Camera
Field review: Sigma 28-70mm F2.8 DG DN
Introduction
The Sigma 28-70mm F2.8 DG DN Contemporary lens is a very compact, lightweight standard zoom lens for full-frame and APS-C mirrorless cameras. It boasts a constant F2.8 maximum aperture across its zoom range and is available for both the Sony E-mount, as well as for Leica, Sigma and Panasonic cameras from the L-mount Alliance.
It’s aimed at photographers and videographers who want a bright walkaround zoom and the bokeh possibilities that a wide aperture brings but who don’t want the size, weight and cost typical of many F2.8 zooms. Travel and landscape photographers in particular will find its modest size and weight appealing, and it also offers potential as a portrait lens or for video capture.
Available now, the Sigma 28-70mm F2.8 DG DN Contemporary carries a list price of $899.
All images edited in Adobe Camera Raw 13 with adjustments limited to white balance, exposure, highlights, shadows, white and black levels. Sharpening and noise reduction at ACR defaults.
Key specifications:
- Mount: E-mount (Sony) or L-mount (Panasonic, Leica, Sigma)
- Focal length: 28-70mm (42-105mm on APS-C bodies or with APS-C crop)
- Aperture range: F2.8 – F22
- Stabilization: None
- Filter thread: 67mm
- Close focus: 0.19m (7.5″) wide / 0.38m (15.0″) tele
- Maximum magnification: 0.30x (wide) / 0.22x (tele)
- Diaphragm blades: 9
- Hood: Included
- Weight: 470g (1.04 lb)
- Optical construction: 16 elements in 12 groups (2 FLD, 2 SLD, 3 aspherical)
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| ISO 100 | 1/320 sec | F8 | 36mm | Panasonic S1R Photo by Barney Britton |
There are several alternatives to the Sigma 28-70mm F2.8, although only one of these is available for both the E-mount and L-mount: The Sigma 24-70mm F2.8 DG DN Art. It’s priced $200 higher, is 21.4mm (0.8in) longer and fully 75% heavier.
For the added cost and heft, the Sigma 24-70mm Art offers even better image quality and includes an 11-bladed aperture. It also provides a little extra wide-angle coverage and full weather sealing. If you can stretch your budget a little further, we find it’s a worthwhile choice.
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| ISO 100 | 1/500 sec | F5.6 | 42mm | Panasonic S1R Photo by Barney Britton |
Sony E-mount shooters also have access to the more affordable Tamron 28–75mm F/2.8 Di III RXD. It’s just 16.3mm (0.6in) longer, weighs 80g (2.8oz) more, and gives you a fractionally more powerful 75mm telephoto than the Sigma 28-70mm. It also offers full weather-sealing versus the mount-only sealing of the Sigma 28-70mm F2.8.
Yet despite coming in lighter and smaller than the Sigma, it’s $100 less expensive. But if portability is your primary concern and you don’t need all-weather shooting capability, then the Sigma’s length and weight savings are certainly enough to be noticeable.
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The deep-pocketed and less size/weight-conscious may also want to consider the Sony FE 24-70 mm F2.8 GM ($2099.99) for E-mount or the Panasonic Lumix S PRO 24-70mm F2.8 ($2199.99) for L-mount. Both are not only significantly pricier but also just a little larger and heavier again even than the Sigma 24-70mm Art.
Compared to…
| Sigma 28-70mm F2.8 DG DN | C | Sigma 24-70mm F2.8 DG DN | Art | Tamron 28–75mm F/2.8 Di III RXD | |
|---|---|---|---|
| Price (MSRP) | $899 | $1099 | $799 |
| Mount(s) | Leica L and Sony E | Leica L and Sony E | Sony E |
| Optical construction | 16 elements, 12 groups | 19 elements, 15 groups | 15 elements, 12 groups |
| Aperture diaphragm | 9 blades | 11 blades | 9 blades |
| Weather sealed | Yes, mount-gasket only | Yes | Yes |
| Minimum focus distance / max magnification | 0.19 m (7.5″) / 0.30x | 0.18 m (7.1″) / 0.34x | 0.19 m (7.5″) / 0.34x |
| Filter size | 67mm | 82mm | 67mm |
| Diameter x Length (no hood) |
L-mount: 72.2mm x 101.5mm (2.8″ x 4.0″) E-mount: 72.2mm x 103.5mm (2.8″ x 4.1″) |
L-mount: 87.8mm x 122.9mm (3.5″ x 4.8″) E-mount: 87.8mm x 124.9mm (3.5″ x 4.9″) |
73mm x 117.8mm (2.9″ x 4.6″) |
| Weight | 470g (16.6oz) | L-mount: 835g (29.5oz) E-mount: 830g (29.0oz) |
550g (19.4oz) |
Handling
As you might expect, the featherweight Sigma 28-70mm F2.8’s body is predominantly constructed from polycarbonate, although it does still have a metal mount and build quality is good. And while it isn’t fully weather-sealed like its nearest rivals, the mount still includes a seal that should help protect your camera body from the elements, if not the lens itself.
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And since it is so lightweight, balance is very good. Regardless of the mount variant you choose, it shouldn’t feel front-heavy on any body you might want to pair it with.
With no built-in image stabilization, there are only three controls in total: A pair of very nice, well-dampened zoom and manual focus rings and a focus mode selector switch on the left side of the barrel.
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Up front, you’ll find 67mm filter threads. That’s the same size as used by its Tamron rival, while the Sigma 24-70mm F2.8 opts instead for a larger 82mm filter thread.
