10 Best Sony Wide Angle Lenses (August 2026) Expert Reviews

I still remember the first time I bolted a wide-angle lens onto my Sony A7 III for a sunrise shoot in Iceland. The scene stretched from black volcanic sand to distant glaciers, and 24mm simply could not fit it all. That frustration sent me down a year-long rabbit hole testing every Sony wide angle lens I could get my hands on, and the results of that testing inform this guide.

Finding the best Sony wide angle lenses in 2026 is harder than it looks because the ecosystem has exploded. Sony, Sigma, Tamron, and Viltrox now offer dozens of options, and the gap between a $200 third-party prime and a $2,200 G Master zoom is not always justified by image quality alone. Our team spent the last four months shooting landscapes, real estate, astrophotography, and video with 12 different lenses on A7 IV, A7R V, A6700, and FX3 bodies.

This roundup covers both full-frame and APS-C options, organizes picks by use case, and includes lab notes on sharpness, autofocus, distortion, and weather sealing. We also tested on gimbals for vloggers and weighed every lens on a calibrated scale because size matters when you are hiking into a canyon at 4 a.m. Every recommendation in this guide is something we would actually buy with our own money.

Top 3 Picks for Best Sony Wide Angle Lenses

Best Sony Wide Angle Lenses in 2026

1. Sony FE 16-35mm f/2.8 GM – The Versatile Pro Standard

Our team shot with the Sony FE 16-35mm f/2.8 GM for six weeks across Utah, New York, and the Pacific Northwest. It is the workhorse that anchors most professional Sony shooters for a reason, and that reason is consistency. At every focal length and every aperture from f/2.8 to f/16, corner sharpness rivals what most primes deliver wide open.

The build quality is what separates it from cheaper zooms. Two XA aspherical elements and Sony’s Nano AR coating keep flare under control when shooting into sunrise light. The constant f/2.8 aperture gives you reliable low-light performance for indoor real estate, wedding receptions, and blue-hour landscapes without reaching for a higher ISO.

One thing we noticed immediately is that the lens extends at the wide end, which made a few gimbal rigs need rebalancing. Focus breathing is also more pronounced than on the newer GM II version, so video shooters pulling focus from a 16mm close-up to infinity will see noticeable framing shifts. For photography-first users this is irrelevant.

For everything else, this lens hits the sweet spot. Autofocus locked on a 5-year-old golden retriever running across a beach at 19mm with no hunting. Weather sealing held up during a surprise snowstorm in Bryce Canyon. The only real complaint we can validate is the price, which is the highest in this roundup.

Who should buy the FE 16-35mm f/2.8 GM

Working professionals who shoot events, weddings, real estate, and travel on Sony full-frame bodies will get the most out of this lens. The 16-35mm range covers everything from architecture to environmental portraits, and the constant aperture makes it a single-lens solution for hours of shooting.

If you primarily shoot video and need silent, breathing-free focus pulls, consider the newer GM II or the FE PZ 16-35mm f/4 G instead. If you mostly shoot landscapes at base ISO and want to save money, the Sigma 16-28mm f/2.8 DG DN or the Sony FE 16-25mm f/2.8 G deliver similar wide-end performance at half the cost.

Who should skip the FE 16-35mm f/2.8 GM

Hobbyists who rarely shoot at f/2.8 will not see enough difference from slower alternatives to justify the cost. Astrophotographers who want the absolute widest field of view will be better served by the 14mm GM or 12-24mm zooms. APS-C shooters should look at the smaller, lighter options in the dedicated APS-C section below.

2. Sony FE 14mm f/1.8 GM – The Astrophotography Champion

For night sky shooters, the Sony FE 14mm f/1.8 GM is the most exciting lens Sony has ever made in this focal length. We took it to Death Valley during a new moon and came back with Milky Way frames that look almost painted. Two XA elements and one Super ED element deliver the kind of star-pinpoint sharpness that usually requires much heavier, much slower lenses.

Despite the f/1.8 aperture, the lens weighs only 460 grams and balances well on a small tripod head. The two XD linear motors snap into focus almost instantly on the A7R V, which matters when a Perseid meteor streaks across your frame and you have a 4-second window to refocus on the foreground.

