GEAR MINI TESTS
SIGMA 16-28MM F/2.8 DG DN £749/$899 sigma-imaging-uk.com
Sigma’s affordable and compact Contemporary line of full-frame lenses for mirrorless continues to grow, with this 16-28mm f/2.8 DG DN. It’s a perfect match for the popular Contemporary primes, and plays with the 28-70mm version nicely. It’s also significantly lighter and cheaper than Sigma’s 14-24mm Art lens, which has a bulbous front element that doesn’t work well with filters. A rear-mounted filter is needed – a bit of a no-go for filming. In fact, the 16-28mm f/2.8 is a better fit for movies. Its smaller size and weight means improved gimbal use. Of course, the 16mm wide end is not as expansive as a 14mm, but that becomes something of a special-use optic, as its view is very exaggerated. The 16-28mm is a more helpful range – if you can say that for an ultra-wide zoom. Ideal for shooting in tight spaces and capturing wide vistas. It doesn’t exhibit the very obvious fisheye-style, ultra-wide look that certain extreme lenses can. And it employs a complex arrangement of aspherical and low-dispersion elements to suppress chromatic aberrations, for accurate colours at all focal lengths. However, we found a fair amount of vignetting when shooting wide open at 16mm. This is easy to remove in post, or actually provides quite a cool look you may prefer. When you get to lenses this wide, coatings are important for retaining contrast and colour by reducing lens flare and ghosting. Sigma’s Super
SPECIFICATIONS Focal length: 16-28mm Mount: Sony E Image coverage: Full-frame Aperture: F/2.8-22 Aperture blades: Nine Construction: 16 elements in 11 groups Image stabilisation: None Minimum focus: 25cm/9.9in
Filter size: 72mm Dimensions (dxl): 77.2x102.6mm/3x4in Weight: 450g/0.99lb
Multi-Layer and Nano Porous Coatings do a great job. Zoom and focus mechanisms are designed to keep dimensions constant throughout zooming at all distances. There’s little change in the balance point – again ideal for gimbals – and the front element is fixed. Use variable ND filters and polarisers without having to constantly reset. The lens comes with a clip-on, petal-shaped hood and takes 72mm filters. A rounded, nine-blade iris gives smooth bokeh and, for a lens so wide, you can get decent out-of-focus areas if you shoot wide open at f/2.8 and focus up close. Autofocus is fast and very quiet, although AF performance isn’t such a huge issue on lenses this wide. Focus manually with the AF/MF button on
the side of the lens. This is a fast and obvious way to change modes, rather than having to dive into menus. Some weather-resistant sealing and a brass lens mount improve mounting accuracy. This certainly feels like a decently built lens, although maybe not in the league of the Sony 16-35mm f/2.8 G Master. However, that is almost three times the price and has a wider zoom range. For the asking price of £749/$899, the Sigma 16-28mm f/2.8 DG DN has plenty. It’s great to get such a versatile, wide-angle zoom in the bag for those special shots – or filming in a seriously tight environment. A pretty light lens, it doesn’t take up much room in your kitbag. With great optical performance, it’s a mid-range zoom that does better than its specs might suggest. PRO MOVIEMAKER RATING: 8/10 An affordable and solidly performing ultra-wide zoom Pros: Constant f/2.8 aperture Cons: Some vignetting wide open
TOP BUY This 16-28mm from Sigma is a fast and well-priced ultra-wide
DIRTY TRICKS Whether set to 24mm (left) to get close to
the action, or 16mm (right) for a unique
perspective, the Sigma delivers
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PRO MOVIEMAKER
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