Sigma 24-70mm f/2.8 OS ART | Image Quality Examination | 4K

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Hi, I'm Dustin Abbott and I'm here to take a closer look at the new Sigma 24 to 70 millimeter F2.8, DGOS, HSM, and this is from their art series
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Now I can tell from my first look episode that a lot of you are really interested in this lens, which of course is completely what I anticipated
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Sigma's new art series lenses really come with a lot of expectation from people
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because of strong optical performance from them. It usually what comes down to as a very competitive price compared to alternatives
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Today we're going to jump in and we're going to take a closer look at the image quality, the resolution from the lens, but also some of those other metrics
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You know how its color rendering is, how its boca quality is
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We'll take a look even at some things like distortion, flare resistance
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all of the different metrics that are a part of lens performance on the optical level
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And so we're going to jump in and take a look together at some real-world images along with some controlled test here
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Okay, we'll start by taking a look just at sharpness. We're going to look at 24mm, 35 millimeter, 50 millimeter, and 70 millimeter
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And so here at F2.8, wide open, 24 millimeters, we see that our center sharpness is pretty good here
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Textures look fairly crisp and I don't really see a lot of like softness of haze
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Contrast is quite good. As we move out towards the edge of the frame, however, you can see at wide open apertures
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the image quality is degrading quite a bit, and we are much softer in the corners
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compared to the center of the frame here, and particularly here you can see
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And I would say kind of looking at this too, that you can also see some of the barrel distortion pattern there
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and also along the top curve here. But, you know, it's not absolutely
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terrible either look at this line here and it's it's still fairly straight
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one other thing that you can see as a part of this there might be a little bit
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of kind of field curvature or playing a focus and so that may account for
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some of these softness towards the edges if we stop down to F4 so I'll just kind of
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scroll back and forth there you can see that there is a bit of vignette that
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clears up and so look down here F2.8 and then at F4
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You could see that brightening up. In the center, you know, it's maybe a little bit crisper, but roughly the same
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The improvement is really starting to stretch out towards the edges of the frame
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And while it's still not, you know, razor sharp here on the edges
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it's a little bit of less of that, you know, softness, haze that is there
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Stopping on down to F5.6, you can see a, again, this is F4, F5.6
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There's a little bit more vignette lift there. And so now we see center of the frame looks really good
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And as we move out towards the edges, the edges, if not as sharp as the center
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they are reasonably close. And so here is probably approaching at least with a 5D mark four body
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We basically reach as good as we're going to get before the diffraction starts to become a factor
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But let's step on down to F8. I'm going to scroll back and forth, and you'll see there is just a minuscule amount of vignette that is still lifted there from F5.6 to F8
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So here at F8, in the center and across the frame, everything looks pretty good here, I would say
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And so somewhere at F5.6, F8, if you're wanting to shoot landscapes, this is probably your optimal apertures here for that
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here's F11 and at F11 I wouldn't say that you're getting necessarily any more sharpness and now a diffraction is maybe causing just a tiny tiny bit of softness haze back into the equation and so I would say F8 is your best bet now if we move to 35 millimeters F2.8 we're going to find once again that our center sharpness is still
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pretty good and looking out towards the edge. It seems like the edge, you know, is not as sharp
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but it's also, it's certainly not as soft as what F2.8 at 24 millimeters was. So if we look over here at
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the difference between this is 24 millimeters this is 35 millimeters you can see that there is a pretty market improvement in you know edge to edge sharpness at 35 millimeters compared to 24 Now look here like along the edges going from F2 to F4
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You can see that there is a little bit of a vignette lift, but here at 35 millimeters, the vignette is less pronounced anyway
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And so at F4, our edges are now looking quite good. The center looks excellent, of course
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I really like the look right here and out towards this edge also looks good
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Moving to F5.6, I do see, I'm going to toggle back and forth here
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an extremely minute difference in terms of vignette. So vignette at 35 millimeters is really not much of a factor at any aperture
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Certainly not enough to impact you at field use. F5.6, we're seeing a nice crisp result from corner to corner
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And we'll just go down to F8 here. And at F8, you know, it's, I think it's pretty much more the same
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I don't know that I'm seeing more sharpness, but certainly our sharpness is right out to the very edge of the frame
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And so a nice result there. Now, if we move to 50 millimeters here, we are going to take a look at our center once again
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Center is very consistently looking good. And out towards the edge of the frame, you know, the edge is not looking too bad here at 50 millimeters
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In fact, if I put them side by side here at 35 millimeters, which was an improvement over 24 millimeters
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I would say that 50 millimeters is an even further improvement in terms of edge sharpness at wide open at F2.8
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And so you can see there's just a little bit more detail in contrast at 50 millimeters than there was at 35 millimeters
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which of course was significantly better than it was at 24 millimeters
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At 50 millimeters from F2.8 to F4, you see a tiny bit of brightening and then F5.6, just a tiny bit more
