Sigma 24105mm F4 Dg Os Hsm Art for Canon
In summary
The 24-105mm focal length is a versatile range on cameras with 36 10 24 mm sensors. It'southward less attractive on cameras with APS-C sized chips, covering the equivalent of 36-157.5mm on Nikon, Pentax and Sony cameras and 38.4-168mm on Canon bodies.
On 'total frame' cameras, this lens would exist an excellent everyday lens, covering everything from landscapes to portraiture and effect and reportage photography. The abiding f/four maximum aperture is fast enough to accommodate most of these applications and nonetheless provide decent out-of-focus blurring, peculiarly at longer focal length settings.
While not hugely meliorate than others in its class, Sigma's 24-105mm f/4 DG HSM OS Art series lens is much more than affordably priced. Its build quality and splendid centre-of-frame resolution make information technology worthy of consideration, particularly for owners of 'total frame' DSLRs who want a capable general-purpose lens.
Sigma is obviously targeting Catechism users with this lens by offer the same basic specifications as the popular Canon EF 24-105mm f/four USM L IS, which Canon has been boring to update. The Sigma lens is a fleck larger and heavier than the Canon culling and feels more solidly built. Superficially, it's also better finished and more than comfortable in the hands.
However, Canon owners should be aware that in-photographic camera Peripheral Illumination Correction data for this lens is not available, as it is for Catechism lenses. We don't see this as a serious problem since vignetting is relatively easy to correct with decent editing software. Even so, given the force of the vignetting at broad apertures, for photographers who don't edit their images, this issue may exist a 'deal-breaker'.
Since neither Nikon nor Sony has lenses that encompass the 24-105mm zoom range, this lens provides an bonny alternative to the significantly more expensive AF-S Nikkor 24-70mm f/two.8G ED, or AF-Due south Nikkor 24-120mm f/4G ED VR for Nikon FX camera owners, or the very pricey Carl Zeiss Vario-Sonnar T* 24-70mm f/ii.8 ZA SSM, the but option for owners of Sony DSLRs.
Full review
Sigma's 24-105mm f/4 DG Os HSM Fine art lens is a premium lens designed for full frame cameras', although it can too be used on cameras with APS-C sensors. As an 'Art' lens, information technology'south designed to offer 'sophisticated optical performance' and meet the needs of creative photographers. It is available in mounts for Catechism, Nikon, Sigma and Sony, the latter without stabilisation as Sony Alpha DSLRs have body-integrated stabilisation.
Sigma's 24-105mm f/4 DG Bone HSM Art lens, shown with the supplied lens hood attached. (Source: Sigma.)
The optical blueprint (shown below) consists of nineteen elements in 14 groups and includes three aspherical elements, two elements fabricated from FLD (fluorite-like low dispersion) glass and ii SLD (Special Depression Dispersion) elements, as shown in the diagram beneath. Nine iris blades shut to create a rounded diaphragm that creates attractive background blurring (bokeh).
The diagram above shows the positions of the exotic elements in the optical pattern of the lens. (Source: Sigma.)
This lens features a number of Sigma's proprietary technologies, including the Hyper Sonic Motor (HSM) ultrasonic autofocusing drive, optical stabilisation (OS) and Super Multi-Layer Blanket applied science which suppress reflections between the epitome sensor and lens surfaces to minimise flare and ghosting. (Sony mount lenses don't include OS as sensor-shift stabilisation is included in all camera bodies.)
The utilise of Thermally Composite Textile (TSC) reduces overall size and weight. As role of the new Global Vision blueprint, this lens is uniform with the Sigma USB dock and software, which allows further customisation. It'southward too eligible for the new Mount Conversion Service. The lens is supplied with front and end caps plus a petal-shaped lens hood and a soft instance.
Who's it For?
The 24-105mm focal length is a versatile range on cameras with 36 x 24 mm sensors. Information technology'southward less bonny on cameras with APS-C sized chips, roofing the equivalent of 36-157.5mm on Nikon, Pentax and Sony cameras and 38.4-168mm on Canon bodies.
On 'full frame' cameras, this lens would be an excellent everyday lens, roofing everything from landscapes to portraiture and event and reportage photography. The constant f/4 maximum aperture is fast enough to accommodate most of these applications and all the same provide decent out-of-focus blurring, particularly at longer focal length settings.
The pattern and pricing of this lens is very competitive, as shown in the table below, which compares its central specifications with their fastest close equivalents from the leading DSLR manufacturers.
| Brand | Focal length range | Max. Aperture | Dimensions (Diameter 10 Length) | Weight | Street price |
| Sigma | 24-105mm | f/4 (constant) | 88.6 x 109.4 mm | 858 grams | $899 |
| Canon | 24-105mm | f/4 (constant) | 83.5 x 107 mm | 670 grams | $1266 |
| Nikon | 24-120mm | f/iv (constant) | 84 x 103.5 mm | 710 grams | $1569 |
| Sony | 24-70mm | f/2.8 (constant) | 83 x 111 | 955 grams | $2214-$2399 |
Outdoor photographers should notation that this lens is not weatherproof "" despite its excellent build quality. This may reduce its appeal to some photographers.
