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

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But, test charts are flat and a corner blur can potentially indicate that a lens' sharp focus is not in a flat plane. As usual I’ll have a look at the technical data of the new Sigma 24-70mm f2.8 DG DN Art first. I’ve rated the features with a [+] (or [++]), when it’s better than average or even state of the art, a [0] if it’s standard or just average, and [-] if there’s a disadvantage. For comparison I use the Sony 24-70mm f2.8 GM, the Tamron 28-75mm f2.8 Di III RXD, the Panasonic Lumix S PRO 24-70mm f2.8, and the Nikon Z 24-70mm f2.8 S. For short I simply use “Sigma”, “Sony”, “Tamron”, “Panasonic”, and “Nikon” in the comparisons below. The extreme corner test results shown below are an attempt to make the lens look its best in the area of the image circle where it generally looks the worst.

Sigma 24-70mm F2.8 DG DN | Art field review: Digital

Geometric distortion makes framing a scene with a straight horizon, such as the ocean, challenging as there are no lines parallel to the edges of the viewfinder or viewfinder gridlines, though cameras with electronic levels are advantageous for overcoming this issue.Uncorrected, the Tamron and Sigma lenses both produce heavier amounts of distortion than I’d hope for in a modern lens, but they have likely been designed this way because of the in-camera corrections that are available with Sony’s cameras (which also correct chromatic aberration and vignetting) as well as lens correction profiles available for Adobe Lightroom and Camera RAW, and other RAW converters. Above: Tamron 28-75mm f2.8 Di III coverage on Sony A7R II (FF) body at 28mm (left) and 75mm (right). By 0.3 seconds, that keeper rate had dropped significantly, though good results could still be obtained through very careful technique and with a high enough number of shots to cover the low percentage keeper rate. Results at 50mm f/2.8 look similar to 35mm f/2.8 except that the center of the frame now becomes quite soft/blurry.

24-70mm F2.8 DG OS HSM – Sigma UK

Internally, Sigma says they’ve updated the optical construction to meet the demands of ultra-high-megapixel cameras. It has 19 elements arranged in 14 groups, with 3 low-dispersion elements to reduce chromatic aberration. In addition, the large-diameter zoom features an image stabilizer unit. Sigma is also keen to point out that it has adopted high-grade aspherical lens elements to reduce aberrations, while at the same time paying close attention to the shape of the bokeh. The Sigma 24-70mm f/2.8 DG OS HSM Art Lens brings the "Global Vision" treatment to Sigma's version of this highly popular lens model.

A New Era in Ultralight Lenses

Thanks to excellent lens coatings, the Sigma 24–70 handles overall flare and loss of contrast quite well. Contrast is well maintained across the image and the lens largely avoids washed out areas of the image when shooting at bright sources of light. The Sigma 24-70mm f2.8 DG DN Art is a general-purpose zoom maintaining a bright and constant f2.8 focal ratio across the range. It is designed for full-frame mirrorless cameras and available in the native Sony E and Leica L mounts, the latter working on Leica, Panasonic and Sigma L-mount bodies. Announced in November 2019, it’s the third Art lens designed for full-frame mirrorless cameras, following the Sigma 35mm f1.2 DG DN Art and the Sigma 14-24mm f2.8 DG DN Art. Above: Sigma 24-70mm f2.8 DG DN Art coverage on Sony A7R II (FF) body at 24mm (left) and 70mm (right) Weight: 827g (29.2 oz.) plus 55g for the lens hood. The other lenses in this comparison are of similar weight except for the Tamron which is much lighter at 540g + 25g lens hood. The Panasonic is the heaviest at 935g (+ lens hood). [0] We tested all three lenses on the full-frame 36MP Nikon D810 to make the results directly comparable. (In our our test of the Canon-mount version, you’ll get an idea of how the Sigma Art lens fares against the Tamron and Canon models. In case you’re wondering, the Sigma isn’t a match for the Canon, which retains its position as the gold standard for this category.) Sharpness

24-70mm F2.8 DG DN | Art | Lenses | SIGMA Corporation

While it is one of the heaviest lenses in its class and while it gained in size over its predecessor, the 24-70 Art lens is one of the most-compact in its class. In that comparison, you will find other f/2.8 lenses that perform noticeably better at f/2.8 than this one.For the longest time, in most DSLR brands, an f/2.8 aperture and optical stabilization were mutually exclusive in a lens covering 24-70mm focal length range. Though it feels like a solid chunk of lens in the hand, the 24-70mm Art lens is not that heavy and I didn't feel burdened even when carrying it on a nearly-4-mile hike in the national park. I'm certain that this image and the many others I captured on this hike would not have been sharp without the aid of OS (or a tripod). Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii) with the mid and especially the periphery of the image circle showing the greatest amount as this is where the greatest difference in the magnification of wavelengths exists. Thanks to its new VXD motor, autofocus performance is snappy, and focus breathing is also minimal. Tamron has made great strides to improve the overall look of the bokeh in this lens, something which was much maligned in the original version. It has the best magnification of any lens in this article at 0.37x, compared to the Sigma's 0.34x magnification.