The Sigma 24mm F2 DG DN Contemporary Lens is a member of the Sigma "I series", "Premium Compact Primes" for mirrorless cameras. These lenses are designed for "photographers who value the experience of taking a picture just as much as the quality of the results." [Sigma]
Characteristics of the lenses in this series include small size, light weight, and affordable price. Also consistent with lenses in this series are precision metal build quality and excellent image quality, with a useful focal length completing the very attractive Sigma 24mm F2 DG DN Contemporary Lens package.
The focal length (or the focal length range for a zoom lens) is a primary consideration for a lens purchase or selection for use. Focal length matters because it drives subject distance choices with perspective determined by those distances.
The 24mm focal length, just breaking into the ultra-wide class, is extremely popular. Of the six lenses in the Sigma I series at review time, two feature the 24mm focal length, reflecting the popularity of this angle of view.
Landscape photography is a perfect use for a 24mm lens. This focal length is quite wide and can allow an entire scene to remain in focus. Still, 24mm is not so wide that it complicates composition and not so wide that it makes distant details (such as mountains) tiny. A good percentage of my landscape images are captured at 24mm.
This focal length is optimal for nightscapes, and this lens is a good choice for such.
Architectural photography, large product photography, interior photography, and birthday parties are just a few uses for 24mm. This is a convenient focal length to leave mounted on the camera, ready to document life.
Wedding and event photography often utilize a wide-angle lens for capturing the large scene, for environmental-type portraits, and for group portraits, including in tight spaces. Even groups of your largest subjects will fit in the frame.
Photojournalists' needs are often similar to those of a wedding photographer and often include 24mm. Videographers frequently find the 24mm focal length to be just right for their needs.
While telephoto lenses are more frequently used for sports, a 24mm angle of view allows a very different perspective at these events. This focal length can be used to capture the big picture of the venue, overhead shots of the athletes and their coaches being interviewed after the game, and, when access permits, full-body environmental action sports photos showing a large amount of venue in the background. Note that when used for action sports with a close and rapidly approaching subject, the subject rapidly changes size in the frame, making it challenging to capture the perfect pose at the perfect framing distance in the 24mm angle of view.
Here are two comparisons showing the 24mm angle of view as it fits into a larger range.
APS-C sensor format cameras utilize a smaller portion of the image circle, and that means a scene is framed more tightly, with 1.5x being the angle of view multiplier for Sony's line-up. The 36mm full-frame angle of view realized on APS-C cameras shifts the uses of this lens toward portraiture and documentary use.
For a 24mm prime lens, f/2 is a moderately wide aperture. Many lens manufacturers offer a 24mm lens with an f/1.4 aperture, but only a small number of zoom lenses open to f/2 at 24mm.
A wide aperture, allowing significant amounts of light to reach the imaging sensor, provides tremendous benefits. Use that light to enable action (subject and camera) stopping shutter speeds in very low light levels, along with low ISO settings for reduced noise. A 24mm f/2 lens can be handheld indoors under average ambient light without image stabilization or ultra-high ISO settings.
Another advantage of a wide aperture lens is the background blur it can create. F/2 with a close subject creates a shallow DOF that draws the viewer's eye to the in-focus subject. It is hard to blur the background diffusely with a wide-angle lens, but the relatively wide f/2 aperture aids greatly in that regard.
Here is a look at the widest apertures this lens avails.
The f/2 example above illustrates the maximum blur this lens can create. Compare the aperture of your fastest 24mm lens with the f/2 result to see the benefit that f/2 would bring to your kit.
At a reasonably close working distance, the background objects remain recognizable at f/2. Still, they are blurred strongly enough to show separation from the subject.
At longer distances, especially in reduced size images, the f/2 background blur is subtle.
The advantages of a lens with a narrow max aperture are the smaller size, lighter weight, and lower cost associated with smaller lens elements. Despite the wide f/2 aperture, this lens retains those advantages.
