I have owned (and loved) the Sony FE 200-600mm F5-6.3 G OSS since reviewing it back in 2020. Sony took a different tack than most competing telephoto zooms by opting for an internally zooming lens, and, while that meant that the lens was larger than lenses like the Tamron 150-500mm or the Sigma 150-600mm, it also made for a lens that handled better in the field, allowing for near instant zooms, more consistent balance, and more consistency in handling. When your eye is in the viewfinder, it’s great to have everything stay in the same place for muscle memory. What’s more, that lens had great autofocus, great image quality, and was generally a lot of fun to use. Sony has now expanded on that formula with their newest lens – the Sony FE 400-800mm F6.3-8 G OSS – by shifting the zoom range 200mm further, and, in the process, creating a whole new class of lens. 600mm has been the previous limit for a lens like this, so getting up to 800mm opens up all kinds of new horizons…and the fact that it can be used with teleconverters allows for some pretty wild amounts of reach. Does the 400-800G limit up to the standard set by the 200-600G? We’ll explore that in both the video review and text review here.

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Thanks to Sony USA for sending me a review loaner of this lens. As always, this is a completely independent review. *The tests and most of the photos that I share as a part of my review cycle have been done with the Sony a7RV along with the Sony Alpha 1 that serve as my benchmark cameras for Sony lenses. You can visit the product page for the 400-800G here.

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It’s a curious quirk of mathematics, but while both the 200-600G and 400-800G cover an identical number of potential focal lengths, the former is a 3x zoom ratio and the latter just a 2x zoom ratio. Moving deeper into telephoto territory also dictacted a shift in maximum aperture (otherwise the lens would have been prohibitively large and expensive). Whereas the maximum aperture of the 200-600G varied between F5 and F6.3, the new 400-800G shifts to F6.3 on the wide end as the maximum aperture and F8 on the telephoto end. More specifically:

• 400-482mm = F6.3
• 483-594mm = F7.1
• 595-800mm = F8

Because Sony only shows one-third stop aperture changes, there are only 3 different maximum apertures in the zoom range. So yes, the new lens is less bright at 483-600mm than the 200-600G (F6.3), but only by one third stop. That being said, the maximum aperture for more than 50% of the zoom range is F8, which isn’t particularly bright. This will be a lens best used in good lighting conditions, which means either outdoors or under very good stadium lights.

The 200-600G could reach up to 840mm if you used a 1.4x teleconverter, but your maximum aperture would be F9, so the 400-800G is actually the brighter option for shooting in and around 800mm. The 400-800’s range can be stretched out to 1120mm with a 1.4x, with a maximum aperture of F11. Here’s a shot with that combo.

That gives you can idea of just how far away these geese were!

You can reach up to an unbelievable 1600mm with a 2x teleconverter, though I didn’t have one on hand to test with (I’m typically not a big fan of 2x teleconverters). Maximum aperture will be a rather dim F16, so you’ll need lots of light (and probably a slower moving subject) to make that work.

But we’ve never seen a zoom lens that reaches 800mm quite like this, and certainly not one that is quasi-affordable at roughly $2900 USD ($4100 CDN). Does that make this droolworthy lens worth pursuing? Let’s take a closer look…

Build and Handling

It’s moments like these when I’m not quite sure where the line between Gold (G) and Gold Master (GM) lies. This looks and feels like a premium product, with a high grade of build quality, a deep suite of features, and thorough weather sealing. I’ve been impressed by just how GM these two G telephotos lenses look and feel.

As you can see, the two lenses have a very similar design, though the 400-800G just scales everything up. The size difference isn’t even as significant as this photo suggests, as the hood is actually the thing that has grown the most. If I remove the hood, you can see that the 400-800G is about an inch longer than the 200-600G.

