![]() Selecciona el departamento donde deseas realizar tu búsqueda. What really matters is Sigma's new 24-70mm Art E-mount lens really delivers the goods and is terrific value at the price. : Sigma Parasol para lente 24 70 mm F2.8 Si EX G HSM : Electrónica. But almost all zoom lenses will require some degree of in-camera corrections to reach peak performance. Like many new lenses for mirrorless cameras, however, it’s not optically perfect and takes advantage of in-camera corrections for the likes of distortion and vignetting. Autofocus is super-fast, deadly accurate and virtually silent. It feels really robust without being overly heavy, and has refined handling in every area, from the smooth-action zoom and focus rings to the various buttons and switches. The build quality and handling of Sigma’s new 24-70mm Art lens for mirrorless cameras is top-notch. The degree of distortion is enough to be visible when shooting geometric subjects, but is only obvious at 24mm, and it's not difficult to correct this in raw processing software. The Sigma 24-70mm f/2.8 DG DN Art produces moderate barrel distortion at 24mm, transitioning to pincushion at 50mm and beyond. ![]() ![]() Resistance to ghosting and flare is very good indeed. Sigma has created a beautifully engineered standard zoom with the 24-70mm f/2.8 DG OS HSM A, which more than earns its Art moniker. This makes it difficult to correct the distortion manually, but both peripheral illumination and distortions can be automatically corrected in-camera and via raw file conversion. At f/2.8, however, vignetting (darkened image corners) is quite noticeable and there’s hefty, moustache-shaped barrel distortion at the short end of the zoom range. Sharpness and contrast are excellent even when shooting wide-open, throughout the entire zoom range. So much so, in fact, that you have to remove the hood to take full advantage. A bonus of the DN lens is that the minimum focus distance at the wide-angle end of the zoom range is much shorter. Manual override operates with smooth precision and the customisable AF-L button is a further bonus. This pair of shots demonstrates the difference that Sony’s in-camera auto corrections have on vignetting and distortion at 24mm, f/2.8Īutofocus is very quick, essentially silent in operation and proved unerringly accurate in our tests of the Sony-mount edition of the lens.
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