Sony doesn’t make boring lenses anymore — and this one might be the boldest yet.

The FE 50–150mm f/2.0 GM isn’t just another fast telephoto zoom. It’s the first of its kind — a full-frame, constant f/2.0 zoom that bridges the gap between your go-to primes and heavier telephoto glass. There’s genuinely nothing else like it right now.
And after spending time with it? You start to wonder why no one did this sooner.

The focal range hits a sweet spot — 50mm for those looser, contextual frames, right through to 150mm for punchy, compressed shots. This covers all the usual portrait lengths — 85, 105, 135 — plus a bit extra on the long end. Whether you’re chasing sharp candids across a wedding dancefloor or need that tight ceremony shot from the back of the aisle, it delivers.

It’s the kind of lens that makes you not miss your primes. That alone is worth talking about.

That constant f/2.0 aperture is what makes this lens special. You get more light, more subject separation, and more creative control — without sacrificing flexibility.

It’s ideal for:

• Shooting in low-light venues (think churches, indoor courts, reception halls).
• Creating shallow depth of field, even when you’re punched in at 150mm.
• Keeping your exposure consistent while zooming (massive for video).
• If you’re someone who normally swaps between an 85mm f/1.4 and a 135mm prime, this lens will change the way you work.

Sony’s latest XD linear motors are stupid fast. Paired with a body like the a9 III, you get full tracking at up to 120fps — and the lens keeps up without breaking a sweat.

It’s fast. It’s quiet. It’s locked in. You don’t think about it — which is exactly what you want when you’re chasing moments that only happen once.

If you shoot weddings, this might be the best ceremony-to-reception lens Sony’s ever made. It handles portraits, candids, speeches, dances — all without a lens change.

For sports shooters, especially indoors, it’s a no-brainer. That bright f/2.0 aperture lets you shoot faster shutter speeds without cranking ISO into the stratosphere.

And if you’re a hybrid shooter working events, interviews, or doc-style content? The internal zoom, quiet AF, and minimal focus breathing make this a legit video lens.

It’s also brilliant for travel and field work — where you can’t carry multiple primes but still want pro-grade output.

This is a proper G Master lens — weather-sealed, rugged, and surprisingly compact for what it does. It’s the same length as the 70–200mm f/2.8 GM II, but with a faster aperture and internal zoom. That means better balance, easier rigging on gimbals, and no external barrel movement when zooming.

• Manual aperture ring (clickable or de-clicked)
• Focus hold buttons
• AF/MF switch
• Fluorine-coated front element
• Removable tripod collar (though it’s not Arca-compatible — come on, Sony)
• Image quality is classic G Master: sharp corner-to-corner at f/2.0, with great contrast, controlled aberrations, and clean bokeh. You might see a bit of flare at 150mm when shooting directly into strong light — but nothing that can’t be managed.

85mm f/1.4, 135mm f/1.8, 70–200mm f/2.8, and it does so while giving you more light, better control, and a simplified kit.

If you’re building a two-lens setup, pair this with a fast wide (like a 24mm or 35mm) and you’ve basically covered every creative base without compromise.

The Sony 50–150mm f/2.0 GM isn’t cheap — but it’s one of those rare lenses that actually feels worth it. It replaces multiple primes, opens up new ways to shoot, and consistently delivers the kind of images that make you stop and stare.

If you shoot professionally — or if you’re a serious creative who needs gear that keeps up — this lens is absolutely worth a look.