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But once again, then yet, not a huge factor here at these focal links
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At F4 here in the center, this is, I think, the best sharpness and contrast that I've seen from the lens
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That's a great looking result there. And also right out towards the edges, you know, looking quite good here at F4
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let's stop down to F5.6 and you can see just a little bit more contrast and resolution that came into those corners
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However, the center remains pretty much equal. You see a little bit more improvement along the edge
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And then F8 doesn't look like it's really making much of a difference
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At 50 millimeters, I would say F4 to F5.6 is your top
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F8 is about the same. no real improvement. So use that more for depth of field than you would for trying to add more
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sharpness. Finally, at 70 millimeters, we can see looking into the center of the frame that our
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center frame once again looks quite good and moving out to the edge. I would say we're a little
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bit of a step back from 50 millimeters in terms of sharpness there, maybe a little bit closer to the 35
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millimeter result and but I would say still better than the 24 millimeter result. Let's take a look
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at vignette here. So if we move up to f4 you can see toggling back and forth. There's a pretty
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significant difference and so unsurprisingly the 24 and 70 millimeter positions are the ones most
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impacted by vignette. Moving up to f5.6 brightens things up a little bit but most of your improvement
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is between f2.8 and f4. Back at f4 here in terms of our
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sharpness. Center sharpness at F4 looks great, good contrast, and looking towards the edge of the
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frame. We still have a bit of a softness towards the edge of the frame. You can just see, you know
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details aren't quite as crisply rendered. There's a little bit of haze there. Stopping down to F5.6
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and at F5.6, you know, still, it still isn't great towards the edges of the frame. And so
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So in the center, things look fine. Finally, at F8 here. And at F8, our result is maybe a bit improved
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but it never gets as crisp as it does at 50 millimeters, at any aperture here at 70 millers
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A center sharpness is excellent, but, you know, a corner sharpness, not so great
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Now, I want to just take a look at more of a landscape type image here. And so this is at F2.8. And we'll just take
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quick look at the details I would say that you rendering plenty of detail there along frame And so right out to the very edge we see that that edge softness that we talked about a bit
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This is at 32 millimeters here. And so not, you know, somewhere in between the improvement at 35 millimeters
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and the weaker 24 millimeter performance out towards the edge. Stopping down to F4, you can see that, you know, VNET really wasn't a huge factor
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change a whole lot. Detail all throughout this area is nice and crisp and now that corner is a
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little bit better and this corner, you know, also looks fine. I would have no issues in using that
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At 5.6, a little tiny uptick in corner brightness and maybe a little uptick here in terms of our
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detail rendered, all of which is good. And now right out to the edge of that frame, that looks good
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on this side also looks good. And finally at F8, no real change in terms of vignette
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And in terms of our detail, we're looking at roughly the same, which, you know, frankly, this is quite good
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And so I would have no issues in using this for a, for landscape purposes
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You stop the lens down, and it does a great job. Now, even at what we perceive as the weakest, you know, in terms of edge performance, 24 millimeter
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but then at 70 millimeters we saw a little bit softer towards the edges. But in terms of what you're going to most likely use this for
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I would say that that is a beautiful amount of detail. But more importantly, I'm really impressed with the rendering from this lens
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Boka quality is really nice and soft here. And here's another shot
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And it shows you, you know, again, the same kind of nice detail
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But look at this, let's look at this crop here. This is 70 millimeters F2.8
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And, you know, fine detail is really actually nicely rendered there. And just the rendering as you go towards defocus, I'm quite impressed with
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This is, I'm not often blown away by boca quality from Sigma art lenses, but this one I really do like
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Now, some of you looking at this image in my gallery, a couple of you said I see some onion-type boca there
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And certainly here, there's a little bit of it. evident, but it's certainly not strongly pronounced, and I've shot a lot of images like this
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with a lot of different lenses, and this really is not, this is not worst case scenario at all to
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me. And in fact, the quality of the boca is really, to me, quite pleasing in terms of the
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highlights. Now, here's kind of stop down, just looking at detail and color rendition
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and again, you know, stop down, just in real-world use, that looks
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you know nice to me I have no I'm very happy to use that as like a traveled type lens
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although it's on the heavier side but you know great color rendition here is a you
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know shot this is around 70 millimeters and so here you can see some areas that
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that trend a little bit towards busyness but overall the rendering there is
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nice and soft and skin textures are certainly good enough and here got my
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self-portrait in her sunglasses But you can see in the plane of focus here that, you know, the detail looks quite good
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And look at the nice soft background and really good color rendition
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And here's my wife getting a self-portrait taking a picture of me
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Again, looking at the background, I find that all to be very pleasing in terms of the rendering
