Sigma 12-24mm f/4 dg hsm art lens review

Image Quality

The strongest feature of the Sigma 24mm f1.4 DG is that it’s super, super sharp. Not only is the lens sharp but it has beautiful and very saturated colors–if you’re into that look. Beyond this, it’s quite contrasty though not as contrasty as the 35mm f1.4 and 50mm f1.4. For that reason, film photographers may genuinely enjoy this lens. Like many of Sigma’s other more recent lenses under their Global Vision program, the optics are incredible and will breathe new life into old cameras. Indeed, there is a whole lot to love about this lens and if you’re a lover of the 24mm focal length then we’re positive that it will stay permanently affixed to your camera.

Sharpness

Sigma’s Global Vision lenses are some of the sharpest that you can get your hands on today, but the 24mm f1.4 really takes the cake here. It’s not as sharp as the company’s 50mm f1.4 and if we really had to stack it up, it would be only a hair softer than the 35mm f1.4. Still, that’s no small feat. It’s leaps and bounds better than many other offerings including Rokinon’s, Zeiss’s, Nikon’s and Canon’s L version.

Seriously, if you want a 24mm lens then this is the one you’ll want.

Bokeh

As for the bokeh, there is very little to complain about here. You’ll get all the bokeh you want and it will be on the border between creamy and hazy. Indeed, the bokeh will not be distracting at all to the scene.

Color Rendition

When it comes to color, very few can do it like Sigma. The colors from the 24mm f1.4 are very saturated–which is great for landscapes, cityscapes, sunsets and all. To be honest, we didn’t have too many qualms about it for skin tones either. If you’re purchasing this lens, know that the colors will be exceptional and you won’t have a single complaint.

We strongly recommend this lens for landscapes because of just how great the colors are–especially if you’ve got an older camera.

Color Fringing

One of our minor complaints about this lens has to do with the color fringing. It’s surely there in the most high contrast areas–but it’s easily removed in post-production.

Let’s not dwell on this: it’s 2015 and it can be removed.

Conclusions

The Sigma 12-24mm F4 DG HSM is a fantastic option for full-frame Canon and Nikon owners who want an ultra-wide zoom that doesn’t break the bank. It’s solidly built, boasts a strong optical design, and is affordably priced when compared with the competition. Yes, it’s big and heavy, but that’s a fact of life when it comes to an ultra-wide zoom for an SLR—if you want something smaller, consider switching to a mirrorless system.

The competition is obvious on the Canon side of the fence. If you feel that 12mm isn’t wide enough for your needs, you’ll pay a premium for the EF 11-24mm f/4L USM. Nikon owners don’t have anything nearly as wide to choose from, though an argument can be made for the Nikkor 14-24mm f/2.8 or the Tamron 15-30mm f/2.8 if you’re not happy with an f/4 zoom. Ironically, the lens is a less compelling option for the small number of Foveon sensor fanatics, as Sigma doesn’t sell a full-frame camera. But if you’ve got an SLR with a 24 by 36mm image sensor, and want a wide, wide, wide lens, the Sigma 12-24mm F4 DG HSM is the way to go based on its price and performance, and earns our Editors’ Choice recommendation.

Sigma 12-24mm F4 DG HSM Art

4.5

Editors’ Choice

See It

$1,219.00 at Amazon

MSRP $1,599.00

Pros

• Ultra-wide lens with zoom capability.
• Very sharp.
• Solid edge performance.
• Available for multiple camera systems.

View More

Cons

• Big and heavy.
• Doesn’t support front filters.
• Barrel distortion at wider angles.
• Dimmed corners at 12mm.

View More

The Bottom Line

The Sigma 12-24mm F4 DG HSM Art is a full-frame zoom lens with an ultra-wide field of view and f/4 aperture. It’s very sharp, and it’s less expensive than competing lenses.

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Summary

As I see it, there is always room on the market for another good ultra-wide aperture prime lens.
Though I don’t want to discount the AF inconsistency I occasionally encountered, Sigma continues to deliver greatness with their Art lenses and considering the performance
the 24mm f/1.4 Art Lens is delivering at its price point, this lens is another winner.
For considerably less cost than the Canon and Nikon equivalent, the 24 Art provides (marginally) better image sharpness in a similar feature package.
For those reasons and the versatility afforded by a wide focal length combined with a very wide aperture, Sigma’s 24mm f/1.4 Art lens will surely find significant popularity.

