Sigma 28-70mm F2.8 DG DN for L-Mount

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The lens is is a little susceptible to flare when shooting directly into the sun, even with the supplied lens hood fitted, but overall it is well controlled thanks to the lens' Super Multi-Layer Coating. Macro Here’s a photo of the Woolworth building taken with the S1 and the 28-70mm f2.8 DG DN Contemporary lens. The focal length used here was 70mm with the settings being f6.3 and 100 ISO.

28-70mm F2.8 DG DN | Contemporary - SIGMA Corporation 28-70mm F2.8 DG DN | Contemporary - SIGMA Corporation

The Tamron at 75mm is slightly sharper and has better contrast in the center of the frame, but the Sigma looks better in the midframe and corner area. Which lens will perform better for you will really depend on how you use such a lens and how important corner performance at wider apertures is to you. You never admitted to your erroroneos claim that "the speed booster adapters on A7RII cameras", was wrong, speed boosters are for crop sensors not ff cameras. Metabones Speed boosters are for crop cameras, and they didn't get PDAF focusing capability until 2015, so it was useless on Sony FE mount. The a7r/a7s were CDAF-only, so they didn't work with any autofocus adapter other than the laea4, that had it's own SLT af system. The images all came out sharp and clean in both cases, but the time to autofocus with the Sigma lens always took noticeably longer. On a Leica SL-2, this delay made using the Sigma version almost unusable when I attempted to shoot a moving subject wide open. Sigma 24-70mm DG DN Art at 24mm and f/8 Leica Vario 24-70mm f/2.8 at 24mm and f/8 A little color fringing can be apparent towards the edges and corners of the image frame at shorter focal lengths of 28-35mm, though it reduces to unnoticeable levels once you zoom in to 50mm and beyond.Budget alternative: Stepping down to an f/4 lens creates a lot of wiggle room in the budget with optics like the Panasonic Lumix S Pro 70-200mm f/4 OIS. There's just a little bit of longitudinal chromatic aberration, visible as color fringing, around high contrast edges of slightly out-of-focus regions, but as you can see in the sample below, it's not really anything to concern yourself over. It disappears immediately upon stopping down.

28-70mm F2.8 DG DN – Sigma UK

Agreed., the three 28-70s I used were barely up to 12Mp A7S bodies outside the centre area at F5.6 let alone bunging them on an A7R3 .. I`ve only had one Zony 24-70 F4 and i`m guessing it was a poor copy as were many others from reports on here , even ignoring that, it was very underdeveloped optically with all sorts of issues - the Tamron 28-75 is another league . No, Sony didn't use adapted ef-mount glass "for the first four years", because there weren't any usable ef-mount autofocus adapters available when the FE format launched. The only real issue that I even really encountered is there were times when I wish I had just a bit more width in terms of focal length. There were moments when I wish I had the extra 4mm from the Sigma 24-70mm f2.8 DG DN Art lens I was reviewing at the time as well. 4mm does not sound like a lot but when we’re talking about the wider end of the spectrum, it can make a larger difference. I feel like the 24-70mm gives me just that extra bit of versatility and flexibility. With that said, I’ve never been a fan of the 28mm focal length, so I’m sure that comes into play here as well. The lens features just one lightweight focusing element, which keeps the AF unit small. This, along with a quiet and fast stepping motor, makes for responsive and near-silent autofocus performance. I once had a boss, actually a very good friend. He was always in a hurry and often needed to print some papers just before meetings. And we had a big printer, such a one that you move on wheels. And it often refused to give him the copies or printouts, just then in a bad mood.With no built-in image stabilization, there are only three controls in total: A pair of very nice, well-dampened zoom and manual focus rings and a focus mode selector switch on the left side of the barrel. This was taken with the Sigma fp L and it’s 61 megapixel sensor. Setting were 100 ISO and f8. The focal length used was 30.5mm. Well yes, I know. That is why I just refered to the AoV. Olympus made a more conventional 14-35mm and 35-100mm f/2. But they are massive.

Sigma 28-70mm f/2.8 DG DN Contemporary Lens for Leica L

There is a thin rubber band at the camera end. But no other sealing at all. So altogether it is NOT sealed. But still a nice lens. A sunny weather lens ? Instead of going for f/2.8 glory, Panasonic has settled on a more modest f/4 aperture rating for its first L-mount wide-angle zoom. Plus points include a relatively compact and lightweight build, and the standard of construction is very good, with plentiful weather-seals and a robust yet high-precision feel. The high-grade optical path includes three aspherical elements, plus ED (Extra-low Dispersion) and HRI (High-Refractive-Index) elements. Image quality is excellent in all respects, from impressive sharpness and effective correction of colour fringing and distortions, to great control over ghosting and flare. The high-speed and virtually silent autofocus system is equally useful for stills and video capture. Chromatic aberrations, typically seen as purple or blue fringes along contrasty edges, are not a problem for the Sigma 24-70mm f2.8 DG DN Art, even at the edges of the frame. Light Fall-off Photos are sharper in the middle and than they are at the corners, but if you're not looking for perfection you can save yourself a fair amount of money. There is some barrel distortion that you would expect from a zoom lens, but it's easy enough to correct in post-processing. I have a question. Is it very difficult for lens manufacturers to achieve the focal lengths from 24-28 in such a lens?

The Sigma 20mm F2 DG DN | C joins a growing range of fairly fast primes for Sony E-mount and Leica L-mount cameras in Sigma’s I-series range, which includes the 35mm F2 DG DN | Cand 65mm F2 DG DN | C. There are also 24mm F2 and 45mm F2.8 options in the line-up. The look and feel are virtually identical in each case, with the same ‘Contemporary’ design ethos seeking to deliver excellent performance from a compact and lightweight build. Well the sony is selling their 70-200 for a 50-250 f/2.8 price anyways so why shouldn't the actual lens with that price form sigma do? It would certainly be in the previous 70-200S weight class but also that did sell and people are buying even heavier lenses for the extra speed or reach. That's fair, I suppose. The IQ is right there in the chart.. but anyway.. when I think of the EVF experience from 2010, I tend to see why so many still preferred optical finders, which the Pentax retained. The Nex 5 has no finder at all, like my much cheaper at the time Olympus E-PL1. If you prioritize outri The manual focus ring also moves nicely. The focus ring is a “by-wire” system, meaning that input on the focus ring is electronically communicated rather than through a direct mechanical coupling. This means that input on the focus ring will not create any physical changes unless the lens is attached to a camera and powered on. The focus ring has a nice feel to it, and Sigma has done a good job emulating traditional manual focus.