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

Product Information

With no built-in image stabilization, there are only three controls in total: A pair of very nice, well-dampened zoom and manual focus rings and a focus mode selector switch on the left side of the barrel. When you buy an interchangeable-lens camera, you also buy into a lens system. For many, that means optics from the same manufacturer as your camera, with some third-party supplements. The L-Mount mirrorless system is a bit different—although Leica started it by itself, Panasonic and Sigma are both full partners. Together, the three make up the L-Mount Alliance. Chromatic aberrations, typically seen as purple or blue fringes along contrasty edges, are not a problem for the Sigma 24-70mm f2.8 DG DN Art, even at the edges of the frame. Light Fall-off

28-70mm F2.8 DG DN – Sigma UK

In terms of features, the Sigma 28-70mm F2.8 DG DN Contemporary is a little sparsely attired, especially when compared to the Sigma 24-70mm F2.8 DG DN Art. The downside is that SLR lenses tend to run bigger than native options, and these are even longer than the DSLR versions. That's because lenses need to be set a certain distance from the image sensor to work. Mirrorless cameras put less distance between the mount and sensor, so the lens has to be longer to compensate. Growing in popularity, the L-mount is based on Leica’s T-mount system, which stems from the Leica T (Typ 701) APS-C format digital camera, launched in 2014. With the subsequent launch of the Leica SL full-frame camera, the name was changed to the L-mount, with sub-categories of TL for APS-C format lenses and SL for full-frame. Bigger news came in September 2018, with the advent of the L-mount Alliance, formed by Leica, Panasonic and Sigma. This enabled all three companies to manufacture cameras with ‘interchangeable’ lenses in every sense of the word. Focusing is usefully internal and manual focusing is possible when set via the Focus switch on the lens barrel. Full-time manual focus override is also available at any time simply by rotating the focus ring.That said, the 28-70mm F2.8 Contemporary still offers solid image quality. This is especially true if you're willing to stop down a bit, don't shoot with an extremely high-res body or don't need perfection in the corners. Let's take a closer look. While the lens is an f/4 on the long end, the f/2.8 at the wide end is admirable for this type of lens. Leica has balanced brightness and zoom range to create a rather unique lens. It offers slightly more range than the usual 24-70mm f/2.8 and slightly less than the standard 24-105mm f/4, while its variable maximum aperture spans the difference between those two common lens types. The biggest reason for investing in the Sigma 28-70mm f/2.8 is that it's a much smaller, lighter and cheaper alternative to native-branded lenses. It's still capable of producing really high-quality images with sharp in-focus areas and soft, blurred, out-of-focus areas. Unlike some of the more expensive brands it doesn't have any lens stabilization, but if you're shooting on something like the Sony A7R IV the in-body stabilization makes up for it. If you’re looking for a versatile lens that really delivers the goods without breaking the bank, the Sigma 28-70mm f2.8 DG DN Contemporary lens is a fantastic option to consider. It is compact, and light yet with a focal length range of 28-70mm, this one lens might just be all you need for a trip or an event. In addition, having a maximum fixed aperture of f2.8 not only helps you achieve a better shallow depth of field than a lens with a smaller maximum aperture, it also helps you in low light photography. Furthermore, this is a well made lens, has fast autofocus, and the image quality is excellent.

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

The Sigma 28-70mm F2.8 DG DN Contemporary lens has a fairly generously sized focus ring, which is ridged for easier grip. There are no hard stops at the ends of the range, making it harder to set focus at infinity. Polariser users should be pleased that the more economical 67mm filter thread doesn't rotate on focus. If there’s something to complain about, it’s the vignette at f/1.2, which is significant enough to negate some of that light-gathering power of the wide aperture. The lens is exceptional largely because of the image quality. Sharpness is among the best we’ve tested, and there’s little real world difference between f/1.2 and stopping down to f/2.8. The bokeh is excellent — swirly and dreamy at f/1.2, and flatter at higher apertures. We couldn’t spot any chromatic aberration which, combined with the sharpness, makes the lens ideal for the highest resolution L-Mount cameras out there. So when does a zoom make sense? When it covers more than one easily discernable FL. But 28-70 doesn't do that. It has a single useful perspective for me. A "normal" perspective. I would need to augment it on both sides with a lens that is wider and a lens that is more tele. I prefer distinct focal length differences. A 24mm is perspectively easily discernable from a 40mm and a 40mm easily discernable from an 85mm.

