Spoiler alert: The Sigma 16-28mm f/2.8 is about as sharp as any flagship option, but at just under $900, (and just under 1 lb!) it’s an incredible value for photographers who are serious about creating stunning wide-angle photos or videos. It’s a perfect lens for many things, from landscape and Milky Way photography to vlogging and wedding photojournalism.

Sigma 16-28m f/2.8 Specifications

• FOCAL LENGTH & ANGLE OF VIEW: 16-28mm (107° to 75.4°)
• LENS MOUNT(S): Sony E-mount, (FE full-frame) Sigma/Panasonic/Leica L-mount (full-frame)
• APERTURE & RANGE: 9 rounded-blade aperture
• STABILIZATION: No
• AUTOFOCUS: Yes, stepper motor, internal focusing
• MANUAL FOCUS: Yes, electronic, linear and non-linear support
• OPTICAL CONSTRUCTION:  16 elements in 11 groups
• MECHANICAL CONSTRUCTION: Metal & plastic; weather-sealed
• MAGNIFICATION & FOCUS DISTANCE: 9.8″ / 25 cm, 0.18x
• FILTER THREADS & HOOD: 72mm, plastic, rubber-gripped hood
• SIZE: 3 x 4″ (77.2 x 102.6mm)
• WEIGHT: 15.9oz (450g)
• PRICE: $899
  (B&H | Adorama | Amazon)

Sigma 16-28m f/2.8 Review | Who Should Buy It?

The Sigma 16-28mm f/2.8 DG DN C is a full-frame mirrorless wide-angle zoom made for the Sony E-mount and the Sigma/Panasonic/Leica L-mount. Any photographer or videographer who is looking for a wide-angle full-frame lens should consider this as one of their best wide-angle lenses, and I don’t make that blanket statement lightly! Here’s why almost every photographer should consider it:

• It delivers professional optical results at an affordable price.
• It is built to last, mechanically, with weather sealing and strong mostly metal construction.
• The fast f/2.8 aperture makes it excellent for working in low-light conditions, from weddings to nightscapes.
• Its compactness and portability make it perfect for photographers who travel a lot and will use this lens frequently, as well as other photographers who may not use the lens very often and want to save space in their bags for other specialty lenses, such as portraiture or wildlife.

As you can see, that pretty much covers all the bases! With that being said, if we had to pick just two or three categories for which this lens is truly optimal, we’d have to say those categories would be as follows…

Landscape & Nightscape Photography

This is the best choice on the market for adventurous landscape & nightscape photographers who need to travel light but can’t give up the fast f/2.8 aperture for astro-landscape scenes.

Vloggers & Videography

The Sigma 16-28mm f/2.8 is also optimal for vloggers and videographers who need a wide-angle, fast-aperture zoom lens that is lightweight (balances well on a gimbal) compared to most 14-24mm and 16-35mm f/2.8 lenses. There are a lot of other options on the market, of course, but many are significantly heavier, and/or far more expensive.

Another advantage of the 16-28mm for vlogging/video is that its zooming is internal, which minimizes changes in weight distribution.

Wedding & Portrait Photography

Wedding & portrait photographers may not need to go wider than 28mm very often. However, when they do, they’d usually prefer to have access to f/2.8 for low-light work on a dance floor, or portraits of a couple at sunset or even under starlight.

It’s also just a convenience, as they (we) are likely pairing a wide-angle lens with a 24-70mm f/2.8 or 28-70mm f/2.8. On that note, I want to say that as a wedding photographer I am really excited to pair this 16-28mm f/2.8 with my other favorite Contemporary lens, the Sigma 28-70mm f/2.8 DG DN C. Both lenses are incredibly lightweight and compact, which is a truly delightful experience as someone who photographs a lot of very long wedding days, sometimes 14-16 hours hour more! Not having to lug around those massive, hefty 16-35mm f/2.8s or 24-70mm f/2.8’s is really something I appreciate.

Sigma 16-28m f/2.8 Review | Pros & Cons

Let’s dive into the specific details about this lens that make it excellent for many types of photography/videography. I will also try to find any little detail to nitpick or complain about, too!

Image Quality

Sharpness

The resolution of the Sigma 16-28mm f/2.8 C is nothing short of Art-series performance. That is to say, it’s stunning. It stood up to my most demanding test, which is wide-open nightscape images of the stars in the sky. (More on that later; see the coma/astigmatism section.) At f/8 for landscapes, the level of detail even at the edges/corners is just stunning.

Simply put, even wide-open at f/2.8 there is plenty of sharpness throughout most of the image frame, at all focal lengths. Only in the extreme corners, and only when working at f/2.8 or f/4, will you see a minimally noticeable loss of detail. When stopping down to f/5.6 or f/8 for landscapes, sharpness is truly impressive all throughout the image frame.

Bokeh

With its 9-rounded-blade aperture, the background blur (bokeh) is beautifully soft. Of course, the depth of field is not very shallow from 16mm to 28mm unless you get rather close-up to your subjects, however, the closer you get, the softer and more prominent the blur gets!

Colors & Contrast

Overall color and contrast is excellent, as with most all modern lenses with advanced optical coatings. Once again, at a glance, you’d be hard-pressed to guess whether this was from a Sigma “Art” or “Contemporary” lens.

Vignetting & Distortion

My usual complaint about distortion and vignetting applies to this lens, just like almost all other modern mirrorless lenses: Sigma has opted to use a significant amount of “correction” to make its images look so good. There is a built-in lens profile that fixes optically warped lines so that they appear straight, as they should, and a significant portion of the vignetting

Sunstars & Flare

As you can see in the example above, flare dots are minimal, and sunstars are quite beautiful from f/11 and onward. Basically, you’ll only see any nasty flare issues if you put the sun in the frame and are stopping down quite a bit. Even then, you’ll only see one or two aberrations.

Color Fringing, Aberration, Coma & Astigmatism

The Sigma 16-28mm f/2.8 makes an excellent nightscape and astrophotography lens, despite its compact size and the lack of a giant, bulbous front element. The optical formula and glass coatings Sigma is using for their Contemporary lenses are clearly doing an excellent job, roughly on par with what I’d expect if this were an Art lens.

You might get a bit more perfection out of the Sigma 14-24mm f/2.8, however, that lens is definitely a different beast, considering its price and weight.

Macro & Close-Up Photography

When focusing very close-up, although this lens doesn’t exactly have a good macro reproduction/magnification, you do get beautiful glimpses into a miniature world. Even when focused at the closest-possible distance, sharpness is still superb.

Design & Durability

Physically, this Sigma Contemporary lens feels professional. The mount and likely most of the lens’ mechanical “guts” are metal, and other barrel components are what Sigma calls a “Thermally Stable Composite” material. Whatever fancy words they’re using to avoid saying the word “plastic”, I don’t mind, I think this is a perfect combination. In fact, in my experience, I’ve found that “high-grade plastic” generally makes a better frontmost part, (where filters are usually attached) because it will absorb and dissipate impacts better than all-metal lenses do.

Ergonomics & Portability

This is where the 16-28mm f/2.8 really becomes valuable, in my opinion. There just aren’t very many full-frame wide-angle lenses that reach 16mm and f/2.8, don’t weigh a ton, and accept filters.

The Sigma is impressive in this regard; it weighs less than a pound and accepts 72mm filters.

Autofocus Performance

If I had to mention one issue that seems to come up with Contemporary lenses, it’s this: Sigma seems to be putting slightly less powerful autofocus motors in their “C” lenses compared to their “A” and “S” lines. It’s understandable that the “Sports” series lenses get the most powerful, cutting-edge technology when it comes to autofocus, but I also find that low-light AF with this 16-28mm f/2.8, and with the 28-70mm f/2.8 C, have just a slightly higher “miss” rate than Art/Sports lenses, and certainly compared to a Sony GM or G-series lens, if you’re using the E-mount.

Is this a deal-breaker? Not for me, because I know I can still get enough perfectly in-focus images if I try. However, it may be a frustration, or a deal-breaker, for pixel-peepers who demand that every single photo be perfectly in focus.

Manual Focus Performance

For landscape and astro-landscape photography, I am pleased to report that the electronically controlled manual focus has smooth operation and good precision. The Sigma 16-28mm also offers my preferred configuration of focus and zoom rings; the zoom ring is closer to the camera and the focus ring is in front.

Features & Customizations

One feature that I am glad Sigma decided to put on even its C series lenses is an AF/MF switch. Other third parties (and some name brands, too) either completely omit switches, or have an annoying custom function switch.

The Sigma C series lenses don’t have a physical aperture ring, but that’s okay for me because I’m interested in this lens for its portability and simplicity. Other minor things of note are the fact that  the hood has a nice bit of grippy rubber on it,

Value

With flagship name-brand lenses costing well over $2,000, I don’t think I need to say much about what a good value this $899 lens offers. It’s really this simple: If you’re okay with the 16-28mm focal range, then it’s the best value by a huge margin.

Having said that, I do understand if you’re either used to, or shopping for, a wide-angle zoom that has a bit more range. If you’re looking for 14mm on the wide end, then you won’t have to save up too much more to get the Sigma 14-24mm f/2.8 DG DN Art, which is also an excellent value at $1,399. More on that lens, next.

Alternatively, if you’re looking for 35mm on the long end, then a 16-35mm might have caught your eye, but again, those name-brand options (or similar) are always very pricey. Personally, I find this to be the perfect balance of value in terms of zoom range, optical performance, and portability.

Sigma 16-28m f/2.8 Review | Compared To The Competition

In the recent past, there was only one main type of wide-angle f/2.8 zoom: the 16-35mm f/2.8. It was big, heavy, and expensive. Early models weren’t even very sharp, either; 35mm was often downright un-usably soft! If you’re thinking of adapting an old DSLR version of one of these, just skip it.

Then came the 14-24mm f/2.8 lenses, and they were a whole lot sharper, but they got massively heavier and even more expensive! Again, if you’re looking at a DSLR version, it will be so massive that your mirrorless lens mount adapter will have undesirable flex. Skip ‘em.

Only very recently have we seen compact, lightweight, f/2.8 ultra-wide (full-frame) mirrorless lenses. With that in mind, the primary competition for this Sigma 16-28mm f/2.8 is as follows…

• Tamron 17-28mm f/2.8 ($799) …the original in this new category
• Nikon 17-28mm f/2.8 ($996) …using Tamron’s formula
• Tamron 20-40mm f/2.8 ($699)

…And that’s it! If you want f/2.8 on full-frame, there just aren’t many other options out there in this category of lightweight, portable, sub-$1,000 options.

You could, of course, opt for an f/4 zoom instead, and you’d usually gain a bit more zoom range on either the wide-end and/or the long end, but you’d have to pay a few hundred dollars more in each case:

• Canon RF 14-35mm f/4 L IS ($1,399)
• Nikon Z 14-30mm f/4 S ($1,146)
• Sony FE 16-35mm f/4 G ($1,098)
• Sony FE 20-70mm f/4 G ($1,098)
• Panasonic Lumix S Pro 16-35mm f/4 ($1,197)

Alternatively, if you’re an astro-landscape photographer who is looking to photograph the Milky Way more than any other subject in dim conditions where f/4 is unacceptable, then you’ll certainly do well to keep saving up (and working out) to get the Sigma 14-24mm f/2.8 Art. It is hands-down our favorite choice, on the Sony E-mount and on the Sigma/Panasonic/Leica L-mount. However, it’s significantly bigger and heavier, so it’s a commitment to lug it up a mountain, and it’s not very practical at all for portraits or weddings.

Last but not least, there are a few others that have a variable aperture and a slightly different zoom range. The Panasonic 14-28mm f/4-5.6 is a very portable and affordable ($797) option, but its aperture is two stops darker at 28mm.

The bottom line is this: There is literally no other 16-28mm f/2.8 lens on the market, specifically for full-frame mirrorless. Tamron’s 17-28mm f/2.8 is the next-closest thing, and I think the Sigma is just a bit sharper overall. Plus, personally, I find that the difference between 17mm and 16mm is worth it to call the Sigma my best wide-angle zoom lens.

Sigma 16-28m f/2.8 Review | Conclusion

All in all, the Sigma 16-28mm f/2.8 gets my coveted title of a “dream lens”. As a hiker/backpacker who does a lot of astro-landscape photography in extremely remote areas, the holy grail for me is a lens that is un-compromisingly sharp, and yet still lightweight and compact. The Sigma 16-28mm f/2.8 C is absolutely my top choice in that regard.

There is some stiff competition from other lenses, but they are bigger, heavier, and more expensive. Oppositely, the few lenses that meet the criteria for portability and affordability don’t have the exact same zoom range as this Sigma.

Therefore, I can give my highest recommendation to anyone who is interested in this overall category of lenses. Don’t be fooled by its compact size or its price tag, and don’t think that just because it has a “C” on it instead of an “A”, it’s any less capable of professional results! The Sigma 16-28mm f/2.8 could be exactly the lens you’ve been looking for.

Check Pricing & Availability

The Sigma 16-28mm f/2.8 DG DN Contemporary lens is available for the Sony E (FE) mirrorless mount as well as the Sigma/Panasonic/Leica L-mount. It is currently available for $899, without any “instant savings” type deals.

(B&H | Adorama | Amazon)

Video: Street Photography Tips and Tricks With the Sigma 16-28mm Lens

At 16mm at its widest, the Sigma 16-28mm f/2.8 is noticeably wider than most standard wide lenses. With the limited zoom, it means that you’ll have to stay close to your subject and the scenes will be filled with detail.

