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

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Easily my biggest disappointment with the 24-70 Art lens is Sigma's decision to move the zoom ring to the front of the lens with the focus ring moved rearward. At 24mm, environmental portraits that include the venue can be captured and by 70mm, people can be framed tight enough for head and shoulder portraits while retaining pleasing perspective. Selecting the lowest distortion focal length (around 28-30mm) takes care of the distortion problem (and removal during post processing is always an option at other focal lengths).

Sigma 24-70Mm F/2.8 Dg Dn Full Frame Lens for Sony E Mount Sigma 24-70Mm F/2.8 Dg Dn Full Frame Lens for Sony E Mount

Landscape photographers will care greatly, but f/8 and f/11 will likely be in use when sharp corners are required. The two Sigma lenses perform similarly, with the Art having slightly less barrel distortion between 24mm and 28mm and slightly more pincushion from 35mm to 70mm. However, it’s only likely to be noticeable above ±0.5% with linear picture elements running parallel and close to the edge of the frame. While the Sigma 24-70mm f/2.8 DG OS HSM A is good performer and represents good value overall, it’s not quite what we expected from an Art series lens. Still, it has relatively uniform sharpness across the frame over all focal lengths, while levels of chromatic aberration, distortion, and vignetting are all well-controlled for this type of lens.With many applications in aerospace and other industries, glass ceramics is an extremely tough type of crystallized glass that serves as the foundation for Clear Glass Ceramics. While featuring the high transmittance required of optical devices, this advanced new material combines greater hardness than chemically strengthened glass and greater flexibility than sapphire crystal glass. These qualities make Clear Glass Ceramics the ideal material for protective lens filters. At f/4, I like the Sigma results slightly better at the long end and the Nikon appears to be slightly sharper at the wide end, though the CA definitely gets in the way of the latter comparison. Our results show that sharpness is slightly improved overall, especially when used wide-open at f/2.8 from corner to corner and at the mid- and longer focal lengths where large-aperture zooms tend to struggle (even high-grade models). Sigma’s pro-spec 24-70mm f2.8 full-frame zoom lens is available in Canon, Nikon, Pentax, Sony and Sigma mounts, and was tested here in conjunction with a Nikon D700 (full-frame) body. So in summary, if you were after a high performance f/2.8 lens, you may find better performance elsewhere. On the other hand, if your photography allows you to stop down to f/4 or smaller much of the time, then this lens is a superb performer.

Sigma 24-70mm f/2.8 IF EX DG HSM Review - Trusted Reviews

I realize I'm jumping into this thread late but hopeful some people will still read this. I have the Tamron 24-70 g1 and love it in terms of sharpness. It took the sharpest images I was able to take at monument valley last August, even sharper than my sigma 35 1.4 art lens, although my nikon 70-200 took some incredible images as well. I am thinking about switching to the non VR nikon 24-70, as at times I feel the tamron images aren't warm enough-a quality that goes beyond just adjusting white balance. The Sigma 24-70 HSM is currently the smallest 24-70 f/2.8 lens, but it weighs about the same as its peers. While the ribbing is all good, the position, texture and diameter of the ribbed parts increases the challenge of tactilely finding the desired ring. Noticeable is that the Nikon VR has more lateral CA in the mid focal lengths, but less at the long end.Differences even out considerably at f/4, where the Sigma generally has slightly sharper center of the frame performance and the Tamron takes a couple of corners. Flare and ghosting is reasonably well controlled under normal conditions. In extreme cases with strong point sources of light within the frame flare can be a problem, with patterns of flare littering the image. This is only really an issue in very extreme cases, such as shooting into stage lighting, or when the sun is very prominent in the frame. A petal shaped lens hood is supplied, which does an excellent job of shielding the front element from extraneous light. I much-prefer holding a zoom lens with my left hand positioned under the zoom ring at the lens' balance point, which in this case is around the focus ring or just slightly rearward. If you don't need the f/2.8 aperture, there are a number of f/4 lenses that cover or exceed the 24-70mm focal length range and all are worth considering.

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

With a few exceptions, f/2.8 is the widest aperture available in a zoom lens and majority of those exceptions cover only the smaller APS-C image circle. The front lens element has a water- and oil-repellent coating that aids in keeping the lens clean and makes the lens easier to clean if something does adhere. Doing so allows the lens to focus at closer distances, though at the expense of long distance focusing. If you consider the Sigma 24-70mm f/2.8 EX DG HSM Lens to be an f/4 max aperture lens, then I think you will be pleased with the image quality it delivers.

Slight improvement is seen in the periphery at f/5.6, but across the frame image quality is very good at f/4. The 24-70mm f/2.8 lens has always been one of the most popular zoom lenses because it happens to hit many of the more popular wide to mid focal ranges. As such, it is only natural that Leica would launch one for its own L-Mount system. The closest the company had come before is the 24-90mm f/2.8-4 variable aperture lens which, while sharp, is not able to reach f/2.8 at anything other than the widest angle. The Sigma 24-70mm f/2.8 OS Art Lens design utilizes three SLD (Special Low Dispersion) glass lens elements and four aspherical lens elements working together along with special lens coatings including Sigma's Super Multi-Layer Coating to minimize optical aberrations.