Sigma 24 -105 F/4 Dg Os Hs Art Lens Reviews

Updates:
08/x/2017: Field Test & Gallery added

Sigma 24-70mm f/two.8 OS Art Field Test

Should you choice up this hotly-anticipated zoom?

by Jaron Schneider | Posted 08/10/2017

Canon 5D Mark III: 70mm, f/2.eight, one/50s, ISO 1250 This image has been edited. Please click for the original.

Introduction

Going into this review, it would be an understatement that I and those interested in the Sigma 24-70mm f/two.8 Art had loftier expectations for it. The previous Sigma 24-70mm f/2.8 was no slouch, the new Tamron 24-70mm f/2.8 is pretty good, and and so the latest 24-70mm f/2.8 lenses from both Nikon and Catechism are outstanding (our friends at LensRentals actually say the Catechism is the best of the bunch, but I know many Nikon fans who would happily leap in and disagree). Suffice it to say, Sigma is not coming into this fight attempting to fix a "problem" like they did with their showtime "Art"-series lens, the 35mm f/1.iv Fine art. Before this new Art lens, the market already housed at to the lowest degree two spectacular 24-70 lenses and a few other good ones. In order for Sigma to actually brand a splash, they would have to either equal or outperform Nikon and Canon, and and so also come up in at a lower toll point. Further, this is a task they have non shied away from in the past, and take repeatedly accomplished. So to say that this was the minimum expectation of the 24-70mm f/ii.8 Art for me and for merely near any prospective buyer is not overreaching -- it well-nigh certainly was.

So anything less than truly outstanding performance would be a disappointment. That casts an odd angle of judgment of this lens, because it may put the Sigma in a realm of "unattainable" when it comes to testing. That'southward not particularly fair for Sigma. So to exist off-white, I'll practice my best to remove those expectations from this optic and instead look at what it accomplishes.

Canon 5D Marking 3: 24mm, f/two.8, 1/50s, ISO 1250 This image has been edited. Please click for the original.

Build Quality

The Sigma 24-70mm f/2.8 Art continues the same overall blueprint and handling that is to be expected of the updated lenses under Sigma's Global Vision. The jet black design, the aforementioned familiar feel to the focus and zoom rings, and the same expectedly heavy weight make this lens fit perfectly alongside its brethren.

Belongings the lens in hand, like the other Art lenses before it, quality is immediately apparent. Everything almost the lens feels high-stop, from the way the focus rings plough to the clean, satisfying way the dissimilar mode buttons click into place and the crispness of the connection between the forepart element and the lens hood -- everything feels equally good equally it mayhap could. This should come as no surprise though, every bit high quality look and feel is one of the staples of Sigma's Global Vision. The 24-70mm f/2.8 is merely the latest optic to embody that image.

Speaking specifically to weight, like nearly all the Global Vision lenses and especially those in the Art line, the 24-70mm is heavy. Like, very heavy. Every bit in, it tips the scales at a hefty two.24 pounds (1.01 kilograms) in addition to whatever your photographic camera body weighs. My main photographic camera is the Canon 1DX Mark Ii, and so y'all can imagine how hefty this combination is.

In ii separate instances during testing, that weight became a brunt. I shot for near 20 minutes in a swimming pool and an hr in a helicopter. In the pool, I had to keep the photographic camera to a higher place the water line the unabridged time for obvious reasons, and the sheer weight of the camera and lens combination really started to have its toll. Near the end of that session, I was absolutely not enjoying holding my camera anymore. In the helicopter, maneuvering the camera/lens combo was merely equally boring, and after the flying I was exhausted (more so than usual when shooting out of a helicopter).

For comparing purposes, the new Nikon 24-70mm f/two.8E VR lens weighs 2.4 pounds, and the Canon 24-70mm f/2.8L II weighs i.7 pounds. For Nikon folks, the NIKKOR lens surprisingly weighs even more, merely the Canon weighs considerably less.

The focus ring is located backside the zoom ring; the location of focus vs zoom rings is regularly swapped depending on who makes the lens. The last set up of Sony, Catechism and Nikon lenses I accept tested are all the contrary of this Sigma. Is this a problem? Not really. Only something to note. It is worth pointing out that this focus ring, though much larger than the one on the Sigma 24-105 f/iv Art, is all the same pretty sparse. Information technology's virtually half the width that yous are probably used to on lenses of this size, which some may dislike. I think it's just broad enough to not cause issue with a majority of photographers, and I'm glad they did not keep it as slim every bit the one on the 24-105mm, which is generally regarded as being extremely too sparse.

