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Sigma 16-28mm F2.8 DG DN Review

Dustin Abbott

June 3rd, 2022

I was somewhat surprised when Sigma released the Sigma 28-70mm F2.8 DG DN (my review here).  It had only been 13 months since they had released the Sigma 24-70mm F2.8 DN, a lens I felt was a strong alternative in both performance and price ($1099 USD) to the much more expensive Sony G Master version ($2198 USD).  I had given the 24-70mm a positive review, and wondered if there was room for two similar lenses in Sigma’s lineup for Sony.  Over time, however, I have begun to realize a couple of things about Sigma’s strategy on mirrorless.  The first is that while I tend to focus on the Sony side of things, Sigma is also actively developing for the Leica L mount, which their own Sigma branded cameras now use.  Some of those L-mount bodies are more compact, whereas a lot of the Sigma ART and Sport branded lenses have actually been some of the largest and heaviest in their class.  Sigma’s strategy (which makes sense!) has been to develop two separate lines on mirrorless.  They have, for example, three DN 35mm lenses already (F1.2, F1.4, and F2).  All DN lenses – new,  purpose designed lenses for mirrorless cameras and their unique focus systems.  The large aperture lenses are designed for those who want ultimate image quality (and don’t mind paying for it and carrying it!), while the smaller aperture lenses (called the “i-Series”) are designed for those who want good image quality but aren’t willing to carry around a massive, heavy lens to achieve it.  Sigma has started to bifurcate their zoom lineup in the same way, with the 28-70mm DN being the first of those designs.  Enter the new Sigma 16-28mm F2.8 DG DN, a wide angle companion to the “normal” zoom range of the 28-70mm.  The 16-28DN (as we’ll call it for brevity) follows a lot of the same principles of the 28-70mm (compact and lightweight) while also allowing you to go quite wide (16mm):

…and frame in a little tighter on the 28mm side:

This lens is a little less surprising, obviously, as it is an obvious compliment in focal length to an existing lens.  Like the 28-70mm DN, however, the new 16-28DN comes up against an established competitor in the Sony space (where I’m reviewing it) in the form of the Tamron 17-28mm F2.8 RXD (my review here).  The Sigma has an obvious advantage in focal length, going considerably wider (here’s what 16mm vs 17mm looks like):

Interestingly, it also zooms in to a bit tighter a framing despite both lenses supposedly ending at 28mm:

That’s a serious advantage, though the Tamron also has a few compelling factors in its favor, including lower distortion and vignette, and, due to market forces, a cheaper price.  There are some of you who just prefer Sigma, period, and I’m always in favor of more competition on the market.  It is the proliferation of lenses like this that make Sony such a compelling platform right now.  There are so many quality choices at a variety of price points…and I love it!

The big question is whether or not this particular lens is worthy of your consideration.  Sigma’s 14-24mm F2.8 DN lens is an excellent lens (my review here), but it is also 43% larger by volume, 76% heavier, and hundreds of dollars more expensive.  Is the superior performance of that lens worth the extra size, weight, and expense…or would you rather travel light?  Sigma is clearly betting that there are those of you who will check the latter box, and, if so, the Sigma 16-28mm F2.8 DN might just be the lens for you.  So join me as we explore the highs and lows of this compact standard zoom for Sony or Leica.  If you prefer to watch reviews, you can watch my video review below…or just keep reading.

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I want to thank Sigma Canada (and Gentec) for the loaner of this lens. As always, this is a completely independent review.  The opinions here are completely my own.  *The tests and most of the photos that I share as a part of my review cycle have been done with three cameras – the Sony Alpha 1, Sony a7IV, and Sony a6400.

Sigma 16-28DN Build, Design and Handling

Whereas the 28-70mm DN offered a slightly reduced focal length relative to its main competitor (the Tamron 28-75mm), Sigma flips the script here and offers up a slightly larger zoom range instead (a solid move, in my opinion).  That does translate into slightly more size and weight relative to the Tamron 17-28mm RXD, the two lenses are close enough in size that I don’t think that will be a factor for many people.   Here’s a look at how the 16-28DN compares to some competing options (I’ve manually added the information for the 16-28mm since it isn’t available to retailers yet).

Here’s a visual comparison to the Tamron (as I happen to own that lens):

The new Sigma 16-28DN is 77.2mm in diameter and right over 100mm long.  You can see from the photo above that the Sigma is marginally wider and longer, but the basic footprint of the two lenses is roughly the same.    There’s only one exception to this, and that is in the nature of the lens hoods (both lenses include a lens hood).  The Sigma lens hood flares out a fair bit and thus doesn’t store as compactly. 

The Sigma is slightly heavier at 450g (vs 420g), though that is significantly lighter than the Sony 16-35mm GM (680g) or the Sigma 14-24mm ART (795g).

Up front we have a 72mm filter thread, which is fairly common but not as ubiquitous as either the 67mm or 77mm standards.  The ability to use traditional screw-in filters is always welcome in a wide angle lens.

Like the 28-70mm DN (and i-Series primes), Sigma has chosen to position the 16-28DN under the Global Vision division of “Contemporary”.  Typically the lenses branded Contemporary carry Sigma’s lowest level of build, with Sport lenses given the most robust while Art lenses land in the middle.  The build here is actually pretty decent, though, and is competitive with the Tamron’s build save the fact that the Sigma has only a gasket at the lens mount while the Tamron has some internal weather sealing points as well.  The Sigma feels ever-so-slightly nicer in the hand, however, due to slightly more upscale materials on the barrel, and (always welcome!) includes an AF/MF switch (something the Tamron 17-28mm lacks).  That may or may not be a big deal to you, but I still find it the fastest and most logical way to switch in between these two methods of focus.

The more upscale Sigma 14-24mm DN has a more thorough weather sealing and also includes a focus hold button – both of which this lens lacks.

This is an internally zooming lens, so it doesn’t change shape at all during zooming or focusing – the length is constant.  This helps with the weather sealing and also means that a zoom lock is unnecessary.  

