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Weekly Photography Challenge – Sport

29 Jun

The post Weekly Photography Challenge – Sport appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is SPORT!

Travis Yewell

Go out and capture sporty photos. It can be the kids playing sport, adult sports, animals playing sports, cycling, motorsports and action shots, or even sports related items. They can be color, black and white, moody or bright. You get the picture! Have fun, and I look forward to seeing what you come up with!

Kolleen Gladden

Thomas Schweighofer

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting SPORT

Top 5 Tips for Extreme Sports Photography

Tips for Doing Better Indoor Sports Photography

How to Photograph Agility Events and Other Dog Sports

Tips from the Sports Photography Pros to Help You Get the Money Shots

3 Tips for Taking Better Motorsport Photos

Tips and Tricks to Help You Take Better Youth Sports Photos

Weekly Photography Challenge – SPORT

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSsport to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Sport appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Sigma 70-200mm F2.8 DG OS HSM Sport Review

07 Apr

The post Sigma 70-200mm F2.8 DG OS HSM Sport Review appeared first on Digital Photography School. It was authored by Anabel DFlux.

Sigma has made a significant name for itself via its famous ART line of lenses. But did you know Sigma also has a Sport line? Lesser known than the ART lenses, the Sport lenses are the incredible workhorses of the photography world (and deserve recognition). The Sigma 70-200mm F2.8 DG OS HSM Sport (Canon and Nikon Mount) is the newest addition to the Sport line, featuring a loved focal length. A big contender in the telephoto field, this lens may just be the top dog you didn’t see coming.

This lens focal length is so splendid, that the Digital Photography School even has an article on why you need a 70-200mm lens!

Lens build

Weight

I have tried many different 70-200mm F/2.8 lenses in the past, and currently own the newest one from Canon’s L line. This version of a favorite millimeter stands out. Before we even get into the construction, I can tell you that this lens is not the heaviest by far as compared to other brands like Tamron, and Rokinon, and older versions of the Canon and Nikon. As someone who tends to shoot sporting events for a good 12 hours at a time, my back is bowing in thanks at the decreased weight. Weighing in at a teeny bit less than 4 pounds, this is by far a more useable weight. The lens size is customary for this focal range at 3.7 inches in diameter by 8.0 inches in length.

Construction

The body is constructed out of a clever mixture of a very durable form of plastic, metal, and a new compound known as TSC (short for Thermally Stable Composite). The lens feels durable, and I found it to be more shock resistant than many of my other lenses. The glass itself is a high-grade glass mixture – 24 Elements in 22 Groups. I like the tactile feel of the focus and zoom rings, and it is very comfortable to use.

Weather sealing

This lens is built to work, and as such, its weather sealing is incredible. I feel very confident taking this lens out for a spin in whatever situation I find myself in. With the recent rains and odd weather in Southern California, I was still able to take this lens out in ease at a local outdoor sporting event. The weather sealing is a testament to a highly effective dust and splash proof structure with special sealing at the mount connection, manual focus ring, zoom ring, and cover connection.

That said, do use your best judgment to determine whether the weather is good enough to go out and shoot or not… weather sealing is not equivalent to weatherproof! As for the glass, the forefront and rear lenses incorporate water and oil-repellent coating that allows water to be wiped away easily. It prevents oil and fat from sticking to the surface, even in challenging shooting conditions, making lens maintenance easy.

The only downside I find with the lens construction is that you cannot remove the customary tripod foot (that many 70-200mm lenses have). This lens is also still technically heavier than the latest Canon or Nikon versions, but I’d argue this is a fair trade for how shock resistant and durable it is.

Lens features

As is customary for the Sigma lenses, the Sigma 70-200mm F2.8 DG OS HSM Sport features a slew of unique and useful features. Before we even get into them, it is worth mentioning that at this time, this lens is available only in Sigma, Canon, and Nikon mount. Sigma does offer a mount conversion service in case you want your lens to fit onto a different camera brand.

Sigma has gone the extra step to make sure that the mechanics of their lenses work as well as Canon and Nikon native lenses. The Canon mount version is compatible with Canon’s internal chromatic aberration control, and the Nikon version works with Nikon’s electromagnetic diaphragm.

Focus range limiter switch

A nice added feature for any telephoto lens is the focus range limiter switch, which restricts the range of distance your lens can focus. I use this feature myself when I photograph dog agility shows to make sure that the lens doesn’t focus on any obstacles near me but remains locked on a running dog that is far away.

Hyper Sonic AF Motor (HSM)

As the name suggests, this lens uses HSM (Hyper Sonic AF Motor) for its focusing. HSM uses ultrasonic vibrations to drive the focusing group. This motor benefits an internal focusing system.

You can easily override the HSM for manual control via a finger switch on the lens. A feature that goes along with this aspect is the Manual Override (MO). With MO, a photographer can continue using autofocus as usual, before making any final manual adjustments using the focusing ring around the lens. The lens can focus as close as 1.2m away from the subject unless restricted by the focus limiter.

The lens comes with a locking lens hood, which is superb considering the number of times the hood on my other lenses go flying off because they get bumped! The lock is sturdy, but still very easy to use when you need to get the hood off in a flash.

Focus

With a sport and action lens like this one, strong autofocus is the key to success. I photograph a slew of canine athletes, and you’d be surprised how incredibly fast those small champion papillons are! Additionally, to ensure the dogs are not distracted by the sound of my camera or lens, quiet autofocus is pretty high up on my list of needs too.