Performance and Bokeh

Taking a close look in the middle reveals plenty of fine details even with the aperture wide-open, and closing the aperture makes little difference to the quality. Designed specifically for mirrorless, the Sigma 14-24mm f/2.8 DN Art is a feat of engineering, since the ultra-wide zoom range and bright aperture usually calls for big and heavy optics. Nearly a pound lighter than Sigma’s older DSLR version, the lens is much easier to carry around. It is the first bright, 14-24mm for the L-mount. We didn't experience very much "hunting" at all, either in good or bad light, with the lens accurately focusing almost all of the time. It's also a very quiet performer, which makes this lens equally well-suited to both video recording and more candid stills shooting. The 28-70mm F2.8 DG DN | Contemporary introduces another fast, high-performance, large-aperture zoom lens toSIGMA’s mirrorless line-up, offering a more compact alternative to the existing 24-70mm F2.8 DG DN | Art

to know about new Sigma 28-70mm F2.8 DG DN What you need to know about new Sigma 28-70mm F2.8 DG DN

The 28-70mm f2.8 DG DN Contemporary lens is superb because it is so versatile. This is a lens that has the optics to deliver you professional quality results yet at the same time, it’s small and light enough that you can use it for more casual activities like taking it on vacation or outings with friends. It also has the focal length range that is great for all types of photography, and a large enough maximum aperture that can help you be more creative, and give you more flexibility in different conditions. Honestly, this is the type of lens that we need more of in the L mount system, and I’m very happy to see Sigma coming out with them. If you’re trying to build a compact system, and are currently looking for lenses that not only are optically exceptional but also compact and versatile, this zoom should definitely be on your list of lenses to consider. Performance in the L Mount version is going to be subject to the camera you’ll be pairing the lens with. I didn’t test this on L Mount, but I would expect to see a difference between cameras since all three companies in the Alliance tend to use a mix of different technologies. On the telephoto end the maximum magnification ratio is 0.22x. Close-up subjects shot at 70mm can appear soft and dreamy. As for the autofocus, the 28-70mm f2.8 DG DN Contemporary lens uses a stepping motor that is definitely responsive. It’s plenty fast, and accurate. It’s also near silent. The camera usually plays a part in autofocus performance, and as I mentioned earlier, I was testing this lens with both the S1, and the fp L. It works great on both cameras. Here’s a 100% crop of the photo above. Notice how you can read even the smallest words in this photo even though they are technically not even the focus points. Keep in mind that this was taken using 640 ISO as well, not 100 ISO.There's just a little bit of longitudinal chromatic aberration, visible as color fringing, around high contrast edges of slightly out-of-focus regions, but as you can see in the sample below, it's not really anything to concern yourself over. It disappears immediately upon stopping down. In addition to prioritizing portability, SIGMA’s optical engineers introduced a new combination of coatings and structural elements that make this standard zoom well-equipped for use in a wide range of shooting environments. Likewise, the latest production and manufacturing techniques were employed to ensure exceptionally high build quality. For starters, here’s the optical range in practice, starting at 28mm for standard wide views, before zooming into 70mm for short telephoto coverage. By starting at 28 rather than 24mm, Sigma’s been able to reduce the cost and weight. The 28-70mm F2.8 DG DN | Contemporary weighs in at 470g, and when attached to the SIGMA fp, the entire setup is 890g. The supreme portability afforded by a camera system that weighs less than 1kg gives photographers a huge amount of freedom and flexibility to achieve their creative vision. It’s also a perfect combination for filmmakers looking for a high-performance, lightweight, easy-to-handle camera system that works well with a gimbal and other accessories.

Sigma 28-70mm f/2.8 DG DN Contemporary Lens for Leica L

So we have an advanced design, a nice close-focus range and the lens weighs in at 470 grams. While this is light-weight and easy to handle, I was particularly impressed with the rendering characteristics. This is something I typically don’t expect to be very good on zoom lenses at this price point. I am, however quite impressed with what Sigma has developed here. Stopping down helps significantly, though it doesn't entirely solve the problem at the extremes of the image. To be fair, this is an issue with most 24-70mm F2.8 lenses. Do you need the Sigma 35mm f/1.2 Art? Probably not, but you’re going to want it. It’s a lens worth showing off and, considering the f/1.2 aperture, is also reasonably priced relative to the f/1.4 competition. There’s no getting around the fact that that red dot logo means the lens costs more than some used cars. And while it manages to do the seemingly impossible and offer prime-like image quality in a zoom, few will want to drop that much cash on a lens, especially now that the L-Mount alliance means there are more options than ever before.This was taken around the Civic Center with the S1. The focal length used was 31mm with the settings being f7.1 and 100 ISO. From the side the Sigma 28-70 is pretty straightforward. A short angular throw on the zoom ring gets you from the wide to the long-end with the barrel extending by 23mm. There’s only one switch on the barrel which toggles between manual or autofocus, while at the end is a smooth motor-assisted focusing ring. There’s no optical stabilisation, so anti-shake has to be provided by your body. Rendering of blurred areas is always something I like to test and compare so here’s the 28-70 2.8 at 70mm, shot from the closest focusing distance at this focal length, quoted as 38cm. The lens is constructed of 16 elements in 12 groups including 2 FLD elements, 2 SLD elements and 3 aspherical elements.