Focus Modes: AF, MO and MF

I wanted to take a second to go over a new focus mode on the Sigma 24-70mm f/2.8 Art that y'all perhaps would exist unfamiliar with: Manual Override (MO). Though both the Autofocus (AF) and Manual Focus (MF) work equally expected, Sigma added a third focus mode that gives you more command in very specific instances. Transmission Override manner cancels continuous autofocus when you adjust the focus ring. More than specifically, if you're one-half pressing the shutter push button in continuous autofocus way, you lot tin keep half pressing and arrange the focus band and the lens volition non endeavor to autofocus unless you release the shutter and half press information technology again. In Autofocus mode, moving the transmission focus ring while holding a one-half printing doesn't stop the continuous autofocus from attempting to re-appoint. Of course, any time you rotate the focus band, you lot can arrange focus, fifty-fifty in regular AF mode.

What is the use case? Information technology's pretty specific. If you desire to try and get focus but the camera is non quite continuously focusing where yous want, Transmission Override would allow you to maintain a one-half printing while doing a small-scale transmission adjustment, then finish the shot by fully pressing the shutter button without worrying that the lens would endeavor to re-acquire the wrong focus point again.

Remember of it a bit like rear-push button autofocus. That'southward the closest comparison I tin make, except this is straight on the lens instead of making a change to the camera's custom functions.

The MO function can exist further customized using the Sigma Dock.

Canon 1D Ten Mark 2: 24mm, f/5.half-dozen, 1/100s, ISO 200

Other Features, Chromatic Aberration, Vignetting and Flaring

Sigma included their Hyper Sonic Motor (HSM) in the 24-70mm, and it does focus extremely rapidly and accurately, admitting a flake loudly. The noise of the focusing motor is peculiarly obvious during video using continuous autofocus. Though it'south not extreme, it is certainly louder than I was expecting.

Speaking of continuous autofocus in video, I was pretty impressed with how well the lens performed here. Outside of the noise of the focusing motor, the lens was able to keep upwards with the demands of the Canon 1DX 2'southward Dual Pixel Sensor, and tracked focus extremely well.

I feel like I should mention the number of things Sigma has done to their eyes inside the lens, as well as how many elements information technology has (19!). The lens includes three SLD elements and four aspherical elements, which aim to reduce distortion, aberrations, color fringing, and other anomalies. A Super Multi-Layer Coating has too been applied to reduce lens flare and ghosting, and a protective coating has been added to the front element, besides.

Chromatic Abnormality

In looking at images I took, I can't argue that the coatings and elements Sigma employs here didn't do their chore. I don't see much in the way of chromatic aberration or flaring, even when shooting shiny objects framed by the sun, or shooting extremely back lit. In a couple photos I noticed some extremely minor chromatic aberration along edges of contrast points, but this was only subsequently deeply inspecting an prototype looking for it. I was literally pixel peeping, but I can ostend some does exist.

Catechism 1D X Marking II: 33mm, f/iv.5, i/1000s, ISO 800

600% magnification

In straight-up testing, I tried to make blush happen. Beneath you can run into 4 100% crop samples from the serial (all three at f/2.viii where chromatic aberration is more likely to happen), and you lot can peruse the unabridged prepare for yourself in the gallery.

24mm, f/two.8

35mm, f/2.eight

50mm, f/2.8

70mm, f/two.viii

You lot can see that at that place is some regal and light-green fringing, only I practise not think information technology is terrible and it is easily fixed in post. Additionally, chromatic aberration basically disappeared at 70mm.

Flaring

Flaring was extremely well controlled, and I didn't encounter any that compromised my images.

Canon 1D Ten Mark II: 70mm, f/5.six, 1/2000s, ISO 200

Vignetting

As for vignetting, for those who like optical perfection, unfortunately this lens has a lot of information technology. Information technology's not every bit severe as what can be witnessed in Sigma 35mm f/one.4 wide open, but it's far more pervasive. At every focal length and at every discontinuity, some level of vignetting was visible. Below are samples of the worst of it at f/2.viii:

24mm

35mm

50mm

70mm

Through the entire zoom range and across all the apertures, the 24-70mm f/two.8 has some level of vignette. Though information technology doesn't bother me as a reviewer or as a photographer, it is worth pointing out. It is, every bit expected, heaviest at f/2.8. Information technology does dissipate rather quickly though, and it becomes relatively unnoticeable past f/v.

Canon 5D Mark III: 54mm, f/2.8, 1/50s, ISO 1250 This prototype has been edited. Delight click for the original.

