Last updated on August 29th, 2023

Irrespective of the composition’s beauty, capturing an image perfectly requires the correct settings and a decent camera behind a decent lens.

The lens controls the quality of light entering your camera, and when you have a flagship body like the Sony a7C series, you must get the best of the best.

Sony a7CR and Sony a7C II: An In-Depth Pre-Release Analysis and Comparison

Sony has always been at the forefront of camera technology, and their latest offerings, the Sony a7CR and Sony a7C II, promise to continue this trend. Both cameras are slated for release in late September 2023 and have advanced features that aim to outshine their competitors.

Let’s delve into what makes these cameras unique and how they stack against each other.

Main Features and Specifications

Sony a7CR

The Sony a7CR is a compact, AI-powered camera that weighs 18.2 ounces (515g) with a battery and memory card installed. Despite its compact size, it boasts an impressive 61MP full-frame CMOS R sensor that promises stunning image quality. It also includes a BIONZ XR processor and a dedicated AI processing unit, which should significantly enhance its performance and user experience.

Other notable features include 15+ stops of dynamic range, 693 autofocus points, and Full Frame 4K60 10-bit video capabilities. The body dimensions are 124 x 71.1 x 63.4mm, making it suitable for travel and portrait work.

Sony a7C II

On the other hand, the Sony a7C II features a 33MP Full-Frame Exmor R CMOS Sensor and BIONZ XR & AI Processing Unit. It offers up to 10 fps shooting, ISO 100-51200, and 4K 60p video capabilities. Although it has a lower megapixel count than the a7CR, the a7C II still promises high-quality images and smooth video recording.

Performance and User Experience

Both cameras offer significant improvements over their predecessors. The higher megapixel count on the a7CR will likely result in sharper images with more details.

Moreover, the dedicated AI processing unit could improve the camera’s autofocus speed and accuracy, making it easier to capture fast-moving subjects.

Although the Sony a7C II has a lower resolution sensor, it compensates with its impressive shooting speed and high ISO range, making it a strong contender for action and low-light photography.

Image Quality, Video Capabilities, Autofocus, and Low Light Performance

Given their specifications, the Sony a7CR and a7C II are expected to deliver outstanding image quality. The 61MP sensor on the a7CR should provide incredibly detailed images, while the 33MP sensor on the a7C II should be more than sufficient for most photography needs.

Both cameras support 4K 60p recording, but the a7CR has the added advantage of 10-bit video, which offers greater color depth and flexibility in post-production.

As for autofocus, both cameras come equipped with Sony’s latest autofocus technology. However, with its 693 autofocus points, the a7CR might have a slight edge over the a7C II regarding focus accuracy and tracking.

Low light performance is another crucial aspect to consider. While both cameras boast high ISO ranges, the a7C II’s maximum ISO of 51200 might give it the upper hand in challenging lighting conditions.

Build Quality, Battery Life, and User Interface

While both cameras maintain Sony’s reputation for robust build quality, the a7CR’s compact size may appeal to those seeking a more portable option.

Battery life is yet to be confirmed for both models, but given Sony’s track record, users can expect reliable performance in this area.

As for the user interface, both cameras are expected to feature intuitive, user-friendly controls, with the a7CR benefiting from a dedicated AI processing unit for enhanced functionality.

Sony a7CR and Sony a7C II are shaping up to be impressive cameras. The a7CR, with its high-resolution sensor and compact design, seems perfect for landscape and portrait photographers who need ultra-high-resolution images.

The a7C II, on the other hand, could be an excellent choice for action and low-light photographers thanks to its fast shooting speed and high ISO range.

This list will cover the best lenses for the Sony a7C series of all categories and budgets, ranging from wide-angle and macro to prime and telephoto, and help you make the right choice.

Related: Lens Buying Guide for Beginners

Best Lenses for Sony a7C

1. Sony FE 16-35mm f/2.8 GM

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Designed for the Sony full-frame E-mount cameras, the Sony 16-35mm f/2.8 is an excellent — and expensive — choice for the a7C camera. At 16mm, it doesn’t exactly fit into the ultra-wide category but is great for most landscape photography.

With a constant aperture of f/2.8, this lens is bright and fast. The ‘GM’ stands for G-Master, and it does live up to that label. There are two ‘extreme’ aspherical and three aspherical elements, reducing distortion and aberrations. And complementing the large aperture are 11 diaphragm blades, which create those circles of light when the background is blurred, also known as ‘bokeh.’

Further strengthening the FE 16-35mm overall quality is the nano AR coating applied on the glass and the dust and moisture-sealed design.

The lens also features a detachable hood and a focus-hold button, which can be used to adjust settings like face detection and aperture preview.

