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Tamron 24 70 F2 8 Nikon

By | 28/10/2022


The Sigma 24–70mm F2.8 DG DN Art is a bright, premium zoom lens for photographers on either the Sony Due east-mountain or the L-mount shared by Leica, Panasonic and Sigma photographic camera bodies. Although for this comparison we’re mostly looking at its Sony E-mount contest, there are some intriguing lenses on L-mount that information technology goes up against as well.

Designed specifically for mirrorless, the lens is compatible with either full-frame or APS-C camera bodies. For the latter it offers full-frame-equivalent focal lengths from 36mm to 105mm, with respective bear upon to the effective discontinuity. With its standard zoom range on full-frame and generous maximum aperture, it’s well-suited to subjects like portraits, weddings, events, travel and street photography. It also has decent macro capabilities and is quite well-suited to video, making information technology a versatile all-rounder.

Bachelor since Dec 2019, listing pricing is set at $1099.

All images edited in Adobe Photographic camera Raw 12.2 or its Lightroom Classic equivalent, with adjustments express to white residuum, exposure, highlights, shadows, white and black levels. Sharpening and noise reduction at defaults.

Cardinal specifications:

  • Focal length:
    24–70mm (36–105mm with APS-C crop)
  • Discontinuity range:
    F2.eight – F22
  • Stabilization:
  • Filter thread:
  • Close focus:
    0.18m (seven.1″)
  • Maximum magnification:
  • Diaphragm blades:
  • Hood:
  • Weight:
    E-mountain 830g (1.83 lb); L-mount 835g (1.84 lb)
  • Optical structure:
    xix elements in fifteen groups (3 aspherical, half dozen FLD, 2 SLD)

The Sigma 24–70mm F2.8 DG DN Fine art’southward rivals differ depending upon whether you’re an Eastward-mountain or L-mount shooter. For Due east-mount, there’s only one direct rival but several other lenses which are at to the lowest degree in the same ballpark. On the L-mount, though, there are two direct rivals and one more than which is fairly close in its focal range.


As you might look given its vivid F2.8 maximum aperture, the Sigma 24-70mm F2.8 is a fairly large lens, although some of its rivals are fifty-fifty larger. Its barrel length is 122.9mm (4.8″) for the Fifty-mount version or 125mm (4.9″) for the E-mountain version, and both variants share the same diameter of 88mm (3.5″).

It doesn’t feel overly heavy though, and we felt the Eastward-mountain variant balanced very nicely with our Sony A7R Three body. Despite being merely slightly longer, Sigma specs the E-mount version equally being just a touch lighter at 830g (29.0oz) versus 835g (29.5oz) for the L-mount optic.

Sigma sees the Art serial every bit its flagship line, and then build quality is excellent, with a rugged, all-metal construction and comprehensive atmospheric condition-sealing. Both the zoom band and manual focus ring feel smoothen with merely the right amount of resistance to dampen user input. The handsome outward appearance and the feel of the 24–seventy are both consistent with Sigma’due south other Art series offerings.

As well as the zoom and focus rings, there are iii further controls to be constitute clustered on the left side of the lens barrel. From acme to lesser, these include a focus mode switch, a customizable push which defaults to providing autofocus lock, and a zoom lock switch which keeps the lens retracted but releases by itself if you plow the zoom ring.

Like all of its nearest E-mount and 50-mount rivals, Sigma’due south 24–70mm F2.8 eschews optical image stabilization in favor of in-trunk IS. It also opts for the same 82mm filter threads as used by all of its direct contest. A hydrophobic and oleophobic coating on the front lens element helps to resist pelting drops and adventitious smudges.

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Compared to…

For E-mount shooters, the nearest alternative might be the Sony FE 24–70mm F2.8 Yard Master 2 lens, which is more double the price of the Sigma. However this newer lens brings much to the table, improving upon its predecessor in almost every way. The older 24–70mm F2.8 GM is nonetheless available, ofttimes at a discount, but it’due south never been a favorite of ours.

Despite its identical focal range and maximum discontinuity, the Sigma is 140g (.3 lbs) heavier just one.4cm (0.5″) shorter than the Sony GM II. It is too appreciably cheaper, available for almost $1200 less. Both lenses feature rugged build quality and weather resistance. The Sigma 24–seventy has a smoother-turning transmission focusing ring compared to the somewhat sloppy-feeling ring on the Sony.

Although both lenses provide a customizable button on the side of the lens, just the Sony G Principal II provides a de-clickable aperture ring and a handy option to smooth or tighten the zoom ring’southward resistance. Couple that with the lighter weight and we find the Sony to be the superior treatment lens.

