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Sigma 24-70mm f/2.8 DG DN Art Lens Review

A 24-70mm f/2.8 lens is a staple in a loftier percentage of photographers' kits, and Sigma's 24-70mm f/ii.8 DG DN Fine art Lens has the additional properties required to make it a #one seller at B&H.

This lens is well built, nicely designed, optically excellent, and very reasonably priced. That the focal length range and broad aperture combination is and so useful means that this lens will often be mounted, making its value very loftier.

Focal Length Range

The focal length range (or individual focal lengths for prime number lenses) is a primary consideration for a lens purchase or pick for use. Focal length matters greatly because information technology drives focus altitude choices, and perspective is determined past those distances. Nigh subjects tin can exist photographed with any focal length, but not all angles of view provided past those focal lengths are practical from a working distance perspective, and they do not all provide the ideal perspective when the desired subject framing is obtained. For example, photographing a group of 15 people with a 600mm lens requires a working altitude that might crave a large sports field to go on all group members in the frame, and a telephone may be required to communicate with them.

The wide-angle through short telephoto 24-70mm focal length range covers a huge range of general-purpose needs, making it an platonic option for photographing a vast range of subjects. This is the type of lens that y'all can accept when you are non sure which focal lengths you will need and usually, it will exist establish to exist the correct choice.

The 24-70mm range is great for photographing people, and it is platonic for portraits, weddings, parties, events, family unit gatherings, documentaries, interviews, lifestyle, theater, manner, studio portraiture, candids, and even some sports. Use 70mm for head and shoulders portraits and the wider end for group portraits and environmental imagery.

This lens is a perfect choice for media and photojournalistic needs. It is a nifty option for street photography.

This lens is an fantabulous option for landscape and cityscape photography with platonic compositions waiting for every focal length bachelor in this lens. It is not difficult to create compelling landscape compositions using the 24mm perspective, allowing emphasis on a foreground subject area against an in-focus background, providing the viewer a sense of presence in the scene. At the other end of the range, 70mm works groovy for mildly-compressed landscapes featuring distant subjects such as mountains.

With a wide aperture, this lens is attractive for photographing the nighttime sky with the 24mm end being of most interest in that regard.

This lens is well-suited for commercial photography, and the wide cease of the range is ready to capture exterior compages and larger interior spaces. Cityscapes, countrysides, flowers, medium and large products, and much more are on this lens' capabilities list.

Following are examples of this focal length range:

APS-C imaging sensor format cameras employ a smaller portion of the paradigm circumvolve, framing a scene more tightly. The Sony field of view crop factor is 1.5x, with the 24-70mm range providing a 36-105mm total-frame angle of view equivalent. This angle of view has greater value for portraiture while foregoing some of the best landscape angles.

Max Aperture

As of review time, very few zoom lenses have a maximum aperture opening wider than this one, and but one of those covers near of this lens' focal length range. A wide discontinuity is a big feature advantage this lens holds.

Wide apertures are useful for stopping activeness, both that of the subject and that of the camera, in low light levels while keeping ISO settings low. While having an f/2.8 aperture may non be profoundly advantageous from ISO and shutter speed perspectives when photographing nether bright light (daylight, for example), the story is different in low light scenarios.

Broad apertures do good AF systems, enabling them to work ameliorate in low light environments. Even when photographing under brilliant light conditions, wide apertures are useful for creating a potent groundwork blur that makes a subject field cleanly stand out, isolated from even highly distracting backgrounds.

Here is an example of the maximum background blur this lens can produce at the specified focal lengths:

Remember that broad-angle lenses return the groundwork details smaller in size? That includes the background blur. Still, this lens can create a potent amount of background mistiness, even at 24mm.

A disadvantage of a wide discontinuity is the required increased physical size of the lens elements that come up with heavier weight and higher price. This lens keeps especially that last factor in cheque.

