The new Sigma 28-70mm f/2.8 has been rumored and even some photos of it leaked earlier this week. Now it’s officially out and ready for your orders, and it’s priced at $899, which is pretty tempting compared to other similar lenses. The 28-70mm f/2.8 DG DN Contemporary Lens comes in Sony FE and Leica L […]
Sigma has announced the 28-70mm F2.8 DG DN. This new lens now joins the 14-24mm f/2.8 DG HSM, 24-70mm F2.8 DG DN, 24-105mm f/4 DG OS HSM, and 12-24mm f/4 DG HSM in the full-frame Art series zooms. This lens is available in either L-Mount or Sony E-mount. Smaller & Lighter The 28-70mm F2.8 DG … Continued
Sony isn’t the only one suffering from leaks today, as Nokishita has also leaked Sigma’s upcoming 28-70mm f/2.8 DG DN Contemporary lens for mirrorless cameras. Just one week ago, it was rumoured that Sigma was expected to announce the new lens for Sony FE at the upcoming CP+ show in Japan. But L-Rumors is reporting […]
One of the great things about photography is the wide range of available equipment. Particularly with lenses. But this can also leave people wondering what might be right for them, particularly as they can often overlap in many ways. To help, we take a closer at three lenses that can all shoot at 105mm: a […]
Sigma is expected to announce the recently registered Sigma fp L camera at the upcoming CP+ 2021 virtual show in a couple of weeks. Now, though, it looks like they’re set to announce a new 28-70mm f/2.8 FE lens on the same day. According to L-Rumors, Sigma is set to make two announcements at CP+, […]
Another one from Nokishita. It appears Sigma has registered a new Sigma fp L camera body in Korea. There’s no real information about it yet except for the fact that it’s been registered, although it appears that we might be able to expect another camera soon from Sigma. Perhaps as soon as the end of […]
My favorite “walking around” and landscape focal length is 35mm equivalent. I have some 24mm lenses which approximate that field of view on my APS-C camera. One is the Tamron 24mm f/2.8. But despite its great resolution, it is slow to focus and pretty large. So after being very pleased with my Sigma 45mm Contemporary, I decided to give their new 24mm version a try. I’m glad I did.
Although I plan to use it mostly on my APS-C camera, all test shots were made on my full-frame Sony a7R IV in order to explore the edges of the full-frame field.
Many photographers favor a real aperture ring like this Sigma. But note that I’ve set mine at “A”. That gives control of aperture to the camera. I prefer that because I often shoot the same scene at several apertures and this allows me to select apertures without moving my eye from the viewfinder.
Both Sigma and Tamron 24mms have semi-macro capability of 1:0.5. And both are sharp. Shooting at closest focus puts the lens on top of the subject, blocking light. But it worked well for these two examples, which were shot about a foot away from the subject.
Remember that the depth of field of any shot increases with distance squared. So shooting from twice the distance quadruples the DOF. That is very nice to have with close-up shots.
I explained my sharpness testing method in this article. I shoot a sloped roof, then find the largest aperture that gives sharp sides, as shot or with a touch of sharpening. This lens achieved that wide open, which is rare.
I’m content with any lens which will do that at least at f/11 because I usually shoot at f/11 or f/16 for depth of field. And on the occasions when I use large apertures, I want soft sides.
I can’t see any, on- or off-center.
This wide-open test shot demonstrates the flat field. The shot is made by photographing pavement at an oblique angle, then processing the image with an editor function that replaces sharply focused edges with white marks. The pattern of white marks is essentially straight from left to right, indicating a flat field.
Field curvature doesn’t bother me because I usually want depth of focus and use small apertures where field curvature disappears. And if I’m using larger apertures, that is to isolate the center of the shot and I want blur off-center.
Autofocus is quick and accurate like most quality lenses. Manual focus is about average for autofocus lenses, which is slower than I like.
Vignetting at large apertures is a fact of life with wide-angle lenses. When I made these test shots I was puzzled at how little vignetting I could see. How did Sigma do that? They seem to defy the laws of physics.