ISO 500 | 1/30 sec | F4 | 48.4mm | Sony a7r 4
Photo by Rishi Sanyal

Unfortunately the Sigma can’t compete with the Thousand Master 2 when it comes to autofocus functioning. Although the Sigma is no slouch in this regard, the Sony delivers faster and smoother focusing thanks to its four linear XD motors.

Every bit a newer lens, nosotros expected the Sony to dominate in terms of prototype sharpness, and nosotros take to admit it is more consistent beyond the image at wider apertures. All the same the older Sigma 24–70 Art holds its own in this regard.

ISO 500 | 1/60 sec | F2.8 | 24mm | Sony a7r 4
Photo by Rishi Sanyal

The Tamron 28–75mm F/ii.8 Di III VXD G2 might sound similar in name and and basic parameters, just optically speaking it’s a very different pick.

The Tamron option is even more affordable than the Sigma 24–70mm, saving you $200. It’s too quite a chip smaller both in barrel diameter (~15%) and length (~6%), and around a third lighter. Being so much more compact, the Tamron has a much smaller 67mm filter thread versus the Sigma 24–70mm’south 82mm thread, which will salvage still more money on filter purchases.

Only the Tamron features a ix-bladed aperture that volition yield less-round bokeh than the 11-bladed aperture of the Sigma. Sadly, the Tamron likewise lacks a customizable button. Despite a somewhat plastic toy-similar feeling to the lens, though, it holds up to rugged apply and all parts zoom and turn confidently.

ISO 100 | 1/320 sec | F4.5 | 29.5mm | Sony a7r 3
Photo by Dan Bracaglia

Thanks to its new VXD motor, autofocus performance is snappy, and focus breathing is as well minimal. Tamron has made nifty strides to improve the overall look of the bokeh in this lens, something which was much maligned in the original version. It has the best magnification of whatever lens in this article at 0.37x, compared to the Sigma’due south 0.34x magnification.

ISO 1250 | 1/xxx sec | F4 | 48.7mm | Sony a7r IV
Photograph past Rishi Sanyal
ISO 100 | 1/500 sec | F5.6 | 70mm | Sony a7r 3
Photo past Dan Bracaglia

Moving over to the L-mount competition, the Panasonic Lumix S Pro 24–70mm F2.8 is double the price of the Sigma 24–70mm F2.8 Art, and it’s also both 12% heavier and 14% longer. Information technology has an eleven-bladed aperture similar that of the Sigma and a similarly-circuitous optical formula.

Only information technology can’t focus anywhere near as closely, and so has a much weaker 0.25x maximum magnification every bit compared to the 0.34x of the Sigma. It does, yet, take a more sophisticated AF drive mechanism pairing both linear and stepper motors.

ISO 250 | 1/60 sec | F2.8 | 24mm | Sony a7r 4
Photo past Rishi Sanyal

The Leica Vario-Elmarit-SL 24–70 F2.8 Asph., meanwhile, is by far the almost similar to the Sigma 24–70mm F2.8 in specification, fifty-fifty if it is more than ii.v times every bit expensive. Its size and filter threads are identical and its weight only 3% greater than that of the Sigma.

It also shares a very like optical formula, an eleven-bladed discontinuity iris, stepper motor-driven AF and an identical minimum focusing distance, allowing it to deliver the same maximum magnification.

Compared to…

Sigma 24–70mm F2.8 DG DN Art Leica Vario-Elmarit-SL 24–70mm F2.8 Asph. Panasonic Lumix Southward Pro 24–70mm F2.8 Tamron 28–75mm F2.8 Di III VXD G2 Sony Atomic number 26 24–70mm F2.eight GM Two

Price (MSRP)

$1099 $2795 $2199.99 $899 $2298
Mount(s) Leica L / Sony E Leica L Leica L Sony E Sony Eastward
Optical structure nineteen elements, 15 groups 19 elements, fifteen groups 18 elements, 16 groups 17 elements, 15 groups twenty elements, 15 groups
Discontinuity blades 11 xi eleven 9 eleven
Weather sealed Yes Yes Yeah Yes Yes
AF drive Stepper motor Stepper motor Linear and stepper motors Linear motor Piezoelectric motor
Minimum focus altitude / max magnification 0.18 1000 (7.i″) / 0.34x 0.18 m (7.1″) / 0.34x 0.37 m (14.6″) / 0.25x 0.18 m (7.1″) / 0.37x 0.21 thousand (viii.3″) / 0.32x
Filter size 82mm 82mm 82mm 67mm 82mm
Diameter x Length
(no hood)

Fifty-mount: 87.8mm ten 122.9mm (three.five” 10 4.8″)

Eastward-mount: 87.8mm x 124.9mm (3.five” x 4.9″)

