With its standard zoom range on full-frame and generous maximum aperture, it's well-suited to subjects like portraits, weddings, events, travel and street photography. For the latter it offers full-frame-equivalent focal lengths from 36mm to 105mm, with corresponding impact to the effective aperture. Although for this comparison we're mostly looking at its Sony E-mount competition, there are some intriguing lenses on L-mount that it goes up against as well.ĭesigned specifically for mirrorless, the lens is compatible with either full-frame or APS-C camera bodies. Vignetting isn’t quite as severe in the middle to far end of the zoom, but can still be traced in images captured at f/2.8 so it’s recommended to enable lens profile corrections if you have access to them.The Sigma 24–70mm F2.8 DG DN Art is a bright, premium zoom lens for photographers on either the Sony E-mount or the L-mount shared by Leica, Panasonic and Sigma camera bodies. This reduces to 1EV at f/4, with shading becoming less noticeable in real-world images by the time you reach f/5.6. Use the lens at the widest point in the zoom range at f/2.8 and you’ll notice that the corners of images appear darker than the centre by approximately 1.4EV. Sharpness drops off beyond f/11 as diffraction takes effect. Corner sharpness never reaches the same level as centre sharpness and our results tell us that it delivers sharper results into the corners at wider focal lengths than it does at the far end of the zoom. Centre sharpness at all focal lengths peaks between f/4-f/5.6, with the best edge-to-edge sharpness being located between f/5.6-f/8. Users of the lens will find that centre and corner sharpness improves considerably by stopping it down from its maximum aperture. Sigma 24-70mm f/2.8 DG OS HSM Art review: resolution, shading and curvilinear distortion Resolutionįor our Image Engineering Tests, the Sigma 24-70mm f2/8 DG OS HSM Art was paired up with the Canon EOS 5DS R. It’s easily fixed by applying a lens profile and this distortion is common with most standard zoom lenses covering a wide to short telephoto focal length. This level of distortion isn’t a major concern however. Mild pincushion distortion also appears as you encroach 70mm. Leave the image untouched and you’ll be aware of barrel distortion at 24mm, which diminishes as you zoom in towards 35mm. It’s a similar story correcting distortion. To maximise its appeal with a wide range of users it has an optical design that we’re told is optimised for DSLRs and mirrorless cameras boasting a resolution of up to 50 million pixels.Ĭanon EOS R with EF-EOS R adapter, Sigma 24-70mm f/2.8 DG OS HSM Art, 1/200sec at f/2.8, ISO 640 The Sigma 24-70mm f/2.8 DG OS HSM Art is designed as a go-to lens for many different photographic applications. The Sigma 24-70mm f/2.8 DG OS HSM Art for DSLRs is a lens we’ve been intending to review since its arrival earlier this year, but how good is it and should those after one of the finest performing standard zoom lenses consider it? Sigma 24-70mm f/2.8 DG OS HSM Art review: features Canon mirrorless users, though, will need to use the Sigma MC-11 mount adapter. There is a mirrorless version the Sigma 24-70mm f2.8 AF DG DN Art is available in both Sony FE and L-mount versions for $1099 / £1049. It replaces the ten-year old Sigma 24-70mm f/2.8 EX DG HSM and at around $1299 / £1149 is a more affordable alternative to the Canon EF 24-70mm f/2.8L II USM ($1699 / £2109) and Nikon AF-S 24-70mm f/2.8E ED VR ($2097 / £2099). The Sigma 24-70mm f/2.8 DG OS HSM Art is available in Nikon F and Canon EF DSLR mounts. The Sigma 24-70mm f/2.8 DG OS HSM Art flanked by the Canon EF 24-70mm f/2.8L II USM (left) and the Tamron 24-70mm f/2.8 Di VC USD G2 (right)
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