This time, we’re going to talk about What Is The Best Wide Angle Lens For Landscape Photography. There is a lot of information about The Best Sony Mirrorless Lenses for 2022 on the internet, of course. Social media are getting better and better quickly, which makes it easier for us to learn new things.

Best Sony Full-Frame Prime Lenses and Sigma Landscape Lens For Nikon are also linked to information about Best Nikon Lenses for Landscapes. As for other things that need to be looked up, they are about 2 Of The Best Wide Angle Lens For Nikon D3200 Cameras! and have something to do with What Photography Gear. What Is The Best Wide Angle Lens For Landscape Photography - what is the best canon wide angle lens for landscape photography

258 Reference List: What Is The Best Wide Angle Lens For Landscape Photography | Best Landscape Lens For Canon Eos Rp

  • Fortunately, as a professional landscape photographer, I’ve spent years working with different lens models. I know how to pick the perfect starter lens, and I know how to find lenses that’ll satisfy the most experienced professionals. That’s why I’ve written this article, which takes you through all the best landscape photography lenses you can buy today – including options for Canon, Nikon, Sony, and Fujifilm, and choices at every price point. - Source: Internet
  • Though we’ve not seen this lens in our lab, user reviews for the lens are largely positive, with owners noting the lens’s great sharpness, good close-focusing performance and affordable price point. Some criticize its slower AF performance, so keep that in mind if you shoot lots of moving subjects – however, the lens is designed for macro photography, so AF speed isn’t generally a priority. Overall, a sharp and affordable lens that serves as a great entry into the world of macro photography. - Source: Internet
  • Distagon – A design system Zeiss uses for its wide and ultra-wide angle, retrofocal lenses. These lenses are often heavy, as they are pretty complex. The Sony Zeiss Distagon T* FE 35mm F1.4 ZA is the only Distagon lens available for Sony E-mounts. - Source: Internet
  • It’s perfectly weather-sealed as well as dust-resistant (just in case you were planning a trip to the Sahara’s). You need to be aware that this lens doesn’t include an image stabilisation feature. So if you want to capture anything in motion, your image can become slightly blurry (although it’s been a while since I last saw a mountain move). - Source: Internet
  • Planar – Designed in the late 1890s, planar lenses have a symmetrical design, with the aperture placed in the middle of the elements. This allows the lens to stay sharp from center to corner at wide apertures, all with little chromatic aberration. Almost every 50mm lens has some element of Planar design in it - Source: Internet
  • Third-party lens makers like Tamron have really been stepping up their game in the last few years. This lens is a great example of that. It is a pro-quality wide lens at about one third the cost of the Canon lens above. - Source: Internet
  • Let’s keep going with this Grand Canyon scenario. You’re outdoors, taking the best photos you’ve taken in months and suddenly it starts raining. You want to keep shooting but you’re working with a lens without weatherproofing. - Source: Internet
  • The Optical SteadyShot feature keeps handheld shots blur-free (though again, I do recommend using a tripod!), and the constant f/4 maximum aperture is decent enough for noise-free shooting in low light, even if you really need an f/2.8 maximum aperture for serious astrophotography. Its minimum focus distance of 10 inches (0.25 meters) and attractive zoom range let you capture expansive landscapes with precision, and the price is incredibly reasonable for a high-quality Sony lens – so if you’re a landscape photography beginner or enthusiast with a Sony APS-C camera, this is the lens to buy. - Source: Internet
  • Making choices in lenses should definitely be driven by logical factors such as image quality, angle of view, low-light performance, and ultimately, which of them would fit your lens budget. Each of the above-listed lenses either set the standard in quality or offer a unique feature or capability over others available in the market. There are definitely many more similar options especially from third-party brands such as the Zeiss Batis 2.8/18, a handful more options from the Sigma Art line, as well as some notable prime lenses from Rokinon. If you have any significant experience with any lenses you would like to add, feel free to tell us about them in the comments. - Source: Internet
  • An “E” without the “F” means the lens was designed specifically for a Sony APS-C camera (i.e. the a6xxx line). It will have a smaller image circle than that of a lens designed for a full-frame sensor. - Source: Internet
  • If you shoot landscapes on a Sony mirrorless camera with an APS-C format sensor like the A6400 or A5100, you’ll want an equally small, lightweight but dependable wide-angle zoom. The 10-18mm F4 OSS is just that, offering a streamlined design that’s still weather sealed. At 225g and 70х63.5mm it’s genuinely pocket sized, so can be brought along as the accompaniment to a standard zoom, and it takes 62mm filters and adapter rings, which keeps space – and cost – down, too. - Source: Internet
  • In our opinion, the best wide angle lens for Nikon d3200 cameras on the market right now is the Tamron Auto Focus 10-24mm f/3.5-4.5 (Click here to check for product prices and availability) . Although at the mid-range price point for many people, the functionality, performance, and build quality of the lens makes the lens well worth it. It has proven a very popular choice with the photography community since its release and it has earned an outstanding reputation too. - Source: Internet
  • The 24-70mm focal length range is essential to cover in a landscape photography kit, and this lens is the best-available option to cover it, especially from an image quality perspective. While this lens’s extremely fast AF may not matter for your landscape photography purposes, its great AF accuracy surely will. Solid build quality, including weather sealing, is an important quality for an outdoor-uses lens, and the 24-70 L II checks that box. - Source: Internet
  • UWA lenses developed very fast during the last decades. The age of these 17mm legacy lenses shows clearly when they are compared to modern options. Nevertheless, they are pretty usable if you give the files some love in postprocessing (removal of CA’s and sharpening). - Source: Internet
  • For example, attaching a 50mm full-frame lens to an APS-C camera will make the lens act more like a 75mm or 80mm lens. (The focal length of the lens itself doesn’t change.) This can be super useful if you want more of a super telephoto effect but don’t want to pay for something that expensive. - Source: Internet
  • The weather does not always cooperate with photographers shooting outdoors, and this lens’ weather-sealed build quality shines under inclement weather conditions. The wide f/2.8 aperture, still providing reasonable landscape depth of field at these focal lengths, also shines under dark conditions, and photographing the night landscape is another of this lens’s superpowers. - Source: Internet
  • “One of the best E-mount lenses ever made. The sharpness and rendering of this lens are unmatched. From portraits to landscape (Yes, I shoot landscape with it) you will never be disappointed. If you haven’t tried this lens yet, you’re missing out!” – Lester Tsai What’s In My Bag: This Might Be The Ultimate Sony Alpha Kit For Max Versatility - Source: Internet
  • Giving an equivalent 15-30mm view, at 230g and 77x73mm lens is seriously tiny, making it suitable for the most arduous hikes. But just because it’s small, it doesn’t skimp on the image quality. This lens uses three aspherical lens elements within its construction to give rich, natural colour and excellent sharpness. - Source: Internet
  • An all-purpose lens that most Sony APS-C users will want in their collection is the 16-70mm f/4 ZA. Although sharpness is generally excellent through zoom and aperture ranges, it delivers the best results at the widest angle between f/4 and f/11, which is good news for landscape photographers. The performance deteriorates a little in the corners and at the longest focal length (70mm). - Source: Internet
  • “…this lens is my favorite. For landscapes, the compression from this lens allows me to create unique compositions while still retaining a landscape feel to the scene. It is one of, if not, the sharpest lenses in the Sony arsenal and makes for an incredible portrait and lifestyle lens.’’ - Michael Castaneda, What’s In My Bag: A Complete Sony Alpha Kit For Stunning Landscapes - Source: Internet
  • Sony mirrorless cameras are wide-ranging both in price and features, generally offering something for every level of photographer, and are also capable for nearly every type of photographic pursuit, be it landscape photography, portraiture, sports and wildlife or astrophotography. But, the key to capturing stunning photos (or video) of your desired subject is getting the right lens for the job. While your kit lens may be pretty good, making a small investment in additional lenses can dramatically boost the creative flexibility of your camera – and the quality of your photos. - Source: Internet
  • Landscape photography means different things to different people. For some, landscape photography is something they do during a walk or while out on their bike. For others, it’s the whole point of going outside and the reason they set their alarm to go off before dawn. While both of these types of photographer want to be able to capture high-quality images, they are likely to have different requirements for the build of the lenses that they use and their price expectations may vary accordingly. - Source: Internet
  • If you’re using a Nikon DSLR with an APS-C format sensor (Nikon’s DX range) the Nikon 10-20mm f/4.5-5.6 G AF-P DX VR can open up a world of landscape opportunities beyond the grasp of a standard zoom. - Source: Internet
  • Wide-angle lenses typically have a focal length of 35mm or smaller (20mm on an APS-c camera body). This lens captures a wider view than you can normally see without turning your head. This is important because it gives the viewer of the photo a sense of the scale and scope of the landscape. Wide-angle lenses are also great for emphasizing depth in a photograph. - Source: Internet
  • My biggest concern with this lens is the questionable build quality and the quality assurance problems. Out of 6 lenses I mounted on my camera 4 were badly decentered (of which 3 were new from different dealers). Focus scale is often totally misaligned. Front group is often a bit wobbly. - Source: Internet
  • With its funnel-like shape and large front element, it isn’t particularly small compared to many of the primes in the Sony APS-C range but it is portable and well-balanced on a body like the a6500. Most of the barrel is constructed from solid metal, with the exception of the smooth rubber focus ring which is very precise and enjoyable to use. Unfortunately, unlike the Fujifilm version of this lens (pictured above), it doesn’t have an aperture ring. - Source: Internet
  • Sony cameras use either an A-mount or an E/FE-mount. A-mount lenses work with Sony DSLRs. Sony’s mirrorless cameras use the E-mount and/or FE-mount. - Source: Internet
  • This wide-angle zoom is designed for Canon cameras with an APS-C sensor, like the Canon EOS 90D or 250D. It gives a view similar to a 16-35mm lens on a full-frame body, so there’s plenty of options for big scenes. And being made to be compact and lightweight at only 83.5×89.8mm and 385g, it’s a great choice for landscape photographers who’re doing extensive hiking. - Source: Internet
  • If the Tamron 28-75mm f/2.8 isn’t wide enough for you, your next best bet in the mid-range zoom category is the Sigma 24-70mm f/2.8 DG DN Art lens. - Source: Internet
  • When it’s all been said and done, the Nikon AF-S Nikkor 50mm f/1.8G Lens stands as one of the best Nikon landscape lenses. With flawless image quality and suitable for both professionals and landscape photography enthusiast, the Nikon AF-S Nikkor 50mm f/1.8G Lens is a DSLR’s best companion. - Source: Internet