Prototype Stabilization

The Sigma 24-70mm f/ii.viii DG DN Art Lens is not optically stabilized, but Sony generally takes care of that omission with Steady Shot or IBIS (In-Body Paradigm Stabilization). On a traditional DSLR with an optical viewfinder, IBIS results in an unstabilized view, meaning that stabilization was non helpful for limerick or for providing a however field of study to the photographic camera'south AF system. With EVFs being prevalent in Sony'due south compatible E-mount lineup, the viewfinder image is directly from the imaging sensor, which is stabilized. Therefore, the viewfinder image is very nicely stabilized, and sensor-based AF takes reward of the stabilized view for improved accuracy.

With no IS switch on the lens, the camera menu must be used to enable or disable IBIS, an boosted step that is abrasive when speed is important such as when going from tripod to handheld.

Epitome Quality

Best-selling lenses usually achieve that condition in part because they have excellent optical performance. This lens checks that box.

Sharpness, a combination of contrast and resolution, is a primary optical quality nosotros are interested in. Photographers desire, minimally, the option of keeping their subjects sharp.

In the eye of the frame, this lens is very sharp wide-open up throughout the entire focal length range. At the focal length extents, very pocket-size sharpness increase is realized past selecting a narrower aperture. In the midrange, stopping downwards brings on more noticeable sharpness increase, at least at closer distances.

In lens designs, light rays are increasingly bent as the paradigm circle radius increases, and peripheral operation seldom matches the centre of the frame performance. In this example, f/ii.8 peripheral results at the broad and long ends are very good, and the midrange functioning is only modestly lower. Small sharpness comeback is brought on by selecting a narrower aperture.

Side by side, permit's view some real-world examples. Below you will find sets of 100% resolution center of the frame crops captured in uncompressed RAW format using a Sony a7R III. The images were candy in Capture 1 using the Natural Clarity method with the sharpening corporeality set to only "xxx" on a 0-1000 calibration. Note that even modestly-high sharpness settings are destructive to prototype details, hiding the true characteristics of a lens.

All of these results look excellent.

In some lens designs, the plane of sharp focus tin can move forrad or astern every bit a narrower discontinuity is selected. This effect is chosen focus shift (residual spherical aberration or RSA), it is seldom (never?) desired, and this lens does not exhibit such.

Next, we'll await at a comparison showing 100% extreme-peak-left-corner crops captured and candy identically to the to a higher place middle-of-the-frame images. The lens was manually focused in the corner of the frame to capture these images.

Right, the 40mm results are missing. I didn't grab a problem with the examination images until the lens was gone. Utilize the prototype quality test chart for the midrange results. Expect 40mm to provide performance like to what is seen to a higher place.

Samples taken from the outer farthermost of the image circumvolve, full-frame corners in this case, tin can be counted on to show the worst performance a lens is capable of. The 24mm results are impressive, and the 70mm results are swell.

Corner sharpness does not always thing, simply it does matter for many disciplines, including landscape and architecture photography. This lens is a great pick for those purposes.

When used on a photographic camera that utilizes a lens's entire image circle, peripheral shading tin be expected at the widest aperture settings. At 24mm, wait about three-stops of shading in the farthermost full-frame corners. The shading improves slightly at the longer focal lengths, with most two-stops of concealment in the extreme corners. Vignetting continuously clears equally the aperture is narrowed, but the per-stop reduction is low. At f/16, a relatively strong about-1.6-stops of shading remains in the 24mm corners. The longer focal lengths again fare better with about 0.5-stops remaining at 70mm f/16.

APS-C format cameras using lenses projecting a full-frame-sized prototype circle avoid vignetting problems with this lens.

1-stop of shading is the amount often used as the visibility number, though subject details provide a widely varying corporeality of vignetting discernibility. Vignetting is correctable during post-processing with increased racket in the brightened areas being the penalty, or information technology tin can exist embraced, using the event to describe the viewer'south eye to the middle of the frame. Study the pattern showing in our vignetting test tool to make up one's mind how your images volition be afflicted.

The consequence of different colors of the spectrum being magnified differently is referred to every bit lateral (or transverse) CA (Chromatic Aberration). Lateral CA shows every bit colour fringing along lines of stiff dissimilarity running tangential (meridional, right angles to radii) with the mid and specially the periphery of the image circle showing the most pregnant amount as this is where the most significant departure in the magnification of wavelengths typically exists.

