Sigma 24-70mm F2.8 DG DN II Art Lens Review

What were they thinking? Why update this lens?

The II means there is a I, and that version I is the Sigma 24-70mm f/2.8 DG DN Art Lens. The version I lens is less than 4 years old at version II announcement time, and it is a solid performer. Remarkably, the version I lens is the #1 best seller out of the 1,782 mirrorless lenses available at B&H at review time. With an incredible level of competition, reaching the first position is monumental.

What characteristics are required to be the best seller? An extremely useful focus length range and a wide aperture are a great start. The lens must produce sharp image quality, the AF system must perform optimally to ensure those optical capabilities are realized, and affordability is another requirement. The version I lens has those features.

Despite this lens being #1, Sigma opted to update to version II. When a lens is this important to the kit, it makes sense to keep the ultimate product available, and if you can make it better, the do so concept applies. An update to this lens stands to benefit the most photographers and solidify Sigma's lead.

What are the version II's improvements?

• Improved optical performance
• HLA (High-response Linear Actuator) AF with 3x faster drive speed (really fast)
• Aperture ring with click and lock switches
• 10% lighter and 7% smaller
• Flush-mounted switches with 2 AFL (AF Lock) buttons vs. 1 and a zoom extension lock
• Maximum magnification increased to 0.37x vs. 0.34x

That the Sigma 24-70mm F2.8 DG DN II Art Lens will be the next best-selling lens seems an easy prediction.

Focal Length Range

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Focal length range (or individual focal length for a prime lens) is a primary consideration for lens selection. A specific angle of view is required to get a desired subject framing with the optimal perspective (or from within a working distance limitation).

The wide-angle through short telephoto 24-70mm focal length range covers a wide range of general-purpose needs, making it an ideal option for photographing a vast range of subjects. This is the lens you take when unsure which focal lengths you will need, and usually, it will be the right choice.

To be more specific, the 24-70mm range is a great choice for photographing people, and the fast ones require a high-performance model.

This range is ideal for portraits, weddings, parties, events, family gatherings, documentaries, interviews, lifestyle, theater, fashion, studio portraiture, candids, and even some sports. Use 70mm for head-and-shoulders portraits (or Eliott playing on the stairs as shown above), and use the wider end for group portraits and environmental imagery.

This lens is a perfect choice for media and photojournalistic needs, and it is a great option for street photography. Or, for garden photography.

A 24-70mm lens is an excellent choice for landscape and cityscape photography. It is not difficult to create compelling landscape compositions using the 24mm perspective, allowing emphasis on a foreground subject against an in-focus background, providing the viewer with a sense of presence in the scene. At the other end of the range, 70mm works great for mildly compressed landscapes featuring more distant subjects such as mountains.

The wide f/2.8 aperture makes this focal length range an attractive choice for photographing the night sky, with the 24mm end being of primary interest in that regard.

A 24-70mm lens is well-suited for commercial photography, and the wide end of the range is ready to capture exterior architecture and larger interior spaces. Countrysides, flowers, medium and large products, and much more are on this lens's capabilities list.

Here is a focal length range illustration borrowed from a different lens review.

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APS-C imaging sensor format cameras utilize a smaller portion of the image circle, framing a scene more tightly. The Sony field of view crop factor is 1.5x, with the 24-70mm range providing a 36-105mm full-frame angle of view equivalent. This angle of view has increased value for portraiture while foregoing some of the best landscape angles.

Max Aperture

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Few zoom lenses feature a wider aperture opening than this one, and only one of those covers most of this lens's focal length range. A wide aperture is a big feature advantage this lens holds.

Wide apertures are useful for stopping action, both that of the subject and that of the camera, in low light levels while keeping ISO settings low. They also benefit AF systems, enabling them to work better in low-light environments.

Even when photographing under bright light conditions, wide apertures are useful for creating a strong background blur that clearly isolates a subject from even highly distracting backgrounds. Here is an example of the maximum background blur this lens can produce at the specified focal lengths:

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In part due to its close-focusing capability, this lens can create a strong amount of background blur even at 24mm.

A disadvantage of a wide aperture is the required increased physical size of the lens elements, which come with heavier weight and higher cost penalties. Still, this lens is modestly sized, reasonably light, and relatively affordable.

Videographers will especially appreciate this lens's iris ring, which enables a manually selected aperture. The camera controls the aperture setting with the ring in the A (Auto) position, while all other settings electronically force the aperture to the chosen opening. A 2-position switch on the left side toggles the aperture ring between 1/3 stop clicks and smooth, quiet, non-clicked adjustments, ideal for video recording.

