Sigma 24-70mm F2.8 DG DN Art Sony E Mount 578965

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These images are all the same images as above, just our perspective now shifts to the upper right-hand corner. This is the toughest place to be consistent with zoom lenses, and adding into that equation the different methods by which the camera sensors read and adjust to the lenses means that what is the absolute corner of these images is pretty different from lens to lens, and camera to camera. This is a lot less clean to look at, but that’s edges of a zoom lens for you.

That sigma 50-100/1.8 is a really interesting lens actually. And I think it’s APS-H technically. (1.3x crop factor… I.e Canon 1D territory) The Sigma 24-70mm f2.8 DG DN Art features a rounded 11 blade diaphragm which creates an attractive blur to the out of focus areas of the image. Moving into the corners shows the lens is roughly maintaining a good degree of detail, although with the aperture wide-open there’s a little softness in the extreme corner plus some darkening due to vignetting. As before, closing the aperture gradually improves the quality, brightening the corners and boosting the detail. If you’re a pixel-peeper with a high-res body, it’s definitely worth shooting detailed views at f5.6 or f8 rather than wide-open. If you want light and high quality without breaking the bank, you have enough choice with our Sony equipment.

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While the Sigma lens is physically shorter and lighter than the Sony 24-70 f/2.8 GM (5.35″ long, 1.95lbs), it is still substantially larger than the Tamron 28-75; the Sigma weighs 1.84 pounds compared the the Tamron’s 1.21, about 65% as much as the Sigma. Matthew Gore | Light And Matter The Sigma 24-70mm f2.8 DG DN Art produces quite nice sunstars when stopped-down to f/16 and f/22, as shown above and below. As you move into the corners, the sharpness remains fairly consistent, with softening only really appearing in the very extremes. The biggest issue though is vignetting, or darkening in the corners, even with shading compensation turned on. Closing the aperture one stop to f4 greatly alleviates vignetting, while closing another stop or two also boosts the sharpness in the far corners.

Peril: "This is also an article about a Sigma lens for Sony and L-mount, not sure why Canon even entered the conversation." So at the end of the day, we can’t fault Sigma for not including IS in this lens. The Sony version doesn’t have it either, and the inclusion of IS generally increases the overall price of a lens. Ease of use in the field We didn't notice any improvement in corner sharpness from placing the focus point in the corner of the image at either the wide or telephoto ends of the zoom range. All things considered this lens is very capable resolution-wise, turning in a performance that should prove a match even for high-res bodies. Bokeh I want to start by saying I think all five of these lenses are very good, and any professional could make magic with them on an assignment. In the end, it’s the shooter and not the equipment that makes great photos.

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In terms of the quality of rendering, there’s minimal outlining, but clear evidence of onion-ring patterns within the blobs. It’s not ideal but to be fair a similar amount of onion-ringing is also visible on the Tamron 28-75 and even on the more expensive Sigma and Sony 24-70 2.8 models. If you prefer smoother bokeh blobs in this kind of situation, you’ll be better served by a prime lens than any of these zooms. A Guide to Stunning Butterfly Photography (17 Expert Tips) Silhouette Photography: The Ultimate Guide (+ 22 Tips) Landscape Photography Composition: 17 Expert Tips 22 Cat Photography Tips and Ideas for Beautiful Images Closest focus distance is 0.34m (13in.) with a magnification of 1:3.8 at 70mm focal length and manual focus. At the wide end the new Sigma even goes down to 1:2.6 which is quite good but you have only 2cm (0.8in.) of working distance at minimum focus distance. At 70mm focal length the working distance is at least 16cm (6.3in.) which is much more usable. A magnification of 1:10 is achieved at 0.76m (2.5ft.) giving a working distance of 0.55m (1.8ft.) with lens hood attached. The Tamron is quite similar to the Sigma while the other lenses in this comparison produce their largest magnification of around 1:4 at 70mm focal length. [+] Both the Sigma and Tamron f2.8 zooms are designed not only as lighter and more affordable alternatives to 24-70mm f2.8 models, but also as step-ups from budget kit zooms like Sony’s own FE 28-70mm f3.5-5.6 which costs roughly half their price but suffers from a dimmer and variable aperture that’s two whole stops slower at the long-end. Okay let’s see what the new Sigma’s all about.

