Sigma 14-24mm F2.8 DG DN Art evaluation: A real murals
“Smaller, lighter, and every bit as good, Sigma’s second take at a fast ultra-wide is a winner.”
F/2.8 fixed aperture
No entrance filters
Short zoom vary
When I reviewed the primary Sigma 14-24mm F2.8 Art lens, I famous it that it was simply the second such lens to be made following Nikon’s 2007 mannequin (though I uncared for to say the the Tamron 15-30mm f/2.8, which has similarities sufficient). That Sigma was, and is, among the finest wide-angle zooms you should purchase. So if it ain’t broke, what do you do?
Make it higher.
Less than two years have handed since I shot the 14-24mm F2.8 DG Art, and already Sigma has come out with a brand new one, this time with “DN” added to the title. That stands for mirrorless solely.
Unlike the brilliant-but-unwieldy Sigma 35mm F1.2 DN Art, the 14-24mm DN feels prefer it was constructed for mirrorless cameras. This is not any mere rehousing of the unique lens; it’s a whole rethinking of it. It shaves off nearly a pound in weight, but makes use of extra glass parts, extra iris blades, the identical f/2.8 fixed aperture, and remains to be weather-sealed.
Whatever witchcraft went into this design, it wasn’t that costly. At $1,399, the DN model is simply $100 greater than the launch worth of unique. This is the brand new quick ultra-wide to beat, however there’s one caveat. If you don’t personal an E-Mount or L-mount digicam, you’re out of luck.
This can also be the primary time E-mount and L-mount photographers can use a 14-24mm with out an adapter. The non-DN model, in contrast to another Sigma DSLR lenses, was by no means launched in a local mirrorless mount.
How did Sigma construct this?
Fast wide-angles are recognized for his or her bulk — it’s simply the value you pay for wanting all of it. A large subject of view mixed with a big aperture presents a technical problem, one which takes lots of glass (and normally money) to satisfy. The Nikon 14-24mm f/2.8G, Tamron 15-30mm f/2.8 G2, and non-DN Sigma 14-24mm F2.8 Art all weigh nicely over 2 kilos (the Sigma is over 2.5).
But the Sigma 14-24mm F2.8 DN Art? 1.75 kilos. It can also be narrower and shorter than the others, making it extra comfy within the hand. It nonetheless felt entrance heavy mounted to the miniature Sigma Fp, my check digicam for this evaluation, however it appears the right dimension for the bigger Sony A7 or Panasonic Lumix S sequence.
You nonetheless need to cope with a bulbous entrance component, which suggests no screw-on filters, however a sheet-filter holder is in-built to the rear of the lens.
The optical design is new, using 18 parts in 13 teams, in comparison with 17 parts and 11 teams within the unique 14-24mm Art. A variety of low-dispersion glass parts and three aspherical parts work to make sure minimal chromatic aberration and flaring, and Sigma says the brand new lens was engineered to be much less prone to issues arising from sturdy backlighting.
It additionally makes use of an 11-blade aperture diaphragm, up from 9 within the older lens.
But Sigma’s new design appears to be about bringing equal efficiency to a smaller type issue, somewhat than providing a revolutionary bounce in picture high quality. Given how good the primary 14-24mm already was, that’s not a foul factor.
As for efficiency, Sigma touts the velocity and silence of its autofocus stepping motor, however the contrast-detection autofocus of the Fp isn’t one of the best check of that. On a Sony or Panasonic digicam, AF will possible be faster.
Image high quality
Without testing them side-by-side, I can’t say if the 14-24mm F2.8 DN outclasses the unique. As far as I can inform, each lenses carry out on the the highest of their class, and there are not any apparent optical drawbacks to the DN’s smaller dimension. That’s spectacular.
Distortion is current, however to not unacceptable ranges, and is definitely corrected. It’s the same story with vignetting, with f/2.8 exhibiting noticeably darker corners in comparison with the middle at each 14 and 24mm, however it’s nothing out of the extraordinary. Vignetting subsides because the aperture is stopped down, and even f/4 makes a giant distinction.
Sharpness is superb throughout the body, with solely minor chromatic aberration exhibiting up close to the perimeters. If sharpness falls off from the middle, I wasn’t in a position to detect it in any real-world setting, though I can’t say whether or not that might stay true on higher-resolution sensors.
The transfer to 11 aperture blades is fascinating, as ultra-wide lenses aren’t recognized for his or her bokeh. It’s attainable to get a shallow depth of subject with this lens in case your topic is shut sufficient, however I’d need to do extra testing to find out if the aperture form is making a lot of a distinction in comparison with the unique 14-24mm.
I’ll say, background blur is totally different between the 2 lenses for different causes. The non-DN model exhibited lots of “stretching” of de-focused areas, an impact that didn’t come up in my testing of the brand new lens. This is a subjective distinction, and I don’t assume both is dangerous, however it’s secure to say the DN lens is extra pure.
To obtain this sort of high quality from a lens that’s smaller, lighter, and nearly the identical worth as the unique is an superior achievement. But, when you’ve shot the primary Sigma 14-24mm, don’t anticipate to be blown away with massive beneficial properties to picture high quality.
The 14-24mm F2.8 DG DN Art is a uncommon instance of a Sigma lens that gives improved, or no less than equal, efficiency and improved practicality. Where different Sigma Art lenses, even mirrorless-specific fashions like the huge 35mm F1.2 Art, bulked as much as hit their picture high quality targets, the 14-24mm DN did the alternative.
That it’s nonetheless (comparatively) reasonably priced makes all of it the higher.
It stays a distinct segment lens that not everybody may have a use for, with a considerably limiting 2X zoom energy, however there isn’t a greater worth in wide-angle, f/2.8 zooms for mirrorless cameras.
Is there a greater different?
No, however this lens is way much less adaptable than the DSLR model. It is obtainable solely in L or E-mount configurations. Canon and Nikon customers should keep on with the older, non-DN mannequin. Built for DSLRs, that lens will also be tailored to Canon’s and Nikon’s mirrorless cameras.
The Tamron 15-30mm f/2.8 G2 is an alternative choice for such photographers, though one we haven’t examined.
How lengthy will it final?
You’ll wish to maintain that entrance component protected when not in use, however the lens will simply final via a number of digicam generations if handled correctly.
Should you purchase it?
Yes. This is one of the best worth in quick, ultra-wide zooms for E-mount and L-mount cameras.