27/02/2026 1:10 am
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So Ive been shooting on an a7IV for a few years now mostly focused on portraits and the occasional wedding gig so I usually just stick to my 24-70mm GM II because it does everything. But lately Ive been trying to get more into street photography around downtown Chicago and man that zoom lens is just way too big for this. I feel like a giant target walking around and people definitely notice me more than I want them to. Its hard to get those candid shots when you look like a pro photographer on an assignment and people start acting stiff or just look away as soon as they see the glass.
I really want to switch over to a dedicated prime lens thats small enough to be discreet but still gives me that fast autofocus Im used to. I was looking at the Sony 35mm f1.8 because it seems like the obvious choice and the price is decent but then I saw those new compact G series primes like the 40mm f2.5 and now Im second guessing everything. The 40mm looks tiny which is perfect for staying low key but Im worried f2.5 might be a bit slow for when the sun goes down or if Im shooting in the subway. I usually like that separation you get at f1.8 but maybe for street it doesnt matter as much if everything is in focus anyway?
I have a trip to Tokyo coming up in about three weeks and I really want to have this sorted before I go so I can just carry one small setup and not worry about swapping glass all day. My budget is roughly $800 give or take a bit if theres something used thats worth the jump.
Ive looked at the Samyang and Rokinon stuff too because they have some really small pancake lenses but I dont know if I trust the AF speed compared to native Sony glass especially for fast moving subjects on a crowded street. Does anyone have experience with the 40mm G versus the standard 35mm f1.8 for this kind of thing? Or should I be looking at something else entirely like a 24mm? Just trying to figure out which prime is actually the best balance of size and image quality for the street...
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11
27/02/2026 1:11 am
Tokyo is a whole different beast compared to Chicago. You definitely dont want to be lugging that GM II around Shinjuku at night. I would suggest sticking with native glass because you really dont want to miss a shot because the AF hunted for a second too long on a third party lens. I had some issues with older Samyang glass before and honestly, for a trip this big, I wouldnt risk it. Heres the breakdown of the ones you mentioned:
- Sony FE 35mm f1.8: This is my go-to for reliability. That extra stop of light is huge if you are shooting in the subway or down those narrow alleys in Golden Gai. Be careful though, it is a bit longer than the G series primes so it sticks out slightly more. The AF is lightning fast though.
- Sony FE 40mm f2.5 G: This lens is incredibly stealthy. If you want to look like a tourist with a point and shoot, this is it. The build quality is tank-like which is great for the inevitable bumps in crowded trains. Just be aware that f2.5 might leave you cranking the ISO higher than you like when the sun goes down. I would suggest going for the 40mm G if size is the main worry. Its basically invisible on an a7IV. Just make sure to watch your settings in low light. You might want to consider how much you really need that f1.8 bokeh for street... usually f2.5 to f4 is the sweet spot anyway so you actually hit focus on moving people.
10
27/02/2026 1:45 am
Just saw this and ngl, I had a pretty disappointing experience with those super compact lenses lately. I really wanted to love the Sony FE 40mm f2.5 G for travel, but unfortunately, that f2.5 aperture felt way too slow once I moved away from direct sunlight. It just doesnt have that pop you get from your GM zoom and the bokeh is kinda busy. I tried some cheaper glass like the Samyang AF 35mm f1.8 FE too, but the autofocus was a letdown compared to native Sony stuff. It hunted way too much in shadows for my liking which is frustrating when youre trying to be quick. Here are two quick tips:
- Stick with the Sony FE 35mm f1.8 even if it looks a bit bigger than the pancake options; that extra light is a lifesaver for night street shots.
- Native glass is basically a requirement if you want to keep that sticky eye-AF working perfectly on your a7IV. I really want you to have a good trip so definitely test whatever you buy before you get on that plane... you dont want to be stuck with gear that misses focus in Shinjuku!
3
27/02/2026 2:15 am
Just found this. Not sure if f2.5 is enough, but maybe look for used native gear?
- check local shops
- watch for deals Its usually safer for autofocus anyway...
3
27/02/2026 2:40 am
- Native glass usually has better resale value than off brands. 2. I spent hours researching yen exchange rates because the travel market is so volatile right now. Anyway lol sorry
1
27/02/2026 2:15 am
Honestly it drives me crazy how we are expected to shell out nearly a grand for compact lenses that feel like they are made of recycled soda bottles. Regarding what #3 said about "Just found this. Not sure if f2.5 is..."
- I completely agree that the speed is a massive letdown but it goes way deeper than just the aperture specs. I had such a frustrating experience with the Sony FE 40mm f2.5 G where the linear motors started making this tiny clicking sound after only a month of street shooting. Its such a scam that the build quality is tanking while prices keep climbing.
- Stepper motors in some of these budget primes are way too slow for fast street work
- Weather sealing is basically a marketing myth on these lightweight builds
- The flaring you get when shooting under street lights is honestly embarrassing for native glass tho Its just so disappointing when you invest in a pro system and the small glass options feel like a cheap afterthought. I remember being out at night and having my focus completely lock up on the Sony FE 35mm f1.8 just because it was a bit humid. If you are going to Tokyo you really need to be careful because the environmental seals on these tiny lenses are usually a joke... it is a total headache trying to find anything reliable that wont fail the moment a subject actually moves. It really feels like companies dont care about real-world durability anymore as long as the lens looks cute on Instagram. Trust me, I get the struggle of trying to find something that wont let you down in the field.
