There’s no denying that a 24-70mm lens is one of the most versatile zooms you can have in your kit bag. This particular zoom covers the standards of 35mm and 50mm, while also covering the relatively wide angle of 24mm and the longer length of 70mm. This means you’re essentially using the equivalent of a bunch of prime lenses, all in one package. That’s why we are bringing you the best Sigma 24-70mm lenses today.
Sigma, just like the rest of the third-party lens makers, is producing viable alternatives to same-as camera make versions. Each lens here has equal or better optics and just as usable features. But as with any high-quality lens, they don’t get released very often. So, options are few and far between. But the options that are available can cover everything you need in this focal range, providing professional-level quality at a more cost-effective price.
1. Sigma 24-70mm f/2.8 DG OS HSM Art
Sigma’s Art series of lenses have been whipping up a storm as of late with their high-quality optics and speedy workings. Their prime lenses, such as the Sigma 50mm f/1.4 DG HSM Art and the Sigma 85mm f/1.4 DG HSM Art are currently hot property and now it’s the turn of the 24-70mm f/2.8 DG OS HSM Art to prove its worth.
This lens is equally capable on APS-C cameras, providing a 38.4-112mm equivalent focal length which stretches into the short telephoto range, making it a good solution for portrait work. The lens also has an f/2.8 aperture which goes a long way to produce shallow depth of field images, along with the ability to dive into low-light conditions.
Optically, the lens is made up of 19 elements arranged in 14 groups, which includes three SLD and four aspherical elements, plus a super multi-layer coating to correct for the most common types of lens aberrations and distortion. A Hyper Sonic autofocus motor has also been included with full-time manual override and a very smooth turning focusing ring which is very easy to use to hit pinpoint focus.
One aspect that has not always been included in past versions of this lens is an optical stabilization system. In this case, it offers up to four stops of compensation, which will benefit both handheld stills and video work. Lastly, although the lens isn’t officially weatherproofed, it is made from a thermally-stable composite material, which feels very robust and should be very capable of handling general working conditions.
As is generally the case with a high-end 24-70mm lens, the very sharpest results at f/2.8 come in from 24-50mm, with the range of 50-70mm being only a touch behind across the frame in sharpness. When this lens is stopped down to f/4-f/11, images are tack sharp across the frame and the image stabilization system works wonderfully for keeping shutter speeds high.
Most people will be eyeing up this lens as a possible alternative to their own same-brand versions. Considering that the lens is far cheaper than those types, the Sigma 24-70mm provides amazing quality optics for the price.
Read our complete review of the Sigma 24-70mm f/2.8 DG OS HSM Art to find out more about the lens.
2. Sigma 24-70mm f/2.8 DG DN Art
If you’re lucky enough to be on the Sony platform with the E mount or the Leica L mount, then the Sigma 24-70mm f/2.8 DG DN Art is a great option. This lens is relatively lightweight for a 24-70mm, coming in at 827g, which should be a good accompaniment to the likes of the Sony a7R II.
To make sure the Sigma 24-70mm f/2.8 DG DN Art is as optically true as possible throughout the focal range, the internal glass consists of 19 elements arranging 15 groups. The arrangement also consisting of six FLD, three aspherical, and two SLD elements. All of these elements have a Nano Porous and a Super Multi-Layer coating applied to each to maintain image clarity.
There is, unfortunately, no image stabilization, which makes it drop points over the top lens. But at least it has a quick and reliable autofocus stepping motor, with full-time manual override.
Where the Sigma 24-70mm f/2.8 DG DN Art benefits the most is in very minimal amounts of lens aberration and very sharp detail in the center of the frame at f/2.8. The lens also displays excellent bokeh due to its 11-blade rounded diaphragm, which is easy to produce with the aperture set at its widest.
Essentially, this is a great lens as a very cost-effective alternative to Sony and Leica’s own offerings in this department. Check out our full review of the Sigma 24-70mm f/2.8 DG DN Art.
3. Sigma 24-70mm f/2.8 IF EX DG HSM (Budget Winner)
For many, the first lens listed, the Sigma 24-70mm f/2.8 DG OS HSM Art, would be the end of the story, being the latest and greatest model. But if you want to stick with the Sigma brand and still own a high-quality 24-70mm, then the 24-70mm f/2.8 IF EX DG HSM is a possible option.
This lens comes in at roughly half the price of the Art version above, which makes it not only good value against its more recent sibling but also against same-brand versions.
To correct for any type of lens anomalies, ELD and SLD elements have been included, as well as a super multi-layer coating to reduce effects such as lens flare and ghosting. The lens also features an HSM autofocus motor, with full-time manual override and a nine-blade rounded diaphragm for superior bokeh effects.
The Sigma 24-70mm f/2.8 IF EX DG HSM provides a good degree of sharpness from f/2.8 in the center of the frame. The sharpest results come in at f/4 and upwards. While it may be just a touch behind the Sigma 24-70mm f/2.8 DG OS HSM Art in overall definition, considering its current asking price, it’s an extremely capable 24-70mm in the right hands.
Making the Most of Sigma 24-70mm Lenses
For the best in image quality and overall versatility, you can’t go wrong with the Sigma 24-70mm f/2.8 DG OS HSM Art. The lens is a good cost-effective alternative to same-as camera brand versions, which also features image stabilization.
If you can’t quite stretch to the cost of this lens, then the other two zooms above still provide loads of quality for the price. The 24-70mm f/2.8 IF EX DG HSM being the most cost-effective of the two, but it does have a slightly more sluggish autofocus system and you can really ignore the macro side of things, as it more than makes up ground as a very usable standard zoom.
