Sony 28-70mm f/2 GM Review: One of the Best Lenses Ever Made

November 20, 2024

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I’m an outlier in the photo world, especially regarding glass. I dislike the 35mm focal length, and as much as I love a good 24mm lens, a 28mm lens is even better. Maybe this is why I immediately gravitated to the quirky Canon RF 28-70mm f/2 zoom when it first came out. Despite its massive form factor, this bulbous gem of a lens quickly became a favorite of mine.

The latest Sony G-Master zoom is huge, both in physical terms and optical performance.

Speaking of hearts, be still my own because someone else has released a modern mirrorless version of this optical formula, and I, for one, am shocked. I figured that most prospective buyers would be turned off by the immense cost — not to mention weight — of any f/2 general zoom lens, but here is Sony adding to the mix with a new G-Master. It’s still expensive at $2,900 but it could be worth every penny. It gets even better because I also found myself in Tokyo, my favorite towering metropolis, to test it out.

The G-Master 28-70mm is here and it might be the perfect lens for me.

A person walks with an umbrella in front of a closed shop with large, bold Japanese calligraphy on the shutters. The image is in black and white, highlighting the contrast and texture of the scene. — I prefer a lens that can cover some range and do a lot for me in one package.

Sony G-Master 28-70mm f/2 FE Review: How it Feels

No matter how you slice it, the Canon 28-70mm f/2 is a heavy lens that can be burdensome. Sony has managed to shave off a substantial amount of weight with its take on the fast zoom, bringing the lens to a manageable 32.4 ounces (918 grams). It is not lightweight by any stretch, but I happily carried it around all day without complaint. Like all G-Master lenses, the 28-70mm is solidly built and fully sealed.

Close-up of a camera lens with etched specifications: ϕ86 0.38m/1.25ft. The lens features a textured focus ring, and the lighting highlights the details against a dark background. — The 86mm filter dimension is bulky and the lens is physically large to carry.

There is a smooth/tighten option for the zoom ring, which is quite rare to see on Sony lenses.

There is no getting around the physical dimensions, though. An f/2 aperture with a wide zoom range will be bigger, and the 86mm filter diameter translates into expensive, hard-to-find neutral density and polarizing filters. The front hood has a nice push-button release and locks into place smoothly. There is also a door in the hood to allow for the adjustment of said expensive filters.

Close-up of a person holding a large camera lens with a lens hood attached. The focus is on the intricate details of the lens elements visible through the glass, emphasizing the precision and craftsmanship of the camera equipment. — I like the new hood design and it clicked into place without issue. The push-button release worked great.

Close-up of a camera lens with a focus on a switch labeled "CLICK ON/OFF." The lens has textured and smooth surfaces, and a label indicating "not for sale or lease" is partially visible. — The aperture can be set for clicks or smooth operation as you see fit.

The G-Master lens has customizable buttons and a very smooth manual focus ring. We also get a switch to allow the zoom to twist with a light touch or require more resistance if desired. This helps to avoid the heavy lens elements creeping down with the pull of gravity as you stroll about. Lastly, we get an aperture ring with the option to have a smooth turning function or click stops as needed.

A person rides a bicycle down a narrow street lined with traditional-style Japanese shops, illuminated by warm lanterns at dusk. The sky is dark blue, and decorative lights hang overhead. — Tokyo is such a beautiful city to explore night or day.

A person is riding a bicycle on a wet street at night, with reflections from streetlights shining on the road. The scene is dimly lit, and the background features a narrow, rain-soaked alley with various buildings and signs. — Fast shutter speeds are no problem in the dark due to the bright f/2 aperture.

Sony G-Master 28-70mm f/2 FE Review: Shooting Experience

For such a bulky lens, the four Sony XD linear AF motors drive the lens elements quickly. I had no issues with the lens and did not have to struggle or keep up with the action while autofocusing. The lens felt balanced on the a7R V I brought and truly offers the versatility of having a pocket full of f/2 prime lenses all in one. Of course, the main headline feature is the f/2 aperture, which provides fast shutter speeds in low-light situations and shallow depth of field.

An elderly man wearing a hat and green sweater sits on a bench in a park. Wooden tables and benches are around him. Another person in the background is reading. Birds are scattered on the picnic table. Lush green plants can be seen in the distance. — Autofocus is quick and accurate because of the strong motors inside the lens.

Close-up of a camera lens mount with a metallic ring and electronic contacts. The lens is partially shadowed, and the focus is on the intricate details of the mount. — Rugged construction and full weather-sealing are always hallmarks of the G-Master line.

So, how is the bokeh on a lens that lives or dies by its appearance? Specular highlights have a delightful rendering with a nice cat’s eye look in the corners at f/2 and no onion rings or harsh-looking halos. Everything stays nice and round when the aperture is stopped down as well. This all translates into a soft and gentle transition throughout the focusing range and backgrounds that blur into a palette of silky tones. I loved the overall look of the bokeh on this lens, and it would excel as a portrait lens for wedding and street applications.

A man with short dark hair and a beard smiles at the camera. He is wearing a black shirt. The background is decorated with blurred warm yellow string lights, creating a festive and cozy atmosphere. — Bokeh is beautiful on this lens with a nice look to specular highlights.

