{"id":1347,"date":"2021-12-10T10:21:38","date_gmt":"2021-12-10T15:21:38","guid":{"rendered":"https:\/\/www.brokenmount.com\/bm\/2021\/12\/10\/sony-fe-12-24mm-f4-g-review\/"},"modified":"2021-12-10T10:21:38","modified_gmt":"2021-12-10T15:21:38","slug":"sony-fe-12-24mm-f4-g-review","status":"publish","type":"post","link":"https:\/\/www.brokenmount.com\/bm\/2021\/12\/10\/sony-fe-12-24mm-f4-g-review\/","title":{"rendered":"Sony FE 12-24mm F4 G Review"},"content":{"rendered":"
\n

What is the Sony FE 12-24mm F4 G?<\/h2>\n

The Sony FE 12-24mm F4 G is a premium, ultra wide-angle zoom lens for Sony\u2019s full-frame mirrorless Alpha 7-series and Alpha 9 cameras. It costs \u00a31700.<\/p>\n

Not so long ago, any discussion on Sony\u2019s Alpha 7 full-frame mirrorless system always began with the same caveat: although the cameras were innovative and impressive, the lens system lacked the depth to best take advantage.<\/p>\n

Now, four years on from the launch of the original Alpha 7, the situation has changed. Sony has most of the basics covered, with a full set of both f\/4 and f\/2.8 zooms, alongside a series of stellar f\/1.4 primes, backed by more affordable, smaller aperture primes. So it\u2019s now looking to extend its FE lens lineup with some more extreme, specialist optics.<\/p>\n

Hence, the appearance of the Sony FE 12-24mm F4 G. Launched back in May alongside the faster FE 16-35mm F2.8 GM, this \u00a31700 lens expands the horizons of Sony\u2019s full-frame system into ultra wide-angle territory. Indeed, with a 122-degree diagonal angle of view, it\u2019s one of the widest rectilinear zooms ever made for full-frame cameras; it\u2019s surpassed only by Canon\u2019s EF 11-24mm F4L USM costing \u00a31000 more. But it\u2019s in comparison to that superb lens, and the \u00a31400 Sigma 12-24mm F4 DG HSM Art, that the Sony must be judged \u2013 and in this regard it performs rather well.<\/p>\n

Related: Best cameras<\/a><\/strong><\/p>\n

Sony FE 12-24mm F4 G \u2013 Features<\/h2>\n

To achieve the lens\u2019 huge angle of view, Sony has employed a complex optical formula with 17 elements in 13 groups that include four aspherical elements, three crafted from extra-low dispersion (ED) glass, and one of Super-ED glass. The aim is achieve excellent corner-to-corner sharpness and resolution, while minimising chromatic aberration.<\/p>\n

In addition, Sony\u2019s Nano AR coating is employed to suppress flare and ghosting, which can be a serious problem with lenses that cover such a wide field.<\/p>\n

\"Sony<\/a>
The lens is designed for use with Sony\u2019s full-frame mirrorless cameras<\/figcaption><\/figure>\n

The lens\u2019 G-series designation places it as a premium optic, if not quite at the same level as Sony\u2019s top-of-the-range G Master series.<\/p>\n

The firm says that it \u2018emphasises a graceful balance between high resolution and gorgeous background bokeh\u2019, although it\u2019s unlikely you\u2019ll get much in the way of blurred backgrounds in normal use, except when the lens is set close to its minimum focus distance of 28cm. Nevertheless, the seven-bladed diaphragm still uses curved blades in a bid to render out-of-focus areas as attractively as possible.<\/p>\n

A fixed, petal-shape lens hood is built in to help suppress flare, while also providing useful protection for the striking, dome-shaped front element. As is usual for a zoom this wide, there\u2019s no way to attach filters to the front of the lens; Sony hasn\u2019t provided a rear holder for gel filters either. So if you want to use neutral density or polarizing filters, you\u2019ll have to find a third-party solution.<\/p>\n

Related: Best camera bags<\/a><\/strong><\/p>\n

\"Sony<\/a>
A built-in hood helps protect the striking domed front element<\/figcaption><\/figure>\n

The FE 12-24mm F4 G can of course be used on Sony\u2019s APS-C mirrorless models, on which it will give an 18-36mm equivalent view. But unless you use a full-frame camera too, you\u2019ll almost certainly be better off with the smaller, cheaper, stabilised Sony E 10-18mm F4 OSS that also gives a wider view on APS-C.<\/p>\n

Sony FE 12-24mm F4 G \u2013 Build and handling<\/h2>\n

If you\u2019ve used a full-frame ultra-wide zoom before, then the first thing you\u2019ll notice about the FE 12-24mm F4 G is its size. Or rather, lack of it: at 87mm in diameter and 117.4mm in length, it\u2019s considerably smaller than similar lenses made for DSLRs.<\/p>\n