Bringing you this site is my full-time job (typically 60-80 hours per week). Thus, I depend solely on the commissions received from you using the links on this site to make any purchase. I am grateful for your support! — Bryan

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More Sigma 24mm f/1.4 DG HSM Art Lens Related Information

Sigma 24mm f/1.4 DG HSM Art Lens

• MTF
• Specifications
• Press Release

by Bryan Carnathan

Manufacturer ID:SI2414DGCReview Date: 2015-04-13

Navigate the Reviews« Sigma 20mm f/1.4 DG HSM Art Lens Review» Sigma 28mm f/1.4 DG HSM Art Lens Review

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Premium Optics at a Reasonable Price

Sony a7R IV, f/16, 0.8-second, ISO 100 (Credit: Jim Fisher)

Sigma’s Art series lenses combine quality optics with premium build materials and often cost far less than first-party options. The 24mm F1.4 DG DN Art carries on the tradition—for around $800, the lens keeps up with expensive alternatives like the $1,400 Sony FE 24mm F1.4 GM in most respects. That said, pros and well-heeled enthusiasts may prefer the FE 24mm for its video-tuned linear focus response, compatibility with Sony’s breathing compensation function, and lighter weight.

For general use, we don’t have any major complaints about the 24mm F1.4 DG DN Art. Focus locks quickly, photos look sharp, and blurred backgrounds are easy to achieve. Add dust, splash, and anti-smudge fluorine protection, and you get a lens suitable for any condition, indoors or out.

Sony a7R IV, f/1.4, 1/320-second, ISO 100 (Credit: Jim Fisher)

We’re disappointed the lens doesn’t quite live up to its promise as an astrophotography specialist, however. Although stars were pinpoint through much of the frame, we did see the sagittal coma flare effect toward the edges. If you’re buying a lens strictly for astrophotography, the Sigma 20mm F1.4 DG DN Art is a better choice.

Of course, the 24mm F1.4 Art is just one of several excellent value options from Sigma. The company’s 24mm F3.5 DG DN Contemporary won us over because of its compact size and 1:2 macro focusing. And then, a few months later, the 24mm F2 DG DN Contemporary earned our Editors’ Choice award as a value option with a big f-stop.

(Credit: Jim Fisher)

As a reviewer, I don’t like to give every participant a trophy, but Sigma’s 24mm F1.4 DG DN Art also deserves our Editors’ Choice award. If you can’t quite justify the cost of the FE 24mm F1.4 GM and frequently work in inclement weather, this is the Sigma 24mm to get. We continue to recommend the 24mm F3.5 and 24mm F2 Contemporary as well. They’re still excellent lenses, but just now have upmarket competition.

Sigma 24mm F1.4 DG DN Art

4.0

Editors’ Choice

See It

$799.00 at B&H Photo Video

MSRP $799.00

Pros

• Stunning F1.4 optics with outstanding resolution
• Bright aperture for blurred background look
• Focuses quickly and quietly
• Full-frame sensor coverage
• Dust, splash, and fluorine protection
• Available for E- and L-mount systems

View More

Cons

• Shows some focus breathing
• Sagittal coma flare visible in night sky images
• Sunstars aren’t quite crisp

The Bottom Line

The Sigma 24mm F1.4 DG DN Art lens produces exceptional images, focuses quickly, and features substantial weather protection, all for about half the price of name-brand alternatives.