For daytime use, the 14mm focal length opens up creative compositions but requires care. Architectural lines near the edges can curve if you do not correct in post, and the lens is wide enough that you have to get close to your foreground subject to fill the frame. Real estate photographers on our team loved it for tight kitchens and small bathrooms.

The main frustration is the bulbous front element, which prevents the use of standard screw-on filters. If you shoot with ND or circular polarizers, you will need a 100mm square filter holder or rear gelatin filters. For pure astrophotography, this is a non-issue because you do not use filters for stars anyway.

Why astrophotographers should consider it first

At f/1.8, you can shoot the Milky Way at ISO 800 instead of ISO 6400, which dramatically reduces noise and brings out faint nebula detail. Sony’s Nano AR Coating II suppresses the ghosting that plagues many wide-angle lenses when shooting toward bright light sources. The 9-blade aperture keeps sunstars attractive when you stop down to f/8 or f/11 for landscape composite work.

Combine it with an A7S III or A7 IV in crop mode and you have an extremely capable 21mm equivalent for handheld environmental video. The lens breathes very little compared to older 14mm designs, which makes it usable for narrative video work where you want to maintain framing through focus pulls.

Where the 14mm GM falls short

If you mostly shoot portraits, travel, or general walkaround photography, 14mm is too wide and you will constantly be backing up to fit people in the frame. Street photographers will find the depth of field at f/1.8 too thin for hyperfocal focusing. The price also puts it out of reach for many users, and a used 14mm f/2.8 or Sigma 14mm f/1.8 DG DN Art can deliver 80% of the performance for less money.

3. Sony FE 20mm f/1.8 G – The Compact All-Rounder

The Sony FE 20mm f/1.8 G is the lens I personally reach for when packing light. It weighs 13.2 ounces, fits in a coat pocket with the hood reversed, and delivers image quality that punches well above its size. After three months of daily carry, the 4.8-star average across 653 reviews feels about right based on our own testing.

On the A7 IV, autofocus is fast and quiet thanks to the dual XD linear motors. We tracked skateboarders, climbed through slot canyons, and shot indoor events without ever seeing the lens hunt. The 94-degree angle of view on full frame hits a sweet spot that works for environmental portraits, architecture, and landscape.

For video creators, the 20mm f/1.8 G has become a quiet favorite. The minimal focus breathing makes it usable for narrative work, and the f/1.8 aperture is bright enough for indoor content without piling on ISO. Vloggers who want a wide field of view without the bulk of a 16-35mm zoom will appreciate the compact footprint.

A couple of quirks are worth knowing. The lens takes a beat to wake up after the camera sleeps, which is annoying for run-and-gun street work. There is also a faint internal rattle when the lens is shaken, which Sony confirmed is the optical stabilization group moving freely and not a defect.

The travel and street photography sweet spot

At 20mm, you can capture a market scene in Marrakesh, a cathedral nave, or a dimly lit alley without stepping back. Hyperfocal distance at f/8 is short enough that you can zone-focus for street photography and never miss a moment. The 20mm focal length is also less prone to distortion than 14mm or 16mm, so architectural lines look more natural without correction.

For landscape work, the FE 20mm f/1.8 G is wide enough to capture dramatic foreground-mountain compositions but not so wide that distant subjects look like miniature models. Combined with the A7R V’s 61-megapixel sensor, you can crop aggressively and still produce print-quality files from a single shot.

Trade-offs to weigh before buying

If you need silent operation during video interviews, the focus motor does make a faint noise that can be picked up by on-camera mics. If you primarily shoot astro at the widest possible focal length, the 14mm GM or 12-24mm f/2.8 GM will be better fits. For users who want stabilization built into the lens, look at the Sony 16-35mm f/4 PZ G or third-party stabilized primes.

4. Sony FE 16mm f/1.8 G – The Real Estate Specialist

Real estate photographers on our team tried six different ultra-wide primes for small room shots, and the Sony FE 16mm f/1.8 G won every comparison for the combination of weight, sharpness, and minimum focus distance. At 0.13m in manual focus, you can shoot a kitchen detail from inches away and still get a sharp, distortion-controlled frame.

The 304-gram weight is a meaningful advantage over heavier 14mm or 16-35mm zooms. During a 30-listing day, the difference between 1.5 pounds and 0.67 pounds on your shoulder is real. The lens also handles distortion well for architectural work, with barrel distortion under 2% that is easy to correct in Lightroom.

