8 Best 24-105mm All Purpose Zoom Lenses for Mirrorless (September 2026) In-Depth Reviews

A 24-105mm lens is a versatile standard zoom covering wide-angle to medium telephoto, ideal for travel, portraits, and everyday photography on full-frame mirrorless cameras. After testing eight of the most talked-about options on the market this year, I picked the ones that actually deliver sharp results across the zoom range, hold up to real-world use, and pair well with the major mirrorless systems. This guide covers the best 24-105mm all purpose zoom lenses for mirrorless cameras for Canon RF, Sony E, Nikon Z, and Panasonic L-Mount shooters.

I spent the last six weeks rotating these lenses between an EOS R5, an A7 IV, a Z6 III, and a Panasonic S5 II. I shot street scenes at 24mm, portraits at 85mm, and travel detail shots at 105mm to see how each one holds up. The goal was simple: figure out which lens deserves to stay on your camera full-time, and which ones only look good on paper.

Below you’ll find my top three quick picks, a side-by-side comparison of all eight lenses, deep-dive reviews with real-world testing notes, and a buying guide that breaks down the things that actually matter when you’re spending this kind of money.

Top 3 Picks for Best 24-105mm All Purpose Zoom Lenses for Mirrorless Cameras

Best 24-105mm All Purpose Zoom Lenses for Mirrorless Cameras in 2026

1. Canon RF 24-105mm f/4L IS USM – The Workhorse Standard Zoom

I mounted this lens on my EOS R5 for a week of street and travel shooting around the city. Right away, the autofocus felt noticeably faster and quieter than the older EF 24-105mm I used to run on a 5D Mark IV. Nano USM really is a step up from the older ring USM motors, especially for video work where focus breathing and noise used to be problems.

The constant f/4 aperture held up well in dim cafes and late afternoon street scenes. I rarely had to push ISO above 1600, and at 5 stops of stabilization, I got sharp handheld shots at shutter speeds as low as 1/8s at 105mm. For a full-frame L-series lens, it is also surprisingly compact and well-balanced on the R5.

Image quality is the main reason this lens earns the top spot. Center sharpness is excellent wide open at every focal length, and by f/5.6 the corners catch up to most competitors. The Nano AR coating handled backlit scenes and flare-prone streetlights without much contrast loss. Colors have that classic Canon L-series look: warm, slightly saturated, and pleasing straight out of camera.

Build quality is solid, with weather sealing around the mount and control ring that lets you assign ISO, aperture, or exposure compensation. I noticed some longitudinal chromatic aberration at 105mm when shooting high-contrast edges, but it cleaned up easily in Lightroom. Corners are a touch soft at f/4 wide open, especially at the wide end, but that’s normal for zooms in this class.

Who this lens is best for

Canon EOS R shooters who want a single do-it-all lens for travel, events, and everyday work. The constant f/4 and 5-stop IS make it reliable in mixed light, and the L-series build gives it longevity.

Hybrid shooters will also appreciate the silent Nano USM autofocus for video work and the smooth aperture transitions when pulling focus manually.

Who should look elsewhere

Photographers who need a faster aperture for low-light indoor events should look at the Canon RF 24-105mm f/2.8 L USM Z instead, though it costs significantly more.

Budget-conscious shooters upgrading from a kit lens can save a lot with the Canon RF 24-105mm STM, accepting the variable aperture tradeoff.

2. Sony FE 24-105mm F4 G OSS – Best Value for Sony Shooters

I tested the Sony FE 24-105mm G OSS on an A7 IV over a two-week trip that included cityscapes, family portraits, and a few low-light restaurant scenes. Coming from the older Sony 24-70mm f/4, the extra reach at the long end was a noticeable upgrade for portraits and detail shots.

Autofocus with DDSSM is fast and quiet, which matters more on Sony bodies since eye-AF pulls focus constantly. I locked onto eyes reliably even with backlit subjects, and the focus motor was silent enough for video recording without mic interference.

Sharpness is where this lens earns its reputation. At 24mm and f/4, the corners are impressively sharp, and there’s minimal drop-off as you zoom in. The 9-blade circular aperture produces smooth, creamy bokeh for portraits at 85-105mm, which is rare for a zoom in this price range.

The Optical SteadyShot worked well for handheld video, and combined with the A7 IV’s IBIS I got usable footage at 1/4s. The lens is weather sealed and held up fine in light rain, though at 1.5 pounds it’s heavier than some competitors. I did find myself wishing for f/2.8 in dim indoor scenes, but that’s the tradeoff for the reach.

Who this lens is best for

Sony E-mount shooters who want a single lens covering wide-angle through short telephoto without compromising on sharpness. Wedding, event, and travel photographers will appreciate the build quality and reliability.

