Sigma 12-24mm 1: 4 DG A review

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Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A. Some of the exterior photos were taken from the site bhphoto... Photos of a particular specimen that was reviewed can be viewed here or here

Browse Navigation:

  1. In short
  2. History
  3. Alternatives
  4. Main Specifications
  5. All original similar Nikon Nikkor lenses
  6. Assembly
  7. Focusing
  8. Image quality
  9. Sample Photos
  10. My experience
  11. All Sigma Art Series Lenses
  12. Prices
  13. Results
  14. User Comments
  15. Add your review / comment or question on the lens

In the review, I will call the Sigma 12-24mm 1: 4 DG A lens in abbreviated form - Sigma 12-24 / 4 Art... This review shows the version of the lens for Nikon cameras with Nikon F mount. Sigma 12-24 / 4 Art is also produced for Canon EF / EFS mount SLR cameras, Sigma with SA mount. This is one of the few lenses Sigma ART serieswhich has not been converted to Sony / Minolta A, Pentax K, Sony E, Leica L mounts, and this lens has not been converted to the film version of Sigma CINE.

Very important: Sigma 12-24 / 4 Art should not be confused with older models Sigma 12-24mm 1: 4.5-5.6 DG HSM EX (2003) and Sigma 12-24mm 1: 4.5-5.6 II DG HSM

Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

In short

The Sigma 12-24 / 4 Art is a unique wide / ultra wide / ultra wide angle lens for full frame DSLR cameras. Very high resolution in the center of the frame at 12 mm focal length and open aperture, high-quality assembly and fast focusing. The lens deserves due attention.

Most of the potential of the lens can be unleashed by experienced full-frame photographers who know exactly why they need such a wide angle of view.

The image quality obtained with the Sigma 12-24 / 4 Art is quite difficult to describe in a few words, but in general it is at a high level.

Nikon SLR cameras do not have a 'wider' autofocus full-frame rectile lens, and the previous Sigma 12-24 models have less aperture have poorer image quality.

Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

History

Sigma has extensive experience in creating such ultra-wide angle lenses.

Zoom Lenses:

  1. Sigma 12-24mm 1: 4.5-5.6 DG HSM EX... Scheme 16/12 (4 SLD, 3 ASP). October 2003 of the year. Nikon F, Canon EF, Sigma SA, Sony A, Pentax K. HSM motor is only available for Canon EF, Nikon F and Sigma SA.
  2. Sigma 12-24mm 1:4.5-5.6 II DG HSM... Scheme 17/13 (1 SLD, 4 FLD, 4 ASP). February 2011 of the year. Nikon F, Canon EF, Sigma SA, Sony A. From October 2003 to February 2015 (age 12) the 'EX' and 'II' models were the most wide-angle rectification lenses for full frame cameras with autofocus support.
  3. Sigma 12-24mm 1: 4 DG A... Scheme 16/11 (5 FLD, 1 SLD, 3 ASP). November 2016... Nikon F, Canon EF, Sigma SA
  4. Sigma 14-24mm 1: 2.8 DG A... Scheme 17/11 (3 FLD, 3 SLD, 3 ASP). February 2018... Nikon F, Canon EF, Sigma SA
  5. Sigma 14-24mm 1: 2.8 DG DN A... Scheme 18/13 (5 FLD, 1 SLD, 3 ASP). July 2019... Leica L, Sony E

Fix Lenses:

  1. Sigma 14mm 1: 3.5 Multi-Coated [MF] / Sigma 14mm 1: 3.5 HIGH-SPEED AF / Sigma 14mm 1: 3.5 AF... Scheme 13/11. February 1991... Autofocus versions only for Nikon F, Canon EF, Sony A. First autofocus 14mm prime
  2. Sigma 14mm 1: 2.8 APSHERICAL HSM EX... Scheme 14/10 (2 SLD, 2 ASP). August 1998... Nikon F, Canon EF, Sigma SA, Sony A, Pentax K
  3. Sigma 14mm 1: 1.8 DG A... Scheme 16/11 (3 FLD, 4 SLD, 4 ASP). December 2017... Nikon F, Canon EF, Sigma SA, Leica L, Sony E

Lenses for cameras with APS-C sensor:

  1. Sigma 10-20mm 1:4-5.6 EX DC [+ -HSM, + -D]... Scheme 14/10 (3 ASP, 3 SLD). February 2005... Canon EFS, Sigma SA, Nikon F, Pentax K, Sony A, 4/3. Several subversions with external differences
  2. Sigma 10-20mm 1: 3.5 EX DC HSM... Scheme 13/10 (4 ASP, 2 ELD, 1 SLD). March 2009... Canon EFS, Nikon F, Pentax K, Sigma SA, Sony A. Several sub-versions with external differences
  3. Sigma 8-16mm 1:4.5-5.6 DC HSM... Scheme 15/11 (3 ASP, 4 FLD). February 2010, Canon EFS, Nikon F, Pentax K, Sigma SA, Sony / Minolta A. It is still the widest rectile lens for cropped DSLR cameras with autofocus support.
Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

Alternatives

Shown below are all rectilinear ultra-wide angle photographic lenses [DO NOT FISH] with a focal length of 13 mm or less for full-frame cameras.

