RSS
 

Posts Tagged ‘2470mm’

Lensrentals on the Sigma 24-70mm F2.8 Art: a lot for less than the competition

29 Jul

Following some initial lab testing results, Lensrentals has published a full review of the highly-anticipated Sigma 24-70mm F2.8 Art. While lab testing suggests that it doesn’t quite keep up with the established, much more expensive options from Canon and Nikon, a competitive price tag is one of the lens’ major selling points. Depending on your budget and needs, that price difference might tip the scale. Reviewer Zach Sutton sums it up:

“However, here is where the Sigma shines once again, offering itself at a $ 1,300 price tag, whereas the Canon 24-70mm f/2.8L II sits at $ 1,750, and the Nikon 24-70mm f/2.8E at $ 2,400. The Sigma provides a lot for significantly less than the competition.”

Check out the full review and let us know what you think of the 24-70 in the comments.

Read Lensrentals’ full
Sigma 24-70mm F2.8 Art review

See our Sigma 24-70mm F2.8 Art sample gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Lensrentals on the Sigma 24-70mm F2.8 Art: a lot for less than the competition

Posted in Uncategorized

 

Sample gallery: Sigma 24-70mm F2.8 DG OS HSM Art

12 Jul

The 24-70mm F2.8 zoom is one of the most versatile lenses out there and Sigma’s latest version, part of the optically-outstanding ‘Art’ series, has drawn a lot of interest since its announcement as an alternative to pricier first party lenses. Check out our gallery for some initial samples shot with the lens.

See our Sigma 24-70mm F2.8 Art gallery

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sample gallery: Sigma 24-70mm F2.8 DG OS HSM Art

Posted in Uncategorized

 

Sigma updates MC-11 Sony adapter, adds support for 24-70mm Art lens and more

10 Jul

Sigma continues to add compatibility to its MC-11 adapter, allowing more Sigma SA and EOS mount Sigma lenses to be used on Sony E-mount cameras. And the latest round of updates adds compatibility with one of Sigma’s most anticipated and exciting Art lenses.

The MC-11 comes in two variations—the MC-11 SA-E for Sigma-mount lenses, and the MC-11 EF-E for Canon mount lenses. The new firmware makes the converters compatible with Sigma’s new 14mm f/1.8 HD HSM | Art and the long-awaited 24-70mm f/2.8 DG OS HSM | Art lenses. The MC-11 EF-E also becomes compatible with Sigma’s Cine Lens 14mm T2 FF and 135mm T2 FF in the Canon EF mount.

The company has also released new firmware for its 100-400mm f/5-6.3 FG OS HSM | Contemporary telephoto zoom lens. The update improves AF speed in all cases, but it also improves functionality when mounted via MC-11 SA-E adapter. According to Sigma, focusing features are enhanced in the adapter-mounted lens, and the optical stabilization system becomes operational more quickly.

All firmware can be downloaded for free from Sigma’s download page, or through the Sigma USB dock. To update the MC-11 mount converter, simply plug it in to your PC and run the SIGMA Optimization Pro app.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sigma updates MC-11 Sony adapter, adds support for 24-70mm Art lens and more

Posted in Uncategorized

 

Latest Tamron 24-70mm F2.8 lens improves AF speeds, image stabilization

02 Jul

Tamron has announced the latest generation of its 24-70mm F2.8 lens, officially known as the ‘SP 24-70mm F/2.8 Di VC USD G2 (Model A032).’

Highlights of this new full-frame zoom include Dual Micro-Processing Units (MPU) which provides ‘faster and more precise autofocus’ and improves the Vibration Correction system to the point where it can reduce shake by up to five stops. The lens has 17 elements, of which 2 are extra-refractive, 3 are low-dispersion, 3 are glass-molded aspherical and 1 is a ‘hybrid’ aspherical element. The aperture is made up of nine circular blades.

There’s also Tamron’s nano-scale ‘eBAND Coating’ to reduce ghosting and flare. The front element has a fluorine coating to keep oil and fingerprints away, and the lens as a whole is weather-sealed. The lens supports electronic aperture control on compatible Nikon cameras and can be used with Tamron’s TAP-in Console dock for updating firmware and fine-tuning AF and Vibration Correction.

The Tamron SP 24-70mm F2.8 G2 will ship in August for Nikon F-mount and September for Canon EF. It will be priced at $ 1199 for both mounts.