Two AA (Advanced Aspherical) elements keep field curvature in check, which is critical for real estate where you want parallel walls to look parallel. The 11-blade aperture renders smooth bokeh for those tighter detail shots where you want the foreground element to pop against a soft background.

Autofocus speed is excellent thanks to dual XD linear motors. The lens snaps onto the closest eye of a subject in a vlog-style framing, even at f/1.8. Some users have reported rare internal noise after firmware updates, but our test unit was silent across 800+ frames.

Why interior photographers love it

16mm on full frame is the standard for tight interior work because it lets you shoot a small bedroom from the doorway and still show all four walls. Stop down to f/8 and you get edge-to-edge sharpness that holds up to high-resolution marketing materials. The dust and moisture resistant structure gave us confidence shooting in a humid Florida pool house.

For architectural exteriors, the 107-degree real angle of view helps capture entire facades without the dramatic distortion that comes with 12mm or 14mm lenses. The lens also performs well for environmental portraits in tight spaces, such as an artist in their studio or a chef in a small kitchen.

When to choose a different lens

If you do not shoot interiors often, 16mm is too wide for general walkaround use. The focal length will distort faces if you get too close. For landscape or astrophotography, the 14mm GM or 20mm f/1.8 G will produce more impactful compositions. APS-C users will get a 24mm equivalent, which is a different shooting experience altogether.

5. Sony FE 16-25mm f/2.8 G – The Affordable G Zoom

The Sony FE 16-25mm f/2.8 G is one of the most underrated lenses in the Sony lineup. Our team compared it side by side with the much more expensive FE 16-35mm f/2.8 GM across a series of landscape and interior scenes, and at 16-25mm the difference was honestly hard to see without pixel-peeping at 200%.

You give up the 25-35mm range, but you save serious money and roughly 30% of the weight. For photographers who rarely shoot between 25mm and 35mm (which is most landscape and architecture shooters), this is a smarter buy than the bigger zoom. The constant f/2.8 also makes it usable for indoor events and blue-hour work.

Autofocus is quick and silent thanks to two linear motors. The 18cm close-focus distance at 24mm in manual focus opens up creative macro-style wide-angle shots. The 67mm filter thread is a nice practical touch because it matches many common Sony primes, so you can share filters across your kit.

For video creators, the compact size makes it gimbal-friendly and the constant aperture is a real asset. We did see very minor softness at 25mm wide open in our test unit, which is consistent with some owner reports, but stopping down to f/4 eliminated it completely.

Who gets the most out of the 16-25mm f/2.8 G

Travel photographers who want a single wide-angle zoom without the bulk of the 16-35mm GM will love this lens. Real estate photographers who primarily shoot exteriors and large rooms will find 16-25mm covers 90% of their needs. Vloggers who need a wide field of view but want to stay light will appreciate the balance on small gimbals.

Anyone coming from a 24-70mm kit zoom who wants to add a dedicated wide-angle will be impressed by the image quality. The lens is also a great backup body lens for professional shooters who do not want to risk damaging their GM zooms in harsh conditions.

Trade-offs against the GM zooms

The main thing you give up is the longer 25-35mm reach. If you shoot a lot of environmental portraits or tighter interiors, that range matters. Build quality is good but not quite at the G Master level, and the lens is not weather-sealed. For most users, the savings and weight reduction far outweigh these compromises.

6. Sony FE PZ 16-35mm f/4 G – The Video Power Zoom

For video creators, the Sony FE PZ 16-35mm f/4 G is a category-defining lens. We mounted it on a Ronin RS3 Mini and a FX30, and the smooth power zoom with variable speed control opened up cinematic dolly-style shots that previously required electronic follow-focus systems. Four XD linear motors deliver the buttery zoom pulls this lens is famous for.

The 16-ounce weight is genuinely remarkable for a full-frame zoom. After four hours of handheld shooting, our arms were less tired than with any comparable f/2.8 zoom. The internal zoom design means the lens does not change length, which keeps gimbals balanced throughout the entire zoom range.

Three independent rings for zoom, focus, and aperture are well-damped and clicky in a satisfying way. Power zoom can also be controlled from compatible Sony bodies or the optional remote, which is a game-changer for solo content creators. The constant f/4 aperture is not as bright as f/2.8 zooms but is plenty for most video lighting situations.

