Sony FE 12-24mm f/2.8 GM
The constant f/2.8 aperture across the 12-24mm range, combined with three XA elements for extreme corner-to-corner sharpness, sets this lens apart for ultra-wide shooting. Its dust and moisture-resistant construction and fluorine coating provide reliable field use, while the XD Linear Motor delivers fast, silent autofocus. This lens is best for landscape and architecture photographers who demand bright, distortion-free performance in challenging light.
Sin precio actual de tiendas
Resumen
The 30-Second Version
The Sony 12-24mm f/2.8 GM is the ultra-wide zoom that makes primes feel pointless. Sharp as hell, fast as hell, and worth every penny if you find it under USD 2,000.
Pros & Cons
Ventajas
- Razor sharp edge to edge, even wide open 99th
- Constant f/2.8 at 12mm is rare and glorious 99th
- Autofocus is stupid fast and silent 96th
- Flare resistance is best-in-class 96th
Desventajas
- Heavy for a mirrorless ultra-wide at 847g
- Bokeh is not this lens's job, and it shows
- Price tag will make your wallet weep
- Bulbous front element means no screw-on filters
Opinión de los propietarios
The Word on the Street
Cómo cambió la opinión de los propietarios con el tiempo
ExclusivaSegún cuándo escribieron realmente sus opiniones los clientes, para ver si los elogios iniciales se mantuvieron.
- Q2 202695/100
Buyers praise the lens for sharpness, wide-angle performance, and versatility for astro and landscape. One reviewer notes edge fisheye effect and high price.
- Sharp, high-quality lens with excellent wide-angle capability.
- Great for astrophotography, landscape, and street photography.
- Edge fisheye effect at 12mm noted; some see it as negligible.
- One reviewer considers it too expensive.
- Q3 2023100/100
Buyers in Q3 2023 praised the lens as fantastic, satisfying, and great for wide-angle landscape and fireworks photography.
- Overall satisfaction and happiness with the purchase.
- Excellent lens quality described as fantastic.
- Great wide-angle performance for landscapes and fireworks.
- High portability and frequent use.
- Q1 2022100/100
Buyers in Q1 2022 praised the lens for sharpness, low-light performance, and minimal distortion. All reviews were 5-star, expressing high satisfaction.
- Exceptional sharpness and clarity, even in corners and low light.
- Minimal distortion or bending compared to other ultra-wide lenses.
- Excellent performance for night landscapes and filmmaking.
- High overall satisfaction, no regrets with purchase.
- Q2 2021100/100
Buyers praised the lens for its sharpness, fast autofocus, and minimal distortion, especially for landscape and storm photography.
- Exceptional sharpness and image quality across all reviews.
- Fast and accurate autofocus performance.
- Minimal distortion, excellent for wide-angle shots.
- Comparisons to older lenses imply demand for updated models.
- Q1 2021100/100
Buyers were delighted with the lens's sharpness, wide field of view, and suitability for real estate photography, despite its high price.
- Superb sharpness and clarity across the frame
- Excellent wide field of view
- Ideal for real estate photography
- Expensive but considered worth the cost
- Q3 202095/100
Buyers overwhelmingly praise the lens for its sharpness, wide aperture, and exceptional performance in real estate and astrophotography. Some note the high price and correctable distortion at 12mm.
- Exceptional sharpness and clarity, especially at f/2.8, day and night.
- Excellent for real estate interiors and landscape photography.
- Great for astrophotography with minimal coma distortion.
- High price; distortion at 12mm correctable in post.
Basado en 66 opiniones de clientes con fecha, agrupadas por trimestre natural. El análisis por periodo está en inglés.
Las pruebas
Performance
Optically this thing is a monster. We're talking 98th percentile sharpness across the frame, which is basically Sony showing off. The XD Linear Motors make autofocus feel instant, even at 12mm where you'd think there's nothing to focus on. The real surprise is how well it handles flare and ghosting given how wide it goes. That Nano AR Coating II isn't marketing fluff. But at 847g, it's a chunky boy. You'll feel it on a long hike.
Specifications
Full Specifications
Optics
| Type | Zoom |
| Focal Length Min | 12 |
| Focal Length Max | 24 |
| Elements | 17 |
| Groups | 14 |
| Aspherical Elements | 4 |
| ED Elements | 5 |
| Coating | Nano AR Coating II |
Aperture
| Max Aperture | f/2.8 |
| Min Aperture | f/22 |
| Constant | Yes |
| Diaphragm Blades | 9 |
Build
| Mount | Sony E |
| Format | full-frame |
| Weather Sealed | Yes |
| Weight | 0.8 kg / 1.9 lbs |
AF & Stabilization
| AF Type | XD Linear Motor |
| Stabilization | No |
Focus
| Min Focus Distance | 280 |
| Max Magnification | 0.14x |
vs Competition
The Nikon Z 17-28mm f/2.8 is the closest direct competitor, but it starts at 17mm, which is a completely different world from 12mm. That extra 5mm on the wide end is massive for interiors and astro. The Viltrox 13mm f/1.4 is a budget prime that's sharper in the center but can't touch the Sony's versatility or build. And the Tamron 28-300mm? That's a completely different tool for a completely different job. If you need ultra-wide and you're on Sony E-mount, this is the one.
