And speaking of money, it massively undercuts both Sony lenses for purchase price. For our money, the Sigma is actually an ideal compromise in terms of zoom range and aperture rating. This new Sigma lens goes wider than the 16-35mm while matching its fast and constant f/2.8 aperture, although it doesn’t go quite as wide as the ‘slower’ f/4 lens. Own-brand Sony wide-angle zooms include the FE 16-35mm f/2.8 G Master and the FE 12-24 f/4 G. The only minus points are that barrel distortion is rather noticeable at the short end of the zoom range and vignetting is quite severe at f/2.8, but automatic in-camera corrections are available for both of these aberrations. Image quality is mostly fabulous, with superb sharpness and contrast, and absolutely negligible color fringing. Meanwhile, aperture control is based on an 11-blade diaphragm which remains very well-rounded when stopping down, helping to retain attractive bokeh. Its stepping motor autofocus system is very fast and virtually silent in operation, and comes complete with the usual electronically coupled focus ring, which enables very precise manual adjustments. The lens is impressive mechanically as well as optically. In addition to Sigma’s usual Super Multi-Layer Coating, there’s a brand new Nano Porous Coating, to further reduce ghosting and flare. Of these, there are three aspherical elements, six top-performance FLD (‘Fluorite’ Low Dispersion) elements and two SLD (Special Low Dispersion) elements. It has a complex optical path of 19 elements. Sigma has certainly thrown the full weight of its technological expertise into the lens. It’s also about 200g lighter, making it more manageable on a svelte Sony mirrorless body, but is still pretty weighty at 830g. The 24-70mm f/2.8 standard zoom for Canon and Nikon SLRs is typical of the breed but the new ‘DN’ version for Sony mirrorless cameras is more of a complete redesign than a simple tweak with a different mounting plate. Sigma’s Art lenses have an uncompromising design ethic that goes all out for enabling artistic flair and creativity, no matter if they end up being quite large and weighty. The only catch is that sometimes the bill can be a little steep, so we've taken value into consideration as well in this in-depth guide to the best Sony lenses. Whatever type of prime or zoom lens you need for your Sony full-frame or APS-C format body, you’ll be able to find an own-brand Sony lens to fit the bill. It designed and brought to the market a succession of impressive full-frame compatible lenses, while also ramping up its range of APS-C format lenses for its popular line of A6000 series camera bodies. With such a lengthy head start, Sony put those five years to good use. It took no less than five years for the biggest names in traditional cameras to catch up, with Canon and Nikon only launching its first full-frame mirrorless cameras in 2018, namely the Canon EOS R and RP, and the Nikon Z7 and Z 6. This diminutive yet powerful body quickly grew into a whole series of A7 and A9 cameras, which have gone from strength to strength. Sony took the photographic world by storm back in 2013, with the launch of its first A7 mirrorless camera. The APS-C range is aimed at beginners to enthusiasts, while the full-frame range is available for enthusiasts up to professionals. Whether you have an APS-C Sony camera like the Sony Alpha A6600 or a full-frame model like the Sony A7R IV, we've got you covered. Sony has two distinct product lines for its mirrorless cameras. If you're relatively new to Sony cameras, here's a quick introduction to them.
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