  • Landscape photography is all about capturing the beauty of nature. One of my all-time favorite cameras is my Sony A6500. I take it everywhere with me, and it has proven to be an excellent camera for landscape photography. With its high resolution, outstanding focusing system, and built-in image stabilization, this camera reliably creates stunning landscape photos. But to get the most out of the scene, you need to pair it with the right lens. - Source: Internet
  • Telephoto focal lengths are critical to have in a landscape photography kit, and APS-C format camera users have a bargain available here. This lens does not have the ultimate build quality or the ultimate image quality, but it is a very good lens for the ultra-low price. This lens is compact and light. - Source: Internet
  • Although this 16-35mm first time saw (sun)light six years ago, it’s still one of the best lenses for landscape photography. Its maximum f/8 aperture remains constant throughout the aperture range, offering fast and a whisper-quiet autofocus system. All the while ensuring you can manage the depth of field and maintain that aperture for the entire zoom range. Its UD optical construction and Super Spectra coatings generate a phenomenal amount of sharpness even around the edges. - Source: Internet
  • Many Canon users are working with crop sensor bodies, like the 60D. If you’ve tried your hand at landscape photography while using a crop sensor body, you’ve likely gotten frustrated as the 1.6x crop factor means that even a 16mm lens gives you a field of view of about 26mm. - Source: Internet
  • Landscape photography, for me, often involves the use of telephoto focal lengths, and creating great telephoto landscape images is sometimes so easy that it feels like cheating. When those situations arise, the Canon 100-400 L II is my top choice. This lens is easily portable and handholdable but features a very long focal length range that works exceptionally well for wildlife encountered while photographing landscapes. The image quality from this lens is impressive, and the build quality matches. - Source: Internet
  • Coupled with a Sony’s E-mount camera, the 10-18mm f/4 is a wide-angle zoom lens, though bear in mind that it’s designed to work with APS-C cameras only (its focal length equivalent is 15-27mm). For most landscape shooters, that shouldn’t be a problem – after all, 15mm is plenty wide if your goal is to capture sweeping seascapes, breathtaking mountain scenes, or stunning forest views – but it won’t get you the gorgeous ultra-wide perspective of the 12-24mm f/2.8 featured above. - Source: Internet
  • Blurry corners are usually not appreciated in landscape images. Distortion is typically the most noticeable when a flat line appears near the frame border, and curved oceans just don’t look right. Vignetting shows most readily with a solid color covering a sizable portion of the frame edge and corner, and though a gradient blue sky color may be pretty, this effect being caused by the lens is usually not desirable in a landscape image. A great sunstar can become the most-stunning element in a landscape image, and a wide aperture, typical of a prime lens, stopped down significantly, usually creates the largest, best-defined sunstars. - Source: Internet
  • Your camera settings are going to play a vital role in how well your landscape photographs come out at the end of a session. You don’t necessarily need a several thousand-dollar camera to get gorgeous shots, but you do need the right settings. They include: - Source: Internet
  • It also offers the opportunity to capture the landscape with real accuracy; as you can imagine, optical performance is top-notch, and thanks to the f/2.8 aperture, sharp handheld results are practically guaranteed, even in low light. While most landscape photography is done at narrower apertures, the f/2.8 maximum aperture does allow for detailed astrophotography, which can certainly come in handy for the right photographer. - Source: Internet
  • Canon’s EF 24-70mm f/2.8L II is a highly crafted piece of optical perfection. It performs flawlessly in most situations and produces the highest-quality images. It totally justifies the high cost with its many features and level of construction. When taking landscape photographs, the EF 24-70mm performs excellently, delivering sharpness and high amounts of detail. - Source: Internet
  • The Canon EF-S 10-22mm f/3.5-4.5 USM lens is perfect for landscape photography on a crop sensor camera. - Source: Internet
  • Landscape photographers don’t always prefer using prime lenses. This is mostly because of the versatility that zoom lenses offer especially when in shooting scenarios wherein moving closer isn’t a viable option. However, there are prime lenses that make the cut either as alternatives to zoom lenses or as additional options for when their unique attributes come in handy for the shooting scenario. Below are six notable prime lens options that you might want to consider depending on what they uniquely offer and how they fit your preferences. - Source: Internet
  • The Canon RF 15-35mm f/2.8L is the ultimate lens for landscape photographers looking to give their images a professional edge. It’s a great match for Canon mirrorless users, although there is a huge hike in price compared to the Canon EF 16-35mm f/4L (featured above). Note also that this lens will only work on Canon full-frame mirrorless models like the EOS R5, whereas the EF 16-35mm f/4L can be used on both DSLRs and mirrorless cameras (albeit with an adapter). - Source: Internet
  • Landscape photography is all about capturing the beauty of nature, and with the right lens, you can create stunning images of scenery and landscapes. I’ve listed four great lenses perfect for landscape photography on Sony A6000 series cameras. Each of these lenses offers excellent value for the money and will help you capture beautiful photos of nature’s beauty. So if you’re looking for a new lens to take your landscape photography to the next level, check out one of these great options! - Source: Internet
  • Already at f/2.8 the sharpness across frame near infinity can be very good but mind a little field curvature. The contrast improves when stopping down to f/4.0. Coma correction wide open is also very good which makes this a great lens for astrophotography. - Source: Internet
  • If you don’t have the right lens when you’re going into low light scenarios, you can risk distorting the image quality. Any aperture value between f/1.8 to f/5.6 would be great for low light performance. - Source: Internet
  • Last but not least, plus the best overall, the Sony – FE 16-35mm F2.8 GM! This lens comes also from the Sony brand and by many photographers it is considered as one of the best, of course when it comes to landscape photography. It owns great features that could really help the Sony a7 III camera bring more than it does; Perfection! - Source: Internet
  • The 12mm is small, lightweight manual focus prime with a metal chassis and a plastic finish. It doesn’t feature weather-sealing but the aperture ring is very precise and its focus ring is sufficiently stiff that it won’t move accidentally when shooting landscapes or astrophotography. Sadly it lacks a proper hyperfocal scale which is a bit odd considering this is a manual focus lens. - Source: Internet
  • Sony sells two types of mirrorless cameras. The a6000 series and ZV-E10 are built around the APS-C size, and its a1, a7, and a9 cameras use the larger full-frame format. Because of this, you need to be a bit careful and ensure that you buy the right lens for your camera. Sony consistently names its APS-C lenses with an E designation, while full-frame options get FE, but third parties don’t always follow suit. - Source: Internet
  • The one thing to note about wide-angle lenses is that there can often be distortion. The 16-35mm isn’t completely immune, but distortion is pretty well controlled. Also, the more you zoom out, the less distortion there is. - Source: Internet
  • As such, our other top recommendation for an upgrade pick is the Sigma 14mm f/1.8 DG HSM Art lens, the only other full-frame format lens with a 14mm focal length and an f/1.8 aperture. As an Art-series lens, the Sigma 14mm f/1.8 offers excellent and robust build quality as well as fantastic image quality performance, just like we’ve seen from most, if not all other Sigma Art-series lenses. - Source: Internet
  • Key features include enhanced optical image stabilization, an elegant design, and very quiet focusing. The barrel feels and looks fabulous, and the construction is good quality. You get a minimum focusing distance of 9 inches (0.24 meters) – so you can capture gorgeous low-angle shots – and the lens offers great image sharpness across the focal range. - Source: Internet
  • Consider what the exterior of the lens is built with. If it’s made of cheap plastic, expect it to work accordingly. Opt for a lens with a sturdy and dependable build quality that you can rely on day after day. - Source: Internet
  • When it comes to picking a lens for portraiture, you’ll most likely want something with some telephoto reach. Wide-angle lenses, on the other hand, can distort and accentuate facial features in an unflattering way, whereas a longer standard-focal length or short telephoto lens will capture a more natural, more pleasing representation of your subject. Traditionally, an 85mm prime lens has been a classic portrait go-to, offering a good focal length for natural-looking portraits and good subject isolation thanks to the wider aperture than what you typically find on a kit zoom lens. The wide aperture helps blur out the background of your shot and help your subject stand out more. - Source: Internet
  • You should also consider the lens family. Sony gives its better optics a G designation and reserves the GM (G Master) moniker for its highest-quality lenses. If you own a high-resolution a1 or a7R model, it’s often worth it to splurge on a GM lens, but you can usually get excellent results with more affordable lenses if you work with an a7 or a6000 camera. - Source: Internet
  • At f/2.8 center as well as midframe region is very sharp, corners suffer a bit from field curvature. Coma performance wide open not bad, a little worse than Samyang 14mm. - Source: Internet
  • It has everything that you could want in a landscape lens, including ridiculously sharp optics that pair beautifully with the high-resolution sensors of the a7R series, incredible build quality that can handle all sorts of weather scenarios, and a surprisingly lightweight body. The lens also boasts an f/2.8 maximum aperture that’s perfect for serious astrophotography and is also essential if you hope to capture beautiful background bokeh in your wide-angle shots. - Source: Internet
  • I have been using the Voigtlander 10mm 5.6 and reviewed the Laowa 10-18mm 4.5-5.6, but both lenses had one flaw too much and I wasn’t really happy with them. - Source: Internet
  • There is an f/2.8 version of this lens, but the f/4 version gives equally stunning results and comes with a cheaper price tag. It’s a fast and dynamic model with an ultrasonic focus system and a minimum focusing distance of 11 inches (0.28 meters), so it’s perfect for capturing sweeping vistas that feature close foreground subjects. Plus, the 4-stops of image stabilization and great in-built weather sealing allow you to work handheld in all types of light and weather. - Source: Internet
  • If you’re looking for more of a bargain and are comfortable with a manual-focus-only APS-C lens, you could always opt for either the 7Artisan 60mm f/2.8 Macro MK II (under $200) or the TTArtisan 40mm f/2.8 Macro (under $100). - Source: Internet
  • David replaced his Batis 18mm 2.8 with the Sony FE 14mm 1.8 GM. Because this 14mm lens is so good he doesn’t mind cropping a bit so could sell his Batis 18mm 2.8. - Source: Internet
  • Next up on our list of what we feel are the best wide angle lenses for Nikon d3200 cameras on the market right now is the Sigma 10-20mm f/3.5 (Click here to check for product prices and availability) . We would like to point out that this is more of an ultra wide angle lens that offers some really unique photograph opportunities rather than a standard wide angle lens. - Source: Internet