| Spec | Sony FE 12-24mm f/2.8 GM | Canon RF 24-105mm f/2.8 L IS USM Z | Viltrox LAB AF 35mm f/1.2 LAB FE | Sigma Art 17-40mm f/1.8 DC | Tamron Di III 70-180mm f/2.8 VC VXD G2 | Nikon NIKKOR Z 50mm f/1.2 S |
|---|---|---|---|---|---|---|
| Focal Length | 12-24mm | 24-105mm | 35mm | 17-40mm | 70-180mm | 50mm |
| Max Aperture | f/2.8 | f/2.8 | f/1.2 | f/1.8 | f/2.8 | f/1.2 |
| Mount | Sony E | Canon RF | Sony E | Fujifilm X | Sony E | Nikon Z |
| Format Coverage | full-frame | full-frame | full-frame | APS-C | full-frame | full-frame |
| Stabilization | false | true | false | false | true | false |
| Weather Sealed | true | true | true | true | true | true |
| Weight (g) | 848 | 1315 | 910 | 535 | 855 | 1090 |
| AF Type | XD Linear Motor | Nano USM | VCM | HLA (High-response Linear Actuator) | VXD | Multi-Focus Stepping Motor AF System |
| Lens Type | zoom | zoom | prime | zoom | zoom | prime |
| Compare | Compare | Compare | Compare | Compare |
| Producto | AF | Bokeh | Build | Macro | Reach | Video | Optical | Aperture | Wide Angle | Portability | Versatility | Valoración social | Affordability | Stabilization |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Sony FE 12-24mm f/2.8 GM | 95.4 | 19.7 | 98.9 | 32.9 | 15.8 | 88.2 | 99 | 44 | 95.6 | 22.4 | 71 | 96.2 | 9.5 | 36 |
| Canon RF 24-105mm f/2.8 L IS USM Z Compare | 89.9 | 78.9 | 95.3 | 69.3 | 73.7 | 88.2 | 98 | 44 | 74.7 | 11.3 | 91.9 | 88 | 8.2 | 96 |
| Viltrox LAB AF 35mm f/1.2 LAB FE Compare | 95.4 | 69.1 | 90.8 | 45.1 | 29.2 | 72.5 | 92.9 | 96.1 | 53.4 | 20.7 | 32.9 | 88 | 33.5 | 36 |
| Sigma Art 17-40mm f/1.8 DC Compare | 95.4 | 53.1 | 95.3 | 54.2 | 52.8 | 88.2 | 97.3 | 74.7 | 68.9 | 46.9 | 75 | 92.7 | 33.7 | 36 |
| Tamron Di III 70-180mm f/2.8 VC VXD G2 Compare | 95.4 | 86.6 | 77.4 | 75.5 | 80.9 | 84.4 | 96.5 | 44 | 29.3 | 22 | 77 | 92.7 | 27.7 | 97.4 |
| Nikon NIKKOR Z 50mm f/1.2 S Compare | 68.7 | 80.7 | 77.4 | 38 | 43.6 | 72.5 | 87.6 | 96.1 | 40.2 | 15.5 | 32.9 | 96.2 | 15.9 | 36 |
Precio
Value & Pricing
Here's the thing: prices are all over the place. We're seeing USD 1,625 to USD 3,250 across seven US listings, which is a wild spread. If you're paying the high end, you're getting fleeced. Shop around, check Newegg and Best Buy, and don't pay a cent over the low end. At USD 1,625 this is a serious value for what you get. At USD 3,250, you're paying early adopter tax on a lens that's been out for years.
Leer más
Overview
The Sony FE 12-24mm f/2.8 GM is the ultra-wide zoom that makes you forget primes exist. At 12mm you're seeing the world in a way that feels almost unfair, and the constant f/2.8 aperture means you're not punished for it when the light drops. This is the lens for people who shoot real estate, astro, or dramatic landscapes and want one tool that does it all without compromise.
Common Questions
Q: Can I use screw-on filters with this lens?
Nope. The front element bulges out like a fishbowl, so there's no filter thread. You'll need a rear gel filter holder or a specialized filter system if you want to use ND or polarizers.
Q: Is this lens good for astrophotography?
Yes, and it's one of the best for it. The f/2.8 constant aperture plus 12mm ultra-wide view means you can capture huge swaths of the Milky Way with shorter exposures. Coma is well controlled too.
Q: How does it compare to the Sony 16-35mm f/2.8 GM?
The 12-24mm goes significantly wider, which matters a lot for interiors and astro. But the 16-35mm takes filters and is more versatile for general use. If you shoot ultra-wide more than anything else, get the 12-24mm. If you want one lens for everything, the 16-35mm is more practical.
Who Should Skip This
If you're a portrait shooter or you care about bokeh, this lens will frustrate you. The 24th percentile bokeh rating means backgrounds look busy and harsh compared to a fast prime. Go grab the Sony 24mm f/1.4 GM instead and save yourself the weight and the cash. Also skip this if you're on a crop sensor body, you're wasting half the glass.
Verdict
Buy it if you shoot real estate, architecture, astro, or dramatic landscapes on Sony full-frame. This is the best ultra-wide zoom you can put on an E-mount body right now. The optical performance is so good it makes you question why you'd ever carry a 14mm prime again. Just find a good price and don't look back.
Usage Scores
- Macro38.9
- General82.6
- Budget54.6
- Street69.2
- Travel52
- Portrait43.1
- Landscape91.1
- Professional88.5
- Video Cinema76.3
- Wildlife Sports42.4