Press Release

Tamron introduces next-generation high-speed 24-70mm F/2.8 zoom lens with advanced features

Versatile new lens delivers ultra-high image quality, image stabilization of 5 stops1 and superb performance even in backlit scenes

SP 24-70mm F/2.8 Di VC USD G2 (Model A032)

June 30, 2017, Commack, New York— Tamron Co., Ltd., a leading manufacturer of optics for diverse applications, announces the launch of a new high-speed zoom lens, SP 24-70mm F/2.8 Di VC USD G2 (Model A032), for full-frame DSLR cameras. Model A032 is a fast F/2.8 zoom that achieves top-level image quality. The new Dual MPU (Micro Processing Units) provides rapid autofocusing with improved accuracy and the highest vibration compensation performance of any lens in its class2 (CIPA level of 5 stops). The use of specialized, high quality glass materials (offering greater optical transmittance) for the lens elements assures superior color reproduction and greater sharpness, while the application of Tamron’s exclusive nanotechnology-based eBAND Coating substantially curbs the ghosting and flare that are prone to occur in backlit photography, successfully improving the overall optical performance of the lens. Additionally, model A032 provides the added conveniences of protective Fluorine Coating, Moisture-Resistant Construction and a locking lens hood. Photographers can use this new high-speed zoom lens for wide-ranging purposes, including landscape, portrait, news, travel and many others. The Tamron SP 24-70mm G2 in Nikon mount will be available in August and the Canon mount in September at $ 1199.

PRODUCT HIGHLIGHTS

1. Sophisticated design delivers superb performance and ultra-high image quality

The use of specialized, high quality glass materials assures accurate color reproduction and superior sharpness, perfect for today’s high-pixel-density cameras. The optical construction (17 elements in 12 groups) uses 2 XR (Extra Refractive Index) elements, 3 LD (Low Dispersion) elements, 3 GM (Glass-Molded aspherical) and one hybrid aspherical lens element. Together they minimize axial chromatic aberrations, transverse chromatic aberrations, spherical aberrations and distortion, and allow a compact design that achieves superior image quality.

2. eBAND Coating provides superior anti-reflection properties and reduces ghosting and flare

The new A032 features Tamron’s original eBAND (Extended Bandwidth & Angular-Dependency) Coating, a technology combining a nano-structured layer that has an extremely low refractive index with conventional multiple-layer coatings to provide superior anti-reflection performance. The optimal application of this eBAND Coating in combination with Tamron’s BBAR (Broad-Band Anti-Reflection) Coating successfully and substantially curbs the ghosting and flare that can occur when photographing backlit subjects.

3. New Dual MPU (Micro-Processing Unit) control system3 provides faster and more precise autofocus and improved Vibration Compensation

This innovative control system uses a Dual MPU design with enhanced computing capacity. The MPUs have powerful, built-in DSP (Digital Signal Processor) blocks that achieve quicker and more precise AF performance, and more consistently powerful Vibration Compensation. The features combine to provide outstanding performance at night and in low light.

High performance MPU for AF dramatically improves autofocusing accuracy and speed
The A032 is equipped with its own MPU (micro-processor unit), with embedded DSP (Digital Signal Processor) blocks that enable high-speed digital signal processing, achieving both excellent responsiveness to signals from the camera and high-precision AF performance.

Dedicated MPU delivers the highest vibration compensation ability in class (CIPA level of 5 stops).

The new A032 is equipped with Tamron’s proprietary VC (Vibration Compensation) system. Adding an MPU dedicated to VC processing unleashes a new-generation algorithm, ensuring the highest vibration compensation ability?in the class (CIPA level of 5 stops). Even in low light or with slow shutter speeds, photographers can enjoy shake-free handheld shooting with ease and comfort.

4.
Fluorine Coating and Moisture-Resistant Construction

The Fluorine Coating applied on the front element surface is water-and oil-repellant and allows safe and easy removal of fingerprints, dirt and smudges. The coating also provides an enhanced level of durability, and will sustain its effectiveness for years. In addition, seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops to provide Moisture-Resistant Construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions.

5. Lens hood equipped with a new, convenient locking mechanism

The lens hood is equipped with a locking mechanism that prevents detachment due to unintentional contact during use.

6. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory

The new A032 is compatible with the optional TAMRON TAP-in ConsoleTM, an optional accessory product that provides a USB connection to a personal computer, enabling users to easily update the lens firmware as well as customize features including fine adjustments to the AF and VC.

7. Electromagnetic diaphragm system now used also for Nikon-mount lenses

An electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses4. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a built-in motor through electronic pulse signals.

