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

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Although it has slightly worse AF and sharpness than the Sony, it’s not a big enough concern for me to care. Of course, on the L-mount you don't have Tamron's offerings to consider, but it's a similar story to the G Master when comparing to the Panasonic 24–70mm F2.8, and even more so against the even pricier Leica lens. For E-mount shooters, the nearest alternative might be the Sony FE 24–70mm F2.8 G Master II lens, which is more than double the price of the Sigma. However this newer lens brings much to the table, improving upon its predecessor in almost every way. The older 24–70mm F2.8 GM is still available, often at a discount, but it's never been a favorite of ours.

Size (diameter x length): 88 x 125mm (3.5 x 4.9in.) plus 36mm for the lens hood which is 106mm in diameter. Zooming in to 70mm extends the front-end of the lens (which is a single-barrel design) by another 34mm bringing the total length to 195mm (7.7in.). The Nikon is of similar size while the Sony is 11mm and the Panasonic 15mm longer (at 24mm focal length). The Tamron is the smallest lens at 73 x 118mm (2.9 x 4.6in.) plus 27mm for the lens hood. [+]If you’re a pro photographer, and you shoot sports, weddings, or fast action photography, the Sony 24-70 2.8 ii may be the lens you’ve been waiting for. If you’re the type of person who needs the best of the best, yes the Sony 24-70 2.8 ii is the best overall 24-70mm 2.8 lens. I just don’t think it’s worth the price. The Sigma 24-70mm f2.8 DG DN Art lens has a generously sized focus ring, which is ridged for easier grip. There are no hard stops at the ends of the range, making it harder to set focus at infinity. Polariser users should be pleased that the 82mm filter thread doesn't rotate on focus. Flare is a typical problem with wider-angle lenses, so we were curious to find out how the Sigma 24-70mm f2.8 DG DN Art fared in this respect. Now Sony has the Mk. II out now, and there's more (listed) competion, like DPR posted exactly - but forgetting the cheapest 24-70/2.8 of them all, the new Samyang 24-70/2.8, which is being something enhanced with their latest v3 Firmware...and cheapest price is under 740 EUR new. Review (posted last year) online in german here:

Since both lenses are effected, and since distortion and vignetting are so easily corrected in both cases, I don’t consider them to be important factors for choosing either lens for photographers. However, these factors may be important for people primarily shooting video (though “Lens Compensation” is also available for video in most Sony cameras). I don’t shoot video, as a rule, so I can’t comment on the matter. 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. So to be clear, each of these snippets is the absolute upper right-hand corner of all of the shots. At the other end of the zoom, at the Tamron was occasionally more contrasty, creating a sharper appearance to the image overall, but resolution differences were negligible. In some parts of the frame, particularly at f/2.8, the Tamron appeared to produce marginally better resolution, but it was a difference only visible when pixel-peeping at 100% magnification. Matthew Gore | Light And Matter At the 70mm end of the zoom, the Sigma 24-70 and Tamron 28-75 produce nearly identical image quality, though the Tamron sometimes appears slightly better to me. Like all of its nearest E-mount and L-mount rivals, Sigma's 24–70mm F2.8 eschews optical image stabilization in favor of in-body IS. It also opts for the same 82mm filter threads as used by all of its direct competition. A hydrophobic and oleophobic coating on the front lens element helps to resist rain drops and accidental smudges.The Sigma 24-70mm f2.8 DG DN Art produces quite nice sunstars when stopped-down to f/16 and f/22, as shown above and below. For L mount there’s only one alternative from Panasonic but in case Sigma manages in the future to adapt their new lens for Canon’s EOS R and Nikon’s Z system too I’ve included the native 24-70mm zoom lenses from both manufacturers. Most of these alternatives are from 2019: 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 Sony 24-70 2.8 GM ii is a great lens for anyone who can afford it. If I had to choose between this lens and the Sony 70-20 2.8 ii, I’d choose the 70-200 in a heartbeat.

So let’s start with my distant landscape scene, angled as always so that fine details run right into the corners. Here’s the lens at 24mm f2.8 and taking a close look in the middle reveals a tremendous amount of detail and high contrast even with the aperture wide-open. Closing it one stop to f4 provides a tiny boost for pixel-peepers, but as far as I’m concerned, it’s looking great in the middle at f2.8. As I mentioned, my testing has been somewhat limited by the COVID-19 pandemic. Have your experiences with these lenses been different than mine, or about the same? I’d love to hear either way. 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.Chromatic aberrations, typically seen as purple or blue fringes along contrasty edges, are not a problem for the Sigma 24-70mm f2.8 DG DN Art, even at the edges of the frame. If you’re young and healthy and don’t mind an extra half pound of weight, the Sigma will pose no problem. If you’re doing what you can to lighten your camera bag, though, the Tamron may still be your best choice. Zoom Range Here is the angle of view that the new Sigma 24-70mm f2.8 DG DN Art covers with its 2.9x zoom (with distortion compensation): Focus accuracy and repeatability is critical to consistently produce sharp shots. Repeatability (the accuracy of focus on the same subject after repeated focus-acquisition) of this lens at 70mm focal length is very good (measured 99.1% in Reikan FoCal) with no outliers over a series of 40 shots. There is no focus variation whether the lens focuses from a closer distance or from infinity and I didn’t detect any hunting. At 70mm focal length the lens focuses in around 0.7 sec from infinity to 0.76m (1:10 magnification), which is as fast as the Tamron 28-75mm f2.8 Di III but slower than the Nikon Z 24-70mm f2.8 S (on a Z7) at 0.5 sec.

Looking closer in the middle again shows decent detail which again looks pretty good out of the gate at f2.8. Weighing in at 830 grams and measuring nearly 12.5cm in length, the Sigma 24-70mm f2.8 DG DN Art is certainly a big and heavy lens given its focal length, although it's actually slightly lighter and shorter than its main rival, the Sony FE 24-70mm F2.8 GM (886g and 13.6cms). Getting the best idea for what you, the consumer, can expect from a lens requires testing more than one lens. It requires testing more than a dozen. That’s why LensRentals tests a huge swatch of lenses and averages the results. We highly recommend you use them as well as looking into the results here. As much as you should judge a lens by its average, you should also know how individual lenses that are sent out at random perform against one another. The score of 0[-]/5[0]/11[+] shows that the Sigma 24-70mm f2.8 DG DN Art is quite well-featured with the unique option to get the lens-mount swapped.As a newer lens, we expected the Sony to dominate in terms of image sharpness, and we have to admit it is more consistent across the image at wider apertures. Nevertheless the older Sigma 24–70 Art holds its own in this regard.