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

Product Information

Open twitter, instrgram, and facebook applications (or any three different browsers) on the same monitor and compare them sis-by-side - each will render different variations on color. While the Mark II lacks the locking switch of its predecessor which held the barrel at its shortest focal length, it gains a large switch on the opposite side of the barrel that allows you to adjust the zoom friction between smooth and tight, which can be handy when adjusting it during video. I've not seen the color shift get corrected in ACR, even with all in-camera corrections turned on and/or raw converter correction profiles turned on.

This is the toughest place to be consistent with zoom lenses, and adding into that equation the different methods by which the camera sensors read and adjust to the lenses means that what is the absolute corner of these images is pretty different from lens to lens, and camera to camera. There are a lot of photo/video cameras that have found a role as B-cameras on professional film productions or even A-cameras for amateur and independent productions. It makes corners much more visibly noisy than the center of the image, even at base ISO, and it makes corners completely un-usable at high ISOs. 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. And finally for my distant landscape scene at the longest focal length of 70mm, again starting with the aperture open to f2.

I understand 24mm is great for group shots, but you can usually get the shot if you take a few steps back. However, when compared to the more modern lenses that compete against it, the Sigma tends to fall short.

Here’s the lens at 24mm, focusing between infinity and the closest distance and back again, and while there’s a minor change in magnification it’s fairly well-behaved.

For starters, here’s the optical range in practice, starting at 28mm for standard wide views, before zooming into 70mm for short telephoto coverage. If you're an E-mount shooter who's especially sensitive to size, weight or cost, and you can live with the lesser wide-ang image and heading into the far corner shows a very mild drop in sharpness and minor darkening from vignetting, but it’s still a great-looking result especially as again it was focused in the middle. We didn't experience very much "hunting" at all, either in good or bad light, with the lens accurately focusing almost all of the time. Camera samples on the other hand are shot with everything, including lens corrections, left at their defaults.