88mm x 123mm (3.5″ ten 4.8″) ninety.9mm ten 140mm (3.six” ten 5.5″) 75.8mm 10 117.6mm (iii.0″ x iv.six”) 87.8mm ten 119.9mm (3.v” x 4.vii”)

L-mount: 835g (29.5oz)

E-mount: 830g (29.0oz)

856g (30.2oz)

935g (33.0oz) 540g (19.0oz) 695g (24oz)

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Autofocus and focus breathing

Sigma has based the 24–70mm F2.viii’s autofocus organisation effectually a stepper motor, simply it’due south withal quite responsive. Autofocus operation is totally silent and the lens focuses speedily with no hunting. Even so, when compared to the more modern lenses that compete against it, the Sigma tends to fall short. This difference does seem to be more pronounced when compared against other E-Mount lenses.

The Tamron 28–75 F2.8 G2 is slightly snappier, while the Sony 24–seventy F2.8 K Master Ii is noticeably quicker and smoother when focusing. This would only be an issue in the most enervating of situations, withal. Well-nigh photographers will find the Sigma to be responsive and quick enough.

When it comes to macro capabilities, the Sigma matches the best of its direct rivals and significantly betters many of them, and then long every bit you don’t mind getting extremely close to your subject field. At the 24mm broad-angle position it tin focus at just 18cm (7.one”) for a maximum magnification of 0.34x (1:2.9). At the 70mm telephoto, meanwhile, you can dorsum abroad from your subject to around 38cm (15.0″) but the magnification falls to 0.22x (one:4.5).

ISO 400 | 1/60 sec | F2.8 | 70mm | Sony a7r Four
Photograph past Rishi Sanyal

We did notation some field curvature for macro shooting, which leads to rather soft corners, merely the 24–70mm F2.8 isn’t an incredibly precipitous lens when shooting close-upward in the kickoff place. Stopping down yields very good corner sharpness.

The Sigma besides makes for a very compelling video lens. Information technology shows very trivial focus breathing at either end of its zoom range and its autofocus motor works very well for video if your chosen camera body offers sufficient performance. Information technology does lack the focus clutch of the Panasonic 24–70mm F2.8, just given that it costs barely one-half as much, you might be willing to overlook that omission.

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Image quality

Sigma delivers on virtually all fronts when it comes to the 24–70mm F2.8 Art lens’ prototype quality, with but an unusually distracting cat’s heart event really detracting from an otherwise solid operation.

ISO 100 | 1/200 sec | F11 | 70mm | Sony a7r Iii
Photo by Chris Niccolls


At its 24mm wide-angle position, the Sigma 24-70mm F2.8 delivers plenty of detail in the eye even when shooting wide-open up at F2.viii, and while the corners definitely aren’t as sharp, they’re even so very acceptable. Stopping down to F5.half-dozen delivers a slight simply noticeable improvement in the centre and as well brings back the sharpness in the corners.

Zooming in to the 70mm position the story is pretty similar, with a great level of detail in the center but rather softer corners when shooting broad-open up. Again, stopping down to F5.6 helps throughout the paradigm. That said, the improvement in the eye is less dramatic at telephoto and the comeback in the corners is more noticeable than it was at wide-angle.

ISO 320 | 1/320 sec | F3.5 | 70mm | Sony a7r Iii
Photo by Dan Bracaglia

We didn’t find any improvement in corner sharpness from placing the focus betoken in the corner of the image at either the wide or telephoto ends of the zoom range. All things considered this lens is very capable resolution-wise, turning in a performance that should prove a match even for high-res bodies.


It’south hard to discover much to complain about with the Sigma 24–70mm F2.viii, but we did find 1 event on the bokeh front.

When shooting at wider apertures it’s mutual for lenses to exhibit cat’s eye with the bokeh formed by specular highlights, an result that’southward caused by the lens barrel blocking incoming light. The closer to the corners of the image, the more the highlights lose their roundness and take on a rugby brawl-shaped form reminiscent of a cat’southward pupil.

ISO 640 | 1/320 sec | F2.viii | 70mm | Sony a7r Three
Photo past Chris Niccolls

But when shooting wide-open with the Sigma 24–70mm, the shape of the true cat’s eye event is rather unusual and quite dissimilar to that we’ve seen in other lenses. There’s a quite noticeable shift in angle as if the shaded side of the bokeh has been further flattened, and it makes the bokeh even more distracting than information technology would be in a lens exhibiting regular cat’s center.

The skilful news is that information technology’s only really a concern where there are strong specular highlights, and it’s quite easily resolved simply by stopping down a footling. And thanks to its 11-bladed aperture – something most of its E-mount rivals lack – the Sigma gives beautiful, circular highlights even when shooting stopped down.