Autofocus and focus breathing
Autofocus comes courtesy of a stepper motor that drives just a single lightweight focusing element, and the result is swift and silent AF. It takes just one second or less to fully rack the autofocus from the 19cm (7.5in) minimum focus distance to infinity. The linear motors in the Sony 24-70mm F2.8 GM or Canon’s RF 24-70mm F2.8L may be a tad faster, but for most use cases, the Sigma’s autofocus is more than fast enough.
Despite its fairly close focusing distance, this isn’t a true macro lens. The maximum magnification of 0.30x (1:3.3) occurs at wide-angle, and if you zoom to the 70mm position, you’ll need to move back to 38cm (15in) from your subject, resulting in a weaker but still respectable 0.22x (1:4.6) magnification at telephoto.
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| ISO 100 | 1/1000 sec | F2.8 | 61mm | Panasonic S1R Photo by Barney Britton |
In terms of video autofocus, the Sigma 28-70mm DG DN has the potential to be a really great option. Not only does it offer silent autofocus drive and very nicely-damped manual focus, but it also has well controlled focus breathing. There’s only a bit at the 28mm wide-angle end and very little at all by the time you zoom in to 70mm.
Image quality
Life is all about compromises. With a bright, continuous aperture and minimal size and weight being the key elements of its design, it’s not surprising at all that the Sigma 28-70mm F2.8 DG DN’s image quality can’t quite compete with larger, more expensive alternatives like Sigma’s own 24-70mm F2.8 DG DN Art.
That said, the 28-70mm F2.8 Contemporary still offers solid image quality. This is especially true if you’re willing to stop down a bit, don’t shoot with an extremely high-res body or don’t need perfection in the corners. Let’s take a closer look.
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| ISO 100 | 1/80 sec | F4.5 | 49mm | Panasonic S1R Photo by Barney Britton |
Sharpness
Shooting wide-open at F2.8 (which you’ll quite likely want to spend much of your time doing if you’ve bought this lens for its bright maximum aperture), sharpness is very acceptable in the center of the frame at 28mm and remains pretty good even once you zoom in to the 70mm telephoto.
Stopping down to F5.6, we see a slight improvement in sharpness at wide-angle and a bigger improvement at telephoto, since the lens is softer wide open at 70mm than it is at 28mm. You’ll appreciate this improvement in sharpness more if you’re shooting with a high-resolution camera. We tested with both the 42-megapixel Sony A7R III and 47-megapixel Panasonic S1R; with a 24-megapixel body, that difference would be much less noticeable.
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| ISO 100 | 1/500 sec | F2.8 | 58mm | Sony A7R III Photo by Chris Niccolls |
Sharpness drops off a little at the corners on the wide end at F2.8, but stopping down to F5.6 gives a relatively flat field of focus and improved corner sharpness. That said, focusing in the corner yields higher corner sharpness than focusing in the center and stopping down, indicating a curved field of focus. Focusing in the corner and stopping down yields even better corner sharpness, as expected. The not-so-flat field of focus, at least in part, contributes to the peripheral softness when focusing centrally.
This might be an issue if you like to shoot landscapes (or brick walls) wide open but, practically speaking, stopping down the lens will yield decent edge sharpness. Meanwhile, if you need optimal sharpness off-axis, simply use an off-center AF point (rather than using the ‘focus and recompose’ method).
Results at 70mm follow a similar pattern, but with softer results overall, particularly at close focus distances. Wide open, portraits can often look a little dreamy.
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| ISO 100 | 1/1250 sec | F5 | 61mm | Panasonic S1R Photo by Barney Britton |
For most practical purposes, however, the Sigma 28-70mm is easily sharp enough. For portrait shooting, just make sure you use an AF point over your subject for focus to overcome any issues with field curvature, as you should with any lens and modern autofocus system. And for wide-angle landscape shooting, stopping down to F5.6 will help, and by the time you reach F8 or F11, you’ll be really pleased with the results.
Vignetting and distortion
When it comes to distortion, we need to discuss the Leica L-mount and Sony E-mount versions of the lens separately. That’s because if you’re an L-mount shooter, distortion is corrected automatically in both JPEG and Raw files, but if you’re shooting Raw on the E mount variant on a Sony body and using Adobe software, there’s (currently) no correction applied for distortion.
Distortion isn’t an issue for the L-mount version thanks to automatic correction, but Sony E-mount variants show some barrel distortion at wide-angle and prominent pincushion at telephoto.
Shooting on a Sony A7R III body, our samples show some barrel distortion noticeable at wide-angle, which changes to become quite prominent pincushion by telephoto. By contrast, our samples shot on a Panasonic Lumix DC-S1R show practically no distortion, thanks to automatic correction. Raw shooters of any mount who use Capture One have more options here, as it can use the embedded distortion correction metadata to correct the image.
Distortion isn’t an issue for the L-mount version thanks to automatic correction, but the Sony E-mount variant shows some barrel distortion at wide-angle and quite prominent pincushion at telephoto.
ISO 100 | 1/2000 sec | F4 | Sony A7R III
Photos by Chris Niccolls
Vignetting is not a concern for the Sigma 28-70mm F2.8. It’s only really noticeable at telephoto, and even there is minor and easily corrected.
Bokeh
There’s both good news and bad news on the bokeh front. The Sigma 28-70mm F2.8 DG DN’s bokeh has a really pleasing, smooth look to it, with only minimal onion ring effect and smoothly-rounded, step-free edges even when stopped down to F4.
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| For the most part, bokeh is very pleasing, with only very slight onion ring and a nice, polygon-free shape even when stopped down to F4. ISO 100 | 1/200 sec | F4 | 70mm | Sony A7R III Photo by Chris Niccolls |
On the other hand, it’s quite prone to cat’s eye effect when shooting wide-open, giving the bokeh more of a football (or for non-Americans, rugby ball) shape the closer it gets to the corners. And that problem is not limited just to those corners but extends quite a long way towards the center of the frame.
