The Sony A7III has pro-level features and excellent image quality, and you can maximize that in real estate photography with the right wide angle lens. With that, we're going to help you pick the best wide angle lens for the Sony A7III, along with the factors to consider.
You can use any lens particularly made for full-frame cameras, although the best lenses for Sony A7III are those with wide angle focal lengths between 12mm to 35mm. Additionally, the features should suit your technical needs and shooting style.
With several available wide angle lenses for the Sony A7III, we're going to walk you through the top picks and see which ones can help level up your real estate photography.
Combining wide angle perspective and zooming capacities in one, the Sony FE 16-35mm f/2.8 GM is among the top wide angle lenses for Sony A7III. It offers great exposure settings for expansive subjects, which is perfect if you specialize in interiors and exteriors with landscapes.
The small f-stop results in fast yet silent focusing, especially for properties with low lighting. Although bokeh doesn't play a significant role in real estate photography, the faster maximum aperture enables you to achieve a certain degree of background blur to highlight elements in a frame.
Being a G-Master lens, its optical engineering captures powerful resolution. The sharpness is also unparalleled thanks to the image stabilization feature. When paired with the excellent imaging capacity of the A7III, this wide angle lens renders high-resolution photos across the whole focal length.
In effect, you can use a fast shutter speed and get enough light for indoor, sunrise, and sunset shoots. Even when you shoot outdoors, the weather sealing makes the lens well-built and protected against moisture and dust.
Aside from that, this GM lens allows the use of filters to minimize glare, and consequently, enhances colors. With that, you can shoot even if the room has several reflective surfaces, like mirrors and metal countertops.
Like most Sony lenses, the Sony 16-35mm f/2.8 lens tends to have modest barrel distortion at 16mm. However, it's not that bad, especially if you can post-process on Lightroom.
Withstanding flaws in distortion, all of the amazing features come with a hefty price tag. Nevertheless, this is a worthy investment that you can maximize for all your real estate and indoor photography needs.
Being the widest lens currently available for the A7III, the Sony FE 12-24mm f/4 G lens is a better option for real estate photographers who need a wider starting focal length. The broad perspective is also perfect if your style involves adding drama to the scene.
Even if the slow maximum aperture of f/4 would make it difficult to separate the foreground from the background, your shots remain sharp when you use f/5.6 onward. Despite the lack of image stabilization, the lens doesn't create much blur when paired with the A7III.
While the Sony 12-24mm f/4 is less expensive than the 16-35mm f/2.8 GM, expect a bit of vignetting and softness in the frame's corner when shooting at the widest aperture. Still, the optics keep lines straight, not curved or bowed.
Furthermore, its Motor AF system delivers quiet yet precise autofocus, as well as intuitive manual focus control. Since its maximum length is only 24mm, it has faster internal focusing and zooming than the first lens. Additionally, the shorter length makes it weigh less than the 16-35mm f/2.8 GM.
The downside is that like most ultra-wide lenses, this FE 12-24mm G lens features a bulging optical front element, which means it's difficult to attach filters. Thus, you would have to be extra careful when shooting at spaces with reflective surfaces and difficult outdoor lighting conditions.
However, this G lens makes up for this by having a Nano AR coating that reduces flare, ghosting, and surface reflections to increase contrast and color rendering. It also uses moisture- and dust-sealed design so that you can shoot exteriors safely.
While its fixed focal length is more like a wide angle prime lens, the Sony FE 28mm f/2 is convenient to use when you want to get more of the scene in focus. You can also pack light when you pair this small and affordable lens with the mirrorless A7III.
With a fast maximum aperture and broad depth of field, this is great for interior photographers who also like taking close-up shots. Although there's outstanding center sharpness at f/2, you might encounter some loss of clarity at the corners.
Moreover, the wide aperture also supports fast shutter speeds, which is perfect for interior and outdoor lighting. It also does a good job of creating a shallow depth of field.
Shooting at 28mm may sometimes feel like you're using 24mm, which allows you to capture the whole scene in focus without negatively affecting the composition. Although note that the narrower angle of view means you need more distance to frame the subject.
Much like a 35mm lens, this wide angle lens lets you shoot important interior elements from a short distance while still capturing a lot of the surroundings in the frame. If you need to add some bokeh shots, the lens can also produce creamy backgrounds while keeping subjects sharp at f/2.
Similar to the FE 12-24mm, this one lacks image stabilization. As a result, it tends to rely heavily on the A7III for corrections. While this may result in loss of sharpness, you can use smooth autofocus and manual focusing to improve clarity.
