Sigma 2470mm F28 Dg Os Hsm Art Lens for Canon Review

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

It is always exciting to bring in a new Sigma Fine art lens and covering the normal, most-commonly-used focal length range with an f/2.viii discontinuity combined with optical stabilization definitely raised the anticipation level for this one. Sigma's "Information technology's Here to Steal the Spotlight" argument didn't hurt either.

The Sigma 24-70mm f/ii.viii DG OS HSM Art Lens brings the "Global Vision" handling to Sigma's version of this highly pop lens model.

Focal Length Range

There is a reason that the focal length or focal length range is included in the product name of every DSLR lens produced today. Of utmost importance in lens selection is acquiring the right focal length or, in the case of a zoom lens, the right range of focal lengths that cover your needs. Focal length is peculiarly important in that it drives focus distance choices, which in plough determine perspective for the desired composition.

The good news about the 24-70mm focal length range, considered "normal" and roofing angles of view ranging from broad bending through short telephoto, is the bang-up general purpose usefulness it has. Practically all kits tin make use of a lens roofing this range.

A 24-70mm lens is an essential part of many landscape and cityscape photography kits. At the 24mm end, this lens provides a very wide angle of view, able to just have in a vast scene (27mm is featured above at Emerald Lake, Rocky Mountain National Park) and/or to bear witness a potent perspective, creating a sense of presence in an image (27mm likewise used below at Alluvial Fan Falls, Rocky Mountain NP).

Still, 24mm is not so wide that composition becomes overly challenging. And, having the ability to zoom slightly was plain helpful to me in the last ii situations shared.

Using the 70mm end of the focal length range, smaller portions of a scene tin can be isolated. Distant mountains will appear larger in proportion to closer elements and closer details, such as the knot in a log, can exist focused on.

A 24-70mm lens is often a requirement in a hymeneals photographer'southward kit and an f/2.8 version of this lens often becomes the most-used option in that kit. At 24mm, environmental portraits that include the venue can be captured and by 70mm, people can be framed tight enough for head and shoulder portraits while retaining pleasing perspective. This lens volition work well for photographing a broad variety of events, from parents capturing informal altogether parties at dwelling to photojournalists roofing formal galas at large venues.

Architecture photographers are typically looking for linear-distortion-gratis lenses to keep their buildings and walls direct and though prime lenses are oftentimes utilized for this purpose, zoom lenses nearly ever take near-distortion-free focal lengths ideal for such piece of work. Selecting the lowest distortion focal length (around 28-30mm) takes care of the distortion problem (and removal during post processing is ever an option at other focal lengths).

Sports photographers able to get close to their subjects (such as basketball game shot from over or under the internet) or wanting to capture a wider/ecology view of their events capeesh this focal length range. This focal length range especially complements a seventy-200mm lens very well for sports uses.

Fashion, portraiture, weddings, parties, events, documentary, lifestyle, travel, sports, architecture, state/city/nightscapes, around-the-house needs, full general studio applications including product photography and much more than. I'm but getting started into the list of uses for this lens and the range of video uses for this lens is as broad as for stills.

Framing narrower on APS-C cameras (full frame 36-105mm equivalent angle of view), the 24-70mm lens' uses shift abroad from wide angle landscapes/cityscapes/nightscapes and environmental portraits toward portraiture including more tightly-framed portraits. Virtually of the uses for this lens on an APS-C camera remain the same otherwise.

I'll take you to the Alluvial Fan Falls area in Rocky Mountain National Park for an example of what the 24-70mm focal length range looks like from a total frame torso point of view:

If you just have one lens or can only take ane lens with you, this focal length range might be the ideal choice.

Max Aperture

With a few exceptions, f/2.8 is the widest aperture available in a zoom lens and majority of those exceptions cover simply the smaller APS-C paradigm circle. And, none of the wider-than f/2.8 total frame options reach beyond 35mm. So, the f/2.8 made bachelor over the entire 24-70mm focal length range is, for the virtually part, best-available. This is a vivid lens (significantly brighter than the lenses included in camera kits) and it compares very well in this regard.

A large advantage of a broad aperture is the amount of lite transmitted to the imaging sensor, allowing for lower ISO settings and allowing for shutter speeds capable of stopping both photographic camera and bailiwick movement blur in low light. I typically recommend f/2.eight equally the minimum discontinuity opening for indoors sports such every bit basketball. Also, lenses with an opening wider than a specific aperture (usually f/2.viii) enable the college precision AF capabilities (near ofttimes the middle AF point) in some cameras and present a brighter viewfinder epitome than narrower discontinuity alternatives.

A disadvantage of a broad aperture is the increased physical size of the lens elements that are accompanied by a larger size, heavier weight and a higher cost.

Another big wide aperture advantage is the shallow depth of field bachelor at the widest aperture, enabling distracting background details to be rendered out of focus if desired, isolating the subject field through the use of shallow depth of field. The example above was captured at this lens' minimum focus distance, 70mm and f/ii.8, maximizing the corporeality of background blur this lens is capable of.

