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

Product Information

Also compatible with the Sigma MC-11 Canon Lens to Sony Camera Converter to work with Sony mirrorless cameras Unfortunately, despite the dramatic number of points the appearance of the sunstars is quite diffuse. If you are a landscape photographer looking for sharp, clean and dramatic sunstars you may want to look elsewhere. Longitudinal / lateral chromatic aberration (fringing)

To give you an impression of how much field-curvature is at play here I re-shot the lens at 70mm f5.6 two times with optimal focus at 7mm and 19mm image-height: Expect wide open corner light fall-off amounts to range from about 1.2 stops at 35mm up to nearly 3 stops at both extents of the zoom range. At 50mm f2.8 the Sigma has a slightly fuzzy FF-corner and the Sony the softest APS-C-corner of the four lenses. And having that max aperture available over the entire focal length range makes using f/2.8 a pleasure as wide open exposure settings do not change with zooming.

Impression

Sigma has announced the newly developed 24-70mm F2.8 DG DN 'Art' for Sony E and Panasonic/Leica/Sigma L-mounts. The new lens joins the previously announced 14-24mm 2.8 DG DN Art as the second full-frame zoom in Sigma's DN (Digital Native) designed-for-mirrorless range. The Sigma 24-70mm f/2.8 DG DN Art produces moderate barrel distortion at 24mm, transitioning to pincushion at 50mm and beyond. The degree of distortion is enough to be visible when shooting geometric subjects, but is only obvious at 24mm, and it's not difficult to correct this in raw processing software. Verdict

Results at 50mm f/2.8 look similar to 35mm f/2.8 except that the center of the frame now becomes quite soft/blurry.Light fall-off is substantially reduced at f/4 and again at f/5.6 where the shading basically remains visible only at 24mm – nearly 2 stops worth. 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. Same story at 35mm: While the four lenses are almost indistinguishable at f2.8 in the center, the Sigma ekes out a slight advantage in the APS-C- and FF-corner over the Tamron and Nikon. The Sony has the sharpest FF-corner.