I’m very happy with this lens. And it’s a nice bonus that it also has closeup capability.
Some might seek a larger aperture, but I have little use for very large apertures in wide-angle photography. And I don’t like the great weight of f/1.4 wide-angle monsters.
Although I usually sharpen my photos, none of these samples has been sharpened. In shooting lens review samples, I aim for detail over all of the image for most samples, rather than artistic merit.
About the author: Alan Adler lives in Los Altos, California. The opinions expressed in this article are solely those of the author. He has been an avid photographer for 60 years. He is also a well-known inventor with about 40 patents. His best-known inventions are the Aerobie flying ring and the AeroPress coffee maker.
If you’re a big fan of Sigma’s latest lenses, the company has just announced new ways to show that love. Sigma has added three new t-shirt designs and one new hoodie. While the t-shirts depict optical formulas, the hoodie design seems… uninspired?
Sigma’s three new t-shirts feature the optical formulas for the 35mm f/2 DG DN, the 65mm f/2 DG DN, and the 24mm f/3.5 DG DN, all the newest additions to the Sigma I-line of lenses. Optical designs on shirts look pretty great, and these are no exception.
The t-shirts are available now for $2,750 yen (about $26) in small, medium, large, extra-large, and double extra-large sizes, and the design is likely to appeal to a number of Sigma lens fans.
But as nice as the t-shirt designs are, the grey hoodie that joins them is significantly less eye-catching.
Featuring an oddly large “I” on the front left side of the hoodie and just a list of lenses on the back feels extremely uninspired. It’s literally just text listed on the back of a sweatshirt. While there is precedent for this, such as a band’s travel schedule for a given concert series or a professional sports team’s season schedule, those usually have some kind of unique graphic to accompany the giant blocks of text.
Sigma’s choice here has none of that, which seems like a missed opportunity.
The hoodie is listed for sale in small, medium, large, extra-large, and double extra large for 5,940 yen, or about $56. It is only available in gray, and should be shipping out relatively quickly. Sigma says the items ordered from the store may take up to a week for delivery.
Let’s talk about the most interesting and hardest lens to master: the ultra wide angle. This is a fantastic lens that lets you share unique perspectives of almost any subject by cramming a whole lot of environment in a single frame. If you are in the market for one of these, follow on as I compare two of the best on the market.
By definition, the ultra-wide-angle lenses are anything shorter than 24mm on a full-frame camera and 15mm on an APS-C sized sensor.
This is half right in my opinion. The other half of this is that fisheye needs to be its own class. I consider this anything below 12mm that is where you really start to get horizon warping and that fishbowl warping becomes much more prominent.
So which lens should you get? You have a mirrorless camera and you want to get in on this ultra-wide action but what is the best?! Well read on and I will answer that very question. I have narrowed it down to the two best lenses that I think really define this category for mirrorless cameras. The Sigma 14-24mm f2.8 DG DN ART lens and the Tamron 17-28mm f/2.8 Di III RXD.
Iceland is the ultimate wide angle lens playground. This play is one of those places that will give you every opportunity to explore the creative potential of an ultra-wide-angle lens.
Let’s Talk About These Two Lenses
Both lenses are designed for mirrorless cameras.
Both lenses are less than $1,500.
Both lenses have a constant f/2.8.
These two lenses represent the two types of folks who are shopping for an ultra-wide-angle lenses.
Out of all the lenses I tested in this class these are the only two I would comfortably recommend to someone of any skill level.
Let me address the elephant in the room. Brad, why not the Sony 12-24mm f/2.8 GM? To be perfectly honest I don’t really like Sony lenses. I have rented several GM and others and they have never wowed me. Plus, that thing is $3,000. I bought all 3 of the lenses I currently carry for that same money.
For the rest of this comparison, I am going to be using only raw un-edited photos from each lens, with some scene comparisons at the end. Each shot was set up on a tripod and the only change was which lens was mounted to the Sony a7R III.