To be more precision, the dimensions are 11.98 (D) x 34.6 cm (L), or 4.72″ in diameter and 13.6″ in length for the new lens, while the older 200-600G measures 11.15 x 31.8 cm or 4.39 x 12.52″. That’s nearly 17% bigger in overall volume, which is not too bad for a lens that reaches all the way to 800mm. The weight is 2.47kg, or 5.45lb, which is hefty but not outside the realm of being handholdable. The 200-600G weighs in at 2.11kg and the Sigma 150-600mm Sport weighs 2.1kg. Probably only the dedicated are up for using any of these lenses handheld for any length of time, though that’s almost exclusively the way that I used the lens.

On a practical note, I did find the balance point when on a tripod to be better with the 200-600G vs the 400-800G. It took more work when trying to align my test chart with the 400-800G as it was more likely to drop forward after framing.

The front filter size has increased from 95mm to 105mm, so if you’ve invested in 95mm filters on the 200-600G or a similar lens, you may need to rebuy.

The lens hood is deeper, so Sony has added a door to the hood to allow for easier rotation on a filter like a circular polarizer.

The lens hood is large, but also fairly lightweight. It has both a locking button (large and nicely executed) along with a rubberized front surface that makes for a logical place to place the lens or lens/camera combination…as in the first photo in this section.

There is a section before the tripod collar that has a bank (two banks?) of switches. They occupy the same plane but there is a line of division between them. The top section contains the AF | MF selector, a switch allowing for full time DMF (manual override regardless of what focus mode you’re in), and a three position focus limiter that allows for the full range of focus, from minimum focus to 10 meters, and then from 8 meters to infinity.

On the note of minimum focus, the lens can focus as closely as 1.7 meters (5.6 feet) at 400mm and then only as close as 3.5 meters (11.5 feet) at 800mm. Maximum magnification is 0.23x and is gotten on the 400mm end of the zoom range.

The second bank of switches is dedicated to the OSS, or Optical Steady Shot. The first switch is a simple ON | OFF, and this will override any camera setting for in camera stabilization if so equipped. The systems will work somewhat in harmony, but it is either both or neither. The truth of the matter is that in camera stabilization is rarely very effective at long focal lengths like this, however.

The second switch here is for three different modes for the OSS. The first is the standard mode, while mode 2 is for panning, and mode 3 emphasizes viewfinder stabilization to help with framing.

You can see a radical difference in trying to handhold the shot at these kinds of focal lengths when the stabilization is turned off. I could not find a rating for the stabilization in terms of stops, but the stabilization seems reasonably effective.

I tried a battery of handholding at 800mm, first at 1/8th second (ISO 800), then at 1/30th second (ISO 1600), and finally at 1/60th second (ISO 3200). I didn’t have any success in getting stable results until 1/60th second. That’s about 4 stops of assistance (see the final shot for a nice stable result).

The tripod collar/foot section comes next, and it follows the same formula as the one found on the 200-600G. The foot itself is removable, but the collar is fixed. You can rotate it by releasing the tension via a knob found on that section. The foot itself is has a standard 1/4″ and 3/8th” holes for attaching quick release style plates, but the foot is not natively Arca-compatible.

I never quite understand the lack of Arca grooves, as both Sigma and Tamron seem perfectly capable of making Arca-compatible tripod feet.

There are attachment points on either side of the tripod collar for attaching a carrying strap (included). The lens also comes with a large, padded case for storage. *My loaner is from Sony, and didn’t come with retail packaging, so I can’t picture these items.

There are two rings on the lens, the first (slimmer) being the manual focus ring. This ring has a rubberized grip and moves nicely. There’s a decent amount of damping, and the ring works well either for manual focus or DMF override. The most useful application is when photographing something like birds when focus grabs a branch in the foreground instead.

In between the manual focus and zoom rings there are three function buttons. These are at 3 of the cardinal positions around the lens, with a Sony logo at the fourth position. These are redundant buttons, meaning that each one will perform the same function (which is assigned in the camera menu). They are repeated at a variety of positions to be sure that one is close to hand whether shooting in horizontal or vertical modes.

The zoom ring is the real standout. The internal zoom design means that you can near instantly swing from one end of the zoom range to the other. I love the precision, not having to worry about zoom creep, and that the balance of the lens remains the same. This is where the additional size of the lens for storage really pays off.