The zoom ring is closest to the lens mount and moves with that smoothness you only see in internally zooming lenses.  Sigma persists in the zoom action being from left go right rather than from right to left like Sony (and Tamron, and Samyang) lenses on the Sony platform.  Unfortunate, really, as you may find yourself instinctively zooming the wrong direction if you’re accustomed to lenses from any of the other brands on Sony.

The manual focus ring is closest to the front of the lens and also moves nicely.  The focus ring is a “by-wire” system, meaning that input on the focus ring is electronically communicated rather than through a direct mechanical coupling.  This means that input on the focus ring will not create any physical changes unless the lens is attached to a camera and powered on.  The focus ring has a fairly nice feel to it, and Sigma has done a good job emulating traditional manual focus.  

The aperture iris has 9 rounded aperture blades, and this helps keep the aperture shape fairly circular when stopped down, though there are only so many opportunities to see circular bokeh highlights on a wide angle lens once stopped down.

The geometry of the bokeh looks quite good across the frame at 28mm, F2.8, however:

This is helped by having a fairly close minimum focus distance (25cm) and a resulting maximum magnification of 0.178x.  

That’s just very slightly behind the magnification of the GM and Tamron 17-28mm lenses (0.19x) and betters the 0.14x of the Sigma 14-24mm.

Unlike the 28-70mm DN, however, we don’t get a higher magnification on the wider end.  This lens behaves more traditionally where the MFD at both ends of the zoom range are the same.  Up close performance at 28mm looked very good to my eye, however.

Like the 28-70 DN, I would have liked a more thorough weather sealing on the lens, but overall I quite like the build and handling of the 16-28DN.  I think it strikes a nice balance between size, weight, and build quality.  It is marginally bigger than the Tamron that it will compete with, but also gives a bigger zoom range, which I suspect many will find a reasonable tradeoff.  

Sigma 16-28mm F2.8 DN Autofocus Performance

The Sigma 16-28DN utilizes a stepping focus motor (STM) that makes fast, quiet focus changes.  Video focus pulls are fast, accurate, and smooth, and there is little to no hunting or settling.  I saw minimal focus breathing during my tests, too.

A lens with a maximum aperture of F2.8 is fairly good in low light, though obviously not as good as lenses with even larger maximum apertures.  In many cases, cameras will focus with the lens aperture wide open and then close it down to the preset aperture choice at the moment of capture.  A lens with a smaller maximum aperture is going to be at a disadvantage in low light conditions because the physical aperture is smaller than alternative lenses, meaning that less light can reach the sensor.  F2.8 is what I would call a “medium” maximum aperture, but it is wide enough that one should be able to shoot weddings or events with the lens and get solid results.

Under normal lighting conditions I had no problems.  I was able to nail focus indoors without any problems at all.

Eye AF works well, with good detection of the eye and “stickiness” in tracking it.

In my video test where I track my face, I found the lens did a good job of quickly and smoothly returning to focus on the eyes when I moved my hand out of the way.

I also had no problems nailing focus on this shallow subject (lock) on the chain link fence.

Though it is hard to see at this magnification level, the focus on the golfer in this wide shot is accurate:

In general I feel like Sigma had really hit their stride in the focus accuracy and quality on their Sony DN lenses.  While their telephotos are not quite as fast as the native Sony lenses (that typically employ multiple focus motors), their general purpose lenses are pretty much as good as native Sony competitors.  Autofocus here was fast, quiet, and accurate whether shooting stills or video.  Focus was solid in all the situations I shot with the lens…and that’s all you can ask for.

Sigma 16-28DN Image Quality

The optical formula is made up of 16 elements in 11 groups, which is slightly more complex than the Tamron (13 elements in 11 groups).  That’s to be expected, however, since the Sigma lens does go wider.  It is capable of delivering crisp result even on my high resolution cameras.

Longitudinal chromatic aberrations (LoCA) seem well controlled and I see little to no fringing on the white edges of the letters or transition zone on the mirror behind.

If we look up into the bare branches on this golf course image, we find little evidence of lateral chromatic aberrations near the edge of the frame, too.

That’s a solid start, though things go downhill a bit after this.  I’ve complained about some previous Sigma lenses and the complexity of the distortion that I found hard to manually fix, so Sigma made sure to send a correction profile along with the 16-28DN for me.

It’s a good thing, as it was needed.  I found a strong amount of barrel distortion that unfortunately is a bit complex and difficult to smoothly correct manually.  There’s some mustache pattern left over. 

I dialed in a +21 to correct the barrel distortion and needed to max out the sliders (+100) to correct for the vignette, which is very strong at 16mm.

That vignette will be very obvious at F2.8 if you don’t correct for it:

The profile does a better job of correction the complexities of the distortion and deals with the vignette fairly well.  It is worth noting that aberrations that heavy can cause a bit of damage to image quality in the correction process, though (particularly near the edges).  There’s no free ride, so to speak.

The distortion flips to a more mild pincushion distortion (-4) near the middle of the range and the vignette, while still heavy (+64), is milder than what we saw at 16mm.  The pincushion distortion worsens at 28mm (-10 to correct) but the vignette gets a bit lighter (+50).  That correction profile is going to be necessary with this lens, though JPEGs and video will get corrected in camera.  Tamron took the safer route by producing a lens with a smaller zoom range (and which didn’t go as wide) and the byproduct is that it has less vignette and distortion.  Sigma gambled on photographers preferring the wider angle of view even if it comes with a bit more optical challenges.

So how about sharpness and contrast?  All chart tests done with a Sony Alpha 1 (50 MP) using a tripod and a two second timer.

Here’s a look at my test chart:

A close look at the 16mm, F2.8 results (this is 200% magnification) shows exceptionally good results in the center of the frame and very good results in the midframe and corner:

There’s some minor give and take in comparison to the Tamron (at 17mm), but the two lenses are largely similar on the wide end (which is to say very good!).

Stopping down to smaller apertures (like F5.6) provides only minimal improvement in the center of the frame (already near perfect) but the mid-frame and corners improve to excellent levels.

