VERSATILE, ARTISTIC WORKHORSE: Sigma 24-70mm F2.8 DG OS HSM Art
A 24 to 70mm zoom is the standard lens for many photographers. With a range from big wide-angle to a bit of telephoto, you can use this lens for many different types of photography. Especially since it has a high brightness of f/2.8. Then a lens like that is good for almost everything, from landscapes and interiors in the wide-angle position to (travel) documentary, weddings and portraits in telephoto. For many photographers, the 24-70 mm f/2.8 hardly ever comes off the camera. High-quality 24-70 mm lenses with a brightness of f/2.8, however, also carry a stiff price. That's why many photographers were looking forward to the arrival of the Sigma 24-70 mm F2.8 in the Art series. The Art lenses combine high image quality with a generally very reasonable price.
The Sigma 14mm F1.8 DG HSM Art is not only the world-record holder with f/1.8 for 14mm on full frame, Sigma also proudly reports that this dust- and splashwater-tight lens is suitable for future sensors with more than 50 megapixels. The lens is available with a Sigma, Canon or Nikon mount. We tested the Sigma MC-11 on a Sony FE camera (Sony A7R II).
After Sigma broke world records for the world’s brightest zoom lens with the Sigma 24-35mm f/2 (for cameras with APS-C / DX sensors) and the Sigma 24-35mm f/2 (for cameras with a full-frame/FX sensor), now it is the turn of a Sigma lens with a fixed focal length to break a world record: the world’s first 20mm f/1.4 ultra-wide angle lens for cameras with a full-frame sensor. This is a fantastically bright lens, which offers sensational new creative possibilities. If, with a wide-angle lens with a focal length of 24mm, or even less as in this case, on a camera with a full-frame sensor, you want to play with background blur/bokeh, then you need a bright lens. A very bright lens. The focal depth even at f/2.8 is already very big when you are using a lens with a 20mm focal length. The choice between bokeh and focal depth, coupled with an extremely bright wide-angle lens, makes this new world record holder attractive, perhaps even a must, for many photographers.
In theory, a lens with a fixed focal length is better than a zoom lens. With a zoom range of 1—so a fixed focal length—you need to make fewer compromises in the design of a lens than for the design of a zoom lens. A good zoom lens is also more difficult to build because the lens design consists of more lens elements and parts. Even so, there are a few zoom lenses that are so good that in practice they are just as good as the very best lenses with a fixed focal length. In theory, they should be beaten by fixed focal length lenses, but that is not seen even on the very best cameras in practice shots. More to the point: There are a great many lenses with a fixed focal length that deliver a poorer image quality than the very best zoom lenses.