Canon'southward L-series lenses (including the EF 24-105mm f/4L IS USM) include gaskets and O-rings to keep dust and wet out. Most Nikon zoom lenses with a maximum discontinuity of f/2.8 are weather condition-resistant (including the Nikkor 24-120mm f/four VR and 24-85mm VR). And so are Sony's G-series lenses.
Build and Ergonomics
As mentioned higher up, the build quality of this lens is fantabulous. It also looks and feels smart, solid and professional and all adjustments are stable and smoothen. No zoom lock is provided and none is required since the lens doesn't skid when carried pointing downwards. Despite having ii inner barrels, we institute no evidence of whatsoever unsteadiness when the lens was zoomed in and out.
The overall length of the lens extends by approximately 45 mm every bit you zoom from the 24mm to the 105mm focal length. The front of the lens rotates through about 45 degrees during this adjustment. (The Catechism EF 24-105mm f/4 USM 50 IS too rotates a footling during zooming just less than the Sigma lens.)
Focusing adjustments are totally internal, enabling easy utilise of angle-disquisitional attachments, such equally polarisers. The zoom band is located at the front end of the outer barrel. It's 38 mm wide with focal lengths stamped on the united nations-ribbed front end 7 mm section.
Indicators are provided for the 24, 35, fifty, 70, lxxx and 105 mm focal lengths. They line upwards against a white dot on the front end section of the inner barrel. A 26 mm wide strip of thick rubberised ridges provides a secure and comfy grip band. Engraved on the lower border of the zoom ring are three numbers, which correspond the concluding three digits of the release twelvemonth for the lens.
The focusing ring is immediately behind the zoom band. It's about 13 mm wide and carries a slim ribbed grip ring. There are 'soft' stops at each cease of the distance range, congruent with the settings in the distance window immediately behind the focusing ring.
Both the focusing and zoom rings were firm just very polish to adjust. This lens has the same 45 cm minimum focusing distance every bit the Catechism 24-105mm lens and the distance window displays measurements in metres and feet from 0.45 m to infinity.
Slider switches for the focusing and stabilisation modes are located to the left of the distance window in the aforementioned (non-moving) section of the lens barrel. The Focus mode switch selects between AF and MF and transmission over-ride is available in the AF position. Similar other Art lenses, this lens has the 'A' logo embedded in this section of the lens barrel.
The lower role of the barrel in this section is ribbed to make it comfortable and secure to agree. Backside this section, the lens slopes gently in towards the mounting plate. The but thing on this section is a white indicator dot for aligning the lens with the camera'south mounting plate.
Performance
Some functioning aspects "" notably autofocusing and stabilisation "" were near identical to the Canon 24-105mm f/four lens. This is understandable every bit both companies use similar technologies and information technology would be surprising if Sigma's HSM AF drive was faster and quieter than Canon's USM bulldoze "" or vice versa. The Os system in the review lens provided reliable shake bounty of almost three stops, which is similar to Catechism's IS system in the 24-105mm f/four lens.
Subjective assessments of test images showed them to exist generally very sharp, with centre sharpness being very high at wide to mid-range aperture settings. Border softening was noticeable at the widest apertures. Stopping downwards yields progressive improvements to peripheral sharpness.
Imatest confirmed our subjective assessments and showed the highest resolution to exist at around f/5.half dozen with the 24mm focal length. Diffraction-limiting began to reduce resolution from virtually f/11, where the differences between center and edge sharpness were fairly minimal. The graph below shows the results of our Imatest tests across the zoom and discontinuity ranges.
Lateral chromatic abnormality was reasonably well controlled and generally in the 'low' range. In the graph of our Imatest results below, the cherry-red line separates negligible and depression CA, while the green line marks the boundary of the 'moderate' CA band.
Autofocusing was as fast and quiet equally we've found with other Sigma lenses fitted with ultrasonic AF drive motors. Regardless of the low-cal levels, the review lens was quick to lock-on and more often than not accurate.
Backlit subjects presented few problems and we experienced no loss of contrast or flare artefacts with strongly backlit scenes, regardless of the focal length setting. Vignetting was obvious in the corners of shots taken at f/4 with all focal lengths. Barrel distortion was noticeable at 24mm but changed to barely perceptible pincushion distortion at 105mm.
With a minimum shut-focusing distance of around 45cm, this lens can merely exist useful for close-ups at longer focal lengths. The maximum magnification ratio of 0.22x (1:4.6) is acceptable for larger subjects at 105mm.
Like other Fine art lenses we've reviewed, the ix-bladed iris diaphragm ensures groundwork highlights remain circular and produced bonny bokeh at wide aperture settings. Out-of-focus highlights were virtually circular in shape with some outlining visible in high-contrast transitions. Blurring in areas with low contrast was very polish.
As part of Sigma's Global Vision blueprint, this lens is uniform with the new Sigma USB dock, which enables users to customise AF microadjustments to adapt their personal preferences. Sigma's MSRP for this product is US$79; it's selling in Australia for around AU$85).