Take that in the real world and you can get nicely detailed results all across the frame:

Minimum aperture throughout the zoom range is F22, though I typically avoid anything smaller than F11 because of the effects of diffraction that rob the images of contrast and resolution at those very small apertures.

This is a constant aperture zoom, so the maximum aperture of F2.8 applies equally to all focal lengths.  16mm proved the sharpest focal length on my test copy, with a mild regression at 18-20mm most obviously seen in the mid-frame and corners.  You’ll want to stop down to F5.6 or so if you want sharp corners, as there is an obvious improvement when stopped down (here at 20mm):

At 24mm I found a more even performance, though I felt the corners were relatively stronger than the center performance here.  Stopping down sharpens them up to excellent levels.

28mm is similar, with good results wide open and better results available when stopped down.

I thought that my real world 28mm landscape results looked nice.

Here’s another that I like, though I wasn’t quite as wowed by real world results as what I saw on the 14-24DN.  

A lens like this is rarely going to be a “go-to” lens for bokeh, and this lens is no exception.  I didn’t really see any images where I loved the bokeh quality.  Images like this show fairly busy backgrounds.

Likewise this monochrome along the fence never really shows the “creaminess” that I associate with quality bokeh.

To be fair, however, I buy a lens like this more for having everything IN focus rather than out of focus!

Flare resistance was mostly good, but also somewhat mixed.  You can see from these images that having the sun right at the edge of the frame does end up with some reduced contrast, and, if stopped down (like the second image), so very long sun rays.

This second batch of images is mostly better, which shows that being careful in your composition can make a big difference in the flare performance with this lens (and many others).

I’m often very pleased with the colors from Sigma wide angle lenses, and that’s true here as well.  Color seems both rich and accurate.

It won’t be hard to get images you can be proud of out of this lens, though you’ll want to correct that vignette and distortion.  You can see more images by checking out the lens image gallery here.

Conclusion

It’s a little hard for me to predict the market reaction for the new Sigma 16-28mm F2.8 DG DN. It is an obvious compliment to the 28-70mm F2.8 DN, giving potential owners a smaller, lighter, cheaper kit than the 14-24mm and 24-70mm F2.8 ART DN lenses.  But like with the 28-70mm (vs the Tamron 28-75mm F2.8), Tamron has had a chance to really beat Sigma to the market with their 17-28mm F2.8 RXD lens – a lens that was introduced nearly three years and was well-received both critically and commercially.  Will the slightly wider focal length of the Sigma attract future buyers on Sony over the Tamron…despite the Sigma being more expensive?

As always, though, it is important to remember that Sigma is also developing for the Leica L-mount.  The market is less crowded there and also competing lenses are often more expensive than some of Sigma’s competition on the Sony platform.  The 16-28DN may excel there.

Outside of the high distortion and vignette, this is a solid lens.  Nice build, relatively compact, great focal range, great autofocus, and a solid optical performance.  There’s no question you can make beautiful images with it, and it is light enough to come along easily.  You can use traditional screw on filters (not the case for the 14-24mm F2.8 DN), so that also makes it a more accessible lens.  I think the 14-24mm F2.8 DN is the more exceptional lens optically, but it is also bigger, heavier, and more expensive.  If you are a Sigma fan and want to travel lighter with your wide angle kit, then the new Sigma 16-28mm F2.8 DN may just be the lens for you.

Pros:

  • Compact, lightweight lens with nice construction
  • Includes some weather sealing at mount and is internally zooming
  • Broader zoom range than competing Tamron lens
  • Fast, quiet autofocus
  • Smooth and quiet video AF work
  • Good up close performance
  • Excellent flare resistance
  • CA is well controlled
  • Excellent sharpness and contrast across the frame even wide open
  • Weight under 500g

Cons:

  • Strong vignette (particularly at 16mm)
  • Fairly complex barrel distortion on the wide end
  • Strong pincushion distortion at 28mm
  • Sigma persists in the zoom direction being opposite to other lenses on Sony

 

Gear Used:

Purchase the Sigma 16-28mm F2.8 DN @ B&H Photo | Amazon | Camera Canada  | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Sigma 28-70mm F2.8 DN @ B&H Photo | Amazon | Camera Canada  | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

Buy DA Merchandise https://bit.ly/TWIMerch

Purchase a Sony a7C @ B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

Purchase a Sony a9M2 @ B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

Sony a9 Camera:  B&H Photo | Amazon | Camera Canada  | Amazon Canada | Amazon UK | Amazon Germany | Ebay 
Sony a7RIV Camera: B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 
Sony a7R III Camera: B&H Photo | Amazon | Camera Canada | Amazon.ca | Amazon UK  | Ebay
Peak Design Slide Lite:  Peak Design StoreB&H Photo | Amazon | Amazon Canada | Amazon UK
Sony a6500: B&H Photo | Amazon | Amazon.ca | Amazon UK | Ebay
Peak Design Leash Strap:  Peak Design StoreB&H Photo | Amazon | Amazon Canada  | Amazon UK
BenQ SW271 4K Photo Editing Monitor – B&H Photo  | Amazon | Amazon.ca | Amazon UK
Adobe Photoshop Creative Cloud 1-Year Subscription
Exposure Software X6 (Use Code “dustinabbott” to get 10% anything and everything)
Visit Dustin’s Amazon Storefront and see his favorite gear

Purchasing your gear through B&H and these links helps fund this website and keeps the articles coming. You can also make a donation here if you would like.  Visit my Amazon page for some of my gear of choice! Thank you for your support.

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Great News! I can now offer a 5% discount on all purchases at Amplis Foto, Canada’s Leading Photographic Supplier. Please enter discount code: AMPLIS52018DA in your cart. It is good for everything in your cart, and is stackable with other coupons, too! It will take 5% off your entire order! Proceeds go towards keeping this site going and providing you with new reviews!

