Sigma анонсирует новые объективы серии Art 14мм F1.8, 24-70мм F2.8 и 135мм F1.8

Performance and user experience

The first thing we have to talk about here is the image stabilization, which remains a relatively unique feature on this type of lens. While Tamron offers it in its 24-70mm f/2.8 Di VC, Nikon is the only first-party manufacturer to do so (although, it could be argued that the Sony version is stabilized, as most current Sony E-mount cameras have sensor-shift stabilization built in).

In our experience, we were able to shoot at shutter speeds as slow as 1/4 second with acceptable sharpness at both 24mm and 70mm. However, results did vary from shot to shot, so 1/4 second is probably the best case scenario.

We were also impressed with the autofocus performance, which was very snappy even indoors with moderate light. Naturally, this depends on what camera you have it mounted to, but it felt every bit as fast as a first-party lens. Using continuous autofocus in burst mode was more hit-and-miss; slowly walking toward our subject while shooting resulted in nearly perfect focus on every shot, but when we picked up the pace to a near-jog, nearly every shot was a miss. Again, this has a lot to do with the camera, so we can’t definitely say if the choke point was the lens.

Autofocus performance was very snappy, even indoors with moderate light.

Overall, the 24-70mm Art filled the roll of workhorse just as we would expect a lens in this class to do. From landscapes to portraits to close-ups, we really enjoyed using it. While the zoom isn’t particularly powerful — just under 3x — it spans a very useful range that will make this your go-to lens for a variety of assignments. In the past, we would have been inclined to steer clear of third-party options for such a lens, but this Sigma is built to hold up to the demands of professional workflows and we would confidently pit it against the Nikon, Canon, or Sony alternatives when it comes to usability and durability.

Sigma 24-70mm F2.8 DG OS HSM Art Introduction

The Sigma 24-70mm F2.8 DG OS HSM Art is a new fast standard zoom lens for full-frame DSLR cameras. It will also work with APS-C sensors with an effective increase in focal length. The Sigma 24-70mm F2.8 DG OS HSM Art features a rounded 9 blade diaphragm which creates an attractive blur to the out of focus areas of the image. It also offers built-in optical image stabilisation, an Hyper Sonic Motor for fast and quiet autofocusing, and has a minimum focusing distance of 37cm / 15.0in and a maximum reproduction ratio of 1:4.8. The Sigma 24-70mm F2.8 DG OS HSM Art lens officially retails for £1,399.99 / $1,299.00 in the UK and the USA, respectively.

Overall lens image quality

With an overall score of 30 on a 50MP Canon EOS 5DS R body, the Sigma 24-70mm f/2.8 DG OS HSM A improves slightly upon its predecessor, the non-stabilized Sigma 24-70mm f/2.8 IF EX DG HSM.

Our results show that it has much lower lateral chromatic aberration; however, the sharpness of Art series lens is slightly lower than the previous model overall. Although it has better edge sharpness wide-open, levels are restricted at 24mm on account of some astigmatism, and it’s noticeable again at 70mm, where sharpness falls off anyway. It achieved the best results in the middle of the zoom range between the 35 and 50mm focal lengths.

Design and built quality

Sigma makes the 24-70mm Art in Canon EF and Nikon F mounts natively, but also sells it along with an EF to E-mount adapter for Sony mirrorless users. Photographers using Sigma’s own cameras, like the challenging but rewarding Quattro H, can also pick up the lens in Sigma SA mount. It is compatible with both full-frame and APS-C cameras, and for this review we tested it on the full-frame Canon EOS 6D Mark II.

The Art series has an established reputation for excellent build quality and that remains true with the 24-70mm F2.8. The body is composed of metal and a “thermally stable composite” that is dust and splash proof thanks to a rubber gasket lining the mount. The focus and zoom rings are rubberized and turn very smoothly, leading to a premium feel. The lens hood requires a reassuring amount of force to lock into place and also has a rubberized ring around its base, again contributing to that high-end feel.

Although about equal in diameter to other 24-70mm f/2.8 lenses, the Sigma Art is shorter than most, measuring just 4.2-inches long. However, it is definitely not a lightweight at 2.24 pounds, putting it above both the Canon 24-70mm f/2.8L II and the Sony 24-70mm f/2.8 GM, and just below the massive Nikon 24-70mm f/2.8E VR (the only first-party model to also include optical stabilization).

The Art series has an established reputation for excellent build quality and that remains true with the 24-70mm F2.8.

On the left side of the lens you’ll find switches to turn optical stabilization on or off and set focus to manual, auto, or MO, for manual override. While the internal Hyper Sonic Motor (HSM) allows for full-time manual focus override regardless of which position the switch is in, the MO setting is specifically designed for shooting with continuous autofocus enabled. With the focus switch in the standard AF position, trying to override continuous autofocus will simply result in the lens fighting your inputs; but with the switch set to MO, as soon as you begin to rotate the focus ring, the lens disengages the autofocus drive, letting you dial in your preferred focus without interruption. We can’t think of many situations where you’d necessarily want manual override and continuous autofocus to both be active at the same time, but it’s a unique feature of this lens, nonetheless.

Optically, the 24-70mm Art is composed of 19 elements in 14 groups and the aperture diaphragm uses nine rounded blades for rounder blur circles, or bokeh. It uses an 82mm filter thread, which, while large, is also in line with other current 24-70mm f/2.8 lenses.

Daven Mathies/Digital Trends

One seemingly obvious aspect of the design still worth noting is that the zoom moves in the standard direction, meaning the lens barrel is fully retracted at 24mm and extended at 70mm. This is mostly par for the course, but is different from the “reverse zoom” used by Nikon, in which the lens is extended at 24mm and retracts as you zoom in (Canon also used this design on its first generation 24-70mm f/2.8L, but not the current model). The benefit of the reverse zoom is that it allows the lens hood — mounted to the stationary part of the lens body — to be much more efficient, providing the maximum allowable amount of shade across the entire focal length range. By contrast, the hoods on standard zooms can’t be any longer than what’s dictated by the field of view at their shortest focal lengths, making them less effective than they could be. This probably isn’t a make-or-break issue for most people, but if you are a Nikon shooter, it’s one more thing to consider.

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