Sony FE 28-70mm F2 GM Review | Anything Canon can Do, Sony Can Do Better?

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[Music]
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hi I'm Dustin Abbott and I'm here today
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to give you my review of the new Sony 28
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to 70 mimet F2 GM lens now for years
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Sony shooters were jealous of Canon's
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own 28 to 70 mm F2 lens but I think that
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that script is about to flip at this
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point because the new Sony GM lens is
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11% smaller it is 36% lighter has much
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better autofocus it's sharper and it
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cost even less and so I guess the
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question is is the new Sony 28 to 70 mm
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F2 GM the prototypical bag of primes
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that people have been looking for well
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let's explore together in today's review
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f.com so we'll start by talking about
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the build and handling the feature set
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here obviously this is a large lens but
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as noted in the intro it is a smaller
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lens than the equivalent RF lens on
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Canon it is 11 % smaller and it is 36%
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lighter keeping the weight well under a
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kilo whereas the Canon lens is
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considerably over a kilo in weight in
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fact this lens is about the same size as
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the original uh 24 to 70 mm f2.8 G
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Master now the G Master Mark II lens is
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smaller but this is basically the same
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size as that original lens and so just
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to give you those Dimensions it is 92.9
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mm or 3 and 3/4 in in diameter with 86
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mm front filter thread which is you know
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on the larger sides obviously but
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unfortunately physics requires there be
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a very large ENT entrance pupil for this
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kind of optical design to work so yes
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you get a big filter thread up front but
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I mean it's not like uh there aren't 86
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mm filters out there so not the end of
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the world necessarily now the overall
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length is right under 140 mm or about 5
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and 5/8 in in overall length the weight
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here is 918 G or just right over 32
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o now we have the typical broad spectrum
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of features that are a part of this
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design Sony definitely makes these G
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Master lenses to be hybrid in the sense
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that they really work well for either
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Stills or video so that starts with the
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approach to the aperture control here
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aperture is available either clicked or
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by clicking the switch on the lower
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right side of the lens you can declick
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that for doing smooth aperture you're
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racking you have the ability to employ
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an iris lock so that can either lock you
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into the manual focus ring or it can
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lock you out of the manual focus ring if
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you uh prefer to have the clicks it is
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clicked every onethird stop and of
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course the full stops are marked here
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interesting approach instead of having a
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zoom lock this does have a very minor
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extension about 10 mm of additional
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extension when you're focused out
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towards 70 mm however you do have the
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option here on the right side of the
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barrel to choose between either a smooth
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or a tight ring and so if you use the
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smooth it's easy to just zoom in and out
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here no problem if you employ the tight
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you still can zoom but there's a whole
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lot extra damping or weight on that and
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so it's not as quick of an action the
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reason for this I've actually seen this
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mostly just employed on telephoto zooms
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before is that rather than having a zoom
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lock you can instead employ this because
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what this allows you to do is basically
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select whatever particular focal length
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that you want and so if you're really
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wanting to shoot say at 55 mm you can
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employ that tight setting and it's
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pretty much going to keep you locked at
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that particular focal length you can
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move it if you want but it's very
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unlikely that you're going to just
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inadvertently bump and move it so very
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useful for that useful if you're
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carrying it on a harness even if you're