Lucky for me – and anyone else interested in this telephoto model – the Sigma 70-200mm F2.8 checks all of these boxes. The HSM motor keeps the autofocus noise to a minimum or nonexistent, which allows me to get a wee bit closer to the dogs as they make their impressive jumps and leaps.

The autofocus is rather accurate – even on small moving subjects like an Italian greyhound dog, through to bigger canines such as the border collie. The lens allowed me to capture the agility competition with ease. The focus was very smooth too, with little focus hunting, even when the clouds took over and the location became quite dim. No manic focusing movements either, like I’ve experienced with Tamron’s equivalent of this lens last year at a tradeshow.

In comparison to my Canon 70-200mm F/2.8 L IS USM III lens, this one performed just as good, and I would certainly consider it as an additional.

Sharpness

Although zoom lenses may never be quite the same level of sharpness as fixed focal lengths, this one still performs brilliantly despite this fact. Sharpness and contrast are excellent, even when shooting wide-open, throughout the entire zoom range. Centre sharpness at 70mm is excellent and just fine at all other focal lengths. Corner sharpness is high at 70mm, but at 100mm and beyond, corner sharpness takes a significant downturn at larger apertures. If you want to get the entire frame sharp, you’ll probably have to switch over to F/11 or so. That said, this isn’t unusual for zoom lenses. The contrast it produces is also excellent.

Depth of field

The F/2.8 wide aperture gives a nice subject separation and bokeh (the out of focus areas in an image). The depth of field is creamy and smooth, and very pleasing to the eye. The 11 diaphragm blades help to keep bokeh looking natural.

There is some vignetting on the edges. Some people like this, others don’t. I enjoy the natural vignetting that is contrary to popular opinion, but for those that find it a nuisance, keep this in mind.

Image Stabilization

The image stabilization system in this particular 70-200mm is superb. This lens incorporates Intelligent OS, which is the latest algorithm to deliver image stabilization. The intelligent OS works horizontally, vertically, or diagonally – whatever direction your lens is being held or used. The mode can be adjusted by a switch on the side of the lens and has two modes from which to choose.

The optical stabilizer was effective up to four stops – fantastic for a telephoto lens. The panning stabilizer was equally impressive, allowing me to track my subjects with ease while handheld. I took this lens out for a swing at a local concert as well. The F/2.8 aperture paired with stabilization, allowed me to expose my shots quite well.

Flare resistance & chromatic aberration

The glass coating on this lens does a fine job decreasing flaring and ghosting – an annoying issue that plagues photographers when the light hits the lens at a bad angle. The chromatic aberration control is quite good as well, with the optical array comprising of 24 elements spread across 22 groups. This includes nine FLD pieces of glass and a single SLD lens, all of which are used to help control chromatic aberration.

The Canon mount versions of this lens also benefit from compatibility with a full set of in-camera corrections for lens aberrations (a big yippee for me as a Canon user).

Pros and Cons of the Sigma 70-200mm f/2.8 DG Sport

Pros:

Durable, comfortable, solid lens build.
Superb weather sealing, as well as dust and moisture resistance.
Water and oil repellent coating on the glass.
The Canon mount version is compatible with Canon’s internal chromatic aberration control and the Nikon version is able to work with Nikon’s electromagnetic diaphragm.
Various switches built into the lens for professional use such as the focus limiter, modes, and image stabilization.
On the topic of image stabilization, the IS is superb.
HSM for quite and reliable autofocus.
The addition of an Manual Override mode for focus.
Locking lens hood.
Good flare and ghosting resistance.
Excellent chromatic aberration control.
Good center sharpness.
Very nice, creamy, natural bokeh.

Cons:

Tripod foot cannot be removed.
Vignetting on the edges.
Sharpness suffers in the corners at 100mm and more.
Weight

Conclusion

At a price tag of US$ 1,500, while this may seem hefty to some, it’s actually much more affordable than equivalent lenses of this caliber. There is a lot of bang for your buck. Moreover, it’s a very worthwhile investment for those shooting outdoors or in questionable conditions, as this lens is built to be the perfect workhorse.

I genuinely loved this model. It was very easy to use for my athletic needs!

Have you used this lens? What are your thoughts? Please share in the comments below.

The post Sigma 70-200mm F2.8 DG OS HSM Sport Review appeared first on Digital Photography School. It was authored by Anabel DFlux.

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Sample gallery: Sigma 70-200mm F2.8 DG OS HSM Sport

06 Apr

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We’ve been shooting a lot with Sigma’s redesigned 70-200mm F2.8 Sport lens and initial impressions are positive: it appears nice and sharp throughout the zoom range and proved quick to focus on the Canon 5DS R and EOS R. However at 1805g it’s certainly not a lightweight lens. Do the images make up for the awkward handling? Judge for yourself in our gallery of real-world samples.

See our Sigma 70-200mm F2.8 DG OS HSM Sport gallery

Articles: Digital Photography Review (dpreview.com)

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Sigma 60-600mm F4.5-6.3 Sport sample gallery

31 Mar

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The Sigma 60-600mm F4.5-6.3 Sport is quite the beast, and will likely appeal to those looking to photograph wildlife, airshows and all manner of distant subjects. We’ve discovered that it’s actually quite a handy lens for casual, everyday shooting – if you’d like your photographic pursuit to double as an upper body workout. Take a look at how we’ve been getting along with it.

