Sony FE 24mm F/2.8 G (SEL24F28G)

Wide-angle prime lens • Announced in March 2021 • Digital era

FE The lens is designed for Sony full-frame digital mirrorless cameras but can be also used on APS-C digital mirrorless cameras.
G Professional lens with high quality optics and robust build. Meets the highest standards and provides excellent performance and flawless image quality unachievable with traditional optical technologies.

Sony a7

35mm AF digital mirrorless camera

Announced: Oct 2013
Mount: Sony E
Format: 35.8 × 23.9mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: -

Sony a7R

35mm AF digital mirrorless camera

Announced: Oct 2013
Mount: Sony E
Format: 35.9 × 24mm
Resolution: 7360 × 4912 - 36 MP
Sensor type: CMOS
Image stabilizer: -

Sony a7S

35mm AF digital mirrorless camera

Announced: Apr 2014
Mount: Sony E
Format: 35.6 × 23.8mm
Resolution: 4240 × 2832 - 12 MP
Sensor type: CMOS
Image stabilizer: -

Sony a7 II

35mm AF digital mirrorless camera

Announced: Nov 2014
Mount: Sony E
Format: 35.8 × 23.9mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: Yes

Sony a7R II

35mm AF digital mirrorless camera

Announced: Jun 2015
Mount: Sony E
Format: 35.9 × 24mm
Resolution: 7952 × 5304 - 42 MP
Sensor type: CMOS
Image stabilizer: Yes

Sony a7S II

35mm AF digital mirrorless camera

Announced: Sep 2015
Mount: Sony E
Format: 35.6 × 23.8mm
Resolution: 4240 × 2832 - 12 MP
Sensor type: CMOS
Image stabilizer: Yes

Sony a9

35mm AF digital mirrorless camera

Announced: Apr 2017
Mount: Sony E
Format: 35.6 × 23.8mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: Yes

Sony a7R III

35mm AF digital mirrorless camera

Announced: Oct 2017
Mount: Sony E
Format: 35.9 × 24mm
Resolution: 7952 × 5304 - 42 MP
Sensor type: CMOS
Image stabilizer: Yes

Sony a7 III

35mm AF digital mirrorless camera

Announced: Feb 2018
Mount: Sony E
Format: 35.6 × 23.8mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: Yes

Sony a7R IV

35mm AF digital mirrorless camera

Announced: Jul 2019
Mount: Sony E
Format: 35.7 × 23.8mm
Resolution: 9504 × 6336 - 60 MP
Sensor type: CMOS
Image stabilizer: Yes

Sony a9 II

35mm AF digital mirrorless camera

Announced: Oct 2019
Mount: Sony E
Format: 35.6 × 23.8mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: Yes

Sony a7S III

35mm AF digital mirrorless camera

Announced: Jul 2020
Mount: Sony E
Format: 35.6 × 23.8mm
Resolution: 4240 × 2832 - 12 MP
Sensor type: CMOS
Image stabilizer: Yes

Sony a7C

35mm AF digital mirrorless camera

Announced: Sep 2020
Mount: Sony E
Format: 35.6 × 23.8mm
Resolution: 6000 × 4000 - 24 MP
Sensor type: CMOS
Image stabilizer: Yes

Sony a1

35mm AF digital mirrorless camera

Announced: Jan 2021
Mount: Sony E
Format: 35.9 × 24mm
Resolution: 8640 × 5760 - 50 MP
Sensor type: CMOS
Image stabilizer: Yes

Designed for

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Features highlight

ASPH
IF
LM
Compact
DP/WR

Specification

Optical design
Maximum format: 35mm full frame
Diagonal angle of view: 84° (35mm full frame)
61° (Sony E APS-C)
Lens construction: 8 elements - 7 groups
3 ASPH, 1 ED
Mechanical design
Mount: Sony E
Diaphragm mechanism
Number of blades: 7
Focusing
Closest focusing distance: 0.24m [AF]
0.18m [MF]
Maximum magnification ratio: 1:7.7 at the closest focusing distance
Focusing method: Internal focusing (IF)
Focusing modes: Autofocus, manual focus
Manual focus control: Focusing ring
Autofocus motor: Dual Linear motor
Focus mode selector: AF/MF
Direct Manual Focus (DMF): Determined by the camera
Image stabilizer
Optical SteadyShot (OSS): -
Physical characteristics
Weight: 162g
Maximum diameter x Length: Ø68×45mm
Weather sealing: Dust-proof and water-resistant barrel
Fluorine coating: -
Accessories
Filters: Screw-type 49mm
Lens hood: Bayonet-type ALC-SH165 (round)

Manufacturer description

This wide-angle prime lens packs the high image quality and beautiful bokeh of the G Lens into a compact design with superb build quality and intuitive operability. Easily carried anywhere, it's ideal for wide-angle shots of eye-catching views. The fast, precise, and quiet AF is ideal for shooting both stills and movies, ensuring capture of those vital moments.

This is one of our G Lens primes (sold separately), offering different focal lengths but the same external look, 49‑mm filter diameter, compact design, and layout. They're compact enough to carry all three, so you're ready for great shots across a range of scenes and subjects, and the similar weight even makes gimbal rebalancing easy.