Aside from a slightly more complicated design, inadvertent aperture changes are the primary disadvantage of an aperture ring (especially when photographing in the dark). The Iris Lock switch eliminates that problem, holding the ring in the A position or within the manual range.

Image Stabilization

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The Sigma 24-70mm F2.8 DG DN II Art Lens does not feature image stabilization. Omitting the optical stabilization system reduces the size, weight, complexity, and cost. However, image stabilization is a very useful feature.

Sony addresses that omission with Steady Shot IBIS (In-Body Image Stabilization) in their Alpha cameras. In addition to reducing camera shake, the stabilized imaging sensor provides a still viewfinder image, enabling careful composition. Furthermore, sensor-based AF takes advantage of the stabilized view for improved accuracy.

With no IS switch on the lens, the camera menu must be used to enable or disable IBIS or check the current settings. This extra step is a slight impediment to working quickly, going from tripod mounted to handholding, for example.

Image Quality

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Never worse and usually improved describe the expected optical quality of a version II lens. The version I lens performed superbly, so the outlook for the II was optimistic.

With the lens in the lab, reality comes to light. In the center of the frame, f/2.8 results are sharp throughout the entire focal length range. Stopping down produces negligible improvement and none is needed. Check that box.

Often, subjects are not placed in the center of a composition, and lenses typically show decreased sharpness in the periphery of the image circle, where light rays are refracted to a stronger angle than in the center. At 24mm f/2.8, peripheral image quality remains good, but the corners are a bit soft at close and mid distances. Stopping down reduces peripheral shading, which improves contrast, but the resolution changes little, leaving some extreme corner softness. 24mm corner image quality improves significantly at longer distances.

Corner performance is excellent in the mid focal length range, including at f/2.8. The 70mm corners are slightly softer than the mid-length corners.

Taking the testing outdoors, we look at a series of center-of-the-frame 100% resolution crop examples. These images were captured in RAW format using a Sony Alpha 1 and processed in Capture One using the Natural Clarity method. The sharpening amount was set to only "30" on a 0-1000 scale. Note that images from most cameras require some level of sharpening, but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens.

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These results are impressive, and the f/4 results were similar.

Next, we'll look at a series of comparisons showing 100% resolution extreme top left (the third examples are from the bottom right) corner crops captured at varying distances and processed identically to the above center-of-the-frame images. The lens was manually focused in the corner of the frame to capture these images.

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Outer extreme image circle examples show a lens's weakest performance.

The first 24mm corner example, captured at a relatively close distance, is modestly soft. The other two 24mm examples, captured at longer distances, are sharp.

The 40mm examples are impressive. The first 70mm example is slightly soft, but the other two are nice.

Clearing vignetting is the primary difference seen at f/4.

This lens does not exhibit focus shift, the plane of sharp focus moving forward or backward as the aperture is narrowed (residual spherical aberration or RSA).

When used on a camera that utilizes its full image circle, a lens is expected to show peripheral shading at the widest aperture settings. At 24mm f/2.8, the corners are darkened by about 3.5 stops, a readily noticeable amount. The f/2.8 shading drops to 2.5 stops by 35mm and remains similar through 70mm.

Want less corner shading? Stopping down is the solution. Corner shading amounts drop by about a stop at f/4. At f/5.6, 24mm shading drops to about one stop and under a stop in the longer focal length corners.

APS-C format cameras using lenses projecting a full-frame-sized image circle avoid most vignetting problems. In this case, the well-under-one-stop of corner shading showing at f/2.8 will seldom be visible, primarily in images with a solid color (such as a blue sky) in the corners.

One-stop of shading is often considered the number of visibility, though subject details provide a widely varying amount of vignetting discernibility. Vignetting can be corrected during post-processing, with increased noise in the brightened areas the penalty, or it can be embraced, using the effect to draw the viewer's eye to the center of the frame. Study the pattern shown in our vignetting test tool to determine how your images will be affected.

Lateral (or transverse) CA (Chromatic Aberration) refers to the unequal magnification of all colors in the spectrum. Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii), with the mid and especially the periphery of the image circle showing the most significant amount as this is where the most significant difference in the magnification of wavelengths typically exists.

With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide. However, it is always better to avoid this aberration in the first place.

Color misalignment can be seen in the site's image quality tool, but let's also look at a set of worst-case examples. The images below are 100% crops from the extreme top left corner of Sony a1 frames showing diagonal black and white lines.