The lens clocks in at $899 and is very lightweight, making it the perfect budget on-the-go lens. The wide angle is great for architecture, landscapes, and street. You can even take fantastic portraits up close and in the action. All in all, it’s an incredibly versatile lens for its type, especially when paired with the Sony a7IV Mirrorless Camera. Here are my top photos from the set.

The Photos

Conclusion

I hope you enjoyed these street photography tips and tricks. The Sigma 28-70mm is only one from their incredible line of lenses. For complete tutorials on photography related subjects such as Lightroom editing and building a successful photography business, visit the SLR Lounge Premium Library. You can also visit Visual Flow for a complete collection of Lightroom presets and retouching tools.

Don’t miss our next episode of Mastering Your Craft on Adorama’s YouTube channel next week! If you want to catch up on all the episodes, make sure you check out our playlist!

What about normal, even modest lenses, though? Is it possible to improve on the simple “kit” lens, to make it faster, sharper, and better quality? Also, is it possible to take a high-end flagship lens, and make it smaller and more affordable? Judging based on this Sigma 28-70mm f/2.8 DG DN Contemporary review, the answer is yes, to both questions at once!

This seemingly modest, affordable lens might be exactly what many entry-level photographers have always needed, and what many experienced, even professional photographers have thought “would be nice to have”.

That is, a mid-range f/2.8 zoom that is relatively “tiny” and portable, yet still performs to a very high professional standard. Not to spoil this whole review, but, (okay I’m spoiling the whole review) yes, this lens is exactly that–it’s compact, lightweight, affordable, and yet delivers professional results at a professional aperture. This is the kit lens that a pro would reach for if they didn’t want to lug around their traditionally enormous, heavy f/2.8 zoom, such as a 24-70mm f/2.8.

The Sigma 28-70mm f/2.8 “C” delivers sharp, beautiful images, and is well-built with fast, reliable autofocus. Could you ask for more? No, because if you want “better”, it already exists with this lens’ older sibling, the Sigma 24-70mm f/2.8 DG DN Art. (Which only costs $270 more, by the way!)

Now that I have set the stage, let me tell you what types of photography this lens might be perfect for, which photographers might choose something different instead, and of course, we’ll closely inspect just how well it actually performs. Let’s begin!

Sigma 28-70mm f/2.8 DG DN Contemporary Specifications

• FOCAL LENGHT & ANGLE OF VIEW: 28-70mm (75.4° to 34.3°) 2.5x zoom ratio
• LENS MOUNT(S): Sony E, (full-frame) Leica L / Sigma / Panasonic (full-frame)
• APERTURE & RANGE: Constant f/2.8, 9-blade rounded aperture
• STABILIZATION: No
• AUTOFOCUS: Stepper motor, near-silent
• MANUAL FOCUS: Electronically controlled, focus distance displayed on camera
• OPTICAL CONSTRUCTION: 16 elements in 12 groups, 3 aspherical, 2 FLD, 2 SLD
• MECHANICAL CONSTRUCTION: Metal & plastic, (brass mount) weather-sealed (extends when zooming)
• MAGNIFICATION & FOCUS DISTANCE: 1:3.3 magnification, 7.5″ focus distance (at 28mm)
• FILTER THREADS & HOOD: 67mm, rubber-grip bayonet hoood
• SIZE: 2.8 x 4″ / 72.2 x 101.5 mm
• WEIGHT: 470 g (1.04 lb)
• PRICE: $799 (or $899 when not on sale)
  (B&H | Adorama | Amazon)

Sigma 28-70mm f/2.8 DG DN C Review | Who Should Buy It?

Almost every type of photography could use a lens like this! The question is, what is your creative style, and what are your practical preferences? For most photographers, the idea of a full-frame mirrorless f/2.8 zoom being this compact and affordable is very attractive.

The biggest question you’ll have to ask yourself will be, simply, is the zoom range and aperture right for you? Because, quite honestly, f/2.8 is unprecedented for a kit-sized lens like this, but of course the zoom range is relatively modest.

Wedding Photography

Wedding photographers usually fall into one of two categories: You either like primes, or you like zooms. If you’re a wedding photographer who likes zooms for their versatile range with a decently fast f/2.8 aperture, you may still dislike them for how big and heavy they are. This could be your dream lens!

Personally, for my wedding photography work, I could not be happier to kiss goodbye the big heavy 24-70mm f/2.8, and trade it for a lightweight option such as this. After a long (12-14 hour) workday, my wrists are really thanking me.

Alternately, what if you’re a wedding photographer who likes prime lenses? You may still want to add a lens like this to your camera bag for emergencies; it makes an excellent professional backup, one that you might not have considered because of the size, weight, and expense of most 24-70mm f/2.8’s.

I am in the latter category: I do enjoy a good 35mm or 85mm prime, but when I need a zoom, it’s nice to have one available that doesn’t take up too much extra space in my camera bag.

Portrait Photography

For many types of portraits, the focal range of 28-70mm is quite ideal. Pair this lens with a telephoto zoom or prime, and you’ve got all your bases covered!

Alternately, just like with wedding photography, maybe you prefer to capture most of your portraits with a 35mm, 50mm, or 85mm prime. Even then, especially as a paid professional, you ought to have a backup, and you ought to be able to cover the bases, and a compact yet high-performance lens such as this is an excellent choice.

Candid & Street Photography

In many candid environments, having a compact, unobtrusive lens is valuable in allowing your subjects to relax, or even forget you are taking their picture. Whether you are casual or serious, the Sigma 28-70mm f/2.8 is not just an excellent choice, it is basically the ultimate lens for the genres of candid portraits, everyday life, and having maximum image quality in a go-anywhere package!

Landscape Photography

A landscape photographer may not need f/2.8, however, they do often pixel-peep the corners of their images at f/8, and if they do a lot of hiking or traveling to far-off destinations, having a lightweight lens that delivers maximum image quality is invaluable.

Needless to say, this diminutive Sigma lens is truly impressive when stopped down to f/5.6-8, and its portability is unmatched. The only thing a landscape photographer might want to add to their bag is, of course, a dedicated wide-angle lens, in which case the Sigma 14-24mm f/2.8 DG DN Art is one of the best compliments to this Contemporary lens, and the Tamron 17-28mm f/2.8 is a lightweight, portable choice.

Nightscape & Astrophotography

Again, you may prioritize a wide-angle zoom for this type of work, and in that regard, the Sigma 14-24mm f/2.8 DG DN Art is the current champion. If you don’t mind switching to that ultra-wide zoom whenever you need 24mm, you can pair the two lenses together for one of the most flawless optical performances that an astro-landscape photographer could ask for!

Sigma 28-70mm f/2.8 DG DN C Review | Pros & Cons

I know I have already spoiled most of this review with my praise of this lens, but it really is that simple: here is a near-perfect miniature of a popular flagship optic.

Sigma created an excellent balance of compactness with durable build quality and impressive images, at a fast aperture within a modest zoom range. That’s it!

Image Quality

Since the zoom range isn’t that broad, (a mere 2.5x) it should be no surprise that this $800-900 lens is optically impressive, despite its small size. If you would like to skip over the technical details, here is the basic analysis: The lens is impressively sharp, without any soft spots at a particular focal length, even when the aperture is wide open at f/2.8.

Other aspects of image quality are impressive and beautiful, from the overall look of images and bokeh, to the technical stuff like aberration and astigmatism. Distortion and vignetting are a bit of a can of worms, however, if you leave the in-camera corrections turned on, you probably won’t be bothered.

Sharpness

Sharpness is essentially perfect, from 28mm to 70mm, even at f/2.8. Only when you look in the extreme corners do you see a faint loss of sharpness, and even then it is barely noticeable. Below, see a comparison between the Sigma 28-70mm f/2.8 and the Tamron 28-75mm f/2.8 G2; both are impressive, though not flawless:

Stopping the aperture down, and even the extreme corners get nice and sharp, as expected. I tested this lens’ sharpness on a “mere” 24-megapixel camera body, however, based on the overall level of detail, I can say with much certainty that those with 40-60-megapixel camera bodies will also be impressed, even if the extreme corners look a tiny bit softer.

Bokeh

Soft background blur is delivered quite easily, especially when focusing up-close and at f/2.8. Even the most “busy” backgrounds are rendered smoothly. In other words, don’t be fooled by the “Contemporary” label on this lens, the images sure look like they came from an “Art” optic!

Colors & Contrast

As with pretty much all modern lenses, the clarity of color and contrast coming through the glass in this lens is just beautiful. If there is any faint warm or cool color cast to this lens compared to a name-brand optic, I can’t detect it in real-world shooting conditions.

Vignetting & Distortion

As I mentioned in my Tamron 28-75mm f/2.8 G2 review last week, pretty much all modern mirrorless lenses are hiding some unfortunate levels of distortion and vignetting “under the hood” when you look at a raw file that has in-camera corrections turned on.

In reality, there is quite a bit of vignetting and distortion in this lens. However, you will likely only notice if you ever decide to turn off the in-camera corrections, which I don’t recommend except for certain specific circumstances.

The vignetting correction profile doesn’t seem to be totally perfect, however, which means that if you are really over-editing your images of a clear blue sky, with lots and lots of Dehaze, you may notice a faint residual vignetting pattern. Just don’t over-cook your raw images, though, and you should be okay.

Sunstars & Flare

Flare dots are minimal, and the warm wash of aesthetically pleasing flare is nice. Unfortunately, sunstars are a bit soft and dull, even when stopping down to small apertures like f/11. You can still get a decent starburst effect, however, as with most all Sigma lenses, the “spikes” of your starburst will be open-ended and fuzzy compared to older lenses (without rounded aperture blades) or the Tamron 28-75mm f/2.8 G2, which has impressive spike-type sunstars.

Color Fringing, Aberration, Coma & Astigmatism

Partly due to excellent optical coatings and partly due to the fact that there are both in-camera and Adobe corrections for things like chromatic aberration and color fringing, the Sigma 28-70mm f/2.8 has virtually zero artifacts and only minimal color fringing. If you look in the extreme corners of high-contrast scenes, you’ll see some blue color fringing, however, it is easily removed in post-production. Even for the highly demanding subject of astro-landscape photography, image quality is quite impressive in terms of pesky aberrations.

Macro & Close-Up Photography

This is one of those zoom lenses that has a different minimum focus distance when you zoom in or out, and interestingly, you’ll get slightly better macro capability when working at 28mm. Regardless of your focal length, though, focusing up-close will yield impressive image quality, though I do recommend stopping down to f/4 or f/5.6 for both sharpness and depth of field.

Design & Durability

Moving on from image quality to the physical, mechanical merits of the Sigma 28-70mm f/2.8 DG DN Contemporary,

Autofocus Performance

These days, exotic, expensive lenses are starting to require two motors to focus swiftly, and that only makes the lens even bigger and heavier! In this case, Sigma only needs one stepper motor, and it is smooth, fast, precise, and virtually silent. The days of third-party lenses having loud, slow, inaccurate autofocus are definitely well behind us, thankfully!

Manual Focus Performance

Another complaint that now seems to be a thing of the past is manual focus precision for electronically controlled focus rings. Just a few years ago, only the most expensive, high-end name-brand mirrorless lenses could boast smooth and precise manual focusing, and even then it wasn’t as good as a mechanically coupled focus ring of an older DSLR/SLR lens, in my experience.

Now, the electronics inside the Sigma 28-70mm f/2.8 make it really easy for you to perfectly nail focus manually for things like video or nightscape photography.

Other Features & Customizations

The Sigma 28-70mm f/2.8 does have an AF/MF switch, which I found to be a very welcome feature after using so many Sony and Tamron E-mount lenses that lacked this basic feature. Honestly, switching from autofocus to manual focus is just so much easier when it is on a physical switch on the lens instead of a button-plus-dial configuration on so many Sony and other mirrorless kits.

Other than that, however, the lens is minimalistic. There is no customizable function button, and there is no customizable aperture or Fn ring. These are features that are becoming common on Sony, Canon, and Nikon mirrorless lenses, but I personally don’t miss them too much.

NOTE: At present, Sigma’s mirrorless lenses don’t have USB dock compatibility for at-home firmware updates. This may change in the future, and we’ll be sure to update you!

Value

At just $799, (a common and current discount) or its MSRP of $899, either way, this lens is an absolute bargain. As I said, it’s a miniature version of a pro lens!

Sony’s own ultra-compact kit zoom, the Sony FE 28-60mm f/4-5.6, is nearly $500, and yet offers a 1-2 stop slower/darker aperture, worse image quality, and less zoom range. With that in mind, the $800-900 price tag of the Sigma becomes highly attractive, even as an entry-level choice.

Yes, it does cost quite a bit more than a cheap plastic 28-80mm or 18-55mm (APSC) kit lens that you might have considered or owned in the past, however, the Sigma is absolutely worth the investment. It’s a kit lens that you won’t outgrow even if your passion for photography is just about to skyrocket.

Sigma 28-70mm f/2.8 DG DN C Review | Compared To The Competition

There are two categories of competition with this lens. Just ask yourself this simple question: Are you happy with 28mm, or would you prefer 24mm?

Let’s say, for example, you’re looking at 28mm lenses because you want something compact and portable, and are willing to forfeit 24mm to save a little money and a few ounces/grams… This Sigma 28-70mm f/2.8 is the smallest option I would recommend because it is an excellent optic that doesn’t compromise.

Oppositely, the Sony 28-60mm f/4-5.6 is even smaller but has a slower, variable aperture and overall worse image quality. Even if you get one of these lenses “for free” with your Sony A7C, I’d still recommend trading it for this Sigma!

Going back even further in Sony E-mount history to where some truly sub-par lenses reside, the Sony 28-70mm f/3.5-5.6 (which seems like a bargain at under $400) is a poor performer overall, period. Save up the extra money for the Sigma!