The metal (aluminum) finish of the lens body and hood, plus the engraved focal length and aperture markings emphasize a superb build quality that provides user satisfaction. The ultra-compact lightweight design, the high image quality of the G Lens, the aperture ring, and Linear Response MF deliver intuitive operability that makes shooting a pleasure.

High image quality is realized by state-of-the-art optics using three aspherical elements and one ED (Extra-low Dispersion) glass element, delivering high resolution and suppressing color fringing in all parts of the image. The aspherical elements compensate for various aberrations, delivering high-resolution performance from corner to corner of the image, even from the widest aperture with shallow depth of field. The ED glass element suppresses chromatic aberration and effectively reduces color fringing that is more likely to occur in the image periphery.

The mechanical design takes maximum advantage of state-of-the-art optics with an effective layout of three aspherical lens elements, and the short flange back unique to mirrorless cameras, to realize stunning compactness and a weight of only 5.8 oz (162 g). The lens is ideal for shooting scenery or snaps, or movie shooting with a gimbal, or selfie shooting using the wide angle of view. Mobility is delivered by the compact design that matches both full-frame and APS-C bodies.

A 7-blade circular aperture is provided, with precise control of the spherical aberration that affects bokeh, delivering the beautiful natural bokeh of the G Lens.

The metal (aluminum) exterior finish of the lens body and hood contributes to reliability through increased strength and durability. The design is also dust- and moisture-resistant, providing reliability in harsh outdoor shooting environments.

A minimum focus distance of 0.79 ft (24 cm) (AF)/0.59 ft (18 cm) (MF) provides excellent close-up performance. Close-up shooting lets the subject stand out against a blurred background. With a wide 24-mm angle of view, the lens is also ideal for selfie shooting with a gimbal or grip attached.

Two linear motors deliver fast, precise AF with superb tracking performance that maximizes camera body performance to capture decisive moments in street snaps and the like. The fast, precise, and quiet AF with superb tracking performance is ideal for shooting movies as well as stills.

The aperture ring provides the immediacy of operation that professionals seek for still and movie shooting. Click stops can be switched ON for tactile feedback when shooting stills, or OFF to suppress the clicks when shooting movies, for smooth and natural aperture adjustments in combination with the quiet linear motors. This is ideal for situations requiring silence, like stage movie shooting.

Linear Response MF provides a direct response to subtle focus ring adjustments when focusing manually. Ring rotation translates linearly to a corresponding change in focus like a mechanical control, directly reflecting the intent of the photographer and allowing delicate focus adjustments.

The focus hold button is customizable from the camera menu, and can be assigned a function that the user prefers. For example if the Eye AF function that automatically tracks human eyes is assigned, the fingers of the right hand that holds the camera can remain fixed while the left thumb operates Eye AF, for more stable holding.

Despite its wide view angle, the lens accepts filters. Thanks to its internal focus, the front lens element does not rotate, allowing attachment of circular polarizing filters for landscapes, ND filters for movies, etc., giving the user extra creative control.

The "focus mode switch" supports comfortable shooting by enabling instant switching between AF and MF depending on shooting conditions.

The internal focus design maintains the overall length of the lens constant when focusing, allowing easy movie shooting with a gimbal or grip attached. This lens also balances well on APS-C bodies, providing a wide-angle focal length of 36 mm (35-mm full-frame format equivalent), useful for shooting a wide range of scenes including snapshots around town or mountain scenery. The lens is highly recommended for APS-C as well as full-frame users.

From the editor

Competition in the class of wide-angle lenses with a focal length of 24/25mm designed for Sony full-frame mirrorless cameras is quite fierce: there are models from both the camera manufacturer and major third-party manufacturers (Sigma, Tamron, ZEISS). Each model has its own advantages and disadvantages, so it will be quite difficult to make a choice. Or, on the contrary, the choice will be very simple, if, for example, fast speed is not important to you or your budget is limited. But if you try to highlight the undeniable advantages of the FE 24/2.8 G in comparison with other models, then it will be, perhaps, a compact and lightweight weather sealed housing, an efficient autofocus motor and a number of features that allow you to conveniently use the lens for both photography and videography.

Typical application

landscapes, interiors, buildings, cityscapes, full to mid-body portraits, photojournalism, weddings, parties, carnivals, live concerts, street, travel

Best wide-angle prime lenses

The higher a lens is on the list, the better it is in its class

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35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

One of the best wide-angle prime lenses

According to lens-db.com; among lenses designed for the same maximum format and mount.

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Quality control issues

The manufacturer of this lens does not provide adequate quality control. If you do decide to purchase this lens, do not order it online, but choose the best copy available in the store. In any case, there may also be problems with the build quality, and warranty repairs can take months.

Model produced in a small batch. It is collectible and can only be found on the secondary market.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film. The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Classic focal length

24 and 25mm are the classic focal lengths of wide-angle lenses for 35mm full-frame SLR and rangefinder cameras (respectively). With a field of view twice as wide as that of standard 50mm lenses, wide-angle lenses are great for landscapes, interiors and architecture, moreover modern models are in no way inferior in speed to standard 50mm lenses.