This lens features a gear-like, 1/3-stop clicked aperture ring that enables a manually-selected aperture. The camera controls the aperture setting with the ring in the A (Auto) position. All other settings electronically force the aperture to the chosen opening.
Aside from a slightly more complicated design, I find inadvertent aperture changes the primary disadvantage of an aperture ring. Incorporating a lock for this ring would eliminate that issue, and learning not to grasp the aperture ring when mounting the camera reduces the problem.
The Sigma 24mm F2 DG DN Contemporary Lens is not optically stabilized. Fortunately, Sony takes care of that omission with Steady Shot or IBIS (In-Body Image Stabilization) in their mirrorless cameras. In addition to reducing camera shake, the stabilized imaging sensor provides a still viewfinder image, enabling careful composition. Sensor-based AF takes advantage of the stabilized view for improved accuracy.
With no IS switch on the lens, the camera menu must be accessed to enable or disable IBIS, a slight impediment to working quickly, going from tripod to handholding, for example.
Warning: you are going to want this lens. Stellar image quality is a major selling factor, and that is a major reason to add this lens to the kit.
At f/2, the Sigma 24mm F2 DG DN Contemporary Lens is extremely sharp in the center of the frame and deep into the periphery. Aside from peripheral shading clearing at narrower apertures, little improvement in sharpness is realized, and none is needed. This performance is quite impressive.
The extreme full frame corners, impacted by slight lateral CA, are just slightly softer than the periphery.
Taking the testing outdoors, we next look at a series of center-of-the-frame 100% resolution crop examples. These images were captured in RAW format using a Sony Alpha a1 and processed in Capture One using the Natural Clarity method. The sharpening amount was set to only "30" on a 0-1000 scale. Note that images from most cameras require some level of sharpening, but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens.
These images show the outstanding resolution and contrast delivered by this lens. All of the results are remarkable.
Next, we'll look at a comparison showing 100% extreme-top-left-corner crops captured and processed identically to the above center-of-the-frame images. The lens was manually focused in the corner of the frame to capture these images.
Samples taken from the outer extreme of the image circle, full-frame corners, can be counted on to show a lens's weakest performance. This lens's weakest performance is still very good.
This lens does not exhibit focus shift, the plane of sharp focus moving forward or backward as the aperture is narrowed (residual spherical aberration or RSA). Many modern lenses automatically correct for focus shift, though slight angle of view effects from focus breathing (more later) can appear.
Obvious is that peripheral shading impacts the f/2 corner performance results shared above. When used on a camera that utilizes a lens's entire image circle, peripheral shading can be expected at the widest aperture settings. Wide-angle, ultra-wide aperture lenses tend to show strong peripheral shading wide open, and the over 3 stops of f/2 shading is noticeable.
Stop down one stop, and corner shading diminishes by about one stop. The rate of reduction slows through f/4, where a relatively strong, just over 1.5 stops of shading remains in the corners. No further improvement is seen at narrower apertures. While this shading amount is relatively strong, it is not bad from a relative perspective within this lens class.
APS-C format cameras using lenses projecting a full-frame-sized image circle avoid most vignetting problems. In this case, the about one-stop of shading showing at f/2 may be visible in select images, primarily those with a solid color (such as a blue sky) in the corners.
One-stop of shading is often used as the visibility number, though subject details provide a widely varying amount of vignetting discernibility. Vignetting is correctable during post-processing with increased noise in the brightened areas being the penalty, or it can be embraced, using the effect to draw the viewer's eye to the center of the frame. Study the pattern shown in our vignetting test tool to determine how your images will be affected.
Lateral (or transverse) CA (Chromatic Aberration) refers to the unequal magnification of all colors in the spectrum. Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii) with the mid and especially the periphery of the image circle showing the most significant amount as this is where the most significant difference in the magnification of wavelengths typically exists.
With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide. However, it is always better to avoid this aberration in the first place.