Hybrid photo/video shooters get a lot out of the silent DDSSM autofocus and effective OSS, especially when paired with Sony’s real-time tracking.

Who should look elsewhere

Sony users wanting faster aperture for low-light events should consider the Sigma 28-105mm f/2.8 DG DN Art, which offers one stop more light at the cost of some reach at the wide end.

Photographers prioritizing minimum weight for long hiking days might prefer the Sony FE 24-70mm f/4 ZA OSS or a smaller prime setup instead.

3. Canon RF24-105mm F4-7.1 IS STM – Best Budget 24-105mm for Canon

For Canon shooters on a tight budget, the RF 24-105mm STM is the obvious starting point. I ran it on an EOS RP for a weekend trip and immediately appreciated how light the kit felt around my neck. At 395 grams, it barely adds weight to a small body.

The variable f/4-7.1 aperture is the main compromise. Wide open at 24mm you get f/4, but as you zoom to 105mm the aperture drops to f/7.1. In bright daylight this is no problem, but indoors you’ll push ISO higher than with a constant f/4 lens.

Image quality is solid for the price. Center sharpness is good wide open, and the lens reaches peak performance around f/8. The 5-stop image stabilization impressed me: I got sharp shots at 1/4s at 105mm, which is genuinely useful for indoor handheld shooting.

Autofocus with the STM motor is slower and a bit noisier than USM lenses, but for still subjects and casual video it works fine. The 0.5x center focus macro mode is a fun bonus for close-ups. The lens is not weather sealed, so I’d avoid it in heavy rain or dusty environments.

Who this lens is best for

Canon RF shooters buying their first mirrorless lens or upgrading from a kit lens. The price-to-versatility ratio is unbeatable for travel and everyday photography.

Content creators and casual users who shoot mostly in good light and want a single lightweight lens instead of carrying multiple primes will love this option.

Who should look elsewhere

Professional event and wedding photographers need constant aperture and weather sealing. The Canon RF 24-105mm f/4L or f/2.8L is a better choice for paid work.

Outdoor and adventure photographers shooting in wet or dusty conditions should pick a sealed lens like the L-series or third-party alternatives.

4. Panasonic LUMIX S 24-105mm F4 – Best for L-Mount Shooters

The Panasonic Lumix S 24-105mm is one of those lenses that feels more expensive than its price tag suggests. I tested it on an S5 II and immediately noticed the Leica-like rendering and solid build quality. It’s also one of the few mirrorless 24-105mm lenses with genuine 0.5x macro capability.

The Dual I.S. 2 system combined with the camera body gives up to 6 stops of stabilization. I shot at 1-second exposure at 105mm and got usable results, which is impressive for a zoom lens. The minimum focusing distance of 0.3m makes it surprisingly versatile for product and food photography.

Image quality is excellent. Resolution holds up well across the frame, and the lens handles flare and ghosting better than most zooms in this class thanks to the multi-coating design. Out-of-focus areas render smoothly, making it a strong choice for portraits at 85-105mm.

The main downsides are weight. At 2.6 pounds, it’s heavier than most of the lenses in this roundup, and you’ll feel it on long shooting days. The OIS switch on the side can also slip out of position if you bump it. Stock is limited at retailers, so I’d buy one quickly if you see it available.

Who this lens is best for

Panasonic S series and Leica SL shooters looking for a single high-quality zoom covering the most-used focal lengths. The 0.5x macro capability adds real value for product and food photographers.

Travel photographers who shoot in unpredictable weather conditions will appreciate the dust, splash, and freeze-resistant construction.

Who should look elsewhere

Shooters focused on fast action or sports will find the autofocus slower than Sony or Canon equivalents. A faster native prime might serve better for action work.

Weight-conscious photographers who carry gear all day should consider lighter alternatives, even if it means giving up some weather sealing.

5. Nikon NIKKOR Z 24-120mm f/4 S – The Extended Reach Option

The Nikon Z 24-120mm f/4 S is technically a 24-120mm, but it earns its spot in this roundup because the extra reach at the long end is genuinely useful. On a Z6 III, the constant f/4 and S-line optical quality make it one of the best travel zooms Nikon has ever made.

I took this lens on a hiking trip where I didn’t want to swap lenses on a dusty trail. The 24-120mm range covered wide-angle landscapes, mid-range portraits, and the occasional wildlife shot at 120mm. Sharpness held up at every focal length, with the best results around f/5.6-f/8.

Autofocus with the dual STM stepping motors is fast and nearly silent, which works well for video. The lens relies on the camera’s IBIS for stabilization, and on Z bodies with sensor-shift VR I got around 4-5 stops of effective compensation. Close focusing at 1.15 feet works at any focal length, including 120mm.

Build quality is excellent for the price. The fluorine coating on the front element repels water and fingerprints, and the control ring clicks smoothly. The main drawback is no built-in VR, which matters if you’re using an older Z body without strong IBIS.

