Jumping in here... i totally get the frustration with mushy corners. i actually went through something identical for a show i did a while back where i relied on a zoom and then realized half my shots were unusable for large format. it was a huge wake up call for me. i would suggest being really careful with the sigma art stuff... dont get me wrong, they are good, but for absolute reliability and peak edge performance on that 47mp sensor, you might want to consider the Leica APO-Summicron-SL 35mm f/2 ASPH instead. it is basically designed to solve exactly what you are complaining about. another solid option is the Leica APO-Summicron-SL 50mm f/2 ASPH which is just as sharp if you like that field of view. i have used both and the consistency is just peace of mind. you dont want to be second guessing your glass while you are out in the field. honestly, when you are printing big, any tiny flaw gets magnified and it just isnt worth the risk of using gear you dont trust 100 percent. one quick tip: make sure to check for field curvature on whatever you buy. some lenses are sharp but the plane of focus isnt flat, which makes corners look soft even when they arent. another thing... always stop down to f/5.6 or f/8 for those gallery prints just to hit that sweet spot, though the apo primes are honestly great even wide open.

If you want sharp corners, the Leica prime is the way to go.

• Leica APO-Summicron-SL 35mm f/2 ASPH It handles the SL2 sensor much better than the Sigma Art.

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Ok adding this to my list of things to try. Thanks for the tip!

@Reply #4 - good point! i definitely agree that primes are the only way to save those corners. if you are doing big gallery prints, you might want to consider the Leica APO-Summicron-SL 28mm f/2 ASPH over the 35mm. honestly, it is probably the most corrected wide angle in the entire L-mount lineup right now. be careful when you switch tho... the rendering is very different from your zoom. i would suggest doing a quick DIY decentering test on your current 24-90 before you offload it just to be sure. basically, just shoot a flat brick wall or a distant horizon and then flip the camera 180 degrees to see if the blur follows the lens element or stays on the same side of the sensor. if it is the lens, then it is definitely a bad copy. but ngl, if you want zero mush for those Seattle shots, stop looking at Sigma and just bite the bullet on the Leica APO glass. it is expensive but the edge performance on the SL2 is basically unmatched.

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^ This. Also, just saw this thread and it really hits home. I spent way too much money trying to make a basic kit work for large prints before realizing I needed to change my approach. Looking at what everyone said, it seems like:

• Primes are the only real fix for those soft corners.
• You gotta be careful because the rendering will look totally different from what you are used to.
• Doing a decentering test is super important so you dont get stuck with a bad copy. I had a similar thing happen where I thought my current setup was fine until I actually saw the physical prints. The edges were just... bad. I felt like such a beginner for not noticing it on the screen first. I would suggest really taking your time to compare files at full size before you go all in on a new lens. It might feel like a lot of work but it saves so much frustration later on. Just make sure to check the corners at 100 percent zoom before you head out to Seattle... honestly it is better to be safe now than sorry at the gallery.