One quirk to know: this is a power zoom, not a traditional mechanical zoom. If you are a photographer who likes to physically rotate the zoom ring by feel in the middle of a frame, the experience will feel different. For video-first users, the power zoom is the entire reason to buy this lens.

Why hybrid shooters love it

The combination of compact size, internal zoom, and silent operation makes this lens ideal for documentary work. We used it on a corporate interview shoot and the subject never heard the lens move. For travel vloggers, the ability to zoom smoothly while walking makes for more engaging B-roll than a fixed focal length can produce.

Photographers will also find a lot to like here. Image quality is excellent across the frame, the F4 aperture is fast enough for outdoor work, and the lightweight design makes it a great walkaround lens for Sony full-frame bodies. The constant F4 also keeps the lens small enough to fit in most camera bags without dominating the space.

When a different lens makes more sense

If your primary work is low-light photography, the f/4 aperture will force you to higher ISO settings. If you do not need power zoom, the mechanical zoom on the FE 16-25mm f/2.8 G costs less and is brighter. If you need stabilization, the FE 16-35mm f/2.8 GM II or a stabilized prime would serve you better.

7. Sigma 16mm f/1.4 DC DN Contemporary – The APS-C Champion

The Sigma 16mm f/1.4 DC DN Contemporary has more than 5,300 reviews on Amazon with a 4.8-star average, and after our testing it is easy to see why. For APS-C shooters on bodies like the A6700, A6600, or FX30, this lens delivers an f/1.4 aperture at a price that used to be reserved for slower zooms.

The 24mm equivalent focal length on APS-C is a sweet spot for vlogging, street photography, and environmental portraits. We shot a full day in Tokyo with this lens on an A6700 and barely noticed it on the camera. The optical performance at f/1.4 is impressive for the price, with sharpness that approaches the center of much more expensive primes.

Sigma’s stepping motor autofocus is fast and quiet. Eye AF locked on reliably even in low light, and we did not see any hunting during video focus pulls. The lens is also weather-sealed, which is a nice touch for outdoor shooting in misty or dusty conditions.

The biggest quirk is the focus ring, which sits close to the front of the lens and can be accidentally bumped while pulling the camera out of a bag. Some users have reported dust inside the lens after heavy use, though our test unit stayed clean across the testing period.

Why this lens punches above its weight

At f/1.4, you can shoot indoor events, dimly lit restaurants, and even astrophotography on APS-C without resorting to extreme ISO. Stop down to f/2.8 and sharpness becomes near-perfect across the frame. For vloggers, the wide field of view with face-tracking AF makes this an almost ideal run-and-gun lens.

The price-to-performance ratio is the headline here. Lenses with similar aperture performance from Sony’s own lineup cost three to four times more. For APS-C shooters building a kit, this lens should be near the top of the shopping list, especially if you already own or plan to buy an A6700 or FX30.

What you give up for the price

Build quality is good but not at the level of Sigma’s Art series. The plastic exterior feels light, which is a positive for travel but may bother users who prefer heftier lenses. There is no image stabilization, which matters more for stills than video on stabilized Sony bodies. The 4-blade aperture renders less smooth bokeh than 9- or 11-blade designs.

8. Sigma 10-18mm f/2.8 DC DN – The APS-C Wide Zoom

For APS-C shooters who need zoom flexibility, the Sigma 10-18mm f/2.8 DC DN is hard to beat. At 260 grams, it is the smallest and lightest ultra-wide zoom in this category, which matters when you are carrying an A6700 on a long day of travel. The 15-27mm equivalent range covers everything from environmental portraits to tight interiors.

Constant f/2.8 aperture is a real advantage for indoor work. We shot a real estate walkthrough with this lens on an FX30 and the footage held up beautifully in low light. The optical design delivers sharp edge-to-edge results even wide open, which is unusual for zooms in this price range.

Sigma’s stepping motor autofocus is fast and reliable. On the A6700’s subject-tracking system, the lens held focus on moving subjects better than expected. Weather sealing gives confidence in light rain, though we would not push it in heavy downpours.

The main limitation is the lack of optical image stabilization. Sony’s APS-C bodies do offer in-body stabilization, but it does not perform miracles at 10mm with slow shutter speeds. For video, this is less of a concern because modern Sony bodies do excellent digital stabilization on top of IBIS.

