Sony 24-70mm f/2.8Full-Frame E-Mount FE GM (2016-)Top Sample Images Intro Format Compatibility Specs Performance Compared Usage Recommendations Sony FE 24-70mm f/2.8 GM (metal 82mm filter thread, 31.3 oz./887g, 1.25'/0.38m close focus, about $2,198). bigger. I got mine at B&H. I'd also get it at Adorama, at Amazon, or at Crutchfield. This all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally-approved sources when you get anything, regardless of the country in which you live. Sony does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, store demo or used lens. Buy only from the approved sources I use myself for the best prices, service, return policies and selection. Thanks for helping me help you! Ken.
December 2017 Sony Sony Lenses Zeiss Nikon Canon Fuji LEICA All Reviews NEW: Sony FE 24-105mm f/4 G OSS same build quality and longer zoom range for half the price! Sony 24-70/2.8 GM vs. Nikon 18-55 AF-P Comparison 16 February 2017
Sample ImagesTop Sample Images Intro Format The Deli Section, 08 June 2017. Sony A9, Sony 24-70/2.8 GM at 31mm, f/2.8 at 1/40 at Auto ISO 125. bigger or full-resolution file. It's sharp corner-to-corner, even wide-open at f/2.8. The full-resolution file may take a while to load for full sharpness.
Katie watches her MacBook Air, 04 June 2017. Sony A9, Sony 24-70/2.8 GM at 69mm, f/2.8 at 1/125 at Auto ISO 2,000. bigger or full-resolution file.
1,200-pixel crop from above. Notice how the Sony A9 magically found the closest eyeball and focussed on it. bigger or the same full-resolution file as above.
Ryan and his glow-in-the-dark Minecraft shirt, 07 June 2017. Sony A9 with Sony 24-70/2.8 GM at 70mm at f/2.8 at 1/125 at Auto ISO 640. bigger or full-resolution © file.
Katie and Zoey, 07 June 2017. Sony A9 with Sony 24-70/2.8 GM at 70mm at f/5 at 1/250 at Auto ISO 100. bigger or full-resolution © file.
Palm Tree Trunk, 31 January 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 56mm at 1/125 at f/8 at Auto ISO 100. bigger or camera-original © file. Pretty darn sharp; remember this is a round tree trunk so the sides aren't in focus:
And yes, it's ultra-sharp even wide-open at f/2.8: Palm, 01 February 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 24mm at f/2.8 at 1/160 at Auto ISO 100. bigger or camera-original © file.
Too sharp to handle: Granite, 02 February 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 50mm at f/8 at 1/125 at Auto ISO 100. bigger or camera-original © file.
And at f/2.8 it's fast enough with today's ultra-high ISOs to shoot handheld in abandoned mausoleums at night as you're running away from spooks: Abandoned Mausoleum at Night, 03 February 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 24mm at f/2.8 hand-held at 1/50 at Auto ISO 25,600. bigger or camera-original © file.
IntroductionTop Sample Images Intro Format
This Sony 24-70/2.8 is much nicer than I expected; it's an excellent lens and well made, too, with a high price to match its high performance. The Sony FE 24-70mm f/2.8 GM is ultra-popular because it's ultra-ultra sharp, much sharper than the less expensive ZEISS FE 24-70mm f/4 OSS at 24mm in the corners. It's big and expensive — and still wildly popular because of its great performance. This 24-70/2.8 is ultra sharp, sharper than the ZEISS 16-35mm from 24~35mm and much sharper than the ZEISS FE 24-70mm f/4 OSS. If you're serious about your full-frame Sony, this is the most serious wide to midrange zoom made by anyone for it. It's better than anything from ZEISS; it's as good as the ultra-pro Canon 24-70/2.8 L II and Nikon 24-70/2.8E VR.
Good● Ultrasharp at every setting, especially f/2.8. ● Excellent bokeh. ● Fast f/2.8 for low light. ● Very fast and essentially silent autofocus. ● Focus lock button. ● Metal filter thread.