  • If you’re looking for the best of the best and are less concerned with cost-saving, then the Nikon Z 14-24mm f/2.8 S should be right up your alley. The ‘S’ designation means it’s a premium Z-mount lens, designed for serious enthusiast and professional users who don’t want to compromise on optical quality. And as such, it delivers – in our review, we found the Nikkor Z 14-24mm f/2.8 S to be capable of producing images with absolutely stunning sharpness, in a range of situations. - Source: Internet
  • In our review, we praised the lens’s image quality performance, even when used wide open – which is very impressive. The super-wide aspect ratio is also very fun to use, offering a unique perspective for some very dramatic images. We also noted the lens performed very well in controlling comatic aberrations. Though originally designed as a DSLR lens, Sigma has since come out with a native Sony E-mount version of this lens, helping do away with the need to use a mount adapter. - Source: Internet
  • But still, it is good to know more about everything! It is better to search which are the best landscape lens for Sony a7 III because you are searching for a specific type of photography. In the article, you can notice that the aperture of f/2.8 is frequently mentioned; that’s because it is the one that brings sharper images, and we need sharp images of landscapes, right? - Source: Internet
  • Sony FE 600mm F4 GM OSS The Sony FE 600mm F4 GM OSS is a big, serious lens for capturing distant action, but its price makes it purely for professionals and very serious enthusiasts. MSRP $12,999.99 MSRP $12,999.99 Sony FE 600mm F4 GM OSS Review - Source: Internet
  • No matter your level of experience, if you want to capture beautiful landscape photos, you need to choose your lens carefully. After all, the lens heavily influences the quality of your image; pick a good lens, and you have the potential for crisp, clear, beautifully detailed results. But get the lens wrong, and you may find that your images are consistently unsatisfying. - Source: Internet
  • When it comes to photographing the night sky, astrophotography isn’t really tied to any one focal length lens, technically, but oftentimes you want to capture a broad, expansive view of the night sky, stars, galaxies and the like. To do that, one needs a wide-angle or ultra-wide-angle lens, something very short, often less than 24mm, in order to capture a wide perspective. Additionally, another key factor for a good astrophotography lens is a wide or bright maximum aperture – the brighter, the better in order to gather as much light as possible and keep the ISO levels down as much as possible. So while astrophotography compositions can come in all sorts of framing and perspectives, we’re going to recommend a couple more common types of lenses: ultra-wide-angle lenses with bright apertures. - Source: Internet
  • The Canon EF-S 10-22 is a good APS-C choice for emphasizing foregrounds against and in-focus distant background. The look that 10mm allows is great. This lens is a relatively small, light, and easy to take with you. - Source: Internet
  • Why Trust Us? Our experience with lenses for Sony Alpha cameras and how we tested Your author Mark has been shooting weddings professionally with Sony cameras for several years, using many different Sony prime and zoom lenses, as well as 3rd party e-mount options. Co-author Usnea has been using Sony cameras for 6 years, shooting landscape, nature, action, and travel photography using primarily native Sony lenses. For testing, Mark used the latest Sony a7IV full-frame mirrorless camera to evaluate a selection of Sony FE-mount lenses and a Sony a6100 for lenses designed for the APS-C format. The recommended lenses in this guide were chosen based on Mark & Usnea’s own personal experience, results of lens reviews by our various Shotkit authors (also professional photographers), and over 120 hours of combined research and analysis. We are not sponsored by any of the brands that appear here, and our opinions are completely unbiased - in short, you can trust what we say! - Source: Internet
  • The 11-24 L goes wider than any rectilinear lens before it, and this ultra-wide angle of view can set landscape photos apart from the crowd. This lens delivers very impressive image quality performance over its entire focal length range, and its pro-grade build quality is ready to go wherever you take it. Downsides: price, weight, and inability to mount a circular polarizer filter. - Source: Internet
  • An UWA lens almost without real flaws. Can be combined with the Magic Shift Converter to create a 17mm 4.0 Shift lens - Source: Internet
  • The zoom design of a 70-200mm lens provides excellent versatility for a variety of sports subjects, and the 200mm reach at the long end is a really solid telephoto focal length for distant subjects. An f/2.8 aperture, though not absolutely critical for every sports photography endeavor, helps in several ways, including more pleasing subject isolation (out-of-focus backgrounds) and simply letting more light into the lens. The latter will let you shoot with faster shutter speeds, helping you get crisp, blur-free action shots; plus, it will help if you need to shoot indoors or in other lower-light situations, letting you also shoot with a lower ISO setting (and thus less noise and grain). - Source: Internet
  • The 24-105 L II provides a nice extension to the core 24-70mm focal length range, and this lens includes the often-important image stabilization feature. This lens’ predecessor, the 24-105 f/4L IS Lens version I, was one of my most-used-ever lenses, and this lens improves on the predecessor lens. While the optical improvements are not substantial, the II has less distortion at 24mm, has a better IS system, and features a better build quality. This lens is simply a great all-purpose choice. - Source: Internet
  • Editor’s Choice Sony FE 50mm f/1.8 The best Sony lens for everyday photography on a budget. Great image quality and classic focal length (Also great as an 85mm lens on APS-C). CHECK AMAZON PRICE CHECK B&H PHOTO PRICE - Source: Internet
  • The Canon EF 16-35mm f/2.8L III USM Lens is a similar lens to the cheaper f/4 version detailed above. It’s far costlier and doesn’t have the image stabilization of the f/4, but it does have a wider aperture and sharper image quality. It’s as fast to autofocus and is also weather sealed, but it has a greater advantage when shooting in low-light situations. This makes it perfect not only for evening landscapes, but a host of other settings. - Source: Internet
  • Picking a lens for travel and street photography can be a difficult task. For street photography, you might lean towards something small, lightweight and discreet, whereas for travel purposes, you’ll likely do well with some zoom versatility. In both cases, though, you’ll probably want to keep your Sony camera kit as simple and as lightweight as possible; in other words, a single-lens setup. Think: walking around on vacation, exploring a new city or going on a hike. Having a light but versatile camera setup is key. - Source: Internet
  • One of the biggest reasons to grab the Fujifilm 16-55mm f/2.8 for landscape photography is its versatility – it features great build quality so you don’t have to worry when working in tough weather conditions, an excellent maximum aperture for astrophotography, and a nice range of focal lengths that span from wide angle to short telephoto (even if the 24-82.5mm effective zoom range doesn’t quite reach those prized ultra-wide perspectives). - Source: Internet
  • At f/2 sharpness is already excellent in the centre but the best results can be found between f/4 and f/5.6. The corners are softer at the fastest apertures and you’ll encounter some vignetting but this is to be expected. Distortion can be corrected via the lens profile in Lightroom but chromatic aberration, which is present up until f/8, is a bit trickier to eliminate. As for flare, it can appear in scenes with bright light sources but I never found it overly invasive. - Source: Internet
  • As you can notice, this lens is listed as the best premium but why is that so? Well, the only manner to explain that is that the Sony FE 100-400mm F4.5–5.6 GM OSS comes with a super high-end price, but always consider that this lens also comes with high-end features, especially when used with the Sony a7 III camera! - Source: Internet
  • Zeiss Loxia 2/50 4.5 The Zeiss Loxia 2/50 is one of the best modern manual focus lenses out there, and is worthy of being called Editors’ Choice. $699.00 at Amazon See It (Opens in a new window) Zeiss Loxia 2/50 Review - Source: Internet
  • A wide-angle lens at f/1.4 is perfect for those who want to get a sharp and pristine landscape image in that blue hour – you can get a lot of light in without losing any quality in the image. The 24mm is also a great focal length for those interested in creating photos of wide-open desert-scapes or more dense wooded areas, as it helps you find a well-balanced composition of your surroundings. This lens is light and packable, making it easy to take on all your adventures in pursuit of that ideal landscape shot. - Source: Internet
  • It’s also worth looking out for weather sealing, so that a little rain doesn’t put a premature end to your whole shoot. Also, pay attention to the filter compatibility. Many ultra-wide lenses can’t take front-mounted filters at all because of their bulbous front element, while others will require ones with a sizeable filter thread. Filters can be hugely important in landscape work, so it’s worth thinking about the filter setup when you buy a lens. Check out our guide to the best filters for landscape photography to get an idea of the kinds you might use. - Source: Internet
  • This lens appears on many lists which is a testament to how versatile it is. Many beginner photographers swear by it, and it’s not hard to see why. It’s such a convenient lens to carry around, and performs well in so many settings. For the amateur photography the EF 50mm is perfect as a general photography lens, and that includes landscapes. It’s an affordable way of trying out different ways of shooting. - Source: Internet
  • If the Sony FE 85mm f/1.8 is too slow for you and you have a bit more to spend, take a look at this beautiful 85mm f/1.4 Art lens by Sigma. - Source: Internet
  • If you think sun rays, night glares, or dense fog is easy to put into an image – you’ll be in for a mild surprise. Truth is – that ain’t easy. To catch the intricate details, colours, sharpness, vibrancy and texture, just to name a few – you’ll need nothing less than a yippee-ki-yay-type of lens. - Source: Internet
  • What’s more, it’s both lighter and more compact than pairing the Nikon AF-S 14-24mm f2.8 G with an adapter, making it a good excuse for Z-mount users to go all in and opt for the native lens. While there is some distortion evident if you leave it uncorrected, there’s no reason you ever would leave it uncorrected, with Nikon’s automatic correction profiles ready and able to swoop in and take care of matters. - Source: Internet
  • An exceptional lens. It outperforms the already very good 4/16-35 while only weighting 165g more. The only downside is the very significant price tag. - Source: Internet
  • The f/2.8 aperture is used during landscape photography because it brings sharper pictures. When it comes to the focal length this lens works from the minimum which is 28mm and moves on to the maximum, which is 70mm. - Source: Internet
  • If price is no object and you want the top-of-the-line telephoto zoom lens for sports photography, the Sony FE 70-200mm f/2.8 GM lens is the go-to lens. Sony’s flagship mid-telephoto zoom lens, the 70-200mm G Master lens, features fantastic image quality, swift autofocus and rugged, durable construction. It’s also quite pricey, as one might imagine, at around $2,600. - Source: Internet
  • – Full-frame E-Mount lens. G – Gold Series lens. Sony’s second-highest lens tier. - Source: Internet