With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide. Notwithstanding, information technology is always improve non to have the problem in the first place. Any colour misalignment present tin easily be seen in the site's image quality tool, just let'southward also expect at a set of worst-case examples. These are 100% crops from the extreme top left corner of ultra-high-resolution Sony a7R IV frames showing diagonal black and white lines.

At that place should just be black and white colors in these images, with the additional colors indicating the presence of lateral CA. Non unusual is for a zoom lens to accept noticeable color separation in the corners at the focal length extremes (with the fringing colors existence reversed) with mid-range focal lengths showing little lateral CA. The colour shift crossover (colors aligning and and so reversing) happens at approximately 40mm where little color shift is seen.

A relatively common lens abnormality is axial (longitudinal, bokeh) CA, which causes non-congruent focal planes of the various wavelengths of light, or more than simply, different colors of calorie-free are focused to different depths. Spherical abnormality along with spherochromatism, or a change in the amount of spherical abnormality with respect to color (looks quite like to axial chromatic aberration but is hazier) are other common lens aberrations to find. Axial CA remains at least somewhat persistent when stopping down with the color misalignment effect increasing with defocusing. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.

In the real earth, lens defects do non exist in isolation with spherical aberration and spherochromatism generally found, at to the lowest degree to some degree, along with centric CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.

In the examples beneath, look at the fringing colors in the out of focus specular highlights. Created by the neutrally-colored subjects, fringing color differences were introduced past the lens.

The 24mm and 35mm examples show minor color separation. The 50mm results bear witness strong color separation, and the 70mm results prove very potent color separation.

Flare and ghosting are caused by bright light reflecting off the surfaces of lens elements, resulting in reduced contrast and sometimes-interesting artifacts. Sigma utilizes Super Multi-Layer and Nano Porous Coatings to combat these problems. With a wide-open aperture, this lens shows very minor flare effects in our sun in the corner of the frame test. F/xvi ordinarily brings on stronger flaring, and this lens indeed shows more flare effects at this narrow discontinuity. Still, the amount is not strong.

Flare effects can exist embraced or avoided, or removal can exist attempted. Removal is sometimes very challenging, and in some cases, flare effects can be quite subversive to epitome quality.

Two lens aberrations that are peculiarly axiomatic when shooting images of stars, mainly because bright points of light confronting a nighttime background make them easier to encounter. Coma occurs when light rays from a point of lite spread out from that point, instead of beingness refocused equally a point on the sensor. Blackout is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light which can be oriented either away from the center of the frame (external coma), or toward the middle of the frame (internal coma). Coma clears equally the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). Call up that lateral CA is some other aberration apparent in the corners.

The images below are 100% crops taken from the acme-left corner of a7R 3 frames.

While these results are non unusual for a lens in this class, they are not keen.

This is a standard zoom lens, and the standard zoom lens geometric distortion statement holds. This lens has butt distortion at the wide end that transitions into negligible distortion (at just wider than 35mm) and on into pincushion baloney at the long stop. The amount of butt distortion at 24mm is moderate, with a potent burl in the central portion of the frame. The pincushion baloney at 50mm through 70mm is moderately strong. These amounts are not unusual for this grade of lens.

Most modern lenses have lens correction profiles bachelor, and distortion tin easily be removed using these. Nevertheless, distortion correction is destructive at the pixel level as some portion of the image must be stretched, or the overall dimensions reduced.

The corporeality of blur a lens tin produce is piece of cake to show, and as seen earlier in the review, this lens can create a strong blur. Assessing the quality is more than challenging due in part to the infinite number of variables present among all available scenes. Here are some f/11 (for aperture bract interaction) examples.

The start set of examples show defocused highlights. These are being rendered especially circularly, though the fill seems slightly mottled. The second set prove 100% crops from outdoor scenes, results that announced prissy.

Except for a modest number of specialty lenses, the wide aperture bokeh in the corner of the frame does not produce round defocused highlights with these effects taking on a cat's eye shape due to a form of mechanical vignetting. If you look through a tube at an angle, similar to the light reaching the corner of the frame, the shape is non round. That is the shape seen here.

The 24mm corner chemical element truncation is relatively strong, while the 40mm and 70mm results show only the deep corner highlights being unrounded. As the aperture narrows, the entrance student size is reduced, and the mechanical vignetting absolves with the shapes becoming rounder.