Image Stabilization

For the longest time, in nigh DSLR brands, an f/two.eight aperture and optical stabilization were mutually exclusive in a lens covering 24-70mm focal length range. Basically, you could have an f/ii.viii aperture or you could have optical stabilization. In contempo years, that mutual exclusion has been disappearing and the combination selection has been made available past a number of lens manufacturers. And now, with the 24-70mm f/2.8 OS Art lens, Sigma offers their commencement such lens.

While the f/2.viii aperture is quite wide and solitary makes a camera handholdable in low calorie-free, optical stabilization dramatically decreases the amount of light necessary for capturing precipitous handheld images. While OS does not finish subject area motion mistiness, sometimes Bone tin can be used to intentionally capture motion blur.

I relied on this lens' OS feature to capture the mountain lake epitome I shared earlier. I did non have a tripod with me on this hike and wanted to utilise an f/viii aperture for optimal depth of field. While the ane/fifteen second shutter speed used for that capture at 27mm may not audio astonishing, I was in an unstable position, balanced on uneven rocks while trying to frame the scene through an opening in the trees. That was on top of merely hiking nearly two miles up the mount at a rather high altitude. I'm certain that this image and the many others I captured on this hike would non have been sharp without the aid of OS (or a tripod).

So, valuable is that Os allows handholding in medium and depression light levels when more depth of field is needed, allowing narrower apertures to be used without a tripod. When using a circular polarizer filter with narrow apertures (typical for landscapes and cityscapes), OS can be helpful fifty-fifty nether a full sun.

Another benefit of OS is that it provides a stabilized image to the camera'south AF arrangement. While AF does not seem like an paradigm quality factor as it has a mechanical office, AF is an extremely important component to the optical arrangement and having a stabilized image allows information technology to make improve decisions. Bone is too useful for stabilizing the viewfinder, aiding in optimal limerick, and for stabilizing video recording, creating a handheld result that is much more than pleasant to watch.

How much does Os assist? A lot. Sigma rates the amount of help provided by this Bone implementation at 4 stops using the CIPA standard. Figure out what max aperture would be required for equivalency for a different perspective on this feature.

With a Canon EOS 5Ds R behind this lens, I had a decent pct of precipitous handheld 24mm results at one/5 2nd and yet had sharp images at an OK charge per unit at one/4 2nd. Past 0.iii seconds, that keeper rate had dropped significantly, though good results could all the same be obtained through very careful technique and with a high enough number of shots to cover the low pct keeper rate.

A requirement for a sharp image is that subject details practise not cross over prototype sensor pixels during the exposure. Longer focal lengths, with their higher subject area magnification, more often than not require faster shutter speeds. In this case, at 70mm, the 24-70 Art lens produced a expert percentage of sharp results at ane/viii second, a still decent percentage of precipitous results were achieved at i/half-dozen second and even at 1/five second, a reasonable keeper rate was experienced. Beyond 1/v 2d, I experienced a sharp driblet in the sharp image charge per unit.

Another differentiator between optical stabilization systems is their audibility. This Bone implementation is very placidity with a light click existence heard at startup and shutdown. A quiet whirring sound can be heard if the lens is rapidly moved while OS is activated.

In this lens, Bone activation often causes the viewfinder image to jump slightly to dissimilar framing and the same often happens when Bone deactivates. Very little or no drifting of the composition was noticeable while OS was active and panning a scene was comfortable to practice.

Optical stabilization is a neat asset to the already valuable focal length range and wide discontinuity of this lens. It can save the day at many events.

Image Quality

My understanding is that a 24-70mm f/2.8 lens, ranging from retrofocus to telephoto, is extremely hard to pattern. With the popularity and usefulness of this focal length range, nosotros see lens manufacturers coming out with new versions of these lenses oftentimes with this being Sigma'due south 4th version since the Sigma 24-70mm f/two.8 EX DG Aspherical DF was introduced in 2001 [per Sigma] for an boilerplate of a 4-year lifespan. While they could exist just trying to stay alee of reviewers, far more probable is that manufacturers are pouring equally of technological advancement possible into this lens category.

The Sigma 24-70mm f/2.8 OS Art Lens design utilizes three SLD (Special Depression Dispersion) glass lens elements and four aspherical lens elements working together forth with special lens coatings including Sigma'due south Super Multi-Layer Coating to minimize optical aberrations.

How sharp is the Sigma 24-70mm f/2.8 DG OS HSM Art Lens? That is probably the offset question y'all have in regards to paradigm quality – information technology was definitely mine. Allow's explore that aspect.

In the heart of the frame, this lens has decent sharpness from 24mm through 28mm. By 35mm, results go somewhat softer and like results are seen through 70mm.

