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Posts Tagged ‘2470mm’

Sigma 24-70mm f/2.8 for Sony Review

18 Jun

The post Sigma 24-70mm f/2.8 for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.

sigma 24-70mm f/2.8 lens review

From the moment the Sigma 24-70mm f/2.8 DG DN Art lens for Sony was announced in December 2019, it’s been in hot demand. Fast forward to May 2020, and the lens is still back-ordered and difficult to get ahold of. It’s not hard to see why, as this lens is half the price of the Sony 24-70mm f2/.8 G Master. This Sigma 24-70mm f/2.8 for Sony review highlights some key specs of the new Sigma Art lens and contemplates why it’s such a sought after lens.

Sigma 24-70mm f/2.8 for Sony Review
Canon 5D Mark III with Canon 100mm f2/.8 – 1/160 sec, f/7.1, ISO 400
Sigma 24-70mm f/2.8 for Sony Review
Size comparison (left to right): Canon 24-70mm f/2.8 II, Sigma 24-70mm f/2.8, Sony 24-70mm f/4
Canon 5D Mark III with Canon 100mm f2/.8 – 1/160 sec, f/7.1, ISO 400

Specs

Focal Length 24 to 70mm
Maximum Aperture f/2.8
Minimum Aperture f/22
Lens Mount Sony E
Format Compatibility Full-Frame
Angle of View 84.1° to 34.3°
Minimum Focus Distance 7.09″ / 18 cm
Maximum Magnification 0.34x
Optical Design 19 Elements in 15 Groups
Diaphragm Blades 11, Rounded
Focus Type Autofocus
Image Stabilization No
Filter Size 82 mm (Front)
Dimensions (ø x L) 3.46 x 4.84″ / 87.8 x 122.9 mm
Weight 1.84 lb / 835 g

24-70mm: the desert island lens

Ask any photographer what single lens they would rather have if marooned on a desert island. I’ll bet a good chunk of the answers would be the “24-70mm.” This is a classic mid-range lens that covers a useful and versatile focal length. 24mm is just wide enough to capture vast landscapes without much distortion, while 70mm offers just the right amount of zoom to capture shots from a distance.

Most camera brands, including Sony, offer two versions of the 24-70mm: one at f/4, and another at f/2.8. The Sony 24-70mm f/4 is of fantastic quality at a semi-reasonable price point of $ 898.00. There are often used ones to be had for several hundreds of dollars cheaper. But the Sony 24-70mm f/2.8 stands at a whopping $ 2,198.00. See why there’s been a clamor for a half-price Sigma version?

Let’s not forget the Tamron 28-75mm f2.8, another lower-priced challenger at $ 879.00. This lens is a bit smaller and lighter than the Sigma version. It also has a smaller filter size of 67mm compared to the Sigma lens’ 82mm filter thread size. However, you sacrifice 4mm on the wide end, which may matter if you need maximum wilderness.

Back to the Sigma.

Sigma 24-70mm f/2.8 for Sony Review
Canon 5D Mark III with Canon 100mm f2/.8 – 1/160 sec, f/7.1, ISO 400

Build and construction

Sigma Art lenses are known for their superior bodies, and the 24-70mm f/2.8 is no exception. This lens was made in Japan, and it shows in the craftsmanship. It feels solid in the hands and is even a hair lighter than the Sony version. The lens has two rubber rings: one for focusing and another for zooming. There is also an Af/MF switch, a button for AF-Lock, and a locking mechanism.

The locking switch is a bit unusual. Enabling the lock prevents the lens from accidentally extending. On most lenses, the lock is rock solid. But on the Sigma, the lock can easily be overridden by simply twisting the zoom barrel. That makes it easier to run and gun shoot, but on the other hand, it’s a little too easy to accidentally unlock your lens in the field. I didn’t mind this feature, but some photographers may not like it.

The zoom is equipped with internal sealing against dust and moisture. There is also fluorine coating on the front of the lens to repel water and oil. Overall, this lens held up like a champ while shooting in a light rainstorm.

Sigma 24-70mm f/2.8 for Sony Review
Canon 5D Mark III with Canon 100mm f2/.8 – 1/160 sec, f/7.1, ISO 400

Image quality

Testing of the Sigma 24-70mm f/2.8 was done on a Sony a7riii. In terms of sharpness and overall image quality, the lens was fantastic in almost every way. The only problem is the hint of distortion and vignetting that you see at 24mm. But both of these can be easily corrected in post-production software such as Adobe Lightroom and Photoshop.