Bad● $2,200. ● Big and heavy.
Missing● No image stabilizer — but most Sony cameras do this internally with sensor shifting. ● No focus or depth-of-field scales.
Sony FE 24-70mm f/2.8 GM. bigger. FormatTop Sample Images Intro Format This is a full-frame lens and I'm reviewing it as such. It works great on APS-C cameras and you may make the usual inferences for them. I never suggest using full frame normal zooms on APS-C; you pay a huge premium in size and money for a full frame lens, and most of its image is simply wasted with cropped sensors of APS-C cameras. For APS-C cameras, use an APS-C lens like the ZEISS 16-70/4 which offers a wider zoom range in a smaller package for less than half the price.
CompatibilityTop Sample Images Intro Format This works on all Sony E-mount cameras, full-frame and crop-sensor. This includes all the NEX, A7, A6xxx and A5xxx series cameras. It will not work on any Minolta MAXXUM or Sony 35mm SLRs or DSLRs. Those use the old A mount which was actually the Minolta MAXXUM mount from 1987.
SpecificationsTop Sample Images Intro Format
NameSony calls this the FE24-70mm f/2.8 GM: FE: Full-frame coverage, E-mount. GM: G Master, which is meaningless other than meaning that the lens is high-priced.
OpticsSony 24-70/2.8 construction. "Extreme" aspherical, Super ED, ED and Aspherical elements. bigger. 18 elements in 13 groups. 3 aspherical elements. 2 extra low dispersion elements.
Diaphragm
Sony 24-70mm f/2.8. bigger. 9 rounded blades. Stops down to f/22. "Nano" coating.
Focal Length 24-70mm. When used on APS-C, it sees the same angle of view as a 35-105mm lens sees when used on a full-frame camera. See also Crop Factor.
Angle of View 84º ~ 34º diagonal on full-frame. 61° ~ 23° diagonal on APS-C.
AutofocusInternal focus. No external movement as focussed, so no air or dust is sucked in.
Close Focus1.25 feet (0.38 meters).
Maximum Reproduction Ratio1:4.2 (0.24 ×).
StabilizerNone.
FiltersMetal 82mm filter thread.
HoodSony 24-70mm f/2.8. bigger.
CaseSony 24-70mm f/2.8. bigger.
Size3.45" maximum diameter × 5.35" extension from flange. 87.6 mm maximum diameter × 136mm extension from flange.
Weight 31.280 oz. (886.7g), actual measured weight. Rated 31.25 oz. (886 g).
IncludedLens (SEL2470GM). ALC-F82S front and ALC-R1EM rear cap. ALC-SH141 hood. Case & strap.
AnnouncedFebruary 2016.
PackagingBox, Sony 24-70mm f/2.8. bigger.
Box, Sony 24-70mm f/2.8. bigger. Corrugated cardboard box. Lens in bubble wrap inside included padded nylon fabric case.
Sony Model NumberSEL2470GM.
Price, USA$2,198, February ~ December 2017.
PerformanceTop Sample Images Intro Format
Overall Autofocus Breathing Bokeh Distortion Ergonomics Falloff Filters Flare & Ghosts Lateral Color Fringes Macro Mechanics
OverallThis Sony 24-70 2.8 is the real thing; one of, if not the sharpest zoom you can get for your Sony.
AutofocusAutofocus is fast, and completely silent unless you hold it to your ear. There is a single focus lock button that's a Godsend; hold it to lock focus.
Manual FocusManual focus is electronic; the focus ring is only connected to the camera's computers. Slide the switch to MF and you're in Manual Focus. On most Sony cameras, set "DMF" as the focus mode (usually via your Fn button) and you'll have instant manual override just by turning the ring in what otherwise works like the AFS mode.