Being a premium lens, you can expect the autofocus to be fast and the image quality to be excellent. Moreover, since the a7C already has image stabilization, the lack thereof in this won’t be a big deal.

2. Sigma 14-24mm f/2.8 DG DN Art Lens

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Sigma’s Art series of lenses are known for their premium features and reasonable price. Compared to the Sony 16-35mm, the Sigma 14-24mm is wider, cheaper, and gives you the same constant aperture of f/2.8.

This lens will suit APS-C bodies and full-frame cameras, where it gives a range of 21-36mm. The zoom range does not seem like much, and it will hold the lens back from being an all-purpose travel lens. But it should be enough for astrophotography and landscapes, especially because of the image quality it provides.

The lens contains three aspherical elements and five low dispersion elements, all of which keep flares and distortions at a minimum. A stepping AF motor delivers good performance, and like the Sony 16-35mm, the Sigma 14-24mm has an AF-lock button that can be assigned more functions.

Being dust and splash-resistant makes it a good travel companion. As usual with bulging ultra-wide-angle lenses, you can attach filters only at the back, not at the front. Apart from the missing stabilization and a narrow zoom range, the Sigma 14-24mm Art lens is among the best in its class.

3. Tamron 17-28mm f/2.8 Di III RXD Lens

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If the Sony and Sigma don’t fit your budget, the Tamron 17-28mm f/2.8 is a worthy alternative. It doesn’t give that ultra-wide feel at 17mm, but the bright aperture of f/2.8 and excellent image quality makes it a good backup wide-angle lens.

When used on an APS-C camera, this lens will give a range of 25.5-42mm, which is just enough for general travel photography if you like shooting wide. It is made using the usual low dispersion elements and anti-reflective and dust-resistant coatings found in lenses of this price. 

Build quality is not the greatest here, mainly because the hard-plastic body feels lightweight in the hands. Also, there is no AF-MF switch since the lens supports full-time manual focus override anyway and no image stabilization.

However, since there are no buttons on it and the focusing is internal, the lens is well-protected from dust and moisture.

Its image quality compensates for the few weaknesses of this lens. The lens is quite sharp even at f/2.8 and only improves when stopped down.

If you cannot afford the premium wide-angle lenses, this is your next-best choice.

4. Sigma 28-70mm f/2.8 DG DN Contemporary Lens

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Standard zooms make for great travel lenses because they cover the wide end while also giving enough zoom for some close-up shots. The Sigma 28-70mm f/2.8 is designed with that in mind and is incredibly compact and light at just 470 grams. With the Sony a7C itself being highly portable, the lens will suit the camera pretty well.

On an APS-C body, the Sigma 28-70mm will give a range of 42-105mm, which is better suited for portraits than landscape photography. Featuring three aspherical elements with four low dispersion elements, you will surely get minimal fringing and chromatic aberrations.

Weather resistance is one place where Sigma has done some cost-cutting and is limited only to a rubber gasket for the mount.

Surprisingly, this lens’s minimum working distance is just 8 cm at the 28mm end, and the magnification ratio is 1:4.6, making it useful for basic macro photography.

Autofocusing is quite quick and silent with the Sigma 28-70mm thanks to a single AF element. Combined with excellent sharpness, especially around f/4 and an aperture of f/2.8, the lens’s performance is beyond what you will expect at the price.

5. Tamron 28-75mm f/2.8 Di III RXD Lens

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The Tamron 28-75mm lens is another alternative for those looking for an all-purpose lens and do not mind a slightly less compact body. At the time of its release in 2018, this was the first 3rd party lens to autofocus with Sony cameras, and it has been a favorite of many.

The build of the lens is not the best, but the polycarbonate-plastic feels strong enough, and there are rubber gaskets that provide sealing. And at 570 grams, it doesn’t feel like a cheap kit lens while being half the weight of the Sony FE 24-70mm.

The Tamron 28-75mm strength lies in the ‘RXD’ — rapid extra-silent stepping drive motor. It makes the autofocus fast and silent, and will be an excellent choice for videographers. Add to this the one extra low-dispersion element, three aspherical elements, and Tamron’s broad-band coating, and you get a lens that punches well above its weight.

Sure, it might not be as sharp in the corners as the $2000 Sony lenses and might show some color fringing, but that’s noticeable only to pixel-peepers. Capture One or Lightroom can correct its issues. For a sensible shooter, this lens will get the job done.

6. Sony FE 70-200mm f/2.8 GM OSS

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Telephoto lenses have the characteristic of being slow. But the Sony FE 70-200mm is a marvel of technology. Combining a constant aperture of f/2.8 with optical stabilization and robust weather sealing, it’s a premium lens made for wildlife, weddings, and distant landscapes.

Being a part of the G-Master series, you can expect sharpness across the zoom range, which is all internal. The lens doesn’t extend out while zooming in. Even at 200mm, the lens performs well when stopped down to about f/4 or f/5.6.