Sigma 24-70mm f/2.8 for Sony Review
Sigma 24-70mm f/2.8 @ 24mm – 1/1000 sec, f/2.8, ISO 160 – without lens correction
Sigma 24-70mm f/2.8 for Sony Review
Sigma 24-70mm f/2.8 @ 24mm – 1/1000 sec, f/2.8, ISO 160 – with PhotoShop lens correction

Bokeh quality at f/2.8 on the lens was smooth and creamy for a zoom lens.

Sigma 24-70mm f/2.8 for Sony Review
Sigma 24-70mm f/2.8 @ 70mm – 1/800 sec, f/3.5, ISO 250
Sigma 24-70mm f/2.8 for Sony Review
Sigma 24-70mm f/2.8 @ 44mm – 1/5000 sec, f/3.2, ISO 160
Sigma 24-70mm f/2.8 for Sony Review
Sigma 24-70mm f/2.8 @ 36mm – 1/500 sec, f/2.8, ISO 160

Image stabilization

The main feature that this lens lacks is image stabilization (IS). That means this isn’t the optimal lens for shooting video. However, this lens works well with Sony’s in-body image stabilization (IBIS), so that gives you some form of stabilization. For non-video shooters, image stabilization in the lens would certainly help for capturing stills handheld at low shutter speeds, but then again, that’s something IBIS can help with.

So at the end of the day, we can’t fault Sigma for not including IS in this lens. The Sony version doesn’t have it either, and the inclusion of IS generally increases the overall price of a lens.

Ease of use in the field

I took the Sigma 24-70mm f/2.8 on a road trip with me. It took the place of my much more compact lens choice, the Sony 24-70mm f/4. My main photo subject was landscape and lifestyle photography, much of it done on cloudy days with even, filtered light. The lens performed beautifully and was a joy to shoot with. The autofocus was snappy and accurate, although the native Sony 24-70mm that I normally use still has the overall autofocus advantage.

The main thing that bugged me about the Sigma lens was its weight and size. Admittedly, I’ve learned to be okay with sacrificing a faster f-stop by using a smaller lens while traveling. This lens felt like it weighed the camera down when I wasn’t holding it in my hands and actively shooting with it. But then again, a larger and heavier lens is the yet another price to pay for using an f/2.8 lens.

Sigma 24-70mm at Lake Lenore Caves, Washington
Sigma 24-70mm f/2.8 @ 24mm – 1/250 sec, f/9, ISO 160
Sigma 24-70mm at Lake Lenore Caves, Washington
Sigma 24-70mm f/2.8 @ 24mm – 1/320 sec, f/8, ISO 125

Warranty

Besides a lower price, third-party lens companies such as Sigma are one-upping Sony by offering extended warranties. In the case of Sigma, each lens comes with a 1-year warranty, with an extended 3-year warranty in the USA. On the other hand, Sony offers just a 1-year warranty. However, you may be eligible to join the Sony Pro program, which offers discounted repairs.

In conclusion

The Sigma 24-70mm f/2.8 is a solidly built, high performance lens that is a steal at $ 1,099.00. You won’t find a better 24-70mm at this price point. If you’re a stills photographer, you want this in your bag if you don’t already have the Sony version. However, video folks may want to look at another midrange option that includes image stabilization in the lens.

Sigma 24-70mm f/2.8 for Sony Review
Sigma 24-70mm f/2.8 @ 62mm – 1/100 sec, f/8, ISO 160
Sigma 24-70mm at Dry Falls, Washington
Sigma 24-70mm f/2.8 @ 24mm – 1/160 sec, f/8, ISO 160
Sigma 24-70mm at Dry Falls, Washington
Sigma 24-70mm f/2.8 @ 36mm – 1/200 sec, f/10, ISO 160
Sigma 24-70mm at Dry Falls, Washington
Sigma 24-70mm f/2.8 @ 24mm – 1/250 sec, f/2.8, ISO 2000
Sigma 24-70mm at Dry Falls, Washington
Sigma 24-70mm f/2.8 @ 24mm – 1/320 sec, f/11, ISO 400
Sigma 24-70mm at Dry Falls, Washington
Sigma 24-70mm f/2.8 @ 24mm – 1/500 sec, f/11, ISO 125
Sigma 24-70mm at Dry Falls, Washington
Sigma 24-70mm f/2.8 @ 70mm – 1/250 sec, f/8, ISO 160

The post Sigma 24-70mm f/2.8 for Sony Review appeared first on Digital Photography School. It was authored by Suzi Pratt.