At 565g, it\u2019s also less than half the weight of the aforementioned Canon and Sigma \u2013 an advantage that stems directly from the system\u2019s mirrorless architecture. In fact, it isn\u2019t even radically larger than the Sony FE 24-70mm F4 OSS ZA.<\/p>\n

\"Sony<\/a>
The manual focus ring is larger in diameter but slimmer compared to the zoom ring<\/figcaption><\/figure>\n

Despite the lens\u2019 light weight, there\u2019s little to complain about when it comes to build quality or handling. The barrel exterior is made from high-quality plastic, with rubberised grips for the zoom and manual focus rings. Sony describes the lens as dust- and moisture-resistant, so the lack of a rubber seal around the metal lens mount comes as a surprise.<\/p>\n

\"Sony<\/a>
On the side of the barrel you\u2019ll find a focus hold button and AF\/MF switch<\/figcaption><\/figure>\n

The zoom ring rotates smoothly through about 80 degrees between the 12 and 24mm positions, meaning it\u2019s easy to make fine adjustments to your composition. Ahead of it, the slightly larger diameter manual focus ring is electronically \u2013 rather than mechanically \u2013 coupled to the lens\u2019 focus group, and rotates continuously with no end-stops. On the side of the barrel, you\u2019ll find a physical AF\/MF switch and a large focus hold button. The latter\u2019s function can be reassigned from the camera body, if you prefer.<\/p>\n

Sony FE 12-24mm F4 G \u2013 Autofocus<\/h2>\n

For autofocus, Sony has chosen a Direct Drive Super Sonic Motor (DDSSM) to drive the lens\u2019 focus group. This is fast and almost silent, meaning that it\u2019s just as well suited to video work as it is to stills. On the Alpha 7R II used for testing, the focusing was also unerringly accurate \u2013 although, as always, you have to make sure you pay due care and attention to exactly where you place the AF point within the frame.<\/p>\n

\"Sony<\/a>
I had no trouble achieving accurate focus, even with off-centre close-up subjects. Sony A7R II, 12mm, 1\/125sec at f\/8, ISO 100<\/figcaption><\/figure>\n

Manual focus is available when you need it, of course, and the electronically driven focusing allows precise control. There\u2019s neither distance nor depth-of-field markings on the lens itself, but a basic distance scale is displayed in the viewfinder while you\u2019re focusing. The camera\u2019s usual focus aids are available, such as magnified view and focus peaking. If you set the focus mode to DMF then you can also get full-time manual override of autofocus.<\/p>\n

Sony FE 12-24mm F4 G \u2013 Performance<\/h2>\n

Wide-angle zooms tend to be compromised in one way or another: it\u2019s just the nature of trying to render a huge angle of view with minimal curvilinear distortion and a flat field of focus. Typically, I\u2019d expect to see a combination of barrel distortion, chromatic aberration and smeared corner detail at larger apertures. However, Sony has a huge advantage compared to DSLR lens makers here, since mirrorless systems offer a greater degree of freedom in terms of lens design. As a result, the 12-24mm F4 isn\u2019t only small \u2013 it\u2019s pretty impressive optically, too.<\/p>\n

\"Sony<\/a>
With its ultra-wide view, the 12-24mm can give some striking images. Sony A7R II, 12mm, 1\/100sec at f\/8, ISO 100<\/figcaption><\/figure>\n

Examining my test shots, it\u2019s clear that the lens is strikingly sharp in the centre, even at f\/4. However, at its widest settings in particular, the corners will often show characteristic wide-angle \u2018stretching\u2019 and blurring, which only fully clears up around f\/8-11. But these are entirely sensible working apertures that I\u2019d normally be using on full-frame anyway, so I don\u2019t see this as a big problem.<\/p>\n

\"Sony<\/a>
In this shot I avoided converging vertical by keeping the camera level at the 12mm setting, then cropping away the lower half of the frame. Sony A7R II, 12mm, 1\/100sec at f\/11, ISO 100<\/figcaption><\/figure>\n

Some lateral chromatic aberration is visible in the form of complementary-coloured fringing towards the corners of the image, but even on the 42.4-megapixel Alpha 7 R II, it isn\u2019t excessive \u2013 and it\u2019s easy to correct in post-processing, too. Vignetting is prominent at wide angle, and never fully goes away on stopping down. But it\u2019s much less of an issue on zooming in, and again can be easily corrected when necessary.<\/p>\n

\"Sony<\/a>
With its huge field of view, the lens is ideal for shooting interiors. Sony A7R II, 18mm, 1\/60sec at f\/4, ISO 250<\/figcaption><\/figure>\n

If you\u2019re planning to use the lens to shoot interiors or architecture, however, you\u2019ll perhaps be most concerned by its distortion characteristics. At wide angle it displays complex \u2018moustache\u2019 distortion \u2013 in other words, of the barrel-type towards the centre of the image but re-corrected to pincushion-type in the corners \u2013 such that straight lines are drawn as wavy along the top and bottom of the frame. This can make things difficult if you need those lines to be rendered straight in your images. Realistically, the only way is to use profiled corrections in your favourite Raw converter. Luckily, things get simpler on zooming in, and by 16mm the lens exhibits more easily correctable pincushion distortion.<\/p>\n