Indeed, the only excellent alternatives I would consider are the Tamron 28-75mm f/2.8 G2, if you want a constant f/2.8 zoom, or the Tamron 28-200mm f/2.8-5.6 if you’d rather have a “superzoom” with more range on the long end.

The “G2” Tamron 28-75mm f/2.8 really is quite impressive, in fact, it is optically near-perfect just like the Sigma 28-70mm f/2.8. However,  I do prefer the Sigma because it is even smaller, and has the AF/MF switch that I like, instead of the Fn button on the Tamron.

What if you’re quite sure that 28mm isn’t wide enough, though? Unfortunately, you’re not going to escape carrying around a slightly larger lens. The good news is, compared to the DSLR-oriented Sigma 24-70mm f/2.8 HSM Art, the new mirrorless (DG DN) version is actually decently portable, and the price tag isn’t much higher either.

[Related: Sigma 24-70mm f/2.8 DG DN Art Review | A Flagship Pro Lens For Half The Price!]

Alternately, if you want even more zoom range, Sony’s 24-105mm f/4 G is a good choice, especially if you’re more likely to be photographing landscapes or cityscapes at f/8 than you are likely to be photographing candids and portraits indoors at f/2.8, of course.

NOTE: I should mention that if you are not a Sony camera owner yet, and are still shopping for a full-frame mirrorless body, you can consider the brand-new Nikon Z-mount 28-75mm f/2.8 which was just announced for Nikon’s impressive Z-mount lineup. Canon, on the other hand, does not have a compact, lightweight f/2.8 RF-mount lens; they have the incredibly slow (aperture) 24-105mm f/4-7.1 RF.

All in all, the Sigma 28-70mm f/2.8 is really quite unique because of its compact size. It looks like a miniature version of a flagship lens, almost as if you’d mounted an APS-C lens by accident. So, if portability is important to you, this is simply the best mid-range zoom I’ve ever gotten my hands on.

Sigma 28-70mm f/2.8 DG DN Contemporary Review | Conclusion

At a glance, you might think this was the $199 kit lens you got at a garage sale, or paired with an old Canon Rebel camera. Actually, nothing could be further from the truth! The Sigma 28-70mm f/2.8 DG DN Contemporary is the epitome of everything that is good about full-frame mirrorless: You get a bright, constant f/2.8 aperture, impressive image quality, in a compact, affordable package. This is exactly the type of lens that I had wished existed many years ago when full-frame mirrorless first came into existence!

The 2.5x zoom range is modest, sure, but then again, this lens is about as portable as many compact primes today! 

For those DSLR photographers who always wanted your switch to mirrorless to involve lightweight, compact “miracle” lenses, here you go. For those of you who are buying your first mirrorless and/or first full-frame camera, this should be your first lens, too!

If you’re looking for a high-quality mid-range zoom, this is my current top choice. for anyone who values portability.

Check Pricing & Availability

The Sigma 28-70mm f/2.8 DG DN C is available for either $799 or $899 depending on the active discount:

(B&H | Adorama | Amazon)

What Is Different? What Is The Same? Sigma fp vs fp L

Outwardly, the Sigma fp L appears at a glance to be totally identical to the original fp. That’s OK with us because the whole point of the fp was its ultra-compact form factor; it is meant to be a part of a “cage” or a “rig”, indeed.

However, they did change the side ports a little bit, so that now you can mount an optional electronic viewfinder (EVF)

Also, under those rubber-protected ports, you’ll find one exciting upgrade that I was clamoring for as a wilderness landscape photographer, and all video shooters will likely obsess over, too: you can now power the camera directly via USB-C, not just charge the battery while the camera is off. Hooray!

Last but not least, although the video specs seem to be mostly the same, (4K 30p RAW video likely being the highlight for most people) the sensor inside is no longer a modest 24 megapixels, but a whopping 61 megapixels. That’s right, Sigma has matched the resolution of the highest-res full-frame camera on the market, the Sony A7R IV. (Are Sigma and Sony using a similar sensor chip? We may never know, but either way, initial reports are that the dynamic range and noise levels are quite impressive, indeed.)

Since the 4K video specs are the same, enjoy our demo reel from the Sigma fp below!

Sigma fp L Press Release

Today, SIGMA Corporation introduces the SIGMA fp L, the world’s smallest and lightest 61-megapixel full-frame mirrorless camera. Built with the same dimensions and rigorous attention to detail as the currently-available SIGMA fp, this new camera offers a high-resolution image sensor, an improved hybrid autofocus system that combines contrast- and phase-detection, USB charging while the camera is on, and several additional in-camera features that make it an exceptional tool for demanding photographers and video creators.

“The SIGMA fp is one of the most innovative cameras available today, and the new fp L brings even more to the table,” says SIGMA America President Mark Amir-Hamzeh. “It offers incredibly high resolution in an extremely small body, compatibility with an extensive library of lenses, limitless customizability, and the rock-solid build quality that professionals have come to expect from SIGMA.”

[Related Reading: Sigma FP Review | Full-Frame 4K RAW Video On A Budget!]

SIGMA fp development concepts and its three keys

Breaking down ideas of camera-centric hierarchies and categories, SIGMA makes a point of questioning what the genuine value of a camera is. What is essential to photographers? How can we make a camera that not merely meets the need, but makes your life more fulfilling and fun? By asking these questions, SIGMA has brought the SIGMA fp to life. Endlessly flexible and adaptable, a user-oriented camera for people who know what they want to shoot and what they want to create. Making a camera such as this a reality relies on three key concepts that represent the SIGMA fp series identity.

• Pocketable Full-Frame
  Small in size, big on quality. Perfect for carrying anywhere.
  The SIGMA fp: world’s smallest and lightest* full-frame mirrorless camera you can take with you anytime, anywhere.
• Scalable
  From vintage lenses to modern gadgets, up to professional movie setup. Creating your own style has never been so easy. Customize your fp just the way you want it, to suit what you want to do.
• Seamless
  Capturing your best moment. Photo or video? The choice is yours.
  Change shooting modes with just a flip of a switch. Capture the moment whether it’s video or stills, beyond the boundaries of style or genre.

The new fp L makes the fp a family of two

The fp, the series’ concept model, is now joined by the fp L that takes full advantage of high-resolution, giving the world’s smallest and lightest “pocketable full-frame” lineup a boost.

• fp L – A big canvas for big moments
  Back-illuminated 35mm full size effective approx. 61 megapixels Bayer sensor Contrast detection autofocus + Phase detection autofocus
  Supports USB power supply
• fp – A small camera for a big freedom
  Back-illuminated 35mm full size effective approx. 24.6 megapixels Bayer sensor Contrast autofocus
  The original “World’s smallest and lightest full-frame mirrorless”

Key Features of the fp L

Four features newly available on the SIGMA fp L

1. 61 megapixels. The highest resolution presented by SIGMA.Leveraging our know-how of image processing technology on Foveon sensors.
   1. Thanks to the ultra-high resolution, SIGMA fp L is able to unleash your imagination and feature a low-pass filter to make a further contribution to the optical performance.The SIGMA fp L features a Bayer sensor with approximately 61 effective megapixels, higher than any other SIGMA camera before it. In addition to images with fine details, the fp L is capable of creating images that are high-definition and rich in color, thanks to its ultra-high pixel count and SIGMA’s experience in developing cameras with a Foveon sensor, are renowned for both the exceptional resolving power and nuanced color gradients due to the unique nature of the X3 sensor. Furthermore, for its image quality that is in principle free of color artifacts, the Foveon sensor legacy was also behind the decision that the fp L should have a low-pass filter to reduce moiré to minimum levels. The use of a low-pass filter was a choice that made sense for a camera with ample megapixels such as the SIGMA fp L.
2. Crop Zoom Higher resolution. Greater freedom.
   1. Every shot is your dream shot.A high pixel count means that images can stand extreme zooming or cropping. This was one aspect of an ultra-high pixel camera that led SIGMA to give the fp L a crop zoom feature that works in both the STILL and CINE modes. Thanks to its ample (approximately 61 effective) megapixels, the fp L can record in full HD quality even at its maximum 5x zoom; because this is accomplished simply by cropping with no digital enhancement, the image quality will not suffer. To use it in a more intuitive way, you can pinch to zoom on the LCD touch screen.
3. Hybrid Autofocus Never miss your moment.
   1. In addition to high-precision contrast AF, the SIGMA fp L features fast image plane phase-detection AF. This hybrid AF allows users to enjoy smooth autofocus that is high-precision, fast, and excellent at tracking a moving subject, whether they are shooting stills or video.
4. Unlimited power supply Long hours of worry-free USB-C cable power supply.
   1. The SIGMA fp L supports USB charging while the camera is on. You can shoot without interruption while charging the camera using a mobile battery, even outdoors or where you have no access to a power outlet. When using it as a webcam, just connect the fp L to a PC via USB and it works as an audio and video input device while getting its power supply from the PC. This means that you can use it for long hours without having to worry about the battery dying on you.

Lets dive in deeper

Save / Load Settings are easier than ever

Share your work? Share your world. With the fp L, you can now save a custom camera setting. Saved settings can be kept as QR code image data, so you can load many patterns of settings very quickly. This allows for a new, fun way for users to share custom settings they recommend with one another by exchanging QR codes with other users or sharing them on social media.

Powder Blue & Duotone.

New colors. New adventures. Powder Blue is a color mode with a bright and clear feel, featuring a refreshing blue color, while Duotone turns the colors of an image into a striking two-color gradient. With the addition of these two new modes to SIGMA’s ample choice of color modes originally featured on the fp series, there are now a total of 15 color modes to choose from. It is sure to bring a greater range and freedom to your still and video image creation with the fp series.

A still camera for stunning pictures

• Back-illuminated 35mm full-frame Bayer sensor with approx. 61 effective megapixels that supports image plane phase-detection AF
• 15 Color Modes to choose from: Two additional modes newly available*
• Save / Load Settings*
• Smooth autofocus: Hybrid AF
• External Electronic Viewfinder EVF-11 (optional)

Webcam for communication with quality image

• Turn the SIGMA fp into a webcam with just a USB-C cableThe SIGMA fp series supports the USB video device class. Simply connect your camera to PC via USB and it sends audio and video to the PC, and works as a webcam.
• Supports USB charging while the camera is on: Works as an audio and video input device while getting power supply from the PC*. Stream video for as long as you want.
  *Dependent on the PC’s supply capacity
• Hybrid AF: Tracks your subject smoothly and keep them in focus even when streaming online
• Save / Load Settings*: Loads a webcam setting fast using a QR code
• Change camera settings even when connected: Exposure compensation; shutter speed; ISO sensitivity; Color Mode; white balance
• 15 Color Modes to choose from*: Create a streaming video look the way you like it *Scheduled to be available on SIGMA fp via firmware update scheduled at a later date.

Cinema camera as a powerhouse in a shoot

• Supports 3 RAW file formats
• Supports camera control with a gimbal
• Hybrid AF: Supports recording using a gimbal and one-person operation
• Supports different frame rates*: Supports frame rates commonly used in filmmaking
• Saving & Loading Settings*: Perfect for sharing camera settings in a multi-camera shoot*Scheduled to be available on SIGMA fp via firmware update scheduled at a later date.

Director’s viewfinder essential tool for a film director

• Director’s viewfinder*: Simulates shooting ranges of cinema cameras by major manufacturers
• Frame guide*: Supports custom frame lines
• Selection of external viewfinders*: Choice of electronic and optical viewfinders
• Screenshot*: Capture what’s on your screen in a single image
• Saving & Loading Settings*: Batch save complicated settings using QR code to store or load them at will

For more information on the fp L, please visit the official Sigma product pages here;

• Key functions and features:
  https://www.sigma-global.com/en/special/fp-series/functions/
• SIGMA fp as cinema camera
  https://www.sigma-global.com/en/special/fp-series/cinemacamera/

But What About the Viewfinder?

In addition to all of this, a new optional external electronic viewfinder EVF-11 will be available with the camera’s introduction.

The external electronic viewfinder EVF-11 (optional) designed exclusively for use with the SIGMA fp series. With its 0.5 inch, approx. 3.68 M dots OLED panel, this high-resolution, high-luminance viewfinder will make you feel immersed in your photography experience more thoroughly than ever.

The SIGMA ELECTRONIC VIEWFINDER EVF-11 is an external EVF designed exclusively for use with the SIGMA fp series. With its 0.5 inch, approx. 3.68 M dots OLED panel, this high-resolution, high- luminance viewfinder will help users feel more deeply immersed in their photography and make creating photos a more enjoyable experience. SIGMA’s attention to detail is evident in the EVF-11’s tilting mechanism, expandability with external accessories, and highly functional user interface, which is designed to ensure convenience and comfort during use.

Together with the SIGMA LCD VIEWFINDER LVF-11 that is already available, the launch of the SIGMA ELECTRONIC VIEWFINDER EVF-11 offers SIGMA fp series users two external viewfinders options as dedicated accessories. As the SIGMA fp series remains true to its concept of being the “world’s smallest and lightest* pocketable full-frame camera”, its users can now choose a viewfinder to suit their particular shooting needs.

