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

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But in other cases, I need several paragraphs to explain the complicated image quality a lens delivers. In these results, we see the 24mm corners becoming nicely sharp at f/5.6 with 35 and 70mm results showing an increasingly noticeable bump in sharpness at f/8. Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii) with the mid and especially the periphery of the image circle showing the greatest amount as this is where the greatest difference in the magnification of wavelengths exists. The Sony is the considerably-more-expensive option, but the price of the adapter takes a noticeable bite out of that difference. If you want a stabilized 24-70mm f/2.8 lens, the Tamron 24-70mm f/2.8 Di VC USD Lens is your only option at this time.

Sigma 24-70 f/2.8 ART vs Tamron 28-75 for Sony - Light And Matter Sigma 24-70 f/2.8 ART vs Tamron 28-75 for Sony - Light And Matter

Standard with the Sigma Global Vision series lenses is a modern, classy-looking, tightly-dimensioned, high-quality lens design and the 24-70 Art lens gets this. This hood is modest in size, but affords a good amount of protection to the lens from both impact and flare-inducing light (at least at the wide end of the range). At f/2.8, the Tokina is slightly sharper in the center of the frame and the Sigma is better in the periphery. Focus is powered by a HSM motor, which provides fast, silent and accurate autofocus performance throughout the range. As focus is performed internally the front filter thread does not rotate, which should please users of polarising filters and neutral density graduated filters. The HSM motor used also allows for manual focus adjustments at any time and the focus ring does not rotate during AF, which I find helps with the handling of the lens. Still, my lens is front-focusing slightly on my 5D Mark III at 24mm and showing some slight focus inconsistency at 70mm.Our results show that sharpness is slightly improved overall, especially when used wide-open at f/2.8 from corner to corner and at the mid- and longer focal lengths where large-aperture zooms tend to struggle (even high-grade models). Since the area of the lens most vulnerable to dust and other foreign bodies is the mount, rubber sealing* helps provide peace of mind. In addition, the front lens element features a water- and oil-repellant coating that helps the lens perform well in the rain, near water, and in other challenging conditions. The effect of different colors of the spectrum being magnified differently is referred to as lateral (or transverse) CA (Chromatic Aberration).

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

I am just as surprised as many of you reading this to report that yes, the Leica Vario-Elmarti-SL 24-70mm f/2.8 ASPH lens does actually perform better on Leica cameras than other L-mount lens options do. While we will delve deeper into the differences between this lens and the Sigma at a later date, this fact alone may be enough to prove it’s not simply “rehoused.” A lesser 1.5 stops of corner shading is present in the 35-70mm range, again with a wide open aperture.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.