  • The only real downside of this lens is its autofocus. It definitely hunts a bit if you’re too close to your subject or in super low light. It’s also not the quietest. Still, it functions great most of the time. - Source: Internet
  • This Sony lens is packed with two Extra-Low Dispersion Elements, three aspherical elements, and two XA elements. The blade of the aperture is really unbelievable, it is an 11-blade circular aperture which makes the lens work perfectly well with portraits as well, because of the amazing bokeh effect. The range of the aperture is quite normal, it works from f/22 and goes up to f/2.8, for sharper pictures and it keeps the exposure and the depth of field. - Source: Internet
  • This kind of connect with the point I just made above. A wider aperture allows for more light to enter your frame. And the more light your lens can take in, the bigger the chance of taking a well-exposed photo. For constant apertures, anywhere between 2 and 3 mm is best. Adjustable apertures can have any range below 5. - Source: Internet
  • You’ll have to pack up and wait for the clouds to clear until you can continue. When you choose a lens with weatherproofing, it keeps the equipment safe from dust, dirt, rain, and other elements. Many lenses have fluorine protection on the glass that keeps it safe from these things, along with scratching. - Source: Internet
  • Wide angle lenses traditionally have a focal length of up to 35mm or less, and they are the most popular type of lens for shooting landscape photos because it allows you to fit a lot into your frame. Landscape photographers are often shooting large vistas, beautiful views, mountains, waterfalls, or similar, all of which tend to be physically large objects. A wide angle lens means that you’ll be able to fit that large subject into your frame. - Source: Internet
  • Observe Through Your Camera - When you first start out with this type of lens, look at your scene through the viewfinder or camera instead of with just your eyes. This allows you to see the effect you’re creating with your lens, as it may be different to what you see with the naked eye. Pay attention to foreground objects because wide angle lenses exaggerate distance and can make foreground objects appear larger than there are in real life - Source: Internet
  • When it comes to recommending a landscape lens for a Sony mirrorless camera, there are several options to consider, ranging from the ultra-wide 12-24mm range to a more versatile 24-70mm. Our top pick for a Sony mirrorless landscape lens, one that offers a classic ultra-wide to wide zoom versatility, high image quality and a solid value, is the Sigma 14-24mm f/2.8 DG DN Art lens. - Source: Internet
  • When looking for the right lens to buy – especially from third parties – you’ll need to make doubly sure that you’re buying an E-mount lens for your Sony mirrorless camera. (Many third-party developers like Tamron and Sigma make the same lens for a variety of different cameras.) - Source: Internet
  • Bring a Tripod - Since framing is often a very important aspect of landscape photography, consider using a tripod. This allows you to adjust your framing much more incrementally. Also, since you’re like shooting at a small aperture, you’ll be letting less light in, which means you may have to compensate with a slower shutter speed. Tripods allow you to slow your shutter speed below what you would be able to do handheld. - Source: Internet
  • Our pick for crop-sensor photographers is the Sony E 10-18mm f/4 ED OSS. Offering the widest-angle zoom range in the Sony E-mount lens lineup, the 10-18mm lens offers a 15-27mm-equivalent field of view, which makes it a versatile and capable landscape photography lens. Though we have not reviewed this lens, user reviews and other reviews are by and large extremely positive, with praise going to its optical performance in most situations, its lightweight and compact design, built-in image stabilization and the ability to use front screw-on filters. With a price of around $800, it won’t set you back too much. - Source: Internet
  • One thing I really like about this lens is that even with the wide 16mm, you can fit an 82mm filter on this lens. Some wide-angle lenses have large front elements that require you to get a special filter holder and use large square filters. Filters are essential for landscape photography so being able to use standard filters makes things a lot easier. - Source: Internet
  • A lens whose performance comes very close to that of the Sigma 19mm is Sony’s own 20mm f/2.8 (30mm in 35mm format). The main difference is that despite falling into the “budget” lens category, it is still $150 more expensive than the 19mm. - Source: Internet
  • While this lens does not have optical stabilization or a wide range of focal lengths (falling short of my recommended range), it makes up for its shortcomings with excellent, across-the-frame image quality. The wide f/1.8 aperture will let you create great landscape blurs behind a sharp foreground subject. Sigma delivers very impressive physical features to accompany the excellent image quality you can expect from this lens. - Source: Internet
  • The RF 15-35mm f/2.8L also offers a slightly wider focal length than many of the lenses on this list. And while a millimeter may not seem like much, it is noticeable in the field and is ideal if you’re looking to capture those ultra-wide, professional-style landscape images. - Source: Internet
  • The 24-70mm has a constant aperture of f/2.8, making sure you don’t – at any point – lacks illumination no matter how much you zoom in or zoom out. It also gives you complete control over the depth of field. Want the subject to fade in? Fade out? Blur some? Blur it all? It’s your choice; the lens is your tool to make it happen. - Source: Internet
  • This Sigma lens features 16 elements in 12 groups, and it also owns two FLD elements, two SLD elements, as well as three aspherical elements. The aperture is a 9-blade rounded one and it works with a range from f/2.8 to f/22. - Source: Internet
  • Sigma chose to eschew some of the “normal” conventions (i.e. external focusing, no IBIS, etc.) with this lens to focus purely on the optics…and it shows. - Source: Internet
  • The Sigma 85mm f/1.4 Art lens also happens to be lighter, sharper, and quicker focusing than Sony’s GM version, all while costing a full $700 less. Many feel that its image quality also matches the GM, but that might be more a matter of taste. - Source: Internet
  • Some photographers also like using a 35mm focal length for landscape photography. The best 35mm lenses are still wide, but again without the distortions that come with ultra-wide angles. What’s great about the 35mm focal length, though, is this is effectively what your eyes can see. So if authenticity is important to you, here you can capture a scene as you saw it. - Source: Internet
  • The Sony Zeiss 55mm f/1.8 Sonnar T* lens is a huge favorite among many, many Sony shooters. Its excellent optics, strong autofocus performance, and compact size make it more than worth its price (which admittedly is a bit steep for an f/1.8). - Source: Internet
  • The long range on this lens will mean it’s possible to pick out even the finest details of a landscape. The image stabilization of the Canon EF 1-400mm f/4.5-.6L IS II USM makes it possible to shoot straight from your hands, assisted by the USM autofocus. - Source: Internet
  • Sharpness is very good even at f/2.8 and the quality of the background blur is decent. Distortion won’t pose a problem as long as you apply the correct lens profile to your image in post production and vignetting isn’t an issue. If the sun is in your frame, you can expect an orb-like green flare to appear in your image, so it is best to keep the lens hood attached at all times to mitigate the effects. - Source: Internet
  • Now the game is of course the get the widest angle with the largest aperture with a good autofocus and image stabilization. It’s difficult to have everything, but you need to find the best compromise. For example, my Canon top pick may have an aperture of f/4 only, but it checks all the boxes otherwise. My non-Canon top pick offers an amazing ultra-wide angle with a very large aperture, great image quality, and for a very affordable price – and the sacrifice is made with the autofocus. I still think it’s a good compromise and great value for money. - Source: Internet
  • Use a Small Aperture - The wider the aperture, the more light that gets through to your camera’s sensor, and the deeper your depth of field, which is generally desirable as you want the whole view in focus. Setting an aperture somewhere between f/8 and f/16 will help you get as much focus as possible in your shot. However, avoid going to f/18 or f/22 or above because this can decrease your final image quality. - Source: Internet
  • Capturing a vast landscape scene is typically done using a wide-angle lens. A lens like this allows you to capture a wider view than you can normally see without turning your head. This is important because it gives the viewer of the photo a sense of the scale and scope of the landscape. Wide-angle lenses are also great for emphasizing depth in a photograph. - Source: Internet
  • Yes, you can connect a Nikon lens to a Sony mirrorless camera body. You just need a Sony E-mount adapter. For more information, see the section above. - Source: Internet
  • A prime lens downside is that you need to buy and carry many lenses to adequately cover the focal length range of a single zoom lens. Frequent lens changes required by a set of primes will inevitably lead to increased sensor dust that will be impossible to overlook in areas of blue sky at f/11. The best zoom lenses available today have excellent image quality, and they are my choice for a significant percentage of my landscape photographs. However, I often have both lens types with me, and sometimes I carry cameras with both types mounted at the same time. - Source: Internet
  • For crop frame cameras, the Canon EF-S 10-22mm f/3.5-4.5 USM is probably the best landscape lens out there. Image quality is consistently good throughout the zoom range, even at the 10mm ultra-wide end. It’s an affordable lens that is convenient to carry around. - Source: Internet
  • Whatever the case may be, you’ll need a wide-angle lens to capture everything in the area. Landscapes are known to be vast and expansive. If you’re using a standard lens, it likely won’t be able to get everything into the frame. Having a wide-angle lens on hand allows you to be more in control and get the shot you want without compromising. - Source: Internet
  • Exposure Mode - For the most part, Av or A (Aperture Priority) works great for landscape photography. Set your aperture and the camera will automatically adjust everything to suit this. This is where you can also experiment by putting your camera in Manual Mode and seeing how different settings impact your photo’s outcome. - Source: Internet
  • The Sony FE 20mm f/1.8 is very new, debuting just this past year. We’ve not reviewed the lens ourselves yet, but user reviews across the web note the lens’s sharp image quality performance, fast AF, small size and good control over coma (or comatic aberration) – a type of optical distortion that can occur to point light sources, such as stars. A lens with low comatic aberration is an important quality to consider when looking for an astrophotography lens. - Source: Internet
  • Image quality from this super-zoom lens is outstanding, offering very sharp performance across the zoom range. The narrower and variable aperture design helps maintain the lens’s smaller size but at the expense of low-light performance. That said, modern Sony cameras do very well with high ISOs, so the dimmer aperture it probably a tradeoff that most will overlook. The build quality is also excellent, with rugged, weather-sealed construction, and the internal-zooming design keeps the lens balanced and avoids lens creep that we often see with long-zoom lenses that extend. All in all, one of our favorite Sony lenses for wildlife photography! - Source: Internet
