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Introduction
The Sony FE 24-50mm F2.8 G (SEL2450G) is a compact, light-weight and quick customary zoom lens for Sony Alpha full-frame E-mount mirrorless cameras. It is going to additionally work with APS-C sensor cameras with an efficient enhance in focal size to 36-75mm because of the 1.5x crop issue. The optical building options 16 components in 13 teams together with two ED (extra-low dispersion) components and 4 customary aspherical components.It has a near-circular 11-blade diaphragm which creates a gorgeous blur to the out-of-focus areas of the picture, This mud and moisture resistant lens additionally has a fluorine coating on the entrance lens factor to assist stop fingerprints and different contaminants.It supply a minimal focusing distance of 19cm / 0.62ft with a most magnification of 0.33x and incorporates two linear motors for quick and quiet autofocusing.The Sony FE 24-50mm F2.8 G lens might be out there in April 2024 priced at £1150 / €1300 within the UK and Europe, respectively. It’s made in Vietnam.
Ease of Use
Weighing in at simply 440g /15.5 oz. and measuring 9.23cm in size, the hybrid metallic and plastic bodied Sony FE 24-50mm F2.8 G could be very mild and compact for the standard zoom lens.
It proved to be a superbly balanced companion to the the Alpha A7 IV digicam that we examined it with, as proven within the pictures beneath.
It is considerably lighter than all of its fundamental rivals, which embrace amongst others the Sony FE 24-70mm F2.8 GM II (695g), the Sony FE 24-105 f/4 G OSS (663g), and the Sigma 24-70mm F2.8 DG DN Artwork (830g).
The current Sony FE 20-70mm F4 G (488g) is simply barely heavier while providing a bigger focal vary, nevertheless it has a slower most aperture.
Solely the a lot shorter Tamron 20-40mm F/2.8 Di III VXD (365g) and the fairly previous Carl Zeiss Vario Tessar T* FE 24-70mm F4 ZA OSS (426g) weigh much less.
It is vital to notice that his new lens does prolong by a further 2cms when zoomed from the utmost 50mm focal size to the 24mm focal size.
The general construct high quality is superb, which is one thing of a reduction given the excessive price-tag, with this very fashionable lens using a hybrid metallic and plastic building.
This lens has a sealed mud and moisture resistant design utilising silicon seals round all of the buttons and switches and a rubber gasket across the lens mount, which makes it well-suited to life in each the sphere and the studio.
There’s additionally a a fluorine coating on the entrance lens factor to assist repel water, oil, and another contaminants, in addition to making it simpler to scrub.
It has a metallic lens mount and accepts 67mm filters by way of metallic threads.
The Sony FE 24-50mm f/2.8 GM has a spherical Focus Maintain Button which by default retains the lens locked to the present focusing distance, helpful when you’re auto-focusing and don’t desire the lens to try to discover focus once more.
An alternate perform may also be assigned to this button by way of the digicam’s customized settings.
There’s a ridged focus ring on the finish of the lens. Guide focusing is feasible through the use of the devoted AF/MF swap to toggle between AF and MF.
There aren’t any onerous stops on the ends of the vary, making it more durable to set focus at infinity. Polariser customers needs to be happy that the 67mm filter thread does not rotate on focus.
The lens makes use of two Linear Motors for satisfyingly quick, clean and exact auto-focusing, and it is very quiet in operation making it well-suited to capturing video.
An inside focusing design ensures that the general lens size stays fixed throughout focusing.
In relation to auto-focusing, this lens is a fast performer, taking round 0.15 second to lock onto the topic when mounted on the Sony Alpha A7 IV that we examined it with.
We did not expertise any “searching” in any respect, both in good or dangerous mild, with the lens precisely focusing nearly all the time.
It is also a really quiet performer, which makes this lens equally well-suited to each video recording and extra candid stills capturing.
This lens has a devoted aperture ring with 1/3EV stops starting from F2.8 to F22.
It may be switched between clean and notched rotation utilizing the devoted Click on On/Off swap on the underside of the lens barrel.
There’s additionally an A (Auto) setting if you wish to let the digicam take management of the aperture.
The zoom ring sits in the midst of the aperture and focusing rings and rotates by way of roughly 80 levels. It has 4 totally different focal size markings – 24, 28, 35, and 50 mm.
This lens doesn’t characteristic optical picture stabilisation, so it depends on the digicam physique’s personal built-in stabilisation, which is okay until you are an proprietor of an early Sony Alpha digicam.
The Sony FE 24-50mm F2.8 G lens is equipped with a plastic petal-shaped lens hood (ALC-SH178) which rotates by way of 90 levels then snaps into place (there is no lock button as on some extra premium hoods). There isn’t any case included with this lens.
Focal Vary
The 24mm focal size offers an angle of view of 84 levels.
24mm
The 50mm focal size offers an angle of view of 46 levels.
50mm
Chromatic Aberrations
Chromatic aberrations, usually seen as purple or blue fringes alongside contrasty edges, are usually not an issue for the Sony FE 24-50mm F2.8 G lens, even in areas of very excessive distinction.
24mm
50mm
Vignetting
With the lens set to its most aperture of f/2.8, there may be some mild fall-off within the corners, requiring you to cease down by at the least 3 f-stops to utterly stop it.
24mm / JPEG
24mm / RAW
50mm / JPEG
50mm / RAW
Distortion
The Sony FE 24-50mm F2.8 G displays some barrel and pincushion distortion within the JPEG recordsdata, as you may see within the pictures beneath, which can it’s essential to right in post-processing.
Be aware that Distortion Compensation is at all times set to Auto in-camera – the menu choice is completely disabled.
This can be a good factor given the massive quantity of distortion that’s current when you open the RAW recordsdata in software program that does not have the proper lens profile, particularly on the vast finish of the zoom vary.
24mm / JPEG
24mm / RAW
50mm / JPEG
50mm / RAW
Macro
The Sony FE 24-50mm F2.8 G gives excellent close-up efficiency for the standard zoom lens, with an in depth focus level of 19cm / 0.62ft from the sensor airplane at 24mm and 30cm / 0.98ft at 50mm. It gives a most magnification of 0.30x when auto-focusing and 0.33x when guide focusing.
Bokeh
Bokeh is a phrase used for the out-of-focus areas of {a photograph}, and is normally described in qualitative phrases, corresponding to clean / creamy / harsh and many others.
Sony have paid shut consideration to this facet of lens use, using an 11-segment diaphragm with rounded blades for extra pleasing bokeh.
In our view, their efforts have been profitable for the standard zoom lens – see the examples beneath to evaluate for your self.
Sharpness
As a way to present you ways sharp the Sony FE 24-50mm F2.8 G lens is, we’re offering 100% crops on the next pages.
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