LG’s G8X ThinQ Dual Screen might just be a killer feature ahead of its time

The LG G8X ThinQ is the South Korean brand's latest high-end smartphone and was launched at IFA in September. It's powered by Qualcomm's Snapdragon 855 top-of-the-line chipset and features a 6.4-inch AMOLED display with FullHD+ resolution, 6GB RAM and an under-display fingerprint reader.

On the camera side of things the new model relies on similar hardware as previous LG devices but has to make do without the dedicated tele lens that could be found on the G8 ThinQ. The X-model's dual-camera setup combines a primary camera using a 12MP 1/2.55" sensor and F1.8 27mm equivalent lens with an ultra-wide camera that offers a 13MP resolution, F2.4 aperture and 16mm equivalent field of view. The primary camera also features OIS and PDAF.

The device's standout feature is an attachable dual-screen case, though. It allows you to double the overall screen size and resolution, similar to other recent dual-screen devices, such as the Huawei Mate X or Samsung Galaxy Fold.

We've had the chance to use the LG G8X ThinQ with Dual-Screen accessory for a few weeks now. Read on to find out what the Dual Screen has to offer for mobile photographers.

The Dual Screen accessory

The G8X ThinQ's dual-screen solution is different from other dual-screen devices in that the secondary screen can be removed when not needed. This means you have a very visible border between the two displays, but you can also leave the secondary display at home when not needed – which is a good thing as it adds quite a bit of bulk and weight.

The secondary display is embedded into a case that the G8X can be inserted in, and connects to via its USB-C port. This means you need an accessory dongle for connecting a USB-cable when the Dual Screen is attached. This is not a major issue but, like any small accessory item, the dongle is quite easily lost if you're not careful. The G8X is capable of wireless charging as well, though.

There's no need to open the case to check the time or to see if you have any new notifications

The Dual Screen case does not have its own battery and instead draws power from the phone's. LG claims the Dual Screen increases power consumption, depending on use, by between 20 and 30 percent, which is line with our experience.

The secondary display itself is the same P-OLED type, size and resolution as the primary one and we also found the color rendering to be identical. The hinges of the case allow for 360-degree movement, and at the front there's a 2.1" monochrome OLED cover display that shows app notifications as well as time and date. This means there's no need to open the case to check the time or to see if you have any new notifications.

The rear portion of the case comes with a cutout, allowing you to use the phone's camera while it's in the case.

Dual-Screen controls

Once the Dual Screen is connected a control button appears on the right edge of the main display. A tap opens up the controls which let you swap the content of the two screens or turn the secondary display off.

The Dual Screen has its own app drawer and you can place app shortcuts and widgets on it in exactly the same way as the main display. In the Dual Screen settings you can adjust brightness of the secondary display (or set it to be the same as the main screen), turn off the cover display and Dual Screen control button, and set an app to open when the Dual Screen is turned on among other options.


Multi-tasking is the Dual Screen's main purpose. For example, you can watch a video on one display while writing and sending a message on the other, or use Google Maps for navigation at a holiday destination while browsing a travel app.

In terms of use for imaging purposes, the options are (still) slightly limited. You could have the camera or an image editing app on one screen while browsing Instagram or another image sharing app on the other, but overall workflow efficiency gains are fairly small. At this point the Dual Screen is mostly about convenience: you can continue your Whatsapp-chat while preparing an Instagram-upload or editing an image.

Mirror Mode in the Camera app

App support for the Dual Screen is currently still quite limited but fortunately the LG Camera is one of the few apps that makes use of the secondary screen. With the Dual Screen attached you can turn on Mirror Mode. As the name suggests, it mirrors the camera's preview image on the secondary display.

Combined with the ability to angle the latter any way you like, this feature can be really handy when shooting overhead or at low height, just like a tilting display on a regular camera. You can also use the secondary screen like a waist-level viewfinder which is particularly helpful for holding the device in a stable fashion when recording video.

It's worth noting though that the mirrored display only comes with a shutter/video button. For all other controls you'll still have to go back to the main screen. You can however swap the display content using the Dual Screen controls.

Wide Mode

Wide-view expands an app across both screens, offering an overall display size of 12.8 inches. This can be great for reading websites, viewing images and watching video but in many cases, especially when consuming multi-media content, the 15mm combined bezel between the two screens somewhat limits the experience.

