Exactly. It's like two series in one. I prefer the slower lenses overall for the size and will look to complete the 24 3.5, 45mm 2.8 and 90mm 2.8 trio.
ReleaseDrive wrote:
Exactly. It's like two series in one. I prefer the slower lenses overall for the size and will look to complete the 24 3.5, 45mm 2.8 and 90mm 2.8 trio.
Same here but it all depends on the size of the new 24/2i and how close it can focus. Those are the characteristics I love about the 24/3.5i.
Hopefully the 90/2.8i will be designed with rendering and low axial CA as priority just like the 45/2.8i.
Fred Miranda wrote:
Same here but it all depends on the size of the new 24/2i and how close it can focus. Those are the characteristics I love about the 24/3.5i.
Hopefully the 90/2.8i will be designed with rendering and low axial CA as priority just like the 45/2.8i.
I personally think it will be given how well corrected the 65/2i is. Seems like Sigma is “alternating” type of looks and correction between their recent releases. Given the SA and constant AF complaints of the 45/2.8, I do wonder if Sigma is apprehensive to produce another SA heavy lens.
Hopefully Sigma will make an effort to correct distortion and vignette in the 24mm f2
The distortion and vignette from the 24mm f3.5 is crazy. It seems they made little effort to correct. Just force the photographer to correct in camera for JPG's, or on RAW conversion. Yes, the 3-3.5 stops of vignette does impact image quality as the corners have to be brightened up so much to fix the vignette.
If I wanted distortion and vignette I would use a wide angle zoom. A prime should be better.
rattlebonez wrote:
Hopefully Sigma will make an effort to correct distortion and vignette in the 24mm f2
The distortion and vignette from the 24mm f3.5 is crazy. It seems they made little effort to correct. Just force the photographer to correct in camera for JPG's, or on RAW conversion. Yes, the 3-3.5 stops of vignette does impact image quality as the corners have to be brightened up so much to fix the vignette.
What?
The Sigma 24/3.5i has no distortion. Perhaps you are getting confused with another lens?
nehemiahphoto wrote:
I quite prefer a lens with better rendering over zippy AF, but seems that many don’t. I am sure the CDAF would be just fine for me.
Do you own the 45/2.8i? I believe you would like it very much.
rattlebonez wrote:
Hopefully Sigma will make an effort to correct distortion and vignette in the 24mm f2
The distortion and vignette from the 24mm f3.5 is crazy. It seems they made little effort to correct. Just force the photographer to correct in camera for JPG's, or on RAW conversion. Yes, the 3-3.5 stops of vignette does impact image quality as the corners have to be brightened up so much to fix the vignette.
If I wanted distortion and vignette I would use a wide angle zoom. A prime should be better.
Fred Miranda wrote:
Do you own the 45/2.8i? I believe you would like it very much.
I do not. It's a stop to slow for me, and I dislike the 40-55mm very much. I nearly always shoot at 35mm and below or above 75mm. I have an old CY 50/1.7 as stopped down landscaper and ZM 50/1.5 cause it's so special, but 50mm's just don't do it for me. But the 45i is one the rare lenses I can see that I consistently enjoy the images from--looks great. Wish we could get more of these types from manufactures in different FL's and speeds.
bjornthun wrote:
Lenstip meassures +1.40% pincushion distortion on full frame. https://www.lenstip.com/608.6-Lens_review-Sigma_C_24_mm_f_3.5_DG_DN_Distortion.html
and they say,
« Overall it is not an especially high level so there are no reasons to complain, especially that the Sigma simply outclasses its direct rivals in this area.»
Personally I considered the Sony 24/2.8 G as well, but low distortion tipped the balance in Sigma’s favour for me.
I wonder if that pincushion distortion is only noticeable at close distance since they used a chart to measure it.
I could not detect any distortion at mid/long distances as you can see from my test.
Either way, it's a low disortion lens and it's interesting that even the small distortion at close distance indicated by lenstip is the pincushion type and not barrel which is more common in 24mm lenses.
nehemiahphoto wrote:
I do not. It's a stop to slow for me, and I dislike the 40-55mm very much. I nearly always shoot at 35mm and below or above 75mm. I have an old CY 50/1.7 as stopped down landscaper and ZM 50/1.5 cause it's so special, but 50mm's just don't do it for me. But the 45i is one the rare lenses I can see that I consistently enjoy the images from--looks great. Wish we could get more of these types from manufactures in different FL's and speeds.
The ZM 50/1.5 is definitely a special lens. Agreed!
Fred Miranda wrote:
I wonder if that pincushion distortion is only noticeable at close distance since they used a chart to measure it.
I could not detect any distortion at mid/long distances as you can see from my test.
Either way, it's a low disortion lens and it's interesting that even the small distortion at close distance indicated by lenstip is the pincushion type and not barrel which is more common in 24mm lenses.
Yes, it’s the pictures of a garage door. I thought about focused distance as the likely explanation for the small difference between lenstip’s meassurement and your observation. That’s great, because it means that Sigma has made some very fine choices when designing the 24/3.5. No distortion for architecture at long focus distances and some slight, easily correctable distortion for other kinds of near distance subjects.
A thinking company that gets it done. Weight and dimensions are critical to success, as is the emerging issue of breathing. Expect cross-frame excellence, build, and hopefully a linear focus ring experience. It will appeal to generalists and to travelers alike. And those who believe that f2.8 is very acceptable for many or most portraits we take.
A 90/2.8 would be a really attractive lens, even more so if it's small-ish. I was already quite tempted to buy the 65i, now I can add the 90i to that list.
It feels like Sigma really took the pivot to mirrorless to heart with the 'i' series. I think they still have some things to figure out on the Art front, but they're releasing more great lenses than I can reasonably buy...
I'm not sure all the new Sigma primes in Contemporary line will be I-series lenses and there was no mention of I-series in Nokishita's tweet so I suppose we first have to see if these are part of the I-series line or something different within Contemporary line. E.g. Sigma might make some Contemporary primes that are similar in style to their APS-C contemporaries in full frame and price them rather low etc...
I do hope they keep expanding their I-series though but having new lenses like 24/2 at already covered focal length as part of I-series while there are still not so many FLs covered seems a bit unexpected to me.