8. Manufacturing innovation with thorough attention to details based on the rigorous quality standards worthy of the SP series

Tamron has enhanced the SP series lenses to fulfill high-level photographic requirements and provide the pleasure of ownership. While introducing a new exterior design, Tamron reviewed the SP series standards. The new SP series has been developed by setting rigorous standards for design, manufacturing and quality that apply to the optical design and mechanical design as well as such wide-ranging areas as the product’s robustness and improvements in a variety of individual functions. For this model, Tamron has introduced a unique MTF (Modulation Transfer Function) tester, which was developed exclusively for Model A032, and reviewed the management method. This has helped to achieve a more consistently superb optical performance, making it a lens that fulfills the demand for higher image quality that is compatible with the latest high-pixel cameras. To maximize the optical performance of the SP series, Tamron will continue to enhance the accuracy of the component parts of each lens element unit and improve the mechanical precision of the entire lens, thereby achieving a high overall performance.

[1] CIPA Standard Compliant. For Canon: EOS-5DMKIII is used. For Nikon: D810 is used.

[2] Among 24-70mm F/2.8 interchangeable lenses for DSLR cameras (as of May, 2017; Tamron)

[3] A new control system using two high-performance MPUs (micro-processor units)

[4] Available only with cameras compatible with the electromagnetic diaphragm: (D5, D4s, D4, D3X, Df, D810, D810A, D800, D800E, D750, D600, D610, D300S, D500, D7200, D7100, D7000, D5600, D5500, D5300, D5200, D5100, D5000, D3400, D3300, D3200, D3100). (As of May, 2017; Tamron)

Tamron SP 24-70mm F2.8 Di VC USD G2 specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 24–70 mm
Image stabilization Yes (5 stops)
Lens mount Canon EF, Nikon F (FX)
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 17
Groups 12
Special elements / coatings 2 XR, 3 LD, 3 GM aspherical, 1 aspherical elements + eBAND and fluorine coatings
Focus
Minimum focus 0.38 m (14.96)
Maximum magnification 0.2×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 905 g (2.00 lb)
Diameter 88 mm (3.46)
Length 111 mm (4.37)
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock Yes
Filter thread 82.0 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Latest Tamron 24-70mm F2.8 lens improves AF speeds, image stabilization

Posted in Uncategorized

 

Throwback Thursday: the Canon EF 24-70mm F2.8L

23 Feb
Photo by Daniel Dionne

This week the Sigma ‘Art’ line gained a lens many had been clamoring for: a 24-70mm F2.8 zoom, which nowadays seems a required lens for many professional shooters. This week we go back to where it started: the original Canon 24-70mm F2.8L.

Look across all camera systems and you’ll find that they all offer some sort of constant aperture 24-70mm or ‘normal’ zoom equivalent that covers this range. There’s a good reason for it. This zoom range covers the wide area and the mild telephoto area, rather than all wide or all tele. It’s a flexible range, and appeals to photographers of many different disciplines.

The odd thing is, the 24-70 is only 15 years old. In 2002 the very first 24-70, Canon’s F2.8L, replaced its already highly regarded 28-70mm F2.8L. Since then, the 28-70 zoom has faded away and is typically only seen as a variable-aperture kit zoom, or affordable constant-aperture zoom lens. Everyone since has gone crazy for the 24-70.

Unusually, the 24-70 F2.8 was ‘longest’ at its wide-angle end. Photo by Cburnett.

The original had some very interesting design quirks. The zoom is ‘reversed’, meaning the barrel is at its maximum extension at 24mm, and is at its shortest at 70mm. With the lens hood mounted behind this extending element, the lens shade was able to provide the right amount of coverage for all focal lengths, as its extension relative to the front element is shortest at 24mm, and longest at 70mm, getting out of the way when wide, and providing extra shade when shooting at 70mm. 

The 24-70 is at its most compact at its full telephoto end. Photo by Cburnett.

Now, the term ’24-70′ is fairly ubiquitous, and is almost generic. Wedding shooters and photojournalists have led the way adopting it, attracted to its versatile field of view and constant aperture. By 2007 Nikon had released their own 24-70 F2.8 to replace their 28-70 F2.8. Sony came shortly after with the alpha mount 24-70 in 2008. Third party manufacturers followed suit, releasing their versions in the 2010’s.

The Mark II version of Canon’s 24-70mm F2.8 arrived in 2012.

