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Jaw-Dropping Image Quality: Sony A7R IV with Sigma 14-24mm f/2.8 DG DN Art Examples: Eastern Sierra

These examples with the Sigma 14-24mm f/2.8 DG DN Art taken in the Eastern Sierra on the 60-megapixel Sony A7R IV. Some are focus stacked images showing off the incredible detail possible on 60MP, and some also include 100 megapixel versions upscaled using Gigapixel AI.

Sigma 14-24mm f/2.8 DG DN Art Examples: Eastern Sierra

Includes images up to full camera resolution, plus selected images presented at 100 megapixels, via upscaling with Gigapixel AI.

If these images do not impress in detail, color and visual impact, then I don’t know what will. As a photographer, it is a heck of a thrill to see this level of quality. Both the camera and the lens deserve considerable praise.

It seems to me that between the Sony A7R IV and the broad lens line for it with lenses like this, Sony has cemented its leadership in mirrorless. I cannot see how Canon or Nikon or Panasonic or Leica have a snowball’s chance in hell at this point with their plodding too-little too-late stuff.

I still reserve a lot of criticism for Sony however—so many missing features such as built-in focus stacking support, intelligent frame averaging, multi-shot high-res mode like Panasonic, iPhone-like panoramas, no lossless compressed files, and many more issues. I’m dumbfounded by Sony not including these things, as they are technically straightforward, and leave chinks in the armor.

CLICK TO VIEW: Ultra Wide Lenses for Sony

Colorful Plants Approaching Alpine Pond
f8 @ 6.0 sec electronic shutter focus stack 3 frames, ISO 100; 2019-09-26 19:09:52
Sony A7R IV + Sigma 14-24mm f/2.8 DG DN Art @ 14mm
ENV: Twenty Lakes Basin, altitude 10300 ft / 3139 m, 53°F / 11°C
RAW: LACA corrected, +57 Whites, +100 Shadows, -73 Highlights

[low-res image for bot]

Tom R writes:

Incredible images in your Sony a7r4/Sigma 14-24/Alpine Pond post this morning. I suspect you have plenty of pending projects … but I would really be interested in your recommended workflow for utilizing Gigapixel AI in conjunction with frame averaging and focus stacking.

DIGLLOYD: I intend to add an upscaling section to Making Sharp Images detailing how to best use Gigapixel AI, but I am deferring that for time reasons right now, but I want to gain more insight into the best choices for the image fed to it, as well as Gigapixel AI settings, so I can offer solid advice. I’ve been winging it, but I am learning as I go.

Nick M writes:

Enjoyed your Sigma 14-24 coverage, thanks, including some beautiful shots of fall in the Sierras. Seems you would be happy to carry this in place of say a Batis 18 and Batis 25 - is that correct?!

Would be super interested to see how you like the Sigma vs the Tamron 17-28. The Tamron certainly claims strong performance and is materially smaller and lighter than the Sigma. I am slightly uncertain about the focal range, having no experience wider than 16mm, but on balance think the 17-28 range is probably more useful for me.

DIGLLOYD: it is my impression that a sample of the Sigma 14-24mm f/2.8 DG DN Art that performs as designed would outclass every lens in its range ever designed—if such a sample exists. One source of impeccable technical credentials tells me that 8 of 8 samples were crap—all showing obvious problems.

Seems like Sigma is running a 1one-sigma operation here, speaking in terms of six-sigma operations!

Jason W writes:

Really good stuff Lloyd. Reviewing the images, I think the GFX100 + 23mm combo is still the nut hand in the eq. 18mm FF perspective but at 1/3 the price the A7RIV + Sigma 14-24 with Gigapixel gets you 85% of the way ther

Ultimately, I've already bought the 23mm GF and 45mm GF and have been renting a GFX 50R body. Honestly, with Gigapixel, I could live happily with the 50R and may buy one. The ability to frame 65:24 + Fuji film simulation colors gives me what I need. The GFX100 will come down in 2-3 years and I'll have the glass when it does.

DIGLLOYD: I don’t think it comes down to one metric, but I do know that the Fujifilm GF 23mm f/4 ranges widely in quality as per the three sample I’ve used—one could not make sharpness at a large swath of the edges at f/8 on the Fujifilm GFX-50S.

A big problem with the Fujifilm GFX-50S is horrific color moiré and color aliasing on too many scenes—this goes away with the Fujifilm GFX100. But Adobe Camera Raw Enhance Details helps a great deal with the those issues. Without that, I’d say scaling for a clean image might get ugly.


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