Sharpness

At 24mm:

Wide open at f/two.8, you are going to notice the Sigma giving the best performance in the eye of the frame. All along the outside of that center area, the lens' sharpness falloff is rather steep. By the time you become to the corners, the blurring is extremely severe.

Compare the corner:

To the center:

The good news? That sharpness starts to make clean upward quickly. Past f/iv, the corner blurring is far less noticeable, and it'south pretty much a not-effect past the time you lot are upwards to f/v.six. Even better, the overall sharpness through the aperture range at 24mm is really consistent. Even f/22, though suffering a bit of diffraction, looks really practiced and just a little less sharp than f/2.8 and f/v.half-dozen.

Hither is a 100% crop of the heart at f/5.6:

Versus the center at f/22:

At 35mm:

35mm has the aforementioned corner sharpness problems that 24mm does, just to a lesser caste. While I think that overall sharpness is crisper (and the center of the frame does look quite precipitous), the edges are all the same problematic.

Compare the corner:

To the eye:

Exterior of the sharpness test images I shot, I took a look at some of the other images I shot in a existent-world state of affairs, and noticed that information technology's not always just the typical edges of the frame that tin become blurred, but annihilation outside a certain radius of my focus indicate. For example, in this flick of a pier in Santa Monica:

Canon 1D 10 Mark II: 65mm, f/5.6, 1/100s, ISO 200

You should notice that more half the image has a blurriness problem, even the dead middle of the frame. In fact, if you didn't scroll up to the right quarter of the image, you lot might even think the entire matter is barely out of focus. But the point that I focused on is quite crisp. So the Sigma 24-70mm Art might have a sharpness falloff issue that is totally contained of the corners, only related specifically to distance from a focus point.

But again, the good news is that at f/five.6 and until f/22, sharpness consistency evens out nicely. And similar at 24mm, even f/22 looks pretty skilful. Even better, because overall sharpness is improved at the 35mm focal length over 24mm, images look nicer and sharper beyond the board.

At 50mm:

The same problems evident at 24mm and 35mm are present at 50mm: sharpness falloff at more open up apertures at the corners.

Corner at f/2.8:

Versus Center at f/two.8:

The sharpness falloff is definitely less severe than at 35mm and especially what we saw at 24mm, only it'due south still axiomatic. Over again though, sharpness actually evens out effectually f/5.6 and images expect really practiced again upward to the max of f/22.

Corner at f/five.6:

Versus corner at f/22:

Conversely, the sharpness at the center of the frame is pretty consequent through the discontinuity range. Take a expect at the centre of an image shot at f/2.8:

Versus one shot at f/v.6:

Versus one shot at f/22:

See a major sharpness difference? I don't, and that's pretty impressive.

Canon 1D 10 Mark II: 50mm, f/two.8, i/500s, ISO 125 This image has been edited. Delight click for the original.

In real-world photos, I experience like the images produced expect expert, but there is nothing outstanding about the crispness of the image. It's certainly quite practiced, and my subjects are always in focus and precipitous, but they don't bound off the page like I'm used to seeing with Sigma lenses.

At 70mm:

At 70mm, the Sigma does it's all-time work. Corner sharpness is much more consistent with middle sharpness, and overall images are much cleaner.

Corner at f/2.8:

Versus the centre at f/ii.8:

As for overall sharpness hither, let's take a look at how the centre fares across the discontinuity range:

At f/2.8:

At f/five.half dozen:

At f/10:

At f/22:

At f/22, if you look closely you can see the image gets just a bit fuzzier when compared to the other three samples, but information technology's even so a very fine performance. If the rest of the focal lengths performed every bit well as information technology does at 70mm, we would take an exceptional optic on our easily.

Sharpness Overall:

I don't recall this should be understated: it'southward quite unusual to see narrow aperture functioning as skillful as what the Sigma 24-70mm f/two.8 Art has through the zoom range. Sharpness is very good, and fifty-fifty though there is indeed a sweetness spot for sharpness in this lens (I personally liked f/nine), f/22 for the most function is marginally dissimilar from that spot.

I think the lens does quite well at 35mm through around the 50mm range, with 24mm being the weakest, especially wide open. Trumping them all however is 70mm, with the best corner-to-corner sharpness performance through the zoom and aperture range. This confirms the MTF charts for this lens, which bear witness that 70mm is the strongest focal length with 24mm beingness the weakest.

Diffraction

Geometrical

The takeaway here is that although sharpness may be relatively consistent at each focal length through the aperture range, sharpness quality overall is non consistent through the focal length range.

