Sigma 24-70mm F/28 Dg Os Hsm Art Lens for Canon Ef Review

There are few lenses more important to a manufacturer's lineup than a 24-70mm f/ii.eight lens, making Sigma's 24-70 ART one of their most significant releases this year. 24-70mm is an extremely versatile focal length, covering broad angle (24mm), standard/normal (35/50mm), and short telephoto for portraiture (70mm). Professionals dearest them considering of that versatility in framing added to the fact that often these lenses offer sharpness and image quality that is competitive with prime lenses. Amateurs who are looking for a big optical upgrade (and don't mind the extra weight and cost) volition oft supplant their kit lens with a 24-70mm f/2.8. They also brand for compelling travel options because you can take 90% of your travel shots (maybe all of them, if you don't need whatever telephoto shots) with the focal lengths covered in a 24-70mm f/2.8. For years I've traveled different places in the earth often conveying a sling bag with a 24-70mm mounted on a full frame trunk with the Canon EF lxx-300mm f/four-v.6L IS as a telephoto companion, and shot dozens of weddings and events with a 24-70 + 70-200mm f/2.eight combination. Sigma's existing EX 24-70mm f/two.viii was a carryover from its "pre-Global Vision" company reboot. Before the launch of the 35mm f/1.four ART, Sigma was the "budget company" for those who couldn't afford better glass, with a few lenses that were cult favorites just little cache in the photography globe.

That all changed with their company reboot. The ART lenses were large, sleek, and optically powerful. They were (are) cheaper in most cases than start political party lenses, but they compete more on merit than on toll. Today in that location are few lenses than create more fervor on my YouTube aqueduct or in this infinite than a new Fine art series lens release, and my coverage thus far of the Sigma 24-70mm f/2.8 DG Os HSM | ART has been no different. People are very interested in the 24-lxx Art!

I've reviewed virtually all of Sigma'southward recent releases over the by four years. I'one thousand even in the procedure of reviewing some of the glass for Sony E-Mount right now, and employ their MC-11 adapter to test lenses like this on a Sony body. There are some variations, of form, simply for the virtually part the ART serial lenses (particularly the primes) have prioritized resolution above all things and are often either the sharpest or near to it in the class. In my opinion, still, that has sometimes come at a penalisation – while I love the sharpness of the lenses, I'grand less impressed by the rendering, which tends towards being somewhat "clinical". Some audiophiles dearest vinyl considering it has a warm, organic sound which they experience is lost in the ultra clean digital formats. To the audiophile those formats are cool and detached, less inviting, and thus less desirable. That analogy maybe overstates my feelings, but I can say that I accept rarely loved the rendering (the global "look" of images) from a Sigma Fine art lens without some processing. The contempo Sigma 135mm f/i.8 ART lens went a long way in improving that, but when I compared it to the Zeiss Milvus APO Sonnar 135mm f/2 that I own (which has that quality of rendering that I speak of), I oft instinctively only liked the images from the Milvus amend. Now, don't go me wrong. If I didn't own the Milvus, I would probably own the 135 ART, as information technology is a pretty special lens, but…

Equally we will see in this review, however, the 24-70 ART is a Sigma aberration. I'1000 not actually wowed past the sharpness, simply I pretty much love the rendering from the lens. I've already released a detailed epitome quality breakup video on my YouTube channel, and reactions vary. Some people clearly love the "resolution at all costs" approach, and are thus disappointed past this lens. Others perceive the epitome quality as I practise; a lens that is practically sharp enough for most all purposes merely adds graphic symbol into the process. Beautiful color rendition, keen contrast (not always an ART series strength), and very nice bokeh rendering. Audio interesting? And then read on…

Prefer to watch your reviews? You tin come across my video review by clicking the video here:

Build and Design

If you would like a closer look at the lens itself, bank check out this hands on video hither:

