Sony 24-70mm f/2.8 GM Review - The Only Lens You Need

Good For... Everything

If you bounce from sunrise hikes to impromptu street sessions, a bright, constant f/2.8 aperture does the heavy lifting. It lets you drop ISO when light gets sketchy or bump the shutter speed the moment the action starts. This automatically gives cleaner, sharper frames without searching through menus whenever a cloud rolls in or the sun peeks out.

That same wide-open glass shines after dark, too. Just aim it at the stars, and you’ve got an astrophotography-ready lens that drinks in starlight. Zoom to 70mm, and you’ll see that dreamy shallow depth of field kick in for creamy-bokeh portraits or tight product shots.

I'm serious, this f/2.8 zoom keeps pace with whatever you feel like shooting, from wide shots of the Milky Way to close-up detail, without forcing a lens swap.

Key Features:

• F/2.8 aperture
• Weather sealed robust construction
• Aperture ring on the lens
• 82mm Filter Thread
• De-clickable aperture
• Switch to change the zoom from tight to smooth
• 2 Custom buttons that can be set to almost anything
• Currently $2,298 MSRP
• High end hobbyist or professional use lens
• Unbelievable image quality for a zoom lens, rivals my favorite prime lenses for sharpness

Robust, Weather-Sealed Construction

This 24-70 mm f/2.8 GM II is easily one of Sony’s toughest lenses when it comes to sealing out rain and dust. I’ve hauled it up plenty of mountains on my A7 IV, A1, and A7R V, and it’s shrugged off everything: rain, fog, snow, gritty trail dust, you name it.

One trip really sealed the deal for me. A buddy and I set out to tag two 14,000-footers in Colorado, starting around 10,000 feet. From there to the 14k-plus summits, we slogged through constant rain, fog, and sleet, over 4k feet of vertical gain. The A7 IV paired with this lens never hiccupped, and I came home with some of my favorite mountain photos and video to date. I doubt another lens would’ve kept pace; this one let me capture shots I’d have missed otherwise.

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Info

Autofocus

This lens is easily a top performer in Sony’s GM lineup when it comes to autofocus. On any of my recent Sony bodies, it almost never hunts or misses focus, locking on quickly and staying there.

Up front, you’ll find a smooth, dedicated focus ring that makes manual work straightforward; depending on the camera, you can set it to respond linearly or non-linearly.

The throw is a little looser than I personally like, but because the AF on my A7R V, FX3, and FX6 is so good, I’m usually letting the camera handle focusing anyway.

Design & Build Quality

Specs are nice, but the real test is whether a lens feels good enough to leave the case and ride in your bag every day.

This 24-70 mm f/2.8 GM II uses a polycarbonate outer shell wrapped around a magnesium-alloy core, which keeps weight down without minimizing its rugged quality; super crucial when you’re lugging gear up a Colorado mountain.

The polycarbonate also absorbs knocks better than straight metal and shrugs off cold weather, a big plus when I’m shooting in snow. The camera body is a smart blend of bulletproof material and portability that makes me reach for it instead of letting it gather dust at home.

Personal Experience & Field Tests

On a recent outing in the Banks Peninsula, just outside Christchurch, New Zealand, my wife and I hopped aboard a 1920s launch to photograph the volcanic sea cliffs at the mouth of Akaroa Harbour. Because the peninsula’s weather can flip without warning, and I knew lens swaps might be impossible on a rocking deck, I packed a single setup: the Sony 24-70 mm f/2.8 GM II on my A7R V. My goal was two-fold: capture the dramatic coastline and preserve the boat’s nostalgic charm in the same series of frames.

We motored out under blue skies, spirits high, only for the wind to kick up and a chilly rain to roll in. Even so, I wasn’t worried about my kit’s weather sealing, which left me free to track a pod of harbor dolphins that started surfing our bow wave. They were much trickier to photograph than I expected, darting in and out of view, but the 24-70’s zoom range let me re-compose on the fly and still come away with shots I love.

After the cruise, I wanted a different perspective on the cliffs, so we hiked to a lighthouse that overlooks the harbour entrance. The weather had truly settled into “horizontal rain,” visibility near zero on the far cliffs. Still, the 24-70mm proved its worth; I could fire off wide landscapes and instantly punch in tight on the nearer rock walls without fumbling for a second lens. Working fast was the only option before the next squall hit, and this glass delivered crisp, contrasty files in every direction.

Looking back at the set, I’m glad I trusted one lens for the entire adventure. The 24-70 mm f/2.8 GM II gave me the flexibility and weather resistance I needed — and zero regrets about leaving the rest of the gear at home.

Video

I have linked some mountaineering and hiking videos here that were all shot with the 24-70mm f/2.8 GM II and the A7IV as a good example of what this lens is capable of for video as well, especially in harsh environments.

Comparison to Similar Products

Mid-range zooms are everywhere. You’ve got the basic kit lenses that ship with a new body, the crazy-fast f/2 monsters from Canon and Sony, and everything in between. Picking the “right” one mostly depends on how you shoot and how much weight you’re willing to drag around. I’ll be the first to admit: when I’m heading into the backcountry, I sometimes ditch the 24-70 mm f/2.8 GM II and grab Sony’s 20-70 mm f/4 G instead. It’s lighter, packs a hair wider, and my legs thank me later, even if I lose a stop of light.

Alternatives:

• Sigma 24-70mm f/2.8 DG DN II
• Sony 20-70mm f/4 G
• Tamron 28-75mm f/2.8

Worth It?

This is an expensive lens; there is no getting around that. So it has to be up to you to decide if the cost is worth it for what you are shooting.

For me, I am a professional using this lens weekly, if not daily, to capture images that I am proud of that do pay my bills and feed my family. As part of my overall equipment kit, I would say having a great, versatile, sharp mid-range zoom is essential. It allows for flexibility in shooting in case of changing light or weather situations, or for shooting in fast-paced environments like events and music festivals, where changing lenses might not be time-efficient. It has become one of my most-used lenses over the past 3 or so years that I have had it, and I can’t imagine my kit without it.

Check out the product page for the Sony 24-70mm f/2.8 GM II for more official specs, and check out our reviews of the Sony 70-200mm f/2.8 GM II, which is the lens that best pairs with this one. And be sure to let us know!