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Keywords: Sigma 16-28 DN, Sigma 16-28 F2.8, Sigma 16-28mm F2.8 DG DN, 16-28 DN Review, Review, Sigma 28-70 DN, DN, DG, 16-28mm, F2.8, Review, Tamron 17-28mm F2.8, Tamron 17-28, Review, Sony Alpha 1, Sony a7IV, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, Sony a9, sony a7III, sony a7RIII, a7R3, Leica L

DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.

Sigma 16-28mm F2.8 DN Image Gallery

Dustin Abbott

June 3rd, 2022

I was somewhat surprised when Sigma released the Sigma 28-70mm F2.8 DG DN (my review here).  It had only been 13 months since they had released the Sigma 24-70mm F2.8 DN, a lens I felt was a strong alternative in both performance and price ($1099 USD) to the much more expensive Sony G Master version ($2198 USD).  I had given the 24-70mm a positive review, and wondered if there was room for two similar lenses in Sigma’s lineup for Sony.  Over time, however, I have begun to realize a couple of things about Sigma’s strategy on mirrorless.  The first is that while I tend to focus on the Sony side of things, Sigma is also actively developing for the Leica L mount, which their own Sigma branded cameras now use.  Some of those L-mount bodies are more compact, whereas a lot of the Sigma ART and Sport branded lenses have actually been some of the largest and heaviest in their class.  Sigma’s strategy (which makes sense!) has been to develop two separate lines on mirrorless.  They have, for example, three DN 35mm lenses already (F1.2, F1.4, and F2).  All DN lenses – new,  purpose designed lenses for mirrorless cameras and their unique focus systems.  The large aperture lenses are designed for those who want ultimate image quality (and don’t mind paying for it and carrying it!), while the smaller aperture lenses (called the “i-Series”) are designed for those who want good image quality but aren’t willing to carry around a massive, heavy lens to achieve it.  Sigma has started to bifurcate their zoom lineup in the same way, with the 28-70mm DN being the first of those designs.  Enter the new Sigma 16-28mm F2.8 DG DN, a wide angle companion to the “normal” zoom range of the 28-70mm.  The 16-28mm DN follows a lot of the same principles of the 28-70mm (compact and lightweight) while also allowing you to go quite wide (16mm):

…and frame in a little tighter on the 28mm side:

This lens is a little less surprising, obviously, as it is an obvious compliment in focal length to an existing lens.  Like the 28-70mm DN, however, the new 16-28DN comes up against an established competitor in the Sony space (where I’m reviewing it) in the form of the Tamron 17-28mm F2.8 RXD (my review here).  The Sigma has an obvious advantage in focal length, going considerably wider (here’s what 16mm vs 17mm looks like):

Interestingly, it also zooms in to a bit tighter a framing despite both lenses supposedly ending at 28mm:

That’s a serious advantage, though the Tamron also has a few compelling factors in its favor, including lower distortion and vignette, and, due to market forces, a cheaper price.  There are some of you who just prefer Sigma, period, and I’m always in favor of more competition on the market.  It is the proliferation of lenses like this that make Sony such a compelling platform right now.  There are so many quality choices at a variety of price points…and I love it!

The big question is whether or not this particular lens is worthy of your consideration.  Sigma’s 14-24mm F2.8 DN lens is an excellent lens (my review here), but it is also 43% larger by volume, 76% heavier, and hundreds of dollars more expensive.  Is the superior performance of that lens worth the extra size, weight, and expense…or would you rather travel light?  Sigma is clearly betting that there are those of you who will check the latter box, and, if so, the Sigma 16-28mm F2.8 DN might just be the lens for you.  If you want more information, you can watch my video review or read my text review…or just enjoy the photos below.

 

Follow Me @ YouTube | Patreon |  Instagram | Facebook | DA Merchandise | Flickr | 500px

I want to thank Sigma Canada (and Gentec) for the loaner of this lens. As always, this is a completely independent review.  The opinions here are completely my own.  *The tests and most of the photos that I share as a part of my review cycle have been done with three cameras – the Sony Alpha 1, Sony a7IV, and Sony a6400.

Sigma 16-28DN Build, Design and Handling

Photos Taken with the Sigma 16-28mm DN

Gear Used:

Purchase the Sigma 16-28mm F2.8 DN @ B&H Photo | Amazon | Camera Canada  | Amazon Canada | Amazon UK | Amazon Germany 

Purchase the Sigma 28-70mm F2.8 DN @ B&H Photo | Amazon | Camera Canada  | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

Buy DA Merchandise https://bit.ly/TWIMerch

Purchase a Sony a7C @ B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

Purchase a Sony a9M2 @ B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

Sony a9 Camera:  B&H Photo | Amazon | Camera Canada  | Amazon Canada | Amazon UK | Amazon Germany | Ebay 
Sony a7RIV Camera: B&H Photo | Amazon | Camera Canada | Amazon Canada | Amazon UK | Amazon Germany | Ebay 
Sony a7R III Camera: B&H Photo | Amazon | Camera Canada | Amazon.ca | Amazon UK  | Ebay
Peak Design Slide Lite:  Peak Design StoreB&H Photo | Amazon | Amazon Canada | Amazon UK
Sony a6500: B&H Photo | Amazon | Amazon.ca | Amazon UK | Ebay
Peak Design Leash Strap:  Peak Design StoreB&H Photo | Amazon | Amazon Canada  | Amazon UK
BenQ SW271 4K Photo Editing Monitor – B&H Photo  | Amazon | Amazon.ca | Amazon UK
Adobe Photoshop Creative Cloud 1-Year Subscription
Exposure Software X6 (Use Code “dustinabbott” to get 10% anything and everything)
Visit Dustin’s Amazon Storefront and see his favorite gear

Purchasing your gear through B&H and these links helps fund this website and keeps the articles coming. You can also make a donation here if you would like.  Visit my Amazon page for some of my gear of choice! Thank you for your support.

B&H Logo

Great News! I can now offer a 5% discount on all purchases at Amplis Foto, Canada’s Leading Photographic Supplier. Please enter discount code: AMPLIS52018DA in your cart. It is good for everything in your cart, and is stackable with other coupons, too! It will take 5% off your entire order! Proceeds go towards keeping this site going and providing you with new reviews!