Ultimately, there will always be some variation between lenses coming off of a manufacturing line for mass-produced lenses; some will perform better than others. Looking at the images produced by these two lenses and their minor differences in resolution, I suspect that an especially good unit of either one will perform better than an average unit of the other… and they’ll all be excellent lenses 2 This is based on my experience with multiple copes of the Tamron, but only one copy of the Sigma, which could, conceivably be an unusually good unit.. The Sigma 24–70mm F2.8 DG DN Art's rivals differ depending upon whether you're an E-mount or L-mount shooter. For E-mount, there's only one direct rival but several other lenses which are at least in the same ballpark. On the L-mount, though, there are two direct rivals and one more which is fairly close in its focal range. Next here’s the view at 50mm, roughly mid-way through the range, and with the aperture wide-open to f2.8. This test compares the sharpness performance of five lenses, each of them available for one or more full-frame mirrorless mounts, and all of them at different (though sometimes similar) price points. Below they are listed from least to most expensive: The company has now launched a 24-70mm f/2.8 Art lens for mirrorless full-frame Sony cameras – as well as for L-mount cameras made by Panasonic, Leica and Sigma. But it’s not just a tweak of the SLR-fit lens, shoehorned into a more mirrorless-friendly format. Instead, the new lens is completely redesigned and boasts some very up-market attractions. Specifications

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Unfortunately the Sigma can't compete with the G Master II when it comes to autofocus performance. Although the Sigma is no slouch in this regard, the Sony delivers faster and smoother focusing thanks to its four linear XD motors. Here is the angle of view that the new Sigma 24-70mm f2.8 DG DN Art covers with its 2.9x zoom (with distortion compensation): Now for focusing on the Sony A1 using a central area and single AFS mode at 70mm f2.8 and you can see there’s a minor contrast-based wobble at each focus-pull to confirm, but the process is still fairly swift and quiet too. Switching the A1 to Continuous AF mode though forces the body to use phase-detect AF alone which here is refocusing noticeably faster than before, and in my tests didn’t reduce accuracy. So it can be worth experimenting to find the best mode.

In this image, I would say that is due to lighting, autoWB and exposure. Not sure you can expect more from a default setting in that environment. WB and exposure alone will already fix that. It's not 100% fine, when you have extreme vignetting. It makes corners much more visibly noisy than the center of the image, even at base ISO, and it makes corners completely un-usable at high ISOs. Also, the extreme distortion corrections make the corners very un-sharp, sometimes. In short, a SMALL amount of built-in correction is awesome, such as that with the Sigma 14-24 2.8 DN FE; but any more than that, and the lens becomes nearly un-usable for certain things, namely astro-landscape photography. In particular I disagree with the reply - "If you crop and magnify that crop, the apparent DoF changes". I am talking about DoF, not FoV. "" -MatveichHG How hard is it to grasp that there is a difference between manufacturer color JPEG engine and a RAW developer? Sealing: yes, a rubber grommet at the lens-mount plus further special weather-sealing throughout the construction. The other lenses in this comparison are similarly equipped except for the Tamron which only has a sealing at the lens-mount. [+]Of course, on the L-mount you don't have Tamron's offerings to consider, but it's a similar story to the G Master when comparing to the Panasonic 24–70mm F2.8, and even more so against the even pricier Leica lens. I don't care what anyone says, you rarely see these problems with Canikon, but they always pop up with Sony. Set the lens roughly mid-way through its range though, at around 45mm here, and you’ll be able to essentially eliminate any effect of breathing without the need for digital compensation. So if you’re really bothered about field magnification or reduction, just zoom halfway. What really matters is Sigma's new 24-70mm Art E-mount lens really delivers the goods and is terrific value at the price.