Up front we have a fluorine coating on the front element along with the aforementioned 105mm filter threads.

This is the final touch on the thorough weather sealing, which starts with a gasket at the lens mount and then is backed up by a number of seals throughout the lens. I count at least 21 seals in total.

This is a professional grade lens with high quality build. The body seems to be a mix of metal alloys along with some engineered plastics. The lens feels tough and durable, and I can attest that my own copy of the 200-600G (now five years old), has definitely been that.

As noted, the 400-800G is fully compatible with Sony’s 1.4x and 2.0x teleconverters. In most situations I would recommend sticking with the 1.4x and avoiding the 2.0x. There are too many compromises introduced by 2.0x teleconverters in most situations, and the challenge of focusing with F16 as a maximum aperture could prove vexing. Third party lenses on Sony are purposely excluded from teleconverter compatibility, and, while I disagree with this policy, it is this case one potential asset for this lens over another.

This is a big, heavy lens (as you probably already knew), but the tradeoff is a very well constructed lens that is actually very nice to use in the field…if you can manage the weight.

Autofocus for Stills

*Before entering the formal test sections for autofocus and optics, I do want to add a general caveat that the extreme nature of a lens like this means that all of my typical test processes go out the window. I don’t have enough room indoors to perform them, so everything has to get reinvented outside…where I have less control over certain variables.

Pairing a Sony telephoto lens with a Sony sports camera is generally a delight. Combine a lens like the 400-800G with one of the a9 or a1 bodies and it will feel like enabling a cheat code. Tracking is just so good! Sony has employed dual linear motors to drive focus here, and that helps give the lens the speed it needs. I tested focus on an Alpha 1 body, but Sony adds this for those shooting with the lower resolution but ultra fast a9III: “Tracking easily keeps up with the 120 fps maximum burst speed of the α9 III, and continues uninterrupted even while zooming so important moments are not lost.“

In my formal tests, I found that focus speed was faster at the 400mm than at the 800mm end, with the former being basically instant and the latter having just a slight pause as intertia builds.

There’s plenty of speed for tracking everything from sports to birds in flight…with one caveat we’ll soon address.

I shot a burst of 138 shots tracking a Canada Goose soaring low over an ice floe where many other geese were gathered. Despite having many subjects (and occasionally having foreground bushes partially blocking my view) tracking was csonsistently excellent, keeping the goose in perfect focus all throughout the burst.

There is a challenge, however, and that’s you are going to need good light if your subject is moving. I tested tracking of a running subject in a fairly well lit field house, and tried to bias everything as much in the lens’ favor as possible. I shot near 400mm to keep maximum aperture at the brighter F6.3, jacked the ISO up to 6400, and even so I was getting shutter speeds no faster than 1/200th of a second and sometimes slower. That just wasn’t fast enough to reliably stop the action, so while focus and tracking were good, most of the shots are impacted by some motion blur. There’s a specific point int he sequence where the runner has landed from one stride and hasn’t taken off on the next, and those tended to be the most stable shots.

This is why 500mm and 600mm F4 lenses cost so much and are so big – getting sufficient light gathering in a long telephoto is a real challenge.

Focus remained good throughout the sequence, however, moving forward in a nice linear fashion so that I continued to get accurate focus even when the runner was relatively near the camera.

I saw enough to assure me of two things: Sony really knows how to do autofocus and this is definitely an outdoor lens!

I always hate when long telephotos get released during Canadian winters (which it seems like they invariably are), as it makes find subjects extremely difficult. In this case, because the river is only open in a certain channel and there is a lot of unstable ice near the edge, I couldn’t really get close to any waterfowl subjects on this particular day. That meant a lot of 800mm shooting, and you can see that even with that extreme magnification I wasn’t all that close to my subject. Because I had only one angle, it also meant that the sun was on the wrong side of these geese, leaving the side of their heads facing me in shadow. A black eye on a black background in shadow is hardly a high contrast subject, so I was very impressed to find that eye detection worked pretty consistently, and I was able to get accurately focused results.