The fact that the feature currently only works with websites viewed in the Chrome browser is another downside. Still, Wide Mode can be useful for viewing websites in desktop mode or on those occasions when additional real estate increases usability, for example when viewing and navigating a map.

Extended View

In Extended View mode an app is divided into two screens. Unfortunately this feature is currently only supported by two apps - the LG Gallery and the Naver Whale browser - but LG says it is expecting support to be expanded to additional apps in the future.

In the Gallery app you can tap on the Dual Screen button to expand the view. This allows you to browse thumbnails on one screen and open the full image on the other. You can zoom into the full image as well as share or delete it in this viewing mode. However, if you want to add a memo or edit, you'll have to go back to the main screen, so the Dual Screen's added value is somewhat limited in this instance.

LG's Naver Whale is a web browser and allows you to view websites in Wide Mode, just like Chrome. However, it also lets you open links on the secondary screen by double-tapping them. This can be useful when browsing shopping websites for example, when you don't have to jump back and forth between your list of search results and product pages. You simply keep the list open on one screen and open product pages on the other.

In a similar manner, when browsing Instagram or equivalent sites you can keep a user's profile page open on the main screen and open individual posts on the secondary display. All this has to happen in the browser, though.

Virtual Game Pad and Keyboard

This Dual Screen use case is arguably the one that LG has implemented best so far. The Dual Screen can be used to display a virtual gaming pad. Android recognizes the app as connected bluetooth hardware which makes it compatible with any game that supports this kind of hardware. The pad is also customizable.

We're no gamers but after a few trial runs on Asphalt 9 it's fair to say the pad works quite well. A hardware pad is arguably a better option, but this virtual implementation isn't far off.

The LG keyboard offers a very similar function. You can display a soft-keyboard on the main screen while having the app you are writing in, for example Gmail or Instagram, open on the secondary screen. The keys are larger than they'd be on a usual split-screen style keyboard and allow for more comfortable typing. We would not recommend it for writing your next novel but shorter pieces of text are absolutely manageable in this setup.


LG is a smartphone manufacturer who does not shy away from risky development decisions. Some years ago the company introduced a modular system with its G5 model which was very innovative but ultimately proved commercially unsuccessful. It was also among the first to introduce ultra-wide angle cameras to smartphone photography which today are pretty much ubiquitous.

The Dual Screen follows in this tradition but at the current stage it's still too soon to say if it will go the way of the G5 modules or become a success like the ultra-wide camera. It's fair to say that for the latter to happen more apps will probably need to support the secondary screen.

The most useful feature for photographers is Mirror Mode in the camera app which helps when shooting at awkward angles

Right now it provides the most obvious benefits to those users who like to multi-task, letting you work in two apps at the same time. The ability to consume content across two screens or separate app controls from the main screen are great but unfortunately only work with a very limited number of apps. Currently, the most useful feature for photographers is Mirror Mode in the camera app which helps when shooting at awkward angles.

For everybody else, and especially those who write a lot on their smartphones, the virtual keyboard on its own might be an argument to purchase a G8X ThinQ with Dual Screen. If that doesn't quite convince you yet it's probably a good idea to wait and see if the Dual Screen will get more support from app developers.

Creative Photography Exercises: Setting Limitations to Achieve Better Photography

The post Creative Photography Exercises: Setting Limitations to Achieve Better Photography appeared first on Digital Photography School. It was authored by Ana Mireles.


Every photographer can feel stuck at some point. I find this often happens when you have learned all the technical basics, and it’s time for you to start finding your way. Is this you? Here are some creative photography exercises than can help you shake things up. Keep on reading to see how setting limitations can help you to achieve better photography.

Creative photography exercises

Have you ever been to a restaurant that has a huge menu but you can’t decide what to order? The same thing can happen with your photography. Having the ability to photograph anything can seem daunting. That’s why setting limits before you start shooting can help you focus.

Creative photography exercises

You can set a limit regarding the idea or project you want. In this photo, I decided to limit my idea to fruits as a topic. You can also limit the tools and techniques that you can use – for example, using long exposure times. Here are some creative photography exercises to get you started.

Technical Limitations

Use only one focal length

As you probably know, there are zoom lenses and prime lenses. A zoom lens means that you can change your angle of view in seconds, which gives you great versatility. A prime lens has a fixed focal length, and this will force you to move around and re-compose your images.