Despite its simplicity, the lens also has dust and splash-proof construction. On top of that, you can enjoy all of these features at an affordable price. In fact, this is the cheapest lens that's suitable for the A7III.
What sets the Sony-Tessar 16-35mm ZA OSS lens apart from the others is the addition of Zeiss T* coating, which optimizes light efficiency in any situation. As a result, you can suppress reflections to retain crisp yet natural color contrast and saturation.
When paired with the A7III, shooting at f/4 achieves sharpness from corner to corner. The downside is that, like the other wide angle lenses, you can't avoid some distortion when shooting at 16mm, making the lines curve inward a bit.
The good thing is that it's already optically stabilized, and when you attach it to the A7III, you get impressive image stabilization.
Even with a large front element, the lens supports front filters for preventing glare. Add a reversible lens hood to counter lens flare, and you can shoot exteriors quickly, even if the sun is showing up toward the edge of the frame.
It may be a small thing for others, yet the lack of buttons or switches on the metal barrel adds a unique twist for a wide-zoom lens. When set to the widest angle, you can easily grip the big zoom ring, and the lens would extend a bit.
Furthermore, there's barely any resistance when turning the ring, although it does build up as you refocus. That said, be careful as it can be fairly easy to move the focus ring and ruin your focus point.
Lastly, this Vario-Tessar lens has a dust and moisture-resistant construction like the FE 28mm, making this suitable for unexpected exterior shoots. It also remains light and compact despite the maximum aperture and angle of view.
The Sony FE 24mm f/1.4 is an excellent option for real estate photographers who prefer to shoot wide open, both in terms of focal length and aperture. It also compliments the high-megapixel sensor of the A7III, exhibiting excellent image quality from the center to the edges.
Although it has a fixed focal length, its most appealing factor is the maximum aperture of f/1.4, creating beautiful images that maintain sharpness across the frame. It can even form bokeh when focusing on nearby subjects, creating a 3D-like pop effect.
More than that, its precise and consistent autofocus works well in low-light situations. Since it uses a new type of AF motor, the focusing is snappy and high-torque yet silent.
If you also offer videography services, you would benefit from the focus distance that remains consistent regardless of how fast you rotate the ring.
Although it lacks optical image stabilization, the A7III's built-in stabilization can resolve this. Unlike other wide angle lenses faster than f/2.8, the Sony FE 24mm f/1.4 doesn't suffer from chromatic aberrations.
Even though you won't see significant flares or ghosting, it allows the use of standard rotating polarizer and grad filters.
Weighing in at only 0.98 pounds, this 24mm lens is very light for a full-frame wide angle lens that features a fast maximum aperture. Its compact size and overall weight also give a balanced feel when attached to the A7III. Similarly, the size improves mobility and portability.
However, like other G-Master wide angle lenses, the 24mm doesn't come cheap, although the price is worth every cent as you take impressive real estate photos.
Designed for E-mount cameras like the A7III, the Sony Distagon T* FE 35mm lens is for real estate photographers who need this field of view to pull a lot of background elements into the frame.
If you struggle with compositions or want to avoid cartoon-like exaggerations, the focal view greatly helps frame subjects according to the rule of thirds.
However, it would be best to use this wide angle lens with a tripod since it doesn't have optical stabilization. Using the A7III's built-in sensor-shift stabilization can also help.
Optically, it can compete with G-Master lenses. The lens offers super sharpness in focus areas yet can also create buttery smooth out-of-focus portions. As a result, you can capture interesting backgrounds in a property that show a sense of dimension for a more pleasing look.
Similar to the Vario-Tessar 16-35mm lens, this one incorporates Zeiss quality optics to provide superior color contrast and resolution throughout the photo. Additionally, the Zeiss coating suppresses internal and external reflections so that you won't have to worry about flares as you shoot with ambient or scattered light.
There's minor to moderate barrel distortion, although it's not distracting. Besides, most cameras, like the A7III, can correct it automatically.
More than that, the 35mm f/1.4 is among the first Sony E-mount lenses to include a physical aperture ring, making it more convenient to control light.
However, the ring requires you to rotate it quite a bit to move the focal plane to longer distances. The responsiveness results in a smoother, more natural defocusing, although it's slower compared to other wide angle lenses.
Even if this wide angle lens looks heavy and bulky, the aspherical lens design significantly minimizes spherical aberration, which subsequently reduces overall lens weight and size.
The Sigma 12-24mm DG II HSM is the best third-party wide angle zoom lens compatible with the A7III. Even with an extreme field of view, you can achieve high image quality throughout the zoom range without exaggerated perspectives.