Decision
While not hugely better than others in its form, Sigma'south 24-105mm f/4 DG HSM OS Art series lens is much more affordably priced. Its build quality and excellent centre-of-frame resolution make it worthy of consideration, particularly for owners of 'full frame' DSLRs who want a capable general-purpose lens.
Sigma is plain targeting Canon users with this lens by offering the same bones specifications as the popular Canon EF 24-105mm f/4 USM L IS, which Canon has been irksome to update. The Sigma lens is a bit larger and heavier than the Canon alternative and feels more than solidly built. Superficially, it'due south besides better finished and more comfortable in the hands.
Yet, Canon owners should exist enlightened that in-camera Peripheral Illumination Correction data for this lens is non available, as information technology is for Canon lenses. We don't see this as a serious trouble since vignetting is relatively easy to correct with decent editing software. Nonetheless, given the force of the vignetting at wide apertures, for photographers who don't edit their images, this event may be a 'deal-breaker'.
Since neither Nikon nor Sony has lenses that cover the 24-105mm zoom range, this lens provides an bonny alternative to the significantly more expensive AF-S Nikkor 24-70mm f/2.8G ED, or AF-S Nikkor 24-120mm f/4G ED VR for Nikon FX camera owners, or the very pricey Carl Zeiss Vario-Sonnar T* 24-70mm f/2.8 ZA SSM, the simply pick for owners of Sony DSLRs.
SPECS
Motion-picture show bending: 84.ane to 23.3 degrees
Minimum discontinuity: f/22
Lens construction: 19 elements in 14 groups (including aspherical lens chemical element)
Lens mounts: Canon, Nikon, Sigma, Sony (without stabilisation)
Diaphragm Blades: nine (circular aperture)
Focus drive: Hyper-Sonic Motor
Stabilisation: Bone Standard (approx. 3 stops compensation)
Minimum focus: 45 cm
Maximum magnification: 0.22x (1:four.6)
Filter size: 82 mm
Dimensions (Diameter ten Fifty): 88.six x 109.iv mm
Weight: 885 grams
Standard Accessories: Front and end caps plus petal-shaped lens hood
TESTS
Based on JPEG images captured with the lens on the EOS 5D Mark II body.
SAMPLES
Vignetting at 24mm, f/4; EOS 5D 2 body.
Vignetting at 105mm, f/iv; EOS 5D II torso.
Rectilinear distortion at 24mm; EOS 5D Ii body.
Rectilinear distortion at 105mm; EOS 5D II body.
EOS 5D II body; 24mm focal length, ISO 100, 1/250 2d at f/eleven.
EOS 5D II body; 35mm focal length, ISO 100, 1/250 2d at f/11.
EOS 5D II body; 50mm focal length, ISO 100, ane/320 2nd at f/9.
EOS 5D II trunk; 75mm focal length, ISO 100, 1/320 second at f/8.
EOS 5D Ii body; 105mm focal length, ISO 100, 1/400 second at f/7.1.
EOS 7D body; 24mm focal length, ISO 100, 1/320 2nd at f/eleven.
EOS 7D body; 35mm focal length, ISO 100, one/400 second at f/10.
EOS 7D trunk; 50mm focal length, ISO 100, i/400 2nd at f/8.
EOS 7D body; 80mm focal length, ISO 100, i/320 second at f/eight.
EOS 7D body; 105mm focal length, ISO 100, i/320 second at f/seven.one.
EOS 5D II body; close-up at 24mm; ISO 100, 1/40 second at f/4.
EOS 5D Ii body; close-up at 105mm; ISO 100, one/50 2nd at f/4.
EOS 5D Ii body; strong backlighting at 24mm; ISO 100, i/500 second at f/fourteen.
EOS 5D Two body; strong backlighting at 105mm; ISO 100, one/400 2nd at f/viii.
EOS 5D Two body; 105mm focal length, ISO 100, 1/2000 second at f/four.
EOS 5D Two body; 24mm focal length, ISO 100, ane/twenty second at f/five.half dozen.
EOS 5D II torso; 74mm focal length, ISO 100, 1/250 second at f/7.1.
EOS 5D 2 trunk; 68mm focal length, ISO 100, 1/200 second at f/10.
EOS 5D II body; 105mm focal length, ISO 100, 1/400 2d at f/vii.i.
EOS 5D II body; 24mm focal length, ISO 100, 1/200 second at f/x.
EOS 5D II body; 105mm focal length, ISO 100, one/320 second at f/7.i.
EOS 1100D body; 50mm focal length, ISO 100. one/250 2d at f/seven.1.
EOS 1100D trunk; 80mm focal length, ISO 100. ane/250 second at f/half dozen.iii.
Rating
RRP: AU$899; The states$899 (MSRP $1260)
- Build: nine.0
- Handling: 8.viii
- Image quality: 9.0
- Versatility: nine.0
Buy
Source: https://www.photoreview.com.au/reviews/lenses/full-frame/sigma-24-105mm-f4-dg-os-hsm-art-lens/
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