\"Sony<\/a>
The lens gives attractive 14-ray sunstars and characteristic arc-shaped flare patterns. Sony A7R II, 13mm, 1\/30sec at f\/22, ISO 100<\/figcaption><\/figure>\n

Related: Best DSLR<\/a><\/strong><\/p>\n

With a lens this wide, flare behaviour is also crucial, as you can often end up with the sun or other bright light sources in your shots. One noticeable feature of the 12-24mm is a signature flare pattern of bright hairline arcs concentric with the light source, which become more clearly defined on stopping down the aperture. You\u2019ll also see nicely defined 14-point sunstars at small apertures. However, there\u2019s a notable lack of image-degrading veiling flare, and on the whole the lens is well behaved in this respect.<\/p>\n

Sony FE 12-24mm F4 G \u2013 Sharpness<\/h3>\n

According to our Image Engineering MTF tests, the lens is impressively sharp in the centre at maximum aperture. But, typically for such a wide lens, the corners of the image lag behind considerably, although the difference is probably exaggerated at the close distances needed for our chart testing. Best results are to be had at f\/8.<\/p>\n

\"Sony<\/a>
Sony 12-24mm: MTF50 on Sony Alpha 7R II<\/figcaption><\/figure>\n

\u00a0<\/p>\n

Sony FE 12-24mm F4 G \u2013 Vignetting<\/h3>\n

Even a cursory glance at our graphs reveals considerable vignetting at 12mm. Stopping the lens down to f\/8 reduces the level to around 1.3 stops, but it doesn\u2019t reduce any further at smaller apertures. The corner fall-off decreases significantly at longer focal lengths, and while it can still be visible at f\/4, it becomes visually insignificant on stopping down to f\/8.<\/p>\n

\"Sony<\/a>
Sony 12-24mm: Vignetting at 12mm f\/4<\/figcaption><\/figure>\n

\u00a0<\/p>\n

\"Sony<\/a>
Sony 12-24mm: Vignetting at 24mm f\/4<\/figcaption><\/figure>\n

\u00a0<\/p>\n

Sony FE 12-24mm F4 G \u2013 Distortion<\/h3>\n

Typically for this kind of lens, the lens shows quite strong barrel distortion at its widest setting, turning to relatively mild pincushion on zooming past 14mm. It can be corrected in-camera using the Lens Compensation menu setting for shots that require straight lines to be rendered correctly.<\/p>\n

\"Sony<\/a>
Sony 12-24mm: Distortion at 12mm (SMIA TV= -3.0%)<\/figcaption><\/figure>\n
\"Sony<\/a>
Sony 12-24mm: Distortion at 24mm (SMIA TV = 1.7%)<\/figcaption><\/figure>\n

\u00a0<\/p>\n

Related: Best tripods<\/a><\/strong><\/p>\n

Should I buy the Sony\u00a0FE 12-24mm F4 G?<\/h2>\n

If you need an ultra wide-angle zoom for Sony full-frame mirrorless, then the FE 12-24mm F4 G is easy to recommend. Not only is it the sole native FE-mount option, but it\u2019s optically excellent, and handles well too. In principle, you could use an adapted DSLR lens instead, but the Sony\u2019s size and weight benefit means there\u2019s little practical point.<\/p>\n

\"Sony<\/a>
The 12-24mm is certainly a niche lens \u2013 but it\u2019s a very good one<\/figcaption><\/figure>\n

The bigger question, perhaps, is whether you need such a wide view. Such lenses are distinctly niche, and difficult to use effectively, placing great demands on your compositional skills.<\/p>\n

If you\u2019re simply looking for a wide zoom to complement a 24-70mm standard zoom, the FE 16-35mm F4 OSS is still a more practical choice. It\u2019s optically stabilised, can accept filters, and is simply far more manageable to shoot with. Meanwhile, APS-C users will almost certainly get better value from the \u00a3700 E 10-18mm F4 OSS. That\u2019s not to say the\u00a0FE 12-24mm F4 G doesn\u2019t have its place \u2013 just that it\u2019s a niche, rather than mainstream option.<\/p>\n

Verdict<\/h2>\n

If you\u2019re a Sony full-frame mirrorless user and know you can make good use of its immense field of view, the Sony FE 12-24mm F4 G will do you proud.<\/p>\n

\u00a0<\/p>\n

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The post Sony FE 12-24mm F4 G Review<\/a> appeared first on Trusted Reviews<\/a>.<\/p>\n<\/div>\n

Author: Andy Westlake
\nThis article comes from Trusted Reviews<\/i> and can be read on the original site.<\/b><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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