The Sony FE 14mm f/1.8 GM lens shows how far lens design has moved since the first 15mm f/3.5 lenses for SLR cameras hit the market in the early 1970s. The lens is slightly wider, incredibly light by comparison, and has a much faster maximum aperture at f/1.8. Let's see how it performs when coupled with the full-frame 42MP Sony Alpha A7R III camera body.

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Sony FE 14mm F/1.8 G Master Lens Handling and Features

The lens is bulky-looking and has the characteristic bulbous front element typical of its focal length. There is a solid, permanently attached petal lens hood, and this is very much needed to protect that vulnerable front element. The front element is protected by a Fluorine coating that helps to repel dust, moisture, and grease, in addition to the Nano AR lens coating, although even so that exposed front element may be quite vulnerable to water splashes. There is no possibility of attaching filters, so instead there is a rear filter slot that will accept slip-in cut gelatin filters. The lens is dust and moisture resistant, a welcome feature indeed.

Weighing in at a very reasonable 460g, this does not seem heavy in use and the lens balances extremely well with the A7R III body. It is possible to use one of the crop sensor APS-C format cameras, in which case the 35mm-format equivalent field of view equates to 21mm. In this case, the lens size is somewhat out of proportion and does rather dwarf the camera.

There is a reasonably wide, highly ribbed focusing ring that operates electronically and is utterly smooth in operation. Focusing is down to 0.25m (0.82 feet) for a maximum magnification of 0.1x. All the usual Sony focusing options are supported, such as AF-S, AF-A, AF-C, DMF, and MF. AF is driven by two Extreme Dynamic linear motors and is fast, silent, and accurate. There is no distance scale and also no depth of field scale.

The impressive aperture ring is ideal for both stills photographers and videographers. There are click stops at one-third of a stop intervals, and if desired the aperture can be de-clicked, particularly useful for video shooting. There is one permanent click stop for the A setting, which enables the aperture to be controlled by the camera.

There are a few controls around the barrel of the lens. The AF/MF switch is self-explanatory, as is the click on/off switch that controls the aperture ring. There is also a focus lock button that holds the focus position in AF mode whilst it is held down.

Optical construction is 14 elements in 11 groups, including 2 XA (Extreme Aspherical), 1 Aspherical, 2 ED (Extra-Low Dispersion), and 1 Super ED. The diaphragm comprises 9 circular blades, for improved bokeh. The design is similar to the early 15mm f/3.5 lens designs of the early 1970s, but these just had one (extremely expensive) Aspherical element, so it will be interesting to see how the extra special elements introduced by Sony improve on the optical performance.

Handling such a wide lens does need a certain determination to move closer and still closer, otherwise results might look a little disappointing with subjects too small in the frame. It is surprising just how close we have to be, but of course, it is this close viewpoint that gives us the dramatic, dynamic perspective that is expected from an ultra-wide. This also brings its own perils regarding portraiture, as most models will not be impressed by huge noses and receding ears. However, drama is what this lens can deliver, so used with confidence the results can be pretty spectacular.