Creative Photography Exercises: Setting Limitations to Achieve Better Photography

If you don’t have a prime lens, use your zoom but choose a focal length and stick with it for the entire exercise. Here I used an 18-55mm and put some tape as a reference on 40mm. This doesn’t mean that you can’t use both lenses, it’s just a way for you to practice without buying new gear.

Think in terms of film photography

Pretend you’re using a film camera and set yourself a limit of 12, 24 or 36 images that you can use. I suggest these numbers because film rolls were sold like that, but feel free to set a different limit without overdoing it. This will push you to put more thought into the final image before you press the shutter button.

Creative Photography Exercises: Setting Limitations to Achieve Better Photography

If you want to make it more challenging, try only using the viewfinder and not reviewing your images after shooting. Not having the chance to delete images in order to stay within the maximum amount gives you that extra push.

Project Limitations

Ride the bus

This is a fun project because you can approach it in many different ways. For example, you can choose to photograph the street while riding the bus or the metro. This takes away much of your control over the scene in front of you. You also have to deal with motion and reflections. And most of all, you have to react quick before you’re gone.

Creative photography exercises

You can also choose to photograph the inside of the vehicle. This is very close quarters so it will help you to overcome shyness. It is also challenging to compose and focus on short distances. So you may want to explore a wide-angle lens if you want to capture the full scene. The light probably won’t be very bright so you may need to bump up your ISO. Combined with the fact that you’re moving, you may find it challenging, but give it a try!

Always shoot at the same time

Program an alarm on your phone to remind you to take a picture exactly at the same time every day. If you have a routinary life, it will challenge you to shoot the same thing or place differently. If you have a flexible schedule, and the time, you will find yourself in different places, where you’ll have to deal with a variety of challenges each time.

Creative photography exercises

Either way, it will kick start your creativity. This image, for example, is only the heater from my studio. Try looking for different angles, play with lighting, etc.


These are just some ideas for creative photography exercises. Feel free to create your own according to your interest, gear and even the place you live. You just need to follow the same rule of establishing some guidelines as limitations to strengthen your abilities and creativity. I’ll leave you here some other articles that can give you more ideas:

Feel free to share any other creative photography exercises in the comments. And, as always, we love to see your images, so try some of these techniques, and share your images below.

The post Creative Photography Exercises: Setting Limitations to Achieve Better Photography appeared first on Digital Photography School. It was authored by Ana Mireles.

Photographing on Overcast Days: The Light Simply Doesn’t Get Any Better

The post Photographing on Overcast Days: The Light Simply Doesn’t Get Any Better appeared first on Digital Photography School. It was authored by Herb Paynter.


Lighting is everything in photography, but some “poor” conditions may surprise you. Am I alone here? Does anybody else get excited about photographing on overcast days?

I use to think I was a contrast junkie, but I discovered that my passion is for detail, more of an internal contrast issue than one of overall contrast. Internal contrast (the clear distinction between tones inside the extremes of white and black) is what delivers the distinctions we call detail.

Hot highlights and deep shadows

Photographing on Overcast Days: The Light Simply Doesn't Get Any Better

When you consider the dynamic range of most digital camera image sensors, typical bright sunny days can present two challenges right off the bat: hot highlights and deep shadows. When the highlights in the original image are very hot, and the shadows are very deep, extracting detail in the “near shadows” and “near highlights” turns into an editing issue.

This is why photographing on overcast days is the easiest lighting condition to deal with.


The holy grail of photographic exposure range is located well within those bookend extremes. On a typical Florida day, with the Sun blaring on a scene, the trick is to keep the quarter, middle, and three-quarter tones ideally balanced in order to capture critical detail.

With highlights too “hot,” the inevitable shadows cast by the tropical Sun tends to push critical three-quarter tones (shadow detail) into the mud. Shooting in RAW mode allows most images to recover all but the most severe edges of dark and light, though it can take a careful adjustment to do so.

Filtering effect of clouds

Photographing on Overcast Days: The Light Simply Doesn't Get Any Better

When photographing on overcast days, the filtering effect of clouds mellows the Sun’s harsh light, revealing significant quarter tones (highlight detail).

The wonderful byproduct of this softer “diffused” light is softer shadows, which in turn deliver more shadow detail.

It is much easier to boost the highlights and deepen the shadows with a little help from overcast weather. On very sunny days, you might have to use a reflector or fill flash to open up the shadows, but on cloudy days, they’re already open! This natural diffuser renders rich colors and a full range of tones from the deepest shadows to the lightest highlights.