  • Briefly, the Canon EF 16-35mm f/4L and the Nikon Z 14-30mm f/4 S lenses are excellent choices for those looking for a mix of price and quality, while the Sony FE 12-24mm f/2.8 GM is a top pick for professionals. The Canon EF 24-105mm f/4 L IS II and the Sony FE 70-200mm f/4 G are great if you love to capture a range of landscape shots from wide-angle to telephoto. Finally, for anyone looking for a budget-friendly landscape lens, the Sony E 10-18mm f/4 OSS is a reasonable buy. - Source: Internet
  • – Light Edition. Only ever used once in 2012 to designate a particularly lightweight lens design. OSS – Optical SteadyShot is Sony’s name for in-lens image stabilization. - Source: Internet
  • The Sony 35mm offers detail precision and provides consistent exposure settings for any focal length within its 24-70mm capacity. It brings the classic Carl Zeiss* coating to eliminate ghosting, scattered light and lens flare. Its fast autofocusing, together with its ability to catch the shot’s exceptionally sharp, makes the Sony 35mm one of the best lenses for landscape photography. The lens features three double-sided aspherical elements to neutralise aberrations and provide excellent resolution and contrast all over the frame at all apertures. - Source: Internet
  • It includes a super-fast and virtually silent stepping motor-based autofocus system. However, this does mean that the lens comes without a physical focus distance scale. Likewise, the lens doesn’t feature an optical image stabiliser. Of course, if you’re shooting with a -Nikon Z6 or Z7, this should be no problem as these cameras come with built-in, sensor-shift stabilisation. And so, still has earned its right to be among the best lens for landscape photography. - Source: Internet
  • While it comes with excellent build quality and quick, accurate autofocus, the real reason to buy this lens is for its speed and superb lowlight performance. Its f/1.4 maximum aperture is just about as fast as you can buy. - Source: Internet
  • The Nikkor 50mm is a great everyday landscape lens that works for both beginners and photography savvy. Featuring a super-fast f/1.8 aperture, you’ll be impressed by its shallow depth of field, letting your subject stand out from the perfectly blurred background. The fast aperture also means that you easily can take it with you in challenging low-light scenarios. - Source: Internet
  • The build quality is good, with its mixed metal and plastic construction, but the loose focus ring is somewhat annoying, as is the lack of a hyperfocal scale and electronic contacts to transfer EXIF data. That said, it is one of the only f/1.4 lenses for Sony APS-C, so it remains a unique offering in this category. - Source: Internet
  • Suppose you’re into low light photography. In that case, we’ve found the lens for you (or one of them at least). The 14-24mm will offer superior images – whether it’s capturing the milky way or catching the Blair Witch in the dark forests. It includes three aspherical lenses, two ED glass elements and one nanocrystal coat. - Source: Internet
  • The autofocus on the Tamron 10-24mm is relatively quick, sharp, and quiet although it can take a little time to get used to. The manual focus ring on the lens is very responsive, quick to use, and it’s easy to locate position allows you to quickly tweak your image focus in a pinch with minimal effort. We would also like to point out that the lens comes with a 77mm thread size and recommend the Gobe 77mm filter range (Click here to check for product prices and availability) if you are looking to further customize your lenses performance via a filter. - Source: Internet
  • We’ll discuss focal length in more detail below, but as a general rule you want to go wide, but not too wide, when shooting landscapes. Ultra-wide-angle lenses will introduce distortions to your scene that will be distracting. They also often have built-in lens hoods to protect their bulbous front element, which makes it difficult (and costly) to mount filters should you, for instance, want to shoot a long exposure in daytime. - Source: Internet
  • Wide-angle zooms come in all shapes, sizes and prices, so it can be difficult to know which to choose. What’s also often important to landscapers is a combination of light weight, ease of use, and image sharpness. Light weight because you don’t want to lug it about, ease of use because you may be wearing gloves (a good control ring is your friend here), and image sharpness because you’ll often be stopping down to capture as much detail as possible. - Source: Internet
  • A good wide angle lens could be all you need if you’re starting out with landscape photography. They’re the perfect match; the depth of field they have across apertures is second to none, making it possible to frame a point of interest whilst still having a sharp background. They also draw the focus into the picture and make the horizon seem further away. You can fit so much in the frame with a wide angle lens, but be aware of creating a fisheye effect at wider zooms. Here are some of our favourite wide angle lenses: - Source: Internet
  • Sony has two main lens mount styles for its cameras: the A-mount and the E-mount. The A-mount is for its DSLRs (cameras with a mirror). The E-mount is for its mirrorless line – both APS-C and full-frame. - Source: Internet
  • At 77.6х87mm and 385g it’s highly portable, but that doesn’t mean any compromise in optical quality with four aѕрhеrісаl and four extra-low dispersion elements. While this is a fairly minor upgrade on the previous version of this lens, as we pointed out in our review, landscape photographers will appreciate the addition of weather-sealing, which justifies the extra cost outlay. - Source: Internet
  • A good mid-range zoom is a must for almost every kit, but finding one of the best Sony lenses for less than $1000 isn’t so easy….that is, until Tamron came out with the 28-75mm f/2.8 Di III VXD G2. - Source: Internet
  • Create a Sense of Movement - Depending on the landscape, strive to create a sense of movement within your shot. To do this, use leading lines and patterns to draw the viewer’s eyes through the image. For example, if you have an island or structure in the background, look for something in the foreground that draws your eyes to the background, like rock structures. - Source: Internet
  • Use Different Heights - When you use a wide angle lens, height makes a big difference in your shots. Shoot a scene at different heights and look at your results. Just remember, the higher you have your camera, the more you have to tilt your device down to capture the foreground in your image. - Source: Internet
  • Its main competitor, the Sony 35mm f/1.8 is almost $350 cheaper but also slower. The Sony 35mm f/1.4 GM is a somewhat better lens optically, but a full $600 more. - Source: Internet
  • The maximum size of the aperture of a lens – or f/number – determines how “fast” a lens is. Faster lenses let in more light, allowing you more wiggle room when working handheld in darker environments. They also allow you to photograph a narrower focus plane, putting your subject in focus while blurring everything in front and/or behind it. - Source: Internet
  • It also has a nine bladed diaphragm which is rounded to give softer and more natural rendering to landscape details and highlights, and at 680g and 82.5x125mm it can save size and weight in a backpack compared to the faster but larger, heavier and more expensive 14-24mm f/2.8. And still offers great build and weather sealing. - Source: Internet
  • Light, compact, and available for under $700, it’d be easy to assume that this was just a mediocre lens. In reality, however, the Tamron 28-75mm f/2.8 can more than pull its weight in both image quality and performance. - Source: Internet
  • You are looking for a wide-angle lens so obviously, the focal length is the first thing to look at. The smaller the number, the wider the field of view. However, you need to consider the camera you will be using: full frame or APS-C? Some lenses can be adapted to both, some others work only for APS-C cameras. These are usually the ones with very wide focal like 10 or 12 mm – it becomes the equivalent of 16 or 18 mm on an APS-C camera (Canon APS-C cameras have a crop factor of 1.6x). - Source: Internet
  • A good camera and a good lens are essential in photography, and landscape photography doesn’t escape this rule. The information on this page is more geared toward Canon camera owners because I own a Canon, but I am sure that the advice in this article is also useful if you own other camera brands. All the information you need to make your final choice for your wide-angle lens is here. I hope this guide was valuable and useful to you in your search for a great wide-angle lens for landscape photography! - Source: Internet
  • A Carl Zeiss lens is a lens made by Sony using Zeiss design and technology. It uses the Zeiss quality standard, which focuses on resolution and contrast. (Sony partnered with Zeiss for two decades before making their first GM lens in 2016.) - Source: Internet
  • It’s not easy to build a high-performing wide-angle zoom – especially at f/2.8, but Sony managed it here. The 16-35mm f/2.8 GM delivers strong resolution wide open and is simply stunning once you bump up to f/4. - Source: Internet
  • Lenses made for full-frame cameras, on the other hand, have an image circle that’s larger than the APS-C sensor. As a result, full-frame (FE) lenses work just fine on an E-mount APS-C camera, though images will be considerably “zoomed in.” The camera will only show you the part of the image that the lens covers. - Source: Internet
  • If your lens isn’t a prime lens, that means it’s a zoom lens. Zoom lenses are all about flexibility. They offer you the opportunity to change your perspective without having to change your positioning. For this reason they are more flexible than prime lenses - Source: Internet
  • Though Sigma already released an 85mm f/1.4 HSM Art DSLR lens some years back, this “DG DN” version has been redesigned for mirrorless cameras, namely Sony E-mount and L-mount cameras. The lens has been redesigned for mirrorless, utilizing a new optical formula and a new AF system powered by a stepper motor. All in all, the updated 85mm f/1.4 DG DN Art is a stunning portrait prime for Sony (or L-mount) mirrorless cameras. - Source: Internet
  • Cameras that can swap out lenses, like those in Sony’s mirrorless system, don’t work with just any lens. You need to shop for one that’s made for your camera. If you opt for the Sony system, you benefit from a decade’s worth of lens development, which means there are oodles of optics from which to choose. - Source: Internet
  • The 24-70mm f/2.8 is also plenty sharp, and the L-lens build quality is great for lengthy outdoor adventures. At the end of the day, the 24-70mm f/2.8 really is an incredible – albeit expensive – landscape lens, and if you can afford it, buy it. For those who want to spend less cash, Canon offers a cheaper f/4 version. - Source: Internet
  • It’s a robust, complete lens system that benefits from Sony’s early bet on mirrorless, along with support from numerous third parties. Ultra-wide, macro, telephoto—it’s all covered, in one form or another. But figuring out which lens is right for you can be tough, especially if you’re just getting started with the system. - Source: Internet
  • – Gold Series lens. Sony’s second-highest lens tier. GM – Gold Master, more commonly “G-Master” lens. Sony’s highest-tier lens. - Source: Internet
  • Keep Your Elements to a Minimum - A wide angle lens lets you capture a lot more in a single shot, which is good. However, beginners with a wide angle lens often make the mistake of putting TOO much in their photo. Too many elements can make your scene seem chaotic, try to focus on two or three elements and keep it simple. - Source: Internet
  • – Gold Master, more commonly “G-Master” lens. Sony’s highest-tier lens. LE – Light Edition. Only ever used once in 2012 to designate a particularly lightweight lens design. - Source: Internet
  • Landscape photography often requires travel to get to the ultimate landscape photography destination. When traveling by airline, you will want to keep your pack light. The same need applies when hiking to a select location. Packing light helps keep the photographer’s energy up, and increased energy will allow him or her to better focus on capturing the desired image. Light weight is a generally important feature for a lens in the landscape kit. - Source: Internet