Stop downward to f/4 and ready to exist impressed by the center and mid-periphery results. This lens becomes extremely sharp when stopped down one stop and whatever differences realized by stopping down to f/five.half-dozen are minor in this portion of the epitome circle.

Taking the testing outdoors, we next look at a pair of eye-of-the-frame 100% resolution crops examples. These images were captured using an ultra-loftier resolution Canon EOS 5Ds R with RAW files processed in Canon DPP (Digital Photo Professional person) using the Standard Film Style and sharpness set to only "1" (0-10 calibration).

Viewed past themselves, the f/2.8 results are decent and a little increase in sharpness would make them even nicer. Specially in the 35mm and 70mm samples, a very significant sharpness increase is seen at f/4 where the razor sharp term could be practical across the unabridged focal length range. Little difference is seen at f/5.6 and no difference is needed.

Especially noticeable in the 24mm samples is that the foreground does not increase in sharpness at narrower apertures, regardless of the increased depth of field. The reason is because this lens shifts the plane of sharpest focus rearward when it is stopped downwards. This shifting occurs over the entire focal length range. Here is a 70mm example:

As you can see, the intended airplane of sharp focus remains in focus, then this consequence volition not be a significant one for many scenarios and focusing on a closer subject resolves the issue in many more than.

The enhanced resolution ISO 12233 test chart we photograph nether lab conditions generally produces results that are ideal for assessing image quality. But, test charts are flat and a corner blur tin can potentially bespeak that a lens' sharp focus is not in a flat plane. While there may sometimes be a slight benefit from a curved area of focus, I virtually always want a flat plane. All the same, it is worth determining how well a lens performs in the corners if focused in the corners.

The extreme corner test results shown below are an attempt to make the lens look its all-time in the expanse of the image circle where it by and large looks the worst. These images were manually focused in the top-left extreme corner with that corner showing. I don't think a real globe image where I opted to focus the frame in the extreme corner, just ... hither are the results

In these results, we see the 24mm corners becoming nicely sharp at f/5.6 with 35 and 70mm results showing an increasingly noticeable crash-land in sharpness at f/8. Interesting in this example is that the corners in some of my examination results (notably more-distant ones) look better when the center of the frame is used for focusing, which is much more desirable for normal employ. * 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.

Corner image quality does non thing in all scenarios and you must decide if information technology is important for your lens to exist sharp in the corners and what aperture settings sharp corners are needed at. Landscape photographers will care profoundly, but f/viii and f/11 will likely be in employ when sharp corners are required. Some portrait photographers may not care virtually as much about precipitous corners.

Full frame lenses e'er prove peripheral shading when used at their widest apertures on full frame cameras and this i is no different. The corporeality of shading ranges by focal length with the strongest shading nowadays at the extents of the focal length range. At 24mm, corners are darkened by well-nigh 3 stops at f/two.8 while the 28mm and 70mm focal lengths see about 2.5 stops of wide open up corner shading. A bottom one.five stops of corner shading is nowadays in the 35-70mm range, again with a broad open discontinuity. Stopping down the aperture significantly resolves the shading with f/4 resulting in 1 to two stops of shading and the f/v.6 range is from 1.5 stops at the broad end to .vi stops at the long end. Little change is seen at apertures narrower than f/8 with a sometimes-noticeable 1.2 to 1.5 stops remaining in 24mm and 28mm corners.

The effect of different colors of the spectrum being magnified differently is referred to as lateral (or transverse) CA (Chromatic Aberration). Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii) with the mid and specially the periphery of the image circumvolve showing the greatest amount as this is where the greatest difference in the magnification of wavelengths exists. Placing white lines against a black background in the corner of an EOS 5Ds R paradigm will brand such aberrations very apparent.

There should be but black and white colors in these images and the additional colors are showing lateral CA. This lens has a relatively strong amount of lateral CA over most of its focal length range with 50mm being an estimate color magnification crossover point, where the least amount of this CA is exhibited.

A relatively common lens aberration is centric (longitudinal, bokeh) CA, which causes non-congruent focal planes of the various wavelengths of light, or more but, different colors of light are focused to dissimilar depths. Spherical aberration forth with spherochromatism, or a modify in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic abnormality, but is hazier) are other common lens aberrations to look for. Axial CA remains at least somewhat persistent when stopping down with the colour misalignment effect increasing with defocusing while the spherical aberration color halo shows little size change every bit the lens is defocused and stopping downwards one to two stops generally removes this aberration.

In the real world, lens defects do not exist in isolation with spherical aberration and spherochromatism more often than not found, at least to some degree, along with centric CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures. The argent bracelets in the samples beneath remain mostly-properly colored in both the foreground (bottom left) and background (top correct) blur. Though there is some modest difference in the 24mm sample, these results signal little overall concern in this regard.

This lens performs very well in our standard flare test involving the dominicus placed in the corner of the frame. Nonetheless, a rather-unique circlular flare pattern is seen with the lens aimed straight at the sun (see the dominicus-star result sample below).

