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

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In this case, at 70mm, the 24-70 Art lens produced a good percentage of sharp results at 1/8 second, a still decent percentage of sharp results were achieved at 1/6 second and even at 1/5 second, a reasonable keeper rate was experienced. In addition, many of these lenses are very similar in many regards and the selection of each can be justified for one or more reasons. The graph below shows the chromatic aberration values at the three models’ widest focal lengths and widest apertures. All three exhibit lateral chromatic aberration of greater than 10 microns from around the 80% mark from the center of the image. The Tokina has about .5 stops less peripheral shading at f/2.8, though stopping down largely eliminates this difference.

Sigma 24-70mm f/2.8 EX DG HSM Interchangeable Lens Review Sigma 24-70mm f/2.8 EX DG HSM Interchangeable Lens Review

Image quality takes on a noticeable improvement at f/4 and again at f/5.6 where this lens is quite sharp across the frame. The Sigma has a considerably more-modern overall design, though the Tokina has the rear-positioned zoom ring I prefer. It's a shame this lens has this split personality as the build quality is generally very good, and the lens is very pleasant to use.The 24-70mm f/2.8 lens has always been one of the most popular zoom lenses because it happens to hit many of the more popular wide to mid focal ranges. As such, it is only natural that Leica would launch one for its own L-Mount system. The closest the company had come before is the 24-90mm f/2.8-4 variable aperture lens which, while sharp, is not able to reach f/2.8 at anything other than the widest angle. And, having the ability to zoom slightly was apparently helpful to me in the last two situations shared.

24-70mm F2.8 DG OS HSM | Art | Lenses | SIGMA Corporation 24-70mm F2.8 DG OS HSM | Art | Lenses | SIGMA Corporation

The Sigma 24-70mm f/2.8 DG OS HSM Art Lens is available in Canon (reviewed), Nikon and Sigma mounts and the Canon mount version can be used on a Sony E-mount camera body via theResults are much better at f/4, but the corners are still quite soft until f/5.6 where this lens is, again, sharp across the frame. Focal length is especially important in that it drives focus distance choices, which in turn determine perspective for the desired composition. Axial CA remains at least somewhat persistent when stopping down with the color misalignment effect increasing with defocusing while

24-70mm F2.8 DG DN – Sigma UK

The two f/11 results shown above were from the top right in some of my general results and though dark, these images show reasonable detail.In this section, we’re going to compare the Art series lens with the original Sigma 24-70mm IF EX DG HSM lens and the stabilized Nikon AF-S Nikkor 24-70mm f/2.8E ED VR. The Sony is the considerably-more-expensive option, but the price of the adapter takes a noticeable bite out of that difference. The good news about the 24-70mm focal length range, considered "normal" and covering angles of view ranging from wide angle through short telephoto, is the great general purpose usefulness it has. I see the Nikon performing better in the periphery at 24mm and the Sigma turns in slightly better 70mm results. Both Sigma models show similar levels of vignetting at either end of the zoom, with the Art series model measuring a fraction more (-0.1Ev) than the EX model. However, the Art has a slightly larger central core and a more pronounced gradation to the darkening in the corners. The Nikkor is slightly better at 24mm, but by contrast, it’s pretty heavy at 70mm. A budget-conscious alternative