Sigma continues to refine its Art range and enrich its offer for full-format hybrids. The zoom 24-70mm F/2.8 DG DN Art specially designed for the latter is positioned as an alternative of choice.
- Sony E Mount
- Maximum Covered Format: 24×36.
- Actual Focal Length: 24-70 mm.
- Focal Equivalent: 24×36 24-70 mm.
- Angle of Field: °.
- Maximum Aperture: f/2.8-2.8.
Main Characteristics of Sigma 24-70mm F/2.8 DG DN Art
When we team up and are looking for something other than the one supplied in the lens kit with the hybrid, several choices are available to us. Among them, the standard zoom from the focal range 24 mm to 70 mm are very large classic. For those who wish to take their practical photo further, the f/2.8 luminous aperture is also a must. The zoom 24-70 mm F/2.8 DG DN Art therefore fits in this line. Already existing in the Sigma SLR catalog, this latest version has been revised especially for fans of Sony or Panasonic full-format hybrid devices.
Sigma is therefore not at its best and wants to place the 24-70 mm F/2.8 DG DN Art as a serious alternative to what the device manufacturers already offer. The zoom is therefore integrated into the lens’ art range. In the competition, we obviously think of the Lumix s Pro 24-70 mm f/2.8 at Panasonic in L-mount or the G Master FE 24-70 mm f/2.8 at Sony, this time in E-mount. On the side of Tamron, it is the 28-75 mm f/2.8 DI III RXD that we can put in front.
In addition to a revised optical design, the 24-70 mm F/2.8 DG DN Art incorporates dust and moisture resistance and a quality finish. In contrast, Sigma has chosen not to incorporate optical stabilization, unlike its reflex version.
The 24-70mm F/2.8 DG DN Art was released in November 2019 and is marketed at a price of $1100.
On the ergonomics side, it is difficult to make a major reproach to the 24-70mm F/2.8 DG DN Art. the careful construction of the Sigma Art range is right there. We have to deal with a quality object that will undoubtedly seduce its future buyer. The black dress is simple and elegant, but perhaps lacks a little character. It remains a matter of taste. On the top, the small silver tablet stamped “A” confirms the belonging of the optics to The Art range.
With 835 grams on the scale, the 24-70 mm F/2.8 DG DN Art is not really a featherweight, while remaining in the average. Tamron does better on this point with the 28-75 mm f/2.8 DI III RXD, at the price of a finish a notch below. The length remains contained (a little less than 13 cm in the closed position).
For the grip, the set remains very good and almost without snags. Rings are pleasant to use. The one dedicated to the focus gives satisfaction, without offering the best sensation that can be found especially on the Z range of Nikon hybrids. Indeed, the rotation may lack some resistance. Moreover, it does not propose a stop.
One Adjustable Button
Big plus for lovers of advanced settings, a configurable button is available on the left side. Rather rubbery, its use is pleasant. You should not hesitate to assign it one of the 27 functions available on a modern case, such as the Sony A7R IV.
Finally, a small lever to lock the lens in the closed position is also present. This is rather anecdotal, since it automatically unlocks when using the zoom ring. It will not interfere in any way when using the 24-70mm F/2.8 DG DN Art.
The notion of pique is quite delicate to deal with. This is what can be equated to the “sensation of sharpness” or the “accuracy” observed on an image. It can be very different from one lens to another, from one focal point to another and from one aperture to another. It can also vary between the center and edges of the image.
We tested the lens with a Sony A7R IV with a 24×36 mm sensor of 61 megapixels with a definition of 9504 × 6336 pixels. Each pixel therefore measures 3.76 µm sideways.
While it is possible to get lost in convolutions around the optical quality of the 24-70 mm F 2.8 DG DN Art, it must first be acknowledged that Sigma has done an excellent job. At the best of its shape, the zoom produces a very good image, worthy of the best lenses. It is especially at the 24 mm that the 24-70 mm F 2.8 DG DN Art stands out, and this, from the full opening. The image quality indented at the edges is limited to the wide-angle position.
A High Sting
Beyond that, we find a more classic service, with a quality that can be perfected at full opening. The best rendering is thus obtained between f/4 and f/5.6. It is better to avoid closing the diaphragm beyond f/8 to keep the quality in the top of the basket. We regret, however, a lack of homogeneity between the center and the edges at the 50 mm — focal point yet classic — and measurements at the telephoto lens at 70 mm slightly below the rest.
The distortions group the geometric deformations of the lens. If in some cases they can be used for creative purposes, photographers usually seek to avoid them. On this side, the 24-70 mm F/2.8 DG DN Art is not free of defects since distortion is present at all focal lengths. Curvatures are therefore sometimes well visible on certain subjects. On the other hand, most of the time, the problem should not really bother the photographer.
If distortions can be used artistically, this is generally less the case for chromatic aberrations. The small colored fringes that can be seen on the periphery of the image on very contrasting areas will not pose a problem in most situations.
Vignetting is a loss of light that usually occurs from the edges of the image. We measure it and indicate the loss in it. The behavior of the 24-70 mm F/2.8 DG DN Art is similar between all focal lengths, except for the wide-angle at 24 mm where it is more present. However, this remains to be relativized, since vignetting is easy to fix by software processing. It is also highly appreciated by many photographers and can give a certain character to the image.
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In Practice: An Imperfect Bokeh
With a large opening at f/2.8, we were waiting for the 24-70 mm F/2.8 DG DN Art at the turn. The service is satisfactory, but still set back from what we would have liked to see. Bokeh bubbles are not perfectly smooth, while unsightly onion-rings are clearly visible. It’s a bit of a shame, even if it’s really far from completely bad.
The construction is tropicalized to resist dust and moisture. This is an excellent point for the user who will be reassured if the weather conditions should deteriorate. On the other hand, stabilization is neglected, unlike the version for reflex. If we understand the choice of Sigma who is well aware of the hybrid market to which the 24-70 mm F 2.8 DG DN Art is addressed, this remains a negative point for us. Indeed, all hybrid devices Sony E-mount or Panasonic L-mount are not stabilized. We think for example of the aging Sony A7 that still and always remains a gateway to the world of full-format hybrids.
A Responsive and Inaudible Auto-focus On Video
Auto-focus is responsive and silent on video. The small focus distance also makes it easy to get close to the object being photographed and makes the 24-70 mm F 2.8 DG DN Art more versatile. In short, once out of the laboratories, the Sigma 24-70 mm F/2.8 DG DN Art can be both effective and very pleasant to use. To be tatillon, it will be difficult not to be satisfied with the use.
- Constant luminous aperture.
- Good level of sharpness.
- Good management of chromatic aberrations.
- Good finishes.
- Moisture and dust resistance.
- Adjustable control button.
- Responsive and silent auto-focus.
- Lack of homogeneity between focal points.
- Distortions present at all focal points.
- Mismanagement of vignetting.
- No stabilization.
- Refresher bokeh rendering.
With the 24-70 mm F/2. 8 DG DN Art, Sigma confirms its know-how and offers an excellent standard zoom. If some points could have been improved (bokeh or general perfectible homogeneity), Sigma still navigates in a first-rate performance. Ultimately, the 24-70 mm F/2.8 DG DN Art is positioned as a real alternative to Sony or Panasonic-branded lenses.