Blackout is mostly recognized past sharp contrast towards the center of an image and long, soft contrast transition toward the image periphery. Blackout becomes quite visible mid-frame and in the corners of images captured at broad apertures and significantly resolves when the lens is stopped downwardly. Astigmatism is some other lens image quality aspect that is credible in the corners and the pivot-indicate stars in the night sky are a field of study that makes these aberrations, forth with some others, easily recognizable.

The above samples show 100% crops taken from most the top-left corner of the frame and the shape of these stars is neither circular nor pin-bespeak.

Typical is for a zoom lens in this focal length range to exhibit barrel distortion at the broad cease transitioning into negligible baloney and on into pincushion distortion at the long end. That aptly describes this lens with the broad finish showing just a slight touch of mustache/moving ridge distortion forth with the normal central burl of the butt distortion. The corporeality of distortion at 24mm is, relatively speaking, not stiff. The amount diminishes at 28mm and by 35mm, pincushion distortion is slightly apparent. Modest pincushion distortion is visible throughout the longer end of the range.

Geometric distortion is most visible when straight lines are located close to and parallel with the frame borders. Below are examples showing this (note that a slightly-upwardly camera angle produced some keystoning in these images and this should not be considered a lens attribute)

The final 24mm epitome was evidently captured at a unlike location, but also shows a line that should be at to the lowest degree more often than not parallel to the frame border.

Geometric distortion makes framing a scene with a straight horizon, such every bit the bounding main, challenging every bit there are no lines parallel to the edges of the viewfinder or viewfinder gridlines, though cameras with electronic levels are advantageous for overcoming this event. Nearly modern lenses have lens correction profiles bachelor for the pop prototype processing software (though almost cameras will not have this correction available for a Sigma lens) and baloney can exist easily removed using these, only distortion correction is subversive at the pixel level and this technique is seldom as good as using a distortion-gratuitous lens/focal length in the first place.

When used at a wide open up aperture, most lenses have a fully-round discontinuity. It is at narrower discontinuity settings when the discontinuity blades most-touch on the bokeh (quality of the background mistiness) and the following f/8 examples illustrate these effects in this lens.

All of these samples showing background blur (vs. foreground) and are 100% crops with the exception of the last 70mm example showing the total image downsized. The out-of-focus specular highlights show an interesting fill up pattern, but the edges are non strongly-bordered and the bokeh in the outdoor-captured images appears quite nice.

An odd-number blade count means that point light sources captured with a narrow discontinuity and showing a star-like effect will take twice as many points as the blade count, which is 9 in this case. Here is an instance showing this:

While I don't see the Sigma 24-70mm f/2.8 DG Bone HSM Fine art Lens delivering image quality that is going to clearly get in every photographer'south must-have lens, information technology competes well in near regards and is a contender for this most important lens slot.

Focusing

Sigma 24-70mm f/2.8 DG OS HSM Art Lens receives a "... newly designed hypersonic motor (HSM) [that] offers i.iii times the torque of its predecessor." [Sigma] That new motor seems to make a difference and I was pleasantly surprised past the focus speed of this lens. Unless a full extent distance adjustment is needed, AF locks onto subjects quite fast.

HSM-based AF systems are generally very quiet and this 1 has that characteristic, with but a click and "shhhh" heard during focusing. Other HSM features that are welcomed are internal focusing and FTM (Total Fourth dimension Transmission) focus back up.

With whatever lens, autofocus accuracy is critically of import for image quality (unless, of course, manual focus is beingness used) and experience has taught me that I can't e'er trust third party lenses in this regard. However, I am quite pleased with this i – my feel is that this lens consistently delivers accurate AF.

Subjects change size quite noticeably with focus distance alter. While this attribute is not unusual, photographers intending to use focus stacking techniques involving focus altitude adjustment, videographers pulling focus and anyone very-critically framing a scene should be aware.

A window provides focus distance settings (in both ft and mm) at a glance.

The transmission focus band is located to the rear of the zoom ring (I'll complain well-nigh that later). This band is somewhat small, only it is smoothen and has no play in it. With a 95° total extents rotation, focus distance is adjusted at a overnice rate with close focus at 70mm happening just slightly fast.

With a 14.6" (370mm) minimum focus distance (MFD), the 24-70mm Art lens turns in an overall-proficient 0.21x maximum magnification (MM) at the 70mm mark. Comparatively, this number is better than the predecessor lens and similar to much of the competition with Sony and Nikon having better numbers on the lath.