In the Field: Sample Shots

The 24-70mm f/2.8 is ofttimes described as most folks' "desert isle" lens. Information technology's an optic that is the definition of utility, existence skilful for just well-nigh anything. Though it'southward rare to find ane that truly excels at everything, virtually 24-70mm lenses are perfectly capable eyes that tin handle a wide range of tasks.

That's certainly the case with the new Sigma 24-70mm f/2.8 Art. I used it in portrait photography, street photography and aerial landscape photography and plant it to be pretty solid in all cases. Handling, autofocus speed and accuracy, and overall experience of the lens is without issue. Physically, it works extremely well.

My only real complaint through existent-world testing is that the sharpness inconsistency did cause one of my favorite shots from the helicopter flight to be "ruined." It's not really ruined by any means, just I tin see a definite sharpness difference between the centre of the frame, and the lesser, even when I'one thousand not viewing it at 100%. Compared to my other aerial shots I've taken over the years, this inconsistency would stand out.

Canon 1D X Marker Ii: 70mm, f/5.6, i/100s, ISO 200 This image has been edited. Please click for the original.

What I liked:

• Great build quality
• Polish, stiff, and crisp focus and zoom rings
• Optical stabilization
• Not bad "Manual Override" autofocus way
• Excellent image quality retentiveness even at maximum aperture
• Corking chromatic aberration and flaring control
• Autofocus is quick, accurate and works well with continuous autofocus in stills and video
• Adept price signal

What could utilise improvement:

• Overall sharpness is lackluster
• Corner, or even edge, sharpness lacking at all but 70mm focal lengths
• Vignetting
• Autofocus motor is a little noisy
• Lens is very heavy

Sigma 24-70mm f/2.8 Art Field Exam Summary

It'south weird to write a review of a Sigma lens where I have concerns almost sharpness, but with the Sigma 24-70mm f/2.viii Art, it's the number one matter on my heed. Information technology would exist more forgivable if the lens merely wasn't equally sharp equally I am used to seeing out of Sigma, but unfortunately information technology'southward not simply that: it'due south that edges and corners suffer from sharpness falloff at all focal lengths at brighter apertures to the caste that I tin discover information technology even in images not at 100% magnification. It's crawly that the lens looks groovy at f/16 or even f/22, only information technology'due south far more rare to shoot that stopped down.

Then the challenging thing to consider is if you are willing to take a lens with lesser quality imaging capability because it's a lot less expensive than the Canon or Nikon alternative. To that, I would say Nikon shooters are in a bit more of a bind. The older Nikkor 24-70mm f/2.8G without VR is merely $1800, not much more than to inquire than the Sigma'due south $1300 and is a vastly superior optic. For Canon shooters, y'all may now observe yourself comparing the Sigma 24-70mm Art vs the Tamron 24-70mm SP G2, a practiced lens. Their toll points are pretty similar. Does Sigma desire to be competing with Tamron over again? I don't think they do, but the performance of this lens doesn't warrant comparing to the quality of the Canon Fifty or Nikkor glass.

It's an odd position, seeing as nosotros are so used to comparing recent Sigma lenses to high-finish glass like Zeiss, and this time detect ourselves comparing it to Tamron.

So is it worth it for those looking for a amend value? This is where I am still on the contend. Don't get me wrong, the Sigma is withal a good lens, but my expectation of what the 24-70mm Art should have been versus what it is take made me unsure of how or if to recommend information technology. I think this is one time I'll accept to defer to you, the reader, and ask you to judge it based on what your personal needs and budget are.

• • •

Sigma 24-70mm f/2.8 OS Art -- Product Overview

(From Sigma lens literature) What photographers demand from the 24-70mm F2.8 specification is much more than outstanding image quality. They want all the features that make this a get-to lens for a wide range of photographic opportunities, including optical design ideal for the latest ultra-high-megapixel digital cameras, hypersonic motor (HSM) for high-speed autofocus, optical stabilizer (Os) with powerful stabilization event, dust- and splash-proof mount with condom sealing, and a metallic barrel for a stable, rigid feel. This all-new 24-70mm F2.viii lens from SIGMA delivers the functioning and functionality that help pros succeed in news, nature, and many other fields of photography.