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Sigma 24-70mm F2.8 DG DN Art sample gallery

04 Apr

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Our team at DPReview TV just finished reviewing Sigma’s newest 24-70mm F2.8 lens and they found a lot to like. Check out these sample photos captured while filming their review.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Sigma 24-70mm F2.8 DG DN Art review

04 Apr

The Sigma 24-70mm F2.8 DG DN lives up to Sigma’s ‘Art’ standard, giving first-party lenses for E-mount and L-mount a run for their money. We put it to the test and came out impressed.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Sample images
  • Design and handling
  • Autofocus
  • Distortion
  • Macro
  • Video
  • Chromatic aberration
  • Bokeh
  • Sharpness
  • For Sony E-mount users
  • For Panasonic/Leica/Sigma L-mount users
  • Conclusion

Sample Gallery from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery: Sigma 24-70mm F2.8 DG DN for Sony E-mount

05 Mar

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Sigma’s 24-70mm F2.8 DG DN is a fast and versatile zoom for Sony full-frame E-mount (as well as Leica/Sigma/Panasonic L-mount). It’s well-constructed, with extensive weather-sealing, and reasonably fast to focus. Output appears nice and sharp, corner-to-corner, and aberrations/ghosting are fairly well-controlled. Take a look for yourself.

See our Sigma 24-70mm F2.8 DG DN
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals gets risky while tearing down the Nikon Z 24-70mm F2.8 zoom lens

18 Jan

Image credits: Photos published with kind permission from Lensrentals.


Over on ‘The Desk of a Humble Genius,’ Roger Cicala of Lensrentals has ‘finally’ taken apart the Nikon Z 24–70mm F2.8 lens and shared both his insights and images from the experience.

As the original title of the teardown, ‘Lens Disassembly is a Complicated Profession. Don’t You Agree?,’ alludes to, this particular disassembly proved to be a challenging one, which par for the course with Nikon lenses, according to Roger. In his own words, Roger says ‘Nikon lenses have always been a bit “old fashioned” and different from other SLR lenses,’ but this review comes with a very clear warning to ‘not get your lens and screwdriver and follow along at home,’ because ‘Bad things might happen. Bad. Things.’

The teardown starts off with what is about the only negative thing Roger has to say about the lens—the felt around the lens hood, which he feels peels up too easily isn’t up to the quality of the rest of the lens.

From there, it’s onto the mount, which was dissected one screw and ribbon cable at a time. Upon removing the mount itself, Roger noticed it was particularly difficult to get off. This was due to an inner lip that rests against the rear barrel of the lens. Roger says ‘This might be to keep the bayonet centered, for a dust seal, to provide a little extra strength, or just because it looks cool,’ but notes regardless of the exact reasoning, ‘it seems like an all-around good idea.’

Moving along, Roger removed the rear piece of the lens barrel to reveal the A/M focus switch and the optical sensor the control ring uses. Each piece removed reveals a healthy amount of weather sealing gaskets, as well as numerous electrostatic discharge (ESD) cushions under the exterior of the lens.

With the rear barrel off, Roger gets into the internals of the lens, which proved to be a pleasant surprise. In his own words:

‘OK, let’s take a moment for me to give some props. Forever, during Nikon tear-downs, I’ve made snarky comments about the old-fashioned look they have inside; soldered wires here and there, flexes wandering aimlessly, random secondary circuit boards, etc. Well, no more. Look at this engineering right here: neat flexes running directly where they’re heading placed in recessed channels in the barrel and thoroughly taped in place. Superb! Nikon has clearly modernized and spent time and effort in making a clean, well-engineered layout for the electronics. I’ve been asking for that for years, and Nikon delivered.’

The PCB itself also proved to be quite minimal, at least compared to the one found inside the Canon RF 70–200mm F2.8 lens Roger tore down a few weeks back. In the past, Nikon has used secondary circuit boards in the lenses to beef up the processing capabilities, but Roger notes there wasn’t another one inside this lens, suggesting the camera handles a generous amount of the processing power.

After a few other auxiliary bits, it was onto the removal of the next piece of the lens barrel. Unfortunately, this is where Roger and Aaron ‘ran into the “be careful what you wish for; you might get it” conundrum.’ It turns out one of those nicely-organized flex cables ran down to the display unit of the lens and refused to budge when attempting to lift the barrel.

