Sony 70-200mm f/4Full-Frame OSS FE GTop Sample Images Intro Format Compatibility Specs Performance Compared Usage Recommendations Sony FE 70-200mm f/4 OSS G (72mm filters, 33.3 oz./944g with collar as shown (29.5 oz./838g without collar), 4'/1.2m close focus, about $1,498). bigger. I got mine at B&H. I'd also get it at Adorama, at Amazon, or at Crutchfield. This all-content, junk-free website's biggest source of support is when you use those or any of these links to my personally-approved sources when you get anything, regardless of the country in which you live. Sony does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, store demo or used camera. Buy only from the approved sources I use myself for the best prices, service, return policies and selection. Thanks for helping me help you! Ken.
July 2017 Sony Sony Lenses Zeiss Nikon Canon Fuji LEICA All Reviews NEW: Sony 70-200/2.8 GM Sony 70-200/4 G vs. Nikon 18-55 AF-P Comparison 16 February 2017
Sample ImagesTop Sample Images Intro Format
Hummingbird Attack. I was minding my own business and this guy came right at me. My Sony A7II and this 70-200mm easily nailed him. 200mm at f/4 at 1/1,250 at Auto ISO 100. bigger.
Backlit Plants at Dawn with Dew. Sony A7II, 70-200mm f/4 G OSS at 200mm at f/4 at 1/320 at Auto ISO 125. Look at the dew on the leaves in the lower center and you can see some spherochromatism. bigger or camera-original © file.
Palm Trunk. Sony A7II, 70-200mm f/4 G OSS at 200mm at f/4 at 1/250 at Auto ISO 125. The trunk is round; not everything is in focus. bigger or cameralistic © file.
Bird of Paradise. Sony A7II, 70-200mm f/4 G OSS at 200mm at f/4 at 1/250 at Auto ISO 125. The trunk is round; not everything is in focus. bigger or camera-original © file.
IntroductionTop Sample Images Intro Format
This Sony 70-200mm f/4 OSS is an excellent general purpose telephoto lens for Sony's E-mount full-frame mirrorless cameras. It works on APS-C, too, but it's probably more lens than you need for a cropped sensor camera.
Good● Three focus lock buttons. ● Built-in image stabilizer. ● Good bokeh. ● Well made. ● Smooth zooming. ● Fast and silent autofocus. ● Tripod collar included, and comes off completely.
Bad● $1,400. ● A blatant cosmetic copy of the Canon EF 70-200mm f/4 L IS - but doesn't have L-grade optics.
Missing● No focus or depth-of-field scales.
FormatTop Sample Images Intro Format This is a full-frame lens and I'm reviewing it as such. It works great on APS-C cameras and you may make the usual inferences for them. I never suggest using full frame telephotos on APS-C; you pay a premium in size and money for a full frame lens, and most of its image is simply wasted with cropped sensors of APS-C cameras. For APS-C cameras, use an APS-C lens like the Sony 55-210mm which offers a wider zoom range in a smaller package for less money.
CompatibilityTop Sample Images Intro Format This works on all Sony E-mount cameras, full-frame and crop-sensor. This includes all the NEX, A7, A6xxx and A5xxx series cameras. It will not work on any Minolta MAXXUM or Sony 35mm SLRs or DSLRs. Those use the old A mount which was actually the Minolta MAXXUM mount from 1987.
SpecificationsTop Sample Images Intro Format
NameSony calls this the FE 70-200mm f/4 G OSS (SEL70200G) FE: Full-frame coverage, E-mount. G: Meaningless other than meaning that the lens is high-priced. OSS: "Optical Steady Shot," meaning the lens has internal image stabilization. SEL70200G: Sony's internal product number.
OpticsSony 70-200/4 OSS construction. ED, Super ED, "Advanced" Aspherical and Aspherical elements. bigger. 21 elements in 15 groups. 3 aspheric elements (2 "advanced aspheric" and one regular aspheric). 3 extra low dispersion elements (1 Super ED and 2 regular ED). Sony Nano AR Coating. Focus and zoom are internal.
DiaphragmSony FE 70-200mm f/4 OSS GM. bigger. 9 rounded blades. Stops down to f/22.
Focal Length 70-200mm. When used on APS-C, it sees the same angle of view as a 105-300mm lens sees when used on a full-frame camera. See also Crop Factor.
Angle of View 34º ~ 12º diagonal on full-frame. 22° ~ 8° diagonal on APS-C.