Model	MFD		MM
Catechism EF 24-70mm f/2.8L Two USM Lens	xv.0"	(380mm)	0.21x
Nikon 24-70mm f/2.8E AF-S VR Lens	15.0"	(380mm)	0.28x
Nikon 24-70mm f/ii.8G AF-Due south Lens	xiv.4"	(366mm)	0.27x
Sigma 24-70mm f/2.8 DG OS HSM Art Lens	fourteen.6"	(370mm)	0.21x
Sigma 24-70mm f/two.eight EX DG HSM Lens	15.0"	(380mm)	0.19x
Sony Iron 24-70mm f/2.viii GM Lens	15.0"	(380mm)	0.24x
Tamron 24-70mm f/2.8 Di VC USD G2 Lens	15.0"	(381mm)	0.20x
Tamron 24-70mm f/2.8 Di VC USD Lens	15.0"	(380mm)	0.20x
Tokina 24-70mm f/two.8 AT-X Pro FX Lens	xv.0"	(380mm)	0.21x

The paradigm below was captured at 70mm at this lens' minimum focus altitude. The largest in-focus blossom measures about 1.iii" (33mm) in diameter.

Magnification from broad angle through standard/normal focal length lenses, including this 1, is generally significantly increased with the use of extension tubes which are basically as their name implies, hollow tubes (with electronic connections) that shift a lens farther from the camera. Doing so allows the lens to focus at closer distances, though at the expense of long distance focusing. Similar all other lenses in this class, the Sigma 24-70mm f/ii.8 DG Os HSM Art Lens is not compatible with Sigma'south teleconverters.

Build Quality & Features

Standard with the Sigma Global Vision series lenses is a mod, classy-looking, tightly-dimensioned, loftier-quality lens design and the 24-70 Fine art lens gets this.

While the most recently introduced Sigma EX lenses are prissy and they are a major comeback over their predecessors, the Global Vision lenses are nicer notwithstanding. The image in a higher place shows the EX predecessor to the left of the 24-70mm Art lens.

Sigma states that "... the lens barrel contains a large corporeality of metal, while the external moving parts feature thermally stable composite (TSC), which is resistant to thermal expansion and contraction." Overall, the lens is well-congenital with essentially no play/wobble in the barrel assembly even at full extension. Like all other lenses in its course, this lens extends with focal length change, becoming 1.24" (31.5mm) longer at 70mm. The zoom ring is polish and nicely damped, rotating in the same direction every bit Canon lenses, contrary of the Nikon standard direction.

Easily my biggest disappointment with the 24-70 Art lens is Sigma's decision to move the zoom ring to the front of the lens with the focus ring moved rearward. I much-adopt property a zoom lens with my left hand positioned under the zoom ring at the lens' rest point, which in this case is around the focus ring or just slightly rearward. Moving my left manus to the zoom band means that my right hand must assist support the camera. With the left mitt under the focus ring to remainder the lens, there is also an increased chance that the focus distance volition inadvertently be changed while recomposing an epitome after focusing.

Positive is the overall polish and comfy shape of this lens, featuring very little bore alter later the initial stylishly-tapered transition from the narrower mount bore. Both focus and zoom rings have squeamish sharply-ribbed rubber covers and nearly half of the remaining section of lens barrel is mold-ribbed for aided grip. While the ribbing is all skillful, the position, texture and diameter of the ribbed parts increases the challenge of tactilely finding the desired ring.

Low profile switches are provided on a low profile switch bank conveniently located for use with the left pollex. These switches need just the right amount of force to motion them and switch position is nicely click-confirmed. Universal with Global Vision lenses is the white groundwork showing behind the focus mode switch when in AF mode, adding a touch of class. OS can be switch-enabled or disabled. A zoom lock switch is not provided.

The Sigma 24-70mm f/two.8 DG OS HSM Art Lens features a dust/splash-proof construction including a safety gasket seal at the lens mount. The front lens chemical element has a water- and oil-repellent blanket that aids in keeping the lens make clean and makes the lens easier to clean if something does attach.

A 24-70mm f/2.8 lens cannot be expected to exist light, image stabilization is non weightless and as of review time, this lens is the 2d-heaviest in its course, weighing less than just the Nikon variant.

