Sigma 24-35mm f/2 DG HSM | A Review – Test Results
Resolution
Our new graphs from our Applied Imaging tests show the lens produces impressive sharpness at the wide end of the zoom when it’s set to f/2. You can expect a drop-off in sharpness at the edges, but closing it down to f/2.8 and f/4 sees sharpness in the corners improve. There’s a slight drop of in sharpness at 30mm and to achieve optimum sharpness from the centre to the edge, you’ll want to shoot between f/5.6-f/8.
Shading
Shooting wide open at the maximum aperture (f/2) creates strong vignetting in the corners. Stopping the lens down to f/4 sees the affect of vignetting reduce significantly and things only get better when you set the lens to f/5.6 and beyond. While the vignetting won’t be to everyone’s taste, it can be used effectively to draw viewer’s eyes to a central subject in the frame.
Sigma 24-35mm f/2 DG HSM | A shading at 24mm, f/2
Sigma 24-35mm f/2 DG HSM | A shading at 24mm, f/2.8
Sigma 24-35mm f/2 DG HSM | A shading at 24mm, f/4
Sigma 24-35mm f/2 DG HSM | A shading at 35mm, f/2
Sigma 24-35mm f/2 DG HSM | A shading at 35mm, f/2.8
Sigma 24-35mm f/2 DG HSM | A shading at 24mm, f/4
Curvilinear distortion
Our test charts reveal moderate levels of barrel distortion at 24mm, with straight lines towards the edge of the frame bowing outwards. This isn’t unusual for a wideangle lens and isn’t anything we expect the forthcoming lens profile won’t be able to correct for. There were also signs of pincushion distortion at 35mm.
Sigma 24-35mm f/2 DG HSM | A distortion TV SMIA = -2.3%
Sigma 24-35mm f/2 DG HSM | A distortion TV SMIA = -0.6%
Sigma 24-35mm f/2 DG HSM | A distortion TV SMIA = -1.1%