Check me out on:  My Patreon  | Sign Up for My Newsletter |  Instagram | Facebook | Twitter | Flickr | 500px |  Google+ |



 


 


Use Code “DUSTINHDR” to get $10 off ($15 CDN) any Skylum product:  Luminar, Aurora, or AirMagic


 

Keywords: Sigma 16-28 DN, Sigma 16-28 F2.8, Sigma 16-28mm F2.8 DG DN, 16-28 DN Review, Review, Sigma 28-70 DN, DN, DG, 16-28mm, F2.8, Review, Tamron 17-28mm F2.8, Tamron 17-28, Review, Sony Alpha 1, Sony a7IV, Review, Hands On, Dustin Abbott, Real World, Comparison, Sharpness, Bokeh, Flare Resistance, Autofocus, Image Quality, Sample Images, Video, Photography, Sony a9, sony a7III, sony a7RIII, a7R3, Leica L

DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.

Tamron 17-28mm F2.8 RXD (A046) Review

Dustin Abbott

August 23rd, 2019

Tamron released their new 28-78mm F2.8 RXD lens for Sony full frame mirrorless (FE) last year to great fanfare, as it provided a legitimate alternative to the very large and very expensive Sony 24-70mm F2.8 G Master lens.  The 28-75 RXD went on to be the best selling lens of the year (period!) in its first year of release, which is a pretty stunning endorsement of its blend of solid build, good autofocus, and great optical performance.  This year Tamron has introduced a second lens in a presumed trilogy of fast zoom lenses for Sony.  They’ve tackled the wide end of things with the Tamron 17-28mm F2.8 RXD (A046).  Like the 28-75mm, they’ve chosen a slightly less conventional zoom range.  In this case, it is a little narrower than, say, the Sony 16-35mm F2.8 GM lens.  Tamron undoubtedly made this choice to allow them to create a smaller, lighter lens with excellent performance across its limited zoom range.  While I have seen a few comments from some viewers in my audience complaining about the somewhat restrictive zoom range (it is only a 1.6x zoom ratio), many more are delighted by the balanced approach that covers portability, performance, and price.  Has Tamron found another winning formula with the A046 (Tamron’s code for the lens)?  Read on to find out!

Prefer to watch your reviews?  You can see my full video review here:

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As noted, this is a not a big zoom range, but it is enough to give one some flexibility in framing a landscape scene.  Here’s a look at 17mm:

And the same scene at 28mm:

No one will confuse that kind of zoom range with a superzoom, but since many of us are used to shooting landscapes with primes, that’s enough zoom range to really impact the way you can frame a scene.  I’m not terribly put out by the short 28mm “telephoto” end (and comparisons with the 28-75mm show that there is probably a milliliter or two of overlap, with the A046 giving a wider framing at 28mm than the 28-75 [A036]).  I wouldn’t have minded a little wider angle of view on the wide end, however, though that would have necessitated a larger lens and changed the dynamic of the nicely compact 67mm filter thread up front (which is shared with the 28-75).  Ultimately you will have to decide whether the zoom range suits your purposes, but if it does, you will probably find little else to complain about.

A046 Build, Design, and Handling

The best way to get the full picture of the build, handling, and feature set is by watching this video episode:

It is a breath of fresh air to handle lenses that consider the reality that photographers have to actually carry, handle, and transport lenses.  It seems like the size of lenses has been ever-growing, and while I appreciate the optical performance of many such lenses, I also know the reality of when I’m packing my personal photography bag for a trip and that I tend to choose lenses that are reasonably sized. That’s definitely the case here, as while the A046 has a identical diameter to the 28-75 (2.87″/73mm), it is considerably shorter at 3.9″ (99mm).  That’s nearly 20mm shorter than the 28-75 (117.8mm), and also considerably shorter than the Sony 16-35mm F2.8 GM lens (121.6mm).  The lens is also lightweight for an F2.8 zoom lens at only 14.82oz (420g).  The Sony G-Master lens weighs in at 680g and the Sony 16-35mm F4 weighs 518g.  Now, to be fair, both those lenses have a larger zoom range, though the latter has a smaller maximum aperture.  

The Tamron actually employs mostly lightweight metals and engineered plastics in the barrel, and includes premium features like weather sealing (with not only a rear gasket but internal seals at 7 different spots according to this diagram from Tamron) along with an expensive fluorine coating on the front element.

The only real physical limitation, in my opinion, is a lack of any kind of switch on the barrel for AF/MF. I enjoy a physical button like this on Sony FE mount lenses because it saves going into the menu and allows you to make this change on the fly. The upside of the lack of any switches is that the 28-75 RXD has a very clean and modern physical appearance. The barrel has a satin black finish interrupted only by the focus and zoom rings and the accent ring near the lens mount which Tamron euphemistically calls “Luminous Gold”.  It has a very common 67mm front filter size. This feels like a lens purpose-designed for Sony FE, and is a much more natural fit than what many of the Sigma FE lenses will be, as they were first designed for DSLRs (where they were already on the large side, anyway).

The lens zooms internally (the length does not change either when zooming or focusing), though you will see some minor movement of an inner barrel during zooming if you look from the front.  At some positions this appears to open up a space into the interior of the lens, but I don’t believe this is actually true as Tamron’s diagram of the weather sealing shows multiple seals at these transition points.

The zoom action is smooth and nicely damped (fairly common with internally zooming lenses).  I’ve seen a few reports of the zoom ring being a bit stiff, but that wasn’t the case with my review copy.  The zoom ring is fairly wide, tightly ribbed, and has a rubberized texture that is easy to grip. 

