Sigma 2470 F28 Art Vs Nikon 2470 F28 Review

If you are wondering which 24-70mm lens is the best for the Nikon F mount, we put together a detailed article that compares the sharpness of all currently available options on the market today. The comparison involves both 24-70mm f/ii.viii lenses from Nikon, as well as three 24-70mm f/2.eight third political party lenses from Tamron, Sigma and Tokina. In this commodity, nosotros will analyze each focal length in detail and practise a straight comparison between all five lenses to figure out which ane of these is the ultimate champion.

Below is the list of lenses we are presenting today:

• Nikon AF-S NIKKOR 24-70mm f/2.8E ED VR
• Nikon AF-S NIKKOR 24-70mm f/two.8G ED
• Sigma 24-70mm f/2.8 DG Os HSM Fine art
• Tamron SP 24-70mm f/2.8 Di VC USD G2
• Tokina AT-X 24-70mm f/ii.8 PRO FX

A quick technical notation: all lenses were previously tested on the Nikon D810 DSLR that nosotros accept been using to test our Nikon F lens reviews. Late final year, we decided to move up our Imatest setup to 45.seven MP sensor and retest all the lenses, so we tested both Nikon D850 and Z7 cameras with a variety of lenses. Later detailed comparisons that involved measuring sharpness every bit well every bit potential problems with lens decentering, vignetting and other optical aberrations, we ended that there is no visible difference betwixt the D850 and the Z7 with the FTZ adapter. As a effect of this written report, we decided to exam all future Nikon F and Nikon Z lenses with the same Nikon Z7 camera. The below data represents our first efforts using the Nikon Z7 with the FTZ adapter to test lenses.

Permit's dive right into the sharpness tests! Nosotros will kickoff at 24mm and motility all the way up to 70mm.

1. Sharpness Comparison at 24mm

Beneath are the test results for all five lenses at the focal length of 24mm. Nosotros will go with the same order every bit the above listing.

The Nikon 24-70mm f/two.8E VR is a strong lens when it comes to its overall functioning. At 24mm, it starts out very adept at f/2.8 across the frame and improves farther at f/4. This lens demonstrates even and consequent operation beyond all apertures, which is not something ane commonly sees on a 24-70mm zoom.

When it comes to sharpness potential, the Nikon 24-70mm f/2.8G shows remarkable performance in the center of the frame. However, this comes at the expense of mid-frame and corner functioning – a typical trouble for lenses with noticeable field curvature (focusing this lens at the edges of the frame will yield much better corner results, but this time at the expense of center sharpness).

The Sigma 24-70mm f/2.viii DG OS HSM Art isn't very abrupt broad open, but stopped down to f/4 yields solid eye and mid-frame performance. Stopping the lens downward to f/5.half dozen and smaller apertures brings the best out of the lens, showing smashing overall functioning.

The Tamron SP 24-70mm f/ii.viii Di VC USD G2 shows superb wide open functioning, with slightly weaker corners that improve dramatically every bit you stop down. At f/5.6, it does well overall, with the best corners at effectually the f/8 mark.

Lastly, the Tokina AT-X 24-70mm f/2.8 PRO FX does particularly well on a high resolution camera, showing superb center performance at f/iv and smaller apertures, and first-class mid-frame and corner sharpness. It is certainly the best of the bunch at 24mm, and has much less field curvature and focus shift.

two. Sharpness Comparison at 35mm

Let's see what happens as all lenses are zoomed in to 35mm:

The Nikon 24-70mm f/2.8E VR continues to impress with its comparably low field curvature and consequent performance beyond the whole aperture range.

The older Nikon 24-70mm f/ii.8G once again shines with its first-class middle sharpness, but nonetheless quite weak corners, specially wide open. However, the lens gets much ameliorate when stopped down, especially at f/five.6 and smaller.

