The Sony FE 24mm f2.Eight G is a compact wide-angle prime lens for the full-frame e-mount mirrorless system. Introduced in March 2021 it prices $599.
24mm is definitely one in every of my favorite focal lengths, hanging a really usable stability between 28mm and ultra-wide fashions. The 4mm distinction with 28mm doesn’t sound a lot, however captures a comfortably broader discipline of view with a extra dynamic perspective whereas avoiding the distortion and excessive results of ultra-wide fashions. It’s excellent for expansive landscapes, tight interiors and even some environmental portraiture, together with handheld vlogging, and on this evaluation I’ll present you the way it performs in follow. Every part you could know is within the video under, however in the event you favor, hold scrolling for the written highlights!
Above: The 24 2.Eight was launched alongside a 40 2.5 and 50 2.5 as a part of a compact triplet. All three share the identical exterior styling and dimensions, to not point out the identical $599 value, and I’ve made evaluations of all three. Which is your favorite? I’m happy Sony’s lastly obtained spherical to creating extra small lenses. In any case, the full-frame Alpha mirrorless system was launched alongside a compact 55 1.Eight and 35 2.Eight that demonstrated the potential for portability, however then Sony’s focus turned to high-performing however inevitably bigger lenses. Don’t get me incorrect, I really like the standard of the G Grasp collection and recognize some are small and lightweight for his or her class, however I additionally really feel Sony’s compact our bodies deserve extra small choices for instances when portability or discretion are most necessary.
Above: Third events actually noticed a possibility and ran with it, most notably Sigma which now has 4 compact primes obtainable within the e-mount as a part of its Modern I collection. Right here’s the Sigma 24, 35 and 45 fashions, with a 65 finishing the set, and coincidentally the primary three all value roughly the identical as the brand new Sonys. As a current lens, the Sigma 24 3.5 is the proper rival to the brand new Sony, so let’s see how they straight examine towards one another.
Above: Let’s begin with protection and to place 24 into perspective right here’s the view when capturing with the Sony 50mm f2.5 G.
Above: And now for the marginally wider Sony 40mm f2.5 G. Each of those are thought-about customary protection.
Above: Now for the Sony 24mm f2.Eight G displaying how a lot wider the view is from the identical place.
Above: And at last switching to the Sigma 24mm f3.5 which as you possibly can see is capturing a barely tighter discipline of view. All these photos are JPEGs taken with a Sony Alpha 1 utilizing the default compensation settings. As I’ll present you later, the Sony 24 2.Eight is definitely capturing an excellent wider view in RAW, earlier than cropping it barely to appropriate for geometry, however the finish end result stays a bit wider than the Sigma.
Above: At 68x45mm and weighing 162g, the Sony 24 2.Eight on the left can’t fairly be described as a pancake lens, however stays very compact and lightweight. Compared Sigma’s 24 3.5 on the correct is narrower and longer, and a bit heavier too at 230g, however as soon as they’re each mounted on a physique you gained’t discover a lot distinction in dimension and weight. I’ve them right here on an Alpha 1.
Above: They do have fairly totally different designs and controls although. The Sony 24 2.Eight has a tactile however very slim aperture ring with a easy focusing ring positioned proper alongside. Impressively Sony’s additionally managed to squeeze in a small customisable focus maintain button in addition to the possibility to declick the aperture ring with a change, options each lacking from the Sigma to not point out most small lenses. The filter thread measures 49mm.
Above: In the meantime the Sigma 24 3.5 positions its aperture ring additional again with wider knurling on both aspect of the f-numbers. The handbook focusing ring is similarly-damped to the Sony lens, however once more the Sigma lacks the main target maintain button and de-clickable choices. It’s less-featured, however much less cramped too and has a gorgeous classic model. The Sigma takes bigger 55mm filters.
Above: Each lenses are described as being mud and splash-proof with delicate rubber grommets at their mounts, though Sigma’s sealing doesn’t prolong to the entire barrel.
