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Sony 70-200mm F4 Macro G OSS II Definitive Review: The F4 Zoom to Get!
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Jul 17, 2023
Photographer Dustin Abbott shares a definitive review of the Sony FE 70-200mm F4 Macro G OSS II - the most versatile 70-200 lens I've used yet! | This video is sponsored by Ridge Rings. Visit https://ridge.com/dustinabbott and use code "DUSTINABBOTT" for 10% off | Read the Text Review: https://bit.ly/70-200GIIda | Visit the Image Gallery: https://bit.ly/70-200GIIpics | Purchase the Sony 70-200mm F4 Macro G II @ B&H Photo https://bhpho.to/3ph3lAD | Adorama https://howl.me/cj2nGvbAxwe | Amazon https://amzn.to/3Jwgooy | Camera Canada | Sony Canada https://www.thesonyshop.ca/products/sel70200g2?ref=abbott | Amazon Canada https://amzn.to/46qEhrm | Amazon UK https://amzn.to/3NuBPaP | Amazon Germany https://amzn.to/3CN3yyp Check out the DA Merch here: https://bit.ly/TWIMerch | Become a Patron: https://www.patreon.com/dustinabbott | On the Web: http://dustinabbott.net/ | Sign up for my Newsletter: http://bit.ly/1RHvUNp | Instagram: http://bit.ly/DLAinsta | Facebook: http://on.fb.me/1nuUUeH | Flickr: http://bit.ly/1UcnC0B | 500px: http://bit.ly/1Sy2Ngu Follow Craig @ https://www.instagram.com/craigstoffersen/ Want to support this channel? Use these affiliate links to shop at: B&H Photo: http://bhpho.to/1TA0Xge Adorama: https://howl.me/cjU0LKdp3LN Camera Canada: http://bit.ly/DLACameraCan Sony Canada: https://www.thesonyshop.ca/?ref=abbott Amazon: https://amzn.to/3HrY64d Amazon Canada: https://amzn.to/3qG1p18 Ebay: http://bit.ly/DustineBay Make a donation via Paypal: https://www.paypal.com/paypalme/dustinTWI ============================= Table of Contents: ============================= 0:00 - Intro and Concept 0:58 - Ridge Rings 2:14 - Build and Design
View Video Transcript
0:00
Hi, I'm Dustin Abbott, and I'm here today to give you my definitive review of the new Sony
0:15
FE 70 to 200 millimeter F4G macro OSS Mark 2. This new lens is perhaps Sony's most versatile lens yet, allowing you to zoom from this at 70 millimeters to this
0:29
at 200 millimeters while also offering one to two macro performance throughout the zoom range
0:35
You can even use teleconverters to increase the macro performance or the reach like this
0:40
to 280 millimeters or even beyond at 400 millimeters. Sony has even managed to shrink the size while also improving the optics, the autofocus
0:49
and the optical stabilizer. Sound interesting? Well, it should. We'll break it all down in detail after a word from our sponsor
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That's ridge.com forward slash Dustin Abbott. So as noted, this lens is smaller than its predecessor
1:56
I will say that, however, with a caveat, because they have changed the overall design kind of ethos of this particular lens, much like Canon did in its RF mount lenses
2:08
So we have gone from an internally zooming lens, which of course maintains a constant length to an externally zooming lens
2:16
And so, yes, without any kind of zoom, it is much more compact than the previous lens
2:21
It takes off about 25 millimeters of length, and so it's 150 millimeters in length
2:26
0.9 inches. However, if you zoom it out, it zooms out actually further to about 205 millimeters or about
2:33
8 inches at its full extension. It remains only 80 millimeters in diameter, that's 3.1 inches and
2:40
continues to have a 72 millimeter front filter size. The weight is lightweight. Without the collar
2:47
attached, it is 794 grams or 28 ounces. With the collar attached, it is 862 grams or 30.4
2:56
ounces. By the way, all of these measurements are my own personal measurements. I'm reviewing a
3:01
pre-release copy of the lens, and so far no official measurements are released. So if there's a very
3:06
slight variance from the official ones, you'll know why. As noted, there is a tripod collar here
3:11
which does distinguish it from Canon's design. Now, Canon also went with an externally zooming design
3:16
in their own RF 70 to 200 millimeter F4. That lens is even smaller still than what this particular
3:23
lenses, but there was some compromises that were made to the design to make it even more compact
3:29
And one of those is the fact that it does not come with a tripod collar, and the design
3:33
doesn't really allow for a tripod collar. It's also not at all compatible with Canon's RF
3:39
teleconverters, whereas this lens is fully compatible. More on that in just a moment
3:43
But our tripod collar here is included in the package. It is fully removable and very easy to remove
3:50
my only kind of complaint about it is that it continues to not be ARC-Swiss compatible
3:56
which means that here, as I've got it mounted on this little tripod, I had to use a quick release plate to accomplish that
4:02
and I would love to see an ARCA compatible design. As noted, we do have full TC compatibility
4:09
I only own the 1.4 times, and so I tested with that, I don't own the 2.0 times
4:14
But along with extending the focal length, with this 1.4 times, the maximum focal length available is 200
4:20
180 millimeters at a maximum aperture of F5.6. If you use the two times teleconverter, you get up to a
4:27
focal length of 400 millimeters at full extension. However, your maximum aperture drops to F8 at that point
4:35