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Аналоги (для Canon EOS )

Sigma 12-24 единственный в своем роде – если Вам требуется фокусное расстояние 12 мм. — для 35-и миллиметровой камеры, у Вас просто нет альтернативы. Фирма Canon анонсировала объектив 12-24 серии «L», который обладает лучшим качеством изображения по углам кадра, к тому же еще и пыле-, влагозащищенный, однако он до сих пор не поступил в продажу (конец 2007 г.)
Sigma 10-20mm f/4.5-5.6 EX DC HSM обладает более коротким фокусным расстоянием, но он работает только с APS-C камерами, где подобный угол обзора эквивалентен 16-32 мм. Он немного «резче», чем 12-24 и имеет меньшую тенденцию к образованию бликов; он меньше по размерам и дешевле, так что он будет предпочтительней, если Вы планируете работать с APS-C камерами.
Canon EF 17-40mm f/4 L USM и Canon EF 16-35mm f/2.8 L USM обладают лучшим качеством изображения, в частности по краям и обладают значительно лучшей конструкцией (пыле-, влагозащищенные), однако их угол обзора значительно меньше, чем Sigma 12-24.
Canon EF 14mm f/2.8 L USM обеспечивает практически аналогичный Sigma 12-24 угол обзора, однако не соответствует фокусному расстоянию 12 мм. Объектив значительно дороже, менее универсален и, к тому же, он обладает постоянным фокусным расстоянием.

Introduction

The Sigma 12-24mm F4 DG HSM Art is a new ultra-wide-angle zoom lens for full-frame and APS-C DSLR cameras. It offers the equivalent angle of view as an 18-36 mm lens on an APS-C system (depending on the crop factor). The Sigma 12-24mm F4 DG HSM Art has 16 elements in 11 groups and the largest aspherical glass mold (80mm diameter) in the industry and it features a rounded 9 blade diaphragm which creates an attractive blur to the out of focus areas of the image. It has a minimum focusing distance of 24cm / 9.4in and a maximum reproduction ratio of 1:4.9, silent high-speed AF performance, full-time manual focusing, dust- and splash-proof construction and Sigma’s Super Multi-Layer Coating to reduce flare and ghosting. The Sigma 12-24mm F4 DG HSM Art lens retails for £1649.99 / $1599 in the UK and the US, respectively.

Image Quality

I tested the 12-24mm with the 50MP Canon EOS 5DS R, the highest resolution full-frame SLR on the market today. At 12mm f/4 the lens puts up very good numbers, notching 3,295 lines per picture height using Imatest’s center-weighted average analysis. We look for 2,200 lines at a minimum when working with a high-resolution camera, and the very, very best lenses can record a bit more than 5,000 lines when paired with a 50MP sensor.

The average score is solid, competing with the Canon 11-24mm ($2,584.95 at Amazon) at 11mm f/4 (3,317 lines). As you’d expect, at 12mm f/4 the Sigma is sharpest in the center third of the frame (4,244 lines). The score drops off as you move to the middle third (2,626 lines) and outer third of the frame (2,399 lines), but scores are still acceptable there. That’s more than you can say for the Canon, which shows drops to around 1,600 lines at the edges of the frame when shooting at 11mm f/4.

If you have more light available, you’ll want to stop down a bit to improve sharpness across the frame. At 12mm f/5.6 the Sigma’s average score jumps to 4,165 lines, with a center that tops 5,000 lines and the remainder of the frame delivering scores in the 3,500-line range. That’s an outstanding score at the center, and excellent resolution up to the edges, especially when you remember just how wide 12mm is on a full-frame system.

Diffraction sets in a bit early with the 5DS R—its high-resolution sensor has a lot to do with that—but you can still feel comfortable shooting at f/8 (3,974 lines) and f/11 (3,666 lines). I’d avoid f/16 (3,122 lines) and f/22 (2,346 lines), however.

At 18mm the lens resolves 3,138 lines at f/4, with most of the frame showing better than 3,000 lines and the edges hitting 2,500. At f/5.6 the edges hit 3,100 lines and the average score improves to 3,500 lines. Image quality peaks at f/8 (3,732 lines) and f/11 (3,666 lines), before dropping a bit at f/16 (3,233 lines) and more at f/22 (2,392 lines).

Zooming all the way to 24mm nets about 3,000 lines at f/4, with solid edges that are just a little soft at 2,125 lines. Center resolution is excellent (3,695 lines) and the middle area of the frame is very good (2,736 lines). You’ll get more consistent quality at f/5.6, where the average score is 3,142 lines, which holds up through most of the frame, with edges that show about 2,550 lines. The entirety of the frame tops 3,300 lines at f/8, with the average hitting 3,416 lines, and the best quality is at f/11 (3,501 lines). There’s the expected drop in resolution at f/16 (3,198 lines) and f/22 (2,519 lines).