Color misalignment can be seen in the site's image quality tool, but let's also look at a worst-case example. The image below is a 100% crop from the extreme top left corner of a Sony a1 frame showing diagonal black and white lines.
Only black and white colors should appear in these images, with the additional colors indicating a modest presence of lateral CA.
A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light. More simply, different colors of light are focused to different depths. Spherical aberration along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration but is hazier) are other common lens aberrations to observe. Axial CA remains somewhat persistent when stopping down, with the color misalignment effect increasing with defocusing. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.
In the real world, lens defects do not exist in isolation, with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.
The example below looks at the defocused specular highlights' fringing colors in the foreground vs. the background. The lens has introduced any fringing color differences from the neutrally-colored subjects.
Modest color separation shows at f/2 and f/2.8.
Bright light reflecting off lens elements' surfaces may cause flare and ghosting, resulting in reduced contrast and sometimes interesting, usually destructive visual artifacts. The shape, intensity, and position of the flare in an image are variable, dependant on the position and nature of the light source (or sources), selected aperture, shape of the aperture blades, and quantity and quality of the lens elements and their coatings.
Sigma's Super Multi-Layer Coating is applied to this lens's elements. Apparently, that coating in conjunction with the lens design is effective as practically no flare effects show in our standard sun in the corner of the frame flare test, even at narrow apertures.
Flare effects can be embraced or avoided, or removal can be attempted. Removal is sometimes very challenging, and in some cases, flare effects can be quite destructive to image quality. High flare resistance is a welcomed trait of this lens.
Two lens aberrations are particularly evident in images of stars, mainly because bright points of light against a dark background make them easier to see. Coma occurs when light rays from a point of light spread out from that point instead of being refocused as a point on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light which can be oriented either away from the center of the frame (external coma) or toward the center of the frame (internal coma). Coma clears as the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). This aberration can produce stars appearing to have wings. Remember that Lateral CA is another aberration apparent in the corners.
The image below is a 100% crop taken from the top-left corner of a Sony a1 image captured at the widest available aperture.
Though the brightest star shows a slight star shape, this result is very good.
A weakness of this lens is the geometric distortion it creates. Expect this lens's strong barrel distortion to make curves out of straight lines in the periphery of the frame.
With increasing frequency, manufacturers are relying on software over physical lens design to handle geometric distortion. Most modern lenses have correction profiles available (including in-camera), and distortion can easily be removed using these. Still, distortion correction is destructive at the pixel level as some portion of the image must be stretched or the overall dimensions reduced.
As seen earlier in the review, it is easy to illustrate the amount of blur a lens can create, and wide-angle lenses are inherently disadvantaged in this regard. Due to the infinite number of variables present among all available scenes, assessing the bokeh quality is considerably more challenging. Here are some f/11 and f/8 (for diaphragm blade interaction) examples.
The first example shows defocused highlights being reasonably smoothly filled and nicely rounded. The other two examples show full images reduced in size and looking nice (normal).
Except for a small number of specialty lenses, the wide aperture bokeh in the frame's corner does not produce round defocused highlights, with these effects taking on a cat's eye shape due to a form of mechanical vignetting. If you look through a tube at an angle, similar to the light reaching the frame's corner, the shape is not round, and that is the shape we're looking at here. The example below is an upper left quadrant.
The truncation is moderately strong in this example. As the aperture narrows, the entrance pupil size is reduced, and the mechanical vignetting absolves with the shapes becoming rounder.
The 9-blade count diaphragm will create 18 point sunstars from point light sources captured with a narrow aperture. In general, the more a lens diaphragm is stopped down, the larger and better-shaped the sunstars tend to be. Wide aperture lenses tend to have an advantage in this regard. While this lens does not produce the largest stars, the shape is good.
The example above was captured at f/16.