But what's also interesting is the fact that you've already got incredible macro performance as a part of this lens
4:40
Now, that's not one-to-one macro, that's one-to-two macro or 0.50 times. You throw the teleconverter on
4:46
there, however, and that increases that magnification with the 1.4 times, to about 0.7, five times
4:53
You put the two times on there, and you're all the way up to one-to-one macro level
4:57
And so, obviously, that compatibility with teleconverters really adds to the versatility of the lens
5:03
particularly when you're talking about a lens that already has great close-focus capabilities
5:07
and the teleconverters actually are an asset to improving that even further
5:12
Now, some people have an issue with an externally zooming design, and at least one of those logical reasons
5:19
is that they feel like an externally zooming design is more likely to get, you know, ingest some dust along the way
5:27
Fortunately, in the case of this, Sony, this is a very thoroughly weather seal design
5:31
I think there's about 16 different seal points according to the diagram that I was shown at a press briefing
5:37
And so it is thoroughly weather seal. And I also note that there really haven't been even anecdotal reports with other externally zooming, you know
5:45
kind of professional grade Sony zooms with them having problems with either dust or moisture
5:49
even in very dusty or moist environments. The one thing that I will say is a legitimate complaint is
5:56
you know, you may find if you're working on a gimbal that the balance point is going to change a little bit
6:01
That's not as bad with a tripod collar, obviously, but you're not going to change the fact
6:05
that you're moving some of the weight out here as opposed to being right here. As far as the actual zoom action
6:11
I know I can't say that it's 100% as good as an internally zooming lens, but the zoom action is so good here that it's actually very, very close
6:17
Now, the manual focus ring, it moves smoothly, but I will note that there's very little resistance on there
6:24
And so if you have very little resistance, you also have very little feel as a part of the process
6:29
So you not going to be thinking you using a zice at any point with some kind of great manual focus Now we have also evolved in this lens design in terms of the overall feature set
6:40
There are a total of five different switches here in this bank. And so that gives you an AFMF switch
6:45
It gives you a switch for full-time DMF, which is a new function for this type of lens
6:51
And so you have the ability to always override focus. And the interesting thing about Sony's focus is that it will then, for example, in video
6:57
it will continue to kind of track at that point to where you focus to. And so it's a very useful feature
7:03
Also added to the focus limiter here is a macro range that allows you to make sure that there's
7:08
no focus racks if you're trying to do up close type focus. So that's obviously going to be useful as well
7:13
And then we have two switches that are devoted to the OSS or optical steady shot, the
7:18
stabilizer here, basic on-off switch. And then there are three different modes you can access there on the bottom
7:24
And if you're not familiar with the way Sony sets that up, mode one, is going to be your standard kind of mixed use
7:30
Number two is going to be for panning. And number three is kind of a dynamic mode to where you're not going to do a lot of stabilization
7:36
of viewfinder, just stabilization at the time of taking the photo. So for video work, probably mode one is going to be
7:42
your preferred mode there at that point. They've also added additional focus hold buttons
7:48
and so that you now have them in three different positions. So that means that whatever position you're shooting in
7:54
so both horizontal and then vertical in either direction, you're going to have easy access to a focus hold button and the functions you can assign to that from within the camera body
8:03
There is a zoom lock that is a new part of the design and obviously that wasn't necessary on the previous internally zooming design
8:10
but the zoom lock locks in at 70 millimeters to keep you from the lens extending
8:15
There's not really going to be an issue with zoom creep here. Everything is very well damped, but I did note when I was out kind of backpacking with it that if I was carrying it in a harness or a strap
8:24
There would be some rubbing as I went along on the zoom ring and eventually that would start to extend it
8:29
So the lock helps to keep that from happening. There are nine rounded aperture blades inside and I felt like it did quite a good job of maintaining a circular shape
8:38
It also stood out to me as you could have seen there that the geometry across the frame is really good even from wide open
8:43
Great, really round circles all throughout. Very, very nice look there. There is a variable minimum focus distance
8:51
It allows you to have that one to two macro everywhere from 70
8:54
to 200 millimeters all along with every stop in between. So at 70 millimeters, you can focus as
9:01
closely as 26 centimeters or 0.86 feet, so right under a foot. And then at 200 millimeters
9:07
your minimum focus distance is 42 centimeters. That's 1.38 feet. And so, and obviously
9:14
there's going to be some variation in between, but the point is, is that you can get macro all