In better light (and at a different location where I could get closer) I had no problem getting the shutter speed I needed to perfectly stop action.

Slow subjects are no problem, obviously, and this shot of Ferrari (658mm, F8) shows perfect focus.

Bottom line is that the limiting principle won’t be autofocus…but it could possibly be the amount of available light.

Autofocus for Video

Sony has worked hard at making their lenses (and cameras) to be equally good whether doing photo or video work. I did my formal tests at the 400mm end, as the working distance at 800mm just requires far more room than I have easy access to. I found a nice level of damping, with no visible steps and smooth transitions from one subject to another.

At 400mm, focus breathing is extremely well controlled, even with Sony’s “Focus Breathing Compensation” turned off. You can see from the third stills capture below that the size of the distant subject stays mostly the same regardless of being in or out of focus.

My hand test went fine, though it was very odd to be doing it at a distance of about 40 feet rather than 6. The amount of compression at 400mm makes it feel like there is very little distance between my hand and my face, but I could see that focus was transitioning smoothly back and forth.

I tracked some turkeys walking around my backyard, and focus mostly kept steady on them as they moved in an agitated fashion (they knew I was there). There was one occasion where focus did shift to a foreground bush momentarily, but it mostly stayed where I wanted.

Overall I would say that focus works well in video as well. The extreme nature of the focal range does provide some challenges, but it isn’t because of the autofocus.

Image Quality Breakdown

As you would expect, the complexity of the optical design has grown from the 200-600G. Whereas that lens had an optical design of 24 elements in 17 groups, the the Sony FE 400-800mm F6.3-8 G OSS is one of the most complex optical designs I’ve seen, with 27 elements in 19 groups. That matches the Sigma 60-600mm F4.5-6.3 DN Sport lens, another extremely complex lens (some 50mm primes have as little as 5 or 6 elements!). The 400-800G’s optical design includes 6 ED (Extra-low dispersion) elements. The MTF chart included below gave me a little chuckle, as Sony tends to show both wide open and then F8 results. That fine for the first row, which includes first the 400mm results at F6.3 and then at F8. The bottom row, however, shows the 800mm performance, and since the maximum aperture is F8, it actually shows the same results twice.

Those results are pretty impressive, though, showing an extremely sharp center (over 90%) at 400mm and nearer to 100% at 800mm. The midframe is also impressive at both focal lengths, with some fade in the corners (arguably far less important in a lens like this). That fade is pretty consisent on both the “radial and tangential” axis at 400mm, though at 800mm the corner drop is almost entirely on the tangential plane.

The key advantage to a telephoto zoom lens is that it gives you a lot more control over framing. Often shooting with a prime lens is frustrating either because you are too close or too far. A zoom lens doesn’t solve all of those problems, but it means that you have both this extreme:

And then this extreme as framing alternatives:

800mm was too tight of framing for the shot below, so I was able to back off to 740mm to get the composition I wanted, something I wouldn’t be able to do with a prime.

A zoom lens is extremely useful, particularly if you have a fixed location to work from.

So how about the optical details?

I saw a minimal amount of longitudinal type chromatic aberrations in some real world shots, mostly showing up as some blue-green fringing in high areas of contrast, like this:

I didn’t see much of it in my shots of geese with shiny ice around them, however, leaving me to believe it won’t be any problem in real world shots.

I didn’t really see any lateral style chromatic aberrations near the edges of the frame either on my chart or in real world results.

I only set up one test chart outside (and ended up regretting that a bit, as it got a little dirty), so I’m going to pull my findings on vignette and distortion from my main chart. Here’s how far I had to be away to test 800mm:

No, I don’t have that kind of room in my basement! And yes, we still have snow (March 21st). I actually cleared some of the snow to make sure that I had enough space to test the full range of the lens.

Distortion is consistently of the pincushion variety, with some ebb and flow throughout the zoom range. Here’s a look at 400mm before and after correction.

