Sigma 28-70mm F2.8 DG DN for L-Mount

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Agreed., the three 28-70s I used were barely up to 12Mp A7S bodies outside the centre area at F5.6 let alone bunging them on an A7R3 .. I`ve only had one Zony 24-70 F4 and i`m guessing it was a poor copy as were many others from reports on here , even ignoring that, it was very underdeveloped optically with all sorts of issues - the Tamron 28-75 is another league .

2.8 Versus Sigma 24-70mm f/2.8: Is There a Leica 24-70mm f/2.8 Versus Sigma 24-70mm f/2.8: Is There a

Stopping down to F5.6, we see a slight improvement in sharpness at wide-angle and a bigger improvement at telephoto, since the lens is softer wide open at 70mm than it is at 28mm. You'll appreciate this improvement in sharpness more if you're shooting with a high-resolution camera. We tested with both the 42-megapixel Sony A7R III and 47-megapixel Panasonic S1R; with a 24-megapixel body, that difference would be much less noticeable. On the other hand, it's quite prone to cat's eye effect when shooting wide-open, giving the bokeh more of a football (or for non-Americans, rugby ball) shape the closer it gets to the corners. And that problem is not limited just to those corners but extends quite a long way towards the center of the frame. Cat's eye effect is quite noticeable when shooting wide-open and can appear quite a long way towards the center of the image frame. As you might expect, the featherweight Sigma 28-70mm F2.8's body is predominantly constructed from polycarbonate, although it does still have a metal mount and build quality is good. And while it isn't fully weather-sealed like its nearest rivals, the mount still includes a seal that should help protect your camera body from the elements, if not the lens itself. Sharpness drops off a little at the corners on the wide end at F2.8, but stopping down to F5.6 gives a relatively flat field of focus and improved corner sharpness. That said, focusing in the corner yields higher corner sharpness than focusing in the center and stopping down, indicating a curved field of focus. Focusing in the corner and stopping down yields even better corner sharpness, as expected. The not-so-flat field of focus, at least in part, contributes to the peripheral softness when focusing centrally.A little color fringing can be apparent towards the edges and corners of the image frame at shorter focal lengths of 28-35mm, though it reduces to unnoticeable levels once you zoom in to 50mm and beyond. I like vignetting. RX1 vignette heavily at corners wide open. Though, it can be controlled I do not turn on vignette suppression in camera at all. I like to shoot Toy Effect it gives dramatic effect vignette in the corners sharp in the middle to center. To be fair, Canon's new mount is only two years old, so it wouldn't make sense not to capitalize on all that extant glass. The Sigma 28-70mm F2.8 DG DN Contemporary ships with a plastic petal-shaped lens hood (LH706-01) that twists into place, but there's no soft case included as with the more expensive Art version. Focal Range Or even a 22-55mm or 22-60mm. I'm almost always on the wide end. Paired with a 70-200 f4, it'd be an amazing travel setup.

Sigma 28-70mm F2.8 DG DN Review | Photography Blog

I once had a boss, actually a very good friend. He was always in a hurry and often needed to print some papers just before meetings. And we had a big printer, such a one that you move on wheels. And it often refused to give him the copies or printouts, just then in a bad mood. In the lens announcement video, they make the discreet distinction that the 24-70 Art is weather-sealed, while this 28-70 is NOT Budget alternative: Stepping down to an f/4 lens creates a lot of wiggle room in the budget with optics like the Panasonic Lumix S Pro 70-200mm f/4 OIS. Corner sharpness will always be lower than at the center but, even so, we'd expected a slightly better performance here, especially at 70mm where images are fairly soft at larger apertures. unhappymeal - "until April of last year (or was it 2019?), Sony Cameras was a part of the same group as their Semiconductor group"If you’re looking for a versatile lens that really delivers the goods without breaking the bank, the Sigma 28-70mm f2.8 DG DN Contemporary lens is a fantastic option to consider. It is compact, and light yet with a focal length range of 28-70mm, this one lens might just be all you need for a trip or an event. In addition, having a maximum fixed aperture of f2.8 not only helps you achieve a better shallow depth of field than a lens with a smaller maximum aperture, it also helps you in low light photography. Furthermore, this is a well made lens, has fast autofocus, and the image quality is excellent. Do you need the Sigma 35mm f/1.2 Art? Probably not, but you’re going to want it. It’s a lens worth showing off and, considering the f/1.2 aperture, is also reasonably priced relative to the f/1.4 competition.

