone.
The third of its kind?
Sony currently sells four wide-angle zoom lenses starting at 16 millimeters. The FE 16-35mm f/2.8 GM and its second generation. The FE PZ 16-35mm f/4 G and now the FE 16-25mm f/2.8 G which has just been released. It seems strange to blur the lines so much, even though many options can only be a good thing for the end user. But why would you choose the new unit over the old ones? Well, there are obvious benefits.
First of all, the weight compared to the other two f/2.8 parts is lower. At just 409 grams and 91 millimeters, it’s lighter and smaller, and compared to the f/4 PZ G variant, it’s not much heavier or larger. It’s just in the right place, even if it loses ten millimeters in the focal range. The reason behind releasing such a lens is simple. To accompany the FE 24-50mm f/2.8 G, which lets you go from 16 to 50 millimeters at a constant f/2.8 aperture in two small and lightweight lenses. Sony has yet to confirm or deny whether it plans to expand the range with a 50-100mm f/2.8 or similar, but it would make sense.
Quiet but powerful
As we are already accustomed to the internal and external construction of the lens, this is exactly what we expect from a G/GM lens. Well built, precise, plastic on the outside but solid and functional. The body features two rubber control rings for zoom and focus. The zoom is oddly reversed such that the longest focal length keeps the front element fully retracted, and only when you move towards the wide end of the lens does the front element extend outwards. It might take some getting used to, but it’s nothing serious. My best guess is that this is the price of the compact nature of the lens.
A third ring on the lens body controls your aperture, and as is usual with all new Sony releases, it can operate either smoothly or clicking ⅓ of the stop marks by simply pressing on a switch. It can also be locked in Auto mode or out of Auto mode. And of course, it wouldn’t be a Sony G lens without a remappable Fn button on the side, so we have that too.
The focus group is moved by a duo of linear motors. This promises quiet, fast and precise focusing. The good news is that the promises were kept. The lens is smooth, fast and hiccup-free. And not just for photos but also for video. If you are using a newer body like the a7 IV or FX3, you can use focus breathing compensation as this lens is compatible with this feature. And while it doesn’t offer any type of optical stabilization, it is compatible with in-body active stabilization, so you don’t always need to use a gimbal. If you use a stabilizer, don’t worry. I tested it on the recently released DJI RS 4 and regardless of the lens focal length, the scale numbers never left the green range. So you can easily zoom while recording on such a gimbal without constantly needing to rebalance because the center of mass does not move significantly even if the front element moves back and forth.
Optically on par
I tested the lens using the small a7CR, which is driven by a powerful 60-megapixel sensor, so there was really no wiggle room for the lens to mask any type of imperfections or defects optically speaking. And it wasn’t necessary. In the few days I had the lens, it resolved details perfectly from corner to corner, regardless of focal length and aperture. Granted, I haven’t had time to do any precise testing, including graphs and the like, but I rarely find these to be indicative of what a lens is capable of.
The aperture consists of eleven blades for smooth foreground and background bokeh. Combine that with the ability to focus even closer than the FE 16-35mm f/2.8 GM, you can get some nice wide-angle close-ups. But not only that. Once you close the aperture a little, you get cute stars with 22 individual rays.
Chromatic aberrations were either corrected very well in camera or simply absent. Same with vignetting. LoCA was well controlled and barely noticeable. Overall, the optical design is once again wonderful. Sony has been in the game for a while now, and it shows. They know glass well.
What I liked
- Small and lightweight construction
- Dedicated aperture ring with click button
- Function button
- Quiet operation
- Fast and precise autofocus
- 11 aperture blades for smooth bokeh and beautiful stars
- Well balanced for even an extended gimbal
- Filter wire
- Sharp and excellent contrast even in direct sunlight
What I did not like
- Front element extending when zoomed out, not in
Travel companion and friend of the vlogger
Clearly this lens is aimed at travelers or vloggers who don’t want the heavier, bulkier GMaster but still prefer an aperture brighter than f/4. The FE 16-25mm f/2.8 G is a perfect accompaniment to the recently released FE 24-50mm f/2.8 G, giving you more than enough focal range and optical quality. However, it’s more than capable of performing on its own when used as a daily vlogging lens mounted on a ZV-E1, FX3, or a7R IV. The good construction, quiet motor operation, focus breathing compensation compatibility, active stabilization compatibility, smooth aperture ring, and small form factor make it a great option for anyone using a Sony camera, whether seriously or as an enthusiast. Sure, the $1,200 price tag isn’t low, but it’s also not overly expensive for what it offers. Try it and let us know your feedback.
Some samples
