![]() ![]() Swirly bokeh is just as it seems, causing the bokeh to display itself with a slight rotation. To simplify that, the Sigma 24-35mm is more prone to what is commonly called “Swirly Bokeh”. The Sigma 24-35mm has a large amount of astigmatism. Perhaps what made me most excited with this lens comes in the super techy findings that Roger had during his lens testings. When shooting backlit and into the sun, I was still able to get plenty of accurate focus, with little to no flaring, a problem I often had with my Canon 35mm f/1.4L. The sharpness is great, and the distortion is minimal (given the focal range of the lens, at least). While the focusing wasn’t lightning fast, it was still able to capture moving subjects with ease and accuracy. When I was able to use it this past weekend, I found that it felt really great in my hands. Albeit, not nearly as slow as the Canon 85mm f/1.2L, the Sigma 24-35mm is obviously slower than its prime competitors, which could be an important element for some photographers.Īll that said, these were shortfalls I could see before even using the lens. And that bulk comes with a slower autofocus as well. At nearly 950g, the Sigma 24-35mm f/2 Art is considerably bigger and bulkier than most 24mm and 35mm lenses, and nearly 40% heavier. The other suffering points come from the very nature of a zoom lenses as well. While the zoom might be important to some, I just can’t find the purpose of having a zoom only cover 11mms. It honestly felt more like a simple prime lens for me, and I often had it set to 35mm and left there. 24mm and 35mm offer very limited differences in focal length, which is the big suffering point for the lens. That said, when I’m using a zoom lens, I’m expecting some severe changes from one zoom end to the other. I get it, the 24-35mm lens is designed to give people a two for one deal, and sacrificing only a stop in comparison to the premium versions of the 24mm and 35mms – and at an even cheaper price. ![]() The only thing that really had me questioning the lens is the focal length, at 24-35mm. Pairing that with the sharpness that comes with the Art series, Sigma has done it again with creating an incredible lens with an impressive price (and a pretty lens to boot). Like all Sigma Art series lenses, the build quality is unsurpassed, and the attention to detail is incredible. The Sigma 24-35mm f/2, if nothing else, has convinced me to swap out my 24mm for a 35mm. Since then, however, my love and appreciation for the 35mm f/1.4 has only grown, and I just haven’t gone ahead to sell my 24mm f/1.4 for a new 35mm just yet. Financially, the deal was sided to me, so I had nothing to lose. A year or so ago, I agreed to trade my Canon 35mm f/1.4L for a 24mm f/1.4L II straight up with a friend. However, at f/2, this is the fastest zoom lens ever made for full frame sensors, and the early test on sharpness regained some interest from many.īefore I get too involved in this review, I’d like to start by stating I miss my 35mm f/1.4 lens, and this lens just fueled that feeling of discontent even further. So when Sigma announced a new lens, everyone was suspecting a refresh to their popular 24-70mm lens, which is why the 24-35mm had so many left a little disappointed. Certainly the Art series lenses from Sigma have impressed and surprised the entire industry these last couple years, with their incredible sharpness and equally impressive price points. When Roger was done with his tests, and showing off his results, I had the opportunity to bring the lens home with me and give it some real life testing this weekend.Īdmittingly, I was a bit perplexed by this lens when it was first announced. Last week, Roger had the unique opportunity to get a single copy of the Sigma 24-35mm f/2 Art Series to test the sharpness up against the most common lenses in the 24mm and 35mm focal range. ![]()
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