ASCII.jp: SIGMA “16-28mm F2.8 DG DN” Actual Machine Review = The modern ultra-wide angle zoom lens is compact and lightweight with this shoot

The “16-28mm F2.8 DG DN” released by Sigma is a compact ultra-wide-angle zoom with a large F2.8 fixed aperture that supports full size.

In addition to the Sony E head, the L Leica + Panasonic + SIGMA head is available. So this time, it seems to be compatible with the “fp L” ultra-compact invisible camera that is equipped with a full-size element with 61 million pixels, standard zoom “28-70mm F2.8 DG DN” with a similar concept let me introduce you.

High-performance compact lens Two brothers focused on Sigma
Covers two 16-70mm lenses at F2.8! Can make 900 grams

Sigma’s current range of lenses are “Art”, which is larger but emphasizes prescriptive power anyway, “Contemporary”, which is compact, lightweight and versatile while maintaining optical performance, and “Sport”, which has a range of telephoto lenses . Approx. to 3 strings. Both the “16-28mm F2.8 DG DN” and the “28-70mm F2.8 DG DN” are “contemporaries”.

Looking at the specifications, the “16-28mm F2.8 DG DN” has a maximum diameter of 77.2mm, an overall length of 100.6mm, a filter diameter of 72mm and a weight of 450g. The shortest shooting distance is 25cm and the maximum shooting magnification is 1:5.6 (about 0.18x). It also features an internal zoom, so that the overall length does not change even if the focal length is changed.

The “28-70mm F2.8 DG DN” has a maximum diameter of 72.2mm and a total length of 101.5mm, which is almost the same as the size of “16-28mm F2.8 DG DN”. The filter has a diameter of 67 mm and a weight of 470 grams. The shortest shooting distance is 19cm on the wide-angle side and 38cm on the telephoto side, and the maximum shooting magnification is 1:3.3 (approx. 0.3x) on the wide-angle side and 1:4.6 (approx. 0.22x) on the telephoto side.

Both lenses use plastic for the lens tube, but they don’t look cheap, and they come with an AF/MF switch and a custom lens cap. Above all, although the zoom zoom is slightly lower than the general open F2.8 zoom, called Daisangen, it is very compact and lightweight, which is the biggest attraction.

When you hold the “16-28mmF2.8” in your hand, it’s so compact that you wouldn’t expect it to be a large aperture wide-angle zoom with an F2.8 aperture.

“16-28mmF2.8” with attached cap attached to “fp L”. The total length does not change even if you zoom in.

The 28-70mmF2.8 is also smaller and lighter than standard large aperture zoom lenses, making it easy to carry around.

“28-70mmF2.8” with the hood attached is attached to the “fp L”. Since it is not an internal zoom, the lens extends at the end of the zoom.

Both lenses have AF/MF keys.

Descriptive power is really quality
Ambient light intensity matches well

Next, let’s check the image quality. When the two lenses are connected to Sigma “fp L”, the user cannot adjust the optical correction of the lens for distortion and lateral chromatic aberration, diffraction off, ambient lighting and color shading are AUTO. Unless otherwise specified, all posted examples have been taken with lens aberration correction set to default.

Lens aberration correction screen when connected to “fp L”.

It can be said that the direction of view of both lenses is roughly the same, but the amount of ambient light is slightly improved from F4 at the maximum aperture of F2.8 across the entire zoom range, and F5.6 onwards has been virtually eliminated.

Ambient illumination changes due to the aperture value “16-28mmF2.8”. Aperture F2.8 (left) and F5.6 (right) with a focal length of 16 mm (top), aperture of F2.8 (left) and F5.6 (right) with a focal length of 28 mm (bottom). (All images below can be enlarged by clicking)

Ambient illumination changes with aperture value of “28-70mmF2.8”. F2.8 (left) and F5.6 (right) with a focal length of 28 mm (top) and apertures of F2.8 (left) and F5.6 (right) with a focal length of 70 mm (bottom).

