The Sony FE 24mm F2.8 G ($599.99) is one of a new batch of compact primes for the company’s full-frame mirrorless camera system. Its captures a wide angle of view, but not too broad for day-to-day photography, and comes in an attractive aluminum barrel. It’s not the only lens of its type, though, and we like the Sigma 24mm F3.5 DG DN Contemporary just a little bit more—it’s priced $50 lower and is our Editors’ Choice award winner in this price range.
The Wide Standard
The FE 24mm F2.8 G is made for full-frame cameras. It captures an angle of view that’s considered wide angle in the photo world, but has become a standard lens for many. The rise of smartphone cameras, many of which see the world with a similar angle of view, has no doubt played a role there.
It’s Sony’s second 24mm prime for the system, debuting a few years after the FE 24mm F1.4 GM. The F1.4 edition is part of the premium G Master line, and while it’s absolutely compact given its angle and aperture (3.6 b 3.0 inches, 1.0 pound), it’s not nearly as svelte as the 24mm F2.8 G (1.8 by 2.7 inches, 5.7 ounces).
You also pay more for the G Master, around $1,400 when it’s not on sale. The FE 24mm F2.8 G costs a bit less than half, putting it more in line with the Sigma 24mm F3.5 DG DN Contemporary, a lens that’s not far off in construction or optical quality.
If you want to spend less, you can look at budget lenses like the Tamron 24mm F2.8 and Rokinon 24mm F2.8, both now selling for about $200, but understand that they’re not made as well.
G Series
The FE 24mm F2.8 G is part of Sony’s midrange G series, and it shows. The barrel is black anodized aluminum and includes a declickable aperture ring and a function button, just like the larger FE 24mm F1.4 GM.
It is a little cramped. The focus ring and aperture control are very close together, and it’s a little too easy to nudge the focus when setting the f-stop. That’s only a concern if you’re switching away from autofocus. The Sigma 24mm F3.5 puts a little more distance between the two control rings, but omits a function button.
The 24mm F2.8 G includes dust and splash protection. It’s a worthwhile feature for nature photographers and others who like to work outdoors. Sony skips anti-smudge fluorine for this one, but the front element is fairly small, so you’re less likely to fingerprint it. You can use the included hood, or add a 49mm threaded filter, for additional protection.
Autofocus is quick and quiet, and you’ll enjoy a linear response when focusing manually. These, along with silent aperture control, are beneficial features for video. The FE 24mm shows some breathing when setting focus, though, an effect that’s a bit distracting for video shots.
It focuses fairly close, to 9.5 inches with autofocus and up to 7.1 inches when working manually. It gives you plenty of room to lean in and get near your subject—the maximum macro reproduction rating is 1:7.7 with autofocus and 1:5.3 when working manually. There are other 24mm lenses that get you closer, though. The Sigma 24mm F3.5 Contemporary can go to 4.3 inches for 1:2 macro results.
There’s no optical stabilization, but it’s not expected in this type of lens. Sony includes in-body stabilization (IBIS) in its full-frame cameras. With an a7R IV, I netted blur-free shots at shutter speeds as long as 1/5-second.
Sony FE 24mm F2.8 G Lab Results
I tested the FE 24mm F2.8 G along with the 60MP a7R IV and Imatest software. The pair delivers outstanding results in the central area of the frame, but isn’t quite as sharp toward the edges. On average it nets results that are just a bit short of excellent (4,200 lines) from f/2.5 down through f/11.
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You can set the aperture smaller, to f/16 through f/22, if you’re trying to net better-looking sunstars. You’ll get clearly defined points around bright spots at the smallest f-stops, but resolution drops noticeably.
The 7-blade rounded aperture delivers pleasingly defocused backgrounds. You won’t get bokeh with every shot, but it’s easy to create the look when focusing close. If you really love shallow depth of field, the FE 24mm F1.4 GM is a much better option as a wide standard prime. It nets shallower backgrounds and also gets sharper results on high-resolution cameras.
In-camera corrections compensate for optical distortion effectively—there’s no pincushion or barrel effect visible in images. Photos show a modest vignette when working at f/2.8 through f/4, even with corrections enabled.
Go Wide, Pack Light
The FE 24mm F2.8 G is one of the lightest full-frame lenses available for Sony cameras, and comes in a focal length that’s perfect for cityscapes, environmental portraits, and other everyday shots. It’s a lens that should pique your interest, especially if you put an emphasis on packing light.
We’re quite happy with its overall performance, and while it may not focus quite as close as some others or blur backgrounds like the 24mm F1.4 G Master, the optics here are still quite good. Aluminum construction and on-lens controls round things out. There’s no question that this is a premium lens.
It falls just shy of being our Editors’ Choice winner. We like the Sigma 24mm F3.5 DG DN Contemporary a little better—it focuses a bit closer and while its aperture isn’t quite as wide, it’s superior optically. The only real shortcoming is splash protection, as it’s only sealed at the lens mount, not internally.
You may find reasons to opt for the Sony lens. It includes a function button and silent aperture control, as well as full dust and splash protection. And if you can afford it, the FE 24mm F1.4 GM remains peerless—it’s the best fast, wide prime we’ve tried for any mirrorless system.