See our Sigma 60-600mm F4.5-6.3 Sport
sample gallery

Articles: Digital Photography Review (dpreview.com)

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Sigma announces pricing and availability of its 70-200mm F2.8 DG OS HSM Sport lens

11 Dec

More than two months after first showing it off at Photokina 2018, Sigma has announced its 70-200mm F2.8 DG OS HSM Sport lens will be available by the end of December 2018.

The lens, which rounds out the signature F2.8 trio alongside Sigma’s 14-24mm F2.8 and 24-70mm F2.8, will be available in Canon EF, Nikon F and Sigma SA mounts. It’s constructed of 22 elements including one Special Low Dispersion (SLD) element and nine F Low Dispersion (FLD) elements alongside an 11-blade aperture diaphragm and 1.2m (1.31yds) minimum focusing distance.

Following suit with most of Sigma’s other lenses in its Global Vision lineup, the 70-200mm F2.8 DG OS HSM Sport lens comes in at a discount compared to its Canon and Nikon counterparts. Sigma has set the retail price at $ 1,499 USD, a full $ 600 cheaper than Canon’s 70-200mm F2.8L IS III USM lens and exactly a thousand dollars cheaper than Nikon’s 70-200mm f/2.8E FL ED VR lens.

The 70-200mm F2.8 DG OS HSM Sport lens is available for pre-order on B&H (Canon EF, Nikon F, Sigma SA).

Articles: Digital Photography Review (dpreview.com)

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Sigma announces 28mm F1.4 Art, 40mm F1.4 Art, 70-200mm F2.8 Sport and 60-600mm F4.5-6.3 Sport

26 Sep

Sigma has announced four lenses for Canon EF, Nikon F and Sigma SA mounts. The 28mm F1.4 DG and 40mm F1.4 DG are both part of the company’s premium ‘Art’ range that prioritize image quality over price and weight. These two lenses will also be available for the Sony E mount. The new lenses help round-out the series, which now includes a range of prime lenses extending from the 14mm F1.8 DG HSM up to the 135mm F1.8 DG.

The 28mm F1.4 DG adds a semi-wide option to Sigma’s impressive range of ‘Art’ prime lenses.

The 28mm F1.4 DG | Art has a 77mm filter thread, matching that of the 24mm F1.4.

The 40mm F1.4 DG | Art is a near perfect ‘normal’ lens: a close match for the diagonal length of a full frame sensor. It’s been a historically popular focal length, so we’re pleased to see its return.

The Sigma 40mm F1.4 DG | Art has an 82mm filter thread.

In addition, Sigma has introduced a redesigned, stabilized 70-200mm F2.8. The 70-200mm F2.8 DG OIS is, as you’d expect, part of the company’s Sport range of optics and is likely to offer a less-expensive alternative to OEM 70-200s. We will, of course, be testing its performance as soon as one becomes available.

Finally, Sigma has announced the 60-600mm F4.5-6.3 DG OIS, a monster telephoto lens, also part of its Sport range. Despite the sport designation, we suspect the lens will be used more for birding and airshow shooting.

The Sigma 60-600mm F4.5-6.3 DG | Sport is a substantial beast, even at its 60mm setting.

But that’s nothing compared to seeing it at full stretch. It certainly lives up to the ‘Bigma’ nickname of its predecessor.

As you’d expect, it features a focus limiter, OIS control switch. In addition, there’s a ‘Custom mode switch’ that can be used in conjunction with the Sigma USB Dock to access customized adjustments of the lens’s focus and stabilizer behavior.

Sigma Unveils Five New Global Vision Lenses

Sigma’s 28mm F1.4 DG HSM Art, 40mm F1.4 DG HSM Art, 56mm F1.4 DC DN Contemporary, 70-200mm F2.8 DG OS HSM Sports, and 60-600mm F4.5-6.3 DG OS HSM Sports will make their public debut at Photokina 2018

Cologne, Germany – September 25, 2018 – Sigma today announced five new Sigma Global Vision lenses shown for the first time at the 2018 Photokina expo in Cologne, Germany from September 26th-29th in Hall 4.2 on Stands B020, B028I and C029. From wide-angle to hyper-telephoto, the new Sigma Global Vision introductions arrive as some of the most anticipated lenses in the industry, further facilitating artistic expression for photographers.

Sigma 28mm F1.4 DG HSM Art
The new Sigma wide-angle model stands out with its thoroughly corrected magnification chromatic aberration and sagittal coma flare, as well as completely minimized distortion thanks to its optical design. It features water- and oil-repellent coating on the front lens element and its overall dust- and splash-proof structure ensures excellent performance even in the most challenging shooting conditions. The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures the perfect moment instantly. Available in Sigma, Nikon, Canon and Sony E camera mounts, this lens is a great contender for street photography, as well as shooting landscapes and night skies.

Full technical specifications are available here: https://bit.ly/2DdAiVE. Pricing and availability will be announced later.

Sigma 40mm F1.4 DG HSM Art
The 40mm F1.4 DG HSM Art is Sigma’s first lens developed originally to live up to the sought-after angle of view and performance standard for a benchmark cine lens. This lens effectively arranges three FLD (“F” Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration. Designed for exceptional sharpness at maximum aperture, this lens excels at available light photography. With less than 1% distortion and near non-existent sagittal coma flare, this lens demonstrates consistent optical results featuring both 8K-compatible resolution and a beautiful bokeh. It is available for Sigma, Nikon, Canon and Sony E mount camera systems.

Full technical specifications are available here: https://bit.ly/2QHliC5. Pricing and availability will be announced later.