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Only black and white colors should be present in these images, with the additional colors indicating the presence of lateral CA. Minor lateral CA is visible at 24mm, the mid-focal length results look great, and modest lateral CA shows at 70mm.

A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light. More simply, different colors of light are focused to different depths. Spherical aberration, along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration but is hazier) are other common lens aberrations to observe. Axial CA remains somewhat persistent when stopping down, with the color misalignment effect increasing with defocusing. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.

In the real world, lens defects do not exist in isolation, with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.

The examples below compare the fringing colors of the defocused specular highlights in the foreground to the background. The lens has introduced any differences from the neutrally colored subjects.

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The 24mm and 35mm results look great, and the 50mm and 70mm results don't, showing strong foreground and background color fringing.

Bright light reflecting off lens elements' surfaces may cause flare and ghosting, resulting in reduced contrast and sometimes interesting, usually objectionable visual artifacts. The shape, intensity, and position of the flare and ghosting effects in an image are variable, dependent on the position and nature of the light source (or sources), selected aperture, shape of the aperture blades, and quantity and quality of the lens elements and their coatings. Additionally, flare and ghosting can impact AF performance.

This lens features Sigma's Nano Porous Coating and Super Multi-layer to suppress flare and ghosting, but the relatively high 19-element count increases the challenge. Still, this lens produced only minor flare effects even at narrow apertures in our standard sun in the corner of the frame flare test, reflecting excellent performance.

Flare effects can be embraced or avoided, or removal can be attempted, though removal is sometimes challenging. Thus, this lens's high flare resistance is a welcomed trait.

Two lens aberrations are particularly evident in images of stars, mainly because bright points of light against a dark background make them easier to see. Coma occurs when light rays from a point of light spread out from that point instead of being refocused as a point on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light that can be oriented either away from the center of the frame (external coma) or toward the center of the frame (internal coma). The coma clears as the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). This aberration can produce stars appearing to have wings. Remember that Lateral CA is another aberration apparent in the corners. The images below are 100% crops taken from the top-left corner of a1 images captured at the widest available aperture.

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These results are impressive. There are faint wings on the brightest stars in the 40mm result, and the 70mm stars show slight stretching, but from a relative standpoint, these results are excellent.

In a time when manufacturers are often relying on software to correct geometric distortion, it is refreshing to see this lens optically handle this task. This lens has modest barrel distortion at the wide end that transitions into modest pincushion distortion by 35mm. The 50mm and 70mm results show moderate pincushion distortion.

As seen earlier in the review, it is easy to illustrate the strongest blur a lens can create. Due to the infinite number of variables present among available scenes, assessing the blur quality, bokeh, is considerably more challenging. Here are some f/11 (for diaphragm blade interaction) examples.

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The first example shows defocused highlights filled rather smoothly and, thanks to the high 11-blade diaphragm count, impressively rounded. The second set of examples shows full images reduced in size and looking great.

Except for a small number of specialty lenses, the wide aperture bokeh in the frame's corner does not show round defocused highlights, instead showing cat's eye shapes due to a form of mechanical vignetting. If you look through a tube at an angle, similar to the light reaching the frame's corner, the shape is not round. That is the shape we're looking at here.

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The 24mm corners show a strong shape truncation, while the longer focal lengths push this aspect to only deep into the corners.

An 11-blade count diaphragm will create 22-point sunstars (diffraction spikes) from point light sources captured with a narrow aperture. Generally, the more a lens diaphragm is stopped down, the larger and better shaped the sunstars tend to be. Wide aperture lenses tend to have an advantage in this regard, and this lens can produce attractive stars, as illustrated below.

The example above was captured at f/16.

The design of this lens is illustrated below.

"The optical design of the lens includes 6 FLD glass elements, 2 SLD glass elements, and 5 aspherical lens elements to thoroughly suppress various aberrations throughout the entire zoom range." "The use of 5 high-precision aspherical lenses enables both high optical performance with minimal aberration correction and a compact optical design" [Sigma]

Overall, the Sigma 24-70mm F2.8 DG DN II Art Lens produces impressive image quality. The primary optical deficits are the modestly soft 24mm f/2.8 corners at relatively close distances, color fringing showing in out-of-focus areas at the long end, and moderately strong vignetting present at the wide end. Otherwise, the sharp images this lens produces set the overwhelming experience.