The Sigma 24-70mm f/ii.viii DG Os HSM | Fine art has a lot of little words in its names. Let's breakdown what they mean. DG is Sigma's manner of identifying what type of camera organization the lens is for. DG indicates that it is designed for total frame cameras, and I accept reviewed the lens primarily on a Catechism EOS 5D Mark IV with some additional shots on an EOS 6D Mark II that I happened to be testing at the same fourth dimension. It tin can exist used on APS-C (crop sensor) cameras as well, where you lot will need to apply the crop factor of the camera system (i.6x on Canon; 1.5x on Nikon/Sony) to the focal length. The lens comes natively in Canon, Nikon, and Sigma mounts, merely it is easily (and finer) adapted to the Sony E-Mount via Sigma's MC-11 adapter. I also used the lens some on a Sony a6500 APS-C body via the MC-xi, where I found that information technology functioned nicely, with fairly quick, accurate focus and neat image quality. I'll comment a bit more than on focus in that department. As a full frame lens, information technology is bigger and heavier than i designed for a small image circumvolve. Sigma's ART series lenses have routinely been some of the largest and heaviest lenses in their respective classes, and that is definitely truthful here. At 2.24 lb/1020g, the 24-70 Fine art easily outweighs all the competitors salve the Nikkor 24-seventy VR (1070g). Most of the competitors sit in the 800g range, so you volition definitely feel the boosted weight if you are coming from, say, the Canon 24-70mm f/ii.eight variants or the last generation Tamron 24-70mm f/2.8 VC.

The lens gives the impression of being squat rather than long. Most of the lenses in the class save the Nikkors ascribe to a similar design philosophy. The 24-70 Fine art is nearly 3.5" (88mm) around and 4.24" (107.6mm) long. It terminates in large front chemical element and threads for what has go the new standard filter size for 24-70mm lenses – 82mm.

I was really impressed by the build of this particular ART lens. I used the Tamron 24-70 VC for years, and it served me well on three different continents and a lot of different situations. It paid for itself many times over. Just the 24-70 ART feels and operates at a different level. The zoom activeness is smoother and more precise, the focus motor and Os operates more quietly, and the "feel" of the lens is more professional grade. This is the nicest built 24-70mm f/2.8 lens that I've used. I have still to utilize the new Tamron 24-70mm f/2.8 G2 lens, as information technology hasn't been released even so in a Canon mount, so I can't yet annotate on information technology, though I practise programme to exercise a direct comparison downwardly the route. I'll add linkage to my video covering that when I practice to this review.

The 24-lxx Art does include moisture resistance, with both a rear gasket and internal seals, which is a definite improvement over earlier ART lenses and which helps the lens' credentials for travel and professional use (which ofttimes includes inclement weather and/or dust depending on the environment).

I was peculiarly impressed with the very nice zoom ring and accompanying zoom action, which felt very precise and solid. No hint of wobble or "mucilaginous points" in the zoom action. The lens feels well engineered, and Sigma lenses continue to be fabricated solely in Japan. The zoom ring is a footling over inch in diameter, and is the further of the 2 rings from the lens mountain.

I'm less crazy well-nigh the size and proximity of the transmission focus band. It is very narrow and sits very shut to the zoom band, enough so that it is possible to inadvertently turn it a bit while grasping the zoom ring. The activity of the focus is pretty good, but the size of the focus ring may not inspire conviction. At the same fourth dimension I do recognize that MF on such a lens as this may not exist a loftier priority for many shooters.

There are ii switches on the lens barrel, and that is where nosotros get to the other two abbreviations in the 24-lxx ART's title. The kickoff switch involves Sigma's HSM motor.

Autofocus

HSM stands for "Hypersonic Motor", and is Sigma'due south autofocus technology in lenses like this. The switch on the lens barrel has three positions: AF|MO|MF. AF stands for autofocus; MF for transmission focus. The MO mode is unique to Sigma lenses, as it allows for full time manual override (y'all can use the focus band to override the autofocus consequence at any indicate). This is really the standard setting for most lenses when in AF mode, but for some reason Sigma splits this into two different modes (which clearly causes some confusion if y'all read comments on message boards from owners). In this case that may be a positive. If you lot have an consequence with inadvertently hitting the MF ring you may desire to select the AF mode rather than MO. Most of the time when I use Sigma lenses I use the MO fashion in case I want to tweak focus on the fly.

The awarding of the HSM in the 24-70 Fine art is well implemented. Information technology focuses speedily and confidently, with good speed and very quiet focus. It is definitely a faster, smoother experience than the Tamron 24-seventy G1 (first generation lens). I found that even major focus changes came rapidly. I've used faster focusing lenses, simply at the same fourth dimension I feel this lens will focus rapidly enough for merely about all situations you might find yourself in. Information technology is definitely good enough for outcome/wedding/photojournalism type work. Focus was also very tranquillity, with no impression of elements "sliding" during major focus changes. Sigma has worked at increasing torque in their recent lens releases, and that seems to have helped a lot with focus accuracy issues that I've frequently run into with older ART serial releases. Having a maximum aperture of f/ii.eight helps, as this is two total stops smaller than the f/1.4 apertures in many of Sigma's Art lenses. That means that depth of field is a piddling deeper and at that place is a chip more margin for error. But fortunately I didn't really see a lot of fault. I had good and consistent focus results, though due to fourth dimension I did not run specific "torture tests" during my review period. My "field" (real world) results were good.