The pincushion isn’t bad at 400mm, requiring just a -4 to correct, and you can see that it corrected in a linear fashion leaving straight lines on the frame around my chart. Vignette is also pretty minimal, with no more than a stop of peripheral shading (I used a +30 to correct).

In the middle of the range, the distortion increases a bit (-6), but the vignette remains extremely low.

At 800mm the distortion needs only a -3 to correction, and vignette remains pretty neglible. Nothing that is going to cause anyone any problems; I never saw anything more than about a stop of vignette, which frankly you just won’t notice in real world shots. This shot of a turkey was taken at 681mm, F8, and there has been no correction. Note how bright the snowy bottom corner is.

That big front element is letting in plenty of light to the corners of the image circle.

So how about sharpness and contrast? I did these tests on my Sony a7RV and its 61MP sensor. Crops are shown at roughly 200% magnification (as always) to highlight strengths and weaknesses. If you aren’t experienced with long telephoto lenses, know that sharpness results are much more dependent on environmental conditions. You are often shooting at much great distances, and there are many more variables like thermal pockets that cause heat shimmers and other optical disturbances. Shooting with long lenses requires skill and developing a sense of what works and what doesn’t…often some trial and error. I shot my test chart results multiple times to broaden the sample size for this reason. I used my most stable tripod and also moved from a 2 second timer to a 10 second timer to reduce vibrations. I’ve mixed and matched here to show the best results I found.

You’ve already seen the test chart earlier, so I’ll go right to the deep crops. This is 400mm, F6.3, with crops from the center, mid-frame, and bottom right corner.

Detail is good, though contrast isn’t exceptional. To put this in perspective, however, here’s a comparison to the 200-600G, taken within a few minutes of each other (so similar lighting conditions).

What I found is that the 400-800G was very slightly better – a tiny bit more sharpness and contrast – all across the frame. I was pleasantly surprised by that, as I’ve always considered the 200-600G to be one of the best lenses I’ve tested in this class.

The MTF suggests a mild improvement when stopped down to F8, and I’m sure that in a lab under perfectly controlled conditions that’s true, but I didn’t really see much of a difference in any of my tests. here’s a real world example and crop at 100% that shows good detail and mostly good contrast at F8.

This is a variable aperture lens, and that affects not only the maximum aperture; it also affects the minimum aperture. This varies from F36 on the wide end to F45 on the telephoto end. I would shoot through F11 and try to avoid anything smaller than that as diffraction will definitely play havoc with resolution and contrast.

At 500mm the maximum aperture is F7.1, but I do see a bump in performance…particularly in contrast relative to 400mm.

600mm felt a little softer to me than our sharpness peak at 500mm. We have reached the smallest maximum aperture of F8 by this point.

Checking back in with the 200-600G, I found that comparing across multiple samples left me feeling that while there is some give and take, contrast favors the 200-600G by a small margin.

The truth of the matter is this is probably a matter of splitting hairs, however, as unless you were looking at this ridiculous level of magnification with them side by side (as I have here), you probably wouldn’t notice the difference.

This real world shot of Ferrari shows that while contrast isn’t off the charts, there’s a nice amount of detail being resolved at 600mm.

Moving on to 800mm shows decent resolution but lower contrast wide open. What’s interesting is that even a very mild stop down to F9 (one third stop) has a pretty dramatic effect on contrast. Here’s a look at the center:

Then the corners…

In both cases you can definitely see a noticeable difference.

I decided to see if that bore out in the real world. It definitely did. I used this as my test subject (nice and flat):

In both the cropped areas below, the F9 result is noticeably more contrasty than the F8 result.

So pro tip: if you buy this lens, don’t hesitate to stop it down that one third stop. You’ll get much better results at very little light gathering penalty.

And frankly, I feel like real world results at 800mm could use that bit of a boost. Detail and contrast are good but not great at F8:

That little boost definitely gives you the advantage over using the 200-600G and the 1.4x teleconverter. That combination can get you to 840mm with a maximum aperture of F9, but as you can see, the 400-800G is noticeably better than the TC combination at F9:

My conclusion is that the resolution may not be “wow” at 800mm, but it is better than what any of these type lenses have achieved previously (by reaching there with a teleconverter). What’s more, you are avoiding the inconvenience and expense of the teleconverter. Currently the 1.4x Sony TC costs $548, and that definitely would help close the $900 gap between the 200-600G and the 400-800G.