When photographers ask questions like ‘what lens should I choose for this shoot,’ or ‘I only have a budget for one lens, what should I get,’ plenty of people will recommend a 24-70. What’s really amazing is how its popularity can be traced to a single lens introduced just fifteen years ago.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Throwback Thursday: the Canon EF 24-70mm F2.8L

Posted in Uncategorized

 

Sigma announces 14mm F1.8, 24-70mm F2.8 and 135mm F1.8 Art lenses

21 Feb

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7013646430″,”galleryId”:”7013646430″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

Sigma has released a trio of its high-end ‘Art’ lenses: two primes and one zoom. All three are designed for full-frame Canon, Nikon and Sigma bodies.

The first is the ultra-wide 14mm F1.8 DG HSM, which Sigma claims is the ‘world’s first and only F1.8 ultra-wide-angle lens.’  The lens has 16 elements, three of which are FLD (low dispersion) and four are SLD (super-low-dispersion). It also has a large (80mm) aspherical front element to reduce distortion and ‘deliver outstanding image quality from the center to the edges.’ The 14mm F1.8 has 9 rounded aperture blades, a minimum focus distance of 27cm/11in and a ring-type ultrasonic (HSM) focus motor.

Next up is the Sigma 24-70mm F2.8 DG OS HSM Art. This lens features three SLD and four aspherical, nine rounded aperture blades and optical image stabilization. The lens is weather-sealed and made of a combination of metal and ‘thermally stable composite’ material. The minimum focus distance of the 24-70 is 37cm/1.5in and it uses 82mm filters.

Last, but certainly not least, is the 135mm F1.8 DG HSM telephoto prime. Sigma says that this lens ‘offers the […] resolution required for 50MP or higher ultra-high-megapixel DSLRs.’ It has a hypersonic (ring-type ultrasonic) focus motor that delivers fast (and ‘exceptionally stable’) focus speeds, while an acceleration sensor ‘detects the orientation of the lens’ so the AF system can respond to ‘varying loads on the focusing group due to gravity.’

The lens has 9 rounded aperture blades, dust and splashproof construction, and a weight of 1130g/40.2oz.

Pricing and availability for all three lenses will be announced at a date to be determined.

Press Releases:

SIGMA 14mm F1.8 DG HSM
Introducing the world’s first and only* F1.8 ultra-wide-angle lens

A true high-speed lens that delivers a new dimension of visual experience

*Among interchangeable lens for digital SLRs as of February 2017

  1. 14mm ultra-wide angle of view and F1.8 brightness deliver a new dimension of visual experience
  2. Seventh 35mm full-frame prime lens to join the Art line
  3. Other features 

A true high-speed lens that delivers a new dimension of visual experience

In taking photographs of starry skies or other celestial scenes at night, or of the seashore with a wide perspective, a large-diameter lens is a strong ally, since it allows the capture of a moving subject by adjusting shutter speed without relying on ISO sensitivity. With its full-frame 35mm coverage, 14mm focal length for an ultra-wide angle of view, F2 barrier-breaking F1.8, the SIGMA 14mm F1.8 DG HSM | Art is the true high-speed ultra-wide-angle lens for which so many photographers have been waiting. Although some zoom lenses are available that can cover 14mm, the large diameter delivering F1.8 brightness is a singular advantage. Going beyond fast shutter speed, this lens can capture a swarm of fireflies with crystal clarity, a beautiful bokeh effect, and outstanding control of light streaking.

?Key features?

  1. 14mm ultra-wide angle of view and F1.8 brightness deliver a new dimension of visual experience

By leveraging its extreme angle of view and the dramatic perspective this creates, an ultra-wide-angle lens can get up close and personal with a subject while at the same time taking in a vast background—an example of photography going beyond normal human vision.

SIGMA 14mm F1.8 DG HSM | Art combines the extremely deep depth of field that comes from an ultra-wide angle of view with the extremely shallow depth of field that comes from F1.8 brightness. The result is a sharply captured subject set against a vast background dramatically blurred with a beautiful bokeh effect. It is a highly impressive mode of photographic expression that until now simply has not existed.

  • Minimized chromatic aberrations

Three FLD (“F” Low Dispersion) glass elements and four SLD (Super Low Dispersion) glass elements help minimize transverse chromatic aberration, which tends to be noticeable in shots taken with ultra-wide-angle lenses. The result is outstanding image quality from the center of the image to the edges.

  • Featuring a large-diameter aspherical lens element

The SIGMA 12-24mmF4 DG HSM | Art was the first SIGMA lens to feature a large ?80mm aspherical lens element. Building on the expertise derived from this success, the new lens features a large ?80mm precision-molded glass aspherical lens as its front element. This technology has made possible the 14mm F1.8 specification—the first of its kind.

