Sony - Fe 24-105mm F4 G Oss Review

The Sony FE 24-105mm F4 1000 OSS is a compact and a applied zoom for a wide range of subjects and situations faced past both photographers and videographers.

The stabilized zoom lens has 17 elements bundled in 14 groups and has a number of exotic glass types to enhance performance. These include three ED (extra-depression dispersion) elements to reduce chromatic aberration, 2 aspherical elements, and two AA (advanced aspherical) elements that use avant-garde molding techniques to achieve their highly aspherical shape.

It likewise has Sony's Nano AR coating to suppress flare and ghosting, a fluorine blanket on the front to reduce marking and amend cleaning, and features a dust- and moisture-resistant pattern.

The lens uses a direct bulldoze SSM (linear-type) focus motor and has a 0.38m minimum focusing distance. It's i of the lighter of its type at 663 grams (23.four oz) and is available now for effectually $1,200/ane,350€.

Yous tin can view the results for all tested lenses and create your own comparisons and in-depth analyses using our interactive image lens comparing tool.

Key specifications:

• 17 elements in 14 groups
• 4 aspherical and 3 ED elements
• Optical stabilizer
• Linear focus motor
• Grit- and wet-resistant
• 77 mm filter thread
• Minimum focus distance: 0.38m (1.25 ft)
• Weight: 663 grams (23.4 oz)

Test results

We tested the Sony FE 24-105mm F4 G OSS on the 61 MP Sony A7R IV, the highest-resolution photographic camera in Sony'south Blastoff total-frame mirrorless lineup. Together, the optical system of lens and sensor achieved a DXOMARK score of 30, which is highly competitive with rival lenses of this type mounted on similarly high spatial resolution sensors, such as the Canon EF 24-105mm F4L USM II and the Sigma 24-105mm F4 DG OS HSM A on the fifty MP Canon EOS 5DS R. Every bit information technology'southward a organization rating of lens and sensor, the DXOMARK score would in theory be a little lower on the 47 MP Sony A7R III and so lower still on the 24 MP Sony A7 III, but information technology's always worth looking through the more detailed data to meet how the performance differs.

Sharpness levels are adept for this type of zoom, especially at 105 mm, which is unusual. In improver, the lens controls LaCA (lateral chromatic aberration) relatively well at that length too. All the same, at shorter focal lengths, peculiarly at 24 mm, there's noticeable fringing at the edges and in the corners in detail. Vignetting is extremely well controlled; and the lens has good command of distortion forth with good transmission, measured at T4.4, which is a loss of but -0.4 EV on average. Overall, the lens is one of the best-performing models covering this range.

In-depth comparisons

Nosotros've compared the made-for-mirrorless Sony K-series lens with similarly stabilized 24-105mm F4 models, though in fairness they're made for DSLRs. Sigma's 24-105mm F4 DG OS HSM is a high-grade Art series lesn with a reputation as beingness one of the best of its type. Information technology was announced in late 2017 and is available for around $899, or 1,000€. We've also compared the Sony with the highly regarded Canon EF 24-105mm F4 Fifty II USM. This Mark 2 version received an upgrade from the original model during the summer of 2016, and is bachelor now for around $i,100 or ane,070€.

You tin see an overview of this comparing in our database.

Sharpness

The Sony FE 24-105mm F4 G OSS has good sharpness; indeed, it is among the all-time we've tested and rivals the Sigma overall. However, while most zooms are sharper at the shorter end, the Sony is unusual in that it's also sharp at 105 mm likewise. Sharpness at that focal length is consistent across the field every bit well and that puts information technology alee of both the Canon and the Sigma.

Still, in that location are some downsides. Broad open, the Sony has some noticeable loss of sharpness at the intermediate focal lengths of 35 mm and 50 mm, at to the lowest degree when compared to the Sigma; the highly respected Canon is weaker withal. Once stopped down a stop, all three perform similarly at 24 mm, only it is the Sony and Sigma that continue to impress at the other focal lengths. Even then information technology'southward not a clear win for the Sony, as information technology shows higher levels of astigmatism in the outer field at 50 mm and seventy mm.

Chromatic abnormality

Despite this being a high-end Thou-series lens with a number of ED glass elements, there'due south some noticeable lateral color at the wider terminate — below 50 mm, anyway. While it'due south well-nigh noticeable in the corners at 24 mm, it doesn't get any ameliorate after stopping downwards. Of the three in this comparison, the Canon is the all-time corrected, and fifty-fifty the highly regarded Sigma isn't a friction match, with that model having quite loftier levels across the field, non simply at the edges or in corners. All iii are relatively well controlled at longer focal lengths, though interestingly, it is the Sony that has the lowest levels at 105 mm.

Geometric distortion

Both the Sigma and Canon are better corrected for distortion. The Sony has slightly more than butt baloney at 24 mm, measured at +1.5% against the + 0.eight-.9% of the ii rivals, and it has slightly more pincushion-type baloney at the other end. Notwithstanding, it'south relatively low fifty-fifty at its near pronounced, measuring -0.9% from 50 mm through 105 mm. And it'southward of import to remember that distortion like this is easy to arrange in mail-product.

Vignetting (corner shading)

Vignetting is very well controlled at every focal length in the Sony, much ameliorate than either the Sigma or Canon. With the maximum less than -1 EV at 24 mm, there's none of the dark corners seen in the other two when broad open, and there'south none to speak of after closing downwards a terminate.

Transmission

This is one area that arguably doesn't actually concern stills photographers that much, but the practical nature of the 24-105mm zoom, with its fixed F4 maximum discontinuity, makes it an of import model for videographers. Fortunately, transmission doesn't vary much throughout the zoom range, with it differing from -0.three EV at 24mm to -0.4EV at 105 mm. In terms of light loss it'due south bettered only slightly past the Sigma, but none of them are exactly bad.

Conclusion

For all this lens'due south appeal to the stills and video communities, Sony added its 24-105mm F4 to the range relatively tardily, simply the upside is that it is the most modern of the three— at least in this comparing. Not just that, it'due south a Grand-series model besides, so it gives you an indication of the performance to expect. While stronger than the Catechism EF mount equivalent, there isn't that much betwixt it and the Sigma. Whether that'south plenty to make it a compelling choice for Sony users is debatable: it's good, but it's not exactly inexpensive.

In this review, we take compared the Sony FE 24-105mm F4 G OSS mounted on a Sony A7R IV to its closest rivals from other brands. Remember that those lenses may exist used on different cameras or, in some cases, on different camera systems using unlike mounts, so those comparisons are not strictly applicative.

As usual, you can create your ain comparisons and in-depth analyses using our interactive prototype lens comparison tool.

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Source: https://www.dxomark.com/sony-fe-24-105mm-f4-g-oss-lens-review-good-performer-but-pricey/

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