Sigma 14-24mm f/2.8 ART on Sony FE: IQ Breakdown | 4K

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Hi, I'm Dustin Abbott, and I'm here today to give you a look at how the Sigma 14 to 24 millimeter F2.8 art, how it works on a Sony A7R Mark 3
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So this gives us an opportunity, number one, to put it on a higher resolution body. A7R Mark 3 is 42 megapixels
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It also gives us an opportunity to test out how the autofocus works using the Sigma MC11
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Now, I mentioned in my very first episode where we took a look at the build quality, and you can see that episode here
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I mentioned as a part of that that I did encounter an issue when I tried to shoot some early tests
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some of which we're going to look at today, because I had some issues with metering as a byproduct of the fact that it turns out
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I wasn't sure whether it was the lens or the MC11 that needed a firmware update
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It turns out it was the MC11 that needed a firmware update
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And so that helped to solve the primary issue that I was encountering was a metering problem
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And I got really, really erratic metering results. And unfortunately, that played a bit of havoc with my end results for some of the comparison I'm going to do today
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Fortunately, I shot multiple series to try to make up for that. And I was able to salvage enough to do what we needed to do
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So just to give you an update on how things are after the firmware update
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in many ways it's a similar experience to what I found with say something like the sigma 14 millimeter f1.8 art and that by and large the auto focus experience is pretty good
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auto focus accuracy is excellent but there is some pulsing back and forth in some situations and so it just seems to sometimes have an issue settling on a subject initially and then you know after a few pulses back and forth it will lock
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Part of what I've done to, you know, sometimes circumvent that is just to override by touching the screen and selecting a, you know, more specific auto focus point
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And that allows it to not maybe hunt for so many different alternatives
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So anyway, not as fantastic a focus experience as I've seen with the lenses that tend to be a little bit more moderately wide to normal to all the way through the 135 F1.8 art lens, which actually focused really well
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on the MC11. It seems like the wider angle lenses produce a little less fabulous focus
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results, but byproduct is that I still got very good results. I just got a little bit more
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pulsing and a little bit more noise than what is native. Of course, this HSM motor, it is not so
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much designed for, I mean, there's usually a stepping kind of motor that's used for
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mirrorless and so I mean bottom line is that this focus motor was not designed for this
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body. It works and But, you know, there's a little bit, just a little bit kind of like a, you know, sound as the elements are moving as a part of focus
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But see if you can pick it up. You can hear just that little bit of as it's kind of moving along there
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And so it's not as silent as, say, I just got through reviewing the Zeiss baddest 18 millimeter and 25 millimeter lenses
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They were certainly quieter auto focus options on Sony e-mount. The other thing I do want to highlight is that even after the firmware update, I dig it a little bit of quirky behavior when it came to the aperture
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And so sometimes I get a little bit of blackout in the LCD viewfinder when, because the aperture was changing
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And I also found that it kind of wanted to deset to F8
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and for whatever reason I'd turn the camera off and I'd go to shoot again
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And a lot of times I'd find that the aperture was at F8 again. And so, I mean, not a huge deal because all it requires is just adjusting that aperture
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But just, you know, I did see a few more quirks, bugs, maybe if you want to call them
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that might need to be ironed out and a little bit more of a firmware update
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It didn't always happen, but it happened sometimes. So let's jump in and let's look at how this lens compares to some air
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F-E mount options. And so the reason why I kind of needed to rush is that I had a brief window
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in which to compare it with the BATIS, 18-millimeter, F-2.8. So I've done that at 18-millimeter
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I also still have on hand the Loudwa 15-millimeter F-2-0D lens. And so I'm going to compare
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14 millimeters to 15 millimeters there. And then I still have the Tamron, of course, 15 to 30
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And so we'll see how it compares on, you know, using the MC-11 on Sony-F-E. So let's jump
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Ben, let's look at some images. All right, why don't we start by taking a look at the comparison
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between the lens on its native Canon EF mount and then using the MC11 on the Sony A7R mark three Now in both of these instances I just going to give you a quick look at a comparison between a corrected and which is corrected being on the right and that with the profile
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applied to it. And then also, as you can see, I've dialed in just a little bit of extra exposure about
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somewhere close to two thirds of a stop of exposure just to get it up, you know, variable lighting
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and using the metering on the camera, produces a result that is a little less pleasing
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than what I would have liked. Okay, so now here's doing something similar
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on the A7R Mark 3, and using the MC11. And just note that I did have..
