Sigma 1424mm F28 Dg Dn Art Lens for Sony Emount

April 25, 2022 Post a Comment

The first thing that crossed my mind when I was handed the new Sigma 14-24mm f/ii.8 DG DN Fine art lens was "Doesn't Sigma already make an ART-serial xiv-24mm f/2.8 zoom?" Long story short, yeah, it does… but this one'south different.

Sigma's fourteen-24mm f/two.8 ART DG DN ultra-wide zoom differs from the Sigma 14-24mm f/2.viii DG HSM Fine art lenses in that, unlike Sigma'south DG HSM-series Art lenses, which are designed for apply with DSLRs from Nikon, Canon, and Sigma, the new lens is designed for mirrorless cameras. Currently available for Sony E-mount and Leica L-mountain cameras, Sigma's newest fourteen-24mm zoom has been optimized for the smaller flange size of mirrorless cameras. As a result, it's about a half-inch narrower (three.3 × 5.2" vs 3.eight x 5.3") and three-quarters of a pound lighter than its DSLR counterparts (28 oz vs 40.5 oz).

Sigma's 14-24mm f/2.8 DG DN was a perfect lens for capturing the riot of textures surrounding this abandoned home.

The optical blueprint of the newer zoom incorporates the latest advances in optical glass and coatings technologies, and for smoother bokeh, the lens'due south diaphragm incorporates 11 rounded diaphragm blades (before models contain 9 blades). The lens'southward 14mm to 24mm ultra-broad to wide-angle focal range takes in a broad 114.ii to 84.1° AoV, which makes information technology optically ideal for compages, landscapes, and when shooting in tight spaces. In terms of weight, size, and residual, this lens is an excellent lucifer for E and 50-mount mirrorless camera systems.

Within of this atmospheric condition-sealed ultra-wide zoom reside three aspheric elements, v SLD elements, and a single FLD lens element. At that place are Super Multi-Layer coatings across the lath with Nano Porous coatings on the forepart lens element that serve to reduce the refractive index of the glass, more and so, compared to conventional anti-reflective coatings. The minimum focusing altitude is a respectable 11", which provides a maximum magnification ratio of 1:7.3.

The left image, which was taken at 14mm, displays readily visible pincushion distortions. After moving the lens farther from the subject and zooming in to a longer 24mm focal length, the distortions become a non-issue.

The autofocus system of Sigma's latest wide zoom is quick, quiet, and quite authentic—I seldom missed my marking regardless of whether my subject field was at infinity or close to my photographic camera position. For trickier framing and focusing, there's a handy Autofocus-Lock (AFL) button that can exist engaged, too, customized to fit your shooting needs better. You also have the selection of switching to manual focus with the flip of a switch.

If bokeh is your matter, Sigma's fourteen-24mm Art zoom will brand you happy, thanks, in part, to the lens'south 11 rounded discontinuity blades. When focusing on close subjects at wider apertures, the background swirls into a pleasing alloy of colour and grade.

At broad apertures, the bokeh qualities of Sigma's fourteen-24mm Fine art DG DN Art are simply lovely.

Even though it's relatively easy to terminate the lens down to maintain groovy depth of field when shooting with broad-angle lenses, I institute myself using my camera'southward focus magnifying part to check focus, especially when set at wide apertures.

The big forepart element on Sigma'south 14-24mm f/ii.eight DG DN ART isn't filter-friendly. To brand upwards for the lack of filter threads upward front end, a rear filter holder at the back of the lens accepts gel filters.

Sigma's new 14-24mm f/ii.viii DG DN ART zoom is versatile for architecture and mural photography.

Designing an ultra-wide lens with low degrees of barrel and/or pincushion distortion is a challenge and, in the case of this lens, the results are mixed. At the longer terminate of the focal range, straight, vertical lines remain parallel to i another—fifty-fifty at the edges. Equally you zoom wider, barrel distortion starts to kicking in. When shooting landscapes, this isn't much of an result, but for shooting architecture I would strongly recommend sticking to a better-corrected fixed focal length lens in the 12mm to 14mm range. However, for less critical piece of work I would accept zero considerations about purchasing this otherwise notable lens.