With a very high eleven-bract count aperture, point light sources captured with a narrow aperture setting and showing a sunstar result will have 22 points. In general, the more a lens is stopped downward, the larger and better-shaped the sunstars tend to be. Wide aperture lenses tend to be advantaged in this regard, and for that reason, I often select a wider aperture lens than is required past other constraints. This lens can produce beautiful stars.

The examples above were captured at f/xvi. In general, the wider the focal length used on a fixed max aperture zoom lens, the better shaped the sunstars are due to the aperture opening being fabricated considerably smaller at 24mm than at 70mm to achieve the same aperture setting.

The pattern of this lens is illustrated above and described below.

"As extra-depression dispersion glass materials, six sheets of "F" depression dispersion (FLD) drinking glass and two sheets of special depression dispersion (SLD) drinking glass are lavishly employed while taking advantage of an optical blueprint defended for mirrorless lenses. By employing three aspheric lenses, this zoom lens thoroughly subdues aberrations such every bit centric chromatic aberration or sagittal coma aberrations, which are difficult to right in post-processing, tailors the resolution and achieves uniformity and superior optical functioning from the center to the periphery throughout the zoom range." [Sigma]

While the color fringing is stiff at the long end, and lateral CA, vignetting, coma, and distortion results are simply boilerplate. Yasuhiro Ohsone (Head of Production Planning, SIGMA) mentions, "Leaving distortion correction and vignetting reduction to the camera's image processing allows us to focus on a higher effectiveness of other optical corrections and have more freedom in our optical pattern." The sharp images produced by this lens overshadow the other issues, resulting in a very-high-performing lens.

Focusing

Sigma describes the AF system in this lens: "Employing a stepping motor and the latest algorithm successfully establishes a good residuum between dispatch and quietness of the AF drive."

This lens focuses with expert speed, aside from the a7R III and Iv insisting on defocusing before refocusing in AF-S mode. Accuracy is a key gene for AF, and accuracy is what this lens delivers.

Sigma provides an AFL (AF Lock) push. While in continuous focus manner, this button tin exist pressed to lock focus at the currently selected focus distance, permitting a focus and recompose technique. This button as well acts as a custom button (C5) and can exist programmed to another function using the photographic camera's menu.

FTM (Full Time Manual) focusing is supported in Sony's DMF (Direct Manual Focus) AF mode.

Normal is for the scene to alter size in the frame (sometimes significantly) as the focus is pulled from 1 extent to the other, referred to every bit focus animate, a change in focal length resulting from a change in focus altitude. Focus breathing negatively impacts photographers intending to use focus stacking techniques, videographers pulling focus, and anyone very-critically framing while adjusting focus. This lens shows a moderate change in discipline size as full extent focus adjustments are fabricated at the wide end, but minor size change is observed at the long cease.

A focus altitude window is not provided, but a focus distance meter shows in the lower portion of the photographic camera's electronic viewfinder during manual focusing.

While information technology can be an individual lens-specific aspect, parfocal-like beliefs is a characteristic of the reviewed lens. When focused at 70mm and zoomed to 24mm, the discipline remained at least very close to sharply focused.

The Sigma 24-70mm f/two.8 DG DN Art Lens provides a large focus ring, ideally positioned toward the front end of the lens. This strongly-rubber-ribbed ring is raised slightly from the lens butt, making information technology easy to notice. With 320° of nicely-resisted rotation provided, this electronic manual focus band is easy to adjust precisely.

With a minimum focus distance of vii.1" (180mm), this lens'southward 0.34x maximum magnification spec does not disappoint.

Model	MFD		MM
Canon RF 24-70mm F2.viii L IS USM Lens	eight.three"	(210mm)	0.30x
Nikon Z 24-70mm f/2.8 S Lens	15.0"	(380mm)	0.22x
Sigma 24-70mm f/ii.8 DG DN Art Lens	7.one"	(180mm)	0.34x
Sony FE 24-70mm f/2.8 GM Lens	15.0"	(380mm)	0.24x
Tamron 28-75mm f/two.8 Di Three RXD Lens	vii.5"	(190mm)	0.34x

At 24mm, a bailiwick measuring approximately 4.0 x 2.vii" (102 x 68mm) fills the frame of a full-frame camera at the minimum focus altitude. At 70mm, an approximately 5.25 x iii.5" (133 10 89mm) subject area fills the frame at the minimum focus distance.