EVF-11 Key Features

1. Large viewfinder for clarity and comfort
   1. The EVF-11 has a 0.5 inch organic electroluminescent diode (OLED) panel with approx. 3.68 M dots of resolution. With a magnification of 0.83x, this high-luminance, high-definition EVF provides excellent visibility and is especially useful in an environment where it is difficult to see the screen clearly. Photographers can use it to frame a shot, review an image and change menu settings smoothly.
2. 90° upward tilting mechanism
   1. The tilting mechanism of the EVF-11, which angles upwards to 90°, enables users to shoot from a low angle more comfortably.
3. User interface designed for superb visibility and convenience
   1. The EVF-11 has an eye point set at approx. 21 mm to ensure a full field-of-view without a dark vignette around the viewfinder. This helps photographers see the entire scene with complete clarity, even when wearing glasses. It has a wide diopter adjustment range of −4.0 to +3.0 dpt, and comes with two eyecups of different sizes to suit your preference. The EVF is designed for the best visibility, ease of use and comfort for photographers, giving them a complete view of their subject in perfect detail.
4. Audio monitoring during video capture
   1. A Φ3.5 mm stereo mini jack on the EVF-11 allows users to monitor audio using headphones while shooting video. It is designed so as not to block the camera’s microphone input, meaning users can use an external mic and monitor audio at the same time.
5. External recording to portable SSD
   1. Users can record to an external SSD drive via the dedicated USB plug (Type-C), which is located on the side of the EVF-11.

Key Specifications

• Panel: 0.5 inch OLED panel, approx. 3.68 M dots (Viewfinder Coverage: approx. 100%)
• Magnification: 0.83x (50 mm lens at infinity, −1 dpt)
• Eye Point: Approx. 21 mm (from the back of the eyepiece lens)
• Diopter Adjustment: −4.0 to +3.0 dpt
• Angle Adjustment: 0 to 90°
• LCD/LVF switch
• Camera connecting plug (detects USB, HDMI and EVF)
• Headphone Output Terminal: Φ3.5 mm stereo mini jack
• External Output Terminals: USB (Type-C) and headphone (Φ3.5 mm stereo mini jack)
• Dimensions (W x H x D): 44.6 x 91.7 x 56.1 mm / 1.8 x 3.6 x 2.2 in. (including EYECUP EC-31)
• Weight: 114g / 4.0 oz. (including EYECUP EC-31)

For more information on the Sigma EVF-11 please visit the official product page here;

• https://www.sigma-global.com/en/accessories/evf-11/

SIGMA LCD VIEWFINDER LVF-11

A viewfinder designed exclusively for use with the SIGMA fp series. Mounted over the LCD monitor, it cuts out extraneous light. It has a diopter adjustment of −2 to +1 dpt. With a 2.5x* magnification, it helps photographers to check focus and compose their shots. The specially designed, high-performance lens and advanced lens coating secure excellent visibility.

Pricing & Availability of Sigma fp Products

The SIGMA fp L starts at $2,499 in the US (camera body only). A bundle including the new EVF-11 electronic viewfinder will also be available at launch for $2,999. The EVF-11 – which provides a crystal-clear view of users’ compositions – will be compatible with both the fp L and fp (with a firmware update), and is priced separately at $699.

The SIGMA fp L and the SIGMA EVF-11 Electronic Viewfinder are expected to be available at SIGMA Authorized Dealers in mid-April 2021.

Adorama | B&H | Amazon

This new Sigma lens offers excellent edge-to-edge performance with well-controlled axial chromatic aberration and sagittal coma aberration, a dust and splash-proof mount with water & oil-repellent front element coatings, and is priced at just $899. The Bokeh is also reported as being rather incredible due to its 9-blade rounded aperture and optical formula. Pair this with a stepping motor for fast, quiet, and accurate autofocus in both stills & video, you’ve got a winning combination! The new lens is expected to be on retail shelves by March 12, 2021.

Read the Full Press Release Below;

SIGMA Sets A New Standard in Large-Aperture Mirrorless Zoom Lenses

The SIGMA 28-70mm F2.8 DG DN | Contemporary redefines the standard zoom for mirrorless cameras by combining outstanding optical performance, an F2.8 constant aperture, and a lightweight and compact body. The design of the 28-70mm F2.8 DG DN | Contemporary is based on the existing 24-70mm F2.8 DG DN | Art, but with a focal range starting at 28mm, making the lens body significantly smaller and lighter while maintaining superb optical performance. It is the smallest and lightest lens in its class*. Remaining true to the Contemporary line’s core concept of maintaining an optimal balance between optical performance and lens size, this new optic delivers professional quality results in a body small enough to take on a casual outing. 

In addition to prioritizing portability, SIGMA’s optical engineers introduced a new combination of coatings and structural elements that make this standard zoom well-equipped for use in a wide range of shooting environments. Likewise, the latest production and manufacturing techniques were employed to ensure exceptionally high build quality. 

The 28-70mm F2.8 DG DN | Contemporary introduces another fast, high-performance, large-aperture zoom lens to SIGMA’s mirrorless line-up, offering a more compact alternative to the existing 24-70mm F2.8 DG DN | Art.

[Related Reading: Sigma FP Review | Full-Frame 4K RAW Video On A Budget!]

Key Features

Design based on SIGMA’s Art line, with the same uncompromising optical performance

The optical design of the SIGMA 28-70mm F2.8 DG DN | Contemporary is based on the 24-70mm F2.8 DG DN | Art, which is renowned for its outstanding optical performance throughout its zoom range. True to the Contemporary line’s core concept, the 28-70mm F2.8 DG DN | Contemporary was developed to offer the right balance of performance and portability, and as such, this large-aperture standard zoom delivers outstanding image quality that rivals Art line lenses in a body light enough for day-to-day use. Building on state-of-the-art technology, the 28-70mm F2.8 DG DN | Contemporary has an advanced optical design that includes three aspherical, two FLD, and two SLD elements. Despite using fewer elements in total than the 24-70mm F2.8 DG DN | Art, the design results in a thorough correction of axial chromatic aberration and sagittal coma aberration, which cannot be corrected in-camera, allowing users to create images that are uniformly sharp from the center to the edges of the frame. Along with its anti-ghosting design, the use of Super Multi-Layer Coating and Nano Porous Coating means well-controlled flare for high-contrast results in backlit conditions. It also features a water and oil repellant coating on the front side of the lens. 

In short, the SIGMA 28-70mm F2.8 DG DN | Contemporary combines all of the key optical features required of a large-aperture standard zoom lens, which are essential for photographing a wide variety of subjects in a range of shooting conditions.

Comparison of the two optimal solutions to standard zoom lenses with F2.8 brightness throughout the zoom range.

With the addition of the new 28-70mm F2.8 DG DN | Contemporary, SIGMA now provides two optimal solutions of standard F2.8 zoom lens for mirrorless cameras ― the new 28-70mm F2.8 DG DN | Contemporary achieves remarkable portability and offers the same optical performance, as the existing 24-70mm F2.8 DG DN | Art which is for pro-use with the highest levels of performance throughout its focal range. 

[Related Reading: The Ultimate Mirrorless 24-70mm Comparison | Canon, Nikon, Sony, Sigma, Panasonic!!]

A lightweight and compact body ― ideal for day-to-day use

 Being slightly less wide-angle than the 24-70mm F2.8 DG DN | Art has allowed a significant reduction in the size of the 28-70mm F2.8 DG DN | Contemporary lens body. In order to fit with the design concept of the Contemporary line, which balances performance with portability, the new lens features a simpler dust- and splash-proof structure and smaller switches. This makes it the smallest and lightest lens in its class*. 

The new 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.

The 28-70mm F2.8 DG DN | Contemporary weighs in at 470g, and when attached to the SIGMA fp, the entire setup is 890g. The supreme portability afforded by a camera system that weighs less than 1kg gives photographers a huge amount of freedom and flexibility to achieve their creative vision. It’s also a perfect combination for filmmakers looking for a high-performance, lightweight, easy-to-handle camera system that works well with a gimbal and other accessories.

A large-aperture, standard zoom lens that is light and small enough for casual outings, the 28-70mm F2.8 DG DN | Contemporary will open up new photographic possibilities for better and more creative results.

Superb build quality with exceptional attention to detail that provides an exceptional user experience

With priority given to optimal portability, the body of the SIGMA 28-70mm F2.8 DG DN | Contemporary consists primarily of lightweight parts. While conventional wisdom states that it is more difficult to ensure processing accuracy for plastic parts than metal parts, there has been no compromise whatsoever on build quality for the 28-70mm F2.8 DG DN | Contemporary. One reason for this is that it uses a type of polycarbonate called TSC (Thermally Stable Composite), which has a comparable level of thermal shrinkage to aluminum. This helps reduce differences between the thermal shrinkage of the metal and non-metal parts, ensuring stable levels of performance even in an environment with extreme temperature changes. The use of polycarbonates in the construction of zoom and focus rings can make their operation feel less premium, but with careful treatment to the precision of these parts and adjusting the movement with the lubricant appropriately, the rings offer a precise action with an exceptionally high-quality feel.

What allows us to achieve these precisely produced parts and such premium aesthetics is the impressive standard of manufacturing technology and rigorous quality control we have at the SIGMA Aizu Factory. 

The SIGMA 28-70mm F2.8 DG DN | Contemporary offers a new and improved photographic experience for mirrorless users who require a fast aperture standard zoom lens. Its premium, intuitive build makes it as exciting to use the lens as it is to see the incredible images it can produce, inspiring you to start achieving your creative potential.

[Related Reading: Sigma 85mm f/1.4 DG DN Art Review | The Best Mirrorless Portrait Prime?]

Additional Features

• Lens construction: 16 elements in12 groups, with 2 FLD elements, 2 SLD elements, and 3 aspherical elements
• Internal focusing
• Compatible with high-speed autofocus
• Stepping motor
• Compatible with lens-based optical correction

^{* Function available on supported cameras only. Available corrections may vary depending on the camera model.}

• Nano Porous Coating
• Super Multi-Layer Coating
• Water and oil repellent coating (front element)
• Focus Mode Switch
• Support DMF, AF+MF
• Petal-type lens hood
• Simple dust- and splash-proof design
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system “A1”
• 9-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• ‘Made in Japan’ craftsmanship

To learn more about SIGMA’s craftsmanship, please visit SIGMA website here, and to learn more about this new lens visit the official product page here

 [Key specifications] The figures below are for L-mount.

• Lens construction: 12 groups, 16 elements (2 FLD elements, 2 SLD elements, 3 aspherical elements)
• Angle of view: 75.4°-34.3°N
• Number of diaphragm blades: 9 (rounded diaphragm)
• Minimum aperture: F22
• Minimum focusing distance: 19 (W)-38 (T)cm / 7.5-15.0in.
• Maximum magnification ratio: 1:3.3 (W) – 1:4.6 (T)
• Filter size: φ67mm
• Maximum dimension x length: φ72.2mm×101.5mm / φ2.8-4.0in.
• Weight: 470g / 16.6oz.

Sample Images

Pricing & Availability

$899 – Adorama | B&H | Amazon

We’ve already put in a request to test and review this new lens, but until we get hands-on with it, be sure to leave us any questions or thoughts on this new lens for us to address in the comments below.

Indeed, the Sigma FP is not your average full-frame mirrorless camera. It is unmistakably more like a miniature cinema camera, with a very compact, boxy design, and overall ergonomics that are clearly designed for the camera to be operated as part of a “video rig”.

The highlight is one simple fact: gorgeous image quality for both photo and video, thanks to the universal DNG raw file format that both stills and RAW video are recorded in, and the truly incredible 24-megapixel BSI, dual-ISO, CMOS sensor.

(Yes, that’s right, this camera’s RAW 4K video capability saves individual frames as GND files in 4K resolution. This means you can “color grade” your video footage in Lightroom as if it were any other raw image workflow!)

Other than that, the Sigma FP is pretty minimalistic as a camera. There is no electronic viewfinder, and the rear LCD does not articulate. Indeed, for maximum utility of this camera, you will probably want to invest in an external monitor and/or recorder.

For those who want to record raw video as Cinema DNG files in 12-bit, you can do so via an external recorder, too, at up to UHD 4K30p, or FHD at 120 FPS.

If you’re looking for a truly pocket-sized full-frame mirrorless camera, one that focuses on quality video footage and “gets the job done” in terms of still photos, you should definitely consider the Sigma FP. It is one of the most affordable ways to record video in RAW, period, and even after 1.5 years on the market, it is still one of the only full-frame cameras that can record any type of RAW video internally!

Is it perfect? No, in fact, there are a handful of things we would love to see improved, either in a firmware update or in a next-generation camera. Still, the FP shows tons of promise, and could be precisely the type of camera you were hoping to see on the full-frame mirrorless market!

Sigma FP Specifications

• SENSOR: Full-frame, back-illuminated, (Bayer pattern) 24 megapixel CMOS sensor
• LENS MOUNT: Leica L-mount (full-frame)
• STILL IMAGES: 6000 x 4000 JPG & DNG raw, 14-bit
• VIDEO (INTERNAL): H.264
  4K UHD (3840 x 2160) at 23.976p/25p/29.97p)
  Full HD (1920 x 1080) at 23.976p/25p/29.97p/59.94p/100p/119.88p
  
• VIDEO (EXTERNAL): 4:2:2 12-Bit
  UHD 4K (3840 x 2160) at 23.976p/25p/29.97p
  Full HD (1920 x 1080) at 23.976p/25p/29.97p/50p/59.94p/100p/120p
• ISO: 100-25600Dual ISO (100 & 3200)
• AUTOFOCUS: Contrast-Detection AF system, 49-point
• SHOOTING SPEED (FPS): 12 FPS continuous, 18 FPS burst
• SHUTTER SPEEDS: 30 sec to 1/8000 sec & bulb mode, fully electronic shutter
• METERING RANGE: -5 EV to 18 EV
• STABILIZATION: No
• VIEWFINDER: No
• LCD: Fixed, 3.15-inch, 2.1M dot touchscreen LCD
• CONNECTIVITY: HDMI D (Micro), USB Type-C (USB 3.0)
• STORAGE: Single Slot, SD/SDHC/SDXC (UHS-II)
• BATTERY: Sigma BP-51 Lithium-Ion, 7.2 V, 1200 mAh
• BODY CONSTRUCTION: Metal, weather-sealed
• SIZE: 4.43 x 2.75 x 1.78 in. (112.6 x 69.9 x 45.3 mm)
• WEIGHT: 14.89 oz / 422 g (w/ battery and SD card)
• PRICE: $1,899 (B&H | Adorama | Amazon)

Sigma FP 4K RAW Sample Footage Demo Reel

The above video was made entirely on the Sigma FP using 4K RAW DNG internal recording. All of the video clips were batch-processed in Adobe Lightroom Classic.