Optical Stabilizer

The OS stands for Optical Stabilizer, which is what Sigma calls their image stabilization system. Tamron was the first to the party with a stabilized lens in this category, just it's apparently a little harder to accomplish than what might be expected, every bit to this point only Nikon (and now Sigma) take accomplished this. Canon however doesn't take a first political party 24-70mm f/ii.8 lens with IS. Kudos to Sigma for pulling off this feat. Sigma'southward Bone gets points for very tranquility and polish operation, but loses a few for not delivering a strongly stabilized viewfinder event. At that place is some opportunity to tweak this behavior via the Sigma USB Dock, simply my experience is that the resulting change isn't strongly pronounced. I didn't detect a major difference in my viewfinder prototype with and without the Os engaged, but at the aforementioned fourth dimension I was able to get some solid results at low shutter speeds (1/10^th, 1/15^thursday) in real world shooting.

I would guess the effectiveness on the organization (at least in the re-create I reviewed) as slightly less effective as the Tamron 24-seventy VC, and I suspect the G2 version will be tops in this regard. Nonetheless, the system is unobtrusive, quiet, and is unquestionably helpful in both stills and video work. I find a lot of value for OS in a lens like this, equally you don't e'er have opportunity to utilize a tripod while travelling.

All in all the 24-seventy ART combines a very nice build quality with good mechanical operation. It feels pro-grade, and is the nicest of the 24-70mm lenses I've used to appointment.

24-70 ART Prototype Quality

This is typically the reason why people are interested in Sigma lenses in recent years, as Sigma (particularly with the Fine art series) has consistently managed to produce optical powerhouses that compete most the meridian of their respective classes. I take personally observed that the emphasis with Sigma Fine art lenses has tended towards a heavy bias on absolute resolution, which charts very well and has helped Sigma develop a reputation for making "super sharp" lenses. If y'all dig a petty deeper, however, I've oftentimes been less inspired by some other prototype quality metrics like bokeh, color rendition, and contrast. This isn't to say that these things are bad (not true at all), just rather to say that they typically aren't as "class leading" equally the resolution.

Merely, as I've mentioned at the offset of this review, the 24-70 Fine art is a bit of an aberration…and will perhaps be a disappointment to some Sigma fans. It does not seem to offering "class-leading" resolution, but in many ways, gives a more complete optical performance than many previous Sigma lenses. Let's start with the resolution, still, as that remains the unmarried quality that nigh photographers approximate lenses by. If yous would like a nuanced, interactive look at the image quality from the Sigma 24-70mm f/2.8 Bone ART, I recommend you watch this video here:

24-70 Fine art Resolution

The following tests were shot with a Catechism 5D Mark Four, on a tripod, mirror lockup with two second delay. I focus the get-go shot in the sequence, then turn off autofocus so that focus is consistent throughout the other discontinuity values.

Things get-go a little rocky on the 24mm end. At wide open apertures the center sharpness is adequately good [but not exceptional], but the periphery of the frame is adequately soft. Don't wait to get sharp mural photos from corner to corner broad open. Here are crops from beyond the frame – left to right (all other sequences volition follow this pattern).

Stopping down to f/4 helps only a little, and corners never really get exceptionally sharp at whatever aperture. Best case scenario is somewhere between f/five.6 and f/8. Here'due south a look at f/5.6:

In that location is some improvement at 35mm, with the corners looking less soft and hazy. Hither'south wide open crops from that series.

I split the divergence for this landscape scene to show you a more real world mural type issue. This is at 32mm, f/2.eight:

Stopping down to f/v.6 helps the corners considerably, though this is however non an infrequent result.

If you lot want a Sigma ART lens for mural piece of work, you might want to consider the 24-35 f/ii ART lens instead, which is exquisitely sharp (though with an extremely limited zoom range).

Best instance scenario arrives at 50mm, where the lens delivers its all-time results (and nigh competitive with other lenses). Sharpness extends to the edges of the frame better. Here are the f/2.eight crops:

Unfortunate for the 24-70 ART is the reality that people tend to utilize zooms most on the extremes of the focal length, and then its best performance may not get seen equally often.