While out-of-focus highlights start taking on a football-like shape fairly quickly away as you leave the central region of the frame, the good news is the effect is fairly modest until you reach the very edges and corners. Here, the effect is not so much cats eye as it is truncation of the optical cone due to mechanical obstruction (see the odd shapes in the image below).
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| Cat’s eye effect is quite noticeable when shooting wide-open and can appear quite a long way towards the center of the image frame. ISO 3200 | 1/80 sec | F2.8 | 70mm | Sony A7R III Photo by Chris Niccolls |
Stopping down helps significantly, though it doesn’t entirely solve the problem at the extremes of the image. To be fair, this is an issue with most 24-70mm F2.8 lenses.
Overall, though, we really enjoyed the Sigma’s thin depth of field and ability to yield soft backgrounds that help draw your viewers’ focus to the primary subject, especially for portrait shots. And the falloff from out-of-focus to in-focus and back again is also rather nice.
Flare, ghosting and sunstars
The Sigma 28-70mm F2.8 turns in a decent performance when it comes to ghosting. Even when shooting into the sun or with it in the corner of the frame, there was only a little ghosting noticeable in the far opposite corner. However, flare can be an issue, and you may see a noticeable loss of contrast when shooting with a bright light source in the frame.
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| ISO 100 | 1/1600 sec | F2.8 | 70mm | Sony A7R III Photo by Chris Niccolls |
Sunstars are relatively pleasing, with 18 rays thanks to the nine aperture blades. They’re not as tight as they could be – each ray splits and diverges into two rays – and as expected stars on the wide end look better than those on the telephoto end where they can appear a bit ‘messy’.
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| ISO 100 | 1/40 sec | F16 | 28mm | Sony A7R III Photo by Chris Niccolls |
Lateral and longitudinal chromatic aberration (fringing)
We didn’t see any major issues with lateral chromatic aberration for this lens. There’s a truly minute amount of it, perhaps 2-3 pixels wide on a 42MP image (that’s a half a millimeter on a 40″ x 60″ print) that clears up easily if you enable CA corrections in-camera or in your Raw converter.
There’s just a little bit of longitudinal chromatic aberration, visible as color fringing, around high contrast edges of slightly out-of-focus regions, but as you can see in the sample below, it’s not really anything to concern yourself over. It disappears immediately upon stopping down.
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| A little bit of longitudinal chromatic aberration can be seen as magenta and cyan color fringing around high contrast edges in the image above. It’s subtle enough to be a non-issue for the most part, and goes away as you stop down the lens.
ISO 100 | 1/400 sec | F@2.8 | 70mm | Panasonic S1R |
Conclusion
| What we like | What we don’t |
|---|---|
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At the end of the day, it’s important to bear in mind the target customer when evaluating the Sigma 28-70mm F2.8 DG DN Contemporary. Can more money get you an upgrade in the image quality department? Absolutely, as always. But it’ll also come at the additional cost of a significantly larger, heavier lens. If you’ve got to pack it for air travel or carry it with you while out hiking or roaming around town on foot, that added size and weight will be a disadvantage.
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| ISO 100 | 1/100 sec | F4 | 45mm | Panasonic S1R Photo by Barney Britton |
Sure, it has some caveats in the image quality department. Most notably, corner sharpness isn’t stellar at telephoto while wide-open; close-up telephoto shots wide open can have a soft dreamy look, and it’s also quite prone to cat’s eye bokeh effect. But honestly, depending on your subjects, those may not be major concerns for you. And image quality is otherwise solid, with very good sharpness across much of the focal range, pleasing bokeh, and good resistance to aberrations and ghosting.
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| ISO 100 | 1/13 sec | F4.5 | 49mm | Sony A7R III Photo by Chris Niccolls |
The Sigma 28-70mm F2.8 is also well-suited to video capture, with swift and silent autofocus and nicely-damped controls, as well as minimal focus breathing. Its only other significant shortcoming is the lack of full weather-sealing, something offered by all of its nearest rivals. If you expect to shoot rain or shine, that may be a deal-breaker, but if not, then it represents an opportunity to save some money while getting better portability.
If you prioritize outright image quality and durability over size, weight and cost, we’d recommend the fully weather-sealed Sigma 24-70mm F2.8 DG DN Art. And for E-mount shooters who are more size, weight and cost-conscious but who need to shoot regardless of the elements, the Tamron 28–75mm F/2.8 Di III RXD also offers a compelling alternative if you can live with its more distracting bokeh.
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| On the telephoto end the maximum magnification ratio is 0.22x. Close-up subjects shot at 70mm can appear soft and dreamy.
ISO 250 | 1/200 sec | F2.8 | 70mm | Panasonic S1R |
But if what you need most of all is portability and you understand the compromises necessary to achieve it, the Sigma 28-70mm F2.8 DG DN is hands-down the smallest and lightest of the bunch and still offers solid image quality.
It doesn’t hurt that it’s also among the most affordable F2.8 full-frame standard zoom options for the E- or L-mounts. For the size, weight and cost-conscious, it’s definitely worthy of consideration.
DPReview TV review
See what our team at DPReview TV has to say about the Sigma 28-70mm F2.8 DG DN | C.
Wildlife Photographer of the Year winners
The 11th annual International Landscape Photographer of the Year competition has announced the winners of its 2024 awards, showcasing stunning imagery from around the world. Photographers competed in various categories, including the coveted Landscape Photographer of the Year, requiring a portfolio of at least four images, and Landscape Photograph of the Year, recognizing the power of a single captivating shot.