One of its main benefits is the rectilinear field of view, which keeps walls and columns appear straight. In effect, you can emphasize subjects on a broad space with little to no barrel distortion.
This wide angle zoom lens uses low-dispersion glasses elements to deliver excellent color aberration correction. In addition, a multi-layer coating reduces flare and ghosting, which is a common occurrence when extraneous light hits the glass.
Although slightly softer at 24mm, it provides sharpness in the center even with a wide-open aperture. However, stopping down gradually improves the corners at 12mm.
As opposed to the focusing of conventional lenses that requires an extension of the whole lens, the 12-24mm doesn't change length during focusing. Instead, it has a system that only moves elements within the lens barrel.
The unchanging barrel length also enhances balance and stability in the overall camera and lens setup. Since the front doesn't rotate, you can use polarizing filters for convenience.
The downside is that it can be a bit tricky to find the best focus point. In real estate photography, a wide range of subjects would appear at various distances, so you may have to use manual focus rather than autofocus in most cases.
It's typical for an ultra-wide angle zoom lens to have a sizable optical front. While the zoom ring weighs a little heavy, this helps settle the focus point.
Like the Distagon lens, this 12-24mm lens contains aspherical lenses that result in compact and lightweight construction. Thus, it would be easy for you to use and carry the lens across different properties.
The Zeiss Batis 18mm f/2.8 is another powerful wide angle lens that is compatible with the A7III. Despite its minimalist design, its features can meet the image quality and detail requirements of real estate photographers.
When photographing properties, it's crucial that you can produce vivid colors and richly saturated images to create a lasting impression.
However, working with stray light sometimes creates unnecessary shadows and reduces image contrast.
The Zeiss technology avoids that by combining a fast maximum aperture and broad viewpoint for impressive light-gathering abilities. In this way, you can make a real estate shot look like it's popping off the screen.
The sweet spot is around f/4 to f/11, yet there's sharpness across the whole frame, even at the maximum aperture. However, setting beyond f/16 results in little distortion and vignetting, especially at the extreme corners.
Image stabilization isn't its strongest asset, although connecting it to the A7III saves you from unwanted motion shakes, particularly when shooting handheld.
Unlike the other lenses, the Batis 18mm enables you to accurately check the depth of field and focus distance using the OLED display on the lens barrel.
Aside from fast and accurate autofocus, there's an infinite scroll focus ring that makes it easy to control manual focus. You can also set the aperture all the way down for an on-the-spot focus, even in high-contrast situations.
Finally, while the minimalist design in the barrel looks appealing to some, other people might miss the controls and locks that most Sony lenses contain. The plastic components don't look cheap. If any, it feels solid and well-balanced on the A7II.
The wide angle zoom of the Tamron 17-28mm DI III is a great alternative if you want something similar to native Sony E-mount lenses, yet at a lower cost. With a competitive price and optical performance, this is perfect if you want to try wide angle zoom lenses without spending excessively.
Shooting wide open doesn't downgrade edge-to-edge sharpness, although the center sharpness is best between f/2.8 and f/16. Pushing at 28mm f/22 tends to falter sharpness and form a noticeable color cast on the corners.
In terms of perspective, the field of view can make the foreground elements appear more prominent and better emphasized while also keeping the background in tack focus. Be sure to pay attention when balancing the composition if you're usually working with a vast amount of background points in properties.
Fortunately, this wide angle lens is fully compatible with the Direct Manual Focus system of Sony cameras, allowing you to shift from manual focus to autofocus instantly. The focusing system is also satisfyingly quiet and fast when mounted on the A7III.
Moreover, there are no other external features on the lens barrel other than the zoom and focus rings, so it has a minimalist design like the Zeiss Batis.
The drawback is that the focusing ring is much narrower than the zoom ring, so the focusing ring can sometimes be difficult to locate when moving too fast. Additionally, the lens doesn't include image stabilization, although the A7III can cover that for you.
The Tamron 17-28mm f/2.8 isn't exactly small and lightweight, although the weight is somewhere between the Sony 16-35mm and the Zeiss Batis, despite all of them having the same fast maximum aperture of f/2.8.
What makes this Tamron rather unique is its lighter weight, as well as cheaper cost, even in accessories, making it an ideal first wide angle lens for beginners.
Your equipment also influences the outcome of your real estate shoots. For you to capture a big scene and create a close-to-subject perspective, it's important that you weigh in these factors when selecting wide angle lenses for the Sony A7III.
