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

Product Information

If you're an E-mount shooter who's especially sensitive to size, weight or cost, and you can live with the lesser wide-angle possibilities, it's definitely worth investigating Tamron's latest offering. 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 The Sony 24-70 2.8 ii also has new XD linear motors that have increased AF performance. I think the AF speed is slightly better than the previous model, and especially noticeable in video.

As you might expect given its bright F2.8 maximum aperture, the Sigma 24-70mm F2.8 is a fairly large lens, although some of its rivals are even larger. Its barrel length is 122.9mm (4.8") for the L-mount version or 125mm (4.9") for the E-mount version, and both variants share the same diameter of 88mm (3.5"). Next let’s zoom the lens to the 35mm focal length, here starting again with the aperture wide-open to f2.8. Taking a close look in the middle of the frame tells the same story as at 24mm, so lots of fine details and high contrast out of the gate, with a very mild boost if you can stop it down to f4. As with all Sony lenses, the build quality is top notch, and I think the size, ergonomics, and comfort are great. I also like the build quality of Sigma’s 24-70, but I still think Sony takes the win. Either use something like C1 and disable corrections for all of them, or enable them for all mounts.Which just means they are left on for M43, Fuji-X, Nikon Z and Canon RF. And you just artificially disadvantage camera manufacturers that give users the option. I like the Lumix here the most, but the Sigma and Nikkor are looking pretty nice right behind it. These are easily the least bad of all the f/2.8 corners we’ve looked at, which makes sense given we are at 70mm.

All RAW files are not the same. Go look at Fujifilm and Canon and even Olympus files. Some say Sony colors are "accurate ", but Canon/Fujifilm/Olympus make more pleasing or better looking photos. Where did I make a blanket statement?! I said specifically that sigma already has the top spot for A FEW of their lenses.Above: Tamron 28-75mm f2.8 Di III coverage on Sony A7R II (FF) body at 28mm (left) and 75mm (right). Next here’s the view at 50mm, roughly mid-way through the range, and with the aperture wide-open to f2.8. In the end, I prefer the Sigma 24-70 f/2.8 over the Tamron in almost every aspect except for the size and weight where I prefer the Tamron to such a massive degree that it would really make this a difficult choice for me.

Like many new lenses for mirrorless cameras, however, it’s not optically perfect and takes advantage of in-camera corrections for the likes of distortion and vignetting. But almost all zoom lenses will require some degree of in-camera corrections to reach peak performance.If you crop and magnify that crop, the apparent DoF changes, same way the noise is now more apparent even tho it hasn't changed, but you're seeing it magnified by the crop. 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. 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.

We didn ’ t see that with the Sigma ART 35mm f/1.2 because of the size required for the f/1.2 aperture.) AF-operation of the new Sigma is inaudible from the outside or if you record video with the built-in microphone. And as you pull focus, you’ll notice no focus breathing at all: the image simply keeps its magnification at closer focusing distances. This should make videographers happy. Returning to the f2.8 image and heading into the far corner shows a very mild drop in sharpness and minor darkening from vignetting, but it’s still a great-looking result especially as again it was focused in the middle. As you gradually close the aperture, any darkening will lift and you’ll gain some extra sharpness on the far corner.

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