Sigma FP Review | Who Should Buy It?

Let’s cut right to the chase here: The Sigma FP is a very specialized, but highly capable, video-centric camera. In other words, if you don’t shoot video, then right off the bat, the FP is simply not going to be very friendly or attractive to you. From the actual features and specs to the physical interface, this camera is made to serve one main purpose: capture very high-quality video.

With that in mind, this entire “who should buy it?” section is going to be aimed at videographers. Of course, if you’re just looking for a truly TINY, ultra-portable full-frame camera, but you do focus more on stills or time-lapse work than video, you can still consider the FP! More adventurous types of landscape photographers, for example, might really appreciate that the Sigma FP is not only the smallest and lightest full-frame camera body on the market but is also still weather-sealed with a metal frame!

Movie Makers

If you’re an aspiring movie-maker/filmmaker/cinematographer, then the Sigma FP could be your gateway to quite literally making your first film! From the physical user experience and features, (remember, you’re definitely going to want to use some sort of external monitor, and use the camera on a gimbal or other support “rig” system!) …to the video image quality itself, the FP is ready to produce a Hollywood/Sundance-quality film, on an extreme budget.

Wedding & Portrait Videographers

If you’re a working wedding videographer, you probably want a little more versatility in your setup. The Sigma FP might be right for you, if you’re approaching your wedding jobs as a cinematographer, who always takes the extra time to set up a slider, and manage your rig’s accessories like an external monitor and a full audio setup, however, most wedding video shooters are going to want a more versatile system, with face/eye-tracking autofocus, in-body stabilization, dual card slots, and of course a massive array of lenses that fit any and every price range.

In short, it’s likely that the Sigma FP might be a little too niche for what you do, and a Sony or Panasonic video system might work better, however, the Sigma FP is still a winner if you value image quality more than a beginner-friendly, versatile user experience.

Vloggers & Youtubers

If you’re going to be making Youtube videos, you probably fall into one of these two categories: The vlogger who uses a GoPro, phone, or another compact, portable camera to create truly “homemade” content, or, of course, the vlogger who is into creating cinematic masterpieces with high-end gear, even if it’s just your review of the latest fancy coffee beans you just tried.

In other words, if you’re a more casual, simple vlogger, then the Sigma FP is at the wrong end of the spectrum for you, but if you love quality output, and you actually love the process of filmmaking, period, then the Sigma might just offer a delightful spark of creativity that inspires you to obsess over things like “shutter angle”…

Action Sports & Wildlife Videographers

If you’re making video of anything high-speed, then you have to ask yourself two questions: First, do you need extremely reliable, class-leading autofocus that can track subjects like glue? If so, then Sony should be your first choice, plus Canon and Nikon are now offering solid choices as well, with reliable face, eye, and wildlife/animal detection & tracking modes, even when shooting video.

Second: Do you need a lot of options with extremely high frame rates? You won’t get 4K 60p out of the FP, and to get to 120p (119.88p) RAW video you’ll still have to use an external recorder.

Having said that, there are plenty of wildilfe/nature scenarios where the Sigma FP will still perform amazingly well! (See the above full-length Youtube demo reel for more!)

The bottom line is this: with a max 4K framerate of 30p, (29.97p) and “average” or “decent” autofocus tracking capabilities, the FP may not be a high-speed or slow-motion video camera, but it sure delivers beautiful results if you can make it work for you.

Landscape & Time-Lapse Photo/Video

Last but not least, here is where the Sigma FP can really and truly shine: Situations where 30p is plenty, autofocus demands are not extreme, and of course, where image quality is everything.

If you’re making nature videos of landscape scenes, and especially if you’re mixing video, photo, and time-lapse work within the same final content, the Sigma FP is a dream camera because of its universal DNG file format for everything. You can capture 30p video of a scene one second, and then switch to time-lapse the next, …and edit the files exactly the same way in Adobe Lightroom and LRTimelapse! It truly is a beautiful thing…

It is also a refreshing comfort to know that the FP is also weather-sealed, and the whole frame of the camera is a solid-feeling “block” of metal! Most full-frame mirrorless cameras only seem to get bigger and heavier as they get better and better weather-sealing. (Looking at you, Sony!)

If you’re a wilderness adventure time-lapse photographer, pair the Sigma FP with an external dummy battery that you can charge via solar power, and you’ve got one of the most ultralight full-frame kits available for landscape video+time-lapse.

Sigma FP Review | Pros & Cons

There’s a lot to love, and if you want what the Sigma FP offers, I would recommend it without hesitation. However, a few minor things are either just plain quirky or downright limiting, and depending on what type of video you want to capture, I might recommend either going with a different option or, quite honestly, that you wait and see what a “mark 2” version offers if I didn’t immediately need this type of camera!

PROS:

• Impressive still image quality
• Impressive video image quality
• Rugged physical build quality
• Excellent (and silent) heat dissipation among raw-capable video cameras
• Lightest & smallest full-frame camera body available
• Numerous highly unique video features/tech (shutter angle, waveform
• Extremely versatile L-mount lens arsenal (Sigma, Panasonic, Leica)
• Versatile, powerful external recording options (USB-C & HDMI)
• DNG raw video is an interesting take on RAW, resulting in “color grading” familiar to Lightroom users
• Incredible value for RAW video shooters

CONS:

• No articulated LCD display, no EVF
• Minimal physical controls
• Interface & menus could be more user-friendly
• Battery life not very impressive, charges slowly via USB-C, not USB-PD
• Battery/camera cannot operate directly from USB power (dummy battery required)
• Battery life meter not available as a percentage
• ISO not displayed at all in some situations, only displayed after exposure is locked in “Auto ISO”
• Cannot dedicate a physical button to change ISO (It’s in the “Quick Menu”)
• For a “rig” style camera that is supposed to be all about external output recording, a medium or full-sized HDMI cable would have been preferred

Image Quality

Image quality can be summed up very easily: This 24-megapixel sensor is on par with all the other full-frame 24-megapixel sensors out there. That is to say, it is incredible. Whether you’re shooting at ISO 100 or ISO 10,000, you’ll be pleased with the raw images’ dynamic range, low noise, and colors. There is no horrible color cast or banding pattern to be revealed when you “dig deep” into the shadows.

In terms of video image quality, the full-sensor width 4K frames are beautifully detailed whether shooting RAW, or another format. Dynamic range and colors are truly impressive and versatile as well.

Again, we cannot overstate the bonus that is DND video frame editing. For anyone who has photography experience in Lightroom or another raw editing software, the editing of video frames from the Sigma FP will feel second-nature compared to the advanced skill (and high-powered software, and high-powered computer) required to process those raw video files.

Autofocus Performance

AF is quite impressive, more than adequate for most subjects. However, when the action gets truly high-speed and/or erratic, the acquiring and tracking of subjects does leave a little to be desired, compared to, say, a Sony A7S III or a Canon EOS R5.

The question is, to all you amateur movie makers out there: are you even trusting an AF system, or are you “pulling focus” manually?

Overall Performance

The overall responsiveness and speed of the camera is actually quite impressive. From the obvious speed-related specs such as the FPS and the shooting/shutter lag times to the quickness of menu browsing and changing settings, the camera does feel snappy and professional.

For video shooters in particular, we have to give a huge nod to the overall category of “performance” because of the sheer versatility of the camera, but we’ll talk more about that when it comes to features & customizations, next.

Features & Customizations

The Sigma FP feature set is truly unique among most cameras in its price range, and even among all full-frame mirrorless cameras. Waveform, the “histogram of video”, is a delightful feature to have, and the ability to set a shutter angle, instead of a shutter speed, makes it much more intuitive to change your camera’s video framerate without worrying about sub-optimal shutter speeds.

Additionally, there are numerous subtleties that make the camera both professionally capable, and fun to shoot with. There are in-camera curves adjustments for highlight and shadow management of (non-raw) video files, and very versatile zebra exposure monitoring/warning.

In terms of customization, though, there is a little (well, maybe quite a bit) left to be desired. Right off the bat, I discovered that I couldn’t reprogram any of the buttons to control ISO, I had to go into the quick menu to do that. Having said that, the “QS” button itself winds up being the de facto ISO button, and it’s not that bad unless you frequently need to change a lot of the other quick menu settings.

Honestly, there’s just not as many buttons on the camera, period, to be customized. Compared to a Sony A7-series, with four “C” buttons and nearly full customizability of quite a few other buttons, or even the Canon and Nikon button customizability, …the Sigma FP feels like there’s not much real customization you can do.

Having said that, there is extensive customizability built into the video features themselves. Physically, there are buttons dedicated to TONE and COLOR. In the menus, you’ll find extensive customizations for things like zebra stripes and focus peaking.

Oh, and for those who do shoot both stills and video, the FP offers quite a few separate customizable settings so that when you flip that convenient, simple switch from “CINE” to “STILL”, you don’t have to take still photos with some of those more specialized video-centric customizations dialed in.

Battery Life & Charging

One area where the Sigma FP could unquestionably be improved is, the battery life and charging/power protocol. Unfortunately, with a mid-2019 release, direct USB power, or the USB-PD protocol, were not yet par for the course, and are absent from the Sigma FP.

The battery life on the FP is just barely good enough that you’re not swapping batteries incessantly unless, of course, you’re shooting 4K RAW video and have the LCD brightness turned all the way up in bright sunlight.

Either way, we highly recommend that all-day shooters get a dummy battery so that they can plug their FP into an external battery pack, and not worry about swapping batteries on a camera rig.

It would have been nice, though, if the FP could have been directly powered via its USB-C port. Now that USB-PD is becoming more common, maybe there will be adequate enough power in that new standard to fuel the camera’s energy consumption needs even when shooting 4K RAW video. Hopefully, we’ll find out in a “Sigma FP mk2”!

Design & Durability

We can’t knock the camera for missing a big grippy grip and a plethora of customizable buttons, or an EVF, and ignore the fact that we’re also praising the camera for being the smallest and lightest full-frame mirrorless camera that still has extremely rugged physical construction.

In other words, you probably already know whether the FP’s design and ergonomics are what you’re looking for, or at least you would know after spending just a short time holding and working with the camera.

Value

As far as 4K RAW-capable video cameras are concerned, the Sigma FP is an incredible value, period. If you want the look that a full-frame sensor (and fast aperture lenses) can provide, there is no competitor in this price range that offers as diverse an output.

Sigma FP Review | Compared To The Competition

It would take numerous articles just to list the different specifications between all the great video-capable and video-oriented cameras out there, so we’ll skip the exact side-by-side comparisons of all the framerates, bitrates, and other video specs. Suffice it to say, the Sifma FP has one of the most extensive video capabilities around, if you include external recording options. It’s not a speed demon, but it sure is an overall image/video quality champion.

Instead, we’re going to focus on the individual advantages and disadvantages of the Sigma FP, and help you decide which camera is right for you based on real-world factors of usefulness and practicality.

With that in mind, first and foremost, if you’re looking for a camera that you can raise to your eye, look through a viewfinder, and work with like it’s a “photography camera”, then the FP is going to be hard to recommend compared to any of the similarly priced full-frame mirrorless cameras from Sony, Nikon, Canon, and Panasonic. They’re all much better cameras for general photography.

So, what if you do shoot mostly video, and care more about video quality than things like autofocus speed, or even “video speed”, AKA framerate? Well, the Sigma FP quickly becomes an attractive option, considering its price and the 4K RAW spec, let alone the plethora of additional video specs when recording externally. By comparison, two of the hot new full-frame cameras from 2020 that can capture 4K RAW video, the Canon EOS R5 and the Sony A7S III, cost ~$3,900 and ~$3,500, respectively.

If you’re getting into any sort of filmmaking, then you could buy TWO FP cameras for about the same price as the Canon or the Sony. (Oh, and the Panasonic S1H is $4,000)

Honestly, though? Remember, also, that truly high-end video cameras can cost tens of thousands of dollars, and/or be truly enormous cameras. The fact that you’d even think of comparing the $1,900,  422g FP against a Canon C-series cinema camera, or let alone a RED, is testament enough to what an attractive value the Sigma offers.

Sigma FP Review | Conclusion

What’s the bottom line here? It’s the simple fact that the Sigma FP is one of the most promising video-oriented cameras we have ever come across. For 4K RAW, it’s easy to love Sigma’s DNG approach. For any serious video shooter, even if you don’t need raw options, it is easy to appreciate Sigma’s unique features that allow the camera to behave more like a very high-end filmmaking tool.

Indeed, the FP has enough quirks and drawbacks that we’re excited to see what comes next, but the fact that we’re dying to see what Sigma replaces the FP with should tell you everything you need to know about how capable this first-generation camera is. With an external monitor, and/or an external recording device,  the FP becomes a truly high-end, even exotic, professional video tool. It shows a lot of promise, and is indeed already well worth the investment.

Check Pricing & Availability

The Sigma FP is available for $1,899 (and is often on sale for $1,799, by the way) as a body-only, or for $2,199 as a kit with the Sigma 45mm f/2.8 DG DN Contemporary.