Sigma 56mm F1.4 DC DN Contemporary
This lens completes the Sigma large aperture series of portable wide-angle, standard, and telephoto prime lenses in Micro Four Thirds and Sony E mounts. Featuring compact design, light weight and outstanding image quality offered in Sigma’s Contemporary line, this lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras. In addition, this lens is characterized by smooth and quiet autofocus ideal for video shooting. Compatible with the Sony E mount Fast Hybrid AF, it also achieves precise AF tracking. By using the face recognition or eye AF functions of the camera, focus will continuously be on the face or the eye even if the subject moves during the shoot.

Full technical specifications are available here: https://bit.ly/2PLuSTh. Pricing and availability will be announced later.

Sigma 70-200mm F2.8 DG OS HSM Sports
One of the most anticipated lenses from the Sigma Global Vision line, the Sigma 70-200mm F2.8 DG OS HSM Sports is the new flagship large-aperture telephoto zoom lens that meets the most stringent needs of professional photographers. Robust yet lightweight, the lens’ magnesium body ensures high mobility and its dust- and splash-proof structure together with the water- and oil-repellent coating on the front element ensure safe use even in the most challenging shooting conditions. It also incorporates Intelligent OS with an acceleration sensor and the latest algorithm capable of panning in all directions. The lens’ optical design, incorporating 10 exclusive low-dispersion glass elements, allows for extremely high resolution, from the center to the corners. By optimizing spherical aberration, a smooth and natural bokeh effect is achieved when using the Sigma 70-200mm F2.8 DG OS HSM Sports for portrait photography. The versatility of this lens is demonstrated in various customization options via an AF Function button either through the camera body or Sigma USB Dock. The newest F2.8 large-aperture zoom lens from Sigma comes in Sigma, Canon and Nikon mounts.

Full technical specifications are available here: https://bit.ly/2DlyWbE. Pricing and availability will be announced later.

Sigma 60-600mm F4.5-6.3 DG OS HSM Sports
The Sigma 60-600mm F4.5-6.3 DG OS HSM Sports is the world’s first 10x optical zoom telephoto lens with a tele end of 600mm. Incorporating 25 elements in 19 groups, excellent and consistent image quality can be achieved throughout the entire zoom range. This lens’ intelligent OS featuring the latest algorithm delivers an image stabilization effect of 4 stops. Its optical design ensures maximum correction of magnification chromatic aberration encountered in hyper-telephoto shooting. This offers both high resolution and consistent edge-to-edge performance throughout the entire zoom range. In addition, when shooting at the focal length of 200mm, the Sigma 60-600mm F4.5-6.3 DG OS HSM Sports can also be used for telephoto macro photography, with a maximum magnification ratio of 1:3.3, thanks to its high rendering performance. Its multi-material build, which incorporates magnesium among other components, ensures durability and enhances portability, allowing for comfortable handling of the 10x zoom lens. The zooming mechanism has been engineered to make both smooth rotation and straight zoom possible. Versatile and robust, the new Sigma hyper-telephoto zoom lens is available in Sigma, Canon and Nikon mounts starting in late October 2018 for $ 1999 USD.

Full technical specifications are available here: https://bit.ly/2xmASv1.

Sigma 28mm F1.4 DG HSM | 40mm F1.4 DG HSM specifications

	Sigma 28mm F1.4 DG HSM \| A	Sigma 40mm F1.4 DG HSM \| A
Principal specifications
Lens type	Prime lens
Max Format size	35mm FF
Focal length	28 mm	40 mm
Image stabilization	No
Lens mount	Canon EF, Nikon F (FX), Sigma SA Bayonet, Sony FE
Aperture
Maximum aperture	F1.4
Minimum aperture	F16
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	17	16
Groups	12
Special elements / coatings	Three SLD + two FLD elements	3 FLD + 3 SLD elements
Focus
Minimum focus	0.28 m (11.02″)	0.40 m (15.75″)
Maximum magnification	0.19×	0.15×
Autofocus	Yes
Motor type	Ring-type ultrasonic
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
DoF scale	No
Physical
Weight		1200 g (2.65 lb)
Diameter	83 mm (3.27″)	88 mm (3.46″)
Length	108 mm (4.25″)	131 mm (5.16″)
Sealing	Yes
Filter thread	77 mm	82 mm
Hood supplied	Yes
Tripod collar	No
Other
Notes	Weight and dimensions for Sigma mount

Sigma 70-200 F2.8 DG OS HSM | 60-600mm F4.5-6.3 DG OS HSM specifications

	Sigma 70-200 F2.8 DG OS HSM \| S	Sigma 60-600mm F4.5-6.3 DG OS HSM \| S
Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	70–200 mm	60–600 mm
Image stabilization	Yes
CIPA Image stabilization rating		4 stop(s)
Lens mount	Canon EF, Nikon F (FX), Sigma SA Bayonet
Aperture
Maximum aperture	F2.8	F4.5–6.3
Minimum aperture	F22	F22–32
Aperture ring	No
Number of diaphragm blades	11	9
Optics
Elements	24	25
Groups	22	19
Special elements / coatings	one SLD + nine FLD elements	1 SLD + 3 FLD elements
Focus
Minimum focus	1.20 m (47.24″)	0.60 m (23.62″)
Maximum magnification	0.21×	0.3×
Autofocus	Yes
Motor type	Ring-type ultrasonic
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
DoF scale	No
Focus distance limiter	Yes
Physical
Weight	1805 g (3.98 lb)	2700 g (5.95 lb)
Diameter	94 mm (3.7″)	120 mm (4.72″)
Length	203 mm (7.99″)	269 mm (10.59″)
Sealing	Yes
Zoom method	Rotary (internal)	Rotary (extending)
Power zoom	No
Zoom lock	Yes
Filter thread	82 mm	105 mm
Hood supplied	Yes
Tripod collar	Yes
Other
Notes	Weight and dimensions for Sigma mount