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I went out to shoot this comparison because I had a brief window while I still had the baddest lens
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and so I need to get this done. I discovered while out shooting that probably either the lens
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or the MC11 needed a firmware update because I was getting really inconsistent metering results
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It turns out it was the MC11 that needed the firmware update. And so metering results were solved, but as a part of that, I have had, I did get some inconsistent results
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And so I shot multiple series and I've had to kind of call through to get kind of the best of the bunch to share with you
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Okay, so let's take a look now with the 5D Mark 4 example on the left and the Sony A7R Mark 3 result on the right
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and so I have dialed in the same exposure value and then also the same color balance into both of them
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As you can see, they do still interpret color a little bit differently
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but anyway, let's just jump in and we're looking at resolution. So you can definitely tell the Sony result
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Everything looks larger, even though it's obviously the same focal length, the exact same setup
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and that's due to having higher resolution on the A7R Mark 3
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Now on both the native and the A7R Mark 3, you can see that at F2.814 millimeters in the center of the frame, our resolution is just wonderful
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And so as we move off towards the edge of the frame, what we're going to see is that on both systems, we got great results right out to the edge of the frame
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Framing is a hair different here, and we should make that up over on the left side of the frame, which we do
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you can see it goes a little bit wider on the left side of the frame on the Sony example
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But byproduct of this is that I have heard some say that using adapters, you don't get the same kind of resolution
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out towards the edge of the frame or that image quality falls apart
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I think you can see for yourself that in this case, that's not actually true
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And I think that that may have been true at an earlier point where adapters were maybe less evolved
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than what they are at the moment, but it seems to me that you're not really losing anything using the MC11 and then the on the A7R Mark 3
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I mean, the resolution still looks very, very good right out to the edge of the frame on both, you know, and here off close to the side
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You can see that there's just lots of punch on both of them. So the first one of our comparisons here that we're going to look at is a comparison to the Loudwa 15mm F2
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And so in this case, obviously, the Sigma is a little bit wider
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I'm comparing both at F2.8 here. You can see that the Laudwa, it vignettes very, very heavily
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So that gives you a little bit of perspective on the Sigma's degree of vignette
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What I'm going to do is compare a corrected version, and so we have something a little more exciting to look at
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So here we have both lenses side by side, Sigma on the left
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Laudwa on the right. And, you know, unfortunately, the information here that I can give you
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It's not going to be all that helpful. But you can see 14 to 24 millimeters
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It doesn't communicate quite right through the MC11 as to how it records
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And of course, the Loudwa has no contacts, and so it doesn't really share that information
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So looking at the center of the frame, first of all, you can notice that the Loudwa is definitely warmer
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and it's rendering than what the Sigma is. Both of these lenses are extremely sharp
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in the center of the frame and there's not a whole lot to distinguish them
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They both look really, really fantastic. If we move off to the edge of the frame, the sigma is a little bit sharper off at the edge of the frame
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and it also has a little bit better contrast, as you can see towards edge of the frame
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The loud way you can see, you know, at various places, it does have a little bit of chromatic aberration
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that the sigma doesn't have. And so, anyway, you can see the result there
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You can also see that the Sigma at 14 millimeters, it definitely is wider than what the Loudwa is at 15 millimeters
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Let look at the other side and you can see that that also true here And so I would say that the Sigma is fairly close to a true 14 millimeters You can also see a little bit more of that CA here on the Loudwa And so both of them extremely sharp in the center of the frame
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The sigma is a little bit sharper on the edges of the frame
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Now, if we compare an F5.6 version of both of these lenses
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we can see, of course, as before, the center of the frame looks really fabulous
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If we move off towards the edge of the frame, the Loudwa is sharper now than what it was
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and so we can see that now its sharpness goes right off to the edge of the frame