A bustling city street at night with a cyclist riding through a wet, reflective surface. Neon lights illuminate the scene, and several people walk under the brightly lit entrance of a shopping area with Japanese signage. — I appreciated the light-gathering potential for night photography.

I also wanted to test LoCA because fast lenses like this are often plagued with color fringing in the out-of-focus areas. However, the Sony didn’t exhibit too much in the way of LoCA but you can see a little bit of a green/orange split. It wasn’t too problematic to deal with, but it is present.

Close-up of a large green leaf with scattered water droplets. The droplets create a shimmering pattern across the leaf's surface, and the background is softly blurred, emphasizing the texture and freshness of the leaf. — Close-up photography is possible to some degree. You can see some of the minor LoCA present in the water droplets.

A person is sleeping on a stack of cardboard boxes next to a brick wall, beneath a wall-mounted appliance. Another person is busy working in a kitchen in the background. A large metal bowl is in the foreground. — Everyone needs a good rest sometimes.

If I’m going to lug around a large lens, any extra versatility it can offer is much appreciated. The Sony 28-70mm has a reasonably decent close-up capability with about 1:4 life-size reproduction and seems quite sharp at minimum distance. I also had an opportunity to test flare and found the results quite good. A little loss of contrast is present when shooting wide open, but there are no distracting ghosts or washed-out areas. Stopping the lens down didn’t show any significant ghosting problems either, so this lens can handle sunny days and bright lights directly into the frame.

A shelf displaying a vintage Canon camera with a strap, a Fujifilm lens cap, a red jar, and leather camera cases. A bright circular light is mounted above, illuminating the scene. — Flare is well controlled and even with a bright light straight into the lens, glare and ghosting are well controlled.

Three women stand on a sidewalk near a lush pond filled with lotus plants. One woman holds an umbrella. They appear to be observing a pigeon on the ground. City buildings are visible in the background. — These ladies were enamored by the pigeons in the throes of love.

Central sharpness is superb on this lens at 28mm, with great detail and plenty of contrast. The corners have a touch of softness when wide open, which gets better when stopped down. It’s the same story at 70mm with excellent performance regardless of the aperture chosen. This is a welcome outcome, with Sony committing a noticeable effort to make the lens perform exceptionally well at f/2.

Comparison of two photos showing a Canadian one-dollar bill with focus at 28mm. Left side labeled "f/2" and right side labeled "f/4", demonstrating different aperture settings. Geometric shapes are used for alignment. — Corner sharpness is not stellar but it will improve when stopped down. There is a fair amount of distortion correction at play.

A black and white photo of a building with a grid-like pattern on the facade. It features rectangular windows, some open, casting shadows. The sunlight creates contrasting shadows on the textured surface. — There is plenty of detail with the Sony 28-70mm if you need to crop tighter than the 70mm will allow for.

Lens breathing, which causes a shift in the field of view of a lens as you focus, is an essential consideration for video shooters. The Sony 28-70mm exhibits a little movement at 28mm, which can be an issue. It is not excessive by any stretch and can be compensated for with Sony’s in-camera breathing compensation. Still, you lose a bit of wide-angle coverage, and 28mm is already tighter than the typical 24mm on a general zoom. However, breathing is very well controlled at the longer end of the focal length range.

A person with gray hair holds a professional camera up to their eye, focusing on capturing an image. The background is blurred greenery, suggesting an outdoor location. The individual wears a casual, light-colored shirt. — In hand, the lens is manageable and balances nicely.

A black and white photo of a live performance. Performers wear traditional clothing; one plays a drum, another holds a fan, and a third sings into a microphone. An audience watches attentively. — We found a cozy izakaya where the waiters also performed on the Shamisen. It was a magnificent experience.

Sony G-Master 28-70mm f/2 FE Review: My New Favorite

For me, this is an ideal lens. Everything I loved about the Canon version is present here too, but Sony manages to reduce the weight and have better corner sharpness. The $2,900 price tag is a big ask, but consider that you’re getting what amounts to many f/2 primes, all excellent optically, and the value begins to show. This lens may not be for everyone, and wanting a wider 24mm range or a more conservative f/2.8 aperture is perfectly valid. But if I took just one lens out with a Sony body for a day of shooting, this would be my choice every time.

A black and white photo of a person walking down a street in Tokyo, carrying shopping bags. The Tokyo Skytree towers in the background. The street is lined with buildings, bicycles, and a phone booth. — This time, I got to explore the area around Asakusa and Shinagawa.

An elderly man in a navy suit and glasses sits thoughtfully on a white chair in a room filled with clothing and shoe boxes. He has a red pocket square in his jacket and shiny black shoes. — This dapper gentleman was captured with the fast and accurate Real-Time tracking AF.

Are There Alternatives?

The Sony G-Master 24-70mm f/2.8 is an awesome lens in a smaller package with more range. Giving up a stop of light might be more valuable to get these benefits for some shooters. It still delivers a shallow depth of field and is razor-sharp at f/2.8.

Should You Buy It?

Yes. If shallow depth of field and overall optical performance are paramount to you, the extra size and weight are worth the sacrifice. And besides, this amazing zoom lens is not all that heavy considering what you get — a bag of great primes in a zoom lens wrapper.

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