AutofocusInternal focus. No external movement as focussed, so no air or dust is sucked in.
Close FocusActual Measured, manual 70mm: 3 feet (0.9 meters). 200mm: 4.3 feet (1.32 meters).
Rated, manual 70mm: 3.3 feet (1 meter). 200mm: 4.4 feet (1.5 meters).
Rated, autofocus 70mm: 3.3 feet (1 meter). 200mm: 4.9 feet (1.5 meters).
Maximum Reproduction Ratio1:7.7 (0.14 ×).
OSS Optical Steady Shot StabilizerYes, rated 4 stops.
FiltersPlastic 72mm filter thread.
HoodSony ALC-SH133 hood. bigger. Tripod CollarIncluded Tripod Collar. bigger.
CaseIncluded Sack, Sony FE 70-200mm f/4 OSS GM. bigger.
Size3¼″ maximum diameter × 7" extension from flange. 80 mm maximum diameter × 175mm extension from flange.
Weight Actual Measured 33.305 oz. (944.2 g) with collar. 29.545 oz. (837.6g) without collar. 3.757 oz (106.5g), collar only.
Rated 29.7 oz. (840 g) without tripod collar.
IncludedLens. Front and rear caps. ALC-SH133 hood. Sack.
Announced2015.
PackagingSony FE 70-200mm f/4 OSS GM. bigger. Package Weight: 3.1 lbs Corrugated box measures 10.4 x 5.4 x 5.3 inches. Lens in bubble wrap inside included vinyl sack.
Sony Model NumberSEL70200G.
Price, USA$1,498, July 2017. $1,398, June 2017. $1,398, February 2017.
PerformanceTop Sample Images Intro Format
Overall Autofocus Manual Focus Breathing Bokeh Distortion Ergonomics Falloff Filters Flare & Ghosts Lateral Color Fringes Macro Mechanical Quality Sharpness Spherochromatism Stabilization Sunstars
OverallThis Sony 70-200 4 is a swell full-frame telephoto.
AutofocusAutofocus is slower than and less sure than a typical DSLR, but it's still fast and completely silent. It's great for everything but dedicated sports. There are three focus lock buttons. They are very handy. Hold any of them to lock focus.
Manual FocusManual focus is electronic; the focus ring is only connected to the camera's computers. Slide the switch to MF and you're in Manual Focus. On most Sony cameras, set "DMF" as the focus mode (usually via your Fn button) and you'll have instant manual override just by turning the ring in what otherwise works like the AFS mode.
Focus BreathingFocus breathing is the image changing size as focused in and out. It's important to cinematographers because it looks funny if the image changes size as focus gets pulled back and forth between actors. If the lens does this, the image "breathes" by growing and contracting slightly as the dialog goes back and forth. I don't see any breathing, making this ideal for movies — if you can get around the odd electronic focus ring. I doubt you'll get good results with a pro follow-focus rig since the ring isn't actually connected to the focus mechanism and therefore won't reproduce the same focus as you return the ring to the same spot.
BokehBokeh, the feel or quality of out-of-focus areas as opposed to how far out of focus they are, is pretty good. Backgrounds usually melt away. Here are samples at headshot distance: Davis 6250 weather station, 08 February 2017. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolutions images properly).
Davis 6250 weather station, 08 February 2017. bigger or camera-original © file to explore on your computer (mobile devices rarely display full resolutions images properly).
DistortionEven without correction the Sony 70-200/4 G OSS has no visible distortion from about 70~120mm, which increases to moderately strong pincushion distortion at 200mm. Since most Sony cameras correct this by default, it's not worth worrying about. Every zoom has some distortion. If you deactivate the camera's automatic correction, it's easy to correct with Photoshop's lens distortion filter. These aren't facts or specifications, they are the results of my research that requires hours of photography and calculations on the resulting data.
© 2017 KenRockwell.com. All rights reserved.
ErgonomicsThis is a nicely sized and handing lens. Zooming is great, one finger is enough for slow, precise zooming. Two fingers are better for fast zooms. Zooming is perfectly spaced; it's easy to set precise framing anyplace in the range. Focus is an electronic encoder ring. It turns freely, and what it does depends on how you have your camera set.
FalloffFalloff is invisible with the camera's default "Shading Correction" ON. This isn't 1975 anymore; falloff isn't a problem on modern digital cameras.