Above: Each lenses are provided with fairly totally different hoods. The Sony 24 2.Eight on the left comes with a brief cylindrical hood which, as an apart, is the key design distinction with the inward-sloping hoods provided with the 40 and 50 fashions. In the meantime Sigma provides a extra substantial petal hood that can clearly occupy extra space in a bag, however offers better safety. I additionally fairly just like the ribbed styling on the Sigma hoods that ties in with the classic look of the lens.
When it comes to focusing in Single AFS on an Alpha 1, the Sony 24 2.Eight is easy, quiet and assured as you’d count on, and from shut vary, some blurring is feasible even at huge focal lengths. Switching to the Sigma 24 3.5, once more on the Alpha 1 on the most aperture and also you’ll see it’s equally succesful at focusing. Observe when utilizing single AFS mode for stills images, I’ve discovered Sigma lenses on Sony our bodies usually use a contrast-based wobble to substantiate focus, however as soon as the physique is about to Steady AFC, they choose the goal in a single movement.
Subsequent for a video AF check with the Sony 24 2.Eight on the Alpha 1 with Broad space and Steady AFC. With human eye detection enabled, the digital camera drives the lens very confidently. The 24mm focal size is probably not your first selection for portraiture, but when the topic’s positioned rigorously it could possibly work for environmental compositions the place you see extra of the environment, plus it’s an excellent focal size for handheld vlogging. In the meantime the Sigma 24 3.5 does an equally good job at preserving me in sharp focus as I transfer across the body. Let’s now take a better look in a stills portrait comparability.
Above: I’m beginning with the Sony 24 2.Eight with its aperture wide-open, the place it’s attainable to attain a small quantity of blurring within the background.
Above: Taking a better take a look at the Sony portrait reveals pin-sharp particulars on my eyeball as pushed by the Alpha 1’s eye-detection, and throughout a number of portrait exams each single eye was equally sharp. General the lens proved to be very sharp on topic particulars even when coupled with an unforgiveably excessive decision physique.
Above: Transferring sideways for a take a look at the rendering reveals a bit blurring, though for better topic separation you’ll understandably want sooner and or longer lenses. Just like the 40 and 50mm lenses launched alongside it, I’d say the perimeters of blurred shapes on the 24 is a bit better-defined than I’d personally like, leading to a busier background than lenses with softer rendering kinds.
Above: Now for the Sigma 24 3.5 shot from the identical place the place once more you’ll discover the marginally tighter discipline of view.
Above: Right here’s an in depth look with the Sony on the left and the Sigma on the correct the place you possibly can see each are able to capturing very high quality particulars, though the Sony is arguably a fraction sharper right here, maybe resulting from nailing the deal with my eye a bit extra precisely. In my exams I discovered the Sony lenses delivered a 100% hit charge with face and eye detection, whereas the Sigma lenses had been a bit decrease a minimum of when utilizing eye detection on the Alpha 1. That mentioned, I nonetheless managed to get loads of centered portrait change the Sigmas, simply not each single one in every of them.
Above: Evaluating their rendering within the background although tells an fascinating story. Wanting carefully the marginally sooner f2.Eight aperture on the Sony is certainly delivering barely bigger blurred shapes than the f3.5 of the Sigma, however examine their edges and also you’ll see the Sigma’s rendering is far smoother with extra gradual transitions in comparison with the sharper edges of Sony’s bokeh blobs. It’s a private selection, however I favor the look of the Sigma’s rendering right here despite the fact that its aperture is a tad slower.
Above: Subsequent for the rendering of bokeh balls from shut vary, beginning with the Sony 24 2.Eight close to to its closest focusing distance. From this distance it’s attainable to generate small bokeh balls, however in the identical method because the 40 and 50mm variations, there’s seen outlining round their edges albeit much less apparent patterns inside. With the lens closed to f4 or smaller, the seven-bladed diaphragm system additionally turns into seen with blobs taking up a seven-sided form.