B&H | Adorama | Amazon

Were those Sigma Art lenses worth it? Yes, they were flawlessly sharp, if that’s what you’re asking. However, they were almost more trouble than they were worth, especially to any photographer who expected primes to be a portable, lightweight alternative to their big heavy full-frame zooms.

However, with their new lenses that are made specifically for mirrorless platforms, Sigma is changing all that. They’re shedding weight from some of their most impressive lenses, and even more exciting is this fact: The new mirrorless lenses are just as sharp, or even sharper!

Enter the Sigma 85mm f/1.4 DG DN Art, made exclusively for mirrorless mounts–Sony’s E-mount plus of course the Leica/Sigma/Panasonic L-mount. Yes, it is more than a POUND LIGHTER than its DSLR-made predecessor. Yes, it is just as sharp, or sharper! And yes, the images are gorgeous and full of character, too.

That basically sums up this review in a nutshell, for those who are already on the edge of your seat, ready to click “buy”: The Sigma 85mm f/1.4 DG DN Art, at a mere $1,199, is hands-down the best mirrorless portrait prime that we’ve reviewed. Don’t believe me? Read on, and I’ll prove it.

Sigma 85mm f/1.4 DG DN Art Specifications

• FOCAL LENGHT & ANGLE OF VIEW:  85mm (28.6°)
• LENS MOUNT(S):  Sony E, Leica L (Panasonic, Sigma)
• APERTURE & RANGE:  f/1.4 to f/16, 11 rounded blades
• STABILIZATION:  No
• AUTOFOCUS:  Stepper motor, optimized AF algorithm
• MANUAL FOCUS:  Electronically controlled, no distance markings
• OPTICAL CONSTRUCTION:  15 elements in 11 groups, 5 Special Low Dispersion, 1 Aspherical, Super Multi-Layer Coating
• MECHANICAL CONSTRUCTION:  Metal & high-grade plastic
• MAGNIFICATION & FOCUS DISTANCE:  0.12x, 2.79′ (85 cm)
• FILTER THREADS & HOOD:  77mm, locking rubber-gripped hood
• SIZE:  3.26 x 3.78 in. (82.8 x 96.1 mm)
• WEIGHT:  1.38 lb (625 g)
• PRICE:  $1,199 (B&H | Adorama | Amazon)

Sigma 85mm f/1.4 DG DN Art Review | Who Should Buy It?

An 85mm f/1.4 prime is a classic portrait lens. Some people may find that they prefer a 50mm or a 105mm instead, but it is a pretty safe bet to consider an 85mm if you do any type of portrait photography. Families, kids, couples, fashion, you name it. Having an 85mm prime is a good idea.

Portrait Photography

When it comes to choosing which prime (or zoom) is perfect for you as a portrait photographer, I used to only recommend investing in the one focal length you would use the most, so that you can get a high-end f/1.4 or f/1.2 prime, and then “fill the gaps” with more affordable, portable f/1.8 or slower primes.

(In other words, if you’re REALLY a 35mm f/1.4 or 50mm f/1.2 kind of portrait photographer, for example, then to cover 85mm you might only need a compact, affordable f/1.8 option.)

However, with the decently compact size and weight of the Sigma 85mm f/1.4 DG DN Art, (especially if you leave the hood at home, although I usually don’t recommend it) …you can go ahead and buy a really nice lens like this, especially if you are shooting professionally and want gear that can be a workhorse for many years.

Wedding Photography

The same goes for wedding photographers: If you’re going to be holding a camera and lens to your eye literally all day long, (yes, I have photographed many Hindu weddings that started before sunrise, and went until very late at night!) …you’ll want a decently lightweight choice, but one that doesn’t compromise on image quality or build quality, either.

In the past, for any type of all-day work, I wouldn’t recommend getting a big, heavy, expensive f/1.4 prime. Instead, I’d recommend getting a modest, portable, and sub-$1K 85mm f/1.8 prime, even more strongly than I’d recommend it to a photographer who is just doing 1-2 hour portrait sessions. Your wrist will thank you at the end of each wedding, and your money can be saved for whichever lens you use the most!

Now, at just under $1,200, and with a decently lightweight form factor, I wouldn’t hesitate to recommend the Sigma 85 1.4 DN whether 85mm is your absolute favorite wedding portrait & candid lens, or it’s just a lens you pick up when the conditions require it.

Candid & Street Photography

If it’s good for portraits and weddings, it’s probably great for candid & street photography, and all types of event journalism. You might want a 105mm or 135mm prime instead, if you find yourself not being able to “reach” your subjects with an 85mm, however, if your camera has more than ~40 megapixels, you can easily switch your camera into APS-C crop mode, and still have plenty of resolution (and plenty of shallow depth at f/1.4!) …which gives you a ~125mm prime. Not bad!

Action Sports Photography

In the past, f/1.4 primes weren’t as popular for low-light sports as a simple 70-200mm f/2.8, partly because a zoom lens is more useful for telephoto action, of course, but also partly because big primes with a lot of glass just weren’t that “snappy” to focus on high-speed subjects.

The latter issue is no longer a problem with modern highest-end mirrorless AF systems, such as on the Sony A9-series and even the crop-sensor A6600. Their AF systems, combined with the powerful stepper motor and the decently lightweight optics of the Sigma 85mm 1.4 DN, make low-light high-speed action photography a possibility, as long as 85mm is right for what you’re doing; it may very well be that you’re better off with either a 70-200mm f/2.8, or a longer lens like the Sony 135mm f/1.8 GM.

Landscape & Nature Photography

You might not need f/1.4 all the time, in fact, you might spend most of your time at f/8 or f/11. However, if you’re a landscape photographer who also shoots nightscapes or any type of creative nature work with shallow depth and selective focus, then you’ll be happy to know that the Sigma 85 1.4 DN isn’t just a wide-open top-performer, it’s also truly flawless when stopped down to f/8-11. The lighter weight and more compact size also mean you might prefer it over any other 85mm prime, for its rugged durability that you can trust in inclement weather.

Nightscape & Astrophotography

Last but not least, yes, this new Sigma mirrorless lens is up to the challenging task of astrophotography. It exhibits minimal issues with things like color fringing or coma/astigmatism, even wide open at f/1.4. (See below for image quality samples!)

For those who are able to stop down to f/2 or f/2.8, whether there is moonlight illuminating a nightscape or you are doing deep-sky work on a tracker, the pin-point sharpness of stars at those apertures is truly phenomenal.

Sigma 85mm f/1.4 DG DN Art Review | Pros & Cons

Spoiler alert: I can’t find anything substantial to complain about. If you’ll recall, I had some complaints about Sigma’s other flagship full-frame mirrorless prime, the 35mm f/1.2 DG DN Art. (Unlike this 85mm, it was massively oversized, and also, the aperture ring was annoyingly bumped from “A” to f/16.

Read on; maybe I’ll come up with some petty nit-pick, but honestly, that’s all it would be–a petty nit-pick.

Image Quality

Looking for the quick-and-dirty verdict? This is one of the most optically impressive 85mm primes we have ever tested. If you’re a casual photographer then it may come down to splitting hairs in terms of sharpness or other, more subtle image characteristics, however, if you’re a highly discerning photographer, whether you’re printing giant prints of portraits, or photographing deep space, you’ll definitely notice that “optically impressive” advantage with this Sigma mirrorless lens.

Sharpness

The Sigma 85mm f/1.4 DG DN Art is one of the sharpest 85mm prime lenses we’ve ever reviewed. At f/1.4, it matches or beats all of the competition on the Sony E-mount. In fact, I was more reminded of the ultra-sharp Nikkor Z 85mm f/1.8 S, and the $2,700 Canon RF 85mm f/1.2 L, in terms of the level of image detail I was seeing from this lens.

When we can get our hands on 40-60 megapixel cameras for the main three full-frame mirrorless mounts, we’ll publish a side-by-side comparison so that you can see how this Sony E-mount lens stacks up against not just its E-mount competition, but also the Nikon Z and Canon RF mount competitors, too.

Bokeh

One of the biggest reasons you buy an 85mm f/1.4 prime is for all that creamy bokeh. The Sigma absolutely does not disappoint, delivering it a balance of incredible sharpness: incredibly soft background blur.

It’s easy enough to share beautiful shallow depth sample images captured in ideal lighting and subject conditions, however, to really test the bokeh of this new mirrorless Sigma 85mm f/1.4 DG DN Art, we went straight to the most “nasty” test conditions possible, dead twigs, and we still found the bokeh to be quite good.

We published a side-by-side comparison of the Sigma 85mm f/1.4 versus the Rokinon/Samyang 85mm f/1.4 HERE, in case you’re interested.

Colors & Contrast

Sigma Art lenses have sometimes exhibited a faint warm color cast to them, but if there is such an issue present with this mirrorless 85mm, it is either negligible and/or pleasing and actually beneficial to the overall character of the images. In short, these days with Sony and Adobe playing more nicely together, it’s nothing but good news in terms of colors and contrast, even from a third-party lens and an .ARW raw file!

Vignetting & Distortion

Distortion is virtually nonexistent thanks to the in-camera profile correction, and vignetting is surprisingly low even when that in-camera correction is turned off! Turn the in-camera vignetting correction on, of course, and overall there is very little to be noticed, even when over-processing images at f/1.4.

This is an impressive departure from many of the other mirrorless lenses we have reviewed lately, which almost always exhibit imperfect vignetting corrections at almost all apertures when your editing gets too heavy-handed.

Sunstars & Flare

Sunstars are noticeable by f/5.6, and beautifully well-defined by f/8, thanks to the fast wide-open aperture, however, the 11 rounded blades usually result in 22-point, open-ended sunstars, instead of needle-point sunstars of older manual focus lenses.

It is worth noting, however, that on occasion, at f/14 exactly, gorgeous ~11-point sunstars may appear if the light source is truly pin-pointed, and is shielded in just the right way. (See below)

Flare is almost never a problem if the sun is not in the frame itself. If you do put the sun in the frame and stop down your aperture, you will indeed see a few flare dots.

Color Fringing, Aberration, Coma & Astigmatism

All of these more obscure but pesky aspects of image quality are minimal or nonexistent. In fact, just out of curiosity, in Lightroom, I turned OFF the default “Remove Chromatic Aberration” tool that works so perfectly well. Even without any correction, there was STILL virtually zero color fringing or aberration! Truly impressive, Sigma, well done.

Macro & Close-Up Photography

At close distances, the Sigma 85mm f/1.4 DG DN Art does not lose much, if any, of its sharpness. (Thanks to how ultra-shallow depth gets at such close distances, you’ll want to stop down anyways!) Of course, by f/2 or f/2.8, it is downright incredible again.

Design & Durability

With a metal mount, weather sealing, metal barrel parts, plus some high-grade plastic here and there, I have to give a nod to Sigma for achieving such a rock-solid build quality in such a decently portable package. Also, while I never personally had an issue with nasty weather, it was a long-standing footnote to Sigma’s Art class of lenses that, although they were solidly built, they had virtually zero weather-sealing. That is no longer the case!

All in all, we can tell that it’s not quite Sony GMaster status in terms of the physical “indestructibility”, however, it’s definitely built to stand the test of time and be a heavy-duty workhorse for many years to come.

Also, as you can see, there is not only an AF/MF switch, a customizable AFL button, and a click/de-click switch to go with the aperture control ring, but also, on the other side of the lens, there is even an aperture ring LOCK switch! This was something we really wanted on the Sigma 35mm f/1.2 Art; we kept accidentally bumping the aperture from “A” to 16 very often, which as you might imagine can really mess up your photos if you were previously shooting at f/1.4-2.8!

All in all, bravo to Sigma for covering virtually all the bases with this lens.

Autofocus Performance

Autofocus reliability for fast-aperture primes was previously the bane of both mirrorless and DSLR setups, especially when the light got truly poor. In pitch-dark conditions, a DSLR would just “give up” and hunt back and forth; even though the brightness of the f/1.4 aperture aided the optical phase-detect AF systems, the AF motors and the “large chunks of glass” that had to be pushed back and forth just weren’t optimal.

With modern full-frame mirrorless camera bodies, and the powerful AF motor combined with “modest” sized glass elements in this Sigma, you get the opposite effect- incredible low-light accuracy, with pin-point focus even at f/1.4. As long as your subjects aren’t sprinting erratically towards or away from the camera, you’ll get almost all perfectly tack-sharp in-focus shots.

Manual Focus Performance

Electronically controlled, manual focus is extremely precise with the Sigma, and even at f/1.4, thanks to the incredible “bite” that the sharpness has, you’ll have no trouble nailing focus on your subjects as long as they’re holding still! Even stars in the night sky, one of most challenging subjects to nail, are effortless to focus on.

Value

When a $1,200 lens shows up a $1,800 lens in even one way, you know it’s a good value. If you’re serious about portraits, or low-light photography of any kind, then you should invest in this $1,200 Sigma. It is absolutely worth it! We’ll talk more about the competition next, but suffice it to say, we recommend this lens over both the Sony GM and the Rokinon/Samyang AF 85mm primes.

The only other lenses that are a value worth considering are significantly different-the Rokinon/Samyang AF 75mm f/1.8 FE, a $399 lens, and the Tokina ATX-M 85mm f/1.8 FE, a $499 lens.

Sigma 85mm f/1.4 DG DN Art Review | Compared To The Competition

With the Sigma 85mm f/1.4 DG DN Art being at the price point of just under $1,200, there isn’t a truly direct competitor. To get right to the point: the Sony FE 85mm f/1.4 GM is almost $1,800, and the Rokinon/Samyang AF 85mm f/1.4 FE is “just” about $700. (Or the Roki-Yang is on sale for under $600 sometimes.)