The minimum focus distance is measured from the imaging sensor plane with the balance of the camera, lens, and lens hood length taking their infinite out of the number to create the working distance. At the minimum focus distance at 70mm, there is plenty of working distance, simply at 24mm, the plane of sharp focus is behind the lens hood. Removing the hood is required for using the minimum focus distance at 24mm, merely the lens will usually affect the bailiwick lighting.

Need a shorter minimum focus altitude and higher magnification? An extension tube mounted behind this lens should provide a very significant decrease and increase, respectively. That is if there is nonetheless room betwixt the lens and the discipline — certain to be an event at the wide end.

Extension tubes are hollow lens barrels that shift a lens farther from the camera, assuasive shorter focusing distances at the expense of long-distance focusing. Electronic connections in the extension tubes permit the lens and camera to communicate and otherwise function every bit normal. Sigma does not publish extension tube specs, nor do they industry these items, only third-party Sony-mountain extension tubes are available.

This lens is not compatible with Sigma or Sony teleconverters.

Build Quality & Features

Sigma's Art series lenses all have splendid build quality and practiced looks to lucifer.

The sharply-rubber-ribbed zoom ring is nicely sized, like shooting fish in a barrel to find, and smooth to utilise. The barrel extends 1.27" (32.2mm) at 70mm, with the extended barrel having no noticeable play. The end of the butt contributes significantly to the maximum width of this lens.

An AF/MF switch is provided forth with the previously mentioned AFL push on a modestly-raised panel. A zoom lock switch is provided below the panel, enabling the lens to exist locked in its fully retracted size.

"The lens adapts to various uses and usage environments through employment of the dust- and splash-proof structure." [Sigma]

Lenses in this class take (mostly) like size and weight. These are non especially small-scale or light models, but they are not uncomfortable to employ for extended shoots or to acquit in a pack or case. The Tamron choice is the outlier in this comparison.

Model	Weight oz(grand)		Dimensions w/o Hood "(mm)		Filter	Year
Catechism RF 24-70mm F2.eight L IS USM Lens	31.8	(900)	3.five x 4.9	(88.5 10 125.7)	82	2019
Nikon Z 24-70mm f/2.8 Southward Lens	28.four	(805)	three.five x 5.0	(89.0 x 126.0)	82	2019
Sigma 24-70mm f/2.viii DG DN Fine art Lens	29.5	(835)	3.5 x four.8	(87.8 ten 122.9)	82	2019
Sony Fe 24-70mm f/2.8 GM Lens	31.3	(886)	three.4 x 5.4	(87.vi x 136.0)	82	2016
Tamron 28-75mm f/ii.eight Di Iii RXD Lens	19.4	(550)	2.9 x iv.6	(73.0 x 117.8)	67	2018

For many more comparisons, review the complete Sigma 24-70mm f/2.8 DG DN Art Lens Specifications using the site's lens specifications tool.

Yes: My knuckles slightly impact the butt of this lens when using the Sony a7R Iv.

Here is a visual comparing:

Positioned above from left to correct are the post-obit lenses aligned on their mounts:

Tamron 28-75mm f/2.eight Di III RXD Lens
Sigma 24-70mm f/2.8 DG DN Art Lens
Catechism RF 24-70mm F2.eight L IS USM Lens
Nikon Z 24-70mm f/ii.eight S Lens
Sony Fe 24-70mm f/two.8 GM Lens

The same lenses are shown beneath with their hoods in place.

Use the site's product image comparison tool to visually compare the Sigma 24-70mm f/two.8 DG DN Art Lens to other lenses.

The Sigma is modestly smaller than the Sony, but noticeably larger than the Tamron.

The 82mm filter thread size is nearly standard for this class of lens. While 82mm filters are rather large and expensive, they have go quite mutual and can exist adapted to about other filter thread sizes. A standard thickness circular polarizer filter volition increment peripheral shading. Opt for a slim model such as the Breakthrough Photography X4.