9:18
along the way. You can kind of choose the framing and the working distance that works best for your
9:22
situation. I will point out that in many situations, particularly if you're working with a moving
9:27
subject, the 200 millimeter position is preferred because it does give you a little bit more working
9:32
distance there, a little more separation between yourself and the subject itself. The optical
9:39
steady shot has been improved here and I saw the ability to handhold fairly easily to handhold
9:45
shudders at 200 millimeters of one third of a second. And so that's pretty close to six stops of
9:51
assistance, which is pretty sweet. There's also a new lens hood design. It is color match, but then it's
9:57
also a pedal shape, which I don't often see a pedal shaped lens hood for telephoto lenses. It's kind of a
10:04
nice look, but it's unique to this lens. And so overall, a very, very nice build quality
10:09
a lot of versatility and features, and I can report that the lens handles really great out in the
10:13
field. It's a joy to use. Also fantastic is the improved auto focus. We now have quad XD linear motors
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They're high powered linear motors. And so focus is near instantaneous. As you can see here, you can focus from near to far to in between
10:30
And even autofocus is near instantaneous, even at very, very close focus distances
10:35
It's also highly accurate in my test. And I had zero issues with focus consistency
10:41
In fact, I saw that, you know, as Sony's tech continues to improve, you're getting just improved improved performance when it comes to making sure to really nail IAF
10:51
just at the perfect spot. Even if there's obstructions, you can see I shot this photo of a pony
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and I was shooting through some brush, plus through a fence, and then the tangle of the long mane hanging down
11:04
and yet it went past all of those things, and it focused right in there perfectly on the eye
11:09
So that's fantastic. I also found that I could get a full 30 frames per second
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with my Sony Alpha-1, of course, one of the advantages of shooting with a native Sony lens
11:18
and it tracked action beautifully when I was shooting just some pickup basketball and, you know, at various shots, even if the subject was, you know, moving and there was things that are interfering, you know, temporarily maintain that tracking and did a really fantastic job of tracking the action
11:35
And so it didn't matter if I was taking photos of people, even in a wedding type setting, if I was taking photos of various animals
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And of course, now you have insect tracking. And so tracking some of my bees, either with photos or as you can see here, tracking them with video
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In fact, I'll show you this clip to where I started off without that tracking enabled
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And you can see when I kind of click it on. And there's a little bit of movement there
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But it immediately starts doing an amazing job of tracking the action of the bee as it moves around
12:05
Focus pulls also were not only smooth and well-damped, as you would expect, from a first-party
12:11
Sony lens, but also there was really, really low focus breathing. And yes, some of Sony's new cameras
12:17
have a focus breathing compensation, but the more focused breathing there is, the more deep the crop
12:22
needs to be to compensate for that. And because there is so little focus breathing here, there's
12:27
next to no crop that needs to happen, even if you have that focus breathing compensation enabled
12:33
So that's obviously nice. Then my typical hand test was handled, you know, very, very well and
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smooth transition back to my eye. Autofocus was just excellent for both videos and
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still. So fantastic there. Also fantastic is the image quality. Sony has really, really hit a pretty
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amazing stride as a lens designer and it just seems like they're able
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to do things just a little bit better than just about anyone else is doing at this
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point. This is a lens that has fantastic image quality throughout the zoom range and one of the things that stood out to me as a person that shoots with new lenses all the time is that I found that there was very little editing needed It just seemed like photos had a great look to them right out of camera
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and I found that even when doing adjustments of phototype shots of people
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there just really wasn't much to do. Just skin tones look good, but then just kind of overall look of the transition to the backgrounds
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and variety of different lighting and shooting conditions. It just looked really fantastic