Model	Weight		Dimensions w/o Hood		Filter	Year
Canon EF 24-70mm f/2.8L Ii USM Lens	28.4 oz	(805g)	iii.five x iv.four"	(88.five 10 113mm)	82mm	2012
Canon EF 24-70mm f/4L IS USM Lens	21.2 oz	(600g)	3.3 ten iii.7"	(83.4 x 93mm)	77mm	2012
Canon EF 24-105mm f/4L IS II USM Lens	28.1 oz	(795g)	3.3 x 4.half-dozen"	(83.5 x 118mm)	77mm	2016
Nikon 24-70mm f/ii.8E AF-Southward VR Lens	37.8 oz	(1070g)	3.v x half-dozen.one"	(88.0 x 154.5mm)	82mm	2015
Nikon 24-70mm f/2.8G AF-Southward Lens	31.eight oz	(900g)	3.3 10 5.ii"	(83.eight ten 132.1mm)	77mm	2007
Nikon 24-120mm f/4G AF-S VR Lens	23.seven oz	(670g)	3.iii x four.ane"	(84 x 103mm)	77mm	2010
Sigma 24-70mm f/ii.8 DG OS HSM Art Lens	36.0 oz	(1020g)	3.5 10 4.2"	(88.0 x 107.6mm)	82mm	2017
Sigma 24-70mm f/ii.8 EX DG HSM Lens	27.ix oz	(790g)	iii.4 x 3.7"	(86.6 x 94.7mm)	82mm	2008
Sigma 24-70mm f/2.8 EX DG Lens	24.vii oz	(700g)	iii.five ten 4.6"	(89.0 10 116mm)
Sigma 24-105mm f/iv.0 DG Os HSM Art Lens	31.2 oz	(885g)	iii.5 ten 4.three"	(88.6 x 109.4mm)	82mm	2013
Sony Atomic number 26 24-70mm f/2.8 GM Lens	31.three oz	(886g)	3.4 x 5.4"	(87.6 x 136mm)	82mm	2016
Tamron 24-70mm f/2.8 Di VC USD G2 Lens	31.9 oz	(904g)	3.five ten iv.iv"	(88.4 10 111.8mm)	82mm	2017
Tamron 24-70mm f/ii.8 Di VC USD Lens	29.1 oz	(825g)	3.5 ten 4.3"	(88.two x 108.5mm)	82mm	2012
Tokina 24-70mm f/2.8 AT-X Pro FX Lens	35.2 oz	(998g)	iii.5 10 4.ii"	(89.6 ten 107.5mm)	82mm	2015

For many more comparisons, review the consummate Sigma 24-70mm f/2.eight DG OS HSM Fine art Lens Specifications using the site's Lens Spec tool.

Though information technology feels like a solid chunk of lens in the hand, the 24-70mm Fine art lens is not that heavy and I didn't feel burdened even when carrying information technology on a virtually-4-mile hike in the national park.

While information technology is one of the heaviest lenses in its class and while information technology gained in size over its predecessor, the 24-70 Art lens is one of the most-compact in its form. Here is a comparison featuring many of this lens' contemporaries.

Above, from left to correct, positioned by increasing credible size, are the following lenses:

Sigma 24-70mm f/two.eight DG Bone HSM Art Lens
Tokina 24-70mm f/2.8 AT-X Pro FX Lens
Tamron 24-70mm f/2.8 Di VC USD G2 Lens
Catechism EF 24-70mm f/ii.8L Ii USM Lens
Nikon 24-70mm f/2.8G AF-Due south Lens
Sony FE 24-70mm f/2.8 GM Lens
Nikon 24-70mm f/two.8E AF-Due south VR Lens

The same lenses are shown beneath with their hoods in identify.

Use the site'south production epitome comparison tool to visually compare the Sigma 24-70mm f/two.8 DG OS HSM Fine art Lens to other lenses.

From the lens design guidebook for this era: if information technology is a 24-70mm f/two.eight lens, it must have 82mm filter threads. At least that is what the above chart would lead us to believe. I call up x years ago when many of us were thinking that the 82mm filter size on the then-introduced Canon EF 16-35mm f/two.viii L Two USM Lens was huge and that adding this filter size to kits was a nuisance. Since so, at least two dozen additional 82mm-threaded lenses have been introduced and this size, though withal rather big, is common and many kits are already aligned with this standard.

Take notation that using a standard thickness circular polarizer filter will increase light falloff in frame corners. A slim model such as the B+W XS-Pro is highly recommended. UV/clear lens protection filters tend to be slimmer than CP filters and the tiny corporeality of increased vignetting standard thickness version of these filters cause will be unnoticed.

I beloved that Sigma includes a lens hood with all of their lenses. This hood is modest in size, but affords a adept amount of protection to the lens from both impact and flare-inducing light (at least at the wide end of the range). The hood is strong molded plastic-constructed with only a slight amount of flex (which is skillful for absorbing impact). The interior of the hood is ribbed to avoid reflections and small portions of the exterior mount area are ribbed or rubberized for easier grip.

Sigma Art lenses arrive in a nicely padded, double-zippered case. While I'm sure that these cases do not cost Sigma very much to source, they are quite useful and I much prefer these over non-otherwise-useful shipping packing materials. A shoulder strap is not provided/available for this model, just an approximately 1.75" (44mm) chugalug loop is.

Sigma Global Vision and the USB Dock

Sigma'south Global Vision lenses get a classification of "A", "C" or "S", representing a primary Sigma-intended use of "Artistic", "Contemporary" and "Sports". A full description of these categories can exist institute in the Sigma 35mm f/1.4 Fine art Lens press release.

Don't read likewise much into the category names (they are too limiting), but Sigma has been introducing some very nice lenses nether all 3 names. This is an "Fine art" lens. In addition to the obvious inclusion in the proper noun, it is denoted by an "A" stamped in a classy chrome circle on the lens barrel.