Articles: Digital Photography Review (dpreview.com)

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Rumor: DJI Mavic Pro II will sport 1-inch sensor, may arrive in March

06 Feb

When the DJI Mavic Air came out, we pretty much knew right away that it wasn’t the sequel to the Mavic Pro (or Pro Platium) that many had been hoping for. Following in Apple’s nomenclature footsteps, DJI’s Mavic Air is kind of like the MacBook Air—still powerful, but mostly built for extreme portability, not as a followup to the MacBook Pro.

Fortunately for those people who are still waiting for a true Mavic Pro successor, it sounds like you won’t have to wait very long.

According to a new report from DRN, the upcoming DJI Mavic Pro II is already in production, and may see its official announcement as early as March, 2018. What’s more, DRN got its hands on some rumored specs, claiming the Mavic Pro II will have:

A 1-inch CMOS sensor with 28mm lens
A 4820 mAh battery that will give it 35 minutes of flight time
Binocular rear sensors

They’re also expecting it to take design cues from the sleeker Mavic Air, only in a larger package that can carry the bigger sensor and battery.

As with all rumors, nothing is confirmed until DJI says so, but the drone rumor mill should really heat up ahead of any official announcement in March. In the meantime, the folks at Autel might need to get a head start developing their next drone; that Autel EVO that out-specs DJI’s Mavic Pro Platinum… it might not be superior for long.

Articles: Digital Photography Review (dpreview.com)

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Rumor: Nikon’s full-frame mirrorless will sport an all new ‘Z-Mount’

13 Jan

Photo by Lilly Rum

Nikon Rumors has gotten wind of a very interesting bit of plausible speculation—at this point, we’re not comfortable calling it any more than that. According to the rumor site, the Nikon full-frame mirrorless people are hoping and praying for will sport an all-new so-called “Z-Mount”.

The name is probably still not final at this stage, but NR is reporting with some confidence that the Z-Mount will have an external diameter of 49mm and a flange focal distance of 16mm.

We obviously can’t know if these numbers represent a real mount in the works at Nikon, but we can confirm that the numbers add up. While 16mm is very short, if you have a camera with a wide enough diameter it kind of doesn’t matter. The back of the lens could be further forward than 16mm, so long as the mount doesn’t intrude.

For comparison’s sake, Sony’s E-Mount (the shortest to be used with a full frame sensor) sports an external diameter of 46.1mm and a flange distance of 18mm.

As always, we have contacted a Nikon representative for comment, and will update this post if and when we hear anything official from Nikon USA.

Articles: Digital Photography Review (dpreview.com)

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Review of the New Sigma 500mm F4 DG HSM OS Sport Lens

10 Jan

The Sigma 500mm F4 is a big lens. I shoot with bigger lenses because I need the longer focal lengths when I’m on the wild horse ranges but this is a really big lens – the biggest I’ve ever used, actually. It’s a big ticket item too, as my dPS editor Darlene gently reminded me. Be extra careful.

Sigma has their lens safely back and I didn’t trip, fall, drop or dunk it so I guess it’s okay to share now that I’m very hard on my gear. This lens withstood two weeks with me and emerged unscathed. Bonus points to Sigma. This lens is built like a tank.

Finch on feeder, Chicago Botanic Garden, Glencoe, IL
Canon 5DIII, Sigma 500mm F4, ISO 6400, 1/1000th, f/8, monopod with a gimbal head.

What I really wanted to know when I tested this lens

When I tossed my name in the hat as a reviewer for this lens, what I really wanted to know was if a large 500mm prime lens is a practical focal length for the rigors of photographing horses, birds, and wildlife? How is it to shoot using support, rather than hand held as I normally do? Is the autofocus responsive? Does the lens make ultra sharp images?

I tested it in as many situations as possible in the limited time that I had it, starting with a few birding trips to the Chicago Botanic Garden. Birding was followed by visits to the Lincoln Park Zoo to get up close with the lions and tigers. I wrapped everything up by using it for the “at liberty” portion of an equine portrait session with four polo ponies. I love my results. Read on to find out why.

Striding goose, Chicago Botanic Garden, Glencoe, IL
Canon 5DIII, Sigma 500mm F4, ISO 400, 1/1000th, f/6.7, monopod with a gimbal head.

A few technical specs

Weight/Size: 7.3 pounds (3.3 kg), approximately 5.7″ wide x 15″ long (144.8 x 380.3 mm)
Focal length: Fixed 500mm prime, the lens does not extend further when focusing.
Maximum aperture: F/4.
Filter: Rear drop-in, 46mm.
Mount: Available for Canon, Nikon, and Sigma
Recommended uses: Nature, wildlife, sports and action
Price: $ 5999 USD
Release date: December 2016, shipping January 2017.

You can read more detailed specifications here.

Shop for the Sigma 500mm F4 for Canon or for Nikon mount at B&H Photo Video.

Detail of Sigma 500mm drop-in rear filter slot.