Image stabilization increases the lens’s usability, and a button on the lens lets you select a stabilization mode explicitly designed for panning. It also reduces shake when looking through the viewfinder, which will be a big help when framing compositions zoomed in.

Unlike most telephoto lenses, the Sony FE 70-200mm offers fast AF. The double-linear supersonic wave motor is top of the line, and both single-point AF and continuous AF give sharp results. Apart from very high-speed action at 200mm, there won’t be a scenario where you’ll need to adjust AF settings for good results.

The Sony 70-200mm is priced as a professional lens, and it deserves that price tag too.

7. Tamron 70-180mm f/2.8 Di III VXD Lens

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A direct rival of the Sony 70-200mm, the Tamron 70-180mm f/2.8 lens is a cheaper and more portable alternative. By reducing the focal length to 180mm and using six low-dispersion elements and three aspherical elements, Tamron has managed to limit the weight to around 810 grams without losing out on sharpness.

This lens will give a focal length of 105-270mm on APS-C cameras, making it an exceptional choice for wildlife and event photography. One drawback is that the lens does not zoom internally, and the body extends out by a few inches as you rotate the zoom ring. Although this might make it vulnerable to moisture, there are weather seals present.

The lens features two drive motors for AF and is one of the best systems that Tamron has to offer. Continuous tracking is smooth and silent, and the lens will suit both videographers and wildlife photographers alike.

Vibration reduction is absent, and you will have to rely solely on the Sony a7C’s stabilization. Unfortunately, this means that the scene through the viewfinder will not be stabilized, and you might need a tripod at longer focal lengths.

8. Sony FE 200-600mm f/5.6-6.3 G OSS Lens

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The longest telephoto Sony has to offer, the FE 200-600mm, is a boon for wildlife photographers who wish to exploit the high resolution of the a7C camera. With an APS-C body, this lens will give you a mammoth range of 300-900mm. That’s a magnification of almost ten times when compared with standard zoom lenses.

Constructing a super-telephoto lens is tough, and it’s no surprise that the lens weighs about 2 kilograms. Of course, a tripod is a must here. It features numerous weather seals and a rubber gasket around the lens mount so that you can use it in light rain without worry.

The lens comes with optical stabilization and combined with the stabilization inside the a7C, you will get a 5-axis system. At longer focal lengths, this becomes a necessity, especially because the maximum aperture is f/5.6, which brings with it slower shutter speeds.

Unlike most telephoto lenses, the Sony FE 200-600mm is sharp across its range and exhibits erratic AF only in very low light. In fact, stopping down from f/5.6 to f/11 will give you only minor improvements since the lens is already performing at its optimum.

9. Sigma 150-600mm f/5-6.3 DG OS HSM with MC-11 Mount Converter

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The Sigma 150-600mm lens became an instant hit after its release. It has allowed even enthusiast photographers to get the 600mm reach. Obviously, it won’t match the quality of flagship lenses like the Sony 600 f/4, but it will do a great job without burning a hole in your wallet.

This lens is made for Canon cameras, and using it on a Sony a7C will require the MC-11 mount converter.

Designed with four low-dispersion elements, image stabilization, and weather sealing, and made from a ‘Thermally Stable Composite’ material, the lens has all the features that one expects from expensive models.

In terms of image quality, the Sigma 150-600mm is great at shorter lengths, although not extraordinary if you zoom into the corners. Crossing the 500mm mark will require stopping down for the best results.

The hypersonic AF motor does a fantastic job and allows for full-time manual focus override. This becomes useful when you want perfect focus since the lens slows down slightly in low light.

10. Sony FE 24-105mm F4 G OSS

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Before 2019, photographers looking for Sony lenses could either buy the expensive 24-70mm f/2.8 GM or the basic 28-70mm kit lens. Now the Sony FE 24-105mm F4 OSS gives you the best of both worlds — outstanding performance at a mid-range budget and a well-constructed body.

The 24-105mm range is ideal for wide landscape shots, street photography, and close-up portraits. Four aspherical elements and three extra-low dispersion elements ensure minimal fringing and aberrations, but end up making the lens a bit heavy at 663 grams.

The constant f/4 aperture is not amazing, but good enough for general purposes and low-light, even more so because of the internal stabilization. Combined with the stabilization of the Sony a7C, the set will handle low-light easily.

Apart from some slight vignetting at the 24mm end, the lens has no significant flaws. It is sharp, and the direct-drive AF motor ensures that it focuses fast. If you have the money and need one lens to replace all others, this is the one to get.