Who should pick this over the 16mm f/1.4 Sigma

Photographers who need to quickly reframe between wide environmental shots and tighter details will appreciate the zoom range. Vloggers who want to switch between showing their face and showing the scenery without swapping lenses will find this more practical than a prime. Real estate photographers on APS-C bodies get a versatile 15-27mm equivalent range that covers most listing scenarios.

If you are deciding between this and the Sigma 16mm f/1.4, the answer depends on your priorities. The 16mm f/1.4 is brighter, smaller, and cheaper. The 10-18mm f/2.8 is more flexible, weather-sealed, and offers the constant aperture. Most users will be happy with either, but the 16mm f/1.4 is our top pick for pure value.

Where it falls short

Full-frame shooters should look elsewhere because this lens will vignette heavily on full-frame bodies. The lack of OSS means slower shutter speeds for stills will require a tripod or a higher ISO. Stock has been inconsistent since launch, so check availability before committing to this lens if you need it soon.

9. Sony E 11mm f/1.8 – The Vlogger’s Ultra-Wide

The Sony E 11mm f/1.8 is the lens I now recommend to anyone with a ZV-E10 or A6700 who vlogs on the go. At 10.56 ounces and roughly the size of a coffee cup, it disappears on the front of small APS-C bodies. The 16.5mm equivalent field of view is wide enough to capture both you and a sweeping background without distortion overload.

Autofocus is one of the highlights. Two linear motors snap onto eyes and faces almost instantly, which is critical for handheld vlogging where you are moving toward and away from the camera. We tested it on a ZV-E10II and saw zero hunting in a 30-minute continuous recording session.

The f/1.8 aperture is genuinely useful for low-light vlogging. We shot a sunset scene on a dimly lit rooftop and the footage came out clean at ISO 800. The 7-blade aperture renders smooth enough bokeh for close-up cutaway shots, though it is not quite as creamy as 9- or 11-blade designs.

Barrel distortion is noticeable at the wide end, especially in architectural shots, but it is easy to correct in software with a one-click lens profile. Purple fringing at f/1.8 around high-contrast edges is also visible but disappears by f/2.8.

Why content creators love it

The combination of compact size, fast aperture, and ultra-wide field of view is exactly what travel vloggers need. You can mount it on a small handheld gimbal and walk through markets, streets, and trails without fatigue. The close minimum focusing distance also lets you showcase details like food, gear, and small subjects with dramatic perspective.

For landscape and architectural photography, the 11mm focal length on APS-C gives you about a 16.5mm equivalent, which is impressively wide. The lens is also useful as a body-cap style walkaround lens for photographers who want the smallest possible setup but still want a high-quality wide field of view.

Limitations worth knowing

Astrophotographers will prefer the 14mm GM or 16mm f/1.4 G on full frame. Photographers who care about pristine corner sharpness wide open should look at the Sigma 16mm f/1.4. The lack of weather sealing means you need to be careful in rain or dusty environments, though the compact size makes it easy to cover with a small plastic bag in a pinch.

10. Viltrox 9mm f/2.8 – The Budget Ultra-Wide

The Viltrox 9mm f/2.8 surprised every member of our team. For a budget lens under $200, the optical performance is genuinely competitive with much more expensive options. On an A6700, the 13.5mm equivalent field of view is wider than anything else in this roundup, and the f/2.8 aperture is bright enough for most low-light situations.

Autofocus is fast and accurate thanks to the STM stepper motor. We tested it against the Sony E 11mm f/1.8 and the Viltrox held its own for stationary and slow-moving subjects. The 13 elements in 11 groups optical design includes 2 aspherical, 3 ED, and 3 high-refractive index elements, which is impressive engineering for the price.

For vloggers and content creators just starting out, this lens is a no-brainer. The 113.8-degree field of view is wider than any native Sony APS-C prime, and the F/2.8 aperture handles most indoor lighting situations. The 175-gram weight is barely noticeable on small Sony bodies.

The main trade-offs are image stabilization (none), manual focus ring (none, AF only), and some autofocus noise in very quiet recording environments. None of these are dealbreakers for the price, but they are worth knowing.

Why this is the budget pick

If you are building an APS-C kit on a budget, the Viltrox 9mm f/2.8 should be the first wide-angle lens you buy. The price-to-performance ratio is the best in this entire roundup. You can spend the rest of your budget on a body, a telephoto, and accessories and still come out ahead of a more expensive native lens setup.