  • Starting this article with the amazing Sigma 28-70mm F2.8 DG DN lens, which as you can notice is listed as the best budget. It may be considered expensive, for someone, however, when compared to the other ones in this article it is cheaper. - Source: Internet
  • For its compact size my favorite is the Voigtlander 15mm 4.5 SWH E. It still finds it’s way into my bag regularly, and during long hikes in the mountains it often is the only lens I carry. - Source: Internet
  • This is an impressive lens to say the least. The ultra-wide angle can take some incredible photos, fitting so much in the frame without distorting straight lines. The quality of the images is consistent throughout the focal length range. The USM technology makes autofocusing quick, accurate and almost silent. This is an excellent lens for landscape and architectural photography. - Source: Internet
  • The 16-35mm f/4G is both portable and durable, plus it packs great image stabilization for low-light handheld photography. (That said, I do recommend capturing most of your landscape photos using a tripod!) The 16-35mm focal length range is ideal for wider scenics and allows you to shoot stunning near-far landscape compositions with great results. It’s also a (relatively) inexpensive lens, plus it’s compact and much lighter than most f/2.8 zooms (at 24 oz/680 g). - Source: Internet
  • The Leica is a general-purpose zoom lens. Its zoom range coverage is broader than other wide zoom lenses that start at f/2.8. The lens’ maximum f/4 aperture means it’s perfect for taking shots in low lights as well as very bright light scenarios. This aperture also helps achieve selective focus and gives you more control over the focus position. - Source: Internet
  • Wide-angle zooms aren’t always the fastest, which generally isn’t a problem as you’ll likely be working at narrower apertures for landscapes anyway. However, if you’re prepared to pay extra, you can get large-aperture wide-angle zooms for working in low light. There are also a few features you probably don’t need to worry about, like image stabilisation, as landscape photographers tend to work on tripods. - Source: Internet
  • Sony themselves do not (yet?) make macro lenses higher than 1:1 mag. ratio, and generally, most of these high-powered macro lenses are manual-focus only. For our recommendations, we will stick to the more common and more versatile lenses that offer autofocus. Not only can they be used for macro photography, but they also work for more general-purpose photography, even portraiture. - Source: Internet
  • We have no association with any lens manufacturer apart from occasionally loaning a lens for a review. Before any short introduction we tell you how long we have used a lens and if we have borrowed it from a manufacturer. But in most cases we have bought the lenses new from retail stores or on on the used market. - Source: Internet
  • You get an extra couple of millimeters on the wide end compared to the 16-35mm f/4G (above), so you certainly won’t struggle to capture breathtakingly wide compositions. And while 30mm isn’t ideal for tighter, more intimate landscape shots, it’s perfect for more wide-angle-focused shooters. Ultimately, the compact design, incredible corner-to-corner sharpness, and wide perspective make the Nikon 14-30mm f/4 a landscape lens worth considering for serious mirrorless photographers. - Source: Internet
  • Sure, primes will get you better optical quality. But lugging a bag of five or six lenses is no small matter if you’re tramping through the lakes, and changing lenses in wet weather is not recommended. A good zoom lens, as long as it’s high-quality, can be a much more pragmatic choice. You just have to make sure that you do indeed get a good one. - Source: Internet
  • Sonnar – Sonnar Zeiss lenses use the Zeiss classic “Sonnar” design invented by Dr. Ludwig Bertele in the late 1920s. They feature a fast aperture, lightweight design, and fantastic contrast – all with a minimum of flare. - Source: Internet
  • Since landscape subjects are often motionless, fast autofocus is not usually an essential feature for landscape photography. I use regularly use autofocus when shooting landscapes, but waiting even an extra second for the lens to focus would seldom make a difference in my images (unless the wife and kids are waiting for me). Even manual focus often works well for landscape photography, especially when photographing at narrow apertures. - Source: Internet
  • GM, or Gold Master lenses are Sony’s premium, top-of-the-line lenses. They’re designed to fulfill all professional requirements, from exceptional image quality and performance to weatherproofing and a superior design build. They are designated on the lens with a white G on an orange square. - Source: Internet
  • The 14-30mm f/4 is lightweight and relatively compact, so it’s plenty portable – always handy for travel landscape shooters as well as photographers who enjoy backpacking for days on end. It supports direct filter attachment to the front of the lens, which expands the creative possibilities for ultra-wide landscape photography. It’s well-designed with resistance to dust and water, which is essential for landscape photographers who work in blowing sand, seaspray, rain, or snow, and it features fabulous optics for clear and sharp shots. - Source: Internet
  • Include Foreground Interest - The bottom third of your photo shouldn’t simply be empty space. Instead, you want to capture something that gives your audience something to look at before they look at your landscape. This could be a lake, boat, people or even a building. - Source: Internet
  • The superior glass provides optimal optical performance, with excellent contrast and sharp image quality even at the widest focal lengths. It is one of the best-quality landscape lenses for APS-C Sony mirrorless users out there, plus it’s small and lightweight (it only weighs 7.9 oz/225 grams), so it’s perfect for travel landscape shooting. - Source: Internet
  • For sports photography, you’ll most likely want a telephoto lens, something with reach to help bring the action up close. You’ll most likely not be able to get right up next to the sidelines, so a longer telephoto lens will be critical to getting pleasing, action-packed sports photos. Now, depending on the particular sport you’re photography, how much telephoto reach you’ll need can vary dramatically, but a classic go-to for many different popular sports, such as football, soccer, basketball and tennis, is a 70-200mm lens – and a 70-200mm f/2.8 variety, if possible. - Source: Internet
  • The 100-400mm is a super-telephoto zoom lens, which means you can capture objects even at a far distance. If you’re tired of not being able to capture the image as you see it with your own eyes – this lens is the solution. With remarkable stabilisation and excellent composition, you can catch the landscape as you see it right in front of you. Its Air Sphere Coating means you can minimise backlit flaring and ghosting for edge to edge sharp pictures – even in broad daylight. - Source: Internet
  • An exceptional lens. This is one of the rare cases where a zoom outperforms many primes. If you can live with the lack of a filter thread and accept a little worse flare resistance then it is a very attractive lens. - Source: Internet
  • The widest lens on the list, equating to 13.5mm in 35mm terms, is the Laowa 9mm f/2.8 Zero-D lens. We’ve only ever tested it on Fujifilm X Series cameras but it is also available for Sony APS-C. - Source: Internet
  • There is very little distortion and no vignetting with this lens. The optics are above the standard and deliver crisp and beautiful RAW images. What stands out most about this lens for me is the build quality. - Source: Internet
  • Anti-Reflective; the lens contains Sony’s nano-coating technology. All G and GM lenses have this. DDSM – Direct Drive SuperSonic Motor; Designed for moving large, heavy focus groups in some Sony lenses. - Source: Internet
  • Most lenses offer some sort of image stabilization, which is always good to have, particularly in low light. It is especially useful when your lens doesn’t have a very large maximum aperture and you are at risk of getting blurry pictures in low light. A good stabilization system can save your pictures and efficiently compensate for the vibrations and camera shake. That said, I would still give priority to a large aperture. - Source: Internet
  • The fast aperture will let you shoot both indoors and outdoors in bright or low light. The focal length is neither too wide nor too narrow. Followers of the “Middle Way” would be proud. - Source: Internet
  • Its ultra-wide view gives an equivalent 17-27.5mm and despite having a fast f/2.8 aperture it comes in at a reasonable 704g and 90x100mm, keeping load reasonable. It also has a very handy Focus Clamp mechanism which lets users lock the point of focus for multiple exposures, bracketing or starlit scenes. - Source: Internet
  • A wide-angle lens for Sony that left me a very good impression was the Sigma 16mm f/1.4 DC DN C (24mm in 35mm terms). This didn’t surprise me to be honest as I’ve fallen in love with almost every lens in Sigma’s Contemporary and Art series for mirrorless cameras so far! - Source: Internet
  • " Amazing wide angle lens for my Canon r5…Fantastic and super lightweight wide angle lens ! Love it for landscape and astrophotography….I have used it for close up photography . I will be using it for more wide landscapes going into the spring. " - Source: Internet
  • Like many other native E lenses, the 16-70mm is quite compact on APS-C bodies, weighing just 308g. It features a flexible range of 24-105mm in 35mm equivalent terms and a constant f/4 aperture. There isn’t any weather-sealing, which is a shame considering its price, but you can’t really complain about the build quality which consists of an all-metal exterior and nicely damped zoom and focus rings. - Source: Internet
  • Interesting and cheaper alternative to the 10mm 5.6 and 12mm 5.6 Voigtlander lenses, but optically not as good as the 9mm 5.6 - Source: Internet
  • The first thing that should be said about this lens is that it is tiny – so tiny in fact that you should have no trouble finding a spot for it inside your camera bag or your jacket pocket. It features a solid metal build (albeit without weather-sealing) and comes with a clicking aperture ring and smooth focus ring complete with a distance scale. Included is a small petal shaped lens hood. Make sure it is perfectly straight, otherwise it may cause some dark shading in the corners of your image due to the wide nature of the lens. You can also fit 49mm filters to the front. - Source: Internet
  • Sony a7 III is one of the most famous and of the greatest cameras that Sony has ever created! It is a full-frame mirrorless camera that works perfectly with the staggering combination of the 24.2MP BSI full-frame sensor and the BIONZ X image processor. I would also like to mention that this camera is perfect when you use it for landscape photography. - Source: Internet
  • Happily the build quality leaves nothing to be desired. The metal chassis feels solid and hefty and the built-in lens hood suits the lens very well. Being a very compact lens, it is also a good match for Sony APS-C cameras. The ribbed focus ring is very smooth and precise, as is the de-clicked aperture ring. I only wish they’d included the f/11 marking on the barrel as I use this value quite often. - Source: Internet
  • Using a wide-angle lens for landscape photography is a no-brainer. It’s the most commonly used and for good reason. When you think of landscape, what do you picture? Maybe a field of corn, a towering mountain range, an ethereal forest, or a relaxing beachfront. - Source: Internet
  • The build quality is on par with most Sony APS-C lenses: it has a black plastic finish and a metal lens mount. Despite being an ultra wide angle lens, it is fairly compact, tipping the scales at just 225g. The focus ring and zoom ring are adjacent to each other, yet you can tell the difference between them thanks to the difference in size. Both are pleasant to use. - Source: Internet