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So we'll take a deeper look at image quality performance right now together
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We'll start this optical breakdown by taking the look for chromatic aberrations
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We're going to take a look because we're really not going to be able to find them. As you can see here, there are no longitudinal chromatic aberrations at all
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It is completely neutral before and after the plane of focus. Likewise, if we look for lateral chromatic aberrations near the edges of the frame
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you can see that once again there just isn't anything there to see
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This is without any kind of correction in those transitions from black to white. near the edge of the frame are completely neutral
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Now, if we move on to vignette and distortion, we do find some of each, though very little of the latter
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There is a pincushion distortion basically all throughout the zoom range that actually intensifies up to about the middle of the zoom range
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and then stabilizes. Here at 70 millimeters, I corrected with a minus 5
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You can see a nice linear cling correction there. And vignette is quite low, just a little over a stop
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It's a plus 38 to correct there. in the middle of the frame at 135 millimeters or middle of the zoom range you can see that that
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has that distortion has intensified up a bit and so for corrections i'm using dial in a minus
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nine to correct for that again nice linear correction look here at the vignette figner though
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it's dropping down to under one stop at 200 millimeters we can see that the pin cushion distortion
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is the same but as we're going to see vignette has dropped even further so distortion
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is still a minus 9, but Venet is down to just a plus 12
15:07
Now, what's interesting is if I throw the 1.4 times teleconverter on there, it obviously
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introduces a bit of barrel distortion because you can see that the distortion is actually
15:16
corrected from the 200 millimeter mark by adding the teleconverter. And what's interesting to me is that if we look at corrections here, we're looking at just a
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tiny amount of vignette, even with the teleconverter added on there. So this is probably for a zoom lens
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probably the lowest vignette that I've yet seen at this point. The distortion is present, but it's all linear
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It all corrects very easily. So here's a look at the test chart that we'll be using for our resolution and contrast results
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I have moved up in terms of my testing. This is the first time I'm using a Sony A7R Mark 5, so a 61 megapixel result instead of my typical 50 megapixels from the Alpha 1
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And so at 200%, this is as high a test as what you get on full frame right now
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And as you can see in the center of the frame, it passes that test with a plumb
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There is great contrast, great detail. Mid frame also looks perfect. And down into the corners, we can see that the result looks very good, just a little bit softer than what we saw at the mid frame
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We can also find if we kind of pan around here that we have got great centering, great results looking on this left side, up into the top left corner, results looking very good
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and the upper right corner results also looking fantastic. So very strong results here all across the frame
16:34
Now when you start off with such a high resolution at wide open F4
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there's not going to be as much to gain as you stop down. And that's what we see here at F5.6
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They look roughly the same in the middle of the image, in the mid frame, again roughly the same
16:49
There is a very slight advantage here in the corner, however. You can see that contrast is just picked up a little bit there
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and that is our major improvement. Now, defraction starts on these high-resolution bodies
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It starts in pretty early. And so whatever potential extra gain might be there from F5.6 to F8
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diffraction has probably taken a little bit of an edge off that, so they look pretty much the same
17:12
