Currently, if you want to get the best results from raw files shot with Sony FE 24mm F2.8 G, you have to process them using Sony’s free Imaging Edge Desktop software as it has the required profile to straighten barrel distortion. This information has not yet been extended to Adobe or other software vendors, but DxO PhotoLab 4 fixes work fine.
Of course, this is not a problem for Jpegs as they are corrected in the camera and even with raw files it is only really a problem if you are shooting a scene with a lot of straight lines.
It’s a different story with vignetting as camera corrections can be applied to both raw files and JPEG files if the option under “Lens Comp.” Is selected in the camera menu. Without the ‘Shading Comp.’ On, corner shading is visible over the entire aperture adjustment range. Adobe Camera Raw’s vignetting correction is unsatisfactory because it brightens the corners at the expense of color saturation.
With the in-camera vignetting correction enabled, there is still noticeable corner shading in images with a uniform tone shot at larger apertures, but that’s not a problem. It’s negligible at f / 5.6 and dropped to f / 8.
I used the Sony FE 24mm F2.8 G on the 61Mp A7R IV, and the level of sharpness in the center of the images is very good. If you shoot something flat like a brick wall or a lens board and look at the results 100% on a computer screen, you’ll see a slight drop in sharpness towards the corners of the image, but that’s is minimal and not noticeable in real world shooting situations or normal viewing sizes.
Another good news is that chromatic aberration and flare are both well controlled.
After taking pictures with the Nikon Z 24mm F / 1.8 S, I missed the extra 1.3EV in aperture and the extra blur it brings, but the Sony lens is considerably smaller and lighter. Also at f / 2.8 you can get good background separation if you get close to your subject, it’s just not as blurry as f / 1.8.
That said, the blurry areas captured via the Sony FE 24mm F2.8 G are nice and the highlights are round. I have spotted a few examples of bokeh chromatic aberration, but they are not obvious.
Mounted on the Sony A7R IV, the FE 24mm F2.8 G focuses very quickly and smoothly. It’s also quiet – or at least I can’t hear it in action, which is great news for videographers. Focused breathing was also well controlled.