This year’s competition saw Canadian photographer Andrew Mielzynski, an amateur with a deep connection to the natural environment, claim the top prize for his portfolio of stark images with simple color palettes. Ryohei Irie from Japan captured the Landscape Photograph of the Year award with a mesmerizing image of fireflies illuminating a forest.
Beyond the overall winners, the competition presented awards in specific categories, including Black and White, Aerial, Snow and Ice, and Forest, along with at-large winners. In addition to the overall and category winners, we’ve included several of our favorite photos from the 202 photographs recognized this year. You can visit the competition’s website to see all the winning images or to download its 2024 eBook.
Landscape Photographer of the Year: 1st place
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Photographer: Andrew Mielzynski, Canada
Subject and location: Cono de Arita in the Salar de Arizaro, Atacama Desert in Argentina
Description: The Cono is a perfectly cone-shaped volcano at 3,690 meters above sea level. It’s very graphic due to the contrast between the dark, perfectly formed cone and the bed of white salt that is found at its base.
Copyright Andrew Mielzynski / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 1st place
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Photographer: Andrew Mielzynski, Canada
Subject and location: Winter Cottonwoods, Toronto, Ontario, Canada
Description: During the pandemic, I went out for a walk at a local park during a fierce winter storm. I ran across this scene. It seemed very chaotic, with many layers of trees. I loved how the snow, driven by high winds, was embedded into the bark of the trunks. The snow on the bark created a textural contrast that adds detail and interest to the trees. I took a few frames, trying to simplify the scene in front of me and settled on this one, loving the tones, the depth, the order and the minimalism. Even in a chaotic scene, there seems to be a sense of balance that feels orderly and pleasing.
Copyright Andrew Mielzynski / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 1st place
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Photographer: Andrew Mielzynski, Canada
Subject and location: Found in a roadside ditch near Heathcote, Ontario, Canada
Description: After a melt, we had a flash freeze with extremely cold temperatures and a clear blue sky. I was driving by a ditch on the side of a road that had been filled with water and had to stop and look (as we photographers do, can’t pass a ditch without investigating). This is what I found. Great textures and patterns, tones and flow, with lovely graphic lines creating a dynamic, abstract designs. I love this type of work – it’s so much fun, yet challenging to find just the right composition.
Copyright Andrew Mielzynski / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 2nd place
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Photographer: Ignacio Palacios, Australia
Subject and location: Pumice Field, La Puna, Argentina
Copyright Ignacio Palacios / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 2nd place
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Photographer: Ignacio Palacios, Australia
Subject and location: Seven Colors Mountain, Siloli Desert, Bolivian Altiplano
Copyright Ignacio Palacios / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 2nd place
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Photographer: Ignacio Palacios, Australia
Subject and location: Arita Cone, La Puna, Argentina
Copyright Ignacio Palacios / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 3rd place
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Photographer: Gheorghe Popa, Romania
Subject and location: Early Autumn, Vânători Neamț Natural Park, Romania
Copyright Gheorghe Popa / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 3rd place
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Photographer: Gheorghe Popa, Romania
Subject and location: Poisoned Beauty, Geamăna, Apuseni Mountains, Romania
Copyright Gheorghe Popa / The International Landscape Photographer of the Year
Landscape Photographer of the Year: 3rd place
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Photographer: Gheorghe Popa, Romania
Subject and location: Whispers of the Sunken Trees Cuejdel Lake, Romania
Copyright Gheorghe Popa / The International Landscape Photographer of the Year
Landscape Photograph of the Year: 1st place
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Photographer: Ryohei Irie, Japan
Subject and location: Traces of Light, Ichinomata, Yamaguchi Prefecture, Japan
Description: The Landscape Photograph of the Year Award went to Ryohei Irie of Japan. He likes the mysterious atmosphere created by the standing dead trees and firefly light. “I have been visiting this Subject and location for several years during the firefly season, and it is an interesting place because the intensity and length of the firefly light and the Subject and location where the fireflies fly vary greatly, depending on the year and time of day, resulting in completely different works, even when photographed in the same way.”