This lighting is the ideal time to press your 18% gray card into action.

Gray card


There is a reason why photographers like to balance their lighting around an 18% gray card. That 18% value just happens to be the same reflective value as average Caucasian skin color. And that value is the sweet spot of all photographic exposure.

Your camera’s image sensor is tuned to record skin tones in the very center of the contrast range. Image sensors do their best work when you point them at this reflective value. Once the camera knows this value, the lighter and darker tones fall quite naturally in line. And when the outdoor lighting falls neatly within the camera sensor’s “cruising range” (with headroom on either side of the scene’s histogram), that my friends, delivers top drawer results.

Photographing on overcast days may well become your favorite lighting.

Middle tone emphasis

Photographing on Overcast Days: The Light Simply Doesn't Get Any Better

Don’t be afraid to put the scene’s tones well within the middle of the histogram.

There is no hard, fast rule that says that every image has to contain extreme highlights or near-black shadows. Real-life simply doesn’t appear that way to your eyes. Not even high-key photography mandates that the lightest tones must be extremely bright. Some of the most moving photos are nearly void of overall contrast.

Don’t fall into the trap of “optimizing” every photo’s range so that it produces bright highlights and deep shadows. Allow nature to dictate the visual mood. Realistically speaking, the only thing in nature that is truly “black” is the inside of a cave at midnight. The only thing pure “white” is a direct view of the Sun at noon.

Auto levels


It’s okay to have highlights that aren’t pegged up against the right side of the histogram. Please think twice before you hit the dreaded Auto button in the Levels dialog of Photoshop. That kind of cookie-cutter photography should be left to those who don’t know any better. Let the scene set the mood and simply convey what you experienced.

Occasionally, dynamic adjustments within software applications tempt us to automatically force nature into conditions that aren’t natural.

White balance


The next time you find yourself in the shadow-free lighting of a clouded sky, go and get your camera. Great color (and fabulous black and white) photography is there for the taking. However, do keep in mind that outdoor shots under cloud cover will appear slightly bluish because those clouds are absorbing the shorter wavelengths.

Set your camera’s white balance to Overcast or Cloudy. This setting will compensate for the bluishness of the scene. If you are using a gray card and have the time to set a situational white balance, you can zero in on the color even more accurately.


Photographing on Overcast Days: The Light Simply Doesn't Get Any Better

Next time you shoot outdoors in overcast weather, search the scene for something interesting and unique, something that will bring a smile to your face. I’ve found that I find whatever I’m looking for in life, and that includes dismal weather. There is a bright spot in just about every situation if you keep your eyes (and your mind) open.

I hope this inspires you to look forward to photographing on overcast days. These special days deliver great natural lighting and provide many opportunities to see a different side of life.

Do you photograph on overcast days? What are your thoughts? Share with us in the comments!

The post Photographing on Overcast Days: The Light Simply Doesn’t Get Any Better appeared first on Digital Photography School. It was authored by Herb Paynter.

Student photographer knocked unconscious after vicious collision on the sideline of a football game

During today's college football game between the Georgia Bulldogs and Auburn Tigers, a photographer on the sideline was knocked unconscious when a Georgia wide receiver knocked her over as he ran out of bounds following a short pass play.

University of Georgia student photographer, Chamberlain Smith, was put in a neck brace and taken off the field on a stretcher following the hard collision.

According to reports, Smith was responsive on the stretcher and was able to move all of her extremities, but was taken to the hospital to be checked for an orbital fracture and a concussion. It’s since been confirmed that Smith was released from the hospital, but there are no details on the extent of her injuries.

Brian Herrien, the receiver who ran into Smith, was extremely concerned about her wellbeing and had to be told by officials to go to his sideline following the incident. After the game he shared the below tweet:

Gary Danielson, one of the college football analysts providing color commentary for the game, has taken heat across social media for chuckling at the photographer on the ground following the collision and subsequently making insensitive comments:

Football photography might not seem dangerous, but when you're looking through the viewfinder, you never know what can happen. Consider this a reminder to always be vigilant about your surroundings.

We would like to wish Smith the best in her recovery.

Speedlight vs Monolight on Location: See How They Compare [video]

The post Speedlight vs Monolight on Location: See How They Compare [video] appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

In this video from Adorama, Gavin Hoey compares speed light vs monolight on location.

In the test, he does three very common lighting scenarios. He uses the flashes as fill flash, overpowering ambient light, and high-speed-sync flash.