A syringe full of rubbing alcohol isn’t something you usually want to see during a lens teardown.

‘Rule 63 of taking apart lenses is “thou shalt not tug a flex”; because tearing a flex is bad,’ says Roger in the teardown post. ‘[But] on Nikon lenses, because we can’t buy parts, tearing a flex is very bad.’ After countless attempts to use different means of removing the flex cable to avoid tugging, Roger and Aaron decided they were sick of holding off lunch and decided to use a little rubbing alcohol in a syringe to ease the adhesive from the back of the ribbon cable. After a little bit of pulling, the barrel was off and they were on their way.

Roger hits on a number of other interesting tidbits about the buttons on the lens and the unusually-bright neon-yellow tape strategically-placed throughout the lens. The zoom barrel proved to be weather-sealed incredibly well and the zoom position sensor Nikon uses is an upgrade from the traditional metal brushes it’s used in the past.

The remainder of the lens disassembly proved to be a doozy, with excellent build quality proving time and time again to be a double-edged sword for Roger, who seemed to be as challenged as he was impressed.

While we’ll leave the rest of the humor, photos and details to Roger in his full write-up, here are a few other notable details discovered throughout the remainder of the teardown process:

  • Breaking the front filter thread of the lens is going to be a very expensive fix, as the entire front barrel is a single piece, rather than a piece simply held on with a few screws.
  • Aaron had to put on gloves during the assembly, which in Roger’s own words means ‘shit’s getting real’
  • The aperture diaphragm assembly is a combination mechanical/electronic aperture with very tight tolerances

When all was said and done, this teardown proved to be the longest ever—and that’s before Aaron had to piece it all together. The good news is, it (mostly) took so long because Nikon went above and beyond when engineering this lens.

Roger says these new Nikon Z lenses are a far cry from their F-mount counterparts and much like Canon’s RF lenses, are likely completely new optical designs made in-house. He notes ‘The engineering itself is incredible in most ways [and] the neatly laid out and solidly adhered flexes reflect the careful design.’

To see all of the images and read more in-depth knowledge shared by Roger, head on over to the Lensrentals blog.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma 24-70mm F2.8 DG DN Art lens delayed due to unexpectedly high preorder demand

18 Dec

Sigma has announced its 24-70mm F2.8 DG DN Art lens for Sony E-mount and Leica L-mount has been delayed due to unexpected demand for the product. In a statement on its Sigma Japan website, the company explains that it is working on producing the lens, but that it will take additional time for the model to be made available.

Sigma’s latest Digital Native lens was announced in early November with plans for it to arrive through authorized dealers in the US starting in mid-November. The lens is currently listed for preorder/backorder on Adorama and B&H Photo for $ 1,099, a price that’s considerably lower than competitors’ alternatives.

That low price likely contributed to the high preorder numbers. Sigma doesn’t provide an estimated shipping date for the backordered lenses, instead asking that customers ‘remain patient’ during the delay. Interested future buyers can enter their email address on B&H Photo’s website to receive an alert when the lens is back in stock.

Articles: Digital Photography Review (dpreview.com)

 
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Panasonic Lumix S Pro 24-70mm F2.8 sample gallery

03 Dec

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The fourth lens to debut in Panasonic’s full-frame lineup is the 24-70mm F2.8. It’s a popular and versatile focal range, and the company makes big claims of its superior bokeh and sharpness. Take a look for yourself at what the workhorse of the S Pro lineup is capable of.

See our Panasonic Lumix S Pro 24-70mm F2.8 sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Sigma announces its 24-70mm F2.8 DG DN lens will ship ‘early December’ for $1,099

16 Nov

Two weeks ago we learned of Sigma’s newly-designed 24-70mm F2.8 DG DN Art zoom lens for Sony E-Mount and L-mount cameras. Today, Sigma announced pricing and availability, stating the lens will be available in ‘early December’ for $ 1,099.

Subsequently, the lens has been listed for pre-order on Adorama and B&H for $ 1099.

Below is the announcement press release in its entirety:

Sigma Announces Ship Date and Pricing for 24-70mm F2.8 DG DN Art

Available in Sony E and L-Mount for $ 1,099 USD, the second Sigma Art zoom lens for full-frame mirrorless camera systems will ship in early December 2019

Ronkonkoma, NY – November 15, 2019 – Sigma Corporation of America, a leading camera, photography lens, cine lens, flash and accessories manufacturer, today announced that its all new24-70mm F2.8 DG DN Art, designed from the ground up for mirrorless cameras, will begin shipping in early December 2019 for $ 1,099 USD. Following the launch of the critically acclaimed Sigma 14-24mm F2.8 DG DN Art, the all new 24-70mm F2.8 DG DN Art emerges as an excellent mid-range zoom companion lens to its predecessor.

