In a previous episode of Robert Evans’ The Pixel Show he explored using the Sony 24mm f/1.4 G Master lens for macro and close-up shots. In his most recent episode he takes a deeper overall look at the same lens, examining its build and performance while showing the sample photos he’s captured in a variety of situations both close-up and wide.

“This lens is really sharp corner to corner. It’s crystal clear.” – Robert Evans on the 24mm f/1.4 G Master.

"It's really a beautiful lens," says Evans. "...it has controls on it that you'd expect from a G Master lens which really makes it fun and easy to shoot. Of course you can turn the autofocus on and off on the lens which is super helpful because I shoot in manual a lot and I can just flip it on or off if I want. So if I'm shooting autofocus but I want to go to manual and focus myself and focus peaking I can do that. It has a focus hold button which you can program pretty much anything in the custom menu that you want to.”

Photo by Robert Evans. Sony α9. Sony 24mm f/1.4 G Master. 1/40-sec., f/5.6, ISO 50 “This lens is really sharp corner to corner. It’s crystal clear. This is ice fog that I shot this winter on a fence – obviously you can see that. But this lens is amazingly sharp from edge to edge, you know you can see the crystals are really beautiful. I'm really loving this lens so far.”

Photo by Robert Evans. Sony α7 III. Sony 24mm f/1.4 G Master. 1/400-sec., f/1.4, ISO 1000. “This is one of the first weddings I shot with this lens…this is a portrait obviously of the groom. I sat him up in the loft of the church. I shot it at f/1.4 wide open because I wanted to show the church in the background.”

Photo by Robert Evans. Sony α7 III. Sony 24mm f/1.4 G Master. 1/250-sec., f/1.4, ISO 640. “In this particular wedding I forgot my macro lens and was like, ‘what am I going to do?’ And I was like, ‘well I’m going to use the wide because I know you can focus it close.’ So this was the first time I tried this. I shot a ring shot with a wide lens which is something that most people don’t think about.”

Photo by Robert Evans. Sony α7 III. Sony 24mm f/1.4 G Master. 1/400-sec., f/1.4, ISO 2000. “This is shot at f/1.4 wide open. I wanted to focus on the bride and groom and have the foreground and the background with a lot of focus. But I want to see the people in the church and in the aisle. I want to see their expressions and the emotion that’s going on here.”

Photo by Robert Evans. Sony α7 III. Sony 24mm f/1.4 G Master. 1/15-sec., f/1.8, ISO 500. “I shot this at 1/15-sec. because I wanted a little movement in it. I wanted to show him bowling and the ball moving and I think I couldn’t have asked for a better image.”

Photo by Robert Evans. Sony α7 III. Sony 24mm f/1.4 G Master. 1/25-sec., f/3.2, ISO 80. “Again, perfect using the 24mm wide lens as a macro. It really shows the detail and the intricacy of the colors of the butterfly.”

Photo by Robert Evans. Sony α7R III. Sony 24mm f/1.4 G Master. 1/500-sec., f/2.8, ISO 50. “It’s a great environmental landscape lens that you can use. This is shot at f/2.8. I wanted a little bit of depth of field to show the background. But still, beautiful, sharp. The horses are sharp, the boat’s sharp. It’s really becoming one of my favorite lenses when I need a wide.”

Photo by Robert Evans. Sony α7R III. Sony 24mm f/1.4 G Master. 1/500-sec., f/2.8, ISO 50. “It was foggy and I saw this really cool pier. I saw the texture in it and I knew right away this image has to be black and white. I chose to shoot this pretty much wide open, 2.2 is the aperture, because I wanted to show the texture in the pier of course, but I did want a little bit of the fog to go out of focus. When I made this black and white I was like ‘yes, this is exactly what I envisioned.’”

Photo by Robert Evans. Sony α7R III. Sony 24mm f/1.4 G Master. 1/160-sec., f/5.6, ISO 50. “I put the 24mm up close to it so I would have the beautiful texture and colors of the oil can, as well as the texture on the walls behind and then the beautiful light from it.”

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