Who this lens is best for

Nikon Z shooters who want a single do-everything zoom with extra reach for portraits and detail work. Travel and event photographers get excellent value here.

Hybrid shooters using Z bodies with strong IBIS will get stabilization benefits that rival lenses with built-in VR.

Who should look elsewhere

Photographers using older Z bodies without effective IBIS should consider a lens with built-in VR instead, such as the Nikon Z 24-200mm.

Shooters needing true macro magnification for product or nature work should consider a dedicated macro lens or the Panasonic 24-105mm.

6. Sigma 28-105mm f/2.8 DG DN Art – The Fast Aperture Alternative

The Sigma 28-105mm f/2.8 DG DN Art is the dark horse of this roundup. It swaps the constant f/4 of traditional 24-105mm zooms for a much faster constant f/2.8, while keeping the same zoom range mostly intact. I tested it on an A7R V and the image quality was stunning at every focal length.

The trade-off is a 28mm wide end instead of 24mm. For landscapes and architecture that 4mm difference matters, but for portraits, events, and general shooting the constant f/2.8 more than makes up for it. Indoors at weddings and events I shot at ISO 800-1600 instead of the 3200-6400 I’d use with an f/4 zoom.

Autofocus with the HLA (High-response Linear Actuator) motor is quiet and fast. Tracking moving subjects on the A7R V was reliable, though not quite at the level of native Sony G Master lenses. There is no image stabilization in the lens, so you’ll rely entirely on the body’s IBIS.

Image quality is the main highlight. The Art-series design delivers sharp, contrasty images with minimal distortion or chromatic aberration. The build feels professional, with weather sealing and a solid metal mount. Review counts are low because the lens is newer, but the early feedback from users is overwhelmingly positive.

Who this lens is best for

Sony E-mount event, wedding, and portrait photographers who want the low-light advantage of f/2.8 without switching to primes. The lens replaces multiple f/2.8 zooms in one package.

Photographers who shoot mostly between 28-105mm and don’t need the extra wide-end coverage will find this an excellent value compared to f/2.8 alternatives.

Who should look elsewhere

Landscape and architecture photographers who need the 24mm wide end should look at the Sony FE 24-105mm G OSS or similar 24mm-starting zooms.

Photographers needing stabilization for handheld video without IBIS support should pick a stabilized lens instead.

7. Nikon NIKKOR Z 24-200mm VR – Best All-in-One Reach

The Nikon Z 24-200mm VR is technically beyond the 24-105mm range, but for travelers who want maximum versatility in one lens, it’s hard to beat. I carried this lens on a two-week trip and only used it for everything from wide landscapes to distant wildlife.

The variable f/4-6.3 aperture is the main compromise. At 24mm you get f/4, but by 200mm you’re at f/6.3. In daylight this is fine, but indoors you’ll need higher ISO. VR stabilization helps, and I got sharp shots at 1/30s handheld at 200mm.

Image quality is impressive for an 8.3x zoom. At wide and mid-range focal lengths, sharpness rivals dedicated primes. At 200mm, sharpness drops a bit but remains usable for most purposes. Distortion is well controlled and corrected in-camera.

At 1.3 pounds, this lens is light for what it offers. Build quality is solid with weather resistance at the mount, though it’s not fully sealed like S-line lenses. The control ring is customizable, and the zoom ring turns smoothly for video work.

Who this lens is best for

Nikon Z shooters who travel light and want maximum reach in a single lens. The 24-200mm range covers everything from wide-angle to short telephoto without lens swaps.

Hobbyists and family photographers who want one versatile lens for vacations and everyday moments will appreciate the simplicity.

Who should look elsewhere

Professional photographers needing constant aperture for events and weddings should choose the Nikon Z 24-120mm f/4 S instead.

Shooters prioritizing maximum sharpness at telephoto focal lengths should pair this lens with a dedicated telephoto zoom or prime.

8. Canon RF24-105mm F2.8 L USM Z – The Professional Choice

The Canon RF 24-105mm f/2.8 L USM Z is the new flagship in this category. I tested it on an R3 during a corporate event and immediately understood the appeal: constant f/2.8 across the zoom range means one lens can replace both a 24-70mm f/2.8 and a 70-105mm f/2.8 prime.

Image quality is exceptional. Sharpness is excellent wide open at every focal length, and by f/4 it’s reference-grade. The 11-blade aperture produces smooth, creamy bokeh for portraits. Autofocus is fast, silent, and reliable for both stills and video.

The lens supports Canon’s Power Zoom Adapters, which transform it into a cinema-style zoom with smooth, variable-speed zooming for video. The clickless iris ring also makes it ideal for video shooters who need precise aperture control.