As earlier, the Sigma 24-70mm Art starts out weaker wide open, but one time stopped down to f/4, does much better in the centre of the frame. The corner functioning gets much better at f/v.half-dozen and smaller apertures.

The Tamron 24-70mm G2 is notwithstanding very strong wide open in the center of the frame, with the sharpness numbers getting much meliorate as you stop downwardly. However, the corner performance suffers at 35mm when compared to other 24-70mm lenses.

In one case again, we see very like behavior on the Tokina 24-70mm FX at 35mm as nosotros have previously seen at 24mm. The lens starts out weaker wide open, but once stopped down to f/4 and smaller, produces splendid middle and corner results. It shines as the all-time overall performer at 35mm among all 24-70mm lenses.

three. Sharpness Comparison at 50mm

Most 24-70mm lenses start to endure once you get-go zooming in past 35mm. Let's take a look at what happens to these lenses at 50mm:

Nosotros tin clearly see that the Nikon 24-70mm f/2.8E VR shows decreased performance at 50mm when compared to wider focal lengths – its heart performance is now noticeably weaker broad open. Information technology also shows signs of "wavy" (sombrero) field curvature at f/2.8. Stopped down to f/5.6, nevertheless, the lens continues to print with its functioning across the frame.

The older Nikon 24-70mm f/2.8G does quite well in the eye frame. Once stopped down to f/4, it demonstrates superb operation beyond the frame.

When compared to results at 35mm, the Sigma 24-70mm Art shows very similar functioning pattern at 50mm, with decreased sharpness wide open, just quite good results at f/5.vi and smaller apertures.

Tamron takes a small striking in the center frame at 50mm, just does much improve at f/4 and smaller, showing the all-time overall operation at f/5.6.

The Tokina 24-70mm FX certainly does suffer at 50mm, peculiarly in the mid-frame and the corners, which is unfortunate. Although its sharpness comes dorsum at f/5.6, the corners continue to suffer. Simply at f/8 and smaller do the corners finally become better.

4. Sharpness Comparing at 70mm

Lastly, let's take a look at how all these lenses do when zoomed in all the manner to 70mm:

It is clear that the Nikon 24-70mm f/two.8E VR is the weakest at 70mm, especially wide open. Although the centre functioning stays adept at f/5.vi, the corners don't resolve as much detail equally other focal lengths.

The Nikon 24-70mm f/2.8G is even worse in the corners, although it performs better in the center frame.

The Sigma 24-70mm f/2.eight Fine art takes a huge hit broad open up. It does much meliorate when stopped downwards to f/iv in the heart frame, but its corners are quite bad until the lens is stopped downwards to f/8.

The Tamron 24-70mm f/2.viii is the best in the grouping in the center at f/2.8, but once over again shows quite weak corner functioning until stopped down to f/8.

Lastly, the Tokina 24-70mm f/2.eight FX also shows decreased overall functioning at 70mm, although it does very well when stopped down to f/5.6. Just like all other lenses, information technology suffers in the corners the most, producing the best results at f/eight and smaller apertures.

5. Distortion Performance Comparing

What nearly lens distortion? Many lenses in the 24-70mm exhibit pronounced barrel and pincushion baloney depending on the focal length. Let'southward take a wait at the baloney performance comparing between all of the 24-70mm f/2.8 lenses presented in this commodity:

The Nikon 24-70mm f/2.8E VR shows very pronounced barrel baloney at 24mm, which rapidly switches to pincushion baloney equally yous zoom in towards 35mm.

The older Nikon 24-70mm f/2.8G is not much better, showing similar results, although its pincushion baloney at longer focal lengths is less pronounced.

The Sigma 24-70mm f/ii.8 DG OS HSM Art shows has visibly lower barrel distortion at 24mm, only its pincushion baloney at 70mm is comparable to that of the 24-70mm f/2.8E VR.

The Tamron SP 24-70mm f/2.8 Di VC USD G2 is a fleck worse at 24mm than the Sigma, with noticeably improve results at 70mm.