Focus BreathingFocus breathing is the image changing size as focused in and out. It's important to cinematographers because it looks funny if the image changes size as focus gets pulled back and forth between actors. If the lens does this, the image "breathes" by growing and contracting slightly as the dialog goes back and forth. I don't see any breathing, making this ideal for movies — if you can get around the odd electronic focus ring. I doubt you'll get good results with a pro follow-focus rig since the ring isn't actually connected to the focus mechanism and therefore won't reproduce the same focus as you return the ring to the same spot.
BokehBokeh, the feel or quality of out-of-focus areas as opposed to how far out of focus they are, is excellent. Backgrounds just melt away. Here are samples at headshot distance: Davis 6250 weather station, 02 February 2017. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolutions images properly).
Davis 6250 weather station, 02 February 2017. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolutions images properly).
DistortionThe Sony 24-70/2.8 GM has a lot of distortion - but Sony cameras correct it by default, so it's not worth worrying about. Every zoom has some distortion. If you deactivate the camera's automatic correction, it's easy to correct with Photoshop's lens distortion filter — but the camera does a better job at the wide end. These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data.
© 2017 KenRockwell.com. All rights reserved. * Some waviness remains after this correction. ** Much waviness remains after this correction.
ErgonomicsThis is a big, fat, heavy lens, and works as we expect. Zooming is somewhat stiff, ideally asking for two fingers to zoom. There is a lock at 24mm, but I don't know why you'd need it. There is no creep. Zooming is perfectly spaced; it's easy to set precise framing anyplace in the range. Focus is an electronic encoder ring. It turns freely, and what it does depends on how you have your camera set.
FalloffFalloff is invisible, even as I've greatly exaggerated here by shooting a gray field and placing these on a gray background — even for these uncorrected images Leave the camera's default "Shading Correction" ON and it's completely invisible.
Filters, use withThere's no need for thin filters. Go ahead and use your standard rotating polarizer and grad filters. I can use two standard 82mm filters and get only a little vignetting at 24mm, and none at longer settings on full frame. Avoid polarizers at the 24mm setting; the sky's natural polarization may appear as a dark band across the sky.
Flare & GhostsThere's more ghosting than in the Canon 24-70/2.8 L II or in the Nikon 24-70/2.8E VR, but you're only going to see it if you do something stupid as I've done here and put the direct disc of the sun in one corner and have a dark tree in the rest of the image against which to show any ghosts. You'll never see it in normal use; don't worry about it. Many people want ghosts, and even use software to add them back in to modern lenses like this! Palm Dawn, 01 February 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 24mm at f/5 at 1/100 at Auto ISO 100. bigger or camera-original © file.
Lateral Color FringesThere are no color fringes as shot on Sony cameras, most of which by default correct for any that may be there.
MacroMacro performance is very good; it gets very close and stays very sharp: Kienzle Flieger Automat 800/2843, 31 January 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 70mm at f/9 at 1/200 at Auto ISO 100. bigger or camera-original © file.
1,200 x 900 pixel crop from above. Sony A7II, Sony 24-70mm f/2.8 GM at 70mm at f/9 at 1/200 at Auto ISO 100. bigger or camera-original © file. If this crop is about 12" (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 40 x 60" (1 x 1.5 meters). You're seeing the actual texture of the watch face and case. If this crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 x 30" (50 x 75 cm). It's super-sharp stopped down as shown above. Chromatic aberration, probably spherochromatism, appears wide-open: Kienzle Flieger Automat 800/2843, 31 January 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 70mm at f/2.8 at 1/2,000 at Auto ISO 100. bigger or camera-original © file.
1,200 x 900 pixel crop from above. Sony A7II, Sony 24-70mm f/2.8 GM at 70mm at f/2.8 at 1/2,000 at Auto ISO 100. bigger or camera-original © file. Again, if this crop is about 12" (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 40 x 60" (1 x 1.5 meters), and if this crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 x 30" (50 x 75 cm).