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Both of them look really, really fantastic. I do think that the Sigma is a winner when it comes to the microcontrast
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It has just a little bit more of a pop over there than what the Loudwood does
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But obviously at F5.6, both of these lenses are extremely sharp across the frame
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and so, but my point here, I guess, is that the Sigma, even compared to a prime lens here, on an adapted system, even with the adapter, you know, and the Loudwoods, a native mount, the Sigma is doing a really great job
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Now here's a quick look at the Tamron. On the left side, I've got an uncorrected result. On the right side, I've got a corrected result, kind of like what we've been looking at
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Now what we can see looking at these globally is that while the Loudwood was warmer than what the Sigma was
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the Tamron is a little bit cooler than what the Sigma was
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And obviously the lighting is not identical. There was some clouds rolling through, and so the lighting condition changed
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But once again, what we can see is 15mm F2.8, you know, then 14 millimeters F2.8
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that both of these lenses, again, are, you know, they're pretty much near perfect in the center
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frame. The big difference here is that if you move off to the edge of the frame is that the
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sigma continues to be very sharp at the edge of the frame, just like we saw in our comparison
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on the Canon EF, but the Tamron, of course, is much softer by comparison at the edge of the
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frame. Now if we compare at F5.6 these two lenses, we can see the once again, of course, as
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expected. They are fabulous in the center of the frame. Moving off to the side of the frame, the
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Tamron is improved, but nowhere near the levels of resolution and contrast of what the Sigma is
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And that is our fundamental difference is that at the edges of the frame, the sigma is the clear winner there
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So at 18 millimeters, here's a look at a, just a quick look at an uncorrected out-of-camera result compared to a, you know, mildly corrected result here on the right side
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We're going to compare that now at 18 millimeters first to the Zeis Battis
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18mm F2.8, which is a native mount lens. All right, so the first thing that we're going to see when looking at the Sigma result on the left
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to the baddest result on the right is that two things. First, the baddest trends a little bit cooler, as you can see
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The baddest also has, you know, a little bit richer color, you know, a kind of a Zeiss signature
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there that while I have no complaints about the color rendition of the sigma, but the baddest
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just globally has a little bit richer, more deeply saturated color rendition
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Now, once again, as you can see, lighting conditions weren't identical here
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and so you need to bear that in mind. Looking at the center of the frame, the baddest, you know, I consider it to be essentially
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you know, kind of perfectly sharp in the center of the frame at F2.8, but you can see that the sigma here is just as good
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I mean, there really is hardly anything to differentiate them. And if anything, the Sigma seems to have a hair more microcontrast there, or at least similar levels of micro contrast
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If we look up here towards the side of the frame, you can see that right out at the edge, the Sigma is a little bit stronger, a little better contrast and a little bit deeper black levels there compared to this
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And so as a result, on the right side of the frame, it looks a little bit better than the baddest lens
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And similarly, on the left side, you can see. there's just a little bit more of resolution
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that's there on the Sigma lens. And so that's an amazing accomplishment
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because the baddest is a more expensive native mount lens. And so the Sigma, despite using an adapter
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and of course being a zoom lens, it's providing just as good in the center
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and better at the edge. So if we compare these two lenses at F5.6
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of course in the center of the frame, we expect perfection, that's what we see
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Moving out to the edge of the frame, You know, now the baddest lens is definitely better, but I still think that the sigma has a little bit more punch there on the right side of the frame
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Looking over here on the left side of the frame, I still feel like that is true
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And if you look at the a degree of contrast and just rendering of the fine details here it looks better on the sigma than it does over here on the baddest lens and so you know another really strong
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sigma performance there so what happens if we throw the tamron on through the adapter as well and
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we compare these in the center of the frame in the center of the frame once again you know both
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lenses produce what i consider to be very near to perfect results here at f2.8 and
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Let's see how the tamron holds up on the center. And as you can see, it doesn't really hold up all that well