Autofocus for SLR cameras:

  1. Canon Zoom Lens EF 11-24 mm 1: 4 L USM UltrasonicCanon EF
  2. Sigma 12-24 mm 1:4.5-5.6 DG HSM EX, Canon EF, Nikon F, Sigma SA, Sony A, Pentax K
  3. Sigma 12-24 mm 1:4.5-5.6 II DG HSM, Canon EF, Nikon F, Sigma SA, Sony A
  4. Sigma 12-24 mm 1: 4 DG A, Canon EF, Nikon F, Sigma SA

Autofocus for mirrorless cameras:

  1. Sony FE 2.8 /12-24 GGM, Sony E
  2. Sony FE 4 /12-24 G, Sony E

Manual for SLR cameras:

  1. IRIX 11/4 Firefly + IRIX 11/4 Blackstone, Canon EF, Nikon F, Pentax K
  2. SAMYANG / ROKINON 10/3.5, Canon EF, Nikon F
  3. Nikon Nikkor 13 mm 1:5.6 (versions NON-AI [K] 1975-1977, AI 1977-1982, AI-S 1982-1998), Nikon F
  4. Vivitar Series 1 13 mm 1: 2.8 ED AS IF UMC, Nikon F, Canon EF, Pentax K, Sony A, most likely 13 mm are fake, and the lens itself completely copies Samyang / Rokinon 14mm 1: 2.8 ED ASPHERICAL IF

Manual for mirrorless cameras:

  1. LAOWA 9 mm 1: 5.6 W-Dreamer RL FF, Nikon Z, Leica M, Leica L, Sony E. Yes, this is 9mm for a full frame and this is not a fisheye. Lens-record holder
  2. LAOWA 10-18 mm 1:4.5-5-6 C-Dreamer Ultra Wide Zoom, Sony E, Nikon Z, Leica L. Yes, this is a full frame zoom lens. Lens-record holder among zooms
  3. LAOWA 11 mm 1: 4.5 C-Dreamer RL FF, Nikon Z, Leica M, Leica L, Sony E, Canon RF
  4. Laowa FF II 12-24 mm F5.6 C-Dreamer, Leica M, Sony FE, Nikon Z, Canon RF
  5. Voigtlander HELIAR-HYPER WIDE 10 mm F5.6 ASPHERICAL, Sony E, Leica M
  6. Voigtlander Ultra-Wide Heliar 12 mm F5.6 ASPHERICAL, M39+ version II, Leica M+ version III, Leica M, Sony E

Manual for SLR or mirrorless cameras:

  1. LAOWA 12 mm 1:2.8 D-Dreamer Zero-D, Canon EF, Nikon F, Pentax K, Sony A + Sony E, Canon RF, Nikon Z, Leica L

Lenses are named according to the markings on the lens barrel. List of all ultra-wide-angle autofocus lenses for cameras with APS-C sensor here.

Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

Main technical characteristics of Sigma 12-24mm 1: 4 DG A:

Review Instance Name The lens barrel bears the following inscriptions 'Sigma 12-24mm 1: 4 DG A MADE IN JAPAN 016'
Basic properties
  • DG - Lens designed for DSLR cameras with full frame sensor
  • A (Art) - a line of modern Sigma lenses aimed at maximum optical quality
  • 016 (2016) - lens year marker
  • HSM (Hyper Sabout nothing Motor) - ultrasonic focusing motor, in this case it is analogous to 'Nikon SWM'.
  • AF / MF - simple focus mode switch
  • IF (Iinternal Focusing) - internal focus
  • Full-Time Mannual Focus - continuous manual focus control, analog Nikon 'M / A'
  • Super Multi-layer Coating - super multicoated optics
  • ASP (Aspenherical) - aspherical elements in the optical scheme
  • FLD – (Fluorite-like Low Dispersion) - special low-dispersion elements in the optical scheme with characteristics close to fluorite
  • SLD (Special Low Dispersion) - low dispersion elements in the optical scheme
  • USB Dock Compatibility - compatible with Dock Station for flashing and / or reprogramming (adjust focus, etc.)
  • No aperture ring, analogue 'Nikon G / E'
  • Electromagnetic iris control, analogue to 'Nikon E'
  • Built-in hood
  • Protective coating of the front and rear lenses
  • Important: lens from a third-party manufacturer, which imposes some restrictions on its practical use
Front Filter Diameter does not use
Focal length 12-24 mm EGF for Nikon DX cameras is 18-36 mm

