Sigma is known for making high-quality lenses, and they’ve just added another world’s first to their lineup: the Sigma 28-45mm f/1.8 DG DN Art lens. This new full frame lens not only delivers a constant f/1.8 aperture throughout the entire zoom range, but it also delivers incredible sharpness and clarity throughout, similar to a high-quality prime lens. This versatile zoom is perfect for a variety of shooting scenarios.
This latest innovation in Sigma’s lineup continues to push the boundaries in lens design, offering photographers and filmmakers a tool that combines the best of both prime and zoom lenses in one exceptional package. Can it do what it promises? We review it to find out.
Key Features
- Lens construction: 18 elements in 15 groups (5 SLD, 3 aspherical elements)
- Angle of view: 75.4-51.3°
- Number of diaphragm blades: 11 (rounded diaphragm)
- Minimum aperture: f/16
- Minimum focusing distance: 30 cm / 11.9 in.
- Maximum magnification ratio: 1:4 at f=45mm
- Filter size: φ82mm
- Maximum Diameter x Length: φ87.8mm x 151.4mm / φ3.5 in. x 6.0 in.
- Weight: 960 g / 33.9 oz.
Build Quality
The lens feels robust in hand, and all switches and buttons are easily accessible without taking your eye from the viewfinder. The optics are made up of 18 elements in 15 groups (5 SLD, 3 aspherical elements), and considering what the lens is capable of, it is not as heavy as you would expect, weighing only 960 g. Measuring at 151 mm, it is similar in size to the Sigma 24-70mm and has the same filter size at 82mm. With an 11-blade rounded diaphragm, an internal focus, and zoom, the Sigma 28-45mm maintains its size throughout the focal range. The focus ring is well-knurled and provides good friction for fine-tuning.
An HLA (High-response Linear Actuator) motor ensures fast, silent, and accurate focusing, which I found comparable in speed to the 24-70mm I recently reviewed. The body of the lens consists of a de-clickable aperture ring, two AFL buttons which are programmable on certain cameras, an aperture lock, and an MF/AF switch. The front optic is water- and oil-repellent, and the body is dust and splash-resistant. Completing the lens is a heavy-duty plastic petal-shaped lens hood and a well-padded storage case for when not in use.
Performance
As you would expect from Sigma, the lens performs admirably. In the time I had with the lens, I mainly used it for photography; however, I did manage to record a few to-camera pieces with it, and again it proved its worth, delivering sharp images with a gradual and soft bokeh. With this wide constant aperture throughout the range, I can see filmmakers putting the lens through its paces and getting great results. Focus breathing is suppressed, making it a great lens for filmmakers when focus-pulling.
For photography, the lens certainly delivered sharp images from edge to edge, and I would be more than happy to use the entire frame in any professional work. Due to the HLA (High-response Linear Actuator) motor, the autofocus was fast, accurate, and silent. I found no flaring issues in my time with the lens, and it produced rich contrast results in the lighting conditions I photographed.
The minimum focusing distance throughout the zoom range is 30 cm, which at f/1.8 delivers a very pleasing bokeh. 
The sharpness of the images from Sigma’s Art series is something you would expect, and this lens continues to do just that. I intentionally photographed scenes and subjects at varying distances with lots of detail to see how it performed from f/1.8 to f/16, and not once was I let down.
Having the option of the sharpness and effects of a wide f/1.8 prime lens within a zoom lens offers incredible versatility, in my opinion, allowing you to capture high-quality images across various focal lengths without constantly switching lenses. This combination is advantageous for photographers who need to adapt quickly to changing scenes, such as during events or in dynamic environments. Although my subject matter wasn't constantly changing and ticked none of the aforementioned, I was still able to have that option of shooting wide-open over various focal lengths. The images in the gallery below have all been resized to 2,000 px long edge.
Pros
- Constant f/1.8 aperture throughout the zoom range.
- Sharp images edge to edge.
- Suppressed focal breathing.
- Silent autofocus.
Cons
- For some, perhaps the cost consideration. However, considering the costs of individual wide-aperture full frame lenses within these focal ranges, the lens isn't costly at all and provides the versatility and ease of use you may be looking for.
Conclusion
Admittedly, I only had the lens for a short period, yet in that time, I used it in the ways I would normally when testing a lens, and it proved itself, easily and very capably returning sharp images throughout its focal ranges.
It’s both a photographer's and filmmaker's lens, perhaps leaning more towards filmmaking in the sense that there is suppressed focus breathing, which is great for focus-pulling and its constant wide aperture at these focal lengths. For photography, it’s a versatile prime zoom lens ideal for a whole host of work and one that saves you swapping lenses should you own primes within these focal lengths.
The costs for individual primes compared to this one lens should also be taken into account. The Sigma 28mm f/1.4 DG HSM Art Lens retails currently at $649 and the Sigma 40mm f/1.4 DG HSM Art Lens for $799. So just for two prime lenses, that equates to $1,448, whereas this new lens will be retailing around $1,600 (unconfirmed). Throw in a third 33mm or 35mm and you are well into the $2,000 region. F/1.8 is wide, great for low light, and this lens packs that in one single body from 28mm through to 45mm and returns sharp images through all.
The lens launch isn’t until June 20th, and I’m sure there’ll be another review on Fstoppers around that time. For now, however, I hope this small insight into the Sigma 28-45mm f/1.8 DG DN has piqued your interest if you were considering purchasing a prime lens within this focal range, as this may prove more versatile for you while saving you a few bucks in the process.
Any idea what mounts this lens will be available in?
When released it’ll be the Sony and Leica, David
Not wide enough, not tele enough... Seems like Sigma 24-35/2 reinvented. May be useful for wedding parties?
Just imagine how big and expensive a 24-70mm f1.8 lens would be though, assuming such an optically perfect lens was possible. All lenses have trade offs somewhere.
Look at canon RF 28-70/2.0 😉
24-35 is, in fact, more interesting as it at least has three classic focal lengths.
If there's one advantage that full frame has over APS-C, it's probably the lens selection - particularly the crazy new convention-defying zooms like this, or the 28-70 f2, 24-105 f2.8, or 35-150 f2-2.8. As long as you're okay with the size and weight, these are some beastly event workhorses.
20-50mm F2 is more practical, TBH
Pricey but it is good that they were able to avoid the LoCA issues as well as massively improving their AF motor. The old crop sensor Sigma 18-35 f/1.8 had one of the world's slowest AF motors. I still use it from time to time, but it was annoying with how fast they abandoned the lens without fixing all of the firmware bugs.
The overall optical improvements with the 28-45, especially with the full res raw files are quite good.
It feel so niche with only a 18mm difference from min to max. But it's such a sweet middle ground mid-wide. Can't decide whether to pick this up or wait if Sigma will come out with something more encompassing in the next year or so.