Barrel distortion is always a concern with ultra-wide lenses. At 12mm we see it, as expected. Imatest measures about 6.4 percent, which draws a straight line with a noticeable outward curve, just a little bit more than the Canon 11-24mm at 11mm. The distortion disappears as you zoom in. For wide-angle shots you can apply correction using software to straighten lines, but as this is a third-party lens you won’t enjoy the benefits of in-camera distortion correction.

Vignetting is also typically controlled in-camera (for JPG shooters) with a first-party lens. Wide-angles are prone to showing some corner dimness, and the Sigma doesn’t avoid that. At 12mm f/4 we see corners that lag behind the center in illumination by about 2 f-stops (-2EV), which is actually fairly well-controlled for a lens this wide. Stopping down to f/5.6 cuts it to -1.5EV, and it settles in at -1.2EV at f/8 and narrower settings. You’re always going to notice some dimness at the periphery of the frame at 12mm, but you can correct with software.

The vignette ls lessened as you zoom. At 18mm f/4 it’s -1.1EV, and it drops to -0.8EV at f/5.6. When the difference is less than -1EV we consider it negligible in real-world shooting. At 24mm f/4 you get about -1.3EV, but it drops to -0.7EV at f/5.6 and is even less at narrower f-stops.

Alternatives to the Sigma 24mm f/1.4 DG HSM Art Lens

The primary alternatives to the Sigma 24 Art lens, those lenses sharing the same fundamental feature set, are the two positioned next to it in the comparison photos last shown.
They are the Canon EF 24mm f/1.4L II USM Lens and the
Nikon 24mm f/1.4G AF-S Lens.

The 24 Art is, overall, delivering best-in-class image quality performance, but this lens’ lead over the Canon and Nikon equivalents is not dramatic (to be honest, not as dramatic as I had hoped).
From a price/performance perspective, the difference between these lenses is huge.
The Sigma’s biggest advantage over these two lenses is the very strong price advantage it holds.
The 24 Art’s price tag is just over 50% of the price of the Canon and just under 45% of the price of the Nikon.
That factor alone will make the decision for many.
This lens’ biggest disadvantage is AF inconsistency.

In addition to studying the standardized test comparisons, I shot several outdoor comparisons between the Sigma and the Canon 24 L II that has been part of my kit since it was introduced.
Concisely describing the image quality differences between these lenses is challenging.
I could share comparison results that would paint either lens the winner.
Overall, these lenses are more similar than they are different, but I would give the Sigma the slight edge in wide aperture sharpness.
The Sigma has less vignetting at wide apertures, better bokeh and very slightly less CA.
The Canon has modestly less flare, especially at narrow apertures.
The Canon’s MF ring is slightly smaller, but it has 145° of rotation vs. the Sigma’s 98°.
The Sigma focuses slightly closer for a higher MM (0.19x vs. 0.16x).
The Canon is weather sealed.

My experience with the Nikon is not nearly as significant as with the Canon, but in lab testing, I see the Sigma and Canon holding a slight image sharpness edge at f/1.4.
The Nikon has noticeably more CA.
The Nikon’s MF ring is slightly smaller than the Sigma, but it has 150° of rotation vs. the Sigma’s 98°.
Otherwise, these lenses are very similar.

The Samyang 24mm f/1.4 US UMC Lens shares the max aperture and focal length, but this lens lacks autofocus.
The Sigma has noticeably better image sharpness until stopped down to at least f/5.6 and the Samyang has some barrel distortion.
The Samyang’s roughly 60% lower price tag is its primary advantage.

If f/2.8 is good enough, your 24mm options are plentiful including some very good zoom options.
Use the review navigation menus to investigate these options.

Reasons to Buy Sigma 12-24mm F4.5-5.6 EX DG Aspherical HSM Lens

Here we’ve included a summary of the advantages and disadvantages of the Sigma 12-24mm F4.5-5.6 EX DG Aspherical HSM lens in a list form to help you determine whether it offers the features you need.