He uses model, Charlotte, for the demonstration.

Gavin uses the following gear for the shoot:



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Scenario one: fill flash

First up, in the Speedlight vs Monolight comparison, Gavin uses the monolight.

Before taking any shots, he takes a meter reading of the ambient light. Then to get his flash to match those settings, rather than use trial and error (which you can do), he uses a light meter to take an accurate reading from his model’s chin. He then uses that to set the flash.

Settings: f/3.5 1/250th Sec ISO 200

Next, he uses the speedlight flash. He sets it up using the same light modifier that he uses with the mono light and puts it in the same position.

He takes another light meter reading of his model’s chin, and set’s his speedlight flash.

When comparing the photographs, it is difficult to see the difference between using the monolight and using the speedlight.

Scenario two: overpowering the ambient light

Settings: f/16 1/250th sec ISO 200

In this scenario, Gavin runs the flash at full power to see what sort of aperture he can get out of the flash.

When doing a light meter reading, he gets an aperture of f/22 at the flash’s full-power setting.

Because he doesn’t want to waste the flash battery power and have a longer recycle time, he drops the flash to half power, which gives him an aperture of f/16.

He tests the camera settings without flash first to see how dramatic the sky looks. Then he turns the flash on to get some dramatic shots.

Gavin then swaps the flash over to the Speedlight, again using the same modifier and distance. The meter reading with the speedlight gives f/11, and the speedlight is set to full power.

In the side by side comparison, Gavin prefers the speedlight version over the monolight (what do you think?). But he prefers the flexibility, faster recycle times, power usage etc. of the monolight.

Scenario three: high-speed-sync flash

High-speed-sync flash strobes the light rapidly, meaning you get less power out of the lights. It is used for a shallow depth of field, so Gavin switches to a 25mm f/1.2 lens and shoots at f/1.2.

Firstly, Gavin turns off the flash and dials in f/1.2 and his flash sync speed of 1/250th of a second and then takes a picture of his model, Charlotte, to see what he gets at those settings.

While his model is quite well exposed at those settings, the background is overexposed, so Gavin tries 1/4000th of a second shutter speed, which gives him more detail in the background.

Most light meters won’t work with high-speed sync, so Gavin uses trial and error to set the flash to light Charlotte. He settles with 1/16th power.

Settings: f/1.2, 1/4000th sec, ISO 200.

He then tries the same settings with the speedlight flash with the flash at half-power.

While the flash does well to light the model, it struggles to keep up when shooting a number of shots in quick succession. He managed to get 18 photos in a row before the speedlight stopped working. This was actually the recycle time getting much longer.


If you have lots of high-speed-sync photos to take on location, you are better off with a monolight.

Variables: how far flash is from the subject, amount of ambient light, and softbox.

What are your thoughts on the comparisons? Which do you think wins in the speedlight vs monolight comparison? Share in the comments!


You may also like:


The post Speedlight vs Monolight on Location: See How They Compare [video] appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

DPReview TV: Sony a6100 review

The a6100 is Sony's newest entry-level APS-C mirrorless camera. As Chris and Jordan highlight in their review, it features some useful upgrades over to the [apparently immortal] a6000.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Sample gallery from this episode

Sony a6100 review sample gallery (DPReview TV)

Leica invited our team from DPReview TV to Germany to test drive the new Leica SL2 – and test drive they did. Check out these samples captured with a pre-production SL2 body.

View DPReview TV's a6100 sample gallery

B&H Photo accused of dodging millions in taxes in newly filed lawsuit

A newly filed lawsuit by the State of New York accuses electronics retailer B&H Foto & Electronics Corp of alleged tax fraud. The lawsuit, which was recently published on the New York Attorney General's website, claims that B&H 'intentionally underpaid sales tax on millions of dollars in receipts from its sales of cameras and other consumer electronics.'

The lawsuit claims that B&H failed to pay approximately $7 million in sales taxes on reimbursements it received from manufacturers on products sold with instant rebates to consumers. This 'arrangement,' the lawsuit alleges, took place for 13 years and was brought to the state's attention by a whistleblower.

The lawsuit likewise claims:

B&H knew that it should have been paying the tax. B&H has repeatedly and explicitly acknowledged—internally, to outside vendors, and to a competitor—that under New York tax law, it owed sales tax on these reimbursements ... And, even after B&H learned that the State was investigating it for failing to pay the sales taxes due on these reimbursements, B&H continued to underreport its sales taxes while simultaneously admitting to others that it knew the sales tax was, indeed, due.