We can count on Sigma to include the lens hood in the box, and this lens comes with the substantial LH878-03 lens hood model. This is a semi-rigid plastic petal-shaped hood with a ribbed interior designed to avert reflections. A sparse ribbed ring and rubberized rear section are provided for easy grip, with the button push making installation and removal piece of cake. This hood offers a skillful amount of protection from both impact and, particularly at wide focal lengths, from bright light.

Sigma provides a nice zippered, padded nylon example in the box.

Cost, Value, Wrap Up

At roughly half the toll of the Sony equivalent, and with solid overall build and functioning, the Sigma 24-70mm f/two.eight DG DN Art Lens is a great value. Information technology is not surprising that this lens is a #1 bestseller.

The Sigma 24-70mm f/2.viii DG DN Art Lens is compatible with all Sony Due east-mountain mirrorless ("DN") cameras, including both full-frame ("DG") and APS-C sensor format models, and a Leica 50-mount version is also available. Sigma provides a i-year limited warranty, and Sigma USA provides a limited iii-year warranty extension.

The reviewed Sigma 24-70mm f/2.viii DG DN Art Lens was online-retail sourced.

Alternatives to the Sigma 24-70mm f/2.viii DG DN Art Lens

Information technology seems that the most logical lens to compare the Sigma 24-70mm f/2.eight DG DN Art Lens to is the Sony Atomic number 26 24-70mm f/two.viii GM Lens, pitting flagship models from the two brands together.

In the prototype quality comparison, the Sigma is sharper in the center of the frame throughout much of the focal length range and sharper in the periphery at 70mm. The Sigma lens shows slightly fewer flare furnishings. The Sony lens has less barrel distortion at 24mm but stronger pincushion baloney over the mid and long focal lengths.

Looking at the specs and measurements, the Sigma 24-70mm f/ii.8 DG DN Art Lens vs. Sony Fe 24-70mm f/2.8 GM Lens comparison shows the Sigma lens weighing very slightly less and measuring a small amount less in length. The Sigma lens has 11 aperture blades vs. 9. The Sigma lens has a shorter minimum focus distance, vii.09" vs. 14.96" (180mm vs. 380mm), and generates a higher maximum magnification, 0.34x vs. 0.24x.

I observe it difficult to justify spending twice every bit much for the Sony lens.

The Tamron 28-75mm f/two.8 Di Three RXD Lens is another high-performing, high-value Sony-mountain lens in this form. Optically, the Sigma and Tamron lenses perform very similarly. In the image quality comparing, it is challenging to determine a winner. The Tamron lens has modestly less peripheral shading at 24mm when stopped down to f/11.

Looking at the specs and measurements, the Sigma 24-70mm f/2.8 DG DN Art Lens vs. Tamron 28-75mm f/ii.eight Di III RXD Lens comparison shows the Tamron lens being considerably lighter and narrower. Along with being narrower comes a smaller filter size, with the Tamron requiring 67mm filters vs. 82mm filters. The Tamron lens shifts the focal length range to slightly longer numbers, and I await that most volition miss the 24-27mm range more than they will appreciate the 71-75mm range. The Sigma lens appears to accept a stronger construction. The Tamron lens has a noticeably lower price to its strong advantage.

Use the site's comparison tools to create more comparisons.

Summary

"The F2.eight Fine art zoom flagship zoom lens series is developed primarily to accomplish superior optical performance." [Sigma] Most photographers can appreciate that goal, and it appears that the goal has been achieved.

The Sigma 24-70mm f/two.8 DG DN Art Lens is a bang-up all-around lens choice for the Sony and Leica mounts. The focal length range encompasses the almost-used angles of view. This lens is well built and functions as beautifully every bit it looks. While some color fringing at the long end, vignetting at the broad end, and distortion accept an impact, this lens produces very sharp imagery. The low price seals the deal.

Bringing you this site is my full-time chore (typically lx-lxxx hours per calendar week). Thus, I depend solely on the commissions received from you using the links on this site to make whatsoever purchase. I am grateful for your support! - Bryan

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