Supporting the lens

When photographing animals, birds, and wildlife, your typical gear is probably similar to mine. I mostly use the affordable Canon EF 100-400mm f/4.5-5.6L IS II USM lens with either the Canon 7D Mark II or Canon 5D Mark III. If I’m a bit further from my subject, I add a Canon Extender EF 1.4X III. Normally I shoot handheld.

Comparison of my 100-400mm lens with the Sigma 500mm F4.

Comparison of my extended 100-400mm with the Sigma 500mm F4.

The Sigma 500mm lens with my Canon 5D Mark III (which also has an L-bracket on it) weighed approximately 10 pounds. That’s about three pounds more than my typical gear. It initially seemed possible to hand hold but fatigue and a resulting loss of sharpness set in quickly. My solution was to use a quick release plate to attach the foot of the Sigma 500mm F4 DG HSM OS Sport lens to my heavy-duty Feisol monopod with a Jobu gimbal head.

This combination supported the weight of the lens/camera combination while allowing me to position the lens exactly where I wanted it. It wasn’t as flexible as hand holding, but far more so than using a tripod.

Backward glancing goose, Chicago Botanic Garden, Glencoe, IL
Canon 5DIII, Sigma 500mm F4, ISO 400, 1/1000th, f/6.7, monopod with a gimbal head.

Using support, I was able to shoot for a lot longer without fatigue – and without the shaky shots that come from fatigued hands. I also found the gimbal/monopod combination very portable and easy to maneuver when using this lens.

I would recommend using a sturdy tripod (rather than a monopod) to anyone setting up in a blind, with the intention of waiting for wildlife to approach a known watering hole or feeding spot. Over time, balancing this lens and camera combination on a monopod did take its toll on my shoulders. You wouldn’t want to miss a shot that you’d been waiting hours for, because your body was too fatigued from supporting your gear on a monopod, so use a tripod in that situation.

Horse profile with fence, Somewhere in Suburbia, IL
Canon 5DIII, Sigma 500mm F4, ISO 500, 1/1000th, f/8, monopod with a gimbal head.

Profile of two horses with fence, Somewhere in Suburbia, IL
Canon 5DIII, Sigma 500mm F4, ISO 500, 1/500th, f/8, monopod with a gimbal head.

Three “guilty” horses II, Somewhere in Suburbia, IL
Canon 5DIII, Sigma 500mm F4, ISO 500, 1/500th, f/8, monopod with a gimbal head.

Performance in adverse weather

Illinois in the fall is mainly cool. It’s rainy sometimes but more dry than humid. It is also often very windy. I did not have a chance to test the Sigma 500mm F4 DG HSM OS Sport lens in rainy conditions but it shot flawlessly in the cold (the coldest temperature tested was about 30 degrees Fahrenheit, -1 celsius). Wind was more of a factor because of the large profile of the lens. Some gusts would really grab it and that movement caused a loss of sharpness.

Of course, this isn’t an issue specific to this lens – any larger, longer focal length lens will be affected by gusty winds. Solutions would be to shoot in a more protected area, to use higher-than-normal shutter speeds, or to wait for a less windy day to shoot (which is what I would have done if I wasn’t reviewing the lens in a limited timed frame).

Japanese Macaque (Snow Monkey), Lincoln Park Zoo, Chicago, IL
Canon 7DII, Sigma 500mm F4, ISO 800, 1/100th, f/10, monopod with a gimbal head.

Autofocus performance

The autofocus on the Sigma 500mm F4 DG HSM OS Sport lens is flawless.

First, you can turn the annoying autofocus beep off with a simple switch right on the barrel of the lens. Turning the autofocus beep off is essential when photographing wildlife since the noise can make your subjects anxious. Thumbs up to Sigma for putting this feature in such an accessible location.

Detail of Sigma 500mm F4 option switches.

There are also settings for autofocus, manual focus, and manual override. The point of the manual override mode is to have the lens in auto but be able to easily switch it into manual by grabbing the focusing ring. Because I could manually override the autofocus at any time, even when the lens was in auto mode, that’s the mode I preferred to use.

Stabilization

I tested the Sigma 500mm F4 DG HSM OS Sport lens with and without the stabilization turned on. There are two options; OS1 for handheld photography, and OS2 for panning and tracking. While using my monopod and gimbal head, I didn’t see a noticeable difference in sharpness between OS1 and OS2. There was, however, a noticeable difference in sharpness when OS was turned to the off position. Ultimately I switched it to OS1 and left it there.

More convenience at your fingertips

In addition to the stabilization, beep, and autofocus options there is a “focus limiter.” This switch allows you to choose within which range you need the lens to focus. For example, if you know you aren’t focusing on anything close to you, you can set the lens to focus only from 10 meters to infinity. Setting this limiter allows the lens to focus a smidge faster and that gives you a better chance of sharply capturing fleeting moments.

My favorite feature

Detail of the Sigma 500mm F4 Recall Button.

Perhaps my favorite feature is the group of four rubber buttons circling the front of the lens.

To use them, find a location you want to have as a primary focusing point, hold down one of the buttons and hit the set button on the lens barrel. This action programs the lens to focus on the specific point you selected. The focus lock on that point is based on distance so if you move, you need to reset your buttons.

If you are stationary, sitting in a blind photographing birds or wild animals, this is an amazing feature. You can essentially compose four different shots in four different locations by assigning one of these buttons to each location. When a bird lands in one of your four locations, press the button for that focus point, press the shutter and grab your shot. I tested this with some of the spunkier zoo inhabitants and it worked like a charm.

Again, the advantage here is that this is a little faster than asking the lens to refocus. That millisecond is a precious advantage when photographing wildlife.