Mechanical QualitySony 24-70mm f/2.8. bigger. This Sony 24-70 is made pretty well, with both metal and plastic on the outside. Front BumperNone.
Filter ThreadsMetal.
Hood Bayonet MountMetal.
Front BarrelMetal.
Focus RingRubber-covered metal.
Mid BarrelSection with focus lock buttons: plastic.
Zoom RingRubber-covered metal.
Rear BarrelMetal.
IdentityLittle raised silver-lettered plate glued to top of barrel. Dark gray paint on bottom rear of barrel.
InternalsSeems like mostly metal.
Moisture Seal at MountNot really; there is a gasket, but it doesn't mate with the mount of my A7 Mk II, so it provides no sealing.
MountDull chromed metal.
MarkingsMany are engraved and filled with paint in the metal (the filter size and close-focus markings on the front barrel and the focal-length settings on zoom ring), while others are simply painted on the mid- and rear barrels.
Serial NumberA sticker glued to the bottom of the barrel - not an acceptable way to serialize any product that sells for more than $10.
Date CodeNone found.
Noises When ShakenAlmost silent.
Made inThailand, which is shamefully hidden in black letters molded into the black plastic flare guard at the back of the lens. It's only visible on close inspection with the lens off a camera and no rear cap on the lens. Shameful is Sony putting a deceptively legible silver-on-black sticker on the outside of the lens near the certifications and model numbers that says Sony Corp., Japan.
SharpnessFabric, 31 January 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 60mm at f/9 at 1/160 at Auto ISO 100. bigger or camera-original © file. This 24-70 is ultra sharp at every setting everywhere in the image. You pay a premium for this, and this lens is sharper than any other lens for I've tested for Sony at 24mm. Yes, it's better than the ZEISS lenses. The only limitations will be your skill as a photographer. Here are Sony's MTF charts at 10 cyc/mm and 30 cyc/mm:
SpherochromatismSpherochromatism, also called "color bokeh" by laymen, can cause colored fringes on out-of-focus highlights, usually seen as green fringes on backgrounds and magenta fringes on foregrounds with fast, long lenses shot wide open. It is an advanced form of chromatic aberration in a different dimension than lateral color. Spherochromatism is most commonly seen in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down. Sony 24-70mm f/2.8 Spherochromatism. Sony A7II, Sony 24-70mm f/2.8 GM at 70mm at f/2.8 at 1/80 at Auto ISO 2,000. bigger or camera-original © file.
1,200 x 900 pixel crop from above. See how the white letters take on color? Sony A7II, Sony 24-70mm f/2.8 GM at 70mm at f/2.8 at 1/80 at Auto ISO 2,000. bigger or camera-original © file. This Sony has a relatively strong dose of cyan/reddish-orange spherochromatism. This is great for portraits since it helps smooth blue and green backgrounds of sky and foliage, but bad for cinematography since it can lead to weird green fringes on out-of-focus bright areas and points of light.
Image StabilizationIt has no image stabilization, however most Sony cameras have built-in sensor-shift stabilization. For instance, on a Sony A7 Mk II it works very well down to 1/8 hand-held at 70mm due to the camera's own internal stabilization.
SunstarsPalm Dawn, 31 January 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 33mm at f/22 at 1/13 handheld at ISO 100. bigger or camera-original © file. Due to its rounded diaphragm blades, this 24-70 makes almost no sunstars on brilliant points of light.
ComparedTop Sample Images Intro Format
Versus the ZEISS FE 24-70/4This f/2.8 and the ZEISS FE 24-70/4 are very different lenses. They don't really compete; the ZEISS is for day-to-day carrying around, and this f/2.8 is for serious shooting for people who don't mind carrying a lens that makes your mirrorless Sony just as big and heavy as a pro DSLR. The Zeiss is smaller, lighter and only costs half as much. The ZEISS is a mostly plastic lens inside a thin metal vanity shell. This Sony f/2.8 is a much tougher lens. This Sony is significantly sharper in the corners wide-open at 24mm than the ZEISS. The Zeiss has an internal stabilizer, the f/2.8 does not. This f/2.8 has a focus lock button, the f/4 ZEISS does not.