For the side-by-side comparison, I am using a plain shot of my yard that has tall straight lines to show warp and complicated details all the way to the edge of the frame. This was shot in overcast skies for even lighting that fades from bright to dark from top to bottom.
Bottom 1/4 of the photos:
Bottom 1/4 sharpness:
Edge sharpness bottom left corner:
The Sigma loses some detail of the further back in the image (house) some of this can be recovered in post but it is something to consider. However, edge to edge, corner to corner it can render every pixel all the way to the very edge of the frame in focus.
The Tamron is almost freakishly sharp in the middle of the frame but the focus starts to fall off pretty quickly. Even pretty far into the image (where the concrete round is) you can see the leaves are starting to lose sharpness and when you make it to the corner they are soft enough that they cannot be saved.
Sigma 14-24mm f/2.8 DG DN ART
Sharp all the way to the edge.
Has a AF/MF switch and and a focus lock button you can program to do other things.
Almost no distortion.
$1399: this is in the prosumer area to be sure but for someone just starting this is a hard pill to swallow for one lens.
Heavy: at 827 grams you can feel this all-metal beast in your bag and in the hand.
If you want to use filters with this you are going to have to buy a specialty holder that will cost you an additional $200-$600 depending, and it is another large item to carry.
Tamron 17-28mm f/2.8 Di III RXD
Deadly sharp in the center.
LIGHT, it only weighs 484 grams. This lens with the 28-75 2.8 from Tamron barely weigh more than the Sigma on it’s own.
Accessory filters are dirt cheap and one filter works for all 3 of the lenses in Tamron’s mirrorless line up!
Loses sharpness pretty quickly toward the edge of the frame.
It zooms backwards – personal preference but all lenses should turn counter clockwise to zoom.
No AF/MF switch – I don’t want to fumble in menus when I need to quickly adjust the focus manually.
Which one should you buy?
So this is a harder question to answer than I might have thought and I think I am going to have to give two answers. I personally have the Sigma and it is one of the lenses I literally never leave home. It is always in my bag heavy and obnoxious as it is, I freaking love it.
1. Buy the Tamron. Seriously for almost everyone this is going to be the perfect wide-angle lens for your kit and I actually recommend all 3 of Tamron’s mirrorless lenses including the 28-75 f/2.8 and the 70-180 f/2.8. They are very lightweight, provide great images, and you can use the exact same filters on all 3 of them. Tamron REALLY put their thinking caps on with this line and have delivered a great line up of lenses. This family of lenses is almost a cheat code for anyone just starting out. If you’re getting a mirrorless body, start with the 28-75 f/2.8 and go from there, you will not be disappointed and these will serve you for years.
The sharpness thing is not really an issue when you consider the way almost everyone interacts with photos now, the largest screen they are going to see it on is an iPad. The smaller you make your photo the more crimes you can hide.
2. If you print anything larger than a standard sheet of printer paper, or do editorial work I do not believe the Tamron will hold up. I have 8×12 prints from both lenses and I can start to see the detail fall off at the edges, but I am also looking for it. If you want the cleanest, clearest, crispiest image edge to edge for those large fine are prints, billboards, posters, etc. Consider the Sigma. It is heavy which makes it feel super solid when you’re hand-holding shots. Dealing with the bulbous front element will drive you crazy, especially when you slap a $400 filter kit on there to have a polarizer. But the things this lens can do blow me away daily. It will focus literally up to 7 inches away from the front element. You can cram this lens anywhere and get some really unique shots. This lens for me speaks to the pro switching platforms or someone that is a fine art/ large format display photographer.
In the field comparison
Enjoy these additional comparison images from each lens where I go shot for shot with each one at a beautiful waterfall in West Virginia. The Sigma is on the top and the Tamron is on the bottom. Both of these were shot at f/16, ISO 100, and a 2-second exposure.
About the author: Brad Denny is the photographer behind the Restless and Wandering travel photography blog. The opinions expressed in this article are solely those of the author. You can find more of Denny’s work on Facebook, Twitter, and Instagram. This article was also published here.