"The lens uses two SLD glass elements and one FLD glass element to correct axial chromatic aberration, which is a particular concern with bright lenses. It also incorporates two high-precision glass-molded aspherical elements, made possible by the processing technology of SIGMA's sole production facility in Aizu. This has enabled the total number of lens elements to be kept down and the size and weight of the lens to be reduced, while providing excellent correction of various aberrations." [Sigma]
From an optical quality perspective, the Sigma 24mm F2 DG DN Contemporary Lens's primary weaknesses are strong peripheral shading and strong geometric distortion. Most will find this lens's remarkable resolution and contrast far overriding those weaknesses.
Driven by a stepping motor, the Sigma 24mm F2 DG DN Contemporary Lens auto-focuses very fast. The focusing is internal and very quiet, with only a light "shhhhh" heard during AF.
With adequate contrast on the subject, this lens focuses in extremely dark environments. As usual, the focusing speed is significantly slower in low light.
Unless one is primarily using manual focus, a lens's autofocus accuracy is very important for realizing the ultimate image quality a lens can produce, and this lens has performed very well in this regard.
FTM (Full Time Manual) focusing is supported in Sony's DMF (Direct Manual Focus) mode with the shutter release half-pressed or the AF-ON button pressed.
Normal is for the scene to change size in the frame (sometimes significantly) as the focus is pulled from one extent to the other, referred to as focus breathing, a change in focal length resulting from a change in focus distance. Focus breathing negatively impacts photographers intending to use focus stacking techniques, videographers pulling focus, and anyone critically framing while adjusting focus. This lens produces a strong change in subject size through full extent focus distance adjustment.
The Sigma 24mm F2 DG DN Contemporary Lens features a gear-like metal ribbed focus ring. Located immediately behind the lens hood, the focus ring is easy to find, and it has sufficient size.
Overall, this lens provides a high-quality manual focus experience, with an ideal rotational resistance, smooth movement, no play, and, when turned slowly, a slow rate of adjustment that facilitates precise manual focusing. As hinted, this focus ring has a variable adjustment rate based on the rotation speed. A full extent focus distance change requires 700° of rotation when turning the focus ring slowly. Turn the ring fast, and only 330° of rotation does the same. The rotation speed difference required to switch to the faster rate is significant enough to change rates inadvertently.
With a minimum focus distance of 9.6" (245mm), this lens has a useful, though unremarkable, 0.15x maximum magnification spec.
|Sigma 20mm F2 DG DN Contemporary Lens||8.7"||(220mm)||0.15x|
|Sigma 24mm F1.4 DG HSM Art Lens||9.8"||(250mm)||0.19x|
|Sigma 24mm F2 DG DN Contemporary Lens||9.6"||(245mm)||0.15x|
|Sigma 24mm F3.5 DG DN Contemporary Lens||4.3"||(108mm)||0.50x|
|Sigma 35mm F2 DG DN Contemporary Lens||10.6"||(270mm)||0.18x|
|Sigma 45mm F2.8 DG DN Contemporary Lens||9.4"||(240mm)||0.25x|
|Sigma 65mm F2 DG DN Contemporary Lens||21.7"||(550mm)||0.15x|
|Sigma 90mm F2.8 DG DN Contemporary Lens||19.7"||(500mm)||0.20x|
|Sony FE 20mm F1.8 G Lens||7.1"||(180mm)||0.20x|
|Sony FE 24mm F1.4 GM Lens||9.4"||(240mm)||0.17x|
|Sony FE 24mm F2.8 G Lens||7.1"||(180mm)||0.19x|
|Sony FE 28mm F2 Lens||11.4"||(290mm)||0.13x|
|Sony FE 40mm F2.5 G Lens||9.8"||(250mm)||0.23x|
|Sony FE 50mm F2.5 G Lens||12.2"||(310mm)||0.21x|
|Tamron 24mm F2.8 Di III OSD Lens||4.7"||(119mm)||0.50x|
A subject measuring approximately 7.5 x 5.0" (191 x 127mm) fills a full-frame imaging sensor at this lens's minimum focus distance.