With the Sigma right in between, you have to look at the overall value in order to decide which one is best for your needs.  I can tell you right now, again, the Sigma is the best value. It is built far more rock-solid than the Roki-Yang, and is noticeably sharper. On the higher end, the Sigma is also sharper than the Sony GM, and is built with almost the same impressive durability as the flagship Sony portrait prime.

In fact, the impressive resolving power of the Sigma leaves us wondering if a “GM mk2” of the Sony 85mm f/1.4 will need to appear soon, especially considering the jaw-dropping sharpness of the much newer Sony FE 135mm f/1.8 GM, FE 24mm f/1.4 GM, and FE 35mm f/1.4 GM. Of course, if such a Sony GM lens ever does arrive, it will probably cost nearly $2K. Just like we would expect a “Sony FE 50mm f/1.2 GM” to cost! (NOTE: we do not have any insider information, there are no rumors/leaks; we are just speculating!)

Honestly? If you really like 85mm, whether for serious portraits, low-light journalism, or just casual artistic imagery in general, get this lens to go on your Sony E-mount body, or your Sigma/Panasonic/Leica L-mount body. You won’t regret it.

What if you know you love 85mm, but you also want something even more lightweight and portable, or downright tiny even? You can always put a Rokinon/Samyang 75mm f/1.8 in your camera bag as well, to compliment this flagship-grade 85mm. The Rokinon/Samyang 75mm is so tiny (and affordable) that you’ll be happy to have two options that approximately cover your favorite focal range. (And, in professional situations, you need a backup of whatever your bread-and-butter gear is!)

Alternately, if you’re looking for extremely rugged build quality, incredible sharpness, and are on a budget, the other lens you should consider is the Tokina 85mm f/1.8 ATX-M, at a mere $499. It may be f/1.8 as opposed to f/1.4, however, its sharpness and bokeh make it a perfect choice for those who want a serious 85mm prime in a more compact yet still professionally capable package. At a fraction of the price, (less than half!) …we even rank the Tokina 85mm as a better overall value than the Rokinon/Samyang and even the Sony GM!

But, enough about the competitors. What if you already own an 85mm prime from your DSLR and are using it on an adapter? This is going to sound obvious, but if you’re happy with what you’re getting from an adapted setup, then stick with it! However, if you’re anything like me, you strongly dislike adapters in general, from their clumsiness when using multiple lenses to their compromise in autofocus performance, and of course, the front-heavy nature of a big heavy DSLR lens on an adapter is just terrible on one’s wrist. So, even if you’re content with the overall image quality you’re getting, you’ll likely still appreciate upgrading to the Sigma mirrorless 85mm.

Sigma 85mm f/1.4 DG DN Art Review | Conclusion

I think many of us were beginning to lose hope that high-end mirrorless full-frame lenses would ever get significantly lighter or more compact than their DSLR-made equivalents. Sony’s f/2.8 GM zooms, and their 85mm f/1.4 GM, are all rather hefty.

Also, when Sigma “goes for broke”, and creates a lens like their DSLR f/1.4 primes, or their Sony E-mount 35mm f/1.2 DG DN Art, the results are, well, massive. Because of this, I was fully prepared for an obnoxiously big and heavy 85mm f/1.2 prime, or even an oversized 85mm f/1.4 prime.

Thus, I am delightfully surprised that the Sigma 85mm f/1.4 DG DN Art is not just optically phenomenal, but also a pound lighter than its DSLR-made predecessor. It balances amazingly in-hand, and overall performance is reliable in terms of the mechanics, and beautiful in terms of the results. For $1,199, you can’t go wrong!

Check Pricing & Availability

The Sigma 85mm f/1.4 DG DN Art is available for $1,199 for both the Sony E-mount (FE full-frame) and the Sigma/Panasonic/Leica L-mount.

(B&H | Adorama | Amazon)

In short, this is an awesome, high-performance flagship piece of glass. The bar has been raised high enough that I find myself flat-out recommending this Sigma Art lens, for just $1,100, instead of Sony’s own 24-70mm f/2.8 GM, a lens costing exactly double the price, at $2,200. Across the board, period. Get this Sigma!

It really is that good. I might even use the word “flawless” once or twice in this review, I’m not sure yet. It has literally everything going for it, from being smaller and lighter than its DSLR predecessor to being flawlessly sharp. (One!) It is also built like a tank, and just about the only thing missing is optical stabilization, a feature that only Canon’s full-frame mirrorless 24-70mm f/2.8 has, (in conjunction with their sensor-based stabilization, too!) …while on Sony’s GM flagship 24-70, you are restricted to IBIS.

The bottom line is, we’ve got another winner on our hands, folks!

Oh, by the way, there’s one twist: This particular copy of the lens we’re reviewing is a Leica L-mount lens, reviewed on the Sigma FP and the Panasonic S1; it is NOT a Sony E-mount version, so I’ll be comparing it to not just the Sony GM competitor, but more so the Panasonic 24-70mm f/2.8, which bears a prestigious Leica badge. Spoiler alert: The Sigma holds its own, in every regard, and since that Lumix lens also costs ~$2,200, we’re going to reach the same verdict: buy the Sigma!

Sigma 24-70mm f/2.8 DG DN Art Specifications

• FOCAL LENGHT & ANGLE OF VIEW: 24-70mm, 84.1° to 34.3°
• LENS MOUNT(S): Sony E, Leica L (Panasonic & Sigma)
• APERTURE & RANGE: f/2.8 to f/22, rounded 11-blade
• STABILIZATION: No
• AUTOFOCUS: Stepping motor (virtually silent)
• MANUAL FOCUS: Electronically controlled
• OPTICAL CONSTRUCTION: 19 elements in 15 groups, 6 FLD, 2 SLD, 3 Asph
• MECHANICAL CONSTRUCTION: Metal mount & barrel, fully weather-sealed
• MAGNIFICATION & FOCUS DISTANCE: 0.34x (7.09 in.  / 18 cm)
• FILTER THREADS & HOOD: 82mm, click-lock hood w/ rubber grip
• SIZE: 3.46 x 4.84 in. (87.8 x 122.9 mm)
• WEIGHT: 1.84 lb (835 g)
• PRICE: $1,099 (B&H)

Sigma 24-70mm f/2.8 DG DN Art Review | Who Should Buy It?

A 24-70mm f/2.8 lens is a must-have for many types of photographers. If you own a full-frame camera, then you’ve undoubtedly at least strongly considered a 24-70mm f/2.8 at least once or twice, if you don’t already own one.

Casual hobbyists buy them, even though they’re usually massive, hefty beasts to be lugged around all day on your family outings or random walkabouts or tourism.

Serious professionals rely heavily on this mid-range constant f/2.8 zoom, of course, for virtually everything from portraits and weddings to commercial work and real-estate photography. Simply put, it’s a versatile lens that could be responsible for the bulk of what you do.

So, in this “who should buy it?” section, we’re not going to focus too much on the WHO; instead, we’re going to talk about why you might consider this lens either compared to its competition or compared to alternatives such as prime lenses.

(NOTE: Thanks to the extraordinary circumstances of 2020, I was unable to bring the mirrorless Sigma 24-70 2.8 to a wedding or portrait session. However, the general advice given below is based on 15+ years of experience as a wedding & portrait photographer, using literally every 24-70mm f/2.8 on the market in all manner of shooting conditions. STAY TUNED, for additional comparisons between this lens and others, in terms of things like low-light autofocus reliability on a wedding reception dance floor, hopefully coming later this year!)

Wedding Photography

Wedding photographers almost all fall into two categories: Those who absolutely love a good 24-70mm f/2.8, and those who loathe such a lens, and opt for primes instead. If you’ve ever photographed a wedding, then you might already know whether you love or hate this zoom range.

If you’re a photographer or videographer who does weddings on either Sony or Panasonic/Leica/Sigma full-frame bodies, this is hands-down the best choice for those of you who already know you like a 24-70mm f/2.8. Period!

If you have usually preferred primes for weddings, though, you have to ask yourself these questions now that this Sigma is on the playing field: first, did you “hate” 24-70mm f/2.8 lenses because they weren’t sharp at one end? Unlike the 24-70mm’s of yesteryear, this Sigma is razor-sharp at all focal lengths, even wide open at f/2.8. If you were a prime shooter who usually stopped down to f/2.8 for sharpness anyway, then you can put those primes away and get this Sigma zoom.

Also, if you previously hated 24-70mm’s because they were just big and heavy, you might also want to consider this new Sigma, because it is smaller, lighter, and better balanced, thanks to the shorter flange distance of mirrorless, plus an overall more compact design.

Oppositely, if you found yourself always turning to primes because you specifically wanted or needed to work at f/1.4 or so, then, of course, you may still choose to use a prime very often. However, in wedding photo/video work, sometimes you still need a good zoom for when the action gets just way too dynamic for a prime to handle. In the past, you might not have been able to own a native E-mount or L-mount 24-70mm f/2.8, due to the price tags that are well over $2K; maybe you “settled” for a bulky old DSLR lens on an annoying mirrorless adapter. Now, you can pick up the Sigma 24-70mm f/2.8 DG DN Art for half the price, and if your Canon 24-70mm f/2.8 L II or Nikon 24-70mm f/2.8 VR was in great condition, you might even come out ahead when selling those lenses on the used market!

Portrait Photography

For portrait photographers, all of the above discussion applies, with one caveat. You probably already know whether you prefer an f/2.8 zoom, or primes, for your mid-range portrait photography. You might love a 35mm, 50mm, or 85mm prime a lot more than you love 24-70mm, whether it’s for the faster aperture, or the weight savings and significantly lower wrist strain you get from using an f/1.8 prime instead of an f/2.8 zoom, or even an f/1.2 or f/1.4 prime.

The one caveat, of course, is that in portrait photography, you often have a lot more control over your subjects and shooting conditions, therefore, you might have even less of a need for a zoom lens, if you prefer primes.

Having said that, a lot of more versatile portrait photographers, especially if you do family portraits or any portraits involving active children, could probably still use a mid-range zoom because it allows them to quickly switch from capturing an official wide-angle group photo to snapping candid close-up moments of individuals or smaller groups.

Either way, whatever your style, if you’re looking for a 24-70mm f/2.8, this is the one to get.

Videography & Cinematography

As we’ve already said, a good 24-70mm f/2.8 is a workhorse lens for many different types of photography. So, that makes this lens even more exciting for one reason: Now you have a flagship-grade 24-70 2.8 for the Sigma FP, the only full-frame camera to shoot 4K RAW DNG video! (Doing your video “color grading” in Lightroom is a thing of beauty, folks! Stay tuned for our full Sigma FP review coming soon!)

Simply put, whether you use autofocus or manual focus, whether you’re using one of the video powerhouse full-frame cameras from Sigma, Panasonic, or Sony, …this lens could be an absolute must-have.

Editorial, Commercial, & Real Estate Photography

High-end portraiture, product photography, real estate…virtually all other types of professional photography can often depend heavily on a good 24-70mm f/2.8. Not only that, but they also probably care a lot more about the nuances of image quality, whereas a more “informal” portrait photographer might care most about things like autofocus reliability and bokeh, but not much else.

Whatever your profession, whatever your shooting style, if you need a 24-70mm f/2.8 workhorse, the Sigma 24-70mm f/2.8 DG DN is up to the task. It is wicked-sharp, all the other aspects of image quality are impressive, and just as importantly, the lens is built very sturdy, for years of reliability as a workhorse.

Candid, Everyday, & Street Photography

As a casual everyday lens, the Sigma 24-70mm f/2.8 may not be the most ultra-compact mid-range zoom around; that honor still goes to the Sony E-mount Tamron 28-75mm f/2.8 Di III RXD, at just 550g versus the Sigma’s 835g.

Having said that, even for “casual” walk-around photography, let alone travel/vacation, cityscape, …basically everything, there is a huge difference between 28mm and 24mm, indeed!

Considering that the Sigma and Tamron aren’t that far apart in price, ($880 versus $1,100) …if you don’t mind the weight of the Sigma, you should definitely choose it as your go-to everyday mid-range lens. Unless you want something totally different, of course, like the Tamron 28-200mm f/2.8-5.6.

Action Sports Photography

Action sports of any kind are, by their very definition, going to involve fast action that you’ll want to track with good autofocus. This is aided by a bright f/2.8 aperture compared to slower aperture lenses, of course, however, oftentimes third-party lenses aren’t as good as name-brand options, especially when they get optically robust and have to push a lot of glass back and forth.

Of course, before you buy a 24-70mm f/2.8 for action sports, you’ll probably want a good flagship 70-200mm f/2.8 first, like the Sigma 70-200mm f/2.8 DG OS HSM Sports, a $1,500 lens.

[Lens Review: Sigma 70-200mm f/2.8 DG OS HSM Sports]

Anyways, we weren’t able to use this Sigma 24-70mm f/2.8 DG DN on a flagship Sony like the Sony A9 II, or even a budget-friendly, current-gen body like the Sony A7 III, however, we feel confident enough that Sigma’s latest-and-greatest AF technology is up there with Sony GM, in terms of focus speed, precision, and consistency/reliability.

On the Panasonic S1, and the Sigma FP, which use rather different AF systems, the Sigma DG DN Art lens was excellent in terms of AF speed, precision, and reliability. Since Sony’s electronic communication protocols are open, it’s safe to say that this will be a flagship-level experience overall, indeed.

Wildlife Photography

Even more likely to happen in dim lighting conditions, sometimes, wildlife photographers crave that f/2.8 aperture just as much as, or more than, action sports photographers. Once again, the Sigma is a great choice because not only is it very sharp wide-open at f/2.8, but the AF tracking, including for both human and animal eyes on the latest Sony cameras, should be phenomenal; on-par with name-brand Sony (and Panasonic) flagship lenses.

