Sigma 14-24 Sony E Mount Review

By | 18/10/2022

The Sigma xiv-24mm F2.8 DG DN Fine art ($1,399) is the visitor’s kickoff ultra-wide zoom lens designed for mirrorless systems. The benefits are clear—it’due south smaller and lighter than the 14-24mm F2.8 DG HSM Art for SLR systems, and just every bit well built. It’s however some other excellent lens from Sigma, at a very competitive toll, and ane that you lot shouldn’t hesitate to add to your kit when shopping for an ultra-wide zoom. Information technology’s as well an Editors’ Choice.

The Widest F2.8

We’ve seen total-frame zooms that get wider than 14mm, but none that open to f/two.eight. If you use a Sony system, yous tin opt for the Fe 12-24mm F4 G for a larger view of the world, just at the price of a full stop of lite. If y’all use an L-mount camera, this is the widest zoom available with autofocus support at press time.

Sigma 14-24mm F2.8 DG DN Art : Sample Image

But even with its big angle of view and f/2.8 design, the Sigma 14-24mm F2.eight DG DN Art isn’t overly large. It’s designed for mirrorless system, which ways its rear optics are closer to the paradigm sensor, which vastly simplifies the design process. This fourteen-24mm F2.eight measures 5.2 by three.four inches (HW) and weighs ane.8 pounds. Compare this with the SLR version, which is about the same size, but notably heavier at 2.v pounds.

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Sigma sells this version of the 14-24mm for Leica L and Sony Eastward mount cameras; the L mount is also supported past Panasonic and Sigma itself. The lens offers coverage for total-frame sensors, but works fine with APS-C models like the Sony a6600 and Leica CL as well, albeit with a reduced bending of view. Sigma provides a skid-on front end cap, also as a standard rear cap and a soft carrying case.

Sigma 14-24mm F2.8 DG DN Art : Sample Image

Construction is solid, with a mix of metal and polycarbonate for the housing. Sigma includes fluorine protection for the exposed forepart chemical element, equally well as dust and splash protection throughout. You tin can’t use front filers due to the bulbous front chemical element, but at that place is a rear holder for gel filters. The front element moves as yous adjust the focal length, but never extends by the confines of the hood.

Focus and zoom rings are covered with rubberized ridges to improve your grip. The zoom ring sits toward the base, with the focus control just behind the integrated petal lens hood. There’s a lone control switch, to change between manual and autofocus, also equally a customizable control button on the butt. It locks focus by default, merely yous can reconfigure its function via your camera’s menu.

Sigma 14-24mm F2.8 DG DN Art : Sample Image

Y’all don’t get optical stabilization with the lens—it’south something we’ve seen in ultra-wide zooms for APS-C systems, but isn’t expected when covering the bigger full-frame sensor. Near, but not all, E-mount and 50-mount cameras offer in-body stabilization, which makes its omission less of an effect. In-torso stabilization does a good job smoothing handheld video at wider angles, and I typically take no problem with i/3-2nd or even 1/2-2nd handheld exposures at wider angles with the Sony a7R Iv. At speeds that long bailiwick motility is a larger business concern.

Likewise, don’t expect stunning macro results from such a broad lens. You can focus close, about 11 inches measured from the sensor plane, so you tin go dramatic shots with your subject prominently in frame and a wide swath of groundwork behind information technology. At the 24mm position, the lens nets 1:seven.three life-size reproduction at its closest focus distance, not shut to the 1:2 or 1:three we want to see from a zoom to consider it fit for macro work.

Potent Optics for High-Resolution Cameras

I tested the fourteen-24mm in E-mountain with the 60MP Sony a7R 4. It’s the most enervating full-frame sensor, in terms of resolution, available today, and truly needs first-class drinking glass in front of it to shine. This zoom has petty trouble keeping up.

Sigma 14-24mm F2.8 DG DN Art : Sample Image

At 14mm f/2.8, it nets a 4,050-line effect, averaged across the frame using Imatest, a result that is in our very good range for the a7R 4 sensor. Resolution is outstanding in the central area (5,040 lines), but does requite way to results that are just good (3,000 lines) equally you move toward the edges. Performance holds steady at f/4, but ticks up to excellent at f/5.6 (4,400 lines), f/8 (4,675 lines), and f/11 (4,528 lines), all with better edge clarity than at f/iv or wider—good data to take into account when photographing traditional landscape scenes. Diffraction reduces resolution to the adept range at f/16 (3,800 lines) and f/22 (ii,366 lines).

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At the midpoint of the zoom, 18mm f/ii.8, we come across very expert resolution (4,278 lines), and it leaps into the excellent range at f/4 (4,750 lines) through f/5.6 (4,950 lines), f/8 (iv,970 lines), and f/11 (four,615 lines). We see the expected dip in detail at f/16 (iii,850 lines) and f/22 (ii,525 lines).

Sigma 14-24mm F2.8 DG DN Art : Sample Image

Resolution isn’t quite as potent at 24mm, falling back to the good range (iii,560 lines) through f/4 (3,770 lines) and f/5.6 (iii,825 lines). It enters excellent territory at f/viii (4,550 lines) and f/11 (iv,675 lines). At that place’s a slight drop at f/16 (4,045 lines) and a more pronounced one at f/22 (2,580 lines).

Distortion is a business organization with ultra-wide lenses—it’s easy to go a wide view of the globe with a fish-eye look, only that won’t do for architectural piece of work. The 14-24mm shows some butt distortion (3.iv percentage) and a modest pincushion effect (ane.3 percent) at 24mm.

Sigma 14-24mm F2.8 DG DN Art : Sample Image

Baloney is relatively easy to compensate for using software tools, and the effect isn’t overwhelming to start. You can run into the barrel upshot adding a slight burl to the fire extinguisher and column in the uncorrected 14mm shot above.

There’s also a fiddling bit of a vignette when shooting at f/2.8, but it’s not extreme, and is besides corrected easily using Lightroom or another photograph editor.

Another Sigma Stunner

Sigma’s Art lens series has earned accolade after accolade, with good reason. Its various entries take been at, at their worst, nevertheless quite good, and at their all-time, outstanding. The 14-24mm F2.8 DG DN Art is another solid entry, roofing an ultra-broad angle of view and maintaining a vivid f/2.viii aperture through the entirety of the range.

Sigma 14-24mm F2.8 DG DN Art : Sample Image

It’due south also well made, with dust and splash protection throughout, along with fluorine protection on the big front end element. If you’re shopping for this type of lens for your E-mount or 50-mount camera, it’s hard to find a improve all-around option, especially given the price, so we’re naming the lens our Editors’ Choice.

In that location are alternatives, of course. Sony makes the Atomic number 26 12-24mm F4, which offers a bit more wide-angle coverage, and if you don’t mind a narrower bending, and want to spend less, the Tamron 17-28mm is a fantastic value. If you value that over the ability to work at f/two.viii, information technology’s a fine lens, assuming you apply a Sony organisation. If you’re shopping for an L-mount camera you have fewer choices, simply because the arrangement isn’t nevertheless built out to the extent of E-mount. Panasonic and Leica each sell a 16-35mm zoom, simply if yous require a wider view, the 14-24mm is a better pick.

Sigma 14-24mm F2.eight DG DN Art

The Bottom Line

The Sigma 14-24mm F2.eight DG DN Fine art captures broad views with loads of detail, and offers weather protection, calculation appeal for landscape and outdoor photographers.

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