Versus Nikon and CanonThe Canon 24-70/2.8 L II and Nikon 24-70/2.8E VR are the professional standards. This is sort of a dumb comparison, since the best lens to use is the one that fits your camera. Don't waste time with adapters since all they do is mess things up. For Sony, use this Sony lens. This Sony is just as sharp and seems as well built as the Nikon and Canon lenses. This Sony lacks a focus scale, present in both the Nikon and Canon lenses. This Sony only has electronic manual focus-by-wire, while the Nikon and Canon both have real direct-connected manual focus rings with instant manual override — no menus or digital foolishness needed as with this Sony. This Sony has one focus lock button, absent on the others. Only the Nikon has internal image stabilization, while Sony cameras usually provide it with sensor shifting. Canon does without. The Canon makes great 18-pointed sunstars, while the Sony and Nikon don't make much of anything. Goodness gracious, this beast of a Sony lens is even bigger than the Canon lens:
Sony 24-70mm f/2.8. bigger.
Versus the World
UsageTop Sample Images Intro Format Sony 24-70mm f/2.8. bigger. Leave the slide switch at AF (autofocus). Use MF, Manual Focus, only if you want to disable autofocus. On most Sony cameras, set "DMF" as the focus mode (usually via your Fn button) and you'll have instant manual override just by turning the ring in what otherwise works like the AFS mode.
RecommendationsTop Sample Images Intro Format
OverallFor serious pro use, this is the best midrange zoom available for full-frame Sony cameras. Personally I carry this with my Sony A7R II in a Think Tank Retrospective 7 bag, which is the perfect size for this with the 16-35/4 and 70-200/4 OSS lenses and other accessories.
Protective FilterThe very best protective filter is the 82mm Hoya multicoated HD3 UV which uses hardened glass and repels dirt and fingerprints, and is also multicoated. This is a $2,200 lens, and filters last forever. so there's no reason to skimp on filters. This Hoya HD3 stays cleaner than the others since it repels oil and dirt. For less money, the B+W 82mm 010 is an excellent filter, as is the multicoated B+W version and the basic multicoated Hoya filter, but the Hoya HD3 is the toughest and the best.
Where I got mineI got mine at B&H. I'd also get it at Adorama, at Amazon, or at Crutchfield.
Thank you!This all-content, junk-free website's biggest source of support is when you use those or any of these links to approved sources when you get anything, regardless of the country in which you live. Sony does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, store demo or used lens. I use the stores I do because they ship from secure remote warehouses where no one gets to touch your new lens before you do. Buy only from the approved sources I use myself for the best prices, service, return policies and selection. Thanks for helping me help you! Ken, Mrs. Rockwell, Ryan and Katie.
© Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten.
Help Me Help YouI support my growing family through this website, as crazy as it might seem. The biggest help is when you use any of these links when you get anything. It costs you nothing, and is this site's, and thus my family's, biggest source of support. These places always have the best prices and service, which is why I've used them since before this website existed. I recommend them all personally. If you find this page as helpful as a book you might have had to buy or a workshop you may have had to take, feel free to help me continue helping everyone. If you've gotten your gear through one of my links or helped otherwise, you're family. It's great people like you who allow me to keep adding to this site full-time. Thanks! If you haven't helped yet, please do, and consider helping me with a gift of $5.00. As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use. If you wish to make a printout for personal use, you are granted one-time permission only if you PayPal me $5.00 per printout or part thereof. Thank you!
Thanks for reading!
Mr. & Mrs. Ken Rockwell, Ryan and Katie.
|
21 December 2017, 31 January ~ 07 February 2017