Description
t is photographers who use a camera with full-frame sensor who love bright (<f/2.8) lenses. First, a very bright lens makes it possible to also take pictures in the dark without motion blur. But with the increased image quality of cameras with high ISO values, this point becomes less decisive. What is decisive is the limited focal depth that you can achieve with it and the beautiful background blur (bokeh) that goes along with that.
The zoom range of the Sigma 24-35 mm f/2 Art betrays that Sigma set a high bar by limiting themselves to a modest zoom range, instead of a 24-70 mm zoom that you would sooner expect. It practically always applies that the larger the zoom range, the more compromises have to be made as far as image quality is concerned.
The construction of the Sigma 24-35 mm f/2 Art is as we are now accustomed to: uncompromising professional level. With a very solid metal mount. This part of a lens is sometimes underestimated, even though the precision of the connection of the lens to the camera can have enormous influence on the sharpness; especially for cameras with high resolution.
If you own the Sigma you don’t have to think whether a 24 mm or a 35 mm would be better for your piece of reportage; everything you need is there, ready to use.
The rival lenses, presented not so long ago, such as the Canon EF 35 mm f/2.0 IS USM, the Nikkor AF-S 28 mm f/1.8G or the Nikkor AF-S 35 mm f/1.8 G ED can compete with the Sigma on equal terms only in some aspects, more often than not losing to it. I don’t believe my own eyes! This lens is truly 3 primes in one lens.