If you shoot Sony E-mount and can only buy one lens, make it the Sony FE 24-70mm f/2.8 GM II. Our whole kit is built around the Sony A7 IV, and these six lenses cover the corporate films, weddings, documentaries, events and real estate walkthroughs we shoot. Bodies come and go, but good glass lasts a decade, so this is where we'd spend first.
At a glance
- Sony FE 24-70mm f/2.8 GM II: best all-around lens
- Tamron 70-180mm f/2.8 Di III VC VXD G2: best value telephoto zoom
- Sony FE 35mm f/1.4 GM: best for low light and a documentary feel
- Sigma 24-70mm f/2.8 DG DN II Art: best budget standard zoom
- Sony FE 16-35mm f/2.8 GM: best wide zoom for interiors and gimbal work
- Sigma 85mm f/1.4 DG DN Art: best value interview and portrait lens
1. Sony FE 24-70mm f/2.8 GM II
This is the workhorse of our kit. It lives on our A7 IV for corporate interviews, B-roll and event coverage because the zoom range handles almost any situation without a lens swap. Autofocus keeps up with run-and-gun documentary work, f/2.8 gives enough separation for talking-head interviews, and it's sharp across the frame.
Compared with the original GM, the Mark II is about 20% lighter and focuses faster, which you notice after hours of handheld work. We've used it on everything from corporate spots to full-day weddings, and it has never let us down.
The catch: it's expensive. If that's a problem, see the Sigma below. It takes 82mm filters.
Our pick
Sony FE 24-70mm f/2.8 GM II — the most versatile lens in our kit. If you buy one lens, make it this one.
Check price on Amazon2. Tamron 70-180mm f/2.8 Di III VC VXD G2
Every production kit needs a telephoto zoom, and this is the best-value one on E-mount. At weddings it catches ceremony details from the back of the aisle without intruding. At corporate events it pulls tight shots of speakers from the media riser. On documentaries, the compression at the long end gives a cinematic look wider lenses can't.
It's about 190g lighter and much cheaper than Sony's 70-200mm f/2.8 GM II, with excellent sharpness and reliable autofocus on the A7 IV. The G2 also adds optical stabilization (the "VC" in its name).
The catch: it stops at 180mm, so you give up a little reach compared with a 70-200.
Our pick
Tamron 70-180mm f/2.8 Di III VC VXD G2 — a telephoto zoom for events, weddings and corporate work at a fraction of GM pricing.
Check price on Amazon3. Sony FE 35mm f/1.4 GM
This is the lens we grab for a natural, documentary feel. At f/1.4 the depth of field is shallow enough to make a subject pop in intimate interviews and lifestyle content. It's also excellent in low light: we've shot event coverage in dim ballrooms at ISO 12800 with it wide open and been very happy with the results.
The 35mm focal length works for real estate interiors too, wide enough to show a room without the stretching of an ultra-wide.
The catch: the lens has no built-in stabilization, so handheld video relies on the camera's IBIS or a gimbal.
Our pick
Sony FE 35mm f/1.4 GM — our favorite prime for documentary work, low-light events and lifestyle content.
Check price on Amazon4. Sigma 24-70mm f/2.8 DG DN II Art
Not everyone can justify the Sony GM II, and that's fine. The Sigma 24-70mm Art is the lens we recommend to filmmakers asking what to buy first. It covers the same range, it's sharp, and its autofocus on Sony bodies is fast and reliable.
We've used it as a B-camera lens on multi-cam corporate shoots, and the footage cuts with our GM glass in post. The Mark II version adds an aperture ring, which is handy for video, and costs far less than the Sony.
The catch: the original DG DN Art from 2019 has no aperture ring and is heavier. If you buy used, check which version you're getting.
Our pick
Sigma 24-70mm f/2.8 DG DN II Art — the best budget alternative to the Sony GM II.
Check price on Amazon5. Sony FE 16-35mm f/2.8 GM
When we need to go wide, this comes out of the bag. It's our main lens for real estate video tours, where clients expect to see a whole room in one frame, and for establishing shots on documentary and corporate projects: a new office, the full scope of a conference stage, a low-angle hero shot of a building.
At 16mm it gives an immersive perspective that works well on a gimbal and for tracking shots. The constant f/2.8 aperture keeps exposure steady when you zoom during a take.
The catch: Sony replaced it in 2023 with the 16-35mm f/2.8 GM II, which is about 20% lighter (547g vs. 680g) and adds an aperture ring. The original is still a strong lens and can be a good used buy.
Our pick
Sony FE 16-35mm f/2.8 GM — the wide-angle standard for real estate, establishing shots and gimbal work.
Check price on Amazon6. Sigma 85mm f/1.4 DG DN Art
This is our interview and portrait lens. For a sit-down corporate interview with polished, cinematic compression and soft bokeh, it's the lens we mount. At f/1.4 the background melts away, which isolates a CEO in a busy office or a bride during getting-ready coverage. We use it for photo work too, and it makes excellent headshots and editorial portraits.
Optically it competes with Sony's 85mm f/1.4 GM lenses at a lower price. It's also lighter than both: about 625g, against roughly 820g for the original GM and 642g for the GM II.
The catch: 85mm needs working distance. In a small office you may not have room to frame a seated interview.
Our pick
Sigma 85mm f/1.4 DG DN Art — the best-value portrait and interview lens for Sony shooters.
Check price on AmazonHow to choose
You don't need all six to start. Begin with a 24-70mm (the Sony GM II, or the Sigma if budget is tight) and add lenses based on the work you book most:
- Events and weddings: the Tamron 70-180mm next.
- Real estate and interiors: the 16-35mm.
- Cinematic interviews: the Sigma 85mm f/1.4.
- Low light and documentary: the 35mm f/1.4.
Whatever you buy, check the filter thread. A cheap protective filter is worth having for outdoor shoots; we cover the one we use in our K&F Concept filter review.
Questions about building a lens kit, or need advice for a specific shoot? Reach out.