  • Minimized distortion

Serving as the front lens element, the large ?80mm precision-molded glass aspherical lens effectively minimizes distortion. Offering excellent peripheral brightness, this lens delivers outstanding image quality from the center to the edges.

  • Distinctive bokeh effect

Even at the 14mm ultra-wide-angle of view, F1.8 brightness makes possible a very shallow depth of field with the subject standing out dramatically against a bokeh background. It’s the unique mode of expression that only a large-diameter lens can deliver. 

  1. Seventh 35mm full-frame prime lens to join the Art line

Launched in 2012, the SIGMA 35mm F1.4 DG HSM | Art was the first lens in the Art line. Since then, SIGMA has developed a wide variety of lenses for the line, and the SIGMA 14mm F1.8 DG HSM | Art is the seventh prime lens in the line to offer 35mm full-frame coverage. Now even stronger, the Art line sets the new standard for prime lenses in the ultra-high-megapixel era.

  1. Other features
  • Fast AF with full-time manual override

Note: The operation of full-time MF may vary based on mount type

  • Compatible with Mount Converter MC-11
  • Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)
  • Available Mount Conversion Service (Allows use with another camera body)
  • Rounded diaphragm
  • Designed to minimize flare and ghosting
  • High-precision, durable brass bayonet mount
  • Evaluation with SIGMA’s own MTF measuring system “A1”
  • Made in Japan (With outstanding craftsmanship)
  • The lens barrel is engraved with the year of release

SIGMA 24-70mm F2.8 DG OS HSM
Top-level performance optimized for the era of ultra-high-megapixel cameras

  1. The large-diameter standard zoom ideal for today’s ultra-high-megapixel digital cameras
  2. OS functionality and newly designed HSM for success on any shoot
  3. Lens barrel designed for high rigidity
  4. Other features?

The definitive large-diameter standard zoom lens for any shoot

What photographers demand from the 24-70mm F2.8 specification is much more than outstanding image quality. They want all the features that make this a go-to lens for a wide range of photographic opportunities, including optical design ideal for the latest ultra-high-megapixel digital cameras, hypersonic motor (HSM) for high-speed autofocus, optical stabilizer (OS) with powerful stabilization effect, dust- and splash-proof mount with rubber sealing, and a metal barrel for a stable, rigid feel. This all-new 24-70mm F2.8 lens from SIGMA delivers the performance and functionality that help pros succeed in news, nature, and many other fields of photography.

?Key features?

  1. The large-diameter standard zoom ideal for today’s ultra-high-megapixel digital cameras 
  • Outstanding optical performance

Three SLD (Special Low Dispersion) glass lens elements and four aspherical lens elements help minimize optical aberrations. To ensure outstanding image quality from the center to the edges of the photograph, the optical system minimizes coma, which causes points of light to streak, and transverse chromatic aberration, which cannot be corrected via aperture control, The optical system also minimizes distortion, which can be particularly evident in wide-angle shots, resulting in excellent optical performance throughout the zoom range.

  • A 24-70mm F2.8 lens that meets the high standards of the Art line

SIGMA has continuously pioneered 24-70mm F2.8 lenses that are a step ahead of the times. The first model of this specification, SIGMA 24-70mm F2.8 EX DG ASPHERICAL DF, launched in 2001. Representing the fourth generation of the family, the new SIGMA 24-70mm F2.8 DG OS HSM | Art accomplishes a challenging feat in optical design: incorporating optical stabilizer functionality in a large-diameter standard zoom. By leveraging all of its design and manufacturing expertise, SIGMA has ensured that this new lens fulfills the uncompromising requirements of the Art line for image and build quality.

  • Bokeh that is a cut above

At wide-open aperture, this lens offers outstanding photographic expression. The area in focus is extremely sharp, while the background exhibits a beautiful bokeh effect with only slight spherical aberration. Since large-diameter zoom lenses are often used at wide-open aperture, SIGMA has paid close attention to the shape of the bokeh, aiming for perfect circularity. 

  • Incorporating advanced aspherical lens processing technology

Aspherical lenses necessitate refined expertise in the design and manufacturing of advanced, high-performance lenses. SIGMA’s first products to feature this technology were the SIGMA 12-24mm F4 DG HSM | Art and SIGMA 14mm F1.8 DG HSM | Art, which both incorporated a large ?80mm aspherical lens as their front lens element. Building on the success of these predecessors, the SIGMA 24-70mm F2.8 DG HSM | Art incorporates an aspherical lens element that helps achieve extremely high resolution. This element is much thicker at the center than the edges, and forming its unusual shape is a feat of manufacturing technology. Moreover, SIGMA processes the surface of this aspherical lens element with ultra-precise tolerances that are measured in hundredths of a micrometer. This extremely fine surface allows the SIGMA 24-70mm F2.8 DG HSM | Art to deliver a very natural and smooth bokeh effect, without the visible concentric rings that afflict typical aspherical lens elements.