PROs

Autofocus

Distance Scale

DoF(Depth of Field) Scale

Hood supplied

Full-time Manual Focusing

Internal Focusing

Covers Full-Frame Sensor

Extreme Wide-angle capability

Minimum focus distance of 0.28m / 11.0 inch

Report a correction

Buy Sigma 12-24mm F4.5-5.6 EX DG HSM from or B&H PHOTO

CONs

No Weather Sealing

Slow Aperture at Wide end

Slow Aperture at Tele end

Variable Aperture

Lens Mount

Sigma 12-24mm F4.5-5.6 EX DG HSM is compatible with cameras that have a Nikon F (FX) lens mount. Some of the latest released cameras that are compatible with the Nikon F (FX) lenses are Nikon D6, Nikon D780 and Nikon D3500.

Sigma 12-24mm F4.5-5.6 EX DG HSM is also available in Canon EF , Pentax KAF, Sony Alpha and Sigma SA mounts.

Size, Weight and Filter Thread

Size and weight is a very important decision factor when searching for your next lens. Sigma 12-24mm F4.5-5.6 EX DG HSM has a maximum diameter of 87mm and total length of 103mm. It weighs 600g / 21.2 oz.

Optical Image Stabilization

Sigma 12-24mm F4.5-5.6 EX DG HSM doesn’t have an optical image stabilization system so the only option to stabilize the image taken with this lens is to mount on a camera body with IBIS (sensor based In-body image stabilization).

Alternatively, you can check the Nikon AF-P DX 10-20mm F4.5-5.6G VR , Tamron 10-24mm F3.5-4.5 Di II VC HLD in Nikon F (FX) mount that have similar focal range but features Optical Image Stabilization.

Lenses Similar to Sigma 12-24mm F4.5-5.6 EX DG HSM With Optical Image Stabilization

Model		Coverage	Weight	Focusing	Street Price
	Nikon AF-P DX Nikkor 10-20mm F4.5-5.6G VR Compare	APS-C / DX	230gr	AF
	Tamron 10-24mm F3.5-4.5 Di II VC HLD Compare	APS-C / DX	440gr	AF

Zoom Method

Sigma 12-24mm F4.5-5.6 EX DG HSM features Rotary (internal) zoom method where the length of the lens doesn’t change while you are zooming in or out. Even though this design has a size disadvantage in general compared to extending designs, it has the benefits of better sealing against dust and moisture, no zoom creep and no weight balance shift while zooming.

Maximum Magnification Ratio

Sigma 12-24mm F4.5-5.6 EX DG HSM has a Max Magnification Ratio of 0.14x and has a minimum focusing distance of 0.28m. 0.14x means that the max magnification ratio is very low and not suitable even for modest close-up shots.

Below are the 3 Ultra-Wideangle Zoom type Nikon F mount lens alternatives with highest max magnification ratios:

• Nikon AF-S Fisheye 8-15mm F3.5-4.5: 0.34x — (Compare)
• Tokina 17-35mm f4 Pro FX: 0.21x — (Compare)
• Tokina 12-28mm f4 Pro DX: 0.2x — (Compare)

Aperture

Sigma 12-24mm F4.5-5.6 EX DG HSM is a variable aperture lens with a max aperture of f4.5 and a minimum aperture of f22 at 12mm, and a max aperture of f5.6 and minimum aperture of f22 at 24mm .

Focal Length	Max Aperture	Min Aperture
12mm	F4.5	F22
24mm	F5.6	F22

Optical Formula

Sigma 12-24mm F4.5-5.6 EX DG HSM’s optical formula consists of 16 elements in 12 groups . Following special elements are used in this design:

• Four SLD glass elements
• Three aspherical elements

Lens Hood

Sigma 12-24mm F4.5-5.6 EX DG HSM comes with a built-in lens hood which is handy to reduce lens flare and glare in your photos.