Key Features and Benefits of the 24-70mm F2.8 DG DN Art
The second newly-designed Art zoom lens from Sigma is a large-aperture standard zoom for full-frame mirrorless camera systems and will be available in Sony E-mount and L-mount. A completely new design for superior performance with mirrorless camera systems, the Sigma 24-70mm F2.8 Art has several new features:

  • Best-in-class optical performance. An 11-blade rounded diaphragm, six sheets of “F” low dispersion (FLD) glass and two sheets of special low dispersion (SLD) glass are employed to take advantage of the new optical formula developed specifically for mirrorless camera systems. Three aspheric lenses prevent aberrations such as axial chromatic aberration or sagittal coma aberrations resulting in uniformity and superior optical performance from the center to the periphery throughout the zoom range. In addition to Super Multi-Layer Coating, Sigma’s proprietary Nano Porous Coating is employed to achieve high-contrast and clear image quality. This lens is designed to be less affected by strong incident light such as flare.
  • Ensuring compatibility with the latest full-frame mirrorless camera bodies. The Sigma 24–70mm F2.8 DG DN ensures compatibility with various types of the latest full-frame mirrorless camera bodies for Sony E-mount and L-mount, (including the new Sigma fp camera), capable of exerting the best performance under any photographic circumstances.
  • Flexibility for various uses and photographic environments. Featuring a dust and splash-proof body and zoom lock mechanism for preventing the lens barrel from extending unexpectedly, the 24-70mm F2.8 meets a wide range of needs for a variety of photographic environments. The maximum magnifications are 1:2.9 at the wide-angle end and 1:4.5 at the telephoto end, which provides a wider range of expression for close-up photography. The minimum focusing distance is 18 cm at the wide-angle end.

Additional features:

  • Zoom lock switch
  • Lens hood with a lock
  • Mount with dust- and splash-proof structure
  • Compatible with the Lens Aberration Correction
  • Available Mount conversion service
  • Designed to minimize flare and ghosting
  • Evaluation with Sigma’s own MTF measuring system: A1
  • 11-blade rounded diaphragm
  • High-precision, rugged brass bayonet mount
  • “Made in Japan” craftsmanship
  • Programmable AFL button on the lens barrel

The Sigma 24-70mm F2.8 DG DN Art will begin shipping in early December 2019 and will be available in L-mount and Sony E-mount through authorized US dealers for $ 1,099 USD.

More details are available at: https://www.sigmaphoto.com/24-70mm-f2-8-dg-dn-a.

Articles: Digital Photography Review (dpreview.com)

 
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All-new Sigma 24-70mm F2.8 DG DN Art coming to E and L-mount

06 Nov

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Sigma has announced the newly developed 24-70mm F2.8 DG DN ‘Art’ for Sony E and Panasonic/Leica/Sigma L-mounts. The new lens joins the previously-announced 14-24mm F2.8 DG DN Art as the second of Sigma’s DN, or ‘Digital Native’ zooms designed from the outset for full-frame mirrorless.

The new 24-70mm has a total of 19 elements, including low dispersion, special low dispersion and aspherical glass. Sigma’s ‘Super Multi-Layer’ and ‘Nano Porous’ coatings have been applied to reduce flare and ghosting. Autofocus is driven by a stepping motor and the lens can focus as close as 18cm (7.1″).

The new 24-70 is weather-sealed, features a brass bayonet mount and uses 82mm filters. The L-mount version weighs in at 835 grams (1.8 pounds), with the E-mount version coming in a few grams lighter.

You can get your hands on the 24-70mm F2.8 DG DN Art lens in just a few weeks. Pricing has yet to be disclosed, but it will naturally be compared against Tamron’s popular 28-75mm F/2.8 Di III RXD, which retails for $ 850.