  1. OS functionality and newly designed HSM for success on any shoot

Designed for advanced utility in a wide variety of situations, the optical stabilizer (OS) offers a powerful stabilization effect. The newly designed large hypersonic motor (HSM) offers 1.3 times the torque of its predecessor and exceptionally stable performance even at lower speeds.

* Based on CIPA’s guideline. Measuring at telephoto end, when it is attached to the camera with 35mm image sensor.

  1. Lens barrel designed for high rigidity

Since large-diameter standard zoom lenses tend to serve as a go-to lens and see frequent use, the SIGMA 24-70mm F2.8 DG HSM | Art is designed to stand up to the challenging shooting environments that pros encounter. To this end, the lens barrel contains a large amount of metal, while the external moving parts feature thermally stable composite (TSC), which is resistant to thermal expansion and contraction. This structure contributes not only to the outstanding optical performance of the lens but also to its high rigidity and confidence-inspiring build quality.

  1. Other features
  • Mount with dust- and splash-proof design

Since the area of the lens most vulnerable to dust and other foreign bodies is the mount, rubber sealing helps provide peace of mind. In addition, the front lens element features a water- and oil-repellent coating that helps the lens perform well in the rain, near water, and in other challenging conditions.

  • Nikon electromagnetic diaphragm mechanism included

The Nikon mount version of this lens includes an electromagnetic diaphragm mechanism that allows it to receive the appropriate signals from the camera body. This feature ensures precision diaphragm control and stable Auto Exposure (AE) performance during continuous shooting.

Note: Functionality may be limited on some camera bodies.

  • Fast AF with full-time manual focus
  • Compatible with Mount Converter MC-11
  • Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)
  • Available Mount Conversion Service (Allows use with another camera body)
  • Rounded diaphragm
  • Designed to minimize flare and ghosting
  • High-precision, durable brass bayonet mount
  • Evaluation with SIGMA’s own MTF measuring system “A1”
  • Made in Japan (With outstanding craftsmanship)
  • The lens barrel is engraved with the year of release

SIGMA 135mm F1.8 DG HSM
With F1.8 brightness, this telephoto lens for full-frame cameras further strengthens the Art line’s prime options

  1. The ultimate 135mm telephoto designed to prioritize optical performance
  2. Fast and nimble autofocus photography
  3. Sixth 35mm full-frame prime lens to join the Art line
  4. Other features? 

Introducing the ultimate 135mm telephoto featuring top-level performance

135mm telephoto lenses are often categorized as the foundational telephoto, the first one to add to a lens collection. This focal length delivers a strong perspective compression effect, while the large diameter with F1.8 brightness provides a dramatic bokeh effect. By minimizing axial chromatic aberration, the SIGMA 135mm F1.8 DG HSM | Art makes this bokeh effect not only impressive but also beautiful while delivering superb contrast and sharp image quality in every shot. It offers the outstanding resolution required for 50MP or higher ultra-high-megapixel DSLRs. By incorporating its latest innovations in design and optical glass and rethinking every aspect of the lens, SIGMA has ensured outstanding image quality all the way to the edges, establishing the new standard in 135mm telephoto lenses.

With resolution so crystal-clear that individual hairs can be discerned in a portrait, this large-diameter lens also delivers a beautiful bokeh effect, giving photographers everything they need. It is ideal for close-ups and full-body shots, with subjects standing out against a pleasantly blurred background. In addition to standard portraits, including bridal shots, this lens is a top performer for live events, with its super-fast autofocus capturing subjects with ease.

?Key features?

  1. The ultimate 135mm telephoto designed to prioritize optical performance
  • Image quality optimal for ultra-high-megapixel DSLRs

To deliver the ultra-high resolution that brings the best out of 50MP or higher ultra-high-megapixel DSLRs, the focus mechanism features SIGMA’s floating system. No matter what the distance from the subject, this lens offers top performance from the center to the edges of the image. By minimizing distortion as well, the lens delivers impeccable image quality—no need for digital adjustment during image processing.

  • Ideal for portraits requiring a dramatic bokeh effect

The 135mm focal length delivers a stunning compression effect: even fairly close to the subject, the telephoto ring allows the photographer to establish a variety of dramatic perspectives. The compression effect truly shines in both close-ups and full-length portraits, making composition easy. Moreover, the large diameter with F1.8 brightness makes possible a body shot with an impressive bokeh background. In sum, this lens puts a full menu of compositional options at the photographer’s fingertips.

