![]() ![]() They were (are) cheaper in most cases than first party lenses, but they compete more on merit than on price. The ART lenses were big, sleek, and optically powerful. That all changed with their company reboot. Before the launch of the 35mm f/1.4 ART, Sigma was the “budget company” for those who couldn’t afford better glass, with a few lenses that were cult favorites but little cache in the photography world. Sigma’s existing EX 24-70mm f/2.8 was a carryover from its “pre-Global Vision” company reboot. ![]() For years I’ve traveled different places in the world often carrying a sling bag with a 24-70mm mounted on a full frame body with the Canon EF 70-300mm f/4-5.6L IS as a telephoto companion, and shot dozens of weddings and events with a 24-70 + 70-200mm f/2.8 combination. They also make for compelling travel options because you can take 90% of your travel shots (maybe all of them, if you don’t need any telephoto shots) with the focal lengths covered in a 24-70mm f/2.8. Amateurs who are looking for a big optical upgrade (and don’t mind the extra weight and cost) will often replace their kit lens with a 24-70mm f/2.8. Professionals love them because of that versatility in framing added to the fact that often these lenses offer sharpness and image quality that is competitive with prime lenses. 24-70mm is an extremely versatile focal length, covering wide angle (24mm), standard/normal (35/50mm), and short telephoto for portraiture (70mm). There are few lenses more important to a manufacturer’s lineup than a 24-70mm f/2.8 lens, making Sigma’s 24-70 ART one of their most significant releases this year. ![]()
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