The USPS love stamps shared above have an image area that measures 1.05 x 0.77" (26.67 x 19.558mm), and the overall individual stamp size is 1.19 x 0.91" (30.226 x 23.114mm).
Need a shorter minimum focus distance and higher magnification? Mount an extension tube behind this lens to significantly decrease and increase those respective numbers. Extension tubes are hollow lens barrels that shift a lens farther from the camera, allowing shorter focusing distances at the expense of long-distance focusing. Electronic connections in extension tubes permit the lens and camera to communicate and otherwise function as normal. As of review time, Sigma does not publish extension tube specs or manufacture these items, but third-party Sony-compatible extension tubes are available.
This lens is not compatible with Sigma teleconverters.
"All I series lenses have an all-metal construction. The precision-cut aluminum parts not only give the barrel a sleek, stylish finish, but provide superb durability that improves the quality of the entire product. Metal materials are also used in internal structures that slide with the operation ring for added robustness. These high-precision components crafted with SIGMA's cutting-edge metalworking technology are also used in SIGMA's cine lens line-up for professional cinematographers and provide a tactile, ergonomic feel that make the lens a pleasure to use. The cover ring between the focus ring and the aperture ring has hairline processing that is also used for the rear cylinder of the Art line. This covering functions as a finger hold when attaching or detaching the lens." [Sigma]
Interesting is that Sigma refers to this product line as the "I series", while the product name and lens graphics bear no mention of this designation. Regardless, Sigma's description is accurate. This is a well-built lens.
While many current lens designs feature smooth lens barrels, this one goes in the opposite direction, featuring gear-like ribs standing out on the focus and aperture rings, and the cold, solid feel of metal is built in. The look and feel are very different from many other lenses, but this is a great look and feel in its own way.
I appreciate that Sigma continues to provide an AF/MF switch on the compact I series lenses. With a relatively small space available for an AF/MF switch, Sigma logically opted to rotate the conventional switch direction by 90°, allowing a relatively large switch to fit nicely into the compact design. The AF/MF switch clicks assuredly into position, with a white background showing when the switch is in the AF position.
From a weather sealing perspective, Sigma states, "Mount with dust- and splash-proof structure." There is a gasket seal on the mount of this lens, but the "Mount with" part leaves us wondering about the rest of this lens's sealing.
Sigma I series lenses are compatible with in-camera lens aberration corrections when used on cameras supporting this feature.
The Sigma 24mm F2 DG DN Contemporary is a compact lens and, despite the metal construction, it is among the lightest in its class. OK, with no 24mm f/2 lenses available, this lens is technically the smallest and lightest in its class (of one). Even carried all day, this lens will not become a burden.
|Model||Weight oz(g)||Dimensions w/o Hood "(mm)||Filter||Year|
|Sigma 20mm F2 DG DN Contemporary Lens||13.1||(370)||2.8 x 2.9||(70.0 x 72.4)||62||2022|
|Sigma 24mm F1.4 DG HSM Art Lens||23.5||(665)||3.3 x 3.6||(85.0 x 90.2)||77||2015|
|Sigma 24mm F2 DG DN Contemporary Lens||12.9||(365)||2.8 x 2.8||(70.0 x 72.0)||62||2021|
|Sigma 24mm F3.5 DG DN Contemporary Lens||7.9||(225)||2.5 x 2.0||(64.0 x 50.8)||55||2020|
|Sigma 35mm F2 DG DN Contemporary Lens||11.5||(325)||2.8 x 2.7||(70.0 x 67.4)||58||2020|
|Sigma 45mm F2.8 DG DN Contemporary Lens||7.6||(215)||2.5 x 1.8||(64.0 x 46.2)||55||2019|
|Sigma 65mm F2 DG DN Contemporary Lens||14.3||(405)||2.8 x 3.0||(72.0 x 76.7)||62||2020|
|Sigma 90mm F2.8 DG DN Contemporary Lens||10.4||(295)||2.5 x 2.4||(64.0 x 59.7)||55||2021|
|Sony FE 20mm F1.8 G Lens||13.2||(373)||2.9 x 3.3||(73.5 x 84.7)||67||2020|
|Sony FE 24mm F1.4 GM Lens||15.7||(445)||3.0 x 3.6||(75.4 x 92.4)||67||2018|
|Sony FE 24mm F2.8 G Lens||5.7||(162)||2.7 x 1.8||(68.0 x 45.0)||49||2021|
|Sony FE 28mm F2 Lens||7.1||(200)||2.5 x 2.4||(64.0 x 59.9)||49||2015|
|Sony FE 40mm F2.5 G Lens||6.1||(173)||2.7 x 1.8||(68.0 x 45.0)||49||2021|
|Sony FE 50mm F2.5 G Lens||6.1||(174)||2.7 x 1.8||(68.0 x 45.0)||49||2021|
|Tamron 24mm F2.8 Di III OSD Lens||7.6||(215)||2.9 x 2.5||(73.0 x 63.5)||67||2019|
For many more comparisons, review the complete Sigma 24mm F2 DG DN Contemporary Lens Specifications using the site's lens specifications tool.