A great feature of the Global Vision lenses is compatibility with the Sigma Dock. The dock, working in conjunction with the Sigma Optimization Pro software, allows the lens' firmware to exist updated (bug fixes, compatibility updates, feature enhancements, etc.) and allows precise autofocus calibration at iv distances. FTM focus tin can also exist disabled/controlled via the dock. Hither are some screen grabs showing some of the functionality.

Note that the focus calibration values were prepare for illustration purposes only.

Price and Value

We have come to expect Sigma Fine art lenses to by synonymous with great prototype and build quality at a competitive price. And, that is what nosotros notice in the 24-seventy Art lens. While it may not be amazingly meliorate than the other options from an optical perspective, the 24-lxx Art lens is priced very significantly less than the Catechism, Nikon and Sony counterparts. In some cases, the Sigma is only slightly over half the price of the photographic camera-brand competition. And so, in my mind, that makes this lens a very good value.

The Sigma 24-70mm f/2.8 DG OS HSM Art Lens is bachelor in Canon (reviewed), Nikon and Sigma mounts and the Canon mount version can be used on a Sony Eastward-mount camera body via the Sigma Mount Converter MC-11. This lens also qualifies for Sigma's Mountain Conversion Service, so you can change your mind later.

My standard disclaimer: There are potential issues with third party lenses. Since Sigma reverse engineers (vs. licenses) manufacturer electronics and algorithms, in that location is e'er the potential for a DSLR body to not be supported past a (likely older) third party lens. Unremarkably a lens can be made compatible by the manufacturer via a firmware update, but this cannot exist guaranteed. Compatibility with the Sigma USB Dock is risk (and hassle) reducing as Sigma can make dock-compatible lens firmware updates available for download. Sigma USA'south provides a three-year limited warranty (Sigma'due south international limited warranty is 1 year and Sigma U.s.a. adds a iii-year extension).

The reviewed Sigma 24-70mm f/2.8 DG OS HSM Art Lens was online/retail caused.

Alternatives to the Sigma 24-70mm f/ii.8 DG Os HSM Art Lens

At that place is no shortage of 24-70mm f/2.viii lenses to compare the Sigma Art choice to and that creates a controlling challenge. 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. I'll provide some differentiators to help you lot brand that choice.

Sure is that a loftier number of those considering purchasing the 24-70mm Art Lens include photographers who currently own the Canon EF 24-70mm f/2.8L II USM Lens (or who are alternatively because the purchase of it). At f/2.8, the Canon is noticeably sharper than the Sigma, peculiarly in the center of the frame and in the extreme corners. Of course, if you cannot use a tripod and cannot agree the lens stable enough for sharp images, the Sigma'southward Os will quickly flip that reward. At f/4, these two lenses are both extremely abrupt and at that place is little differentiation in this regard aside from the Catechism's still-better corner performance.

Otherwise, there are surprisingly-few significant differentiators between these lenses. The Canon is slightly larger and the Sigma is vii.vi oz (215g) heavier. The Canon's rear-positioned zoom ring is a much better design, but for certain you lot volition like the Sigma's roughly-25%-lower price tag better.

Perhaps the most-direct competitor to the Sigma 24-70mm Art Lens is the Tamron 24-70mm f/2.viii Di VC USD Lens. In comparison at f/ii.eight, the Tamron is sharper in the center of the frame and the Sigma is sharper in the periphery. Exceptions to that description include 24mm where the Tamron is slightly better in the periphery and at 70mm where the Sigma perform slightly better over nearly of the image circle. Differences fifty-fifty out considerably at f/iv, where the Sigma generally has slightly sharper center of the frame functioning and the Tamron takes a couple of corners.

The Tamron has slightly stronger barrel distortion at 24mm. The Tamron is four.1 oz (115g) lighter and the Sigma is slightly shorter. The Tamron's VC (Vibration Control) is rated one stop higher than the Sigma's Bone (v stops vs. four) and the Tamron has a modestly lower price tag at review time.

Another tertiary party lens currently available is the Tokina 24-70mm f/ii.8 AT-X Pro FX Lens. At f/2.8, the Tokina is slightly sharper in the eye of the frame and the Sigma is better in the periphery. At f/four, the Sigma is at least equally precipitous in the center of the frame and the Tokina closes the gap on periphery operation.

The Tokina has about .v stops less peripheral shading at f/2.eight, though stopping downwards largely eliminates this difference. The Sigma has a considerably more-modern overall design, though the Tokina has the rear-positioned zoom band I adopt. The Sigma includes Os and the Tokina bears a more-wallet-friendly cost tag.

Nikon currently has ii directly Sigma 24-seventy f/two.8 Art Lens competitors. These are the Nikon 24-70mm f/2.8G AF-S Lens and Nikon 24-70mm f/ii.8E AF-S VR Lens.

In the Nikon VR vs. Sigma Fine art lens comparing at f/two.8, I see the Nikon performing meliorate in the periphery at 24mm and the Sigma turns in slightly better 70mm results. Differences get difficult to describe at the other focal lengths, but are not substantial. At f/four, I similar the Sigma results improve.