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getting a little bit of rubbing you know
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as you walk along it's probably not
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going to move that along so a really
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nice kind of extra feature that's
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employed there we have two different uh
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function or custom buttons here one on
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the left side one on the top and so you
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have it either in a horizontal or a
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vertical shooting position you have an
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AF MF switch there as well we have a
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thorough weather ceiling all throughout
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starting with the gasket at the lens
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mount coating on the front element and
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then seal points all throughout and so
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obviously a professional grade lens with
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a professional grade of build now the
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body itself is a mixture of metals and
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engineered Plastics it feels tough it
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feels durble it feels like a g Master
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lens basically everything that you would
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expect at this point our maximum
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magnification comes at 70 mm it's a 38
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CM uh minimum Focus distance all
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throughout the zoom range so at 70 mm
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you can achieve a maximum magnification
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of 0.23 times magnification so right
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under a 1:4 ratio uh not like incredibly
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high but certainly high enough to be
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useful to get closeup shots to add some
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creativity to your work now the included
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lens hood here it not only has a locking
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mechanism it also has a place where you
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can access filters when it's mounted so
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if you're using a circular circular
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polarizing filter or something similar
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you can reach in there and you can
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rotate it without having to reach in
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from the front it also comes with the
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typical nylon pouch that is included
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with GM lenses like this the aperture
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Iris itself has 11 blades which allows
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you to have a nicely circular aperture
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but also means that when you stop down
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to small apertures you're going to get a
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22p pointed Sunstar that at 28 mm it
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looks pretty good as you can see here
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overall a very nice level of build and
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while the final price has not been
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released as of the day that I'm doing
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this review I expect it to be somewhere
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in the 28 to$ 2900 us range making it
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somewhere between1 and $200 cheaper than
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what the equivalent Canon lens is so
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overall a very nice package here that
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manages to be smaller and life but as
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we're about to see even higher
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performing that higher performance
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starts with the autofocus design I
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really applaud what Sony has done with
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their kind of more exotic type lenses
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those are the lenses where in previous
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generations autofocus would be slowed
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down more sluggish rougher but now what
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we're seeing is that by them employing
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multiple Focus Motors in fact in this
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case we have four of their XD which
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stands for extreme Dynamic linear Motors
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that are employed here so with those
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four Motors it means that it provides
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enough thrust to make autofocus really
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as fast as a good telephoto lens in fact
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they've designed this lens where it can
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keep up with 120 frames per second uh
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when shooting with the A9 Mark I for
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example or for those that are video
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Shooters to have real-time autofocus
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even if you're shooting at 120 or even
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240 frames per second during video
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capture so having all of that thrust
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means as you can see here that your
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typical autof Focus changes are
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basically just instantaneous it's goes
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from one point to another no drama in
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between no you know obvious movement at
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all it just does it and so autofocus
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it's extremely fast it's extremely quiet
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it's extremely smooth and thus thus it
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is great whatever you're doing if you're
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trying to capture action for example
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like the basketball a action that I've
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captured here plenty of speed there to