The manual focus ring is narrower and has a different texture pattern to help to distinguish it from the zoom ring by touch.  Like all mirrorless autofocusing lenses, the manual focus action is a “focus by wire” system where input on the manual focus ring is routed through the focus motor to actually produce focus changes. There is no mechanical coupling to the elements. I’ve actually been fairly happy with the implementation of “focus by wire” on many Sony lenses (including this one), as the damping is fairly good and input lag (a lag between your input on the focus ring and the actual focus action) doesn’t seem to be an issue. I find it easy to refine focus, and, if you are in MF or DMF focus modes, the camera will detect when focus input is made and will automatically magnify the image on the LCD or in the viewfinder to help you visually confirm correct focus.  This is accompanied by an on-screen distance scale.  If you aren’t in MF or DMF modes, input on the focus ring will do nothing. 

The A046 is a fully native lens on Sony, and as such receives firmware updates via the camera like a Sony branded lens.  JPEG files receive correction for vignette, distortion, and chromatic aberrations.  At the time of this review no RAW profile was yet available in Adobe Lightroom/ACR, but that should soon be rectified.

Like the 28-75, the A046 has two different minimum focus distances for each end of the focal range, with the higher magnification figure once again available at the wider end.  At 17mm one can focus down to 7.5″ (0.19m) and get a maximum magnification figure of over 0.19x (1:5.2):

At 28mm the minimum focus distances becomes 10.2″ (0.26m) and the maximum magnification figure is 0.166x (1:6).

The close up performance is excellent, though a bit better on the wide end (better contrast).  Your biggest challenge on the wide end is that the minimum focus distance is only a few inches longer than the lens itself (MFD is measured from the camera’s sensor), so there’s a high risk of shading your subject.  Removing the lens hood helps a bit.  Still, the figure on either end of the focal range is useful for creating unique images and doing some visual storytelling.  I’m always happy to have a lens with a decent close focus performance.

All in all there is a lot of good things going on with the build and design of this lens.  It’s a nice blend of build quality, weather sealing, and compact size and weight.  The only thing I could really wish for would be an AF/MF switch for convenience sake.

A046 Autofocus Performance

The A046 is the second lens from Tamron to employ their Rapid eXtra-silent stepping Drive (RXD) focus motor in.  It is essentially everything a mirrorless autofocus system should be. It’s extremely fast, extremely silent, and locks on quickly and confidently. It feels akin to Canon’s excellent Nano-USM technology in speed and silence.

…where manual focus produced this:

So far that was an isolated instance.  I’ve tried intentionally shooting in very low light situations and gotten fine results.  Focus will slow down a little in those conditions (and AF-S is slightly better than AF-C), but I got accurate focus lock.  Here’s a beautiful image (wink, wink) taken at 1/10th of a second, ISO 25,600 in an essentially dark storeroom:

So, while I did want to note the one instance, it doesn’t seem to follow a pattern and I have no concerns over autofocus performance.  All Sony focus technologies are supported, from focus modes to Eye AF to the Hybrid Phase Detect/Contrast AF focus that is Sony’s unique approach to autofocus. It supports continuous AF in all drive modes, including Hi+.  I got good Eye AF results during a portrait session even with heavy backlighting.

Wide angle lenses often don’t show as much pinpointing of the eye during focus acquisition (particularly if you aren’t close to the subject), but depth of field is also a lot larger.  What matters in the end is getting well-focused results, and that was my experience.

I had good results in my general purpose shooting where I will sometimes isolate a subject even with a wide angle lens like this one:

Autofocus during video was excellent.  Focus pulls happen quickly, smoothly, and utterly silently.  I didn’t encounter any issue with pulsing.  This would be a nice lens to mount on a gimbal due to the light weight, internal zooming, and excellent autofocus.  It’s a great focal range for video work, and things like distortion and vignette are corrected real-time in camera…a big plus.

Tamron’s RXD drives are a great fit for Sony mirrorless.  I’m very happy with the behavior of the autofocus.

Tamron 17-28mm F2.8 (A046) Image Quality

The A046 has a lot to live up to.  The A036 (28-75) in an excellent optical instrument across the zoom range, typically showing equal (and even slightly better) performance at some focal lengths when compared to the much more expensive G Master lens.  While I haven’t yet tested the Sony 16-35mm F2.8 GM personally, I have noted that other reviewers have already found that the A046 performs similarly well against the GM competitor…particularly at landscape distances (arguably the most important).  I break down the image quality in detail in this video and make some comparisons to the Laowa 15mm F2 Zero D, the Viltrox 20mm F1.8, and the Tamron 28-75mm at the overlapping (or near-overlapping) focal lengths.

My “brick wall” test revealed some of the typical shortcomings for wide angle zooms, namely some barrel distortion at 17mm and some vignette.  The vignette is moderately heavy, though lighter than a number of other similar lenses that I’ve reviewed (and less than either of the primes I compared it to).  There is a noticeable amount of barrel distortion that is exaggerated by the close test distance.  Both of these issues are corrected in-camera for both JPEGs and video, though at the time of the review there (surprisingly) isn’t a matching Adobe profile for RAW images yet (often that profile is embedded in the RAW files on Sony).  This is something that will surely get corrected in the near future.

The nature of the barrel distortion unfortunately has a “mustache” pattern and isn’t entirely linear, but fortunately the in-camera profile corrects for it quite well.  Here’s a look at a couple of uncorrected RAW files (on the left) and the JPEG versions that have been corrected in camera.

As is often the case, the amount of distortion at landscape distances is much less obvious.

This isn’t really an issue for landscape or general purpose work, but if your shot includes a lot of complex lines you (and you have the room), you may want to zoom in a bit towards 20mm where there is considerably less distortion.  If your primary purpose is shooting architecture or real estate, you might want to choose another lens with less barrel distortion.  My favorite combo on Sony for shooting interiors is the Laowa 12mm F2.8 Zero D in a Canon EF mount used in conjunction with the Laowa MSC (Magic Shift Converter) that gives you a 17mm F4 lens with 10 degrees of shift in any direction and no vignette.  I reviewed that combination here.  Outside of the scope of real estate, however, I don’t think the distortion is anything to worry about.  This forest scene has not had any kind of correction, and looks fine.

