Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami product images (2 of 8)ISO 4001-160 sec at f - 5.6

I’ve never been a fan of zoom lenses, but in the most recent years a bunch of pretty exceptional ones have been popping up: the Sony 24-70mm f2.8 G Master lens is amongst those. For $2,198 you’re getting the classic equivalent for photojournalists for a mirrorless camera body, fast focusing, some of the best weather-sealing that Sony has created to date, and spectacular image quality.

But besides having one of the funniest names in the world, the price which only true professionals would stomach (or those of you with super deep pockets) you should also keep in mind that this lens is pretty darn heavy. In fact, it didn’t feel balanced with any of the Sony A7 camera bodies that I used on a recent trip to Miami with Sony.

But one thing is for sure: the versatility is there despite for me, it isn’t quite hitting the spot so far (pun intended.)

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (32 of 32)ISO 4001-80 sec at f - 2.8

Tech Specs

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (20 of 32)ISO 1001-640 sec at f - 2.8

Tech specs taken from the Adorama listing

Lens Mount
Sony E-mount
Format
35mm full frame
Compatability
E-mount 35mm Full Frame
E-mount APS-C cameras
Focal Length (mm)
24-70mm
35mm Equivalent Focal Length (APS-C)(mm)
36-105mm
Lens Construction (Groups, Elements)
13 groups, 18 elements
Aspherical Lenses
3 aspherical (1 XA)
Extra-low Dispersion Glass
2 (1 Super ED glass/ 1 ED glass)
Coating
Nano AR Coating
Maximum aperture (F)
f/2.8
Number of Aperture Blade
9 circular
Circular Aperture
Yes
Minimum focus distance (m)
0.38m
Maximum Magnification Ratio (x)
0.24x
Lens Motors
Direct Drive SSM
Filter Diameter (mm)
82mm
Hood Type
Petal shape, bayonet type
Dust and Water Resistant
Yes
Dimensions (DxL)
Approx. 3.45 x 5.35″ (87.6 x 136mm)
Weight
31.50 oz (983g)

Ergonomics

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami product images (8 of 8)ISO 4001-500 sec at f - 2.8

The Sony 24-70mm f2.8 G Master lens is one that is designed to appeal to the person that needs a constant aperture walkabout lens or for the professional. These lenses are the bread and butter of many wedding photographers, photojournalists and working photographers in general. The best I’ve tested are from Tamron and Tokina–with the latter really impressing me.

Much of the lens is characterized by giant rubber rings which have a lot of texture on them. Additionally, there is metal body sections, a zoom range scale, and the 24-70mm branding on top. Without the lens hood, it’s a much smaller package. Though if you get a lens like this, I’d make sure that you use the hood to protect it.

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami product images (5 of 8)ISO 4001-500 sec at f - 2.8

This lens isn’t like the variations from Canon and Nikon. At its widest, the lens is compacted while at its longest, the lens is extended. This is the opposite from the big two companies.

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami product images (4 of 8)ISO 4001-500 sec at f - 2.8

With much of Sony’s system, the controls are on the cameras themselves. But here, you’ll get an AF/MF switch on the side of the lens body. You’ll also get a focus lock button.

Of course, this wouldn’t be a G Master lens without you being able to find the little G moniker on the body.

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami product images (6 of 8)ISO 4001-500 sec at f - 2.8

The front of the lens has a giant 82mm filter thread to accommodate to an equally giant filter. Keep this in mind if you shoot landscapes or with manual flashes and need an ND filter.

Build Quality

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami product images (3 of 8)ISO 4001-160 sec at f - 5.6

This is one of Sony’s more solidly built lenses; and for the price point it really should be. The G Master lenses have actual weather-sealing that you can feel towards the end of the mount. Like some of the Zeiss glass, there is a rubber ring to keep out dust and moisture. While Sony isn’t sure just how much abuse it can really take, Gordon Laing and I went for a stroll on the beach with the lens. It endured any pressures with no problems and at no point did I feel that it couldn’t handle the sand flying about.

However, this lens is very heavy and not balanced with the camera body. You may need to add in an extra grip to the bottom, but even then the center of balance is around the text that says FE 24-70mm. When you add all this though, you’re essentially negating the point of a mirrorless camera.

Using it with a wrist strap becomes tiresome, as does having it on your hip with a Peak Design Capture Clip Pro.

Ease of Use

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami product images (1 of 8)ISO 4001-160 sec at f - 5.6

It’s a lens; so you’re just slapping it onto the camera, focusing, and shooting to your heart’s content. But you also should be wary of the AF/MF switch. At one point I accidentally switched it MF and was wondering for a good two minutes what the heck was happening with my autofocus.

Autofocus

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (13 of 32)ISO 64001-20 sec at f - 2.8

The autofocus with this lens and the Sony a7r II was quite good during my initial test run. The combination worked well together in most situations. Interestingly enough, it didn’t really suffer in low light, but instead in strong backlit situations.

Image Quality

Here are some of my initial image samples.

