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

Product Information

I personally don’t shoot with the 24-70 focal length, and if I did, I would go for the Tamron 28-75 G2. I like that it’s lighter, smaller, has excellent build quality, exceptional AF, and more than half the price. The zoom is equipped with internal sealing against dust and moisture. There is also fluorine coating on the front of the lens to repel water and oil. Overall, this lens held up like a champ while shooting in a light rainstorm. Canon 5D Mark III with Canon 100mm f2/.8 – 1/160 sec, f/7.1, ISO 400 Image quality At the same time, the Tamron uses the 67mm filter threads like all of the f/2.8 zoom lenses in their lineup, while the Sigma utilizes the same massive 82mm filter threads as the Sony GM. While the Sigma lens is physically shorter and lighter than the Sony 24-70 f/2.8 GM (5.35″ long, 1.95lbs), it is still substantially larger than the Tamron 28-75; the Sigma weighs 1.84 pounds compared the the Tamron’s 1.21, about 65% as much as the Sigma. Matthew Gore | Light And Matter

Heading into the far corner shows the lens continues to perform very well and deliver a flat field with no real softness to complain about. Stopping down a little will give you a minor boost, but ultimately I was very satisfied with the results throughout the zoom range with a distant subject. Sony has the FE 24-70mm f2.8 GM from 2016 (1860 EUR / 2200 USD). It is just a little longer/heavier than the Sigma and offers similar features. See my Sony FE 24-70mm f2.8 GM review where the lens earned a recommendation.

Update History

If you have a template/ideal raw file in terms of "color science", then you can use HSL sliders, Calibration sliders, and RGB curves to pretty much perfectly match colors between different brands of cameras within the same raw converter. When we get into looking at the sharpness at the edge of the frame, you’re going to see a huge variance in the way the subject is presented. Since this isn’t a truly scientific test and these shots are all just taken exactly as the cameras they are attached to show them, there is clearly something happening internally on some of these cameras. For example, it’s pretty well known that Lumix cameras hard-bake in their lens corrections into the RAW file. There are known ways to get around this, but I opted to just show you exactly what comes out of the camera. 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.

We did note some field curvature for macro shooting, which leads to rather soft corners, but the 24–70mm F2.8 isn't an incredibly sharp lens when shooting close-up in the first place. Stopping down yields very good corner sharpness. I'd say the rating is a bit low, because it came out into 2019. By that time, there was only the cheap Tamron 28-75/2.8 RXD G1 avialable, and of course the GM 24-70/2.8 Original, hence Mark I - and the Sigma is/was very close to this, the original Sony GM was 2399 EUR when being released into 2016 - crazy !I want to start by saying I think all five of these lenses are very good, and any professional could make magic with them on an assignment. In the end, it’s the shooter and not the equipment that makes great photos.

The Leica Vario-Elmarit-SL 24–70 F2.8 Asph., meanwhile, is by far the most similar to the Sigma 24–70mm F2.8 in specification, even if it is more than 2.5 times as expensive. Its size and filter threads are identical and its weight only 3% greater than that of the Sigma. The build quality and handling of Sigma’s new 24-70mm Art lens for mirrorless cameras is top-notch. It feels really robust without being overly heavy, and has refined handling in every area, from the smooth-action zoom and focus rings to the various buttons and switches. Autofocus is super-fast, deadly accurate and virtually silent.Every camera brand changes colors a bit, from camera to camera. On Canon / Nikon, whenever a new 5D or D7x0/D8x0 came out, everybody talked about how the colors weren't the same as their last camera. maybe people who used to Canon/Fujifilm colors too much, personally i, after years with experience on Canon/Nikon/Sony full-frames cameras (never used Fijifilm though) would say: yes Canon DOES have SPECIFIC COLORS at daylight photography when WB is warm. and, notice, i didn't said GOOD colors, i said SPECIFIC. when you used to it - you probably would fin a way to get same colors on other system, cause such specific color is specific in wofkflow and need specific approach, so when you get other colors from other camera - it would be hard to used to it. ARE THIS COLORS GOOD? they are warmy comfy and could be really good for wedding / some commercial shootings. why i ain't consider them GOOD? 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.

Most 24-70mm shooters aren’t too concerned about distortion, but if you’re shooting architecture or straight lines, all 3 lenses are great, but Sony still out performs in this category. Is it worth it? Ultimately, there will always be some variation between lenses coming off of a manufacturing line for mass-produced lenses; some will perform better than others. Looking at the images produced by these two lenses and their minor differences in resolution, I suspect that an especially good unit of either one will perform better than an average unit of the other… and they’ll all be excellent lenses 2 This is based on my experience with multiple copes of the Tamron, but only one copy of the Sigma, which could, conceivably be an unusually good unit.. After reviewing the Sigma 24-70 f/2.8 OS ART for Canon mount, I didn’t have particularly high hopes for the new Sigma 24-70 model for mirrorless, so I was pleasantly surprised to discover how well the new lens performed. 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: For astrophotography, all three of these lenses would do quite well, but if I had to choose one, I’d go for the sigma 24-70. Build quality

Manuals / Brochures

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. Ask any photographer what single lens they would rather have if marooned on a desert island. I’ll bet a good chunk of the answers would be the “24-70mm.” This is a classic mid-range lens that covers a useful and versatile focal length. 24mm is just wide enough to capture vast landscapes without much distortion, while 70mm offers just the right amount of zoom to capture shots from a distance. At the wide end of the zoom (tested at 28mm), the Sigma produced noticeably better resolution than the Tamron across the frame, from center to corner. The difference was admittedly a minor one, in most cases, but visible outside of laboratory conditions. Matthew Gore | Light And Matter For orientation, this is the full from of the shots being compared below as 100% crops.