ĐÁNH GIÁ SIGMA 12-24

Sigma’s recentART series has primarily been dominated by wide aperture primes along with a few quality, wide aperture zooms. The one exception previously has been the Sigma 24-105milimet f/4 OS. The Sigma 12-24mm f/4 DG HSM ART lens take the series khổng lồ a wider focal length than ever before and is one of the rare lenses in the series without a wide maximum aperture. The 12-24 ART is probably best viewed as Sigma’s answer khổng lồ the Canon EF 11-24mm f/4L, a boss khủng of a lens that pushed the limits of a rectlinear full frame zoom lens on the wide end. I would be interested in knowing how well that lens has sold, as, frankly, it didn’t incite a whole lot of interest in me. 11milimet is an incredibly hard focal length khổng lồ use well, và I can’t help but wonder how many owners end up taking most of their shots between 15-24mm (ie, the more traditional landscape focal lengths). Apparently Sigma decided the lens needed answering, however, because we have sầu a lens with almost the same focal length (a 1milimet loss on the long end). I don’t miss that 1mm one little bit, however, as 12milimet is still incredibly wide…wider, frankly, than most shooters will ever need. Is the Sigma 12-24 ART a lens that should make it into your kit? Read on to find out.

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Build Quality

The 12-24mm ART is a beautiful albeit large(ish) lens. When you take it out of its square padded case (thanks for that, Sigma!!), you will quickly note that the lens is so wide (particularly towards the front) as khổng lồ seem almost square rather than cylindrical.



20milimet Observations

The Sigma faces a much stronger challenger in the Tamron 15-30 VC at 20milimet và at wider apertures. The Tamron is a very sharp lens và that is particularly true in the middle of the focus range. They are basically equally sharp wide open with the Tamron at f/2.8 and the Sigma at f/4. The one advantage I can see for the Sigma is that I can see a bit oflateral chromatic aberrations with the Tamron that I don’t see on the Sigma…and those lateral aberrations persist even when the lens is stopped down.
At f/4 the advantage clearly shifts to the Tamron. At equivalent settings the Tamron is delivering a brighter image overall plus has next lớn no observable vignette for field use. It is clearly sharper & with greater contrast in the center of the frame, though the advantage is very slight at the edges (the Sigma’s sharpness is still very even). There is still some CA at the edges of the frame that the Sigma doesn’t have.At f/5.6 the Sigma has gained a small edge on the edges of the frame while the Tamron rules the center 2/3rds of the frame with higher resolution & contrast. A slight bit of the fringing from the Tamron persists in the extreme edges.At f/8 the Tamron is still has the resolution edge, but the Sigma has a slightly more pleasing performance at the edges of the frame (without correction) because a bit of fringing persists with the Tamron. It is worth noting that the Sigma behaves more traditionally from around 16milimet on with peak sharpness coming at smaller apertures lượt thích f/8.I slightly prefer the color rendering from the Tamron. It is a bit cooler but I also find the overall contrast & color saturation a little stronger from it.Here’s a quiông xã look at some crops from the center và edges of the frame along with the full 20milimet image.


24mm Observations

The Sigma showed well on the wide end by having a true 12mm focal length when compared to lớn a 12mm prime. It isn’t quite as convincing at 24mm. Both lenses record 24mm in the EXIF data, but the Sigma is framing a little more loosely. 23milimet, maybe? This is pretty comtháng for lens makers; they tover to round up or down to the more common focal lengths. No one wants to buy a 11.9-23.1milimet zoom! In the photo lớn below you can that there is a whole tree in the frame that isn’t there on the Tamron (which also reads 24milimet in the EXIF data).
Comparing sharpness with both lenses wide open shows neither delivering a convincing performance in the corners. The Sigma is bit better across the frame at f/4 than the Tamron is at f/2.8.The situation strongly reverses with the Tamron stopped down khổng lồ f/4. It has noticeably better sharpness and contrast throughout all but the very edges of the frame. Extreme edge performance is a strength for the Sigma.Similarly at f/5.6 the Tamron has a clear advantage for about 90% of the frame, but the Sigma rules the last 10% at the edges of the frame. This trover continues through f/8, though the Tamron is finally looking sharp in the corners now & Sigma’s lead there is marginal.
My resolution conclusion after looking at a lot of pictures over my Reviews is that while the Sigma isn’t a record breaker in the center or mid portion of the frame, it does manage khổng lồ provide very even consistency across the frame. It holds up well for the most part when compared lớn the very good Tamron 15-30 VC, which itself covers a less extreme focal length. I wasn’t blown away by the absolutesharpness from the lens but was certainly impressed with the consistency with which it delivers that sharpness. It is worth noting that if you are shooting with a very high megapx body (where diffraction sets in early) you will be able khổng lồ get peak sharpness from the lens at f/5.6 (beneath the diffraction limit of any current camera as of 2016)…at least at wide apertures. The tradeoff is that if you want to lớn focus down further khổng lồ increase depth of field you may find a minor sharpness penalty at smaller apertures. I did find that peak sharpness figures at 18-24milimet came at more traditional small apertures like f/8.