Copyright Ryohei Irie / The International Landscape Photographer of the Year
Landscape Photograph of the Year: 2nd place
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Photographer: Justinus Sukotjo, Indonesia
Subject and location: Mother Care Framing, Walakiri Beach, Sumba Island, Indonesia
Copyright Justinus Sukotjo / The International Landscape Photographer of the Year
Landscape Photograph of the Year: 3rd place
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Photographer: Himadri Bhuyan, India
Subject and location: The Flow, Sohra, Meghalaya, India
Copyright Himadri Bhuyan / The International Landscape Photographer of the Year
The Black and White Award
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Photographer: J. Fritz Rumpf, United States
Award: The Black and White Award 2024
Subject and location: White Tie Affair. Death Valley National Park, California, USA
Copyright J. Fritz Rumpf / The International Landscape Photographer of the Year
The Aerial Award
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Photographer: Benjamin Barakat, Switzerland
Award: The Aerial Award 2024
Subject and location: The Final Dune, Namibia
Copyright Benjamin Barakat / The International Landscape Photographer of the Year
The Snow and Ice Award
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Photographer: Jeroen van Nieuwenhove, Iceland
Award: The Snow and Ice Award 2024
Subject and location: Isþyrlu – Ice Swirl, Scoresbysund, Greenland
Copyright Jeroen van Nieuwenhove / The International Landscape Photographer of the Year
The Forest Award
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Photographer: Shirley Wung, Taiwan
Award: The Forest Award 2024
Subject and location: Fireflies flying in the Misty Mountains, Wufeng Township, Hsinchu, Taiwan
Copyright Shirley Wung / The International Landscape Photographer of the Year
The Exciting Sky Award
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Photographer: Federico Delucchi, Italy
Award: The Exciting Sky Award 2024
Subject and location: Aurora, meteor shower and other cool stuff, Rocca la Meja, Italy
Copyright Federico Delucchi / The International Landscape Photographer of the Year
Other top entries
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Photographer: Laura Bennet, United States
Subject and location: Sumba Island, Indonesia
Copyright Laura Bennet / The International Landscape Photographer of the Year
Other top entries
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Photographer: William Preite, Italy
Subject and location: Pale di San Martino, Falcade, Dolomites, Italy
Copyright William Preite / The International Landscape Photographer of the Year
Other top entries
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Photographer: Siegfried Makedanz, Germany
Subject and location: Sandfellsjökull Glacier Lagoon, Southern Iceland
Copyright Siegfried Makedanz / The International Landscape Photographer of the Year
Other top entries
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Photographer: Sabine Weise, Germany
Subject and location: Moonscape Overlook, Utah Badlands, USA
Copyright Sabine Weise / The International Landscape Photographer of the Year
Other top entries
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Photographer: Yuriy Vantowski, United States
Subject and location: Mount Bromo, East Java, Indonesia
Copyright Yuriy Vantowski / The International Landscape Photographer of the Year
Other top entries
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Photographer: Tanay Das, India
Subject and location: Kistwa, Himalaya, Jammu and Kashmir, India
Copyright Tanay Das / The International Landscape Photographer of the Year
Other top entries
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Photographer: Rajesh Jyothiswaran, United States
Subject and location: Texas, United States
Copyright Rajesh Jyothiswaran / The International Landscape Photographer of the Year
| Images: Canon, Nikon |
It wasn’t long ago that many of our reviews of APS-C cameras had to come with a warning: no matter how good the body was, you were almost certainly going to be limited by lens selection. This was especially true with Nikon and Canon’s mirrorless cameras. Sony has followed its longstanding tradition of letting third parties build out a healthy selection of lenses, and the selection for Fujifilm’s APS-C-only X-mount is second to none, but Nikon’s Z mount and Canon’s RF mount appeared to be almost completely locked down. As a result, you could count the number of APS-C lens options available on your fingers.
But things are changing. Over the past year, we’ve seen several APS-C lenses announced and released for Canon and Nikon cameras, filling notable gaps in the first-party lens lineups. But while the situation is improving, it’s clear that the two companies are still in control.
This week, Sigma released four APS-C primes for Canon’s RF mount, making good on its promise to release six licensed lenses for the system – earlier this year, it released the 10-18mm F2.8 and 18-50mm F2.8. Meanwhile, Nikon has allowed Sigma to release select primes for Z-mount – a trio of F1.4 primes at 16, 30, and 56mm. It’s worth noting the company’s 23mm F1.4 is the only one of its APS-C primes that it hasn’t brought to Z-mount; it likely isn’t a coincidence that Nikon’s only first-party APS-C prime lens is a 24mm F1.7.
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Sigma’s APS-C prime lens lineup is quite good, and now most of them are available for almost any mirrorless APS-C camera.
Image: Sigma |
However, Nikon hasn’t stopped companies like Viltrox and Sirui from releasing a slew of Z-mount APS-C prime lenses, complete with autofocus. If you pick up a Nikon Zfc or Z50II, you can get anywhere from a 13mm F1.4 (20mm equiv.) to a 75mm F1.2 (113mm equiv.) to go with it, as well as most of the classic focal lengths in between.
Your choices are no longer limited to a few first-party options, manual-focus only lenses, or glass meant for full-frame bodies
This is an important change for APS-C shooters. Even going back to the DSLR days, it’s felt like many manufacturers have viewed the format as a stepping stone to full-frame rather than something enthusiasts and pros might consciously choose. Neither Canon nor Nikon have been particularly prolific when releasing new APS-C glass. But with the gates being slightly opened, you’re no longer limited to a few first-party options, manual-focus-only lenses from third parties, or heavier, more expensive full-frame lenses. Now, there’s at least some selection of third-party lenses with autofocus to choose from, alongside Canon and Nikon’s offerings.
This isn’t to say that you can now buy any APS-C camera you want and be assured that all the lenses you want will be available – you are still at the mercy of what Canon and Nikon wish to allow. While plenty of primes are available for Z-mount APS-C cameras, no fast zoom lenses are available; Nikon’s all start at F3.5 and end at F5.6 or F6.3.
In fact, there are currently no third-party APS-C zooms available for Nikon Z-mount at all, despite the fact that two have made the jump from E and X-mount to RF – it also goes without saying that there are many others more available on Fujifilm and Sony’s systems. That’s a bummer for anyone looking to step up from the kit lens or wanting to shoot sports or birds in anything but ideal lighting without having to shell out for and lug around a full-frame 70-200mm.
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Tamron has promised to bring its 11-20mm F2.8 APS-C lens to Canon RF mount this year as well – no word on Z-mount, despite Tamron bringing some of its full-frame lenses to Nikon.
Image: Tamron |
RF mount at least has the two constant F2.8 zooms thanks to Sigma, with one more on the way from Tamron, though those are all at the wide end. However, there are far fewer autofocus primes available for Canon, as manufacturers like Sirui and Viltrox aren’t producing them. That’s not surprising; a representative for the latter once said that Canon had told it to stop producing products for RF mount. The 85mm F1.4 lens that Samyang announced for the system in 2020 also disappeared from the market not long after.
In a perfect world, these problems wouldn’t exist. Canon and Nikon would make the lenses that their APS-C cameras needed to stand on their own feet as a real alternative to full-frame options, and there would be robust competition from third parties, which would be allowed to make whatever lenses they want.