Focusing

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"The lens incorporates a linear motor HLA (High-response Linear Actuator) for the AF actuator. The high output HLA makes the maximum drive speed more than three times faster than the previous model*, ensuring responsive AF shooting.

* Compared by the maximum drive speed of the SIGMA 24-70mm F2.8 DG DN II | Art with that of the SIGMA 24-70mm F2.8 DG DN | Art (It is different from the actual time for AF to focus)." [Sigma]

This lens smoothly focuses extremely fast and with excellent accuracy. Only a faint shuffling is heard during AF — by an ear practically against the lens.

This lens's low-light AF capability is impressive, focusing in light levels that challenge navigation.

Non-cinema lenses usually require refocusing after a focal length change. As illustrated in the 100% crops below, the reviewed lens does not exhibit parfocal-like characteristics. When focused at 70mm, the focus distance holds well through 35mm, but zooming to the widest focal lengths results in focus blur.

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FTM (Full Time Manual) focusing is supported in Sony's DMF (Direct Manual Focus) mode with the shutter release half-pressed or the AF-ON button pressed.

Two customizable AFL (Autofocus Lock) buttons are provided. With the camera set to continuous focus mode, pressing AFL locks focus at the currently selected focus distance, enabling a focus and recompose technique. These buttons are customizable to another function using the camera's menu.

As usual for Sigma Art lenses, this one provides an outstanding manual focus experience. The strongly ribbed rubber focus ring is modestly raised from the lens barrel and is ideally positioned at the front of the lens where it is easy to locate tactilely, thanks in part to being located immediately behind the additionally wider diameter front of the lens. The MF ring is not large, but it is large enough to be easily usable. It turns smoothly with ideal resistance, and the AF/MF switch makes this feature readily accessible.

This lens features a variable manual focus adjustment rate based on the ring's rotation speed. About 470° of slow rotation imparts a full extent focus distance change, and a fast 140° rotation does the same.

It is normal for the scene to change size in the frame as the focus is pulled from one extent to the other. This effect is focus breathing, a change in focal length resulting from a change in focus distance. Focus breathing impacts photographers intending to use focus stacking techniques, videographers pulling focus (without movement to camouflage the effect), and anyone critically framing while adjusting focus.

This lens produces a strong change in subject size through a full-extent (worst-case) focus distance adjustment at 24mm where it has a shorter minimum focus distance and a modest change at the longer lengths.

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The 24-70 F2.8 Art II lens has a minimum focus distance of only 6.7" (170mm), and at 24mm, it generates an impressive 0.37x maximum magnification spec.

Model	Min Focus Distance		Max Magnification
Canon RF 24-70mm F2.8 L IS USM Lens	8.3"	(210mm)	0.30x
Sigma 24-70mm F2.8 DG DN II Art Lens	6.7"	(170mm)	0.37x
Sigma 24-70mm f/2.8 DG DN Art Lens	7.1"	(180mm)	0.34x
Sigma 28-70mm F2.8 DG DN Contemporary Lens	7.5"	(190mm)	0.22x
Sony FE 24-50mm F2.8 G Lens	7.5"	(190mm)	0.30x
Sony FE 24-70mm F2.8 GM II Lens	8.3"	(210mm)	0.32x
Tamron 28-75mm f/2.8 Di III VXD G2 Lens	7.1"	(180mm)	0.37x

At 24mm, a subject measuring approximately 3.9 x 2.6" (99 x 66mm) fills a full-frame imaging sensor at this lens's minimum MF distance. At 70mm, a 5.1 x 3.4" (130 x 87mm) subject does the same.

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The individual USPS love stamps shared above measure 1.19 x 0.91" (30.226 x 23.114mm).

At 24mm f/2.8, only the center of the frame is sharp. The 70mm f/2.8 results are improved, but only slightly so. F/11 brings on increased depth of field that provides significant improvement in corner image quality.

The minimum focus distance is measured from the imaging sensor plane with the balance of the camera, lens, and lens hood length taking their space out of the number to create the working distance. At 70mm, there is adequate working distance at the minimum focus distance but at the 24mm minimum focus distance, the plane of sharp focus is only about 0.9" (23mm) in front of the lens without the hood mounted. Expect the lens to shade even broad lighting as illustrated above.

Mount an extension tube behind this lens to significantly decrease the minimum focus distance and increase the magnification. That change will not work at 24mm, but some benefit may be found at 70mm. As of review time, Sigma does not publish extension tube specs or manufacture these items, but third-party Sony-compatible extension tubes are available.