Popular Comparisons of Sigma 12-24mm F4.5-5.6 EX DG HSM

Top Alternatives of Sigma 12-24mm F4.5-5.6 EX DG HSM Lens

Model		Coverage	Weight	Focusing	Street Price
	Sigma 12-24mm F4.5-5.6 II DG HSM Compare	35mm FF	670 g / 1.47 lb	AF
	Nikon AF-S DX Nikkor 10-24mm f3-5-4.5G ED Compare	APS-C / DX	460 g / 1.01 lb	AF
	Nikon AF-S Nikkor 14-24mm f2.8G ED Compare	35mm FF	970 g / 2.13 lb	AF
	Nikon AF-S DX Nikkor 12-24mm f4G ED-IF Compare	APS-C / DX	485 g / 1.07 lb	AF
	Nikon AF-S Nikkor 16-35mm f4G ED VR Compare	35mm FF	685 g / 1.51 lb	AF
	Sigma 10-20mm F3.5 EX DC HSM Compare	APS-C / DX	520 g / 1.14 lb	AF
	Tokina AT-X Pro 12-24mm f4 DX II Compare	APS-C / DX	540 g / 1.19 lb	AF
	Tokina AT-X 17-35mm f4 Pro FX Compare	35mm FF	600 g / 1.32 lb	AF

Ergonomics

Taken from our

The Sigma 24mm f1.4 Art lens is a lens that is very much like many of the company’s other Art lens offerings. It has a metal exterior, big focusing ring, distance scale, and AF/MF switch. It’s beautiful–and looks something like Hasselblad glass.

The lens has an equivalent size to something about the size of a healthy apple, and this isn’t deniable at all once you hold the lens. It won’t look like the red (or green or yellow) delectable fruits, but it surely will make you think of them after you hold this lens.

The front of the lens has a 77mm front filter thread that can be protected by the lens hood. But otherwise, that’s a whole lot of front element for many photographers.

Handling and Autofocus

We paired the 24mm Art with the full-frame Sony a7R IV for testing. The lens balances well—it’s not overly large or front-heavy like more exotic options such as the Sigma 20mm F1.4 DG DN Art. We definitely prefer the 24mm Art’s form for everyday photography, handheld use, and photo walks; the bigger 20mm Art is a more specialized tool for architecture and night sky photos.

(Credit: Jim Fisher)

Sigma puts a slew of controls right on the barrel, supplementing those on the camera body. Discrete rings set manual focus and adjust the f-stop. You also get a customizable function button that defaults to AF-ON on most cameras. Toggles include a Lock switch that disables the function button and focus ring when you engage it; this switch is a useful tool for astrophotographers who want to lock in focus on the stars. Another toggle switch swaps between manual focus and autofocus modes.

On-lens aperture control is handy for photos and video alike. The f-stop ring turns from f/1.4 to f/16 and clicks in at third-stop settings for photos. A toggle switch is all it takes to de-click the ring for silent, video-friendly operation. Photogs who prefer to set aperture via the camera body have that option, too; the lens ring has an A position to move aperture control to the camera body, along with a lock that prevents inadvertent swaps between camera-body and on-lens aperture control.

(Credit: Jim Fisher)

An STM focus motor drives the lens; it does so quietly and with aggressive speed. The lens drives across its entire focus range, locks, and makes an exposure in just 0.1-second. The manual focus response is nonlinear with Sony cameras, a mark against the lens for cinematographers who want to repeat focus racks from take to take. That said, you can pick between linear and nonlinear response on L-mount system bodies.

Some focus breathing is visible: The lens shows a slightly wider angle of view when you focus at close distances than at farther ones. Photographers need not worry about this effect but it is is a concern for video clips in which focus shifts from one subject to another—viewers tend to notice the change in angle. We haven’t tested a comparable 24mm prime that eschews the effect, however. A handful of Sony cameras offer an in-camera option to compensate for breathing with select lenses including the 24mm F1.4 GM, but not for third-party lenses.

Sony a7R IV, f/2.8, 1/200-second, ISO 200 (Credit: Jim Fisher)

Close-up focus is available to 9.9 inches, which is good enough for 1:7.1 life-size reproductions. If you’re looking for a wide prime for macro shots though, these results might disappoint. But that’s also the case with other wide aperture 24mm lenses. The Sony FE 24mm F1.4 GM gets a little closer (9.9 inches for 1:5.9 macros) and the Sigma 24mm F2 Contemporary is in the same ballpark (9.7 inches for 1:6.7 reproductions). Photographers who love leaning in are better off with the Sigma 24mm F3.5 or Tamron 24mm F2.8, both of which focus close for 1:2 magnification.