Noticeable is that the Nikon VR has more than lateral CA in the mid focal lengths, but less at the long finish. The Nikon has stronger barrel distortion at 24mm and stronger pincushion distortion from 35-50mm. The Nikon is significantly longer than the Sigma and is the only electric current comparable lens that weighs more, though only very slightly and so. The Sigma provides 95° of focus ring rotation compared to the Nikon'south 65°. The Nikon has the maximum magnification advantage with a 0.28x spec vs. the Sigma's 0.21x. That nearly ii of the Sigma Art lenses could be purchased for the same price as a single Nikon VR, the highest-priced lens beingness compared here, leaves a mark on this comparison.

Nosotros have not tested the non-VR Nikon lens on the Nikon D810 even so, only we do have results from the D3X which are available to nicely compare against Canon 1Ds 3 results. In this comparison, I'd requite the Nikon the edge at f/2.eight, though it has more lateral CA with 70mm being an exception in that regard. At f/four, I like the Sigma results slightly meliorate at the long end and the Nikon appears to be slightly sharper at the wide end, though the CA definitely gets in the manner of the latter comparison.

The Nikon has less peripheral shading at the ends of the focal length range and the Sigma shows fewer flare effects at the wide cease. The Nikon has more barrel distortion at 24mm, but less pincushion baloney at 70mm. The Sigma provides 95° of focus band rotation compared to the Nikon's 72°. Again, the Nikon's 0.27x maximum magnification spec is considerably advantaged over Sigma'south 0.21x. The Nikon is noticeably longer, though information technology weighs virtually 4.2 oz (120g) less. The not-VR Nikon choice is more-attractively priced than the VR counterpart, but information technology is still considerably more expensive than the Sigma.

As mentioned before, Sony-based systems can brand use of the Canon mount version of the Sigma 24-70mm f/two.8 OS Art Lens via the Sigma Mountain Converter MC-11. The native-mount Sony Iron 24-70mm f/two.8 GM Lens will exist the head-on competition for these kits. In the Sigma vs. Sony comparing at f/two.8, the Sony shows equally the modestly sharper lens at most focal lengths and besides shows less lateral CA at 70mm. I see the Sony still property the slight edge in the f/4 comparisons.

The Sony has modestly less vignetting at 70mm f/two.8 but the Sigma shows fewer flare effects. The Sigma is notably shorter and the Sony is 4.half-dozen oz (124g) lighter. The Sony lens has a modestly college 0.24x maximum magnification spec vs. the Sigma's 0.21x. The Sony selection, without the need for an adapter, would exist expected to perform amend from AF and frame rate perspectives. The Sony is the considerably-more than-expensive pick, but the toll of the adapter takes a noticeable seize with teeth out of that difference.

If you don't need the f/2.viii aperture, there are a number of f/4 lenses that cover or exceed the 24-70mm focal length range and all are worth considering. All else being equal, a narrower max aperture means smaller size, lighter weight and lower price. Here are some options to consider:

Canon EF 24-70mm f/4L IS USM Lens
Canon EF 24-105mm f/4L IS II USM Lens
Nikon 24-120mm f/4G AF-S VR Lens
Sigma 24-105mm f/4.0 DG Os HSM Fine art Lens

The main downside to consider when selecting an f/four lens is that twice every bit much light is required to cease camera and subject activeness.

Summary

The hope of Sigma Art lens quality coming to the 24-70mm focal length range along with an f/2.8 max discontinuity and optical stabilization had a big number of photographers signing upwards to add together this lens to their kits immediately on announcement day. Does the Sigma 24-70mm f/2.8 Os Fine art Lens fulfill Sigma'southward "It'southward Here to Steal the Spotlight" promise? From the perspectives of many, information technology was hoped that this lens would get that spotlight for its exceedingly sharp image quality performance and from that perspective, I'1000 sure that there is some let-downwards among the hopeful. However, this lens is optically competitive and it performs quite well for the price.

Hopefully Sigma can move the zoom ring back to the predecessor's location for the next model, but otherwise I like this lens a lot. The 24-lxx Art lens is compact for its specs, it seems well built, including existence inclement weather-ready and information technology has a loftier quality appearance. The focal length range is highly useful, as is the wide aperture and the AF arrangement may be my new Sigma favorite. Adding Bone significantly increases this lens' already bang-up versatility and especially at f/4, this lens delivers very impressive epitome sharpness. While non a cheap lens, the price is very competitive and I'm sure that attribute alone will bring information technology strong popularity.

Bringing you this site is my full-time job (typically lx-lxxx hours per week). Thus, I depend solely on the commissions received from you using the links on this site to make whatsoever purchase. I am grateful for your support! - Bryan

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Source: https://www.the-digital-picture.com/Reviews/Sigma-24-70mm-f-2.8-DG-OS-HSM-Art-Lens.aspx

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