Filters, use withThere's no need for thin filters; 72mm is more than big enough to let me use a few standard filters at any setting on full frame. Go ahead and use your standard rotating polarizer and grad filters.
Flare & GhostsThere's more ghosting than I usually see, but it's nothing you're going to see unless you do something deliberately stupid as I've done here and put the direct disc of the sun in one corner and have a dark tree in the rest of the image against which to show any ghosts. You'll never see it in normal use; don't worry about it. Many people want ghosts, and even use software to add them back in to modern lenses like this! Palm Dawn, 09 February 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 96mm at f/8 at 1/320 at Auto ISO 100. bigger.
Lateral Color FringesThere are no color fringes as shot on Sony cameras, most of which by default correct for any that may be there.
MacroMacro performance doesn't get very close, but it does stay sharp wide-open at f/4: Kienzle Flieger Automat 800/2843, 08 February 2017. Sony A7II, Sony 70-200mm f/4 G at 200mm at f/4 at 1/1,000 at Auto ISO 100. bigger or camera-original © file.
1,200 x 900 pixel crop from above. bigger or camera-original © file. If this crop is about 12" (30cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 40 x 60" (1 x 1.5 meters). You're seeing the actual texture of the watch face and case. If this crop is about 6" (15cm) wide on your screen, then the complete image printed at this same extreme magnification would be about 20 x 30" (50 x 75 cm). This is very good for f/4, but It doesn't get much sharper stopped down. My biggest concern is that it's not very close.
Mechanical QualityRear, Sony FE 70-200mm f/4 OSS GM. bigger. This Sony 70-200mm is made reasonably well, with both metal and plastic on the outside. Front BumperNone.
Filter ThreadsPlastic.
Hood Bayonet MountPlastic.
Black Ring with red dot just ahead of Focus RingAnodized aluminum.
Focus RingRubber-covered metal.
Front Barrel with Focus Lock ButtonsMetal.
Focus Lock ButtonsPlastic.
Zoom RingRubber-covered metal.
Rear BarrelPlastic.
SwitchesPlastic.
IdentityMarked in silver on metal ring outside of front element. Little raised silver-lettered plate glued to top of barrel. Dark gray paint on bottom rear of barrel.
InternalsSeems like plastic and metal.
Moisture Seal at MountNo.
MountDull chromed metal.
MarkingsMostly painted.
Serial NumberCertifications, Sony FE 70-200mm f/4 OSS GM. bigger. A sticker glued to the bottom of the barrel - not an acceptable way to serialize any product that sells for more than $10.
Date CodeNone found.
Noises When ShakenSome clicking from the diaphragm and some clunking from the OSS mechanism.
Made inJapan.
SharpnessThe Sony 70-200mm /4 G OSS is very sharp throughout most of the full-frame frame, but gets softer on the sides and in the corners. Look at the Sample Images; it's more than sharp enough for most uses, but if you demand the best results edge-to-edge, try the 70-200/2.8 or shoot Canon. MTF at 70mm and at 200mm 10 cyc/mm and 30 cyc/mm.
SpherochromatismSpherochromatism, also called "color bokeh" by laymen, can cause colored fringes on out-of-focus highlights, usually seen as green fringes on backgrounds and magenta fringes on foregrounds with fast, long lenses shot wide open. It is an advanced form of chromatic aberration in a different dimension than lateral color. Spherochromatism is most commonly seen in fast lenses of moderate focal length when shooting contrasty items at full aperture. It goes away as stopped down. In this Sony 70-200, I see some minor blue-amber spherochromatism, which is unusual: Shot at 200mm at f/4. bigger or camera-original © file.
Crop from above. bigger or camera-original © file.
Image StabilizationImage stabilization is internal to this lens, and also works in concert with the built-in sensor-shift stabilization of many Sony cameras. On my Sony A7 Mk II it works very well down to 1/15 hand-held at 200mm.
SunstarsPalm Dawn, 09 February 2017. Sony A7II, Sony 24-70mm f/2.8 GM at 96mm at f/8 at 1/320 at Auto ISO 100. bigger. With its rounded diaphragm, this 70-200mm makes almost no sunstars on brilliant points of light.