  1. Fast and nimble autofocus photography

The large hypersonic motor (HSM) offers two benefits. It delivers ample torque to the focusing group for outstanding speed, ensuring exceptionally stable performance even at lower speeds. The acceleration sensor detects the orientation of the lens, allowing the autofocus system to respond to varying loads on the focusing group due to gravity. Along with the optimized AF algorithm, these features deliver fast autofocus photography. In addition, the focus limiter makes AF highly responsive to distance from the subject for even more nimble performance.

  1. Sixth 35mm full-frame prime lens to join the Art line

Launched in 2012, the SIGMA 35mm F1.4 DG HSM | Art was the first lens in the Art line. Since then, SIGMA has developed a wide variety of lenses for the line, and the SIGMA 135mm F1.8 DG HSM?Art is the sixth prime lens in the line to offer 35mm full-frame coverage. Now even stronger, the Art line sets the new standard for prime lenses in the ultra-high-megapixel era.

  1. Other features 
  • Fast AF with full-time manual override

Note: The operation of full-time MF may vary based on mount type

  • Compatible with Mount Converter MC-11
  • Mount with dust- and splash-proof construction
  • Nikon electromagnetic diaphragm mechanism included
  • Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)
  • Available Mount Conversion Service (Allows use with another camera body)
  • Rounded diaphragm
  • Designed to minimize flare and ghosting
  • High-precision, durable brass bayonet mount
  • Evaluation with SIGMA’s own MTF measuring system “A1”
  • Made in Japan (With outstanding craftsmanship)
  • The lens barrel is engraved with the year of release

Sigma 14mm F1.8 DG HSM / 135mm F1.8 DG HSM specifications

  Sigma 14mm F1.8 DG HSM Art Sigma 135mm F1.8 DG HSM Art
Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 14 mm 135 mm
Image stabilization No
Lens mount Canon EF, Nikon F (FX), Sigma SA Bayonet
Aperture
Maximum aperture F1.8
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 16 13
Groups 11 10
Special elements / coatings Three FLD and four SLD elements
Focus
Minimum focus 0.27 m (10.63) 0.88 m (34.65)
Maximum magnification 0.1× 0.2×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Focus notes Floating focus mechanism
Distance scale Yes
DoF scale No
Focus distance limiter No Yes
Physical
Weight 1170 g (2.58 lb) 1130 g (2.49 lb)
Diameter 95 mm (3.76) 91 mm (3.6)
Length 126 mm (4.96) 115 mm (4.52)
Sealing Yes
Colour Black
Filter thread 82.0 mm
Hood supplied Yes
Tripod collar No

Sigma 24-70mm F2.8 DG OS HSM specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 24–70 mm
Image stabilization Yes
Lens mount Canon EF, Nikon F (FX), Sigma SA Bayonet
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 19
Groups 14
Special elements / coatings Three HLD and four aspherical elements
Focus
Minimum focus 0.37 m (14.57)
Maximum magnification 0.21×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Diameter 88 mm (3.46)
Length 108 mm (4.24)
Materials Metal
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 82.0 mm
Hood supplied Yes
Hood product code LH876-04
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sigma announces 14mm F1.8, 24-70mm F2.8 and 135mm F1.8 Art lenses

Posted in Uncategorized

 

Feast your eyes on a Sony 24-70mm F2.8 G Master teardown

03 Aug

Teardowns are a handy way to satisfy the urge to see what’s inside expensive and prized electronics, while remaining a safe distance away and keeping warranties intact.

Behold, a teardown of the Sony 24-70mm F2.8 GM, a lens that sells for $ 2200. Sony’s own SGNL YouTube channel does the dirty work of prying it apart for us, giving us a close-up look at the inner workings of the fast full-frame zoom.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Feast your eyes on a Sony 24-70mm F2.8 G Master teardown

Posted in Uncategorized

 

Crowd pleaser: Sony FE 24-70mm F2.8 GM real world images

11 Mar

Sony’s new FE 24-70mm F2.8 G Master is as pro-level as pro-level lenses come. Dust and moisture-sealed, it offers impressively fast AF speeds due to Direct Drive SSM, especially when paired with the Sony a7R II (which we used to shoot this gallery). Though we only spent about 24 waking hours with it, images shot throughout the focal range show the lens is sharp, even wide open. Note that chromatic aberration was turned on in-camera and is therefore applied even to the Raws. Please note, we’ve included Raw files for download for a selection of the images, and you can look at CA performance in a non-profile aware Raw converter (like RawDigger).