Above: Right here’s the Sony 24 2.Eight on the left and the Sigma 24 3.5 on the correct, each at their most apertures and from the identical distance. As seen on earlier comparisons, the Sigma captures a barely tighter discipline of view which in flip compensates for the marginally slower aperture to ship similar-sized blobs on this check. Their rendering model is pretty comparable right here, though whereas the Sigma shouldn’t be resistant to outlining and patterned interiors, I’d say its rendering is a bit smoother than the Sony right here.
Above: When it comes to minimal focusing distances, Sony quotes 24cm with autofocus or 18 in handbook, and right here’s what I might obtain when manually focusing – reproducing a topic dimension of simply over 17cm, and even with the aperture wide-open the small print are fairly sharp proper as much as the perimeters.
Above: Now right here’s the Sony 24 on the high and the Sigma 24 on the backside, each from their closest manually-focused distances and their most apertures. The Sigma on the backside can focus a lot nearer to 10.8cm, permitting it to ship a lot better magnification, reproducing 6.5cm throughout the body. However from this distance it rapidly turns into gentle away from the centre, so it’s best-suited to topics within the very center with dreamy-looking environment. That mentioned in the event you shut down the Sigma or shoot from additional away, it turns into sharper in direction of the perimeters.
Above: On the different finish of the size, right here’s my distant panorama scene, beginning with the Sony 24 2.Eight on the Alpha 1 at f2.8, and with the view angled in order that particulars run proper into the corners.
Above: Zooming-in on the center part reveals completely crisp particulars on the most aperture with no profit to closing it down to enhance the standard additional.
Above: Transferring out to the far nook proves the lens can keep the element once more with the aperture wide-open. There’s unsurprisingly come vignetting, or darkening within the corners, at f2.8, however this reduces as you progressively shut the aperture. General although, just like the 40 and 50 variations, I’m glad by the 24’s efficiency wide-open. Toggling between uncorrected RAW information and the in-camera JPEG variations reveals the latter are benefitting from each geometric correction and compensation for vignetting. Evaluate that to toggling between RAW and JPEG variations shot with the Sigma 24 3.5 and also you’ll see there’s no geometric corrections utilized by default, though making use of it from the lens menu of the Alpha 1 did enhance some barrel distortion.
Above: With the Sony 24 2.Eight on the left and the Sigma 24 3.5 on the correct, displaying magnified views of their central areas, you’ll see each carry out very effectively at their respective most apertures, though once more the Sigma’s view is a bit tighter.
Above: Switching to their corners and once more that distinction in protection means we’re totally different particulars however from the identical a part of the body. Each are a bit softer within the corners in comparison with their central areas and there’s darkening resulting from vignetting too, however total their efficiency for distant topics is pretty comparable right here, and as soon as stopped-down, are basically neck-in-neck.
Simply earlier than wrapping-up, just a few feedback for videographers. I take pleasure in filming at 24mm for a similar causes as capturing images – the flexibility to seize a satisfyingly huge field-of-view, whereas additionally being extra forgiving to handheld capturing. It could work effectively for individuals as long as they don’t get too shut and keep away from the perimeters the place distortion can turn into unflattering. Nice if you wish to see extra of your environment. This is the reason it’s additionally an excellent focal size for handheld vlogging, though in the event you intend to use stronger digital stabilisation which incurs a crop, you might start to seek out it not huge sufficient. For those who intend to make use of Energetic SteadyShot or post-stabilisation in Catalyst, I’d recommend the Sony 20mm f1.Eight or the Samyang 18mm f2.8. For those who intend to crop rather a lot, even the Sigma 16mm f1.four for APSC sensors could possibly be an possibility.
And at last a spotlight respiration check beginning with the Sony 24 2.Eight manually focusing from infinity to the closest distance and again once more at f22. As you focus the lens nearer, the sphere of view will increase, reverse to the 40 and 50 which progressively tighten their views as you focus nearer. Both method, respiration is kind of obvious on all three of the Sony compact primes, though additionally current on a few of their high-end fashions too. In the meantime the Sigma 24 3.5 additionally reveals seen respiration, however this time it has the alternative impact of lowering the sphere of view as you focus nearer.