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (1 of 32)ISO 1001-500 sec at f - 2.8

There is a bit of purple fringing but that can EASILY BE REMOVED IN LIGHTROOM.

Seriously kids, don’t panic. If clicking a couple of times in Lightroom is what you’re complaining about then consider getting some professional help. If the fringing were horrible to the point where you can’t work with the file, then that would be another thing. But this isn’t that bad.

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (2 of 32)ISO 1001-640 sec at f - 5.6

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (4 of 32)ISO 501-160 sec at f - 9.0

The colors from this lens don’t look very typical Sony; instead they’re a cross between both Sony and Canon. For those of you who don’t typically like Sony’s usually super saturated looks, this lens may be a breathe of relief.

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (5 of 32)ISO 501-320 sec at f - 9.0

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (6 of 32)ISO 801-25 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (7 of 32)ISO 801-125 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (8 of 32)ISO 801-160 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (9 of 32)ISO 801-100 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (10 of 32)ISO 1001-125 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (11 of 32)ISO 4001-60 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (12 of 32)ISO 4001-30 sec at f - 3.2

At the wider end, you’re not going to get much bokeh even with the 9¬†aperture blades. It surely isn’t the 85mm’s 11 aperture blades.

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (14 of 32)ISO 2001-10 sec at f - 5.6

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (15 of 32)ISO 1001-160 sec at f - 8.0

Using this lens with a flash is what really impressed me (as always.) More on that soon.

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (16 of 32)ISO 1001-200 sec at f - 8.0

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (17 of 32)ISO 1001-125 sec at f - 8.0

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (18 of 32)ISO 1001-80 sec at f - 8.0

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (19 of 32)ISO 1001-160 sec at f - 8.0

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (21 of 32)ISO 1001-800 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (22 of 32)ISO 1001-2000 sec at f - 3.2

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (23 of 32)ISO 1001-2500 sec at f - 3.2

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (24 of 32)ISO 1001-2500 sec at f - 3.2

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (25 of 32)ISO 25001-250 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (26 of 32)ISO 25001-160 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (27 of 32)ISO 25001-200 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (28 of 32)ISO 8001-40 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (29 of 32)ISO 4001-200 sec at f - 2.8

When a flash is used, a lens is really tested. The image above and the ones below all involved the use of a flash. Here you get the best sharpness due to the specular highlights, a true color test due to more ideal lighting conditions and so much more. So far, the lens is doing very well, though I’m not sure it’s standing out very much from the rest.

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (30 of 32)ISO 4001-125 sec at f - 2.8

Chris Gampat The Phoblographer Sony 24-70mm f2.8 G Master sample images Miami (31 of 32)ISO 4001-80 sec at f - 2.8

First Impressions

The Sony 24-70mm f2.8 G Master lens has a lot going for it. But it will require more testing; and I’m still waiting on my review unit. More will come soon.

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  • Tony
    Unknown Unknown Unknown Unknown
    Disqus/1.1(2.84):2569875446

    Hi Chris, Great pictures and thanks for posting. Wanted to ask – how do you feel about it vs. the 24-70mm f4 in terms of overall image quality and rendering? Is it noticeably better at f4 and above or about the same?

    • ChrisGampat
      Unknown Unknown Unknown Unknown
      Disqus/1.1(2.84):2569890425

      They’re both very good, but the f2.8 is better. If you’re shooting with the same camera with both lenses, the f2.8 version will give you better colors but the sensor will be able to create those colors no matter what because it’s so versatile. Bokeh is better on the f2.8 to me, and when using a flash there seems to be a bit more pop with the f2.8 version.

  • longzoom
    Unknown Unknown Unknown Unknown
    Disqus/1.1(2.84):2569706329

    Great observation, Chris! The lens looks like on par with the others of this class. A little bit confuse I am – what is a nature of some highlights washed out – inner lens’s reflections, narrow DR of the body, filter or really what causing such the loss of contrast? Thank you in advance!

    • ChrisGampat
      Unknown Unknown Unknown Unknown
      Disqus/1.1(2.84):2569708936

      The majority of the images are unedited. It was probably what I was metering for. They don’t look bad on either of my monitors though.

  • Curtis Caulfield
    Unknown Unknown Unknown Unknown
    Disqus/1.1(2.84):2569512739

    Even with the heavier lens, the package is still lighter and smaller than a comparable DSLR. This does not negate the benefits of mirrorless, and should not be a negative point. I wish people writing reviews would stop trying to take the discussion that route. You are never going to have fast constant aperture lenses that are small and light, its physics.

    • ChrisGampat
      Unknown Unknown Unknown Unknown
      Disqus/1.1(2.84):2569552363

      Wrong!

      The Sony 70-200mm f2.8 G master is amazingly small and light overall. And you’re not even honing in on the bigger points that I state. This lens is unbalanced. If it were heavy but balanced, I think that would be fair. But it isn’t.

      To specifically speak to constant aperture lenses that are fast, all of them for APS-C are quite fast. Granted, that’s a smaller sensor and probably not what you’re referring to.

