The Sigma 24mm f2 DG DN is a wide-angle prime lens for full-frame mirrorless cameras that prices round $650 or 550 British kilos – and on the time I made this evaluate, out there in Sony-e and Leica-L mounts, but when all of us want on the identical time, perhaps coming to Canon RF and Nikon Z mounts sooner or later. Sigma loaned me a pre-production pattern within the e-mount to check out and you’ll see the way it performs in my full video evaluate beneath! Alternatively when you desire to learn the written highlights, preserve scrolling!
Introduced in September 2021, the 24mm f2 joins Sigma’s rising I sequence of compact full-frame mirrorless lenses. Right here’s the present 35mm f2 DG DN within the center with the brand new 24mm f2 on the left and the equally new 90mm f2.Eight on the best that was launched alongside the 24 f2 – and I’ve reviewed that one too. Add the earlier 65mm f2, 45mm f2.Eight and 24mm f3.5 and you’ve got six fashions within the sequence to select from.
This implies Sigma now has two 24mm lenses on this sequence, with the smaller, lighter and barely cheaper f3.5 model seen right here launched simply 9 months earlier. Sony additionally has a compact 24mm f2.Eight seen right here launched in March 2021, and there’s additionally sooner f1.four fashions from each corporations in addition to an older f2.Eight choice from Tamron. On this evaluate I’ll present you the way the Sigma 24 f2 performs that can assist you make the best alternative.
At 70x72mm and weighing 365g, the Sigma 24 f2 is unsurprisingly bigger and heavier than both the 24mm f3.5 or the Sony 24 2.8, however contemplating the sooner aperture it’s nonetheless pretty compact, and the aluminium physique feels reassuringly well-built. Like different fashions within the sequence, there’s climate sealing on the mount with a rubber grommet, however not all through the barrel.
When it comes to controls there’s a chunky swap for auto and handbook focus, a clicky aperture ring from f2 to f22 in a single third increments and an A place for physique management, and a slim however clean and nicely-damped handbook focusing ring. Not like Sony’s current lenses, there’s no customized button nor de-clickable aperture ring choice.
Like different fashions within the I sequence, Sigma provides not one however two lens caps, so in addition to the standard spring-loaded plastic cap, there’s a further metallic disc which attaches magnetically, with a satisfying snap and the magnet feels sturdy sufficient to maintain it in place too. With the hood mounted although, this second cap is a bit awkward to suit or take away, so it’s arguably a little bit of a novelty, however I like that Sigma’s attempting one thing totally different right here.
At this value level, you may anticipate a fundamental plastic hood, however Sigma provides its I sequence with aluminium hoods that proceed the ribbed type of the lenses for a sophisticated classic feel and look. I actually like the best way these lenses look.
Okay, let’s take a look at the focusing pace and for all my assessments on this evaluate I used a Sony A7 III because it was the very best physique I had entry to right now. You’re Single AFS mode the place as common there is usually a minor contrast-based wobble to substantiate, however it’s nonetheless swift. And for reference right here it’s once more in Steady AFC mode, the place the phase-detect system avoids the wobble.
Right here’s the identical check for video with the A7 III filming in 4k and the 24mm at f2 and utilizing steady AF to tug focus between the bottles easily and confidently; it’s very quiet too.
Subsequent for a face detection check with the Sigma 24 f2, once more for films in steady AF, with Vast space and human eye detection enabled. The 24mm focal size will not be your first alternative for portraiture, but when the topic’s positioned rigorously it will possibly work for environmental compositions the place you see extra of the environment.
Sticking with this scene, right here’s a nonetheless portrait shot at f2 the place there’s some good separation from the background. Wanting intently additionally reveals good sharp particulars round my eyes even with the aperture wide-open.
For comparability right here’s the Sony 24mm f2.Eight from my earlier evaluate and now the Sigma 24 f3.5, displaying progressively much less blurring behind me because of the smaller apertures. Facet by aspect you possibly can see the Sigma 24mm f2 on the left is delivering visibly higher separation and for me, by far probably the most enticing background rendering of the three.