Cardinal features

1. The large-diameter standard zoom ideal for today's ultra-high-megapixel digital cameras

• Outstanding optical performance
  3 SLD (Special Low Dispersion) glass lens elements and four aspherical lens elements assistance minimize optical aberrations. To ensure outstanding epitome quality from the heart to the edges of the photograph, the optical system minimizes coma, which causes points of light to streak, and transverse chromatic aberration, which cannot be corrected via discontinuity control, The optical system also minimizes distortion, which can be particularly evident in wide-angle shots, resulting in excellent optical functioning throughout the zoom range.
• A 24-70mm F2.viii lens that meets the high standards of the Art line
  SIGMA has continuously pioneered 24-70mm F2.8 lenses that are a footstep ahead of the times. The start model of this specification, SIGMA 24-70mm F2.8 EX DG ASPHERICAL DF, launched in 2001. Representing the fourth generation of the family unit, the new SIGMA 24-70mm F2.eight DG Bone HSM | Art accomplishes a challenging feat in optical design: incorporating optical stabilizer functionality in a big-bore standard zoom. Past leveraging all of its blueprint and manufacturing expertise, SIGMA has ensured that this new lens fulfills the uncompromising requirements of the Art line for paradigm and build quality.
• Bokeh that is a cut in a higher place
  At broad-open discontinuity, this lens offers outstanding photographic expression. The area in focus is extremely precipitous, while the groundwork exhibits a beautiful bokeh effect with only slight spherical aberration. Since big-bore zoom lenses are often used at wide-open up aperture, SIGMA has paid close attention to the shape of the bokeh, aiming for perfect circularity.
• Incorporating advanced aspherical lens processing engineering science
  Aspherical lenses necessitate refined expertise in the blueprint and manufacturing of advanced, high-functioning lenses. SIGMA's first products to feature this technology were the SIGMA 12-24mm F4 DG HSM | Art and SIGMA 14mm F1.viii DG HSM | Fine art, which both incorporated a big 80mm aspherical lens every bit their front lens element. Building on the success of these predecessors, the SIGMA 24-70mm F2.8 DG HSM | Art incorporates an aspherical lens element that helps achieve extremely loftier resolution. This element is much thicker at the heart than the edges, and forming its unusual shape is a feat of manufacturing engineering science. Moreover, SIGMA processes the surface of this aspherical lens element with ultra-precise tolerances that are measured in hundredths of a micrometer. This extremely fine surface allows the SIGMA 24-70mm F2.viii DG HSM | Fine art to deliver a very natural and smooth bokeh upshot, without the visible concentric rings that afflict typical aspherical lens elements.

2. OS functionality and newly designed HSM for success on any shoot
Designed for advanced utility in a broad variety of situations, the optical stabilizer (OS) offers a powerful stabilization effect. The newly designed big hypersonic motor (HSM) offers 1.iii times the torque of its predecessor and exceptionally stable performance even at lower speeds.
* Based on CIPA's guideline. Measuring at telephoto end, when it is attached to the camera with 35mm image sensor.

iii. Lens barrel designed for high rigidity
Since large-diameter standard zoom lenses tend to serve as a go-to lens and run into frequent use, the SIGMA 24-70mm F2.8 DG HSM | Fine art is designed to stand to the challenging shooting environments that pros run into. To this cease, the lens barrel contains a large amount of metallic, while the external moving parts feature thermally stable composite (TSC), which is resistant to thermal expansion and wrinkle. This structure contributes not only to the outstanding optical performance of the lens merely also to its loftier rigidity and confidence-inspiring build quality.

iv. Other features

• Mount with dust- and splash-proof pattern
  Since the area of the lens well-nigh vulnerable to dust and other foreign bodies is the mount, safe sealing helps provide peace of heed. In addition, the forepart lens chemical element features a water- and oil-repellent coating that helps the lens perform well in the rain, near water, and in other challenging conditions.
• Nikon electromagnetic diaphragm mechanism included
  The Nikon mount version of this lens includes an electromagnetic diaphragm mechanism that allows it to receive the advisable signals from the camera trunk. This characteristic ensures precision diaphragm control and stable Auto Exposure (AE) performance during continuous shooting. Note: Functionality may exist limited on some camera bodies.
• Fast AF with full-time manual focus
• Compatible with Mount Converter MC-11
• Available SIGMA USB DOCK
  Makes customization and flexible adjustment possible
• Bachelor Mount Conversion Service
  Allows apply with another camera torso
• Rounded diaphragm
• Designed to minimize flare and ghosting
• High-precision, durable brass bayonet mount
• Evaluation with SIGMA's ain MTF measuring system "A1"
• Made in Japan
  With outstanding craftsmanship
• The lens barrel is engraved with the year of release

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

Sigma 24-70mm f/2.8 DG Bone HSM Art User Reviews

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Source: https://www.imaging-resource.com/lenses/sigma/24-70mm-f2.8-dg-os-hsm-art/review/