  • Are you planning to hike for a long time? Explore the wilderness of the desert? Being a landscape photographer entails long and sometimes hours of walking to find just the right spot. So, you should consider that when you’re packing your camera equipment. Try not to overload yourself with too heavy gear – this includes your landscape lens. Any lens weighing between 250g to 400g is good enough to take with you. - Source: Internet
  • At f/2.8, it’s not particularly fast, but what it loses in speed it makes up for in its particularly small size. (A faster lens would obviously be larger and heavier.) - Source: Internet
  • Its fast f/1.8 aperture lets in plenty of light. The 20mm wide angle can capture long, sweeping views of both land and sky. (It’s great for landscapes too.) The images it produces come out wonderfully sharp across the whole frame and with plenty of punch. - Source: Internet
  • Consider using filters - Filters are a common accessory in landscape photography. ND filters will allow you to shoot long exposure shots in daytime, circular polarisers can reduce glare and enhance saturation, and graduated filters can darken the sky more than the land, helping to balance your exposures. Learn more about filters in our Why You Need a Filter For Your Lens article. - Source: Internet
  • The AF-S 16-35mm comes with an up-market optical design that includes two ED elements, enhancing the lenses sharpness and contrast. All the while minimising colour fringing, plus Nano Crystal Coat to reduce ghosting and flare. It boasts of a super-fast and whisper-quiet ring-type ultrasonic autofocus system and doesn’t compromise with its full-time manual override. - Source: Internet
  • The XF 100-400mm represents a very versatile lens and is suitable for multiple purposes. It’s known for its quick performance and sharp image quality – with the help of its highly effective 5-stop image stabiliser. It also features five extra-low dispersion element and one Super ED element, which lowers the chromatic aberrations. - Source: Internet
  • The focal length on this one works from 16mm up to 35mm. The amazing accurate focus of this lens is only brought by the Direct Drive Super Sonic Wave AF Motors. On it is not included an image stabilization, but this lens will work pretty well with the in-camera stabilization that Sony a7 III owns. - Source: Internet
  • Reviews of this lens are all overwhelmingly positive, with users noting the lens’s excellent sharpness, color rendition and it’s versatility – not only due to its zoom design but also by the fact that it readily accepts teleconverters for even more reach. The lens is a bit heavy and expensive, but if you can look past those factors, the Sony FE 70-200mm f/2.8 GM is an absolute stunner. - Source: Internet
  • Best Sigma lenses for landscape photography With a focus on high-end performance, you can make the case that Sigma produces the best lenses for landscape photography that money can buy. And you will part with that money. But if you’ve invested in a high-end camera and image quality is important to you, shouldn’t you also invest in high-end lenses? - Source: Internet
  • Should I get a prime or a zoom lens for landscape photography? The prime vs. zoom lens decision is a big one for the landscape photographer. Generalizing, the most significant advantage of using a prime lens is the ultimate image quality. These lenses typically produce the sharpest corners, low (or no) distortion, the least vignetting, and the best sunstars. - Source: Internet
  • Not to state the obvious… this is a wide-angle lens with a bright f/1.4 maximum aperture to help you when working in low-light conditions. It features two ultra-low dispersion elements aiding you to control chromatic aberrations and distortion for high sharpness and clarity. Like most Canon lenses, the 24mm features a Sub Wavelength Coating to suppress lens flare and ghosting – providing excellent contrast and colour neutrality in various lighting conditions. - Source: Internet
  • The f/4 maximum aperture might not scream low-light landscapes, but it’s only a stop slower than the EF 16-35mm f/2.8L III USM so can easily be made up in ISO, it’s constant, and will save you about £1000. If you’re caught without a tripod, the lens’s Optical Image Stabilizer is rated at four-stops, so that could get you out of a (dark) hole, too. Weighing a reasonable 615g, it’s by no means huge either, at 83x113mm and boasts some decent weather sealing. - Source: Internet
  • For the price, the image quality of this lens is amazing. Photos come out startlingly sharp, nicely contrasty, and with great color. The bokeh is nice and creamy, and there’s nothing distracting in the out-of-focus areas. - Source: Internet
  • With a focal range roughly equivalent to 27-202mm on a full-frame camera, the Sony 18-135mm f/3.5-5.6 OSS is a perfect all-in-one lens for APS-C shooters who don’t do a lot of low-light photography or shots needing a shallow depth of field. - Source: Internet
  • Many years ago, as I was getting into photography, my budget wasn’t huge and I couldn’t afford any of the high-end wide-angle lenses that were suggested to me. I settled for a much cheaper, manual-focus lens, thinking it would be a temporary fix, until I can afford something more expensive. In the end, I loved my cheaper lens and never bought a more expensive one. - Source: Internet
  • For crop-frame shooters, with cameras such as the A6600, A6400, or A6100, using a native APS-C-format lens for landscape photography and other wide-angle shooting is important. You can, of course, use full-frame “FE” format lenses on a crop-frame Sony camera (they all use the same lens mount). The crop-factor introduced by the smaller sensor will reduce some of the wide-angle field of view if you use a full-frame lens. - Source: Internet
  • Since landscape subjects are often motionless, image stabilization can be a huge benefit for a landscape lens for those times when a tripod is not desired or practical. Even under full sunlight, I very frequently need image stabilization to make handheld shooting successful, especially when using a light-reducing circular polarizing filter (a mandatory part of the landscape kit). The wind typically found at some of the ultimate landscape locations further increases the need for image stabilization with handheld daylight photography. - Source: Internet
  • Landscape photographers always want great image quality, and long focal lengths are often needed for this pursuit. This lens avails those long focal lengths that render distant subjects, such as mountains, substantial in the frame. In this case, great image quality comes in a light, relatively compact, inexpensive package, all features that will be appreciated. Those working on a tripod will miss having a tripod foot for this lens, but the high-value price will be found compensatory. - Source: Internet
  • There are, of course, plenty of other 50mm lenses available for the Sony FE-mount, but the F/1.2 GM stands out not only for its relatively compact size and exceptional optical performance but also for being Sony’s only f/1.2 lens. - Source: Internet
  • As you’d expect from a wide-angle lens, there is lots of distortion and vignetting but both can be corrected by applying the lens profile. Chromatic aberration isn’t an issue and flare will only show up if you shoot directly into a strong light source. Thanks to its minimum focus distance of 25cm, you can comfortably work with this lens even in tight spaces. - Source: Internet
  • A telephoto zoom lens is a good way of creating a sense of distance between the viewer and the subject of the photograph. They’re also very useful for getting up close to a particular element or detail of a landscape that may not be reachable otherwise. As having a wide aperture isn’t so important, you don’t necessarily have to throw down big bucks on a telephoto lens. Some good choices are: - Source: Internet
  • There is a previous f/2.8 rendition of this lens, but this one delivers better image quality and unless your shooting night sky images, the f/2.8 isn’t really necessary for landscapes. - Source: Internet
  • A telephoto lens typically has a focal length of 80mm or larger (50mm on an APS-c camera body). This lens allows you to make distant items appear larger in the image’s frame. Landscape photographers will use telephoto lenses to capture the details of a distant scene. - Source: Internet
  • Of course, there’s also a stunning 12mm focal length, so ultra-wide shooters can capture scenes of all types with a uniquely wide perspective. Unfortunately, the 12-24mm f/2.8 GM is extremely expensive (at the time of writing, it costs nearly $3000), but if you’re a professional or you have the cash to spare, you won’t be disappointed. - Source: Internet
  • Images come out highly detailed, with great color and contrast. In fact, few zooms at this price point can match the fine detail rendering (i.e., acuity) of this lens. - Source: Internet
  • The other main benefit of prime lenses is that they generally provide wider maximum apertures than zoom lenses. The main benefit of this is that they can offer shallower depth of field and better shooting in low light. However, both those benefits are minimised in landscape photography, where photos are typically shot with small apertures to avoid shallow depth of field, and from a tripod, which means longer exposures can typically negate lighting issues. - Source: Internet
  • The focal length is of primary importance for landscape photography, but the max aperture is (usually) not. While a wide aperture can be used to isolate a detail in the landscape or to capture the night sky, much landscape photography uses small apertures for significant DOF (Depth of Field). Therefore and fortunately, landscape photography does not require the fastest lenses, those with the widest aperture and accompanying heaviest weight, largest size, and highest cost. - Source: Internet
  • Smooth Autofocus Motor; A cheaper AF motor used primarily on Sony’s kit lenses. XA – Extreme Aspherical; the lens contains Sony’s top-of-the-line aspherical element that produces extremely high resolution with beautiful out-of-focus areas. Reserved for Sony GM lenses. - Source: Internet
  • First off, this lens can be used both as a macro and a short telephoto. It is super sharp with beautiful bokeh at all focal lengths and smaller apertures. This lens also has a clutch, which is very handy when you want to switch to and from auto to manual quickly to get precise focus on your subject. The 90mm f/2.8 Macro G is a very versatile lens for a prime and allows you to capture a range of subject matter out in the wild. - Source: Internet
  • Jannik: You can’t go wrong with this lens , especially at the wide end. Performs is best at 20mm, but is also very good at 16mm. Keep the field curvature in mind and focus carefully. - Source: Internet
  • Yes, it’s on the pricier side, but the greatest benefit of the 24-70mm f/2.8 lens for landscape shooters is the versatile focal range offered for shoots. At 24mm, you can capture beautiful wide-angle images, while at 70mm, you can shoot intimate landscapes, close-up scenes, and more. You don’t get the same ultra-wide perspective offered by the 15-35mm or 16-35mm lenses shared above, but you do get a set of longer focal lengths that are great for more intimate landscape photos. - Source: Internet
  • The sharpness of this lens is superb, especially when stopped down to f/5.6. It also works superbly with Sony’s autofocus system. - Source: Internet
  • Typically, you’ll look for weather resistance in the best lens for landscape photography. Suppose you’re going somewhere where mother nature can be rough. In that case, your lens needs to be able to withhold whatever comes its way – strong wind, heavy rain, humidity or very high temperatures. - Source: Internet
  • The f/2.8 aperture will allow you to get more creative with subject isolation/background blur, but that extra glass does add to the carry weight of this lens. Some landscape photographers will find image stabilization to be a desired feature that is missing. Shoot from a tripod or monopod. - Source: Internet