Тема: Широкоугольный зум на полный кадр, От сторонних производителей

Ресурс: Club Nikon
Форум: Оптика для фотокамер Nikon

Автор реплики: landscape

Ооо, у меня с Сигмой совсем «развод» После того, как я долго «сидел» на ней, в силу обстоятельств и перепробывал очень многое. Он вполне объективно и пишет. На старых камерах, т.е. покаления D2/D70, появление 12-24 было встречено как безалтернативное. Над геометрией не задумывался, но она не так ужастна как на современных кроп линзах аля «10-что то там». А вот товарищ Ваш прав на счет контрового света, ой как прав. Думаю, что Вам прекрасно известно и понятно за что отдаются $2000 и больше при покупке родного никкора или еще какого то чуда. Для сверхшироких, проблема котрового освещения-это бичь. Думаю для Вас не будет тайной, если я скажу, что Nikkor’ы AF14мм/2.8, AF20мм/2.8D, которые так хаят новички в фотографии, но которые так ценят профессионалы, при все их недостатках, имеют как раз такие неоспоримые приемущества. Пример «интерьерного» объектива, но который боиться боковых засветов-Nikkor 15/3.5 Ais. Идеалов не существует.
На счет Сигмы 12-24. Ну ХА не смущает. В общем то программно давится. Апертуры более открытые чем f8 мне откровенно не нравятся. Это кстати у Сигм болезнь, равно как и работа в контровом освещении. С D3x у меня эта линза оказалась бегло. Пришлось в ФотоРу сделать несколько тестов. На открытых дырках я получил явное падение освещения по краям кадра на фокусных 12мм. Но это тоже ерунда все. Что получаем мы с Вами за наши кровные 34000р? Линзу рабочую в f8-11, ХА-мящую, тяжелую, геморой с фильтрами, падение контраста и потеря цвета в контровом освещение. Родной 17-35 можно купить за 42000рублей.
Для понимающих людей, Сигма-это всегда была бюджетная лазейка. Получая на проект строго ограниченный бюджет, зная все засады и возможности, можно было получать приличные кадры, но далеко не во всех условиях. Встать, снять дворец с лужайками, наверное выход, в сравнении со стоимостью 14-24 и «эльками», т.е. отработать проект она спасет. Себе лично, лучше не надо.

Overall image quality

Achieving an overall DxOMark score of 25 points, the Sigma 12-24mm f/4 A ranks fifth place for all wide-angle zooms we’ve tested on the Nikon D800. With the overall score calculation taking into consideration a lens’s light transmission and low-light performance, crucial in modern digital photography, the Sigma 12-24mm f/4 A A’s narrower f/4 maximum aperture has influenced this result, placing the lens behind faster-aperture f/2 and f/2.8 equivalent lenses. For such important lens metrics as sharpness, distortion, and vignetting, however, the Sigma lens performs either on par with or better than the ultra wide-angle lens competition from Nikon and Tamron.

Scoring 17 P-Mpix for sharpness, resolution on the Sigma 12-24mm f/4 A equals the best performance of Nikon’s ultra-wide 14-24mm, and is only a little behind the class-leading Sigma 24-35mm f/2 A. At f/4, the Sigma 12-24mm f/4 A offers uniform resolution of around 70% acutance in the field between 12 and 20mm, with good center sharpness and slightly softer corners at 24mm f/4. It hits peak sharpness of over 70% acutance at f/8, and using the mid apertures (f/8 and f/11), it’s very close to uniform at all focal lengths. Using the minimum f/22 aperture for long depth-of-field shots, the Sigma ultra-wide zoom offers good uniform sharpness at around 60% acutance.

Distortion causing curvature in the field can be an issue on wide-angle zoom lenses, but it’s well within reasonable parameters on the Sigma 12-24mm f/4 A, with only minor barrelling at 12mm and pincushion at 24mm. We advise some post-production correction for straighter lines, but with only minor distortion captured initially, this adjustment requires cropping only a small area of the image.