Angle of view at 12mm is 122 degrees diagonally across the frame

Zoom ratio 2 x
Designed by for digital cameras Nikon FX,

There are also options for:

  • Canon EF / EFS (namely the EF lens mount)
  • Sigma sa
Number of aperture blades 9 rounded petals
Tags
  • window with a scale of focusing distance in meters and feet
  • bayonet mount mark
Diaphragm F / 4 to F / 16

The lens does not have a diaphragm control ring; control occurs through the camera controls (analog Nikon G / E - lens type)

MDF 0.24 meters, maximum magnification ratio 1:4.9
The weight 1150 grams

According to my measurements 1134 (Nikon F version, lens without caps)

Optical design 16 elements in 11 groups:

  • 3 ASP aspherical elements
  • 1 SLD (Special Low Dispersion), it is not known where he is in the diagram
  • 5 FLD - (Fluorite-like Low Dispersion)

Optical design Sigma 12-24

Image of optical circuit clickable

Lens hood Built-in
Manufacturer country MADE IN JAPAN (Lens made in Japan)
Production period From 22 November 2016
Price View on E-katalog

There are two more interesting wide-angle solutions available in the Sigma ART line: Sigma 14 / 1.8 ART и Sigma 14-24 / 2.8 ART.

Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

Original autofocus lenses

Nikkor F for SLR cameras:

  1. Nikon 14 mm 1: 2.8D AF
  2. Nikon 16 mm 1: 2.8D Fisheye AF
  3. Nikon 18 mm 1: 2.8D AF
  4. Nikon 20 mm 1:2.8 AF
  5. Nikon 20 mm 1: 2.8D AF
  6. Nikon 20 mm 1: 1.8G N AF S
  7. Nikon 8-15 mm 1: 3.5-4.5E Fisheye AF S
  8. Nikon 14-24 mm 1: 2.8G N AF S
  9. Nikon 16-35 mm 1: 4G VR N AF S
  10. Nikon 17-35 mm 1: 2.8D AF S
  11. Nikon 18-35 mm 1: 3.5-4.5D AF
  12. Nikon 18-35 mm 1: 3.5-4.5G AF S
  13. Nikon 20-35 mm 1: 2.8D AF

Nikkor Z for mirrorless cameras:

  1. Nikon 20 mm 1:1.8 S
  2. Nikon 14-24 1:2.8 S
  3. Nikon 14-30 mm 1:4 S
  4. Nikon 17-28 mm 1:2.8
Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

Assembly

All lenses of the Art series are made exclusively in Japan, even all their accessories (caps, cases, etc.) are also made in Japan. True, despite the fact that the lens belongs to the highest quality range ARTThe Sigma 12-24 / 4 Art does not have full dust and moisture protection, but the lens has a rubber mount for the mount, and the front and rear lenses have a special protective coating.

In general, the lens is assembled perfectly. Sigma 12-24 / 4 Art has metal mount mount... The focusing and zoom rings are quite narrow, rubberized, and a little tight. The body is mainly made of a special composite TSCThermally Sbackgammon Composite (Thermally Stable Composite), less sensitive to temperature extremes than regular polycarbonate. Such a composite allows to avoid deformation of the case with a large change in ambient temperature. Sigma manufactures all of its 'ART' lenses from this digging material.

The weight of the Sigma 12-24 / 4 Art is about 1200 gram... In the hands, the lens feels like a solid thing. For the size of Sigma lenses, I have prepared small video on your Youtube channel.

The design of the Sigma 12-24 / 4 Art is reminiscent of other lenses in the Sigma Art range. The glossy surfaces on the lens barrel are quite easily soiled.

When the focal length is changed, the front lens moves in the middle of the body. As the focal length decreases, the front lens rides forward.

Lens supports firmware update and setup using a USB station, which can be purchased separately, or set up the lens in certified centers. In the review, my lens was without such a station.

Sigma 12-24 / 4 Art cannot use standard filters, which are screwed into the thread near the front lens (there is simply no thread). It is a pity, but the Sigma 12-24 / 4 Art cannot use the light filters that are installed behind the rear lens, the so-called gelatin filters.

Sigma 12-24 / 4 Art has built-in petal hood, which protects the front lens from mechanical damage, and also helps in side and back light.

Front cover no latches, it just fits snugly against the lens barrel. On the inside, the lid has a fabric seal.

Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

Focusing

To focus, the lens uses a special ultrasonic focusing motor 'HSM' (Hyper Sonic Motor) ring type... This is an analogue of Nikon SWM / Canon USM / Pentax SDM / Sony DDSSM motors. In this case, the Sigma 12-24 / 4 Art is like an 'AF-S' type lens in Nikon terms.

The lens will automatically focus on all Nikon DSLR cameraseven on amateur series models Nikon DXthat do not have a built-in focus motor: D40, D40x, D60, D3000, D3100, D3200, D3300, D3400, D3500, D5000, D5100, D5200, D5300, D5500, D5600as well as mirrorless cameras Nikon Z with adapter FTZ / FTZ II.

During autofocus, the motor performs its work quite quietly.

The autofocus speed of the lens is fast (closer to very fast). The focusing speed is sufficient for comfortable work in most photographic tasks. The speed may slightly depend on the camera used and the firmware of the lens itself, as well as the shooting conditions (poor lighting, etc.).

On cameras Nikon D4 и D40 I didn't have any particular problems with autofocus. It is still better to fine-tune focusing with dock stations and utilities SIGMA Optimization Pro (there is support for the Russian language). In large cities, you can rent this station. There are many reviews on the net for front and back focus with this lens, especially for Nikon and Canon DSLRs.

The focus ring is rubberized and rotates approximately 90 degrees in manual focus mode. When the extreme positions are reached, the ring does not abut, but continues to rotate freely. Manual aiming is not very convenient. The direction of rotation of the focus ring and zoom ring is not the same as the original Nikon 14-24 / 2.8GN AF-S. In automatic focus mode, the focus ring does not rotate and you can hold the lens behind it.

It's important: the range of distances is strongly 'knocked down' from one meter to infinity, making manual focusing inconvenient and difficult.

Lens has internal focus, the front lens remains stationary during focusing.

The lens has a window with a focusing distance scale in meters and feet. The number of values ​​on the scale is small, and the scale itself is not very useful. There are only values ​​for 0.24, 0.3, 0.4, 0.6, 1 meter and infinity mark. There is no depth of field scale.

The minimum focusing distance is 24 cm and the maximum zoom ratio is 1: 4.9, which is quite good for a lens like this.

There is a lens housing focus mode switch 'AF | MF Focus' (auto focus / manual focus). Lens supports continuous manual focus control (Full-Time Manual Focus). This function only resembles native functions. Nikon 'M / A' or Nikon 'A / M'. The mode is more similar to the analog from Canon - Canon FTM, or to the 'A' mode for some Nikon DX lenses, for which it is described in detail here. In short, it is convenient to perform manual focus in the auto focus mode 'AF' (switch position on the lens) is possible only if the camera uses the focus mode 'AF S'or' AF-A 'and only after successful automatic focusing. In focus mode 'AF-C'the camera may oppose manual focus control. Sigma 12-24 / 4 Art does not turn off automatic focusing when you start rotating the focusing ring manually, which can cause various incidents. Nikon Genuine Lenses with 'M / A' immediately turn off the auto focus completely and only listen to the manual control of the focus ring. But if you use the focus method with the button AF ON (or the button programmed for this function, or the remote control), you may not feel the lack of a full mode Nikon 'M / A' or Nikon 'A / M'. This is a pretty subtle little thing that can be quickly understood only in practice.

Interestingly: Sigma 12-24 / 4 Art has a pronounced 'Focus Breathing' effect (changes in the angle of view during focusing). When focusing towards the MDF, the angle of view increases. At a 12mm focal length when focusing on MDF, the angle of view is roughly the same as a lens with 11mm. When focusing on the MDF, the field of view is incredibly wide.

It's important: Focus Shift is present at 24mm (shift focus, change in focusing distance due to aperture). At 12mm, the shift focus is completely absent. The problem is most severe at the 24mm focal length. In some cases, it is still better to use Live View focusing at the selected aperture value to avoid focusing errors. Personally, I would not have noticed the shift focus if I hadn’t accidentally found out about it from a friend.

Focus Features:

  1. Important: The quality of focusing operation of the Sigma 12-24 / 4 Art in Live View mode strongly depends on the camera used and on the lens firmware, as well as on the system used for which the lens is made.
  2. The Sigma 12-24 / 4 Art does not have a hard infinity mechanical stop, which allows you to accurately and quickly focus the lens to infinity under any external temperature conditions. For accurate aiming at infinity, you cannot just bring the focusing ring to its extreme position.
  3. The lens transmits the distance to the subject in the camera and is Nikon D-lens equivalent... Focus distance transmission affects metering performance, especially when using flash.
  4. Important: The Sigma 12-24 / 4 Art is a third party lens. It may happen that it will not work correctly with some cameras. Details on this issue have been reviewed by me here
  5. Unknown compatibility with Nikon FTZ / FTZ II adapter for Nikon Z mirrorless cameras
  6. Sigma 12-24 / 4 Art supports docking station, with which you can update the lens firmware, as well as adjust / fix the focus
Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

Diaphragm

Diaphragm lens consists of 9 rounded petalsthat form a smooth hole. The aperture closes down to f / 22. The widest f / 4 aperture is available throughout the focal length range.