At 17mm the A046 is extremely sharp.  Most of the frame is extremely sharp from F2.8 on, with high contrast and great acutance (ability to resolve fine details).  The corners lag a bit behind at F2.8, though some of that is due to the uncorrected vignette and distortion in my test shots.

Where the A046 shows its superiority is when compared to other lenses, however.  At the closer focus distance it shows better corner performance than the Laowa 15mm F2 (both lenses at F2.8) and at landscape distances it particularly stands out for having better clarity, richer color, and more microcontrast and acutance in resolving the distant textures.

The lens is perfectly usable at 17mm, F2.8, delivering images with good contrast, low CA, and high detail:

Stopping down a bit improves corner performance a bit further (center performance is already near perfect):

The A046 is a fantastic landscape lens on my 42MP a7RIII when stopped down.  Images are richly colored, high contrast, and have great detail across the frame.

At 20mm both distortion and vignette are naturally corrected for, leaving this as a better focal length for shooting architecture or straight lines.  It shows roughly the same amount of distortion and a bit less vignette than the Viltrox 20mm F1.8 lens that I compared it to (both lenses at F2.8).  At the brick wall distance the two lenses performed fairly similarly, with incredibly sharp centers and a gradual dropoff into the corners.  But in the third image, at infinity, the A046 once again shows its merit.  It delivers a clearer, brighter, richer image with better microcontrast in the textures and richer colors. 

Those of you who spotted the difference in shutter speed will be relieved to know that I added the one-third stop of exposure back into the Viltrox image in post (they metered slightly differently).

Stopping the lens down will slightly improve performance, with a little better contrast and resolution, but mostly a vignette lift.

20mm is a great landscape focal length, and the A046 delivers here:

Performance at 24mm is roughly similar to the performance at 20mm, so we’ll move on to the end of the focal range where another comparison awaits.  While both the A036 and the A046 techically cover 28mm, the focal lengths don’t quite match up.  It’s likely that the 28-75mm is mildly narrower than 28mm and the 17-28mm is mildly wider than 28mm (lens makers use standard focal lengths so we don’t get a 16.8-27.6mm lens).  They both produce quite a different look at 28mm due to the fact that this represents the telephoto end of the wide angle zoom (17-28) and the wide end of the standard zoom (28-75).  The 28-75 shows pronounced barrel distortion at 28mm while the 17-28mm shows very mild pincushion distortion.

The 17-28mm shows a slightly wider perspective along with a little more neutral color (the 28-75 is ever so slightly warm).  Both lenses are very sharp in the center, though the 28-75 shows slightly more contrast.  It also wins in the corners, where it shows a bit more resolution and contrast:

If we take things out to infinity we find the same truths remain.  The 28-75 retains the edge over the A046 with slightly better microcontrast and resolution at 28mm.  Stopping down to F5.6 (third image) evens out the resolution difference though the 28-75 retains slightly better contrast.

So, despite not getting every win, the 17-28mm comes out of this comparison looking very good.  It delivers sharp results with great color and contrast throughout the zoom range.  Here’s some real world 28mm shots:

The A046 gets good marks for flare resistance, which is often a weakness for wide angle lenses.  It shows only minor ghosting artifacts, which present in a fairly artistic, non-destructive fashion, and the lens delivers a beautiful sunburst effect from the nine-bladed aperture when stopped down.

It also is highly effective in limiting chromatic aberrations of either the longitudinal or lateral types.  I saw essentially no issues in real world shooting.  You can even shoot challenging subjects like this without any real issues:

This contributes to being able to shoot high contrast images with a lot of punch:

Good flare resistance, the ability to focus closely, and low chromatic aberrations combine to allow you to shoot some creative shots like this:

One doesn’t buy a lens like this for its bokeh, but in most situations the bokeh quality is decent from the A046.  At 28mm you can get a bit of the well defined edge look that the 28-75mm sometimes shows, but I think my real world results look pretty good.

One final important metric for a lens like this is the ability to control coma for bright lights against dark backgrounds (like stars).  I would call the performance here good but not exceptional (I’ve seen better in a few lenses).  Star points are nice and crisp (as befits a sharp lens like this), but you will see a little deformation in the corner of the bright star points.

This is a good performance, however, and I think the lens will work well for those who like to shoot the night sky:

All in all the lens comes out of this section looking pretty strong.  The distortion and vignette are expected in such a lens and are fairly easily corrected (particularly once the lens profile arrives in Adobe!).  The A046 shines in its delivery of great color and contrast, however, and aberrations are well corrected for.  

Tamron gave us an abbreviated zoom range in the A046, but the trade off is a compact, lightweight zoom lens that packs a lot of optical punch that is by the report of others (I haven’t tested it yet) the equal of the much more expensive G Master lens.

Conclusion

The Tamron 17-28mm F2.8 RXD packs a lot of goodness into a compact package.  Many would agree that this is the type of lens that helps round out the Sony ecosystem with a competent yet affordable third party alternative to the much more expensive G Master lens.  This is exactly what third parties should offer, and it’s great to see Tamron (and soon Sigma) stepping into that role on the Sony FE platform.  Tamron has struck a nice balance with the A046 between a nice, weather sealed build and light weight and portability.  While the zoom range is somewhat abbreviated, the compensation is very strong optical performance, a reasonable 67mm front filter thread, and the aforementioned size.  The autofocus is also excellent, with truly silent focus, a lot of speed, and good accuracy.  That combined with the fact that the lens receives in-camera corrections during video recording should make the A046 an attractive lens for videographers.

The main objection that photographers will raise is the limited focal range.  That’s a fair point, as Tamron chiseled off both ends of the typical 16-35mm zoom range.  Others have noted that they are satisfied with adapting the less expensive Tamron 17-35mm F2.8-4 OSD.  Fair enough.  Still, this is a lot of lens for the MSRP of $899 USD, particularly when the G Master lens clocks in at $2199.  I suspect that Tamron has another lens on their hands that will sell very, very well and make them a lot of fans.  Count me as one of them.