The Sigma’s heaviest vignetting of –1.1Ev occurs at 12mm f/4 (as you’d expect), but closing down to f/5.6 reduces corner shading significantly at the widest focal length. Although some minor vignetting between –0.66Ev and –0.33Ev occurs at all other focal lengths and aperture settings, it’s not problematic or unusual for a lens of this type.

Design

The 12-24mm ($1,219.00 at Amazon) is a big, heavy lens. It measures 5.2 by 4 inches and weighs 2.5 pounds. You can’t use front filters—the front lens element is bulbous—and the hood is integrated into the barrel. Sigma includes a slip-on lens cap, which slides over the hood to protect the lens.

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Zooms of this type are typically weighty. Wide-angle SLR lenses must be designed to accommodate the mirror box that separates the lens mount from sensor. Because of this both the Sigma 12-24mm and Canon 11-24mm (5.2 by 4.3 inches, 2.6 pounds) are massive. It’s one of the areas where mirrorless cameras have a huge advantage—the Sony FE 12-24mm lens for its full-frame mirrorless system weighs just 1.2 pounds and measures 4.6 by 3.5 inches.

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But a mirrorless lens won’t do you any good if you use an SLR, or a mirrorless camera that simply uses an SLR lens system, which is what Sigma offers now in the form of the dp Quattro and dp Quattro H. The Sigma 12-24mm is available for cameras that use Canon EF, Nikon F, and Sigma SA lens mounts. It’s an especially appealing option for Nikon owners, as the widest full-frame lens the company offers for its SLR system is the Nikkor 14-24mm f/2.8G ED.

There’s no image stabilization—it’s a feature you don’t typically see on lenses this wide. Tamron makes a 15-30mm f/2.8 with stabilization, also sold for Pentax SLRs under the Pentax brand, but you won’t find a full-frame zoom wider than that with a stabilized design. It’s not a feature that you typically need at extreme wide angles for photography, though it does steady handheld video.

The lens doesn’t have much in the way of physical controls. There’s the zoom ring, of course, and a manual focus ring. A cut-out window shows the set focus distance in feet and meters. Aside from that, you just get a toggle switch to change between manual and autofocus operation.

The zoom can focus as close as 9.4 inches, which delivers a 1:4.9 magnification ratio at 24mm. It lets you get pretty close to subjects, so you’re free to compose shots without having to worry about backing away from what you want to shoot.

Image quality compared

The $1897 Nikon AF-S 14-24mm f/2.8G ED (Nikon 14-24mm f/2.8G) and $1199 Tamron SP 15-30mm f/2.8 Di VC USD (Tamron 15-30mm f/2.8) both offer a similar proposition to the Sigma as full-frame wide-angle Nikon mount lenses. The Sigma is the widest at 12mm, but the Tamron offers the greater focal range between 15mm to 30mm, making it a useful option for both wide and closer-to-standard focal length shots. The Tamron also offers stabilization, which although arguably more useful on longer telephoto focal lengths, can be handy for photographers who want to leave the tripod at home when shooting landscape and architectural subjects. The Tamron and Nikon wide-angle zoom alternatives also offer that faster f/2.8 maximum aperture, which is an important consideration if you’re looking for a wide-angle lens for low-light photography.

In terms of lens metrics, the Sigma 12-24mm f/4 A boasts the best overall distortion results, displaying the least barrel curvature at the widest focal length.

The Sigma lens is also fractionally sharper at f/22 compared to its rivals, which could be important for some landscape and architectural photography. Sharpness at f/4 is fairly similar among the three, with the exception of that little bit of edge softness that the Sigma displays at 24mm f/4.

The heaviest headline vignetting score for the Tamron and the Nikon is recorded at f/2.8, where they display the most corner shading, but at f/4, the Tamron is slightly ahead. To be fair, there’s not much in it, so we’re splitting hairs a little, and although all three wide-angle zooms vignette a little at all settings, the effect is well-controlled at apertures of f/5.6 or narrower on all three lenses.

Of the three, the Tamron handles chromatic aberrations marginally better, too, with a little more noticeable fringing on the Nikon and Sigma lenses at wider focal lengths, but again, it’s far from concerning on either lens.