I own and use several Sony G Master lenses, each earning its place in my workflow for different reasons. But when I look back at the past year, I’ve noticed how often the Sony FE 85mm f/1.4 GM II keeps showing up behind the images my clients and I love the most.

When I first tested the Sony FE 85mm f/1.4 GM II around the time of its launch, I immediately fell in love, and it has become a frequent go-to. Even on days when I don’t start a session with it, I almost always reach for it before I’m done. If I don’t, I often find myself missing that specific look later when going through the gallery.

There’s something about the way this lens balances softness and sharpness that gives the images a distinctive, dreamy quality, which I tend to gravitate towards. Paired with Sony bodies like the Alpha 1 II and Alpha 7R V, it delivers solid RAW files that are rich in colour and detail, and a pleasure to work with in post-production. It’s a combination I’ve really enjoyed exploring over the past year.

As a photographer who specialises in portraits out in nature, whether I’m working on creative, fairytale-inspired projects or commissioned sessions like families, corporate, or weddings, I often find myself outdoors in ever-changing conditions. Over the past year alone, that has meant everything from subzero Arctic mountaintops to the ancient, foggy woodlands of Madeira and the raw, dramatic landscapes of the Scottish Highlands.

Photographers often chase extraordinary light, landscapes, or moods to elevate their work. That often means travelling away from home. Even a regular client shoot can feel like a small expedition if the setting is remote. And the further off-grid you go, the more carefully you tend to weigh your choices about what to bring in the camera bag.

Beyond the beautiful look the Sony FE 85mm f/1.4 GM II creates and its ability to deliver razor-sharp images even wide open at f/1.4, there are several practical reasons it keeps earning its place in my camera bag, even when travelling.

The weight is one. When you're out for long days, often on foot or on uneven ground, every gram makes a difference. This lens strikes a strong balance between performance and portability.

It’s also well-suited for video work, which has become increasingly relevant, even during still-focused sessions, as more clients look for hybrid content.

And the autofocus is fast and reliable, which matters when a moment presents itself in front of the camera, especially if you’re in extraordinary places you may never return to.

While shooting, I can’t afford to second-guess whether the focus hit or the image will hold up. Knowing the equipment will deliver every time gives me the confidence to stay in the moment and focus fully on what’s happening in front of the camera. Building connection with the person I’m photographing and making the most of the environment, light, composition, and so on is how I’m able to stretch my creativity and keep pushing my work forward. Reliability, for me, isn’t just a convenience. It’s a catalyst for both my process and the images I create. And I believe that holds true for every photographer.

Therefore, if you ask me, anything that makes my life as a photographer easier, more enjoyable, and enhances the quality of my work is a great investment. That’s why the Sony FE 85mm f/1.4 GM II has earned its place in my bag. Because it supports both the work I want to create, how I want to shoot, and the photographer I want to become.

Of course, different sessions, goals, and circumstances call for different tools. Over the past year, I’ve noticed myself reaching for the Sony FE 135mm f/1.8 GM a bit less frequently. I still love the look it creates, sometimes even more than the Sony FE 85mm f/1.4 GM II, but the longer focal length naturally requires more distance between me and the subject. That added distance can make interaction a little more challenging in certain situations, especially when working with couples or children. And when I’m working in unfamiliar or remote environments, I can’t always count on having the extra space to step back.

On the other end, the Sony FE 50mm f/1.2 GM is another lens I’ve worked with and genuinely admire. Its focal length offers exceptional flexibility, especially in tighter locations or when I want to include more of the surroundings in the frame. Still, in many sessions, I find myself drawn to the slightly more compressed perspective and enhanced background separation of the Sony FE 85mm f/1.4 GM II. It adds a soft, enchanted atmosphere I often aim for in my work. That’s why the Sony FE 85mm f/1.4 GM II hits a sweet spot for me, it allows me to stay close enough to maintain a connection with the people I photograph, while still delivering the depth and dreamy quality I love.

A year later, this lens keeps showing up in the images I love most, not just because of the optical qualities it delivers, but because of what I’m able to bring out during those sessions. It’s not only about sharpness or background blur. It’s also about how naturally I can connect with the person in front of the camera, respond to the light, and make the most of the surroundings. That freedom shapes the look of the image just as much as the lens itself. And that’s something I value deeply.

That’s what I look for in a lens: something that supports how I want to shoot and helps me bring my ideas to life. For professional portrait photographers who are serious about creating images of the highest quality and want to future-proof their equipment, the Sony FE 85mm f/1.4 GM II is absolutely worth a look.