Linear motor

AF/MF

AFAutofocus mode.
MFManual focus mode.

Aspherical elements

Aspherical elements (ASPH, XA, XGM) are used in wide-angle lenses for correction of distortion and in large-aperture lenses for correction of spherical aberration, astigmatism and coma, thus ensuring excellent sharpness and contrast even at fully open aperture. The effect of the aspherical element is determined by its position within the optical formula: the more the aspherical element moves away from the aperture stop, the more it influences distortion; close to the aperture stop it can be particularly used to correct spherical aberration. Aspherical element can substitute one or several regular spherical elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Use of aspherical elements has its downsides: it leads to non-uniform rendering of out-of-focus highlights. This effect usually appears as "onion-like" texture of concentric rings or "wooly-like" texture and is caused by very slight defects in the surface of aspherical element. It is difficult to predict such effect, but usually it occurs when the highlights are small enough and far enough out of focus.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Low dispersion elements

Low dispersion elements (ED, LD, SD, UD etc) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. This type of glass exhibits low refractive index, low dispersion, and exceptional partial dispersion characteristics compared to standard optical glass. Two lenses made of low dispersion glass offer almost the same performance as one fluorite lens.

Canon's Super UD, Nikon's Super ED, Pentax' Super ED, Sigma's FLD ("F" Low Dispersion), Sony' Super ED and Tamron's XLD glasses are the highest level low dispersion glasses available with extremely high light transmission. These optical glasses have a performance equal to fluorite glass.

High-refraction low-dispersion elements

High-refraction low-dispersion elements (HLD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

High Index, High Dispersion elements

High Index, High Dispersion elements (HID) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Anomalous partial dispersion elements

Anomalous partial dispersion elements (AD) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture.

Fluorite elements

Synthetic fluorite elements (FL) minimize chromatic aberrations and ensure excellent sharpness and contrast even at fully open aperture. Compared with optical glass, fluorite lenses have a considerably lower refraction index, low dispersion and extraordinary partial dispersion, and high transmission of infrared and ultraviolet light. They are also significantly lighter than optical glass.

According to Nikon, fluorite easily cracks and is sensitive to temperature changes that can adversely affect focusing by altering the lens' refractive index. To avoid this, Canon, as the manufacturer most widely using fluorite in its telephoto lenses, never uses fluorite in the front and rear lens elements, and the white coating is applied to the lens barrels to reflect light and prevent the lens from overheating.

Short-wavelength refractive elements

High and specialized-dispersion elements (SR) refract light with wavelengths shorter than that of blue to achieve highly precise chromatic aberration compensation. This technology also results in smaller and lighter lenses.

Blue Spectrum Refractive Optics

Organic Blue Spectrum Refractive Optics material (BR Optics) placed between convex and concave elements made from conventional optical glass provides more efficient correction of longitudinal chromatic aberrations in comparison with conventional technology.

Diffraction elements

Diffraction elements (DO, PF) cancel chromatic aberrations at various wavelengths. This technology results in smaller and lighter lenses in comparison with traditional designs with no compromise in image quality.

High refractive index elements

High refractive index elements (HR, HRI, XR etc) minimize field curvature and spherical aberration. High refractive index element can substitute one or several regular elements to achieve similar or better optical results, which allows to develop more compact and lightweight lenses.

Apodization element

Apodization element (APD) is in fact a radial gradient filter. It practically does not change the characteristics of light beam passing through its central part but absorbs the light at the periphery. It sort of softens the edges of the aperture making the transition from foreground to background zone very smooth and results in very attractive, natural looking and silky smooth bokeh.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance from the lens mount to the film or sensor can also be different.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. A magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size". A lens is not considered to be "true" macro unless it can achieve at least life-size magnification.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

Convex protruding front element

The convex front element protrudes from the lens barrel, making it impossible to use filters.

Fixed focus

There is no helicoid in this lens and everything is in focus from the closest focusing distance to infinity.

Overall linear extension

The entire lens optical system moves straight backward and forward when focusing is carried out. This is the simplest type of focusing used mainly in wide-angle and standard prime lenses. It has the advantage of introducing relatively little change in aberrations with respect to change in focusing distance. With telephoto and super telephoto lenses this method becomes less beneficial in terms of operability because of the increased size and weight of the lens system.

Front group linear extension

The rear group remains fixed and only the front group moves straight backward and forward during focusing. This method is primarily used in zoom lenses and allows to design comparatively simple lens construction, but also places restrictions on zoom magnification and size reduction.

Front group rotational extension

The lens barrel section holding the front lens group rotates to move the front group backward and forward during focusing. This method of focusing is also used only in zoom lenses.

Internal focusing (IF)

Focusing is performed by moving one or more lens groups positioned between the front lens group and the diaphragm.

Methods of internal and rear focusing have the following advantages:

Rear focusing (RF)

Focusing is performed by moving one or more lens groups positioned behind the diaphragm.

Methods of internal and rear focusing have the following advantages:

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.