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How about some food? Looking at these tacos, you know, this is kind of just looking at this as a travel lens, you know, general purpose
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Again, it's a great looking image, and at this place, they had homemade ice cream sandwiches
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and as you can see, it looks pretty yummy here in all of the details there
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Here, once again, just kind of a more, just a defocus type look, and this is actually at F4
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but we can see that, you know, everything is rendered nicely here
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And in this image, you know, where there is certainly potential for chromatic aberrations
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I'm not seeing a lot of them, and so C, A.4. is really handled quite well here, you know, just a tiny bit of fringing along these edges
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but not enough to really negatively impact an image. Once again, Boca rendering even at this kind of, you know, not medium distance
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but also not at, you know, near macro type focus distances. So there's nice detail there, but all of this in here that could trend towards, you know
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really busy is it handled quite nicely And as you get a little bit closer here I can see that the the boca performance here is is really quite lovely this is actually APSC here I using it on an
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adapter on a Sony a 6500 body and so as you can see a really nice result here's a look at the sunburst
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which is fine from the image but you will also note that it does have a tendency to produce some
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ghosting and you know a little bit of veiling here the veiling isn't bad but there definitely is a
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ghosting pattern if you get the sun in the frame here's another example here and so you know up in
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this this particular corner it's you know that's so okay there's a little bit of prismatic haze
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but i'm more concerned you know kind of down in this area where you're getting some kind of ghosting
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blobs and so i'm never really a fan of that and trying to clean that up in post back to some
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positives here though. I'm really impressed by the color rendition out of this lens and the basic
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rendering from it. I think that this is an unusually good sigma lens in terms of color rendition
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And this is a straight out of camera image. And I think I raised some of the white levels a little
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bit. And this is a blue hour shot. But I mean, I just really love that color rendition
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And then here, just kind of a family type shot. But you can see, you know
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Nice detail where you want, nice detail, and then a nice transition to defocus
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And the color rendition is what it should be in this kind of shot
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So as you can see, this is a somewhat atypical Sigma Art Series lenses
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many of which have been known for having it very close to
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if not class leading, resolution performance. And sometimes I find that that comes at a cost in some other areas
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You know, maybe they're a little bit clinical in the rendering. with boca quality that is okay but not exceptional
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or sometimes I find the colors to be a little bit flatter
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maybe than what I would like, you know, things like that, not as much contrast as what I would like
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But this is kind of the opposite of all of those things. I find actually that the color rendering is exceptional
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and better I think than any of the 2470 options that I've used previously
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I really like the contrast out of the box, and I find that the boca quality is
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really quite pleasing for a lens like this, a zoom lens like this. I think that it does a great job
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in these various metrics of rendering. It is a little bit flare prone, as you can see, but that's not
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necessarily a typical there either. But of course, where it isn't necessarily exceptional
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it is good, but not exceptional, and that is actually in the resolution. And it is quite strong at
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the 35 and 50 millimeter points, but at 24 millimeters and at 70 millimeters
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it's fine in the middle, but you know a little softer towards the edges of the frame
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and really not exceptional at any aperture on the edges of the frame
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And so it's a different kind of approach and I'll have to tell you that for me personally
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I'm more drawn to this lens than I am of some of the supremely sharp Sigma art options
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And because I find that the overall package, the actual images themselves
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and that's what matters to me, the images themselves look good, Whether I process them or not, they come out of the camera looking really good
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And the thing is that the lens is sharp enough. And I think for most applications, there's plenty of sharpness for most users
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And so I personally applaud the approach that Sigma has taken with this lens myself
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Now, stay posted because in my final review, my final verdict, I'm going to be delving into that a little bit more deeply
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I'll also take a look at a few of the other things, you know, the optical stabilizer
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their auto focus performance and maybe in the fall when I've got more time, I may try to throw
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together and once the Tamron 24 to 70 G2 is actually released in a Canon mount, it's out in
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Nikon but it's delayed in a Canon mount. Once that's actually out, I may try to put together
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more of a head-to-head and maybe get a Canon 24 to 70F 2.8L Mark 2 in there just for another
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variable and throw it all into the mix at that point. In the meantime, you can look down to
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description down below and you can find linkage to my image gallery that I've
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been contributing to along the way you can also of course become one of my
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patrons or follow me on social media and thanks to those of you that have
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become supporters and of course you haven't already please click that subscribe button thanks for watching have a great day

Sigma 24-70mm f/2.8 OS ART | Image Quality Examination | 4K

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Sigma 24-70mm f/2.8 OS ART | Image Quality Examination | 4K

Dustin Abbott