Sony 24-105mm F4 G Oss Lens

By | 08/10/2022

Nigh professional photographers steer away from zoom lenses with focal lengths that extend across several more ii focal-length ranges, due to concerns over image quality. Y’all’ll run across pros using zooms that are ultra-wide-angle on one stop and broad-angle on the other (something like a xiv-24mm), wide-angle to standard (24-70mm), telephoto to super-telephoto (100-400mm) and so on, only a lens that goes from wide-angle to telephoto is less common.

Because it’s difficult to maintain excellent optical quality across such a wide range of focal lengths, these lenses tend to underperform at just almost every focal length. These super-zooms are frequently designed to be budget-friendly options for the enthusiast. At the almost, you’ll meet pro photographers turning to these lenses if they’re traveling with some sort of constraint on the gear they can bring to a shoot.

That makes the Sony Fe 24-105mm F4 M OSS one of those squeamish gems of a lens, a zoom with a range of composition options that doesn’t underperform at any range and that can be used in a variety of shooting situations. Sony’s Yard Primary 24-70mm would be a better choice for demanding photographic work that didn’t need the extra 35mm of reach provided past the 105mm, but the 24-105mm F4 G OSS is a bang-up choice, especially when shooting subjects that don’t need the extra terminate of low-cal gathering provided by the ƒ/2.8 setting on the 24-70mm lens.

Sony FE 24-105mm F4 G OSS

Built-in optical stabilization in the 24-105mm makes it particularly suited for shots from (or of) moving subjects, like my examination shots in a helicopter with the doors off and in a hot-air balloon during our examination of the Sony a7R Iii
in Sedona, Arizona. In fact, I shot nigh exclusively with the 24-105mm F4 G OSS during the trip and came abroad impressed with the images.

Despite the fact that there’southward born image stabilization, the 24-105mm is a meaty and lightweight lens, measuring simply 4.v inches when at the widest setting and simply 3.98 inches across. Weighing under 1.5 pounds, the lens doesn’t make the camera front-heavy when fastened.

Field-Testing The Sony Iron 24-105mm F4 One thousand OSS

The versatility of this lens, especially on landscape shoots, is difficult to shell. When shooting the buttes of Sedona from a helicopter, I frequently would become from shooting a wide-bending vista to zooming in on a cave dwelling on the side of a cliff, something that would ordinarily require a lens change—something that’due south frowned upon in a helicopter with no doors on. The stabilization (combined with that in the photographic camera) allowed me to handhold the lens fifty-fifty at 105mm with no image mistiness. The side of the lens has a programmable focus hold push, as well as switches for the focus and the stabilization, and the body is dust- and moisture-resistant, as well.

Internally, the lens has 2 Avant-garde Aspherical elements, plus Sony’s Nano AR coating to “eliminate flare and ghosting” (according to their literature). Flare wasn’t eliminated in our tests, though information technology was much less present than in other super-zoom lenses I’ve tried. I had to shoot nearly directly into the lord’s day to trigger lens flare.

Sharpness seems to be just slightly softer than the company’due south G Master lenses, or something like a Sigma ART lens, though at this price point that’due south to be expected. The lens was sharp enough that any subject sharpness issues could be easily tweaked in software, and in-camera JPEGs looked much sharper by default. It’s difficult to tell in the mural shots exactly how much of the sharpness was lost due to atmospheric haze (and a nearby forest burn) and how much was the lens, just portraits of close subjects were tack-sharp and, again, landscapes just needed a little tweaking.

I could easily go from landscapes to portraits to astrophotography without having to change lenses, and that makes this a cracking travel lens. Pros using it equally a primary lens would still be wise to couple it with a prime that’s ƒ/ii.eight or faster, for those situations where background defocus is key to a shot. I’d probably couple this lens with a 50mm or an 85mm lens when on the route.

It’southward also a great lens for the videographer, as the Directly Drive SSM motor allows for silent focusing. It was incommunicable to hear this lens in action, and none of our video tests accept whatsoever focus motor dissonance from this lens.

The Sony Iron 24-105mm F4 G OSS is priced at $ane,300, and it happens to be one of the rare lenses that not only is skillful for the enthusiast but also for the pro. The lens is a particularly great choice for the photographer getting started with the Sony system. It’southward versatile, fast, sharp and, thanks to the stock-still ƒ/4 beyond the whole range, able to create not bad images with good background blur for most subjects, and it’south a swell lens for the videographer, cheers to the variety of bachelor focal lengths and the smooth focus.