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keep up shooting on my Alpha 1 um also
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if you're wanting to shoot portrait
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sessions you have the ability to lock Lo
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onto the eye or in wedding scenarios
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where you're going to get just well
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focused results even in lower lighting
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conditions I didn't really see any slow
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down this lens is really fast and
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autofocus is fantastic so for Stills
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you're going to be delighted with the
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lens's performance when it comes to
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Stills and you will be equally delighted
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when it comes to the video performance
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first of all while this lens isn't
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perfectly power focal it is very close
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to it close enough that even if you were
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in manual focus and you were just doing
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a a zoom shot you probably would be okay
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but if you have autofocus engaged as you
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can see here it is so smooth and making
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whatever little micro adjustments it
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needs to that you really just don't
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notice autofocus at work so as a
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byproduct you're able to get really good
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performance um that allows you to have
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something very similar to a par focal
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type
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experience that smoothness of the focus
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Motors carries on to the focus pools and
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as you can see here they're really
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beautifully damped uh very confident
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going back and forth but they're not
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jumpy um it's it's a nicely smooth
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experience there you also will see that
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there's extremely low Focus breathing
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and that's with Focus breathing
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compensation turned off obviously
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whatever little tiny bit is there you
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could eliminate by turning that on in
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your camera body I will also note that
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that translates to a really I I it
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really stood out as being exceptional in
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my hand test and that not only is it
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confident transitioning from the hand to
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the eye and back but because Focus
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breathing is so low there is there's no
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obvious Focus change it's just as if the
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hands in Focus then the eyes in the
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focus then the hands in Focus it's
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really really great performance I can
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see this being a great lens for if
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you're wanting to do interview type
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shots and where you're pulling from one
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uh subject to another very very smooth
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performance when it comes to that I also
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found that just in general out in
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shooting video clips that if there shots
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that I included some kind of focus
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change that focus is not jarring or
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abrupt but it is nicely cinematic in the
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way that it moves from one subject to
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another so if you're wanting to use
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autofocus during video capture this is
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really about as good as what I've seen I
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also have been filming another number of
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my video episodes for this channel
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obviously I couldn't advertise that I
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was using it since the lens was still
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under embargo but uh I've had perfect
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results for that it's locked on
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perfectly on my face the footage has
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looked really nice and chrisp so it's a
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great video lens as well so how about
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the image quality now I'll give you an
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over viiew here and there will be a deep
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dive breakthrough at the end of the
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video Optical design here is 20 elements
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in 14 groups that includes a lot of
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different exotic elements for one it
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includes three of Sony's kind of unique
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um extreme aspherical elements their XA
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elements three is the most that they've
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ever put in any Optical design before it
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also has one extra low dispersion
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element three super low dispersion
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elements and then three normal
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aspherical elements as a part of that
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what I found that has stood out to me
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about this lens is that even when you're
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shooting at The Wider focal length even
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like 28 mm you can see from this shot
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for example that there's just really