ISO 100 | 1/l sec | F2.8 | 70mm | Sony a7r Three
Photo past Jordan Drake

We as well plant no concerns with onion ring issue, and this lens gives a really nice transition from in-focus to out-of-focus image areas. Overall, it’s a superb performance in all respects except for its weird mechanical vignetting when shooting wide-open.

Flare, ghosting and sunstars

Then how does the Sigma 24–70 F2.8 Art handle vivid light sources and flare? Information technology’s definitely a mixed handbag and the impact will largely depend on the kind of photography the lens is used for.

Thanks to excellent lens coatings, the Sigma 24–70 handles overall flare and loss of dissimilarity quite well. Contrast is well maintained across the image and the lens largely avoids washed out areas of the image when shooting at bright sources of light.

ISO 320 | 1/125 sec | F18 | 24mm | Sony a7r Iii
Photograph by Dan Bracaglia

Ghosting tin can exist an outcome with the Sigma 24–70, although only in fairly challenging situations. When shooting at apertures from F2.8 to F8, ghosting is well controlled, with the occasional light-green streak showing opposite the light source. However as the aperture is tightened ghosting becomes more than obvious and tin create visible trails of green across the image.

Of course it is when shooting at tight apertures that sunstars are formed. Along with the requisite ghosting the Sigma also delivers 22-point sunstars cheers to its 11-bladed diaphragm. As an added bonus, the points are largely even in length.

Unfortunately, despite the dramatic number of points the appearance of the sunstars is quite diffuse. If you lot are a landscape lensman looking for sharp, clean and dramatic sunstars yous may want to look elsewhere.

Longitudinal / lateral chromatic aberration (fringing)

Although you’ll encounter some lateral chromatic aberration in photos shot with the 24–70mm F2.viii, this is piece of cake enough to set up in postal service-processing and then not a worry. Every bit for longitudinal chromatic aberration, which causes color fringing in the foreground and background and can exist hard to correct post-capture, while there’south some present it’s a pretty average performance and so doesn’t represent a significant business organisation.

ISO 100 | one/50 sec | F2.8 | 70mm | Sony a7r III
Photo past Chris Niccolls

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What nosotros like What we don’t
  • Very competitive pricing, specially confronting similarly loftier-finish rivals
  • Solid, weather-sealed build
  • Bright, constant F2.eight maximum aperture
  • Self-releasing zoom lock and customizable AF Lock push
  • Swift, silent autofocus
  • Very piffling focus breathing
  • Very attractive bokeh in most respects
  • Well-controlled aberrations
  • Decent macro capability
  • Unusually distracting cat’southward centre effect
  • Corners are a scrap soft, specially for close-up
  • 82mm filters are pricey

Although alternatives to the Sigma 24–70mm F2.8 DG DN Art lens differ depending upon whether you’re an E-mount or L-mount shooter, information technology’s a very solid offer for either mountain. Its pricing simply blows manufacturer offerings from Sony and Panasonic out of the water, and despite its loftier-end build and operation, it’south not a whole lot more expensive than consumer-course offerings for either mount.

If yous’re an E-mountain shooter who’s especially sensitive to size, weight or cost, and you tin live with the lesser wide-angle possibilities, it’s definitely worth investigating Tamron’s latest offer.

ISO 100 | 1/50 sec | F2.8 | 31.9mm | Sony a7r 4
Photo past Rishi Sanyal

The newer VXD G2 is a more modern, ground-upward redesign that outperforms the Sigma in most areas except bokeh performance. Only it’s hard to fence that you should spend twice as much for the Sony One thousand Master in light of the Sigma Art lens’ solid all-around performance. It can evangelize very bonny images in almost all respects while saving you easily plenty money to buy another lens or slice of photographic camera gear for your kit.

Of class, on the L-mount you lot don’t take Tamron’s offerings to consider, but information technology’s a similar story to the One thousand Primary when comparing to the Panasonic 24–70mm F2.8, and even more then against the even pricier Leica lens.

ISO 125 | 1/sixty sec | F2.8 | 24mm | Sony a7r Four
Photo by Rishi Sanyal

If your pockets are deep and your L-mount body doesn’t have the best autofocus, you might perhaps want to consider the Panasonic for its handy focus clutch, but otherwise it’s a no-brainer to go for the Sigma.

And that, were we in Leica, Panasonic or Sony’s shoes, would have us feeling pretty nervous right now.

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DPReview TV review

See what our team at DPReview Boob tube has to say almost the Sigma 24-70mm F2.8 DG DN Art.

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Sample galleries

Please practice non reproduce any of these images without prior permission (see our copyright folio).

Sony a7R IV and a7R III

Sony a7R III

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Source: https://www.dpreview.com/reviews/sigma-24-70mm-f2-8-dg-dn-art-field-review