Earlier this spring, Sony Artisan Drew Geraci showed us how he lights up D.C.’s cherry blossoms with LEDs while filming with his Sony Alpha 1 II. Now he’s back to share how he captured spring in all its cinematic glory with the Sony 28-70mm f/2 G Master. Read below as he shares in his own words how he takes advantage of its creamy bokeh goodness for next-level shots of cherry blossoms. Learn more about the Sony 28-70mm f/2 G Master HERE, and in case you missed it – the Sony 50-150mm f/2 G Master just joined the f/2 GM lineup – learn more about it HERE.
BTS photo of Drew Geraci using the Sony Alpha 1 II and Sony 28-70mm f/2 G Master to capture cherry blossoms
Cinematic Photography With The 28-70mm f/2 G Master
When Sony dropped the 28-70mm f/2 G Master, I knew it was kind of a big deal. A constant f/2 aperture on a full-frame zoom? Yes, please! And when you pair it with the Sony Alpha 1 II, you’re working with a setup that practically begs you to go outside and make something beautiful. Naturally, I took it out to film cherry blossoms in D.C., because if there’s a better way to test creamy bokeh and dreamy footage, I haven’t found it.
First off, the depth of field on the Sony 28-70mm f/2 GM is gorgeous. Shooting wide open at f/2, the background melts away into this soft, cinematic blur while the blossoms stay tack sharp. Even when the branches were swaying in the wind, I could keep focus locked on the tiniest petal thanks to the A1 II’s scary-good autofocus. Zoomed out to 28mm, it’s great for wide, scenic shots – like those postcard moments with the Jefferson Memorial peeking through the trees. Zoom in to 70mm, and suddenly you’re right there with the blossoms. It’s tight, intimate, and perfect for those, "Wow, I can't believe this is real life," kind of shots.
Cinematic Petal Poetry
Here’s where things get extra fun – 4K at 120fps on the A1 II. I shot a ton of clips with blossoms blowing in slow motion, and with this lens, every little flutter and swirl in the air had this soft, dreamlike quality. Plus, the lens barely breathes when you rack focus, which makes the footage look so much more polished – no weird jumps, no distracting shifts. It also handles color and contrast like a champ. Even in the weird in-between lighting of early evening, the images stayed clean and vibrant, and I didn’t need to crank ISO too high. That f/2 aperture definitely pulls its weight.
Photo by Drew Geraci. Sony Alpha 1 II. Sony 28-70mm f/2 G Master.
Photo by Drew Geraci. Sony Alpha 1 II. Sony 28-70mm f/2 G Master. 2-sec., f/2, ISO 50
Easy To Carry, Built To Last
One of the best things? It’s not a chunky beast. For a constant f/2 zoom, this lens is actually pretty compact and super manageable, even on a gimbal. It’s weather-sealed too, so I wasn’t stressing when some light spring rain rolled in (which, let’s be real, kind of added to the mood anyway).
Bottom line: If you’re into filming nature, portraits, or anything with movement and mood, the 28-70mm f/2 GM on the A1 II is a dream combo. It’s sharp, fast, super cinematic, and makes even the simplest subjects, like a tree full of blossoms, look like something out of a movie.
Photo by Drew Geraci. Sony Alpha 1 II. Sony 28-70mm f/2 G Master. 1/25-sec., f/4, ISO 64
Next stop: city night shoots. Let’s see what this thing can do with a little neon and rain!
See more of Drew Geraci’s work on his Alpha Universe Profile.
Learn more about the Sony 28-70mm f/2 G Master HERE.
Learn more about the Sony 50-150mm f/2 G Master HERE.