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good three-dimensional pop if you're in
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that range of uh you know 2 to 3 m 8 to
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10 feet I just found really good
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three-dimensional pop with a background
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that is blurred out and a subject that
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really stands out so really great micro
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contrast all throughout I also noted
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that when it comes to the fact that they
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stayed at 28 mm rather than trying to go
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to 24 m mm means that there's a payoff
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in terms of the optical performance uh
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there is very minimal Barrel Distortion
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at 28 mm A Plus 8 to correct nothing
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significant at all vignette is is really
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surprisingly low just a plus 15 to
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correct so that really big front element
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certainly pays dividends here at the 70
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mm telephoto end there is a minimal pin
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cushion Distortion I corrected with a
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minus three again vignette very very low
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just a plus 16 to correct so well under
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a stop on both the wide and telephoto
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ends very impressive I found very
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minimal amounts of longitudinal
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chromatic aberration there is a little
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bit of fringing there but not enough
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that I really noticed it much in real
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world shots I basically spotted no
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lateral type chromatic aberration near
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the edge of the frame now when it comes
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to the sharpness I was testing on a 61
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megapixel Sony A7 R5 body results the
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crop results will be shown at 200%
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magnification to show off any kind of
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flaw there isn't really any flaw to
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point to however wide open at 28 mm I
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saw incredible sharpness very even
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sharpness all across the frame right
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into the corners everything looks very
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very crisp as you stop down you'll get
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just a little bit more it's really so
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good throughout the zoom range at f2 the
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only reason you need to stop down is if
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you want more depth of field because
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you've got pretty close to maximum
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sharpness already you'll get a tiny bit
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more contrast as you stop D but that
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just means that landscape shots look
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fantastic whether you're shooting at
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wide aperture or shooting at more narrow
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apertures it all looks fantastic on a
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high resolution body like this I'll
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start to see some softening at f11 due
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to defraction and it'll become more
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pronounced at F-16 and then at F22 which
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is the minimum aperture here moving on
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throughout the zoom range I found that
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35 mm had slightly better Corner
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performance and about equal performance
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elsewhere 50 mm if anything was just
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even a little bit better really really
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impressively good and then 70 mm was
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basically as good as 50 mm it's a really
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really consistent performance all
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throughout it's incredibly sharp
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incredibly good contrast now typically
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when I'm evaluating a lens like that my
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concern is a lens that is so well
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corrected is going to kind of lose its
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personality when it comes to the
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rendering I was pleasantly surprised
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here however and I felt like the
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rendering was really quite good I liked
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just the look of images apart from the
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the technical Excellence I feel like
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there is some nice rendering some so to
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the lens colors are very nice the
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bouquet as you can see is really quite
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soft and creamy and I like the fact that
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I felt like bokeh quality was good
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throughout the zoom range not just on
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the telephoto end of it I really felt
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like it performed really really nicely I
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also found that coma control was very
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good an opportunity to shoot stars and I
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found that there was basically no
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comatic Distortion near the corners of
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the frame so really good performance
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there even zooming into 70 mm for a
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different kind of look again I felt like
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the performance was quite good there so