As a test, when ambient light correction is off, ambient light drops are more visible when the aperture is wide open, so you can see that a small amount of light is intentionally left in.

What was interesting at the time was that there was a difference depending on the lens and the focal length. DN, the degree of decrease in light intensity without correction is different. However, the corrected image shows approximately the same amount of light drop. From this, it can be seen that a sigma-like “appropriate correction” is made to each lens.

“16-28mmF2.8” (left) and “28-70mmF2.8” (right), each with a focal length of 28mm and ambient illumination off. The degree of reduction in the amount of light varies slightly.

Resolution is also sharp in the middle of the widest aperture and peaks around F5.6-8. From about F16, the accuracy drops slightly due to yaw effects. Additionally, both lenses felt sharper on the wide-angle side than on the telephoto side.

The peripheral areas are a little weak up to F4, but they improve around F5.6 to F5.8. After f / 16, the yaw effect is the same as in the center. In any case, the image is not distorted, so there is no need to worry.

I zoomed in and checked the difference in shooting between center and perimeter depending on the aperture. This is 16mm on the wide angle side 16-28mm (left) and 28mm on the rounding side (right).

28mm wide angle (left) and 70mm telephoto (right) size 28-70mm.

If you turn on the correction to reduce the resolution due to diffraction, it will be improved to a satisfactory level.

Comparison of diffraction correction ON and OFF. Magnified portion of the photo was taken alongside 16-28mm wide angle, F2.8, 16mm, F22 aperture.

As you can see from the fact that the user can’t stop the distortion, which is a concern for the ultra-wide-angle lens, it’s well-corrected.

I tried shooting horizontally and vertically with the 16mm wide-angle end of the 16-28mmF2.8, but the distortion is barely noticeable.

As an impression of the actual shooting with both lenses, the “16-28mm F2.8 DG DN” has a strong viewing angle that emphasizes the unique ultra-wide angle perspective, and is an honor seeker without imaging peripheral distortion or disturbance. I was a little worried about shadows due to the backlighting, but I was able to deal with it simply by changing the position of the light source a bit.

Perhaps because the zoom ratio is a bit low, it felt like a fixed focal length lens.

The ultra-wide-angle lens that focuses on perspective makes the scene feel more profound. “16-28mm F2.8”, 16mm, F8, 1/100sec, ISO100.

Although the zoom magnification is low, the viewing angle of 16mm and 28mm is completely different. “16-28mm F2.8”, 16mm, F8, 1/200sec, ISO100.

28 mm F8 ・ 1/200 sec. ・ ISO100.

Even with an ultra-wide angle lens, if you shoot close to the subject with a maximum aperture of F2.8, the background will be quite blurry. “16-28mm F2.8”, 16mm, F2.8, 1/160sec, ISO100.

Snap in town. I shot it wide open, but reducing the ambient light worked well. “16-28mm F2.8”, 16mm, F2.8, 1/250sec, ISO100.

Distortion occurs when shooting with the backlight (top), but is prevented by a slight change in the position of the light source (bottom). “16-28mm F2.8”, 16mm, F8, 1/13sec, ISO100.

Although there is no camera shake correction, it is a very wide angle so if you hold it tight you can shoot without blur even at 1/20 second. “16-28mm F2.8”, 16mm, F2.8, 1/20sec, ISO1600.

Night shot taken with a tripod. After all, if you shoot carefully, you will come out beautifully. “16-28mmF2.8”, 16mm, F16, 4sec, ISO100.

On the other hand, the “28-70mm F2.8 DG DN” might look a little narrow on the wide-angle side compared to a standard zoom that starts at 24mm, but it looks like a lens with a maximum aperture of F4 or higher, bokeh that uses the maximum aperture of F2.8. I am thankful that I was able to enjoy zoom shooting not at this height, but you can get as close as 38cm even at the end of the zoom, so you can take close-up photos.

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