It's important: Sigma 12-24 / 4 Art uses electromagnetic aperture control... Theoretically, only some Nikon digital cameras will be able to work correctly with this lens:

The exact list of digital cameras that support working with 'E'-type lenses:

Nikon D3, D3s, D3x, D4, D4s, D5, D6, Df, D600, D610, D700, D750, D780, D800, D800E, D810, D810a, D850, D300, D300s, D500, D7000, D7100, D7200, D7500, D5000, D5100, D5200, D5300, D5500, D5600, D3100, D3200, D3300, D3400, D3500

+ Nikon z5, Nikon z6, Nikon z6 ii, Nikon z7, Nikon z7 ii, Nikon z9, Nikon Z fc, Nikon z50 with Nikon FTZ / Nikon FTZ II adapter.

+ Nikon 1 J1, J2, J3, J4, J5, S1, S2, V1, V2, V3, AW 1 with Nikon FT-1 adapter

The exact list of cameras that do not support working with 'E'-type lenses:

Nikon D1, D1h, D1x, D2x, D2h, D2xs, D2hs, D40, D40x, D50, D60, D70, D70s, D80, D90, D100, D200, D3000

+ Fujifilm FinePix S1 Pro, S2 Pro, S3 Pro, S3 Pro UVIR, S5 Pro, IS Pro

+ Kodak DCS PRO 14n и Kodak DCS Pro SLR / n

'E' type lenses on the cameras in this list will always shoot at full aperture. Other features of the work are possible.

Electromagnetic diaphragm control has some advantages over the older method of aperture control using mechanical camera and lens levers:

  1. increases aperture value accuracy
  2. increased response speed, which is important for high-speed shooting
  3. As far as I know, the old aperture lever mechanism (Non-G, G lenses) was designed for a maximum speed of 10 frames per second. The electromagnetic diaphragm can easily operate at higher speeds
  4. simplifies iris operation during movie shooting
  5. the mechanism is quieter (at least there is no noise from the aperture control mechanisms built into the camera)
  6. simplifies the design of the camera itself, as well as macro rings, teleconverters and other adapters. This is very critical for telephoto lenses with a focal length greater than 500 mm.
  7. third-party lens design is simplified for Nikon / Canon and many other systems, especially mirrorless ones. The manufacturer does not need to globally change the design of the lens for different aperture control mechanisms on different cameras. For all, an electromagnetic diaphragm is used without additional mechanical parts. Let me remind you that, for example, all lenses for cameras Canon EOS equipped with an electromagnetic diaphragm since 1987
  8. most likely there are other positive features, less obvious, such as improved power consumption or the possibility of having a huge number of aperture blades

An accurate list of all Nikon Nikkor electromagnetic diaphragm lenses:

  • E:
  • Nikon N AF-S Nikkor 28mm 1: 1.4E ED
  • Nikon N AF-S Nikkor 105mm 1: 1.4E ED
  • Nikon N AF-S Nikkor 300mm 1: 4E PF ED VR
  • Nikon N AF-S Nikkor 400mm 1: 2.8E ED FL VR
  • Nikon N AF-S Nikkor 500mm 1: 5.6E ED PF VR
  • Nikon N AF-S Nikkor 500mm 1: 4E ED FL VR
  • Nikon N AF-S Nikkor 600mm 1: 4E ED FL VR
  • Nikon N AF-S Nikkor 800mm 1: 5.6E ED FL VR
  • Nikon N AF-S Nikkor 8-15mm 1: 3.5-4.5E ED Fisheye
  • Nikon N AF-S Nikkor 16-80mm 1: 2.8-4E ED VR DX
  • Nikon N AF-S Nikkor 24-70mm 1: 2.8E ED VR
  • Nikon N AF-S Nikkor 70-200mm 1: 2.8E FL ED VR
  • Nikon AF-P Nikkor 70-300mm 1:4.5-5.6E ED VR
  • Nikon N AF-S Nikkor 120-300mm 1: 2.8E FL ED SR VR
  • Nikon N AF-S Nikkor 180-400mm 1: 4E FL ED VR TC 1.4
  • Nikon AF-S Nikkor 200-500mm 1: 5.6E ED VR
  • PC-E:
  • Nikon N PC-E Nikkor 24mm 1: 3.5D ED
  • Nikon N PC-E Nikkor 45mm 1: 2.8D ED Microphone
  • Nikon N PC-E Nikkor 85mm 1: 2.8D Microphone
  • PC, E:
  • Nikon N PC Nikkor 19mm 1: 4E ED
  • Z, E:
  • All lenses Nikon Nikkor Z
  • 1, E.
  • All lenses Nikon Nikkor 1

The first such lens (not counting the PC-E) was Nikon 800 / 5.6E, announced in 2013.

Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

Image quality

The Sigma 12-24 / 4 Art has a mixed picture quality score. The quality is highly dependent on the selected focal length and the part of the frame. In general, the image quality is high.

Sharpness

  • in the center of the frame at F / 4 in terms of resolution, the lens is very good in the range from 12 to 16-20 mm, with closing the aperture to F / 8, the sharpness increases
  • there is a significant drop in sharpness by 12 mm and f / 4, however, even the far edges of the frame are quite bearable
  • in the range of 16-24 mm, with increasing focal length at f / 4, the resolution decreases
  • in the 16-24mm range, good resolution in the center of the frame is achieved after f / 5.6
  • small coma, coma is significantly reduced with diaphragm

Distortion

  • there is a noticeable complex distortion of 12 mm (more barrel-shaped in nature)
  • with increasing focal length, the distortion turns into a pincushion

Vignetting

  • in general vignetting is well corrected and at a fairly low level
  • vignetting is enhanced with focusing towards the MDF
  • vignetting almost disappears at values ​​after f / 8 (over the entire focal length range)
  • vignetting is easily fixable in the editor

Aberration

Rest

  • the lens can catch a small amount of glare in backlight
  • you can easily get the effect of an 18-ray star (example)

The Sigma 12-24 / 4 Art has a lens profile in popular RAW converters, which makes it easy to automatically correct some distortions.

Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A


Sample photos on Nikon D4 (FX, Full Frame)

Converting original RAW files with the original Nikon Capture NX-D v 1.4.6 utility.

You can download / view the original photos in RAW format ('.NEF') at this link (45 files, Google Drive gallery). What an overview without examples on Nikon D40 (APS-C, Nikon DX, 6MP CCD)? Several photos on Nikon D40 here.

Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG

My experience

It's simple - if you have the cash, there is a king for Canon cameras 11-24 / 4 L USM.

For Nikon SLR cameras there is Sigma 12-24 / 4 Art. Original Nikon Nikkor rectile lenses for full frame cameras do not have the ability to use 12mm focal length and all autofocus alternatives for Nikon DSLR cameras are reduced to Sigma lenses. The difference between 12mm and 14mm focal length is quite large. The shorter the focal length, the stronger every millimeter is felt.

Choosing a lens like this is always very difficult. But Sigma 12-24 / 4 Art is so interesting that I would even prefer it than the old 'king' of shirikov Nikon 14-24 / 2.8G.

Personally, I really like the idea of ​​buying a manual IRIX 11/4 Firefly or IRIX 11/4 Blackstone... Cheap, cheerful, wide and quite high quality. The same goes for LAOWA 12mm 1: 2.8 D-Dreamer Zero-D... The indicated IRIX and LAOWA are suitable for full-frame Nikon F mount DSLR cameras.

I had a lens on review for a long time, but it was quite difficult to search for scenes for its very wide viewing angle.

Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

All Sigma ART Lenses

The Sigma A (Sigma Art) lens range includes the following lenses:

DG

For full-frame cameras (series DG) with mount Nikon F, Canon EF, Sigma SA:

  1. Sigma 14 mm 1: 1.8 DG | A (Art), +L, +E, + Cine
  2. Sigma 20 mm 1: 1.4 DG | A (Art), +L, +E, +Cine, scheme 15/11
  3. Sigma 24 mm 1:1.4DG | A (Art), +L, +E, +Cine, scheme 15/11
  4. Sigma 28 mm 1:1.4DG | A (Art), +L, +E, + Cine
  5. Sigma 35 mm 1: 1.4 DG | A (Art), +L, +E, +A, +Pentax, +Cine, scheme 13/11
  6. Sigma 40 mm 1: 1.4 DG | A (Art), +L, +E, + Cine
  7. Sigma 50 mm 1: 1.4 DG | A (Art), +L, +E, +A, +Cine
  8. Sigma 70 mm 1: 2.8 DG MACRO | A (Art), +L, +E
  9. Sigma 85 mm 1: 1.4 DG | A (Art), +L, +E, +Cine, scheme 14/12
  10. Sigma 105 mm 1:1.4DG | A (Art), +L, +E, + Cine
  11. Sigma 135 mm 1: 1.8 DG | A (Art), +L, +E, + Cine
  12. Sigma 12-24 mm 1: 4 DG | A (Art),
  13. Sigma 14-24 mm 1:2.8DG | A (Art), scheme 17/11
  14. Sigma 24-35 mm 1:2 DG | A (Art), +Cine
  15. Sigma 24-70 mm 1:2.8 DG OS | A (Art), scheme 19/14
  16. Sigma 24-105 mm 1: 4 DG OS | A (Art), + A