Approaching lion, Lincoln Park Zoo, Chicago, IL
Canon 7DII, Sigma 500mm F4, ISO 1000, 1/640th, f/8, monopod with a gimbal head.

Image quality

Image quality is a subjective thing but without it, state-of-the-art features and well-placed buttons don’t mean a thing. I was blown away by the images I produced with this lens.

Straight out of camera the colors rendered beautifully. They were soft, nuanced and creamy. Backgrounds blurred softly away creating a clean canvas for wildlife compositions. The separation between elements was also phenomenal. I had a lot of fun experimenting with “layering,” like the series of four monochrome equine images above and the zebra image below.

Layered zebras, Lincoln Park Zoo, Chicago, IL
Canon 7DII, Sigma 500mm F4, ISO 2500, 1/640th, f/8, monopod with a gimbal head.

Images made with this lens are tack sharp. Details of eyes, fur, and feathers are crisp and well-structured. There is no visible distortion and only very minimal vignetting. For wildlife images, I prefer the range of f/8 to f/11 but I didn’t find any unusable apertures. I could have happily shot at f/4 if the circumstance called for it.

Because I was so happy with the quality, all of the wildlife and bird images included in this review were very minimally processed in Lightroom CC. I sharpened the RAW files, adjusted the white balance, and made a few targeted adjustments to enhance details.

Transporting and carrying the lens

While the weight and length of Sigma’s 500mm F4 lens aren’t unusual for this lens category (the Canon version is almost exactly the same weight and dimensions, and also $ 3000 more!) it is a factor when using it. First, you need to be careful about how you carry a large lens like this to prevent damaging your camera’s lens mount. During a typical shoot you might normally hold your camera by its grip, and let the weight of the lens hang off of the camera body. With a lens this large, that isn’t recommended. Instead, make it a habit of holding onto a lens of this size by the foot, and support the camera’s weight with your other hand. You can also cradle the lens like a baby, which I did often (I didn’t sing it any lullabies, though).

You also need to consider carefully the logistics of hiking to your destination with such a large lens. Investing in a special large lens backpack like this one might be a solution for ease of carrying. Lastly, if you have weight and bag restrictions when you travel, you’ll have to find a workaround for that.

Baby zebra portrait, Lincoln Park Zoo, Chicago, IL Canon 7DII, Sigma 500mm F4, ISO 1600, 1/640th, f/8, monopod with a gimbal head.

Zebra with turned head, Lincoln Park Zoo, Chicago, IL
Canon 7DII, Sigma 500mm F4, ISO 2000, 1/640th, f/8, monopod with a gimbal head.

Bottom line

This lens performed very well for me. Images were sharp and overall quality was excellent. For me, because I am often hiking (or recently, biking!) to locate and then keep up with very mobile herds of wild horses, the size and weight of the lens were a bit difficult to manage. Horses are also unpredictable and I often need a shorter focal length to capture all of their behaviors as their curiosity overcomes them and they start to approach me.

If you’re like me, I’d recommend the Canon 100-400mm I mentioned earlier in this review. For an affordable option with an even longer focal length, try Sigma’s own 150-600mm that weighs in at around 4 pounds for under $ 1000.

I would recommend the Sigma 500mm F4 DG HSM OS Sport lens for a birder, or any type of wildlife photographer that stations herself in a blind, and waits for the animals to come into view. If you’re that photographer, sign up at B&H to be notified when this lens will ship (here for Canon mount, or click here for Nikon) to ensure you get one of the first copies. You won’t be disappointed.

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Sigma adds the 85mm F1.4 Art, 12-24mm Art, 500mm F4 Sport lenses to its Global Vision line

20 Sep

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Sigma has announced three new full-frame lenses for its Global Vision Line. The long-rumored and long-awaited 85mm F1.4 Art, the 12-24mm F4 Art, and the 500 F4 DG OS HSM Sport.

The 85mm F1.4 Art has been designed with resolution and bokeh in mind. A stronger HSM AF motor produces 1.3x the torque of the previous setup hopes to improve autofocus speed as well. The lens will be available in late October at a price $ 1199.

The Sigma 12-24mm F4 DG HSM Art is a new ultra-wide-angle zoom. It too features the stronger AF module, and also features the largest aspherical glass mold in the industry, which helps produce minimal distortion, flare and ghosting. The lens will be available in late October for $ 1599.

The Sigma 500mm F4 DG OS HSM Sport uses lightweight materials like carbon fiber and magnesium alloy and features a dust and splash resistant construction. In Nikon mount it features a brand-new electronic diaphragm. The Sigma 500mm F4 Sport lens, in Canon and Sigma mounts, will be available in late October. The Nikon mount will be available in late November. The 500mm F4 will retail for $ 5999.

Press Release:

Sigma Adds the 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art, and 500mm F4 DG OS HSM Sport Lenses to Its Global Vision Line

Outstanding optical performance, ultra-wide zoom range, and versatile flagship sports lens headline the Sigma line-up at Photokina 2016

Cologne, Germany – September 19, 2016 – Sigma Corporation of America, a leading camera, DSLR lens, flash and accessories manufacturer, unveiled its new 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art and 500mm F4 DG OS HSM Sport Global Vision lenses at the Photokina 2016 event (hall 4.2, stands B020, B028 and C029).