To speak to autofocus performance any further, of course, you’ll have to wait for us to publish an updated review of how Sigma autofocus is handling on Sony bodies overall, compared to Sony GM f/2.8 lenses and Tamron’s own f/2.8 “holy trinity”. We’ll likely wait to publish such content until we’ve got a 70-200mm f/2.8 (or similar) from Sigma for mirrorless; although we have no word or even rumors yet, surely such a lens will be here in the next year or two!

Landscape Photography

If you photograph landscapes, then you don’t care much about autofocus or f/2.8. You only care about one or two things: maximum sharpness/resolution at f/8-11, and usually rugged durability plus portability. The Sigma 24-70mm f/2.8 delivers maximum results in these regards, being an impressively portable lens as far as flagship quality is concerned, and as we’ve mentioned already, the lens is virtually flawless in its sharpness. Unlike many other Sigma “Art” lenses, you’ll find this mirrorless 24-70mm to be fully weather-sealed, too!

Nightscape & Astrophotography

If you photograph astro-landscapes, then you care about coma, astigmatism, vignetting, and field curvature. The Sigma is very impressive on all counts, which we’ll get into soon when we break down the image quality. Suffice it to say, whether you’re shooting at 24mm or 70mm, at f/2.8, these are some of the best 24-70mm corners we have ever seen, with only a faint quirkiness to the field curvature and builtin vignetting/distortion correction. (See our coma & astigmatism test below!)

Sigma 24-70mm f/2.8 DG DN Art Review | Pros

As we already mentioned, this lens has virtually everything going for it, and the only drawbacks are either subtle nuances that we complain about for virtually all modern mirrorless lenses, (such as quirky lens correction profile behavior) …or the omission of optical stabilization.

Besides that, you could skip this entire section, just look at the pretty pictures if you want, and rest assured: this lens is amazing, and if you can afford its price and weight, then it is my top choice for all mirrorless 24-70mm f/2.8’s.

Image Quality

Sharpness

We’ll let the sample images speak for themselves here. Also, just for fun, we’ll compare the Sigma 24-70 against the Panasonic Lumix S-Pro 24-70mm f/2.8, which is a $2,200 lens compared to the $1,100 Sigma:

In fact, this lens is so sharp at f/2.8, that if you don’t focus perfectly on your subject you will clearly notice that the plane of focus is a little bit off. In the above scene, we had to re-focus on the two different subject zones in order to achieve maximum sharpness with such shallow DOF.

In the test crop below, we specifically focused at the extreme, extreme corner, just to see how sharp it is. In reality, there is a faint amount of field curvature, so unless you specifically set focus here, you might not see this same level of sharpness.

As you can see above, even when compared to the Panasonic 24-70mm that costs twice as much, (Yes, the Sigma would probably *destroy* the much older Sony GM lens) …sharpness is truly incredible, with only the slightest visible difference being at f/2.8 and in the extreme, extreme corners.

Likely thanks to the optical formula that is perfectly tailored to full-frame mirrorless cameras with their shorter flange distance, the Sigma 24-70mm f/2.8 DG DN Art is just that good, not just at 24mm, but it also doesn’t “slump” at any other focal length or aperture; it holds its own very well.

Bokeh

Bokeh is beautifully smooth, despite the “clinical” level of sharpness. In terms of both foreground and background blur, (see above) there is not much that can create a “busy” look in your out-of-focus backgrounds.

Achieving beautifully smooth bokeh isn’t as easy as you’d think, by the way, when you’re also trying to achieve such good optical integrity overall. So, it really is impressive that the lens is this sharp, and yet delivers aesthetically beautiful results, too.

Colors & Contrast

Colors, contrast, and the overall “pop” of images coming from this lens are all beautiful. If there is any color cast to this Sigma lens compared to others, it might be a faint, faint warm look, which is usually welcome for most photographers.

Vignetting & Distortion

Vignetting and distortion are two of the things that software can attempt to fix perfectly, however, it’s still good to have these issues at a minimal level before the profile is applied, otherwise, it can harm the sharpness of the image corners.

Thankfully, as far as modern mirrorless lenses are concerned, the Sigma 24-70 2.8 DN is actually one of the best we’ve seen; even when turning the in-camera profile corrections off, distortion and vignetting are minimal, and with them turned on there is virtually no sign of either.

(NOTE: see our con about extreme cases of vignetting correction, below.)

Sunstars & Flare

Even when shooting into really tough light, images stay surprisingly clear and crisp until the last minute, when the sun is getting close to entering the frame. And when it does, most of the flare is a beautiful warm wash of backlighting, without any “flare dots” that cause real problems, usually.

Sunstars are the typical Sigma Art style- not very “pointy” but still well-defined by f/11 or f/16.

(NOTE: want to see something cool? Look closely at the 70mm center star photo below. Yes, that’s right, this lens can make faint sunstars even wide-open at f/2.8, when shooting at 70mm!)

Color Fringing, Aberration, Coma & Astigmatism

We’ll let the above 100% crop star photos speak for themselves!

For the most discerning photographers who do things like photograph nightscapes or deep-sky astrophotography, the Sigma mirrorless 24-70 2.8 offers a lot: virtually zero color fringing or other aberrations, including minimal coma & astigmatism, at both 24mm and 70mm!

Macro & Close-Up Photography

One of the common flaws of 24-70mm lenses in the past was that they were very soft when focused extremely close up. I remember an old DSLR 24-70mm that required I stop down to f/5.6 or f/8 before images got sharp at the closest focus distance!

The close-up magnification is definitely not dedicated macro lens territory, however, it is impressive that the lens stays so perfectly sharp even when you get as close as you can to your subjects.

PRO: Design

Sigma is “going flagship” with its latest full-frame mirrorless lens designs, that’s for sure. Whether for the L-mount of the E-mount, there is a full complement of useful physical features, such as a click-able hood with a grippy surface to it, an AF/MF switch, a customizable L-Fn button, and a zoom lock switch.

(Stay tuned for our full review of the Sigma E-mount 85mm f/1.4 DG DN Art coming soon, too!)

Just about the only thing missing would be a focus distance indicator, something that no other mirrorless 24-70mm f/2.8’s have except the Nikon Z-mount 24-70mm f/2.8 S, with its controversial all-electronic display window, or of course, the L-mount Panasonic 24-70mm f/2.8, which actually has physical focus markings. (Although, honestly, we’re usually not a fan of the clutch mechanism for activating manual focus.)

Durability & Weather Sealing

Sigma Art lenses have always been built “hefty”, but early on they weren’t necessarily “indestructible”. In other words, despite their solid feel when you first pick them up, they often were not weather sealed and could be prone to damage after a year or two of heavy use.

The mirrorless Sigma 24-70 2.8 is not only fully weather-sealed but also seems built rock-solid enough to withstand years of abuse.

Autofocus Performance

We were only able to test the speed & precision of this lens’ AF system on the Sigma and Panasonic camera bodies, but it was truly impressive! Fast, accurate, and silent. So, we’re left to assume that on a camera like a Sony A7R IV or A9 II, the autofocus is going to be just as good as, or better than, the “getting old” (almost) FE 24-70mm f/2.8 GM. Unlike DSLR lenses,

Manual Focus Performance

Manual focus is controlled electronically, as with essentially all native mirrorless lenses, aside from Panasonic, and is very smooth and precise.

Of course, as with all native Sony E-mount lenses, there is no focus distance scale on the lens, so you cannot manually set the lens to infinity or anything without the camera being on. Also, the camera may not perfectly remember its focus position when it is turned off or when it sleeps. But, again, these are mostly quirks of the camera system, not the lens itself.

Value

As we’ve mentioned before, this lens is as good as, or better than, other lenses costing twice as much. If you want a mid-range f/2.8 zoom, this is your best choice of any full-frame mirrorless system. (It’s a real shame that Sigma has not yet figured out Canon RF and Nikon Z mount protocols, but surely they’ll get around to it in the next year or two!)

A name-brand flagship lens might last a little longer if you heavily abuse your lenses year after year. Then again, with the build quality of the Sigma, we have every reason to believe it will prove to be just as durable, or more, in the long run.

Sigma 24-70mm f/2.8 DG DN Art Review | Cons

No Optical Stabilization

To be fair, most people will be happy to have a slightly smaller, more compact, and affordable lens, and just rely on IBIS, that is, in-body sensor-based stabilization. However, for those who are truly pushing the envelope in terms of low-light photography, it needs to be said: Optical stabilization still can do a slightly better job of stabilizing an image, sometimes, and better yet would be two stabilization systems that work simultaneously. So far, only Canon’s RF full-frame mirrorless system offers this, however.

In comparison, Sony’s own FE 24-70mm f/2.8 GM also lacks OSS. The Nikon Z 24-70mm f/2.8  also is un-stabilized, although Nikon’s in-body VR is allegedly a bit better than Sony’s. (We’re still testing this, across as many lenses as we can test; stay tuned!) Canon is the only full-frame mirrorless system that not only offers a stabilized 24-70mm f/2.8, but also combines that IS with its sensor-based stabilization, for truly impressive low-light hand-hold-ability.

If you’re still not yet heavily invested in a full-frame mirrorless system or are willing to switch, you might be interested in considering a Canon EOS R5 or EOS R6, and the RF 24-70mm f/2.8 L IS, if you know you are going to constantly be pushing the extreme, darkest types of shooting conditions. Otherwise, just get this Sigma 24-70mm f/2.8 for your Sony, Sigma, or Panasonic/Leica camera!

Portability Versus Sony, Tamron & Others

While this mirrorless Sigma 24-70mm f/2.8 is a decent amount lighter than the DSLR Sigma 24-70mm f/2.8 DG HSM, (the Sigma mirrorless 24-70 is 185g lighter) …it’s not that much lighter than the Sony FE 24-70mm f/2.8 GM. (It’s just 51g lighter.)

By comparison, the Tamron 28-75mm f/2.8, thanks to its plastic-and-metal construction and overall minimalistic design, (not to mention the less-wide zoom range) is a whopping 285g lighter. That’s 10 ounces; more than half a pound. There’s also the difference in filter sizes; the Sigma (and Sony, and all other modern 24-70mm f/2.8’s) use 82mm filters, whereas the Tamron is a svelte 67mm.

The bottom line is, if you want an extremely portable lens, the Sigma isn’t going to live up to the expectations that some people may still have about mirrorless cameras. Having said that, this is still the lightest 24-70mm f/2.8 on the market, if you absolutely need 24mm, not 28mm.

Quirky Built-In Lens Vignetting & Distortion Correction Profile(s)

I am going to just keep mentioning this in probably every single mirrorless lens review until SOMEBODY listens, and does a better job of this:

If you heavily edit images of a very smooth surface, such as an empty blue sky or an overcast grey one, then you’ll see weird artifacts revealed by the vignetting correction profile. Usually, simply put, the built-in profile never does a truly perfect job of correcting vignetting. Then, when you try to make up for any discrepancy manually with the sliders in Lightroom, you can never get it quite perfect.

In the sample below, look closely in the upper left and right corners, and note the unevenness in tone. (NOTE: The image is heavily edited; with nearly +100 Dehaze and Clarity applied.)

Distortion correction can also mess up image quality in weird ways, too. Again, it’s almost impossible to see, unless you’re heavily editing your photos.

In both cases, the visibility of these issues is minimal for the Sigma 24-70mm f/2.8, and you’re unlikely to ever run into this problem unless you’re the type of person whose creative style involves cranking the “Dehaze” slider towards +100, or you do advanced layer stacking for astrophotos in Photoshop.

Sigma 24-70mm f/2.8 DG DN Art Review | Compared To The Competition

We’ve already talked about the competition quite a bit. In terms of value, the Sigma is half the price of its closest competitors, the Sony FE 24-70mm f/2.8 GM, and the Panasonic Lumix S Pro 24-70mm f/2.8. And yet, it’s just as good, in pretty much every way, from physical build quality to actual image quality.

If you’re willing to give up some of the wide end, in favor of saving a little money and a decent bit of weight, then the Tamron 28-75mm f/2.8 Di III RXD is the only other truly native Sony E-mount option, and isn’t even available for those of you with Sigma/Panasonic/Leica bodies. (At least, not yet, at the time of this review’s publication.)

If you have one of the latest DSLR 24-70mm f/2.8’s, then you might get just as good image quality and rock-solid build quality, however, you’ll have to fiddle with an adapter, and put up with a significantly more front-heavy kit and the slight autofocus shortcomings that may come with using an adapter.

Sigma 24-70mm f/2.8 DG DN Art Review | Conclusion

All in all, if you want a 24-70mm f/2.8 for your mirrorless camera, then save up the just over $1K for this Sigma. Even if you have an existing DSLR 24-70 2.8, you’re better off selling it for nearly $1K, or whatever its worth, and then pitching in to get this Sigma.

What else can we say except, again, we can’t wait for Sigma to make this lens for Canon RF and Nikon Z mounts! The price is just too attractive, the performance is just too good. In the meantime, we could use the TechArt adapter for Sony E-mount to Nikon Z-mount, however, autofocus isn’t nearly as reliable, in our long-term testing, and of course, that’s just not an option for Canon mirrorless shooters.

So, there you have it. This is our top recommendation to all photographers who use one of the two full-frame mirrorless mounts this lens is available for, and in fact, it’s even a reason to consider joining, of switching to, one of these mounts!

Check Pricing & Availability

The Sigma 24-70mm f/2.8 is available for Sony E-mount and the Leica (Panasonic and Sigma) L-mount; both options will set you back just $1,099 on B&H.