DG DN

For full-frame mirrorless cameras (series DG DN) with bayonet Leica l и Sony E:

  1. Sigma 20 mm 1: 1.4 DG DN | A (Art)Scheme 17/15
  2. Sigma 24 mm 1: 1.4 DG DN | A (Art)Scheme 17/14
  3. Sigma 35 mm 1: 1.2 DG DN | A (Art)Scheme 17/12
  4. Sigma 35 mm 1: 1.4 DG DN | A (Art)Scheme 15/11
  5. Sigma 85 mm 1: 1.4 DG DN | A (Art)Scheme 15/11
  6. Sigma 105 mm 1: 2.8 DG DN MACRO | A (ART)Scheme 12/7
  7. Sigma 14-24 mm 1:2.8 DG DN | A (Art), scheme 18/13
  8. Sigma 24-70 mm 1: 2.8 DG DN | A (Art)Scheme 19/15

DC

For cropped SLR cameras (series DC) with mount Nikon F, Canon EF, Sigma SA:

  1. Sigma 30 mm 1: 1.4 DC | A (Art) + Pentax, + A
  2. Sigma 18-35 mm 1:1.8 DC | A (Art) +Pentax, +A, +Cine
  3. Sigma 50-100 mm 1:1.8 DC | A(Art)+Cine

DN

For cropped mirrorless cameras (series DN) for Micro 4/3 and Sony E:

  1. Sigma 19 mm 1: 2.8 DN | A (Art), black / silver
  2. Sigma 30 mm 1: 2.8 DN | A (Art), black / silver
  3. Sigma 60 mm 1: 2.8 DN | A (Art), black / silver

Abbreviations:

  • +L means that there is a version of the lens adapted for working on mirrorless cameras with a Leica L mount
  • +E means that there is a version of the lens adapted to work on mirrorless cameras with Sony E mount
  • + Pentax means that there is a version of the lens with a Pentax K mount (rare)
  • +A means that there is a version of the lens with Sony A mount (rarity)
  • + Cine means that there is a version of the lens adapted for video shooting, usually the CINE versions are released simultaneously for ARRI PL, Canon EF and Sony E mounts

Additionally, you can look at all lenses SIGMA CONTEMPORARY (C) и all lenses SIGMA SPORT (S). Here here there is a short video about the rulers and markings of Sigma lenses.

Sigma 12-24mm 1: 4 DG A

Sigma 12-24mm 1: 4 DG A

Price

Prices in popular online stores can be viewed on E-KATALOG at this link.

Results

Sigma 12-24 / 4 Art is interesting and challenging. At 12 mm, it is generally very good. There are very few such solutions. In general, the Sigma 12-24 / 4 Art deserves due attention.

10 main advantages:

  1. very good resolution already from f / 4 to 12 mm in the center of the frame and quite good at the corners and edges of the frame
  2. the ability to work with the dock-station (firmware update, focus adjustment, etc.)
  3. There is a built-in HSM focusing motor (critical for owners of Nikon DX cameras from the younger line)
  4. internal focusing, fixed focus ring during auto focus
  5. continuous manual focus control, focusing quiet, focus mode switch and focusing distance scale, small MDF
  6. Focus Breathing effect allows for an even wider angle of view when focusing on MDF
  7. protective coating of the front and rear lenses, bayonet seal
  8. nine aperture blades, electromagnetic iris control
  9. the lens belongs to the Sigma Art line with very high image quality and build criteria
  10. a rare lens with the ability to shoot at full frame and 12 mm focal length (for Nikon F SLR cameras there is only two other alternative similar autofocus solutions: Sigma 12-24 EX [2003] and Sigma 12-24II [one])

10 main disadvantages:

  1. high enough price tag, big enough weight
  2. no built-in image stabilizer (e.g. Tamron 15-35 / 2.8 VC he is)
  3. there is no possibility to use light filters from the bayonet side
  4. the zoom and focus rings are too tight, the continuous manual focus control does not work as logical and convenient as the original mode 'M / A' у Nikon 14-24 / 2.8G
  5. only F / 4 (Sony has, for example, 12-24 / 2.8 G GM with f / 2.8)
  6. only 12 mm (Canon has, for example, 11-24 / 4 L USM from 11 mm)
  7. there is no full all-weather protection (there is, for example, in 11-24 / 4 L USM)
  8. resolution varies greatly depending on the focal length and the part of the frame
  9. for this lens in modern cameras there is no profile that allows you to automatically correct some types of distortion (vignetting, distortion, chromatic aberration)
  10. so far there is no adaptation or upgrade of the lens for Sony E, Leica L mirrorless cameras (for example, a SLR version Sigma 14-24 / 2.8 DG A, received a mirrorless analogue Sigma 14-24 / 2.8 DG DN A)

According provided by Sigma 12-24mm 1: 4 DG A lens (for Nikon cameras) many thanks the store ProFotoSalewhere you can find many new and used lenses for different systems, including Similar Sigma Lenses.

Comments on this post do not require registration. Anyone can leave a comment. Many different photographic equipment can be found on AliExpress (do not miss sale BLACK FRIDAY)

Material prepared Arkady Shapoval... Look for me on Youtube | Facebook | Instagram | Twitter | Telegram.

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Comments: 21, on the topic: Review of Sigma 12-24mm 1: 4 DG A

  • Dmitriy

    Arkady, for this lens and others I recommend shooting interiors. This is just fine for 11-12mm at wide angle. All sorts of old mansions. And you can also shoot video with them in such conditions, but you need an electronic stabilizer, especially taking into account f4.

    • Arkady Shapoval

      Everyone is waiting for a review

  • Dmitriy

    Yes, a thing in itself. 15-17 mm in a full frame already breaks both the geometry and the brain of the beholder, but I won't even stutter about 12 mm, I don't know what to do with them. For me personally, 16-35 is enough for both interior photography and landscape photography.

  • Eugene o

    A colleague had his pre-art counterpart, 12-24 for a full EX shot. So, even on a few-pixel D700, it got rather mediocre TZ. sharpness of the footage and was dissatisfied with it. Does this also have so-so edges, or did it seem to me?

    • Arkady Shapoval

      This one has 12 mm margins that are two heads higher than the previous ones. And the previous ones are not analogues, ART is a completely different line on a completely revised scheme

  • Nikolaj

    This lens also has ancestors 12-24 4.5-5.6 of the 1st and 2nd versions.
    For their price of $ 200-300, they look quite interesting, because there is nothing so wide in this price on the market.
    Judging by the tests that the first and the second versions are contradictory, it would be interesting to understand how much.

    • Arkady Shapoval

      Well yes, take a look at the HISTORY section of this review.

      • Andrii

        Set an overwhelming task. Well this should be read, but not everyone knows how.

  • Onotole

    So I did not understand - nevertheless: "The lens has internal focusing, during focusing, the front lens remains stationary." or “When the focal length is changed, the front lens moves in the middle of the body. As the focal length decreases, the front lens extends forward. ”?

    • Arkady Shapoval

      You just do not confuse focusing and changing the focal length (i.e. zooming). Internal focusing is not internal zoom. And everything is exactly as described in the review.

      • Onotole

        And now I figured it out, thanks.

  • Onotole

    Well, this lens cannot be called a fifty-kopeck piece either, most likely a typo.

    • Arkady Shapoval

      Fixed

  • Onotole

    It is a pity that there are very few (or rather, not a single) examples on MDF. But in fact, such lenses are primarily aimed at just such a use.

    • Arkady Shapoval

      Why so it on mdf (focuser ring unscrewed all the way), and it near mdf

      • Onotole

        Hmm, strange. If we start from the magnification factor of ~ 5, then on the full frame horizontally on the MDF, objects with a size of about 120 mm (5 * 24mm) should completely occupy the frame across. Of the known items, this is the size of an ordinary CD.
        The neon inscription, as seen in another frame, is one and a half times larger than the girl's head, i.e. offhand about 30 centimeters. And the plant's pot, again offhand, is about 12-15 cm high, but takes about a third of the frame in height.
        It turns out that you did not report to this Sigma of near focusing?

        • Onotole

          Although, I think I'm guessing - most likely the maximum ratio is indicated only for the largest focal length, for 24 mm. And by 12 mm, it will be 2 times smaller.

          • Arkady Shapoval

            you come up with something a lot and get lost in your own guesses

        • Arkady Shapoval

          We did not take into account that the maximum magnification factor is obtained by 24 mm.

    • Eugene o

      Is it true? And I thought that the main destiny of super-widths is landscapes, interiors, architecture and astrophotography. But it turns out, close-ups.

      • Joni

        Yeah, laowa even a special lens was released for this: 15mm f4. In general, shiriki can be used in any way, the main thing is a creative approach.

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