This lens is not compatible with Sigma teleconverters.

Design & Features

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"Despite the reduction in size and added features, the lens maintains SIGMA’s renowned excellent build quality, with the uncompromisingly precise and robust construction expected of a professional photographic tool." [Sigma]

Sigma Art lenses are much-loved, in part, due to their physical design, including high-quality construction and great appearance.

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After the usual diameter increase out from the mount, this lens features a relatively straight design, with the ribs of the three rings raised slightly outward from the lens barrel.

The zoom ring is ideally positioned and modestly sized, giving up some of its predecessor's size to facilitate the aperture ring. It has a short 60° of rotation. This ring turns in the opposite direction of Sony's zoom lenses and the same as Canon's, my preference.

The extending design is normal for this lens class, with a 1.31" (33.2mm) length increase realized at 70mm. At full extension, the extended inner barrel has minimal play. A lock switch holds this lens fully retracted until unlocked, a state also available with an intentional twist of the zoom ring.

Sigma's typical raised switch bank is gone, and having all switches flush-mounted is a nice improvement. The center of the switches is raised just enough for use with gloves. These 2-position switches snap crisply into position, and all feature a white background when in the enabled position.

This lens design features dust and moisture resistance.

The front lens element is coated to repel fingerprints, dust, water, oil, and other contaminants and make cleaning considerably easier.

All other aspects remaining the same, smaller and lighter are better when it comes to lens size and weight, and this lens loses some of both compared to its predecessor.

Model	Weight oz(g)		Dimensions w/o Hood "(mm)		Filter	Year
Canon RF 24-70mm F2.8 L IS USM Lens	31.8	(900)	3.5 x 4.9	(88.5 x 125.7)	82	2019
Sigma 24-70mm F2.8 DG DN II Art Lens	26.3	(745)	3.5 x 4.7	(87.8 x 120.2)	82	2024
Sigma 24-70mm f/2.8 DG DN Art Lens	29.5	(835)	3.5 x 4.8	(87.8 x 122.9)	82	2019
Sigma 28-70mm F2.8 DG DN Contemporary Lens	16.6	(470)	2.8 x 4.0	(72.2 x 101.5)	67	2021
Sony FE 24-50mm F2.8 G Lens	15.5	(440)	2.9 x 3.6	(74.8 x 92.3)	67	2024
Sony FE 24-70mm F2.8 GM II Lens	24.5	(695)	3.5 x 4.7	(87.8 x 119.9)	82	2022
Tamron 28-75mm f/2.8 Di III VXD G2 Lens	19.1	(540)	3.0 x 4.6	(75.8 x 117.6)	67	2021

View the complete Sigma 24-70mm F2.8 DG DN II Art Lens Specifications using the site's lens specifications tool for many more comparisons.

Here is a visual comparison of several 24-70mm f/2.8 lenses:

Positioned above and below, from left to right, are the following lenses:

Sony FE 24-70mm F2.8 GM II Lens
Sigma 24-70mm F2.8 DG DN II Art Lens
Canon RF 24-70mm F2.8 L IS USM Lens

Also interesting is a comparison between f/2.8 general-purpose zoom lenses covering moderately different focal length ranges.

Shown here are the:

Sony FE 24-50mm F2.8 G Lens
Sigma 28-70mm F2.8 DG DN Contemporary Lens
Tamron 28-75mm f/2.8 Di III VXD G2 Lens
Sigma 24-70mm F2.8 DG DN II Art Lens

Use the site's product image comparison tool to visually compare the Sigma 24-70mm F2.8 DG DN II Art Lens to many other lenses.

The 82mm filter thread size is practically standard for this class of lens. While 82mm filters are rather large and expensive, the size is common, which is convenient for sharing effects filters. Also, they can be adapted to most other filter thread sizes. While a standard thickness circular polarizer filter shows little impact on this lens's peripheral shading, a slim model such as the Breakthrough Photography X4 is still recommended.

Sigma includes the lens hood in the box, and this lens comes with the substantial LH878-05 lens hood. This is a semi-rigid plastic petal-shaped hood with a ribbed interior designed to avoid reflections. A thin ribbed ring and rubberized rear section are provided for easy grip, and the push button release makes installation and removal easy. This hood offers significant protection from both impact and, especially at wide focal lengths, bright light.

Sigma provides a nice zippered, padded nylon case in the box.

The ultralight cap is also included.