Here is a visual comparison:
Positioned above from left to right are the following lenses:
The same lenses are shown below with their hoods in place.
Here is a visual comparison of the Sigma I series Contemporary compact prime lenses:
Positioned above from left to right are the following lenses:
Sigma 24mm F2 DG DN Contemporary Lens
Sigma 24mm F3.5 DG DN Contemporary Lens
Sigma 35mm f/2 DG DN Contemporary Lens
Sigma 45mm F2.8 DG DN Contemporary Lens
Sigma 65mm F2 DG DN Contemporary Lens
Sigma 90mm F2.8 DG DN Contemporary Lens
The same lenses are shown below with their hoods in place.
Use the site's product image comparison tool to visually compare the Sigma 24mm F2 DG DN Contemporary Lens to other lenses.
A small lens gets narrow filter threads, and this lens's 62mm thread diameter is very small. Small filters are convenient to pack and inexpensive to purchase. The 62mm filter size is not especially popular, but notable is that Sigma uses the same thread size in the Sigma 65mm F2 DG DN Contemporary I series lens.
The Sigma petal-type LH656-02 lens hood is included in the box. Designed to match the lens body, this hood has a solid, ribbed (inside and out) metal construction. Hoods built for prime lenses, vs. zoom lenses, can be tuned to a single focal length's angle of view, and this hood provides good protection from bright flare-inducing light and from impact.
Sigma does not include a case in the box with this lens, but finding a case should not be challenging. Consider a Lowepro Lens Case or Think Tank Photo Lens Case Duo for a quality, affordable single-lens storage, transport, and carry solution.
Along with Sigma's standard (nice) center- and side-pinch lens cap, this lens ships with a very nice aluminum magnetic cap. Snapping into place (with no filter installed), the magnetic cap is easy to install, and it stays firmly in place.
Unfortunately, there is no provision to grip the center of the cap, and with inadequate space provided inside the hood to grasp the cap's edges, the hood must be removed to get the cap off. That was enough of a disadvantage for me to put the metal cap back in the box. If you leave your hood in the box (not recommended), you'll love the magnetic lens cap. The optional Sigma CH-11 Magnetic Cap Holder provides a simple method of attaching the lens cap to a camera bag, etc., via a carabiner.
Sigma's name has become synonymous with good value, and Sigma's I series lenses continue that legacy. This lens is an outstanding performer, is strongly constructed, incorporates a great design, and is very affordable.
The "DN" in the name indicates that this lens was designed for short flange mirrorless cameras. The Sigma 24mm F2 DG DN Contemporary Lens is available in Sony E-mount, compatible with both full-frame and APS-C sensor format models, and is also available in Leica L-mount.
