Sigma 28-70mm F2.8 DG DN for L-Mount

Product Information

The biggest reason for investing in the Sigma 28-70mm f/2.8 is that it's a much smaller, lighter and cheaper alternative to native-branded lenses. It's still capable of producing really high-quality images with sharp in-focus areas and soft, blurred, out-of-focus areas. Unlike some of the more expensive brands it doesn't have any lens stabilization, but if you're shooting on something like the Sony A7R IV the in-body stabilization makes up for it. We know from Sigma's announced specs that the lens comprises 20 elements in 15 groups, including six FLD (ultra-low dispersion), two SLD (special low dispersion) and three aspherical elements. The L-mount version will weigh just a few grams more but measures a couple of millimeters shorter than the E-mount version, owing to differences in lens mount; the L-mount is 1345g and 90.6mm x 205mm, and the E-mount is 1335g and 90.6mm x 207mm. This was taken with the Sigma fp L and it’s 61 megapixel sensor. Setting were 100 ISO and f8. The focal length used was 30.5mm.

The Best L-Mount Lenses for 2023 | PCMag The Best L-Mount Lenses for 2023 | PCMag

We always used to think that this Sigma Art lens was massively big and heavy for a 50mm f/1.4 prime, but that’s before Panasonic’s competitor came along. As it stands, the Sigma is noticeably smaller and lighter than the Panasonic, and isn’t much more than a quarter of the price in the UK, although it’s not such outstanding value in the USA, where it’s closer to half the price of the Panasonic. Like the Sigma 35mm f/1.4 Art lens, the 50mm was originally designed for DSLRs and has been adapted for L-mount cameras. The optical path and ring-type autofocus system are largely unchanged and, also like the Sigma 35mm Art lens, there are no weather-seals. Even so, build quality is very good and the lens certainly delivers in terms of image quality, making it a great buy in the UK. Not sure what part of Canon failing to support fd/fdn on ef-mount is unclear to you. The glass adapter was a joke, fd/fdn owners were not happy about their mount being abandoned for a ef-mount that Canon is now abandoning again, in favor of rf-mount, the latest Canon fantasy mount that still doesn't have any 3rd-party lens support, despite being two years old. Here’s a 100% crop of the photo above. Notice how you can read even the smallest words in this photo even though they are technically not even the focus points. Keep in mind that this was taken using 640 ISO as well, not 100 ISO.

It also offers a dust- and splash- proof construction of the lens mount, a stepping AF motor for fast and quiet autofocusing, and a minimum focusing distance of 19cm (at 28mm) and maximum reproduction ratio of 1:4.6 (at 70mm).

Sigma 28-70mm f/2.8 DG DN - Digital Camera World

The Sigma 28-70mm F2.8 DG DN Contemporary lens has a fairly generously sized focus ring, which is ridged for easier grip. There are no hard stops at the ends of the range, making it harder to set focus at infinity. Polariser users should be pleased that the more economical 67mm filter thread doesn't rotate on focus. And once when he did not get any printouts, he told the machine some carefully chosen words and then he pulled the cable out of the outlet. Took the machine down the corridor and placed it in the elevator and pushed the bottom floor button and went out of the elevator. And down it vent. And then he went to the meeting. Here’s a close up shot of a flower taken with the S1. The focal length was 70mm with the settings being f2.8 and 100 ISO. As you can see, great bokeh. Pros And Cons: Pros: A minimum focusing distance of 19cm at the wide end of the zoom range (a working distance of 6.9cm) up to 38cm fully zoomed in allows you to capture subjects close-up in incredible detail.Not sure what part of the Canon mount history having at least six incompatible lens mounts was unclear to you. You keep trying to deflect about Sony, which never had that problem, and neither did Pentax nor Nikon. Canon doesn't have any idea where it's going. The optical design of the SIGMA 28-70mm F2.8 DG DN | Contemporary is largely based on the 24-70mm F2.8 DG DN | Art, which is renowned for its outstanding optical performance throughout its zoom range. Chromatic aberrations, typically seen as purple or blue fringes along contrasty edges, are not a problem for the Sigma 24-70mm f2.8 DG DN Art, even at the edges of the frame. Light Fall-off Mr Bolton: I'm not a "Pentax hater" -- more of a long-ago Pentax fan who's been disappointed too many times (actually, starting the 1980s), and the K01 was an extra-large disappointment. In theory (and marketing), the K01 was aimed more at competing with the A55 (which is an EVF-based camera using Minolta's traditional mount), but the A55 is a way better camera. The lens is exceptional largely because of the image quality. Sharpness is among the best we’ve tested, and there’s little real world difference between f/1.2 and stopping down to f/2.8. The bokeh is excellent — swirly and dreamy at f/1.2, and flatter at higher apertures. We couldn’t spot any chromatic aberration which, combined with the sharpness, makes the lens ideal for the highest resolution L-Mount cameras out there.