“We are thrilled to announce three state-of-the-art additions to the Global Vision line. The Sigma 85mm 1.4 Art has been a highly requested lens and we are very confident those customers who have been waiting for us to deliver this lens will be more than pleased with the superior optical performance and zero compromise,” states Mark Amir-Hamzeh, president of Sigma Corporation of America. “In addition, the re-engineered 12-24mm F4 and highly competitive 500mm F4 Sport lens both embody the world-class performance our Global Vision lenses are known for. We look forward to seeing the incredible images our customers will create using these new Sigma lenses.”

Sigma 85mm F1.4 DG HSM Art – The Ultimate Portrait Lens
Delivering the ultimate in creative expression, the new Sigma 85mm F1.4 Art lens is engineered to support the highest resolution sensors on the market with an exceptional degree of sharpness. The high-performance optical system is purpose-built by Sigma R&D to produce the attractive bokeh effect sought after by discerning photographers. The lens’ advanced architecture features two SLD (special low dispersion) glass elements and one glass element with a high rate of anomalous partial dispersion and refraction. A re-engineered AF system brings 1.3X the torque of its predecessor, while other features such as a full-time manual focus override have been added, which can be controlled when the focus ring is rotated, even during continuous AF.

The Sigma 85mm F1.4 DG HSM Art lens supports Canon, Nikon and Sigma mounts. The Nikon mounts feature a brand new electromagnetic diaphragm.

The Sigma 85mm F1.4 Art lens will be available in late October and retails for a recommended street price of $ 1199.00 USD.

Sigma 12-24mm F4 DG HSM Art Ultra-Wide Angle Zoom for the Era of Ultra-High Resolution Digital Cameras
Boasting the renowned Global Vision image quality from center to edge, the new Sigma 12-24mm F4 features the largest aspherical glass mold in the industry, offering photographers an ultra-wide angle zoom with virtually no distortion, flare or ghosting. Encompassing the long history of Sigma wide angle lens development expertise, the new 12-24mm F4 performance highlights include constant F4 brightness and the brand new Sigma AF system with 1.3X torque boost. The 12-24mm F4 features lens elements made with FLD (“F” Low Dispersion) glass, which is equivalent to calcium fluorite in performance. Combined with an optimized power distribution, the result is outstanding image quality from center to edges. With a minimum focus distance of 9.4 inches at 24mm, photographers can compose incredible close-up shots with expansive backgrounds.

The all new Sigma 12-24mm F4 DG HSM Art lens supports Canon, Nikon and Sigma mounts. The Nikon mounts feature the brand new electromagnetic diaphragm.

The Sigma 12-24mm F4 Art lens will be available in late October and retails for a recommended street price of $ 1599.00 USD.

Sigma 500mm F4 DG OS HSM Sport Lens – Pro Fast-Aperture Prime Super Telephoto
The flagship Sigma super telephoto 500mm F4 Sport lens incorporates the very latest in Sigma optical technology and innovation. Designed for the professional sports and wildlife shooter, the ultra-durable lens features magnesium alloy components, a carbon fiber hood, a water and oil resistant front element, and is dust and splash proof. The 500mm F4 features a drop-in rear filter slot for polarizers, UV and other critical filters. To help prevent damage during shooting and maintenance, the lens is also compatible with the exclusive SIGMA Protector LPT-11 (sold separately).

The lens incorporates two FLD and one SLD glass elements, while the optimized power distribution helps minimize spherical aberration and axial chromatic aberration. The optical system also effectively minimizes transverse chromatic aberration, which can affect the edges of the shots taken in the telephoto range. In addition, image quality remains exceptional when the lens is used with a Sigma Telephoto Converter (sold separately).

Other key performance features include Sigma’s two-mode Optical Stabilizer for enhanced performance when shooting handheld for still subjects or panning and tracking for moving subjects. There is also a customizable AF “return” function for setting the focus position of one’s choice and returning to that preset distance.

The all new Sigma 500mm F4 supports Canon, Nikon and Sigma mounts. The Nikon mounts feature the brand new electromagnetic diaphragm.

The Sigma 500mm F4 Sport lens, in Canon and Sigma mounts, will be available in late October. The Nikon mount will be available in late November. The 500mm F4 will retail for a recommended street price of $ 5999.00 USD.

All Sigma Global Vision lenses, including the new 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art, and 500mm F4 DG OS HSM Global Vision lenses, can be updated with the latest lens firmware from a workstation or laptop using the Sigma Optimization Pro software and Sigma USB Dock (sold separately).

Tested for Optimum Performance

Sigma lenses are born of well thought-out design concepts, exceptional Japanese craftsmanship and manufacturing, and advanced lens performance testing and evaluation. To this end, Sigma has developed its own A1 proprietary MTF (modulation transfer function) measuring system using 46-megapixel Foveon direct image sensors. Even the most elusive high-frequency details are within the scope of Sigma’s quality control inspections. Every Global Vision lens is A1 tested, analyzed and approved before leaving the factory, ensuring maximum performance out of the box.

For more information on Sigma’s industry leading testing, please visit http://blog.sigmaphoto.com/2012/a1-mtf-testing-for-new-sigma-lenses/.

About Sigma Corporation
Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning camera lenses, DSLR cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last.

Sigma continues its tradition of imaging excellence with the mirrorless sd Quattro, sd Quattro H and the compact dp Quattro camera line. Leveraging the ultra-high resolution Foveon sensor, the Sigma Quattro cameras are designed to produce the highest quality image with every shot.

For information about Sigma, please visit www.sigmaphoto.com or follow the company on Twitter, Instagram and Facebook.

Articles: Digital Photography Review (dpreview.com)

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