Price, Value, Compatibility

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While this is not a cheap lens, it is quite affordable for its class — over $1,000.00 USD less than the regular prices of the Sony and Canon equivalents. Great performance and high utility for a low price is an attractive combination. This lens has what it takes to be a #1 bestseller.

"DG" refers to full-frame camera compatibility, and "DN" indicates that this lens was designed for short-flange mirrorless cameras. The Sigma 24-70mm F2.8 DG DN II Art Lens is compatible with all Sony E-mount cameras, including APS-C sensor format models, and it is also available in the L mount (Sigma, Panasonic, Leica).

Made in Japan, each Art lens is tested with Sigma's proprietary MTF measuring system, ensuring a quality product. Regarding the Sony E-mount version of this lens, Sigma develops, manufactures, and sells lenses based on the specifications of the E-mount, disclosed by Sony Corporation under license agreement.

Sigma provides a 1-year limited warranty, and Sigma Corporation of America provides a limited 3-year warranty extension.

The reviewed Sigma 24-70mm F2.8 DG DN II Art Lens was on loan from Sigma.

Alternatives

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There is no shortage of comparables for this lens. I'll start with an easy choice, the predecessor, the Sigma 24-70mm f/2.8 DG DN Art Lens.

In the image quality comparison at f/2.8, the II lens is slightly sharper overall. The II lens also has less lateral CA and coma, while the I lens has slightly less peripheral shading. The II has slightly less barrel distortion at 24mm and slightly more pincushion distortion in the mid-focal lengths.

The Sigma 24-70mm F2.8 DG DN II vs. 24-70mm f/2.8 DG DN Art Lens comparison shows the II lens slightly shorter (7% smaller) and weighing 10% less, 26.3 vs. 29.5 oz (745 vs. 835g). The II's HLA (High-response Linear Actuator) AF is faster, and its maximum magnification is higher, 0.37x vs. 0.34x. The II features an aperture ring with click and lock switches but gives up some zoom and focus ring size. It also has flush-mounted switches with a zoom extension lock and 2 AFL (AF Lock) buttons vs. 1.

The price? The version II's regular price is modestly higher, but the version I lens's promo price makes the difference substantial at review time.

The next most obvious lens to compare is Sony's version two of the same model, the FE 24-70mm F2.8 GM II.

The image quality comparison at f/2.8 shows the Sony lens sharper in the 24mm corners at shorter distances. The Sony lens is slightly sharper in the mid-frame area throughout most of the focal length range. The Sigma lens has less lateral CA and coma, and it shows less flaring in the site's test at 70mm. The Sony lens has slightly less f/2.8 peripheral shading and slightly less geometric distortion.

The Sigma 24-70mm F2.8 DG DN II Art vs. Sony FE 24-70mm F2.8 GM II Lens comparison shows that the Sony lens weighs slightly less and similar in size. The Sigma lens has a higher maximum magnification, 0.37x vs. 0.32x. The Sony lens costs nearly twice as much, a substantial decision factor.

If the widest 4mm is not important to you, Sigma's 28-70mm F2.8 DG DN Contemporary Lens is another option.

The image quality comparison at f/2.8 shows the 24-70mm lens sharper, especially at 70mm. The 24-70 has less coma, less peripheral shading at f/2.8, and less barrel distortion at the wide end. The 28-70 has less pincushion distortion at 35mm but more at 70mm.

The Sigma 24-70mm F2.8 DG DN II Art vs. 28-70mm F2.8 DG DN Contemporary Lens comparison shows the 28-70 considerably smaller and weighing far less, 16.6 vs. 26.3 oz (470 vs. 745g). Along with the 28-70's smaller diameter comes a smaller filter size, 67mm vs. 82mm. The 24-70 has 11 aperture blades vs. 9, which is still a good number, and a far higher maximum magnification, 0.37x vs. 0.22x. Also higher is the 24-70's price.

Use the site's tools to create additional comparisons.

Summary

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Will the upgrade to the best-selling mirrorless camera lens become your kit's MVP? The Sigma 24-70mm F2.8 DG DN II Art Lens has what it takes to do so.

At f/2.8, the 24mm corners are soft at modestly close distances, color fringing shows in out-of-focus areas at the long end, and vignetting is present at the wide end, but overall, this lens produces sharp images. Its high utility focal length range, wide f/2.8 aperture, fast and accurate HLA AF, excellent optical quality, and excellent design make it a great choice for general-purpose needs. The affordable price seals the deal. Look for this lens at the top of the best-selling lenses list.