Our minimum aperture throughout the zoom range is F-22, but diffraction has really robbed basically all the contrast
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and so the results look quite soft and dreamy by comparison. So I certainly would avoid shooting at smaller apertures
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probably anywhere beyond F11, if at all possible. So if we compare 100 millimeters at F4 in the center of the frame
17:34
we can see that it is just very slightly softer than what we saw at 70 millimeters
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The mid-frame, the same is true, though the margin is extremely small there
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But what we do see is that the corners are significantly sharper at 100 millimeters
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and are already wide open at a sharper level than what we ever saw them become at 70 millimeters
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even when stopped down. Now, 135 millimeters on the right side provides what I would say is the high
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water mark for sharpness. You can see compared to 100 millimeters. It is sharper in the center of the
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frame, so closer to what we saw at 70 millimeters. Also in the midframe, we can see that the result
18:12
is the sharpest we have seen yet, extremely, extremely good. And what we can also see is that
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down here in the corners, the results are basically the same as what we saw at 100 millimeters
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which was the high watermark there. So at 135 millimeters, even at F4
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I would call the image quality extremely close to perfect all across the frame, extremely strong
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very, very good performance. And so it is just incredibly consistent there
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Now, if we compare at 200 millimeters, for some reason I got 189 millimeters there
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it didn't quite zoom all the way in, and we compare it to our high water mark of 135 millimeters
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we can see that the center of the frame looks very, very similar
18:52
Not really anything to distinguish between the two. In the mid-frame, the results are very close
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I would give a very slight edge to 135 millimeters, but not by much
19:02
And down here at the edge of the frame, we can see that in the corners, the 200-millimeter
19:06
is every bit as good, if not even a hair, better than what we saw at 135 millimeters
19:12
And so what you're seeing is an extremely consistent result all across the zoom range
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If we look at this in the real world and at 100% magnification
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We can see, for example, on this image of these, look at the rusty bolts here
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You can just see how much information in detail is there at 100% magnification
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even at a very high resolution body. It's incredibly sharp. And then, for example, here that if we kind of take a look in closer
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we can see this hoverfly coming in to land on the stamen of the blossom here And you can just see all of the detail and all of that It just really is fantastic
19:50
Now I would argue that that 200 millimeter end is probably the most important place in the
19:54
zoom range. For one thing, at least for me, it's the place where I shoot the most, but also it's the place
20:00
that is going to be most put to test if you add on something like a teleconverter
20:04
So here I've got the Sony 1.4 times T.C. added on here
20:09
you can see that there is a slightly reduced contrast in detail by comparison with the teleconverter
20:15
added on there. I will point out, however, that this is still a better result than what I see
20:20
with most lenses. And so this lens remains very sharp, even with the teleconverter added
20:26
A few real world examples here that at macro range, you can see that there's just fantastic
20:31
detail with the teleconverter on there, and obviously a very high level of magnification
20:36
move a little bit further out and we can see that even though the
20:40
I think I'm shooting at ISO 800 here so there's just very very slightly
20:44
more noise but you can see that the detail there is just fantastic
20:48
and then if I'm using my test chart and I'm shooting at our base ISO
20:52
you can see that if we look in at a pixel level the detail here is just fantastic
20:58
and so it is really showing off there and if I switch over here to the side of the bill
21:03
with this lettering you can see just how crisp and high contrast we are and how that if we zoom in here to a pixel level you can see the fibers and the
21:12
ink kind of flowing over it's a really really impressive result we can see here that if we compare
21:17
the 70 millimeter and the 200 millimeter that we definitely are getting similar levels of