Sigma 28-70mm f2.8 DG DN Contemporary Lens (Panasonic L Mount)

Not only does it cost a lot less than the best standard zoom lenses, but it's much smaller and lighter, too, making it ideal for traveling. Like other lenses in Sigma’s I-series Contemporary line-up, the 20mm has impressive build quality based on a coated brass mounting plate, a metal barrel and even a metal lens hood and lens cap, the latter of which is magnetic. A more regular plastic lens cap is also supplied in the box. The construction features multiple weather-seals and is dust- and moisture-resistant, it combines intuitive handling with fast autofocus and impressive image quality, making it an ideal ultra-wide-angle lens for architectural interiors, sweeping landscapes, astrophotography and more besides.

Another thing you can see is how sharpness is best at the center of the lens and it shows that there is a slight fall off as we move to the edges of the frame. The Sigma 28-70mm f/2.8 DG DN is a very sensible option for a mid-range zoom. It’s a fairly unique focal length with only a few alternatives that match. Sony makes the 28-70mm f/3.5-5.6 OSS lens which is around half the price of the Sigma, but it is a variable aperture combined with a smaller base aperture which will turn many people off to it. There is a thin rubber band at the camera end. But no other sealing at all. So altogether it is NOT sealed. But still a nice lens. A sunny weather lens ? Center-frame sharpness is superb at shorter focal lengths, even wide open at f/2.8. Sharpness dips slilghtly as you head towards 70mm, though not by a noticable amouont. This was taken somewhere in Chinatown using the fp L, and the 70mm focal length. The settings were 200 ISO and f8.

Sigma 28-70mm F2.8 DG DN Review - DustinAbbott.net Sigma 28-70mm F2.8 DG DN Review - DustinAbbott.net

Budget alternative: The Sigma 35mm f/1.4 DG HSM Art Lens may not be quite as bright, nor as sharp, and it’s not built specifically for mirrorless cameras, but it’s still available in L mount and is a steal for less than a grand. As for the autofocus, the 28-70mm f2.8 DG DN Contemporary lens uses a stepping motor that is definitely responsive. It’s plenty fast, and accurate. It’s also near silent. The camera usually plays a part in autofocus performance, and as I mentioned earlier, I was testing this lens with both the S1, and the fp L. It works great on both cameras. Shooting wide-open at F2.8 (which you'll quite likely want to spend much of your time doing if you've bought this lens for its bright maximum aperture), sharpness is very acceptable in the center of the frame at 28mm and remains pretty good even once you zoom in to the 70mm telephoto.For the most part, bokeh is very pleasing, with only very slight onion ring and a nice, polygon-free shape even when stopped down to F4. But keep in mind that 24-70/2.8 art is not that sharp. I am a big fan of sigma after using 50/1.4 and 85/14 art, but found the 24-70 art lens soft. But in all fairness, zoom lenses at this range are never close to prime performance wide open. Where lesser zooms sacrifice sharpness for versatility, the Leica Vario-Elmarit-SL 24-90mm f/2.8-4 ASPH rivals the image quality of a prime lens. Photos are exceptionally sharp, and an optical stabilization system rated at 3.5 stops helps keep blur from obscuring those details. When a scene is no longer interesting from every angle, Insta360’s latest camera simply transforms into a GoPro-like action camera -- or a 1-inch-sensor Leica, if you prefer. Announced on January 7 during CES 2020, the Insta360 One R is a modular action camera system that allows users to switch lens-sensor modules and accessories.