Press release:

Sigma Announces New 24-70mm F2.8 DG DN Art Zoom Lens for Full Frame Mirrorless Cameras; Available in Sony E-mount and L-mount

Sigma Corporation today made the following announcement:

Launch of the 24-70mm F2.8 DG DN Art Zoom lens for full frame mirrorless cameras, leveraging the top-level Art zoom performance, featuring:

  • Best-in-class optical performance
  • Compatibility with the latest full-frame mirrorless camera bodies
  • Flexibility for various uses and photographic environments

Sigma 24-70mm F2.8 DG DN Art Lens

This second newly-designed Art zoom lens from Sigma is a large-aperture standard zoom for full-frame mirrorless camera systems and is available in Sony E-mount and L-mount. The Sigma 24-70mm F2.8 offers best-in-class performance due to a sophisticated optical design that delivers high resolution throughout the entire zoom range. This new Art zoom lens from Sigma follows the debut of the lauded 14-24mm F2.8 DG DN Art zoom for mirrorless cameras.

The Sigma 24-70mm F2.8 DG DN Art lens exerts superiority in mirrorless camera-dedicated designs, resulting in a reduced lens size and weight while achieving uniformity and high resolution from the center to the periphery throughout the zoom range. Compatibility with the latest mirrorless camera bodies and functions assists in various photographic environments and meets the high demands of both professional and advanced amateur photographers.

Key features include:

  1. Best-in-class optical performance. The F2.8 Art flagship zoom lens series is developed to achieve superior optical performance. By employing three aspheric lenses, this zoom lens thoroughly subdues aberrations such as axial chromatic aberration or sagittal coma aberrations, which are difficult to correct in post-processing, tailors the resolution and achieves uniformity and superior optical performance from the center to the periphery throughout the zoom range. In addition to Super Multi-Layer Coating, Sigma’s proprietary Nano Porous Coating is employed to achieve high-contrast and clear image quality. This lens is designed to be less affected by strong incident light such as flare.
  2. Ensuring compatibility with the latest full-frame mirrorless camera bodies. The Sigma 24–70mm F2.8 DG DN ensures compatibility with various types of the latest full-frame mirrorless camera bodies for Sony E-mount and L-mount, (including the new Sigma fp camera), capable of exerting the best performance under any photographic circumstances.
  3. Flexibility for various uses and photographic environments. Featuring a dust and splash-proof body and zoom lock mechanism for preventing the lens barrel from extending unexpectedly, the 24-70mm F2.8 meets a wide range of needs for a variety of photographic environments. The maximum magnifications are 1:2.9 at the wide-angle end and 1:4.5 at the telephoto end, which provides a wider range of expression for close-up photography. The minimum focusing distance is 18 cm at the wide-angle end.

Additional features:

  • Zoom lock switch
  • Lens hood with a lock
  • Mount with dust- and splash-proof structure
  • Compatible with the Lens Aberration Correction
  • Available Mount conversion service
  • Designed to minimize flare and ghosting
  • Evaluation with Sigma’s own MTF measuring system: A1
  • 11-blade rounded diaphragm
  • High-precision, rugged brass bayonet mount
  • “Made in Japan” craftsmanship

The Sigma 24-70mm F2.8 DG DN Art will be available in L-mount and Sony E-mount in mid-November 2019 through authorized US dealers. Pricing will be announced at a later date.

For full product details and technical specifications as well as press imagery, please refer to the official press release here.

More details are available at: http://www.sigma-global.com/en/lenses/cas/concept.

Sigma 24-70mm F2.8 DG DN Art specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 24–70 mm
Image stabilization No
Lens mount Leica SL, Sony FE
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 11
Optics
Elements 19
Groups 15
Special elements / coatings 6 FLD + 2 SLD + aspherical elements, Super Multi-Layer and Nano Porous coatings
Focus
Minimum focus 0.18 m (7.09)
Maximum magnification 0.34×
Autofocus Yes
Motor type Stepper motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 835 g (1.84 lb)
Diameter 88 mm (3.46)
Length 123 mm (4.84)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock Yes
Filter thread 82 mm
Hood supplied Yes
Tripod collar No
Other
Notes Weight and dimensions for L-mount version

Articles: Digital Photography Review (dpreview.com)

 
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Canon RF 24-70mm F2.8L IS USM sample gallery

21 Oct

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The RF 24-70mm F2.8 isn’t a showstopper like the RF 28-70mm F2. But it’s a lens that will appeal to a lot of EOS R photographers, with its bright, constant aperture covering a handy zoom range, and weather-sealing to help keep it protected from the elements. It became available at the end of September along with the nearly-identical RF 15-35mm F2.8, further expanding the range of options for full-frame Canon mirrorless shooters.

We snagged some time with the lens during what’s likely to be some of the last nice weather of the season – take a look.

See our Canon RF 24-70mm F2.8
sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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