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is the lens perfect well not quite I did
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find one area where I felt like it
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lacked some and that's when it comes to
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flare resistance at both wide apertures
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here at f2 and then stop down to f11
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there's a surprising amount of both
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ghosting and veiling and particularly
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the ghosting is a problem for me you get
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those Blobs of color it's it's hard to
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eliminate those out of images so you're
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going to have to be a little bit careful
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when you have a back lit subject at the
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way that you compose the way that you
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shoot so you can minimize that rather to
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maximize it in your shots so my
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conclusion is this outside of that one
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area when it comes to flare resistance
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this is a really exceptional lens I
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would say that it really delivers on the
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concept of delivering really primik
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results you know all throughout that
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Zoom range I think it could legitimately
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replace you know a 28 mm lens a 35mm
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lens a 50mm lens maybe not an 85 it's
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not quite there but all the way up to 70
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mm it's incredibly useful and delivers
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just incredible results which I think
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that there are only a handful of primes
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out there that could either match or
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exceed so really really great results I
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like the 3D Pop I like the overall
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rendering I like the bouqu and of course
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the sharpness is fantastic through the
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lens so yes it is a lot of money at the
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end of the day but it also could
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legitimately replace multiple primes in
16:23
your bag and for those uh portrait or
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wedding photographers or even Event
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Photographers that want extra
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flexibility with that I think that
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they'll love the lens provided that they
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have a nice thick wallet to pay for it
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and nice strong shoulders to carry the
16:38
weight of it throughout a day of
16:39
shooting now if you want more
16:41
information you can check out either my
16:42
full text review that's Linked In the
16:44
description below also links there to an
16:46
image gallery and some buying links and
16:49
if you want a deeper dive into the
16:50
optical performance stay tuned with me
16:52
right now let's jump in and take a look
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all right let's break down the details
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here so you can see starting with
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distortion vignette at 28 mm you notice
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that vignette is so light it's really
17:03
basically a non-factor there is a bit of
17:05
barrel Distortion as you can see here
17:07
nothing too extreme I used a plus eight
17:10
to correct for it here and that
17:12
correction itself is not perfect there
17:14
will be obviously a correction profile
17:16
that'll do a better job than that but
17:18
not bad overall and for vignette it was
17:21
only a plus 15 to correct just very very
17:23
low no issues there now when we move
17:26
towards the telephoto end you can see
17:27
that that's inverted to it a little bit
17:29
of ping cushion Distortion you can see
17:31
here again on the right side this is a
17:33
manual correction A minus three to get
17:35
to this point again it's not 100%
17:37
perfect but out in real world use it
17:40
would be perfect enough you probably
17:41
would never notice that I will also note
17:44
that a little when it comes to Portrait
17:45
sugar a little bit of pink cushion
17:47
Distortion Like This is actually good
17:49
it's flattering and makes people look a
17:51
little bit Slimmer and so people tend to
17:53
like that also you'll see once again
17:55
that vignette continues to be a nonissue
17:58
just a plus 16 to correct for it here
18:00
now when it comes to longitudinal style
18:03
chromatic aberration that come before
18:04
and after the plane of focus you can see
18:06
really not a whole lot to see here very
18:09
very little fringing to uh to pick up on
18:12
either direction you can see here in a
18:14
real world shot that there is on these
18:16
really reflective surfaces there's a
18:18
little bit of a green fringing there
18:20
nothing too significant and you know for
18:23
example in a shot like this which has a
18:25
lot of high contrast edges you can see
18:27
that the micro contrast is just
18:29
fantastic and there's very little
18:31
fringing I see just the tiniest bit of a
18:33
blue green after the plane of focus but
18:35
I don't think it's significant enough to
18:37
be any kind of negative impact certainly
18:39
nothing showing up in the specular
18:41
highlights that are completely defocused
18:43
there what you end up as a result of
18:45
this is really really fantastic I would
18:47
say exceptional micro contrast and so as
18:50
I look at the textures here and how just
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how clean they are even at f2 I'm really
18:55
really impressed this is definitely a
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better resolve of a lot of all like the
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little grains and scratches in the metal
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here really really impressive end result
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likewise in a shot like this where
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you're shooting through the Slayer
19:08
towards very bright Beyond there's lots
19:10
of opportunities along these edges for
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there to be lots of fringing which I've
19:14
seen on weaker lenses you can see that
19:16
the micro contrast and detail is
19:18
fabulous and fringing is just really a
19:20
nonissue there likewise when it comes to
19:23
lateral style chromatic aberration even
19:25
here at very high magnification this is
19:27
about 200% and no correction enabled you
19:30
can see that there really isn't anything
19:32
to point to it's almost perfectly clean
19:34
so of course all of that points to
19:36
towards a very high resolution and
19:38
contrast in result and we can see here