Other Image Quality Observations

The vignette at f/4 is noticeable though less extreme than some of the recent lenses I’ve sầu seen (Zeiss Milvus 18mm f/2.8 and Canon 16-35milimet f/2.8L III). I’d say it is right under three stops in the extreme corners. I was able to clear it up completely with a moderate +45 strength & moving the midpoint to lớn a 25 value in Lightroom (no automatic protệp tin exists yet for the lens). It isn’t as good as the Tamron 15-30 VC (the best lens I’ve sầu seen for this), but this a pretty decent performance for going so wide.


I’ve been dealing with a lot of grey weather during my đánh giá period (I wish all lenses were released in spring, summer, and fall!!), so I grabbed a brief window when the sun was brightly shining khổng lồ thử nghiệm the flare resistance of the lens. Curved front elements like all lenses this wide have sầu can sometimes catch some stray rays of light and create ghosts. The Sigma does a pretty good job with the sun shining inkhổng lồ that huge front element. Contrast remains very good, and, while I got a bit of prismatic haze right in the epicenter of the sun in the frame, the image looks very good. I was able to induce a small amount of green ghosts, but they were small and relatively unobtrusive. Flare resistance is better on the 12mm kết thúc than the 24milimet, though neither is bad. At 24mm there is a bit of veiling that I don’t see at 24mm.


With the aperture closed down khổng lồ f/11 the lens produced a nice sunburst/sunstar. It is better defined at the wide kết thúc than the telephokhổng lồ kết thúc. This isn’t quite as strong a flare resistance performance as the recent Canon 16-35L III (which has the advantage of a flat front element), but I was pleased with the overall result.

As already noted, chromatic aberrations are very well controlled. I didn’t really see anything for my use that I would consider needing of correction.

Coma Performance

The weather was anything but accommodating during my time with the 12-24 ART. I use an tiện ích for my iPhone called SkyLive that helps determine optimal conditions for shooting astrophotography. I saw mostly ratings of 0-10% (out of 100)! Overcast, snowstorms, and generally a very low cloud ceiling night after night. I had pretty much despaired. Sigma Canada was nice enough to lớn offer me an extra weekend just in case with the lens, & on my second lớn last night with the lens I caught the closest thing lớn a break that I was going lớn get. My app said conditions were 34%. Still rated “Poor”, & typically not a night I’d even bother with, but the next night was baông chồng lớn a 6% rating. You take what you can get.

It was the coldest night thus far of the new winter, and my oto said the temperature was a chilly -15C where I phối up. The things we bởi for photography…

The biggest challenge on this particular night was extremely bright moonlight that makes it harder khổng lồ get good “pop” on the stars, but the results weren’t bad.


More importantly I was able to get a get a good read on the coma performance…& what I saw was really pretty decent. f/4 is not a fantastic aperture for typical astrophotography, but on a brighter night it wasn’t a huge impediment. The high, even sharpness of the lens produced nice, crisp star points. Some of the brighkiểm tra points towards the edges did become a little wedge shaped, but not strongly “winged”. At 12mm, however, each star point fills such a small amount of the frame that any existing coma can only be slightly seen at pixel level.

I compared it with the Tamron 15-30 VC (a very good astrophotography lens). The lens would still be my favorite due to a larger maximum aperture & less vignette, but in terms of the actual comatic aberrations there isn’t a big difference between the two.


So, while I wouldn’t personally choose a lens with a maximum aperture of f/4 primarily for astrophotography, I see no reason with this lens couldn’t be used for this purpose. Viewed “globally” the kết thúc results are quite nice.

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Distortion Results:

I did a direct distortion comparison with the Laowa 12mm f/2.8 Zero D lens. The “Zero D” stands for Zero Distortion, so unsurprisingly the Laowa is a very svào performer when it comes khổng lồ having extremely low levels of actual distortion (see my Đánh Giá here). The Laowa is the better performer, but the difference is surprisingly marginal.


In head to head comparisons I found the differences in barrel distortion to lớn be subtle at best, which means that the 12-24 ART is definitely ahead of the new Canon 16-35milimet f/2.8L III or the Tamron SPhường 15-30mm f/2.8 VC in this regard. Even without correction (there is no protệp tin for this lens yet) I see little to lớn object to lớn in field use.

It is key khổng lồ understvà that any wide angle lens will produce a keystone (perspective sầu distortion) if the sensor is angled in relation khổng lồ the subject. If you tilt the camera and compose with your subject cthua kém the frame you can get some very weird results (see this lovely portrait below).

This isn’t the same as barrel distortion, however, và can be managed by the way that you compose. If the sensor (camera) is màn chơi with the subject you should get nice results with this lens.

I shot a small bathroom to lớn see how the lens would work in architectural situations. The advantage to lớn the Sigma is that as a zoom you have different framing options. 12mm is really, really wide, and in very small spaces (like this bathroom), having a very wide framing is advantageous because it allows you to fit the whole room in. In bigger spaces you might really thua kém a sense of the details by being so far “removed” from them, so zooming in & framing a little tighter is a nice option.