The term wide angle covers a broad range of focal ranges. For full-frame cameras like the A7III, wide angle lenses can be anywhere between 20mm to 35mm. Meanwhile, an ultra-wide angle lens features a focal length shorter than the sensor's short side, like the 12mm, 14mm, 16mm, and 18mm.
While you can consider your shooting style, keep in mind that your job as a real estate photographer includes capturing a broad perspective in the frame, yet without making the subjects appear distorted or tiny.
For real estate photography, you would want to have the flexibility of changing focal lengths to change perspectives while also ensuring you have a handy wide angle length. This is why you can choose between wide angle lenses that either have a fixed length or zoom varieties.
The versatility relates to the focal length as the range determines whether you only need to bring one lens or pack a different kind. For instance, the Sony FE 28mm, Sony 24mm, Sony Distagon 35mm, and Zeiss Batis 18mm all have fixed focal lengths suitable for general broad shots.
On the other hand, if you need better variation in terms of broadness, both 12-24mm lenses from Sony and Sigma cross the line between wide and ultra wide angle.
Lastly, the Sony 16-35mm f/2.8 GM, Vario-Tessar 16-35m, and Tamron 17-28mm f/2.8 add a bit of zoom, which are beneficial if you also like to take some tight shots.
Aperture is an essential feature to consider when buying any kind of lens because it determines how much light the lens can get through the camera sensor. The Sony 24mm and Distagon 35mm have the widest aperture, while the Sigma 12-24mm contains the narrowest aperture.
The wider the focal length, the better details and focus you can get from foreground to background. For real estate photography, it's good to pair a broad focal length with a fast maximum aperture to ensure clarity.
The maximum aperture should depend on your shooting needs. In general, these are the things you need to consider when choosing aperture ranges.
Real estate shots require you to have a higher depth of field and sharpness from the center to the edges of the frame. All of the wide angle lenses have excellent sharpness, and it's just a matter of how you balance the aperture value and field of view.
Sharpness tends to falter as you move away from the peak aperture setting of the lens. However, some can retain a high level of image sharpness even as you use the widest aperture setting.
Thus, it's not enough to look in the LCD if the image is sharp. You also have to check if the resolution remains great towards the frame's corners, especially at faster apertures.
Although you would probably use a tripod to keep your shooting gear stable and at the right height, it helps to have a lens with image stabilization properties to avoid camera shake.
The good thing is that lenses with wider focal ranges have less tendency to amplify vibrations. The two 16-35mm lenses from Sony contain image stabilization capacity to help minimize or avoid motion blur when shooting handheld or in low light.
The weight of a lens depends on the number of optical elements and moving parts. The longer the focal length, the more components inside, and consequently, the heavier the weight.
The good thing is that even ultra wide angle lenses now contain fewer aspherical lenses without sacrificing image quality. As a result, they can balance performance and weight. Remember, you have to bring around the lenses from room to room, so portability is essential.
At 1.35 pounds, the Sigma 12-24mm lens is the heaviest, mainly because of its focal and aperture ranges. On the other hand, the Sony 28mm is the most lightweight at 0.44 pounds.
Filters are photography accessories that help minimize glare, reflections, and ghosting by fully or partially reducing the amount of light that enters the lens.
Most wide angle lenses include an optical coating to minimize glare even without filters, although the Sony FE 12-24mm is the only lens in this list that doesn't accept filters.
Investing in photography equipment can be costly. There are times when lenses cost more than the camera body. In addition, the faster the maximum aperture, the higher the price tag.
While considering the budget can narrow down your choices, make sure that it won't limit the vital features you need for your real estate shoots.
The A7III is a compact camera packed with several features, including incredible autofocus and high image resolution necessary for real estate photographers. It accepts interchangeable lenses, so if you want to try various shooting styles, you can use a wide angle, wide angle prime, ultra wide angle, and even a wide angle zoom lens.
Unlike a prime lens, wide angle lenses enhance perspective by making subjects closer to the camera look more prominent than those farther away, despite having the same size in reality. For real estate, the short focal length and wide field of view capture more of the scene than a prime lens.
You can use a prime lens, although its biggest disadvantage is the fixed focal length that's not wide enough for real estate shots. While prime lenses provide excellent optics and faster light-gathering abilities, you might have space restrictions when you need to move farther away to photograph a vast space.
Yes, there are plenty of suitable lenses from other brands. However, the advantage of getting a native Sony lens is that the A7III has software in it to do all the lens corrections in camera. Hence, you wouldn't have to do those corrections in Lightroom or Photoshop.
The right wide angle lens for your Sony A7III large depends on your photographic needs. However, whatever your requirements, any lens from this list can serve as your camera's partner for several shoots and help grow your real estate photography career.