Sigma 28-70mm f2.8 DG DN review | Cameralabs Sigma 28-70mm f2.8 DG DN review | Cameralabs

He is a Fellow of The Royal Society of Arts, holds a Foundation Degree in Equitation Science and is a Master of Arts in Publishing. He is member of Nikon NPS and has been a Nikon user since the film days using a Nikon F5 and saw the digital transition with Nikon's D series cameras and is still to this day the youngest member to be elected in to BEWA, The British Equestrian Writers' Association. You never admitted to your erroroneos claim that "the speed booster adapters on A7RII cameras", was wrong, speed boosters are for crop sensors not ff cameras.

Since I mentioned the size, let’s get into that first. When the 28-70mm f2.8 DG DN Contemporary lens was first announced, I was definitely intrigued but after seeing it in person, and holding it in my hands, I have to say, I am even more impressed. Currently, Sigma says that this is the smallest and lightest lens in its class. By going up a bit from a 24mm, Sigma was not only able to produce a lens that is cheaper but also make one that is much more compact than a traditional 24-70mm f2.8 all while keeping the fixed maximum aperture of f2.8. The lens measures just 2.8 x 4″ / 72.2 x 101.5 mm, and uses a 67mm filter. It truly is considerably more compact than the Sigma 24-70mm, and I know this because I had both lenses with me at the time to review. Strange! The dubbed into produced some kind of Brechtian effect that lasted the whole clip beyond the dubbed part. Chris acting was suddenly obvious and the whole video had that alienated feel. I generally shoot the way I normally shoot with all the gear I review. From what I was able to get from the fp L, I didn’t have any issues. I don’t do much sports though but for everything else I’ve shot, the camera worked great. It’s an electronic shutter, so I did have some issue with fluorescent lighting but that’s with any electronic shutter. Well the sony is selling their 70-200 for a 50-250 f/2.8 price anyways so why shouldn't the actual lens with that price form sigma do? It would certainly be in the previous 70-200S weight class but also that did sell and people are buying even heavier lenses for the extra speed or reach. For most practical purposes, however, the Sigma 28-70mm is easily sharp enough. For portrait shooting, just make sure you use an AF point over your subject for focus to overcome any issues with field curvature, as you should with any lens and modern autofocus system. And for wide-angle landscape shooting, stopping down to F5.6 will help, and by the time you reach F8 or F11, you'll be really pleased with the results.

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As for the autofocus, the 28-70mm f2.8 DG DN Contemporary lens uses a stepping motor that is definitely responsive. It’s plenty fast, and accurate. It’s also near silent. The camera usually plays a part in autofocus performance, and as I mentioned earlier, I was testing this lens with both the S1, and the fp L. It works great on both cameras. As you might expect, the featherweight Sigma 28-70mm F2.8's body is predominantly constructed from polycarbonate, although it does still have a metal mount and build quality is good. And while it isn't fully weather-sealed like its nearest rivals, the mount still includes a seal that should help protect your camera body from the elements, if not the lens itself. Well yes, I know. That is why I just refered to the AoV. Olympus made a more conventional 14-35mm and 35-100mm f/2. But they are massive. I should point out that the technology Sigma uses in its lenses is not the same as the linear, electromagnetic system that Sony uses in their newer lenses. If you’re shooting sports or any other fast-moving subject, I don’t think Sigma’s design will outperform modern Sony lenses. This lens is not designed for that type of application, but I do think that is something most people will know going into it. To be fair, Canon's new mount is only two years old, so it wouldn't make sense not to capitalize on all that extant glass.Sigma is now one of the very few imaging manufacturers whose products are solely made in Japan ④. This gives us full control over our production processes and helps us maintain the highest levels of quality control over the design, manufacture and construction of every product. Great care is taken to ensure the highest quality materials are chosen. On the other hand, it's quite prone to cat's eye effect when shooting wide-open, giving the bokeh more of a football (or for non-Americans, rugby ball) shape the closer it gets to the corners. And that problem is not limited just to those corners but extends quite a long way towards the center of the frame. Sure, it has some caveats in the image quality department. Most notably, corner sharpness isn't stellar at telephoto while wide-open; close-up telephoto shots wide open can have a soft dreamy look , and it's also quite prone to cat's eye bokeh effect. But honestly, depending on your subjects, those may not be major concerns for you. And image quality is otherwise solid, with very good sharpness across much of the focal range, pleasing bokeh, and good resistance to aberrations and ghosting. We didn't see any major issues with lateral chromatic aberration for this lens. There's a truly minute amount of it, perhaps 2-3 pixels wide on a 42MP image (that's a half a millimeter on a 40" x 60" print) that clears up easily if you enable CA corrections in-camera or in your Raw converter.