How about the bokeh? My answer to that is, “it depends”. When you are a longer distance to your subject (and thus the background is less blurred out), I find that the background gets a bit busy, with some jitteryness in the transition zone.

Ditto with the foreground obstructions that you will often encounter when birding.

Likewise here I found this complex background to be rather unappealing.

In more favorable ratios, however, where the subject is closer and the background is further, the bokeh looks much more pleasing.

This shot is somewhere in between, with the subjects being at a medium distance, but the background is a little less complicated.

My conclusion is that like many of these type lenses, the 400-800G is more optimized to try to get as much sharpness as possible rather than delivering amazing bokeh. If you want amazing bokeh at 800mm, grab the $13,000 Sony 600mm F4 GM and use a 1.4x TC on it. There’s only so much heavy lifting that a zoom lens like this can do.

I didn’t point the 400-800G right into the sun, but I also never saw any real flare issues when panning across it while tracking. You will see some loss of contrast at certain positions with intense midday sun, but it is obviously very easy to avoid these situations with such a narrow angle of view.

This isn’t a flawless lens optically, but neither does it have any significant flaws. Any optical shortcomings I see are put into perspective when I compare it to a lens that I think to be very good and have taken some amazing photos with. It lets me know that if I had this lens in similar conditions, I could expect as good or even slightly better images. Check out the image gallery if you would like to see more images.

Conclusion

Lenses like the Sony FE 400-800mm F6.3-8 G OSS are going to be completely wasted on a large swatch of the photography world but will immediately send a certain subset to place a preorder as quickly as possible. Many will find a lens like this too big, too heavy, and too expensive, and that’s fine. And even if you aren’t one of those, I would encourage some patience should you purchase one. Lenses like this have a learning curve, and you have to learn how to use a lens like this to its strengths and start to develop a feel for what situations it will and won’t thrive in.

But while a lens like this isn’t easy to use, modern autofocus makes it infinitely easier than it would have been. To be able to get 30FPS (or even 120FPS on the a9III) while tracking across the full sensor is a pretty unbelievable experience. I used to hate reviewing lenses like this because long focal lengths made it so hard to acquire a bird in flight, for example. Focus would hunt back and forth, and even assuming you eventually acquired focus, it would rarely be with the framing you sent out to capture. But yesterday I was looking at hundreds of geese out on the ice, none of whom seemed interested in flying, until out of the corner of my eye I saw one take off. I turned and immediately was able to grab focus (at 556mm), and every frame in the 138 burst that followed was in focus…starting from this, the very first one.

That means that there will be far more situations where a photographer can get both the focus and the framing they want, and end up with more of the moments like this (770mm, F8), where it is actually a shot that I’m proud of.

This is, frankly, pretty much the ugliest time of the year where I live. So if I can shots that I like with this lens NOW, it lets me know that photographers shooting at better times of year will be able to get shots that they love. And that makes the $2900 Sony FE 400-800mm F6.3-8 G OSS not only the first Sony zoom to reach 800mm, but also makes it probably the best zoom to hit 800mm.

Pros:

• The first Sony zoom to reach 800mm
• Beautiful build quality including robust weather sealing
• Excellent handling (internal zoom helps balance)
• Good feature set allows you to stay out of the menus
• Incredible autofocus performance – quiet, fast, and accurate
• Pair it with a Sony sports camera and get amazing tracking
• Strong, consistent optical performance across the zoom range
• Low vignette
• Good contrast and chromatic aberration control
• Can be used with Sony’s 1.4x and 2.0x TCs
• Better optically than 200-600 + 1.4x at long ranges

Cons:

• Slow maximum apertures mean that you’ll need good light
• Stabilization is just okay
• Big and heavy
• Contrast at F8 isn’t exceptional
• Slow maximum aperture limits applications

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