Honestly, I had issues with the Sigma 14-24mm f/2.8 DG DN Art for L-Mount... it’s just too bulky. I would suggest the Sigma 16-28mm f/2.8 DG DN Contemporary for L-Mount for around $899 instead. It’s super sharp and takes standard 72mm filters. Unfortunately, the Art glass was not as good as expected for long hiking days. Lesson learned: f/2.8 Art glass is basically overkill if you’re just shooting f/8 landscapes anyway, right??

For your situation, I would suggest looking closely at the technical trade-offs between those two. Saw this earlier but just now responding... congrats on the Panasonic Lumix S5II!! It is literally such a beast for landscapes, I love it. Honestly, if you are looking for that ultimate edge-to-edge clarity for big prints, the Sigma 14-24mm f/2.8 DG DN Art for L-Mount is the gold standard in the L-mount world right now. It is incredibly sharp, like seriouslyyy sharp, even at the corners which is hard to find in such a wide zoom. Heres a quick breakdown of how they compare for long exposures and landscapes:

• Sigma 14-24mm f/2.8 DG DN Art for L-Mount
• This is the one for the best optics. The f/2.8 is amazing for astro too. Its heavy but the build quality is fantastic. Just remember the bulbous front means you either need the rear filter slot or a huge 150mm filter kit.
• Panasonic Lumix S 14-28mm f/4-5.6 MACRO
• This is basically the travel king. It is so light and takes standard 77mm filters, which makes doing long exposures with ND filters way easier and cheaper. Sharpness is great, but the corners dont quite match the Art lens.
• Sigma 16-28mm f/2.8 DG DN Contemporary for L-Mount
• You should actually look at this too! Its a great middle ground. You get f/2.8 but it still takes normal screw-on filters (at least thats what I prefer for simplicity). But yeah, for those massive landscape prints, I would totally suggest the Sigma 14-24mm f/2.8 DG DN Art for L-Mount. Ngl, the detail it resolves is just on another level. Are you gonna be doing mostly daytime long exposures or some night stuff too?? Cheers!

> Which L-mount lens offers the best edge-to-edge clarity for large landscape prints? Coming back to this... Honestly, I have spent years hauling gear through rough terrain and I have learned the hard way that edge clarity doesnt matter if your lens gets wrecked in the field. Unfortunately, I had issues with the Sigma 14-24mm f/2.8 DG DN Art for L-Mount because that exposed front glass is such a safety risk for long exposures near salt water... it just felt fragile and prone to scratches. Check out the technical breakdowns on the LensTip website if you want to see actual resolution charts and distortion data. For pure reliability and safety, I eventually moved to the Leica Super-Vario-Elmar-SL 16-35mm f/3.5-4.5 ASPH. It is SO sharp across the frame and much safer for field work since it actually takes standard filters to protect the glass. If you do stick with the Sigma Art glass, definitely get the NiSi S6 150mm Filter Holder with Landscape CPL to keep it safe from the elements. Just be careful cuz those bulbous lenses are NOT as good as expected for long-term durability... anyway, hope that helps. Cheers!

Just catching up on this thread. Over the years, I have learned that the best lens is the one you can trust not to fail when you're three miles into a hike. I used to chase the fastest apertures, but for landscapes, reliability and filter compatibility are everything. I've tried many setups and found that consistency beats a slightly wider aperture every time. In my experience, these two are often overlooked but rock solid for the S5II:

• Panasonic Lumix S PRO 16-35mm f/4 is my go-to. Its weather sealing is incredible and the sharpness is consistent across the frame without being as massive as the Art glass.
• Sigma 24mm f/2 DG DN Contemporary for L-Mount if you want something bulletproof. The all-metal build feels like it could survive a drop, though obviously dont try that. Honestly, the 16-35mm gives you that peace of mind. It takes standard 77mm filters so you dont need to carry a massive kit. If you're shooting long exposures near the coast, that internal sealing is a lifesaver. Let me know if you want more details on the build quality, I've put mine through some real storms.

oh man, congrats on the s5ii!! honestly its such a beast for landscapes. but seriously, i gotta warn u right away about the front element on that bigger art lens... basically it has that bulbous glass so u cant just screw on standard filters. if youre doing long exposures for waterfalls or moving clouds, youre gonna need a whole separate big filter holder system which is kinda bulky and highkey expensive. i learned that the hard way when i first started doing seascapes and realized none of my stuff fit... mood. sooo for your situation, i actually went through this exact same dilemma when i moved to the l-mount. i ended up sticking with the art series because the edge-to-edge clarity is LITERALLY unreal for large prints. i mean, its seriously sharp all the way to the corners even when youre wide open. if youre looking for that wow factor in a gallery-sized print, the heavier glass wins every single time, i promise. here is why i think it works better:

• the heavier f/2.8 lens handles flare way better during those tricky golden hour shots when the sun is just hitting the lens.
• long exposures are actually more stable on the heavier glass because it doesnt vibrate as much in a light breeze on your tripod.
• the corner sharpness is just on another level compared to the more compact zooms... like, i can actually see tiny details in the rocks at the very edge of the frame. anyway, the lighter compact one is still great for hiking if you wanna stay light, but the image quality on the pro glass is just fantastic. i mean i highkey love how crisp those mountain ridges look when i zoom in. just dont forget about the filter situation! peace

Bump - same question here