21:22
magnification the framing isn't identical between these two shots but the magnification basically is
21:28
and we can see that the up-close performance looks really good whether you're whatever end of the
21:34
the zoom range that you're at and so that that's a really kind of unique and impressive result. As noted earlier, I really feel like the
21:41
colors and just overall look of images is really fantastic. These images have received next to no
21:48
processing, and you can see just how deep and beautifully saturated the colors are. In this shot of Nala
21:54
not only is the detail very good, but you can also see the transition to defocus on her body
21:59
looks really, really great. Color and detail here is just fantastic, and then look how soft and
22:05
creamy the bouquet is. I love this shot right here. These are tiny, tiny little developing blackberries
22:11
And if I look in here, this is a handheld shot, but the detail there is just fabulous
22:16
And then the overall color rendition, the defocus is great. And here's a couple of shots in the
22:21
middle of the zoom range to show you that here at about 100 millimeters. You can see that the detail
22:27
looks really nice. The bocha continues to look really nice. Here at about 140 millimeters, you can see
22:34
again, detail is fantastic, no chromatic aberrations, but then the transition to defocus is just beautiful with the lens
22:42
Finally, flare resistance is also quite good. Here at wide open, you can see there's just a little bit of prismatic veiling up there
22:50
but very little to see. Here's the lens stopped down and very little see there
22:55
And here, even with the sun fully exposed, very bright, you can see again, there's just that little bit of prismatic veiling
23:02
This is at F11. but there's just really nothing to see there
23:06
This is a lens that just pretty much has zero optical flaws
23:10
So in conclusion, I think it's Sony's transition to the macro aspect of this lens
23:15
and you can debate whether or not one to two macro is true macro. The reality is, as I've reviewed a lot of just single prime macro lenses
23:23
it only had a one to two magnification. So whether you want to argue that point or not
23:28
this is as much of a macro lens in terms of the magnification as those lenses are
23:33
But the ability to add that functionality, particularly the way that it happens throughout the zoom range, really helps to set this lens apart from the competitors
23:41
It gives it kind of a unique niche to where it's not just the little brother of the F2.8 zoom, you know, kind of the lesser one, but it is a unique lens that has a unique application to it
23:53
I recognize that not everyone will love the transition to an external zoom
23:57
And obviously the tradeoff for that is that this is a lens that stows into a very compact
24:03
area. It's going to be easy to bring along in a variety of different pouches. I mean, that is your
24:09
footprint right there. It can stand upright in a lot of different lens, you know, pouches or
24:14
backpacks. And so that is the, you know, what's useful for that. The only thing that this lens in
24:21
terms of performance isn't good at is opening up to F2.8. I think a lot of people would be surprised
24:26
however, unless they shoot in a lot of really low light situations, they actually are going to be just
24:32
fine with an F4 lens. Because of a longer focal link, there is already very nice subject
24:37
isolation at F4, very creamy bouquet. So for a lot of people, this is going to get the job done
24:43
and it will save you over $1,000 of choosing this as opposed to the admittedly very excellent
24:49
70 to 200 F2.8 G Master Mark 2 lens. And so it can save you a lot of money, a little bit of size and weight
24:56
and obviously add that versatility of doing that macro type performance. This is an incredibly
25:02
versatile lens. And in many ways, of all the Sony lenses I've reviewed to this point, I would argue that this could be the most versatile of them all
25:10
I would say that overall, I would rate for any lens on the Sony platform, the Tamron 35 to 150 millimeter, F2 to F2.8. I find that lens so useful for so many things
25:20
The reality is, however, that the Sony is good at some things that the Tamron is not, even if the Tamron is a little bit better in some other areas like low light performance. And obviously, being able to go quite a
25:32
bit wider with the focal length, allowing you to really use a one lens solution. But if you're
25:36
looking for a telephoto lens covering this focal length, this lens is pretty fantastic. And I think
25:42
offers pretty strong value for money. I'm Dustin Abbott. And if you're look in the description
25:46
down below, you can find linkage to my full text review, to an image gallery. Buying links are there
25:52
Obviously, this lens is just coming out. And so if you're watching early on, it'll take a little bit
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for some of those links to populate, but they will. So stay tuned for that. You can also find links to
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follow myself or Craig on social media to become a patron to get channel merchandise
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Please like and subscribe. Thanks for watching. Have a great day. And let the light in