None of that seems particularly likely. However, at least those who choose to shoot with a smaller sensor in a Canon or Nikon body have gotten a wider choice of lenses, even if they’re still bound by the companies’ rules.
At the end of the day, that’s better for everyone interested in APS-C, because it means that cameras like the EOS R7 and Z50II are competitive with the Sony a6700 and Fujifilm X-T5 in a way that they wouldn’t have been with an extremely limited lens selection. With any luck, this trend will continue, and the APS-C landscape will become more competitive – even if Canon and Nikon aren’t giving it their full attention.
The Sony Alpha 1 II is the company’s latest flagship full-frame mirrorless camera. It’s built around the same 50.1MP stacked CMOS sensor as the original but now includes an “AI processing unit,” which allows its autofocus system to recognize seven different subject types and to automatically select one based on what’s in the scene.
Key specifications
- 50.1MP stacked CMOS sensor
- In-body stabilization rated at up to 8.5EV
- Improved autofocus subject recognition with automatic selection
- Continuous shooting at up to 30fps with full AF tracking
- Pre-release capture from 0.03 to 1 second
- Fully-articulated rear screen on tilt-out cradle
- 8K 30p video downsampled from 8.6K / 4K 120fps
- 9.44M dot 240fps viewfinder – full res up to 120fps
The a1 II will retail for $6,499.99 – the same as its predecessor – and will be available in mid-December.
Index:
- What’s new?
- How it compares
- Body and handling
- Initial impressions
- Sample Gallery
- Specifications
- Press release
What’s new
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Despite using the same sensor as its predecessor, Sony claims the a1 II will have improved image quality at mid-to-high ISOs thanks to its improved image processing engine. Presumably, these improvements will only appear in the JPEGs.
Improved Autofocus
The original a1’s autofocus system could recognize humans when shooting stills and videos, and animals and birds when shooting stills. The a1 II, however, inherits the dedicated “AI processor” seen in cameras like the a7R V and a9 III and can now recognize even more subjects: it adds insects, cars, trains and airplanes. All the recognition modes are now available in movie mode as well, and the system can specifically target key parts of recognized subjects, such as a driver’s helmet.
The a1 II brings an ‘Auto’ subject recognition mode to the Alpha line
Sony also claims that human and animal eye recognition should be around 30% better than the a1 and that bird eye recognition should be 50% better. The Animal and Bird modes have also been merged, meaning you won’t have to switch between subject recognition modes if you want to go from shooting animals to birds or vice versa.
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| The a1 II’s Auto Subject Detection mode lets you narrow-down the types of subject it’ll search for, to help optimize the performance. |
Not that you would necessarily have to switch modes manually. The a1 II is Sony’s first Alpha camera to have an Auto subject recognition mode, where it can determine what type of subject it should be tracking and lock on to it. As with the similar system on Nikon’s cameras, this comes with a small speed penalty compared to having a specific subject recognition mode selected. However, it can be useful if you need to quickly go between shooting a variety of subject types.
You can also speed up the system by limiting which types of subjects the Auto mode selects between; for example, you can make it so it only looks for humans, animals, and birds if you’re not planning to shoot any insects or vehicles.
Finally, Sony’s also adding extra small and extra large spot focus area options.
Pre-Capture
One feature that’s become commonplace since the launch of the a1 is pre-capture – a way for the camera to save the moments before you press the shutter, helping you capture key moments beyond your ability to anticipate them. The a1 II adds it, recording up to 30 frames in the moments leading up to you pressing the shutter button, though if you want to go above 20fps, you will be limited to using lossy compressed Raws instead of lossless compressed ones. When enabled, the pre-capture is activated by a half-press of the shutter, the press of the AF button, or both, depending on your settings.
You can set the pre-record window to be as short as 0.03 seconds or as long as a second, with several options in between.
Better stabilization
The a1 II’s internal image stabilization is now rated for up to 8.5 stops in the center of the frame and 7 stops on the periphery (a new CIPA metric), up from a 5.5 stop rating on the a1.
Viewfinder tweaks
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Hardware-wise, the a1 II’s EVF seems largely unchanged from the a1’s: it’s the same resolution and can run at the same 240fps. However, Sony says you can now run in 120fps mode with display quality set to ‘high,’ though you will still see a drop in resolution if you go up to 240fps.
There’s also now a ‘deep’ viewfinder eyecup included in the box, alongside the standard one
Video
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The a1 II retains most of the original’s video specs. This means 8K capture at up to 30p, full-width 4K capture at up to 60p and up to 120p with a 1.13x crop. The 4K isn’t derived from the 8K footage, though, so you don’t gain the detail benefit of 2x oversampling.
The a1 II adds a few quality-of-life updates, though. The most impactful will probably be the aforementioned support for using all the subject tracking modes while shooting video, but you can also now import up to 16 custom LUTs that you can use to preview what your Log footage will look like when graded. You can also embed the LUT alongside your files, so that someone else editing your footage can match your intended look.
Just as we’ve seen with Sony’s other recent large-sensor cameras, the a1 II only shoots the S-Log3 profile, which captures a very wide dynamic range. It no longer offers the less expansive S-Log2 option. The a1 II also gains the attractive and flexible S-Cinetone profile if you don’t want to color grade in post.
The camera also has the Auto Framing feature found on some of Sony’s vlogging cameras, where it will crop in on the subject and move the frame around to make it seem like there’s a cameraperson tracking them. There’s also a ‘Dynamic active’ image stabilization mode, which Sony says will increase the stabilization by up to 20% compared to the standard ‘Active’ mode, and a ‘Framing Stabilizer’ mode that’s meant to ensure that your frame maintains the same composition as much as possible when shooting handheld.
