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

Product Information

The main thing that bugged me about the Sigma lens was its weight and size. Admittedly, I’ve learned to be okay with sacrificing a faster f-stop by using a smaller lens while traveling. This lens felt like it weighed the camera down when I wasn’t holding it in my hands and actively shooting with it. But then again, a larger and heavier lens is the yet another price to pay for using an f/2.8 lens. Sigma 24-70mm f/2.8 @ 24mm – 1/250 sec, f/9, ISO 160 Sigma 24-70mm f/2.8 @ 24mm – 1/320 sec, f/8, ISO 125 Warranty Moving into the corners shows the lens is roughly maintaining a good degree of detail, although with the aperture wide-open there’s a little softness in the extreme corner plus some darkening due to vignetting. As before, closing the aperture gradually improves the quality, brightening the corners and boosting the detail. If you’re a pixel-peeper with a high-res body, it’s definitely worth shooting detailed views at f5.6 or f8 rather than wide-open. 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. Outstanding construction, speedy autofocus and superb image quality make this lens a worthy Sony alternative.

Is the Lumix twice as good as the Sigma? That’s ultimately up to you to decide, but I personally don’t think it is. It’s definitely better, and I think if money were no issue I would select it over the field. But since money is always an issue, it’s hard to argue against the Sigma. 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? For one more bokeh comparison, here’s the Sigma 28-70 at 28mm f2.8, as close as it can focus at that focal length, quoted as 19cm. There’s still some texture within the blobs, but it’s still a fairly attractive result and I enjoyed the potential for shallow depth-of-field effects when shooting at close range. Note the lens does become softer in the corners the closer you focus. 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. It is not easy to get colors right. It takes a lot of work. And Sony changes with every camera, so previous profiles need to be fixed.

The Testing

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.

Thanks to excellent lens coatings, the Sigma 24–70 handles overall flare and loss of contrast quite well. Contrast is well maintained across the image and the lens largely avoids washed out areas of the image when shooting at bright sources of light. https://www.dpreview.com/news/0269241343/capture-one-pro-20-update-adds-support-for-7-new-camera-bodies-6-new-lenses?comment=7709572377In this regard my review has been impacted by restrictions in place during the Covid-19 outbreak here in WA state. With no team sports playing while I had this lens, and most parks and public places closed by law, I didn’t have the opportunity to test the Sigma for shooting sports and action as I normally would. J. Matthew Gore For general shooting, the Sigma produced wonderful color and contrast. Moving over to the L-mount competition, the Panasonic Lumix S Pro 24–70mm F2.8 is double the price of the Sigma 24–70mm F2.8 Art, and it's also both 12% heavier and 14% longer. It has an 11-bladed aperture like that of the Sigma and a similarly-complex optical formula. 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.