The main drawback is weight and price. At 2.9 pounds, this is one of the heaviest 24-105mm lenses you can buy, and the price puts it out of reach for many enthusiasts. But for working professionals who shoot in mixed lighting conditions and need that constant f/2.8, it’s a genuine problem-solver.

Who this lens is best for

Professional event, wedding, and portrait photographers who need the low-light performance of f/2.8 in a single zoom. The lens replaces multiple f/2.8 zooms in one package.

Hybrid photo/video shooters will benefit from the Power Zoom Adapter compatibility and clickless iris ring for cinema-style production.

Who should look elsewhere

Travel and casual photographers will find this lens overkill. The Canon RF 24-105mm f/4L IS USM delivers 90% of the versatility at half the weight and price.

Budget-conscious shooters should consider the Canon RF 24-105mm STM as a starting point before investing in pro glass.

Buying Guide: How to Choose the Best 24-105mm All Purpose Zoom Lens for Your Mirrorless Camera

Choosing the right 24-105mm zoom depends on your camera system, shooting style, and budget. Here are the key factors I considered when ranking these eight lenses.

Mount System Compatibility

The first thing to check is whether the lens fits your camera. Canon RF mount shooters need RF lenses, Sony E-mount shooters need FE or E lenses, Nikon Z shooters need Z lenses, and Panasonic L-Mount shooters need L-mount lenses. Adapters exist (Canon EF to RF, Nikon F to Z) but native lenses generally perform better with full autofocus and electronic features.

If you’re switching from a DSLR, your old EF or F mount lenses can still work via adapter, but expect slightly slower autofocus and added weight. For most users, a native 24-105mm lens is the better long-term investment.

Constant vs Variable Aperture

Constant aperture lenses (f/4 or f/2.8 across the zoom range) maintain the same light-gathering ability at 105mm as at 24mm. This matters in dim conditions, for consistent exposure settings while zooming, and for video work.

Variable aperture lenses (f/4-7.1 or f/4-6.3) are smaller, lighter, and significantly cheaper. The tradeoff is reduced light at the telephoto end. If you shoot mostly in daylight or at wide focal lengths, variable aperture lenses are a great value.

Image Stabilization

Lens-based image stabilization (IS, VR, OSS) helps with handheld shooting at slow shutter speeds. Modern mirrorless bodies also have in-body image stabilization (IBIS), and the two systems often work together for even better results.

For video work, stabilized lenses produce smoother handheld footage. For stills, IS adds 3-5 stops of usable shutter speed reduction. The Nikon Z 24-120mm f/4 S and Sigma 28-105mm f/2.8 rely on body IBIS, while Canon and Sony options have lens-based stabilization.

Weight and Handling

A 24-105mm lens is meant to live on your camera most of the time, so weight matters. Lighter options like the Canon RF 24-105mm STM (395g) are great for travel, while heavier pro zooms like the Canon RF 24-105mm f/2.8L (2.9 lbs) are better suited for controlled shooting sessions.

Balance on the camera body is also important. Pair lighter lenses with smaller bodies (Canon RP, Sony A7C) and heavier lenses with full-size grips (Canon R5, Nikon Z8).

Build Quality and Weather Sealing

Pro-grade lenses (Canon L, Sony G, Nikon S, Sigma Art) feature weather sealing, metal mounts, and robust construction. Budget lenses use more plastic and may not be sealed against dust and moisture.

If you shoot outdoors frequently or in unpredictable conditions, weather sealing is worth the premium. For indoor, studio, or fair-weather shooting, budget options can serve well.

Autofocus Motor Type

USM (Canon), DDSSM (Sony), and STM stepping motors (Canon, Nikon) all deliver fast, accurate autofocus, but with different characteristics. USM and DDSSM are typically faster for action and sports, while STM motors are quieter and smoother for video.

Nano USM (Canon) and linear stepping motors offer a hybrid approach: nearly silent like STM but with the speed of USM. For hybrid shooters, Nano USM or linear STM is ideal.

Frequently Asked Questions

Final Verdict: Which 24-105mm Lens Should You Buy?

After testing all eight lenses across multiple camera systems, my picks for the best 24-105mm all purpose zoom lenses for mirrorless cameras come down to your specific system and budget.

For Canon RF shooters, the RF 24-105mm f/4L IS USM remains the best overall choice in 2026, balancing image quality, autofocus, and value. Sony users get exceptional results from the FE 24-105mm G OSS, while Nikon Z shooters should look at the 24-120mm f/4 S for its extended reach. Budget buyers across all systems can start with their respective STM or entry-level options.

If you shoot professionally and need f/2.8, the Canon RF 24-105mm f/2.8L USM Z and Sigma 28-105mm f/2.8 DG DN Art deliver reference-grade results. For everyone else, a constant f/4 zoom is the sweet spot of size, weight, and image quality for everyday use.