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200% magnification 61 megapixels center
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of the frame looks flawlessly sharp at
19:46
this is at 28 mm F2 you can see here
19:50
that mid-frame looks really fantastic as
19:54
we uh go down here good performance here
19:58
equally good performance here that
19:59
you're not seeing any kind of drop off
20:01
and as we get towards the edge of the
20:02
frame you can see that that resolution
20:04
really just comes right out to the very
20:05
edge of the frame very impressive so
20:08
because we're starting at such a high
20:09
level stopping down to f2.8 it doesn't
20:12
make a significant difference I mean
20:14
there might be the tiniest bit of more
20:17
contrast but I don't know I I don't
20:19
really notice a whole lot here it all
20:21
looks great already and uh and looking
20:24
down towards this side looking you know
20:27
it's basically equally Fant fantastic
20:29
not a whole lot to pick up here it looks
20:31
largely the Same by F4 I would say
20:34
there's very slightly more contrast
20:36
that's picking up there so just a very
20:38
slightly higher performance but again
20:40
you know F2 was already so good that
20:43
you're probably not going to notice this
20:44
if you're not in such an extreme uh
20:47
situation like we are here looking at
20:49
200% that peak level of performance is
20:51
going to stay through f5.6 F and through
20:54
f8 great landscape apertures shooting
20:57
landscapes obviously you're going to get
21:00
just really beautiful results I mean
21:02
even here where I'm you know limited a
21:03
little bit by the fog in the scene you
21:05
can see however that the detail and
21:07
contrast is just stunningly good in the
21:09
frame defraction will start to show a
21:11
bit of drop off by the time you hit f11
21:13
and by the time you get to the minimum
21:14
apture of F22 you can see that the image
21:17
is is significantly softened due to the
21:19
effects of defraction now if we compare
21:21
35 mm to what we saw at 28 mm we can see
21:25
in the middle of the frame they look
21:26
roughly equal as we get down towards the
21:29
corners however you can see that the
21:30
corners are just a little bit sharper so
21:33
just a little bit more consistent a
21:35
sharpness profile I would say just a
21:36
little bit more contrast the darks or
21:39
dark levels are a little bit lower in
21:41
this area than what we see at 28 mm so a
21:45
a Mild improvement certainly there 50 mm
21:48
however is a noticeably just a little
21:50
bit better you can see that now our
21:52
contrast and micro contrast there is
21:54
just really really fantastic if we come
21:56
back here for a moment you can see
21:58
compared to 35 mm that everything is
22:01
darker still there's just definitely
22:02
more pop to overall textures and even if
22:05
we look up into like the the very upper
22:08
corner you can just see how just really
22:11
really excellent the performance is
22:13
right off into the corners now of course
22:15
very critical is the ability to carry
22:17
that through the very end of the zoom
22:18
range at 70 mm and if 50 mm represented
22:22
a high water mark we can see at 70 mm
22:25
there's really not any drop off it is I
22:27
would say just about every bit as good I
22:29
would say just a little bit less sharp
22:31
here in the mid-frame uh looking down
22:33
into the corners however it is very
22:36
close very similar look at the other
22:38
side and we can see that up here as well
22:41
it looks very very good and so it's just
22:43
fantastically sharp and very
22:44
consistently sharp all throughout the
22:46
zoom range so of course for portrait
22:48
work even shooting at f2 you're going to
22:51
have all the sharpness that you could
22:52
want and so here you can see just a
22:55
great amount of detail and then of
22:56
course all the textures in uh Barn
22:59
boards behind her look really fantastic
23:01
uh taking a look here if we punch into a
23:04
pixel level I mean look at just how
23:06
Exquisite the detail is around those
23:08
eyelashes and on the lips it's just
23:10
incredibly
23:12
good now of course even when you're
23:15
dealing with the the issue that we've
23:16
already discussed which is this lens is
23:18
flare prome you can see that if we're
23:21
actually looking at it a pixel level
23:23
that all the detail is still there it's
23:25
just that veiling does uh kind of
23:27
eliminate some of the contrast and
23:29
obviously some of these ghosting
23:30
artifacts I don't love now here at our
23:33
minimum Focus distance we can see that
23:34
in the plane of focus everything is
23:36
really fantastic obviously we've already
23:38
seen this lens has amazing contrast so
23:40
that holds up even up close we can also
23:43
see however that you're not going to get
23:44
a perfectly flat plane of focus there's
23:47
a little bit of a kind of a sharpness
23:48
bulge in the center of the frame most of
23:50
the time that's not going to matter too
23:52
much in real world shots you know for
23:54
example here in this little tiny flower
23:56
you can see that you know in the area
23:58
where I'm I'm focused the detail is
23:59
really really
24:01
superb another shot here with some uh
24:04
dried leaves and you can see here that
24:07
again all that detail right up close
24:09
looks really fantastic and of course
24:11
you're able to get a nicely strongly
24:12
blurred background likewise in this shot
24:15
here we're not seeing any issues with
24:17
chromatic aberration that are limiting
24:19
the sharpness and so you got great
24:21
sharpness here you can see that shooting
24:23
at f2 you're going to get a little bit
24:25
of deformation to specular highlights
24:27
here's a shot at f2.8 again with those
24:29
lights right towards the edge for the
24:31
most part they're nice and circular here
24:33
at this at this stage and of course we
24:35
can see if we look in at the very narrow
24:38
plan of focus the detail is just
24:40
stunningly good here's another shot here
24:43
which again got both of these things
24:45
going on here so I mean great detail and
24:47
contrast and you can see down here as we
24:48
look towards the edge down in this Zone
24:51
everything's still nice and circular
24:52
appear nice and circular it's just right
24:54
off when you get towards that very edge
24:56
you can see that there's a little bit of
24:57
geometry
24:58
deformation as discussed we can see that
25:01
it's a very good performance for
25:02
shooting the night sky as well so star
25:05
points are obviously very nice and crisp
25:07
as we move towards the edges I see very
25:10
very little coma there it's really
25:12
impressive actually how little is there
25:15
it's a really great result and if we
25:17
zoom in further here at 70 mm not
25:20
necessarily what you would always choose
25:22
but it works just fine and if you want a
25:24
tighter view of the night sky still
25:26
working good I would say just a tiny bit
25:28
more coma here than what I saw at 28 mm
25:31
but still a very strong performance the
25:34
flare is not strong and actually I'm a
25:37
little bit surprised by how much flare
25:38
is present here and so that certainly is
25:41
going to be an issue if you're shooting
25:42
at F this is at f11 and so you can see
25:44
that ghosting pattern really well
25:46
defined but even if I just open wide up
25:49
to F2 you can see that there's still
25:52
that ghosting pattern present along with
25:54
a little bit more veiling there here
25:56
it's better because even though I'm
25:58
shooting at f11 I've blocked a lot of
26:00
the sun through the tree and so that I
26:03
could get a better look at the Sunburst
26:05
effect which looks pretty decent in this
26:07
shot but even still you still see some
26:09
of that ghosting pattern there so
26:11
obviously that is the one area of
26:13
weakness and what is an otherwise a
26:15
pretty Flawless Optical performance and
26:18
so as you can see from the deep dive
26:19
into the optical performance this is a
26:22
pretty exceptional Optical instrument as
26:24
always thanks for watching have a great
26:27
day and let the light in
26:29
[Music]

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