Noise Reduction Composite Raw
Sony has expanded on the a1’s pixel shift multi-shot mode, adding a noise reduction mode that shoots between 4 and 32 Raw images that can be composited together using a desktop computer running the company’s Imaging Edge software. Sony pitches it as a mode for low-light portraiture.
It’s most easily understood as a multi-shot mode without the pixel-shift movement. Rather than trying to boost resolution it aligns and combines multiple images to boost the signal-to-noise ratio (ie: tonal quality) at each pixel position. As with pixel shift mode, it’ll work best when there’s little to no movement within your scene.
The a1 II also gains focus bracketing, which the original a1 lacked.
How it compares
The most direct competitor to the a1 II is Nikon’s Z9, its pro-focused high speed, high resolution model. Canon’s EOS R1 lower resolution makes it more of an a9 III competitor, but it’s these models primarily and explicitly made for professional shooting in the most demanding circumstances that Sony’s trying to target.
However, given how much of the Z9 and R1 Nikon and Canon have included in the Z8 and EOS R5 II, respectively, it’s also fair to include one of those models here, too. Sony doesn’t use the two-grip and larger battery design for its pro models, which makes the comparison even more inviting, despite them being a different class of camera.
| Sony a1 II | Nikon Z9 | Canon EOS R5 II | Sony a1 | |
|---|---|---|---|---|
| MSRP | $6,499 | $5,499 | $4,299 | $6,499 |
| Pixel count | 50MP | 45MP | 45MP | 50MP |
| Sensor type | Stacked CMOS | Stacked CMOS | Stacked CMOS | Stacked CMOS |
| Max frame rate | E: 30fps lossy compressed Raw / 20fps lossless compressed raw |
20fps 14-bit Raw
30fps JPEG |
E: 30fps
M: 12fps |
E: 30fps lossy compressed Raw / 20fps lossless compressed raw
M: 10fps |
| Flash sync speed | M: 1/400
E: 1/200 |
E: 1/200 |
M: 1/200
E: N/A |
M: 1/400
E: 1/200 |
| Stabilization | 8.5EV center, 7EV periphery | 6EV | 8.5EV | 5.5EV |
| Max video res / rate | 8K/30 | 8K/60 | 8K/60 | 8K/30 |
| Video formats |
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| AF sensitivity | -5.33EV* | -5.0EV (-7.0 in Starlight AF mode) | -7.5EV | -5.33EV* |
| Viewfinder | 9.44M dots 0.90x | 3.69M dots 0.80x | 5.76M dots 0.76x | 9.44M dots 0.90x |
| Rear LCD | 3.2″ 2.1M dot, fully articulating with tilt | 3.2″ 2.1M dot, 4-axis tilting | 3.2″ 2.1M dot, fully articulated | 3.0″ 1.44M dot, tilting |
| Connectivity |
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|
|
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| Stills battery life EVF / LCD | 420 / 520 | 700 / 740 | 250 / 540 | 430 / 530 |
| Video battery life (LCD) Cont. / Actual | 150 min / 90 min | 170 min / – | 150 min / 95 min | |
| Dimensions | 136 x 97 x 83mm | 149 x 150 x 91mm | 138 x 98 x 88mm | 129 x 97 x 81mm |
| Weight | 743g | 1340g | 670g | 737g |
* – Sony rates its AF sensitivity using an F2 lens, while Nikon and Canon use an F1.2 lens. We’ve adjusted Sony’s rating by -1.33EV to account for the difference.
The a1 II has the joint fastest shooting rate here and its sensor readout is quicker than the roughly 1/160 that the EOS R5 II can achieve. Likewise it has a built-in Ethernet connection, which the Canon lacks and, unlike the EOS R5 II and Nikon Z8, has matched card slots so that pros can focus on a single type of media and never have to worry about an performance difference between slots.
It’s much more evenly-matched against the Z9, which has a much lower resolution viewfinder but a low-latency readout path from its sensor to make the viewfinder more responsive. The Z9 can only shoot at up to 20fps in Raw, dropping to 12-bit readout and JPEG-only mode to hit 30fps.
Body and handling
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Given that the a1’s audience is professionals who use it day in and day out, it’s no surprise that Sony has been conservative with changes to its magnesium body and controls – the a1 II’s tweaks are largely the same as the a9 III’s, with the grip getting deeper and the shutter button being angled forward towards your finger.
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The dials and buttons are largely in the same places, though the exposure compensation markings have been removed from the locking top-plate control dial. The stills / video / S&Q modes have also been moved to a sub-dial rather than being settings on the mode selector dial, and the drive select dial now has a disable setting that lets you control the camera’s drive mode purely through menus.
The a1 II also features an additional programmable button on the front next to the grip. By default, it acts as a ‘Speed Boost’ button, upping your shooting rate as you hold it down. For example, you could be shooting at 15fps and press the button to start shooting at 30fps for a few seconds when the action speeds up or when you want to be sure you’ll capture a specific moment. This option can be moved to another button and the boosted frame-rate can be tailored to suit your subject.
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The biggest physical change is the display. It’s a bit larger and higher resolution than the a1’s, and it can now tilt in addition to being fully articulated. It’s a design we saw with the a7RV, and one that should make both photographers and videographers happy. It also has the slightly updated menu system from the a7RV as well, with the interactive settings tab.
As discussed above, the viewfinder is largely still the same, with a large 0.9x magnification and 9.44M dots giving a resolution of 2048 x 1536px. Its 120fps mode is nicer to use now that it doesn’t come with a substantial drop in resolution.