11. Tamron 28-200mm f/2.8-5.6 Di III RXD Lens

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The name of the lens itself will describe its value. The Tamron 28-200mm lens gives you a bright 28mm f/2.8 prime lens at one end, and a 200mm f/5.6 telephoto on the other. It offers more value for money than any other 3rd party zoom lens.

The RXD system makes for a reliable AF system and gives a minimum focusing distance of only 7.5 inches and magnification of 1:3.1, along with manual focus override. Even on the telephoto end, the lens focuses silently and quickly, and is fully compatible with Sony’s eye and face-detect features.

Although the lens extends out while zooming in, it weighs just over 600 grams, making the whole package highly portable. It is dust and moisture resistant, although you will need to avoid heavy rains. There is no image stabilization, which is the only major drawback. However, if you are carrying the already-stabilized a7C and have a tripod handy, this won’t be a deal-breaker anyway.

The Tamron 28-200mm will leave you pleasantly surprised with its image quality both in the center of the frame and at the corners.

It certainly competes with the Sony 24-105mm and gives you double the zoom capability at a lesser price, making it perhaps the best budget-friendly travel lens.

12. Sony FE 50mm f/1.2 GM Lens

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Released in 2021, the Sony 50mm f/1.2 is part of the GM series. Therefore, you can expect superb optics and build quality, along with a high price.

50mm lenses are great for street and travel photography, and the shallow depth of field makes them a favorite for weddings. Mounted on APS-C cameras will give you a reach of 75mm, which is perfect for portraits.

Lenses with such bright apertures are heavy, but the Sony 50mm f/1.2 is relatively light at 780 grams. The build quality is excellent, and the rubber seals around the body and mount will ensure that the lens easily survives light showers and a few bumps and knocks. 

Complementing the large aperture are 11 rounded blades and three extreme aspherical lenses, which give perfect bokeh. Considering that professional photographers will mostly use this lens, Sony has put all their technological prowess in this lens. And the results cannot be better.

13. Sony FE 50mm f/1.8 Lens

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If you are looking for a good prime lens but do not want to spend a lot, the Sony 50mm f/1.8 is the way to go. You will get a wide aperture, a standard 50mm range, and functional performance.

The DC actuator motor for AF is also good enough for daylight with single-point AF but slower in other conditions.

Designed for enthusiasts looking to expand their kit, this lens is not quite sharp at f/1.8, although the difference won’t be visible to the casual shooter. Reducing the aperture to f/2.8 gives much better results.

Overall, the lens will be a good entry into the world of specialized lenses. It won’t blow you away, but for the price, it is better than anything else.

14. Venus Optics Laowa 25mm f/2.8 2.5-5X Ultra-Macro

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Macro lenses are a lot of fun to shoot with, but you’ll have to do your homework and practice. The Venus 25mm f/2.8 macro lens is actually a reversed prime lens. The front-end is narrower and more pointy than the mount.

The characteristic of this lens is that it’s completely manual. There are no electrical contacts, so aperture and focus have to be controlled through the lens. You’ll have to remember to keep the image stabilization of the Sony a7C on, and a tripod will be helpful too for added stability.

Also, you will need to change the settings so that the camera can shoot without a lens on — because the camera won’t be electronically connected to the lens.

The Venus 25mm macro lens gives a magnification of x2 to x5 at 40mm, and the working distance is about 2 inches. The image quality won’t be the best, and some post-processing is recommended, but with some practice, the lens will serve you well.

15. Sigma 105mm F2.8 DG DN Macro Art

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If you already have some experience with macro lenses, the Sigma 105 f/2.8 will be a great choice for an upgrade. The Art label means that the lens will give you excellent optical performance.

As a dedicated macro lens, the 105mm f/2.8 gives 1:1 magnification with a working distance of 5.5 inches. This means that you can get an accurate life-size reproduction of the subject.

The 105mm reach is great, too, as you can work without disturbing your subject or casting a shadow over it. The aspherical elements are excellent, and there’s almost no aberrations or fringing.

The hypersonic AF motor provides accurate focusing and lets you have manual focus override. The lens also features an AF-lock button, along with a focus limiter switch for restricting the focus range to specific distances so that you can focus quickly at a pre-determined spot.

The weather-resistant construction and great image quality make this lens one of the best macro and nature photography choices.

Conclusion

A megapixel-rich camera like the Sony a7C, a7C II, or a7CR deserves the best lens. With so many options, it is up to you to prioritize which features you need for your kit.

Once you have landed on the focal length you require and fixed your budget, you can look at all the possible options. Sony has a lot to offer from expensive GM-series lenses like the Sony 16-35mm or 70-200mm f/2.8 to budget-friendly choices like the 50mm f/1.8 prime.

There are also 3rd party brands like Sigma and Tamron to consider. Since the a7C series already has many controls and internal stabilization, you can buy a less feature-intensive lens if it has the image quality you need and save some money.