The lawsuit goes into great detailed about alleged communications within B&H that reportedly prove the company knew that it was supposed to pay taxes on instant rebate reimbursements. In a statement to The Verge, however, B&H said that it 'has done nothing wrong,' and that the New York AG has 'decided to attack' a local company while 'leaving the national online and retail behemoths unchallenged.'

New York is seeking repayment of the back taxes, interest, penalties, and damages related to the alleged tax fraud.

We have contacted B&H with a request to comment on the lawsuit and allegations; we will update this article accordingly if we receive a response.

Sigma announces its 24-70mm F2.8 DG DN lens will ship ‘early December’ for $1,099

Two weeks ago we learned of Sigma’s newly-designed 24-70mm F2.8 DG DN Art zoom lens for Sony E-Mount and L-mount cameras. Today, Sigma announced pricing and availability, stating the lens will be available in ‘early December’ for $1,099.

Subsequently, the lens has been listed for pre-order on Adorama and B&H for $1099.

Below is the announcement press release in its entirety:

Sigma Announces Ship Date and Pricing for 24-70mm F2.8 DG DN Art

Available in Sony E and L-Mount for $1,099 USD, the second Sigma Art zoom lens for full-frame mirrorless camera systems will ship in early December 2019

Ronkonkoma, NY - November 15, 2019 - Sigma Corporation of America, a leading camera, photography lens, cine lens, flash and accessories manufacturer, today announced that its all new24-70mm F2.8 DG DN Art, designed from the ground up for mirrorless cameras, will begin shipping in early December 2019 for $1,099 USD. Following the launch of the critically acclaimed Sigma 14-24mm F2.8 DG DN Art, the all new 24-70mm F2.8 DG DN Art emerges as an excellent mid-range zoom companion lens to its predecessor.

Key Features and Benefits of the 24-70mm F2.8 DG DN Art
The second newly-designed Art zoom lens from Sigma is a large-aperture standard zoom for full-frame mirrorless camera systems and will be available in Sony E-mount and L-mount. A completely new design for superior performance with mirrorless camera systems, the Sigma 24-70mm F2.8 Art has several new features:

  • Best-in-class optical performance. An 11-blade rounded diaphragm, six sheets of “F” low dispersion (FLD) glass and two sheets of special low dispersion (SLD) glass are employed to take advantage of the new optical formula developed specifically for mirrorless camera systems. Three aspheric lenses prevent aberrations such as axial chromatic aberration or sagittal coma aberrations resulting in uniformity and superior optical performance from the center to the periphery throughout the zoom range. In addition to Super Multi-Layer Coating, Sigma’s proprietary Nano Porous Coating is employed to achieve high-contrast and clear image quality. This lens is designed to be less affected by strong incident light such as flare.
  • Ensuring compatibility with the latest full-frame mirrorless camera bodies. The Sigma 24–70mm F2.8 DG DN ensures compatibility with various types of the latest full-frame mirrorless camera bodies for Sony E-mount and L-mount, (including the new Sigma fp camera), capable of exerting the best performance under any photographic circumstances.
  • Flexibility for various uses and photographic environments. Featuring a dust and splash-proof body and zoom lock mechanism for preventing the lens barrel from extending unexpectedly, the 24-70mm F2.8 meets a wide range of needs for a variety of photographic environments. The maximum magnifications are 1:2.9 at the wide-angle end and 1:4.5 at the telephoto end, which provides a wider range of expression for close-up photography. The minimum focusing distance is 18 cm at the wide-angle end.

Additional features:

  • Zoom lock switch
  • Lens hood with a lock
  • Mount with dust- and splash-proof structure
  • Compatible with the Lens Aberration Correction
  • Available Mount conversion service
  • Designed to minimize flare and ghosting
  • Evaluation with Sigma’s own MTF measuring system: A1
  • 11-blade rounded diaphragm
  • High-precision, rugged brass bayonet mount
  • “Made in Japan” craftsmanship
  • Programmable AFL button on the lens barrel

The Sigma 24-70mm F2.8 DG DN Art will begin shipping in early December 2019 and will be available in L-mount and Sony E-mount through authorized US dealers for $1,099 USD.

More details are available at: https://www.sigmaphoto.com/24-70mm-f2-8-dg-dn-a.

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