70mm returns to roughly the same performance as the 35mm position, with good center sharpness and a noticeable drop-off at the edges.

Fortunately for this focal length, compositions are less likely to involve the extreme edges, so, for case, if you are shooting something like this "caprine animal's beard", the fine particular is really quite good.

Sigma has produced five zoom lenses that have born the "Art" designation, only the optically exceptional ones (at least in sharpness) are the unconventional zoom lenses in both focal length and aperture. These include the APS-C specific 18-35mm f/one.8 and fifty-100mm f/1.8 lenses along with the previously mentioned full frame 24-35mm f/2 lens. The more than traditional focal lengths (and apertures) are the 24-105mm f/iv and this 24-70mm f/two.8. It would announced that Sigma'due south strength is actually in pushing optical boundaries in unconventional ways.

As for this lens, it is really only better than existing 24-70mm lenses at the 50mm position, and considerably weaker at the wide end than other competitors. Fortunately, there is more to the image quality than just raw resolution.

Other Optical Qualities

Something that quickly impressed me about the 24-70 Fine art was the quality of the color rendition, which is both rich and accurate, producing very nice looking images under a variety of lighting weather condition. I used the lens as a travel lens while visiting the Chateau Montebello in Quebec, Canada with my wife for our ceremony. I was very pleased with the look of the images out of photographic camera, with little demand for processing to enhance them. I got very pleasing results when shooting architecture, nutrient, or people scenes.

I was besides very pleased with the overall rendering from the lens. While it isn't supremely sharp, I found information technology sharp enough in almost situations and with a squeamish graduation from focus to defocus. The bokeh rendering is very nice for a short telephoto zoom (particularly from 50-70mm), and I got a lot of prissy looking images past composing close to my bailiwick and getting a lot of defocus.

In the image with the water aerosol on the morning lawn, you can see a slight scrap of concentric circles in some of the bokeh circles (onion bokeh), but it is very faint and, to me, non plenty to really detract from the epitome.

I'm also pleased with the contrast from the lens, which adds to the squeamish rendering/wait of the images. It's only about right; not as well heavy, but neither is there any feeling of images being washed out. You can always dial in a lack of contrast for effect, as I've done with this altogether photo of my youngest:

Vignette is about heavily pronounced at 24mm, where the corners volition darken somewhat. While the vignette is not especially heavy, I did notice that it took a few stops for it to clear up entirely. I didn't find the vignette all that noticeable for field use at other focal lengths. In that location is also some fairly heavy vignette at 70mm, simply information technology seems to only touch the extreme corners. As a result it goes unnoticed in many images, and in one where I found it bothersome I noted that while I needed a adequately strong value in Lightroom to fully erase the vignette (+76), I didn't demand to motion the midpoint slider at all.

I didn't actually discover any chromatic aberrations during my review menses, then I experience confident in saying that this won't be a problem in real world use for anyone. In one mural image I noted the faintest amount of lateral green fringing alone a roofline, but I had to really look for it.

But, equally this ingather shows, at that place is substantially no "bokeh fringing" (LoCA):

Besides distortion seems adequately well controlled. There is a mild scrap of barrel distortion at the wide end of the focal length, but not enough to really impact images.

The 1 other misstep that I saw was that the lens has a tendency towards being flare prone if the sun is in the frame. In that location isn't much of a trouble with veiling (loss of contrast), merely definitely a problem with ghosting (prismatic "blobs" of colored light). In particular I noted some fairly pronounced green ghosting effects that I felt had little artistic value. Exist careful in composition of how you lot place the dominicus or other strong backlights in the frame.

All in all I'thousand actually quite happy with the image quality from the 24-lxx Fine art. I do wish that Sigma had managed to clasp more resolution out of this lens, as I fear that they will take a hitting on sales with the lens based on the negative perception of the sharpness. I've heard feedback from a number of subscribers who are taking a "await and meet" approach and intend to see what Tamron'south 24-70 G2 lens brings. Beyond the resolution, however, I tin can safely say that I like the images that come out of this lens. At that place'due south a nice blend of sharpness and bokeh, adept color rendition, and few optical defects that might mar the image. Just will that be enough to satisfy the "resolution gluttons" that Sigma has created?

I would encourage yous to check out the Image Galleries here to draw more conclusions for yourself.

