"Greater Tuna" star, Jaston Williams, as Scrooge in "A Christmas Carol."
Ask most photographers which zoom lenses are best and most of them will reflexively answer, "The Holy Trinity of f2.8 zoom lenses!" and, for my money, they could not be more wrong. If we're looking at 70-200mm lenses from the major camera makers you'll find that the 2.8 lenses are brutally heavy and ruinously expensive. You might also find, if you actually take the time to shoot them in a direct comparison, that the same company's 70-200mm f4.0 is much sharper over a wider range of focal lengths.
I've owned both variants in the Canon and Nikon lines as well as the Sony Alpha 70-200mm f2.8 and now the Sony 70-200mm f4.0 and I'm here to tell you that the f4.0 versions are much more fun to use, better optically corrected than their faster counterparts and a heck of a lot easier to use during a long day of shooting.
I know a lot of you don't put much stock in DXO's lens rankings but in the Sony family the f4.0 G version of the venerable zoom is their top choice for sharpness, resolution and all around goodness in the Sony FE zoom lens catalog. I've been shooting one since the first quarter of 2016 and I find it boring because it's so reliable and flawless. No flare, no unsharp edges, no complaints.
I've pointed out before that every increase of one stop in lens manufacturing requires something like 5X the precision and machining in order to output the same quality results. And what are you really gaining?
I you are shooting a modern camera with a Sony sensors you'll find that choosing the slower lens and then increasing the ISO to cover the one stop difference will probably get you better image quality than trying to shoot a faster lens wide open. Not to mention that the sheer weight might have a stabilizing effect (inertia, mass, etc.) for the first five minutes of handholding the faster lens, the next hour or more will show up the hubris of trying to handhold a four pound dead weight.
When I shoot stage shows at Zach Theatre with the Sony A7Rii my lens of choice is always the 70/200mm f4.0 G lens and I'm always shooting it handheld. The combination of good image stabilization and great optical performance means I can shoot all evening long at f4.0 and not compromise image quality. An added benefit is that my left arm (the one supporting the weight of camera and lens) isn't sore the next day.
I suspect that the much denigrated Sony 24-70mm f4.0 Zeiss lens is actually better than the newer, and much lauded f2.8 G master lens of the same focal lengths. I haven't tried them but I've got this sneaky feeling that f2.8 is just a Pavlovian dodge, dangled at photographers who are old enough to remember needing faster apertures to help with manual focusing. And it's faulty knowledge that's been transmitted to following generations.
If you are following the "teachings" of a more experienced generation you probably need to be careful,;sometimes the old rules don't apply to new technology.