In comparison to all others, the Tokina AT-X 24-70mm f/2.8 PRO FX has the least corporeality of barrel distortion at 24mm, which stays somewhat pronounced at 35mm. At 50mm and longer, it switches to pincushion baloney.

I would say between all the 24-70mm lenses, the Tokina AT-X 24-70mm f/2.eight PRO FX has the to the lowest degree amount of distortion.

6. Chromatic Abnormality Comparison

Another comparing we will take a look at, is the lateral chromatic aberration comparison between the 24-70mm lenses:

The Nikon 24-70mm f/ii.8E VR shows pronounced levels of lateral chromatic abnormality at all focal lengths, but the worst ones are at 35mm and 50mm.

The older Nikon 24-70mm f/2.8G does a bit better at 35mm and 50mm focal lengths and at 70mm shows practically no CA.

In comparing, the Sigma 24-70mm f/2.8 Art is much better at all focal lengths with the exception of 70mm.

The Tamron SP 24-70mm f/ii.eight G2 shows quite good CA performance, with the worst results at 35mm.

Tokina also does reasonably well, although it is definitely worse than the Tamron.

seven. Vignetting Comparison

Lastly, let'due south take a look at the vignetting performance of all 24-70mm lenses:

Unfortunately, the Nikon 24-70mm f/2.8E VR shows quite a bit of vignetting at f/two.eight, for both close focus (CF) and infinity focus (IF). Things get meliorate at f/four, but still beyond the 1.5 EV mark, which is a bit excessive.

The Nikon 24-70mm f/2.8G does noticeably better at all focal lengths and apertures, showing impressive results, specially stopped downwards.

The Sigma 24-70mm f/2.viii Fine art is a flake worse than the Nikon 24-70mm f/2.8G, but definitely better than the Nikon 24-70mm f/2.8E VR.

Tamron 24-70mm f/2.eight G2 starts out a chip worse than the Sigma. Once stopped down, information technology has comparable performance.

The second best in the group subsequently the 24-70mm f/2.8G is the Tokina 24-70mm FX.

Conclusion

If you are looking for the sharpest 24-70mm f/2.8 lens on the market place for the Nikon F mount, you lot will need to decide on your priorities, as it all depends on what type of shooting you are planning to do. If yous need the sharpest 24-70mm f/2.8 lens at its wide open aperture for portraiture, the Nikon 24-70mm f/2.8G and Tamron 24-70mm f/2.viii G2 lenses are hard to beat. However, if you demand a 24-70mm f/2.8 lens for landscape or architecture photography where you will most probable exist shooting at f/v.half-dozen and smaller apertures, then my superlative picks would be the Tokina AT-X 24-70mm f/2.eight PRO FX followed by the Nikon 24-70mm f/2.8E VR.

My biggest concern with 3rd party lenses is their poor sample variance. It took 3 samples of the Tokina AT-X 24-70mm f/2.eight PRO FX to yield superb results without much lens decentering issues (the first two were very noticeable). The beginning copy of the Tamron 24-70mm f/ii.8 G2 had all kinds of focusing problems and I had to go another sample to get decent results from it. The Sigma 24-70mm f/2.8 Art was the worst of the three and showed very high sample variance at all focal lengths, to the bespeak where it rendered most of my tests inconclusive – I had to pick the better sample of the three I tested for each focal length, which is not good. Nikon's quality control is much ameliorate when compared to tertiary party lens manufacturers. Although I ended upwardly testing iii samples of Nikon 24-70mm f/ii.8E VR and two samples of Nikon 24-70mm f/2.8G (all were brand new), but one lens showed signs of decentering and the lenses performed quite consistently beyond dissimilar apertures and focal lengths. The best of the group in this regard was the Nikon 24-70mm f/2.8E VR, which showed more consequent results.

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Source: https://photographylife.com/comparison-of-24-70mm-lenses-for-nikon-f-mount

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