Sigma on Sony Thoughts

Since calculation a Sony a6500 to my kit I purchased a Sigma MC-11 adapter and have been testing lenses likewise some on the Sony body. The Sigma Fine art lenses (in item) play nicely on Sony bodies, with good autofocus results (including all modes being available) and proper EXIF data advice. I was happy to see that the lens actually transitioned to the loftier resolution 24 MP APS-C sensor on the a6500 quite well, and liked what I saw out of the combination. The balance is far from optimal, apparently, only if you lot handle the lens instead of the photographic camera, information technology works.

My feel with this combination is limited to this lens and the 135mm f/1.8 Art, though I've used a variety of other lenses on the adapter from other manufacturers. Bottom line is that the MC-11 works all-time with Sigma lenses. It communicates proper EXIF data (the lens designation reports properly) and all focus modes (including centre detect and DMF [Direct Manual Focus]) work properly. Autofocus accurateness is good, and speed is roughly what I've come to expect from this kind of combination. It is adequately quick, though not quite as fast as Phase Detect autofocus on a DLSR. Those with a Sony mirrorless may find this a nice combination, and it's a nice bonus for those of you who, similar myself, utilize both systems.  The balance is a little unwieldy, merely information technology works okay if you handle the lens rather than the camera for residual. Y'all tin see a gallery of images taken with the combination here.  Here's a few highlights from that gallery:

One last note on this: on an outing ane day I shot the Sigma 24-70 ART side by side with the Canon 24-105mm f/4L IS II (a lens I'm likewise testing right now), and came abroad somewhat disappointed with the Catechism by comparison. When shooting like things side by side, I definitely preferred the image quality from the Sigma. Information technology likewise seemed like the better made lens, with the Canon L lens feeling somewhat "plasticky" by comparison.

Conclusion

I'g non quite sure how this newest lens from Sigma will be received. Sigma has built their contempo reputation on sharpness, and the 24-70 ART is not the sharpest lens in this focal length even when compared to the releases from Canon and Tamron from 5 years ago. But information technology likewise delivers nicer image quality than those lenses when yous consider the complete moving-picture show of lens rendering. Will consumers exist able to grasp that dash? The Sigma 24-70mm f/ii.8 DG Bone HSM ART comes to market at a list cost of $1299 USD, which significant undercuts start party lenses from Canon, Nikon, and Sony, simply comes at a $100 premium over the upcoming Tamron SP 24-70mm f/2.eight G2 lens, which boasts an first-class structure (metallic) along with an industry leading 5 finish image stabilizer. Sigma's OS in the 24-70 ART is certainly non delivering that caste of stability. The looming Tamron lens may be the biggest competitor for this lens.

That aside, still, I can confidently say that I enjoyed using the Sigma 24-70 Fine art; it felt great in the easily and delivered images that I liked. I call back that owners of the lens volition be very pleased with information technology, but I also remember that Sigma has a perception gap to overcome due to the lens not existence as sharp as people have come to look Sigma Fine art lenses to be. But if sharpness is non the but thing you personally consider, then consider this lens, as I suspect you will observe a lens that will become an indispensable role of your kit.

Pros:

• Very nice build and mechanical operation
• Tranquillity, quick autofocus
• Cute colour rendition and dainty bokeh for a 24-70mm zoom
• Baloney is minimal
• Chromatic aberrations are low
• Compatibility with Sigma USB dock and MC-eleven adapter for Sony users
• Undercuts first party lenses in price by a broad margin

Cons:

• Resolution isn't fantastic
• Somewhat flare prone (ghosting)
• Optical Stabilizer could be more effective

Gear Used:
Canon EOS 5D Mark IV (5D4): B&H Photo | Amazon.com | Amazon Canada  | Amazon Britain
Canon EOS 6D: B&H Photograph | Amazon.com | Amazon.ca | Amazon UK
Catechism EOS 6D Marking Two: B&H Photo | Amazon | Amazon Canada | Amazon UK
Sony a6500: B&H Photo | Amazon | Amazon.ca | Amazon Great britain
Sigma 24-70mm f/2.viii DG OS HSM ART: B&H Photo | Amazon | Amazon Canada | Amazon UK
Sigma MC-eleven Adapter:  B&H Photo | Amazon | Amazon Canada | Amazon UK
Adobe Lightroom CC Software for Mac and Windows (Boxed Version)
Adobe Photoshop Creative Cloud 1-Yr Subscription
Alien Pare Exposure X2 (Use Code "dustinabbott" to go x% annihilation and everything)

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Source: https://dustinabbott.net/2017/09/sigma-24-70mm-f2-8-dg-os-hsm-art-review/

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