Pros:

  • Beautiful build with thorough weather sealing
  • Excellent autofocus performance:  silent, fast, and accurate
  • Beautiful color and contrast
  • Good acutance and microcontrast in rendering fine textures
  • Good flare resistance
  • Good chromatic aberration control
  • Native lens support – lens corrections for JPEGs and Video
  • Excellent price to performance ratio

Cons:

  • Abbreviated zoom range compared to competitors
  • Pronounced barrel distortion at 17mm

View more lenses for food photography that are as good as the Tamron 17-28mm F2.8. 

Gear Used:

Tamron 17-28mm F2.8 Di III RXD: B&H Photo | Amazon | Amazon Canada | Amazon UK | Amazon Germany | Ebay
Purchase the Tamron 28-75mm f/2.8 RXD @ B&H Photo  | Amazon | Amazon Canada | Amazon UK | Ebay 
 Sony a7R III Camera: B&H Photo | Amazon | Amazon.ca | Amazon UK  | Ebay
Peak Design Slide Lite:  Peak Design StoreB&H Photo | Amazon | Amazon Canada | Amazon UK

(Portrait Lighting) Purchase the Godox AD200 Pro @ B&H Photo  | Amazon | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

BenQ SW271 4K Photo Editing Monitor – B&H Photo  | Amazon | Amazon.ca | Amazon UK
Adobe Photoshop Creative Cloud 1-Year Subscription
Alien Skin Exposure X4 (Use Code “dustinabbott” to get 10% anything and everything)
Visit Dustin’s Amazon Storefront and see his favorite gear

Purchasing your gear through B&H and these links helps fund this website and keeps the articles coming. You can also make a donation here if you would like.  Visit my Amazon page for some of my gear of choice! Thank you for your support.

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Keywords: Sony, Tamron, withmytamron, A046, Tamron 17-28, Tamron 17-28mm, RXD, F2.8, 17-28mm, Di III, Sony FE, Tamron 17-28mm Review, Tamron 17-28 Review, 17-28mm F2.8, Dustin Abbott, Autofocus, Sample Images, Video, Video Test, review, Video review, Real World, Wide Angle, Sony a7RIII, Sony a7RIV, Astrophotography, Coma, Sharpness, Resolution, Bokeh

DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.

Tamron 17-28mm F2.8 RXD (A046) Image Gallery

Dustin Abbott

July 27th, 2019

Tamron released their new 28-78mm F2.8 RXD lens for Sony full frame mirrorless (FE) last year to great fanfare, as it provided a legitimate alternative to the very large and very expensive Sony 24-70mm F2.8 G Master lens.  The 28-75 RXD went on to be the best selling lens of the year in its first year of release, which is a pretty stunning endorsement of its blend of solid build, good autofocus, and great optical performance.  This year Tamron has introduced a second lens in a presumed trilogy of fast zoom lenses for Sony.  They’ve tackled the wide end of things with the Tamron 17-28mm F2.8 RXD (A046).  Like the 28-75mm, they’ve chosen a slightly less conventional zoom range.  In this case, it is a little narrower than, say, the Sony 16-35mm F2.8 GM lens.  Tamron undoubtedly made this choice to allow them to create a smaller, lighter lens with excellent performance across its limited zoom range.  I’ll see how well they did in my tests. I’m doing these tests and comparisons on the Sony a7RIII.  Stay tuned for my review of the lens!

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Photos of the Tamron 17-28mm F2.8

Photos Taken with the Tamron 17-28mm F2.8

Gear Used:

Tamron 17-28mm F2.8 Di III RXD: B&H Photo | Amazon | Amazon Canada | Amazon UK | Amazon Germany | Ebay
Purchase the Tamron 28-75mm f/2.8 RXD @ B&H Photo  | Amazon | Amazon Canada | Amazon UK | Ebay 
 Sony a7R III Camera: B&H Photo | Amazon | Amazon.ca | Amazon UK  | Ebay
Peak Design Slide Lite:  Peak Design StoreB&H Photo | Amazon | Amazon Canada | Amazon UK

(Portrait Lighting) Purchase the Godox AD200 Pro @ B&H Photo  | Amazon | Amazon Canada | Amazon UK | Amazon Germany | Ebay 

BenQ SW271 4K Photo Editing Monitor – B&H Photo  | Amazon | Amazon.ca | Amazon UK
Adobe Photoshop Creative Cloud 1-Year Subscription
Alien Skin Exposure X4 (Use Code “dustinabbott” to get 10% anything and everything)
Visit Dustin’s Amazon Storefront and see his favorite gear

Purchasing your gear through B&H and these links helps fund this website and keeps the articles coming. You can also make a donation here if you would like.  Visit my Amazon page for some of my gear of choice! Thank you for your support.

B&H Logo

Great News! I can now offer a 5% discount on all purchases at Amplis Foto, Canada’s Leading Photographic Supplier. Please enter discount code: AMPLIS52018DA in your cart. It is good for everything in your cart, and is stackable with other coupons, too! It will take 5% off your entire order! Proceeds go towards keeping this site going and providing you with new reviews!

Check me out on:  My Patreon  | Sign Up for My Newsletter |  Instagram | Facebook | Twitter | Flickr | 500px |  Google+ |







 


Use Code “DUSTINHDR” to get $10 off ($15 CDN) any Skylum product:  Luminar, Aurora, or AirMagic



 

 

Keywords: Sony, Tamron, withmytamron, A046, Tamron 17-28, Tamron 17-28mm, RXD, F2.8, 17-28mm, Di III, Sony FE, Tamron 17-28mm Review, Tamron 17-28 Review, 17-28mm F2.8, Dustin Abbott, Autofocus, Sample Images, Video, Video Test, review, Video review, Real World, Wide Angle, Sony a7RIII, Sony a7RIV, Astrophotography, Coma, Sharpness, Resolution, Bokeh

DISCLAIMER: This article and description contains affiliate links, which means that if you click on one of the product links, I’ll receive a small commission. As an Amazon Associate I earn from qualifying purchases.