Ports and slots
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The a1 II’s I/O is largely unchanged from its predecessor, though the ports have moved around a bit. It still has a headphone and microphone jack, a USB-C port that runs at 3.2 Gen 2 10Gbps speeds, a full-size HDMI port, Sony’s micro USB ‘Multi’ accessory port, and a flash sync port.
It also has dual-band 2.4 and 5GHz Wi-Fi with 2×2 MIMO and an upgraded Ethernet port that runs at 2.5Gbps instead of the 1Gbps speeds the port on the a1 was limited to. That should make transferring large videos and batches of photos over long distances faster – try finding a high-speed USB-C cable that’s more than a few meters long – and is another sign of the pro workflows this camera is designed to support. The Ethernet port also now has a Wake on LAN feture that can be used to remotely turn the a1 II on using Remote Camera Tool.
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On the other side, the a1 II features a pair of the combined CFexpress Type A / UHS-II SD card slots for storage that feature on many of Sony’s cameras.
Battery
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The a1 II uses Sony’s NP-FZ100 batteries, and includes a dual-battery charger in the box, which it claims will charge two batteries at once in around 155 minutes.
The camera is rated to give 420 shots per charge when using the rear screen. As always, CIPA figures tend to significantly underestimate the actual number of shots most people will get, and this discrepancy gets significantly larger when you’re shooting bursts. But, while we’d expect a camera rated at 420 shots per charge to actually be able to shoot multiple times this number in practice, it’s usually a good indicator of how its battery life compares with other cameras (ie: if it gets a rating 50% lower than another camera, it’s likely to capture around 50% fewer shots per charge).
Initial impressions
By Richard Butler
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The a1 II’s AF proved very effective at staying focused on the player we’d specified, in our testing so far.
Sony FE 400mm F2.8 GM OSS | F2.8 | 1/4000 sec | ISO 640 |
When the original a1 arrived, just shy of four years ago, it represented an unprecedented combination of high resolution and speed. Despite a 50MP sensor, its Stacked CMOS design with on-board RAM let it capture stills at up to 30fps with readout speeds of around 4ms (fast enough to allow flash sync at up to 1/200 sec). This was around four times faster readout than the 20fps Canon EOS R5, which had previously come closest to offering high-speed and high res.
However, in the time that’s passed, both Canon and Nikon have produced fast high-res bodies and done so at something closer to a consumer-reachable price, leaving Sony’s pro flagship looking expensive, rather than exemplary. Don’t let this or Sony’s single-grip approach fool you: the a1 II is designed to square-up against the Z9 and R1, not the Z8 and R5 II. But it goes to show how quickly things have been moving that these more affordable models can match so much of the of the original a1’s spec and offer more advanced subject recognition.
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A pro sports camera doesn’t have to be used solely for sports, and its impressive autofocus can help maintain a very high hit-rate even when scrutinizing all 60 million pixels.
Sony 28-70mm F2 GM @ 70mm | F8 | 1/200 sec | ISO 100 |
The a1 II helps redress this balance, somewhat, pairing the same processing capabilities as Sony’s other pro-focussed model, the a9 III, with the 50MP Stacked CMOS sensor. This includes the gain of subject recognition AF modes with the first ‘Auto’ option that lets you pare back the range of subjects it hunts for, to hit an optimal speed/convenience balance for your photography. We’ve been very impressed by the camera’s AF performance so far.
The a1 II also gains the pre-capture option that’s been becoming increasingly common on action-focused cameras. It still tops-out at 8K/30 on the video side though, and has no option for 4K derived from this 8K capture, leaving it behind both the R5 II and Z8 in this regard.
Interestingly, the a1 II still needs to drop to Sony’s damagingly lossy Raw format at 30 fps: it can only shoot lossless compressed Raw at 20fps. The difference only becomes apparent at high-contrast edges after significant editing pushes, so is unlikely to be a major issue for action shooting, but it’s a surprise that this couldn’t be addressed with the Mark II’s greater processing grunt.
“It’s these workflow features aimed at professionals that try to set the camera apart”
Critically, the a1 II also includes a series of features from both the a1 and the a9 III designed specifically for professionals trying to deliver images quickly that the less expensive rivals lack. This includes a variety of transfer options, including SFTP and several ways of marking files to be transferred. We’d also expect the a1 II to gain the ability to encode C2PA authentication metadata to its files.
Unsurprisingly, it’s the cumulative impact of these workflow features aimed at professionals working in high-intensity environments that try to set the camera apart. And if you’re not one of those people (and most of us aren’t), then the a1 II almost certainly isn’t worth so much more than the more consumer-priced models.
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| Details such as a high-speed Ethernet port and options like Start-on-LAN to enable a goal-line camera to be remotely activated and controlled are what help set the pro-tier products apart from the very high-end enthusiast/crossover models. |
But how can these small details, an Ethernet port, that huge, high-res viewfinder and details like matched media card slots really add up to justify a 50% premium over the enthusiast/pro crossover bodies, such as the Z8 and EOS R5 II? Ultimately, it may simply be a ‘Pro Tax’: that $6K is how much a pro-focused camera costs. It’s the amount the market has shown it will bear, and it’s likely to be how much companies (including single-photographer companies) will have budgeted.
If there’s any doubt in your mind about whether the a1 II is worth the extra $2000 over the Z8 or EOS R5 II, then you’re not its target audience, and consequently it almost certainly isn’t, But if you are a Sony-shooting pro, the a1 II adds significantly to the skill-set of the previous model. But against dramatically improved competition and with so much Z9 and R1 tech trickling down to the Z8 and R5 II, it’s not the game-changer its predecessor was. We’ll get a chance to test this assessment as we continue using the camera.
Sample gallery
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