As always, I recommover that you take a look at the image gallery here to see more real world results.

Autofocus

Autofocus is always a point of cthua trận attention for me when reviewing any lens, but particularly Sigma lenses due khổng lồ havinghad a number of issues with focus inconsistency during previous đánh giá. Sigma has touted revised HSM motors with one third more torque in both this lens và the 85mm f/1.4 ART, which I had better focus success with than any ART lens previously (particularly with using the center group). Now, to lớn be fair, a lens like the 12-24 ART has very, very little ức chế on autofocus accuracy. Its whole focal range is either extremely wide or moderately wide (12-24mm). Then thereis the smallish maximum aperture of f/4, so if you are focusing at a distance of10 feet the depth of field is already infinite from 2.82 feet to infinity. In other words, it is very easy for everything to be in focus all the time, and that is pretty much what my experience has been.

You can focus down closely lớn 9.45″/24cm & have sầu pretty decent reproduction ratio of 0.20x.


You can even create a little bokeh with the lens, but the situations will be fairly rare for this.

Some reviewers have sầu reported an issue with focus shift (cameras focus with the lens wide open và then stop down to the premix aperture when the shutter closes). In most cases accurate focus at the more demanding maximum aperture equals accurate focus at smaller apertures. But in some lenses there is an aberration where wide open focus does not equal correct focus at other apertures (the focus shifts). The kết thúc result is that everything should be in focus, but isn’t. It would take a major amount of focus shift to lớn be evident in the real world with a lens lượt thích this, and I personally did not really witness that. Yes, I had a few images that I thought should be in focus but weren’t, but it didn’t happen often enough for me khổng lồ observe a pattern of poor behavior… & you always have a few misfires in the real world when you shoot a lot in varying conditions.

I can’t trương mục for what other reviewers encountered (and this may be more of an issue when shooting charts than in the real world due lớn the deep depth of field in most situations with the lens), so I’m not going to criticize something that I didn’t actually observe myself. I bring it up more to lớn say that you might want khổng lồ watch for this with your own copy, and if it isn’t an issue…just enjoy the lens. Although I am a reviewer & people seek my opinion, I often tell people that the most important opinion is their own. Don’t thua kém sleep over an issue that someone else might have sầu experienced if you are not!

Autofocus was quiông chồng, quiet, and, for the most part, accurate. Enough said.

Conclusion

Overall the Sigma 12-24mm f/4 DG HSM ART is a very competent lens. It has few major flaws. Chromatic aberrations are well controlled, distortion is low, và vignette, while clearly present at f/4, isn’t quite as bad as some of the recent releases from other major companies. It does a very credible job when shooting the night sky, though having a relatively small maximum aperture puts it at a bit of disadvantage. It is a legitimate 12mm on the wide end, putting it in rare company.


It falls a little short of a true 24mm, but that isn’t unusual, & I would argue that the true 12milimet on the wide kết thúc is ultimately more important. It isn’t as absolutely sharp at equivalent apertures & focal lengths as the new Canon 16-35milimet f/2.8L III or the Tamron 15-30milimet f/2.8 VC, but those lenses have the advantage of being able lớn stop down a full stop before the comparison begins. One thing khổng lồ note, however, is that the 12-24 ARTis optimized for f/4-5.6 performance (at least on the wide end of the focal range) và I actually saw a trend where the image unique tended to lớn be a bit worse rather than better as the lens was stopped down. There is finally some weather resistance included in the build. It is a big, heavy lens, however, and sets a new price ceiling for the ART series lenses. It has a maximum aperture of f/4 (that will cool the interest of some for it as an astrophotography lens) and is unable lớn use traditional filters. It obviously undercuts the chief competitor from Canon (the 11-24mm f/4L) by a large margin, however. I think the bigger question will be how many people feel that they need a lens that goes that wide, and if having the wider focal length is worth the additional challenges that come with it. If you are an interior shooter, architectural photographer, or a landscape photographer who wants khổng lồ capture scenes with a wider focal length than the standard wide angle zooms allow, however, the Sigma 12-24 ART should definitely be a lens that you take a long look at.

Pros:

Very low distortionA true 12milimet on the wide endVery even resolution across the frame even at wide aperturesVery good coma performanceExtremely low chromatic aberrationsNice build which now includes some weather resistanceGood flare resistanceIncludes nice padded case

Cons

Sets a new high in price for an ART series lensCan’t use traditional filtersSome competitors sharper in the center of the frameBulky & heavyNot quite a full 24milimet on the long endSome shooters and reviewers have sầu reported focus shift issues

Thanks khổng lồ Sigma Canada for providing me a loaner copy of the 12-24 ART for review!

Gear Used:Canon EOS 5D Mark IV (5D4)Canon EOS 6D DSLR Camera (Body Only)

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Alternatives:

I’ve recently also reviewed a very different way khổng lồ get to lớn 12mm – the Laowa 12mm f/2.8 Zero D lens. Which would work better for you? Cheông xã out this đoạn Clip where I look at the pros & cons of each lens.


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