ComparedTop Sample Images Intro Format
Comparison Charts
Versus the Canon EF 70-200m f/4 L ISThis Sony 70-200mm f/4 OSS is a cosmetic copy of the professional Canon EF 70-200mm f/4 L IS, but this Sony lacks the Canon's optical quality. If you care, this Sony is softer on the sides of full frame while the Canon stays ultra sharp, at least when the Canon is shot on Canon. I haven't tried the Canon lens on a adapter on a Sony camera. This Sony adds three focus-lock buttons absent on the Canon, but the Canon has instant mechanical manual-focus override while the Sony's electronic focus-by-wire manual focus system isn't as responsive. The Canon has a focus scale lacking in this Sony.
UsageTop Sample Images Intro Format Controls, Sony FE 70-200mm f/4 OSS GM. bigger. Focus Lock Buttons (unmarked)Hold any of the three buttons around the front of the lens and it locks autofocus. This is very handy when recomposing or if a target temporarily runs behind an interfering object.
AF ● ● MF switchLeave it in AF, for Autofocus. MF locks-out autofocus. On most Sony cameras, set "DMF" as the focus mode (usually via your Fn button) and you'll have instant manual override just by turning the ring in what otherwise works like the AFS mode.
FULL ● ● ∞-3m switchFULL lets the lens focus over its entire range. ∞-3m prevents the lens from focussing closer than 5 meters (15 feet). Use this only if you're having a problem with the lens trying to focus too closely, for instance, if interfering objects are in the way.
OPTICAL STEADY SHOTThis is the image stabilizer. Leave it ON, unless you're on a tripod and making time exposures.
MODE 1 ● ● 2Mode 1 compensates for normal camera shake. Leave it set to 1. Mode 2 compensates for camera shake when panning horizontally. Use the 2 setting only if you're deliberately trying add motion blur to backgrounds as you pan with a subject.
RecommendationsTop Sample Images Intro Format
OverallThis is a wonderfully practical telephoto zoom for full-frame Sony E-mount cameras. It's more than you need for APS-C cameras; you 're paying a price and weight premium to cover a larger sensor which you don't have on APS-C. For APS-C, use an APS-C lens like the Sony 55-210mm which offers a wider zoom range in a smaller package for less money. Personally I carry this with my Sony A7R II in a Think Tank Retrospective 7 bag, which is the perfect size for this with the 16-35/4 and 24-70/2.8 GM lenses and other accessories.
Protective FilterThe very best protective filter is the 72mm Hoya multicoated HD3 UV which uses hardened glass and repels dirt and fingerprints, and is also multicoated. For less money, the B+W 72mm 010 is an excellent filter, as are the multicoated version and the basic multicoated Hoya filters, but the Hoya HD3 is the toughest and the best. Filters last a lifetime, so you may as well get the best. The Hoya HD3 stays cleaner than the others since it repels oil and dirt.
Where I got mineI got mine at B&H. I'd also get it at Adorama, at Amazon, or at Crutchfield.
Thank you!This all-content, junk-free website's biggest source of support is when you use those or any of these links to approved sources when you get anything, regardless of the country in which you live. Sony does not seal its boxes in any way, so never buy at retail or any other source not on my personally approved list since you'll have no way of knowing if you're missing accessories, getting a defective, damaged, returned, store demo or used camera. I use the stores I do because they ship from secure remote warehouses where no one gets to touch your new camera before you do. Buy only from the approved sources I use myself for the best prices, service, return policies and selection. Thanks for helping me help you! Ken, Mrs. Rockwell, Ryan and Katie.
© Ken Rockwell. All rights reserved. Tous droits réservés. Alle Rechte vorbehalten.
Help Me Help YouI support my growing family through this website, as crazy as it might seem. The biggest help is when you use any of these links when you get anything. It costs you nothing, and is this site's, and thus my family's, biggest source of support. These places always have the best prices and service, which is why I've used them since before this website existed. I recommend them all personally. If you find this page as helpful as a book you might have had to buy or a workshop you may have had to take, feel free to help me continue helping everyone. If you've gotten your gear through one of my links or helped otherwise, you're family. It's great people like you who allow me to keep adding to this site full-time. Thanks! If you haven't helped yet, please do, and consider helping me with a gift of $5.00. As this page is copyrighted and formally registered, it is unlawful to make copies, especially in the form of printouts for personal use. If you wish to make a printout for personal use, you are granted one-time permission only if you PayPal me $5.00 per printout or part thereof. Thank you!
Thanks for reading!
Mr. & Mrs. Ken Rockwell, Ryan and Katie.
|
17 July 2017, 08-13 February 2017