When it comes to versatile standard zooms, Sony has long been the go-to.
From the venerable 24-70mm f/2.8 G Master II to the travel-friendly 24-105mm f/4 G and even the quirky 20-70mm f/4, there’s already a lens for almost every photographer.
But Sony wasn’t done just yet. Enter the Sony 24-50mm F2.8 G, a lens that seeks to carve out its niche as a compact, affordable alternative to the 24-70mm f/2.8 GM.
small, light, and versatile (sort of).
The standout feature of the Sony 24-50mm F2.8 G is its lightweight build. At 440 grams, it pairs beautifully with compact bodies like the Sony a7C II and a7C R, offering a portable setup that won’t weigh you down.
Despite its featherweight credentials, the lens doesn’t skimp on quality-of-life features. You get a customisable focus hold button, weather sealing, and even a dedicated aperture ring, which can be de-clicked for smooth video adjustments.
With a compact 67mm filter size, it’s easy to slide into your camera bag, making it a tempting choice for those always on the move.
But let’s be clear, this isn’t a G Master lens. It’s missing the high-end touches, like Sony’s XD linear motors for faster autofocus or premium optics.
Still, for what it’s meant to do, the Sony 24-50mm F2.8 feels well-built and thoughtfully designed.
sharp, but with limits.
When it comes to performance, the lens is sharp, but not without its quirks. At the 24mm wide end, the centre sharpness is excellent right out of the gate at f/2.8. You won’t see much improvement by stopping down to f/5.6, which speaks to the lens’s strong performance in the centre.
However, the corners tell a different story. There’s noticeable blurring at f/2.8, likely due to heavy distortion correction in-camera. Thankfully, stopping down to f/5.6 improves corner sharpness significantly.
Move to the 50mm end, and the performance is more consistent. Sharpness across the frame is solid, even wide open, and by f/5.6, it’s excellent. For event photographers or anyone capturing subjects in varied lighting conditions, the lens delivers reliable results, provided your subjects stay near the centre of the frame.
bokeh and close-ups is a mixed bag.
With an 11-bladed aperture, Sony aimed for creamy, aesthetic bokeh, but the reality is less ideal. Highlights take on a polygonal soap-bubble effect, giving backgrounds a frenetic, almost busy feel. While the shallow depth of field is decent at close distances, it’s not the dreamy blur you might expect from a fast f/2.8 lens.
On the upside, the lens offers impressive macro capabilities, particularly at the 24mm wide end. You can get as close as an inch from the front element, achieving a respectable 1:3 life-size reproduction. While this won’t replace a dedicated macro lens, it adds versatility for dramatic close-ups with a wide perspective.
autofocus and handling is smooth sailing.
The autofocus system uses twin linear motors instead of the faster XD motors found in Sony’s premium lenses.
That said, with less glass to move, the focus is still snappy and accurate for its intended use. For landscape and general-purpose shooting, you won’t notice much lag.
The manual focus ring and aperture ring are smooth and satisfying, especially for videographers.
Switching between clickable and de-clicked aperture adjustments is a thoughtful touch, giving the lens dual utility for both stills and video work.
who is this lens for?
The Sony 24-50mm F2.8 G is a niche lens with specific use cases.
Travel and street photographers will appreciate its compact size and excellent flare resistance, especially for shooting in dramatic, backlit conditions. Event photographers on a budget might find it a reasonable alternative to the pricier 24-70mm f/2.8 GM, particularly when paired with a 70-200mm f/4 for extended reach.
For landscape photographers, the lightweight design and weather sealing make it a convenient choice, though the limited zoom range may feel restrictive. That said, if you already own a broader zoom like the 20-70mm f/4 or 24-105mm f/4, the 24-50mm feels redundant.
On the third-party front, the Tamron 28-75mm f/2.8 G2 and Sigma 28-70mm f/2.8 Contemporary are both excellent alternatives, offering comparable image quality and more versatile focal lengths at similar price points.
verdict: a solid lens that’s hard to justify.
The Sony 24-50mm F2.8 G is a well-designed lens that excels in portability and delivers solid image quality where it counts. But at upwards of SGD$1,600, its narrow zoom range and limitations in video performance make it a tough sell.
With excellent alternatives from both Sony and third-party manufacturers, the 24-50mm struggles to carve out a compelling niche.
Unless you absolutely need its compact size or are pairing it with a compact body like the a7C II, you’re better off investing in lenses with more versatility and comparable optical performance.
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