      Now, let’s look at Sony overall via this: http://www.thephoblographer.com/2015/09/12/the-phoblographers-guide-to-sony-full-frame-e-mount-fe-mount-lenses/#.Vucdk5MrIWo

      The 16-35mm f4 is very light: http://www.thephoblographer.com/2014/12/20/review-sony-zeiss-16-35mm-f4-oss-sony-full-frame-e-mount/#.VucdoJMrIWp

      The 24-70mm f4 wasn’t so heavy: http://www.thephoblographer.com/2014/07/23/review-sony-zeiss-24-70mm-f4-fe-full-frame-e-mount/#.VuceB5MrKHp

      The 70-200mm f4 wasn’t that heavy: http://www.thephoblographer.com/2015/11/12/review-sony-70-200mm-f4-oss-sony-fe/#.VuceipMrKHp

      F4 isn’t such a fast aperture, but to be very fair, it’s probably what a lot of people will shoot at anyway. You just meter for f4, and you never stop down: it’s pretty simple to do.

      • Curtis Caulfield
        Unknown Unknown Unknown Unknown
        Disqus/1.1(2.84):2569669209

        Okay. A more apples to apples comparison would be the Sony 2.8 zooms vs. Others.

        24-70 2.8:
        -Sony 31.25oz
        -Nikon 38.84oz
        -Canon 28.4oz

        70-200 2.8
        -Sony 52.21oz
        -Nikon 54.3oz
        -Canon 52.6oz

        Its not fair (or physically possible) to make a 2.8 lens weigh anywhere near the same as a 4.0 piece of glass.

        When you compare the f/4 offerings from the same way you will find that their weights also fall in line with each other.

        70-200 f/4
        -Sony 29.7oz
        -Nikon 30oz
        -Canon 26.8oz

        As I said before it is physics.

        Yes it may not feel as balanced, but there is nothing to be done about the weight and size of the lenses without having a way to break the laws of physics.

        FWIW I have been using the Sony mirrorless cameras for a little over a year and own 2 of the 3 zooms you listed.

        • ChrisGampat
          Unknown Unknown Unknown Unknown
          Disqus/1.1(2.84):2569712563

          How is that an Apples to Apples comparison on the weight when two are for DSLRs? If you’re talking image quality that would make sense because they can be adapted, but not for weight.

          The balance is still off; and I’m going to report that honestly because it’s what I’ve been doing to get this site to what it is; being honest. It’s everything to do with the weight; it’s very front heavy.

          That’s an observation that I’m going to stick with and that I know for a fact that I’m not alone on.

          • Curtis Caulfield
            Unknown Unknown Unknown Unknown
            Disqus/1.1(2.84):2569754857

            How is it not? They are all full frame 2.8 zooms. The physics behind creating optics for same focal lengths and the same sensor size coverage are basically the same.

            I said I agree with your point in the balance being in a different spot or “off” as you put it.

            But you (and every other blogger) are being willfully ignoring facts if you think there is a way to make full frame 2.8 zooms weigh any less, the glass required to make such optics doesn’t care about the body its attached to or the name brand etched on the outside of it, it all weighs the same.

            Yes it is a fact that 2.8 zooms will always weigh more than 4.0 zooms, and of course you are not alone in that observation.

            • ChrisGampat
              Unknown Unknown Unknown Unknown
              Disqus/1.1(2.84):2569784395

              New optical formulas come out every so often. I have faith that it can be made.

              • Collins Robert
                Unknown Unknown Unknown Unknown
                Disqus/1.1(2.84):2580589187

                Chris. Decent review although I detect a general lack of enthusiasm. I think you explain better in the comments that you feel this lens is unbalanced due to it being ‘front heavy’ than you do in the article.

  • Steve Solomon
    Unknown Unknown Unknown Unknown
    Disqus/1.1(2.84):2569249125

    Excellent article and review as usual! Though I’m not a Sony user, I wanted to comment on your statement that “Tamron and Tokina are some of the best zooms” in this focal length. I wonder if you’ve ever tried the Fujinon 16-55 f/2.8 LR WR Zoom. I’d wager it’s at LEAST in the same league in terms of sharpness, build quality, and overall image quality! Thank you.

    • ChrisGampat
      Unknown Unknown Unknown Unknown
      Disqus/1.1(2.84):2569285919

      I’ve tested literally every Fujifilm lens: http://www.thephoblographer.com/2014/06/10/phoblographers-guide-fujifilm-x-mount-lenses/

      It is a good lens indeed, but it’s not a full frame 35mm lens like what we’re talking about here. If you want to get into APS-C, then nothing is beating Fujifilm. The best sensors, the best lenses, Sony bests them on autofocus and some ease of use, but that’s all.

      • Steve Solomon
        Unknown Unknown Unknown Unknown
        Disqus/1.1(2.84):2569429263

        Chris, thanks for confirming my impressions of the FujiFilm X-System for APS-C. Yes, I did realize the Fuji 16-55 isn’t a full-frame lens. I merely wanted to make a point in terms of its image quality as compared to the Tamron and Tokina optics you mentioned. I shall indeed check out your other reviews of Fujinon optics.

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