Sony 24-105 F4 G OSS

Why I think the 24-105 F4 G OSS is the Swiss Army Knife of Sony lenses.

Introduction

The 24-105 F4 G OSS was the first lens I purchased for my Sony A7iii. Given its budget friendly nature and wide focal length coverage, this felt like a natural starting point for my debut review.

Official product image courtesy of Sony, included under fair use for review.

Disclaimer: Like many, when making a purchasing decision, I have gone down the rabbit hole of MTF charts, subreddits and YouTube reviews.

Here I try to steer away from all those technical specifications as there are already an abundance of great resources to choose from. Instead, I have hand picked a selection of images I’ve captured during my photo walks which I feel capture what this lens is capable of out in the field.

All images shared in this review were photographed handheld during sunrise using the Sony A7iii in Uncompressed RAW format with minimal retouches in Adobe Camera Raw.

The Swiss Army Knife

Originally released in October 2017, this lens still holds up extremely well in 2025 despite Sony’s E-Mount now offering an incredibly wide array of standard zoom lenses covering similar focal lengths with more refined optics and modern coatings.

Its constant F4 maximum aperture is more than sufficient for handheld photography in most lighting conditions especially with Optical Steady Shot (OSS) and In Body Image Stabilisation (IBIS) enabled. At the narrow end of its focal range it’s capable of producing very pleasing images with adequate background separation.

Where this lens really shines is in its ability to replace a whole camera bag of primes. When travelling, I would accompany this lens with the Sony 12-24 F4 G meaning I had full coverage from 12mm to 105mm in two lenses. This really comes in clutch when flying budget airlines and having limited space and weight allowance.

The G Factor

The 24-105 F4 G OSS as the name suggests is given the G designation in Sony’s E-Mount lineup meaning it sits a tier below Sony’s flagship G Master lenses.

Don’t let that fool you, I have been very pleased with images this lens produces as an every day image capturing tool and have never felt for wanting more.

Rendering

To my eyes, this lens doesn’t have a particularly unique character, it produces a modern and clinical image which we’ve come to expect from Sony’s E-Mount lineup. While Sony’s colour science has had its fair share of critics over the years, I found this lens to render pleasing images with punchy contrast straight out of camera and minimal retouching in post.

Alternatives

As of today, there are a number of alternatives available to choose from:

  • Sigma 28-105 F2.8 DG DN Art
  • Sigma 24-70 F2.8 DG DN II Art
  • Sony 24-70 F2.8 GM II (SEL2470GM2)
  • Sony 20-70 F4 G (SEL2070G)

While the 24-70 F2.8 GM II is the undisputed holy grail of Sony standard zoom lenses, it’s going to set you back another 1000€ which is a sizeable amount. Money that could be spent on a trip to your dream photo destination! Food for thought.

Closing Thoughts

Where the 24-105 F4 G OSS reigns supreme is the tremendous value it offers compared to the alternatives in addition to offering the widest focal length coverage. At the time of this review, this lens can be picked up for around 500€ to 600€ on the second hand market in excellent condition which makes it a very enticing option as a first party G lens.

This lens is also a reminder that versatility often beats perfection. It’s not a spec-sheet queen, nor does it have a shiny red and white G badge, but it does many things very well.

Unfortunately, during a trip to Lanzarote last year, I fell backward (while trying to frame a photo through the EVF nonetheless) and broke my lens. Sadly, I don’t have as many photos to share as I would like, but feel welcome to review the gallery below.

En resumé, I highly recommend this lens to those seeking a budget Sony zoom lens which punches well above its weight. For hobbyists or frequent travelers, this is a strong candidate for a one and done lens.

Until next time,
Alex

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