For casual travel and everyday photography, this lens produces images that are very hard to tell apart from more expensive options when viewed at normal sizes. Pixel peepers will spot some corner softness wide open, but stopping down to f/4 produces near-perfect results across the frame.

Where the budget option falls short

Professional users will want the build quality, weather sealing, and long-term reliability of native Sony or Sigma lenses. Astrophotographers who need the absolute best optical performance should look at the 14mm GM. The lack of manual focus ring is a real limitation for users who prefer traditional focusing techniques.

How to Choose the Right Sony Wide Angle Lens

Choosing the best Sony wide angle lens comes down to matching your camera system, your shooting style, and your budget. Full-frame shooters should focus on the FE-mount lenses, while APS-C users will get the most value from lenses designed for the smaller sensor. The focal length you need depends on whether you shoot landscapes, interiors, video, or astrophotography.

Match the focal length to your subject

Landscape and astrophotography shooters will benefit most from ultra-wide focal lengths between 14mm and 20mm. These capture expansive scenes and dramatic foreground-mountain compositions. Real estate and interior photographers should look at 16mm to 24mm for the ability to capture tight rooms without extreme distortion.

Vloggers and video creators often need something in the 16-35mm zoom range to switch between showing their face and showing the environment. Prime lenses at 20mm or 24mm equivalents work well for run-and-gun vlogging without zoom flexibility.

Consider aperture and low-light performance

Constant f/2.8 zooms and f/1.4 to f/1.8 primes give you the most flexibility in low light. For astrophotography, wider apertures also let you shoot at lower ISO for cleaner night sky images. If you mostly shoot outdoors in good light, f/4 zooms are smaller, lighter, and significantly cheaper.

For video work, consider whether the lens has silent autofocus motors. Linear stepper motors and XD linear motors are nearly silent. Traditional micro motors may be picked up by on-camera microphones in quiet scenes.

Weight and size for your shooting style

Travel photographers and vloggers should pay close attention to weight. A 1.5-pound zoom is a real burden on a 12-hour day of walking. The Sony FE 20mm f/1.8 G at 13.2 ounces or the Sony E 11mm f/1.8 at 10.5 ounces are much more pleasant to carry than the FE 16-35mm GM at 1.5 pounds.

Gimbal users should look for lenses with internal zoom and consistent weight distribution. The Sony FE PZ 16-35mm f/4 G is purpose-built for gimbal work, with internal zoom that does not change balance during zoom pulls.

Build quality and weather sealing

Professional shooters who work in harsh conditions need weather-sealed lenses with metal construction. The Sony G Master lineup offers the best weather sealing and longest durability. Third-party lenses from Sigma and Viltrox vary in sealing quality, with the Sigma 10-18mm f/2.8 being notably well-sealed for an APS-C lens.

Hobbyists shooting in mild conditions can save money with lenses that lack weather sealing, as long as you are careful around water and dust. The Viltrox 9mm f/2.8 and Sony E 11mm f/1.8 are good examples of well-performing lenses that require more care in challenging conditions.

Frequently Asked Questions

Final Thoughts on the Best Sony Wide Angle Lenses

After four months of testing across landscapes, real estate, astrophotography, and video work, our team has high confidence in every lens in this roundup. The Sony FE 16-35mm f/2.8 GM remains the best all-around choice for full-frame professionals, while the Sigma 16mm f/1.4 DC DN is the value champion for APS-C shooters. The Viltrox 9mm f/2.8 delivers more than its price suggests and is a great budget pick.

The Sony wide angle lens ecosystem in 2026 is more competitive than ever. Sony’s own G and G Master lenses lead in optical quality, but third-party options from Sigma and Viltrox now offer 80-90% of the performance at 30-50% of the price. Your camera system, your shooting style, and your budget should drive the final decision, not brand loyalty.

Take the time to rent or borrow a few of these lenses before committing. The 14mm GM and 20mm f/1.8 G feel very different in hand, and the 16-35mm zoom gives you a different kind of creative freedom than any prime. Whichever you pick, every lens in this guide will deliver images that exceed what you can capture with a kit zoom, and that is the entire point of investing in a dedicated wide-angle for your Sony Alpha system.