"Made in Japan" craftsmanship. "Every single lens undergoes SIGMA's proprietary MTF measuring system 'A1'". Sigma provides a limited 1-year warranty, and Sigma USA provides a limited 3-year warranty extension.
The reviewed Sigma 24mm F2 DG DN Contemporary Lens was online-retail sourced.
As mentioned before, there is no direct alternative to the Sigma 24mm F2 DG DN Contemporary Lens as I write this review. Still, there are other lenses worth comparing.
Let's start with the same max aperture alternative in the Sony line-up, the slightly longer focal length Sony FE 28mm F2 Lens.
In the image quality comparison, the Sigma has an obvious advantage over the 6-year-older Sony lens. From an optical perspective, these two lenses are similar in most other regards.
The Sigma 24 is a compact, lightweight lens, but the Sigma 24mm F2 DG DN Contemporary Lens vs. Sony FE 28mm F2 Lens comparison shows the Sony lens slightly smaller still and noticeably lighter. The Sigma lens has a superior build quality and a manual aperture ring. The Sony lens uses 49mm filters vs. 62mm, and is moderately less expensive.
Let's stay in the Sigma I series for the next comparison, looking next at the Sigma 24mm f/3.5 DG DN Contemporary Lens. Obvious is that f/2 is considerably wider than f/3.5, but for those needing only narrower apertures, the focal length is the same.
In the image quality comparison, the wide-open performance of these lenses is similar. Both lenses show impressive resolution and contrast. At equalized apertures, the f/2 lens has considerably less peripheral shading, including at f/16. F/3.5 lens images show a modest amount of pincushion distortion vs. the F2's strong barrel distortion.
Again, the Sigma 24 F2 is a compact, lightweight lens, but the Sigma 24mm F2 DG DN Contemporary Lens vs. Sigma 24mm f/3.5 DG DN Contemporary Lens comparison shows the F3.5 variant noticeably smaller still and much lighter. The F3.5 lens has 7 diaphragm blades vs. 9, uses 55mm filters vs. 62mm, and has a maximum magnification of 0.50x.vs. 0.15x. Selecting the F3.5 variant will save a moderate amount of money at checkout. If you need a wide aperture wider than F3.5, get the F2 lens. Otherwise, the F3.5 model is likely the better choice.
What about the Sony FE 20mm F1.8 G Lens? This great performing lens is a great value, and though 4mm wider, it could be considered an alternative to the being-reviewed lens. The Sony lens has a 1/3 stop wider aperture to its immediate advantage.
In the image quality comparison, we see the results from two impressive lenses. The Sigma lens may have a slight advantage in the periphery, and the Sony lens may have a slight advantage in the center of the frame, but overall, sharpness is not a good differentiator between these lenses. At narrow apertures, the Sony lens has stronger peripheral shading and shows stronger flare effects. The Sony lens has far less geometric distortion.
The Sigma 24mm F2 DG DN Contemporary Lens vs. Sony FE 20mm F1.8 G Lens comparison shows the two lenses weighing a similar amount, with the Sony lens having slightly larger dimensions. Those larger dimensions equate to 67mm filter threads vs. 62mm. The Sigma lens has a manual aperture ring. The Sony lens has modestly higher maximum magnification capabilities, 0.20x vs. 0.15x, and a moderately higher cost.
Use the site's tools to create additional comparisons.
Sigma I series lens summaries are similar. If you are looking for a small, light, well-built, affordable lens that has a wide aperture, performs well, and covers the 24mm focal length, the Sigma 24mm F2 DG DN Contemporary Lens has your name on it.
This compact lens features metal interior and exterior construction, creating a solid build quality and increasing the fun factor for use. The 24mm focal length ensures plenty of opportunities for use, which increases the value of the lens. In addition, this lens produces razor-sharp wide-open imagery.
Strong Peripheral shading (though this is normal for the lens class) and barrel distortion are the primary detractors.
The price is very attractive for the overall quality and features of the Sigma 24mm F2 DG DN Contemporary Lens.
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