For most manufacturers, a 24-105 f4 is going to be a redesign of the 24-70 f2.8, since those are the real cash cow for the manufactures right now. You’re trading speed for extra zoom. There’s optical limits to how many features a lens can offer, no matter how much you spend; you don’t get more reach without giving something up.
So for context, 24-70 f2.8 was the top-of-the-line lens used by pros for general purpose daylight photography for decades, really since Canon released their first version in the early days of autofocus. They’re heavy and expensive.
In contrast, the 24-105 f4 is lighter, cheaper, offers better range and is pretty darn close in quality. You’d be hard-pressed to find a better general purpose lens. Because of that, I’ve seen it as a favorite for photojournalists, especially in places where they might lose a camera, as well as budget videographers and travel photography.
If I could have only one lens, and I needed to shoot commercial work, I would pick a 24-105. If I had two, I’d pick a 24-105 and a 50 mm prime. If I had 3 or more, I’d move to more specialized tools.
For most manufacturers, a 24-105 f4 is going to be a redesign of the 24-70 f2.8, since those are the real cash cow for the manufactures right now. You’re trading speed for extra zoom. There’s optical limits to how many features a lens can offer, no matter how much you spend; you don’t get more reach without giving something up.
So for context, 24-70 f2.8 was the top-of-the-line lens used by pros for general purpose daylight photography for decades, really since Canon released their first version in the early days of autofocus. They’re heavy and expensive.
In contrast, the 24-105 f4 is lighter, cheaper, offers better range and is pretty darn close in quality. You’d be hard-pressed to find a better general purpose lens. Because of that, I’ve seen it as a favorite for photojournalists, especially in places where they might lose a camera, as well as budget videographers and travel photography.
If I could have only one lens, and I needed to shoot commercial work, I would pick a 24-105. If I had two, I’d pick a 24-105 and a 50 mm prime. If I had 3 or more, I’d move to more specialized tools.