Note: This sample gallery was shot while on a Sony-sponsored shooting event in Miami. Part of the excursion included photographing models in scenes that call back to famous Miami-based TV shows and movies including Scarface, Miami Vice and CSI Miami. No actual gangsters or cops were photographed during the making of this gallery.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Crowd pleaser: Sony FE 24-70mm F2.8 GM real world images

Posted in Uncategorized

 

Heavy hitter: Sony FE 24-70mm F2.8 GM first shots

06 Feb

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9303055313″,”galleryId”:”9303055313″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });

Note: if you’re viewing on mobile, please click here.

Sony has made some strong claims about its new G Master lens series. Unveiled earlier this week, the FE 24-70mm F2.8 GM is one of three in the lineup to make its debut, giving Sony’s full-frame mirrorless customers a fast, constant standard zoom for the first time. We had a few moments to shoot with the lens at Sony’s press event in New York, and while we only provide a small sampling of shots at this time, we will be updating this gallery as soon as we can. 

Our initial impressions are extremely positive: sharpness appears to rival prime levels wide open, and there’s very little axial chromatic aberration to speak of. Sony’s claims may not be exaggerated at all.

We need to make a note about lens corrections: it seems that the camera we were handed had vignetting and chromatic aberration corrections turned on. The way this feature works is that these corrections are applied even in Raw mode (technically, vignetting correction is applied prior to writing the Raw file, while chromatic aberration correction information is embedded in the Raw and irreversibly applied by ACR).

The good news is that we’ve looked at Raw conversions from third-party converters that ignore the CA correction profile, and CA from this lens appears to be very minimal. Watch this space for more sample images, hopefully very soon.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Heavy hitter: Sony FE 24-70mm F2.8 GM first shots

Posted in Uncategorized

 

Nikon 24-70mm F2.8 ED VR real-world sample gallery

14 Jan

Winter can be a stark wonderland in the Pacific Northwest, especially east of the Cascade mountain range. Editor Barney Britton spent some time with the new Nikon 24-70 F2.8 ED VR lens amongst the snow-covered rolling hills, waterfalls, forests, and even sunny beaches our beautiful state provides. VR brings a level of hand hold-ability to a popular range of focal lengths that should make it easier to make sharp images with the 36MP Nikon D810.

Before you follow the link below to see how the lens performed in the set of real-world samples we provide here, it’s worth keeping some things in mind. A high-resolution camera demands critical focus: even the slightest misfocus will be easily visible, and small focus errors aren’t uncommon when using DSLRs in the field. Furthermore, on full-frame, even an aperture of F8 has limited depth-of-field, so infinity-focused shots may show a slight decrease in sharpness for objects closer in the foreground. With these caveats in mind, we still found the sharpness of the lens to be somewhat lacking relative to our high hopes.

We’ve only tested one copy of this lens, and it’s always hard to determine if the sample we received is truly a representative sample. We’ll be requesting a second copy to verify that our sample isn’t an outlier, but based upon findings from both DxOMark and Roger Cicala over at LensRentals, the less-than-stellar sharpness results aren’t too surprising. 

While sharpness is generally good, particularly across the field, absolute sharpness in the center doesn’t appear to be better, or even as good as, the original non-VR 24-70mm F2.8 Nikkor. Roger’s results, as well as DxO’s findings, confirm somewhat decreased central sharpness but increased consistency across the frame. Roger suggests this may in part be due to a prioritization of minimal field curvature and astigmatism with absolute sharpness perhaps being the cost. Our samples do appear to confirm a relatively flat field of focus – which will be useful for many applications. Close-up sharpness sometimes suffers, as does sharpness at the long end, while chromatic aberration continues to be an issue much like the original.

That said, overall build appears to be – at least subjectively – improved, and Nikon’s Vibration Reduction (VR) promises to be a boon for photojournalists. Paired with the D810, our experience and preliminary testing indicates VR to be incredibly effective, and we expect it’ll prove indispensable at times, while overall raising the convenience factor of the body and lens combo. For some, this may even make up for the less-than-ideal sharpness which, by the way, we only call out because of the high bar set by recent primes and venerable zooms like the Canon 24-70 F2.8 II (which lacks VR, mind you). In isolation, this new lens is plenty sharp. 

But without further ado, have a look at the sample gallery yourself, and let us know what you think in the comments!

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon 24-70mm F2.8 ED VR real-world sample gallery

Posted in Uncategorized