Subsequent for the rendering of bokeh balls from shut vary, with the Sigma 24 f2 close to to its closest focusing distance, beginning wide-open at f2 and step by step closing down in a single cease increments. On the most aperture the blobs tackle cat’s eye form in direction of the nook, however develop into largely round at f2.8. Taking a more in-depth look again at f2, you’ll see some outlining and faint textures throughout the blobs, which isn’t splendid, however unsurprising for a lower-priced lens. In order for you cleaner – and bigger bokeh blobs – goal for one of many 1.four variations. Facet by aspect with the Sony 24mm f2.Eight within the center and the Sigma 24 3.5 on the best although and whereas the angle is a bit totally different, you possibly can see how a lot nicer the rendering is from the Sigma f2 on the left.
Earlier than transferring on, Sigma quotes a minimal focusing distance of 24.5cm. I photographed this ruler as shut because the lens would truly focus, the place the topic measured 193mm throughout the width of the body.
Earlier than my distant panorama comparability, a fast take a look at geometric distortion beginning with the Sigma 24mm f2 with Distortion Compensation on the Sony A7 III set to OFF, which is the default. With this setting, the Sigma lens exhibited fairly sturdy barrel distortion, so for my in-camera JPEG assessments, I modified this setting to Auto the place you possibly can see the distortion turns into a lot better-corrected with solely a minor crop to the sphere of view. You too can apply it in submit to RAW recordsdata.
So right here’s my distant panorama view with the 24mm f2 angled as at all times in order that superb particulars reached proper into the corners. First with Distortion Compensation set to OFF and now with it set to Auto the place you possibly can see the correction in motion. This was at f11, so now let’s swap to the f2 model the place you possibly can see straightaway the standard darkening within the corners as a consequence of vignetting – one thing that’s simply corrected. Taking a more in-depth look in the course of the body reveals superb particulars proper out of the gate at f2. In my assessments closing the aperture improved the distinction a bit however didn’t make any seen distinction to sharpness within the center. Heading out into the far nook and also you’ll see the darkening as a consequence of vignetting, however the particulars nonetheless look respectably sharp even with the aperture wide-open. As you shut the aperture, the darkening lifts and there’s arguably a small enchancment in final crispness, however total I’d say this lens is performing very properly throughout the body even wide-open. Evaluating it to my earlier outcomes from the Sony 24 2.Eight and Sigma 24 3.5 reveals the f2 mannequin can sustain with them on distant sharpness even with the bigger aperture.
Oh and when you’re searching for sunstars, right here’s what you possibly can obtain with the Sigma 24mm f2 closed all the best way to f22. Right here’s one other instance at f22, this time filming video the place the Solar’s peaking out and in from behind leaves and branches.
Simply earlier than wrapping-up, a number of extra feedback for videographers. 24mm is a pleasant focal size for handheld vlogging, and you’ll see it right here at f2 utilizing IBIS solely on the A7 III. There’s a lot nicer topic separation than the Sony 2.Eight and Sigma 3.5 fashions, though like all 24mm lenses the view is usually a little too tight.
When you desire a wider view, how in regards to the Samyang 18mm f2.Eight seen right here at f2.8. It’s a very nice choice for Sony vloggers who desire a small, mild and reasonably priced broad prime, however you’ll after all miss out on the potential for blurring, plus the higher crispness of the Sigma.
And at last, a spotlight respiratory check with the Sigma 24mm f2 beginning at infinity and step by step focusing manually to the closest distance and again once more. Similar to the three.5 model, the sphere of view reduces right here as you focus nearer, though apparently on the Sony 2.Eight mannequin it truly widens a bit as you focus nearer. Is it a giant deal for videographers? Right here I’m transferring nearer or farther from the digital camera the place you possibly can see the general protection various a bit. Not splendid, however in all probability not deal-breaking for the audience.