It’s early winter 2022 and Iceland's capital city, Reykjavik, is already in a deep freeze. Of course, for its hardy citizens living so close to the Arctic Circle, these sub-zero temperatures are no hindrance to creativity, and in a city park, under the fleeting winter sun, photographer Páll Stefánsson is killing time before a meeting.

Inspired by the low, glancing light, and with some moments to indulge his eye, he picks out the upturned face of a statue laden with heavy frost, framing it to perfection with his FE 100mm f/2.8 STF GM OSS.

A 100mm prime lens might seem like an unusual choice for such spur-of-the-moment walkaround photography, but as the results show, it's a combination of focal length and quality that Páll has become comfortable and confident with. From street scenes to portraits and frozen landscapes to flaming volcanos, “it’s a lens that seldom leaves my side,” he confesses.

So what’s the appeal?

“To me, the 100mm is a brilliant general-purpose lens and I really love its natural perspective for all sorts of subjects,” he explains. “For landscapes or people, the view lets you frame tightly without distortion. It’s right at the longer end of the lenses I like to use all the time, and when I’m on location, I shoot with four bodies so I can have a 24mm, a 35mm, a 50mm, and this 100mm at the ready. 100mm is the longest where I feel I’m still personally connected with the scene.”

That approach – using four primes to cover the range of a typical standard zoom – can bring greater quality and clarity to photography, says Páll. And it’s something that your brain becomes trained towards when it comes to making compositional choices.

“I've been a professional photographer for 40 years,” he explains, “and I’ve always used primes. You learn what each lens brings, and how to use it, like a filter in your eyes. I know exactly how a 100mm lens frames, and it sharpens me as a photographer. On that day, I was working with one camera, one lens and one intention. I’m sure if I had a 24-105mm in that park I would have come away with different images and not been as selective.”

Prime lenses often give greater sharpness than equivalent settings on a zoom, and for Páll, the 100mm is no different.

“When I first spoke to one of Sony’s top lens designers about this lens,” he reports, “he felt it was often overlooked, despite being one of the finest in the range. And I agree. It’s one of the best G Master lenses in quality, and one that will really amaze people when they try it.

Plus,” he continues, “with Alpha lenses like this you know they’re specified for sensors with 100MP resolution or more. On some other systems, cameras are brought to market without the lenses to back it up, but with Sony G Master lenses you always know it’s a proper investment that’ll be good for a lifetime.”

A big part of the 100mm’s optical quality, says Páll, is its superb bokeh. “Of course, bokeh is a personal thing, like whether you find someone beautiful,” he explains, “but thanks to the optical apodization (APD) element on the lens, it is wonderfully smooth, letting subjects separate with real presence and amplifying the lens’s innate sharpness. In that way, it reminds me of a classic lens, but with the contrast you’d expect from a modern one.”

Another area that makes the 100mm a superb all-round choice is its focusing speed and range, says Páll. “There’s a switch on the body that toggles settings between 0.85m to infinity and 0.57m to 1m by moving elements within the lens. At the latter it gives a lot of magnification, so you can add close ups and details to this lens’s list of subjects. It offers so much versatility and in a way that’s close to perfection.”

Add Optical Steady Shot to the mix, and its all-round credentials grow further.

“Personally, I like to use a tripod whenever I can,” says Páll, “because it slows me down and lets me frame more precisely. But there are situations when it’s not possible and image stabilisation is needed. For instance, when shooting these delicate flowers in the low soft sun now in December, I was half standing in a pond, as well as using a low ISO to retain the finest detail, so the shutter speed was low. It’s good to know it’s there to help me when I need it, and sharpness is assured.”

“Despite all its optical quality and speed, this is a very rugged and portable lens, too,” Páll continues, “which is perfect for me when I’m trekking. Last August we had an eruption at Mt. Fagradalsfjall, in Iceland, and I chose the 100mm to capture it. The lens weighs only 700g, and while I often take longer lenses to avoid the need to get too close, this one can give just enough reach, but is so light I could do the four-hour hike up to the lava field and keep my shoulders happy.”