  • Something else to consider as well as how much space you have to work with when you’re in nature. If you have a standard lens, you may not be able to physically back up enough to get the shot you want. Having a high-quality wide-angle lens will get the job done with ease. - Source: Internet
  • Already at f/2.8 the sharpness across frame is very good at the wide end. At 24mm not nearly as good compared to 14mm, needs to be stopped down to f/8.0 for best performance here. - Source: Internet
  • Both E-mount lens lines, E and FE, are compatible with Sony APS-C camera bodies. Sony E-mount lenses are designed specifically for use with Sony APS-C mirrorless cameras, such as the a6000 series. These lenses offer a smaller form factor and lighter weight than their full-frame counterparts. Sony FE lenses are designed with Sony full-frame mirrorless cameras and offer superior image quality and low-light performance. - Source: Internet
  • Although this lens doesn’t have the range of the 100-400mm above, the Canon EF 70-200mm f/4 IS USM still boats its quality as a landscape lens. It captures sharp and clear photos even when shooting without a tripod. The sturdiness of the lens makes it a great addition when travelling, ideal for chasing landscapes. - Source: Internet
  • A generous zoom range is a great plus in a landscape lens. It enables creative versatility. You also avoid having to carry a large number of lenses or swap between them too often. - Source: Internet
  • The most popular focal range in all of the photography, the 24-70mm zoom is one of the most versatile in the industry. The wider end (24mm) is suitable for both landscapes and interiors. The longer end (70mm) allows for nice portraiture. - Source: Internet
  • The benefit of using a standard lens for landscape photography is that you can also photograph other subjects. A standard lens allows you to have a bit more focus when shooting landscapes. You can crop out unnecessary objects and pull out more specific details. Once you’re done with the landscape, you can then go on to photograph something else without having to switch lenses. Some good standard lenses for landscapes are highlighted here: - Source: Internet
  • With great image quality, a key focal length range, light weight, and image stabilization, the 24-70 f/4 IS L makes a great general-purpose landscape lens. The biggest advantage this lens holds over the 24-105 L IS II and the rest of its competition is the impressive 0.7x macro focusing capabilities. - Source: Internet
  • Shoot in RAW - Yes, RAW shooting means your photos will take up more space and will require dedicated software in order to edit, but it gives you so much more flexibility during post-production editing. You’ll be able to edit your image without losing the image quality, which is often even more important because landscape photography tends to capture a wide dynamic range (dark land vs. a bright sky) that will be maximised by shooting in RAW. - Source: Internet
  • Best APS-C Landscape Lens Sigma 18-50mm f/2.8 DC DN Contemporary This lens is my top pick due to its excellent quality, wide aperture, and low weight. This is a great lens to bring wherever your feet take you. Buy at Amazon - Source: Internet
  • To make things simple, USM motors are faster to focus and are widely used in professional-class lenses. They are almost silent but not completely. STM lenses are really great for video because the focusing process is smoother (but slightly slower), and practically silent. STM motors are more commonly found in amateur-class lenses. - Source: Internet
  • Though we’ve not yet reviewed the FE 85mm f/1.8 in-house, user reviews, as well as other reviews from industry colleagues, are overwhelmingly positive for this compact full-frame prime lens. Reviewers praise the lens’ sharpness, size and bokeh as well as its overall value, with a price right at or a little under just $600, depending on sales or discounts. Overall, on a budget or not, the little Sony FE 85mm f/1.8 hits all the high marks for a solid portrait prime for Sony photographers. - Source: Internet
  • Avoid Barrel Distortion - Barrel distortion is what happens when straight lines appear to bulge out, and is a common issue as you shoot with wider lenses. This may be somewhat unavoidable when using a wide angle lens, but you can minimise this by adjusting your framing to minimise how noticeable the distortion is. Moving back and zooming slightly in on your landscape, or using attempting to straighten lines using post production software are other options. - Source: Internet
  • One of the key characteristics of a typical landscape lens is a wide-angle or ultra-wide-angle focal length, which for full-frame cameras is generally 24mm or shorter. These types of lenses let you capture more of the scene, which makes them ideal for landscape photography. Imagine a dramatic mountain vista, a wide-open field or a massive waterfall: A wide-angle lens is a good choice for all of these shooting scenarios. Wide-angle lenses are also great for emphasizing a foreground subject. Shoot wide and get in close, and your subject will dominate the frame. - Source: Internet
  • Tamron is a very famous and well-known name in the industry of lenses. It indeed has the best ones that you could ever look for, and the Tamron 28-75mm F/2.8 Di III VXD G2 is definitely one of them! Its ability to work with the Sony a7 III camera is more than great! However, it is a standard lens that works pretty normally. - Source: Internet
  • Second widest rectilinear lens there is in a small package. Downsides are huge vignetting throughout the aperture range and maximum aperture of only f/5.6. - Source: Internet
  • With a selection (or multiple selections) from each of the above categories, you will have lenses with a vast range of focal lengths for your landscape photography needs. Landscape photography can make use of all focal lengths Canon currently offers, from the widest angle through the longest telephoto, but I’ll approximate the most useful range at 16-300mm. The ultra-wide-angle lenses will allow you to emphasize a foreground subject against an all-in-focus large scene, the telephoto lenses will keep distant subjects large in the frame, and the general-purpose lens will frequently find landscape application. - Source: Internet
  • Much like a lens for sports, you’re going to want a lens that offers a nice, longer telephoto focal length. In fact, in some cases, your “sports photography” telephoto lens can do double-duty as a wildlife photography lens. That said, a 70-200mm-style lens may not be telephoto enough for wildlife photography, especially if you want to photograph birds. When choosing a proper wildlife-focused telephoto lens, finding something that reaches out to a least 300mm to 400mm is a good starting point. When photographing wildlife, you probably won’t be able to get very close to your subject, and so having a long telephoto lens will allow you bring that far-off subject up close. - Source: Internet
  • A ‘nifty fifty’ 50mm lens is also a good option for landscapes, particularly for beginners. The best 50mm lenses are affordable and fast. As they’re prime lenses, they force you to focus on your composition and what you’re including in the frame. - Source: Internet
  • Although the EF-S 10-88 doesn’t have quite the range of the 10-22mm above, it’s definitely more affordable. For the beginner or amateur looking to get into landscape photography, this is a solid choice. Image stabilization will help with hand-held photography, as will the STM autofocusing. - Source: Internet
  • Image quality is excellent, even wide-open, at both ends of the zoom range, and the weight savings really go a long way at making the Tamron zoom a pleasure to use for long periods of time. Plus, if you’re an APS-C Sony shooter, the lens also works very well with these smaller cameras compared to longer, heavier telephoto options. All in all, with excellent image quality, fast AF performance, compact construction and a fantastic price point, it’s no surprise that the Tamron 70-180mm f/2.8 Di III VXD got the nod onto our Lens of the Year picks for 2020 as a Telephoto Zoom Lens of Distinction. It’s an excellent telephoto zoom for Sony sports photographers. - Source: Internet
  • The 15-35mm is a joy to use, and photographers will love its edge-to-edge sharpness, amazing image quality, and superbly silent and fast autofocus. The lens offers image stabilization of up to five stops, which is a big deal if you plan to shoot landscapes handheld in low light. Additionally, the f/2.8 maximum aperture is wide enough for sharp astrophotography, though it isn’t really necessary for non-astrophotography purposes and is one of the reasons for the eyewatering price tag. - Source: Internet
  • Choosing an upgrade option here is quite tricky because, at the time of publishing this article, Sony has just recently announced an FE 14mm f/1.8 GM lens that appears to be an all-out stunning lens, particularly for astrophotography. However, as it’s so new, we’ve not yet had any chance to get hands-on with the lens, and reviews around the web are also few and far between – particularly from other owners since the lens is not yet in stock. - Source: Internet
  • It’s perfectly weather-sealed with a fluorine coating on its front and rear element. It also includes a complete hood – making this lens perfect for taking with you everywhere (even for exploring India in monsoon season). Do note, however, because this lens is feature-packed, it does weigh a little more. - Source: Internet
  • The Nikon Z 14-30mm will surprise you – sort of a “how can that many features be in such a little and lightweight body?” surprise. It’s a full-frame compatible wide-angle zoom – designed for full-frame mirrorless Z-mount cameras. It features 4-aspherical elements, 4 ED elements (lucky number, perhaps?), Nano Crystal Coat and a fluorine coating on the front part. Everything to build its super weather-sealed body. - Source: Internet
  • The 16-36mm f/2.8L III is the quintessential landscape lens in the Canon system. The 16-35mm range will cover just about all of your wide-angle landscape needs. - Source: Internet
  • These are the top lenses that are optimized for Sony Alpha APS-C sensor cameras, also known as having a ‘crop-sensor.’ They work on both older models from the Sony NEX range, as well as anything from the a6xxx range (e.g. a6100, a6400, etc.). - Source: Internet
  • You may have noticed on Canon lenses that there are the USM and STM autofocus types, and may be wondering what’s the difference between them. USM (UltraSonic Motor) and STM (Stepper Motor) refer to two different autofocus motors. I will not get into technical details here but I will try to explain the key differences between them. - Source: Internet
  • It may take a while to master focusing on this lens, but once you do, you’ll absolutely fall in love with what it can do. (The key is to understand that it was built for Macro photography, not so much as a multi-purpose lens.) - Source: Internet
  • When it comes to build quality, it is designed pretty well. It’s not quite up to the same quality of the full-frame Canon L lenses but it’s pretty solid. This is basically what you would expect from a crop sensor camera. - Source: Internet
  • Now, much like the other categories on this list, you also have a choice of prime (single focus length) or a zoom lens. Prime wildlife lenses can often be quite large and expensive, with some of the benefits there being fantastic optical quality and brighter apertures, which let them perform in lower light and have gorgeous shallow depth of field. That said, it’s hard to look past the versatile of a zoom lens, which is why we’re focusing on zoom lenses here for our recommendations. - Source: Internet
  • While Canon is excellent at making awesome lenses for landscape photography, should we only choose one? The answer will be the Canon EF 16-35mm f/2.8L III USM Lens. It’s an ultra-wide-angle lens that offers a constant maximum aperture of f/2.8. - Source: Internet
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