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compared to the near perfection of the sigma. The tamron actually looks better over here on the left side
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but what you can see is there's a little bit of lateral chromatic aberration that affects the tamron that the sigma does not deal with
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And so we see a better result for the sigma once again
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than for the tamron, though on the left side it's closer. Now, if we stop these lenses down to F5.6
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what you can see is in the center of the frame that they both look pretty similar
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I actually slightly favor the Tamron's center of the frame result. I just feel like there's a little bit better detail rendering there
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but it's very, very close. And then looking off the side of the frame
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we see that the Tamron on the right side is still not looking all that fantastic
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maybe a slight centering issue there on the Tamron on the right side
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because the left side looks pretty decent and much closer to the Sigma
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However, once again, the nature of lateral chromatic aberration is that it doesn't clear up when you stop the lens down
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so you can see a little bit of it that is still affecting image quality there. So finally, we're going to look at 20 millimeters
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That's as far as I'm going to take this particular comparison, and I only have F5.6 because I felt like the metering issues were just impacting the sigma results
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to a place where I'd have to tweak them too much to make it a fair comparison
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And so looking at these two in the center of the frame, once again, they are extremely close
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The Tamron is very strong here at this point, 20, 24 millimeters
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And so I think that, you know, it's just as good as the Sigma
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In the center of the frame, moving off to the side of the frame, while we see that the Sigma isn't quite as strong at 20 millimeters
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and the Tamron is a little bit better than what it was at 18 millimeters
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it's still pretty obvious that the Sigma on the right, side of the frame is the winner looking off at the left side of the frame. However, I think that
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the Tamron is a little bit stronger here at the left edge of the frame. But, you know, end result
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is that the Sigma is extremely sharp, even adapted to the 42 megapixel Sony A7R Mark 3. It gives
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a very consistent performance throughout the focal range. So I think you can agree with me that
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the Sigma 14 to 24 millimeter F2.8 art, it more than holds
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its own against any and all competitors that I've thrown at it so far
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It really is a fantastically sharp lens. And what I found on Sony, FE, and maybe because of the slightly higher resolution of the body
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I found that I saw a little bit more variance between the wide end of the focal range
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and then the 24 end of the focal range. And so starting at about 20 millimeters to 24 millimeters
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while image quality was still fantastic center of the frame, at the edges of the frame, I found it was just very much
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frame, I found it was just a little bit softer than what it was at 14 millimeters through 18 millimeters
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And so, anyway, I mean, still at the end of the day, the edge performance is really pretty close
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to as good as what I've seen. And so nothing to hang its head about, but it is just even on, you know, the 42 megapixels of
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the A7R Mark 3, particularly in that early part of the focal range, I think it's probably
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as sharp as any wide angle lens that I've used. and it also has the amazing ability to extend that sharpness right out to the edges of the frame
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Optically, this is a pretty stunning lens. And so in the final review, I'm going to come back to you and just talk to you a little bit more about native autofocus
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I'll do a comparison to the 12 to 24 millimeter F4 art lens and maybe set the market position as to what kind of shooter I think each lens is better suited for
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So stay tuned and I'll be back to you shortly. In the meantime, you can take a look in the description down below
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and I've got linkage there to the image gallery, which I have added some images on Sony FE there as well
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You can also take a look at the buying links that I've got there. If you like to get an order in for one of these yourself, I suspect from what I see that they will probably sell pretty well
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And so if you think this is a lens you would want getting an order in, even though that there may not be stock in at the moment, might be a good idea
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And of course, you can also follow me on social media, sign up for my newsletter, become a patron
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And if you haven't already, please click that subscribe button. Thanks for watching. Have a great day

Sigma 14-24mm f/2.8 ART on Sony FE: IQ Breakdown | 4K

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Sigma 14-24mm f/2.8 ART on Sony FE: IQ Breakdown | 4K

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